• Conservation Science in Museum
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• v.15
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• pp.78-95
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• 2014

To examine the materials, production techniques, and key features of Goryeo wooden lacquerwares, scientific analysis was conducted on six relevant lacquerware items. All of the items, except for a lacquered bowl ^{duksu 4123}, were found to have been made by first covering the surface of the wood with cloth and then varnishing with lacquer. The wooden frames of flower-shaped lacquered case and pine leaves shape lacquered case were made by wrapping thin wood around either the lid or bottom panel. In most cases, microscopic analysis revealed a lower layer of lacquer mixed with bone ash and bone dust, followed by an upper varnish layer of lacquer. SEM-EDS analysis and μ-XRF ^{Micro-X-ray Fluorescence} analysis showed that vermilion lacquer mixed with cinnabar was used on the surface. A lid decorated with a dot pattern was made by first varnishing the surface with yellow lacquer mixed with orpiment, and then irregular dot pattern with a mixture of black lacquer and soot. The vermilion lacquer used to varnish the side of the lacquered bowls was composed of lacquer mixed with cinnabar and minium ^{Red Lead}.

• Journal of Conservation Science
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• v.32 no.2
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• pp.109-121
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• 2016

Mother-of-pearl turtle shell lacquerware refers to a decoration made of a mother-of-pearl, a turtle shell and metal wires. This lacquerware features bright color tone as it is produced by sprinkling metal powder over its entire surface. This study aimed to find out its material properties and characteristics by using an optical microscopy and conducting a SEM-EDS analysis on the cross section of lacquer coating. As a result, it was found that charcoal powder and soil powder were mixed for undercoating. Then a mixture of cinnabar lacquer and monoclinic arsenic sulfide mineral ($As_2S_3$) was coated on the undercoating and brass powder was sprinkled on top of it. Especially, a little amount of pigment was found on the lacquer layer, which is distinguished from the colors used for conventional lacquer patterns. In addition, it was also found that the cinnabar lacquer and monoclinic arsenic sulfide mineral were mixed together.

• Journal of Conservation Science
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• v.37 no.1
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• pp.43-54
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• 2021

In this study, a scientific analysis of the gold leaf layers and internal structure of the Clay Seated Vairocana Buddha Triad in Seonunsa Temple, Gochang (Treasure No. 1752) was conducted. The surface of the Buddha statues is a gold foil, and the gold leaf layer consists of four layers. The gold leaf layer first composed on the molding clay was produced in the order of lacquer-fabrics-lacquer-gold foil. Subsequently, it was confirmed that the work was performed three times in the same way. The composition of the Buddha statues was divided into the head, body or upper body, lower body, and pedestal. The body was made in a cylindrical form by connecting vertically oriented wooden materials, and the head and lower body were also connected to the body in an empty form. Thus, the head, body, and lower body are grafted structures that are connected to a single Bokjang-gong. It was confirmed that the Clay Seated Vairocana Buddha Triad in Seonunsa Temple was made using wood materials for the basic form, after which the detailed form was created with molding clay, and the surface was finished with a process of layering gold foil and substances presumed to be lacquer.

• Journal of Conservation Science
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• v.34 no.5
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• pp.369-377
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• 2018

In order to examine the constituents and weathered state of a lacquer specimen, analysis of the organic materials was conducted using py/GC/MS(pyrolysis-gas chromatography-mass spectrometry). The samples were obtained from the lacquered wooden sheath of a long ring-pommel sword excavated in the Imdang No.1 ancient tomb constructed around the Proto-Three Kingdoms period. In direct py/GC/MS, the sample and the dried Asian lacquer showed similar chromatograms, while the characteristic compounds of Asian lacquer such as 1,2-dimethoxy-3-pentadecylbenzene were observed in THM(thermally assisted hydrolysis and methylation)-py/GC/MS. In addition, compounds like dimethyl nonanedioate, which presumably originated from drying oil, were also detected. Furthermore, the detection of oxidized catechols in considerable amount indicated that the degradation of lacquer is estimated to result from the oxidation of urushiol. Therefore, it is suggested that the lacquered wooden sheath was prepared using Asian lacquer and drying oil, and that the lacquer layer was considerably oxidized over the long burial time.

