• Conservation Science in Museum
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• v.14
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• pp.37-60
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• 2013

Conservation and analysis of wall painting Goguryeo was performed to classify the unknown fragments. The conservation naked eye observation, optical microscopy, and infrared examination were carried out in order to figure out the structure, quality of constituting materials, and damages such as cracks, and discolored fragments of colored areas. Based on such investigation, conservation was proceeded. and it was completed with strengthening the weakened pigment layer of wall blocks. In addition tombs where the wall painting fragments were excavated were investigated by making comparison with gelatin dry plates and copies possessed by National Museum of Korea. According to the result, they were Kaemachong, Gosan-ri Tomb No.1 Gamsinchong, and Wonbong-ri Tomb. The components of colors with which Goguryeo wall painting fragments were painted and the mineral pigments of the wall layer were analyzed. Portable µ-XRF spectrometer and X-ray diffractometer were employed. It showed that lime (CaCO₃) used for the wall layer, and the brown color is hematite(Fe₂O₃) and cerusite (PbCO₃) and lead oxide(PbO) were identified. In the red color, cinnabar (HgS) were detected.

• Conservation Science in Museum
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• v.1
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• pp.37-42
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• 1999

Conservation treatment was done for the pottery-stand of Kaya period which was to be exhibited in celebration of the opening of Kimhae National Museum and for the jar of Chinese celadon which was to be exhibited in Korea National Museum's special exhibition "Formation of Ancient States". Through the examinations by naked eyes and under the microscope, condition before treatment, patterns and manufacturing techniques of the objects were observed. According to these examinations, conservation treatments, suitable for each object was finished. As the pottery-stand was damaged severely, the epoxy resin was pasted directly on the broken surface of the pottery to restore the original shape and pattern, color and feeling similar to original state were given to the restored area. Although same restoration material was applied on the celadon, it was not pasted directly on the broken surface of the celadon so that the restored area could be dismantled, and color and feeling were also treated somewhat differently.

• Conservation Science in Museum
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• v.8
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• pp.31-40
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• 2007

As part of supporting projects, the conservation science team of National Museum of Korea has treated 12 items of the porcelains entrusted by Jeonju National Museum for conservation. This paper is about the porcelains called the rice-bale-shaped battle white porcelain (No. Junju 97) and the big jar with incised fish design buncheon ware (No. Junju 5630) among the 12 items of porcelains finished with treatment, and by analyzing the information collected in the process of treating the rice-bale-shaped battle white porcelain, the manufacturing method and the use of the needle was presumed. As the big jar with incised fish design buncheon ware had been damaged extensively, it was unclear whether it could be repaired or not, but now I am going to introduce how it can be repaired more efficiently.

• KOMUNHWA
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• no.48
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• pp.3-42
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• 1996

필자는 대학박물관의 건전한 육성을 위한 선결과제로서 법령정비의 중요성을 강조하여 오면서 ${\ulcorner}$대학박물관, 법적근거 마련이 시급하다${\lrcorner}$(한국 대학박물관협회 편, ${\ulcorner}$고문화${\lrcorner}$ $40\cdot41$ 합집, 1992. 12)를 발표한 데 이어, ${\ulcorner}$'박물관 및 미술관 진흥법'의 개정방향과 그 시안${\lrcorner}$(한국 대학박물관협회 편, ${\ulcorner}$고문화${\lrcorner}$ 44집, 1995. 1)을 발표하였다. 필자는 이 시안을 준비한 1993년부터 문화체육부, 교육부, 총무처, 법제처, 국립중앙박물관, 국립현대미술관, 문화재 관리국, 한국 박물관 협회, 한국 대학박물관 협회 등 관련기관과 협의하여 동법의 전면개정을 추진하여 왔으나, 각 기관의 이기주의가 극심하여 동 법의 개정작업이 얼마나 험난한가를 뼈저리게 절감하였다 이에 이미 발표한 시안을 현행법규와 비교한 개정시안으로 다듬어, 관계 제 기관이 참여하는 공청회를 통하여 전면개정을 추진하는 한편, 1996년 4월 총선으로 새로 구성되는 15대 국회의 문공위원회에도 전면개정의 여론을 환기시킬 예정이다. 필자는 1991년부터 국립대학교 박물관장 협의회 부회장을 맡아오고 있으며, 95년도부터 정부예산안에 각 국립대학별로 ${\ulcorner}$박물관 지원비${\lrcorner}$의 예산계상을 관철시킨 바 있다.

