• Journal of Korean Society of Forest Science
• /
• v.42 no.1
• /
• pp.83-100
• /
• 1979

It was planned and performed to study the possibility on the use of inexpensive and easily acquirable foliage powder, which processed by pulverizing after dried, instead of imported expensive wheat flour for the extending of plywood adhesives. Pine leaves of softwood trees, Poplar, Oak and Sycamore leaves of broad leaved species were selected and harvested to pulverize into the minute foliage powder. The harvested foliages from each selected species were pulverized into 40 mesh particles after dried at $100{\sim}105^{\circ}C$ condition during 24 hours in drying oven. To compare the extending effect of plywood adhesives with these foliage powders 100 mesh wheat flour using at current plywood industry was also prepared. Foliage powder and wheat flour were extended into 10, 20, 30, 50 and 100% to the urea and phenol formaldehyde resin. After plywoods were processed by the above extending method shear strength of extended plywoods were analyzed and discussed. The results obtained at this study are as follows: 1) Among 10% extensions of urea formaldehyde resin plywood, dry shear strength of plywood extended by wheat flours was the highest and that of non-extended plywood the next. Plywood extended with foliage powder showed the lowest dry shear strength. The order of dry shear strength of plywoods extended by foliage powder was that of Oak foliage powder extension, the best, that of Sycamore, that of Pine, and that of Poplar. 2) Among 20% extensions of urea formaldehyde resin plywood, plywood extended by wheat flour showed the highest dry shear strength, and the next was plywood by Poplar foliage powder. All these two showed higher dry shear strength than non-extension plywoods. Except Poplar, dry shear strength of foliage powder extension plywoods was bad, but the order of dry shear strength of plywoods extended by foliage powder was Pine, Poplar and Oak. 3) In the case of 30% extensions of urea formaldehyde resin plywood, dry shear strength of wheat flour extension was the highest and non-extension the next. Dry shear strength of foliage powder extension plywoods was poor with a rapid falling-off in strength. 4) Among 50% and 100% extensions of urea formaldehyde resin plywood, only wheat flour showed excellent dry shear strength. In the case of foliage powder extension, low dry shear strength showed at the 50% extension of Pine and Poplar, and plywoods of 50% extension of Oak foliage powder delaminated without measured strength. All plywoods of 100% foliage powder extension delaminated, and then shear strength were not measured. 5) Among wet shear strength of 10% extensions of urea formaldehyde resin plywood, wheat flour extension was the highest as in the case of dry shear strength, and non-extension plywood the next. Except Poplar foliage extension, all foliage powder extension plywoods showed low shear strength. 6) Wet shear strength of plywoods of 20% extension lowered in order of non-extension plywood, plywood of wheat flour extension and plywood of foliage powder extension, but other plywoods of foliage powder extension except plywoods of Poplar and Oak foliage powder extension delaminated. 7) Wet shear strength of 30% or more extension of urea formadehyde resin plywood were weakly measured only at 30% and 50% extension of wheat flour, and wet shear strength of plywoods extended by foliage powder were not measured because of delaminating. 8) Dry shear strength of phenol formaldehyde plywoods extended by 10% wheat flour was the best, and shear strength of plywoods extended by foliage powder were low, but the order was Oak, Poplar, and Pine. Plywood of Sycamore foliage powder extension delaminated. 9) In the case of 20% extensions of phenol formaldehyde resin, dry shear strength of plywood extended by wheat flour was the best, but plywood of Pine foliage powder extension the next, and the next order was Oak and Poplar foliage powder. Plywood of Sycamore foliage powder extension delaminated. 10) Among dry shear strength of 30% extensions of phenol formaldehyde plywood, that of Pine foliage powder extension was on the rise and more excellent than plywood of wheat flour extension, but Poplar and Oak showed the tendency of decreasing than the case of 20% extension. Plywood of Sycamore foliage powder extension delaminated. 11) While dry shear strength of 50% and 100% extension plywoods were excellent in the case of Pine foliage powder and wheat flour extension, that of hardwood such as Poplar, Oak, and Sycamore foliage powder extension were not measured because of delaminating. 12) As a filler the foliage powder extension of urea formaldehyde resin is possible up to 20% with Poplar foliage powder. And also as an extender for phenol formaldehyde resin, Pine foliage powder can be added up to the same amount as that in the case of wheat flour.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.123-154
• /
• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.