• Korean Journal of Heritage: History & Science
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• v.39
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• pp.243-280
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• 2006

At the Bujang-ri Site, Seosan, South Chungcheong Province, around 220 archaeological features, including semi-subterranean houses and pits of Bronze Age and semi-subterranean houses, pits, and burials of Baekje period had been identified and investigated. In Particular, mound burials No. 5 of 13 of Baekje mound burials yielding a gilt-bronze cap along with other valuable artifacts drew international scholarly attention. The gilt-bronze cap from the mound burial No. 5 is a significant archaeological data not only in the study of Baekje archaeology but also in the study of international affairs and exchange at that time. At the time of exposure, the gilt-bronze cap was already broken into a number of pieces and seriously damaged by corrosion, and hardening and urethane foam were necessary in the process of collecting its pieces. Ahead of main conservational treatments on cap, X-ray photograph and CT(computerizes tomography) were taken in order to examine interior structure of the cap and to decide appropriate treatments. In the five layers identified in the profile of cap, a textile layer was set between a metal and a layerof bark of paper birch for avoiding direct contact of the metal and the bark of paper birch. Analyses were executed for examining textile layer and a layer of fibroid material. According to microscopic analysis, while the textile layer consisted of the simplest plain fabric with one fold among three kinds of textile structures, the layer of fibroid material was mixed with two or three kinds of fibers. A comparative analysis with standard sample using FT-IR (Fourier Transform Infrared Spectroscopy) announced that both textiles and fabrics were hemp. Analysis of kind of the paper birch resulted in barks of paper birch with 15 fold. A metallographic microscope, SEM, and WDS were used for the analysis of microscopic structures of plated metal pieces. While amalgam plating was treated as a plating method, the thickness of the plated layer, a barometer of plating technique, was ranged from $1.72{\mu}m$ to $8.67{\mu}m$. The degree of purity of gold (Au) used in plating was 98% in average, and less than 1% of silver (Ag) was included.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.9-16
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• 2008

Six of the Imdang tombs containing remains with imprints of ancient fabrics and textiles were investigated. Within the tombs, a total of 120 pieces of imprinted fabrics and textiles were investigated, all of which belongs to $5{\sim}6C$ Shilla period. All of the hemp textiles examined exhibited similar characteristics found in ancient hemp textiles: they were woven by plain weave technique with s-twist threads. The examined silk could be categorized into plain woven silk, cho, and double woven brocade, all of them made with non-twisted threads and degummed silk. The density of the plain woven silk ranged from 39 threads to 144 threads. Cho was also found, which showed similar characteristics to those of Gaya and Bakjae tombs. One piece of 2/1 twill weave on plain ground and 12 pieces of double woven brocade were found and their average density was $97.4{\times}33.4/cm$ with denser warp than weft. The various thickness of the threads were observed in the examined plain braid. The silk with twining technique showed thicker warp than weft. This is similar to the techniques of fabrics found in the King Muryeoung's Tomb of the Bakjae period. Fabrics with the purple-like color were observed in the some of the double woven brocades and also on the plain woven silk imprinted on the remains. The purple-like color was revealed to be purple with a tint of violet. The two tombs from which the imprinted fabrics with purple-like color were found belonged to top-class social level of the Shilla period, which informs that the purple color was used exclusively for the people of higher social status. The floss silk was found between the double woven brocade and plain woven silk of the belt, which is an important evidence that the floss silk was used for stuffing in the early 6th century.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.37-47
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• 2007

