• Journal of Conservation Science
• /
• v.37 no.6
• /
• pp.712-722
• /
• 2021

This study presents a method for conserving shamanistic spirits in Chiseonggwang Buddha. Scientific investigation has revealed that these spirits have been subject to degeneration as a result of severe exfoliation and pollution. The materials and preservation treatment techniques used in create these shamanistic spirits were identified through visual inspection and using appropriate scientific equipment. The different types of background paper, background material, and color pigments used in create the shamanistic spirits were analyzed using a colorimeter, stereoscopic microscope, and SEM-EDS techniques. The analysis revealed that the pulp paper was used as the background and synthetic fiber polyester as the background material. In addition, the study of the pigment revealed that the color components were all synthetic, except for red lead [Pb₃O₄] and oyster shell white [CaCO₃]. Moreover, it was confirmed that the green pigment, identified as emerald green [Cu(C₂H₃O₂)₂.3Cu(AsO₂)₂], was a major component of shamanistic spirits in the late 19^th century. The shamanistic spirits in Chiseonggwang Buddha were conserved by identifying raw materials and pigments through this detailed analysis.

• Economic and Environmental Geology
• /
• v.43 no.3
• /
• pp.269-278
• /
• 2010

We investigated characteristics of the coloring material of Dancheong pigments and hope that this study contributes the revival of traditional Dancheong pigments color. For this purpose, we collected Dancheong fragment samples that fell off naturally from old wooden buildings in Gwangju and Jeonnam and analyzed the natural coloring material by XRD and EDS-SEM analysis method. In white pigments of Dancheong fragments, it is confirmed that gypsum$(CaSO_{4}{\cdot}2H_{2}O)$, quartz$(SiO_{2})$, white lead$(PbCO_{3})$ and calcite$(CaCO_{3})$ which have been used for white pigments since ancient times and $TiO_{2}$ which is common used in modern times. In red pigments of Dancheong fragments, it is confirmed that hematite$(Fe_{2}O_{3})$ and red lead$(Pb_{3}O_{4})$, which have been used for red pigments since ancient times and C.I. pigment orange $13(C_{32}H_{24}C_{12}N_{8}O_{2})$ but there is no cinnabar(HgS) which has been used since B.C. 3000 in China. In yellow pigments of Dancheong fragments, it is confirmed that crocoite$(PbCrO_{4})$ and massicot(PbO). In blue pigments of Dancheong fragments, it is confirmed that sodalite$(Na_{4}BeAlSi_{4}O_{12}Cl)$ and nosean $(Na_{8}Al_{6}Si_{6}O_{24}SO_{4})$ as coloring material of blue pigment and C.I. pigments blue $29(Na_{7}Al_{6}Si_{6}O_{24}S_{3})$ which is used in modern times. In green pigments of Dancheong fragments, it is confirmed that calumetite$(Cu(OHCI)_{2}{\cdot}2H_{2}O)$, escolaite(Cr2O3), dichromium trioxide$(Cr_{2}O_{3})$, emerald green$(C_{2}H_{3}As_{3}Cu_{2}O_{8})$, and C.I. pigments green$(C_{32}H_{16}-XCl_{x}Cu_{8})$ which is used in modern time. In black pigments of Dancheong fragments, Chiness ink(carbon black) is confirmed.

• Conservation Science in Museum
• /
• v.27
• /
• pp.125-146
• /
• 2022

The Wooden Gamsil with Inscription of "Botajeon" in the collection of the Dongguk University Museum was made in imitation of the wooden architecture style of the late Joseon period. The Gamsil had suffered exfoliation in the pigment and loss of components and thus underwent conservation treatment. Prior to the conservation treatment, the damage was classified by type and form, scientific analysis was carried out on the fiber and the species of wood, and portable X-ray fluorescence (P-XRF) analysis was conducted for the pigment component analysis. According to the analyses, Korea Pine(Soft pine) was used for most parts of the Gamsil, Manchurian walnut (Jugalns spp.) was used for the signboard, and the fiber used was identified as rice straw (Oryza sativa). The P-XRF identified white lead and zinc oxide in the white pigment, red lead in the red pigment, ultramarine blue in the blue pigment, and emerald green in the green pigment. For the conservation treatment, contaminants attached to the gamsil were removed by both dry and wet cleaning, detached parts were reattached in their original places, and lost parts were restored.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.4
• /
• pp.226-245
• /
• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of the Mineralogical Society of Korea
• /
• v.21 no.3
• /
• pp.271-281
• /
• 2008

