• Conservation Science in Museum
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• v.13
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• pp.13-22
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• 2012

The patterns for Jeogui and Pyeseul (patterns of the queen's ceremonial robe worn and a belt ornament covering knees in the front) as owned by National Museum of Korea were made in the early 20th century and both of them were colored on paper. Through a non-destructive analysis on pigments and dyes used on both the patterns, it was attempted to identify the coloring materials. As for the analysis of the coloring pigments, the XRF was used. As a result of the pigment analysis on the pattern for Jeogui, it is presumed that lead white was used for obtaining the white color, ink stick for black color, orpiment for yellow color, cinnabar and red lead for red color, copper and arsenical or a mixture of copper carbonate and orpiment for green color whereas brass seems to have been used for obtaining other colors. The pigments used for obtaining the colors of white, black, yellow and green on the pattern for Pyeseul are the same as those used on the pattern for Jeogui whereas the red pigments used on each of the two patterns are seen to be different. Although it may be difficult to identify the kinds of blue pigments that were used on the patterns for Jeogui and Pyeseul, a mixture containing lead white is presumed to be used as blue pigment. Also, as a result of the UV-Vis spectroscopic analysis performed on the blue hanji (traditional Korean paper) of the pattern for Jeogui, it was presumed to have been dyed with indigo.

• Journal of Conservation Science
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• v.33 no.6
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• pp.507-518
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• 2017

Through a combination of scientific analytical methods, the coloring materials used in $20^{th}$ century paintings in historical churches of Baclayon, Dauis and Loay, which are municipalities in Bohol, Philippines, were studied. Inorganic pigments were identified using SEM-EDS and XRD. Iron-based pigments were commonly found in the paintings, yielding dark yellow and brown colors. Zinc oxide was identified as the white pigment in the ceiling paintings of Dauis Church and Loay Church, while titanium dioxide was detected in the column painting in Baclayon Church. Organic analysis showed the presence of Pigment Yellow 3, a synthetic organic pigment. Paint layers, as well as other components of the samples such as grounds and metal leaves, were examined microscopically. It was observed that different types of grounds were applied on different types of surfaces. Moreover, organic pigments were found in combination with white extender materials. Microscopic examination also revealed alterations in the artworks, such as the overpaint layer found in the samples from Baclayon Church cornice and the imitation metal leaf layers applied over the original gilt surface in the Loay Church retablo.

• 보존과학연구
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• s.34
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• pp.102-108
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• 2013

The purpose of this investigation is to Dancheong documentary project of Tangible cultural in Jeollabukdo. The colored pigments of Nahanjeon Hall in Songkwangsa Temple analyzed and composition and repair period for each pigments were compared. The result are that blue color is Ultramarine blue($Na_6Al_6Si_6O_{24}S_4$), green color is Yangrok($Cu(C_2H_3O_2)_2{\cdot}3Cu(AsO_2)_3$), orange color is Jangdan($Pb_3O_4$), yellow color is Chrome yellow($PbCrO_4$). It is difficult to distinguishable from coloring period by analysis of pigments of Nahanjeon Hall.

• Journal of Conservation Science
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• v.33 no.6
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• pp.431-442
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• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• The Journal of Advanced Prosthodontics
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• v.6 no.6
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• pp.451-455
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• 2014

PURPOSE. The most common failure seen in restorations with a zirconia core is total or layered delamination of the ceramic veneer. In the present study, the shear bond strengths between veneering ceramics and colored zirconia oxide core materials were evaluated. MATERIALS AND METHODS. Zirconia discs ($15{\times}12{\times}1.6mm$) were divided into 11 groups of 12 discs each. Groups were colored according to the Vita Classic scale: A3, B1, C4, D2, and D4. Each group was treated with the recommended shading time for 3 s, or with prolonged shading for 60 s, except for the control group. Samples were veneered with 3 mm thick and 3.5 mm in diameter translucent ceramic and subjected to shear test in a universal testing machine with a crosshead speed of 1 mm/min. One-way analysis of variance (ANOVA) and Tukey's HSD tests were used for comparisons of the groups having the same shading times. A paired t-test was used for groups of the same color (3 s/60 s). RESULTS. Among the 11 groups investigated C4 (3 s) had the highest bond strength with a value of 36.40 MPa, while A3 (3 s) showed the lowest bond strength with a value of 29.47 MPa. CONCLUSION. Coloring procedures can affect zirconia/ceramic bond strength. However, the results also showed that bond strengths of all the investigated groups were clinically acceptable.

• Textile Coloration and Finishing
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• v.34 no.2
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• pp.127-133
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• 2022

With the increasing interest in the expression of individuality and appearance of modern people, it is time to conduct research and development of novel hair coloring from various angles. Therefore, taking into account the order of discoloration of hair pigments, we selected a creative and novel emulsion as a novel material for hair coloring, rather than a cosmetic material such as hot water extract using natural products dealt with in previous studies, commercially available hair manicure, and oxidation hair dye for hair. Thus, the change in tensile strength and elongation of hair samples by color was studied. As a result of the study, hair with green emulsion paint had a significantly higher maximum load, maximum stress, maximum elongation and breaking load, breaking stress, breaking elongation values are shown. Maximum in terms of modulus, green emulsion applied hair and the control group were higher in the 0-15s strain and 15-145s sections, respectively, and the tangential modulus value was much higher in the control group than the experimental group hairs in all the 0-145s sections. This study, which analyzes the dynamic changes of hair samples that extend the daily color gamut, will greatly contribute to the development of innovative hair coloring materials in the research and production of hair beauty works, and it is judged that it will also contribute to the development of the beauty industry.

