• 보존과학연구
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• s.28
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• pp.121-147
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• 2007

A large variety of mineral pigments has been used for Korean paintings and it has known that organic pigments have been used together on the Buddhist painting and the portrait. Haehakbando-do, which is from Honolulu Academy Museum in the United States, 12-fold screen was commissioned by Court of the late Joseon Dynasty in order to pray for the King's longevity. Therefore, it seems that all material used including pigments were selected very carefully and a great deal of technical effort was gone into its process. The purposes of this research were to estimate the pigments and the contributory elements of each color used on Haehakbando-do, in accordance with the conservation treatment carried out by Gochang Conservation Institute throughout last year. Without extracting sample, property of pigment was measured by nondestructive method, X-ray spectral analysis, and by comparing with the data about ancient pigments. In spite of the limited range of pigment analysis by nondestructive method, it should be noted that this method would not cause damage to the cultural properites. White pigment was found in all colored parts except the background, so it can be suggested that white color was used as a grounding of other color pigments. This would be flake white[$2PbCO_3{\cdot}Pb(OH)_2$] as Pb was found. Pb was the only element could be found in yellow, however, it can be organic pigment like Gamboge as same as background. Red would be Cinnabar (HgS) as hydrargyrum (Hg) was detected. For the light purple in cloud, organic pigments were probably used since any element is not detected except for Pb, which is used for background. It is possible that green color is the mixture of Malachite[$CuCO_3{\cdot}Cu(OH)_2$] and Azurite [$2CuCO_3{\cdot}Cu(OH)_2$], which share Cu as their main element. Azurite[$2CuCO_3{\cdot}Cu(OH)_2$] was used for bluish pigments. Black is carbon compound. For gold, solid gold (Au) was detected. It shows that gold was gilded on the flake white background. Red painted on the frame of screen was identified as Cinnabar (HgS) and the gold pattern was solid gold (Au). The supporting leg of folding screen was made of brass because both copper and zinc were detected. In conclusion, white pigment was used as grounding of all colors of Haehakbando-do, and specific pigments were used for each color. Additionally, result from the analysis of several pigments shows that mineral pigment and organic pigment, or different mineral pigments were mixed to make various colors.

• Conservation Science in Museum
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• v.28
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• pp.35-50
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• 2022

This study explores the results of the research and conservation treatment conducted on two-peony paintings in the collection of the National Museum of Korea. The Jang-ji(障子) resembles a folding screen, but differs in size, shape, and use. A thick sheet of paper was used to attach the paintings to a wall, and traces of the lattice frame and red pigments, which was mainly used for building structures, remain on the back of the paper. It is confirmed that the paper was used as Jang-ji(障子) attached to adorn the walls or doors of a building and specifically decorated the interior of Seonwonjeon Hall in Gyeongbokgung Palace, which was removed in 1867. The paper also indicates that the mounting was made in the 19^th-century Joseon Dynasty, as the peony painting was finished in a different color from Jang-ji(障子) used for the Seonwonjeon Hall in Changdeokgung Palace. Based on the analysis of pigments and literature research, this study attempts to take a new approach to the colored pigments used in royal peony paintings, and it is believed that the conservation treatment used in this study highlights the necessity of continuous research on wallpaper as reference materials for royal paintings of the Joseon Dynasty.

• Conservation Science in Museum
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• v.9
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• pp.85-93
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• 2008

Conservation science team of the National Museum of Korea has conducted conservation treatment for 3 pieces of portraits as a part of project for publishing illustration book of relics of paintings and writings. Among them, portrait scroll of Jo Gyeong is a representative portrait of Seonmoogongsin rank in 17th century of Chosun, which was donated in 1997 and its whole body painted on silk was scrolled. This portrait was in poor state including the silk of portrait got loose from lining paper completely and exfoliation of the pigments. Accordingly before preservation treatment, production technique and the quality of the material lining were surveyed through scientific study(investigation through microscope, XRF, X-ray) and preservation treatment was conducted in order of disassembly, cleaning, removal of lining paper, infiling of the missing parts, lining, finishing.

• Conservation Science in Museum
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• v.14
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• pp.91-113
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• 2013

Cheongpung Buwongun Kim Wu-myeong's Funeral Bier, an important folklore cultural property No.120, possessed by Chuncheon National Museum was donated in 2002 (by Kim Seonggu). It consists of a bier, yoyeo(腰輿), myeongjeongdae(銘旌臺), and manjangdae(輓章臺). It has a high value as the oldest royal bier. The bier which had a resting time in the storage for special exhibition of "The great cultural treasure of Gangwon province" was inspected in September 2012 and colored pigment layer of the wooden part had the risk of peeling off and surface damage of the textile was serious. Therefore, conservation treatment was conducted. In addition, knots and susiks(垂飾) were severely damaged and their exhibition was impossible. Therefore, a reproduction to replace them through a close investigation was made. All parts of the funeral bier were in separation except for the basic furniture. Conservation was made by dividing the parts into wooden parts and textile parts. Yoyeo was reinforced after disassembling bujae from it and then was reassembled. Paraloid B-72 2 wt% (in ethyle acetate), acrylic resin, was applied to the wooden part of the bier in order to reinforce the colored pigment layer with the addition of sodium alginate 2 wt%(in stilled water) and glue 4 wt%(in stilled water). The pollutants on the surface of the textile part were removed (vacuuming) and its creases were smoothed out (steaming). Fat-soluble pollutants were removed using an nonionic surfactant(Saponin, concentration at 0.25 to 0.5 g/𝑙, in de-ionized water). After the disassembly of the yoyeo from the broken wooden, it was bonded with glue (3 wt% for the first gluing, 35 wt% for gluing), and pine wood was used to restore missing parts. In the process of connecting Wongak(雲角), the original metal hinge and nails were reused to complete the assembly.

