본 논문은 중국 사찰 채화의 시대별 전개 양상, 독자성과 보편성 등을 파악 하며 한국과 중국의 단청과 채화를 비교・분석한 것이다. 중국 채화는 송대에 편찬된 『영조법식(營造法式)』에 의해 정형화되었고, 명・청대는 채화의 전성기 를 이루었다. 고려시대 단청은 중국과 차별화된 이른바 한국적인 특색을 나타 내었고, 조선시대에는 명・청과 정치, 경제, 문화 등 여러 방면으로 교류하면서 사찰 단청의 형식과 문양 등에서 보편성과 특수성을 띠게 되었다. 명・청 사찰 채화와 조선시대 사찰 단청의 머리초[조두], 금문(錦紋), 별지화[잡화], 단독문 등을 통해 공통점과 독자적인 특징을 살펴보았다. 머리초・금문・단독문은 한 부재에 반복적으로 사용되는 도안화된 장식문이고, 별지화는 부재별로 다양한 도상이 사용된 회화적 장식화이다. 한국 단청과 중국 채화의 유사한 문양 가운 데 네 종류를 선별해 조선시대 단청과 명・청대 채화를 비교하였다. 이를 통해 양국 단청[채화]의 차이점과 공통점 그리고 국가별 독자성을 파악할 수 있었다.

목조건축은 자연적인 풍화와 노화, 인위적 개축 등에 의해 수리와 중건이 불가피하다. 건축사적으로 중요한 건축물 일수 록 수리에 의한 변화 양상과 수리범위, 수리 원인 등을 파악하는 것은 대상 건축물의 진정성과 원형성 검토라는 측면에서 매우 중요하다. 단청은 건축물의 성격을 유지하기에 위해 수리와 중건 시마다 재단청하는거나 부분적으로나마 개채가 시행 되는 것이 일반적이다. 그리고 단청은 시대적, 지역적 특성을 지니고 있어 수리로 인해 재단청한 경우나, 부분개채 시 수리범위와 수리식등을 어 느정도 유추할수 있으며, 건축 수리와 개축 등의 중건 기록이 부족한 경우 단청 흔적 조사를 통해 건축연혁 관련 기록의 공 백 기간의 수리 정보를 보충할 수 있는 실증적 자료를 제공할 수 있다. 본고에서는 몇 가지 실재적 사례를 들어 단청 흔적 조사 및 분석을 통해 중수 시 수리내용과 범위를 추정해보는 방법을 제시하고자 한다.

Paldalmun gate was built in 1794 as the southern gate of Suwon Hwaseong. The signboard’s paintworks of Paldalmun gate was applied to the signboard of the state-run building in the 18th century. The signboard of Paldalmun gate was repainted along with the building when repaired in 1969. In that time, the signboard’s paintworks during the reign of Jeongjo era was transformed. The purpose of this study is to restore the image of Jeongjo era paintworks on the Paldalmun’s signboard, which has been modified since the 1960s due to modification. For the purpose of the examination, we examined the traces of paintworks remaining on the signboard of Paldalmun gate and examined several state-run signboards decorated with ‘Yukhwamoon’ paintings similar as the signboard of Paldalmun gate, which made around the 18th century. Through the above-mentioned researches, typical color features were identified in the decorated with ‘Yukhwamoon’ paintings on signboard in the 18th and 19th centuries. In addition, the type of pigment used in the signboard’s paintwork of Paldalmun gate was verified through the 『Hwaseong Seongyeok Uigwe(華城城役儀軌)』 and the 『Han-gul Jeongri Uigwe(한글整理 儀軌)』, while analyzing the characteristics of age-related deterioration according to the type of paintworks in various traces of pigment coatings remaining on the signboard of Paldalmun gate.

