• Journal of the Korean Wood Science and Technology
• /
• v.36 no.6
• /
• pp.96-104
• /
• 2008

In this study, the observation of test pieces with an optical microscope was carried out after fabricating 4 groups of standard lacquer, in order to inquire into the ancient lacquering techniques. Group I had transparent reddish brown color, and the part of layer was indefinite, and the layer polished was easily distinguished. Group II had mostly transparent yellowish brown color, and it was possibility distinguished the layers when they were varnished with mixed lacquer after prime coating, and when they were varnished with lacquer as the prime coating. Group III set up membrane in the hardening process of the lacquer, and the lacquer and the unsaturated fatty acid of internal part was dried, so the top layer and the lacquer layer were separated and observed. Group IV: When the lacquer coat film of Group IV test pieces were observed in polarized light, the ferrous components were seen as the black and red color were mixed, and the silica crystals of silty soil were distinguished by reflection of lights. And the colors were distinguished as the lacquer layer of ruddle had red color, and the mixed lacquer of reddish lacquer and ruddle had the deep red color at the top and the bottom, but the middle part had the bright red color.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.3
• /
• pp.172-193
• /
• 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 Conservation Science
• /
• v.33 no.5
• /
• pp.345-354
• /
• 2017

A mural was discovered in the Ssanggyesa temple located in Jindo island, during repair of the Daeungjeon Hall. A study was conducted to determine the binding medium used for preparing the mural. Pyrolysis/GC/MS and IR spectrometry were used to analyze a painting specimen. Direct approach and on-line methylation approach were attempted for the pyrolysis/GC/MS. In IR analysis, the spectra of the specimen were found to be different from those of Asian lacquer, yellow lacquer, animal glue, and acrylic emulsion resin. They were also not identical to the standard IR spectra of drying oils such as linseed oil. Pyrolysis/GC/MS results of the specimen were different from those of Asian lacquer, yellow lacquer, animal glue, and acrylic emulsion resin. In the mean time, palmitic acid, octadecanoic acid, nonanedioic acid, and octadecenoic acid, which are characteristic pyrolysis products of dried drying oil, were detected. In addition, the pyrolysis/GC/MS chromatograms of the specimen and dried drying oil were also very similar. Therefore, it was concluded that the painting was prepared using drying oil as a binding medium.

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

• Journal of the Korean Wood Science and Technology
• /
• v.49 no.1
• /
• pp.67-81
• /
• 2021

This study aimed to conduct tree-ring dating and analysis of the materials used for the wooden coffins excavated from the ruins of Sipjeong-dong, Incheon. The tree species for the 10 wooden coffin materials was identified as pine. For accurate tree-ring measurement, the cross section was polished using sandpaper. The annual ring width was measured with an accuracy of 0.01 mm. Since the five materials were consistent with each other in dendrochronology, a representative annual ring chronology of 83 years was prepared. The prepared representative annual ring chronology was compared with the standard annual ring chronology, and the outermost ring of the wooden coffin was confirmed to correspond to the year 1575, suggesting that the wooden coffin was produced in the late 16th century. In addition, microscopic observation and FT-IR analysis revealed that the fibers attached to the surface of the wooden coffin were fibroin (Silk), and infrared spectroscopy (FT-IR) and Py-GC/MS analysis showed that the paint left on the surface of the wooden coffin was lacquer.

• Journal of the Society of Cosmetic Scientists of Korea
• /
• v.38 no.1
• /
• pp.33-41
• /
• 2012

An effective, environmentally friendly analytic methods using gas chromatography with mass spectrometric detector (GC-MSD) have been developed for the quantitative analysis of trace phthalate levels in cosmetics such as nail lacquer and hair spray. Since such cosmetics are largely comprised of organic solvents, conventional clean-up methods that have been widely used for phthalate analyses are in adequate. In addition, analysis of trace phthalate levels is notorious for its sensitivity to contamination, which causes high analytical values. A direct sample dilution method using an organic solvent was adopted to the sample preparation process to determine the exact amounts of phthalates and simultaneously avoid the high risk of secondary contamination. The method has many advantages including high accuracy, sensitivity, and simplicity in sample preparation. Dibutyl phthalate (DBP) and di (2-ethylhexyl) phthalate (DEHP) were selected for analysis because they have been frequently detected in cosmetics and consistently reported as endocrine disruptors in humans and animals. Internal standard method using two deuterium substitutes (DBP-$d_4$, DEHP-$d_4$) as the internal standard was also used. The results of 'Method validation' showed the capabilities of this method for the routine analysis of phthalates at the ppm level. The recovery ranges were between 95 % and 106.1 %, and relative standards deviations (RSD) were less than 3.9 % in fortified nail lacquer and hair spray samples at the concentration of $25{\mu}g/g$.