• Conservation Science in Museum
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• v.6
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• pp.55-66
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• 2005

Three types of epoxy resins (Epo-Tek 301, Araldite 103, and Araldite 106) and three types of pigments (bunche, pastel, and conté), which are materials for porcelain restoration, were selected as examination materials. The tone change, porosity, and sedimental resulting from the mixtures of varying ratios of these three materials were observed. Samples were also made from the mixture of Epo-teck 301, four kinds of white pigments, and six types of fillers and subjected to ultraviolet ray penetration for 200 hours to observe the oxidation of the epoxy resins. The result showed that the chemical composition of pastel drastically changed when mixed with Epo-tek 301. Although bunche and conté displayed clear colors, those of conté were less clear when it was mixed with other substances. Adding a small amount of Epo-tek 301 tended to be driven into the corner, whereas mixing a large amount caused saturation and boiling. On the other hand, AW 106 did not display clear colors owing to its high viscosity; when mixed in large amounts, however, the clarity of colors improved. For AY 103, a similar standard of color clarity was maintained regardless of the mixture ratio. The following was ranked according to the level of porosity: [Pastel>bunche≒conté]. In terms of sedimentary, however, [bunche>conté>Pastel], [Epo-tek 301> AY 103> AW 106]. The result of measuring the degree of yellowing revealed that titanium, pastel, silicon dioxide, and kaolin tended to turn yellow, whereas bunche, conté, diatomaceous earth, and calcium hydroxide tended to resist yellowing.

• Conservation Science in Museum
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• v.4
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• pp.71-78
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• 2003

The wooden striker on the Divine Bell of King Seongdeok was examined to identify the species of the wood and the outdoor wood weathering caused by solar light, moisture, temperature and air. The species of the wooden striker was identified to Zelkova serrata. When observed the striker with naked eyes, the results were surface discoloration (graying), cracking and roughness. In order to examine the morphological changes according to deterioration type, the specimen were separated to three part(I, II,III-spot). The I-spot was discolored to gray and at the same time entirely covered with dust. So the observation was impossible. The II-spot was also discolored but its texture could be observed. On it could observe numerous fungal hypae and dirts like dust flown into the cell lumens. The cell wall has been so weakened by weathering that it lost the physical intensity. This have made microchecks and splits on the cell wall. Although fungal hypae covered the cell, they did not result in wood decay. The III-spot, located just 0.5 mm below the surface, was maintaining the natural red-brown color of the wood. Its cell wall was similar to that of sound wood. These changes are different from wood decay, and limited only to the surface of the striker-less than or equal to 0.5 mm below.

• Conservation Science in Museum
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• v.4
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• pp.23-32
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• 2003

As the kettle excavated from a site in Hwangnam-dong, Gyeongju was presumed to have been used as a melting crucible in a glass production workplace, we decided to prove its usage by scientific analysis. First, we performed conservation treatment to find the original status of the kettle, and then SEM-EDS and XRD analysis of the five corrosions created on the surface of the kettle. The fragment of the spout, which played a crucial role for the kettle to be considered as a melting crucible, was discovered during the conservation treatment. So the mouth rim of the kettle was restored to perfection. When we observed the microstructure of the metal sample, it was proved to be cast iron gradually cooled without heat treatment. In the corrosion products, the main components were Fe and O and other components such as P, Si, Ca, and S were found. The main compounds were quartz, vivianite, goetheite, akaganite, lepidocrocite, hematite, etc. Although these components were used as raw materials for making glass, these were found not in the melting status but mere raw materials. This can be an evidence to show these site where the kettle was excavated had been a glass production workplace. However, it is not sure that the kettle was used as a melting crucible. Moreover, if we consider the organic mold and sand clay accumulated in the well site when the kettle was excavated at first, we can see this as a formative factor of the corrosions of the kettle. Therefore, we concluded that the kettle is a typical cast iron and was not used as a melting crucible of glass.

