• Korean Journal of Heritage: History & Science
• /
• v.32
• /
• pp.185-201
• /
• 1999

• Journal of Conservation Science
• /
• v.27 no.1
• /
• pp.115-121
• /
• 2011

A Urethane resin restoration material was made to be used in the restoration of stone cultural assets. The Urethane resin restoration material showed strong adhesive strength and tensile strength similar to epoxy recovery material, which had been mainly used for the recovery of stone cultural assets. The sealing property, anti-shrinking property and paint-ability of Urethane resin restoration material are also similar to existing epoxy system restoration materials. Especially, this Urethane resin restration material is expected to give permanence and continuous stability in the restoration of cultural assets made in stone by resolving the two big issues of existing epoxy recovery material, which are 'yellowing' and 'ir-reversibility'. This Urethane resin restration material had been directly applied as a filling material and adhesive and it was dissolved again. The Urethane resin, which had been used for the recovery, was able to be perfectly removed, which means that this Urethane resin recovery material has perfect reversibility. This Urethane resin restoration material also has enhanced convenience since user can adjust the working-life dependent on work environment. It is believed that this Urethane resin restoration material can also be used as a filling material or adhesive for other cultural assets made of ceramic or metal heritage, in addition to stone, since it has strong adhesive strength and tensile strength.

• Conservation Science in Museum
• /
• v.21
• /
• pp.1-16
• /
• 2019

This study investigated the material properties of UV-curable Resin in order to identify stable materials for use in the restoration of glass cultural properties. Tested samples were based on acrylic UV-curable Resin (SECURE CP-7321®), to which urethane UV-curable Resin (FLGPCL04 Clear®) was added in 10% increments to produce eleven samples. The results showed that all eleven samples had similar properties in terms of refractive index, density, adhesive strength, and anti-yellowing. But the surface hardness and compressive strength were optimal and effective for maintaining the shape of artifacts after restoration treatment when the proportion of urethane resin was in the range of 10-20%. Based on these findings, the mixing sample [acrylic UV-curable Resin(9) : urethane UV-curable Resin(1)] was applied in the conservation treatment of a glass cultural propertie (Hwangbuk 519) excavated from the North Mound of Hwangnamdaechong, Tomb in Gyeongju.

• 한국문화재보존과학회:학술대회논문집
• /
• 2007.10a
• /
• pp.51-52
• /
• 2007

• 한국문화재보존과학회:학술대회논문집
• /
• 2006.11a
• /
• pp.108-114
• /
• 2006

• 한국문화재보존과학회:학술대회논문집
• /
• 2006.11a
• /
• pp.103-107
• /
• 2006

• Journal of Conservation Science
• /
• v.31 no.2
• /
• pp.131-145
• /
• 2015

Cultural assets restoration is being considered highly as a practical way to extend the lifespan of damaged cultural assets and re-highlight their value. However, restoration process has been mostly dependent on the manual work involving the experience and skill of a person performing restoration, thereby requiring much time and effort. In recent, it became possible to apply a method allowing restoration to be performed more accurately and easily according to the material characteristics and shape of cultural assets. Namely, it is to use a method of printing out the 3D shape data computed in computer as real object by using 3D printer for the restoration that has been performed manually. The missing part of a cultural asset is computed into computer data first and is printed out by using 3D printer to undergo a simple shaping process. The result of 3D printer application showed that repetitive output and shape and figure revision of digital data were possible, and it was possible to improve the degree of completedness of restoration through test output using various types of restoration materials using various materials. For the purpose of verifying the possibility of applying 3D printer to restore missing part of earthenware, two pieces of modern reproductions, namely, the Seven Treasure Incense Burner and Earthenware with Wagon Wheel Decoration, were artificially damaged. The restoration result showed that compared to manual work, it showed better effectiveness in curtailing work time and reproducing accurate shape. On the other hand, secondary manual work was slightly needed for detailed binding and to vividly express surface texture.

