• Journal of Conservation Science
• /
• v.36 no.5
• /
• pp.421-429
• /
• 2020

This study examined the manufacturing process of a furnace wall excavated from the Songdu-ri Site in Jincheon, and the difference in material composition between the 11 layers of the wall using physicochemical analyses. Based on microstructure observations, these layers could be largely divided into three groups: an undercalcined first layer, calcined second to ninth layer with evidences of partial heat, and non-fired soil layers from the tenth to the eleventh layer. Particle size analyses revealed that the fired layer constituted a relatively higher content of coarse sand than the non-fired layer. This difference was further confirmed by the results of the curvature coefficient analysis. An analysis of the constituent minerals showed similar overall XRD diffraction patterns between the different layers, but variations in the intensity of the low-temperature and high-temperature minerals. This indicates that the degree of heat was different. The thermal analysis results demonstrated that the heating peak of mullite was only reached in the first and second layers of the wall, thus implying these as the layers to be finally used. Consequently, no significant difference could be observed between the materials of the various layers of the wall. Thus, it can be suggested that the furnace wall was constructed using clay, which had a composition similar to that of the soil present in the area. However, the shape and characteristics of the constituent particles between the layers displayed partial variations, and it is possible that some external materials might have been added.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.100-116
• /
• 2023

The Sinamsa Temple was built in the late Goryeo Dynasty and a gilt-bronze seated Buddha is enshrined in Geungnakjeon hall in the precinct. Various damages occurred in the gilt layer of the Buddha, such as peeling of the gilt layer and deteriorating gloss. In the study, the conservation conditions of the inside and outside on the statue were accurately investigated, and the making technique was interpreted through the material characteristics and non-destructive diagnosis of the statue. As a result, it is estimated that gold-gilding layer is pure gold, coloration pigment of black is carbon, green is malachite, atacamite and verdigris, red is red lead and cinnabar, respectively. In the deterioration evaluation, peeling, cracking, break out and exfoliation of the gilt layer are confirmed as damages, but the conservation condition is relatively wholesome. However, the gloss of the gilt layer is calculated to be wider in the poorer part than the maintenance part. The ultrasonic velocity of the statue was calculated to be 1,230 to 3,987 (mean 2,608) m/s and showed a relatively wide range. In infrared thermography, peeling was not confirmed, and no special bonding marks were found. In endoscope, some biological damage and corrosion were observed on the surface of the internal metal, and sealed artifacts were identified. Manufacturing technique based on the study, it is considered that the gilt-bronze seated Buddha was cast at once, and the mold was inverted to inject molten metal.

• 보존과학연구
• /
• s.23
• /
• pp.113-129
• /
• 2002

This study is to disclose the gilding technique and distinctive features of using surface improvement technique in ancient gilt. There are many kinds of the ancient gilding technique so this thesis mainly focused on mercury amalgam gilding. Gilding technique can be largely divided into two branches – the cladding and amalgam method - in ancient periods. The researches have been carried out on two parts; the first is to find the making progress of amalgam on all sort of the gilding materials and the second is to show features of the gilded layer among basic metals. As a result of this experiment, to achieve good quality of amalgam, suitable particle size of the gilding material should be needed and the heating, a primary factor, has an effect on amalgam to be formed. Aspecial features of amalgam gilding, according to changing the basicmetal, would be influenced by chemical attraction for the mercury, condition of the surface and some other factors. A platers abilities and the making progress of amalgam would be influenced by a uniform and good gilding layer. In conclusion, it should be profoundly studied and investigated on the ancient gilding techniques and gold-gilt relics.

• Journal of Conservation Science
• /
• v.37 no.1
• /
• pp.43-54
• /
• 2021

In this study, a scientific analysis of the gold leaf layers and internal structure of the Clay Seated Vairocana Buddha Triad in Seonunsa Temple, Gochang (Treasure No. 1752) was conducted. The surface of the Buddha statues is a gold foil, and the gold leaf layer consists of four layers. The gold leaf layer first composed on the molding clay was produced in the order of lacquer-fabrics-lacquer-gold foil. Subsequently, it was confirmed that the work was performed three times in the same way. The composition of the Buddha statues was divided into the head, body or upper body, lower body, and pedestal. The body was made in a cylindrical form by connecting vertically oriented wooden materials, and the head and lower body were also connected to the body in an empty form. Thus, the head, body, and lower body are grafted structures that are connected to a single Bokjang-gong. It was confirmed that the Clay Seated Vairocana Buddha Triad in Seonunsa Temple was made using wood materials for the basic form, after which the detailed form was created with molding clay, and the surface was finished with a process of layering gold foil and substances presumed to be lacquer.

