The Reborn Masterpieces of Dong-A

The horn-shared cup is a cylindrical pottery container that is shaped like a bull’s horn and primarily used for holding and pouring liquids. One end of the drinking horn-shared cup is a horse’s head with two legs attached to its cylindrical body, allowing it to be placed stably on a surface. 

After being shaped with good clay, the entire surface was trimmed with a carving knife, and below the rim section there are traces of finishing done by damp fingers. In so doing, the horsehead section expresses a certain level of realism and appears lifelike. It is presumed that the origin is the rhyton found in ancient Greece and Persia and also the cup is similar to the horn-shared cup of the Sasanian Empire located in present-day Iran.

Conservation scientists diagnosed the horn cup in detail by pre-conservation photos, ultraviolet, X-ray, and X-ray tomography.

The horn cup was made by dividing the horse head and the body, then pressing the body inside the horse head and attaching it, and the neck of the horse head was stretched toward the face. In addition, the two legs are added so that they touch the floor in parallel. 

This is one of the representative Gilt-Bronze Standing Buddha statues presumably in the 9th century, considering that the reversed hand gestures, the line carvings, the flat face, the folds in the robe, and the plate casting technique were mainly taken at the end of the Unified Silla period (668-935).

Excavated in 1948 from the Borisa Temple Site in Uiryeong, Gyeongsangnam-do province, the statue is of great importance, due to its dignified expression, engraved folds in the robes, and the simple shape of the pedestal. 

At the time of the regular inspection in 2019, both fingers of the Buddha statue were damaged, and bronze corrosion was found in various places between the surface plating layers, so preservation treatment was carried out. The pre-examination of the Buddha image was carried out in the order of X-ray transmission, computed tomography (CT), X-ray fluorescence analysis (XRF), and microscopic observation, starting with photographic development. 

Foreign substances on the surface were observed with a stereomicroscope and removed using a brush and a surgical knife in a line that did not damage the plating layer. After natural drying in a thermo-hygrostat with little rapid environmental change due to poor preservation, three times of stabilization treatment was performed, and reinforcement treatment was performed with natural impregnation method. 

The ‘Ji’ Size Cannon was mainly developed for long distance attacks. It was produced during King Taejong’s (1400-1418) reignart, but the operation of the cannon was enhanced during the King Sejong’s period (1418-1450). The valuable firearm which was made of cast iron and had a roll body has an inscription giving the information of production date and place, size, and weight.

 In the museum, corrosive compounds and soil were thickly adhered to the surface and inside of this barrel, and the colors of the surface was changed due to the white pigment painted to confirm the inscription in the past. Various scientific investigations (gamma rays (γ), X-rays, endoscopy, ultraviolet rays, microscopic observation, XRF, microstructure analysis, etc.) was proceeded.

After the preservation treatment, the method of making the inscription was analyzed in detail through microscopic observation and 3D scanning. Inscriptions 'Lee' and 'Woo Byeong Sang', which were not seen as white pigments, were discovered while removing foreign substances from the surface. 

It turned out that the engraving technique of this inscription was different from the inscription on which the specifications of the canvas were engraved. Characters engraved with specifications were engraved with one long stroke, while ‘Lee’ and ‘Woo Byeong Sang’ were engraved with a technique of completing one stroke with a triangular stylus.

During the mid-Joseon period, the ‘Ssang’ Size Hand Cannon was a personal portable weapon that could fire six consecutive shots.  It was made by a master craftsman named Seo Ga in 1583 according to its inscription, and is currently the oldest known ‘Ssang’ Size Hand Cannon in existence. 

 In "Ssangja Chongtong", soil and corrosives were firmly fixed on the surface and inside, and a bronze bottle was in progress in which green and gray corrosives were powdered into spots. In particular, the corrosion of the joints was severe.

Various scientific investigations were conducted before processing its conservation. As a result of the diagnosis, many bubbles were found inside the barrel through X-ray and gamma-ray irradiation. It was found that the connection between the body and the bag was relatively small, so the back part was made very thick and strong.

In particular, through computer tomography (CT), six rectangular fixing pins connecting the barrel are arranged in a rhombus shape (4 guns, 2 bags), and two pauses penetrating the top and bottom of the handle are also identified.

 In addition, ultraviolet imaging showed that the tip of the gun barrel was repaired with synthetic resin in the past. Finally, X-ray fluorescence analysis (XRF) and scanning electron microscope element analysis (SEM-EDS) revealed that the surface of the barrel was mainly composed of copper (Cu) and tin (Sn) and contained a small amount of lead (Pb).

This scroll depicted the detailed location and geographic information about Mount Geumgang, and also splendid colours show that this painting is not only a map of a mountain but also a valuable colour painting. 

Most of the Mount Geumgang paintings were believed to be made after the middle of the Joseon Period. Mount Geumgang is regarded as a national symbol and represents Korea’s ethnic identity. Therefore, this painting was painted in a fantasy and abstract manner. But it should be remembered that the painting also contains detailed names of valleys and peaks of the mountain.

Most of the Mount Geumgang paintings were believed to be made after the middle of the Joseon Period. Mount Geumgang is regarded as a national symbol and represents Korea’s ethnic identity. Therefore, this painting was painted in a fantasy and abstract manner. But it should be remembered that the painting also contains detailed names of valleys and peaks of the mountain.

 The screen was generally dark due to contamination, and the green pigment had been peeled off. Fibers were raised and torn due to temperature and humidity and friction, and the filled part and corners were excited during the previous preservation treatment. After preparing a damage map before preservation treatment, the base material is estimated to be an epidermis as a result of microscopic examination for material analysis.

This is a portrait of Heungseon Daewongun Lee Ha-eung (1820-1898), the father of King Gojong.  After purchasing <Portrait of Daewongun> in the 1960s, the museum repaired some damaged screens. After that, the pigment fell off the silk base and many stains appeared, which led to the Busan Metropolitan City-designated cultural property repair and maintenance project in 2020.

As a result of the preliminary investigation before the preservation treatment, the conservation scientist estimated that part of the screen was cut off during the lengthy work of scrolls and frames during repairs in the past, and the threads of the base material were twisted. 

 As a result of analyzing the components through X-ray fluorescence analysis (XRF) and microscopic observation, white was light white, red was cinnabar, green was stone green, blue was seokcheong, gray was mixed with light white and ink. It appears to have been colored differently. In addition, it was possible to clearly observe the fine border lines of the portrait as a result of infrared imaging.

Noblemen Portraits of Dong-A University consists of a total of 5 pieces: <Portrait of Confucius>, <Portrait of Juja>, <Portrait of Gija>, <Portrait of Zhuge Liang>, and <Portrait of Song Si-yeol>. This collection of portraits of noblemen is a rare case that can be observed in one place. It is also a valuable relic because it shows an aspect of Neo-Confucian culture in the 19th century.

As a result of conducting a preliminary investigation before preservation treatment, all 5 points showed severe horizontal bending, and damage such as peeling of pigments and ink books and floating screens had progressed. In particular, in <Portrait of Confucius>, even the flowers and paper were lost due to insect damage.  

The pigment was analyzed as a mixture of mineral colored pigments such as white (light white), red (cinnabar + dye), blue (stone blue), yellow (light white + dye), and black (light white + ink) and dyes dissolved in water. 

 The most important part of the preservation treatment was the processing method of the overlapping backing paper of <Portrait of a Gija> and <Portrait of a Juja> and the degree of color matching of the defective part. At the expert advisory meeting, it was decided to cut the paper for both portraits as thin as possible without removing them. In addition, it was decided to alleviate the stains on the <Portrait of Confucius> as much as possible.