• Korean Journal of Heritage: History & Science
• /
• v.44 no.3
• /
• pp.132-149
• /
• 2011

In ancient period, a variety of inorganic or organic pigments had been used as colorants in various kinds of religious and secular paintings such as tomb paintings and wall and scroll paintings in buddhist temples, and danchung(cosmic patterns) for the surface of wooden buildings. This study discusses the results obtained from an analysis of the pigments on the wall paintings of Yeongsanjeon(Hall of Vulture Peak) in Tongdo temple by a qualitative analysis using a field-XRF. The results can be briefly summarized as follows. Firstly, assuming from the major components examined from F-XRF analysis, raw materials of pigment of each color are: red to be Cinnabar(HgS) or Hematite($Fe_2O_3$); white to be White Lead[$2PbCO_3{\cdot}Pb(OH)_2$] in most cases and Calcite($CaCO_3$) or Chalk($CaCO_3$), Kaolin($Al2O_3{\cdot}SiO_2{\cdot}4H_2O$) in some cases; yellow to be Yellow Ocher[$FeO(OH){\cdot}nH_2O$]; black to be carbon(C); green on the painted surface to be Celadonite[$K(Mg,Fe^{2+})(Fe^{3+},Al)(Si_4O_{10})(OH)_2$] in most cases; dark green on the halo of figures to be Malachite[$CuCO_3{\cdot}Cu(OH)_2$], Copper Green[$2CuO{\cdot}CO_2{\cdot}H_2O$] or Atacamite[$Cu_2Cl(OH)_3$]. Secondly, incarnadine and pink were made by mixing with more than two pigments such as red and white for making various tone of colors. The qualitative analysis of pigments on the wall paintings of Yeongsanjeon, in conclusion, displays that the all pigments for ancient periods are inorganis pigments. However, it has the limitation to identify a definite kinds of mineral for each pigment because it was not possible to collect samples from cultural heritage for conducting a crystalline analysis of XRD.

• Conservation Science in Museum
• /
• v.30
• /
• pp.71-88
• /
• 2023

This paper examined the visible characteristics and chemical composition of glass beads from the Joseon Dynasty as well as the associations thereof. It also explored the characteristics and uses of glass beads by region. This study covered a total of 1,819 pieces excavated from 25 locations in the Gyeonggi, Chungcheong, and Gyeongsang regions, of which 537 pieces were analyzed for their chemical composition. Glass beads of the Joseon Dynasty take a variety of shapes such as a Round, Coil, Floral, Segmented, Flat, Oval, and Calabash. Colors vary from shades of brown (brown, lemon yellow) and shades of blue (Bluish-Green, greenish-Blue, Purple-Blue) to shades of white (colorless, white) and shades of green (Green, Greenish-Blue, Greenish-Brown). Brown accounts for the largest percentage, followed by Bluish-Green, greenish-Blue. It was identified that Drawing technique was the most common glass bead production technique of the Joseon Dynasty. Potassium oxide (K₂O) was the most common flux agent for glass beads, while the potash glass and mixed alkali glass groups account for the largest quantity. The choice of stabilizers depended on the type of flux agents used, but the most common were calcium oxide (CaO) and aluminum oxide (Al₂O₃). The potash glass and potash lead glass groups are high in CaO and low in Al₂O₃, the mixed alkali glass group is high in CaO, and the lead glass group is low in CaO. In terms of the association between color and shape, most of the beads with shade of brown and blue have round shapes of brown and blue have spherical shapes, while the coil shape is prominent in blue beads. A high percentage of green and colorless beads also take the shape of a coil, while white beads in general have a floral shape. In terms of the association between shape and chemical composition, round, floral and segmented shapes account for a high percentage of the potash glass group, while coil and flat shapes are common in the mixed alkali glass group. This paper also analyzed the colorants for each color based on the association between color and chemical composition. Iron (Fe) was used as the colorant for brown and white, and titanium (Ti) and iron were used for light yellow. Purple-Blue was produced by by cobalt (Co), and greenish-Blue, Bluish-Green, green, Greenish-Blue were produced by iron and copper (Cu). Colorless beads had a generally low colorant content.

• Korean Journal of Heritage: History & Science
• /
• v.57 no.2
• /
• pp.102-115
• /
• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.