• 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.

• Korean Journal of Mineralogy and Petrology
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• v.36 no.1
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• pp.1-17
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• 2023

On painting cultural properties to which Orpiment, a traditional yellow mineral pigment, is applied, the color's degeneration is frequently observed. To identify the cause of the degeneration, this study takes a look into orpiment and the various pigments that are mixed into it (Lead White, Lead Red, and Cinnabar) in powder and painting state. The pigment was mixed with Argyo glue and then applied to korean traditional paper and silk. Considering the possibility that alum causes the discoloration, it was applied to the specimen. With a UV tester, the powders and the painted specimens were subjected to a light resistance test in three phases (96 hour). Color changes were measured with a colorimeter and minerals, chemical composition and structural changes were analysed by XRD, SEM/EDS and Raman spectrometers. While the color change of pure Orpiment powder according to the light resistance test was small, the colored specimen became darker. The color change was large in the Orpiment colored on the silk and in the alum-treated specimen. In Orpiment powder was produced white arsenolite as altered orpiment after UV test. In the mixed powder of Orpiment and Lead White were detected only the constituent minerals of Orpiment and Lead White, and no altered substances were produced. Whereas after the UV test, orpiment and arsenolite, which were altered substances of orpiment, and the constituent minerals of Lead White were detected. In the case of mixing the two pigments in the powder state, darkening did not occur even by the UV test. However, the specimens colored with the mixed powder were darkened by the UV test. The color change of Orpiment was different depending on the mixed pigment and base material. The color change was greater in the case of alum treatment than in the case without alum treatment, and it was found that alum also had an influence on the color change of Orpiment.

• Journal of Conservation Science
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• v.35 no.5
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• pp.416-429
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• 2019

Bongchae is primarily employed for toning, which is the last step in the conservation treatment of paper's cultural properties. The objective of this study is to identify the coloring patterns of four types of Bongchae(Bonram, Gamboge, Yeonji, and Daeja) and determine the associated color change patterns through accelerated aging experiments. By examining the coloring patterns, it is observed that Yeonji, Bonram, and Daeja are painted as particles, whereas Gamboge indicates a close state of coating. Results obtained from X-ray diffraction analysis of Bongchae indicate that the presence of quartz, calcite, and pyrophyllite can be equally detected in Bonram, Yeonji, and Daeja. Additionally, the presence of goethite is also detected in Daeja. Gamboge becomes discolored from yellow to orange color during wet thermal aging, and Gamboge and Yeonji become decolorized during UV irradiation aging. Hence, cultural properties of paper colored with Gamboge can be predicted to become discolored to orange color by alkalis and can be darkened by UV rays because the decolorization of Gamboge and Yeonji occurs preferentially.

• 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.30 no.2
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• pp.123-136
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• 2014

Considering that decision in conservation treatment for damaged objects should consider not only various options of methodology of intervention but also possible consequences of different types of intervention, it is a difficult task to decide and propose clear and safest solution of preserving an object. In addition, it should be constantly challenged by conservators even if it is proved technique or methodology in a past treatment. Therefore, there is no absolute solution which can be applied to all practice but each decision can be different case by case. It is not possible to estimate the way how the present condition of material and environmental aspects would affect to the condition of an object in future. However if conservators keep trying to set out various ways of analysing pro and against effect of past treatments, it would be able to provide useful logics of proving efficiency and appropriateness of a certain treatment. Understanding that the advantage of laser technique is to adopt a way of cleaning an object without making a direct contact, which is different from other techniques, this paper aims at securing stability of laser techniques, although it remains a limitation in the compatibility to all other materials. This study has examined reacting process on the painted pigments against laser beam by using CLSM in order for it to display both the problems from such reacting process and the efficiency of it as a cleaning methodology. It has intended to estimate the result of laser techniques and propose the range of applicability.

