• Journal of Conservation Science
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• v.25 no.4
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• pp.383-398
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• 2009

We have investigated chemical properties of the pigments and carried out the deterioration diagnosis using nondestructive techniques of the wall painting in Yaksajeon Hall of Gwanyongsa Temple. As the results of pigments analysis, it was unusual that the cobalt was detected in the blue and green colors used to traditional paint background. According to the deterioration diagnosis, ultrasonic measurement and infrared thermography, dominant cracks and exfoliation caused by high content of moisture. Therefore, it should be devised effective plan to prevent penetration of water for the long term this wall painting.

• 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.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』.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.44 no.3
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• pp.303-316
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• 2018

In this study, I investigated the applicability of fluorescein-derived xanthene dyes to fluorescent pigment and the controllability of the optical properties of manufactured pigments. Eosin Y (D&C Red No.22) and phloxine B (D&C Red No.28) were mainly used as a dye to prepare the pigment. Dyes dissolved in a solvent were poured into a powder dispersed in the solvent, then dried and pulverized to fabricate the pigments. Optical characteristics related with fluorescence of the prepared pigment were measured. The optical properties of pigments were varied depending on the solvent used, content of the dye in the pigment, and the ratio of dyes when more then two dyes were mixed. According to the experiment result, it seems that some of the dyes attached to the powder showed fluorescence while the rest did not contribute to it. From the result of pigment washing experiment to explore the binding (or interaction) strength and characteristics of the powder-dye system constituting the pigment, it seems that there are two or more different interactions existing in the pigment system, one of which is relatively stronger than the solvent-dye interaction.

• Journal of the Korean Applied Science and Technology
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• v.30 no.2
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• pp.233-243
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• 2013

The inorganic pearlescent pigment have high physical and chemical stability, thus it is used in a variety field, which has better light stability, solvent resistance and thermostability. In this paper, we were synthesized the pearlescent pigment for cosmetics which was coated cobalt chloride for base of blue color metal oxide on mica titania substrate using hydrothermal synthesis method. To complement the color of the pigment by cobalt, pearl pigment were coated by different metal salt and cobalt ratio, to implement a variety of color value, depending on the kind of metal salts were synthesized. Synthesized pearlescent pigments appear various color as kind of added metal salt precursor and molar ration of cobalt and other metals. We controlled coating and color by composition of metal salt and type of metal salts, and that confirm the pigment characteristics of color changes through the analysis of color difference meter. Synthesized pigment was characterized by SPM, SEM, XRD, and EDS.

• 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.48 no.1
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• pp.132-147
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• 2015

In this article, the research trends regarding the analysis and restoration of the pigments applied on colored cultural properties during past 25 years are reviewed and the future research direction in this field of study is proposed. There are over 100 different pieces of the colored cultural property samples that have been analyzed in Korea during the time and are increasing numbers of studies on comparative investigations as well. In addition, new analysis techniques have been introduced to surpass the limitation of the current analysis techniques and the database construction has been developed tremendously, which will enhance the analysis reliability, indicating fast growth in the related research areas. There are also studies on finding new materials to replace the traditional ingredients for producing color pigments and related other materials to overcome the limitation of the traditional ingredients on top of the steady number of studies on reproduction and restoration of the traditional pigments. These various research efforts will bring much development in this area of research. One suggestion to be made is that there need to be long term planned research works for certain type of studies. For instance, the effect to the colored cultural properties due to the environmental change is one of important research topics that should be carefully studied, which requires longer time period and also more patience than the research works in the current and past trends.

• Journal of Conservation Science
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• v.36 no.3
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• pp.178-186
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• 2020

Verdigris is a traditional artificial pigment reported on old research papers and according to the methods mentioned in the literature, it is manufactured by the corrosion of copper or copper alloys using vinegar and by further scraping the generated rust. Since the Three Kingdoms Period, various household products with copper alloys, such as bronze and brass, have been used, and pigment analysis of these cultural heritage items has revealed the presence of tin, zinc, lead, and copper in green pigments. Based on these data, five types of verdigris were prepared from copper and copper alloys, and analyzed. the analysis results revealed a bluish green pigmentation, and the chromaticity, particle shape, and oil absorption quantity of each verdigris differed based on the type of copper alloy used in its preparation. The main components of verdigris are Cu, Sn, Zn and Pb, and their proportions depended on the type of copper alloy used during manufacturing. However, the main constituent mineral of the pigments is the same as 'hoganite[Cu(CH₃COO)₂·H₂O]', regardless of the copper alloy used. The result of accelerated weathering test for stability evaluation revealed that verdigris was discolored rapidly, thereby indicating that its stability was low, in particular, the pigments comprising lead presented relatively lower stability.

• Journal of Conservation Science
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• v.31 no.4
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• pp.331-339
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• 2015

This study were conducted the particle-size analysis on 57 blue pigments to understand the step distribution characteristics of blue pigments made out of Azurite by using Malvern's Mastersizer 2000. As the result, most of the conventional blue pigments in Korea, Japan, and Chinese showed good granularity step separation except for few, and the smaller the particle, the more the Span value increased and the wider the granularity distribution range. On the basis of Friedman and Sanders's Grain size, most of the pigments were sand size to silt size. 72.2% of B-100 was clay size and 2.5% of A-14 was gravel size. Even the same components can differ by the grain size directly affecting the important property such as color formation, oil absorption, specific gravity, usability, etc. so the information about the granularity distribution would be used for basic data to deal with natural pigments.

• Journal of Conservation Science
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• v.31 no.3
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• pp.193-214
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• 2015

The green pigments of shamanic paintings (83 items) in the 19~20th century were analyzed with X-ray fluorescent spectrometer(XRF), scanning electron microscopy (SEM) and fourier transform infrared spectroscopy (ATR-FTIR). In 60 items, copper and arsenic were detected in green pigments of the paintings by XRF spectra. Cu $K{\alpha}$/As $K{\beta}$ (peak intensity ratio of copper and arsenic) of shamanic paintings of Bokgaedang (shrine), solemn paintings (romance of three kingdoms) of Donggwanwangmyo and unknown enshrined place were 5.93~12.04 and higher compared to 5.67-6.26 of standard emerald greens and 4.01~7.89 of remaining shamanic paintings. The SEM images of crystal forms of copper-arsenic green pigments were various. Crystal forms were divided into oval and round spherulite with intersecting plate crystals and spherulite with agglomerate plate crystals. The crystals of the latter were found in shamanic paintings of Bokgaedang (shrine), solemn paintings (romance of three kingdoms) of Donggwanwangmyo and unknown enshrined place and the former were found in the rest of shamanic paintings. Copper-arsenic green pigments of shamanic paintings were identified as Scheele's green from shamanic paintings of Bokgaedang (shrine) and romance of three kingdoms. Emerald green from the rest of shamanic paintings by ATR-FTIR. From analytical results, it is confirmed that Scheele's green of shamanic paintings of Bokgaedang and romance of three kingdoms was used in the 1850s~1870s and emerald green had been widely used from late 19th century to 1970 in the rest of shamanic paintings.