• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• 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.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.

• Korean Journal of Mineralogy and Petrology
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• v.33 no.4
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• pp.361-376
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• 2020

Atacamite and Verdigris were studied material scientific properties and durability that are used for traditional green pigment in traditional art painting work and Dancheong. As a result of ingrediant analysis, K-AA and K-VA identified Atacamite and Hoganite (or Verdigris) respectively. In order to find a factor of depressing the stability of pigment, we examined UV radiant exposure test, CO2/NO2 gas corrosion test and salt spray test. Salt spray test damaged both samples which were formed salt particle on the surface of the samples and it makes color disability. Furthermore, the results of gas corrosion test that both pigments change color enough to be perceived by the naked eyes showed that an air pollutant NO2 gas is also considered to be a major damage factor. In the case of K-VA, Hoganite that is main component of sample changes Tenorite with turn black after accelerated UV radiant exposure test. The consequences of the atmospheric environment effect test of the two pigments, K-VA showed relatetively weaker than K-AA.