• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.122-147
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• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.4-17
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• 2011

The Baekje's cotton fabrics were excavated from 'Neungsan-ri temple site in Buyeo' (September 1999-April 2000) and stored at Buyeo National Museum after conservation treatment. In this study, it carred out non-destructive, chemical and morphological analysis for fiber identification, also considered on influx, features and difference between the 'Baek-cheop-po(Three kingdom period's cotton fiber)' and 'Mok-myeon(imported by Munikjeom, late Korea dynasty)'. As a result, the fiber proved cellulose fiber through analytical researches like color reaction, FT-IR(chemical analysis). It was also confirmed lumens, typical dimensional structure(morphological analysis) as an features of cotton fiber. The fiber was the first evidence in ancient Korea's cotton. But it can not prove that whether weaving were made in Baekje's area. However there were documentation that people in Beakje make cloth to silk fabric from 'Mahan period'. We can suppose that they have had an old weaving techniques. This study has a great historical, academic values as the only evidence for the hypothesis of a weaving technique of the Baekje's cotton. Through comparison to each region's ancient cottons, we can investigate the species of Baekje's cotton and ancient Korea cotton's influx.

• Journal of Conservation Science
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• v.32 no.2
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• pp.141-154
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• 2016

The gilt-bronze decorated bamboo mudguards with heavenly horse design excavated in 1973 at Cheonma Tomb of Shilla are the unprecedented relics in Korean history as it has its original structure. Although the bamboo mudguards were excavated in not only Cheonma Tomb, but also in Geumgwanchong and Geumryeongchong, all of them remains into pieces. In addition, there are no exact data related with its structure and manufacturing technique. The report deals with the manufacturing technique of the bamboo mudguards with heavenly horse design excavated in Cheonma Tomb through the naked eye's observation, X-Ray Fluorescence, and Transmission X-rays analysis etc. Bamboo mudguards basically have the three divided structure with central-focus structure of a radiation style. And the mudguards consists of Bratticing gilt-bronze, fabric, and bamboo plates together, as ornamental fringe of 4 plates. The surface of the gilt bronze plates was decorated with a variety of workmanship and pendant. Bamboo plates have a waved pattern by using about three hundred bamboo bark. Two types of textiles were mainly found in the textile plates, and the leather were partially found. In order to combine all plates together, gilt-bronze bottonhead, pendant decoration, and ornamental fringe were used. It would be helpful to study bamboo mudguards during 5th-6th centuries in Shilla period and basis investigations of Geumgwanchong and Geumryeongchong excavations.

• Conservation Science in Museum
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• v.12
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• pp.59-69
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• 2011

The conservation treatment and production technique of Yongmuntujoeunpanpi-Angyo(Saddle Ornament) at Hwangnamdaechong were: The conservation treatment removed foreign material by using both chemical method and physical method to reinforce and to recover area by jointing that was destroyed and weakened. Not only Angyogeumgu but also Jwamokseongeumgu was made of 99wt% or more silver (Ag), and Wondujeong, Naeyeongeumgu and Bokryung were produced by amalgam gold plaiting. Not only Angyogeumgu but also Jwamokseongeumgu that was cast with silver plate was jointed by folding both and putting Naeyeongeumgu on it and then nailing gild ofwondujeong at specific interval. A tree that grew up in curve was used, and it was adhered by plain weave fabric of hemp cloth and wool.

• Journal of Conservation Science
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• v.32 no.2
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• pp.203-213
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• 2016

Conservation treatment of modern cultural heritage rickshaw from National Museum of Korean Contemporary History were carried out. The Rickshaw is divided into three parts which are chair part, sun-block cover part, wheels part. Treatment was referred to analysis results of P-XRF, species identification, FT-IR and microscope observation on Rickshaw. Outer films of rickshaw were chipped off. Therefore, conservation and restoration treatment were carried out in the damaged area. Degradation in armrest, saddle and backside of chair may cause serious problem. Therefore, the reinforcement were carried out with similar materials. Dry and wet cleaning were performed in sun-block cover to remove white stain and corrosion contaminant. Furthermore, reinforcement and restoration were performed in damaged area. Rickshaw from National Museum of Korean Contemporary History was made with various materials. This research result expects to be a great example of conservation treatment for modern cultural heritage which is made of various materials and to be used as useful data for conservation and restoration in modern cultural heritage.

