• Journal of Conservation Science
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• v.11 no.1 s.14
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• pp.38-51
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• 2002

The first priority we face in the conservation of wall paintings, is the conservation of painting layer. The 'painting layer' is sometimes called the pigment layer, and refers to the painted surface. For the consolidation of this painting layer we use 'fixative'. Fixative is a common adhesive which has been used in various field and conservators have made up for the weak points in the consolidation of wall paintings. In my thesis, I will summarise the range of use, standards of selection, and results of research on the use of fixative in the conservation of European paintings. In addition, I will describe various kinds of our traditional fixatives. As synthetic resins have proved that it is not ideal as a fixative for wall painting, conservators have studied to find an alternative. Same as European conservators, Asian scientists has researched to find alternative fixative which is more suitable to the wall paintings in Asia based on their traditional techniques and materials. Therefore, 1 have studied to find an adequate fixative for our own wall paintings and I could conclude that we can consider traditional fixative which is made of 'seaweeds' as an alternative and it is very important to proceed research and experiment on this material.

• Journal of Conservation Science
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• v.36 no.6
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• pp.519-532
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• 2020

This study aimed to interpret the coloring materials recorded in the ceremonial writing with the scientific investigation results of the Hanging Painting of the Chiljangsa Temple (Five Buddhas). The results confirm that the Jinboon, Joohong, Hwangdan, Hwanggeum and Seokjahwang are clearly connected to lead white, cinnabar, minium, gold, and orpiment, respectively. Danghayeop and samrok are related to Copper trihydroxychloride, while Daecheong and Joongcheong are azurite, and they seems to be classified by the particle size. Yeonji and Chunghwa are organic dyes in red and blue, respectively, with blue confirming the existence of the side, but Yeonji differs from the names of the ancient texts and Chinese characters; it is unclear whether it is a commonly used Yeonji because of differences in the names of the ancient texts. The presence of Sootohwang has not been confirmed in the gwaebultaeng, but it can be extracted from the soil as a yellow-colored material but the possibility of Deunghwang cannot be ruled out.

• Journal of the Mineralogical Society of Korea
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• v.22 no.2
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• pp.153-162
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• 2009

The main compositions of "Seokganju", a Korean traditional red mineral pigment, are iron oxides. To investigate its mineralogical and functional properties, we had got its ore from Juto cave in Ulreoung island, which was a famous field of it in Korean documents. The ore occurs as a paleosol between the olivine basalt and amphibole trachyte in discontinuously. It is reddish brown and yellowish brown and consists mainly of clay minerals with minor debris. Its reddish and yellowish brown color are due to the hematite and ferrihydrate, respectively. These iron oxides are precipitated as ferrihydrate from the ferrous water in the paleosol and partly changed to hematite. The color reproduced in timber by using seokganju pigment with traditional tools and methods is similar to that in heritage building. The moistureproofing and fire resistance of Ulreungdo seokganju is far better than that of artificial seokganju. Moreover, the combustion tests show that the artificial seokganju promote the ignition and combustion of the timber. Ulreungdo seokganju is regarded as a pigment with fungicidal efficacy because growth of two wood decay fungi (cov. and typ.) are inhibited in solid medium with it.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Journal of the Mineralogical Society of Korea
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• v.29 no.4
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• pp.179-190
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• 2016

X-ray diffraction analysis, chromaticity measurement, execution and evaluation by Dancheong artisan, accelerated weathering test, and fire resistance test were conducted to test the applicability as a Dancheong pigment raw materials of Korean low grade kaolin in cultural properties. The ores that feldspar rich and composed of fine particles (< $38.1{\mu}m$) showing advantageous for the inherent purpose of the white pigment than that of high grade kaolin. And the test of whiteness, concealment force, outdoor exposure durability and fire resistance shows similar or better result than existing products (Hobun and Sanhwa jidang). In conclusion, it is expected that the use of fine feldspar rich white soil and low-grade kaolin can be used as a white pigment raw materials which have similar to better material properties and economic efficiency than existing products.

• Journal of the Mineralogical Society of Korea
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• v.31 no.4
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• pp.249-256
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• 2018

Seokrog and Seokcheong are traditional pigments that have been used as green and blue pigments in Korean traditional coloring heritage. Natural minerals such as malachite and azurite are known as raw materials. Seokrog and Seokcheong are mainly imported from aborad, such as China and Japan, and some blue pigments are reported to have been produced domestically. However, considering the geologic environment where carbonate minerals are difficult to produce, the possibility is not high. Malachite and azurite ores were purchased and analyzed for their composition. The pigments were manufactured by traditional procedure and analyzed to characterize the pigments. The Seokrog pigments had an $L^*$ value of about 59-83, an $a^*$ value of less than -20, and a slightly higher saturation than commercial products. The oil absorption was 22-29 mL/100 g, showing excellent opacity of 99.2 % or more. In the case of Seokcheong pigment, the range of $L^*$ values was 35-65 and $b^*$ values were below -15, indicating relatively lower saturation than commercial products. The oil absorption was 21-26 mL/100 g, showing an excellent opacity of 99.1 % or more like the Seokrog pigment. Azurite ore contain impurities such as malachite and quartz in addition to azurite, and the impurities contained in the pigments derived from azurite ore likely influenced on the characteristics such as their color and oil absorption.

• Korean Journal of Mineralogy and Petrology
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• v.33 no.4
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• pp.361-376
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• 2020

Atacamite and Verdigris were studied material scientific properties and durability that are used for traditional green pigment in traditional art painting work and Dancheong. As a result of ingrediant analysis, K-AA and K-VA identified Atacamite and Hoganite (or Verdigris) respectively. In order to find a factor of depressing the stability of pigment, we examined UV radiant exposure test, CO2/NO2 gas corrosion test and salt spray test. Salt spray test damaged both samples which were formed salt particle on the surface of the samples and it makes color disability. Furthermore, the results of gas corrosion test that both pigments change color enough to be perceived by the naked eyes showed that an air pollutant NO2 gas is also considered to be a major damage factor. In the case of K-VA, Hoganite that is main component of sample changes Tenorite with turn black after accelerated UV radiant exposure test. The consequences of the atmospheric environment effect test of the two pigments, K-VA showed relatetively weaker than K-AA.

• 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.

• Journal of Conservation Science
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• v.34 no.6
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• pp.557-568
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• 2018

The manufacturing techniques were studied by investigating a precise analysis on wall structure, features of materials and the painting layer of the bracket mural paintings at Daeungbojeon Hall in Naesosa temple. The wall frame is a single-branch structure, and The mural paintings are composed of 3 layers which are a support layer, a finishing layer and a painting layer. The support layer and the finishing layer are an earth wall that sand and clay such as Quartz, Feldspar, and etc. are mixed. The support and the finishing layers have a combination of medium particle sand and smaller than fine particle sand in the approximate ratios of 0.8:9.2 and 6:4, respectively. Therefore, the aforementioned ratio of sand with medium or large particles is relatively higher in the finishing layer than the support layer. As a result of a precise analysis on the painting layer, it has a relatively thick ground layer for painting which is maximum $456.15{\mu}m$ by using Celadonite or Glauconite and the paintings were colored by using pigments such as Atacamite, Kaolinite or Halloysite, Oxidized steel, and etc. on it. The manufacturing style and the painting techniques of an earth wall are included in the category of the Joseon Dynasty style that have been studied up to now, but the facts that the finishing layer has a high content of sand and a middle layer and chopped straw have not been identified. These are remarkable points in terms of structure and materials, and can be crucial in the evaluation of the state of conservation of mural paintings or preparation of a conservation plan.

• 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.