• Conservation Science in Museum
• /
• v.15
• /
• pp.38-55
• /
• 2014

Three costumes excavated from the tomb of Yu Gyeongjong ^1565-1623, which are now own at Buyeo National Museum, underwent conservation treatment. As a result of this treatment, the costume types were correctly identified and their original forms were restored. Through the restoration process, various key features were discovered, enabling the costume types to be correctly identified as a dallyeong ^{Official's Uniform with Round Collar}, jingnyeong ^{Coat with Straight Collar}, and changui ^{Coat with Slits in the Rear and Sides}. One of the newly discovered key features was a new variety of pattern that differed from the prevalent cloud pattern of the time. Also, on the dallyeong, it was found that the ground of the hyungbae ^{Rank Badge}, was made from yeongeumsa ^{Wrapped Gold Thread}. These costumes are significant artifacts showing trends, patterns, forms, and other key characteristics of clothing from the late sixteenth to the early seventeenth century.

• Journal of Conservation Science
• /
• v.37 no.5
• /
• pp.525-535
• /
• 2021

This study identified material properties through scientific analysis on Jikgeumdan(satin with gold threads) from Donggungbi-Wonsam and the gold threads used in the embroidery. The Donggungbi-Wonsam's base of gold threads were estimated to have used mulberry fiber's Korean paper(Hanji) because non-wood-based fibers were observed. The X-ray spectrometer showed that the Tongsuseulan of Donggungbi-Wonsam was a flat gold thread of pure gold and Jikgeumdan of flat silver thread of its Saekdong and Hansam. High sulfur levels were detected in the flat silver thread, which appeared to have formed silver sulfide by either manufacturing process using sulfur or conservation environment. he dragon insignia's embroidery is also described as two types twisted gold threads; pure gold and alloying-gold and silver. while dragon insignia's border line is decorated with a twisted gold thread of pure gold. In particular, it was investigated that adhesives such as an animal glue, a protein-based compound by gas chromatography mass spectrometry. Additionally, XRF and Raman spectroscopy analysis on the mixture substances between the metal surface and the base paper of gold threads identified talc and quartz in the gold threads and Seokganju(hematite) in the flat silver threads.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.4
• /
• pp.113-128
• /
• 2013

Those records indicate that Jik-geum Hyoong-bae fabric was imported from China and its period was during the fourteen and fifteen century. Gold threads used in three Jik-geum Hyoong-bae artifacts were all wrapped gold thread and gold thread of Danryeong from Young-dukdong, Yong-in, did not have a base, but instead the gold foil itself was attached to the silk cord. Such form of artifact had never been discovered before in Korea. Wrapped gold thread of Seoknamdong's basis was presumably bamboo paper. Three Jik-geum Hyoong-bae have the same weave structure. The ground is woven in a warp-faced 5-end satin weave. The pattern is brocaded with supplementary gold wefts. Supplementary gold wefts are composed of 1/4 twill binding by the odd number pairs of warps within every group of 10 pairs of warps. All of the Jik-geum Hyoong-bae textile were designed and weaved according to the overlapped collared costume's structure. This is also known as 'Jik-seong-pil-ryo'. One symmetric collared jacket excavated in Seok-namdong, Incheon, only has the right half of Hyoong-bae in the front. This is because symmetric collared jacket was made from overlapped collared costume. Tiger and peacock are the main patterns of Jik-geum Hyoong-bae which have realistic and free screen composition and this shows a huge difference to the later generation's standardized Hyoong-bae pattern.

• Journal of the Korean Society of Costume
• /
• v.63 no.7
• /
• pp.79-93
• /
• 2013

In the Korean literature, records of systematic gold thread manufacturing such as gold foil(金 箔匠), gold foil bonded with fabrics(付金匠), gold foil bonded with paper materials(金箋紙匠), refining gold(鍊金匠), cutting gold(裁金匠), and making gold thread(絲金匠) can be easily found. We can infer from these literatures that the Korean people used to make gold threads. However, is not existent the gold thread making technique. Thus, a research was done using 67 pieces of gold thread artifacts used in textiles craft of Korea, China and Japan. The purpose of this research was to identify the characteristics of the Korean gold thread by studying the artifacts' form classification, gold foil, glue and the base. First, gold thread is divided into flat gold thread and wrapped gold thread. Wrapped gold thread was made in more various methods such as with a paper on the flat gold thread, metal thread and wrapped gold thread with gold foil on top. Compared to the flat gold thread, wrapped gold thread uses a thread that has a thinner and wider. Through this analysis, even making of the base of the gold threads was different according to the type. Secondly, we looked into the characteristics of materials according to form structure of the gold thread. After analysis of experiment results, we could know that to attach Korean gold thread, glue and the mixture of materials such as Red soil(朱土) was also added. The kinds of the base of gold threads were identified as paper, leather and intestines. Among those materials, for paper, Korea's Dakji, China's Sangpiji(桑皮紙) and Jukji(竹紙) and Japan's Anpiji(雁皮紙) seemed to have all been used, so because of the difference among countries, we can prove that Korea has also produced gold thread. By looking at the research, the base of gold threads and making features hugely vary according to the area.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.2
• /
• pp.180-203
• /
• 2020

In this study, the period before the Gwanbok of meritorious vassals' portraits was expressed in the acheongsaek-Heuk-Danryung was defined as the first period, and the costumes worn in portraits of meritorious vassals from Gaeguk (1392) in the early Joseon Dynasty to Jwali (1471) during the era of King Seongjong were reviewed. The portraits(1476) of Jeokgae meritorious vassals (1467) depicted as the Gwanbok of acheongsaek Heuk-Danryung were excluded. Among the copies that are currently considered to be portraits of meritorious vassals belonging to the first period, the portraits of Lee-je, Lee Cheon-woo, Ma Cheon-mok, Shin Suk-ju, Seol Gye-jo, and Lee Sung-won were selected, and the formative characteristics of Gwanbok components were examined. The Samo of Sam-Gongsin in the early Joseon Dynasty had a low height, a rounded end, and the side wings were narrow and short. However, since King Danjong, Jeongnan·Jwali meritorious vassals retained a higher form, and the side wings were twice as long. It was also confirmed that the pattern was not expressed in the side wings. The Danryung was expressed in light-colored Danryung without specific colors at the beginning of the country. After King Sejong, the Heuk-Danryung system for Yebok began, but it was not reflected in the Gwanbok of meritorious vassals' portraits, and was expressed as damhongsaek-Danryung after King Danjong. The pattern was not expressed on the exterior of the Danryung, and inner-wrinkled Mu was expressed on the side line. The Dapho and Cheolrik, the undergarments of the Danryung, were also confirmed as being blue (the Dapho) and green (the Cheolrik) after the Jeongnan meritorious vassals. The early Sam-Gongsin's Pumgye was expressed by rank belt, but as the system of rank badge was established after King Danjong, it began to express the Pumgye by rank badge and rank belt. Among the portraits of meritorious vassals, the rank badge was expressed only in the portrait of Sin Suk-ju, a Jeongnan meritorious vassal. As Hwaja worn on the Danryung, Heuk-hwa were confirmed in the Sam-Gongsin portraits of the early Joseon Dynasty. However, in the portraits of Jeongnan and Jwali meritorious vassals after King Danjong, the Baek-hwa was confirmed. In addition, in the seam parts of the Heuk-hwa and Baek-hwa identified in some portraits of meritorious vassals, Hwi decorated with yeongeumsa were identified, and it was found that the Hwaja decorated with Hwi were the Hyeopgeum-hwa worn by the 3rd rank and above.