• Conservation Science in Museum
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• v.9
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• pp.95-104
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• 2008

Wooden objects excavated from Gwangju Shinchang-dong, we analyzed total 40 pieces consisting of 37 pieces for analysis of species of trees, 3 pieces for analysis of lacquer. and especially it was found that in case of lacquerware and living goods like dish, diffuse-porous woods were used. As a result of this, total 7 species of trees used for wooden objects identified are Quercus spp., Cearsus spp., Prunophora spp., Acer spp., Salix spp., Populus spp. were identified. As a result of analyzing lacquered film, though there is a difference of times of lacquering between holed lacquerware and cylider type lacquerware body part 5, it was confirmed that after undercoating, black pigments and lacquer were painted on upper layer in mixture, and foundation platter for with 5 parts lacquer ware was undercoated with mixture of powdered soil, black pigments and lacquer, and then its upper layer was coated with lacquer mixed with black pigments.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.134-151
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• 2014

This paper deals with a review of the structure and production techniques of the Dried-lacquer Amitabha Buddha statue enshrined in Geungnakjeon Hall of Simhyangsa Temple, located in Daeho-dong, Naju-si, Jeollanam-do, Korea. To achieve this goal, X-ray date and two rounds of field research were performed. The data collected were reviewed, and a sample peeled off from the damaged part was analyzed to investigate the structure and material of the background layer. The results revealed that the Simhyangsa Temple Buddha statue was an almost empty Dried-lacquer(Hyeopjeo) Buddha statue where wood core had not been framed and inserted in the statue. It was thus observed that considering that the clothes wrinkles clearly remained, the same one as the irregularity of the outer clothes wrinkles, the Dried-lacquer layer was lifted made in an almost complete shape in the process of forming the clay figure as the origin form. The statue was found to be diagonally incised from the top of the head to the back of the neck to remove the clay and wood core. But in other sites, no incision was confirmed. It was observed that on the site of the head where the incision was made, an adhesives(lacquer or paste) was used. In addition, the black eyes were impacted with beads and the ears, hands, bands, and knots were made of wood. These features are identically shown in the Dried-lacquer Amitabha Buddha statue from Seonguksa Temple, known as a work of the late Goryeo dynasty; the Seated Dried-lacquer Buddha statue in Okura Museum of Art in Tokyo, Japan; the Seated Dried-lacquer Amitabha Buddha statue from Jungnimsa Temple, know as a work of the early Joseon dynasty; and the Seated Vairocana Buddha statue in Bulhoesa Temple, the Seated Dried-lacquer Amitabha Buddha and the Seated Dried-lacquer Buddha statue from Silsangsa Temple. The analysis of the back layer demonstrated that the ground layer and the red lacquer were the production of the time. In particular, the bone ash used for the ground layer was also coated for the ground layer of Buddha statues as well as for the production of the lacquerware during the Goryeo dynasty. It was also found that gold mending was conducted more than twice even in modern times and that the layer of the production time was well preserved despite gold mending several times.

• Conservation Science in Museum
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• v.15
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• pp.78-95
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• 2014

To examine the materials, production techniques, and key features of Goryeo wooden lacquerwares, scientific analysis was conducted on six relevant lacquerware items. All of the items, except for a lacquered bowl ^{duksu 4123}, were found to have been made by first covering the surface of the wood with cloth and then varnishing with lacquer. The wooden frames of flower-shaped lacquered case and pine leaves shape lacquered case were made by wrapping thin wood around either the lid or bottom panel. In most cases, microscopic analysis revealed a lower layer of lacquer mixed with bone ash and bone dust, followed by an upper varnish layer of lacquer. SEM-EDS analysis and μ-XRF ^{Micro-X-ray Fluorescence} analysis showed that vermilion lacquer mixed with cinnabar was used on the surface. A lid decorated with a dot pattern was made by first varnishing the surface with yellow lacquer mixed with orpiment, and then irregular dot pattern with a mixture of black lacquer and soot. The vermilion lacquer used to varnish the side of the lacquered bowls was composed of lacquer mixed with cinnabar and minium ^{Red Lead}.

