• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• Journal of the Korean Geographical Society
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• v.31 no.3
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• pp.447-468
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• 1996

The peat layer was deposited on the abandoned channel of incised meander of River Banbyuncheon with 7 meter thickness on Youngyang basin. The late Quaternary environmental change on the study area was discussed based on pollen anaalysis and radiocarbon-dating from this peat. The swamp which was caused to sediment the peat, was produced by which the fan debris from the adjacent slope damed the waterflow on the abandoned channel. The peat layer contains continuous vegetational history from 60,000y.B.P. to Recent. The peat deposit was divided into two layers by the organic thin sand horizon, which was sedimented at one time and made unconformity between the lower decomposed compact peat layers and the upper fresh fiberous peat layer. As the result of the pollen analysis, both peat layers from the two boring sites, Profile YY1 and Profile YY2 were divided into five Pollenzones(Pollenzone I, II, III, IV and V) and 12 Subzones which were mainly corresponded by the AP (Arboreal Pollen)-Dominance. The two profiles have some differences on the sedimentary facies and on the pollen composition as well. Therefore these were in common with the Pollenone III, however the Pollenzone I and II existed only on the Profile YY1 and the Pollenzone IV and V existed only on the Profile YY2. The lower layer containing the Pollenzone I, II and III revealed vegetational records of Pleistocene, which was characterized as tundra-like landscape and thin forested landscapes. It represented the NAP (Non-Arboreal Pollen)-period with a plenty of Artemisia sp., Sanguisorba sp., Umbelliferae, Gramineae and Cyperaceae. However a relatively high proportion of the boreal trees with Picea sp., Pinus sp. and Betula sp. as AP was observed in the lower layer. The upper layer contained the Pollenzone IVb and V and vegetational history in Holocene which was characterized by thick forested landscape with rich tree pollen. It represented AP-period with plenty of Pinus sp. and Quercus sp. as temperate trees. The temperature fluctuation supposed from the vegetational records is as follows; the Pollenzone I(Betula-Dominance, about 57,000y.B.P.) represents relatively cold period. The Pollenzone II(EMW-Domi-nance, 57,000-43,000y.B.P.)represents relatively warm period. This period is supposed to be Interstadial, the transi-tional stage from Alt- to Mittel Wurm. The Pollenzone III(Butula-, Pinus- and Picea-Dominace in turns, 43,000-15,000y.B.P.) reproesents cold period which had been built from Mittel-to Jung Wurm. Especially the Subzone IIId represents the coldest period throughout the Pollenzone III. It is corresponds to Wurm Glacial Maximu. It is supposed that the mean temperature in July of this period was coller about 10${^\circ}$C than present. The Pollenzone IV and V represent the vegetational history of Holocene. Tilia, Quercus and Pinus were dominant in turns during this period. Subzone IVb and Pollenzone I and II at east coastal plain of Korean penninsula reported by JO(1979).

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.226-241
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• 2020

