• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.37-52
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• 2007

Dan(緞) is satin damask. It was a newly popularized fabrics in the Joseon Period and is one of main traditional fabrics at present. The purpose of this study is to suggest a theoretical basis to name Dan(緞) remains properly by comparing and analyzing the name, pattern, usage, feature, length and width, value of Dan(緞) recorded on documents made at the end of the Joseon Period. The results of this study are as follows. 1. The kinds of Dan(緞) recorded on documents made at the end of the Joseon Period are various. Among fabrics named Dan(緞), were not only silk fabrics but also cotton fabrics, woolen fabrics, mixture fabrics with silk and cotton, and mixture fabrics with cotton and wool. 2. Some newly revealed patterns in the case of Dan(緞) are as follows. The shape of Byeolmun(別紋) is assumed to have originated from that of character symbolizing the Royal Family and developed into a variety of circular ones of dragon, phoenix, flower, or character. O-ho-ro-mun(五葫蘆紋) was five-gourd-shaped patterns that form a circle, turning their narrow mouth to the center, and vines between each two gourds. 3. When considering the usages of Dan(緞), Dan(緞) was used for various detailed usages according to their kinds. But it was't mostly used for underwear. 4. Features have been examined are Godan(庫緞), Mobondan(模本緞), Handan(漢緞), Daedan(大緞), Yangdan(洋緞), Waedan(倭緞), and Geumdan(錦緞). 5. The length and the width of 1 Pil(疋) silk fabrics are various. It is normal for the width being different, but for 1 Pil(疋)'s length being different is very unusual. The width of Dan (緞) was about 47-76.20cm, it was wider than Ju(紬), Cho, Gyeon(絹), Sa(紗), Ra(羅) and Reung(綾). 6. As for the value of each fabric per $10,000cm^2$, Dan(緞) was the most valuable silks at that time. Among them the most valuable Dan(緞) was Udan(羽緞).

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.328-329
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• 2004

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.143-155
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• 2013

This study examined the motif, weave structure, fabric density, and thread thickness of the patterned silks excavated from the Lady Lee's Tomb to trace the weave composition of the 18th Century in Korea. Different weave compositions were adopted depending on the weave structure. Two weave structures appeared in these patterned silks : simple gauze and satin damask. In the case of simple gauze Jergori, all the components, Gil(bodice), Somae(Sleeve) had similar fabric density and thread thickness. On the other hand, the satin damask Jergoris was composed of the components of different fabric density and thread thickness. According to the fabric density and thread thickness, the motif sharpness of damask Jergori was represented in three different ways : smooth and clear, rough and clear, and rough and vague. This revealed that Lady Lee selected not only pattern but also fabric density and thread thickness in the design of damask Jergori.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.6
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• pp.715-724
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• 2003

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation from Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics, "Dan (단: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful and precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936. when the Jacquard machine began to be imported from Japan into Korea. From that time on, new fabric materials, such as yangdan (양단), and popdan (법단), hobakdan (호박단), silk and rayon mixed Dan(교직양단) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(단색단) was more common than that of the multi colored dan(다색단). But with the spread of 4$\times$4 shuttle box loom (양사정직기), various kinds of the multi colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.113-128
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• 2013

Those records indicate that Jik-geum Hyoong-bae fabric was imported from China and its period was during the fourteen and fifteen century. Gold threads used in three Jik-geum Hyoong-bae artifacts were all wrapped gold thread and gold thread of Danryeong from Young-dukdong, Yong-in, did not have a base, but instead the gold foil itself was attached to the silk cord. Such form of artifact had never been discovered before in Korea. Wrapped gold thread of Seoknamdong's basis was presumably bamboo paper. Three Jik-geum Hyoong-bae have the same weave structure. The ground is woven in a warp-faced 5-end satin weave. The pattern is brocaded with supplementary gold wefts. Supplementary gold wefts are composed of 1/4 twill binding by the odd number pairs of warps within every group of 10 pairs of warps. All of the Jik-geum Hyoong-bae textile were designed and weaved according to the overlapped collared costume's structure. This is also known as 'Jik-seong-pil-ryo'. One symmetric collared jacket excavated in Seok-namdong, Incheon, only has the right half of Hyoong-bae in the front. This is because symmetric collared jacket was made from overlapped collared costume. Tiger and peacock are the main patterns of Jik-geum Hyoong-bae which have realistic and free screen composition and this shows a huge difference to the later generation's standardized Hyoong-bae pattern.

• Conservation Science in Museum
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• v.18
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• pp.35-50
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• 2017

As part of the NMK's research project on wooden Buddha statues, four items which contained fabric among their bokjang objects(腹藏物) were investigated. Firstly, when classified by the method of weaving, two items made of ra (羅, a four-end complex gauze) silk and five of neung(綾, twill damask) silk from the Goryeo era were identified, and the satin fabrics showing characteristics of the Joseon period were classified as either dan(緞, satin damask) or sa(紗, simple gauze). In particular, the fabric of the bokjang objects enshrined within the gilt-bronze Avalokiteshvara Bodhisattva(Deoksu 801) feature both early and late Joseon characteristics, suggesting that two enshrinements were performed(once in the fifteenth century and another in the seventeenth). Secondly, the patterns on the fabrics included flowers, treasures, fruits, plants with animals, and landscapes with clouds. Thirdly, patches of fabric were found that are assumed to be related with all cardinal directions according to their arrangement, albeit in small quantities.