• Proceedings of the Korean Fiber Society Conference
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• 2002.04a
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• pp.425-428
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• 2002

면직물의 황토염색에 대한 세탁견뢰도 증진을 위하여 대두콩즙을 전처리하거나 염액에 쌀풀이나 아교 또는 소금을 첨가한다. 이러한 물질들은 황토와 섬유사이의 결찹을 강화시키는 역할을 한다[1,2]. 그러나 염착성의 개선을 위하여 반복염색이 행하여지며 기존 고착제의 처리방법은 복잡하고 재현성이 없는 단점을 지니고 있다. 본 연구에서는 콩즙, 탈지유, 키토산 등을 고착제로 사용하여 염착량, 색상 변화 및 세탁과 마찰견뢰도를 분석하여 황토염색의 고착제로서의 가능성을 조사하였다. (중략)

• Journal of Conservation Science
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• v.34 no.5
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• pp.397-405
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• 2018

Currently, there are very few studies on Korean wall paintings. Therefore, this study discusses the current conditions of wooden paintings and the characteristics of the adhesive agent in the painting layer separation. Korean land pine was chosen as the support, while white oysters shells, orpiment, red ocher, Noerok, and azurite were used as pigments. With four adhesive agents, including animal glue, Gelidium, methyl cellulose, and PVAc (caparol binder), a comparative experiment was conducted, by dividing them into two concentrations, of 0.5% and 1.5%. The temperature, humidity, and ultraviolet rays, which are contributing environmental factors in cultural assets after fixing, were artificially investigated. After deterioration, observed color difference, fixing, and the surface. Results showed that the animal glue strongly fixing all the colored layers compared to the other adhesives; however, azurite had a partial change when used outdoors. With Gelidium, which functioned similar to animal glue, the azurite was affected by the ultraviolet rays; nevertheless, despite the variations in temperature and humidity, it had the best gripping force compared to the other adhesive agents. Methyl cellulose was glossy at a high concentration, and was relatively strong against rapid changes in temperature and humidity. PVAc significantly reduced the binding force, compared to other adhesive agents.

• Conservation Science in Museum
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• v.24
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• pp.117-132
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• 2020

The painting layer of Payathonzu temple mural paintings in the ruins of Bagan Myanmar has been damaged due to various reasons. In this study, the applicability of Neem resin, a traditional Myanmar adhesive, as a fixative on the painting layer was examined. Cow glue and Paraloid B-72 were selected as fixatives in the comparison group, and pseudo-specimens with conditions similar to the original mural paintings were produced to examine the changes before and after applying the fixatives and according to the deterioration experiments. As a result of conducting the experiments and comparing the fixatives, it was found that changes on the surface such as smudge, yellowing and gloss are greater with the application of higher concentration of Neem resin than with other fixatives. However, such changes were relatively small under the condition of 4% concentration. It was also confirmed that chromaticity and glossiness vary greatly between before- and after-application of the fixatives but that such discrepancies tend to decrease at 4% concentration compared to other concentrations. As for fixation strength, it was found that the fixation capacity of Neem resin on the base and painting layers is overall higher than other fixatives as the concentration is increased. Therefore, the applicability of 4% concentration of Neem resin as a fixative on the painting layer was confirmed considering the low surface changes according to environmental factors, low color discrepancy and glossiness, and characteristics of excellent fixation strength. It is believed that the findings of this study could be used as basic data for the preservation of Payathonzu temple mural paintings in the future.

• Journal of Conservation Science
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• v.11 no.1 s.14
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• pp.38-51
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• 2002

The first priority we face in the conservation of wall paintings, is the conservation of painting layer. The 'painting layer' is sometimes called the pigment layer, and refers to the painted surface. For the consolidation of this painting layer we use 'fixative'. Fixative is a common adhesive which has been used in various field and conservators have made up for the weak points in the consolidation of wall paintings. In my thesis, I will summarise the range of use, standards of selection, and results of research on the use of fixative in the conservation of European paintings. In addition, I will describe various kinds of our traditional fixatives. As synthetic resins have proved that it is not ideal as a fixative for wall painting, conservators have studied to find an alternative. Same as European conservators, Asian scientists has researched to find alternative fixative which is more suitable to the wall paintings in Asia based on their traditional techniques and materials. Therefore, 1 have studied to find an adequate fixative for our own wall paintings and I could conclude that we can consider traditional fixative which is made of 'seaweeds' as an alternative and it is very important to proceed research and experiment on this material.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.150-171
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• 2013

