• Journal of Plant Biotechnology
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• v.43 no.1
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• pp.91-98
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• 2016

The growth area of living modified (LM) cotton has steadily increased every year, since its first commercialization in 1996. Development of environmental risk assessment tools and techniques for LM cotton is required for ecosystem safety. We therefore developed multiplex PCR assays for simultaneous detection of two (MON15985, MON531) and four (GHB614, LLCOTTON25, MON88913 and MON1445) LM cotton events approved in Korea, with event specific primer pairs. The PCR reactions were optimized by using event specific primers of six LM cottons at various concentrations. The reactions allows amplification of estimated amplicons of MON15985 (214 bp), MON531 (270 bp), GHB614 (119 bp), LLCOTTON25 (164 bp), MON88913 (276 bp), and MON1445 (389 bp) from multiplex PCR reactions. The multiplex PCR assay developed allowed that two annealing steps (15 cycles at $55^{\circ}C$ and 25 cycles at $60^{\circ}C$) were performed for amplification of distinguished two LM cottons, and only one annealing step (50 cycles at $60^{\circ}C$) was necessary for tetraplex PCR. Primer extension step of all PCR reactions was skipped for time-effective amplification. Our methods suggest that two multiplex PCR assays can be cost-effective and a rapid diagnostic tool for environmental LMO monitoring of six LM cottons.

• Conservation Science in Museum
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• v.31
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• pp.21-37
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• 2024

This paper sought to garner an understanding of Daegaya glass culture by observing the micro-structure and analyzing the chemical composition of 43 glass beads excavated from the No.73 and 74 ancient tombs in Jisan-dong, Goryeong, which are estimated to have a central age of 5th century CE. The visible characteristics and micro-structure of these artifacts were observed with a optical microscope and an scanning electron microscope, while their chemical composition was analyzed with an energy-dispersing spectrometer attached to the scanning electron microscope. As a result, the glass beads of Jisan-dong, Goryeong were identified to have been formed using various methods such as drawing, casting, and folding techniques, with the majority molded by the drawing technique. In terms of chemical composition, 32.6% were in the potash glass group and 67.4% in the soda glass group, with the latter divided into various fluxes such as high alumina glass, netron glass, and plant ash glass. Compared to Baekje's cultural region in the same age, the composition of these ancient glass artifacts demonstrates a high share of the potash glass group. This shows that, despite the shift from the potash glass group to the soda glass group in ancient Korean glass culture, glass composition differs from region to region or depending on the cultural sphere of influence. In the soda glass group, high-alumina glass comprised 23.3%, natron glass 43.0%, and plant ash glass was 1.2%. Among them, the main type of Korean soda glass is high-alumina glass, as natron glass and plant ash glass are known to have appeared later, but the results of scientific analysis of the glass beads excavated in Jisan-dong can be expected to provide important clues about the inflow and transformation of ancient glass on the Korean Peninsula. In the No. 73, 74, and 74-1 ancient tombs, which were found to have been built in chronological order by the excavation survey, the glass beads showed only slight variations depending on their production period. Nonetheless, the chemical composition of glass is deemed to have a close correlation to color.

• Journal of Conservation Science
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• v.30 no.4
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• pp.457-466
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• 2014

Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite($Al_2Si_2O_5(OH)_4$) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite($Cu_2CO_3(OH)_2$) for green and Lead white($PbCO_3{\cdot}Pb(OH)_2$) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively behind compared to that of Koguryo's in the same era.

