• 보존과학연구
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• s.29
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• pp.65-90
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• 2008

This study examines the status and the physical features of Paraloid B-72 layers with examination of microstructure and analysis of organic matters. Paraloid B-72 layers were coated on samples from the colour layer of outer wall painting in Mireuk hall in Geumsan temple. On the basis of the previous examination result, it has made the samples which are similar to outer wall in Mireuk hall in Geumsan temple. The samples can be divided into two, one; 5% Paraloid B-72 coating and another is without coating. Then samples have been experimented under the compulsive environments of infrared radiation and immersion, thereafter compared the results of the damages and physical features between two samples. As a result of the comparison, the sample with Paraloid B-72 had more serious cracks, exfoliations and peeling layers than that of without Paraloid B-72. Otherwise, in the examination of ultraviolet radiation, the sample with Paraloid B-72 coating showed weaker physical properties, less density in structure of colour layer and less hardness in surface of colour layer than the sample without coating. The percentage of moisture content after the ultraviolet radiation was higher in the sample without Paraloid B-72 than the sample with Paraloid B-72 coating. Observing the conditions before the ultraviolet radiation, the sample with Paraloid B-72 coating demonstrated lower rate in moisture evaporation rate than the sample without Paraloid B-72. As a consequence, in examination of this samples, the change of physical features are increased in the sample with Paraloid B-72 coating than that without Paraloid B-72 when compulsive environment of heat, moisture and ultraviolet rays for a short term are imposed.

• Conservation Science in Museum
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• v.5
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• pp.43-47
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• 2004

The five pieces (Bon 4054, 4074, 4077, 4096 and Bon 4097)of the Central Asia murals housed in the National Museum of Korea were conserved for approximately 2 years. The Central Asia murals conserved for this time have undergone the processes of cleaning, reinforcing pigment layers, facing to protect the pigment layers disassembling, separating wooden frames reinforcing the wall layers, attaching supports to the wall layers, removing facing and making picture frames. They were conserved with emphasis placed on reinforcing the peeled pigment layers and the weakened walls and on improving the structural problem of the exhibit frames.

• Conservation Science in Museum
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• v.24
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• pp.117-132
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• 2020

The painting layer of Payathonzu temple mural paintings in the ruins of Bagan Myanmar has been damaged due to various reasons. In this study, the applicability of Neem resin, a traditional Myanmar adhesive, as a fixative on the painting layer was examined. Cow glue and Paraloid B-72 were selected as fixatives in the comparison group, and pseudo-specimens with conditions similar to the original mural paintings were produced to examine the changes before and after applying the fixatives and according to the deterioration experiments. As a result of conducting the experiments and comparing the fixatives, it was found that changes on the surface such as smudge, yellowing and gloss are greater with the application of higher concentration of Neem resin than with other fixatives. However, such changes were relatively small under the condition of 4% concentration. It was also confirmed that chromaticity and glossiness vary greatly between before- and after-application of the fixatives but that such discrepancies tend to decrease at 4% concentration compared to other concentrations. As for fixation strength, it was found that the fixation capacity of Neem resin on the base and painting layers is overall higher than other fixatives as the concentration is increased. Therefore, the applicability of 4% concentration of Neem resin as a fixative on the painting layer was confirmed considering the low surface changes according to environmental factors, low color discrepancy and glossiness, and characteristics of excellent fixation strength. It is believed that the findings of this study could be used as basic data for the preservation of Payathonzu temple mural paintings in the future.

• Journal of Conservation Science
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• v.38 no.1
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• pp.45-54
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• 2022

This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 ㎛, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study's results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.

• Proceedings of the Korean Vacuum Society Conference
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• 2014.02a
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• pp.394.2-394.2
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• 2014

We fabricated highly transparent and flexible Ti doped In2O3 (TIO)/Ag nanowire(NW)/TIO (TAT) multilayer electrodes by linear facing target sputtering (LFTS) and brush-painting for used as flexible for anode organic solar cells(FOSCs). The characteristics of TAT transparent anode as a function of number of brush-painting cycles was also investigated. At optimized conditions we achieved highly flexible TAT multilayer electrodes with a low sheet resistance of $9.01{\Omega}/square$ and a high diffusive transmittance more than 80% in visible region as well as superior mechanical stability. The effective embedment of the Ag NW network between top and bottom TIO films led to a metallic conductivity, high transparency. Based on FE-SEM HRTEM, and XRD analysis, we can find that the Ag NW network was effectively embedded between top and bottom TIO layers due to good flexibility of Ag NW, the TAT multilayer showed superior flexibility than single TIO layer. Successful operation of FOSCs with high power conversion efficiency of 3.01% indicates that TAT hybrid electrode is a promising alternative to conventional ITO electrode for high performance FOSCs.