• Journal of Conservation Science
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• v.37 no.2
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• pp.77-89
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• 2021

In this study, materials and color formation techniques were assessed for black potteries excavated from the Janghyeon-dong, Jungsan-dong and Gyodong-ri sites during the Proto-Three Kingdoms period in Ulsan, Korea. Although the black potteries were black superficially, the inner cores were either black or reddish yellow. Microscopy analysis identified that body clay was used for reddish iron oxide rich soils with quartz, alkali feldspar and mica, along with grains of myrmechite texture. Additionally, as marginal differences exist in the contents of SiO₂, Fe₂O₃ and CaO, the composition of the host rock and clay distributed around the sites was affected. Thus, we can deduce that pottery was made by soiling at a short distance. Raman spectroscopy results revealed that the black layer of the black pottery was used as amorphous combustion carbon. In addition, as a transparent layer of brown lacquer was observed on the substrate that was in contact with the surface layer, the black layer of the pottery induced black color development by a combination of combustion carbon and lacquer. Based on the mineral composition and microtexture of the body clay, the firing temperature of the potteries seemed to range from 750 to 850℃, whereas the lacquer layer was pyrolyzed at 468℃ by thermal analysis. Therefore, a combined layer of combustion carbon and lacquer, which formed the black color, was painted after the body clay was fired.

• Conservation Science in Museum
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• v.7
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• pp.53-62
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• 2006

The wooden armor frame and various lacquerware artifacts excavated from the low swamp remains in Imdang, Gyeongsan have very weak material and lacquer coating; in case they are exposed in the air, they are likely to be shrunken and deformed immediately. The wooden armor frame has large size and it might be dissolved during freeze-drying. The lacquer coating of lacquerware blocks the penetration of chemicals and it is very likely to swell or peel off during the treatment. Therefore, to prevent the dissolution during vacuum freeze-drying, the wooden armor frame was replaced with t-butanol and impregnated in t-butanol solution with PEG#3, 350 43%, and lacquerware was impregnated in PEG#3, 350 40% solution at room temperature and freeze-dried. According to the analysis of the lacquer fragment from the lacquerware, the lid and the mounted cup was pasted with the mixture of lacquer and black pigment (soot) on the base layer after the first coating and pasted two or three times more with natural lacquer; the red lacquered wooden cup was pasted with the mixture of lacquer and black pigment on the base layer and pasted once on the middle layer. The top lacquer (red) was pasted with the mixture of iron oxide(Fe₂O₃).

• Journal of Conservation Science
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• v.37 no.1
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• pp.43-54
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• 2021

In this study, a scientific analysis of the gold leaf layers and internal structure of the Clay Seated Vairocana Buddha Triad in Seonunsa Temple, Gochang (Treasure No. 1752) was conducted. The surface of the Buddha statues is a gold foil, and the gold leaf layer consists of four layers. The gold leaf layer first composed on the molding clay was produced in the order of lacquer-fabrics-lacquer-gold foil. Subsequently, it was confirmed that the work was performed three times in the same way. The composition of the Buddha statues was divided into the head, body or upper body, lower body, and pedestal. The body was made in a cylindrical form by connecting vertically oriented wooden materials, and the head and lower body were also connected to the body in an empty form. Thus, the head, body, and lower body are grafted structures that are connected to a single Bokjang-gong. It was confirmed that the Clay Seated Vairocana Buddha Triad in Seonunsa Temple was made using wood materials for the basic form, after which the detailed form was created with molding clay, and the surface was finished with a process of layering gold foil and substances presumed to be lacquer.

• KSBB Journal
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• v.10 no.4
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• pp.393-400
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• 1995

As a part of the .study on the multiple propagation and use of Dendropanax mcrbifera, distribution of this tree and component analysis of Golden Lacquer were investigated to reappear the Golden Lacquer, traditional paints. These results were summarized as follows. The natural growth habitat of Dendropanax morbifera was observed in 8 sites(Wando, Sanghwangbong, etc.), we could be found that Duryun nountain in Haenam for the first time. Dendropunax morbifera has grown from 100 to 450m above the sea level, appeared high frequency in the 200m. The soil pH of natural growth site was pH 4.9 to pH 5.8. Dendropanax morbifera grew in the area containing considerable moisture in that its contents was 16.5% to 27.4%. In community observation, dominance and community index of Bogildo and Chejudo was 3.3 in the forest tree layer and Wando was showed in the sub-forest tree layer mainly. In the growth conditions, Bogildo appeared the highest growth state that diameter of height of human chest was 1.0 to 20cm and tree height was 0.2 to 9m. As result of IR and GC-MS analysis, main component of Golden Lacquer was ${\beta}$-selinene and capnellane-8-one.