• Conservation Science in Museum
• /
• v.26
• /
• pp.25-34
• /
• 2021

3D printing technology has been actively applied for the restoration of cultural properties. However, its application to the restoration of glass cultural properties has not yet been reported and thus requires further study. In this study, 3D printing technology was used to restore a defective part of a glass sarira bottle that forms an element of a series of sarira reliquaries commissioned by Yi Seonggye (known as King Taejo after founding the Joseon Dynasty) that was excavated from Geumgangsan Mountain (designated as Treasure No. 1925) and is currently housed at the National Museum of Korea. The defective area was reproduced using 3D printing and the printed reproduction was reproduced again using an epoxy resin. This latter piece was used as the restoration component rather than the 3D printed element. After the completion of the conservation treatment, the materials used for the 3D printing were compared with transparent materials used to restore ceramics to evaluate their usability and stability. A total of five specimens were produced, including from photocurable resin made by a stereo lithography apparatus (SLA), epoxy resin, acrylic resin, and more. They were exposed to UV for 96 hours to test for yellowing. Of the two specimens made of photocurable resins and exposed to UV, one was sprayed with a UV blocking agent but the other was exposed as-is. The UV exposure test showed that the specimen made by the SLA and sprayed with a UV blocking agent and the specimen made of epoxy resin were stable in terms of yellowing with a change in the b-value was less than 1. They are thus considered to be suitable materials for the restoration of glass cultural properties. Such glass cultural properties are often diverse in shape and their restoration can be difficult as they generally consist of a range of complex parts that hamper restoration. In this regard, diverse materials should be considered when selecting materials for the restoration of glass cultural properties.

• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.426-439
• /
• 2021

In this study, we compare the properties and estimate the durability of five oil colors that are the most popularly used colors in the conservation of oil paintings. A set of these colors was obtained form four manufacturers each, and their properties were analyzed by conducting deterioration experiments. Subsequently, we observed the colors and performed X-ray fluorescence analysis. As a result of colour observation and XRF analysis, it was confirmed that there are the differences according to the pigment types, mixing rations and the manufacturers even for colors having the same product name. The deterioration test indicated differences in the appearance of the colors ; for instance, the color difference was above 12.0 in most of the samples, including restoration color and acrylic gouache. In the case of Lemon Yellow a lot of discoloration and cracking occurred, and difference in gloss was ob served in Viridian of manufacturer C. Most cracks were ob served in the restoration color obtained from manufacturer B and were assumed to be because of the resin used by the manufacturer. Nevertheless, additional research will have to be conducted by controlling variables in order to find out the cause. Through this study, we demonstrated that retouching materials for conservation of oil painting differed in their physical properties according to the color and manufacturer. Therefore a conservator should be mindful during the selection and use of materials for retouching oil paintings.

• Korean Journal of Heritage: History & Science
• /
• v.49 no.4
• /
• pp.114-125
• /
• 2016

Lacquer is one of the most widely used natural resin in East Asia since Neolithic Age. As a major ingredient of lacquerware, lacquer is waterproof, insect-proof and rot-proof to be durable and anti-abrasion, generally utilized for mainly painting purpose. According to lacquerware excavated from several sites of Japan and China, lacquerware seems to appear in Neolithic Age. On the other hand in case of excavation research in Korea, lacquerwares are found after the Bronze Age. The initial purpose of lacquer is estimated to be adhesive, regarding the literatures mentioning bitumen(Yeoksceong ), animal glue(Kyeo) and egg alumen(Nanbaek). Especially piece of jar coffin unearthed in Pyeongtaek Daechu-ri site had trace of restoration by lacquer and hemp as an evidence of lacquer for adhesion in Pre-Three Kingdoms period. Since then a trend to restore the broken ceramics with lacquer and decorate with golden foil lasted especially in Joseon Dynasty. In the field of gold plated lacquer method, mother-of-pearl inlaying technique for lacquerware and restoration of buildings, lacquer is still used as adhesive. Due to matter of reversibility lacquer is being avoided for conservation and restoration of cultural heritage. Lacquer as a traditional material for adhesive since ancient times, however, has advantage in adhesion strength and durability. Because synthetic resin adhesive has problem of emission of volatile organic compounds and aging over time, lacquer receives attention recently. On the contrary, by combination adhesive from mixing lacquer and animal glue, already proved the possibility of applicability and chemical modification. A research to utilize lacquer as modern paint or functional material is also conducted continuously also in China and Japan. To put traditional material into practical use and modernize, chemical research from the molecular level of the lacquer is necessary in the near future.