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.212-223
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• 2012

Pigments used paintings, ornaments, weapons and various objects have been recognised as important elements to ascertain the history, manufacturing technique and cultural migration. Since the understanding of composition of pigments by analysis began in 1963, its technique and methodology has much advanced in recent years; recent study used the portable X-ray Fluorescence as non-destructive analysis has been practiced in particular. However the study on pigments necessitates overall and systematic research because it is difficult to understand periodical and regional use of pigments. by fractional studies. Therefore this research investigates the coloring materials and painting techniques of the scroll painting depicting preaching scene of Sakyamuni Buddha in Daeungjeon Hall, a main hall of Bulguk temple, through scientific analysis and comparison of various pigments which had been applied to the buddhist paintings of Joseon Dynasty. Consequently, it is confirmed that the scroll painting used pigments of white lead[$2PbCO_3{\cdot}Pb(OH)_2$] for ground layer and used mixture of different pigments such as cinnabar (HgS) minium($Pb_3O_4$) malachite($2CuO{\cdot}CO_2{\cdot}H_2O$) hematite($Fe_2O_3$) gold(Ag) for presenting various colors on the painting layer. It has been also believed that mineral pigments were applied to the scroll painting, yet it is difficult to confirm whether it is natural or synthetic pigments because the crystal structures of pigments were not analyzed. The results of this study, however, provide useful reference data for the understanding of the components of pigments and manufacturing techniques of buddhist scroll paintings, in particular, of Joseon Dynasty.

• Journal of the Korean Ceramic Society
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• v.48 no.2
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• pp.134-140
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• 2011

To study the effect of color development of Ni-doped willemite blue pigments, five batches of compositions were prepared and fired at $1350^{\circ}C$/hold for 1 h. When Ni was substituted for ZnO by 0.03 mole the optimum result were obtained. Then they were fired at $1300^{\circ}C$ and held for 1, 2, 4 and 6 h respectively for the purpose sake. XRD, Raman spectroscopy, FT-IR, UV-vis were used to analyze the results of experiment. The substitution of 0.03mole Ni for Zn was most optimum and which produced good willemite at the temperature of $1300^{\circ}C$, holding for 6 h. In ceramic arts, cobalt has been used for blue coloring, in most cases, despite of its high cost. If the low cost Ni-doped willemite blue pigments supplies for them with stable and multiple shades of blue pigment, using NiO at high temperature, it would provide various blues for ceramic wares.

• Journal of the Korean Ceramic Society
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• v.26 no.2
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• pp.187-194
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• 1989

Synthesis of spinel pigment on ZnO-Fe2O3 system. The object of this research is the synthesis of new spinel pigments on the basic of ZnO-Fe2O3 system which was substituted by ZnO-Fe2O3 by MgO-Al2O3. This research was progressed by measuring the X-ray diffraction and the reflectances of the substitued ZnO-Fe2O3 group. Which was obtained by sintering at the temperature of 1,00$0^{\circ}C$, 1,10$0^{\circ}C$, 1,20$0^{\circ}C$ and 1,25$0^{\circ}C$ and them by regrinding. In order to coloring test, here basic compositions of Barium glaze, Zinc glaze, Lime glaze, Lead glaze and Talc glaze used in this experiment are obtained from the ceramic work. Adding synthetic stains in these basic glazes with 3%, mixing and glazing on the specimen. The specimens was fired at 1,28$0^{\circ}C$ in reducing and oxidizing atmosphere in the gas kiln. The results of the research as follow. 1. Many kinds of spinel pigment was produced on ZnO-Fe2O3 system that is to say, not always only spinel. 2. Spinel peak was observed strongly on the ZnO-Fe2O3 system withsubstituting by MgO-Fe2O3 and MgO-Al2O3 group(the ratio of MgO, Al2O3 being increased, observed more strongly). 3. The most effective temperature ranges was 1,20$0^{\circ}C$~1,25$0^{\circ}C$. 4. The color of spinel pigments on this system was observed by "stable YR". 5. It was yellow red in oxidizing and green in reducing atmosphere on the coloring test.ring test.

• Korean Journal of Materials Research
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• v.21 no.8
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• pp.450-455
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• 2011

[ $Al_2TiO_5$ ]has a high refractive index and good solubility of the chromophore in the $Al_2TiO_5$ lattice, which allows this structure to be a good candidate for the development of new ceramic pigments. However, pure $Al_2TiO_5$ is well known to decompose on firing at $900{\sim}1100^{\circ}C$. However, this process can be inhibited by the incorporation of certain metal cations into its crystalline lattice. In this study, the synthesis of gray ceramic pigment was performed by doping cobalt on the $Al_2TiO_5$ crystal structure. The $Al_2TiO_5$ was synthesized using $Al_2O_3$ and $TiO_2$, and doped with $Co_3O_4$ as a chromophore material. In order to prevent the thermal decomposition during the cooling procedure, MgO was added to samples by 0.05 mole, 0.1 mole, and 0.15 mole as a stabilizer. The samples were fired at $1500^{\circ}C$ for 2 hours and cooled naturally. The crystal structure, solubility limit, and color of the synthesized pigment were analyzed using XRD, Raman spectroscopy, UV, and UV-vis. $Al_2O_3$ was available for the formation of $CoAl_2O_4$, which should also be considered in order to explain the small amount of this phase detected in the sample with the higher $Co^{2+}$ content (${\geq}$ 0.03 mole). It was found that the solubility limit of $Co^{2+}$ in the $Al_2TiO_5$ crystal was 0.02 mole% through an analysis of Raman spectroscopy. Through the addition of a pigment with 0.02 mole% of $Co^{2+}$ to lime-barium glaze, stabilized gray color pigments with 66.54, -2.35, and 4.68 as CIE-$L^*a^*b^*$ were synthesized.