• Conservation Science in Museum
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• v.3
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• pp.43-50
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• 2001

This article is about a joint project carried out by the National Museum of Korea and the Tokyo Cultural Properties Research Institute for the conservation of central Asia Wall painting that has been selected for the exhibition at the new Seoul National Museum of Korea at Yongsan. The investigation of the wall painting revealed very useful information. This includes the condition of the object, and the identification of evident damage, such as cracks, loss of pigment, plus materials and methods employed during the object's creation, as well as previous conservation treatment. The object was mainly made by applying plaster to the body (wall) that consisted of a mixture of soils and rice straws. Then, on the surface of the wall-painting, pigments were used to draw and to colour it. As a part of the investigation, radiocarbon dating was conducted using straw samples taken from the object. The result indicates that the object is probably dated form between the end of the 10th Century and the beginning of the 13th Century. The result of X-ray diffraction also revealed the composition of the pigments used on the surface. These are 1. gypsom [Ca(SO₄)·2H₂O], CaSO₄ and Calcite (CaCO₃) and Calcite (CaCO₃) that were used for the white background. 2. Pb₃O₄ and led Arsenate [Pb(As₂O₆) that were used for the red colouring. 3. Cuprite (Cu₂O), Arsenolite (As₂O₃) and Arsenic Oxide (As₂O₄) that were used for the green colouring.

• Journal of Conservation Science
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• v.32 no.2
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• pp.249-259
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• 2016

Effect of the flame retardants on Dancheong is studied in the present work. Two kinds of flame retardants were applied on Dancheong specimens and compared with control groups on which distilled water was applied instead of the flame retardants. The flame retardants enhanced the hygroscopic property of the surface of Dancheong. Furthermore, the added flame retardants reacted with oyster shell white($CaCO_3$) and lead red($Pb_3O_4$), producing new chemical compounds like Calcium phosphate tribasic and Lead Phosphates which make the painted layer of Dancheong dissolving and whitening over certain period of time. When applied in excessive amount and exposed in repetitive wet and dry condition, especially, they aggravate the surface problems significantly. These results will provide a good reference on the study of the discoloring/whitening effect of Dancheong layers at many traditional wooden building in Korea.

• Conservation Science in Museum
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• v.23
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• pp.71-90
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• 2020

The scientific analysis of a 'F-51D Mustang Fighter'(Registered Cultural Heritage 666), one of the War Memorial of Korean collections, was carried out. The paint layer and canopy were discolored due to a constant outdoor exhibit. The results obtained through the scientific survey and analysis processes were intended to be used as basic data for the future dismantling and restoration of the fighter. The analysis results for the pigment components have confirmed red oxide of iron, Fe₂O₃ organic pigments, such as Cobalt Blue, phthalocyanine blue, etc., yellow PbCrO₄, white TiO₂, black Fe₃O₄, and gray Fe₃O₄ + TiO₂. It has been also confirmed that Alkyd resin was mainly used for painting. The fighter's canopy was Poly methyl methacrylate(PMMA), and Al was detected as the main component of the fighter body, wings, and tails.

• Journal of Conservation Science
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• v.34 no.5
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• pp.397-405
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• 2018

Currently, there are very few studies on Korean wall paintings. Therefore, this study discusses the current conditions of wooden paintings and the characteristics of the adhesive agent in the painting layer separation. Korean land pine was chosen as the support, while white oysters shells, orpiment, red ocher, Noerok, and azurite were used as pigments. With four adhesive agents, including animal glue, Gelidium, methyl cellulose, and PVAc (caparol binder), a comparative experiment was conducted, by dividing them into two concentrations, of 0.5% and 1.5%. The temperature, humidity, and ultraviolet rays, which are contributing environmental factors in cultural assets after fixing, were artificially investigated. After deterioration, observed color difference, fixing, and the surface. Results showed that the animal glue strongly fixing all the colored layers compared to the other adhesives; however, azurite had a partial change when used outdoors. With Gelidium, which functioned similar to animal glue, the azurite was affected by the ultraviolet rays; nevertheless, despite the variations in temperature and humidity, it had the best gripping force compared to the other adhesive agents. Methyl cellulose was glossy at a high concentration, and was relatively strong against rapid changes in temperature and humidity. PVAc significantly reduced the binding force, compared to other adhesive agents.

