• Conservation Science in Museum
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• v.14
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• pp.69-79
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• 2013

The area of conservation treatment of the bronze helmet of the ancient Greece, treasure No. 904, which Sohn Keechung (1912 to 2002) received as an extra prize for his winning the marathon in the 1936 Berlin Olympics deteriorated and as a result crack and discoloration occurred. Its nose guard hung downward due to the crack of the bonded area of upper end. Therefore, conservation treatment of the helmet was conducted again. The nose guard was separated from the body. Stabilization and consolidation treatment of them was made and then they were joined again. The cracked and missing areas were reinforced with woven glass fibers, and the nose guard was reinforced with woven glass fibers and Ti plate after the bonding. The joined area of the nose guard was carved with the same pattern as that of the surrounding area and its color was adjusted to be the same as well.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.138-156
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• 2023

Some of the metal cultural heritage that make up a considerable proportion of Korea's cultural heritage have been installed and displayed outdoors due to their own functions, roles, and scale. Therefore, more diverse and complex damages can occur outdoors than they are in a stable environment. Therefore, it is necessary to combine accurate diagnosis and systematic survey methods in order to utilize basic data obtained from research results as data for the long-term and continuous conservation management as well as to do the research to diagnose the conservation status of outdoor cultural heritage. The clepsydra(hereinafter referred to as Jagyeongnu) of Changgyeonggung Palace, the National Treasure has been installed and displayed outdoors since it was manufactured. Though regular conservation and maintenance of the Jagyeongnu have been carried out, damage still occurred. Therefore, the scientific research on Jagyeongnu to diagnose the state of conservation was conducted prior to the full-scale conservation treatment. First, the state of conservation was investigated with an examination of basic data, macroscopic inspections and past records of repair history according to the purpose of the research. More detailed examinations were also conducted through the 3D scan, surface pattern investigation, and color difference analysis, and the analysis on materials and contaminants were conducted through P-XRF, FT-IR, and Py-GC/MS. The scientific research reveals that squalane and silicone oil have been applied in the past for conservation treatment and directly exposed to outdoor environmental factors, which caused damage to Jagyeongnu and contaminants such as dust adhered thickly to its surface, accelerating severe damage. A greater incidence of damage was found around the part with relatively high exposure effect, which corresponded with the tendency identified by grouping color difference data. As a result of integrating various research methodologies to diagnose the state of conservation and secure basic data, the causes and types of damage were identified. Furthermore, the process of obtaining digital data to be utilized in various ways, and the color difference analysis presenting visible damage as scientific data and identifying the tendency of damage patterns were confirmed to have been effective.

• 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.

• Economic and Environmental Geology
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• v.40 no.1 s.182
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• pp.47-66
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• 2007

The Sitting Buddha Carved on Rockcliff (National treasure No. 201) in Bukjiri consists of porphyritic biotite granite, which was fractured by three joint sets of NE-SW, EW and NS directions. They produced a physical weathering that broke many parts of the Buddha and background. The chemical index of alteration is 59 to 61 from the major elements in the granite that was weathered into producing kaolin minerals from alteration of feldspars and biotite. With weathering degree, major element compositions increase in $SiO_2$ and MnO, whereas decrease in $TiO_2,\;{Fe_2O_3}^t,\;MgO,\;CaO\;and\;K_2O$. Change proporations of trace elements to $Al_2O_3$ increase in all transition elements, Rb and Y, whereas decrease in Li, Sr and Ba. REE pattern increases only in HREE. Particularly, a decrease in CaO, $K_2O$, Sr and Ba results in what they are effluxed to dissolve from feldspars by groundwater. The Buddha image has been deteriorated into joints, color changes, brown rusts, granular decay, microorganic smears by the such weathering causes as deformation, moisture, temperature variation and microorganic living. The moisture, which leaks along the joints in the granite, not only dissolve to decompose minerals but also grows many microorganism and is frozen over during winter. NE-SW and NS joint sets affect to seep in water during rainy days to deteriorate the image because they extend outward.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.120-147
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• 2019