• Conservation Science in Museum
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• v.28
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• pp.109-136
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• 2022

This study analyzes the , one of the three panels of 《Welcoming Banquets for the Governor of Pyeong-an》, a documentary painting of the late Joseon Dynasty, with the aim to identify the coloring materials used in the painting. The painting was first imaged at each wavelength in order to minimize the potential problems in the process of analyzing specific parts. This study applied X-rays to identify ink, gold, and organic and inorganic pigments and used infrared rays to find ink and copper-based pigments. It also applied hyperspectral imaging to distinguish organic pigments from black, blue, and green materials. It also analyzed spots selected for each color to identify the following materials: white lead (white), ink/indigo (black), a combination of red lead and cinnabar (red), pink dye, purple dye, iron oxides (brown), orpiment/dye (yellow), malachite/malachite and yellow dye/indigo (green), azurite/white lead and indigo/indigo (blue), indigo and cochineal (violet), and gold leaf (gold). It is expected that more efficient analysis will be made possible by securing a sufficient library for each wavelength.

• Conservation Science in Museum
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• v.8
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• pp.71-79
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• 2007

The Conservation Science Team at National Museum of Korea has Reproduced the silk wrapper that was used the sarira reliquary found from Pagoda in the Bonginsa, in order to use it in the process of alternating the relics on display in the Hangeul(the Korean language) of the Historical Gallery. Silk fabric of the same texture as the original was used for reproduction. As for the process of dyeing silk fabric, fermented Indigo deposits was used for bluish color, while fruits of the alder trees were used to express the parts that have been faded into yellowish. The Korean characters(court style hangeul) written on the wrapper have been replicated through the use of Ink-stick.

• Conservation Science in Museum
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• v.7
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• pp.75-87
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• 2006

The National Museum of Korea has striven for the stable preservation environment for its collection as it reopened in October 2005. The temperature and humidity, harmful gases in the collection storage space and the galleries were regularly measured to confirm whether the environment was stable for the collection; the material that could directly influence the collection such as showcases were tested in advance to select stable material. In addition, to prevent biological damage, whole collection was fumigated; insect monitoring traps have been regularly established to check the status of the collection storage space.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.20 no.3
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• pp.1-5
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• 2006

In order to produce a variety of lighting effects most of the modem museums use various light sources in the same space. This indicates, in other words, that each item on display is being exposed to a different lighting environment. There are required, however, different conditions for optimum environments for displaying and preserving items, respectively. In this research visible rays, ultraviolet rays and infrared rays measured in the show cases and display rooms of the National Museum of Korea were analyzed to assess its lighting environment.

• Conservation Science in Museum
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• v.1
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• pp.15-26
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• 1999

More than 200 objects selected for the newly-opened Kimhae National Museum were treated for conservation. The objects which represent ancient Kaya culture, were mainly composed of metallic such as gilt bronze, silver, copper alloy and iron. The corrosion products on gilt bronze and copper alloy objects were preserved or removed according to their stability. Minimum treatment was done for preserving the original state of the objects. For silver objects and iron objects with silver-plate decorations, silver surfaces were revealed after treatment of corrosion products and treatments to prevent corrosion of silver and iron were done emphatically. For iron objects, which were stabilized, the original shape of objects was restored and acrylic coating was applied to prevent further corrosion. For the objects which were being corroded, 2-step de-chloride treatments were undertaken. The first step was immersing the objects in a solution of 0.3M sodium hydroxide and the second was the pressure de-chloride treatment using borax-distilled water. The main purpose of those treatments was to get rid of the causes of corrosion. Besides, conservation treatments for potteries, making of special mounting board for exhibition and amendment of various modeling were done too.

• 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.