• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• The Korea Journal of Herbology
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• v.35 no.2
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• pp.1-6
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• 2020

Objectives : Heating process is the traditional processing method that has been applied to reduce the toxicity of dried resin of Toxicodendron vernicifluum (Anacardiacea) used as Geon-chil (乾漆, Lacca Rhois Exsiccata or Toxicodendri Resina). Urushiol, which is found in the plants of Toxicodendron genus, is a toxic compound that is absorbed into the skin and induces allergic dermatitis by being contacted. Hence, the reduction of urushiol level by heating processing of Geon-chil is crucial method for its medicinal application. Methods : Due to lack of Geon-chil processing-related articles, the articles researching the processing of lacquer (漆), as a coating material, were collected and analyzed to investigate the chemical change of urushiol during heating process. Results : The results demonstrate that the resin which was collected from the sap of T. vernicifluum tree was dried under warm and humid conditions repeatedly. During primary drying process, the laccase, a copper-containing enzyme in the resin, participated in the formation of urushiol polymers and thereafter urushiol-related toxicity could be reduced by making a lacquer harder and more stable. Moreover, heating a lacquer over 200℃ could cause thermo-degradation of urushiol polymers, and vaporized thermally degraded urushiol monomers and their by-products, which were determined using pyrolysis/GC-MS. Conclusions : These results support that heating process being performed over 200 ℃, such as stir-frying (炒) or calcination (煅), reduces the urushiol content in Geon-chil and hence, its medicinal use can be more stable without urushiol-related allergic reactions.

• Journal of Conservation Science
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• v.35 no.4
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• pp.295-307
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• 2019

In the process of the conservation treatment of the glass eyes of the stone standing Maitreya of Daejosa temple, Buyeo (Treasure No. 217), a blackish material, expected to be the adhesive for fixing the glass eyes, was collected and analyzed. Infrared spectroscopy and pyrolysis/gas chromatography/mass spectrometry (pyrolysis/GC/MS) were employed to identify the organic material in the sample. The IR analysis revealed the presence of materials such as apatite or bone black. The pyrogram of the sample was similar to that of Asian lacquer, among traditional adhesives. In particular, the pyrolysis/GC/MS analysis with online methylation detected 1,2-dimethoxy-3-pentadecylbenzene, methyl 7-(2,3- dimethoxyphenyl) heptanoate, and methyl 8-(2,3-dimethoxyphenyl)octanoate. These are known to be the pyrolysis products of catechol and its oxidation product, which indicated the presence of Asian lacquer in the sample. X-ray diffraction, X-ray fluorescence, and thermal gravimetry analysis showed that the sample contained ca. 60% inorganic substances, including apatite. Radiocarbon dating of the sample suggested that the blackish material was applied between the late 13^th and early 15^th century, revealing some discrepancy with the art-historical manufacturing time of the Maitreya. From the above analysis, it was concluded that Asian lacquer and bone ash were used to attach the glass eyes by forming a thick blackish lacquer layer.

• Journal of the Korean Wood Science and Technology
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• v.50 no.3
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• pp.193-217
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• 2022

The Wooden Seated Amitabha Buddha Triad and Altarpiece have not been the subjects of definitive species identification and scientific analysis. In this study, visual investigation, portable X-ray fluorescence (p-XRF), species identification, and lacquer layer observations were carried out to determine the original materials and conservation status. Cracks, exfoliation and discoloration were detected during the visual investigation. The p-XRF data indicated that chrome oxide green, malachite, gold, cadmium red, cinnabar, minium, hematite, lead white, ink stick (Carbon), and copper were used for pigments and the coronet accessory. Tilia spp., Abies spp., and Pinus spp. were identified from both the Buddha Triad and Altarpiece. Finally, lacquer layer analyses of the base layer, lacquer layer, orange pigment layer, and gold leaf layer observed modern synthetic pigments likely used in previous conservation. As the Korean Cultural Heritage Charter and the International Charter for the Conservation and Restoration of Monuments and Sites clearly state that objects of cultural heritage must be conserved using their original materials, future conservation of these objects should utilize the data obtained in this study to employ traditional materials. Furthermore, a deterioration map diagnosis can be applied together with the obtained analysis data to understand the conservation status of and inform an appropriate and authentic conservation treatment for the Buddha Triad and Altarpiece.

• Journal of Conservation Science
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• v.31 no.2
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• pp.125-130
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• 2015

Specific techniques and materials in conservation of traditional lacquer has not been transmitted. This study aims to compare the basic characteristics of the filler which used in the base layer of lacquer conservation. Tohoe(a mixture of lacquer and Clay) and the three kinds of additives which is mixed with Tohoe and Goksu(a mixture of lacquer, wood powder and rice starch) are estimated in drying rate, impact resistance, abrasion. Among those samples, the more amount of clay causes fast dryness speed and worse cracks on the surface. The impact resistance is weakened at high amount of clay. There is no significant differences of impact resistance between both additives that is mixed with the samples and additives. The samples that are mixed with Goksu and additives show high impact resistance. In the polishing test, the more amount of filling powders show higher grinding degree and the sample that are mixed with wood powder and charcoal show higher degree as well. The highest grinding degree is Maekchil and Goksu but the lowest one is the sample of the rooftile powder mixture.

