• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.535-543
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• 2018

The traditional culture, which is a historical product possessed by each country, represents the competitiveness of the country and becomes a national resource. Raw lacquer has a very long history and tradition in China. Lacquer, which is the basic material of Raw lacquer. Also it is a natural paint which has the functions of preservation, insectproof and waterproof used from ancient times in Asia, not only in China but also in Korea and Japan. Such Raw lacquer using lacquer has a long history and it is becomes to a tradition. On the other hand, Its value and meaning are being faded by oilpaintings and watercolors. Much effort and research are needed to become more popular. I would like to introduce the lacquering technique in illustration as one way. There are a lots of expression techniques in the present illustration, but lacquer expression is rarely seen. In the illustration, lacquering technique is a modern reinterpretation of traditional culture by combining modern technology with traditional culture. In this paper, a Raw lacquer with a long tradition of soul is informed to the public and it is a way to bring attention to the beauty of lacquer and reproduce the original expression technique as an illustration to enhance the understanding of traditional culture, I hope that Raw lacquer will be used in the field.

• Conservation Science in Museum
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• v.8
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• pp.41-47
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• 2007

The wooden lacquer wares, which had excavated from the water reservoir in the Isong Sansung Fortress, were applied with vacuum freeze drying method and treated, after they had been substituted with tbutanol, and treated with PEG-pretreatment. The manufacturing technique, which had not been investigated in the past, was examined through the investigation of the wood and the lacquer used for wooden lacquer wares, and the pieces of the lacquer wares, which had been stored for a long time, were restored for the exhibition and conservation. As the result, the wooden lacquer wares were manufactured, using black alder belonging to the group of Alnus, and the lacquer was painted on the bottom-layer by mixing the powdered soil and lacquer, and it was confirmed that the lacquer mixed with the black pigment and the pure lacquer had been painted alternatively over 2 times, and that the wooden lacquer ware had been manufactured through total 5 times of being painted.

• 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.

• Journal of the Korean Wood Science and Technology
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• v.29 no.1
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• pp.43-51
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• 2001

When percentages of the component of raw lacquer were changed by adding each components that is urushiol, polysaccharide and glycoprotein, the physical properties of refined lacquer were changed and the period of refining also were changed. When polysaccharide component extracted from raw lacquer was added in raw lacquer, the period of refining was shortened about 1/3 times and this refined lacquer film was dried faster than the refined lacquer which was not added any other components. When urushiol extracted from raw lacquer was added in raw lacquer, the transparency of dried film was improved. A case of Guizhoushang was improved of the tensile strength of dried film. When both urushiol and polysaccharide were added in raw lacquer, the drying time of refined lacquer was shortened and the tensile strength of them also was improved.

• Journal of the Korea Furniture Society
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• v.14 no.1
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• pp.59-69
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• 2003

When harmonized with modem design, the Korean traditional lacquered woodenware with a history of about two thousand years has the potential to appeal to the global sense of industrial craftsmanship as it is superior to any in terms of material used and is very friendly environmentally. To maximize this potential, however, it is necessary to develop a firm infrastructure for the supply of lacquer, including the forestation for the lacquer wood, the production of lacquer, the improvement of refining skills, and the development of better paints. Also ways must be found to induce the craftsmanship at the turning lathe to be elevated to a major independent industrial craft. Only then the mass-produced lacquered woodenware for everyday use and as tourist goods, showing the best merits of the Korean lathing technique, will be displayed and accepted with a new appreciation.

• Journal of the Korea Furniture Society
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• v.28 no.1
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• pp.27-35
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• 2017

Wooden artifacts are generally manufactured by lacal materials with cultural characteristics. Bamboo crafts province In recent years, production decreased due to products using resin and new materials, and in particularm the traditional bamboo craftsmanship is in a situation of extinction. Among the techniques of bamboo craftsmanship, Lamtae lacquer technique which lacquers on bamboo crafts made of piece bamboo and weaving pattern is applied to wooden craft, and the purpose of this study was to develop the products that can be utilzed in the modern residential space, and to make the skill of wood crafts using bamboo be developed and spread the prototype was made of traditional bamboo acts and crafts, furniture made of piece bamboo and weaving pattern, and wooden artifacts such as stationary goods and lighting.

• Journal of Conservation Science
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• v.37 no.3
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• pp.302-311
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• 2021

This study uses traditional lacquer techniques to coat the metal surface and evaluates its physical properties to check the applicability of the lacquer coating. For this purpose, a total of six specimens were produced by setting the variation conditions for the number of times (1, 2, 3) and the heating temperature (120℃, 150℃) using SS275 metal(60*60 mm) and 'Wonju lacquer'. For analysis, chromaticity measurements, contact angle/surface energy measurements, Chemical Resistance, and cross-cut tests were used. The analysis showed that the corrosivity was improved and the adhesion of lacquer to the metal surface was excellent. There was no significant change in contact angle/surface energy. Also, there was no significant difference in color. Through this study, it was confirmed that lacquer on metal surfaces improves waterproofing and has a anticorrosion effect. We could also check the proper number of lacquer and heating temperature. Additional physical characteristics such as hardness and wear rate should be studied. It is also necessary to study how lacquer can be painted with a certain thickness.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.114-125
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• 2016

Lacquer is one of the most widely used natural resin in East Asia since Neolithic Age. As a major ingredient of lacquerware, lacquer is waterproof, insect-proof and rot-proof to be durable and anti-abrasion, generally utilized for mainly painting purpose. According to lacquerware excavated from several sites of Japan and China, lacquerware seems to appear in Neolithic Age. On the other hand in case of excavation research in Korea, lacquerwares are found after the Bronze Age. The initial purpose of lacquer is estimated to be adhesive, regarding the literatures mentioning bitumen(Yeoksceong ), animal glue(Kyeo) and egg alumen(Nanbaek). Especially piece of jar coffin unearthed in Pyeongtaek Daechu-ri site had trace of restoration by lacquer and hemp as an evidence of lacquer for adhesion in Pre-Three Kingdoms period. Since then a trend to restore the broken ceramics with lacquer and decorate with golden foil lasted especially in Joseon Dynasty. In the field of gold plated lacquer method, mother-of-pearl inlaying technique for lacquerware and restoration of buildings, lacquer is still used as adhesive. Due to matter of reversibility lacquer is being avoided for conservation and restoration of cultural heritage. Lacquer as a traditional material for adhesive since ancient times, however, has advantage in adhesion strength and durability. Because synthetic resin adhesive has problem of emission of volatile organic compounds and aging over time, lacquer receives attention recently. On the contrary, by combination adhesive from mixing lacquer and animal glue, already proved the possibility of applicability and chemical modification. A research to utilize lacquer as modern paint or functional material is also conducted continuously also in China and Japan. To put traditional material into practical use and modernize, chemical research from the molecular level of the lacquer is necessary in the near future.

• 한국문화재보존과학회:학술대회논문집
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• 2004.10a
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• pp.101-102
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• 2004

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.