• Journal of Conservation Science
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• v.27 no.2
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• pp.231-241
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• 2011

Anoxia Treatment using inert gas like nitrogen and argon has been used to eradicate insects successfully in museums as alternative of methyl bromide and toxic insecticide. Killing efficacy of insect for anoxia treatment is depend on species of insects, oxygen concentration, temperature, relative humidity and gas. It is possible to kill museum insects which are most tolerant in anoxia environment, within 1 month below 0.03% of oxygen concentration in temperature $15{\sim}25^{\circ}C$ and relative humidity 40~60% of museum environment. And various systems like bag, tent, bubble and chamber depending on size and quantity of objects, are used.

• Korean journal of applied entomology
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• v.50 no.3
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• pp.247-251
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• 2011

Wood products are sometimes infested with cossonid weevils. A cossonid weevil, Hexarthrum brevicorne Wollaston has been found on wood boards used for printing books in the Jeonju Confucian temple and school (2004), a wood cabinet in the Museum of Milyang (2007), a wood wardrobe in the Museum of Seoul (2008) and on wood boards used for printing Buddhist scriptures in the temple of Suncheon (2008). Wood utensils for living in the Museum of Seoul were found to be infested with another cossonid weevil, Rhyncolus sculpturatus (Waltl) in 2008. To protect the cultural property from insect pests in the field of conservation science, more comprehensive insect pest management (IPM) programs are required.

• Journal of Conservation Science
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• v.16 s.16
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• pp.21-26
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• 2004

A lot of waterlogged shrouds and mummies have been found in tombs revered with lime of the Chosun Dynasty(1392-1910) of Korea. Shrouds were heavily polluted with greyish white material. Greyish white material, which adhered to shrouds excavated from tombs(16C and 17C), was submitted to FT-IR qualitative analysis and fatty acid analysis for cleaning. The results of the FT-IR qualitative analysis identified the main ingredient of the greyish white material as calcium salt of fatty acid, including a little of the fatty acids, lipids and proteins. Therefore the greyish white material fumed out adipocere which was formed from the degradation of the lipids in a dead body. From the fatty acid analysis, hydroxy fatty acids(10-Hydroxyhexadecanoic acid and 10-Hydroxyoctadecanoic acid), which were found in adipocere, were detected. The distribution of contents of fatty acids was also rimilar to that of adipocere which have a high proportion of palmitic acid of saturated fatty acid and a low proportion of oleic arid of unsaturated fatty acid. In view of the results of analyses, it was revealed that greyish white material adhered to shrouds was adipocere moved from a mummy.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.1-12
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• 2008

Although the curator system of South Korea officially started in 2001, it has not taken root yet. Because most active curators do not have a certificate, concerned scholars are making efforts to complement and establish the curator system. Although there are currently numerous museums and art galleries that own a number of costumes and textiles in Korea, the number of curators who majored in the history of costume is very low. Despite the growing importance and the increase in costume-related exhibition than any other fields, this shortage of qualified curators resulted in the lack of specialty for the management and exhibition of past costumes. To solve this problem, there needs to be more hire for curators, in proportion to the possession and exhibition of costumes, who major in the history of costume. The history of costume must also be part of the curator test and be required even for the internship. And there must be education for curators who currently deal with costumes without having majored in the study of costume, history of costume students who want to become a costume-related curator in the future, and the general public. The contents for education must include the knowledge of artifacts, theories to enhance the management capacity, and practice in the museum.

• Journal of Conservation Science
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• v.30 no.2
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• pp.137-148
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• 2014

Large scale anoxic chamber system(volume $28m^3$) was developed and installed at The National Folk Museum of Korea for the first time in Korea. In order to get optimal anoxic treatment condition, we compared the disinfection of adults, larvae and eggs of cigarette beetles using nitrogen and argon. The time for complete disinfection of cigarette beetles in pine wooden blocks exposed to nitrogen at oxygen concentration 0.01% and 50% in relative humidity were 15 days at $20^{\circ}C$, 10 days at $25^{\circ}C$, and 7 days $30^{\circ}C$. Time were 10 days at $20^{\circ}C$, 7 days at $25^{\circ}C$, and 5 days $30^{\circ}C$ in argon anoxic atmosphere. From the mortality of cigarette beetles, optimal disinfection condition was oxygen concentration 0.01%, $25^{\circ}C$ in temperature, 50% in relative humidity and exposure time 21 days at nitrogen atmosphere. And when large scale anoxic chamber system was supplied nitrogen by nitrogen generator for anoxic treatment of many collections or large collections, it could be operated stably. To verify optimal disinfection condition, museum insects(adults, larvae, pupae and eggs of cigarette beetles in pine wooden blocks, cotton fabrics and Korean paper book, adults and larvae of drugstore beetles in pine wooden blocks, cotton fabrics and Korean paper book, larvae of varied carpet beetles in pine wooden block and silk fabrics, adults and larvae of hide beetles and adults of rice weevils in breeding boxes) which exposed at optimal disinfection condition, were completely killed.

• Journal of Conservation Science
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• v.27 no.2
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• pp.191-199
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• 2011

A study was done to compare the properties of artificially deteriorated silk with ultraviolets for reinforcing of loss area of paintings on silk. Deteriorated surface of raw silk irradiated by long-wavelength ultraviolet(UV-A) than short-wavelength ultraviolet(UV-C) was similar to naturally aged raw silk. UV-A irradiation raw silk was slowly decreased in tensile tenacity and elongation and lowered in yellowness index than that of UV-C. Water content of UV-A irradiation raw silk than that of UV-C was higher. UV-A irradiation raw silk had no problem in dyeing and inpainting for conservation because of low yellowness index. UV-C irradiation raw silk was brittle, but UV-A irradiation raw silk was seemed to tough and similar to naturally aged raw silk. Korean painting conservator estimated that UV-A irradiation raw silk was more proper for reinforcing of loss area of paintings on silk than that of UV-C.

