• Journal of the Society of Cosmetic Scientists of Korea
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• v.32 no.2 s.57
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• pp.89-91
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• 2006

The objectives of this study were to find for suitable chemical reagents to use as a green-color protector for Gardenia jasminoldes Green pigment and to compare the effectiveness of these reagents for discoloration prevention. Gardenia jasminoldes Green treated with polyoxyethylene (POE) (12) dimethicone shouted a greener color than those treated with methoxycinnamidopropyl hydroxysultaine ultraviolet stabilizers after ultraviolet radiation (UVR). The experimental results exhibited that the concentration of the POE (12) dimethicone affected the effectiveness of green-color conservation. The greenest rotor was obtained by treating 0.10 wt% aquous solution of Gardenia jasminoldes Green with 1.0 wt% POE (12) dimethicone aqueous solution and the absorbances of the solutions after UVR were increased from 78% to 95% in comparison with the untreated. In addition, the Gardenia jasminoldes Green aqueous solution mixed with POE (12) dimethicone showed great green-color fastness in outdoor weathering exposure. The mechanism of the green color protection under UVR is unclear, however the dimethicone group of POE (12) dimethicone may play and important role in the stabilization.

• Conservation Science in Museum
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• v.14
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• pp.13-22
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• 2013

The Nectar Ritual Painting(Jeung7551) in National Museum of Korea is estimated to have been produced in the 16th century. Ezimagodo who is the head priest of Ruganji in Kyoto, Japan donated this painting in 2010. Overall, damages were serious, such as missing, staining, folding, insects of the face and mounting silk, therefore, it need to conservation treatment. The treatment of conservation in painting was removing surface stains and repairing missing area. It was mounted by following the original form. The analysis result of textile in mounting and support fiber used silk and hemp in microscope. Pigments in paint were divided into six color types. This painting was used that vermilion(cinnabar) and red lead for red color, litharge(massicot) and gold for yellow color, lead white for white color, malachite for green color, azurite for blue color, and carbon black(chinese ink) for black color.

• 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.

• 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.30 no.4
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• pp.365-372
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• 2014

The purpose of the present study is to determine the species of red and green pigments used on paintings of Korean temples and also to compare the two pigments according to the particle characteristics. The component analysis shows that the red pigment consists of cinnabar, hematite, and minium and the green pigment are composed of atacamite, celadonite, and malachite. The result suggests that mixture of various pigments were applied to the painting. When it comes to the particle characteristics, there are various hedral or anhedral shapes such as sharp, long, angular, and platy shapes even in the same cinnabar. In addition, the green pigment also shows a similar pattern with those of the red pigment. Up to now, an identification of minerals has been relied on examination of component and crystal shape. However, it is notable that using form related characteristics can be a better and useful method not only for categorization of pigments which are similar in terms of color and species but also specific index.

• Journal of Conservation Science
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• v.33 no.6
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• pp.431-442
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• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• Journal of Conservation Science
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• v.37 no.6
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• pp.712-722
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• 2021

This study presents a method for conserving shamanistic spirits in Chiseonggwang Buddha. Scientific investigation has revealed that these spirits have been subject to degeneration as a result of severe exfoliation and pollution. The materials and preservation treatment techniques used in create these shamanistic spirits were identified through visual inspection and using appropriate scientific equipment. The different types of background paper, background material, and color pigments used in create the shamanistic spirits were analyzed using a colorimeter, stereoscopic microscope, and SEM-EDS techniques. The analysis revealed that the pulp paper was used as the background and synthetic fiber polyester as the background material. In addition, the study of the pigment revealed that the color components were all synthetic, except for red lead [Pb₃O₄] and oyster shell white [CaCO₃]. Moreover, it was confirmed that the green pigment, identified as emerald green [Cu(C₂H₃O₂)₂.3Cu(AsO₂)₂], was a major component of shamanistic spirits in the late 19^th century. The shamanistic spirits in Chiseonggwang Buddha were conserved by identifying raw materials and pigments through this detailed analysis.

• Korean Journal of Plant Resources
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• v.25 no.5
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• pp.652-655
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• 2012

'Blue Edge' (Hosta minor) was induced by ethyle methane sulfonate (EMS) to obtain mutants. Among induced leaf variegated hosta plants, some with deep-green color pattern on the edge of the leaves was selected. They were cultivated via vegetative propagation. Assessment of botanical characteristics was conducted for three years since 2003. The major characteristic of these cultivars is that they maintain their deep-green color on the edge of the leaves all year round. These cultivars are useful as materials for pot plant or as ground cover plant.

• Conservation Science in Museum
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• v.13
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• pp.13-22
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• 2012

The patterns for Jeogui and Pyeseul (patterns of the queen's ceremonial robe worn and a belt ornament covering knees in the front) as owned by National Museum of Korea were made in the early 20th century and both of them were colored on paper. Through a non-destructive analysis on pigments and dyes used on both the patterns, it was attempted to identify the coloring materials. As for the analysis of the coloring pigments, the XRF was used. As a result of the pigment analysis on the pattern for Jeogui, it is presumed that lead white was used for obtaining the white color, ink stick for black color, orpiment for yellow color, cinnabar and red lead for red color, copper and arsenical or a mixture of copper carbonate and orpiment for green color whereas brass seems to have been used for obtaining other colors. The pigments used for obtaining the colors of white, black, yellow and green on the pattern for Pyeseul are the same as those used on the pattern for Jeogui whereas the red pigments used on each of the two patterns are seen to be different. Although it may be difficult to identify the kinds of blue pigments that were used on the patterns for Jeogui and Pyeseul, a mixture containing lead white is presumed to be used as blue pigment. Also, as a result of the UV-Vis spectroscopic analysis performed on the blue hanji (traditional Korean paper) of the pattern for Jeogui, it was presumed to have been dyed with indigo.

• Journal of Conservation Science
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• v.28 no.2
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• pp.101-112
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• 2012

The Donggwanwangmyo Shrine was built in the period of Joseon Dynasty in 1602. There are Clay Statues (Gwanwo, Jangbi, Woojanggun, Juchang, Jojaryoung and so on) enshrined in the inside of the main hall. Original color of these Clay Statues are deteriorated by inorganic pollutant like dust. And the origanal forms were damaged during several process of restorations and repaintings. This study carried out XRD, SEM-EDS, P-XRF and chromaticity measurement for characterization of pigments which painted on Clay Statues. As a result, cinnabar, hematite and red lead were used to paint in pigments for the red and brown colors. Light red pigment was made by gypsum with these minerals that make colors. Graphite and gold were used to color of black and gold pigment, respectively. Green pigment is identified of malachite, atacamite and glauconite. Blue pigment which is clearly painted on Clay Statues is interpreted a morden industrial pigment that were painted at repair work. White pigments are detected calcite, gypsum and silver white. Orpiment and litharge were used to color of yellow and light yellow pigment.