This study is considered about the fabrics of the tomb of King Muryeong at the Baekje(百濟) Period. First, there were silk fabrics such as compound woven silk(錦), twill damask(綾), complex gause(羅) and plain weaved silk(平絹). All of compound woven silk(錦) are the warp-faced compound tabby(經錦) of plain weave and the density is various from high to low one. The twill damask(綾) was a variation of twill damask weaved with a six strand warp thread. The complex gause(羅) made patterns as a set of 2 strand, 4 strand, 6 strand and 8 strand warp threads are weaved alternately with the weft. There were three kinds of plain weaved silk(平絹). The first was weaved densely without space between strands. The second was weaved with a small space between strands. And the third was weaved with a two strand warp thread, having a space between the threads. On the other hand, several pieces of well preserved ramie cloth were excavated. Of the, the densest one has the density of 125 strand/inch for the warp and the weft. In addition, strings made of flax thread were found. This suggests that flax fabrics may be found additionally if the hardened lumps of fabrics are resolved and analyzed. Other materials discovered include knits, knotted strings, embroideries, threads and floss. Pieces considered knits and knotted strings occupy a large part of fabrics excavated from King Muryeong's Tomb, and in particular knotted strings show various knotting methods. In addition, embroideries such as chain stitch and button hole stitch are clearly observed. What is more, there are silk threads and hemp threads, which are presumed to have been used for dangling ornaments such as Yeongrak(瓔珞) and beads or for sewing. Besides, floss was found between fabrics.

• Journal of Conservation Science
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• v.30 no.3
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• pp.307-315
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• 2014

The gold textile is Korean traditional weaving technique using the gold thread since 5th century. The making technique of gold thread was written in various references, but it is severed because the gold thread weaving equipment and sumptuous moods were forbidden in the early 18th century. There are some studies of traditional gold thread which are mainly about conservation treatment of cleaning and strength. To restore traditional gold thread, investigation of material and manufacturing technique is vitally required. The gold threads are composed of gold leaf, adhesive and base sheet. Gold leaf and base sheet are available for investigation because they are exposed to the surface, whereas adhesive is not easy to investigate because it is not exposed to the surface. In this study, samples are made of pure and impure gold, animal glue and lacquer, and various types of Hanji based on domestic and foreign references to compare materials for gold threads. As a result of morphological character and stability evaluation, the optimum materials for the restoration of gold threads are pure gold, animal glue and Dochimji(smoothing paper by beating). This study is expected to be basic data for manufacturing gold threads techniques and modernization of traditional gold threads hereafter research.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.137-151
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• 2012

In 1966, $Seokgatap$ pagoda in $Bulguksa$ temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in $Sarigong$(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like $Geum$, $Neung$(twill), $Rha$(complex gauze), silk tabby and linen were also excavated. In this study, $Geum$ fabric from the $Seokgatap$ was closely examined. $Geum$ of $seokgatap$ is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of $Geum$: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. $Geum$ of $Seokgatap$ was made in the $8^{th}$ century, since it was weaved in weft-faced compound weave twill which was popular in the $8-9^{th}$ century. And also, the arrangement of the colors was done in the same way of gradation $Geum$ silk which was popular in the $7-8^{th}$ C in China and Japan. Third, we restored the pattern of $Geum$ of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the $Geum$ of $Seokgatap$ was used for $geumdae$(a pouch made of $geum$) by analyzing all the documents and the characteristics of the fabric.

• Conservation Science in Museum
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• v.15
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• pp.96-121
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• 2014

Portrait of Sim Huisu is a seventeenth-century Joseon portrait of a meritorious vassal. The National Museum of Korea currently owns two portraits of Sim Huisu, which are the eldest son's family and by the eldest grandson of the family's second eldest son. Both were donated in 1980. Portraits were still in its original mounting, but the supporting silk had been damaged and stained in a flood. Conservation treatment was undertaken to restore the original style, and scientific analysis, such as, X-ray, XRD, XRF and Graff "C" stain, was conducted to study the materials and painting techniques. The support silk was found to be refined fibroin and a plain weave consisting of two weft threads and one warp thread. The lining papers were found to be bamboo fiber paper of first layer in China and Korean traditional mulberry paper in second. Various pigments were identified in the painting, including white lead, cinnabar, atacamite, ink stick, azurite, silver, and gold. The study also confirmed the use of the back painting, with colors such as white ^{White Lead}, green ^Atacamite, orange ^Minium, black ^{Ink Stick}, and yellow ^Dye. Also, it was found that stick ink or dye was used with white lead.

