• 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 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.

• Conservation Science in Museum
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• v.13
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• pp.13-22
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• 2012

The patterns for Jeogui and Pyeseul (patterns of the queen's ceremonial robe worn and a belt ornament covering knees in the front) as owned by National Museum of Korea were made in the early 20th century and both of them were colored on paper. Through a non-destructive analysis on pigments and dyes used on both the patterns, it was attempted to identify the coloring materials. As for the analysis of the coloring pigments, the XRF was used. As a result of the pigment analysis on the pattern for Jeogui, it is presumed that lead white was used for obtaining the white color, ink stick for black color, orpiment for yellow color, cinnabar and red lead for red color, copper and arsenical or a mixture of copper carbonate and orpiment for green color whereas brass seems to have been used for obtaining other colors. The pigments used for obtaining the colors of white, black, yellow and green on the pattern for Pyeseul are the same as those used on the pattern for Jeogui whereas the red pigments used on each of the two patterns are seen to be different. Although it may be difficult to identify the kinds of blue pigments that were used on the patterns for Jeogui and Pyeseul, a mixture containing lead white is presumed to be used as blue pigment. Also, as a result of the UV-Vis spectroscopic analysis performed on the blue hanji (traditional Korean paper) of the pattern for Jeogui, it was presumed to have been dyed with indigo.

• 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.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.

• Journal of Conservation Science
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• v.29 no.4
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• pp.445-450
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• 2013

This study investigated the properties of the painting materials used in the temple wall paintings of the $18^{th}$ to $19^{th}$ centuries by synthetically comparing the component analysis data on the pigments used in the temple wall paintings. The study subjects analyzed from ED-XRF are the data on the 61 temple wall paintings distributed nationwide. The colors of the wall painting coloring layers are classified into seven categories: white, incanadine, yellow, red, green, blue and black color. No big geographical and temporal differences in the type of the pigments were found in the temple paintings of the late Joseon Dynasty distributed in Gyeongsangdo and Jeollado. On the other hand, there were differences in the use of a color when mixing it with other colors depending on the painted parts.

• 보존과학연구
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• s.34
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• pp.102-108
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• 2013

The purpose of this investigation is to Dancheong documentary project of Tangible cultural in Jeollabukdo. The colored pigments of Nahanjeon Hall in Songkwangsa Temple analyzed and composition and repair period for each pigments were compared. The result are that blue color is Ultramarine blue($Na_6Al_6Si_6O_{24}S_4$), green color is Yangrok($Cu(C_2H_3O_2)_2{\cdot}3Cu(AsO_2)_3$), orange color is Jangdan($Pb_3O_4$), yellow color is Chrome yellow($PbCrO_4$). It is difficult to distinguishable from coloring period by analysis of pigments of Nahanjeon Hall.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.122-147
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• 2012

The Four-guardian statues in Song-gwang buddhist temple, Suncheon, Korea, have been remade in AD 1628 and have been repaired and repainted over several times since then. Therefore, the study of the pigments applied on the statues can provide good chance for investigation about pigments used in the late Chosun Period. Pigments on fragments from Gwang-mok(Virupaksha), one of the Four-guardian statues, have been analyzed by optical microscope, SEM-EDX and XRD in order to identify the components and compounds. Six types of materials were found from the fragments, which are soil layer with brown clay band, soil layer containing a lot of fibers, Korean paper with loose texture, Korean paper with dense texture, silk, and hemp textile. Presumably, the soil layer which have brown clay band is basis layer and the other layers are repaired layers. From comparative study for the components of the pigments, applied on upper and lower parts of the repaired layers, we have concluded that those repaired layers had been applied on the statue by the following order; basis layer ${\rightarrow}$ Korean paper with loose texture ${\rightarrow}$ soil containing a lot of fibers ${\rightarrow}$ silk ${\rightarrow}$ hemp textile and Korean paper with dense texture. In addition, the years that those materials were applied on the statue have been estimated as 1720~1891, 1926, 1946 and 1976, respectively. The distinct features of each age are as the following; lead white and copper chloride hydroxide are major white and green pigments before 1891, zinc white, barium white, emerald green, and ultramarine blue appear after 1926 and titanium white uprises around 1976. Our result presented here, study on pigments applied on traditional statues over several different periods, will provide good database for future study on pigments used for traditional painting in Buddist temples and Dancheong.

• Journal of Conservation Science
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• v.29 no.2
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• pp.149-159
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• 2013

The painted folding screen of Crown Prince Munhyo at Boyangcheong, Munhyo-seja Boyangcheonggyebyung, was made to record the court ceremony where Crown Prince Munhyo(1782-1786), the firstborn son of King Jeongjo, met his first teacher called Boyanggwan for the first time at Boyangcheong, a government agency specifically founded to provide education for a crown prince, in January 1784. Having never been treated before, this 8-fold screen is still in its original presentation of Joseon Dynasty screen paintings of court ceremonies in the 18th century. The mountings of folding screens in Joseon Dynasty has been researched through the study of the mounting of the Boyangcheong screen and the conservation treatment of the screen has been based on this research. The result of the pigment analysis shows the use of lead white, red lead, vermilion(cinnabar), azurite, malachite, litharge(massicot), carbon black(Chinese ink). The microscopic observation has proved that the painting was painted on verso in most areas and finished on recto to highlight the details or to produce subtle hues by applying light colors.

• 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.