• 보존과학연구
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• s.26
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• pp.165-188
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• 2005

From the ancient to these days, there have been used many kinds of pigment which have two types that are inorganic pigment and organic pigment. At the ancient times, natural pigment had been used but the artificially mixed pigment has been used in modern times. By the way, searching for studies has been studied recently, it would be said the ancient pigments such as Danchung, Wall painting and Mural painting are the mainthema. However, studies about the pigments used in modern pictured relics have rarely can be found. Therefore, this analysis of Ilweolokdo would be important at the point of the pigments used in pictures of royal family in modern times and the results can be briefly summarized as below; Firstly, the results of qualitative analysis of the pigments that base or all pigments of picture was detected components of Ca, Fe and As, this results meaning that picture was used filler and basic paint. Secondly, a result of the analysis on the composition elements of the pigments shows that the main components in their composition are ;White - Lead Cyanamide($2PbCO_3$.$Pb(OH)_2$) or Titanium Oxide($TiO_2$)Blue - Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$)Green - Emerald green($C_2H_3A_s3Cu_2O_8$)Gold - Gold(Au), Red-Red Lead($Pb_3O_4$) or Cinnabar(HgS)Black - Carbon(C)Thirdly, X-ray diffraction analysis of crystalline structure for the blue and green pigment peeling off in picture shows that the components of blue pigment is Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$) and green pigment is Emerald green($C_2H_3A_s3Cu_2O_8$). Especially, microcrystalline structure of the green pigment was the shape like a cross section of wood. Consequently, we knew through the analysis of qualitative and microcrystallinestructures seen on the cross section of analyzed pigments layer that the all pigments used in the Ilweoloakdo is possible to use synthetic pigments in modern.

• Acta Via Serica
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• v.7 no.2
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• pp.89-108
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• 2022

Since the most ancient times, lapis lazuli had been used for luxury goods such as jewelry and seals, to embellish sculptures and weapons or the precious objects of tombs, such as the golden mask of Tutankhamon or the famous "Standard" of the royal cemetery of Ur. Much more recent seems to be its frequent use as a pigment in wall paintings or polychrome stucco. In this article, the question of the sources for this extremely rare mineral is briefly discussed and the places proposed by ancient scholars as deposits of the mineral are presented and examined. The information provided in the medieval Arabic and Persian scientific literature has been considered and compared with the data of our modern geological knowledge. A list of sites in Central Asia, the Middle East, and India with lapis lazuli occurrence on wall paintings illustrate its wide use in different artistic cultures and periods between the 2nd and 10th centuries C.E. These cultures are in fact different in ethnic and linguistic origin and in the religious, economic, and social sphere, but closely interconnected by common pan-regional artistic traditions in style, materials, and techniques employed. A case study investigated by the authors in the Friday Mosque of Iṣfahān gives an example of the use of lapis lazuli pigment in Islamic wall paintings and stuccoes.

• Journal of Conservation Science
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• v.38 no.4
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• pp.327-333
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• 2022

Sri Lanka has four types of mural painting styles; Classic, Late Classic, Kandyan, and Southern styles, but there is little research on scientific analysis for mural paintings. In this study, we analyze white, yellow, and red clay pigments which were collected from ancient producing sites. Analyzing pigment samples shows that samples are containing aluminum oxide(Al₂O₃) and silicon dioxide(SiO₂) which are connected to the soil. And a degree of iron oxidation determines yellow or red colors. To understand the characteristics of clay pigment samples, we go over previous pigment analyses of mural paintings in Sri Lanka. Kaolin is identified after the 17^th century, yellow and red ochre are applied in early periods, Classic and Late Classic styles. The change in raw materials of pigments occurred in the 17^th century.

