• Title, Summary, Keyword: Mural

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The Application of Natural Hydraulic Lime as a Reinforcing Agent for Mural Paintings in Ancient Tombs (천연 수경성 석회(NHL)를 사용한 고분벽화 벽체 보강제 적용성 연구)

  • Yu, Yeong Gyeong;Lee, Hwa Soo
    • Conservation Science in Museum
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    • v.21
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    • pp.29-40
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    • 2019
  • An experimental study was conducted to test the applicability of natural hydraulic lime (NHL) as a reinforcing agent for the supporting layers of mural paintings in ancient tombs.Drawing upon preceding studies on mural paintings inancient tombs, samples of reinforcing agents for various conditions were prepared using NHL products, and pseudo-samples of the supporting layers of mural paintings were also produced. The samples were cured for 7, 28, and 84 days in a high-humidity condition similar to that of the mural-tomb environment. Physical properties such as dimensional stability and compressive strength were measured for each curing period.The results indicated that the NHL samples had a rapid curing speed and a low contraction ratio and are therefore suitable as reinforcing agents, whereas they showed a poor match in terms of strength compared to the supporting layer,and also low whiteness. The dimensional stability and compressive strength testsrevealedthat an NHL product mixed with a pseudo-sample of a supporting layer provided desirable conditions for reinforcing agent. The findings suggested that different conditions for curing time and strength should be considered for each supporting layer prior to applying NHL as a reinforcing agent for damaged mural paintings in ancient tombs.

The analysis study of mural painting pigments at Pongjongsa Kuknakjon (봉정사 극락전 벽화 안료의 재질 분석 연구(II))

  • Cho, Nam-Chu;Hong, Jong-Ouk;Moon, Whan-Suk;Hwang, Jin-Ju
    • 보존과학연구
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    • pp.119-143
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    • 2000
  • The pigments composition and structure of the mural painting at Pongjongsa Kuknakjon is discussed. The structure of inner wall is consisited of Paint layer, Ground divided two layers of yellow and white pigments, Support. In case of outer wall, it is consisted of Paint layer, Ground divided three layers of yellow and green pigments, a layer mixed green pigments and paint layer, Support. As a result of compositon analysis of mural painting pigments at Pongjongsa Kuknakjon using Micro-area X-ray diffraction system, the red pigment on inner wall is consisted of Heamatite($Fe_2O_3$), Magnetite($Fe_3O_4$)of deep black pigment, and Chalcocite($Cu_2S$) of light black pigment. The white pigment on outer wall is consisted of Anglesite($PbSO_4$) and Atacamite($Cu_2CI(OH)_3$) of green pigment. We found out that natural pigments painted in the mural painting at Pongjongsa Kuknakjon has kept up its own color for a long time due to using the natural pigment not to artificial synthetic pigment.

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A Study on the Ancient Korean Adornment in Goguryeo Mural Paintings (고구려고분벽화에 나타난 우리나라 고대 장식(粧飾)에 관한 연구)

  • 김영재
    • Journal of the Korea Fashion and Costume Design Association
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    • v.4 no.3
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    • pp.1-8
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    • 2002
  • This article is to study the ancient Korean make-up based on ancient men's and women's facial decoration. The adornment is mainly about make-up, but I didn't employ make-up in this article on the ground that it isn't an appropriate concept in men's case. The study on the ancient Korean make-up has been conducted on the basis of Goguryeo mural paintings excavated in the tombs. Contrary to the Baekje and the Silla Kingdoms, Goguryeo women's make-up carne to fashion like China. The Goguryeo mural paintings depicted women's make-up which painted their faces white and lined on the eyebrows to make them raise toward their foreheads after removing their own eyebrows. They outlined their mouths smaller than their own and, in some occasions, applied make-up differently on the upper lip and the lower lip. As the time passed by, women applied the blusher, which attests to the fact that make-up of those days was considerably developed. Unlike women, men didn't put on cosmetics but they grew beard as a symbol of adults. The beard had a diversity in shape such as goat-shaped and fan-shaped beards. It can be understood that women's make-up was applied as a manifestation of adults like men's growing beards.

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A Study on the Internal Significance of mexican Muralism Expressed in the Modern Fashion (현대복식에 표현된 멕시코 벽화미술의 내적의미에 관한 고찰)

  • 추미경
    • Journal of the Korean Society of Costume
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    • v.42
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    • pp.187-205
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    • 1999
  • The purpose of this study is to research into a meaning of Mexican Mural and to clarify on the internal significance of Muralism in the modern fashion. Nuralism is an example of the brith of the great people's art. The mural Fine art in mexico was the peculiar fine art campaign which observed the social function. And the mural of Mexican that the ideology and fine art combined came to occupy the unprecedented important position as a part of popular education which is the product of Mexico revolution. Thus in this study considered that the background of Mexican Mural in 1930's resembled the social and cultural background of the latter half of 20th century. The internal significance of Muralism expressed in the modern fashion was categorized as attaching importance to human the pursuit of the utopia the tendency to nationalism Satriric and moral painting. First Attaching importance to human in the modern fashion expressed the recovery of humanity by meaning in opposition to moral crisis of the human in the pluralistic society. Second The pursuit of the utopia in terms of interest the ideal way in the modern fashion expressed mysterious or hopeful through using religious colors motivies etc. Third The tendency to nationalism in the modern fashion expressed the painting of the masses in forms of mixing aboriginal culture elements and memorial elements. Fourth Satiric and moral painting in the modern fashion expressed wits or humorous style through using geometrical motives and light colors etc, indirectly expressed distress of modern men.

