• Journal of Conservation Science
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• v.27 no.2
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• pp.223-229
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• 2011

Buddha painting cultural properties couldn't avoid the change of colors and the exfoliation phenomenon by the characteristic of material and environmental factors. Especially, because in the beginning of the fine crack and the decoloration phenomenon on the surface of pigment would be significantly decrease stability of the whole object, it is necessary to take particular measure. Therefore, this is a study on conservation of Avalokitesvara in Potalaka in Hyeondeungsa in Gapyeong. It treated damaged parts of the object, carried out backing papers and matching colors. And then, it examined scientific analysis of pigments. Also, it performed nondestructive testing like XRF, FT-IR, and image microscope to investigate the quality of the material of hanji using the object and the component and characteristic of pigments. As a result, FT-IR spectrum matching Korean traditional paper(hanji) was detected in hanji of Avalokitesvara in Potalaka in Hyeondeungsa. The black pigment making a thin layer over the white pigment would estimate carbon compounds of unconfirmed ink stick or soot as XRF and FT-IR. Also, the white pigment was lead white($PbCO_3{\cdot}Pb(OH)_2$) involving Pb(Lead) and a carbonate. It was observed that the crystal of blue pigment had the different sizes of the particles from the microscope. In the case of this blue pigment, it showed cobalt blue and lead white was mixed when it used because both Cu and Pb were highly detected in XRF data.

• Journal of Conservation Science
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• v.35 no.5
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• pp.403-415
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• 2019

According to oral tradition, the King Sejo's palanquin is indeed the palanquin of King Sejo, the 7^th monarch of the Joseon dynasty who reigned from 1455 to 1468, which was left behind after visiting the Magoksa temple. The palanquin is painted in five colors, mainly black, white, yellow, red and green. The chromaticity measurement of the yellow pigment showed that orpiment and gold are a noticeable distinction between the lightness and b^⁎ values. In the case of the red pigment, a^⁎ values of areas painted with cinnabar tend to measure at high values. As a result of the optical microscopy, scanning electron microscopy and energy dispersive spectroscopy analyses, it was determined that Chinese ink was used for the black pigment, lead white and white clay were used for the white, and orpiment and gold for the yellow. The red pigment was found to be the result of minium, cinnabar and red ocher, atacamite was used as green pigment. Though the analysis results of the cross sections on very small exfoliation fragments of pigments, it was confirmed that white clay and lead white were used for the preparation layer. In addition, several coloration techniques were considered based on these analyses.

• Conservation Science in Museum
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• v.12
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• pp.53-58
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• 2011

This study investigated ingredient of the pigment of wall painting piece of women parade of Gaemachong Goguryo that the National Museum of Korea kept. XRF, a non-destructive analyzer, was used to investigate ingredient of the pigment. At the analysis, not only cinnabar/ vermillion(HgS) but also hematiae(Fe₂O₃) was used to produce red, and carbon was done to produce black, and lead white was done to produce white. The face was painted by mixture of not only cinnabar/ vermillion but also hematiae: No coloring was done depending upon situation.

• Journal of the Korean Chemical Society
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• v.65 no.6
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• pp.415-418
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• 2021

• Journal of Conservation Science
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• v.30 no.1
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• pp.13-25
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• 2014

This study interpreted the chemicals of the pigments and the coloring techniques employed on Youngsan Ritual Ceremony Buddhist Painting through a nondestructive analysis method and a microscopic observation. Based on the interpretation, this study closely examined the chemical properties of the names of the coloring materials specified on the ceremonial writing of the Buddhist painting. It is estimated that lead white was used for the white pigments, orpiment and organic pigment for the yellow pigment, cinnabar/vermilion, minium, red ochre, and red dyes for the red pigments, malachite or atacamite for the green pigments, azurite and indigo for the blue pigments, and ink stick for the black pigments. The pigment names specified on the ceremonial writing are juhong, jungcheong, hayeop, whangdan, and whanggeum, and it was verified that juhong is cinnabar or vermilion, jungcheong is azurite, hayeop is malachite or atacamite, whangdan is minium, and whanggeum is a gold foil.

• Journal of Conservation Science
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• v.33 no.6
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• pp.431-442
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• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• Journal of Conservation Science
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• v.28 no.2
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• pp.101-112
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• 2012

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a morden industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.

• 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.

• 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.29 no.4
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• pp.445-450
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• 2013

This study investigated the properties of the painting materials used in the temple wall paintings of the $18^{th}$ to $19^{th}$ centuries by synthetically comparing the component analysis data on the pigments used in the temple wall paintings. The study subjects analyzed from ED-XRF are the data on the 61 temple wall paintings distributed nationwide. The colors of the wall painting coloring layers are classified into seven categories: white, incanadine, yellow, red, green, blue and black color. No big geographical and temporal differences in the type of the pigments were found in the temple paintings of the late Joseon Dynasty distributed in Gyeongsangdo and Jeollado. On the other hand, there were differences in the use of a color when mixing it with other colors depending on the painted parts.