• Journal of the Korea Furniture Society
• /
• v.19 no.4
• /
• pp.252-259
• /
• 2008

High glossy painting and UV lithographic painting as painting methods for wooden furniture have played a positive role in enhancing the diversity of furniture design, which has been proved by the analysis on the relationship between the change in the diversity of design and painting methods of graduation projects (wooden furniture) presented by graduates of local universities, as a focus of this article. Since the development of new painting methods has the potential to develop aesthetic characteristics of wooden furniture, many design experiments are needed to improve decorative features of furniture, such as the application of high glossy painting and UV lithographic painting.

• Journal of the Korea Safety Management & Science
• /
• v.11 no.1
• /
• pp.59-65
• /
• 2009

The aim of these studies is to confirm the red and blue painting damages during the fire suppression of wooden cultural assets by using the loaded stream charge extinguishant. As a results of these experiments, the ingredients of extinguishant existing on the surface of wooden cultural assets were perfectly eliminated by the water washing only. Any changes on the surface of wooden cultural assets couldn't be detected. Moreover, any color changes of the red and blue painting didn't occur.

• Journal of the Korean Wood Science and Technology
• /
• v.44 no.4
• /
• pp.589-599
• /
• 2016

Korean wooden cultural heritages are treated by flame retardants to protect fire hazards. Two types of flame retardants are used to treat wooden cultural heritage. These flame retardants cause some problems such as surface whitening, discoloration, and cracks due to the chemical reaction caused by Korean traditional wood painting (Dancheong), flame retardant and wood humidity. The Korean government is trying to cut down on the amount of flame retardants for the wooden cultural heritage because of these problems. This study was carried out to find the cause of whitening by flame retardants treatment. The reaction between pigment and flame retardant chemicals was analyzed by infrared spectroscopy.

• Journal of the Korean Wood Science and Technology
• /
• v.40 no.6
• /
• pp.418-423
• /
• 2012

In order to develop the end use of cylindrical laminated veneer lumber (LVL) such as wooden crafts, the water proof-bonding strength, the resistance to abrasion and the surface hardness by painting the surface of LVL were investigated. The study results were as follows; The water proof-bonding strength through 5 cyclic test by boiling in water immersion and drying were favorable without delamination of glue line. Then the formulation of glue was resorcinol resin (100) to hardener of paraformaldehyde (5) by mixed weight percentage. The resistance to abrasion was relatively higher at cross section than tangential section. When tangential section of LVL was painted by UV protection oil, the resistance to abrasion was improved. In case of an cross section of LVL, the higher surface hardness appeared at larch core than radiata pine LVL. Also, in case of an tangential section of LVL, the higher surface hardness appeared at glue line than veneer side.

• Journal of Conservation Science
• /
• v.34 no.5
• /
• pp.397-405
• /
• 2018

Currently, there are very few studies on Korean wall paintings. Therefore, this study discusses the current conditions of wooden paintings and the characteristics of the adhesive agent in the painting layer separation. Korean land pine was chosen as the support, while white oysters shells, orpiment, red ocher, Noerok, and azurite were used as pigments. With four adhesive agents, including animal glue, Gelidium, methyl cellulose, and PVAc (caparol binder), a comparative experiment was conducted, by dividing them into two concentrations, of 0.5% and 1.5%. The temperature, humidity, and ultraviolet rays, which are contributing environmental factors in cultural assets after fixing, were artificially investigated. After deterioration, observed color difference, fixing, and the surface. Results showed that the animal glue strongly fixing all the colored layers compared to the other adhesives; however, azurite had a partial change when used outdoors. With Gelidium, which functioned similar to animal glue, the azurite was affected by the ultraviolet rays; nevertheless, despite the variations in temperature and humidity, it had the best gripping force compared to the other adhesive agents. Methyl cellulose was glossy at a high concentration, and was relatively strong against rapid changes in temperature and humidity. PVAc significantly reduced the binding force, compared to other adhesive agents.

• Journal of Conservation Science
• /
• v.36 no.5
• /
• pp.315-325
• /
• 2020

The Daetongsa temple is the earliest temple to be constructed during the era of the Three Kingdoms in ancient Korea. The main architect, purpose, and name of the temple have been confirmed through ancient literature and archeological materials carved in the Chinese letter, Daetong, excavated around Gongju. However, the location and range of the temple have remained elusive and were discussed in various studies. In this study, we examine the roof tiles obtained from the presumed site of the Daetongsa temple. The tiles were found to contain traces of red paint (red pigments) on their surface and analyzed using nondestructive techniques. The results imply that roof tiles were made using clay tablets and wooden cylinders, with latticed cloth in between. Additionally, some wooden cylinders appeared to comprise numerous wooden plates tied together by strings. The clay tablets used to make the roof tiles were produced from the source clay via the sorting process. The traces of red paint on the surface of the roof tiles were verified to be traditional pigments used for painting wooden buildings. These pigments were extracted from red ocher or red clay (Seokganju), mainly consisting of iron oxide. In the literature, the location of provenance sites for Seokganju is estimated to be far from Gongju. However, the materials for extracting the red pigments were relatively easy to source because most rocks comprised iron oxides. Therefore, it is necessary to discuss the provenance of the red pigments around the presumed site of Daetongsa.

• Journal of Conservation Science
• /
• v.35 no.4
• /
• pp.345-361
• /
• 2019

This study demonstrates the application of hyperspectral analysis as a pigment identification method for modern and contemporary Dancheong, the polychrome surface on traditional Korean wooden buildings. In particular, green pigments are the focus of this study. Green pigments in modern and contemporary Dancheong have the largest variation of materials and show a noticeable timeline. Thus, they are most suitable for estimating the manufacture or restoration period of Dancheong. Hyperspectral analysis is a noncontact, long-distance measurement technique that has advantages in the field of Dancheong analysis. It is capable of identifying both organic and inorganic pigments, unlike existing analysis methods. For this experiment, green and other pigments used during the modern and contemporary era were selected and made into painted samples under various mixing conditions that reflect their actual uses. Through hyperspectral analysis, their reflectance characteristics were observed, which enables the derivation of four main features that can distinguish the type of pigments used for color mixture. Based on these, a pigment identification system was designed in the form of a flowchart, and its utility was confirmed through site application. Despite some limitations at this stage, the technique can be complemented by considering proper measurement methods or the continuous accumulation of samples and data. If a database on various materials, mixing ratios, painting techniques, and other external interference factors is developed in future research, it would provide the foundation for a faster and safer analysis environment of Dancheong sites.

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