• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제35권4호
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• pp.1-13
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• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.

• 보존과학연구
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• 통권7호
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• pp.218-236
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• 1986

In the fields of the cultural properties, the Infrared TV camera is being initiated to use instead of the Infrared photo film fo a better means to detect the description of drawings of the paintings. Seeing from the effect of transillumination, the Infrared TV camera with its long wave of visible spectrum that makes less absorption by the pigments and with the reflection rays passing through the base of colour layers makes it able to findbase drawing and letters. The detection range of transillumination by the infrared rays depends on the kinds of pigments, lines of the base drawing and wave length of the infrared rays. In our country, it was the first time to detect by our Conservation Science Dep't of The Research Institute of Cultural Properties by means of using Infrared TV camera to determine the mural paintings on the Josadang, Busuk Temple, resulted in an epoch-making success, that we have come to know the painting technique methods, how to treat for its conservation and making replica, reproduction, etc.

• Journal of The Korean Digital Architecture Interior Association
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• 제9권3호
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• pp.77-83
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• 2009

Van Doesburg founded the magazine De Stijl with Mondrian in 1917. De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about ideal geometric forms in the neoplatonic philosophy. De Stijl proposed ultimate simplicity and abstraction by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. Vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements In 1924 their different concepts about space and time were split between Van Doesburg and Mondrian. Van Doesburg launched a new concept for his art, Elementarism, which was characterized by the diagonal lines and rivaled with Mondrian's Neo-Plasticism. The works of De Stijl would influence the Bauhaus style and the international style of architecture.

• Journal of Drive and Control
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• 제17권4호
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• pp.15-22
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• 2020

With the need for efficient maintenance technology to reduce maintenance costs for steel bridges, repainting robots are being developed to automate the work in narrow and poor bridge spaces. The repainting robot is equipped with a blasting module to remove paint layers and contaminants. This study developed a prototype monitoring module to be mounted on the repainting robot. The monitoring module analyzes the condition of the painting surface through a camera installed in the front, guides the direction of movement of the robot, and provides the operator with a video to check the working status after blasting through a camera installed in the back. Various image visibility enhancement technologies were applied to the monitoring module to overcome worksite challenges where incomplete lighting and dust occurs.

• Journal of Conservation Science
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• 제29권4호
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• pp.445-450
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• 2013

This study investigated the properties of the painting materials used in the temple wall paintings of the $18^{th}$ to $19^{th}$ centuries by synthetically comparing the component analysis data on the pigments used in the temple wall paintings. The study subjects analyzed from ED-XRF are the data on the 61 temple wall paintings distributed nationwide. The colors of the wall painting coloring layers are classified into seven categories: white, incanadine, yellow, red, green, blue and black color. No big geographical and temporal differences in the type of the pigments were found in the temple paintings of the late Joseon Dynasty distributed in Gyeongsangdo and Jeollado. On the other hand, there were differences in the use of a color when mixing it with other colors depending on the painted parts.

• Korean Journal of Heritage: History & Science
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• 제48권4호
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• pp.44-61
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• 2015

Mural tomb in Goa-ri(Goryeong) built in the 6th Century Gaya period investigated precisely by the scientific method. They were used to optical equipments for investigation and made a damage map according to the damaging types. The mortar layer was mostly exfoliated from the rest of the wall except for the burial chamber ceiling and corridor ceiling. Also painting layers rarely not observed. Most of the paintings were damaged except lotus painting in burial chamber ceiling. Various damage types that exfoliation, earthen dirt, film coating were found in murals. Damage factors of mural were the porous characteristics of mortar layer and the movement of moisture in the murals. They were caused physical damage such as crack, exfoliation. It was getting worse and causing to secondary damage like earthen dirt, film coating.

• Conservation Science in Museum
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• 제29권
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• pp.111-132
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• 2023

Terahertz radiation cannot pass through metal and therefore reflect and return most signals. Utilizing this property, this study analyzed information on paintings to verify the usage of metal materials on paintings and the scope of their application. First, the study tested specimens of metal-based pigments and synthetic pearl pigments with metallic colors and textures in order to compare basic characteristics of terahertz images, such as signal severance caused by metallic substances, traits reflected in cross-section images, and high degree of reflection. Subsequently, based on the collected information, the study diagnosed various types of paintings including Korean traditional paintings and oil paintings using the terahertz imaging technique to confirm the usage of metal-based pigments in the inner layers of paintings and their scope of application. The terahertz imaging technique could has the potential to provide scientific evidence for previously-undiscovered information and art-historical records about various types of paintings that used metalbased pigments, thereby rendering significant utility for the conservation and authentication of paintings.

• MISULJARYO - National Museum of Korea Art Journal
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• 제96권
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of Conservation Science
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• 제36권5호
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• pp.383-392
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• 2020

This study aimed to examine the characteristics of paint used for modern art works by conducting sectional observations, inorganic component analysis, and infrared spectroscopic analysis on the painted layers of 3 painted sculpture works exhibited in the Yongdam Dam Environmental Sculpture Park and Naejangsan Sculpture Park in the Jeollabuk-do area. The observations indicate that the cross section is composed of various layers of 2-3 folds, the thickness of the layers was uneven at approximately 23-150 ㎛, and putty was used for plate treatment prior to painting. Inorganic component analysis results show that putty containing calcium carbonate, iron oxide, diatomite, and titanium dioxide was used for the putty layer. It is also assumed that paint mixed with green (Cr₂O₃), blue(sodaliteblue), red(chromered), andwhite(TiO₂) colors were used for the painted layers. As a result of infrared spectroscopic analysis to confirm the types of paint, it is estimated that the paint was mixed with polyester resin and an extender.

• Journal of the Korean institute of surface engineering
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• 제49권1호
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• pp.32-39
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• 2016

In this study, Al and Zn arc thermal spray coatings were carried out onto the substrate of SS400 steel to improve corrosion resistance and durability of hull structural steel for ship in marine environment. Therefore cavitation-erosion test was conducted to evaluate the durability of painted and thermal spray coated specimens. And then the damaged surface morphology and weight loss were obtained to compare with each other, respectively. As a result, the painted specimen was the poorest cavitation resistance characteristics because surface damage behavior appeared to be exfoliated in bulk shape during the cavitation experiment. And Zn thermal spray coating layer presented the significant surface damage depth due to relatively low surface hardness and local cavitation damage tendency. On the other hand, as a result of the weight loss analysis, the painting layer presented the poorest cavitation resistance and the Al thermal spray coating layer relatively showed the best results after cavitation experiment.