The "Noerog", a traditional green mineral pigment occurs as veins or cavity-filings in the basaltic pyroclastic rocks of Quaternary Epoch in Mt. Noeseong in Janggi-myeon, Pohang. The "Noerog stone" mainly consists of celadonite with minor chlorite/smectite, mordenite and opal. Celadonite grains are several hundreds to several tens of ${\mu}m$ in size. The particle sizes under several tens of fm are likely to coagulate to aggregates. The coloring rate increases rapidly with decreasing particle size under $71{\mu}m$. The hiding power is maximum in the particle sizes of $0.2\sim0.3{\mu}m$. The resistance properties of the Noerog to both the light and the bacteria are absolutely superior to ordinary chemical pigments. The transparency of the Noerog is maximum in the nano-powders under 200 nm. Examination of the color of the Noerog pigment which has been prepared by traditional technique for "dancheong" shows that the best coloring effect is found in the particle sizes under $32{\mu}m$ and that the painting was not successful for the Noerog of particle size over $32{\mu}m$.

• Journal of the Mineralogical Society of Korea
• /
• v.22 no.2
• /
• pp.107-114
• /
• 2009

In present study, an alternative process for manufacturing ultra marine blue by using kaolin, sulfur, sodium carbonate, silica, and rosin was investigated. From the experiments, it was found in the reductive calcination process that the temperature variation with the bed height of input materials is relatively high due to the inadequate thermal conductivity of them. It was also found that the color of the ultramarine blue manufactured is sensitive for the shape of the input materials and the calcinations conditions, and specially the heating rate is very important to form ultramarine. For manufacturing green ultramarine by using sulfur, sodium carbonate, silicon, and pine resin, an optimum condition was investigated to be the heating rate region below $0.6^{\circ}C/min$, the reaction temperature of $850^{\circ}C$ and the reaction time of 4 hr. At the oxidative calcination process to manufacture ultra marine blue from green ultramarine, the optimum flow rate of air is $500{\sim}550\;{\ell}/kg$ (green ultramarine) and the reaction temperature is $500{\sim}550^{\circ}C$.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.1
• /
• pp.122-147
• /
• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• Conservation Science in Museum
• /
• v.4
• /
• pp.1-16
• /
• 2003

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(SO)₄(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.

• Conservation Science in Museum
• /
• v.14
• /
• pp.13-22
• /
• 2013

The Nectar Ritual Painting(Jeung7551) in National Museum of Korea is estimated to have been produced in the 16th century. Ezimagodo who is the head priest of Ruganji in Kyoto, Japan donated this painting in 2010. Overall, damages were serious, such as missing, staining, folding, insects of the face and mounting silk, therefore, it need to conservation treatment. The treatment of conservation in painting was removing surface stains and repairing missing area. It was mounted by following the original form. The analysis result of textile in mounting and support fiber used silk and hemp in microscope. Pigments in paint were divided into six color types. This painting was used that vermilion(cinnabar) and red lead for red color, litharge(massicot) and gold for yellow color, lead white for white color, malachite for green color, azurite for blue color, and carbon black(chinese ink) for black color.

• Journal of Conservation Science
• /
• v.36 no.6
• /
• pp.519-532
• /
• 2020

This study aimed to interpret the coloring materials recorded in the ceremonial writing with the scientific investigation results of the Hanging Painting of the Chiljangsa Temple (Five Buddhas). The results confirm that the Jinboon, Joohong, Hwangdan, Hwanggeum and Seokjahwang are clearly connected to lead white, cinnabar, minium, gold, and orpiment, respectively. Danghayeop and samrok are related to Copper trihydroxychloride, while Daecheong and Joongcheong are azurite, and they seems to be classified by the particle size. Yeonji and Chunghwa are organic dyes in red and blue, respectively, with blue confirming the existence of the side, but Yeonji differs from the names of the ancient texts and Chinese characters; it is unclear whether it is a commonly used Yeonji because of differences in the names of the ancient texts. The presence of Sootohwang has not been confirmed in the gwaebultaeng, but it can be extracted from the soil as a yellow-colored material but the possibility of Deunghwang cannot be ruled out.