• Conservation Science in Museum
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• v.7
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• pp.43-51
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• 2006

From the low swamp remains in Sinchang-dong, Gwangju, a number of wooden lacquerware along with various wooden artifacts were excavated. These excavated lacquerware have deteriorated and weak wooden parts and the lacquer layer come off from the wooden parts; they are very likely to peel off and crack. Therefore, we impregnated the lacquerware in PEG#4000 40% solution that was effective for vacuum freeze drying and finished freeze-drying below 0°…. We compared the weight of wood and lacquerware right after the freeze-drying with the weight after leaving them in a airtight space with 60% RH (relative humidity). The comparison results showed no change in weight; thereby we confirmed controlling the finishing temperature during freeze-drying could control the moisture in wood after drying and it could stabilize wood against the change in moisture in the atmosphere. according to the analysis of the lacquer fragment, the base layer was pasted on the wooden surface with mixed black pigment and the upper layer was pasted three or four times with the mixture of lacquer and black pigment; or it was pasted without the black base coating.

• Journal of Conservation Science
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• v.34 no.5
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• pp.369-377
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• 2018

In order to examine the constituents and weathered state of a lacquer specimen, analysis of the organic materials was conducted using py/GC/MS(pyrolysis-gas chromatography-mass spectrometry). The samples were obtained from the lacquered wooden sheath of a long ring-pommel sword excavated in the Imdang No.1 ancient tomb constructed around the Proto-Three Kingdoms period. In direct py/GC/MS, the sample and the dried Asian lacquer showed similar chromatograms, while the characteristic compounds of Asian lacquer such as 1,2-dimethoxy-3-pentadecylbenzene were observed in THM(thermally assisted hydrolysis and methylation)-py/GC/MS. In addition, compounds like dimethyl nonanedioate, which presumably originated from drying oil, were also detected. Furthermore, the detection of oxidized catechols in considerable amount indicated that the degradation of lacquer is estimated to result from the oxidation of urushiol. Therefore, it is suggested that the lacquered wooden sheath was prepared using Asian lacquer and drying oil, and that the lacquer layer was considerably oxidized over the long burial time.

• Journal of Conservation Science
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• v.35 no.4
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• pp.295-307
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• 2019

In the process of the conservation treatment of the glass eyes of the stone standing Maitreya of Daejosa temple, Buyeo (Treasure No. 217), a blackish material, expected to be the adhesive for fixing the glass eyes, was collected and analyzed. Infrared spectroscopy and pyrolysis/gas chromatography/mass spectrometry (pyrolysis/GC/MS) were employed to identify the organic material in the sample. The IR analysis revealed the presence of materials such as apatite or bone black. The pyrogram of the sample was similar to that of Asian lacquer, among traditional adhesives. In particular, the pyrolysis/GC/MS analysis with online methylation detected 1,2-dimethoxy-3-pentadecylbenzene, methyl 7-(2,3- dimethoxyphenyl) heptanoate, and methyl 8-(2,3-dimethoxyphenyl)octanoate. These are known to be the pyrolysis products of catechol and its oxidation product, which indicated the presence of Asian lacquer in the sample. X-ray diffraction, X-ray fluorescence, and thermal gravimetry analysis showed that the sample contained ca. 60% inorganic substances, including apatite. Radiocarbon dating of the sample suggested that the blackish material was applied between the late 13^th and early 15^th century, revealing some discrepancy with the art-historical manufacturing time of the Maitreya. From the above analysis, it was concluded that Asian lacquer and bone ash were used to attach the glass eyes by forming a thick blackish lacquer layer.