• Journal of Conservation Science
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• v.31 no.4
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• pp.429-441
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• 2015

The purpose of this study is to analyse the properties of Seokrok and Noerok that are used for restoration of heritage and arts. Malachite is main constituent mineral for Seokrok and Celadonite is Main component of Noerok. To evaluate the physical properties of pigment, A,B-class Seokrok and heated Seokrok that are sold in market were selected. To compare this results, Noerok sold in Japan were studied. In addition, we studied the pigments of Noerok. The heat treatment had no significant effect on the physical properties, except for the color-difference. The color-difference of Seokrok is larger than that of the Noerok sold in Japan. The $a^*$ values of Seokrok specimens are horizontal distribution, so it will expand the coloring ranges. The properties that are chromaticity, specific gravity and oil-absorption of Noerok are different from Seokrok. Noerok is suggested that achromatic color because the values of $a^*$ located near zero. Specific gravity of Noerok is smaller than Seokrok, but oil-absorption is larger twice. Noerok and Amnok, although ingredients are different, it is possible to use alternative because of similar physical characteristics. The result from this study expects to be used as useful referencing data for conservation and restoration of cultural heritage and understanding phenomena of the properties.

• Journal of the Mineralogical Society of Korea
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• v.31 no.2
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• pp.123-135
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• 2018

This study tried to find the clue to Seokrok province by comparing Seokrok used in painting culture properties with Seokrok ore from domestic occurrence and imported Seokrok ore. To this end, chemical and mineralogical characteristics of painting cultural properties were identified with portable X-ray Florescence (p-XRF), micro X-ray diffraction (micro XRD) and SEM/EDS Analysis. To obtain Pb isotopic ratio, the Pb contained in Seokrok has been analyzed with Thermal Ionization Mass Spectrometer. Atacamite (or botallackite) and small quantity of brochantite were identified from Seokrok in Dancheong, and malachite was also identified from Buddhist painting besides those two ingredients. Without distinction of type, most Seokrok used in painting cultural properties is atacamite composed of Cu and Cl. From Pb isotope analysis, it was found that Seokrok in painting cultural properties was closer to that of north Korea, north China and Japan than south Korea as in regional division for East North Asia suggested by Mabuchi. The Pb isotopic ratio of domestic green mineral belongs to the distribution of Seokrok inside the painting cultural properties but imported malachite showed considerably difference. Considering the fact that atacamite, the main mineral of Seokrok in painting cultural properties is rarely produced from southern mine of the Korean Peninsula and the result of Pb isotope analysis.

• Journal of Conservation Science
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• v.31 no.4
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• pp.403-409
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• 2015

Malachite and Azurite are the typical copper system pigments which used the mural paintings since ancient times. The mural painting is at risk for damages of the painting layer by atmosphere gas because it is exposed at external environment. In this study, it did experiment about an effect to Malachite and Azurite by environmental pollution gas($NO_2$, $CO_2$, $SO_2$) then analysis and estimate about test for pieces using mural painting colored that two pigments. As a result, Malachite and Azurite were changed on $NO_2$ but not changed $CO_2$ and $SO_2$. Especially as the concentration of $NO_2$ is increased, exfoliation of the pigment layer weave remarkably formed pores on the pigment particles on SEM, the phenomenon to be pieces were observed together with smaller particles. In the case of Malachite that were exposed to $NO_2$ gas, new compounds(Rouaite : dicopper (nitrate(V) trihydroxide, $Cu_2(NO_3)(OH)_3$)) was appeared by XRD analysis. Therefore, there had been able to verify the fact that the cause exfoliation and discoloration phenomena accompanied by chemical changes for Malachite and Azurite.

• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.249-256
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• 2018

Seokrog and Seokcheong are traditional pigments that have been used as green and blue pigments in Korean traditional coloring heritage. Natural minerals such as malachite and azurite are known as raw materials. Seokrog and Seokcheong are mainly imported from aborad, such as China and Japan, and some blue pigments are reported to have been produced domestically. However, considering the geologic environment where carbonate minerals are difficult to produce, the possibility is not high. Malachite and azurite ores were purchased and analyzed for their composition. The pigments were manufactured by traditional procedure and analyzed to characterize the pigments. The Seokrog pigments had an $L^*$ value of about 59-83, an $a^*$ value of less than -20, and a slightly higher saturation than commercial products. The oil absorption was 22-29 mL/100 g, showing excellent opacity of 99.2 % or more. In the case of Seokcheong pigment, the range of $L^*$ values was 35-65 and $b^*$ values were below -15, indicating relatively lower saturation than commercial products. The oil absorption was 21-26 mL/100 g, showing an excellent opacity of 99.1 % or more like the Seokrog pigment. Azurite ore contain impurities such as malachite and quartz in addition to azurite, and the impurities contained in the pigments derived from azurite ore likely influenced on the characteristics such as their color and oil absorption.

• 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.

