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安秉燦(AHN Byong-chan),白燦圭(토론자) 고구려발해학회 2003 고구려발해연구 Vol.16 No.-
As registration of Koguryo tombs with wall-paintings as World Heritage is being expected, techniques of wall-painting of those tombs were examined and analyzed scientifically. Materials of study were small pieces of wall-painting from Hahaebang area Tomb No. 31(下解放地區 第31號墳, JXM031) in JiAn(集安). Materialistic features of lime used on the wall, method of making lime mortar, and technique of pasting lime on the wall were studied. Composition of vegetable materials added to the lime mortar such as chopped hay, and of paint were also examined. Methods used in this study are as following: First, the wall-sample was examined with naked eyes. Then selecting a proper part, a thin section was made and examined through a microscope. And all the layers of lime wall were analyzed qualitatively and quantitatively by means of XRD and SEM-EDS. Presence of added materials were examined after the sample was melted in diluted hydrochloric acid solution. Colour was measured by a chromameter. Paint was also analyzed qualitatively by means of XRF. Solidity of the sample were also measured. The results are: 1. Koguryo men, who had superb lime-processing technique, are estimated to have used purer slaked lime instead of quick lime. 2. They pasted three layers(rendering, arriccio, intonaco) of slaked lime mortar on the wall of tomb 3. Different materials such as clay, sand, chopped hay etc. were added into the slaked lime mortar so that they might be fitting to each layer. 4. Lime mortar for rendering was mixed with clay, lime mortar for arriccio mixed with chopped hay and sand, and the mortar for intonaco was made of only pure lime. 5. This three-layer lime wall appears commonly in Hahaebang area Tomb No. 31 and Ssangnyeongchong(雙楹塚) which are 5th century tombs, but these three layers changed into one layer in 7th century. So we see one-layer lime wall in the tombs of Silla area and Japan. Major point of this study was to find out how lime was processed in tomb lime walls, but the results could not go beyond estimation It is also regrettable that we could not clarify plainly the characters of various adding materials mixed with lime mortar. Making technique of wall-painting of Koguryo tombs needs more studies.
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권혁남,안병찬 국립중앙박물관 1999 박물관보존과학 Vol.1 No.-
국립김해박물관의 개관을 위해 전시유물 200여점을 보존처리 하였다. 처리유물은 대부분 고분출토품이며 재질은 금동, 은, 구리합금제, 철제 등 금속유물이 주종을 이루고 있다. 모두 고대 가야문화를 대표하는 문화재들이다. 유물은 상태에 따라 처리방법을 달리했다. 구리합금제 유물은 부식물의 안정성에 따라 보존과 제거를 결정했다. 특히 철제품의 경우 현재 안정한 상태의 유물은 물리적인 방법으로 이물질을 제거해 원형을 찾고 방녹제[상품명 : Ballistol]를 이용해 부식을 예방하는데 중점을 두었다. 부식이 진행중인 유물은 원인제거를 위해 2단계 탈염처리를 했다. 제 1단계는 0.3M NaOH 용액함침, 제 2단계는 붕사-증류수 가압탈염법이다. 이밖에 전시를 위한 특수 받침대제작 및 각종 전시보조물인 모형 등에 대한 수정작업도 지원했다. More than 200 objects selected for the newly-opened Gimhae National Museum were treated for conservation. The objects which represent ancient Gaya culture. were mainly composed of metallic such as gilt bronze, silver, copper alloy and iron. The corrosion products on gilt bronze and copper alloy objects were preserved or removed according to their stability. Minimum treatment was done for preserving the original state of the objects. For silver objects and iron objects with silver-plate decorations, silver surfaces were revealed after treatment of corrosion products and treatments to prevent corrosion of silver and iron were done emphatically. For iron objects, which were stabilized, the original shape of objects was restored and acrylic coating was applied to prevent further corrosion. For the objects which were being corroded, 2-step de-chloride treatments were undertaken. The first step was immersing the objects in a solution of 0.3M sodium hydroxide and the. second was the pressure de-chloride treatment using borax-distilled water. The main purpose of those treatments was to get rid of the causes of corrosion. Besides, conservation treatments for potteries, making of special mounting board for exhibition and amendment of various modeling were done too.
