• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.8
• /
• pp.1255-1263
• /
• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.

• Journal of the Korean Society of Costume
• /
• v.57 no.9
• /
• pp.67-75
• /
• 2007

The purpose of this research is to conserve of golden decoration(Jikgeumdan) of Chima(skirt) and Jeogori(Korean jacket) of the costumes excavated from Hangju Gi' tomb(17th Century) of Joseon dynasty$(1392{\sim}1910)$ and to focus on the development of conservation skill to prevent flakings of gold leaves in gilt paper strips. Up to the present, in case of golden decorations of costumes excavated from tombs of Joseon dynasty, some of gold leaves in gilt paper strips of costumes were flaked away by deterioration of adhesives in tombs. However, most of gold leaves were flaked away and totally lost by wet cleaning for eliminating contaminants after excavation. In order to prevent flaking, preliminary experiments for re-adhesion of gold leaves have been carried out. Firstly, simulation was performed using gold leaf which was available in the market. Adhesives used in this research were water-soluble adhesives(hide glue(cow, rabbit), glue made from air bladders of sciaenoid fish and Primal AC-3444 of acrylic emulsion) and solvent-soluble adhesives(acrylic adhesive Paraloid B-67 and B-72). Because of difficulty in wetting and spreading of adhesive solutions into the interface between gold leaf and Korean paper, water-soluble adhesives were not proper for adhesion of gold leaf and Korean paper. Solvent-soluble adhesives were easily infiltrated into interface between gold leaf and Korean paper and the adhesive force was also satisfied. From this result, the researchers chose more flexible Paraloid B-72$(Tg\;40^{\circ}C)$ 1% solution than Paraloid B-67$(Tg\;50^{\circ}C)$ for adhesion of gold leaf and Korean paper. Secondly, using Paraloid B-72 1% solution, the estimations of re-adhesions of gold leaves in gilt paper strips of Jeogori were carried out. When Paraloid B-72 1% solution was injected three times into the interface between gold leaf and Korean paper, the re-adhesion was most effective. On the basis of the results in these preliminary experiments, re-adhesions of gold leaves in gilt paper strips of Chima and Jeogori were carried out on condition of three times injections of Paraloid B-72 1% solution before wet cleaning. After wet cleaning, the most of the gold leaves were survived, which was confirmed by both the examination with the naked eye and the microscopic examination.

• Journal of Conservation Science
• /
• v.30 no.1
• /
• pp.27-32
• /
• 2014

The sample book was printed in 1935. Since the books in the early twentieth century were printed using acidic paper, the color of the paper would change to brown over time due to iron corrosion. In addition to corroding iron cores, the acidity of the paper (pH 3.2) also made the paper brown and fragile, as was true in the case of the sample book. To clean the paper of the sample book and to make it strong, we replaced the iron core and performed wet cleaning on the paper to remove contaminants. Then we pressed the sample book dry, and subsequently linening every page with Minoshi($4g/m^2$). Generally, book conservator rebinding the book using wires or threads: however we have devised a new method to rebind the book using colored iron cores. To color the iron core brown, they were dipped in an aqueous coloring solution ($H_2O$, $C_2H_5OH$, $CuSO_4{\cdot}5H_2O$, $FeCl_3{\cdot}6H_2O$); subsequently, a 20% paraloid B-72 was applied to protect the colored iron cores from corrosion.

• The Journal of the Convergence on Culture Technology
• /
• v.1 no.2
• /
• pp.1-19
• /
• 2015

The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.

• Journal of Conservation Science
• /
• v.27 no.4
• /
• pp.421-430
• /
• 2011

Thermal conditions in practice at the traditional bronze workshop of the Korean Folk Village in Yongin were examined along with the microstructures of some high tin bronze objects made there. Laboratory experiments approximating the conditions of the workshop were also carried out and the results were compared. The operating temperature of the workshop furnace was measured to range from $750^{\circ}C$ to $850^{\circ}C$ while the surface temperature of an object, upon its removal from the furnace for additional thermo-mechanical treatments, was generally in the range of $600^{\circ}C$ to $685^{\circ}C$. This variation in working temperatures was reflected in varying microstructures developed upon quenching. The products of the Folk Village were found to consist of microstructures where the ${\alpha}$ grains of the Cu-Sn system were distributed in the background of different phases including the ${\beta}$-martensite phase, retained ${\gamma}$ phase, ${\alpha}+{\delta}$ eutectoid or their mixtures. This variability, which is also identified in objects made in ancient times as well as in our laboratory experiments, suggests that the actual thermal conditions given during the quenching treatments are much more complicated than is inferred from the temperature measurements. This paper will present detailed accounts of the thermo-mechanical treatments as observed in the high tin bronze workshop of the Korean Folk Village and discuss the evolution of varying microstructures in terms of the substantial variability involved in the implementation of the traditional forged high tin bronze technology of Korea.

