• Conservation Science in Museum
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• v.15
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• pp.66-77
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• 2014

A gujangbok is a king's silk ceremonial robe embroidered with nine symbols that represent the essential virtues that a king needs to govern his country. The National Museum of Korea currently own a gujangbok worn by King Gojong in the late Joseon Dynasty. The robe is painted with various colors, including red, yellow, blue, green, and gray. μ-XRF and analysis was conducted on the pigments, and it was found that the red color was made from cinnabar, the yellow color was gold and brass, the blue color was a blue organic pigment and white lead, the green color was a synthetic pigment composed of copper and arsenic, and the gray color pigment was silver. Also, the pigments were compared to those used to make the patterns of a queen's ceremonial robe and a front cloth panel, both made around the same time and also owned by the National Museum of Korea. The comparative analysis revealed clear differences and similarities between the various pigments. The resulting data expect to serve as a useful foundation research for future studying of the pigments used by the Joseon royal court in the late nineteenth century.

• Journal of Conservation Science
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• v.28 no.2
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• pp.101-112
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• 2012

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a morden industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.

• Journal of Conservation Science
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• v.32 no.4
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• pp.571-578
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• 2016

This study analyzed the pigments used in two portraits of Sim Hui-su using scanning electron microscopy/energy dispersive spectroscopy(SEM/EDS), X-ray diffraction(XRD) analysis, and microscopic observation, and then compared the results to those from nondestructive analysis. It was estimated that cinnabar/vermilion and minium were used for the red pigment, azurite for the blue pigment, atacamite for the green pigment, and lead white for the white pigment. These results were compared to the pigments of six portraits with a similar format, full-length official-attire portraits from the $17-18^{th}$ century Joseon period. It was revealed that the composition of the pigments used in the portraits varied depending on the date of production. Iron oxide, another red pigment, was used in the $18^{th}$ century. As for the blue colorant, smalt was used in the late $18^{th}$ century, whereas it was absent until the early $18^{th}$ century.

• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.

• Conservation Science in Museum
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• v.12
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• pp.53-58
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• 2011

This study investigated ingredient of the pigment of wall painting piece of women parade of Gaemachong Goguryo that the National Museum of Korea kept. XRF, a non-destructive analyzer, was used to investigate ingredient of the pigment. At the analysis, not only cinnabar/ vermillion(HgS) but also hematiae(Fe₂O₃) was used to produce red, and carbon was done to produce black, and lead white was done to produce white. The face was painted by mixture of not only cinnabar/ vermillion but also hematiae: No coloring was done depending upon situation.

• 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.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.33 no.6
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• pp.431-442
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• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• Conservation Science in Museum
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• v.6
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• pp.47-54
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• 2005

The elements of the pigments used on the wall painting in Ssangyeongchong (Tomb of Two Pillars) from Goguryeo in the Nampo area of Pyeongyang were analyzed to confirm their mineral compositions and features of the painting. Specifically, the non-destructive X-ray fluorescence spectrometer (XRF) was used. On the other hand, the mineral composition of the background and pigment layers were analyzed using an X-ray diffractometer (XRD). The results of these analyses suggested that the lips of the characters in the painting were painted with HgS, and their faces, painted with HgS(Cinnabar/ vermilion) mixed with CaCO₃. Note that lead white pigment [2PbCO₃·Pb(OH)₂] was found only on the bottom layer of the painting, indicating that the wall painting was likely to have been created using the Secco method.

• Journal of Conservation Science
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• v.29 no.4
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• pp.379-388
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• 2013

Damaged the Jeoguibon (patterns of the Queen's ceremonial robe) was found during repair work of Daejojeon, Changdeok Palace in 2011. Analytical study on seven colors painted in the patterns has been conducted by P-XRF and Micro-XRD analysis. The result displays that red lead, ultramarine blue, conichalcite or mixed pigment of emerald green and barium white, orpiment and white lead had been used on the patterns. Comparison of the pigments used for the Pyeseulbon (patterns of the Queen's belt ornament covering knees in the front) housed in National Museum of Korea has revealed that not only red lead but also cinnabar and organic pigment had been used in the Jeoguibon and the Pyeseulbon housed in National Museum of Korea. In addition the same pigments has been examined in green and yellow parts of both the Jeoguibon in Daejojeon and the Pyeseulbon housed in National Museum of Korea. The result has shown that western's synthetic green pigment such as emerald green was introduced and used in 1920's. The scientific result from this study expects to be used as useful referencing data for the comparative understanding on pigments used in palace during the 20th century.