• Journal of Conservation Science
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• v.29 no.3
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• pp.261-277
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• 2013

This study aims to research the relationship between whitewares and their rare materials from the site of Yanggu and Bunwon through the componential characteristic of the excavated whitewares from the 1st and the 2nd kilns of Chiljeon-ri in Bangsan-myeon, Yanggu-gun. As a result, the sherds were devided according to the chemical compositions of the body and the glaze via their respective production era. However, it considered that the whitewares from Chiljeon-ri had been manufactured with geochemically similar materials and the production process, such as refining and combining materials, had been different. It assumed that the firing temperatures of the whitewares from Chiljeon-ri were around $1,100-1,200^{\circ}C$ and substantially lower than for general whitewares. In the componential analysis, there were disparate properties in the cobalt pigment, which contained trace elements and rare earth elements. A review of the literature revealed a correlation between the whitewares from the late Chosun kiln site in Bunwon-ri and the raw materials from Yanggu-gun, but this was there were various techniques for refining and combining materials in Bunwon-ri.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.92-111
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• 2011

This study focus on the restoration stone selection of break-out part based on material characteristics analysis and the conservational safety diagnosis using various nondestructive techniques for Jungdong and Banjukdong Stone Auariums. As a result, the original rocks of the stone aquariums body are porphyritic granodiorite with magnetite-series having igneous lineation, microcline phenocryst, veinlet and basic xenolith. As a result of the provenance presumption of the host rock, a rock around Gamgokri area in Nonsan City was identified the genetically same rock. Therefore, the rock is appropriate for restoration materials of the break-out part. The deterioration assessment showed that the stone aquariums were highly serious scaling, scale off and blackening. Particularly, the front face of Banjukdong stone aquarium needs reinforcement of structural crack (760mm) caused from igneous lineation of biotite. Blackening contaminants on the stone aquariums surface occurred by combining iron oxide, manganese oxide and clay mineral. Also, major factors of efflorescence contaminants were identified as calcite (Jungdong stone aquariums) and gypsum (Banjukdong stone aquariums). The physical characteristics of stone aquariums appeared that the original and new stone is third (moderately weathered) and second grade (slightly weathered), respectively. This study sets up an integrated conservation system from material analysis to restoration stone selection and conservational safety diagnosis of Jungdong and Banjukdong stone aquariums.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.4-17
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• 2011

The Baekje's cotton fabrics were excavated from 'Neungsan-ri temple site in Buyeo' (September 1999-April 2000) and stored at Buyeo National Museum after conservation treatment. In this study, it carred out non-destructive, chemical and morphological analysis for fiber identification, also considered on influx, features and difference between the 'Baek-cheop-po(Three kingdom period's cotton fiber)' and 'Mok-myeon(imported by Munikjeom, late Korea dynasty)'. As a result, the fiber proved cellulose fiber through analytical researches like color reaction, FT-IR(chemical analysis). It was also confirmed lumens, typical dimensional structure(morphological analysis) as an features of cotton fiber. The fiber was the first evidence in ancient Korea's cotton. But it can not prove that whether weaving were made in Baekje's area. However there were documentation that people in Beakje make cloth to silk fabric from 'Mahan period'. We can suppose that they have had an old weaving techniques. This study has a great historical, academic values as the only evidence for the hypothesis of a weaving technique of the Baekje's cotton. Through comparison to each region's ancient cottons, we can investigate the species of Baekje's cotton and ancient Korea cotton's influx.

• Journal of Conservation Science
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• v.35 no.3
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• pp.237-244
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• 2019

In this study, we applied terahertz imaging technology to three Korean modern oil paintings ('Boy,' 'Girl,' and 'Hyehwadong Landscape'); investigated the types of inner layer information in the pictures that can be extracted with terahertz imaging technology; and analyzed the conditions for extracting them. The biggest problem in the terahertz imaging analysis we encountered was the image distortion caused by the change of the distance between the target surface and the terahertz detector, depending on the surface curvature of the target paintings. We then developed a 'working distance maintaining device' to solve this problem. As a result, the terahertz imaging technique was used to identify the base material characteristics and any patterns of damage inside, and presented the optimal conditions for identifying each characteristic. In addition, it was useful to employ the terahertz frequency-division image to check the characteristics of the background materials. To confirm coloring techniques such as brush strokes, it is effective to compare the maximum reflection peak image with the cross-section image; and to detect damage information inside the paintings that cannot be observed on the surface, to compare the cross-section image with the frequency-division image. On the other hand, according to the terahertz imaging analysis of the oil paintings, the internal structural damage marks of 'Boy' and 'Girl' were confirmed, and the artist's painting style was confirmed in 'Hyehwadong Landscape.' The above results are expected to be useful for the analysis and diagnosis of Korean modern oil paintings for their preservation.

