• Journal of the Korean Wood Science and Technology
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• v.29 no.1
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• pp.43-51
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• 2001

When percentages of the component of raw lacquer were changed by adding each components that is urushiol, polysaccharide and glycoprotein, the physical properties of refined lacquer were changed and the period of refining also were changed. When polysaccharide component extracted from raw lacquer was added in raw lacquer, the period of refining was shortened about 1/3 times and this refined lacquer film was dried faster than the refined lacquer which was not added any other components. When urushiol extracted from raw lacquer was added in raw lacquer, the transparency of dried film was improved. A case of Guizhoushang was improved of the tensile strength of dried film. When both urushiol and polysaccharide were added in raw lacquer, the drying time of refined lacquer was shortened and the tensile strength of them also was improved.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.535-543
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• 2018

The traditional culture, which is a historical product possessed by each country, represents the competitiveness of the country and becomes a national resource. Raw lacquer has a very long history and tradition in China. Lacquer, which is the basic material of Raw lacquer. Also it is a natural paint which has the functions of preservation, insectproof and waterproof used from ancient times in Asia, not only in China but also in Korea and Japan. Such Raw lacquer using lacquer has a long history and it is becomes to a tradition. On the other hand, Its value and meaning are being faded by oilpaintings and watercolors. Much effort and research are needed to become more popular. I would like to introduce the lacquering technique in illustration as one way. There are a lots of expression techniques in the present illustration, but lacquer expression is rarely seen. In the illustration, lacquering technique is a modern reinterpretation of traditional culture by combining modern technology with traditional culture. In this paper, a Raw lacquer with a long tradition of soul is informed to the public and it is a way to bring attention to the beauty of lacquer and reproduce the original expression technique as an illustration to enhance the understanding of traditional culture, I hope that Raw lacquer will be used in the field.

• 보존과학연구
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• s.14
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• pp.77-93
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• 1993

In order to study for the production techniques and the materials of using in Korean Lacquer Antiques, we examined the section structure by SEM and Microscope, the qualitative analysis of lacquer layer by XRF and XRD, the qualitative analysis of Golhae layer by XRF and XRD, the qualitative analysis of Golhae by EDS on the locquer-wares which was excavated from Anapchi Pond Site in Kyungju and Miruksa Temple Site in Iksan. In the lacquer-wares excavated from Anapchi Pond Site, the lacuqer-wares layers made by a cloth attached on the surface of wooden vessel and Golhae-a mixture of clay and lacquer-covered on the cloth and finally finished with the red lacqure, being mixed with pure mercury sulfide(HgS) and lacquer. And raw materials of Golhae made of clay. The lacquer-wares excavated from Miruksa Temple Site in Iksan, we presumed that the lacquer-wares used fine born grains in place of clay for the raw materials of Golhae. Expecially in case of black lacquer-tray, we found that lacquer put on the surface of wooden vessel without cloth attaching and Golhae covering and the production of wooden vessel was used power-driven machine.

• Journal of the Korean Wood Science and Technology
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• v.29 no.1
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• pp.31-42
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• 2001

In this study, we obtained fundamental data about Korean raw lacquer's physical and chemical properties to produce high quality lacquer. The tested raw lacquers were obtained from Won-ju in Korea, Shanxishang, Guizhoushang, Anhuishang in China. The drying time of refining lacquers, tensile strengths of dried films and uniformity of films are measured. The refined lacquers were prepared by experimentally scaled refining equipment. Films of lacquer were applied on glasses by film applicator. This films were tested by universal strength test machine. The films were pictured by scanning electron microscopy and confocal microscopy to define the uniformity of them. The refining method were not different among three different kind of raw lacquers which were different their collecting time and places. But the viscosity of them were quite different. When black refined lacquer is made with iron powder, the adding time of iron powder is critical to control the viscosity of it. The refining times, viscosity and tensile strength of refined lacquers were not depended the method of refining condition but the place of collecting of raw lacquer.

• 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.

• Journal of the Korean Wood Science and Technology
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• v.31 no.4
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• pp.81-90
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• 2003

In this study, we investigated the weathering properties of Korean Rhus lacquers containing tung oil and their potential use as exterior coatings. The finished lacquers were prepared with a raw Korean Rhus lacquer or refined Korean Rhus lacquer content of 10, 20, 30 and 40 wt.% (corresponding to ratios of 10/90, 20/80, 30/70 and 40/60 by weight of Korean Rhus lacquer/tung oil, respectively). The curing temperature of the prepared lacquer increased with increasing the content of the raw Korean Rhus lacquer. This increased curing temperature is related to higher proportion of hydroxyl groups in the prepared lacquer, due to the content of the raw Korean Rhus lacquer. In accelerated weathering testing, the changes in the gloss and contact angle of the prepared lacquers showed a similar trend to that of traditional exterior oil stain. In addition, the prepared lacquers containing tung oil showed greater discoloration than traditional exterior oil stain. However, the discoloration of the prepared lacquer with a raw Korean Rhus lacquer content of 40 wt.%, and that of the prepared lacquer with refined Korean Rhus lacquer contents of 30 wt.% and 40 wt.%, showed a similar trend to that of traditional exterior oil stain. Consequentially, these prepared lacquers showed a potential for being used as exterior coatings.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.405-410
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• 2019