• Conservation Science in Museum
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• v.11
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• pp.61-72
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• 2010

This is the analysis of material dyed with Korean yellow dyes such as tumeric, amur cork tree, goldthread, gardenia, and the flowers of sophora japonica using nondestructive ultraviolet-visible and fluorescence spectrophotometry. In order to find out whether type of fabric or mordant influences analysis results, test fabrics were made using two types of fabric(silk and cotton) and dyed using three different mordants(no mordant, alum, iron). After analysis with UV-Vis reflectance spectrum on the dyed fabric, when the fabric was dyed with tumeric, amur cork tree and goldthread, the results were similar with no mordant and alum mordant, whereas there was a difference with an iron mordant. Also when the fabric was dyed using gardenia, different fabrics brought different results but there was no difference in results with mordants. On the other hand, when the fabric was dyed using the flowers of sophora japonica, there was no difference with fabrics but with mordants. After analysis with 3D-fluorescence spectrum, fabrics dyed with tumeric, amur cork tree and goldthread showed their own fluorescent spectrum with no regard to fabric and mordant; but with gardenia, there were differences with different fabrics whereas with the flowers of sophora japonica, there were differences with mordants.

• Conservation Science in Museum
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• v.14
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• pp.23-28
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• 2013

This paper aimed to show the whole conservation process of the human shaped terra cotta mask that was excavated from one of construction sites at Jungcheon-ri, Geumsan-myeon, Jinju. This mask was X-rayed to get the correct making techniques and there are 4 holes on the top of the head and each diameter of the 3 holes is exact and the other hole is different from the three. The long and sharp shape of the nose is in trapezoid which was separately made with clay and put on (the face). It's found that there are round grooves each around upper and down lips. (upper in length: 10mm, down in length: 6 mm). All restoring materials and adhesives used for restoration to associate each piece are reversibility materials. According to a few points on buried bones of animals distributed around the sites, holes and grooves on the top of the head, ears and teeth to wear something, it academically presumes that this mask could be possibly used for the group ritual. Especially, the whole procedure from excavation to scientific conservation process resulted to have a special exhibition to give the public new eyes how the exhibition realizes to the public.

• Conservation Science in Museum
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• v.3
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• pp.65-69
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• 2001

Scientific analysis are carried on gilded ornamental shoes, which have been excavated from tomb No 1. and No 4. in Beopcheon-ri, Wonju dated from Baekje Period. This object is a very important because it provides valuable information on the development of metal-making techniques of that period. Thus, this article illustrates the investigation conducted to reveal how the object was created using what materials and techniques. Instead of the spikes-attached to the bottom plate of the object-that couldn't be sampled, a sample of a decorative rivet showing a similar structure to the spikes-attached to the other parts of the shoes-was prepared for a cross-section examination. Using radiography and microscopes, it was found that the head of a spike was placed and then punched to the gilded plate, so it can be held to the shoes. Under the SEM-EDS, the cross-section of the rivet shows that the gilding layer was applied before the attachment of the rivets. It also shows that the gilding layer is distributed unevenly and there are empty spaces indicating amalgam gilding was employed. This was confirmed as Mercury was detected on the SEM-EDS analysis of the object. The examination of the microstructure of the plate using the SEM-EDS revealed that the object is made of a single copper alloy plate with recrystallized twining and non-metallic white inclusions, which found to be lead in this case.

• Conservation Science in Museum
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• v.25
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• pp.63-84
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• 2021

In order to investigate the diverse physicochemical changes that occurred in traditional Korean pottery during its production, including before and after firing, this study produced six replicas of a celadon maebyeong inlaid with cloud-and-crane designs, respectively corresponding to the process of shaping, carving, inlaying designs, first firing, glazing and second firing, respectively. It then conducted a scientific study of these six replicas and analyzed their images through high-resolution three-dimensional transmission imaging. The materials used for the replicas show different mineral phases and even colors depending on the components of each material. For example, black inlay with a high content of iron oxide (Fe₂O₃) shows dark colors and white inlay with a high alumina (Al₂O₃) content appears white. Physicochemical properties such as chromaticity and magnetic susceptibility and major components of the replicas were confirmed by the differences in the density in the computed tomography (CT) images. The characteristics of fired products such as fine structure, absorption ratio, apparent porosity, and other characteristics of the major mineral components were identified by the presence of pores and the formation of cracks inside the replicas in the image analysis.