• Journal of Conservation Science
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• v.11 no.1 s.14
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• pp.38-51
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• 2002

The first priority we face in the conservation of wall paintings, is the conservation of painting layer. The 'painting layer' is sometimes called the pigment layer, and refers to the painted surface. For the consolidation of this painting layer we use 'fixative'. Fixative is a common adhesive which has been used in various field and conservators have made up for the weak points in the consolidation of wall paintings. In my thesis, I will summarise the range of use, standards of selection, and results of research on the use of fixative in the conservation of European paintings. In addition, I will describe various kinds of our traditional fixatives. As synthetic resins have proved that it is not ideal as a fixative for wall painting, conservators have studied to find an alternative. Same as European conservators, Asian scientists has researched to find alternative fixative which is more suitable to the wall paintings in Asia based on their traditional techniques and materials. Therefore, 1 have studied to find an adequate fixative for our own wall paintings and I could conclude that we can consider traditional fixative which is made of 'seaweeds' as an alternative and it is very important to proceed research and experiment on this material.

• 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.

• Journal of Conservation Science
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• v.32 no.2
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• pp.261-271
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• 2016

We have investigated relationship between particle characteristics of oyster shell powder pigments and their performance such as workability and durability. Three types of the powder which have different particle size and shape(spherical, elliptical, columnar and irregular) distributions were made for this study and we evaluated spreadability and uniformity for workability, and adhesion and surface hardness for durability of painted films by each powder paints. As a result, we found out that the workability and durability of the paints were influenced by the particle shape distribution more than the particle size distribution. The durability, especially, was enhanced as the ratio of columnar particles in the powders was increased. This result verifying the important factor affecting the durability can be base data for selecting oyster shell white paint and assessing its quality for conservation and restoration of Dancheong, as well as to produce high quality traditional paints.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.150-171
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• 2013

The most important part of conservation treatment of murals is to preserve them against the risk of a damage by injecting fixative into them when the painting loses its cohesion or powderization of pigments occurred due to occurrence of cracks inside the painting layer. However, studies on the stability of fixative used for painting layers of murals are still insufficient. This study manufactured a mural as a specimen and colored it with four kinds of pigments including oyster shell white, cinnabar, malachite and red clay and applied four kinds of fixative, including, Paraloid $B-72^{(R)}$, Caparol-$binder^{(R)}$, glue and Hydoxypropyl $cellulose^{(R)}$. artificially generated environmental changes in temperature, humidity and ultraviolet rays which may occur after the completion of conservation treatment. Then the changes in physical properties were observed in multifaceted ways such as color stability, contact angle, brilliance, adhesive strength and surface. As a result, this study found that ultraviolet rays and hot?humid environment have a large impact on color stability causing changes in brightness and chroma of all painting layers where the fixative were applied, except for oyster shell white and are considered the main factors of decomposition by accelerating the aging process of fixatives applied. In comparison to the synthetic resins that were also tested in this study, the traditional glue showed satisfactory results in terms of color stability and influence preservation and the hydrophile property. As it showed exceptionally outstanding adhesive strength in all painting layers in the aspect of adhesive strength, it is considered to be highly stabile for the fixation treatment of painting layers of mural.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.216-228
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• 2023

The purpose of this study is to apply the handheld Raman spectrometer to identify the coloring materials used in a large Buddhist painting (of Maitreya Buddha) at Janggoksa Temple through cross-validation with HH-XRF. An in situ investigation was performed together with use of a digital microscope and HH-XRF analysis to verify the properties of pigments used in the gwaebul ("large Buddhist painting") via a non-destructive method. However, the identification of coloring materials composed of light elements and mixed or overlaid pigments is difficult using only non-destructive analysis data. Unlike in situ investigation, laboratory analysis often required samples yet the sampling is restricted to a small quantity due to the cultural heritage characteristic. Thus, it is necessary to develop a non-destructive in situ method to supplement the HH-XRF data. The large Buddhist painting at Janggoksa Temple was painted mainly using white, red, yellow, green, and blue colors. The Raman spectroscopy provides molecular information, while XRF spectroscopy provides information about elemental composition of the pigments. Analysis results identified various coloring materials: inorganic pigment, such as lead white, minium, cinnabar, and orpiment, as well as organic pigment such as gamboge and indigo. Therefore, it is possible to obtain more information for the identification of pigments; organic pigment and mixed or overlaid pigments, while at the same time minimizing the collection sample and simplifying the analysis procedure compared to previously used methods. The results of this study will be used as basic data for the analysis of painting cultural heritage through a non-destructive in situ method in the future.