• 박물관보존과학
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• 제18권
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• pp.35-50
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• 2017

국립중앙박물관 목조불상 조사사업 중 복장물에 직물이 포함된 4건 53점의 조사를 실시하였다. 조사 결과 첫째, 복장직물의 직조 방식을 구분하면 고려시대의 라직물 2점과 능직물 5점이 확인되었으며, 조선시대 특징이 나타나는 단직물과 사직물로 분류되었다. 특히 금동관음보살좌상(덕수801) 복장직물에서는 조선 전기와 후기 특징을 지닌 직물로 분류된 것으로 보아 15세기와 17세기에 2차례에 걸쳐 납입이 이루어졌을 가능성이 높다. 둘째, 직물 무늬의 종류는 꽃무늬와 보배무늬, 과실무늬, 동물이 함께 나타난 식물무늬와 구름무늬로 구성된 자연산수무늬로 구별되었다. 셋째, 복장직물의 수량은 적지만 구성에 따라 모든 방위에 해당될 것으로 추정할 수 있는 직물 편이 발견되었다.

• 헤리티지:역사와 과학
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• 제27권
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• pp.125-157
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• 1994

• 박물관보존과학
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• 제9권
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• pp.31-49
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• 2008

국립중앙박물관에서 구입한 조선전기 소형불상 3점을 보존처리하고 X-선촬영과 X-선형광분석, 현미경조사를 통해 내부구조와 조성, 제작기법 등을 조사하였다. 3점의 불상은 중공식(中空式) 주조품으로, 직물·금속·유리·목재편 등 다양한 재질의 복장품이 확인되었다. 복장직물은 조사결과 늦어도 조선전기~중기의 것으로 확인되었다. Ag 약 80~90%, Cu 약 7~15%인 은합금재질에 수은아말감 금도금을 한 은제금도금불상이며 용도에 따라 재료의 조성을 달리하였다. 보존처리 중 이물질제거 단계에서 물리적인 방법과 EDTA-2Na를 사용한 화학적 방법을 병행하였고, 그 결과 다양한 표면 장식기법과 제작 기법이 드러났다.

• 복식
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• 제51권6호
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.

• 복식
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• 제59권6호
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• 복식
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• 제56권9호
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• pp.37-49
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• 2006

The purpose of this study is to figure out the types and characteristics of the twill damask fabrics through literatures review of both domestic and Chinese documents and records. In addition, the study aims to review the characteristics of the twill damask fabrics found at Sukga Pagoda. The twill damask fabrics can be categorized in terms of the weaving method into Float Pattern on a Tabby Ground, Twill Pattern on a Tabby Ground, Float Pattern on a Twill Ground, Twill Pattern on a Twill Ground, and Without Pattern on a Twill Ground. The fabrics ran also be divided in terms of their name into Ki, Neung, and Munju. Four items of twill damask fabrics were found inside the Sukga Pagoda. All of them are Twill Pattern on a Twill Ground. At the primitive level of weaving skill, twill damask fabric was made by adding patterns with twill damask or BuJik on the background of plain weave. At more advanced level, the fabrics are weaved by making patterns with twill damask or BuJik on the background of twill damask. Compared to the relics of Koryo and Chosun Dynasty, these twill damask fabrics were loosely weaved with relatively thick thread.

• 복식
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• 제53권3호
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• pp.51-61
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• 2003

1. This study is to veri(y the characteristics of gauze fabrics focused on the them found at Sukga Pagoda. The remains researched are those of the Unified Shilla Dynasty around 8∼10 century. The found textile remains seem to be used as rugs or to be used for filling in spaces, wrapping silver reliquaries, equipments preserving relics of the Buddha, a gold-plated outermost reliquary, and so on. Since other remains found inside the Sukga Pagoda are national treasures, the textile remains can be considered as the fabrics of the highest quality. 2. Seven gauze fabrics, four non-designed gauzes and three designed gauzes, are found. They are all four-end complex gauze, weaved with the complex gauze technique. Two designed gauzes out of three designed gauzes are weaved in pattern by the clamp-resist dyeing technique and one is weaved in pattern by giving some changes in weaving. 3. In addition to the characteristics peculiar to gauze fabrics, such as thinness, fineness, and sparseness, another characteristic is found. That is, the difference in thickness between wefts and warps is over two times on the average in all of the seven gauze fabrics. Some of the gauze fabrics look like laces because of the huge difference in their thickness. 4. This research verified that with their transparency, are such materials that their beauty can easily be realized without adding various colors or patterns on the fabric by painting, embroidery, stitching old foil, or compound weaving technique.

• 헤리티지:역사와 과학
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• 제52권2호
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• pp.254-267
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• 2019

협힐(��纈)은 직물을 두 개 또는 그 이상의 조각한 목판 사이에 끼워 넣은 후 염색하여 무늬를 표현하는 방염(防染) 기법이다. 통일신라 흥덕왕 9년 복식금제(服飾禁制)에는 육두품녀(六頭品女)와 오두품녀(五頭品女)의 여러 가지 복식 품종에 협힐 사용을 금한다는 기록이 있다. 이것으로 미루어보아 협힐 직물이 당시 널리 사용되었으며 협힐 기법도 통일신라시대 또는 그 이전에 완성되었음을 추측할 수 있다. 그러나 문헌 자료에는 용어만이 언급되었을 뿐 염색 기법이나 정의에 대한 내용은 확인되지 않고 유물도 고려시대의 것만 극히 소량 남아 있어 협힐의 유형이나 특징을 알 수 없다. 공예 기술은 각 나라마다 정치 경제 사회 문화 등의 요인에 의해 변화하며 주변국과의 교류를 통해 발전한다. 따라서 본 논문은 주변국인 중국과 일본의 문헌 및 유물을 조사 분석하여 협힐 유형과 특징을 살펴보았다. 이를 통해 협힐은 국가별 특징보다 무늬를 나타낼 때 사용하는 색의 가짓수에 따라 단색(單色)과 다색(多色)으로 나누어지며, 무늬 구조에 따라 단독(單獨) 좌우대칭(左右對稱) 상하좌우대칭(上下左右對稱)으로 분류되는 것을 알 수 있었다. 또한 중국과 일본에서 전승 및 재현되고 있는 염색 기법의 사례를 연구한 결과 직물에 무늬가 잘 드러나도록 하기 위해서는 사용하는 색의 가짓수와 무늬의 특징에 맞추어 협힐판을 양각(陽刻) 투각(透刻) 음각(陰刻)으로 각각 다르게 조각하여야 하는 것을 확인하였다. 우리나라에서 무늬와 색이 온전히 남아 있는 유일한 유물인 1302년 아미타불복장 소화문협힐견을 실험 대상으로 삼고 염색 기법 사례 연구에서 얻어진 기초자료를 근거로 실증적 실험을 통해 협힐 기법을 재현하였다. 본 논문은 추후 계속 연구할 협힐 기법 재현에 활용될 기초자료를 구축하고, 전승되고 있지 않는 협힐 기법의 재현을 시도하여 기법의 특징을 확인한 것에 의의를 두고자 한다. 그리고 현대적인 무늬 염색 기법과 접목시켜 한국적 무늬 염색의 세계를 넓히며 재창조하는 데 보탬이 되길 기대한다.