The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status 432 | 보존과학회지 Vol. 33, No.6, 2017 of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.
The painted folding screen of Crown Prince Munhyo at Boyangcheong, Munhyo-seja Boyangcheonggyebyung, was made to record the court ceremony where Crown Prince Munhyo(1782-1786), the firstborn son of King Jeongjo, met his first teacher called Boyanggwan for the first time at Boyangcheong, a government agency specifically founded to provide education for a crown prince, in January 1784. Having never been treated before, this 8-fold screen is still in its original presentation of Joseon Dynasty screen paintings of court ceremonies in the 18th century. The mountings of folding screens in Joseon Dynasty has been researched through the study of the mounting of the Boyangcheong screen and the conservation treatment of the screen has been based on this research. The result of the pigment analysis shows the use of lead white, red lead, vermilion(cinnabar), azurite, malachite, litharge(massicot), carbon black(Chinese ink). The microscopic observation has proved that the painting was painted on verso in most areas and finished on recto to highlight the details or to produce subtle hues by applying light colors.
Jocheonillgi , one of the articles left by Jo Heon(1544∼1592) whose pen name was Jung-bong, is a travelogue which was written in around 1574~1575 when he was dispatched to Ming as a formal envoy(Giljungkwan). The diary-style manuscript was designated as one of the pieces of the National Treasure 1007. Due to the damage of its binding strings, abrasion, fold, stain, insect and damage on the surface, conservation and restoration was needed. In the process of separation, three more binding strings were found, confirming that the travelogue was rebound at least twice in the past. In addition, the page of 'Yeondoillgi', the original title, was bound inside, confirming that the current cover was revised in the past. As the result of the investigation of base fabric, paper mulberry was found to be the cover, inside paper, lining paper, paper strings. The three kinds of binding string including the current ones was defined to be silk.
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