• Journal of Conservation Science
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• v.34 no.5
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• pp.397-405
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• 2018

Currently, there are very few studies on Korean wall paintings. Therefore, this study discusses the current conditions of wooden paintings and the characteristics of the adhesive agent in the painting layer separation. Korean land pine was chosen as the support, while white oysters shells, orpiment, red ocher, Noerok, and azurite were used as pigments. With four adhesive agents, including animal glue, Gelidium, methyl cellulose, and PVAc (caparol binder), a comparative experiment was conducted, by dividing them into two concentrations, of 0.5% and 1.5%. The temperature, humidity, and ultraviolet rays, which are contributing environmental factors in cultural assets after fixing, were artificially investigated. After deterioration, observed color difference, fixing, and the surface. Results showed that the animal glue strongly fixing all the colored layers compared to the other adhesives; however, azurite had a partial change when used outdoors. With Gelidium, which functioned similar to animal glue, the azurite was affected by the ultraviolet rays; nevertheless, despite the variations in temperature and humidity, it had the best gripping force compared to the other adhesive agents. Methyl cellulose was glossy at a high concentration, and was relatively strong against rapid changes in temperature and humidity. PVAc significantly reduced the binding force, compared to other adhesive agents.

• Conservation Science in Museum
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• v.24
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• pp.81-98
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• 2020

This paper presents the results of a comprehensive nondestructive analysis of Portrait of Master Gowun at Wunamyeongdang Shrine (Hereafter, Portrait of Choe Chiwon), Tangible Cultural Heritage No. 187 of Gyeongsangnam-do, including the underlying images drawn at the time of its production and the pigments present. The analysis revealed that the portrait was produced in 1793 at Ssanggyesa Temple in Hadong, Gyeongsangnam-do, which makes it the earliest known example among the extant portraits of Choe Chiwon. X-ray examination found images of a half-length boy monk and a full-length boy monk on either side of the portrait, which had been painted over and became invisible to the naked eye. XRF analysis of the pigments indicated that white lead was used for white, cinnabar and red lead for red, malachite for green, azurite for blue, and gold for gold. It was revealed that the overpainted boy monks were colored using the same pigments as those applied in the portrait of the main figure. It is hoped that the analysis of the pigments used for the boy monks can provide basic materials for research on the production of copied portraits and local Buddhist paintings. Also, additional research drawing upon other fields of study is required to examine the details of the inscription of the portrait.

• Conservation Science in Museum
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• v.31
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• pp.1-20
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• 2024

The "Buseoksa Temple Gwaebul" (1684, K969) in the possession of the National Museum of Korea is a large Buddhist hanging scroll produced for outdoor rituals (gwaebul) at the eponymous temple. The painting demonstrates the most complex composition among the existing Buddhist hanging scrolls as it depicts the Shakyamuni Buddha in the lower middle, surrounded by the Vairocana Buddha, Medicine Buddha, and Amitabha Buddha. This study examines the characteristics of the background fabric and the production methods of the scroll from Buseoksa Temple and explores the characteristics of the coloring techniques by integrating the results of a non-destructive analysis to determine the materials used for coloring. The gwaebul comprises a total of 13 panels, with 11 panels arranged side by side and one panel each added to the top and bottom. The background fabric of the painting consist of semi-transparent silk tabby for the nine panels in the center, and silk tabby for the four panels surrounding the four sides. The coloring materials used to paint the scroll were analyzed using X-ray fluorescence, and were confirmed to be inorganic pigments of red, yellow, green, blue, and white. For some parts painted in yellow and blue, the colors were expressed by first applying light white pigment before adding organic pigments. In addition, ink was used for the black lines and gold leaf was used for the patterns of the Buddhist robes. X-ray irradiation enabled the determination of the location and technique of coloring according to each pigment color by highlighting the difference in brightness depending on the main component and the thickness of each pigment.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 1993.04a
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• pp.4-4
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• 1993

• Proceedings of the Korean Ceranic Society Conference
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• 1986.12a
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• pp.50-54
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• 1986

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2009.11a
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• pp.179-182
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• 2009