• Applied Chemistry for Engineering
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• v.23 no.6
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• pp.567-571
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• 2012

The discoloration of traditional paintings could be induced by various chemical reactions of inorganic pigments due to temperature, humidity, light and air pollution. In this study, we made artificial samples including azurite and malachite as inorganic pigments using the traditional method on hanji called 'Korean paper'and investigated the artificial aging process occurred by the interaction between pigments and environmental factors. It was found that the azurite was influenced by the humidity of weathering tests and the salt fog of salt spray tests according to XRD and TGA results. However, it was shown that the malachite was chemically changed by the ultraviolet radiation of weathering tests and UV radiation tests according to color difference and TGA results.

• Conservation Science in Museum
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• v.28
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• pp.109-136
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• 2022

This study analyzes the , one of the three panels of 《Welcoming Banquets for the Governor of Pyeong-an》, a documentary painting of the late Joseon Dynasty, with the aim to identify the coloring materials used in the painting. The painting was first imaged at each wavelength in order to minimize the potential problems in the process of analyzing specific parts. This study applied X-rays to identify ink, gold, and organic and inorganic pigments and used infrared rays to find ink and copper-based pigments. It also applied hyperspectral imaging to distinguish organic pigments from black, blue, and green materials. It also analyzed spots selected for each color to identify the following materials: white lead (white), ink/indigo (black), a combination of red lead and cinnabar (red), pink dye, purple dye, iron oxides (brown), orpiment/dye (yellow), malachite/malachite and yellow dye/indigo (green), azurite/white lead and indigo/indigo (blue), indigo and cochineal (violet), and gold leaf (gold). It is expected that more efficient analysis will be made possible by securing a sufficient library for each wavelength.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.64-87
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• 2020

Copper trihydroxychloride (atacamite, botallackite, paratacamite, etc.), the first green pigment used in Mogao Grotto's mural paintings of China, has been known as "copper green", "green salt", and "salt green", etc. and has been used as an important green pigment with malachite. At first, the natural mineral atacamite was employed, but after the Five Dynasties (907~960 CE), synthetic copper trihydroxychloride was primarily used. In Chinese literature, copper green, green salt, and salt green are recorded as being made via reaction with copper powder, Gwangmyeongyeom (natural sodium chloride), and Yosa (natural ammonium chloride), and the prepared material was analyzed to be copper trihydroxychloride. Copper trihydroxychloride pigment was not found in paintings prior to the Joseon Dynasty (1392~1910 CE) in Korea. In analysis of the green pigments used in paintings and the architectural paintworks in the Joseon Dynasty, copper trihydroxychloride was also shown to have been used as an important green pigment with malachite (Seokrok). In particular, the proportion of copper trihydroxychloride use was high in Buddhist paintings, shamanic paintings, and dancheongs (decorative coloring on wooden buildings). Some of these turned out to be synthetic copper trihydroxychloride, but it is unclear whether the rest of them are synthetic or natural pigments due to a lack of analyzed data. From literature and painting analyses, the pigment name of copper trihydroxychloride in the Joseon Dynasty turns out to be Hayeob, a dark green pigment. It is believed to have first been prepared by learning from China in the early Joseon period (early 15^th century) and its use continued until the late 19^th century with imported Chinese pigment. Round or oval particles with a dark core of copper trihydroxychloride which were used in Chinese literature were similar to the synthetic copper trihydroxychloride pigments used in the Joseon Dynasty and Chinese paintings. Therefore, the synthetic copper trihydroxychloride pigments of Korea and China are believed to have been prepared in a similar way.

• Journal of Conservation Science
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• v.30 no.4
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• pp.365-372
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• 2014

The purpose of the present study is to determine the species of red and green pigments used on paintings of Korean temples and also to compare the two pigments according to the particle characteristics. The component analysis shows that the red pigment consists of cinnabar, hematite, and minium and the green pigment are composed of atacamite, celadonite, and malachite. The result suggests that mixture of various pigments were applied to the painting. When it comes to the particle characteristics, there are various hedral or anhedral shapes such as sharp, long, angular, and platy shapes even in the same cinnabar. In addition, the green pigment also shows a similar pattern with those of the red pigment. Up to now, an identification of minerals has been relied on examination of component and crystal shape. However, it is notable that using form related characteristics can be a better and useful method not only for categorization of pigments which are similar in terms of color and species but also specific index.

• Journal of Conservation Science
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• v.30 no.1
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• pp.55-65
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• 2014

On this studyed, the Wibongsa BoGwangMyungJun BaekEuiKwanEum wall-painting was conservation of Scientific research ahead. This study carried out Grain size analysis, SEM-EDS, XRD, P-XRF, FT-IR and ultrasonic exploration for wall-painting. As a result, walls layer used to mineral particles size was mixing the medium-texture and fine texture. painting layers pigments used to base paintings was ocher, white pigments was hobun, red pigments was suckganju, green pigments was suckruk. Also BackuiKannon wall-painting walls damage reason of that was long-term physical shocks. painting layers damage was include detachment or powders. it is affected by temperature and humidity. Therefore in the future conservation of wall-paintings through scientific analysis based on such data, conservation processing is performed through the preservation and enhance the stability of the paintings as a basis for the conservation of management can be utilized.