• Conservation Science in Museum
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• v.28
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• pp.17-34
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• 2022

This study seeks to identify the material characteristics of earthenware excavated from the Bangi-dong Ancient Tomb No. 3 and the articulated stone-mound tomb of the Seokchon-dong ancient tombs in the Songpa region, and analyze the homogeneity and the firing temperature of the materials used at each excavated site. The remains have been studied relatively recently, and the groups of tombs in which they were found demonstrate the transition of ancient Korean burial systems, and at the same time, provide important archaeological data about those in power at the time. The earthenware pottery excavated from the two sites examined in the study were buried at different times, and it is assumed that they were made by procuring weathered soil of similar gneiss, judging from the behavior of the compatible and incompatible elements and the weathering tendency found by examining the main components. In addition, the examination of the mineral composition and microstructure of clay indicates that the earthenware from Seokchon-dong was fired at 950 degrees Celsius or lower at a relatively early stage. On the other hand, the earthenware from Bangi-dong Tomb No. 3 was confirmed to have experienced temperatures below 850 degrees Celsius and above 1,000 degrees Celsius. However, it is difficult to interpret the difference as the result of the changes in firing temperature throughout the eras. It is expected that it will be possible to interpret the changes in earthenware manufacturing techniques by comparing more diverse earthenware potteries and ancient soils.

• International Journal of Computer Science & Network Security
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• v.22 no.5
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• pp.39-48
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• 2022

The main purpose of the work is to analyze modern innovative educational practices in the field of culture and art and their effectiveness in the context of the spread of digitalization trends. The study used general scientific theoretical methods of analysis, synthesis, analogy, comparative, induction, deduction, reductionism, and a number of others, allowing you to fully understand the pattern of modern modernization processes in a long historical development and demonstrate how the rejection of the negativity of progress allows talented artists to realize their own potential. The study established the advantages and disadvantages of involving innovative technologies in the educational process on the example of European experience and outlined possible ways of implementing digitalization processes in Ukrainian institutions of higher education, formulated the main difficulties encountered by teachers and students in the use of technological innovation in the pandemic. The rapid development of digital technologies has had a great impact on the sphere of culture and art, both visual, scenic, and musical in all processes: creation, reproduction, perception, learning, etc. In the field of art education, there is a synthesis of creative practices with digital technologies. In terms of music education, these processes at the present stage are provided with digital tools of specially developed software (music programs for composition and typing of musical text, recording, and correction of sound, for quality listening to the whole work or its fragments) for training programs used in institutional education and non-institutional learning as a means of independent mastering of the theory and practice of music-making, as well as other programs and technical tools without which contemporary art cannot be imagined. In modern stage education, the involvement of video technologies, means of remote communication, allowing realtime adjustment of the educational process, is actualized. In the sphere of fine arts, there is a transformation of communicative forms of interaction between the teacher and students, which in the conditions of the pandemic are of two-way communication with the help of information and communication technologies. At this stage, there is an intensification of transformation processes in the educational industry in the areas of culture and art.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.221-226
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• 2023

Can art really change the way people understand and interact with nature in order to reduce the possibility that ecological disasters will continue to expand due to failure to correct human actions that damage the global environment? What is the artistic methodology to realize environmental justice and sustainability of life on Earth? This paper seeks to find answers to these questions. Finding ways to look at, feel, understand, and act for the global environment, that is, the process of considering the way of orientation toward the global environment will lead to critical thinking of the history in which human centered behaviors treated nature as a resource for exploitation rather than a source of life. Therefore, this paper pays attention to the ecological art of The Harrison Studio, which is called the 'pioneer of the environmental art movement'. In the main body, The Harrison Studio's major projects are analyzed to find ecological implications and aesthetic strategies. In particular, their dialogical methodologies are demonstrated in detail. To this end, the significance of various collaborative practices of The Harrison Studio is explained. The Harrison Studio contributed to expanding the scope of practical experience and understanding of the value of eological art. They have the power to look back on the direction of ecological consciousness by constantly producing mutually connected and overlapping epistemic dimensions without being limited to any uniform rules of exchange.

