• Textile Coloration and Finishing
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• v.18 no.1
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• pp.33-43
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• 2006

The purpose of this study was to eximine the effect of different yam twisting methods on mechanical properties and 3D CAD images of plain knitted fabrics made of composite yarns. Six yams were used in this study: four different composite yams of the six consist of acetate and functional polyester (Poly-m) with the ratio of 70:30, and the rest two are the original acetate $100\%$ yam and the poly-m $100\%$ yarn. The four kinds of composite yarns were processed in combinations of twisting processes such as interlacing, false twisting, two for one twisting, combined twisting and single covering, and the two original yams were knitted without any twisting process. Sixteen mechanical properties of all the six knitted fabrics, knitted under the same knitting conditions, were measured by KES-FB system with the outer knit condition. The results were as follows; 1) When the sample applied with the false twisting process at the temperature as high as $220^{\circ}C$, ENT, B, HB, G and RC values of samples increased which leads to increasing dimensional stability. 2) To gain the high bending and shear properties in the single covering process, selecting the core yarn with such properties is the most important factor. 3) Interlacing process effected to increase RC value. 4) False twisting process after interlacing process gave bulkiness and un-interlaced part in yam was increased SMD value. The SMD value of the kilted fabric of the composite yarn, which was put through the combined twist process, was higher than those of which simple process such as the two for one twist or the single covering process applied. In order to achieve the silk-like surface feel of knitted fabric, the sin91e covering process is recommended. 5) Examining the simulation images of the knifed fabrics of composite yarn, which were generated by the 3D CAD system based on the mechanical properties of the fabric, led that appearance could be changed as different twisting methods were applied.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.

• 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.