• Title, Summary, Keyword: 벽화

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고구려 고분벽화 문양과 침선소품 개발에 관한 연구: 집안지역 고구려 고분을 중심으로

  • 이미석;김정호
    • Proceedings of the Korea Society of Costume Conference
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    • pp.30-30
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    • 2004
  • 본 연구는 침선소품의 디자인 개발에 관한 연구로서 집안지역의 고구려 고분벽화속에 나타난 다양한 문양들을 침선소품에 응용함으로서 우리나라 전통의 이미지와 현대적 감각을 살린 독창적인 소품을 개발하고자 하는데 연구의 목적이 있다. (중략)

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고구려의 관복 제도

  • 정완진;남윤자;조우현
    • Proceedings of the Korea Society of Costume Conference
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    • pp.28-28
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    • 2004
  • 본 연구는 문헌사료와 고분벽화를 토대로 고구려 관복 제도의 변천과정과 특징을 고찰한 것이다. 문헌에 나타난 고구려의 관복 제도를 살펴보면 의복은 유고제를 유지했으며 관등 고하에 따른 유고의 색채나 소재상의 규제는 보이지 않는다. 신분표시의 기능은 주로 관모가 담당했던 것으로 보이는데, 문헌에 나타난 3세기-7세기까지의 고구려 관모 제도를 고분벽화를 참조하며 고찰한 결과는 다음과 같다. (중략)

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Nondestructive investigation of clay wall structure containing traditional mural paintings. - The clay walls having mural paintings housed in the protective building in Muwisa Temple, Kangjin, Jeollanamde Province - (전통 벽화의 토벽체 비파괴진단 조사연구 - 강진 무위사 벽화보존각내 벽화를 중심으로 -)

  • Chae, Sang-Jeong;Yang, Hee-Jae;Han, Kyeong-Soon
    • Journal of Conservation Science
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    • v.18
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    • pp.51-62
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    • 2006
  • This study, in order to do a nondestructive research on the mural walls kept in the protective house in Muwisa Temple, Kangjin, took four examinations; particle size analysis, XRD analysis, ultrasonic investigation, and thermo-infrared investigation. Component ratio of mural wall varied; clay of wall bodies consisted of gravel of 1.78 g, sand of 5.39 g, silt of 4.91 g and clay of 6.26 g. Ultrasonic velocity and one-axis compression strength tests done with eight mural-painted walls yield results as follows; the value of ultrasonic velocity ranged between 71.63 and 3610.11 m/s with the average of 417.44 m/s and on-axis compression strength ranged between 70.34 and $533.28kg/cm^2$ with the average of $83.23kg/cm^2$. The value increased in the order of Bosaldo(No.6)

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Estimation of Damage Degree for Mural Paintings in Maitreya Hall of Geumsan-sa Buddhist Temple, Korea (금산사 미륵전벽화의 손상도 평가 연구)

  • Han, Kyeong-Soon
    • Journal of Conservation Science
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    • v.26 no.3
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    • pp.295-310
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    • 2010
  • Since wall paintings in Maitreya Hall of Geumsan-sa temple had displayed a serious state of damage and deterioration, a detailed examination such as structural analysis of the wall, cause of damage, and the state of deterioration have been thoroughly conducted before the conservation treatment has commenced. The most seriously deteriorated part of the wall paintings was the south wall of the building in particular in its painted and surface layer. The painted layer had formed its own layer of thick, which has been separation from the surface layer. As such problem developed the whole surface layer has been separated from the wall. The problem has been caused by two reasons: 1. the heavy weight of the roof section and it caused cracks and damage on the wall; 2. the loss of function of consolidating material and it caused discolouring and the separation of surface layer from the wall. The cause of damage on the painted and surface layers can be assumed in two ways: 1. its surrounding environment such as the change of temperature and humidity level and ultraviolet rays ; 2. the loss of mechanical function of consolidating material, synthetic resin which had been applied in the past conservation treatment. The separation of layers from the wall and cracks was caused by the mistake in choosing an applicable consolidating material and dismantling technique which had ignored a different characteristic of the wall painting of Korean buddhist temples.

The Investigation and Conservation of Central Asia Wall Painting (No. 4074 and 4096) (중앙(中央) 아세아(亞細亞) 벽화(壁畵) 보존처리(保存處理)(I) - 벽화(壁畵)(본(本)4074, 본(本)4096)의 상웅조사(狀熊調査) -)

  • Kang, Hyung-tae;Yi, Yong-hee;Yu, Hei-sun;Kim, Yeon-mi;Jo, Yeon-tae;Aoki, Shigo;Yamamoto, Noriko;Ohbayashi, Kentaro
    • 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.

The Birth of American Knights: A Study on the Origin and Social Function of the Medieval Knights appeared in Edwin Austin Abbey's Murals (미국형 기사의 탄생: 에드윈 어스틴 애비의 벽화에 등장하는 중세 기사의 기원과 사회적 기능 연구)

