• Korean Journal of Heritage: History & Science
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• v.38
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• pp.359-385
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• 2005

Red ocher, red lead or cinnabar has been as red colorant for ages. Cinnabar of the red pigments has been highly regarded as a valuable ingredient because it represent a symbol of exorcising and a haute image. It was used as a pigment of painting and mural painting, bowl, clothes, rock writing, gravestone, etc. It is powder which dissolves in perilla oil or glue before using. Because it is high-priced, the use of cinnabar may be limited to the privileged class. Therefore, red ocher or red lead was used instead of cinnabar. "Gongsagyunmunrok" demonstrated that government official's gravestonea has been painted red by two colorants in the period of the Goryeo dynasty. However, cinnabar may be used to paint gravestones for the first time in the period of the Three States because it has been transmitted since the times. This study discuss the results obtained from an analysis of the pigments used on the red pigments of the Stone Monuments. The results can be briefly summarized as below; First, the microcrystalline structures seen on the surface section of analyzed pigments, samples of which were taken from various parts of red pigments show that different sizes and shapes of pigment particle. Second, a result of the analysis on the composition and structure of the pigments shows that the main components in their composition are : Red pigments - Red lead($Pb_3O_4$), Cinnabar(HgS) and Hematite($Fe_2O_3$) White pigments - Calcite($CaCO_3$) Especially, we knew that red Stone Monuments were found to be natural mineral pigments, which were used as a singular or a mixture.

• Conservation Science in Museum
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• v.15
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• pp.66-77
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• 2014

A gujangbok is a king's silk ceremonial robe embroidered with nine symbols that represent the essential virtues that a king needs to govern his country. The National Museum of Korea currently own a gujangbok worn by King Gojong in the late Joseon Dynasty. The robe is painted with various colors, including red, yellow, blue, green, and gray. μ-XRF and analysis was conducted on the pigments, and it was found that the red color was made from cinnabar, the yellow color was gold and brass, the blue color was a blue organic pigment and white lead, the green color was a synthetic pigment composed of copper and arsenic, and the gray color pigment was silver. Also, the pigments were compared to those used to make the patterns of a queen's ceremonial robe and a front cloth panel, both made around the same time and also owned by the National Museum of Korea. The comparative analysis revealed clear differences and similarities between the various pigments. The resulting data expect to serve as a useful foundation research for future studying of the pigments used by the Joseon royal court in the late nineteenth century.

• Conservation Science in Museum
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• v.24
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• pp.81-98
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• 2020

This paper presents the results of a comprehensive nondestructive analysis of Portrait of Master Gowun at Wunamyeongdang Shrine (Hereafter, Portrait of Choe Chiwon), Tangible Cultural Heritage No. 187 of Gyeongsangnam-do, including the underlying images drawn at the time of its production and the pigments present. The analysis revealed that the portrait was produced in 1793 at Ssanggyesa Temple in Hadong, Gyeongsangnam-do, which makes it the earliest known example among the extant portraits of Choe Chiwon. X-ray examination found images of a half-length boy monk and a full-length boy monk on either side of the portrait, which had been painted over and became invisible to the naked eye. XRF analysis of the pigments indicated that white lead was used for white, cinnabar and red lead for red, malachite for green, azurite for blue, and gold for gold. It was revealed that the overpainted boy monks were colored using the same pigments as those applied in the portrait of the main figure. It is hoped that the analysis of the pigments used for the boy monks can provide basic materials for research on the production of copied portraits and local Buddhist paintings. Also, additional research drawing upon other fields of study is required to examine the details of the inscription of the portrait.

• Korean Journal of Heritage: History & Science
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• v.44 no.3
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• pp.132-149
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• 2011

In ancient period, a variety of inorganic or organic pigments had been used as colorants in various kinds of religious and secular paintings such as tomb paintings and wall and scroll paintings in buddhist temples, and danchung(cosmic patterns) for the surface of wooden buildings. This study discusses the results obtained from an analysis of the pigments on the wall paintings of Yeongsanjeon(Hall of Vulture Peak) in Tongdo temple by a qualitative analysis using a field-XRF. The results can be briefly summarized as follows. Firstly, assuming from the major components examined from F-XRF analysis, raw materials of pigment of each color are: red to be Cinnabar(HgS) or Hematite($Fe_2O_3$); white to be White Lead[$2PbCO_3{\cdot}Pb(OH)_2$] in most cases and Calcite($CaCO_3$) or Chalk($CaCO_3$), Kaolin($Al2O_3{\cdot}SiO_2{\cdot}4H_2O$) in some cases; yellow to be Yellow Ocher[$FeO(OH){\cdot}nH_2O$]; black to be carbon(C); green on the painted surface to be Celadonite[$K(Mg,Fe^{2+})(Fe^{3+},Al)(Si_4O_{10})(OH)_2$] in most cases; dark green on the halo of figures to be Malachite[$CuCO_3{\cdot}Cu(OH)_2$], Copper Green[$2CuO{\cdot}CO_2{\cdot}H_2O$] or Atacamite[$Cu_2Cl(OH)_3$]. Secondly, incarnadine and pink were made by mixing with more than two pigments such as red and white for making various tone of colors. The qualitative analysis of pigments on the wall paintings of Yeongsanjeon, in conclusion, displays that the all pigments for ancient periods are inorganis pigments. However, it has the limitation to identify a definite kinds of mineral for each pigment because it was not possible to collect samples from cultural heritage for conducting a crystalline analysis of XRD.