• Applied Microscopy
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• v.42 no.2
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• pp.87-93
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• 2012

In this study, fine structures of silica, titanium dioxide, talc and kaolin used in decorative cosmetics and the mixture extracted from BB cream cosmetics were observed by scanning electron microscopy. Kaolin had plate like shape structures of polygon with smooth surface and edge of kaolin had a relatively smooth appearance in comparison with talc. Also, thickness of each layer was estimated to about $0.1{\mu}M$ in the lump formed in stratum of several layers. Talc was observed by lumps shape phase of layering very thin flake. Boundary of thin flake was sharp or angular phase and thickness of flake was approximately 600 nm in diameter. When comparing the thickness of kaolin and talc, we was confirmed that kaolin was thicker than talc. Diameter of titanium dioxide was estimated to 0.2~0.3 ${\mu}M$ and surface of particle was a soft cubic form. Silica was confirmed that variety of size from 200 nm to $15{\mu}M$ of globular shape was measured. From the observation of inorganic pigments, silica was homogeneous dispersed in the BB cream cosmetics and among each other was filled with relatively small size like talc, kaolin, titanium dioxide and iron oxide. In conclusion, we suggest that silica at decorative cosmetics were formed in cosmetic coat at the skin as the minimum thickness.

• Conservation Science in Museum
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• v.14
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• pp.37-60
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• 2013

Conservation and analysis of wall painting Goguryeo was performed to classify the unknown fragments. The conservation naked eye observation, optical microscopy, and infrared examination were carried out in order to figure out the structure, quality of constituting materials, and damages such as cracks, and discolored fragments of colored areas. Based on such investigation, conservation was proceeded. and it was completed with strengthening the weakened pigment layer of wall blocks. In addition tombs where the wall painting fragments were excavated were investigated by making comparison with gelatin dry plates and copies possessed by National Museum of Korea. According to the result, they were Kaemachong, Gosan-ri Tomb No.1 Gamsinchong, and Wonbong-ri Tomb. The components of colors with which Goguryeo wall painting fragments were painted and the mineral pigments of the wall layer were analyzed. Portable µ-XRF spectrometer and X-ray diffractometer were employed. It showed that lime (CaCO₃) used for the wall layer, and the brown color is hematite(Fe₂O₃) and cerusite (PbCO₃) and lead oxide(PbO) were identified. In the red color, cinnabar (HgS) were detected.

• Journal of the Korean Society of Food Science and Nutrition
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• v.44 no.8
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• pp.1186-1193
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• 2015

This study was performed to investigate the changes in monacolin K content and antioxidant activities of Monascus-fermented brown rice with different germination temperatures and periods. Brown rice was germinated at 32, 35 and $37^{\circ}C$ for 1~4 days, after white rice (WB), brown rice (BR), and germinated brown rice (GBR) were fermented with M. pilosus 305-9 at $30^{\circ}C$ for 20 days. The redness, yellowness and Monascus pigments increased after germination. Total monacolin K content increased from 215.85 mg/kg of BR to 1,263.04 mg/kg of GBR ($32^{\circ}C$/1 day), whereas monacolin K content decreased with increase in germination period. Citrinin was not detected in any of the samples. Total polyphenol (TPC) and flavonoid contents (TFC) increased with increase in germination temperature and period, whereas electron donating ability (EDA) and total antioxidant activities (TAA) decreased due to reduction of Monascus pigment content. The TPC and TFC showed the highest values (13.80 mg/g and 1.30 mg/g, respectively) in GBR ($37^{\circ}C$/4 day), whereas EDA and TAA showed the highest values (22.16 mg Trolox equivalent/g and 62.27 mg ascorbic acid equivalent/g, respectively) in GBR ($32^{\circ}C$/1 day). These results indicated that the optimal germination temperature and period for increasing monacolin K content and antioxidant activities was found to be at $32^{\circ}C$ for 1 day. In addition, it was found that M. pilosus 305-9 was a useful strain for increasing monacolin K content without producing citrinin in functional foods and pharmaceutical industrial regions.

• The Journal of Korean Academy of Prosthodontics
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• v.49 no.1
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• pp.73-79
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• 2011

