• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.153-165
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• 2008

The methods used in determining the weaving period of the textiles comprises not only radiocarbon dating but also discrimination of the motif and the textile structure. This study surveys the variation of the structure and the characteristics of the patterned textile of the Joseon dynasty to determine the weaving period. The number of twill gradually decreased in the Joseon dynasty while satin weave became more popular and the non-patterned twill almost vanished after 1600 A.D. The patterned plain weave was started to weave from the beginning of the Joseon dynasty but this has been shifted to twill, satin weave, floated weave, or the textiles with combined techniques more than 2 kinds after 1800 A.D. For the twist of threads, the number of the fabrics with Z-twisted thread in the warp and the non-twisted thread in the weft showed peak in 1600 A.D. and gradually decreased afterward. After 1600 A.D., the textile without twist became general trend.The satin weave started to appear with the 5-end satin in the beginning of the Joseon dynasty but the 8-end satin started to appear from the middle of 17th century and got more popularity with time. At the same period, the patterned textile on the ground of the satin weaved with the different techniques from the earlier period started to appear. The twist of the satin in the 1600 A.D. showed similar trends as twill, this general trend resulted from the fact that the non-twisted thread in the weaving became more popular with the time at that period.

• Composites Research
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• v.31 no.6
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• pp.317-322
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• 2018

In various industry, the composite is tried to be applied to products and thermoplastic based composite is in the spotlight because this composite can be recycled. The use of continuous fiber thermoplastic (CFT) method increased gradually than long fiber thermoplastic (LFT). In this study, tensile, flexural, and impact test of different array types of glass fiber (GF)/thermoplastic composites were performed to compare with GF array. Impregnation property between GF mat and thermoplastic was determined using computed tomography (CT). At CFT method, thermoplastic film is not wet into GF roving and many voids are appeared into composite. This phenomenon affects to decrease mechanical properties. Plain pattern GF mat was the best mechanical and impregnation properties that distance between two roving was set closely to $100{\mu}m$.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.163-175
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• 2007

This study examines 74 pieces of textiles of Daegaya found in the Jeesan-dong Tomb and Saeng-cho Tomb, and analyzes their characteristics and weaving techniques. Dagaya is known to have produced ramie and hemp from bast fibers. The hemp textiles were all woven in plain weave, and the ramie textiles were woven either in plain weave or plain braid. The ramie textiles were slightly more dense compared to the hemp textiles, however, both had average densities between 0.92 to 0.93, showing that they are balanced plain weave textiles. It was also found that S twist threads were used in the production of the hemp and ramie textiles. The dyed textiles on iron remains were found to be the oldest textiles to use dying techniques for patterns. Silk textiles were woven in plain weave, twill weave, and leno weave. All of the silk were made with non-twisted thread. The densities were between 30 to 58.3 and the the density rates were 1.0 to 2.5 for plain weave silk, this showed that varieties of plain weaver created by different densities of warp and well. The average density of cho was $53.4{\times}22.5/cm^2$ the density rate was about 2.40, therefore warp was woven more dense compared to the weft. There were degummed and raw silk used in silk textiles, but most of them were found to be degummed thread.

• Journal of Conservation Science
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• v.30 no.3
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• pp.307-315
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• 2014

The gold textile is Korean traditional weaving technique using the gold thread since 5th century. The making technique of gold thread was written in various references, but it is severed because the gold thread weaving equipment and sumptuous moods were forbidden in the early 18th century. There are some studies of traditional gold thread which are mainly about conservation treatment of cleaning and strength. To restore traditional gold thread, investigation of material and manufacturing technique is vitally required. The gold threads are composed of gold leaf, adhesive and base sheet. Gold leaf and base sheet are available for investigation because they are exposed to the surface, whereas adhesive is not easy to investigate because it is not exposed to the surface. In this study, samples are made of pure and impure gold, animal glue and lacquer, and various types of Hanji based on domestic and foreign references to compare materials for gold threads. As a result of morphological character and stability evaluation, the optimum materials for the restoration of gold threads are pure gold, animal glue and Dochimji(smoothing paper by beating). This study is expected to be basic data for manufacturing gold threads techniques and modernization of traditional gold threads hereafter research.

• Conservation Science in Museum
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• v.29
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• pp.1-32
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• 2023

The Paintings of a 60^th Wedding Anniversary Ceremony Created by an Unknown Painter (Deoksu 6375), housed by the National Museum of Korea, is a five-panel painting book depicting scenes from a wedding ceremony. Hoehonrye is a type of repeated wedding ceremony to commemorate a couple's 60th wedding anniversary with congratulations from the community. The paintings of the book record five scenes from the wedding: jeoninrye, a ceremony where the groom brings a wooden wild goose to the bride's house; gyoberye, the groom and the bride bowing to each other; heosurye, pouring liquor to toast to the couple's longevity; jeopbin, offering tea to guests; and a banquet to celebrates the couple's 60th wedding anniversary. The book describes figures, buildings and a variety of items in detail with delicate brushstrokes. The techniques were examined using microscopy, infrared, and X-ray irradiation and hyperspectral imaging analysis. The invisible parts were examined to identify the rough sketch and distinguish pigments and dyes used for each color. The components of the pigments were determined by X-ray fluorescence analysis, while the dyes were identified by UV-vis spectrometry. Microscope observation revealed that the fabric used for the paintings was raw silk thread with almost no fiber twist, and plain silk fabric. Hyperspectral imaging analysis, X-ray fluorescence analysis, and UV-vis spectrometry confirmed that the white pigment was white lead and the black was chinese ink. The red pigments were using red clay, cinnabar, and a mixture of cinnabar and minium. Brown was made using red clay and organic dyes, and yellow using gamboge. Green was identified as indigo, malachite, chrome green, barium sulfide, and blue as azurite, smalt, and indigo. The purple dye was estimated as a mixture of indigo and cochineal, and gold parts were used gold powder. Hyperspectral images were distinguished parts damaged and conservation treatment area.