Pigment characterization of 17th-century Korean large Buddhist hanging scrolls
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Large Buddhist hanging scrolls, known as Gwaebul in Korean temples, were produced for outdoor rituals during the late Joseon period. These large-scale paintings have been well preserved due to limited exposure, yet scientific studies remain scarce and often focus on individual works or rely solely on visual examination. Because they are designated as national cultural properties, destructive sampling is restricted, making the use of non-destructive and minimally invasive methods essential. This study examined pigments from three Gwaebul designated as National Treasures: Chiljangsa (1628), Ansimsa (1652), and Sinwonsa (1664). Twenty pigment samples, representing white, yellow, gold, green, blue, and red, were analyzed using digital microscopy, handheld X-ray fluorescence (XRF), and X-ray diffraction (XRD). Lead white was identified in white areas, orpiment in yellow, and gold leaf in gilded regions. Green pigments were copper-based, mainly atacamite; blue pigments were primarily azurite, with occasional niram (dyed calcite); and red pigments consisted mainly of cinnabar, with mixtures of minium in some decorative areas. The results indicate a consistent pigment selection strategy in 17th-century Korean Buddhist paintings, reflecting both material tradition and functional use of color. This study provides a scientific basis for pigment characterization in large-scale heritage paintings and supports future research and conservation of traditional painting materials.
Abstract
Large Buddhist hanging scrolls, known as Gwaebul in Korean temples, were produced for outdoor rituals during the late Joseon period. These large-scale paintings have been well preserved due to limited exposure, yet scientific studies remain scarce and often focus on individual works or rely solely on visual examination. Because they are designated as national cultural properties, destructive sampling is restricted, making the use of non-destructive and minimally invasive methods essential. This study examined pigments from three Gwaebul designated as National Treasures: Chiljangsa (1628), Ansimsa (1652), and Sinwonsa (1664). Twenty pigment samples, representing white, yellow, gold, green, blue, and red, were analyzed using digital microscopy, handheld X-ray fluorescence (XRF), and X-ray diffraction (XRD). Lead white was identified in white areas, orpiment in yellow, and gold leaf in gilded regions. Green pigments were copper-based, mainly atacamite; blue pigments were primarily azurite, with occasional niram (dyed calcite); and red pigments consisted mainly of cinnabar, with mixtures of minium in some decorative areas. The results indicate a consistent pigment selection strategy in 17th-century Korean Buddhist paintings, reflecting both material tradition and functional use of color. This study provides a scientific basis for pigment characterization in large-scale heritage paintings and supports future research and conservation of traditional painting materials.