• Conservation Science in Museum
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• v.24
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• pp.117-132
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• 2020

The painting layer of Payathonzu temple mural paintings in the ruins of Bagan Myanmar has been damaged due to various reasons. In this study, the applicability of Neem resin, a traditional Myanmar adhesive, as a fixative on the painting layer was examined. Cow glue and Paraloid B-72 were selected as fixatives in the comparison group, and pseudo-specimens with conditions similar to the original mural paintings were produced to examine the changes before and after applying the fixatives and according to the deterioration experiments. As a result of conducting the experiments and comparing the fixatives, it was found that changes on the surface such as smudge, yellowing and gloss are greater with the application of higher concentration of Neem resin than with other fixatives. However, such changes were relatively small under the condition of 4% concentration. It was also confirmed that chromaticity and glossiness vary greatly between before- and after-application of the fixatives but that such discrepancies tend to decrease at 4% concentration compared to other concentrations. As for fixation strength, it was found that the fixation capacity of Neem resin on the base and painting layers is overall higher than other fixatives as the concentration is increased. Therefore, the applicability of 4% concentration of Neem resin as a fixative on the painting layer was confirmed considering the low surface changes according to environmental factors, low color discrepancy and glossiness, and characteristics of excellent fixation strength. It is believed that the findings of this study could be used as basic data for the preservation of Payathonzu temple mural paintings in the future.

• Conservation Science in Museum
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• v.27
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• pp.103-124
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• 2022

This study examined the properties of the materials used in the three-story pagoda at Jangha-ri, Buyeo. It was performed in order to identify the objective condition of the pagoda and establish an appropriate plan for the conservation treatment of the pagoda. According to the study, the average total magnetic susceptibility was 3.71 (10^-3 SI unit), and at least four types of granite with different origins were likely used in the production of the pagoda. The ultrasonic velocity averaged 1,519m/s, and the coefficient of weathering showed an average of grade 4. The thermal gradient between the cement (restoration materials) and original materials was identified through thermal imaging. In some areas, the cement restoration materials required replacement with new stone materials with properties similar to those of the original stone materials. Taking into account these results, a map of weathering damage was prepared and appropriate conservation treatment plans were established based on the findings of previous studies. Since the pagoda had suffered severe biological damage and discoloration, surface contaminants were removed through wet cleaning with distilled water and a brush. The exfoliated areas were reinforced on the site by mixing epoxy resin with powdered stone with the same properties as the original stone materials of the pagoda.

• Conservation Science in Museum
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• v.29
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• pp.33-46
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• 2023

Modern and contemporary cultural assets are defined as a collective term for tangible historical and cultural assets produced in the modern and contemporary period (around the opening of Joseon to the present) in Korea. Among them, rickshaws have been used as a major means of transportation for about 40 years since the opening of the ports in Joseon. The repair process for rickshaws divides the rickshaw into three parts, namely the body, the cover, and the wheels, applying a plaster treatment process by referring to the outcomes of the condition assessment and material analysis for the metal, wood, fiber, and paint used. Overall, the repair process is carried out through dry/wet cleaning, joining, stabilization, reinforcement of damaged parts, and other restoration treatments, which reveal metal decorations and patterns on the scaffolding (flowers, arabesque patterns, etc.) that were previously not observable with the naked eye, while also adding to the stability of the artifact. In addition, props were produced to ensure the artifact's safe exhibition.