• Journal of Conservation Science
• /
• v.32 no.2
• /
• pp.167-178
• /
• 2016

Despite the size layer is an important part for conserving the artworks in the configuration of oil painting, the conservation scientific approaches of that have not been made yet. Therefore, this study produced standard samples on the basis of the analysis results of oil painting works, and carried out the evaluation of functions of the size layer materials. As a result of literature material, traditionally, animal glue was used for the size layer, whereas synthetic resin have been used in combination with animal glue since the modern age, in particular, it was identified that Polyvinyl Acetate(PVAc) was in general use. As a result of analysis of oil painting works, size layer was detected on the support and it was identified as animal glue. As a result of analysis based on Funaoka canvas for ground, it showed that the lead oxide and the titanium dioxide were the main constituents. On the basis of these results, standard samples were produced. As a result of evaluation on the functions of the size layer materials, in the case of the animal glue, stable result was observed in the shrinkag expansion rate, whereas slight weakness was observed in moisture proofing, color, and tensile strength, and dense cracks were found on surface. As for PVAc(A), moisture proofing, color, and the tensile strength exhibited stable results. Higher shrinkage rate was observed and the cracks with wide gaps were found on surface. As for PVAc(B), tensile strength, shrinkage expansion rate, and surface observation showed stable results, whereas moisture proofing property showed poor results. Different aspects were observed in each experiment, and this phenomena were considered to be due to the density and the adhesion properties between the hydrophilic and hydrophobic molecules in the size layer materials. The results are expected to be used as materials for the oil painting work conservation henceforth.

• Journal of Conservation Science
• /
• v.26 no.1
• /
• pp.43-60
• /
• 2010

This study was investigated quantitative and objective making techniques for molding clay of Four-guardian statues in Songgwangsa temple. Also, basic data about the provenance of molding clay was acquired for the restoration using same materials when the conservation treatment is carried out. As a result, molding clay used the Four-guardian statues was identified the very similar soil regardless of layers and objects. But molding clay differed in particle sizes and contents of organic matters according to the first layer to finish layer in relatively thick parts. Also, it was used one kind of soil without the layer distinction in thin parts. The restoration soil was applied to genetically similar soil as molding clay of the Four-guardian statues, and showed a difference of careful selection degree according to the layers. As a result of the provenance interpretation, the soil distributing presumed provenance was confirmed the same origin as molding clay. Therefore, the soil is appropriate for the materials of conservation treatment. This result will contribute inorganic material research and conservation treatment for the clay molded Four-guardian statues in Korea.

• Journal of Conservation Science
• /
• v.29 no.1
• /
• pp.35-45
• /
• 2013

The Clay Statues of Donggwanwangmyo Shrine (Treasure No. 142) are highly damaged physical weathering which are crack, exfoliation. Pigment of surface are discolored by chemical weathering like dust. The result of ultrasonic velocity measurement, low velocity zone was measured the lowest part of Woojanggun Statue. Deficiency condition of pigment layer was evaluated quantitatively through infrared Thermography. As a result, exfoliation part was detected at high temperature. Making techniques of the Clay statues were identified by gamma rays, infrared TV, SEM. All Clay Statues were founded on wood base and joints of wood were fixed using thin iron wires. After wood base was twisted a straw rope, it was made by clay. Clay was blended with rice straw to prevention of crack and exfoliation. The upper side of clay layer was coated with Hanji(Korean handmade paper) and cotton in order to isolate the pigment layer.

• 보존과학연구
• /
• s.15
• /
• pp.59-103
• /
• 1994

Painting is well regarded as a stratified structure by the conservators and restorers. Hence, the scientific methods have been developed for the study of the interal layer of paintings. Examples of such methods are X-ray, infra-red, and ultra-violet photography. A more direct method is to look at the painting in cross section under the microscope and to analyze pigments using an electron probe X-ray micro analyzer(EPMA).In this research, I study and analyze twenty two Korean paintings of self-portraits including the first oil painting of Hui Dong Koh's self-portrait stored in the museum of Tokyo National University of Fine Arts and Music, employing these scientific techniques. The small fragments taken from the ground layers of the early oil paintings(1915∼1942)are analyzed using the EPMA. According to their main materials, the ground layers can be classified into five types ; 1. Lead white layer and double layer of calcium carbonate and lead white, 2. Zinc white with some mixiture of lead white, 3.Titanium white with some barium white, 4. Barium white, 5.Double layer of titanium white and zinc white.

• Journal of Conservation Science
• /
• v.36 no.4
• /
• pp.296-305
• /
• 2020

Konbaung Dynasty was the last unified dynasty that ruled Myanmar from 18^th to 19^th century. During this time Buddhist art flourished in Myanmar due to the interest of the rulers toward their traditional culture. Metal decorative artifacts in the 18^th century are classified into structures and Buddha statues. They are further subdivided into gilt-bronze and bronze objects, depending on their material component. Three-dimensional gilt-bronze decorative artifacts were cast with a brass alloy of Cu-Zn-Sn-Pb and their surfaces were gilded with extremely thin gold leaves (less than 1 ㎛ in thickness). The gilded layer approximately comprised 10 wt% silver in addition to the main element, gold. The lack of Hg in the gilded layer, indicated that the amalgam gilding technique was not applied. The analysis results indicated that the lacquered gilding technique was applied to the objects. Bronze decorative artifacts without gilding were cast with materials containing Cu-Sn-Pb. The bronze pavilions and bronze Buddha staues were crafted using the same alloy of high-tin bronze, which approximately contained 20 wt% Sn. No heat treatment was applied to reduce the brittleness of the objects after they were cast with a large amount of Sn. The most significant difference between the gilt-bronze and bronze decorative artifacts lie in their elemental compositions. The gilt-bronze decorative artifacts with their gilded surface were manufactured using brass containing zinc, while the unplated bronze decorative artifacts were composed of bronze containing tin. Artifacts of the same type and size are classified differently depending on the materials utilized in the surface treatment such as gilding.

• Korean Journal of Heritage: History & Science
• /
• v.57 no.2
• /
• pp.102-115
• /
• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.