• Conservation Science in Museum
• /
• v.2
• /
• pp.41-49
• /
• 2000

The most important aspect in preserving ancient paintings is to return the painting to the original state and conserve it in the original state. One traditional recovering method is the use of frame, for which scientific analysis such as X-rays, infrared and microscope are used and materials are carefully selected. Arhat, a Buddhist painting of Koryo Dynasty, one of the Korean National Museum collections has lost its original shape. With conservation treatment, the cause was found, that is to change frame scroll method to mounting method. In the main body, pre-analysis and conservation method of Arhat will be introduced.

• Conservation Science in Museum
• /
• v.28
• /
• pp.89-108
• /
• 2022

Among about 500,000 characters in metal types in National Museum of Korea, this study conducts a statistical analysis of 62 metal types from the early Joseon Dynasty, including 33 gabinja (甲寅字) types and 29 eulhaeja (乙亥字) Hangeul types by examining the shape, measuring the specific gravity, and identifying the components based on previously-studied Joseon metal types. Among them, 33 gabinja types and 24 eulhaeja types were made of two-component bronze (copper and tin) (Group A), and four eulhaeja types were produced with three-component bronze (copper, tin and lead). (Group B), and one eulhaeja type was created with two-component bronze (copper and tin) with a high tin content (Group C). By comparing with imjinja (壬辰字) types of the late Joseon Dynasty based on multiple statistical analyses of type components, this study confirms that late-Joseon types have low copper content and high zinc and lead content, and therefore it may be possible to distinguish between the types of early and late Joseon Dynasty.

• Conservation Science in Museum
• /
• v.5
• /
• pp.43-47
• /
• 2004

The five pieces (Bon 4054, 4074, 4077, 4096 and Bon 4097)of the Central Asia murals housed in the National Museum of Korea were conserved for approximately 2 years. The Central Asia murals conserved for this time have undergone the processes of cleaning, reinforcing pigment layers, facing to protect the pigment layers disassembling, separating wooden frames reinforcing the wall layers, attaching supports to the wall layers, removing facing and making picture frames. They were conserved with emphasis placed on reinforcing the peeled pigment layers and the weakened walls and on improving the structural problem of the exhibit frames.

• Conservation Science in Museum
• /
• v.14
• /
• pp.37-60
• /
• 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
• /
• v.26
• /
• pp.35-66
• /
• 2021

This study conducted scientific analysis and conservation treatment on four suits of armor and two helmets from the collection of the National Museum of Korea. Based on the findings, it identified structural characteristics of armor from the middle and late Joseon Dynasty. Since a suit of armor is made of composite materials consisting of both organic and inorganic elements, conservation treatment was conducted to the extent that the stable condition of each material remained unaffected by the other materials. The process took place in the sequence of investigation and analysis, removal of contamination, stabilization and reinforcement, repair of damaged parts, and storage. The armor and helmets had suffered severe damage, but were safely repaired and partially restored through the conservation treatment. The findings from the conservation treatment revealed the materials used and structural characteristics of the armored skirt from a two-piece set of armor from the middle Joseon period and for the two suits of overcoat-style armor, suit of vest-style armor, and helmets from the late Joseon era. It also allowed the investigation of the production methods of the armor and helmets.

• Bangmulgwan gwa yeongu (The National Museum of Korea Journal)
• /
• v.1
• /
• pp.306-329
• /
• 2024

Established in 1909, the Imperial Museum was the forerunner of Korean museums, and its collection formed the foundation of today's National Museum of Korea. However, when the Imperial Museum was first established in Changgyeonggung Palace, a zoo and botanical garden were created in addition to the museum. From 1911 onward, these three facilities were collectively referred to as Changgyeongwon Park. The zoo and botanical garden remained at Changgyeongwon when the museum was relocated in 1938, as did some of the items from the collection of the Yi Royal Household Museum. Among them were palanquins used by the royal family and folk items such as armor, as well as taxidermized birds. These stuffed birds were displayed in the corridor of Myeongjeongjeon Hall in Changgyeongwon, and were also displayed in the specimen hall at the back of Myeongjeongjeon Hall. The stuffed birds in particular should prompt a reconsideration of the nature of the Imperial Museum (Yi Royal Household Museum). The museum had been known as a prominent art museum, mainly collecting masterpieces of ceramics (such as Goryeo celadon), Buddhist sculptures, and paintings. However, this character seems to have been just one aspect of the museum. Along with the zoo, which housed live animals, and the botanical garden, which included greenhouses for tropical plants, the museum also featured specimens like taxidermy, suggesting that its initial aim, from a museological perspective, was to be a more comprehensive museum. Notably, Shimogoriyama Seiichi, who managed the general affairs of the museum, collected and cataloged Korean avian specimens from 1908 to 1917. This suggests that the zoo and botanical garden were not merely for entertainment purposes, but also served a museological purpose. However, the Imperial Museum (Yi Royal Household Museum) lacked the essential research and educational functions necessary for a museum, beyond its collecting and exhibition roles. For instance, although specimens of stuffed Korean birds were collected, they were not thoroughly researched. This indicates that while the museum's collection was acquired from a museological perspective, it did not advance into more specialized research. This study aims to examine how the characteristics of the Yi Royal Household Museum have evolved by analyzing the inventory of the museum's collections and the list of Korean bird specimens it held.

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

• 한국문화재보존과학회:학술대회논문집
• /
• 2006.04a
• /
• pp.1-3
• /
• 2006

• Conservation Science in Museum
• /
• v.31
• /
• pp.1-20
• /
• 2024

The "Buseoksa Temple Gwaebul" (1684, K969) in the possession of the National Museum of Korea is a large Buddhist hanging scroll produced for outdoor rituals (gwaebul) at the eponymous temple. The painting demonstrates the most complex composition among the existing Buddhist hanging scrolls as it depicts the Shakyamuni Buddha in the lower middle, surrounded by the Vairocana Buddha, Medicine Buddha, and Amitabha Buddha. This study examines the characteristics of the background fabric and the production methods of the scroll from Buseoksa Temple and explores the characteristics of the coloring techniques by integrating the results of a non-destructive analysis to determine the materials used for coloring. The gwaebul comprises a total of 13 panels, with 11 panels arranged side by side and one panel each added to the top and bottom. The background fabric of the painting consist of semi-transparent silk tabby for the nine panels in the center, and silk tabby for the four panels surrounding the four sides. The coloring materials used to paint the scroll were analyzed using X-ray fluorescence, and were confirmed to be inorganic pigments of red, yellow, green, blue, and white. For some parts painted in yellow and blue, the colors were expressed by first applying light white pigment before adding organic pigments. In addition, ink was used for the black lines and gold leaf was used for the patterns of the Buddhist robes. X-ray irradiation enabled the determination of the location and technique of coloring according to each pigment color by highlighting the difference in brightness depending on the main component and the thickness of each pigment.

• Conservation Science in Museum
• /
• v.5
• /
• pp.5-15
• /
• 2004

The Fine Art Department has sent a list of ceramic ware to the Conservation Science Laboratory of the National Museum of Korea for conservation treatment. The listed ceramic ware will be newly displayed in the ceramic ware gallery of Yongsan Museum after it is opened. Based on the list, Conservation Science Laboratory has been taking special measures to conservation the ceramic ware since 2002. This paper attempts to introduce the process of restoring the Blue-and-white porcelain Jar with phoenix Design (Jubsoo 631) and Celadon peahen-shaped water dropper (Duksoo 5202).