Earticle

Underwater archaeology relies heavily on photography and video image recording during surveillances and excavations like ordinary archaeological studies on land. All underwater images suffer poor image quality and distortions due to poor visibility, low contrast and blur, caused by differences in refractive indices of water and air, properties of selected lenses and shapes of viewports. In the Y ellow S ea ( between mainland China a nd t he Korean p eninsula), t he v isibility underwater i s f ar l ess than 1 m, typically in the range of 30 cm to 50 cm, on even a clear day, due to very high turbidity. For photographing 1 m x 1 m grids underwater, a very wide view angle (180o) fisheye lens with an 8 mm focal length is intentionally used despite unwanted severe barrel-shaped image distortion, even with a dome port camera housing. It is very difficult to map wide underwater archaeological excavation sites by combining severely distorted images. Development of practical compensation methods for distorted underwater images acquired through the fisheye lens is strongly desired. In this study, the source of image distortion in underwater photography is investigated. We have identified the source of image distortion as the mismatching, in optical axis and focal points, between dome port housing and fisheye lens. A practical image distortion compensation method, using customized image processing software, was explored and verified using archived underwater excavation images for effectiveness in underwater archaeological applications. To minimize unusable area due to severe distortion after distortion compensation, practical underwater photography guidelines are suggested.

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John’s Fort by the prominent Singaporean artist Liu Kang (1911–2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John’s Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John’s Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang’s painting materials and his working practice.

We have tried the experimental research of lost-wax casting to reconstruct Gilt-Bronze Pensive Bodhisattva; preliminary and reconstruction experiment based on ancient texts. Main object to reconstruct is Korean National Treasure No.83, Gilt-Bronze Pensive Bodhisattva (Maitreya), then we measure alloy ratio and casting method based on the scientific analysis. Other impurities were removed from the base metal components(copper : tin : lead) and their ratio was set to 95.5 : 6.5 : 3 where the ratios for tin and lead were increased by 2.5% each. The piece-mold casting method was used, and piece-mold casting experiments were carried out twice in this study but supplementary research on piece-mold casting was necessary. The microstructure was confirmed to be typical cast microstructure and the component analysis result was similar to that of the prior study. Analysis of the chemical composition is confirmed to copper, tin, lead, and zinc, and the chemical composition of the matrix was 87.8%Cu-7.5%Sn-2.7%Pb-2.1%Zn, and similar to previous experimental research. Also resulted in the detection of small impurity in Zn. Analysis of the mould revealed that the mould was fabricated by adding quartz and organic matter for structural stability, fire resistance, and air permeability. We expect that our research will contribute to provide base data for advanced researches in future.

In order to determine the changes in microbial community due to termites, soil microorganisms surrounding the termites were investigated. First, bacterial communities from soil with termites collected at Seonamsa temple, Suncheon city, Korea were compared by next-generation sequencing (NGS, Illumina Miseq). The bacterial composition of soil from Daeungjeon without termites and the soil from Josadang, Palsangjeon, and Samjeon with termites were compared. Next, the bacterial composition of these soils was also compared with that of humus soil cultured with termites. A total high-quality sequences of 71,942 and 72,429 reads were identified in Seonamsa temple’s soil and humus soil, respectively. The dominant phyla in the collected Seonamsa temple’s soil were Proteobacteria (27%), Firmicutes (24%) and Actinobacteria (21%), whereas those in the humus soil were Bacteriodetes (56%) and Proteobacteria (37%). Using a two-dimensional plot to explain the principal coordinate analysis of operational taxonomic unit compositions of the soil samples, it was confirmed that the samples were divided into soil with and without termites, and it was especially confirmed that the Proteobacteria phylum was increased in humus soil with termites than in humus soil without termites.

In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.

