Diagnosis of Coloration Status and Scientific Analysis for Pigments to Used Large Buddhist Painting(Gwaebultaeng) in Tongdosa Temple

Abstract

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.

Raman spectroscopy of yellow organic pigments of large Korean Buddhist paintings from the late Joseon dynasty (17th–19th centuries)

“…F I G U R E 3 Microscopic images of inorganic pigments with observed yellow chromophoric elements: (A) gold, (B) orpiment, and (C) orpiment and white pigments could have been used; however, litharge has not been detected in large Buddhist paintings. 4,[36][37][38] The microscopic images reveal white particles or a white layer under the yellow layer (Figure 4B,C); thus, white inorganic pigments were likely mixed use, which is consistent with the results of the p-XRF analysis. Pb originates from lead white, a white inorganic pigment that was likely mixed with yellow organic pigments.…”

“…Pb originates from lead white, a white inorganic pigment that was likely mixed with yellow organic pigments. Lead white is a representative white pigment used in traditional Korean paintings, 8,[36][37][38] and it is used alone or in combination with other colors to adjust brightness. Lead white is mixed with a yellow organic pigment to express the yellow color used to depict the skin of the face, arms, and feet.…”

Scientific Study of Characteristics and Material Properties of Hanging Painting of Eunhaesa Temple

“…옥천사와 하동 쌍계사의 불화 안료 분석 (Han and Hong, 2003; National Research Institute of Cultural Heritage, 2004)과 부석사 괘불탱 안료 분석 연구(National Museum of Korea, 2007), 초상화와 기록화 등 회화문화재에 사용한 안료 분 석 연구 (Moon, 2010), 봉정사 영산회괘불도의 화기에 기 록된 안료 규명 (Song and Kim, 2014), 양산 통도사 괘불탱 의 안료 분석 (Lee et al, 2017), 고흥 금탑사와 화순 만연사 괘불탱의 안료 특성 비교 (Lee et al, 2019) Figure 3A-D). Figure 5.…”