高麗時代 蒲柳樹水禽文螺鈿描金 香箱의 現況, 材質 및 製作技法

이용희 ( Yi¸ Yonghee ) 국립중앙박물관 2014 동원학술논문집 Vol.15 No.-

Poryusugeummun Najeon Hyangsang of Goryeo Dynasty in the National Museum of Korea is a rectangular box with a deep cover. As it contains Yeonhyang of flower shape in it, it seems to have been called ‘Hyangsang.’ This Najeon Hyangsang is composed of three sections: cover(outer set), inner box(inner set) and Hyeonja laid on the inner box. On the surfaces of all components, scenery of stream and chrysanthemum patterns are drawn with Najeon, Daemo of background coloring and metal wires. Furthermore, Myogeum patterns were added here and there to the black background of Ot(lacquer) painting, making it more brilliant and splendid. This kind of ornament and shape can never be seen in Goryeo Dynasty as well as before and after it. This Najeon Hyangsang is guessed to have been excavated from a tomb of Goryeo Dynasty. Therefore, from the time when it was excavated, most of Mogsim(wooden ground) was probably rotten away and many parts including the Cheonpan of cover must have been broken out or missing. Furthermore, it was greatly damaged during Korean War. Presently, its original shape can be guessed only through the photo in < Joseon Gojeog Dobo >. In 2006, the National Museum of Korea decided to provide the permanent reservation method of Poryusugeummun Najeon Hyangsang which had been stored as about 700 big and small fragments. Optical microscopes and scanning electron microscopes(SEM) were used to observe it closely. In addition to them, X-ray penetration examination, SEM-EDS(energy dispersive spectroscope) analysis, m-XRF (micro X-ray Fluorescence) analysis were used to find out the material(wood type) of Mogsim, Ot painting technique and the pattern expressed with Najeon, Daemo, metal wire and Myogeum. With this effort, we could find out the important manufacturing characteristics and its materials concretely. The results of study on materials and manufacturing technique of Goryeo Najeon Hyangsang during 2006~2008 are as follows: The Najeon Hyangsang is composed of three sections: cover(outer set), inner box(inner set) and Hyeonja laid on the inner box. The cover has the hight of 11.2cm high and width of 29.3X19.4cm. Its inner box is 10.3cm high and 27.1X17.1cm wide. The Hyeonja is 2.27cm high. Wooden ground of Najeon Hyangsang was Jeongmog panel made of 4.4mm-thick conifer[probably, cedar, thuja, fir tree]. It was manufactured in the following way. First, the side panels are connected on the corner, and a triangular prop is added at each corner of inside. Then, the upper side(cover) and the lower side(inner box) are closed with panels. In the Najeon Hyangsang manufactured by the technique of Mogsim Jeopi Chilgi, a silk cloth was covered on the surface of Mogsim(wood with white bone) as the fabric core, and the Ot paint mixed with bone powders was thickly applied on it. Then, the transparent Ot paint was thinly coated again 2~3 times on it. In case of Najeon patterns, the cover has weeping willows, creek stones, a flowering tree and ducks on a stream; the belt attached to the bottom of cover has peony flowers and Dangcho vine; in addition to these patterns, the inner box has pinwheels(X-shape) flowers on its corner; Hyeonja has the chrysanthemum patterns. For the manufacturing of Najeon patterns, shells(probably, ear shells) grinded up to 0.3mm thin were used. The thin shells were roughly cut out with a small knife, chisel and awl. Then, the cut section was grinded with a chisel to complete the form of pattern. Daemo pattern that was double-painted with several colors could be found in several places - for example, the star-like flower at the end of tree expressed with Najeon on the cover and the inner box, and the chrysanthemum pattern on the rim of cover and the belt part of its bottom. For the flowers of tree and the center(pistil) of chrysanthemum, the red color of Jinsa(HgS) was used; and for the petals of chrysanthemum, the yellow color of Seoghwang(As2S3) was used in Daemo. The metal wires were used for the boundary of cover and inner box edges, Dangcho vine on the belt added to the bottom of cover, the stem of peony flower and eye-shaped pattern, and the stem of chrysanthemum on Hyeonja. These metal wires have two types: single strand wire and two-strand twisted wire. The single wire was forged in the thickness of 0.5-0.6mm with the alloy of tin(Sn) and lead(Pb). The two-strand twisted wire was made of brass mixed with copper(Cu) and zinc(Zn). The strands were pulled out in the diameter of 0.3mm or so and twisted together. Myogeum pattern was used for branches of weeping willow and flower tree, creek and ducks. Added around the Najeon patterns, it enhanced the brilliance of appearance. But now, Myogeum patterns were almost lost and just remained partially. The Myogeum pattern on Goryeo Najeon Hyangsang was made of gold powders crushed from gold leaves. The gold powders seem to have been mixed with glue made from animal/fish tendons or resolved in the dry-type oil and then applied to the box. As shown in above study result, the production of Najeon Hyangsang in Goryeo Dynasty required not only paint-craft technologies but also all other eligible techniques and materials of those days. Therefore, though it is remained as fragments, this Najeon Hyangsang has a high vale of reservation as the artifact to prove the advanced wood-paint craft technology in Goryeo Dynasty. Especially, this study result could be useful as the basic material for the reservation and restoration of Goryeo Najeon Chilgi including Poryusugeummun Najeon Hyangsang. But, some complementary studies seem necessary for the still vague parts in the future - for example, wood type used for the frame of Najeon Hyangsang, mixing ratio of two different metals in the metal wire, manufacturing method of gold powder used for the Myogeum expression, exact material of Najeon(whether it was ear shell or other shells such as turban shell) and tools used for the processing of Najeon patterns as well as their using methods.