Purpose: The aim of this study was to evaluate the effect of repeated firings on the color of zirconia restoration with different shading method. Materials and methods: Three different types of zirconia frameworks (adding metallic pigments to the initial zirconia powder before sintering (Group NM), dipping the milled frameworks in dissolved coloring agents (Group KI), or application of liner material to the sintered white frameworks (Group KW) were used to support A3 shade dentin porcelain. Repeated firings (3, 5, or 7) were performed, color differences among ceramic specimens were measured using a colorimeter. Repeated measurements analysis of variance (ANOVA) was used to analyze the data for significant difference. The Tukey Honestly Significant Different (HSD) test was used to perform multiple comparisons (${\alpha}$ = .05). Results: 1. $L^*a^*b^*$ values of the ceramic systems were affected by the number of firings (1, 3, 5 or 7 firings) (P < .001) and shading methods (P < .001). 2. As the number of firings increased, the $L^*$ (for all groups) and $a^*$ value (for KW and NM groups) decreased and the $b^*$ value(for all groups) increased. 3. The mean color differences caused by repeated firings were perceptible (${\Delta}E$ > 1) for group KW and KI fired after 3 times, except for group NM fired after 7 times. 4. In order of decreasing ${\Delta}E$ value fired after 7 times, the values were group KI(${\Delta}E$ = 2.26) > group KW (${\Delta}E$ = 1.47) > group NM (${\Delta}E$ = 1.08) (P < .001). Conclusion: Repeated firings influenced the color of the zirconium-oxide all-ceramic specimens with different shading methods.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.43-59
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• 2008

Sap(?, a funeral fan) is a funeral ceremonial object used in association with a Confucian ceremonial custom, which was crafted by making a wooden frame, attaching a white cloth or a thick paper onto it, drawing pictures on it, and making a holder for a handle. According to Liji(Records of Rites), Sap was used since the Zhou Dynasty, and these Chinese Sap examples are no big different than the Korean Sap examples, which were described in Joseon Wangjo Sillok(Annals of the Joseon Dynasty), Gukjo Oryeui(the Five Rites of the State), and Sarye Pyeollam(Handbook on Four Rituals). This study explored Sap excavated in lime-filled tombs and lime-layered tombs of aristocrats dating back to Joseon, as well as their historical records to examine Sap's characteristics according to their examples, manufacturing methods, and use time. The number and designs of Sap varied according to the deceased' social status aristocrats used mainly one pair of 亞-shaped Bulsap, and a pair of Hwasap with a cloud design depicted on it. A Sap was wrapped twice with Chojuji paper or Jeojuji paper, and for the third time with Yeonchangji paper. Then, it was covered with a white ramie, a hemp, a cotton, a silk satin, etc. Bobul(an axe shape and 亞-shape design) was drawn on both sides of Sap, and a rising current of cloud was drawn at the peripheral area mainly with red or scarlet pigments. Sap, which were excavated from aristocrats'lime-filled and lime-layered tombs, are the type of Sap which were separated from its handle. These excavated Sap are those whose long handles were burnt during the death carriage procession, leaving Sap, which later were erected on both sides of the coffin. The manufacturing process of excavated relics can be inferred by examining them. The excavated relics are classified into those with three points and those with two points according to the number of point. Of the three-point type(Type I), there is the kind of relic that was woven into something like a basket by using a whole wood plate or cutting bamboo into flat shapes. The three-point Sap was concentrated comparatively in the early half of Joseon, and was manufactured with various methods compared with its rather unified overall shape. In the meantime, the two-point Sap was manufactured with a relatively formatted method; its body was manufactured in the form of a rectangle or a reverse trapezoid, and then its upper parts with two points hanging from them were connected, and the top surface was made into a curve(Type II) or a straight line(Type III) differentiating it from the three-point type. This manufacturing method, compared with that of the three-point type, is simple, but is not greatly different from the three-point type manufacturing method. In particular, the method of crafting the top surface into a straight line has been used until today. Of the examined 30 Sap examples, those whose production years were made known from the buried persons'death years inscribed on the tomb stones, were reexamined, indicating that type I was concentrated in the first half of the $16^{th}$ century. Type II spanned from the second half of the $16^{th}$ century to the second half of the $17^{th}$ century, and type III spanned from the first half of the $17^{th}$ century to the first half of the $18^{th}$ century. The shape of Sap is deemed to have changed from type I to type II and again from type II to type III In the $17^{th}$ century, which was a time of change, types II and III coexisted. Of the three types of Sap, types II and III re similar because they have two points; thus a noteworthy transit time is thought to have been the middle of the $16^{th}$ century. Type I compared with types II and III is thought to have required more efforts and skills in the production process, and as time passed, the shape and manufacturing methods of Sap are presumed to have been further simplified according to the principle of economy. The simplification of funeral ceremonies is presumed to have been furthered after Imjinwaeran(Japanese invasion of Joseon, 1592~1598), given that as shown in the Annals of King Seonjo, state funerals were suspended several times. In the case of Sap, simplification began from the second half of the $16^{th}$ century, and even in the $18^{th}$ century, rather than separately crafting Sap, Sap was directly drawn on the coffin cover and the coffin. However, in this simplification of form, regulations on the use of Sap specified in Liji were observed, and thus the ceremony was rationally simplified.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.