• 보존과학연구
• /
• s.13
• /
• pp.59-68
• /
• 1992

Some pigments of Kumsansa mural painting and Dan-Chong were analyzed by X-ray diffraction spectrometry. Red colour of mural painting and Dan-Chong are all of hematite based quartz and calcite. White blue were found to lead sulphate based calcite on mural painting. Blue pigment on mural painting was found to be quartz, albite, calcite, gypsum and talcwhile Dan-Chong lazurite and gypsum.* Dan-Chong : Exterior painrig with various colours and desingns.

• 보존과학연구
• /
• s.20
• /
• pp.175-206
• /
• 1999

In 1972, the mural painting of Kuknakjon, which is National Treasure No. 15, at Pongjongsa was taken to pieces. From 1999. 9. 8 to 1999. 9. 15,we were precisely investigated with infrared vidicon television, video camera and so forth. The result of investigation shows that contents of the mural painting consisted of paintings of flowers and birds, paintings of Taoist hermits with supernatural powers and old historic figure paintings (In the investigated mural paintings, there were paintings about pheasant or magpie on splendid peony, figures such as Lee tae baek(이태백) and Baek lakchon(백악천) known as old chinese poets, Chang yang(장량) and Hwangsok kong(황석공) known as old historic figures and Paebok(백복), and Choksongja(적송자) known as Taoist hermits.)It is noted that the mural painting was under the influence of the later Choson culture included Taoistic and folk artistic than buddhistic contents such as painting of Bodhisattva, Arhat and apsara. Later, each mural painting will be more investigated in respect of Buddhism art historic value, and we'll make conservative treatment plan based on its result.

• SUVANNABHUMI
• /
• v.1 no.2
• /
• pp.1-20
• /
• 2009

This research tries to review the history and concepts of Thai temple mural painting. According to the research results, the history of Thai mural painting dates back to the late 14th century when Wat Chedi Chet Taeo in Si Satchanalai was built. The Sinhalese elements embedded in the Sukhothai murals are also found in the Ayuthayan stupa murals made in the early 15th century. The mid 18th century's Burmese invasion into Ayuthaya destroyed most of Buddhist temples in the Kingdom of Ayuthaya and as a result, Buddhist murals of the late Ayuthayan age are hardly found except for some temple murals located outside of the capital. The late Ayuthayan murals are much different from the early Ayuthayan murals in that they are narrative in depicting Jataka and the life of Lord Buddha. This classical mural painting culminated in the age of Rama III of Bangkok Dynasty. His successor Rama IV undertook westernized reforms which influenced the area of traditional mural painting. Consequently, new western style Buddhist mural paintings were produced while themes of mural painting were enlarged to the other subjects such as historical recording of royal and social events. This trend continued in the age of Rama V but the development of Thai Buddhist mural painting discontinued after the death of Rama V due to the rapid westernization and decrease of illiteracy. The existing Buddhist murals produced on or before the reign of Rama V are deteriorating and disappearing. The reasons for this are partly because of Thailand's humid climate. However, some social backgrounds such as the lack of concern for preserving old Buddhist murals can not be disregarded. Considering the substantial value of Thai Buddhist murals as a cultural resource in Thai society, it is very urgent to establish appropriate conservation policy for them.

• Journal of Conservation Science
• /
• v.38 no.4
• /
• pp.334-346
• /
• 2022

The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.

• Journal of the Korean Society of Costume
• /
• v.59 no.6
• /
• pp.72-81
• /
• 2009

The purpose of this study is to develop geometric patterns which can be reinterpreted in a modern sense and textile designs which can be commercialized in the mural painting of Goguryeo Dynasty's tomb. Of 42 tombs where genres and portraits could be observed, the costume style of Goguryeo dynasty could be mainly observed in the tombs built in the 4th and 5th centuries. Since geometric patterns found in the portrait could be represented in a modern sense, this study was intended to develop the patterns of a necktie which is one of cultural products by applying geometric patterns in the mural painting of Goguryeo Dynasty's tomb in the 5th century with many patterns distributed. The scope of patterns was limited to a square, a triangle, a circle, and a diagonal line which were the basic of geometric patterns found in the mural painting. The methods of study were literature review and empirical study. Adobe Photoshop CS3 was used to edit geometric patterns found in the mural painting of Goguryeo Dynasty's tomb in the 5th century. By extracting a square(${\square}$), a triangle(${\vartriangle}$), a circle(${\bigcirc}$), and a diagonal line(${\diagdown}$) from edited images, predicted images were proposed before products were made. Finally textile designs were made through the simulation of edited design patterns in the necktie and handkerchief. This study will contribute to the positive effects on the development of cultural product designs applying the characteristic of geometric patterns and the construction of Korean image.

• Journal of the Korean Society of Costume
• /
• v.64 no.3
• /
• pp.32-46
• /
• 2014

The purpose of this study is to propose a solution for Goguryeo costume and its materials, colors, patterns, and accessories, which have not been dealt with in precedent studies and were treated as irrelevant subjects. The specific object of reconstruction with identification from the historical viewpoint is noble woman's costume(Yu and Gun) on the mural paintings of Jang-Cheon No.1 tomb in Jip-An province. As above, the reconstruction process of Yu(Jacket) and Gun(Skirt) worn by noble woman as depicted on the mural painting of the Baek-Hee-Gi-Ak-Do(百戱伎樂圖) in Jang-Cheon No.1 ancient tomb is suggested in this study. The most important issue for consideration was how to represent and exhibit it so that it resembles the mural painting as closely as possible. And the problems that arose at the time were the ratio and silhouette, which revealed disparities between the one on the mural painting and the costumes reproduced with identification from a historical viewpoint. The most difficult aspect of this work was due to the fact that the actual mural paintings were not available for verification. Therefore accuracy on details such as structure, materials, colors, patterns and accessory were difficult to obtain. So a further analysis of patterns, silhouettes, materials and colors are required for the precise representation of costume and dress on the mural painting.

