• Journal of Conservation Science
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• v.33 no.5
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• pp.371-380
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• 2017

To investigate the pigments used in modern and contemporary oil paintings, thirty-two paintings by Jiho Oh and Bonung Gu were selected. The white pigment found in the ground and painting layers was identified as lead white (hydrocerussite), zinc white (zinc oxide), titanium white (titanium dioxide in anatase or rutile forms), calcite (calcium carbonate), and barite (barium sulfate). Further, this indicated that pigments differ according to the artist and date of the painting's creation. However, both Oh and Gu used zinc white during the modern and contemporary period, while lead white was replaced by titanium white, barite and calcite. Compared with the overseas studies on pigments and oil paints, the change patterns of pigments were the same with them but the periods of the use were partially different. It seems to be due to the fact that South Korea is linked to the historical background of the art material which was imported from Japan instead of Western countries. Therefore, it is inevitable that any change in the white pigments used for domestic oil paintings occurred at a different time from global transitions. If the results of this study are used in the analysis of art works it is suggested that a database recording such aspects as material properties of oil paints, artistic techniques, and chronology would become important for future conservation science and the study of art history.

• 보존과학연구
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• s.18
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• pp.60-68
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• 1997

• Journal of Conservation Science
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• v.23
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• pp.103-118
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• 2008

Hobun(Oyster shell W.) is a traditional material used as extender and white pigment from ancient times. The production method of it, however, has been discontinued. We have studied the traditional production method of Hobun through calcination of oyster shell, which is one of the traditional ways for preparing Hobun. Our work has the important meaning in that we can reproduce the manufacturing method of the discontinued traditional material and also it provides a solid background knowledge to stabilize the production and supply of Hobun for the cultural asset repairing materials. The result can be summarized as followings: The production processes of Hobun by calcination method are divided into 4 steps - calcination ${\rightarrow}$ slaking(pulverization) ${\rightarrow}$ separating fine powder by submergence in water ${\rightarrow}$ drying. In calcination step, the temperature is required to exceed $700^{\circ}$ to get pure white color of Hobun, since organic materials in the shell cause the final powder to be less white below $600^{\circ}$. And the calcination methods produce significant amount of calcium hydroxide, which is incongruent for pigment materials without additional treatments. The experimental study also demonstrated that the additional treatment process introduced in traditional paintings can be a probable process since the calcium of potassium hydroxide is observed to be promoted by this treatment. It is also concluded that, the calcination method of Hobun is appropriate for a small amount and high quality production.

• Journal of Conservation Science
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• v.35 no.6
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• pp.689-700
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• 2019

This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used "cho" as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.18-31
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• 2014

This study aims at identifying of characteristics and types of the pigments used for Dancheong(surface decorative and protective pigments) of Yaksajeon Hall in Gwallyoungsa Temple using a Micro-XRF, XRD, SEM-EDS and thereafter, comparing it with the pigments of the wall painting in the same building and with Dancheong pigments of Daeungjeon Hall. The results can be briefly summarized as two points. First, different types of pigments for red, green and white colours had been applied based on different parts of the building and more than two different pigments had been mixed to produce various colours in so me parts. Second, scientific analysis has confirmed that raw minerals for each colour groups are: Cinnabar, minium and Hematite for red; white clay and oyster shell white($Al_2O_3{\cdot}SiO_2{\cdot}4H_2O$) for white; Atacamite and Celadonite for green; carbon(C) for black; Yellow Ocher for yellow; and Lazulite for blue. Comparative analysis of such result with that of the wall paintings and of Dancheong of Daeungjeon Hall has revealed that similar minerals had been used in overall except that several different pigments had been added or removed for making green, white and yellow colour groups in some parts. In conclusion, the result has displayed that painters had used different ways of producing pigments by a type of painting or a building within the same period or for the buildings in the same buddhist temple compound.

• Journal of the Mineralogical Society of Korea
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• v.29 no.4
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• pp.179-190
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• 2016

X-ray diffraction analysis, chromaticity measurement, execution and evaluation by Dancheong artisan, accelerated weathering test, and fire resistance test were conducted to test the applicability as a Dancheong pigment raw materials of Korean low grade kaolin in cultural properties. The ores that feldspar rich and composed of fine particles (< $38.1{\mu}m$) showing advantageous for the inherent purpose of the white pigment than that of high grade kaolin. And the test of whiteness, concealment force, outdoor exposure durability and fire resistance shows similar or better result than existing products (Hobun and Sanhwa jidang). In conclusion, it is expected that the use of fine feldspar rich white soil and low-grade kaolin can be used as a white pigment raw materials which have similar to better material properties and economic efficiency than existing products.

