• Conservation Science in Museum
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• v.16
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• pp.122-137
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• 2015

White porcelain pitcher with an openwork dragon and cloud design across its surface in the collection of the National Museum of Korea (Deoksu 5531) was acquired in 1915. The restoration has been so far completed only for the mouth of the pitcher. This study discusses a new method based on 3D scanning and printing for the restoration of missing parts in the openwork dragon and cloud design. A strength test was performed on six output materials that have been already commercialized for comparison with the strength of materials used for traditional restoration such as epoxy putty (Quick Wood^®) and epoxy (Araldite AY103+HY956^®). This process confirmed that the digital technology-aided making of a restoration model requires less time and efforts than handmade work, all the while producing a more precise model. More importantly, this method being a non-contact method, it reduces risks associated with handmade work. Another advantage of this method is that digital pre-restoration images can be saved and used for future references. Notwithstanding, future research is needed on how to effectively apply digital technology for restoration of ancient objects and how to evaluate and use 3D output as well as on the method of shaping, joining and coloring the 3D output.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.194-210
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• 2013

Oiled paper (Yuji, 油紙) is an oil impregnated paper which was one of the daily necessities in Korea. As there has not been any accurate research on this subject, this study examined the literature from the Joseon Dynasty to study its origin, nomenclature, usage and production process. Goryeodogyeong (高麗圖經) and Goryeosa (高麗史) allowed the estimation that the origin of oiled paper was the Goryeo Dynasty, but the records of oil and paper in Samguksagi (三國史記) and Nihon Shoki (日本書紀) indicate the possibility that the production of oiled paper can be traced back to the 7th Century. The nomenclature and the usage of oiled paper in the Joseon Dynasty were examined through the Annals of Joseon Dynast (朝鮮王朝實錄), Ilseongnok (日省錄) and Seungjeongwonilgi (承政院日記), while the Royal Protocols of the Joseon Dynasty (Uigwe, 儀軌) and Takjijunjeol (度支準折) together with other literature were examined for its market value, use and materials. The literature from the Joseon Dynasty indicate that oiled paper was used for various everyday commodities with its waterproof, damp-proof and transparent properties and called in various ways according to its use and production process. This study studied the literature on oiled paper from the Joseon Dynasty, but the studies on the restoration of traditional oiled paper are still needed. Therefore, it would be necessary to study the traditional oiled papers in combination with the study of oiled paper relics, the reproduction of traditional oiled paper samples, and the case study of the papermaking masters who have been producing the traditional oiled papers.

• Journal of Conservation Science
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• v.36 no.6
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• pp.475-482
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• 2020

In this study, we synthesized rosin-based epoxy resin and manufactured two components adhesives and epoxy putty using this epoxy resin. This study manufactured main element of adhesives for enabling it to form epoxide group by letting epichlorohydrin react to maleic anhydride modified rosin, and used room temperature curing type triethylenetetramine for hardener. The ratio between main element and hardener of of manufactured adhesives was 100 : 20, and main element and hardener of filling material were manufactured as clay type by mixing them with filler. Manufactured undiluted adhesives and filling material showed very stable result in the adhesive strength (3.06 MPa) and ultraviolet irradiation, showing outstanding result comparing to existing restoration adhesives. And it is considered a material having reversibility as it was dissolved in organic solvents such as acetone and toluene after being hardened, which showed a result that solved part of possible problems caused by restoration. As a result of use and application of manufactured adhesives and filling material for actual wood crafts, they showed excellent results in workability, stability, removability etc., and this study confirmed that the material can be used for and applied to various fields.

• Journal of Conservation Science
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• v.37 no.3
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• pp.282-288
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• 2021

This basic research was conducted to support the development of woodcraft bio-adhesives using peach gum, which is the resin produced by peach trees. The synthesis conditions of these adhesives were optimized by performing 144 experiments. The application potential of peach gum adhesives was explored by comparing their properties with those of three natural adhesives and four synthetic adhesives. The best adhesive strength was obtained by dissolving the resin in 80 mL of distilled water containing 1.5 g NaOH, 1.65 g H₂O₂ ( pH 8.0-9.0), 0.5 g NaClO, and 0.5 g H₂BO₂. The adhesive strength, which showed minimal changes and excellent reversibility, was 125.39 kgf/cm². Ultraviolet radiation-mediated deterioration in strength in the absence of total aerobic bacteria was negligible (△E^*ab = 2.75). These data confirm the potential value of peach gum-based bio-adhesives for woodcraft as well as their utility as alternatives for natural and synthetic adhesives used for the manufacture and restoration of handicrafts and preservation of cultural assets.

• 보존과학연구
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• s.32
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• pp.61-74
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• 2011

This study examines the removal effects of solvents which were applied on three adhesives and three filling materials for ceramics. The chosen materials are Cemedine C, Loctite$^{(R)}$ 401$^{TM}$, Araldite Rapid Type, plaster of paris, CDKI 520A+B, Araldit$^{(R)}$ SV427-2+HV427-1. For the first examination, each different materials were soaked into different solvents, and then the soften level were compared by compressive pressure. The result of the first exam showed that Cemedine C was dissolved easily in acetone. Furthermore Araldite, CDK and SV427 were soften efficiently by Dichloromethan, Tetrahydrofuran and DMX(Dichloromethan+Methanol+Xylene). However, Loctite and plaster were not able to make sample for the first test. Therefore, the second test carried on only. The second examination, chosen effective solvents from the first test were applied with two different methods; soaking and saturated atmosphere. Almost every sample could removed by soaking method in ten minutes, and saturated atmosphere method needs 24 hours for the safety.