• Journal of Conservation Science
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• v.35 no.1
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• pp.11-18
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• 2019

The adhesives joining Buddhist scripture scrolls from medieval Korea(Goryeo Dynasty, A.D. 918~1392) are different from wheat starch adhesive. The composition of the adhesive was analyzed using Attenuated Total Reflectance-Fourier Transform Infrared(ATR-FTIR) spectroscopy. In the adhesive used to join Buddhist scripture scrolls, peaks attributed to amide I and amide II of the protein and carbohydrate were detected in the ATR-FTIR spectra, and no carbonyl peak($1745cm^{-1}$) for oil was detected in the 2nd derivative ATR-FTIR spectra. The ATR-FTIR spectra almost coincided with those of defatted soybean powder adhesive. Hence, the adhesives joining Buddhist scripture scrolls were inferred to be soybean adhesive prepared from a defatted soybean cake.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.211-231
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• 2008

To conserve historic textiles, analyses of textile materials, pollutants and deterioration are prerequisite steps. Based upon analytical results, guides for conservation of historic textiles are established. In analyses of textile materials, pollutants and deterioration, there are chemical methods(burning, solubility and staining), physical methods(microscopy and density) and instrumental analysis(Fourier Transform Infrared Spectroscopy (FT-IR), Fourier Transform Raman Spectroscopy(FT-Raman), Gas Chromatography(GC), Mass Spectroscopy(MS), X-Ray Fluorescence (EDXRF, WDXRF), Energy Dispersive Spectroscopy(EDS), and X-Ray Diffraction(XRD), Tensile Testing Machine etc.). Combination of qualitative and quantitative analyses makes accurate diagnosis of textile condition possible. As examples of analyses and conservation of historic textiles, Chuninsan(19 century) similar to sunshade with handing down historic textile and golden decorative skirt(17 century) with excavated costume are taken.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.64-87
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• 2020

Copper trihydroxychloride (atacamite, botallackite, paratacamite, etc.), the first green pigment used in Mogao Grotto's mural paintings of China, has been known as "copper green", "green salt", and "salt green", etc. and has been used as an important green pigment with malachite. At first, the natural mineral atacamite was employed, but after the Five Dynasties (907~960 CE), synthetic copper trihydroxychloride was primarily used. In Chinese literature, copper green, green salt, and salt green are recorded as being made via reaction with copper powder, Gwangmyeongyeom (natural sodium chloride), and Yosa (natural ammonium chloride), and the prepared material was analyzed to be copper trihydroxychloride. Copper trihydroxychloride pigment was not found in paintings prior to the Joseon Dynasty (1392~1910 CE) in Korea. In analysis of the green pigments used in paintings and the architectural paintworks in the Joseon Dynasty, copper trihydroxychloride was also shown to have been used as an important green pigment with malachite (Seokrok). In particular, the proportion of copper trihydroxychloride use was high in Buddhist paintings, shamanic paintings, and dancheongs (decorative coloring on wooden buildings). Some of these turned out to be synthetic copper trihydroxychloride, but it is unclear whether the rest of them are synthetic or natural pigments due to a lack of analyzed data. From literature and painting analyses, the pigment name of copper trihydroxychloride in the Joseon Dynasty turns out to be Hayeob, a dark green pigment. It is believed to have first been prepared by learning from China in the early Joseon period (early 15^th century) and its use continued until the late 19^th century with imported Chinese pigment. Round or oval particles with a dark core of copper trihydroxychloride which were used in Chinese literature were similar to the synthetic copper trihydroxychloride pigments used in the Joseon Dynasty and Chinese paintings. Therefore, the synthetic copper trihydroxychloride pigments of Korea and China are believed to have been prepared in a similar way.

• Journal of Conservation Science
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• v.31 no.3
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• pp.193-214
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• 2015

The green pigments of shamanic paintings (83 items) in the 19~20th century were analyzed with X-ray fluorescent spectrometer(XRF), scanning electron microscopy (SEM) and fourier transform infrared spectroscopy (ATR-FTIR). In 60 items, copper and arsenic were detected in green pigments of the paintings by XRF spectra. Cu $K{\alpha}$/As $K{\beta}$ (peak intensity ratio of copper and arsenic) of shamanic paintings of Bokgaedang (shrine), solemn paintings (romance of three kingdoms) of Donggwanwangmyo and unknown enshrined place were 5.93~12.04 and higher compared to 5.67-6.26 of standard emerald greens and 4.01~7.89 of remaining shamanic paintings. The SEM images of crystal forms of copper-arsenic green pigments were various. Crystal forms were divided into oval and round spherulite with intersecting plate crystals and spherulite with agglomerate plate crystals. The crystals of the latter were found in shamanic paintings of Bokgaedang (shrine), solemn paintings (romance of three kingdoms) of Donggwanwangmyo and unknown enshrined place and the former were found in the rest of shamanic paintings. Copper-arsenic green pigments of shamanic paintings were identified as Scheele's green from shamanic paintings of Bokgaedang (shrine) and romance of three kingdoms. Emerald green from the rest of shamanic paintings by ATR-FTIR. From analytical results, it is confirmed that Scheele's green of shamanic paintings of Bokgaedang and romance of three kingdoms was used in the 1850s~1870s and emerald green had been widely used from late 19th century to 1970 in the rest of shamanic paintings.