본 연구에서는 고령화 시대에 발맞춰 실버산업의 한 분야인 실버용품 디자인 시 계획되어야 할 중요한 요소인 색채에 대해 다루었다. 현재 국내 노인 관련 색채 연구는 미흡한 실정이며 특히 실버용품을 위한 색채 연구는 매우 부족한 실정이다. 따라서 본 연구는 실버용품 사용주체인 국내 60세 이상의 노인을 대상으로 색채연구를 진행함으로써 향후 실버용품 색채 계획에 대한 기초자료로 활용하고자 한다. 본 연구에서는 실제 실버용품의 색상 및 색의 3속성(색상, 명도, 채도)에 대한 노인들의 심리적 선호도를 조사하였다. 본 연구를 통하여 얻은 결론은 남녀 모두 명도가 높은 밝은 색상을 선호하였고, 여성의 경우 무려 89%가 수수한 무채색 보다는 원색인 화려한 색상을 선호하였으며, 남자들 또한 52%가 화려한 색을 선호하였다. 이 결과는 현재 시중에 판매되고 있는 실버용품이 무채색인 흰색, 회색, 검정색이 대부분인 것을 감안하면 실버용품의 색채계획이 노인의 실제 선호색과는 다르다는 것을 보여준다. 본 연구를 통하여 조사된 색채선호도는 향후 실버용품 색채계획 시 주요한 고려사항으로 활용될 수 있을 것으로 기대된다.

• Korean Institute of Interior Design Journal
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• no.17
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• pp.157-165
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• 1998

This study aimed to identify characteristics of design and decoration of Danish peasant furniture especially painted storage furniture used during the 18-19th century before modern design movement of Internationalism prevailed all over the world. Owing to the fact that Danish peasant furniture were made of available conifer around the farms painting method was preferred to carving. Remoted from main land of western and southern Europe Scandinavian countries longed to imitate their Baroque style architecture and furniture made of marble of hard woods. Painting method was adopted to disguise cheap wood so that it looked like expensive or exotic materials such as marble oak metal granite etc. what they could not afford to buy. Eventually they evolved unique materials equipments and methods for imitation painting in order to decorate folk storage furnitures as well as formal architecture : palaces churches and other official buildings,. Marbling clouds marbling graining stencil spatter painting trompe-I'oeil were common to imitate stones or hard woods. Strong and bright colors had good combination together with dull colors on the Danish peasant painted furniture.

• Proceedings of the Korea Information Processing Society Conference
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• 2016.10a
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• pp.691-692
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• 2016

현재 많은 증강현실 콘텐츠는 장면에 따른 미리 지정된 3D 모델을 표시하고 있다. 이렇게 고정된 모델만 표시하는 콘텐츠는 짧은 사용시간을 가지게 된다. 본 논문에서는 증강현실 콘텐츠의 사용시간을 늘리기 위해 증강현실의 마커 이미지를 실시간으로 추출하는 기법을 이용한 컬러링 종이 증강현실 콘텐츠를 제작하였다. 이 콘텐츠는 사용자가 컬러링 종이에 있는 도면에 채색하면, 채색된 도면의 내용을 반영한 3D 모델을 표시하는 증강현실 콘텐츠이다.

• Proceedings of the Korea Information Processing Society Conference
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• 2016.04a
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• pp.787-788
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• 2016

현재 많은 증강현실 콘텐츠는 장면에 따른 미리 지정된 3D 모델을 표시하고 있다. 이렇게 고정된 모델만 표시하는 콘텐츠는 짧은 사용시간을 가지게 된다. 본 논문에서는 증강현실 콘텐츠의 사용시간을 늘리기 위해 증강현실의 마커 이미지를 실시간으로 추출하는 기법을 이용한 컬러링 종이 증강현실 콘텐츠를 제작하였다. 이 콘텐츠는 사용자가 컬러링 종이에 있는 도면에 채색하면, 채색된 도면의 내용을 반영한 3D 모델을 표시하는 증강현실 콘텐츠이다.

• Journal of the Korean Ceramic Society
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• v.36 no.8
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• pp.820-828
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• 1999

This study suggests the accurate method to calculate dominant wavelength and excitation purity which are used for analyzing color of glass product. Instead of ruler and magnified chromatricity diagram by using the slope of lines by tristimulus measured and achromatic timulus and by monochromatiic stimulus and achromatic stimulus calculating method of dominant wavelength and excitation purity was acquired with the relation between them. When it was applied to products the obtained results were more accurate than those from existing methods.