• Journal of the Korea Furniture Society
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• v.27 no.1
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• pp.26-34
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• 2016

Lacquer has a high value as a coating of typical arts and crafts in East Asia including Korea, Japan, and China and traditional representative of the gorgeous satin that is fit to the cultural conditions of each region. Lacquer is harmless to the human body and its robustness, preservatives, moth proofness, and strong heat resistance can maintain a long life. It seems that it will be able to make a significant contribution to create a variety of products if we continually study and raise the productivity and quality of the goodness of these lacquer. In this context, we reviewed the Pitae lacquer wares, which is one of the lacquer of traditional techniques that can be applied to the development of daily necessities and cultural product. Joining the goodness of harmless and environment-friendly lacquer and the characteristics of the leather that can produce a variety of physical beauty can develop household goods of tradition and modernity in harmony. It is worthwhile re-interpreting the tradition in the aspect that we can develop our culture from a modern, plastic, and artistic point of view.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Journal of the Korean Wood Science and Technology
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• v.51 no.2
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• pp.69-80
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• 2023

This study conducted scientific analyses on eight objects of wooden lacquerware to understand the manufacturing techniques of wooden lacquerware in the late Joseon Dynasty. The results of lacquer layer analysis with a microscope and scanning electron microscopy-energy dispersive X-ray spectrometry revealed that most samples were composed of 1-3 lacquer layers. Moreover, a red-colored layer was found to be red ocher and cinnabar, and Fourier-transform infrared spectroscopy analysis was carried out to determine the components of the lacquer layer. The detected components were mostly lacquer and partially cashew shell nut liquid.

• Korean Journal of Plant Resources
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• v.21 no.1
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• pp.87-90
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• 2008

The purpose of this experiment is to understand a possibility for the techniques of collecting the Korean Rhus lacquer by the traditional method(Hwachil) against the diminishing lacquer industry. Hwachil method, making use of fire to collect lacquer, is practiced at only some areas, but the lacquer is very efficacious for foods and oriental medicine. A comparative experiment between traditional method and new machine method by processing unit 5 kg of lacquer tree was made to improve Hwachil method technically. The results showed that the machine method produced more about 45% of lacquer than the traditional one. The traditional method, moreover, needed intense labour quality and high leveled techniques, which caused to bring physical sufferings. In comparison with the traditional method for the collecting time required, the machine one showed to take more than minutes per a unit. But the machine method was easy and convenient to handle the machine without special techniques.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.535-543
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• 2018

The traditional culture, which is a historical product possessed by each country, represents the competitiveness of the country and becomes a national resource. Raw lacquer has a very long history and tradition in China. Lacquer, which is the basic material of Raw lacquer. Also it is a natural paint which has the functions of preservation, insectproof and waterproof used from ancient times in Asia, not only in China but also in Korea and Japan. Such Raw lacquer using lacquer has a long history and it is becomes to a tradition. On the other hand, Its value and meaning are being faded by oilpaintings and watercolors. Much effort and research are needed to become more popular. I would like to introduce the lacquering technique in illustration as one way. There are a lots of expression techniques in the present illustration, but lacquer expression is rarely seen. In the illustration, lacquering technique is a modern reinterpretation of traditional culture by combining modern technology with traditional culture. In this paper, a Raw lacquer with a long tradition of soul is informed to the public and it is a way to bring attention to the beauty of lacquer and reproduce the original expression technique as an illustration to enhance the understanding of traditional culture, I hope that Raw lacquer will be used in the field.

• Journal of Conservation Science
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• v.37 no.3
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• pp.302-311
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• 2021

This study uses traditional lacquer techniques to coat the metal surface and evaluates its physical properties to check the applicability of the lacquer coating. For this purpose, a total of six specimens were produced by setting the variation conditions for the number of times (1, 2, 3) and the heating temperature (120℃, 150℃) using SS275 metal(60*60 mm) and 'Wonju lacquer'. For analysis, chromaticity measurements, contact angle/surface energy measurements, Chemical Resistance, and cross-cut tests were used. The analysis showed that the corrosivity was improved and the adhesion of lacquer to the metal surface was excellent. There was no significant change in contact angle/surface energy. Also, there was no significant difference in color. Through this study, it was confirmed that lacquer on metal surfaces improves waterproofing and has a anticorrosion effect. We could also check the proper number of lacquer and heating temperature. Additional physical characteristics such as hardness and wear rate should be studied. It is also necessary to study how lacquer can be painted with a certain thickness.