• 한국문화재보존과학회:학술대회논문집
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• 2002.02a
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• pp.12-20
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• 2002

The analysis of danchung pigments at the Geunjeongjeon Hall in the Gyeongbokgung Palace were carried out by EXRF and MXRD. The analytical results showed that mineral pigments were employed for the inside of the Geunjeongjeon Hall. The main ingredients of green pigments were chalcanthite and celadonite. Red pigment was cinnnabar. It was also revealed that synthetic pigments were applied for the outside of the Hall. Yellow pigment was chrome yellow. The main ingredients of red pigments were red lead and hematite. Green pigments were emeral green and chrome green. Lazurite was employed for blue pigment and titanium dioxide for white one.

• Journal of Conservation Science
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• v.33 no.6
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• pp.497-506
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• 2017

An investigation on the records of old document was conducted to identify the producing area of white clay and there were on-the-spot surveys to secure raw materials of white clay pigment. Based on the survey results, six raw materials were obtained from the region of Gangwon-do and Gyeongsang-do, South Korea and white clay pigment was subsequently manufactured by applying the hydraulic elutriation method. The results show that the major constituent minerals of YBW, HBW, and MCW were quartz and plagioclase, whereas SGW, HOW, and HGW were composed of clay minerals such as kaolinite and illite. HGW showed the highest $L^*$-value of 92.9. HOW and HGW showed an opacity of 94.1% and 89.6%, respectively, and they had excellent spreadability (270.3 mm and 223.3 mm, respectively). Therefore, HGW, HOW, and SGW have excellent characteristics in terms of color, opacity, and spreadability, and are considered to be highly applicable as white pigments for the Dancheong.

• Journal of Conservation Science
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• v.32 no.4
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• pp.571-578
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• 2016

This study analyzed the pigments used in two portraits of Sim Hui-su using scanning electron microscopy/energy dispersive spectroscopy(SEM/EDS), X-ray diffraction(XRD) analysis, and microscopic observation, and then compared the results to those from nondestructive analysis. It was estimated that cinnabar/vermilion and minium were used for the red pigment, azurite for the blue pigment, atacamite for the green pigment, and lead white for the white pigment. These results were compared to the pigments of six portraits with a similar format, full-length official-attire portraits from the $17-18^{th}$ century Joseon period. It was revealed that the composition of the pigments used in the portraits varied depending on the date of production. Iron oxide, another red pigment, was used in the $18^{th}$ century. As for the blue colorant, smalt was used in the late $18^{th}$ century, whereas it was absent until the early $18^{th}$ century.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.132-149
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• 2011

In ancient period, a variety of inorganic or organic pigments had been used as colorants in various kinds of religious and secular paintings such as tomb paintings and wall and scroll paintings in buddhist temples, and danchung(cosmic patterns) for the surface of wooden buildings. This study discusses the results obtained from an analysis of the pigments on the wall paintings of Yeongsanjeon(Hall of Vulture Peak) in Tongdo temple by a qualitative analysis using a field-XRF. The results can be briefly summarized as follows. Firstly, assuming from the major components examined from F-XRF analysis, raw materials of pigment of each color are: red to be Cinnabar(HgS) or Hematite($Fe_2O_3$); white to be White Lead[$2PbCO_3{\cdot}Pb(OH)_2$] in most cases and Calcite($CaCO_3$) or Chalk($CaCO_3$), Kaolin($Al2O_3{\cdot}SiO_2{\cdot}4H_2O$) in some cases; yellow to be Yellow Ocher[$FeO(OH){\cdot}nH_2O$]; black to be carbon(C); green on the painted surface to be Celadonite[$K(Mg,Fe^{2+})(Fe^{3+},Al)(Si_4O_{10})(OH)_2$] in most cases; dark green on the halo of figures to be Malachite[$CuCO_3{\cdot}Cu(OH)_2$], Copper Green[$2CuO{\cdot}CO_2{\cdot}H_2O$] or Atacamite[$Cu_2Cl(OH)_3$]. Secondly, incarnadine and pink were made by mixing with more than two pigments such as red and white for making various tone of colors. The qualitative analysis of pigments on the wall paintings of Yeongsanjeon, in conclusion, displays that the all pigments for ancient periods are inorganis pigments. However, it has the limitation to identify a definite kinds of mineral for each pigment because it was not possible to collect samples from cultural heritage for conducting a crystalline analysis of XRD.