• 한국산학기술학회논문지
• /
• 제11권6호
• /
• pp.2300-2305
• /
• 2010

대한민국 대표 축제로 자리 잡은 보령머드축제의 핵심 프로그램인 머드 셀프마사지 행사의 재미와 다양성을 부여하기 위하여, 색상이 함유된 머드에 관한 연구를 수행하였다. 머드 고유의 낮은 명도를 조절하고, 황색계열의 색상발현도를 연구하였던 일차적인 연구를 기반으로 하여, 한국의 전통 색을 근간으로 하는 다양한 색상의 유색머드 개발을 하고자, 무기색소(적색산화철, 울트라마린핑크, 울트라마린블루, 크롬옥사이드 그린)를 첨가하여, 각각의 색상발현도를 색차계, 육안검사, 사용감 등으로 판단하였다. 결정된 색상은 물에 젖음 시 발색정도와 세척상태를 검토하여 보령머드 축제 프로그램인 머드 셀프마사지 행사에 사용하여 축제의 다양성을 높이고, 또한 한국의 전통 색을 나타낼 수 있는 유색머드를 개발하고자 하였다.

• 한국식품조리과학회지
• /
• 제29권6호
• /
• pp.805-814
• /
• 2013

찹쌀풀과 생참기름 또는 밀가루풀과 콩기름을 사용하여 제조한 연근, 김, 깻잎 부각의 텍스쳐, 지방질 산화, 색소를 평가하고 튀김유의 변화를 평가하였다. 찹쌀풀과 생참기름으로 제조한 연근, 김, 깻잎 부각이 밀가루풀과 콩기름으로 제조한 부각에 비하여 유의하게 높은 경도를 나타냈으며, 기름 흡수량은 다소 높았으나 공액이중산값과 아니시딘값으로 평가한 지방질 산화는 적었다. 부각 지방질의 산화 정도는 튀김유의 산화에 의해 결정되었으며 부각의 지방산 조성은 튀김유의 지방산 조성과 유사하였다. 김 부각과 깻잎 부각은 클로로필과 카로티노이드를 다량 함유하였으며 찹쌀풀과 생참기름 또는 밀가루풀과 콩기름 등 제조 방법은 부각의 색소 함량에 큰 영향을 주지 않았으며 찹쌀풀과 밀가루풀 등의 튀김옷은 김과 깻잎 색소가 기름으로 용출되는 것으로부터 보호해 주었다.

• 복식문화연구
• /
• 제3권2호
• /
• pp.241-260
• /
• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• 한국세라믹학회지
• /
• 제54권6호
• /
• pp.478-483
• /
• 2017

The advantage of ceramic ink-jet printing technology is the accurate and fast printing process of digital images for various products. For digital ink-jet printing applications, ceramic ink requires proper viscosity and surface tension, along with dispersion stability of the inorganic pigments. The purpose of this study is the formulation of an environment-friendly ceramic ink with a water-based system; using nano-sized $CoAl_2O_4$ pigment as a raw material, ink should have dispersion stability to prevent nozzle clogging during ink-jet printing process. In addition, the surface tension of the ceramic ink was optimized with the polysiloxane surfactant according to the surface tension requirement (20 - 45 mN/m) for ceramic ink-jet printing; by adjusting the viscosity with poly ethylene oxide, jetting behavior of the ceramic ink was investigated according to changes in the physical features through drop watcher measurement.

• Journal of the Korean Wood Science and Technology
• /
• 제50권3호
• /
• pp.193-217
• /
• 2022

The Wooden Seated Amitabha Buddha Triad and Altarpiece have not been the subjects of definitive species identification and scientific analysis. In this study, visual investigation, portable X-ray fluorescence (p-XRF), species identification, and lacquer layer observations were carried out to determine the original materials and conservation status. Cracks, exfoliation and discoloration were detected during the visual investigation. The p-XRF data indicated that chrome oxide green, malachite, gold, cadmium red, cinnabar, minium, hematite, lead white, ink stick (Carbon), and copper were used for pigments and the coronet accessory. Tilia spp., Abies spp., and Pinus spp. were identified from both the Buddha Triad and Altarpiece. Finally, lacquer layer analyses of the base layer, lacquer layer, orange pigment layer, and gold leaf layer observed modern synthetic pigments likely used in previous conservation. As the Korean Cultural Heritage Charter and the International Charter for the Conservation and Restoration of Monuments and Sites clearly state that objects of cultural heritage must be conserved using their original materials, future conservation of these objects should utilize the data obtained in this study to employ traditional materials. Furthermore, a deterioration map diagnosis can be applied together with the obtained analysis data to understand the conservation status of and inform an appropriate and authentic conservation treatment for the Buddha Triad and Altarpiece.