Perfecthaⓡ 필러 2종에 대한 제형 특성 연구

송이섭 ( Yi Seop Song ),김형미 ( Hyeong Mi Kim ),이용희 ( Yonghee Lee ),손인평 ( In Pyeong Son ),박귀영 ( Kui Young Park ),이갑석 ( Kapsok Li ),김범준 ( Beom Joon Kim ) 대한피부과학회 2014 대한피부과학회지 Vol.52 No.1

Background: Hyaluronic acid (HA) is a carbohydrate, occurring naturally throughout the human body. With linear polysaccharide structure, it is (HA) found in soft connective tissues, cartilage and joinfluids. Hyaluronic acid filler is used for treatment of depth of the fold or volume of filler needed and performed for wrinkle improvement and cosmetic. We did property of matter for the Perfecthaⓡ fillers. Objective: Our purpose is to describe and comment on our experiences with two kinds of Perfecthaⓡ fillers. Methods: We obtained image of the shape of fillers using a folliscope, VC98 and particle size using the Scanning electron microscope (SEM). We tested to make sure that affinity both fillers with water. We mixed the fillers and distilled water. We the PARKER ink added to the mixture. Viscosity and elasticity were measured using a Results: The test revealed that a particle sized Perfecthaⓡ derm deep is bigger than a Perfecthaⓡ derm. We were confirmed as hydrophile. While Perfecthaⓡ derm deep filler has high viscosity and elasticity, Perfecthaⓡ derm filler Conclusion: Two kinds of Perfecthaⓡ fillers act as space filler by binding to water and thus keeping the skin wrinkle-free. (Korean J Dermatol 2014;52(1):7∼12)

中央 亞細亞 壁畵 保存處理(Ⅰ) - 壁畵(本4074, 本4096)의 狀態調査 -

姜炯台(Hyungtae Kang),李容喜(Yonghee Yi),兪惠仙(Heisun Yu),金硏美(Yeon-mi Kim),趙娟兌(Yeontae Jo),靑木繁夫(Shigeo Aoki),山本記子(Noriko Yamamoto),大林賢太郞(Kentaro Ohbayashi) 국립중앙박물관 2002 박물관보존과학 Vol.3 No.-