In this study, we divided the portraits in the reign of King Seonjo into those which were created before and after the Japanese invasion. We then examined various aspect of costumes expressed in the portraits of meritorious vassals. To analyze official uniforms (Heuk-Danryeung), we examined the Samo height; the side wings' type and pattern; the Danryeung pattern; the Mu style; the processing method of lateral lines in Danryeung the rank badge and rank belt, the color of Dabho and Cheolrik, which were undergarment of Danryeung and Heuk-wa. The meritorious vassals' portraits, prior to Imran, were analyzed with a portrait of Han Eung-in, a Gwang-kuk Pyeong-nan meritorious vassals. The Samo was the highest of the Choson dynasties, and the cloud and treasure pattern was identified on the side wings. The Heuk-Danryeung was a dark blue(acheongsaeg) Danryeung of manja-shaped cloud patterns with a large outward wrinkled Mu, and it had a wild goose badge (second rank) and a Sabgeumdae. It did not coincide with the Pumgye(Jaheondaebu) recorded in Gugjo-inmulgo. Reddish Dabho for Dangsang-kwan, green Cheolrik which was undergarment of Danryeung, and Heuk-wa. were identified. After the invasion of Japan, portraits of Hoseong, Seonmu, and Cheong-nan meritorious vassals were analyzed through eighteen portraits, including Lee Hyeon-bok. After the invasion of the Japanese, the height of the Samo's top was much lower and the width of the side wings was wider than before the invasion of Japanese. The Heuk-Danryeung was a dark blue (acheongsaeg) Danryeung of manja-shaped cloud patterns with a stretching backward Mu. Rank badge and rank belts were almost identical with the record, but there were two exceptions (Sin-jab and Kim, Sae-sin). Therefore, it was reaffirmed that the meritorious vassals' portraits were drawn by the Pumgye at the time of appointment. Among the undergarments of Heuk-Danryeung, green Dabho(11), blue Dabho(4), reddish Dabho(3), and blue Cheolrik(10), green Cheolrik(6), reddish Cheolrik(1), and yucheongsaeg Cheolrik(1) were identified, However, it is suggested that the Dabho of Hoseong, Seonmu, and Cheong-nan meritorious vassals should be the reddish Dabho of Dangsang-kwan, which is the same as the previous Imran, and a green Cheolrik.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.1
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• pp.40-52
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• 2016

Buyongjeong, a pavilion in the Rear Garden of Changdeok Palace, was appointed as Treasure No. 1763 on March 2, 2012, by the South Korea government since it shows significant symmetry and proportion on its unique planar shape, spatial configuration, building decoration, and so forth. However, the designation of Treasure selection was mainly evaluated by concrete science, in that the selection has not clearly articulated how and why Buoungjeong was constructed as a present unique form. Therefore, this study aims to clarify the identity of Buyongjeong at the time of construction by considering its historical, ideological, philosophical background and building intention. Summary are as follows: First, Construction backgrounds and characters of Buyongjeong: Right after the enthronement, King Jeongjo had founded Kyujanggak(奎章閣), and sponsored civil ministers who were elected by the national examination, as a part of political reform. In addition, he established his own political system by respecting "Kaksin(閣臣)", Kyujanggak's officials as much as "Kain(家人)", internal family members. King Jeongjo's aggressive political reform finally enabled King's lieges to visit King's Rear Garden. In the reign of King Jeongjo's 16th year(1792), Naekaksangjohoe(內閣賞釣會) based on "Kaksin" was officially launched and the Rear Garden visitation became a regular meeting. The Rear Garden visitation consisted of "Sanghwajoeoyeon(賞花釣魚宴)" - enjoying flowers and fishing, and activities of "Nanjeongsugye". Afterward, it eventually became a huge national event since high rank government officials participated the event. King Jeongjo shared the cultural activities with government officials together to Buyongjeong as a place to fulfill his royal politics. Second, The geographical location and spatial characteristics of Buyongjeong: On the enthronement of King Jeongjo(1776), he renovated Taeksujae. Above all, aligning and linking Gaeyuwa - Taeksujae - a cicular island - Eosumun - Kyujangkak along with the construction axis is an evidence for King Jeongjo to determine how the current Kyujangkak zone was prepared and designed to fulfill King Jeonjo's political ideals. In 17th year(1793) of the reign of King Jeongjo, Taeksujae, originally a square shaped pavilion, was modified and expanded with ranks to provide a place to get along with the King and officials. The northern part of Buyongjeong, placed on pond, was designed for the King's place and constructed one rank higher than others. Discernment on windows and doors were made with "Ajasal" - a special pattern for the King. The western and eastern parts were for government officials. The center part was prepared for a place where government officials were granted an audience with the King, who was located in the nortern part of Buyongjeong. Government officials from the western and eastern parts of Buyongjeong, could enter the central part of the Buyongjeong from the southern part by detouring the corner of Buyongjeong. After all, Buyongjeong is a specially designed garden building, which was constructed to be a royal palace utilizing its minimal space. Third, Cultural Values of Buyongjeong: The Buyongjeong area exhibits a trait that it had been continuously developed and it had reflected complex King's private garden cultures from King Sejo, Injo, Hyunjong, Sukjong, Jeongjo and so forth. In particular, King Jeongjo had succeded physical, social and imaginary environments established by former kings and invited their government officials for his royal politics. As a central place for his royal politics, King Jeongjo completed Buyongjeong. Therefore, the value of Buyongjeong, as a garden building reflecting permanency of the Joseon Dynasty, can be highly evaluated. In addition, as it reflects Confucianism in the pavilion - represented by distinguishing hierarchical ranks, it is a unique example to exhibit its distinctiveness in a royal garden.