• Korean Journal of Heritage: History & Science
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• v.42 no.3
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• pp.176-191
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• 2009

This report is a result of investigating the materials and techniques of the lacquer ware excavated from Hwangnamdaechong Tomb known as an old tomb in the Gyeongju maximum district. First, the fragment of lacquer ware was classified by the shape of it. Next, the thin section of lacquer film (all sides about 2mm) was made based on the result. Then they were observed under the microscope, and classified the kind of the foundation mixture and the applied structure. It is a result as follows. 1 The bone dust was mixed by the foundation of the made of cloth-body lacquer ware such as eared lacquer cup, lacquer bowl, and the lacquer rectangular containers excavated from the south tomb. 2 Eared lacquer cup and lacquer bowl, and rectangular box excavated from south and north tomb had the possibility they were the set of articles partially of tableware and the cosmetic box. 3 There is a difference in the quality of burial lacquer ware between in south tomb and north tomb. A lot of highlevel lacquer ware such as eared lacquer cup, lacquer bowl and the rectangular lacquer containers were discovered from the south tomb. 4 Many of containers where animal and bird had been drawn on the black lacquered ground excavated from north tomb were wooden bath.

• 보존과학연구
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• s.14
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• pp.77-93
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• 1993

In order to study for the production techniques and the materials of using in Korean Lacquer Antiques, we examined the section structure by SEM and Microscope, the qualitative analysis of lacquer layer by XRF and XRD, the qualitative analysis of Golhae layer by XRF and XRD, the qualitative analysis of Golhae by EDS on the locquer-wares which was excavated from Anapchi Pond Site in Kyungju and Miruksa Temple Site in Iksan. In the lacquer-wares excavated from Anapchi Pond Site, the lacuqer-wares layers made by a cloth attached on the surface of wooden vessel and Golhae-a mixture of clay and lacquer-covered on the cloth and finally finished with the red lacqure, being mixed with pure mercury sulfide(HgS) and lacquer. And raw materials of Golhae made of clay. The lacquer-wares excavated from Miruksa Temple Site in Iksan, we presumed that the lacquer-wares used fine born grains in place of clay for the raw materials of Golhae. Expecially in case of black lacquer-tray, we found that lacquer put on the surface of wooden vessel without cloth attaching and Golhae covering and the production of wooden vessel was used power-driven machine.

• Journal of Conservation Science
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• v.33 no.1
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• pp.17-24
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• 2017

Studies were conducted on manufacturing techniques by applying microscopy and conservation treatments on the annals of Joseon dynasty storage box at the National Museum of Korea. The results revealed that lime tree wood(Tilla spp.) was used to make the annals of Joseon dynasty storage box. Lacquering techniques were used to coat the box with a layer of lacquer and bone ash and then cover it with traditional Korean paper. After being covered with traditional Korean paper, more layers were applied in the following sequence: mud ashes, black lacquer, pure lacquer, and black lacquer. Before conservation treatments, some components and lacquer layers were missing in addition wood joint were loose. Therefore, conservation and restoration should be conducted based on the identified wood and by observing the shape of the remaining components.

• Journal of the Korean Wood Science and Technology
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• v.36 no.6
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• pp.96-104
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• 2008

In this study, the observation of test pieces with an optical microscope was carried out after fabricating 4 groups of standard lacquer, in order to inquire into the ancient lacquering techniques. Group I had transparent reddish brown color, and the part of layer was indefinite, and the layer polished was easily distinguished. Group II had mostly transparent yellowish brown color, and it was possibility distinguished the layers when they were varnished with mixed lacquer after prime coating, and when they were varnished with lacquer as the prime coating. Group III set up membrane in the hardening process of the lacquer, and the lacquer and the unsaturated fatty acid of internal part was dried, so the top layer and the lacquer layer were separated and observed. Group IV: When the lacquer coat film of Group IV test pieces were observed in polarized light, the ferrous components were seen as the black and red color were mixed, and the silica crystals of silty soil were distinguished by reflection of lights. And the colors were distinguished as the lacquer layer of ruddle had red color, and the mixed lacquer of reddish lacquer and ruddle had the deep red color at the top and the bottom, but the middle part had the bright red color.