조선왕조 실록함의 수리복원

이용희,박정혜,박수진 국립중앙박물관 2014 박물관보존과학 Vol.15 No.-

The National Museum of Korea own a historical document box(K976) that was once used to store Joseon Wangjo Sillok(Annals of the Joseon Dynasty) of the Joseon Dynasty. The rectangular box has a lid, and the entire surface is varnished with black lacquer the wood of the box had become warped and the upper part of the wooden frame had been damaged. In some areas, the paint was flaking off, exposing the underlying wood, and an iron ring that connected the lid to the body of the box was missing. Thus, in 2013, Conservation Science Department in National museum of Korea began to repair and restore the Joseon document box. Before the treatment, analyses were conducted to examine the box’s structure, damaged parts, species of wood, and lacquering techniques. The wood was found to be that of a linden tree. As for the lacquering technique, the surface of the box was first coated with a layer of lacquer and bone ash, and then covered with Korean traditional paper. Next, the box was painted with a layer of mud and ashes, followed by a layer of black pigment mixed with soot, and then varnished again with lacquer. 국립중앙박물관 소장의 실록함(K976)은 조선왕조 선조대의 실록을 보관했던 함으로 장방형 몸체에 뚜껑이 달려있고 표면 전체에 검은색 옻칠이 되어있다. 실록함은 모서리 결구 부분의 짜임이 벌어지고 판재들이 밖으로 휘어지면서 심하게 변형되어 있었고 함의 몸체 상단부의 백골이 부분적으로 결실된 상태였다. 여기에 더하여 뚜껑에는 길이 방향으로 큰 폭의 균열이 발생되어 있었다. 표면의 칠은 곳곳이 들뜨거나 탈락되어 목제 백골이 겉으로 드러난 곳이 많았고 뚜껑을 연결하는 고리쇠 1개가 결실된 상태였다. 국립중앙박물관 보존과학부는 2013년 실록함의 수리 복원 작업에 착수하였으며 이에 앞서 실록함의 구조 양식, 손상 상태, 목제 백골(白骨)의 수종 분석, 옻칠 기법 등에 대한 조사를 실시하였다. 그 결과 실록함의 목제 백골 재료가 피나무라는 것, 또 실록함 표면에 골회칠(骨灰漆)→종이심(紙心), 토회칠(土灰漆), 연매(煙煤) 혼합 흑색칠→옻칠이 순차적으로 도장되어 있다는 것을 확인할 수 있었다. 이 실록함은 전통 목칠공예 기술과 재료를 적용한 전면적인 수리 복원을 통해 그 본래의 모습을 되찾게 되었고, 이후 국립전주박물관 역사문화관 개편 전시에서 중요한 전시물로 활용되었다.

