• Journal of the Korean Wood Science and Technology
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• v.27 no.3
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• pp.73-81
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• 1999

This paper was intended to evaluate the effect of the blending condition of pigments on the packing structure of coating color and the interaction between pigments and latices on the optical and interior properties of coated paper. It has been studied many ways to modify the coating structure to induce the interaction among coating components as followings ; 1) to use dispersant for pigment, 2) to control the charge density and the type of surface charge of latex, 3) to support the water retention by adding water retention agent or flow modifier. This paper was performed through the introduction of interaction between pigments which were two kinds of clays and one precipitated calcium carbonate(PCC) and ionic latices of which anionic and amphoteric respectively under the certain blending condition of pigments where their blending ratio of clays to calcium carbonate was 70pph to 30pph. The reason is that packing volume of pigments was highest in that region and thixotropical behavior appears in measuring rheology of coating color. We measured the properties of coating color, interaction with pigments and latex, and properties of coated paper and its printability. As a results, we could find out that amphoteric latex had a great influence on the interaction with pigments, especially clays, no matter what grade and also affected the coating structure significantly in case that this blending condition was 70(clays) to 30(PCC). It produced a powerful effect on the forming of bulky and smooth coating structure and in turn improved the printability of coated paper.

• Journal of Conservation Science
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• v.36 no.1
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• pp.47-59
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• 2020

Scientific analysis was conducted to identify the paint pigments used in the Buseoksa Josadang murals. optical microscopy(OM), X-ray fluorescence(XRF), XRF mapping, scanning electron microscopy-energy dispersive X-ray spectroscopy(SEM-EDS), and Raman spectroscopy were performed to examine the pigments. The results confirmed that the Josadang murals consist of two paint layers wherein the pigments were distinct for most colors. It was estimated that celadonite, white clay, red ochre, cinnabar and minium, synthetic green pigment containing tin and zinc paratacamite, or botallackite were used in the upper layer. In addition, bone white, celadonite, red ochre, azurite, cinnabar or vermilion, and gold were identified in the lower layer. In addition, as Zn and Sn were detected in the green pigments extracted from the top layer of the paint, it is believed that Josadang murals were repainted over the original paint layer at some point after the 17th century. In addition, white pigments containing calcium phosphate were found in all the colors in the bottom layer, which is the original paint layer. These results are significant because this is the first time that white pigments are found in Korean traditional paintings. Additionally, the information revealed about the pigments in this study will serve as areference for the pigments used in the Goryeo period.

• Journal of the Korean Crystal Growth and Crystal Technology
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• v.24 no.6
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• pp.256-260
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• 2014

This study was carried on the phenomena in reactivity with the clay surface according to the thickness of the cobalt component coating. In the coated specimen, it was observed that the cobalt component was spreaded to diffuse with a constant thickness from the surface of it and the diffusion layer at the white porcelain soil was more increased with the increase of the amount of cobalt sulfate than at the celadon porcelain one. It was evaluated that the color of the surface on the coated specimen at the white porcelain soil was changed from grayish blue to blue and the $L^*$ value was decreased from 51.78 to 37.61 and also in the case of the coated specimen in celadon porcelain soil, $L^*$ value was from 53.91 to 38.93 and the color was from dark olive gray to dark gray. The physical properties of the specimen were characterized by X-ray diffraction, Scanning electron microscope, Dilatometer, TG-DTA, UV-vis spectrophotometer and HRDPM.

• Korean Journal of Materials Research
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• v.27 no.4
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• pp.206-210
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• 2017

In this study, an ${\alpha}-Fe_2O_3$ (hematite) coated porcelain plate was sintered in a temperature range from $1100^{\circ}C$ to $1250^{\circ}C$ using ferrous sulfate. The specimens were investigated by X-ray diffractometer (XRD), scanning electron microscopy (FE-SEM), energy dispersive spectroscopy (EDS), and UV-visible spectrophotometer. It was confirmed that ${\alpha}-Fe_2O_3$ (hematite) was densely fused to the surface at several tens of ${\mu}m$, the ${\alpha}-Fe_2O_3$ (hematite) was in the form of thin platelet and polyhedra, and no other compounds appeared in the sintering process. In the specimen coated with ${\alpha}-Fe_2O_3$ (hematite), the reflectance spectra show a red absorption band of 560-650 nm. The $L^*$ value decreased from 53.18 to 46.94 with the firing temperature. The values of $a^*$ and $b^*$ were at 19.03 and 15.25 at $1100^{\circ}C$ and gradually decreased with increasing temperature; these values decreased rapidly at $1250^{\circ}C$ to 11.54 and 7.98, respectively. It is considered that the new phases are formed by the phase transition of the porcelain plate (clay), and thus the $a^*$ and $b^*$ values are greatly influenced.

• 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.

• 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.

• 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.