• Korean Journal of Heritage: History & Science
• /
• v.49 no.2
• /
• pp.172-189
• /
• 2016

In this research, literature research on the Odong material, mixture ratio, casting method and casting facility was conducted on contemporary documents, such as Cheongong Geamul. Also, a long sword was produced using the Odong inlay technique. The sword reproduction steps were as follows; Odong alloying, silver soldering alloying, Odong plate and Silver plate production, hilt and sheath production, metal frame and decorative elements, such as a Dugup (metal frame), production, Odong inlay assembly and final assembly. For the Odong alloy production, the mixture ratio of the true Odong, which has copper and gold ratio of 20:1, was used. This is traditional ratio for high quality product according to $17^{th}$ century metallurgy instruction manual. The silver soldering alloy was produced with silver and brass(Cu 7 : Zn 3) ratio of 5:1 for inlay purpose and 5:2 ratio for simple welding purpose. The true Odong alloy laminated with silver plate was used to produce hilt and sheath. The alloy went through annealing and forging steps to make it into 0.6 mm thick plate and its backing layer, which is a silver plate, had the matching thickness. After the two plates were adhered, the laminated plate went through annealing, forging, engraving, silver inlaying, shaping, silver welding, finishing and polishing steps. During the Odong colouring process, its red surface turns black by induced corrosion and different hues can be achieved depending on its quality. To accomplish the silver inlay Odong techniques, a Hanji saturated with thirty day old urine is wrapped around a hilt and sheath material, then it is left at warm room temperature for two to three hours. The Odong's surface will turn black when silver inlay remains unchanged. Various scientific analysis were conducted to study composition of recreated Odong panel, silver soldering, silver plate and the colouring agent on Odong's surface. The recreated Odong had average out at Cu 95.57 wt% Au 4.16wt% and Cu 98.04 wt% Au 1.95wt%, when documented ratio in the old record is Cu 95wt% and Au 5wt%. The recreated Odong was prone to surface breakage during manufacturing process unlike material made with composition ratio written in the old record. On the silver plate of the silver and Odong laminate, 100wt% Ag was detected and between the two layers Cu, Ag and Au were detected. This proves that the adhesion between the two layers was successfully achieved. The silver soldering had varied composition of Ag depending on the location. This shows uneven composition of the silver welding. A large quantities of S, that was not initially present, was detected on the surface of the black Odong. This indicates that presence of S has influence on Odong colour. Additional study on the chromaticity, additional chemical compounds and its restoration are needed for the further understanding of the origin of Odong colour. The result of Odong alloy testing and recreation, Odong silver inlay long sword production, scientific analysis of the Odong black colouring agent will form an important foundation of knowledge for conservation of Odong artifact.

• 보존과학연구
• /
• s.20
• /
• pp.65-80
• /
• 1999

The conservation treatment process of sword is below. First, examples written inlay with tortoise-shell design is a big sword with round head excavated Namwon Wolsanri in Korea, big swordsexcavated the Sungchong Ⅱ tomb of Naranghyun, the Moksun Ⅰ tomb of Ejihyun, the Jangjonsan Ⅰ tomb of Dogunhyung in Japan. The period of inlay artifacts are known to about 6c. Therefore, sword is infer to beexcavated to 6c.Second, inlay artifacts excavated the domestic at present were known to 19-pieces. But sword is a big sword inlaid with silver to projecting hilt. This artifact is very important to scholarship data because of be first excavated to the domestic