중앙아시아벽화 보존처리(2) : 벽화의 채색 안료 및 벽체 조성에 사용된 초재류 조사

이용희,유혜선,김수철,강형태,조연태,시게오 아오키,켄타로 오바야시 국립중앙박물관 2003 박물관보존과학 Vol.4 No.-

용산 새 박물관에 전시될 중앙아시아 벽화의 보존처리를 위해 이들 벽화의 채색안료 성분분석과 벽체에 포함된 지푸라기의 식물종 식별을 위한 조사를 실시하였다. 또한 1916년 우리 박물관에 반입되기 이전에 일본에서 시행된 보존처리 재료 및 방법을 검토하기 위하여 나무 보호틀의 목재수종 및 종이의 재질을 분석하였다. 조사결과 본4075, 4078의 검은색 안료는 carbon(C), 바탕의 흰색은 gypsum[Ca(SO₄)(H₂O)₂], 적색 계통은 lead oxide(Pb₃O₄, PbO)와 hematite(Fe₂O₃), 녹색은 Cu, As, O 화합물 등을 채색 안료로 사용하였다. 또한 벽체를 조성할 때 흙벽이 갈라지는 것을 방지하기 위해 섞어 넣은 지푸라기는 밀짚 또는 귀리짚 종류인 것으로 조사되었다. 또한 현재 벽화를 둘러싸고 있는 나무 보호틀은 버드나무속, 사시나무속, 삼나무, 그리고 소나무 중 적송류로 만들어진 것으로 밝혀졌으며 벽화(본4054, 4097)의 보호를 내부에서 발견된 종이는 뽕나무 껍질로 만든 것으로 조사되었다. For the conservation treatment of the Central Asia mural painting which is to be exhibited in the new museum in Yongsan, we analyzed the pigments used in this mural painting and examined to identify the species of the straw in the wall. We also analyzed the species of the wood of the wooden protective frame and the material of the paper in it, in order to review the material and technique of the conservation treatment performed before the mural painting had been brought to the National Museum of Korea in 1916. The results were as follows: the black pigments of Bon4075 and Bon4078 is carbon(C); the white pigment on the background is gypsum[Ca(SO₄)(H₂O)₂]; the red pigment is lead oxide(Pb₃O₄) and hematite(Fe₂O₃) etc. The straw, which had been mixed into the wall to prevent the wall from cracking, was proved to be either wheat straw or oats straw. The wooden protective frame, which protects the mural painting now, was proved to be made of Salix, Populus, Cryptomeria japonica and pine. The paper discovered in the frame was proved to be made of the bark of a mulberry.

고려시대 목심칠기(木芯漆器)의 제작기법 연구

이용희,박수진,윤은영,정혜진 국립중앙박물관 2014 박물관보존과학 Vol.15 No.-

국립중앙박물관 소장 고려시대 칠기 6점을 대상으로 엑스선(X-ray) 촬영과 현미경 조사, SEM-EDS 분석 등 과학적인 조사를 실시하여 고려시대 칠기의 재질 및 제작기법의 특징을 연구하였다. 조사 결과 칠제합(덕수 4123)을 제외한 나머지 고려시대의 칠기 유물은 목심(木心)표면에 직물(織物)을 입혀 옻칠을 한 목심저피칠기(木芯紵皮漆器) 양식으로 만들어졌음이 밝혀졌다. 화형합과 송엽형합의 목심은 뚜껑의 천판(天板)이나 몸체 바닥판의 외각에 두께가 얇은 띠 모양의 목재를 돌려 감아 기벽을 만들었다. 또한 꽃모양 칠제배(덕수 4124)는 권태(捲胎) 양식(樣式)과 유사하게 띠 모양의 목재를 나선형으로 감아올려 기벽을 형성한 후 바닥을 판재로 막고 굽을 달아 칠기 잔의 형태를 만든 것으로 나타났다. 현미경을 이용한 광학적 조사에서는 목재나 직물심 위에 골분(骨粉)을 혼합한 골회(骨灰) 옻칠을 먼저 하고, 그 위에 다시 옻칠을 중첩하여 바르는 칠기법이 공통적으로 확인되었다. SEM-EDS 및 μ-XRF(미소부 형광X-ray) 분석 결과 꽃모양 칠제배(덕수 4124) 표면에는 진사(辰砂: HgS)를 섞은 주칠(朱漆)이 사용된 것으로 나타났다. 또한 뚜껑에 반점 무늬가 있는 송엽형 칠제합(덕수 4190)은 석황(石黃: As₂S₃)을 섞은 황색 칠을 도장하고 그 위에 연매(煙煤)를 혼합한 흑색칠로 불규칙한 반점을 찍어 독특한 무늬를 표현한 것으로 조사되었는데 이 칠제합의 측면에 발라진 주칠에는 진사와 연단(鉛丹: Pb₃O₄)을 혼합한 옻칠이 사용된 것으로 나타났다. To examine the materials, production techniques, and key features of Goryeo wooden lacquerwares, scientific analysis was conducted on six relevant lacquerware items. All of the items, except for a lacquered bowl(duksu 4123), were found to have been made by first covering the surface of the wood with cloth and then varnishing with lacquer. The wooden frames of flower-shaped lacquered case and pine leaves shape lacquered case were made by wrapping thin wood around either the lid or bottom panel. In most cases, microscopic analysis revealed a lower layer of lacquer mixed with bone ash and bone dust, followed by an upper varnish layer of lacquer. SEM-EDS analysis and μ-XRF(Micro-X-ray Fluorescence) analysis showed that vermilion lacquer mixed with cinnabar was used on the surface. A lid decorated with a dot pattern was made by first varnishing the surface with yellow lacquer mixed with orpiment, and then irregular dot pattern with a mixture of black lacquer and soot. The vermilion lacquer used to varnish the side of the lacquered bowls was composed of lacquer mixed with cinnabar and minium(Red Lead).

