• 보존과학연구
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• 통권26호
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• pp.165-188
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• 2005

From the ancient to these days, there have been used many kinds of pigment which have two types that are inorganic pigment and organic pigment. At the ancient times, natural pigment had been used but the artificially mixed pigment has been used in modern times. By the way, searching for studies has been studied recently, it would be said the ancient pigments such as Danchung, Wall painting and Mural painting are the mainthema. However, studies about the pigments used in modern pictured relics have rarely can be found. Therefore, this analysis of Ilweolokdo would be important at the point of the pigments used in pictures of royal family in modern times and the results can be briefly summarized as below; Firstly, the results of qualitative analysis of the pigments that base or all pigments of picture was detected components of Ca, Fe and As, this results meaning that picture was used filler and basic paint. Secondly, a result of the analysis on the composition elements of the pigments shows that the main components in their composition are ;White - Lead Cyanamide($2PbCO_3$.$Pb(OH)_2$) or Titanium Oxide($TiO_2$)Blue - Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$)Green - Emerald green($C_2H_3A_s3Cu_2O_8$)Gold - Gold(Au), Red-Red Lead($Pb_3O_4$) or Cinnabar(HgS)Black - Carbon(C)Thirdly, X-ray diffraction analysis of crystalline structure for the blue and green pigment peeling off in picture shows that the components of blue pigment is Ultramarine($2(Na_2O$.$Al_2O_3$ .$2Si_O2$).$Na_2S_2$) and green pigment is Emerald green($C_2H_3A_s3Cu_2O_8$). Especially, microcrystalline structure of the green pigment was the shape like a cross section of wood. Consequently, we knew through the analysis of qualitative and microcrystallinestructures seen on the cross section of analyzed pigments layer that the all pigments used in the Ilweoloakdo is possible to use synthetic pigments in modern.

• 보존과학회지
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• 제35권1호
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• pp.91-98
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• 2019

The fragments of a wall painting excavated from among the historical remains of Jeseoksa Temple in Iksan. The extent of the damage to the fragments was examined and an analysis of the components of the pigment was conducted. The results of the component analysis of the pigment confirmed that the white pigment consisted of alkali feldspar and mullite. Although the results of the visual inspection revealed differences in color in the red and black pigments, the main component of the two colors was confirmed to be iron oxide. Red and black pigments are found at the same position. Although differences of color is obvious, those are identified as hematite and magnetite of oxidized steel's affiliation. It is judged that Differences of ingredients happened by external environment's factors.

• 보존과학회지
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• 제38권4호
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• pp.327-333
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• 2022

Sri Lanka has four types of mural painting styles; Classic, Late Classic, Kandyan, and Southern styles, but there is little research on scientific analysis for mural paintings. In this study, we analyze white, yellow, and red clay pigments which were collected from ancient producing sites. Analyzing pigment samples shows that samples are containing aluminum oxide(Al₂O₃) and silicon dioxide(SiO₂) which are connected to the soil. And a degree of iron oxidation determines yellow or red colors. To understand the characteristics of clay pigment samples, we go over previous pigment analyses of mural paintings in Sri Lanka. Kaolin is identified after the 17^th century, yellow and red ochre are applied in early periods, Classic and Late Classic styles. The change in raw materials of pigments occurred in the 17^th century.

• Preventive Nutrition and Food Science
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• 제5권1호
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• pp.1-6
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• 2000

The binding capacity of chitin and chitosan to anthocyanin pigmentss isolated from purple perilla leaves was inves-tigated. The pigment binding capacity increased with increasing pigment concentrations and decreasing pH without being affected by reaction temperature and particle sizes. Regression analysis revealed significantly high corre-lations between pigment binding capacity of chitin and chitosan and pigment concentration at ranges of 25-100 mg of pigment/g of sample, After 1 hr settling, release of pigment from pigmented chitin and chitosan increased with increasing pH, up to 24.9% and 17.4%, respectively, at pH 9. In general, pigment binding capacity of chitosan was higher than that of chitin. There results suggest that chitosan may be useful as a potential adsorbent capable of stabilizing anthocyanin pigment.

• 한국응용과학기술학회지
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• 제27권4호
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• pp.515-521
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• 2010

In this research, we were prepared the glazed ceramic samples by the change of the pigment content and investigated to reveal the standardized color. The chemical composition of the pigment was analyzed using a ICP-OES. XRF mapping and UV-Vis spectroscopy were used to evaluate the color property and surface homogeneity. The color development was observed as a result of analyzing the pigment content and change of the color. The pigment content and the spectral reflection showed the relation of the inverse proportion and the standardized color which could be revealed through analysis data.