When identifying the dancheong during the Joseon Dynasty, a great number of the terms used [e.g., dancheong(丹靑), geumbyeok(金碧), danhwak(丹雘), danbyeok(丹碧), dannok(丹綠), danchil(丹漆), hyuchil(髹漆), hyudong(髹彤), etc.] are found in literature records. However, the details are still veiled. This study investigated the characteristics of dancheong-related terms by analyzing their usages and contents based on literature records from the Joseon period. Architecturally, geumbyeok, danbyeok and dannok were used in temples, and dancheong was painted on walls. In the royal palace, danhwak was adopted while dancheong was also painted on these walls as well. Specifically, danchil was applied to the columns inside and outside buildings while hyudong was painted on rafter, walls and roof tiles. In addition, hyuchil was applied to the inside of the royal palace.

Meoricho of Dancheong is a pattern that placed at the end of each elements. We call Dancheong which has Meoricho Moro-dancheong. Meorico is the pattern comes from the metal ornaments of ancient architecture. The most primitive forms of Meoricho is Saw-toothed Design. Since the influence of Buddhism in the Northern Wei dynasties Saw-toothed Design have changed Tied lotus Design. Tied lotus Design of the Unified Silla it becames Gak-yeop Design and Yeo-ui-doo Design Meoricho in Goryeo Dynasty. Since Goryeo Dynasty there’s been great and small variations in the internal composition of Meoricho, but the outline has maintained as it was. Therefore the completed form of the outline of Meoricho could be regarded as the one that was formed in Goryeo Dynasty.

This study attempted to analyze how dancheong for palace tablets during the Joseon period was designed as related to what plans and what materials were being used. It also investigated how this unique culture formed. The results found the following: First, the tablet dancheong unveiled through literature was designed using diverse techniques such as jinchae and yeokcheongchil. In jinchae, shell powder was applied to the tablet as the first lacquering, and then was colored. Second, in lacquer, maechil, chaesaekchil and jeohyeoptaechil were used. In yeokcheongchil, vegetable black, oil ash and perilla oil were applied to bitumen. Third, during the Joseon Dynasty, dancheong was applied to a tablet after first lacquering just like the danpihoe lacquering of Jiangsu Sheng, China. This tablet dancheong technique was developed based on a unique Korean lacquering culture that had been handed down from ancient times.

The purpose of this study is to inquire original design and character of dancheong in Yeongnamnu Pavilion which features unusual portraits of twisting dragons and four heavenly creatures. Its artistic value and originality can be found in the portraits of four heavenly creatures which are painted on the interior seonjayeon(fan shape rafter) and in the unique design of crossbeam meoricho(flower decorations on each side of pillars). Yeongnamnu’s crossbeam meoricho is janggu-meoricho type(meoricho with hourglass figure) with full-shape lotus and half-shape flower decorations. And it can be said that, dragon portrait painted on the border of lotus and flower decorations in green and yellow is a very unique style of dancheong, for the reason that it has scarcely been used before and ever since. The portrait of four heavenly creatures painted on each corner of seonjayeon is also found to be unique in design, for the reason that the design has rarely been used throughout history, with only two exceptions in mural tombs of Goguryeo and folding screen in Injeongjeon Hall of Changdeokgung Palace . With its unique and authentic feature along with its rarity in number, the portrait of four heavenly creatures painted on Yeongnamnu can be considered as quite symbolic and important.

The color that painted on the ground of Dancheong becomes Gachil(basecoat)-Dancheong and underpainting of Moro-Dancheong or Geum-Dancheong. So, the color of underpainting is the most important element that determines impression of the building. Thus, the architecture after using “Sangrokhadan” has different characters from what it had been. In the existing perception toward the background color of Dancheong, it was considered the characters of Korean Dancheong so-called “Sangrokhadan” that paint vertical elements like columns red and upper part of the columns green. But this study examined the color of Dancheong according to the era and region before and after Goryeo Dynasty era, then it reveals that Sangrokhadan technique was applied from the 14th century in the late Goryeo Dynasty. One of the Goryeo architecture, Geungnakjeon Hall of Bongjeongsa Temple is thought to be a previous style that is not applied “Sangrokhadan” technique because old elements are painted red pigment.