Located on the right side of the third floor of the State Hermitage Museum in St. Petersburg, the "Art of Central Asia" exhibition boasts the world's finest collection of artworks and artifacts from the Silk Road. Every item in the collection has been classified by region, and many of them were collected in the early twentieth century through archaeological surveys led by Russia's Pyotr Kozlov, Mikhail Berezovsky, and Sergey Oldenburg. Some of these artifacts have been presented around the world through special exhibitions held in Germany, France, the United Kingdom, the Netherlands, Korea, Japan, and elsewhere. The fruits of Russia's Silk Road expeditions were also on full display in the 2008 exhibition The Caves of One Thousand Buddhas - Russian Expeditions on the Silk Route on the Occasion of 190 Years of the Asiatic Museum, held at the Hermitage Museum. Published in 2018 by the Shanghai Chinese Classics Publishing House in collaboration with the Hermitage Museum, Kuche Art Relics Collected in Russia introduces the Hermitage's collection of artifacts from the Kuche (or Kucha) region. While the book focuses exclusively on artifacts excavated from the Kuche area, it also includes valuable on-site photos and sketches from the Russian expeditions, thus helping to enhance readers' overall understanding of the characteristics of Kuche art within the Buddhist art of Central Asia. The book was compiled by Dr. Kira Samosyuk, senior curator of the Oriental Department of the Hermitage Museum, who also wrote the main article and the artifact descriptions. Dr. Samosyuk is an internationally renowned scholar of Central Asian Buddhist art, with a particular expertise in the art of Khara-Khoto and Xi-yu. In her article "The Art of the Kuche Buddhist Temples," Dr. Samosyuk provides an overview of Russia's Silk Road expeditions, before introducing the historical development of Kuche in the Buddhist era and the aspects of Buddhism transmitted to Kuche. She describes the murals and clay sculptures in the Buddhist grottoes, giving important details on their themes and issues with estimating their dates, and also explains how the temples operated as places of worship. In conclusion, Dr. Samosyuk argues that the Kuche region, while continuously engaging with various peoples in China and the nomadic world, developed its own independent Buddhist culture incorporating elements of Gandara, Hellenistic, Persian, and Chinese art and culture. Finally, she states that the culture of the Kuche region had a profound influence not only on the Tarim Basin, but also on the Buddhist grottoes of Dunhuang and the central region of China. A considerable portion of Dr. Samosyuk's article addresses efforts to estimate the date of the grottoes in the Kuche region. After citing various scholars' views on the dates of the murals, she argues that the Kizil grottoes likely began prior to the fifth century, which is at least 100 years earlier than most current estimates. This conclusion is reached by comparing the iconography of the armor depicted in the murals with related materials excavated from the surrounding area (such as items of Sogdian art). However, efforts to date the Buddhist grottoes of Kuche must take many factors into consideration, such as the geological characteristics of the caves, the themes and styles of the Buddhist paintings, the types of pigments used, and the clothing, hairstyles, and ornamentation of the depicted figures. Moreover, such interdisciplinary data must be studied within the context of Kuche's relations with nearby cultures. Scientific methods such as radiocarbon dating could also be applied for supplementary materials. The preface of Kuche Art Relics Collected in Russia reveals that the catalog is the first volume covering the Hermitage Museum's collection of Kuche art, and that the next volume in the series will cover a large collection of mural fragments that were taken from Berlin during World War II. For many years, the whereabouts of these mural fragments were unknown to both the public and academia, but after restoration, the fragments were recently re-introduced to the public as part of the museum's permanent exhibition. We look forward to the next publication that focuses on these mural fragments, and also to future catalogs introducing the artifacts of Turpan and Khotan. Currently, fragments of the murals from the Kuche grottoes are scattered among various countries, including Russia, Germany, and Korea. With the publication of this catalog, it seems like an opportune time to publish a comprehensive catalog on the murals of the Kuche region, which represent a compelling mixture of East-West culture that reflects the overall characteristics of the region. A catalog that includes both the remaining murals of the Kizil grottoes and the fragments from different parts of the world could greatly enhance our understanding of the murals' original state. Such a book would hopefully include a more detailed and interdisciplinary discussion of the artifacts and murals, including scientific analyses of the pigments and other materials from the perspective of conservation science. With the ongoing rapid development in western China, the grotto murals are facing a serious crisis related to climate change and overcrowding in the oasis city of Xinjiang. To overcome this challenge, the cultural communities of China and other countries that possess advanced technology for conservation and restoration must begin working together to protect and restore the murals of the Silk Road grottoes. Moreover, centers for conservation science should be established to foster human resources and collect information. Compiling the data of Russian expeditions related to the grottoes of Kuche (among the results of Western archaeological surveys of the Silk Road in the early twentieth century), Kuche Art Relics Collected in Russia represents an important contribution to research on Kuche's Buddhist art and the Silk Road, which will only be enhanced by a future volume introducing the mural fragments from Germany. As the new authoritative source for academic research on the artworks and artifacts of the Kuche region, the book also lays the groundwork for new directions for future studies on the Silk Road. Finally, the book is also quite significant for employing a new editing system that improves its academic clarity and convenience. In conclusion, Dr. Kira Samosyuk, who planned the publication, deserves tremendous praise for taking the research of Silk Road art to new heights.