This study is an primary analysis on convergence of porcelain lacquer painting art which is composed of porcelain art and raw lacquer technic. As a part of ceramic art, this study suggest 3 ways of porcelain lacquer decoration with understanding of its history and contemporary status. Lacquer technic gives stability for surface paintings and it also has various media to express its beauty. Porcelain lacquer decoration art contains artistic value and pragmatic purpose for daily life usage. These days, due to unavailability for mass production, it tends to be tried for art work purposes. However this artistic technic and value can be applied to porcelain goods, so that it will raise aesthetic pleasure and cultural diversity.

• Journal of Korean Society of Rural Planning
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• v.6 no.2 s.12
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• pp.20-33
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• 2000

The lacquer is one of the most important resources for endogenous development and cultural reproduction in Wonju. However traditional and social network, which had been formed by lacquer farmers, group of lacquer-pickers, refineries, and lacquer-ware craftsmen, is being collapsed. It is due to the recent imports of raw lacquer from China and refined lacquer from Japan. Public sectors including Wonju city have continuously improved the potential of lacquer production by planting lacquers. However, the potential of lacquer production isn't under enough condition to realize its value. In this study, it is suggested that the efforts of public sectors to raise lacquer industry, focused on the improvements of lacquer production potential until now, should be concentrated on realization of the production potential by reconstructing social productive system which is composed of diverse groups involved in lacquer ware production.

• Journal of Adhesion and Interface
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• v.12 no.4
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• pp.111-116
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• 2011

The characteristics of natural resin, sap of the lacquer tree were examined as an adhesive for the ceramic conservation since it has such outstanding properties like corrosion resistance against acid and alkali, heat-resistance, waterproof, antiseptic and protection against insects. In order to utilize raw lacquer as an adhesive not under the hardening conditions of lacquer like high humidity (RH 75 to 85%) and high temperature (120 to $170^{\circ}C$), but under normal condition, isinglass and animal glue were added to raw lacquer at certain ratio. In addition, the viscosity and the drying time were measured and their possibilities of application were also investigated through measurement of tensile and adhesive strength. As a result of experiment, it was possible to dry at room temperature and RH $50{\pm}5%$ to mix with raw lacquer and glue, and the drying time of sample with animal glue was faster than that of isinglass. Furthermore, the adhesion of sample with glue was increased more than raw lacquer. It seems to be possible to use the environmental friendly traditional adhesive for the ceramic conservation and restoration, if there are studies or examinations of safety of applications on objects and weathering resistance.

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 2007.04a
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• pp.380-390
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• 2007

The purpose of this study is to make a functional Hanji treated with an oriental lacquer which has various functionalities. The raw oriental lacquer produced in China was used in this study This lacquer was diluted with ethanol and terpene in different solvent ratios. The diluted lacquer in the solvents had two layers. The upper layer was solvent soluble and the lower contained precipitates. Hanji was treated with the solvent solubles and the mixture containing precipitates, and then properties of the Hanji were evaluated. The oriental lacquer consisted of 25.04% of water, 60% of urushiol, 3.13% of nitrogen-containing compounds, and 5.66% of gum. The pH of oriental lacquer was 5.3 and the viscosity was 1680 cP. The average weight, thickness, and density of Hanji treated with oriental lacquer tended to gradually decreased as the lower concentration of lacquer was used and as the solvent soluble was treated. Tensile strength of the treated Hanji decreased when the diluted lacquer was used and Hanji treated with terpene dilutes at the ratio of lacquer to solvent of 1:5 (v/v) showed higher tensile strength than ones treated with ethanol dilutes. The folding endurance decreased as the less concentrated lacquer was used and the highest value was obtained when 1:40 (v/v) of lacquer to solvent ratio in both ethanol and terpene mixture. Absorption ratio was higher in the Hanji treated with ethanol mixture, treated with the lacquer in higher concentration, and treated with ethanol mixture. Hanji treated with ethanol dilutes at 1:20 (v/v) and the lower ratio of lacquer to solvent showed a hydrophobic property. Amount of the bound dye materials tended to be decreasing as the concentration of lacquer becomes lower and it was higher in Hanji treated with ethanol mixture than with terpene mixture. Color of Hanji treated with the solvent diluted mixture was Y to YR-type, whereas that of Hanji treated with raw oriental lacquer was Y-type, terpene