• Title/Summary/Keyword: 중국 전통무늬

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Expression Methods and Compositions of Peony Patterns in Chinese Textiles (중국 직물 모란무늬의 표현방법 및 구성형태에 관한 연구)

  • Qiao, Dan;Lee, Eun-Jin
    • Journal of the Korean Society of Costume
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    • v.60 no.1
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    • pp.101-116
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    • 2010
  • In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

Reproduction of the Dyeing Technique Used for the Small Flower Pattern Clamp Resist Dyed Fine Tabby in Amitabha of 1302 (1302년 아미타불복장 소화문협힐견(小花紋��纈絹) 염색기법 재현)

  • Choi, jungim;Sim, Yeon-ok
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.254-267
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    • 2019
  • Clamp resist dyeing is a resist dyeing technique in which a fabric is sandwiched between two or more pieces of woodcarving and then a pattern is expressed by dyeing. Records from nine years of King Heungdeok's reign during the Unified Silla dynasty show that the use of the clamp resist dyeing technique was banned for different garments. This was only for garments of YOOKDUPUMNYEO (六頭品女) or OHDUPUMNYEO (五頭品女). Given this, it can be assumed that clamp resisted fabrics were widely used, and the technique had been established during the Unified Silla dynasty or before. However, only the term can be found in the records. Neither its definition nor how this technique was used is explained. Also, it is difficult to assume the types and features of clamp resist dyeing due to a lack of materials. A small number of relics from the Goryeo dynasty still remain, though. Craft techniques have developed through international exchanges and have changed according to respective nations' circumstances including politics, economics, society, and culture. Hence, this research analyzed documents and relics from China and Japan, two countries neighboring the Republic of Korea, and studied the different types and features of clamp resist dyeing techniques. Clamp resist dyeing techniques were divided into monochromatic or multichromatic according to the number of colors that represented patterns, rather than according to the respective nations' features. They were also classified into mono, bilateral symmetry, or vertical-bilateral symmetry according to the structure of the patterns. Through the study of examples of inherited or reproduced dyeing techniques in China and Japan, it was confirmed that different engraving techniques, including relief, openwork, intaglio fit for the feature of a pattern and the number of colors, were applied in order to vividly represent patterns on fabric. Using small flower pattern clamp resist dyed fine tabby in Amitabha of 1302, the only relic showing its patterns and colors in Korea, as the experiment subject, this research successfully reproduced a clamp resist dyeing technique through a successful experiment based on the basic materials from the dyeing technique case study. Due to the significance of the experiment on a clamp resist dyeing technique that stopped its transmission and shows the features of the technique, this study is expected to be a basic resource that can be used for future reproductions of multichromatic clamp resist dyeing techniques. Also, it is expected to be helpful in widening and recreating the world of Korean pattern dyeing with modern dyeing techniques.

Characteristics of Bridal Palanquin Covers and Changes in Style from the late 19th Century to the early 20th Century (19세기 말~20세기 초 신부 가마덮개의 특성과 양식 변천)

  • PARK Yoonmee;OH Joonsuk
    • Korean Journal of Heritage: History & Science
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    • v.56 no.2
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    • pp.80-98
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    • 2023
  • In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

Molecular Phylogenetic and Dendrological Study of Paper-mulberry (B. kazinoki) in Gyeongsang-do Region (경상도지역 닥나무의 수목학 및 분자계통학적 연구)