• Journal of Applied Biological Chemistry
• /
• 제65권3호
• /
• pp.159-166
• /
• 2022

Epicoccum nigrum produces epipyrone A (orevactaene), a yellow polyketide pigment. Its biosynthetic gene cluster was previously characterized in E. nigrum KACC 40642. The YES liquid culture of this strain revealed high-level production of epicoccamide (EPC), with an identity that was determined using liquid chromatography-mass spectrometry analysis and molecular mass search using the SuperNatural database V2 webserver. The production of EPC was further confirmed by compound isolation and nuclear magnetic resonance spectroscopy. EPC is a highly reduced polyketide with tetramic acid and mannosyl moieties. The EPC structure guided us to localize the hypothetical EPC biosynthetic gene cluster (BGC) in E. nigrum ICMP 19927 genome sequence. The BGC contains genes encoding highly reducing (HR)-fungal polyketide synthase (fPKS)-nonribosomal peptide synthetase (NRPS), glycosyltransferase (GT), enoylreductase, cytochrome P450, and N-methyltrasnferase. Targeted inactivation of the HR-fPKS-NRPS and GT genes abolished EPC production, supporting the successful localization of EPC BGC. This study provides a platform to explore the hidden biological activities of EPC, a bolaamphiphilic compound.

• 보존과학회지
• /
• 제31권4호
• /
• pp.331-339
• /
• 2015

본 연구에서는 천연 안료 중 남동광(Azurite)으로 제조된 청색계열 안료 입도의 단계별 분포특성을 파악하고자 국내 외 청색계열 안료 57종을 선정, Malvern사의 Mastersizer2000을 이용하여 입도분석을 실시하였다. 실험 결과, 국내 외에서 시판되고 있는 청색 안료 일부를 제외하고는 비교적 단계별 입도 분리가 잘 되어 있으며, 안료의 입도가 작아질수록 Span 값은 증가하고 입도 분포 범위는 넓어지는 특징을 확인할 수 있었다. Friedman and Sanders가 제안한 Grain size를 기준으로 보면 대부분의 안료는 주로 모래와 실트영역에 해당하였으며 B-100은 72.2%가 점토영역에 해당되었고 A-14는 자갈에 해당하는 영역이 2.5%를 차지하였다. 나아가 동일 성분의 안료라 할지라도 입자 크기에 따라 안료의 발색특성이 다르며 흡유량, 비중, 작업성 등 중요물성에 밀접한 영향을 미친다. 이에 대한 추가적 실험이 필요하며 물리적 특성과 입도분포 특징에 대한 정보는 천연 안료의 취급을 위한 기초자료로 활용될 수 있을 것이다.

• 보존과학회지
• /
• 제31권4호
• /
• pp.499-506
• /
• 2015

보물 제326호 이순신 유물 일괄은 장검 2점, 옥로 1점, 요대 1점, 도배 구배 2점 등 총 6점으로 구성되어 있다. 이들 유물들은 2011년 4월 28일 "충무공이순신기념관" 개관을 위해 2011년 초에 보존처리를 완료하였다. 이 때 장검 2점의 혈조 내 안료에 대한 비파괴 표면 분석을 실시한 결과 합성수지도료로 추정되었다. 본고에서는 이 합성수지도료로 추정되는 안료의 정확한 조사 및 제거에 대해 논하였다. 혈조 내 안료를 규명하기 위해 광학현미경, 전자현미경, Micro-XRF, XRD, FT-IR을 이용하여 분석하였다. 분석 결과 두께는 $10{\sim}90{\mu}m$의 단일층으로 확인되었고 성분분석 결과 Pb, Cr이 주성분을 이루고 있으며 XRD 분석을 통해 납 크로뮴 몰리브데넘 산화물로 확인되었다. 또한 접착제 성분을 확인하기 위해 FT-IR 분석을 실시한 결과 알키드 수지로 판단되었다. 이를 통해 근래에 합성수지도료로 채색한 것으로 추정된다. 이 합성수지도료는 대부분의 유기용제에 쉽게 반응하여 사용이 용이하고 금속에 영향이 없으며 쉽게 제거 가능한 아세톤을 사용하여 제거하였다. 합성수지도료 제거 과정에서 전통안료의 유무를 확인하기 위해 도료 전체를 수집하였으나 확인되지 않았다.