• Korean Journal of Heritage: History & Science
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• v.55 no.2
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• pp.200-211
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• 2022

The celadon stools with an openwork ring design which consist of four items as one collection were excavated from Gaeseong, Gyeonggi-do Province. The celadon stools were designated and managed as treasures due to their high arthistorical value in the form of demonstrating the excellence of celadon manufacturing techniques and the fanciful lifestyles during the Goryeo Dynasty. However, one of the items, which appeared to have been repaired and restored in the past, suffered a decline in aesthetic value due to the aging of the treatment materials and the lack of skill on the part of the conservator, raising the need for re-treatment as a result of structural instability. An examination of the conservation condition prior to conservation treatment found structural vulnerabilities because physical damage had been artificially inflicted throughout the area that was rendered defective at the time of manufacturing. The bonded surfaces for the cracked areas and detached fragments did not fit, and these areas and fragments had deteriorated because the adhesive trickled down onto the celadon surface or secondary contaminants, such as dust, were on the adhesive surface. The study identified the position, scope, and conditions of the bonded areas at the cracks UV rays and microscopy in order to investigate the condition of repair and restoration. By conducting Fourier-transform infrared spectroscopy(FT-IR) and portable x-ray fluorescence spectroscopy on the materials used for the former conservation treatment, the study confirmed the use of cellulose resins and epoxy resins as adhesives. Furthermore, the analysis revealed the addition of gypsum(CaSO₄·2H₂O) and bone meal(Ca₁₀ (PO₄)₆(OH)₂) to the adhesive to increase the bonding strength of some of the bonded areas that sustained force. Based on the results of the investigation, the conservation treatment for the artifact would focus on completely dismantling the existing bonded areas and then consolidating vulnerable areas through bonding and restoration. After removing and dismantling the prior adhesive used, the celadon stool was separated into 6 large fragments including the top and bottom, the curved legs, and some of the ring design. After dismantling, the remaining adhesive and contaminants were chemically and physically removed, and a steam cleaner was used to clean the fractured surfaces to increase the bonding efficacy of the re-bonding. The bonding of the artifact involved applying the adhesive differently depending on the bonding area and size. The cyanoacrylate resin Loctite 401 was used on the bonding area that held the positions of the fragments, while the acrylic resin Paraloid B-72 20%(in xylene) was treated on cross sections for reversibility in the areas that provided structural stability before bonding the fragments using the epoxy resin Epo-tek 301-2. For areas that would sustain force, as in the top and bottom, kaolin was added to Epo-tek 301-2 in order to reinforce the bonding strength. For the missing parts of the ring design where a continuous pattern could be assumed, a frame was made using SN-sheets, and the ring design was then modeled and restored by connecting the damaged cross section with Wood epos. Other restoration areas that occurred during bonding were treated by being filled with Wood epos for aesthetic and structural stabilization. Restored and filled areas were color-matched to avoid the feeling of disharmony from differences of texture in case of exhibitions in the future. The investigation and treatment process involving a variety of scientific technology was systematically documented so as to be utilized as basic data for the conservation and maintenance.