• Conservation Science in Museum
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• v.26
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• pp.119-142
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• 2021

The gilt-bronze-and-silver shoes, excavated from the Tomb of King Muryeong, revealed many defective parts, which constantly raised in-depth re-investigation and reporting. In that point, scientific treatment and analysis were conducted to investigate the manufacturing techniques applied. The conservation treatment was carried out with an emphasis on the restoration of the original form and joining parts. As a result, the upper part of the right shoe and some part of the back heel were joined, confirming the joining method and the number of rivet used for instep bonding. From the component analysis, it is presumed that the outer plate was gilded with mercury amalgam on pure copper, and pure silver was used for the inner plate. The main pattern of the gilt-bronze-and-silver shoes includes designs of phoenix, lotus, and six-petal flower, while the lotus pattern is high in terms of ratio. Thus, youngnaksa(twisted gilt-bronze thread), geumdongsa(gilt-bronze thread), wondujeong (rivet), and samyeonjeong(quadrangular cleats) were used for bonding each plate. Twisted gilt-bronze thread was used to join the inner and outer plates, while the center and rear of the inner plate were combined with only gilt-bronze threads. From the fact, it is presumed that the joining method was different whether the function was decoration or just bonding. Regarding the manufacturing process, traces of burnishing were confirmed on the outer surface of the gilt-bronze and silver shoes, but no burnishing traces were identified on the inner surface of the silver plate, which is likely to prove more importance put on the finishing of the outer plates rather than that of the inner.

• Journal of Conservation Science
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• v.31 no.1
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• pp.21-27
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• 2015

The Phoenix-shaped Glass Ewer, which is No. 193 National Treasure, was seriously damaged by a unique form of green glass pieces when excavated among a number of burial accessories of Hwangnamdaechong known to have been formed in the 5th century. While it has long been exhibited at the National Museum of Korea since its treatment for conservation treatment at conservation science laboratory in 1984, the existing adhesive materials seriously deteriorated for the 30 years, and the condition was quite unstable. The epoxy resin used as a restorative materials turned yellowing due to the light and heat so much that it was no longer able to exhibit it in a stable and effective manner. As a result, a re-treatment for conservation was conducted lately. This study focuses on the three pieces of Gold wires used to carefully wrap up the handle of the Phoenix-shaped Glass Ewer broken into three pieces, which has not been studied so far. As for the analysis method for Gold wires, SEM-EDS and Stereo Microscope were used for nondestructive analysis. First of all, the result of the SEM-EDS analysis shows that the composition was Au 91.9 wt.%-Au 92.8 w.t% and Ag 5.9 wt.%-Ag 6.5 wt.%, which indicates that it was an alloy made of Au and Ag. The production technique of Gold wires was also observed by means of optical microscopes. In general, Gold wires were manufactured by a drawing process in which a lump of gold was beaten or pulled out of a hole or by a process of twisting a gold plate. However, Gold wires separated from the handle of the Phoenix-shaped Glass Ewer did not involve any trace of twisting on the surface. Rather, fine vertical stripes were observed with the sections filled up. Hence, it is thought that this Ewer went through a drawing process and then was mended. As a result, no certain relation with the golden mending material used for the Phoenix-shaped Glass Ewer was verified. The findings above indicate that most of the existing researches on Gold wires recognized them, not as separate remains, but merely as a component of other golden remains. Thus, there has been little systematic study on the manufacturing techniques of Gold wires. The future study on Gold wires may verify the correlation between the Gold wires used to fix the handle of the Phoenix-shaped Glass Ewer, which is examined in this study, with that of golden remains in the Silla era.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.