The most important part of conservation treatment of murals is to preserve them against the risk of a damage by injecting fixative into them when the painting loses its cohesion or powderization of pigments occurred due to occurrence of cracks inside the painting layer. However, studies on the stability of fixative used for painting layers of murals are still insufficient. This study manufactured a mural as a specimen and colored it with four kinds of pigments including oyster shell white, cinnabar, malachite and red clay and applied four kinds of fixative, including, Paraloid $B-72^{(R)}$, Caparol-$binder^{(R)}$, glue and Hydoxypropyl $cellulose^{(R)}$. artificially generated environmental changes in temperature, humidity and ultraviolet rays which may occur after the completion of conservation treatment. Then the changes in physical properties were observed in multifaceted ways such as color stability, contact angle, brilliance, adhesive strength and surface. As a result, this study found that ultraviolet rays and hot?humid environment have a large impact on color stability causing changes in brightness and chroma of all painting layers where the fixative were applied, except for oyster shell white and are considered the main factors of decomposition by accelerating the aging process of fixatives applied. In comparison to the synthetic resins that were also tested in this study, the traditional glue showed satisfactory results in terms of color stability and influence preservation and the hydrophile property. As it showed exceptionally outstanding adhesive strength in all painting layers in the aspect of adhesive strength, it is considered to be highly stabile for the fixation treatment of painting layers of mural.

• Journal of Conservation Science
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• v.29 no.1
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• pp.81-92
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• 2013

In the past, European material and method were applied to conservation of Buddhist mural paintings in Korea. At that time, there were inadequate to selection of materials in consideration of porosity and hydrophilicity, therefore insufficiency to assessing their suitability for materials. The treatment result of mural painting are dissatisfied with consolidation of painting layer using synthetic resin. Therefore, it has experimented on applying fixative for reinforcement of painting layer on Buddhist mural painting in order to establish the effects of conservation. In relationship of binder's viscosity, adhesion and penetrating depth, adhesion increased in high-viscosity specimen whereas it decreased in low-viscosity specimen. While the binder's penetrating depths show similar patterns, the surface's response and combination adjacent to painting layer have differences. Animal glue and methyl cellulose (MC) shows excellent performance in their reaction with soil and painting layer. It is estimated that the fixative penetrates deep into soil to produce a stable fixing effect. The viscosity of polyvinyl acetate resin (PVAc) and acrylic resins are low, and thus penetrates well into soil, but they adhere poorly to soil.

• Nuclear Engineering and Technology
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• v.13 no.4
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• pp.245-253
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• 1981

The properties of polyethylene materials exhibit good insulation and radiation resistance, but exhibit poor flame resistance. Flame retardant properties of the polyethylene were improved by the radiation induced grafting or crosslinking. When the various flame retardants were fixed onto polyethylene, the amount of fixation in grafting was increased with the increase of radiation dosages. In the case of grafting, it is necessary for high grafting yield that the polyethylene films were swelled before irradiation with ${\gamma}$-rays or electron beams. It is the suitable method for the fixation of flame retardant that polyethylene samples were blended with various flame retardants at 1$25^{\circ}C$ and then blended polymers were crosslinked by the electron beams at room temperature.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.3
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• pp.411-411
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• 2000

• Proceedings of the Korean Fiber Society Conference
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• 2001.10a
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• pp.55-58
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• 2001

광물성 소재인 황토는 우수한 통기성, 습도조절능력, 항균성, 탈취성능, 적조 방지 능력, 실온 유지능력, 방열효과, 우수한 원적외선 방사량 등의 장점을 지니고 있어 건축용 자재, 적조제거제, 향장 및 염색분야에 널리 사용되고 있다[1]. (중략)

• Proceedings of the Korean Fiber Society Conference
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• 1998.10a
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• pp.145-148
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• 1998

1821년경 최초로 "loess"라는 이름으로 사용된 황토는 산화철을 함유하는 황갈색의 광물성 염료이며, 이것은 일반적으로 황토가 포함된 원토를 채에 담아 물 속에서 선별하거나 바람에 날려 분리시켜 얻어지며, 분리되어진 황토는 불투명한 황갈색의 색조와 항균성이 있는 것으로 알려져 왔다[1]. 그러나 황토는 물기름, 유기용제 등에 불용성이며 섬유와 친화력이 없어 염색후 내세탁성이 낮아 황토 염색시 고착제인 콩즙을 이용하는 전통적인 방법이 알려지다가 최근에 Kim[2]은 고착제 없이 황토의 입자 크기를 5 $mu extrm{m}$ 이하로 하여 9$0^{\circ}C$에서 5~10 분간 교반하는 방법으로 면직물에 염색해 내세탁성과 항균성이 있는 염색물을 얻고자 하였으나 입자 크기가 5$\mu\textrm{m}$이하 수준에서도 친화력이 부족하여 내세탁성에는 크게 영향을 미치지 못하였으며 항균 효과도 낮게 나온 것으로 보고되었다. (중략)