• Journal of Conservation Science
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• v.37 no.2
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• pp.144-153
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• 2021

Gwanghwadang-Wonsam was designated as National Folklore Cultural Heritage No. 52 in 1979, it is in good condition. However, a problem is the attached a phoenix insignia badge that did not exist when it was designated recently. As it became known as the only purple Wonsam artifact with "phoenix insignia", raising the need for its conservation. In this regard, scientific analysis was required to correct misinformation about designated cultural assets and restore the original designated state by analyzing the history of the Gwanghwadang-Wonsam, other relics of the phoenix insignia and its making design patterns. An X-ray fluorescence analysis was used to confirm that the Phoenix insignia's metal threads were titanium-plated silver. Phoenix insignia using titanium-plated gold thread was not identified in Gwanghwadang-Wonsam photographs in 1986, and the TiN-type membrane plating method was used in various industries in the 1990s, which can be estimated to be attached in the early and mid-1990s. Especially, the scientific analysis results from the X-ray fluorescence analysis in this study provide key evidence for conservation processing. This study demonstrates the importance of investigating relics and similar artifacts in the conservation process of inherited relics and as a precedent for restoration that corrects misinformation about designated cultural properties.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1315-1324
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• 2009

This study is on the consolidation process of the conservation process of fabric with golden thread found in relics. Gold film was glued to pieces of Korean paper and satin using hide glue, which is a natural adhesive and resin Paraloid B-72, which is a liquid type adhesive. This study examines the types and concentration of the adhesives that are appropriate for consolidating gold film on fabric. The advantage of hide glue is that it is harmless to humans and has a high stability. This glue is also believed to be the closest to the adhesive that was used when the relic was originally made. Its weakness is that it is stiff and weaker than chemical glues, but after being washed with water the adhesion level increases. Therefore, hide glue is appropriate in the following instances: a) when washing after consolidation b) when the substrate of gold threads are significantly damaged, and c) when treating greater sized relics that take a longer time to work on. However, Paraloid B-72 has a better adhesion and flexibility than hide glue, but tends to spread out into a greater area, and the area where it is applied tends to absorb less water than before the application. In addition, it is noxious and can be harmful in long-term exposure. Therefore, Paraloid-72 is appropriate in the following instances: a) when consolidating the fabric after washing, and b) when working on smaller relics and consolidating smaller parts of a relic. The necessary concentration levels for consolidants for gold film are 30% for liquid type hide glue and at least 10% for Paraloid B-72 in order for the gold film to stay intact on the fabric during washing, consolidation, exhibition, and conservation.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.71-86
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• 2009

This study examines plant patterns expressed on the fabrics during the Goryeo Dynasty and many countries in the Chinese continent and analyzes their symbolism and formativeness. This study deals with clothes which is one of the most fundamental aspects in a culture and plant patterns on them; it examines the overall formativeness of plant patterns in East Asia from the 10th century to the 14th century by studying plant patterns in the Goryeo Dynasty and the contemporaneous dynasties in the Chinese continent - Five Dynasties, Song Dynasty, Western Xia Dynasty, Liao Dynasty, Jin Dynasty and Yuan Dynasty. The plant patterns of each country were categorized by the type of plant. The composition and expression of plant patterns were examined and statistically analyzed. Small flowers were found in Goryeo fabrics twice more than other types that could be clearly identified, and peony was the most popular flower used in Chinese fabrics. In terms of composition of plant patterns, both Goryeo and Chinese fabrics had plant only patterns more frequently than the patterns mixed with animals or jewels. Regarding expression methods of plant patterns, the most common one in Goryeo fabrics was the petal-type, while the branch-type is the most common one in Chinese fabrics. The plant patterns of the Goryeo Dynasty show beauty of simplicity with minimalism and simplification while expressed with brilliant sold threads on dark background, such as purple or light green, so the overall feeling of fabrics was simple yet nobel.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.