• The Research Journal of the Costume Culture
• /
• v.19 no.6
• /
• pp.1334-1346
• /
• 2011

This study focused on the beoseon, traditional Korean socks that are a fashion item showcasing the beauty of the round hanbok shape. The study utilized the beoseon as an influential design motif and suggested 24 cultural fashion items to which the beoseon can be applied, including neckties, scarves, and T-shirts. For the purposes of this study, Adobe Illustrator CS3 and Adobe Photoshop CS3 were used for the motif design as well as the literature review on traditional beoseon socks. For the basic design motif, two basic forms were taken from the collection of the National Folk Museum of Korea. The key point of the motif development is that it maintains the basic shape of the beoseon but highlights the attractiveness of the Korean image by using repetition, rotation, symmetry and overlap into a new image pattern so that modern and chic images were taken into consideration for each cultural product. For the necktie, the mixed or repeated patterns for each motif were used as is. Alternatively, an oblique line pattern was adopted to express a stable and stylish image. For the T-shirt, a round-neck sleeveless type was designed. T-shirts were unified in the white color to highlight the image from the pattern. For the scarf, two shapes were displayed, square and rectangle. Through mixture of two repeated variation unit patterns for each motif, a splendid and stylish image was revealed along with various layouts.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.4
• /
• pp.74-95
• /
• 2009

Folk villages have higher historic and cultural values than other villages and contain considerably many traditional elements today. In Korea, there are seven folk villages that are under the protection of the Cultural Properties Protection Act. Unlike other kinds of tangible cultural assets individually appointed according to the act, those folk villages are protected by the act in entirety including the houses and auxiliary structures inhabited and used by the villagers. Since the act covers the entire villages, the residents are not allowed to repair or renovate their structures and accordingly suffer from huge limitations in everyday life with housing life under the biggest restrictions. Being appointed as a folk village is positive from the perspective of preserving the village. However, it is negative to the villagers because of the limitations to their housing lives. While common people lead a convenient life by the introduction of high technologies in modern society, they do not get to benefit from such technologies for the cause of preserving the traditional culture. Upon the appointment, they are subject to all sorts of building regulations and under huge direct and indirect influences of those regulations across many different aspects of life including housing life. Thus the residents of folk villages do have many complaints about the act. It is only natural that there occur conflicts between the state, which tries to preserve the traditional culture according to the act, and the residents, who pursue convenience in life. At the same time, it is natural too that the residents have the desire to pursue convenience in daily life. Thus they renovate their houses illegally. The government agencies are aware of that, however, it is not right for them to enforce the act and restrict their daily lives. Their tacit approval of such illegal renovations is the product of compromises between the residents' right to their private property and the state's policies of cultural asset protection. The residents try to renovate their houses within the limit that will not call for legal restrictions from the government agencies. The government allows for renovations as long as they are within the minimum limit. It is the result of efforts for the state and the residents to stitch up and compromise their own complaints.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of the Korean Society of Costume
• /
• v.58 no.5
• /
• pp.178-197
• /
• 2008

Due to the inflow of the western culture since the 19th century, female skirts and jackets have been changed considerably in detail though their basic composition was maintained. The analysis on female jackets from the start of the modern period to 1960s has been undertaken with artefacts as well as reports and research dissertations related to them. For period appraisal, analysis was divided into several periods which are from 1890s to 1910s, and every 10 years afterwards. As a result, aspects for the appraisal in each period was found. Aspects for period appraisal in modern jackets can be a change in total length and side length, a change in shape of the sleeves (from straight to round), a change in width, and a difference in closed shape of the collars. Material and color can be another aspect which shows fashionable material or new materials (man-made textile or nylon) of each period, color combination of surface and lining material as well as other parts of the jacket, use of a stiffener made with net or sheer textiles. Research using books and archives is important for the appraisal of the garment artifact. However, most of all, one should have the attitude of examining the artifacts frequently in order to achieve deeper understanding and an eye for accurate appraisal.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.46 no.6
• /
• pp.945-962
• /
• 2022

This study examines the use of traditional patterns by new Hanbok brands. A Saekdong print pattern based on previous research was developed and applied to clothing designs. A total of 488 images of printed products from the seven new Hanbok brands and 219 images from the collections of the National Folk Museum of Korea were analyzed. Traditional patterns accounted for 47.4% of the total printed products of the new Hanbok designs, with the following ratio of use, in descending order: flower patterns, traditional paintings, animals, geometrical designs, Dancheong, text and others, Jogakbo, and Saekdong. Saekdong was found in three brand products, and the color or shape was modified. To develop the Saekdong image, five colors - red, yellow, blue, white, and green - were selected. The ratio of use for each color and the width of each color were determined with reference to previous studies. The average color value was determined through color analysis of the Saekdong collections. A total of seven items were designed for the print pattern, and four items were added for coordination to consist of four styles. This study aims to use the results of this analysis to provide insights into product development using traditional patterns.