• Journal of the Korean Society of Costume
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• v.32
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• pp.31-43
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• 1997

The costumes on a royal ceremony and the changes thereafter during the Korea Empire(1897-1910) have been elucidated through the review on the paintings on Queen Myong-Hun's 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hyn wore ceremonial gown in deep blue with 51 embroidered phoenix on it. The deep blue color the royal color in the Korea Empire replaced former red color. Go-jong wore violet crown and ceremonial suit in gold color. Twenty one kinds of court dance were offered during the celebration ceremony. Costumes therein appear to have an order according to the role ofdancers. most female dancers(in 17 performances not else-where specified) wore a rather common cos-tume-flower cap outer silk garent in green hand veils in 5 colors silk skirt in red) embroidered silk belt in red and shoes in green. In Sun-you-ak two female lead dancers were red hat decorated with tiger whisker deep blue outer garment wide red belt silk boots in black bow and arrows on back and a sword and a whip in hands. In Choonaang-jon a fe-male solo dancer wore a silk outer garment in yellow silk skirt in red green lorum embroidered silk belt in red wrist band of gold embroidered red silk and 5 color hand veils. In Yon-wha-dae two young girl dancers wore lotus-form crown green outer garment wide pants in red silk red silk skirt red silk belt hand veils in jade color and silk shoes in deep red. In Moo-go 4 female dancers each wore long waist coat in blue red white and warm light green in addition to the above-mentioned common costume. In Gumkee-moo 4 female dancers wore hatlike wool helmet outer garment with narrow sleeve long silk waist coat in blue combat belt in deep blue silk and dance swords in both hands. In Youk-wha-dae 6 female dancers each wore a long waist cost in red deep blue violet pale pink green and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears intersting. Although the color was shown as yellow in the screen paintings actually it was green as evidenced by the prospectus of the celeebration ceremony.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.1-18
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• 2010

The Aesthetics of Kwanbok and Hyungbae and their Modern Applications Starting from practical purpose, kwanbok worn by government officers were developed in original and unique fashion over long time. In particular, as hyungbae (embroidered patches for kwanbok) that had been used for kwanbok has remained in existence even today, providing inspiration for a variety of design, it is bringing attention to the aesthetic value and importance of kwanbok. Under the circumstances, this study has elicited aesthetics from kwanbok and hyungbae as follows: First, they imply the wish of long life and happiness as a symbol of favorable omen and distinguish one's status according to the shape, color, and pattern. Second, kwanbok and hyungbae reveal our ancestors' naturalistic perspective in art. Third, pleats, slits and shapes in robes reveal practical aesthetics in composition. Fourth, slits in kwanbok create the aesthetics of contrast and harmony of lining and outer cloth. Modern applications of kwanbok is of value as they represent traditions and maintain the original forms, showing the image of Korea in the 21st century. Such efforts mean that they do not only make more beautiful clothes, but also create overall philosophies in life, including personal values.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.125-136
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• 2007

This study is about the excavated female shroud while moving the graveyard of Nam-yang Hong clan in Yang-pyeong, Gyeonggi Province to other place. It is acquired as Yeon-An Kim clan who is a wife of one of Nam-yang Hong clan and history is estimated to 16th Century. Significance of this excavated female costumes is, 1) a Dan-ryeong, which is typical costumes during 16C. for woman is excavated. It is embroidered with peacocks shaped badge in fore and backside on a clothes, which is understood as the symbol of highest status but it is considered as much higher than actual status of her husband. from this, we can assume that burial costumes and regulation for actual clothes by the status are not exactly matched. 2) Various form of Chima and Jegori also found in the grave along with a Buddhist banner(幡) printed with Darani(多羅尼) which is unusual in Chosun dynasty, under confucian influence. 3) An embroidered design pillow was collected first time, which make us enable to understand the in-house life style of 16C.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.4-25
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• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• Journal of Conservation Science
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• v.38 no.2
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• pp.124-132
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• 2022

Through scientific analysis, this study identified the material characteristics of metal foil decorating the border line and knotting of the National Folklore Cultural Heritage 'Pouch for the Sutra Embroidered with a Sun and Moon Design'. Through Scanning Electron Microscope-Energy Dispersive Spectroscopy results, it was estimated that silver (Ag) and sulfur (S) were present in the metal foil, and silver leaf was also attached to the medium. S may discolor Ag from yellow to black depending on its concsentration and contact time. Yellow color could not be identified in metal foil at present. But there existed an example of the preparation of a gold-colored flat silver thread; therefore, further research is needed to estimate the original color. The lamella was reddish brown on the back. Aluminum, silicon, and iron were also detected and were the main components found in red soil. This is believed to be the red adhesive in traditional flat gold thread and is considered to be an adhesive-related component of the metal foil. From the gas chromatography mass spectrometry results, the adhesive component was confirmed to be animal glue.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.159-168
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• 2004

During the Chosun(조선) and Ming(명) Dynasty, embroidered patches called hyoong bae(흉배), were worn on the front and back of official robes worn by courtiers based on class distinction. It was discovered in Jip Sah(Genghis Khan's history books) that the miniatures, patterns used in the Won(원) Period, were passed down to the Ming Dynasty in the $14^{th}$ century. Shape patterns included circles, triangles, squares, and ovals. Other patterns included dragons, deer, leaves, and branches. However it was found that there was no class distinction in wearing these patches. Out of 14 different miniatur, 41 men had worn these patches.

• Journal of the Korean Society of Costume
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• v.25
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• pp.145-155
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• 1995

After I stated the kinds of ancient embro-ideries of Shoso-in and the other places in Japan, including Silk embroidered design of a bird, Silk embroidery on a silk ground, and Buddha preaching. I searched for the possible countries they could have been made in. I found that Japan merely imported the dyes and paints from Korea, On the other hand, Korea unlike Japan, was capable of manufac-turing the embroderies from early times. The embroideries in Shoso-in and the other place, have respectivly on them the old Korean types of patterns such as flowers, lotuses, flying clouds, phoenixes, intertwined lions, houses, ghost masks, fairies and turtles, seen often on the titles of Silla.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.96-108
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• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.