• Journal of Conservation Science
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• v.37 no.4
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• pp.322-339
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• 2021

This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John's Fort by the prominent Singaporean artist Liu Kang (1911-2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John's Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John's Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang's painting materials and his working practice.

• Journal of Conservation Science
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• v.38 no.4
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• pp.334-346
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• 2022

The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.

• Journal of the Mineralogical Society of Korea
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• v.32 no.4
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• pp.287-301
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• 2019

Preservation of the original form is the principle for conservation, management and utilization of cultural heritages. Thus, non-destructive analysis of these samples are important field of the conservation science. In this study, examined the applicability of nondestructive surface X-ray diffraction analysis (ND-XRD) for cultural heritage by materials (rock specimen, jade stone, pigment painted specimen, earthen artifact, metal artifact). In result, all type of sample is recorded suitable X-ray diffraction patterns for identifying mineral composition in case of surface condition with adequate particle size and arrangement. And diffraction pattern is reflected surface information than matrix. Therefore, ND-XRD is thought to be applicable not only mineral identification but also interpretation of manufacturing technique and alteration trend about layered sample (in horizontally or vertically). Whereas some exceptional diffraction patterns were recorded due to overlapping information on specific crystal planes. It caused by skip the sample treatment (powdering and randomly orientation). It could be advantageously used for mineral identification, such as preferred orientation of clay minerals. In contrast, irregular diffraction pattern caused by single crystalline effect is required careful evaluation.

• Economic and Environmental Geology
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• v.50 no.6
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• pp.497-508
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• 2017

This study was carried out to document and diagnose the conditions of the seated stone statue of Buddhist Master Seungga in Seunggasa temple immediately after its conservation treatment, which was found to be long covered in surface of white materials. The stone Halo was researched along with the Statue, and basic data was secured through precisely examination and nondestructive diagnosis. The result from the surface deterioration evaluation shows that both the Statue and Halo had a little bit of physical deterioration, although their level of chemical deterioration was proportionally higher due to discoloration. The physical property diagnosis using ultrasonic measurements on the Statue and Halo showed that the average ultrasonic velocity was found to be 3,570 m/s and 3,373 m/s, respectively, which corresponds to grade III, an indication of a favorable physical property. The surface covered materials were detected to be Ca, Ti, Pb, Fe, Al and Si, emanating from Hobun (Oster shell powder; $CaCO_3$) or lime ($CaO{\cdot}Ca(OH)_2$) and silicate minerals. Furthermore, Ti and Pb seems to be the component of the white coloring pigments, titanium white ($TiO_2$) and white lead ($2PbCO_2{\cdot}Pb(OH)_2$). Therefore, the seated stone statue of Buddhist Master Seungga is presumed to be painted with Hobun or lime and thereafter painted over with titanium white and white lead.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• Journal of Conservation Science
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• v.32 no.1
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• pp.21-32
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• 2016

Animal glue is a traditional material used extensively as adhesive and binder in mother-of-pearl, wooden structure, traditional painting, etc. Analysis of animal glue is usually performed with IR(infrared spectroscopy) based on the IR absorption of functional group. But, it has a limitation in confirming animal glue when a sample consists of several materials because of overlapping of the absorption band. Py/GC/MS(pyrolysis/gas chromatography/mass spectrometry) is a useful tool in analyzing the constituent of polymeric materials like animal glue by identifying their pyrolysate with very small amount of sample. In this study, confirmation of animal glue in a Dancheong sample was tried with this method. Characteristic pyrolytic compounds of animal glue and tung oil used in Dancheong were identified. Dancheong sample painted with Noerok as a coloring material, animal glue and tung oil was prepared and it was possible to find characteristic peaks of animal glue after thermal degradation and artificial weathering experiment. From this, we found that animal glue can be detected using py/GC/MS in cultural heritage samples consisting of several materials and in different condition. IR was also tried to analyze Dancheong sample and the results were compared with those of py/GC/MS for the detection of animal glue.

• 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.

• 보존과학연구
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• s.32
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• pp.75-87
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• 2011

The materials analysis is important in conservation science for cultural assets since conservators can make appropriate decision of treatment and environment through understanding manufacturing, period and materials. Palsapumdo is the painting of Palsapum which was given by Yi Sun-shin from the emperor Shinjong in The Ming Dynasty. Palsapumdo painted with various pigments on the fabric has remained to adhere a sheet of lining paper. In this study, we carried out the fiber identification about the fabric and lining paper and the analysis of the pigments. This study identified a fabric and a lining paper and analised pigments for the painting. As a result of fabric analysis, it was confirmed as cotton because ribbon twists and shape of kidney bean in a cross section. After the analysis of lining paper, color changed to yellow by Graff "C" staining tests, and had short fiber and tracheid. Therefore, it is supposed to be a paper which is made of conifer pulp. In addition, the results of SEM-EDS, the pigments are indicated as Orpiment($As_2S_3$), Minium($Pb_3O_4$), Hematite($Fe_2O_3$), Emeraldgreen ($C_2H_3As_3Cu_2O_8$), Ultramarine [$2(Na_2O{\cdot}Al_2O_3{\cdot}2SiO_2){\cdot}Na_2S_2$], talc[$Mg_3Si_4O_{10}(OH)_2$], bariumsulfate($BaSO_4$) and brass.

• Journal of Conservation Science
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• v.30 no.4
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• pp.457-466
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• 2014

Rigorous analysis was performed to identify the structure and materials of the murals to study techniques used on mural tombs of ancient Daegaya era(6th century). The murals were painted by applying mortar on the walls and the ceiling after building a stone chamber and creating ground layers on mortar layers. Mud was applied on most of the mortar layers on four sides of the walls except the ceiling. Sand was not used in mortar but was made of materials with pure calcium substances. In addition, shells in irregular sizes with incomplete calcination were mixed; and the mortar's white powder was inferred as lime obtained by calcination of oyster shells. Kaolinite($Al_2Si_2O_5(OH)_4$) was used in the ground layer, Cinnabar(HgS) was used for red pigment, Malachite($Cu_2CO_3(OH)_2$) for green and Lead white($PbCO_3{\cdot}Pb(OH)_2$) for white. Mud plaster was applied on the mortar and was composed thinly and densely using clayey of particle size smaller than that of medium sand. It was assumed that the finishing was for repair after long time had passed since the mortar layer came off. Using lime made with oyster shells as mortar is unprecedented in ancient Korean mural tombs and its durability was very poor, suggesting that Gaya's mortar production technique was relatively behind compared to that of Koguryo's in the same era.

• Journal of Conservation Science
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• v.32 no.1
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• pp.89-100
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• 2016

We estimated pigments and painting techniques with nondestructive analysis for Yu Eonho's portrait made in the eighteenth century, then compared with 11 portraits and painting characteristics at that time. The pigments used to Yu Eon-ho's portrait include lead white, yellow dye, cinnabar, minium, and pink dye, malachite, azurite, iron oxide red and brown dye, blue and pink dye for purple. In the result compared with painted pigments of 11 portraits, iron oxide red without cinnabar was used on the face part and organic green dye only was used instead of inorganic pigments on the other side of clothing after Yu Eonho's portraits portrait. This study is show the painting techniques on the portraits in the late $18^{th}$ century. We expect to use as useful referencing data for the study on the coloring technique of a portrait in the late Joseon Dynasty.