• Conservation Science in Museum
• /
• v.20
• /
• pp.13-30
• /
• 2018

Ancient metal objects with inlaid designs were mainly decorated using the wire inlay technique in which "V"- or "U"-shaped grooves were cut in a metal object and then filled with gold or silver. Previous studies on ancient metal objects featuring wire inlay generally attempted to ascertain the inlay techniques applied by examining photomicroscopes acquired during conservation treatment. However, they had limitations when examining wire inlay technique to the minute details. Wire inlay technique can be better investigated by enlarging X-ray films of relics using stereoscopic microscopy under transmitted light. The core processes of the wire inlay technique involve cutting grooves using a chisel and creating the inlay wires, but researchers hold varying opinions about the two processes. This study analyzed the entirety of the materials able to shed light on the main processes applied in Baekje wire inlay by examining X-ray films of relics through stereoscopic microscopy. This exhaustive research revealed that two types of techniques were used for wire inlay during the Baekje period. One is a plastic process of engraving dotted lines using a chisel and is found mostly in objects from the Cheonan and Gongju areas. The other is a cutting process that incises fine lines and was used mostly in relics from the Osan, Seosan, and Wanju areas. It is likely that the Baekje wire inlay techniques feature regional differences because the respective techniques were used or introduced by different groups of people.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.2
• /
• pp.216-239
• /
• 2021

Inlay (入絲), a poetic technique of digging grooves in the surface of crafts and decorating them with metal materials, was used throughout the royal daily routines, ceremonies and government officials of the Joseon Dynasty. The government-owned handicraft industry in the Joseon Dynasty was composed of craftsmen belonging to central and local government offices and was operated mainly by government-owned craftsmen. The inlay craftsman was transferred to the central government office and was in charge of inlay poetry for crafts. The current records of Korean inlay craftsmen are concentrated in the state-owned handicraft industry. In the state-owned handicraft industry, the government offices of inlay craftsmen can be divided into Kongjo (工造), Sangeuiwon (尙衣院), and the military. Here the election of a temporary government office for airspace is added. The government offices and military inlay craftsmen who use inlay crafts are assigned, and the inlay craftsmen are placed separately in the temporary office where the fine division of labor is developed. It can be made by utilizing craftsmen. The operation of these production systems was indispensable in pre-modern Korean society, where crafts had to be produced by hand. In this paper, we investigated the roles and job types of craftsmen in the state-owned handicraft industry during the Joseon Dynasty, focusing on inlay craftsmen. Although the details applied to the characteristics and materials of the field, labor supply and demand, etc. are different, Korea pursued crafts for various purposes through craftsmanship within the framework of the basic state-owned handicraft policy . The institutional equipment for implementation was almost common. We believe that adding and analyzing some literature records and relics will help us to study the crafts of the Joseon era in more detail.

• 보존과학연구
• /
• s.26
• /
• pp.41-56
• /
• 2005

A set of horse bit from the Eonnam-ri site consists of three parts, pyo , ham , andinsu , and each part takes a shape of a piece of bar. According to current typological study, the pyo is S type, the insu is two-braided line type, and the outer rim of the ham is double rim type, respectively. According to X-ray test, inlaid design seems to have been decorated on the whole surface of the iron bit, originally. However, inlaid pattern partially remained. While the part of bit stopper is designed with flame pattern, the part of rein joint is designed with cloud pattern. According to XRF and XGT analysis of inlaid material, the content of silver is not more than 50%. The line inlay method making grooves on the surface of iron, then in laying a silver thread into them, and grinding the surface in a direction was adoptedin the manufacture of the iron bit.

• Restorative Dentistry and Endodontics
• /
• v.10 no.1
• /
• pp.63-70
• /
• 1984

It was the purpose of this study to determine the galvanic current between a gold alloy inlay and four types of amalgam using the circuit through pulp chambers when the freshly extracted teeth with those restorations were brought into contact in a physiologic saline solution, and to investigate the effectiveness of cavity varnish or ammonated silver-nitrate on the surface of amalgam restoration in reducing galvanic current. The current was measured with current-to-voltage converter and recored on a physiograph 6630-257. The following results were obtained. 1. Generally, galvanic current decreased as the time elapsed. 2. Galvainc current decreased significantly in the first day and after then minimal change was observed until 30th day. 3. Initial galvanic current was 29.6 ${\mu}A$ in the cut amalgam and 24.5 ${\mu}A$ in Dispersalloy amalgam and after then the current was significantly decreased. 4. Initial galvanic current was 12.6 ${\mu}A$ in spherical amalgam (low copper amalgam) and 13.8 ${\mu}A$ in Tytin amalgam and the amount of change was lower in sperical amalgam and Tytin amalgam than that in lathe cut amalgam and Dispersalloy amalgam. 5. Painting ammoniated silver-nitrate or Copalite on the surface of amalgam resotration decreased initial galvanic current and ammoniated silver-nitrate is more effective in decreasing galvanic current than Copalite. 6. Galvanic current by contact between amalgam restoration and gold restoration increased abruptly and dropped rapidly becoming almost.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.4
• /
• pp.24-37
• /
• 2023