• 한국식품저장유통학회:학술대회논문집
• /
• 한국식품저장유통학회 1996년도 임시총회 및 제8차 학술발표회 진행표 및 발표논문 초록
• /
• pp.25-25
• /
• 1996

;Jindo Hongju is an unique red-colored traditional distilled wine of Korea. The unique attractive color of Jindo Hongju is due to the pigments of gromwell (Lithospermum erythrorhizon) root, derivatives of naphtoquinone such as shikonin and acetylshikonin. Which are extracted during the distillation process. The attractive color of the gromwell pigments is easily changed to dark red or to brown causing deterioration of the Quality of Jindo Hongju. Due to the discoloration of the pigments and to the limited supply of gromwell roots, some brewers manufacture spurious Jindo Hongju using artificial colorants. This study was performed to devise a simple method of detecting spurious Jindo Hongju products. The color of the gromwell pigments was greatly affected by pH change and the change could be demonstrated by the change of the absorption spectrum. At pH 4.0 the normal pH of Jindo Hongju, the absorption spectra of gromwell pigments and genuine Hongju products showed an absorption maximum of 520 nm. The absorption maximum was shifted to 570 nm and to 616 nm as the pH was raised to 7.0 and 11.0 respectively. This transition due to the pH change was also demonstrated on em chromaticity diagram. The characteristic transition due to pH change of gromwell pigment solution was not observed with an artificial colorant (red No.2) which was suspected to be used in the manufacture of imitation products. The absorption spectra of most of the Jindo Hongju collected from the market were similar to that of the gromwell pigments and showed the characteristic transition due to pH change with the addition of NaOH. However, with a few of the products, the absorption spectra was similar to that of the artificial colorant and the characteristic transition due to pH change was not observed, indicating these products might have been forged. The result of study suggests that the transition of the absorption spectrum and the change of the color due to pH change be used for the detection of imitation products. Farther more, since, at pH above 9.0, the color of the gromwell pigments and genuine Jindo Hongju could be visually differentiated from that of the artificial colorant and forged products, it might be possible that the forged products be easily detected by raising the pH to above 9.0 and visually comparing the color with that of the gromwell pigment at the same pH.me pH.

• 헤리티지:역사와 과학
• /
• 제48권3호
• /
• pp.46-59
• /
• 2015

본 연구는 문화재에 적용 가능한 다양한 훈증방법 중에서 에틸렌 옥사이드(Ethylene oxide)를 포함하는 훈증 약제가 문화재 재질에 미치는 영향을 평가하였다. 이를 위해 지류, 섬유, 금속, 안료 등 4종류의 시험편을 제작하고 훈증처리 전 후의 색상, 무게, 표면 변화, 그리고 지류와 섬유 시험편에 대한 적외선 분광분석을 실시하였다. 훈증처리는 약제를 처리하지 않은 무처리군을 대조군으로 하고 에틸렌 옥사이드 + $HFC_{134a}$, 에틸렌 옥사이드 + $CO_2$ 등 2종류의 훈증제 처리군을 실험군으로 하였다. 색차 측정 결과, 소다회를 이용하여 증해한 한지, 은, 면, 견, 모시, 황색 안료 등에서 색상 변화가 확인되었으며 특히, 은 시험편에서 평균 6.0 이상의 높은 색차 변화가 측정되었다. 그러나 은 시험편의 경우 훈증제를 처리하지 않은 무처리 시험편의 색차가 약제를 처리한 것보다 오히려 높게 나타나 훈증제 처리가 시험편의 색상 변화에 결정적인 영향을 미치지 않은 것으로 판단되나 훈증처리 시 주의가 요구된다. 무게 측정에서는 전체적으로 0~2% 정도의 변화가 나타났으며, 금속 시험편의 변화가 가장 적었고 지류 시험편의 변화가 가장 큰 것으로 나타났다. 시험편의 표면을 현미경으로 관찰한 결과, 일부 시험편 표면에서 색상 변화가 관찰되었으며, 은 시험편에서 가장 큰 변화가 확인되었다. 그러나 지류와 섬유 시험편을 대상으로 한 적외선 분광분석 결과에서 성분상 변화는 확인되지 않았다.