• 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.

• Journal of Conservation Science
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• v.35 no.5
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• pp.480-493
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• 2019

In this study, the method for processing glue and glue-alum sizing from the dancheong ground treatment was evaluated with respect to weather resistance, and its effect on the conservation of dancheong was analyzed. Viscosity and pH of the glue and glue-alum specimen were measured and classified into three categories(none layer, glue layer, and glue-alum layer), which were further classified according to low concentration(four times for 2%) and high concentration(once for 10%). The base layer formation was subsequently classified into three categories based on pigment adoption, namely, Noerok(celadonite), Seokganju(terra rossa), and Jangdan(red lead). The completed specimen was subjected to a changing-environment experiment for evaluating weather resistance and observing the surface. Color variations were analyzed before and after the experiment. The results indicate that glue-alum sizing comprising 5% alum or 7% alum has strong acidity that can affect the life of dancheong, and the high level of 7% alum makes it difficult to create a solid coating layer. After ultraviolet irradiation, the specimen with 7% alum changes its color to yellow. Furthermore, after moisture absorption and drying, cracks can be observed on the entire specimen surface that corroborate the physical change. Additionally, gas-based corrosion causes marginal surface changes. Hence, the formation of a stable coating layer can be achieved by incorporating a low concentration glue solution that is almost neutral, and the application of glue-alum sizing having 2% concentration can aid in the conservation of dancheong.

• Journal of the Mineralogical Society of Korea
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• v.32 no.4
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• pp.287-301
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• 2019

Preservation of the original form is the principle for conservation, management and utilization of cultural heritages. Thus, non-destructive analysis of these samples are important field of the conservation science. In this study, examined the applicability of nondestructive surface X-ray diffraction analysis (ND-XRD) for cultural heritage by materials (rock specimen, jade stone, pigment painted specimen, earthen artifact, metal artifact). In result, all type of sample is recorded suitable X-ray diffraction patterns for identifying mineral composition in case of surface condition with adequate particle size and arrangement. And diffraction pattern is reflected surface information than matrix. Therefore, ND-XRD is thought to be applicable not only mineral identification but also interpretation of manufacturing technique and alteration trend about layered sample (in horizontally or vertically). Whereas some exceptional diffraction patterns were recorded due to overlapping information on specific crystal planes. It caused by skip the sample treatment (powdering and randomly orientation). It could be advantageously used for mineral identification, such as preferred orientation of clay minerals. In contrast, irregular diffraction pattern caused by single crystalline effect is required careful evaluation.

• Journal of Conservation Science
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• v.30 no.1
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• pp.39-53
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• 2014

The decorative painting at court was practical and functional role by decorated the inside and outside of palace. Especially, the type of the Painting of sun, moon and five peaks and Heavenly peach were the one of representative decorative paintings, produced for authority of king and longevity wish. However, there are not clarify verification of production period and installation place in the Painting of sun, moon and five peaks and Heavenly peach, that made before $19^{th}$ century, in present. Therefore, this study has a meaning on find production period, installation place and techniques of paint through conservation scientific research of the Painting of sun, moon and five peaks and Heavenly peach that introduced the first time in National Museum of Korea. Double side paintings in two-panel folding screen style and tortoise shell shape of window is the first time research in the decorative painting at court. This study also explain that they were installed in Hamin Jeong from ChanggyeongGungyeonggeon Dogam Uigwe(1834) through research of the original measurement, contrast of palace in present and Uigwe record. It will be contributed to a study of the Painting of sun, moon and five peaks and Heavenly peach in the early $19^{th}$ century.

• Journal of Conservation Science
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• v.38 no.2
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• pp.133-143
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• 2022

In this study, we analyzed the rickshaw (Owned by the Daegu Modern History Museum) by measuring each material. The purpose of the study was to identify the materials in modern cultural assets that utilize a variety of materials in a complex way, and establish basic data for preservation and management. Using portable X-ray fluorescence analyzers (P-XRF), species identification, fiber identification, paint film analysis (microscope observation, SEM-EDS, FTIR) on metal, wood, fiber and paint was carried out. Brass, an alloy of Copper, Zinc and Iron, was measured in the metal parts. Further, wooden parts, such as Oak (Quercus acutissima), Japanese Cedar (Cryptomeria japonica), Bamboo (Bambusoideae). Torreya nucifera (Torreya spp.) were identified in the body. Fiber parts consisted mainly of cotton, but some parts were also made of leather. In terms of paint, rickshaws were applied with multiple layers, using cashew (synthetic paint used in place of lacquer). In sum, the rickshaw body part appeared to overlap with layers of fiber, metal (soild), paint, and colored (black, red) layer.