This study analyzes the materials and external characteristics of the Angbu-ilgu, a kind of scaphe sundial, which was newly designated as a Korean Treasure in 2022. The Angbu-ilgu Treasure is owned by three institutions - the National Palace Museum Of Korea, Gyeongju National Museum, and Sungshin Women's University Museum - and is similar as a twin in its material, size, outward appearance, as well as production techniques that include casting, silver inlays, and metal joints. The Three-Treasure Angbu-ilgu is made of brass in the ratio of 90.6: 6.0: 1.8 with Cu: Zn: Pb. This composition clearly differs from Treasure No. 845, an Angbuilgu which has a composition ratio of 82.2: 3.7: 11.8 with Cu: Zn: Pb. In this new Angbu-ilgu Treasure, the hemisphere's stand has four vertical pillars sculpted in a dragon pattern and bilateral wings carved in a cloud pattern on the pillars, which are joined to the hemisphere's horizontal ring with rivets and silver solders, respectively. The dragon-in-clouds pillar (雲龍柱) shows the most outstanding formative beauty of the various Angbu-ilgu pillars produced in the late Joseon Dynasty. It can be seen that the altitude of the north pole engraved on the Angbu-ilgu was made after 1713. Production is, however, actually estimated to have occurred close to the 19th century, the era of the Jinju Kang family, who were professional Angbuilgu makers. Hopefully, this study will lead to a historical science and technology review with modern scientific instruments analyzing the materials and external characteristics of the three Angbu-ilgus designated as a Korean Treasure in 2022.

• Journal of Conservation Science
• /
• v.25 no.1
• /
• pp.1-16
• /
• 2009

Jeollabuk-do is bounded by the sea, and Mahan Baekje culture have been established around a wide plain. Also, in southeastern, it was closed by Gaya kingdom where iron culture was prosperous at that time, a variety of the handles of swords with round pommel is excavated at present. The handles of swords with round pommel is the best amount of excavated objects among the swords with round pommel and producted object for the time. It supposes them to become the foundation of making the decorated swords with round pommel. But, the handles of swords with round pommel that don't have a pattern in handle is indifferent to study because the production method is simple in spite of that the value of archaeological data is sufficient. Therefore, in this study, it examined changed production techniques with the change of times concerning the handles of swords with round pommel of Mahan Baekje Gaya period(before 6C) excavated from Jeollabukdo through using X-rays in order to clarify a variety of production techniques of the handles of swords with round pommel correctly in accordance with a period of production and excavated place. As a result, identified production techniques using X-rays of the handles of swords with round pommel excavated around remains of Mahan Baekje Gaya period shows that production progress improved in order of all-in-one shape, hammer welding shape of the handle of round pommel, and two in body formation in accordance with age. Especially, in two in body shape, it products the handle of round pommel separately, after that it welds the handle of swords and then links the sword blade like a riveting or bottleneck and so on. Despite of improved hammer welding technique, the reason why it didn't utilize is it regards as inlay or gilt will be damaged. And it is judged by using riveting or bottleneck. Also, it appears to techniques of metal craft such as decoration of the handle, decoration of point of sword, inlay, and silver-plating in the period of appearing two in body shape. As clarifying correctly, it provides fundamental database of scientific research about a study of production techniques of handle of swords with round pommel.