• Journal of Conservation Science
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• v.32 no.2
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• pp.235-247
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• 2016

Conventional imaging techniques such as ultraviolet, infrared, and X-ray are used mainly to diagnose the damaged parts of the painted cultural assets in Korea. These techniques, however, have limits in diagnosing damages of interlayer parts. We have performed and extensive study on the applicability of Terahertz(THz) analysis technique, introduced recently to this field of study on cultural properties in Korea, to diagnose painted cultural assets. The specimens, produced to imitate the damage types of Korean painted properties, were analyzed over their painting, supporting, and backing layers by terahertz pulse imaging technique. The analyzed results provided information about the cracks, the separated areas, and the separated distances between layers on the specimens. Our research, then, was extended to real painted cultural remains, Birojana Sam-shin Gwebul-do at Bongseon Temple in Namyang-ju, Korea National Treasure Number 1792, through which we have obtained 3D information about the extent and pattern of damages to the asset. These results demonstrate that terahertz 3D imaging technique has the capability of noncontact 3D diagnosis on painted cultural properties.

• Journal of Conservation Science
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• v.37 no.6
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• pp.701-711
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• 2021

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

• Journal of Conservation Science
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• v.33 no.6
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• pp.507-518
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• 2017

Through a combination of scientific analytical methods, the coloring materials used in $20^{th}$ century paintings in historical churches of Baclayon, Dauis and Loay, which are municipalities in Bohol, Philippines, were studied. Inorganic pigments were identified using SEM-EDS and XRD. Iron-based pigments were commonly found in the paintings, yielding dark yellow and brown colors. Zinc oxide was identified as the white pigment in the ceiling paintings of Dauis Church and Loay Church, while titanium dioxide was detected in the column painting in Baclayon Church. Organic analysis showed the presence of Pigment Yellow 3, a synthetic organic pigment. Paint layers, as well as other components of the samples such as grounds and metal leaves, were examined microscopically. It was observed that different types of grounds were applied on different types of surfaces. Moreover, organic pigments were found in combination with white extender materials. Microscopic examination also revealed alterations in the artworks, such as the overpaint layer found in the samples from Baclayon Church cornice and the imitation metal leaf layers applied over the original gilt surface in the Loay Church retablo.

• Journal of Conservation Science
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• v.34 no.5
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• pp.397-405
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• 2018

Currently, there are very few studies on Korean wall paintings. Therefore, this study discusses the current conditions of wooden paintings and the characteristics of the adhesive agent in the painting layer separation. Korean land pine was chosen as the support, while white oysters shells, orpiment, red ocher, Noerok, and azurite were used as pigments. With four adhesive agents, including animal glue, Gelidium, methyl cellulose, and PVAc (caparol binder), a comparative experiment was conducted, by dividing them into two concentrations, of 0.5% and 1.5%. The temperature, humidity, and ultraviolet rays, which are contributing environmental factors in cultural assets after fixing, were artificially investigated. After deterioration, observed color difference, fixing, and the surface. Results showed that the animal glue strongly fixing all the colored layers compared to the other adhesives; however, azurite had a partial change when used outdoors. With Gelidium, which functioned similar to animal glue, the azurite was affected by the ultraviolet rays; nevertheless, despite the variations in temperature and humidity, it had the best gripping force compared to the other adhesive agents. Methyl cellulose was glossy at a high concentration, and was relatively strong against rapid changes in temperature and humidity. PVAc significantly reduced the binding force, compared to other adhesive agents.

• Journal of Conservation Science
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• v.32 no.4
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• pp.521-534
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• 2016

Ancient tombs are typically comprised of confined rooms, which have different spatial characteristics than the external environment because they are covered by heavy layers of soil. In this study, we examined the thermal energy flow from the outside to inside of Songsan-ri tomb No. 6. External heat flows slowly to the inside because of heavy soil layer, and the presence of several rooms and entrances. For this reason, it takes about two months for the air temperature to travel from the outside to the inside of the tomb. Interestingly, the gradational inflow of thermal energy from outside the tomb leads to delicate horizontal and vertical variations in the wall temperature. These micro-environmental differences occur in the inner tomb every year, so we can expect them to cause condensation with regularity. In addition, we show that the previously installed forced circulation air conditioning system risks fatal damage to the mural wall painting. The results of this research suggest an optimal air conditioning system and optimized space planning to conserve Songsan-ri tomb No. 6 and its mural painting.