광주 신창동 출토 칠기칼집 보존처리

김수철,이용희 국립중앙박물관 2004 박물관보존과학 Vol.5 No.-

광주신창동 저습지유적에서 출토된 수침고목재 유물은 재질이 매우 취약하여, 공기 중에 노출되면 건조가 진행되어 곧바로 수축∙변형이 일어나게 되므로 전시 및 보존을 위해서는 특별한 보존처리가 필요하다. 특히 칠기칼집과 같이 목재표면에 치밀하게 옻칠이 되어있어 칠기는 처리약제가 잘 침투되지 않고 처리 중 칠막이 부풀거나 탈락될 우려가 높아 보존처리가 매우 까다롭다. 칠기칼집은 낮은 농도의 PEG#4000 40% 수용액(水溶液)에 함침처리 후 동결건조하는 방법을 적용하여 보존처리 하였다. The immersed ancient wood relics excavated from the low swampy area of historic site in Shinchang dong, Gwangju are extremely weak. Since they are quickly dried inducing shrinkage when exposed to air, special preservative treatment is required to exhibit and preserve such items. In the case of the heavily varnished lacquerware such as the lacquered sheaths, in particular, it is extremely difficult to preserve them because chemicals are not easily penetrated and the coating might swell or come off during the process of coating. The lacquer sheaths have been preserved by carrying out freeze-drying after impregnating them in aqueous solution with low concentration of PEG#4000 40%.

국립중앙박물관 소장 중앙아시아 벽화 보존처리

조연태,이용희,허윤현 국립중앙박물관 2004 박물관보존과학 Vol.5 No.-

국립중앙박물관에 소장되어 있는 중앙아시아벽화 5점(본4054, 본4074, 본4077, 본4096, 본4097)을 약 2년여에 걸쳐 연차적으로 보존처리를 실시하여 완료하였다. 이번에 보존처리 완료한 중앙아시아벽화는 세척 - 안료층 강화 - 안료층 보호를 위한 Facing - 목재 프레임 해체 및 분리 - 벽체 강화 및 보강 - 벽체 지지체 부착 - Facing 제거 - 액자 제작 및 마감처리 순으로 실시하였다. 특히, 박락된 안료층과 약화된 벽체의 강화와 전시 프레임의 구조개선에 중점을 두고 처리 하였다. The five pieces (Bon 4054, 4074, 4077, 4096 and Bon 4097)of the Central Asia murals housed in the National Museum of Korea were conserved for approximately 2years. The Central Asia murals conserved for this time have undergone the processes of cleaning, reinforcing pigment layers, facing to protect the pigment layers disassembling, separating wooden frames reinforcing the wall layers, attaching supports to the wall layers, removing facing and making picture frames. They were conserved with emphasis placed on reinforcing the peeled pigment layers and the weakened walls and on improving the structural problem of the exhibit frames.