• Journal of the Korean Wood Science and Technology
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• v.38 no.4
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• pp.333-340
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• 2010

The Korean Dendropanax lacquer, made from a natural resinous sap from Dendropanax orbifera Lev., was used as a golden and transparent varnish for the traditional artifacts (armor uits, helmets, arrowheads, etc.) to make them be brilliant golden color. The cured film of the acquer has excellent protective properties such as weatherability, water resistance, and nticorrosive. But, one of disadvantages is that takes a long time and much energy to fulfill curing the lacquer. The chemical constituents of the lacquer contained conjugated diene compounds s the photopolymerizable monomers. These monomers easily polymerized in sunlight to form olden-colored, hard-coating films in a short time. Photooxidation may be one of the most mportant reactions in the chemistry of the lacquer. Although the Korean Dendropanax Lacquer hould be dried to a thoroughly dry stage to achieve optimal film properties, curing with elevated emperatures may be required for the protracted curing time at atmospheric temperature. So we ntended to accelerate the curing rate of the lacquer by dual curing of thermal and radiation uring. The effect of thermal initiator on the thermal curing reaction was evaluated by monitoring he changes in double bond peak with FT-IR. Then the curing rate of the lacquer blended with hermal initiator and photoinitiator together was measured during dual curing using a RPT with V spot curing machine. Thermal initiator not only accelerated the curing rate but also improved he physical property. And the curing rate of the Korean Dendropanax lacquer was improved by ual curing method of thermal and UV curing. According to these results, the application area of he Korean Dendropanax lacquer could be expanded to surface coatings for electronic devices uch as mobile phones or electronics.

• Journal of Conservation Science
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• v.32 no.1
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• pp.43-49
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• 2016

Gold threads mean thread made by metal, it is composed various material to gold leaf, adhesive and media. The making technique and using materials of Gold threads are different from region, it can be used to distinguish country of origin. So this study finds characteristics and making techniques for flat gold threads of relics. Standard samples are made of animal glue, lacquer, red lacquer and etc. This materials are based on the scientific investigation of cultural gold threads properties. Then traditional techniques were estimated by comparison and analysis of actual cultural properties and standard samples. As a result of investigating cultural properties, it is similar to the standard sample which are mixed with red soil additives. After analysis of SEM-EDS, it is detected to Al, Si, Fe. So it is to the conclusion that traditional gold thread is made of adhesive mixed with red soil to improve gold color better. And this ways are similar with china that uses animal glue and red soil to adhesive and different from japan that uses lacquer to adhesive. Through this study, it will be used to data and reference for reappearance and making techniques of traditional gold threads.

• KSBB Journal
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• v.10 no.4
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• pp.393-400
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• 1995

As a part of the .study on the multiple propagation and use of Dendropanax mcrbifera, distribution of this tree and component analysis of Golden Lacquer were investigated to reappear the Golden Lacquer, traditional paints. These results were summarized as follows. The natural growth habitat of Dendropanax morbifera was observed in 8 sites(Wando, Sanghwangbong, etc.), we could be found that Duryun nountain in Haenam for the first time. Dendropunax morbifera has grown from 100 to 450m above the sea level, appeared high frequency in the 200m. The soil pH of natural growth site was pH 4.9 to pH 5.8. Dendropanax morbifera grew in the area containing considerable moisture in that its contents was 16.5% to 27.4%. In community observation, dominance and community index of Bogildo and Chejudo was 3.3 in the forest tree layer and Wando was showed in the sub-forest tree layer mainly. In the growth conditions, Bogildo appeared the highest growth state that diameter of height of human chest was 1.0 to 20cm and tree height was 0.2 to 9m. As result of IR and GC-MS analysis, main component of Golden Lacquer was ${\beta}$-selinene and capnellane-8-one.

• Journal of Conservation Science
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• v.25 no.3
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• pp.273-282
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• 2009

As a result of investigating research papers concerning the metal bound rim decoration on four pieces of 'Bowl, white porcelain with impressed floral design and sliver bound rim' and one piece of 'Bowl, white porcelain with sliver bound rim' from among the Jingdezhen white porcelain, which are Sinan remains that are kept in a National museum of Korea. It was found that the material of the bound rim was not silver but tin, and lacquer was used as glue. Based on such a scientific analysis, this study conducted a reproduction test of the manufacturing technique and the bonding method of the metal bound rim attached to the upper tip of the china ware. As a way of reproducing the bound rim, the study was able to discover the best method in terms of the avoidance of loss of materials and the workability out of various cutting methods for tin plates, and it also discovered that the use of lacquer in mixture with soil showed a better workability than the use only of a lacquer ingredient in a test of the bonding method of a metal bound rim using lacquer. Also, in the test of a drying method, a bonding method after drying within a short time at a relatively high temperature was found to be more effective than the drying method after humidifying at a normal temperature, which is used in traditional lacquer ware preservation treatment.

• Journal of the Korean Home Economics Association
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• v.24 no.4
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• pp.139-146
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• 1986

The purpose of this study was to identify aesthetic concepts of‘Sarangbang’furniture during the Yi-dynasty period and aesthetic descriptions indicating each concept expressed by experts in traditional furniture. The furniture selected for the study includes desks, table bookcases, document and stationary boxes (mungab), letter holders (Kobi) and inkstone boxes (younsang) with lacquer and oil finish on. The respondents were 72 traditional furniture experts; researchers collectors, sellers and artists related to period furniture. The important points of aesthetic descriptors were collected 123 from related literature. From experts' answers, 47 representative descriptors were selected. Data were analyzed with the SPSS using frequency, Percentage mean, factor analysis, t-test and C2. The results were as follows; 1. The aesthetic concept of sarangbang furniture during the Yi-dynasty can be categorized into 9 aspects; appearance of beauty, stability the interior space, naturalness, nobleness/harmony of lines, detail/refinement, simplicity, diversity solidity and surface division. 2. The characteristics of the Korean traditional furniture can be described using 47 descriptors explaining 9 concepts mentioned above.