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

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.110-127
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• 2020

The term "conserved remains" refers to cultural remains that are preserved in accordance with the valuation of buried cultural properties when important remains are recognized in rescue excavations during construction work. South Korea's rapid economic growth and ensuing land development over the past few decades compelled a sharp increase in the number of rescue excavation cases, and, naturally, of conserved remains. Today, an increasingly large number of conserved remains have raised issues, including those concerning land expropriation as well as the management and utilization of such remains, but no clear solutions have been proposed. This study attempts to propose plans for improvement based mainly on the recognition of institutional issues rather than technical issues related to the conservation of cultural remains. This is because the identification and review of institutional deficiencies must be prioritized in order to efficiently manage conserved remains with limited resources and manpower. Among many possible proposals to demand improvement of conservation policies, one that must first be examined under the current system is the rapid transition, or review thereof, of "conserved remains" to "designated cultural properties." Unlike designated cultural properties, conserved remains are merely a temporary means of conservation, because they lack regulations for follow-ups subsequent to preliminary measures. Naturally, deferring the definition of relics as "conserved remains" for extended periods causes numerous problems. Measures to resolve such problems may include establishing a legal system to manage conserved remains at a level similar to designated cultural properties or seeking ways to improve management under the current system. This study focuses on areas where institutional improvement for conserved remains is possible by methods other than through the rapid transition to designated cultural properties and presents several proposals. Currently, conservation measures are divided into three categories: on-site conservation, relocation conservation, and record conservation. This study reclassifies these categories from three into four categories. On-site conservation includes only two categories: conserved remains and the newly-proposed soil-covered remains. Two remaining categories, the relocation conservation remains and the record conservation remains, are presented as classifications in which development projects are possible, and they are presented as alternative conservation types that contrast with on-site conservation. Unlike conserved remains, soil-covered conservation presented as a new category in which development projects are possible.

• Journal of Conservation Science
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• v.25 no.2
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• pp.207-217
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• 2009

After replicating 10 bronze types such as Gyemija, Gyeongjaja, Eulhaeja, etc. before the Imjin war, we studied the change of microstructure from each casting process, method, and alloy ratio by Gyechukja replicated from "Donggukyeojiseungnam". We selected the average of compositions of Eulhaeja in the National Museum of Korea as the standard(Cu 86.7%, Sn: 9.7%, Pb: 2.3%) of bronze types, so we decided on the alloy's composition of Cu 87%, Sn 15%, Pb 8% added to 5% Sn and Pb contents because of evaporating the Sn and the Pb. Before replicating major metal types, we made master-alloy first, melting it again, and then replicated metal types. The composition of the 1'st replicated Gyechukja showed the range of Cu 85.81~87.63%, Sn 9.27~10.51%, Pb 3.05~3.19%. The 2'nd replicated Gyechukja made using the branch metal left after casting the 1st replica. The 2nd replicated Gyechukja showed the composition range of Cu 87.21~88.09%, Sn 9.06~9.36%, Pb 2.80~3.05%. This result decreases a little contents of Sn and Pb as compared with metal types of the 1st replica. However, it's almost the same as the Eulhaeja's average composition ratio in the National Museum of Korea. As a result of observing the microstructure of restored Gyechukja, it showed the dendrite structure of the typical casting structure and the segregation of Pb. There is no big difference of microstructure between the 1st and the 2nd restored metal types, even though the 2nd restored types partially decreases the eutectoid region in comparison with the 1st types. The systematic and scientific restoration experiment of metal types using Joseon period will be showed the casting method and alloy ratio, and this will be of great help to the study of restoration metal types in the future.

