• 보존과학회지
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• 제32권3호
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• pp.385-394
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• 2016

전승되었거나 출토된 직물은 자외 가시광선, 산소, 미생물 등에 의해 열화 되고 변 퇴색되어 본래 색을 추정하기 어렵다. 색의 분리 분석에서 LC-MS 분석은 매우 효과적이나 염료 정성분석에 있어서 직물로부터 색소를 추출하는 과정이 특히 중요하다. 홍화와 락충으로 염색된 직물로부터 염화수소, 피리딘, 옥살산을 주 용매로 한 세 가지 추출방법 중 옥살산을 기반으로 한 방법이 적색소 추출에 가장 효과적이었다. 한편 열화에 따른 색소의 화학적 특성 분석을 위해 홍화와 락충으로 각각 염색한 시편을 자외선A로 168시간 열화 시킨 후 LC-MS로 분석하였다. 그 결과 홍화 색소는 $T_R$ 13 min에서 carthamin이, 락 색소는 $T_R$ 10 min에서 laccaic acid A가 검출되었다. 또한 자외선 열화 된 홍화 염직물의 MS분석 결과 주 색소인 carthamin은 검출되지 않았지만, 분자량 m/z 931의 물질을 통하여 홍화 염직물임을 확인할 수 있었다. 본 연구를 통하여 적색 염직물로부터 적색염료 추출을 위한 최적의 방법을 확인할 수 있었으며, 향후 적색염료의 정성분석에서 LC-MS분석을 이용한 기초자료로 활용될 것으로 기대한다.

• 보존과학연구
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• 통권28호
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• pp.121-147
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• 2007

A large variety of mineral pigments has been used for Korean paintings and it has known that organic pigments have been used together on the Buddhist painting and the portrait. Haehakbando-do, which is from Honolulu Academy Museum in the United States, 12-fold screen was commissioned by Court of the late Joseon Dynasty in order to pray for the King's longevity. Therefore, it seems that all material used including pigments were selected very carefully and a great deal of technical effort was gone into its process. The purposes of this research were to estimate the pigments and the contributory elements of each color used on Haehakbando-do, in accordance with the conservation treatment carried out by Gochang Conservation Institute throughout last year. Without extracting sample, property of pigment was measured by nondestructive method, X-ray spectral analysis, and by comparing with the data about ancient pigments. In spite of the limited range of pigment analysis by nondestructive method, it should be noted that this method would not cause damage to the cultural properites. White pigment was found in all colored parts except the background, so it can be suggested that white color was used as a grounding of other color pigments. This would be flake white[$2PbCO_3{\cdot}Pb(OH)_2$] as Pb was found. Pb was the only element could be found in yellow, however, it can be organic pigment like Gamboge as same as background. Red would be Cinnabar (HgS) as hydrargyrum (Hg) was detected. For the light purple in cloud, organic pigments were probably used since any element is not detected except for Pb, which is used for background. It is possible that green color is the mixture of Malachite[$CuCO_3{\cdot}Cu(OH)_2$] and Azurite [$2CuCO_3{\cdot}Cu(OH)_2$], which share Cu as their main element. Azurite[$2CuCO_3{\cdot}Cu(OH)_2$] was used for bluish pigments. Black is carbon compound. For gold, solid gold (Au) was detected. It shows that gold was gilded on the flake white background. Red painted on the frame of screen was identified as Cinnabar (HgS) and the gold pattern was solid gold (Au). The supporting leg of folding screen was made of brass because both copper and zinc were detected. In conclusion, white pigment was used as grounding of all colors of Haehakbando-do, and specific pigments were used for each color. Additionally, result from the analysis of several pigments shows that mineral pigment and organic pigment, or different mineral pigments were mixed to make various colors.

• 헤리티지:역사와 과학
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• 제56권3호
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• pp.138-156
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• 2023

우리나라 문화유산에서 상당한 비중을 이루는 금속문화재 중 일부는 고유 기능과 역할, 규모 등으로 인해 야외에 설치·전시되고 있다. 그렇기에 안정적 환경에서보다 다양하고 복합적인 훼손이 발생할 수 있다. 따라서 야외 설치 문화유산의 보존상태 진단을 위한 조사뿐만 아니라 조사 결과로 확보한 기초 자료를 장기적이고 지속적인 보존관리의 데이터로 활용하기 위해서는 정확한 진단과 체계화된 조사법을 접목할 필요가 있다. 제작 당시부터 야외에 설치·전시된 국보 창경궁 자격루 누기는 지속적인 보존관리에도 손상이 발생하여, 전면적인 보존처리에 앞서 보존상태 진단을 위한 과학적인 조사를 실시하였다. 먼저 조사 목적에 따라 제원 및 육안조사, 과거 보수이력 조사를 통해 보존상태를 조사하였다. 그리고 3D 스캔과 표면 문양 조사, 색차 분석을 통한 정밀조사와 P-XRF, FT-IR, Py-GC/MS 분석으로 재질과 오염물을 분석하였다. 과학적 조사 결과에 대한 검토를 통해 과거 보존처리 과정에서 사용된 스쿠알란(squalane)과 실리콘 오일(silicone oil)이 야외 환경 요인에 직접적으로 노출되어 손상이 발생하였으며, 그 위에 먼지 등의 이물질이 두텁게 고착되어 오염이 심화된 것으로 확인되었다. 상대적으로 노출 영향이 높은 부분을 중심으로 손상의 발생 정도가 큰 것이 확인되었으며, 이는 색차 데이터를 그룹화(grouping)하여 파악한 경향성과 일치하였다. 이처럼 보존상태를 진단하고 기초자료를 확보하는데 다양한 조사법을 접목한 결과 발생한 손상 원인과 양상을 파악할 수 있었다. 또한 조사에서는 다양하게 활용 가능한 디지털 데이터의 확보 과정과 가시적으로 확인되는 손상을 과학적 데이터로 제시하고 손상 양상 등의 경향성을 파악할 수 있는 색차 분석이 효과적인 것으로 확인되었다.

