Dye Identification in Mounting Textiles of Traditional Korean Paintings from the Late Joseon Dynasty

Abstract

In the framework of the ‘Amorepacific Project for the conservation of Korean pictorial art’ (2018–2023) at the British Museum, three traditional Korean paintings have been investigated with the aim of supporting their conservation and obtaining information about the dyes used in the mounting textiles and other mounting elements. The paintings include a rare example of late 18th-century traditional Korean portraiture (accession number 1996,0329,0.1); a late 19th-century two-panel screen silk painting of Pyeongsaeng-do-Scenes of life (accession number 2016,3028.1); and a late 19th-century twelve-panel screen silk painting representing the Five Confucian virtues (accession number 1957,1214,0.1). The mounting textiles were investigated non-invasively by using digital microscopy and fibre optic reflectance spectroscopy (FORS), and the results guided a minimally invasive sampling campaign. Fourteen samples were analysed by using high-pressure liquid chromatography coupled with diode array and tandem mass spectrometry detectors (HPLC-DAD-MS/MS), leading to the identification of the natural dyes indigo, sappanwood (Biancaea sappan, formerly Caesalpinia sappan), amur cork tree (Phellodendron amurense) and safflower (Carthamus tinctorius) in the mounting elements of the 18th-century portrait. These results confirmed some of the non-invasive observations and were in agreement with the production date of the painting. Both natural and synthetic dyes were identified in the mounting textiles of the panel screens. Among the synthetic dyes, fuchsin (C.I. 42510), methyl violet 3B (C.I. 42536), methyl blue (C.I. 42780) and benzopurpurin 4B (C.I. 23500) were identified. These are early synthetic dyes first synthesised between the 1860s and the 1880s, suggesting that the silk textiles are likely to have been dyed in the last part of the 19th century.