• Korean Institute of Interior Design Journal
• /
• v.15 no.6 s.59
• /
• pp.229-237
• /
• 2006

The purpose of this study was to find out the characteristics of murals in the restaurant and its correlation with interior space. A field survey has been done by visiting 9 Western food restaurants and 9 Oriental food restaurants. Detail recording of mural content has been made and photographs of wall painting have been taken. The survey results are as follows; Firstly, majority of murals were painting technique on the wall directly with paint. Secondly, main theme of mural in the Western food restaurant are flower and plant whereas that of Oriental food restaurant are customs of each country and letter characters. Thirdly, the theme of mural has correlation with food served in the restaurant and the theme represents major character of the restaurant. Fourthly, there were analogy among the interior space elements such as finishing materials and colors. Only exception was murals in the Western food restaurant which shows contrast in its form with interior space. Fifthly, the physical and visual weight of mural was significant in most of cases. Even if the painting is not physically large and is not visually noticeable, it plays an important role in image formation.

• Journal of Conservation Science
• /
• v.34 no.6
• /
• pp.569-580
• /
• 2018

The possibility of applying poulticing was studied for removing Paraloid B72, a resin used for fixing an earthen mural painting. Five types of poultices were selected from clay and gel types, and acetone, ethanol, and methyl ethyl ketone(MEK) were used as mixed solvents. The possibility of mixing between the poultice and solvent was investigated, and then the spreadability, fluidity, acidity, drying properties, and solubility of the poultices were examined to confirm the characteristics. A poultice agent, which is suitable for applying to a mural painting, was selected and applied to a painting layer sample coated with Paraloid B72. As a result, all painting layers were good condition at under 50% of the solvent. The removal efficiency of Paraloid B72 was more effective when most of the solvents were used at 50%, rather than at 25%. However, it is difficult to mix 50% of MEK and ethanol with the gel-type poultices. When used at 25%, the removal performance was poorer than that at 50%, but the mixing with all the poultices was successful. In addition, the adsorption and removal power of the gel-type poultice were better than those of the clay-type, but the latter was expected to be more suitable in short-time cases due to its high drying speed. The results of this study show that the dissolution performance varies depending on the poultices and solvents. Hence, the poultice and solvent should be selectively applied, considering the fixative of the mural to be removed.

• 보존과학연구
• /
• s.21
• /
• pp.119-143
• /
• 2000

The pigments composition and structure of the mural painting at Pongjongsa Kuknakjon is discussed. The structure of inner wall is consisited of Paint layer, Ground divided two layers of yellow and white pigments, Support. In case of outer wall, it is consisted of Paint layer, Ground divided three layers of yellow and green pigments, a layer mixed green pigments and paint layer, Support. As a result of compositon analysis of mural painting pigments at Pongjongsa Kuknakjon using Micro-area X-ray diffraction system, the red pigment on inner wall is consisted of Heamatite($Fe_2O_3$), Magnetite($Fe_3O_4$)of deep black pigment, and Chalcocite($Cu_2S$) of light black pigment. The white pigment on outer wall is consisted of Anglesite($PbSO_4$) and Atacamite($Cu_2CI(OH)_3$) of green pigment. We found out that natural pigments painted in the mural painting at Pongjongsa Kuknakjon has kept up its own color for a long time due to using the natural pigment not to artificial synthetic pigment.

• Human Ecology Research
• /
• v.53 no.1
• /
• pp.81-92
• /
• 2015

Daily dance Ganggangsullae is recommended for youth to help their diet, improve their team life and know Korean culture. Its performance costumes were fusion hanbok and casual wear shown at the Second Daily Dance Ganggangsullae Contest Conference of Myeongryang Battle Festival in 2013. A fusion hanbok shows the Korean traditional spirit, but it is not practical. Casual wear is practical, but it does not show any Korean identity. Therefore, their combination is needed to reflect the Korean identity and practicality. For this, a literature review and an online search were conducted for the history, purpose and dance motion of daily dance Ganggangsullae. And photographs of participating teams were gathered from Jeonnam Information & Culture Industry Promotion Agency. Goguryeo costumes were used for design motifs. Four designs were sets of T-shirts and pants for the summer. Style 1 is designed using sam, jikryeong, go, round and triangle pattern with rippled cotton. Colors were from Wang Huiji's mural painting. Style 2 is designed using dansuui, beonryeong, go, round and quadrangle patterns with rippled cotton. Colors were from a Deokheungri mural painting. Style 3 is designed using sam, round ryeong, go, quadrangle patterns, prints with cotton jersey and denim. Colors were from a Gamsinchong mural painting. Style 4 is designed using dansuui, jikryeong, go, a flame pattern, a bow and arrow shape with cotton, knit and jersey. Colors were from a Muyongchong mural painting. This study is helpful to anyone who wants to develop Korean-style performance costumes.