• Journal of Conservation Science
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• v.25 no.1
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• pp.17-24
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• 2009

The feasibility of the geopolymer as a cultural asset restoration material was studied by investigating compressive strength and chromaticity change. Metakaolin that was synthesized by calcination of the kaolin at $750^{\circ}C$ for 6 hours was used as a geopolymeric starting material. Kaolin lost its crystallinity and changed into non-crystalline phase during calcination. NaOH solution and water glass were used as an initiator for the geopolymeric reaction. As the concentration of NaOH solution and water glass increased the compressive strength increased. When alumina was substituted with metakaolin, the compressive strength decreased at a small amount of alumina, but increased at a large substitution. For the most composition of geopolymers, the change of chroma values remained within the limit of slight variation after exposure to sunlight for 8 and 100 days. However, even small amount of organic pigment addition increased chroma values of metakaoline. It was shown that geopolymer had excellent chroma value change over epoxy resins.

• Journal of Conservation Science
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• v.31 no.2
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• pp.105-114
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• 2015

In this study, an advanced epoxy putty which was as a multi-purpose restoration material being used to restore missing parts in the artifact preservation treatment process was developed. For the purpose of addressing the issues including the workability issue resulting from high strength, the drooping issue resulting from long hardening time during work process and the issue of contaminating the surface of artifact resulting from stained material on tools or gloves, a property comparison was conducted with existing materials to examine the properties of restoration materials in the form of epoxy putty currently being frequently used. For the purpose of addressing the issues of existing materials and allowing the developed epoxy putty to have similar properties, two types of hardeners with different properties were selected to conduct property experiments. As for the hardeners, mercaptan type hardener and aliphatic amine type hardeners in the total of two types were selected for the development. The result showed that the two types were both in the form of paste and their hardening time of 5-10 minutes were about 3-10 times shorter than that of existing materials, thereby improving the work convenience. In terms of abrasion rate to increase workability, it was improved by about 3 times to allow effective and convenient use. As for the issue of contaminating the artifact surface during the process, white micro-balloon was added as filler to address the issue to reduce the oil ingredient to develop multi-purpose restoration material with low shrinkage & high workability in coloring, light weight and cutting force.

• 보존과학연구
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• s.29
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• pp.5-18
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• 2008

Hanji among paper, which is material for support of the organic artifact such as painting and Thangkas, is given as much importance as the original material in the conservation treatment of artifacts. This lining paper can go through physical and chemical deterioration due to its organic nature, and inflict serious damage to the original materials of the artifact. There is a lot of difficulty in keeping continuous production of the paper mulberry fiber based on lining paper due to a short supply of raw material and discontinuation of traditional method. Also restoration and conservation treatment is done by relying only on the knowledge and skill of few experts without any recognized manual based on scientific analysis. In this study, we evaluated the stability of lining paper which is used to support organic artifact. As the result of experiments, this lining paper was made from mulberry tree in Korea and produced by means of oebal method, but was not treated by starch in its surface.

• Journal of Conservation Science
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• v.35 no.5
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• pp.453-469
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• 2019

The celadon jar with inscription of 'the Fourth Sunhwa Year' is an important chronology that shows the conditions of production of the early celadon due to the inscription on the bottom including its purpose, application, and the producer. This celadon jar has been restored several times in the past. However, concerns over the structural stability, such as the separation and level differences in the joined cracks, have risen because of the aging of the repair materials, which were subjected to various environmental changes over a long time. By examining the conditions of preservation, the major damage was identified as the '入' shaped crack on the front, the 'V' shaped restored part and the crack on its left side, and the 'J' shaped crack on the back side. In the past, the cracks were found to be joined using a refined lacquer containing camphor, drying oil, rosin, etc. mixed with soil powder. The joint line was repainted with the refined lacquer and covered with gold powder. The missing parts were restored with gypsum and colored with acrylic color. After that, the repair materials were aged and emergency treatment was performed at the National Museum of Korea in 1981. At that time, Cemedine C or Cemedine C mixed with microballoons was used for reinforcing the cracks. Conservation treatment focused on removing the past repair materials and reinforcing the physically fragile parts by joining and restoring them based on the examination of the preservation condition. in addition, the area around the restored part was colored for future exhibition.

• Journal of Conservation Science
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• v.6 no.1 s.7
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• pp.71-78
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• 1997

Oil painting shows a wide variety of damages due to differentcohesiveness between materials and different responses to temperature and humidity. The deforming flatness of canvas is a major cause of deterioration. The heat, pressure and moisture, and classical materials which had been traditionally used to correct the deformation of supports have caused damages to the paintings. In modern restoration of paintings, new methods have been developed to avoid the use of such potentially harmful elements. In this paper the correcting of deformed support with the use of low-pressure table, deformation correction frame and new materials, which has been developed both to protect the works and to maximize the effect of restoration.