• Conservation Science in Museum
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• v.20
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• pp.61-76
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• 2018

The National Museum of Korea conducted conservation treatmenton the armor in its collection for the purposes of public display and appropriate preservation. This was preceded by a literature study on the types and features of the armor in order to collect basic data for secure and accurate conservation treatment. The literature study found that during the Joseon dynasty, armor was named in reflection of precise details including the color, material, status of the wearer, and even the certain parts of a suit of armor. In general, the name of armor includes the details in the order of color, underlying textile, and scale material (e.g., iron, leather). The former part of the name presents the features of the garment and the latter part refers to the material of the scales or the status of the wearer. The study also found that main materials used in armor include textiles, leather, and metal, and armor can be classified by the materials of the scales-e.g., metal armor (鐵甲), leather armor (皮甲), paper armor (紙甲), paper-and-fabric armor (淹心甲), silk armor (緞甲). Joseon-period armor can also be classified into four types according to its structure and the method of wearing, and overcoat(袍)-style armor was the most widely used in the period following the Japanese Invasion of Joseon (1592-1598) through the late nineteenth~early twentieth century. Overcoat-style armor was commonly worn by infantry, and the four examples of armor with leather scales at the National Museum of Korea belong to this category.

• 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.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.109-114
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• 2004

The purpose of this study lies in analyzing the characteristics of the carbonized textile fabrics and to know the carbonizing mechanism. Samples were Jiyo excavated from the grave of Mrs. Hansan Lee as the wife of Jinju Kang at Daeduk-gu, Daejon, and black fragements assumed as of the outside material of cotton skirt and black dusts collected out of Jikryung for official dress. The composition and status of the fiber were clarified by means of Microscopic FT-IR and both cross sectioanl and side parts of the fiber were observed using the technique of scanning electron microscopy(SEM). Finally EDS analysis was carried out to qualitatively analyze inorganic ingredients contained in the carbonized fiber. As a result of FT-IR measurement, characteristic peak was very strong around $1625cm^{-1}$ and could be found even between 2500 and $2300cm^{-1}$ because of a high-molecule pigmental substance, melanine. When SEM photography was applied to the fractions, the tissues were identified as silk fiborine through the observation of their side and cross sectional parts. SEM-EDS measurement indicated that both the cotton skirt and Jikryung for official dress contained a high proportion of inorganic substances such as Si, Ca suggesting the existence of silicide and calcium carbonate.

• Journal of Conservation Science
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• v.20
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• pp.9-22
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• 2007

Three kinds of natural pesticides extracted from plants which are being sold in the Korean markets, were estimated effects on materials of art of museum. Tested samples were 1) silk fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gallut(copperas post mordancy), gardenia, turmeric, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+amur cork tree, indigo+sappanwood) 2) cotton fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gardenia, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+sappanwood) 3) undyed ramie fabric 4) Korean papers : undyed, dyed(sappanwood, indigo, gardenia, amur cork tree, safflower) 5) pigments : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white 6) painted plates : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white. Conditions of tests were that after samples were exposed to 10 times of promoted concentration for 9 months in relative humidity $55{\pm}1%$ and temperature $20{\pm}2^{\circ}C$, they were compared with standards. Items of estimation were color difference(${\Delta}E^*$) and tenacity. After exposure to pesticides, undyed silk cotton ramie fabrics and Korean papers were not nearly changed in their colors, but colors of most of dyed samples were clearly changed by pesticides except for partial samples(acorn- and madder-dyed fabrics etc, gardenia-dyed samples). Especially changes of colors of turmeric-dyed silk fabrics were most distinct. And colors of pigments and painted plates containing lead, copper, arsenic, mercury and vegetable pigments, were clearly changed. Tenacities of yams of undyed silk fabrics were not nearly changed and undyed cotton fabrics were a little reduced as compared with standards. But tenacities of yams of dyed silk and cotton fabrics were clearly reduced or increased as compared with standards. Especially, madder-dyed silk fabrics were increased 10% or more and indigo-dyed silk fabrics were reduced 10% or less in all pesticides. Also madder- and sappanwood(alum post mordancy)-dyed cotton fabrics were increased 10% or more in all pesticides.