• Journal of Conservation Science
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• v.33 no.1
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• pp.17-24
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• 2017

Studies were conducted on manufacturing techniques by applying microscopy and conservation treatments on the annals of Joseon dynasty storage box at the National Museum of Korea. The results revealed that lime tree wood(Tilla spp.) was used to make the annals of Joseon dynasty storage box. Lacquering techniques were used to coat the box with a layer of lacquer and bone ash and then cover it with traditional Korean paper. After being covered with traditional Korean paper, more layers were applied in the following sequence: mud ashes, black lacquer, pure lacquer, and black lacquer. Before conservation treatments, some components and lacquer layers were missing in addition wood joint were loose. Therefore, conservation and restoration should be conducted based on the identified wood and by observing the shape of the remaining components.

• Conservation Science in Museum
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• v.4
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• pp.79-88
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• 2003

The lacquer ware objects of Nangnang were treated for conservation and seven of them were studied on the manufacturing technic. When we examined them using microscopes and an SEM-EDS analysis, the lacquer layer was proved to consist of two parts: the ground and the upper lacquer. The ground coating was made of several mixed materials such as powdered bone and minerals. Many forms of powdered bone were observed. We could find out that HgS, PbO and AgS were used as pigments. We could also find out a specific process and materials were used for those objects, although we could not say definitely what they were because the number of the sample was not big enough.

• 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.32 no.3
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• pp.377-384
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• 2016

There are physical and chemical method for removement of a lacquered layer existing on the surface when gilding an iron Buddha, these caused environmental pollution by surface degradation and is very noxious for conservation scientist's health. Thus, on this study, we conducted a lacquered layer removement experiments using Nd:YAG Laser which is contactless and eco-friendly. Specimens were made by polishing $5{\times}5$ size of iron(99.9%) specimens surfaces evenly and by differing of number of coating of unrefined lacquer, so there were thickness differences of $10{\mu}m$, $20{\mu}m$, and $30{\mu}m$. The laser machine used in this study was Nd:YAG Laser, and we used two wavelength modes; 1064 nm(160~180 mJ) for infrared light region and 532 nm(50~350 mJ) for ultraviolet light region. The experiment done by investigating the transition of specimens' surfaces with laser wavelength, energy, and numbers of investigation. The remain amount of lacquered layer surfaces before/after laser irradiation was investigated by stereoscopic microscope, observation by SEM, Non-contact Surface Roughness Measurement Device, and FT-IR etc. As a result of each analysis, we could verify the thickness of $10{\mu}m$, $20{\mu}m$ of lacquered layer removed without surface degradation when using 1064 nm wavelength with $1.0J/cm^2$ density. We could find out that Nd:YAG Laser is effective for removing remained lacquered layers when gilding an iron Buddha. In the future, when not only the metal has made various studies also wood lacquered furniture or the like, it seems to be utilized to remove the lacquer without surface damage.

• Conservation Science in Museum
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• v.15
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• pp.122-137
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• 2014

The National Museum of Korea own a historical document box ^K976 that was once used to store Joseon Wangjo Sillok ^{Annals of the Joseon Dynasty} of the Joseon Dynasty. The rectangular box has a lid, and the entire surface is varnished with black lacquer. The wood of the box had become warped and the upper part of the wooden frame had been damaged. In some areas, the paint was flaking off, exposing the underlying wood, and an iron ring that connected the lid to the body of the box was missing. Thus, in 2013, Conservation Science Department in National Museum of Korea began to repair and restore the Joseon document box. Before the treatment, analyses were conducted to examine the box's structure, damaged parts, species of wood, and lacquering techniques. The wood was found to be that of a linden tree. As for the lacquering technique, the surface of the box was first coated with a layer of lacquer and bone ash, and then covered with Korean traditional paper. Next, the box was painted with a layer of mud and ashes, followed by a layer of black pigment mixed with soot, and then varnished again with lacquer.

• 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.