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A Study on the Characteristics of Women's Dress Design Revealed in Goguryo Tomb Mural Paintings - By Focusing on Pyeongyang and Its Adjacent Area - (고구려 고분 벽화에 나타난 여자 복식 특징과 디자인 고증 연구 - 평양 지역을 중심으로 -)

  • Lee, Un-Young;Jung, Hee-Jung;Lee, In-Seong
    • The Research Journal of the Costume Culture
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    • v.15 no.3
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    • pp.541-549
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    • 2007
  • Goguryo is the ancient dynasty which established the system of ancient state earlier than Baekje and Sila, and was a strong political and military power. Unlike the rock carving works of prehistoric times, mural paintings composed of line and color tones in tombs are characterized more by its social aspect and symbolism as a serious form of art than other cultural heritage of Goguryo. In response to that, this study analyzed the dress and ornaments of women found in Anak No. 3 ancient tomb, Susan-ri ancient tomb, Ssangyeongchong, which are the ancient tombs in Pyeongyang from 4th century to 5th century, have relatively more ancient tombs than any other places and preserved the mural paintings well, by using the plate, slide, literature and data related to relics in order to figure out the characteristics of women's dress and ornament in Goguryo, and the lifestyle and social aspect of Goguryo.

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Designing Performance Costumes of Daily Dance Ganggangsullae for Elementary Students (초등학생을 위한 강강술래 국민생활댄스 공연복식 제안)

  • Cho, Du Na
    • Family and Environment Research
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    • v.53 no.1
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    • pp.81-92
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    • 2015
  • Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.

Experimental Study on Poultices Applying to Remove Fixative (Paraloid B72) on Earthen Mural Painting

  • Lee, Kyeong Min;Moon, Hye Young;Yu, Yeong Gyeong;Kim, Soon Kwan
    • Journal of Conservation Science
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    • v.34 no.6
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    • pp.569-580
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    • 2018
  • The possibility of applying poulticing was studied for removing Paraloid B72, a resin used for fixing an earthen mural painting. Five types of poultices were selected from clay and gel types, and acetone, ethanol, and methyl ethyl ketone(MEK) were used as mixed solvents. The possibility of mixing between the poultice and solvent was investigated, and then the spreadability, fluidity, acidity, drying properties, and solubility of the poultices were examined to confirm the characteristics. A poultice agent, which is suitable for applying to a mural painting, was selected and applied to a painting layer sample coated with Paraloid B72. As a result, all painting layers were good condition at under 50% of the solvent. The removal efficiency of Paraloid B72 was more effective when most of the solvents were used at 50%, rather than at 25%. However, it is difficult to mix 50% of MEK and ethanol with the gel-type poultices. When used at 25%, the removal performance was poorer than that at 50%, but the mixing with all the poultices was successful. In addition, the adsorption and removal power of the gel-type poultice were better than those of the clay-type, but the latter was expected to be more suitable in short-time cases due to its high drying speed. The results of this study show that the dissolution performance varies depending on the poultices and solvents. Hence, the poultice and solvent should be selectively applied, considering the fixative of the mural to be removed.

A Study of Costumes Appearing in Afrasiab Mural Painting (아프라시압 벽화에 나타난 복식연구)

  • Kim, Yong-Mun
    • Journal of the Korean Society of Costume
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    • v.60 no.7
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    • pp.117-130
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    • 2010
  • The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

Problems of Korean Mural Villages and Ways to Make Use of Digital Contents (한국 '벽화마을'의 문제점과 디지털 콘텐츠 활용 방안)

  • Eum, Yeong-Cheol
    • Journal of the Korea Society of Computer and Information
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    • v.20 no.1
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    • pp.39-48
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    • 2015
  • In this research the problems and ways to improve the three mural villages and how to make use of digital contents have been sought. Three ways of solutions were searched for the problems. Firstly, The geographical and cultural advantages of the villages were not in practical use, so in long term, making proper brands of the villages is recommended. Secondly, most of the paintings are wall paintings. So in the aspects of esthetics, more wall paintings are encouraged to be made with ceramic works. Lastly, there should be various festivals in connection with the villages. Various smart phone applications should be prepared for easier use of digital contents such as sights, foods, and accommodation, Mural villages have become one of attractions for both local and foreign tourists. More tourists should feel free to visit the mural villages.

Study on Material Characterization of Earthen Wall of Buddhist Mural Paintings in Joseon Dynasty (조선시대 사찰벽화 토벽체의 재질특성 연구)

  • Lee, Hwa Soo
    • Journal of Conservation Science
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    • v.32 no.1
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    • pp.75-88
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    • 2016
  • In this study, 5 mural paintings in the Buddhist temples of Joseon era were researched for component analysis on the soil contained in the walls. The results of particle size analysis showed that the ratio of particle contents were different in each layer. In the finishing layer, the distribution of the middle sand fraction is higher than that of the middle layer. The results of XRD analysis showed that quartz, feldspar, and clay mineral are the main components of sand, suggesting similar mineral composition to that of ordinary soil component. It seems weathered rocks were used for construction of the walls. The main chemical components detected from EDX analysis were Si, Al, Fe, and K. Also the SEM images showed sand or clay sized minerals. In conclusion, the walls of the buddhist mural paintings in Joseon Dynasty had been constructed by using the loess, and had been produced by using mixture of clay and sand particles of different sizes for each layer. This study identified the characteristics of the materials and the manufacturing technologies used on the walls of mural paintings of Buddhist temples in Joseon era.