• Conservation Science in Museum
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• v.19
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• pp.1-18
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• 2018

The Stele for National Preceptor Hongbeop from the Jeongtosa Temple site in Chungju is one of the most important stone cultural heritage items for exemplifying the style of the Goryeo era. Despite its obvious value, this relic has been stored in a weathered condition at the National Museum of Korea. It had suffered various dismantling and displacements during the Japanese colonial period and had long been exposed in the open air. The stele was selected as a subject for the Stone Monuments Restoration Project launched by the National Museum of Korea in 2015. In preparation for its outdoor exhibition as part of the restoration project, this study investigated the characteristics of its materials, produced a map of its deterioration from weathering, and carried out ultrasonic analysis of the materials to provide findings useful for conservation treatment. The materials analysis revealed that the turtle-shaped pedestal of the stele was made from two-mica granite consisting of medium-grained quartz, plagioclase, alkali feldspar, biotite, and muscovite. Its body stone is crystalline marble, the rock-forming mineral in which is medium-grained calcite in a rose-pink color with dark grey spots. The dragon top of the stele is made of crystalline marble, the major component of which is medium-grained calcite of a light-grey color. The deterioration consists of 21.5% abrasion on the stone body, with its south face most damaged, and 18.6% granular disintegration, with the north face most damaged. The ultrasonic material characterization conducted for mapping the general condition of weathering shows low values on the parts-assembly area of the turtle-shaped pedestal and on the upper portion of the stone body. It is considered that there is dislocation due to partial blistering and fracturing as well as to the differences in surface treatment. Prior to the outdoor exhibition of the stele, the surface was cleaned of contaminants and was consolidated based on the scientific investigation in order to prevent weathering from the external environment.

• Conservation Science in Museum
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• v.26
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• pp.161-182
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• 2021

A jungwangu, a type of medium-sized mortar, is a firearm with a barrel and a bowl-shaped projectileloading component. A bigyeokjincheonroe (bombshell) or a danseok (stone ball) could be used as a projectile. According to the Hwaposik eonhae (Korean Translation of the Method of Production and Use of Artillery, 1635) by Yi Seo, mortars were classified into four types according to its size: large, medium, small, or extra-small. A total of three mortars from the Joseon period have survived, including one large mortar (Treasure No. 857) and two medium versions (Treasure Nos. 858 and 859). In this study, the production method for medium mortars was investigated based on scientific analysis of the two extant medium mortars, respectively housed in the Jinju National Museum (Treasure No. 858) and the Korea Naval Academy Museum (Treasure No. 859). Since only two medium mortars remain in Korea, detailed specifications were compared between them based on precise 3D scanning information of the items, and the measurements were compared with the figures in relevant records from the period. According to the investigation, the two mortars showed only a minute difference in overall size but their weight differed by 5,507 grams. In particular, the location of the wick hole and the length of the handle were distinct. The extant medium mortars are highly similar to the specifications listed in the Hwaposik eonhae. The composition of the medium mortars was analyzed and compared with other bronze gunpowder weapons. The surface composition analysis showed that the medium mortars were made of a ternary alloy of Cu-Sn-Pb with average respective proportions of (wt%) 85.24, 10.16, and 2.98. The material composition of the medium mortars was very similar to the average composition of the small gun from the Joseon period analyzed in previous research. It also showed a similarity with that of bronze gun-metal from medieval Europe. The casting technique was investigated based on a casting defect on the surface and the CT image. Judging by the mold line on the side, it appears that they were made in a piece-mold wherein the mold was halved and using a vertical design with molten metal poured through the end of the chamber and the muzzle was at the bottom. Chaplets, an auxiliary device that fixed the mold and the core to the barrel wall, were identified, which may have been applied to maintain the uniformity of the barrel wall. While the two medium mortars (Treasure Nos. 858 and 859) are highly similar to each other in appearance, considering the difference in the arrangement of the chaplets between the two items it is likely that a different mold design was used for each item.