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    채색안료로 사용되는 천연 및 합성 Azurite의 특성 및 안정성 연구 = Properties and Lightfastness of Natural and Artificial Azurite Used As Painting Pigment

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    https://www.riss.kr/link?id=A108735943

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    Azurite is an inorganic pigment commonly used in traditional painting arts and even today. Thispigment has two types: natural azurite and synthetic artificial azurite, called blue verditer or blue bice.
    Because they have the same structure and similar appearance they are difficult to distinguish. The purposeof this study is to compare these two types pigments, focusing on material properties and acceleratedweathering behavior. Natural azurite consist of copper carbonate and mineral compounds like quartz,kaolinite. On the other hand, artificial azurites are synthesized using azurite and calcite. As a result ofthermal analysis, unlike natural azurite, the calcite in artificial azurite resulted in weight loss at threetemperatures, at approximately 350 oC, 650 oC, and 840 oC. According to the microscope analysis results,natural azurites have clearly blue angular particles with sharp edges, produced by crushing. Artificial azuriteshowed spherules and aggregates with tiny rounded or fibrous particles. After accelerated weathering tests,the natural azurites had no change in color, particle shape or original components, but the artificial azuritesnoticeably changed color and shape. The color changes of artificial azurites occurred due to the growth ofcalcite crystallite, a slight new product formation, and change in particle shape. Even though natural azuritesare more expensive pigments, they provide superior color durability and particle shape stability compared toartificial azurites.
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    Azurite is an inorganic pigment commonly used in traditional painting arts and even today. Thispigment has two types: natural azurite and synthetic artificial azurite, called blue verditer or blue bice. Because they have the same structure and similar...

    Azurite is an inorganic pigment commonly used in traditional painting arts and even today. Thispigment has two types: natural azurite and synthetic artificial azurite, called blue verditer or blue bice.
    Because they have the same structure and similar appearance they are difficult to distinguish. The purposeof this study is to compare these two types pigments, focusing on material properties and acceleratedweathering behavior. Natural azurite consist of copper carbonate and mineral compounds like quartz,kaolinite. On the other hand, artificial azurites are synthesized using azurite and calcite. As a result ofthermal analysis, unlike natural azurite, the calcite in artificial azurite resulted in weight loss at threetemperatures, at approximately 350 oC, 650 oC, and 840 oC. According to the microscope analysis results,natural azurites have clearly blue angular particles with sharp edges, produced by crushing. Artificial azuriteshowed spherules and aggregates with tiny rounded or fibrous particles. After accelerated weathering tests,the natural azurites had no change in color, particle shape or original components, but the artificial azuritesnoticeably changed color and shape. The color changes of artificial azurites occurred due to the growth ofcalcite crystallite, a slight new product formation, and change in particle shape. Even though natural azuritesare more expensive pigments, they provide superior color durability and particle shape stability compared toartificial azurites.

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    참고문헌 (Reference)

    1 I. H. Byun, 9 : 18-, 2018

    2 M. Odlyha, 365 : 53-, 2000

    3 E. Mattei, 39 : 302-, 2008

    4 K. S. P. Karundasa, 134 : 23-, 2019

    5 E. W. Lee, 35 : 694-, 2019

    6 J. J. Lee, 28 : 3-, 2020

    7 A. Loon, 261 : 2011

    8 K. C. Rule, 83 : 104401-, 2011

    9 R. J. King, 17 : 154-, 2001

    10 R. J. Gettens, 2 : 57-, 1966

    1 I. H. Byun, 9 : 18-, 2018

    2 M. Odlyha, 365 : 53-, 2000

    3 E. Mattei, 39 : 302-, 2008

    4 K. S. P. Karundasa, 134 : 23-, 2019

    5 E. W. Lee, 35 : 694-, 2019

    6 J. J. Lee, 28 : 3-, 2020

    7 A. Loon, 261 : 2011

    8 K. C. Rule, 83 : 104401-, 2011

    9 R. J. King, 17 : 154-, 2001

    10 R. J. Gettens, 2 : 57-, 1966

    11 P. Mactaggart, 25 : 38-, 1980

    12 K. O. Han, 133 : 232-, 2016

    13 C. Cardell, 141 : 53-, 2017

    14 L. Dei, 43 : 83-, 1998

    15 M. Bouchard, 59 : 2264-, 2003

    16 J. Gao, 277 : 539-, 2019

    17 J. Xu, 42 : 809-, 2015

    18 R. L. Frost, 33 : 255-, 2002

    19 I. W. M. Brown, 74 : 27-, 1984

    20 Y. S. Kim, 17 : 342-, 2017

    21 R. L. Frost, 390 : 135-, 2002

    22 J. Cai, 31 : 108-, 2021

    23 R. Nishimura, 1047 : 104-, 2007

    24 National research institute of cultural heritage, "Scientific investigation and analysis of traditional Dancheong pigments" National research institute of cultural heritage 190-277, 2020

    25 N. Eastaugh, "Pigment compendium,a dictionary of historical pigments" Butterworth-Heinemann 386-, 2008

    26 National research institute of cultural heritage, "Natural inorganic pigments"

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