• Journal of Sericultural and Entomological Science
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• v.36 no.2
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• pp.182-185
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• 1994

전통적인 고급 의류로서 견이 사용되기 시작한 이래, 섬유의 여왕으로서 실크는 지속적인 사랑을 받아왔다. 그러나 최근 실크에 가까운 합성섬유가 만들어져 견섬유의 위치를 위협하고 있는 현실이다. 이에 섬유재료로서 실크가 갖는 경쟁력은 어려운 위치에 처하게 되었고, 보다 경쟁력을 높이기 위해서는 실크제품의 제조공정에서 필연적으로 발생하는 부산물의 활용에 관심이 고조되기에 이르렀다. 부산물의 활용 분야로서는 화장용품, 의료용, 식품용, 산업용 등으로 그 응용분야가 광범위하게 확대되었고 지금도 속속 새로운 분야에의 응용이 시도되고 있다. 앞으로의 연구에서 견의 기능성 발현의 기구가 보다 자세히 규명된다면 실크분야에서 완전히 새로운 장이 열릴 것으로 기대된다. 그렇게 된다면 지금의 부산물 이용만으로는 수요를 감당할 수 없을지도 모를 것이다. 그때에는 직접 누에의 체내에서 견을 채취하게 될 것이다. 그렇게 된다면 과거의 풍요로운 뽕나무 밭도 되살아 나고 잠사 견업의 활성화에도 연관된다.

• Journal of Scientific & Technological Knowledge Infrastructure
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• s.11
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• pp.56-67
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• 2002

정보실크로드의 구축방안으로는 북한 위성궤도의 남북공동 이용, 한반도를 관통하는 국제 해저 광 케이블과 인터넷망 구축, 정보시스템 표준의 공유화 등이다. 이를 통해 언어와 문자 및 전통문화에 기반을 둔 특화 사업의 세계화 방안, 틈새시장과 선점효과를 위한 공동대응등을 생각할 수가 있다.

• Culinary science and hospitality research
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• v.8 no.2
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• pp.207-215
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• 2002

This study was carried out in order to investigate the study on the characteristics of nutrient content and sensory evaluation of functional rice Dasik Rice Dasik was prepared with 0, 1, 2, 3 and 4% concentration of mulbeyry-leaf powder and silkpeptide powder. Increasing mulberry-leaf powder and silkpeptide powder led to the significant increase in the contents of crude protein and crude ash. The contents of Ca, K and Mg of mulberry-leaf powder and silkpeptide powder groups were higher than those of the mulberry-leaf powder and the silkpeptide powder free group. And the sensory evaluation of the rice Dasik with 2% mulberry-leaf powder and silkpeptide powder were found to be significantly higher than those of other groups.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.3
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• pp.163-177
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• 2024

Korea has preserved a highly sophisticated silk fabric culture throughout its history. Among these fabrics, Ra (羅) was considered to be a premium gauze fabric that required advanced skill and dedication to utilize. Ra is a complex gauze fabric in which four warp threads are twisted together and intersect with the weft to form intricate holes. This unique structure gives Ra its distinctive transparency and elasticity among silk textiles. It was widely used for veils, garments, and various items from the Three Kingdoms period to the Joseon Dynasty. However, its complex weaving process limited production efficiency, leading to its decline. Today, Ra has become obsolete. This study focuses on the elastic characteristics of Ra, where intersecting warp threads create net-like structured holes. This stucturre was emulated by developing a silk knit using a Raschel knitting machine. The developed product consists of three types: one replicating the alternating complex structure present in the traditional patterns of Munra (紋羅), another reproducing the distinctive hexagonal holes of the 4-end complex gauze, and the last expressing the hexagonal holes with the weft passing through them. Inspired by Ra's traditional uses in clothing and everyday items, various products were designed and produced. These include a women's coat with Akjureum, a 17th-century Joseon-style women's Jeogori, a modern market-style Jeogori, and a envelope inspired by a Goryeo Dynasty pouch artifact. These items confirm the potential and applicability of the developed silk knit as a material for modern Hanbok products. This study underscores the significance of developing new textiles that incorporate traditional materials, highlighting how tradition can be preserved in diverse ways.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2001.11a
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• pp.1-4
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• 2001

