Journal of Conservation Science (보존과학회지)

The Korean Society Of Conservation Science For Cultural Heritage (한국문화재보존과학회)
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Conservation and Analysis of Pigments and Techniques for Crown Prince Munhyo Boyangcheong Folding Screen Painting

문효세자 보양청계병의 보존과 채색 분석

  • Ahn, Ji Yoon (Conservation Science Department, National Museum of Korea) ;
  • Cheon, Ju Hyun (Conservation Science Department, National Museum of Korea) ;
  • Kim, Hyo Jee (Conservation Science Department, National Museum of Korea) ;
  • Jee, Joo Yeon (The Research Center of Conservation Science for Cultural Heritage, Hanseo University)
  • 안지윤 (국립중앙박물관 보존과학부) ;
  • 천주현 (국립중앙박물관 보존과학부) ;
  • 김효지 (국립중앙박물관 보존과학부) ;
  • 지주연 (한서대학교 문화재보존과학연구센터)
  • Received : 2013.04.11
  • Accepted : 2013.05.24
  • Published : 2013.06.20
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Abstract

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.

<문효세자 보양청계병>은 정조의 첫 번째 아들 문효세자(1782-1786)가 1784년 1월, 보양청에서 주관하여 첫 스승으로 모시게 될 보양관과 처음으로 만나 인사를 나누는 의식을 기록한 조선시대 궁중행사도이다. 전체 8폭으로 구성되어 있으며 과거에 수리된 적 없이 18세기 조선 궁중행사도병의 원형을 그대로 유지하고 있었다. 원본 장황의 조사를 통해 조선시대 병풍의 형태에 대해 살펴보고 이를 바탕으로 보존처리를 하였다. 안료분석 결과 채색 안료로 연백, 연단, 진사, 석청, 석록, 황단, 먹 등을 사용하였고, 현미경 확대 관찰한 결과 거의 대부분이 화면의 뒷면에서 배채법으로 채색한 후, 앞면에서 세부묘사 및 부분적으로 엷은 안료를 이용하여 채색하는 방법을 사용하였음을 알 수 있었다.

Keywords

References

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