• Journal of Conservation Science
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• v.28 no.2
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• pp.165-173
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• 2012

In this work, scientific and systematic analysis was conducted for finding out the methods and techniques of ancient ink stick making. Analysis the ancient ink stick on ancient documents and wooden writing as letter or painting, we concluded as followings. From the analysis of ancient wood by dendrochronology, wood was cut at 1899, which provided the information on the year of ink stick's made on writing on ancient wood. Single particle size for soot of ancient ink stick was 107 nm for ink on the roof-filling timber in Sinsunwonjeon of Changdeok Palace, compared to 38 to 86 nm on the letter on ancient 12 paper document. Aggregate particle size was 370 nm for ink on the roof-filling timber in Sinsunwonjeon of Changdeok Palace, but 206 to 318 nm for aggregate particle size on 12 paper documents. There was similar pattern between single particle size and aggregate particle size of soot, which might provide the information of raw material for ancient ink. From infra-red and Raman spectroscopic analysis of sheet of writing on paper or wood, there was severe interference from background material (paper or wood). From Raman spectroscopic analysis of ancient ink carefully separated from ancient wood, spectrum pattern was closer to ink stick made by the soot from pine burning.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.131-142
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• 2000

The philological consideration of Korean Buddhist Monk's robe and its reviving have been investigated in traditional way. The configuration and colour of Korean Buddhist monk's robes have been properly adapted for an period, territory, and atmospheric phenomena. In case of Korea, introduced Buddhism from China realize modern robe from under the influence of fusion of Chinese ornament culture and Korean traditional ornament culture. As a result of this modern robe has been consisted of a Buddhist monk's robe and a cope. The modem robes has been significantly affected by industrialization, contrary to ancient time taxed robes as public imposts. At present be familiar in mass production we have a preference for the easier way in making and even color forming. In this paper it is focused on dyeing part, which recognized its important in latest time, at first declined according to appearance of chemical dye, evaluated its convenience in use. That is, it is increased natural dye, people begin with recognition of difference of physical properties for dress dyed with chemical pigment and that with natural pigment. In consequence, I have presented that both making colour of gray using traditional method, and three demolished-color prescribed by Buddhist law. Of course, though it become generally know that dyeing of robes occupied significant part of traditional natural dyeing. But in case of religion, it also is important to know symbolical meaning involved in its colour. Most of Buddhism-believers or even Buddhists who actually be dress in robe are without knowing the meaning of colour, or its revealing method. There, I have considered mating three colour of demolished- color included blue, black, and red, and also represented dyeing method of Buddhist monk's robe using both charcoal and ink-spick. From religious font of view, as robes contains involving of blessing, I have an intention of improvement way in dyeing and succession and development of traditional culture through consideration of traditional dyeing method. And I have also intended to restoration the value of robe's colour, disappeared by the time. moreover, I have shown that dyeing with natural pigment is profitable for both environment and sanitary aspect.