• Korean Journal of Heritage: History & Science
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• v.49 no.3
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• pp.52-77
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• 2016

A spirit tablet of king Guan Yu is enshrined in Donggwanwangmyo shrine[East Shrine of King Guan Yu], which houses 51 hanging boards. The hanging boards were written by the kings of Joseon Dynasty and envoys and generals of the Ming and Qing Dynasties. Most studies on hanging boards have been focused on the collections of the palaces but not on those in Donggwanwangmyo shrine. In this regard, this study researches the hanging boards of the kings' writings in the late Joseon period and analyzes their forms and contents. In terms of contents, it examines who made the boards, when they made them, and what brought them to make them, etc. This study analyzes the forms of hanging boards by types, used materials, and periodic transition of forms. The findings are as follows. First, Donggwanwangmyo shrine houses 7 pieces of hanging boards inscribed with kings' handwriting: one piece of King Sukjong, 4 pieces of King Yeongjo, and 2 pieces of Emperor Gojong. They are divided into two types: one is the name of the buildings and the other is the poems that the kings wrote regarding what they felt when they visited the shrine. Especially, the latter were written by the kings who visited the shrine in spring and autumn. The kings intended to promote peace of royal family through a sense of royalty and fidelity of King Guan Yu. Second, the hanging boards of the kings are differentiated from those of the envoys and generals of the Ming and Qing Dynasties in materials and forms. The background of the board is colored by blue, deep red lacquer color, and black lacquer color, which are more expensive than black color or white color. The hanging boards are embossed with the kings' handwritings and then colored with gold. The frame-style four-side hanging board is held at a 45-degree angle and painted with floral patterns and seven-treasure patterns in Dancheong technique. The left and right sides and the top and bottom sides of the board are decorated with Dang-cho pattern(Korean arabesque pattern). This style is called "quadrilateral"and considered the most classy and top-class among the other three ones. In conclusion, this study confirms the status of Donggwanwangmyo shrine with hanging boards inscribed with kings' handwritings as a political space where kings had interest and demanded their soldiers' royalty and fidelity. Research into the boards inscribed with the handwritings of envoys of the Ming Dynasty and generals of the Qing Dynasty, and the comparison of the styles and periodic transition of forms will be reserved for another study.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.357-386
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• 2007

At present, thirteen Buddhist bells of Unified Silla are known to the world: Six in Korea, five in Japan and two other bells, and three out of them are impossible to make out its original form. Therefore, we divided the form of Unified Silla Buddhist bells based on the ten other bells, and we tried out to prove the manufacturing technology by the comparison of the research material of Uncheon-dong bell and existing research materials of other bells, in other to find their linkage based on the alloy elemental composition. We divided Unified Silla Buddhist bell into two types: Type I has symmetric apsaras and regular patterns on its face and it was made in early Silla period; type II has asymmetric apsaras and irregular pattern arrangement and made in late Silla period. In particular, Uncheon-dong Buddhist bells is very similar to Komyoji[光明寺] temple bell from ninth century in Japan. It is peculiar that the apsaras on Uncheon-dong bell play vertical music instruments that are never seen in Unified Silla Buddhist bell. Most of Unified Silla Buddhist bell are compounded with Cu-Sn or Cu-Sn-Pb system. From eighth and ninth century, bells were cast with even composition of copper, tin and lead, and the bronze alloy ratio was similar to the record in Gogonggi[考工記], Jurye[周禮], a book from ancient China. Particularly, Uncheon-dong bell is in a rare case of Cu-Sn-Pb-As system. As had been rarely used in Unified Silla Buddhist bells, so we presented the relative research materials. As has the same nature as Pb. Because As easily volatilize at high temperature, it is hard to use. But it has its merit of solidity and durability. Pb enhances fluidity and thereby expresses the patterns more distinct; As makes the bell stronger. The result of lead isotope ratio could not exactly reveal a concrete producing center. However, over the analysis of our samples, hereby we suggest Uncheon-dong bell was made of materials from just one ore deposit.