• 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.

• Polymer(Korea)
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• v.33 no.5
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• pp.463-468
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• 2009

Syntheses of monodisperse and micron-sized hollow plastic pigment (HPP) were carried out through the core-shell reaction. The effects of the reaction parameters, such as the particle size, molecular weight, the swelling time, agitation rate, and the solid contect were investigated. This micron-sized HPP could be made by using the alkali soluble core with at least bigger than 200 nm size. To obtain a higher opacity ratio, the swelling time and molecular weight of the core should be controlled. The agitation rate affected the particle's morphology. To prevent the shell destruction, the agitation rate must be sufficiently low in case of the syntheses of micron-sized HPP. In this study, micron-sized HPP exhibiting the high hiding power and narrow particle distribution could be obtained.

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2001.11a
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• pp.104-111
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• 2001

• Proceedings of the Korea Multimedia Society Conference
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• 2012.05a
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• pp.312-313
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• 2012

단청의 열화현상에 대한 연구는 주로 건축재로서의 내구성 향상에 초점을 두고 연구가 진행되고 있으나 본 연구는 가상유적지 재현을 위해 가상 건축물의 사실감을 높이기 위한 방안으로서 열화현상을 분석하고 가시화 하는데 초점을 두었다. 이를 위해 먼저, 전통건축에 나타나는 단청의 열화과정을 인간이 인지하는 색채감의 변화에 초점을 두고 연구를 진행한다. 우리나라 단청에서 사용된 안료를 살펴보고 문화재관리청에서 선정한 무기안료와 유기안료를 중심으로 내후성 시험을 통해 안료의 열화현상을 분석한다. 단청의 열화를 크게 색변과 박리 현상으로 나누어 촉진내후성시험기를 통해 얻어진 결과를 토대로 목조 전통건축의 열화현상을 분석한다.

• Journal of Conservation Science
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• v.35 no.6
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• pp.689-700
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• 2019

This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used "cho" as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.

• 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.

• Proceedings of the Materials Research Society of Korea Conference
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• 1992.05a
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• pp.126-127
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• 1992

• Proceedings of the Materials Research Society of Korea Conference
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• 1993.05a
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• pp.126-126
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• 1993

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2000.04a
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• pp.96-102
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• 2000

• Journal of Conservation Science
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• v.38 no.3
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• pp.201-216
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• 2022

Materials and techniques used for two portraits (Jo-nyeon Lee and S ung-in Lee) of the Lee family from Seongju enshrined in Seongsan temple were scientifically analyzed, and based on the data, an optimal replica restoration method was designed. According to the expression technique investigation, both portraits were expressed mainly in line drawing, but there were differences in shoes, pupils, the color expression of flesh, overpainting, and traces of reinforcement. Pigment analysis revealed that a mixture of cinnabar and minium, organic pigment, azurite, malachite, lead white, and yellow pigment were used in common. In the case of Sung-in Lee's portrait, seokganju and atacamite were also used. In addition, comparison with the contemporaneous portraits of gentry showed that the portrait style at the time was found in the two portraits, but the singularity was modified differently there. Based on the scientific analysis, it was decided to replicate the old color restoration for Jo-nyeon Lee's portrait while for Sung-in Lee's portrait, it was decided to replicate the phenomenon. Detailed coloring techniques were presented by supplementing the expression techniques that are difficult to confirm visually using scientific data. In addition, by measuring the chromaticity of representative positions in the portrait for each color and presenting the color reference value calculated as the average value, the current color of the artifact can be replicated and restored based on the objective data as much as possible.