• 패션비즈니스
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• 제23권6호
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• pp.1-15
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• 2019

Appropriation is of considerable significance in a cultural trend of thought, as one of the means of realizing the post-modernism period. With the increasing use of appropriation techniques in modern fashion, it is necessary to study the external performance and internal aesthetic value of appropriation in fashion. In the book of cultural appropriation, American scholar James o young divides into three categories of appropriation in culture, namely: object appropriation, content appropriation, and subject appropriation. Based on James O Young's three types of appropriation techniques summarized in the theory of the cultural appropriation, the purpose of this study is through the appropriation of the poncho of traditional Mexican clothing in modern fashion as an example; analyzing the external appropriation characteristics and internal aesthetic significance of different appropriation type. The results are as follows. First, designers take the Originality in modern fashion by expressing Mexican Poncho's form, color, pattern, and material as it is through object appropriation technique. Second, through the Mexican folk poncho's style, designers used these to show the similarity produced by content appropriation in modern fashion. Third, designers used the poncho's design concept or poncho's culture, blending the theme of the collection, adding different color, pattern or materials such as fur, lace, and wool, and presenting a new image different from folk costumes through creative subject appropriation technique.

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2012년도 춘계학술대회
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• pp.113-114
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• 2012

• 한국의상디자인학회지
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• 제17권2호
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• pp.27-43
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• 2015

Festival costume shown in festival parades targeting historical events or figures helps to understand the theme of festival and grants visual effects and at the same time, is an important factor to identify then-cultural environment. Accordingly, this study aims to make a periodic review of traditional costumes used in parades for Hanseong Baekje Cultural Festival and Yeongam Wangin Cultural Festival which are both the festivals that backgrounded Baekje period, make a comparative analysis of the archetypes of reproduction costume vs Baekje costume, understand the problems of festival costume, and seek developmental directions. After making a comparative analysis of reproduction costume shown in festival parades, it was found that king costume, queen costume, governmental official costume, and humble class costume were all different from Baekje costume in terms of configuration, materials, color, shape, and creating method of costumes, and problems were drawn. When it comes to costume items, Pasul and Danryungpoh that didn't belong to Baekje period were worn. The problems in color research can be identified in governmental official costume. The problems in type of costume are shown in the length of po worn outside, margin of width, and degree of restoring accessories. Therefore, it seems to be necessary to convey and identify costume creating method by festival parade-related persons.

• 보존과학회지
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• 제36권4호
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• pp.275-283
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• 2020

Iron oxides are the essential coloring oxides in traditional ceramic glazes. However, when Fe is involved in the coloration in the form of ions or colloids in glazes with low Fe content, it is difficult to identify the iron oxide phases. Generally, in many these glazes, Ca-rich minerals are observed by X-ray diffraction (XRD) or microscopic images, owing to their devitrification by the high Ca content. This study attempts to elucidate the correlation between the crystalline structure and coloration in the glazes while mainly focusing on neoformed Ca-rich minerals and Fe content. An experimental firing was carried out to produce tree ash glazes, with pine tree ash and Buyeo feldspar. In the case of oxidation glazes, the scanning electron microscopy (SEM) images and XRD patterns did not exhibit any Ca-rich crystals, and all the visible light reflectance spectra lines exhibited a similar shape. In contrast, the reduction glazes divided into blue glazes and other colored glazes according to the shapes of their reflectance spectra. It was confirmed that the influence of Ca-rich minerals on the glaze color was more pronounced than the blue color of the reduction glazes when the Ca and feldspar contents were sufficiently high and low, respectively, to form wollastonite. As the Ca content increased and the elemental composition of the reduction glazes changed, the neoformation of the Ca-rich minerals, such as wollastonite, anorthite, diopside, and akermanite was sequentially observed.

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2003년도 제18회 발표논문집
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• pp.73-74
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• 2003

• 보존과학회지
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• 제35권2호
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• pp.153-158
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• 2019

아교포수는 안료가 한지에 번지거나 채색이 바탕에 흡수되는 것을 막아 바탕에 잘 고착되도록 하며, 바탕재와 물감 사이의 접착력을 강화한다. 본 연구는 아교포수 시 사용되는 아교와 백반의 혼합비, 아교포수의 횟수 변화에 따른 포수의 특성이 한지의 색상과 견뢰도에 미치는 영향을 평가하기 위하여 촉진노화시험을 실시하고 결과를 비교 분석하였다. 아교포수 된 한지의 색상 측정결과 아교수의 농도 및 아교포수의 횟수가 증가할수록 백색도 및 $L^*$ 값은 감소하였으나, 황색도는 증가하였다.

• 복식
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• 제6권
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• pp.161-171
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• 1982

The idea of King Hungdok's prohibition of clothing was to restrict the use of chinese-made cloth on the one hand and to compell his people to use Korean-made cloth for their apparel on the other. The prohibition of clothing sprang from King Hungdok's aspiration to restore his dynasty that had been falling due to the repeated drought disaster and luxurious living of the aristocracy. Safflower, Rubeaceae roots and Sapan wood are well known as some of the earliest natural red-dyes, exhibiting beautiful red-color in our anciet cultural tradition. The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. Those plants used to make the color yellow are: Gardenia, phellodendron amurense, Turmeric, coptis, safflower, Arthraxon hispidus, Styphnolobium japonicum. Shikon, root of violet plant, is well known as one of the earliest natural days. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color.