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

Abstract

This study aimed to analyze the nature and characteristics of the preserved state, materials, and colored pigments of a Buddhist painting of Eunhaesa temple(gwaebultaeng), which is Treasure No. 1270 of Korea, through scientific investigation and analysis. Based on the historical background of the subject, the study investigated the aspects of conservation and analyzed the material characteristics of each pigment in the painting. Results indicate that various colors were created using inorganic pigments such as white lead, minium, cinnabar, orpiment, gold, atacamite, malachite, and smalt and using organic pigments such as black and indigo. The Eunhaesa painting used "cho" as a material for wallpaper, which was unusual during the Joseon period. In addition, a white layer was formed using various white pigments, which was also rare during this period.

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

“…In addition, microscopic analysis revealed a yellow film without particulate matter on the base material (Figure 4A). In most cases, Pb was detected, implying that the ancient Korean Pb‐based synthetic pigments litharge or massicot could have been used; however, litharge has not been detected in large Buddhist paintings 4,36–38 . The microscopic images reveal white particles or a white layer under the yellow layer (Figure 4B,C); thus, white inorganic pigments were likely mixed before use, which is consistent with the results of the p‐XRF analysis.…”

“…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.…”

“…Lead white and relatively inexpensive talc were mixed with the organic pigments. Talc may have been used to increase the amount of paint by mixing with lead white for economic reasons as well as to control the adhesion, dispersion, and glossiness of coloring for functional reasons 37,38 …”

“…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.…”

“…Talc may have been used to increase the amount of paint by mixing with lead white for economic reasons as well as to control the adhesion, dispersion, and glossiness of coloring for functional reasons. 37,38 Non-invasive component analysis identified gold and orpiment as the yellow coloring materials used and revealed no traces of modern synthetic pigments. Orpiment was also mixed with white pigments, such as white clay, talc, or mica.…”