죽제조문필통의 보존과 복원

손종민,이용희 국립중앙박물관 2009 박물관보존과학 Vol.10 No.-

죽제조문필통은 직경 80mm정도의 통대 2개를 맞붙이고, 바닥에는 “∞”모양의 가중나무 판재를 붙였다. 그리고 외부면에는 용과 구름, 사슴과 소나무 문양이 음·양각 기법으로 각각 정교하고 힘차게 조각되었다. 이 죽제조문필통은 일부가 파손, 결실 그리고 분해된 상태였지만 이번 보존수리를 통해 그 원형을 되찾게 되었다. 결실부에는 토분·호분·아교를 혼합하여 복원재료로 이용하였고, 원형을 되찾은 후 접합부분 안쪽에 얇은 비단 천을 부착하여 터짐을 방지하였다. 또한 복원된 표면은 옻칠을 이용해 고색처리를 한 것 등 전통적인 재료와 수리기법을 응용한 가역적인 처리에 중점을 두었다. This bamboo brush stand was made by attaching two bamboo tubes together, each 80mm in diame ter. On the bottom is a “∞-shaped”wood board made of Ailanthus altissima. The surfaces are decorated with exquisite and dynamic designs of a dragon and clouds, and a deer and pine trees. Part of this bamboo brush stand was damaged, lost, or worn down, prior to conservation treatment. After conservation and recovery treatment, its original form was restored. Earth powder, chalk, and gluten mixture were used as materials to fill in the missing parts. After the original form was restored, thin silk fabric was attached to the inner surface of the glued part to pre vent cracking. Traditional materials and repair techniques were used to allow for reversal of treatment, if necessary, as seen in the surface of the restored part being made antiquated with lacquer varnish.

고려시대 칠기에 나타난 묘금기법 연구

박정혜,이용희 국립중앙박물관 2013 박물관보존과학 Vol.14 No.-

고려시대의 칠기는 10세기 초에서 14세기에 이르는 동안 다양하게 변화하였으며 화려한 전성기를 이루고 독창성이 돋보이는 나전칠기로 발전하게 되었다. 고려 나전칠기는 나전과 대모, 금속선 등을 이용한 세밀한 문양과 여기에 화려함을 더하는 묘금기법이 특징이다. 금분을 이용해 선묘를 하여 칠기를 장식하는 묘금기법은 회화적, 장식적 측면에서 대단히 화려하지만 묘금에 의한 문양표현을 찾아볼 수 있는 유물은 극히 드물고 묘금기법에 대해 참고할 수 있는 문헌자료도 많지 않다. 본 연구에서는 고려시대 칠기의 묘금을 대상으로 미시경적 관찰을 하여 금분의 특징과 교착제, 교착상태 등에 관해 밝히고 고대기술의 복원연구 자료를 제공하고자 하였다. 연구결과 금분의 입자는 불규칙한 방형과 다각형, 삼각형 모양으로 크기가 2µm에서 20µm까지 다양하게 보이며 금분의 입자는 끝이 말려들어가 중첩되어진 부분이 보이고 전체적으로 금분입자는 종이가 구겨진 듯한 형상과 비슷하게 관찰되었다. 이번 연구를 통해서 고려시대 묘금에서 사용된 금분은 금박을 분말상태로 분쇄하여 만든 금분을 묘금에 사용하였다는 것을 보여준다. Lacquerware of Goryeo period was variously developed from the early 10th century to the 14th century and became lacquerware inlaid with mother-of-pearl which shows creativity with splendid heyday. For characteristics, splendid and close mother-of-pearl. Characteristic of decoration method is to use gold painting method, Tortoise shell and metal line. Drawing is done with gold dust and gold painting method decorating lacquerware are very splendid from an artistic and decorative aspect, but gold painting is easily lost. So, it’s currently difficult to find in relics succeeded. Therefore, there are domestically insufficient studies on gold painting method in Goryeo period, so this researcher intended to observe gold painting of lacquerware excavated in Goryeo period through the microscope, investigate characteristics, mixture, etc. of gold dust and provide data of studies on the recovery of ancient technology. As the result, gold dust particle has various shapes such as irregular square, polygon and triangle under the size from 2µm to 20µm. The end of gold dust is rolled and overlapped and irregular particle seems to be similar to the shape of crumpled paper. This research showed that gold dust used in gold painting of Goryeo period had used gold dust made by grinding gold leaf to gold painting.