• Applied Microscopy
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• v.51
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• pp.14.1-14.11
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• 2021

Melanin has been a widely researched pigment by scientists for decades as it is undoubtedly the most ubiquitous and ancient pigment found in nature. Melanin plays very signifcant roles in structural plumage colors in birds: it has visible light-absorbing capabilities, and nanoscale structures can be formed by self-assembling melanin granules. Herein, we review recent progress on melanin-based structural coloration research. We hope that this review will provide current understanding of melanin's structural and optical properties, natural coloration mechanisms, and biomimetic methods to implement artifcial melanin-based structural colors.

• 보존과학연구
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• s.24
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• pp.131-152
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• 2003

In ancient times, many kinds of different inorganic pigments were used as colorants for making objects. These pigments are still evidentin well known objects such as Danchung, mural painting and Buddhist painting. This study discusses the results obtained from an analysis of the pigments used on the Buddha pigments. The results can be briefly summarized as below; Firstly, the microcrystalline structures revealed on the cross section of analyzed pigments, samples of which were taken from various parts of Buddha pigments show that different sizes and shapes of pigment particle were used for different purposes such as coloring, toning of the pigments. The arrangement of pigments and their usages are varied according to the owner temples and the place where it was created. Secondly, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are: Red pigments - Red lead($Pb_3O_4$) and Cinnabar(HgS)Green pigments - Malachite[$CuCO_3$.$Cu(OH)_2$] and Prussian Blue[$Fe4(Fe(CN)_6)_2$]Gold pigments - pure gold(Au)Yellow pigments - Orpiment($A_s2S_3)White pigments - Lead Cyanamide[$Pb_3(CO_3)_2(OH)_2]Ultramarine pigments - Azulite[$Cu_3(CO_3)_2(OH)_2]Especially, we knew that pigments used on the Ssanggye temple not repaired to the artificial synthetic pigment

• 보존과학연구
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• s.26
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• pp.77-101
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• 2005

In ancient times, many kinds of difference inorganic and organic pigment were used as colorants for making objects. This study has proved the damage regions on the aging conditions of the silk dyeing traditional pigment. so whiteness, tensile strength and digital-microscope were measured to examine the state of silk dyeing traditional pigments pretreated under each aging condition. From the result examining the state, all the silk dyeing traditional pigments were best condition at low temperature(-20/RT)and normal condition and damaged at high temperature($60^{\circ}C$) and 2ppm $SO_2$condition and UV condition. As a result of X-ray diffraction analysis of crystalline structure for the silk dyeing traditional pigments, most of specimens have nearly changed crystalline structure despite specimens had each other different conditions and times. Especially, specimens which was passing of 4-8 months have not changed in its crystalline structure. But some specimens like a Unghwang and Seokcheong have a little changed in its intensity in the XRD peak. Consequently, If we want to find out alteration of crystalline structure for the silk dyeing traditional pigments using scientific method according to change of environmental conditions, we must guarantee of equal state and strengthen of environmental conditions in specimen. Additionally, the term of experiment need to belong, and specimens which was experimented and analyzed must be same.

• 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.

• 보존과학연구
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• s.29
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• pp.199-220
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• 2008

Hobun(Oyster shell White) is a traditional material used as extender and white pigment from ancient times. The production method of it, however, has been discontinued. We have studied the traditional production method of Hobun by weathering oyster shell, which is one of the traditional ways for preparing Hobun. Reproduction study of manufacturing method of the discontinued traditional material is an important accomplishment of our research. Also this study provides solid background knowledge to stabilize the production and supply of Hobun for the cultural asset repairing materials. The result can be summarized as follows: The production process of Hobun by weathering method takes 5 steps - (1) weathering shells ${\rightarrow}$ (2) washing ${\rightarrow}$ (3) pulverization ${\rightarrow}$ (4) separating fine powder by submerging in water ${\rightarrow}$ (5) drying. The major aim in step (1) is to eliminate organic impurities. In the step (4), the fine particles smaller than $25{\mu}m$ are separated by extracting the supernatant from stirred suspension after heavy particles are submerged. Also, the soluble inorganic impurities can be eliminated through the powder submerge in 15 times water and stirring the suspension 6 hours and changing the water 3~4 times. The final products have high quality with 94.03, 0.52, 2.05 for L, a, b, less than $25{\mu}m$ particle size, fine resistance for discoloration by light and environmental pollution and good workability.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.131-142
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• 2000

