• 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.

• 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.

• 보존과학연구
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• s.16
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• pp.129-138
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• 1995

For the study of the pigments on lacquer with wooden for comparing a characteristics and chemical structures have been selected samples from tombs at Tanwol-dong, Ch′ungch′ong-do, Hwang-namtaech′ong, Anapchi Lake in Kyongju-shi and Miruksa Site. Analysis showed that red pigments on the lacquer with wooden from Anapchi Lake and Tomb at Tanwol-dong was found to Cinnabar, and those sample sexcavated from Hwang-namtaech′ong have been analyzed to calcite, maghematite and kornelite. In general, red pigments have two components like cinnabar and hematite. Hematite was found that red lacquer at Hwang-namtaech′ong was to beidentified Maghematite caused by their environment air pollution. Cinnabar was handled more valuable than hematite for unchanging characteristics for their colour under same condition since old times.

• 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.37 no.5
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• pp.606-616
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• 2021

From the collection of the National Kimhae Museum, qualitative analyses using microscopic observation, SEM-EDS, Raman spectroscopy, FT-IR-ATR spectroscopy, and GC-MS were conducted on three burnished red potteries-Jeoksaekmaoyeonwa burnished red pottery (Neolithic age red pottery), Dandomaoyeonwan burnished red pottery(Bronze age red pottery) and Jeoksaekmaoyeongajimun burnished red pottery(Bronze age red pottery)-to investigate the components of the red pigments and the binder. After the layers of the primer were separated from the red surface, crystals of red pigment particles and minerals were found on the red surface. Through SEM-EDS, Raman estimates that the red pigment is Among soil pigments with iron oxide(Fe₂O₃) as the main color development source, Red Ocher(Fe₂O₃). A band characteristic of the Urushiol polymer was detected in the FTIR-ATRspectra(4000~600cm^-1), GC-MS analysis confirmed the presence of the benzenemethanol-2-prophenyl, 4-heptylphenol, 1-tetracecanol, heptafluorobutyric texidecane, all of which are the ingredients of the directional structure of the lacquer present in the red layer. Therefore, it seemed that the three burnished red pottery: Jeoksaekmaoyeonwan pottery(Neolithic age burnished red pottery), Dandomaoyeonwan pottery(bronze age burnished red pottery) and the Jeoksaekmaoyeongajimun pottery(bronze age burnished red pottery) made by mixing minerals and Red Ocher(Fe₂O₃), with lacquer.

• 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.26 no.3
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• pp.247-258
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• 2010

We conducted optical microscopy, infra-red spectroscopy and SEM-EDS analysis of the lacquer layers on the wooden coffins excavated from King Muryeong's Tomb. We found four varnishing methods according to the sub-materials of lacquer layers: The lacquer of wooden coffins with black paint layer on the surface were classified with two groups; single layer and three layers. The lacquer of wooden coffins without black paint layer on the surface were classified with two groups; single layer and two layers. IR spectra of the laquer were same as those of the oriental laquer. The SEM-EDS analysis showed that the lacquer layers were mixed with iron, copper and calcium.

• 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.

• Journal of Conservation Science
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• v.32 no.1
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• pp.43-49
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• 2016

Gold threads mean thread made by metal, it is composed various material to gold leaf, adhesive and media. The making technique and using materials of Gold threads are different from region, it can be used to distinguish country of origin. So this study finds characteristics and making techniques for flat gold threads of relics. Standard samples are made of animal glue, lacquer, red lacquer and etc. This materials are based on the scientific investigation of cultural gold threads properties. Then traditional techniques were estimated by comparison and analysis of actual cultural properties and standard samples. As a result of investigating cultural properties, it is similar to the standard sample which are mixed with red soil additives. After analysis of SEM-EDS, it is detected to Al, Si, Fe. So it is to the conclusion that traditional gold thread is made of adhesive mixed with red soil to improve gold color better. And this ways are similar with china that uses animal glue and red soil to adhesive and different from japan that uses lacquer to adhesive. Through this study, it will be used to data and reference for reappearance and making techniques of traditional gold threads.

• 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}.