본 연구에서는 실크 직물 7종의 마찰음을 녹음한 후, 색채 변환시켜 소리와 변환색채에 e한 감성을 평가함으로써 시각과 청각을 만족시킬 수 있는 의류소재 개발에 대한 기초자료를 제공하고자 하였다. 피험자 30명을 대상으로 소리와 변환색채를 차례로 제공한 후 감성을 평가하도록 하였다. 물리량은 소리의 경우 LPT, $\Delta$L, $\Delta$f, ARC를 색채의 경우 RP, GP, BP, CC를 계산하여 감성과의 관계를 조사하였다. 소리와 색채에 대한 감성차원으로는 '우아함', '활동감', '터프함'의 세요인이 도출되었다. 각 감성차원에 대한 소리와 색채 물리량과의 관계를 살펴보면, LPT와 $\Delta$L이 작을수록, 홍색비율이 크고 색채빈도수가 적을수록 우아함차원으로 평가하였으며, LPT와 $\Delta$L의 값이 클수록, 녹색비율이 크고 색채빈도수가 많을수록 활동감차원으로 평가하였다. 또한 ARC값이 작을수록, 홍색비율이 클수록 터프함차원으로 나타났다. 직물별 소리와 색채에 대한 선호도는 전통적인 수자직 직물이 가장 높게 나타났다.

• Journal of the Korea Furniture Society
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• v.10 no.2
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• pp.79-86
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• 1999

본 연구는 국내가구 디자인 산업의 경쟁력 강화를 위한 사례의 하나로 디자인 작품을 시도하게 되었다. 지존의 디자인 모델링은 소프트 모델 또는 목업(mock up)개념에서 시행되어 디자이너가 직접 제작하기 전에는 3차원의 형상을 구현하기가 어려웠으며, 더욱이 문야의 적용은 실크스크린 또는 인쇄와 같은 처리기법으로 사용되었다. 이 방법은 시간, 경비, 공간, 자료의 보관 및 축적, 기타의 많은 문제점과 생산성 향상에 애로사항이 되어왔다. 요지와 같이 많은 문제점과 렌더링의 데이터베이스 뱅크는 활용 가능한 분야와 직종에 따라서 응용 가능하기 때문에 많은 실험적 시도가 요구된다. 디자인의 발상은 우리나라 전통문화의 가구디자인을 접목시킨 사례로서 시도하였으며, 형태와 문양을 현대적 개념에서 재해석하여 대입시켰다. 적용디자인 사례는 2개의 모델에 10가지의 패턴을 복합적으로 활용한 디자인 작품의 결과물이다. 이러한 결과는 다양한 디자인 연출과 시안을 추출할 수 있으며, 디자인 활동과 설계에 능률을 배가시키는 효과를 검증할 수 있겠다.

• Journal of Internet of Things and Convergence
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• v.6 no.4
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• pp.33-38
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• 2020

It was reported that a mobile application was designed to easily provide natural dyeing information such as natural dye related resources, colors and dyed fabrics in 2007. Since studies on the linkage, application, etc. between natural dye dyeing and IoT are still lacking, diversity of information on the change of dyeing pattern by natural dye dyeing is required. In this study, it was to construct dyeing information by natural dyes, e.g., Lithospermum erythrorhizon, on silk, which has been traditionally used as many fibers in Korea. The extraction of the dye from L. erythrorhizon was carried out under pH4. The dried root of L. erythrorhizon showed dark brownish purple. Silk fabric by a without a mordant typically showed a purple dyed pattern. In the staining by sodium tartrate plus citric acid, silk fabric was stained clear brown. Interestingly, the mordant of iron (II) sulfate, the silk fabric was dyed in a light gray color rather than black. When the mordant of aluminum potassium sulfate was treated with L. erythrorhizon-extracted dye, the results were almost the same as when the mordant was not treated. When the degree of dyeing was evaluated numerically, the treatment of the mordant of potassium dichromate was about 50% darker, and the dyeing by iron (II) sulfate was about 75% darker. These results will be helpful in the study of applying various dye colors using L. erythrorhizon, and it will provide information on dyeing controller and database system construction by dyeing parameters such as dyeing degree, pH concentration, and chromaticity change.

• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.37-46
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• 2004

'Fleeting fragrance: the history, preservation and display of perfumed clothes' Fragrance - like style - is one of the intangible aspects of costume history that we often wish had been preserved. Garments were perfumed both to impart a pleasurable impression and to mask disagreeable odors from use or from production processes such as tanning and dyeing. Expensive gloves were traditionally perfumed, as well as lace collars, silk stockings and shawls. Both historical and modern attempts have been made to create scents that please the wearer and attract the oppoiste sex, while (preferable) also repelling osquitoes and moths! Unintentional perfuming also occurred, which we sometimes may be lucky to find in our museum collections. How do we describe and identify the transient odors of museum objects, and at what cost can they be preserved and presented for the public? This lecture includes samples of reconstructed historical scents presented in costume exhibitions at the Royal Danish Collections.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.