The aim of these studies is to confirm the red and blue painting damages during the fire suppression of wooden cultural assets by using the loaded stream charge extinguishant. As a results of these experiments, the ingredients of extinguishant existing on the surface of wooden cultural assets were perfectly eliminated by the water washing only. Any changes on the surface of wooden cultural assets couldn't be detected. Moreover, any color changes of the red and blue painting didn't occur.

This Study is concerned with the color design of Korean and Japanese wooden architecture. The main subject of the study is to investigate the commonness and difference of color decoration between Korean and Japanese Buddhist 'Danchung' in the modern ages. In carrying this study into execution, I examined the architectural and historical backgrounds, and analysed the elements, techniques and principles of color design. The result of this study is as follows ; 1. 'Danchung' was originated from the practical functions in Chinese wooden architecture, and developed to embody sensuous beauty in Buddhist temple. The techniques and principles of color design and color tone of Korean and japanese Danchung had been similar in the ancient ages. But little by little they have differed in its function and color tone. So they are very different in modern times. 2. The dominant colors of Korean Danchung are red and green as 'Sang-nok Ha-dan(上綠下丹)', but Japanese's is only red as 'Bak-gan Juk-sun(白間赤線)' 3. Korean Danchung expresses and accentuates the important structural elements in three dimensions, on the other hand japanese Danchung takes two dimensional decoration on the unstructural elements 4. When seen in general, in Korean Danchung colors and their light and shade are simple and patternized. In the meantime, Japanese Danchung has many configurational expressions in general and is closed to paintings or picture.

본 연구에서는 국내 산출 고령토자원의 문화재 단청안료의 대체원료로써 활용 가능성을 시험 하기 위하여 X-선 회절분석, 색도측정, 현업종사자의 단청시공 및 평가, 촉진내후성시험, 방염성능시 험 등을 실시하였다. 시험결과를 종합하면 고품위의 광석에 비하여 장석의 함량이 높으며 38.1 μm 이 하의 작은 입자들로 구성된 광석일수록 백색 안료 고유의 용도로 시공에 유리하며, 시공 시편의 백색 도와 은폐력 및 옥외 폭로 시 내구성 등에서 호분, 산화지당 등 기존 안료들과 유사하거나 크게 떨어 지지 않는 것으로 판단된다. 또한 잠재적인 화재 위험도와 가연성을 평가한 방염성 시험에서는 장석 함량이 높은 시료가 비교군 안료들에 비하여 더 양호한 수치를 기록하였다. 결론적으로 미립의 장석 질 백토와 저품위 고령토를 백색의 안료로 활용할 경우 기존 백색 안료제품과 유사한 채색특성과 내 후성 및 더 우수한 방염성을 가지면서 경제성까지 갖춘 원료로 활용가능 할 것으로 기대된다.

본 연구에서는 국내 산출 고령토자원의 문화재 단청안료의 대체원료로써 활용 가능성을 시험 하기 위하여 X-선 회절분석, 색도측정, 현업종사자의 단청시공 및 평가, 촉진내후성시험, 방염성능시 험 등을 실시하였다. 시험결과를 종합하면 고품위의 광석에 비하여 장석의 함량이 높으며 38.1 μm 이 하의 작은 입자들로 구성된 광석일수록 백색 안료 고유의 용도로 시공에 유리하며, 시공 시편의 백색 도와 은폐력 및 옥외 폭로 시 내구성 등에서 호분, 산화지당 등 기존 안료들과 유사하거나 크게 떨어 지지 않는 것으로 판단된다. 또한 잠재적인 화재 위험도와 가연성을 평가한 방염성 시험에서는 장석 함량이 높은 시료가 비교군 안료들에 비하여 더 양호한 수치를 기록하였다. 결론적으로 미립의 장석 질 백토와 저품위 고령토를 백색의 안료로 활용할 경우 기존 백색 안료제품과 유사한 채색특성과 내 후성 및 더 우수한 방염성을 가지면서 경제성까지 갖춘 원료로 활용가능 할 것으로 기대된다.