  • Go, In Hee;Jo, Ah Hyeon;Jang, Kyung Ju;Park, Kyu Tae;Park, Sun Mi;Park, Seon Joo;Jeong, Seon Hwa
    • Proceedings of the Plant Resources Society of Korea Conference
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    • 2019.04a
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    • pp.68-68
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    • 2019
  • 닥나무(Paper mulberry)는 뽕나무과(Moraceae) 닥나무속(Broussonetia)에 속하는 낙엽 활엽 관목으로 중국, 일본, 한국 등에 자생하며 Hutchinson(1967)에 의하면 닥나무 속은 열대, 아열대, 난대지방에서 자라는 낙엽성 관목으로 세계적으로 약 6종이 있다고 보고되었다. 일반적으로 닥나무의 품종을 구분하는 것은 수목학적 관점으로 잎의 성상, 줄기의 색과 무늬 유무로 구분한다. 그러나 상기의 수목학적 특징은 닥나무(Broussonetia kazinoki Siebold)와 꾸지나무[Broussonetia papyrifera (L.) L'Her. ex Vent.]가 유사하여 오동정의 사례가 발생하기도 한다. 경상도지역에서는 닥나무를 참닥나무, 머구닥나무, 개닥나무 3가지의 향명으로 구분하고 있다. 본 연구에서는 경상도지역 9개체 닥나무를 대상으로 수목학적 특징을 확인하였다. 나아가 식물종의 기준을 명확히 규명하기 위하여 엽록체 속의 matK, trnL-F, ndhF, 3개 마커와 핵에 존재하는 ITS, 총 4개 마커의 염기서열을 생산하였고 상기 구간에서 얻어진 염기서열 비교분석 및 계통학적 분류를 통해 유연관계를 파악하였다. 수목학적 관점으로는 품종을 명확하게 구분하기가 어려웠으며 분자계통학적 연구로 모든 시료는 닥나무와 꾸지나무의 교잡종으로 확인되었다. 본 연구 결과는 우리나라 전통한지의 원재료로 사용되는 닥나무류 식물자원의 분류체계의 확립을 위한 기초자료로 활용 될 것이다.

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A Study of the Chemical Composition of Korean Traditional Ceramics (III): Comparison of Punch'$\breve{o}$ng with Kory$\breve{o}$ Ware and Chos$\breve{o}$n Whiteware (한국 전통 도자기의 화학 조성에 대한 연구 (III): 분청에 대한 고려자기와 조선백자와의 비교)

  • KohChoo, Carolyn Kyong-Shin;Choo, Woong-Kil;Ahn, Sang-Doo;Lee, Young-Eun;Kim, Gyu-Ho;Lee, Yeon-Sook
    • Journal of Conservation Science
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    • v.27 no.1
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    • pp.75-90
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    • 2011
  • At the beginning of the Chos$\breve{o}$n dynasty, punch'$\breve{o}$ng began as a simplified form of inlaid celadon, and in the two following centuries it developed into a popular folk craft in various styles and expressive decorations; overtime, it was increasingly made to resemble whiteware, and its production stopped after the Japanese invasion of Korea. In the present study, the body and glaze compositions of punch'$\breve{o}$ng were examined and compared with those of celadon and whiteware, whose compositions have previously been compared with those of Chinese ceramics. Here, the analyzed shards were organized into 28 groups based on their production sites and archaeological characteristics. For each group, the body and glaze compositions of several shards(usually three to five) were obtained, averaged, and compared with those of the other groups. These comparisons showed that the majority of the punch'$\breve{o}$ng bodies were formed, like those of celadon and whiteware, with mica-quartz porcelain stone, which was commonly used in Yuezhou, Jingdezhen, and other southern Chinese kilns. The glazes consisted of clay materials and flux components made from various proportions of wood ash, burnt limestone (glaze ash) and crushed limestone. Overall, the punch'$\breve{o}$ng glazes resembled the Kory$\breve{o}$ celadon and Kory$\breve{o}$ whiteware glazes more closely than the Chos$\breve{o}$n white wareglazes. However, the $TiO_2$ levels found in the tested punch'$\breve{o}$ng were low, similar to those of Chos$\breve{o}$n whiteware; this indicated that glaze stone was used as the clay component of the punch'$\breve{o}$ng glazes, as was the case for Chos$\breve{o}$n whiteware. This study of the material characteristics of punch'$\breve{o}$ng may be used as a comparative framework for analyzing ceramic shards discovered at current and future excavations within Korea.