In the past, PVAc [poly(vinyl acetate)] was used as a fixative for the conservation of the murals in the murals of the Payathonzu temple located in Bagan, Myanmar. In this study, attention was paid to gel cleaning as a method for stably removing such PVAc fixatives. Based on the recent research trend related to the cleaning of murals in Bagan ruins, 3 types of gelling agents (Nevek®, Laponite®RD, Carbopol®980) and 2 types of organic solvents (Acetone, Dimethyl carbonate) were selected. Six types of gel cleaners were prepared by mixing gelling agents and organic solvents, and the properties and fixative removability of these cleaners were compared. As a result of confirming the properties of the prepared gel cleaners, the pH of the cleaners was all in the weak acidic to weakly alkaline range, which was a stable condition for mural application. Also, there was no difference in the viscosity of the cleaners depending on the type of solvent, but there was a difference depending on the type of gelling agent used. Regarding the weight loss ratio of PVAc, which is an indicator of removability, the exposure conditions of the gel cleaners, the boiling point of the solvent used, and the viscosity of the gelling agent acted as factors affecting. As a result of comparing the removability of gel cleaners, it was confirmed that the solvent’s fixative solubility, the volatility of the solvent itself, and the solvent release control properties of the gelling agent had a great effect on the removability of the gel cleaners. In Part 2, the stability and the running applicability of the gel cleaners will be investigated by making mockup samples reflecting the properties of the materials and techniques used to produce the mural paintings in the Payathonzu Temple.

The purpose of this study is to scientifically analyze the rocks of the Obongsan Mountain in Boseong, Jeollanam-do, which contains the largest extant quarry of Gudlejang (flat stone for heating) in Korea, and to scientifically determine the petrological characteristics of the area and the reasons for its use as a quarry. The rocks in the quarry are composed of light-green lapilli tuff, containing various types of lithic fragments and crystalline fragments in a vitreous matrix consisting of the fine feldspar crystals. The main constituent minerals were identified as quartz, plagioclase, mica, chlorite and opaque minerals. When the major element compositions were plotted on a Na2O+K2O versus SiO2 diagram, all samples were situated in the same compositional area as rhyolite. In addition, the result of magnetic susceptibility measurement also showed a similar range of values, of 1.30 ∼ 4.85 (×10-3 SI), indicating that samples were fractionated from the same magma. Both rock types showed similar apparent specific gravity values of 2.32 ~ 2.60. In particular, plate-shaped joints are well developed in the Obongsan Mountain area, and many areas exhibit talus terrain. In conclusion, the rocks of this area is interpreted to used for a site of Gudlejang quarrying, because the rocks were easily obtainable due to the terrain characteristics, and their petrological properties made them suitable for use as Gudlejang stone.

Outdoor sculptures of modern art works are being damaged and deteriorated as they are exposed to the outdoor environment due to the nature of exhibition in the outdoor environment, but secure of basic data through the measures for conservation and advanced researches still remain in the early stage. The surface of “Conversion” which is exhibited in the Busan Cheonmasan Sculpture Park has been exfoliated and deteriorated due to outdoor exhibition for a long time, so systematic conservation and management of works are considered necessary. Prior to the conservation and management, this study conducted observation of cross section, analysis of inorganic components, FT-IR, Raman and Py-GC/Mass analysis to examine the nature and type of paints used for the work through a scientific analysis. As a result of analysis, paints used for the “Conversion” include paint mixed with silvery aluminium powder and white pigment, reddish paint mixed with toluidine red, bluish paint that mixed prussian blue and titanium white and mixture of phthalocyanine blue and titanium white. The result is expected to be used as basic data for selecting materials necessary for conservative treatment of and establishing a plan for conservative treatment of the “Conversion”.

Woolen tapestry curtains possessed by the Seoul Museum of Craft Art were used to hung on the wall or used for carpets in the winter season in the late Joseon dynasty. Since similar artifacts were only used for the curtain as functional aspects, woolen tapestry curtains were a rare case. In this study, scientific analysis on the accessory ornament of woolen tapestry curtains such as components of metal accessories and frame bar were conducted with the microscope, p-XRF, and SEM. Result of frame bar pigments, organic pigments such as ink stick were likely been used in woolen tapestry curtain 1. In woolen tapestry 2, lead red (Minium) was used in the frame bar. The result of metal parts, copper, and zinc were analyzed by p-XRF. This suggests that metal accessories were crafted using brass. Frame bar of woolen tapestry curtain 2 was made of soft pine (Pinus spp.) analyzed with the scanning electron microscope. Artifacts like woolen tapestry curtains are rare in Korea and scientific analysis databases were scarce, so it is important to construct components analysis data of woolen tapestry curtains. It is expected that additional scientific analysis and interpretation on the artifact’s crafting technique can be merged with the analytical data gathered in this study to be utilized on the conservation and restoration of not only woolen curtains but curtain artifacts of the late Joseon dynasty in general.