The philological consideration of Korean Buddhist Monk's robe and its reviving have been investigated in traditional way. The configuration and colour of Korean Buddhist monk's robes have been properly adapted for an period, territory, and atmospheric phenomena. In case of Korea, introduced Buddhism from China realize modern robe from under the influence of fusion of Chinese ornament culture and Korean traditional ornament culture. As a result of this modern robe has been consisted of a Buddhist monk's robe and a cope. The modem robes has been significantly affected by industrialization, contrary to ancient time taxed robes as public imposts. At present be familiar in mass production we have a preference for the easier way in making and even color forming. In this paper it is focused on dyeing part, which recognized its important in latest time, at first declined according to appearance of chemical dye, evaluated its convenience in use. That is, it is increased natural dye, people begin with recognition of difference of physical properties for dress dyed with chemical pigment and that with natural pigment. In consequence, I have presented that both making colour of gray using traditional method, and three demolished-color prescribed by Buddhist law. Of course, though it become generally know that dyeing of robes occupied significant part of traditional natural dyeing. But in case of religion, it also is important to know symbolical meaning involved in its colour. Most of Buddhism-believers or even Buddhists who actually be dress in robe are without knowing the meaning of colour, or its revealing method. There, I have considered mating three colour of demolished- color included blue, black, and red, and also represented dyeing method of Buddhist monk's robe using both charcoal and ink-spick. From religious font of view, as robes contains involving of blessing, I have an intention of improvement way in dyeing and succession and development of traditional culture through consideration of traditional dyeing method. And I have also intended to restoration the value of robe's colour, disappeared by the time. moreover, I have shown that dyeing with natural pigment is profitable for both environment and sanitary aspect.

• Economic and Environmental Geology
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• v.43 no.3
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• pp.269-278
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• 2010

We investigated characteristics of the coloring material of Dancheong pigments and hope that this study contributes the revival of traditional Dancheong pigments color. For this purpose, we collected Dancheong fragment samples that fell off naturally from old wooden buildings in Gwangju and Jeonnam and analyzed the natural coloring material by XRD and EDS-SEM analysis method. In white pigments of Dancheong fragments, it is confirmed that gypsum$(CaSO_{4}{\cdot}2H_{2}O)$, quartz$(SiO_{2})$, white lead$(PbCO_{3})$ and calcite$(CaCO_{3})$ which have been used for white pigments since ancient times and $TiO_{2}$ which is common used in modern times. In red pigments of Dancheong fragments, it is confirmed that hematite$(Fe_{2}O_{3})$ and red lead$(Pb_{3}O_{4})$, which have been used for red pigments since ancient times and C.I. pigment orange $13(C_{32}H_{24}C_{12}N_{8}O_{2})$ but there is no cinnabar(HgS) which has been used since B.C. 3000 in China. In yellow pigments of Dancheong fragments, it is confirmed that crocoite$(PbCrO_{4})$ and massicot(PbO). In blue pigments of Dancheong fragments, it is confirmed that sodalite$(Na_{4}BeAlSi_{4}O_{12}Cl)$ and nosean $(Na_{8}Al_{6}Si_{6}O_{24}SO_{4})$ as coloring material of blue pigment and C.I. pigments blue $29(Na_{7}Al_{6}Si_{6}O_{24}S_{3})$ which is used in modern times. In green pigments of Dancheong fragments, it is confirmed that calumetite$(Cu(OHCI)_{2}{\cdot}2H_{2}O)$, escolaite(Cr2O3), dichromium trioxide$(Cr_{2}O_{3})$, emerald green$(C_{2}H_{3}As_{3}Cu_{2}O_{8})$, and C.I. pigments green$(C_{32}H_{16}-XCl_{x}Cu_{8})$ which is used in modern time. In black pigments of Dancheong fragments, Chiness ink(carbon black) is confirmed.