• Journal of Conservation Science
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• v.33 no.2
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• pp.85-95
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• 2017

Oil paints are mixtures of pigments, drying oils and additives. In the past, oil paints were mainly composed of inorganic pigments. However, recently color matching techniques vary depending on manufacturers due to the development of various kinds of synthetic pigments. Despite this, most studies of oil paints in South Korea are about durability tests, and there is no comparative study on the characteristics of commercial oil paint components. This study aims to compare the properties of four different kinds of oil paints from four manufacturers, which are the most popularity used. Extender pigments in oil paint from C brand differed from that of other manufacturers and various kinds of coloring pigments were differently used depending on the oil paints and the manufacturers. The mixing ratios and the pigment types differed even for oil paints having the same product name. It is assumed that these differences could affect the colors. The result of this study is expected to contribute to the analysis of artworks through the accumulation of scientific data of oil paints. In addition, it can be utilized as a scientific basis for art history studies, including the characteristics of artists or production year.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.1
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• pp.67-85
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• 2004

Four volumes of the script of the Avatamska Sutra written with golden paste on dark blue papers manufactured in Koryo Dynasty which are collected or deposited in every museum of Japan show specific features on their cover paintings. In general 3 or 4 lotus flowers are wound by arabesque patterns in zigzag on the cover paintings of Koryo scripts, whereas 10 lotus flowers painted with golden paste on the 4 volumes of these scripts are same in their style. Though there is no prayer sentences in 4 volumes of the script, it is possible to know that they should belong to a set of 80 Avatamska Sutra by the results of above studies. In this study the contents of Byunsangwha of the script of 4 volumes of the Avatamska Sutra were discussed at first and their manufactured era should be postulated by the results of style analysis of cover paintings and Byunsangwha. First thing that saint hair of Buddha was painted with cobalt color is same as that of Byunsangwha of Munsuchoisangsungmusenggebueob prayed in Tejeong 3rd year, king Chungsuk 13th year(AD 1326). Second thing that the beads in topknot of saint hair and lips were painted completely with pink color, and ears, face outline as well as bosom outline disclosed through monk's cloth were also painted with pink color, furthermore the last thing is that Buddha's face was coated with golden paste. All of these things are same as shown in the characteristics of Byunsangwha of the scripts of Kanezawa Daishoji, Matsue Tenrinji and Haga Tera collection in Japan. However, since the cloud pattern style of Byunsangwha of the script is similar to that of the Byunsangwha manufactured in reinstatement era of king Chungsuk, it is possible to say that these 4 volumes of script should be manufactured in the reinstatement era of king Chungsuk.

• Korean Journal of Plant Resources
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• v.27 no.4
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• pp.380-391
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• 2014

Plants as well as crops are damaged by a combination of the hot and dry winds that has been a major factor in the reduction of crop production. A means to protect them from damaging conditions is to consider a coating material. In this study, we established laboratory screening methods to find a coating material to protect a crop from rapid transpiration caused by various factors. In a test measuring the weight loss of kidney bean seedlings for 6 days, Avion treatments decreased its weight loss (P=0.05). Owing to long-time spend in completing this assay, we performed a more simple method using a cobalt chloride paper strip, which changes from blue to red colors under water condition. Beewax, guagum, paraffin liquid, soybean oil, and PE-635 gave a waterproofing effect above 37 and 43% at 0.5 and 1 h after treatment, respectively. However, these tested materials did not show significant waterproofing results at 2 h. Although the methods produced reasonable results, a screening method to obtain more objective data is needed. An alternative is to use an instrument that can detect the transpiration of crop leaves. In a preliminary test using barley leaves, a portable photosynthesis system showed transpiration inhibition of 2% soybean oil and 10 times-diluted Avion under field conditions. In another test using the leaves of maize seedlings and apricot tree, 2% liquid paraffin and plant oils such as apricot oil, linseed oil, olive oil, and soybean oil showed significant transpiration inhibition (P=0.05). Especially, paraffin liquid and soybean oil selected from above tests gave good transpiration inhibitory effects against rice at 2%. In addition, the mixture of 2% soybean oil and a spreader showed more elevated inhibition results comparing with soybean oil or the spreader alone indicating that the spreader may be attributed to more uniform diffusion of the hydrophobic material onto the leaf surface of maize seedlings. The hydrophobic material coated physically the stomata and cuticle layers on leaf surfaces of rice. These hydrophobic materials screened in this study are expected to be used as plant coating materials.

• Korean Journal of Heritage: History & Science
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• v.55 no.3
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• pp.120-129
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• 2022

The purpose of this study is to analyze the chemical composition of smalt pigments used in 10 large Buddhist paintings in the Joseon Dynasty using energy dispersive X-ray spectroscopy, and to clarify the material and characteristics by observing morphological characteristics using polarized light microscopy and a scanning electron microscope. Through chemical composition analysis, the smalt of all 10 large Buddhist paintings is judged to be potash glass using SiO₂ as a former and K₂O as a flux. In addition to the components related to cobalt ore used as a colorant, the paintings were found to contain high levels of As₂O₃, BaO, and PbO. The smalt particles did not have specific forms, and were blue in color, with various chromaticity. In some particles, conchoidal fracture, spherical bubbles, and impurities were observed. Through backscattered electron images, it was found that the smalt from paintings produced in the early 18th century AD had a high level of As, but the smalt from paintings produced from the mid-18th century AD onwards exhibited various contrast differences from particle to particle, and there was smalt with high levels of As, Ba, and Pb. Through the above results, the large Buddhist paintings in the Joseon Dynasty are divided into three smalt types. Type A is a type with high As₂O₃, type B is a type with high BaO, and type C is a type with high PbO. Looking at the three types of smalt pigments by the period of production, although some in-between periods were not detected, type A was confirmed to have been used from 1705 to 1808, while type B and type C were shown to have appeared in 1750 and used until 1808. This reveals that only one type of smalt was used until the early 18th century AD, and from the middle of the 18th century AD, several types of smalt were mixed and used in one large Buddhist painting. Studies such as this research are expected to provide insights into the characteristics of the smalt pigments used to produce large Buddhist paintings at the time.