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전시를 위한 토기와 청자의 복원 : 토기기대, 노형기대, 청자사이호를 중심으로
강희숙,안병찬 국립중앙박물관 1999 박물관보존과학 Vol.1 No.-
국립김해박물관 개관전시 유물인 가야시대 土器 器臺 2점과 중앙박물관의 특별전 “고대국가의 형성” 전시회 출품 유물인 靑磁四耳壺에 대한 보존처리를 수행하였다. 육안 및 실체현미경 관찰을 통하여 처리 전 상태, 文樣과 製作技法 등을 파악하였고 이를 토대로 각 유물의 특성에 맞는 보존처리를 실시하였다. 기대는 결실부분이 커 에폭시系 복원재료를 이용해 파손된 토기 面과 직접 접착시켜 형태를 복원하고 문양과 색, 질감을 類似하게 처리하였다. 청자는 토기와 같은 복원재를 이용했지만 파손된 청자 면과 分離시켜 형태를 복원하여 해체가 가능하도록 조치한 다음 색과 질감도 구분이 되도록 처리하였다. Conservation treatment was done for the pottery-stand of Gaya period which was to be exhibited in celebration of the opening of Gimhae National Museum and for the jar of Chinese celadon which was to be exhibited in Korea National Museums special exhibition "Formation of Ancient States". Through the examinations by naked eyes and under the microscope, condition before treatment, patterns and manufacturing techniques of the objects were observed. According to these examinations, conservation treatments, suitable for each object was finished. As the pottery-stand was damaged severely, the epoxy resin was pasted directly on the broken surface of the pottery to restore the original shape and pattern, color and feeling similar to original state were given to the restored area. Although same restoration material was applied on the celadon, it was not pasted directly on the broken surface of the celadon so that the restored area could be dismantled, and color and feeling were also treated somewhat differently.
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창녕 교동 제89호분 출토 금동제 안교장식 : 보존처리와 제작기법 조사
김경희,한만성,안병찬 국립중앙박물관 1999 박물관보존과학 Vol.1 No.-
국립김해박물관 개관전시를 위해 일제시대 창녕 교동 제89호분에서 출토된 금동제안교장식(金銅製鞍橋裝飾 이하 “안교장식”)을 보존처리하였다. 안교장식은 수많은 편으로 파손된 채 다른 유물과 뒤섞여 보관되어 왔다. 보존처리는 유물의 원형을 되찾고 재질을 안정화시키는 점에 두고 과학적인 조사와 처리를 실행하는 한편 유물의 제작기법도 상세히 조사할 수 있었다. 그 결과 안교장식의 두꺼운 부식생성물을 벗기고 파편을 접착하여 원래 모습으로 복원하게 되었고 전시와 관리도 가능하게 조치하였다. 또한 다양한 고대 제작기법이 적용된 안교장식임을 확인할 수 있었다. Conservation treatments were done for the gilt bronze saddle accessory excavated from Tomb No. 89 in Kyo-dong, Changnyong in Japanese rule period. The saddle accessory, broken into numerous pieces, was mixed with other remains. Principal aims of conservation treatments were to recover original shape of object and stabilize its material. In the process of treatments manufacturing technique of the remain was examined minutely. Thick layers of corrosion substances were peeled off and numerous pieces were pasted together to restore the original shape. And then the saddle accessory was mounted on an acrylic board to be handled and exhibited safely. In this process, it was confirmed that various ancient techniques of metalic crafts such as amalgam gilding, riveting, piercing, line engraving, stamping, chasing etc. had been used to make the saddle accessory.
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