  • Rhi, Mikyung
    • Art History and Visual Culture
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    • no.22
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    • pp.254-279
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    • 2018
  • This essay traces the origin and the social function of medieval knights in Edwin Austin Abbey's murals ${\ll}$The Quest of the Holy Grail${\gg}$ in the Boston Public Library. Medieval knights in the Arthurian legend appeared in American novels at the end of 1850s and in political cartoons in the 1870s. They are featured in American Renaissance murals as well. ${\ll}$The Quest of the Holy Grail${\gg}$ painted in 1895 was the first of its kind. In Britain, the Pre-Raphaelites frequently painted medieval knights. Abbey fused the visual idiom of the Pre-Raphaelites and that of the Royal Academy of Arts in his depiction of knights. Unlike the Pre-Raphaelites, who usually focused on knights' activities, he emphasized their virtue. His representation of knights reflect the social and economic crises in America in the 1890s. After the Civil War, American society enjoyed economic prosperity but suffered from government corruption, economic inequality, and class conflict. Serious social problems such as poverty and inequality decayed American society. Writers and artists brought attention to these issues. This essay argues that Abbey criticized capitalists and expressed his hope for progress through the figure of Galahad as the iconic representation of civic virtue in ${\ll}$The Quest of the Holy Grail${\gg}$. Installed in the Boston Public Library, Abbey's murals performed a public function to warn the viewers of economic and social chaos resulting from government corruption. Abbey's American knights not only emphasized moral responsibility but also promoted patriotism. The artist refashioned medieval knights into American citizens, whose civic virtue became essential to an ideal leader in American society.

A Study on Contemporary Murals of Korea; in Lacan′s Psychoanalytic View (라캉의 정신분석학 개념으로 살펴 본 한국의 현대 벽화)

  • 조현신
    • Archives of design research
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    • v.15 no.2
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    • pp.187-196
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    • 2002
  • This article is a study on modern wall painting of Korea. The system of wall paintings in Korea is studied in the first chapter. It contains the function, the painters'peculiar character, the psychological basis and the subjects of wall painting. The most popular subjects are the Lee dynasty's folk custom and visual symbols of this period. The second chapter sees the study of these subjects in Lacan's psychoanalytic view. The representation of Lee dynasts custom in this post modern society reveal that the Korean lives in the realm of the imaginary in visual level. That is the projection of their desire to be in the perfect community which is believed to be existed in Lee's dynasty. However the visual circumstance in Korea is the symbolic which is constructed of the Western symbols. This visual confliction reveals Korean Habitus and the lack of independent visual expression method. For conclusion, it is proposed that the relation of Korean Habitus and design must be studied to create proper visual circumstance.

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The Consolidation Medium for the Conservation of Mud Wall Painting (토벽화 보존에 따른 고착제에 관한 연구)

  • Han, Kyeong Soon
    • Journal of Conservation Science
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    • v.11 no.1
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    • pp.38-51
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    • 2002
  • The first priority we face in the conservation of wall paintings, is the conservation of painting layer. The 'painting layer' is sometimes called the pigment layer, and refers to the painted surface. For the consolidation of this painting layer we use 'fixative'. Fixative is a common adhesive which has been used in various field and conservators have made up for the weak points in the consolidation of wall paintings. In my thesis, I will summarise the range of use, standards of selection, and results of research on the use of fixative in the conservation of European paintings. In addition, I will describe various kinds of our traditional fixatives. As synthetic resins have proved that it is not ideal as a fixative for wall painting, conservators have studied to find an alternative. Same as European conservators, Asian scientists has researched to find alternative fixative which is more suitable to the wall paintings in Asia based on their traditional techniques and materials. Therefore, 1 have studied to find an adequate fixative for our own wall paintings and I could conclude that we can consider traditional fixative which is made of 'seaweeds' as an alternative and it is very important to proceed research and experiment on this material.

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Study on Manufacturing Techniques of Bracket Mural Paintings of Daeungbojeon Hall in Naesosa Temple (내소사 대웅보전 포벽화 제작기법 연구)

  • Lee, Hwa Soo;Lee, Na Ra;Han, Gyu-Seong
    • Journal of Conservation Science
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    • v.34 no.6
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    • pp.557-568
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    • 2018
  • The manufacturing techniques were studied by investigating a precise analysis on wall structure, features of materials and the painting layer of the bracket mural paintings at Daeungbojeon Hall in Naesosa temple. The wall frame is a single-branch structure, and The mural paintings are composed of 3 layers which are a support layer, a finishing layer and a painting layer. The support layer and the finishing layer are an earth wall that sand and clay such as Quartz, Feldspar, and etc. are mixed. The support and the finishing layers have a combination of medium particle sand and smaller than fine particle sand in the approximate ratios of 0.8:9.2 and 6:4, respectively. Therefore, the aforementioned ratio of sand with medium or large particles is relatively higher in the finishing layer than the support layer. As a result of a precise analysis on the painting layer, it has a relatively thick ground layer for painting which is maximum $456.15{\mu}m$ by using Celadonite or Glauconite and the paintings were colored by using pigments such as Atacamite, Kaolinite or Halloysite, Oxidized steel, and etc. on it. The manufacturing style and the painting techniques of an earth wall are included in the category of the Joseon Dynasty style that have been studied up to now, but the facts that the finishing layer has a high content of sand and a middle layer and chopped straw have not been identified. These are remarkable points in terms of structure and materials, and can be crucial in the evaluation of the state of conservation of mural paintings or preparation of a conservation plan.

Study on the Manufacturing Technology of Mural Tomb in Goa-dong of Daegaya Period (대가야 고아동 고분벽화 제작기술에 관한 연구)

  • Lee, Hwa Soo;Lee, Han Hyeong;Lee, Kyeong Min;Han, Kyeong Soon
    • Journal of Conservation Science
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    • v.30 no.4
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    • pp.457-466
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    • 2014
  • Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite($Al_2Si_2O_5(OH)_4$) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite($Cu_2CO_3(OH)_2$) for green and Lead white($PbCO_3{\cdot}Pb(OH)_2$) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively behind compared to that of Koguryo's in the same era.