• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.56-69
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• 2016

Flame resistant treatment has been applied since 1973 for fire prevention in historical wooden buildings, but several problems, such as whitening and discoloration are constantly occurring in some Dancheong, in spite of evaluation criteria. It is supposed that these phenomena are caused by the stability issue of flame retardant, Dancheong production methods, the residue of chemicals, which were applied in the past, building location environments, etc., but no evaluation and cause inspection has been performed. Therefore, this study aims to verify the effect of flame retardant on Dancheong by producing Pseudo-samples and setting spatial and temporal environment conditions. Pseudo-samples of Dancheong were produced using three methods; the method specified in the Standard Specification of Properties; the method, which is generally used in the site and the traditional method. For different environment conditions of pseudo-samples, the areas were classified into a coastal area and an inland area and the places were classified into a sunny place and a wetland. After applying a flame retardant, annual variations were inspected for 12 months and change aspects were observed through scan and regular observation. In annual variation inspection, various variations like whitening, decolorization, dissolution and exfoliation were found and especially, whitening was most dominant. When the effect of flame retardant depending on the production methods was analyzed, whitening occurred in all the three production methods. It is supposed that this is because calcium(Ca) was contained in the coloring material of each production method and it reacted with phosphorous(P) of flame retardant. When the effect of flame retardant depending on the environment conditions was analyzed, whitening occurred more in the coastal area than in the inland area and it reduced in the building in a sunny place, which was constructed using the traditional method. It is supposed that this results from the humidity change and the difference of glue used in each production method. In conclusion, for using a flame retardant containing phosphorous(P), there is a need to check if calcium components including Oyster Shell White were used in Dancheong in advance and to conduct various preliminary studies on place conditions and Dancheong construction conditions.

• (The)Study of the Eastern Classic
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• no.66
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• pp.331-362
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• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.