• 보존과학연구
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• 통권21호
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• pp.119-143
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• 2000

The pigments composition and structure of the mural painting at Pongjongsa Kuknakjon is discussed. The structure of inner wall is consisited of Paint layer, Ground divided two layers of yellow and white pigments, Support. In case of outer wall, it is consisted of Paint layer, Ground divided three layers of yellow and green pigments, a layer mixed green pigments and paint layer, Support. As a result of compositon analysis of mural painting pigments at Pongjongsa Kuknakjon using Micro-area X-ray diffraction system, the red pigment on inner wall is consisted of Heamatite($Fe_2O_3$), Magnetite($Fe_3O_4$)of deep black pigment, and Chalcocite($Cu_2S$) of light black pigment. The white pigment on outer wall is consisted of Anglesite($PbSO_4$) and Atacamite($Cu_2CI(OH)_3$) of green pigment. We found out that natural pigments painted in the mural painting at Pongjongsa Kuknakjon has kept up its own color for a long time due to using the natural pigment not to artificial synthetic pigment.

• KSBB Journal
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• 제25권6호
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• pp.513-519
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• 2010

Marine bacterium producing pigment was isolated from the solar saltern of Mijo-myeon, Namhae, Korea. Based on phenotypic characteristics and 16S rRNA sequence analysis, the strain was identified as Kocuria sp., which produced a yellow pigment. The pigment showed UV absorption maximum at 469nm. The bacterial strain grew well on Marine broth 2216 culture medium. Productivity of the pigment reached the maximum value after 44 hours at $30^{\circ}C$, 2% NaCl and pH 6.0. The pigment was produced best when supplied by 1% lactose as a carbon source and 1% beef extract as a nitrogen source. The result of the color stability study showed that pigment extracted from the strain by ethanol was stable at $-20-25^{\circ}C$ and also showed higher stability over 70% for 14 days in light conditions at $25^{\circ}C$. The pigment extract was also stable for all metal ions tested, except for $FeCl_2$.

• 보존과학회지
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• 제32권4호
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• pp.571-578
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• 2016

심희수 초상화 2점의 채색 안료에 대한 분석과 현미경 관찰을 통해 채색 안료의 특성을 조사하였으며 비파괴분석 결과와 비교 검토하였다. 심희수 초상화에 사용된 안료는 색상에 따라 유사한 안료를 사용한 것으로 확인되었다. 적색 안료는 진사/주, 연단을 사용하였으며, 청색 안료는 석청, 녹색 안료는 녹염동광, 백색 안료는 연백을 사용한 것으로 확인되었다. 또한 유사한 형식으로 제작된 17~18세기 조선시대 관복초상화 6점과의 채색 안료를 비교한 결과 제작 시기에 따라 차이를 보였다. 적색 안료의 경우 18세기에 제작된 초상화에서 산화철 계통의 안료가 추가적으로 사용된 특징을 보인다. 청색 안료의 차이점은 18세기 초반까지 사용되지 않았던 회청 안료가 18세기 후반에 제작된 초상화에서 확인된 점이다.

• 한국미생물·생명공학회지
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• 제22권1호
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• pp.85-91
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• 1994

The characteristcs of monascus fermentation using a hyperpigment-producing mutant, Monascus sp. J101, were analyzed, and the extractive fermentations employing permeabilizing agents and resin were carried out to increase the productivity of red pigment. And the kinetic analysis was also carried out in case of the monascus fermentation using Amberlite XAD-7. The extracellular content of the red pigment produced by Monascus sp. J101 was about 17% of the total, and the production of pigment was regulated by its own product. The cell growth reached a stationary phase at 48 hours ofter inoculation, whereas the pigment production continued up to 100 hours, which showed the pattern of a mixed growth-associated type. During the fermentation, various permeabilizing agents were added to the culture medium and their effects on pigment production were examined. By adding 0.05% Triton X-100 at 48 hours of cultivation, about an 18% increase in pigment production was accomplished as compared to the control, 12% ethyle acetate and 15% for 0.05% deoxycholate, respectively. When a nonionic adsorbent, Amberlite XAD-7 was added to the culture medium at a concentration of 12.0% at 48 hours of cultivation, the pigment production was enhanced by about 48.9% as compared to the control.

• 한국염색가공학회지
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• 제27권4호
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• pp.245-260
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• 2015

The effect of salt milling process on the crystal size, morphology, and color characteristics of C.I. Pigment Red 57:1 was studied. The primitive morphology and color properties of the pigment after synthesis were studied in the former series work. The size and morphology of primary particles and the second aggregation features should be considered because they are very important to determine pigment quality. We compared the primary morphology of pigment particles before drying with the secondary aggregated morphology of pigment particles after drying and salt milling process. Morphological properties were investigated by particle size analysis, X-ray diffraction, and scanning electron microscopy and color measurement was carried out. Significant reduction in particle size as well as enhanced crystallite size after salt milling process was observed. This result might give a difference in color of the pigment, turning into brighter and more blue-toned red color. It was revealed that synthesis condition affect the morphology and color of the pigment even after milling. Increase in HCl concentration in the synthesis process enhanced crystal size and quality forming bluer-red pigments but an increase in $CaCl_2$ concentration resulted in more amorphous crystals forming darker-red pigments after salt milling.