• Journal of Conservation Science
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• v.36 no.5
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• pp.351-367
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• 2020

The pigments of three old and new celestial charts folding screens(『Celestial Chart(Folding Screen)』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 of National Folk Museum of Korea and 『Koudou-Nanboku-Ryousouseizu』 of National Diet Library of Japan) were analyzed to estimate their dating. It was estimated that the 『Celestial Charts(Folding Screen)』 was painted using traditional pigments from the Joseon dynasty such as azurite, indigo lake, malachite, atacamite, vermilion, iron oxide, cochineal, gamboge, orpiment, lead white, talc and soot. The green and blue colors of the 『Old and New Celestial Charts, Eight-Panel Folding Screen』 and 『Koudou-Nanboku-Ryousouseizu』 were painted using artificial inorganic pigments such as emerald green and ultramarine blue. These pigments were imported from Europe post the mid-19th century. In the 『Old and New Celestial Chart, Eight-Panel Folding Screen』, only artificial inorganic pigments were used for green and blue colors. However in the 『Koudou-Nanboku-Ryousouseizu』, emerald green and atacamite in green color, and ultramarine blue and indigo lake in blue color were used together. Based on both the results of pigment analysis and the study of star charts and inscriptions, the 『Celestial Charts(Folding Screen)』 was painted post mid-18th century. The 『Koudou-Nanboku-Ryousouseizu』 and 『Old and New Celestial Charts, Eight-Panel Folding Screen』 were painted after green and blue artificial pigments were imported in the mid-19th century. The 『Koudou-Nanboku-Ryousouseizu』 in which both traditional and western artificial pigments were used, can be dated earlier than the 『Old and New Celestial Chart, Eight-Panel Folding Screen』.

• Journal of Conservation Science
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• v.35 no.1
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• pp.91-98
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• 2019

The fragments of a wall painting excavated from among the historical remains of Jeseoksa Temple in Iksan. The extent of the damage to the fragments was examined and an analysis of the components of the pigment was conducted. The results of the component analysis of the pigment confirmed that the white pigment consisted of alkali feldspar and mullite. Although the results of the visual inspection revealed differences in color in the red and black pigments, the main component of the two colors was confirmed to be iron oxide. Red and black pigments are found at the same position. Although differences of color is obvious, those are identified as hematite and magnetite of oxidized steel's affiliation. It is judged that Differences of ingredients happened by external environment's factors.

• Journal of Ginseng Research
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• v.18 no.2
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• pp.128-133
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• 1994

Color characteristics were investigated for white ginseng powder immediately and during storage following treatments of gamma ray or ethylene oxide (EO) for microbial decontamination. The variation in fatand water-soluble pigments of the sample was negligible immediately after both treatments, however an apparent increase was observed in the samples stored for four months at $25^{\circ}C$ and RH 90%, in the order of nontreated control, EO-fumigated, and 5 key-irradiated samples. Hunter's color a and b values of white ginseng powder increased slightly in proportion to irradiation doses, whereas EO fumigation caused a decrease in L value and an increase in a and b values of the sample, showing overall color difference (${\delta}^E$) of 1.8. Considering the higher ${\delta}^E$ in the higher RH conditions, airtight packaging and sterilization using like gamma ray were considered an effective means for maintaining high quality of color characteristics in stored white ginseng powder.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.47 no.6
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• pp.98-105
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• 2015

Demands of thermal recording paper have been increased significantly by increase in usage of invoice, fax, and label. Thermal recording paper was mainly made based on virgin fiber. It is necessary to find a suitable alternative to virgin fiber in terms of environment protectional resources conservation. In this paper, deinking properties of different recovered papers were analyzed in order to use the recovered paper as raw material of thermal recording paper. Recovered paper were ONP, OMG and white ledger. Flotation reject of OMG was high because inorganic pigments in coating layer could be removed by upstream of froth. Brightness of white ledger and OMG were much higher than that of ONP. Therefore, properties of pulp made from the recovered paper could be enhanced with increase in blending ratio of white ledger and OMG. However, blending ratio of OMG caused the increase of flotation reject. Consequently, the optimum blending ratio of ONP, OMG, and white ledger was 3:3:3 for eco-friendly thermal recording paper. Under the condition, brightness was about 70% and ERIC was below 300 ppm.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of Conservation Science
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• v.29 no.4
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• pp.379-388
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• 2013

Damaged the Jeoguibon (patterns of the Queen's ceremonial robe) was found during repair work of Daejojeon, Changdeok Palace in 2011. Analytical study on seven colors painted in the patterns has been conducted by P-XRF and Micro-XRD analysis. The result displays that red lead, ultramarine blue, conichalcite or mixed pigment of emerald green and barium white, orpiment and white lead had been used on the patterns. Comparison of the pigments used for the Pyeseulbon (patterns of the Queen's belt ornament covering knees in the front) housed in National Museum of Korea has revealed that not only red lead but also cinnabar and organic pigment had been used in the Jeoguibon and the Pyeseulbon housed in National Museum of Korea. In addition the same pigments has been examined in green and yellow parts of both the Jeoguibon in Daejojeon and the Pyeseulbon housed in National Museum of Korea. The result has shown that western's synthetic green pigment such as emerald green was introduced and used in 1920's. The scientific result from this study expects to be used as useful referencing data for the comparative understanding on pigments used in palace during the 20th century.