DOI QR코드

DOI QR Code

채색문화재에 적용된 전통 황색 광물안료 석황의 채색 특성

The Discoloration Characteristics of Orpiment used as Traditional Yellow Mineral Pigments in Painting Cultural Properties

  • 도진영 (경주대학교 문화재학과)
  • Jin Young Do (Department of Cultural Assets, Gyeongju University)
  • 투고 : 2022.06.10
  • 심사 : 2023.03.09
  • 발행 : 2023.03.31

초록

전통 황색 광물안료 석황이 적용된 채색문화재에서 석황부위의 색상변질이 빈번히 발생된다. 채색문화재에서 변색되는 원인을 밝히고자 석황과 석황에 혼합하여 사용하는 몇가지 안료를 분말과 채색상태로 제작하여 연구하였다. 석황에 연백, 연단, 주사를 비율에 따라 혼합한 후 아교에 넣어 한지와 견에 채색하였다. 명반으로 발생할 수 있는 변색을 고려하기 위해서 채색시편에 대해 명반처리 시험을 실시하였다. 시편들의 내구성을 확인하기 위하여 자외선시험기로 내광성시험을 3단계, 총 96시간 동안 실시하였다. 시험을 거친 시편에 대하여 색도계를 사용하여 색변화를 측정하였으며, XRD와 Raman 스펙트로메터로 광물과 구조변이, SEM/EDS로 화학성분의 변화를 분석하였다. 내광성시험에 따른 순수 석황 분말의 색변화는 적었던 반면, 채색시편에서는 약간 어두워졌다. 견바탕에 채색한 것의 색변화가 컸으며, 명반이 처리된 시편의 색변화가 컸다. 석황분말에서는 자외선시험 후 orpiment가 변질된 백색의 arsenolite가 생성되었다. 석황-연백 혼합분말에서는 석황과 연백의 구성광물만이 검출되었고, 변질물질은 생성되지 않은 반면, 자외선시험 후에는 orpiment와 orpiment의 변질물인 arsenolite, 그리고 연백의 구성광물이 검출되였다. 두 안료의 분말상태의 혼합에서는 자외선시험에 의해서도 암흑화현상이 발생되지 않았다. 그러나 혼합분말로 채색된 시편은 자외선시험에 의해 암흑화되었다. 채색시편에서 혼합된 안료와 바탕재에 따라 석황의 색상 변화가 다르게 나타나며, 명반처리한 경우는 안한 경우보다 큰 색변화를 보여 명반도 석황의 색변화에 영향을 주는 것으로 드러났다.

On painting cultural properties to which Orpiment, a traditional yellow mineral pigment, is applied, the color's degeneration is frequently observed. To identify the cause of the degeneration, this study takes a look into orpiment and the various pigments that are mixed into it (Lead White, Lead Red, and Cinnabar) in powder and painting state. The pigment was mixed with Argyo glue and then applied to korean traditional paper and silk. Considering the possibility that alum causes the discoloration, it was applied to the specimen. With a UV tester, the powders and the painted specimens were subjected to a light resistance test in three phases (96 hour). Color changes were measured with a colorimeter and minerals, chemical composition and structural changes were analysed by XRD, SEM/EDS and Raman spectrometers. While the color change of pure Orpiment powder according to the light resistance test was small, the colored specimen became darker. The color change was large in the Orpiment colored on the silk and in the alum-treated specimen. In Orpiment powder was produced white arsenolite as altered orpiment after UV test. In the mixed powder of Orpiment and Lead White were detected only the constituent minerals of Orpiment and Lead White, and no altered substances were produced. Whereas after the UV test, orpiment and arsenolite, which were altered substances of orpiment, and the constituent minerals of Lead White were detected. In the case of mixing the two pigments in the powder state, darkening did not occur even by the UV test. However, the specimens colored with the mixed powder were darkened by the UV test. The color change of Orpiment was different depending on the mixed pigment and base material. The color change was greater in the case of alum treatment than in the case without alum treatment, and it was found that alum also had an influence on the color change of Orpiment.

키워드

참고문헌

  1. Ahn, B., 2010, Scientific analysis of Cheongryangsangeobuldo, The arthistory research institute of Korea. 46p. (in Korean).
  2. Kim, S. and Cho, S., 2010, Analysis of pigment in color lacquer excavated from the Neungsalli temple site, Buyeo, In Neungsalli temple site dreaming the restoration of Baekje, Buyeo national museum, 285p. (in Korean).
  3. Cohn, M. and Rosenfield, R., 1977, Wash and Gouache: A Study of the development of the materials of watercolor, Wm Hays Fogg art museum, 21.
  4. Cotte, M., Susini, J., Metrich, N., Moscato, A., Gratziu, C., Bertagnini, A. and Pagano M., 2006, Blackening of Pompeian Cinnabar paintings: X-ray microspectroscopy analysis, Analytical Chemistry, 78(21), 7484-7492. https://doi.org/10.1021/ac0612224
  5. Do, J., 2007, Studies on elemental carbon and its origin in black surface layer on stone pagoda in urban environments, J. Conservation Science, 20, 55-65. (in Korean with English abstract).
  6. Do, J., 2018, Characteristics of yellow pigment Seokhwang and applications on the painting cultural properties, Conservation studies, 39, 119-137. (in Korean with English abstract).
  7. Dreyer, R., 1939, Darkening of Cinnabar in sunlight, American mineralogist, 24(7), 457-460.
  8. Roy, A., 1993, Artists'pigments: A Handbook of their history and characteristics, 2, Oxford University Press, UK, 67-81.
  9. FitzHugh, E. W., 1997, Orpiment and realgar, in artists'pigments: A Handbook of their history and characteristics, 3, Oxford University Press, UK, 52.
  10. Heumann, K., 1874, Veranderung den Zinnobers durch das Licht: Berichte der deutschen chemischen Gesellschaft, 7, 750-751. https://doi.org/10.1002/cber.187400701240
  11. Kuhn, H., 1967, Bleiweiss und seine Verwendung in der Malerei I. und II., Farbe und Lack, 73, 99-105 and 209-213.
  12. Lee, S., 2011, Adhesives used in conservation treatment in cultural properties: paintings and written artifacts, Conservation of papers and textiles, National research institute of cultural heritage, 199. (in Korean).
  13. Song, Y. and Kim, G., 2014, A Consideration of pigments name on ceremonial writing of Youngsan ritual ceremony buddhist painting, Bongjeongsa, Journal of conservation science 30(1), 13-25. (in Korean with English abstract). https://doi.org/10.12654/JCS.2014.30.1.02
  14. Spring, M. and Grout, R., 2002, The blackening of vermilion: An analytical study of the process in paintings, Technical bulletin, 23, 50-61.
  15. St. Clair, K., 2016, The secret lives of color, John Murray, UK, 82-83.
  16. Wallert, A., 1984, Orpiment und realgar, Maltechnik-Restauro, 90, 45.
  17. Windholz, M, Budavari, S., Blumetti, R. and Otterbein, E., 1983, The Merk Index 10th ed. Merk & Co., INC, 829.