• Conservation Science in Museum
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• v.23
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• pp.49-60
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• 2020

The wrapping cloth with Cloud and Treasures Pattern donated by the head house of the descendants of Lee Hangbok (1556-1618) at the National Museum of Korea underwent conservation treatment for its protection and display. It was then compared with other ancient fabric objects for dating and analysis of the design. The subjects of Cloud and Treasures Patterns of clothing excavated from tombs dated to some point between the birth and death of Lee Hangbok and with Cloud and Treasures Patterns on the covers of Uigwe copies from the same period from the late 16th and 18th centuries were compared. The results of comparison with relics with clear dating are as follows: First, The Cloud and Treasures Patterns on the late 16th and 17th centuries the differences in the proportion between the head and the tail of the cloud among. Second, the Cloud and Treasures Patterns on the covers of Uigwe copies and fabrics excavated from tombs dated no later than the early 1700s share similarities with the Cloud and Treasures Pattern on the donated wrapping cloth in terms of the arrangement and size of designs and the proportion between each portion of the design. Though the study failed to identify the exact use of the wrapping cloth, it was estimated to be produced in early 18th century when the portraits of Lee Hangbok were copied.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.32-46
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• 2015

Treasures patterns are simplified designs of vessels used in everyday life, which were symbols of luck. Treasures patterns on textiles are largely assorted into four groups: eight auspicious patterns of Buddhism, eight immortal patterns of Taoism, seven treasures patterns of King Chakravarti in the Buddhist Scriptures and normal treasures patterns. Among them normal treasures patterns are most commonly used. Records in the Joseon documents show these patterns as being composed of seven treasures patterns or eight treasures patterns. But observation of the actual relics show that these patterns ranged from four to ten patterns. Korean traditional textiles treasures patterns began to appear in Korea on the relics of the last of Goryeo period. They were used as sub-patterns among main patterns of dynamically rising cloud patterns with five heads. Treasures patterns in the early Joseon period were commonly used as sub-patterns, and cloud and treasures pattern were prime examples of this. In the 16th century, lotus vine pattern, small flower vine pattern, or small flower pattern were often used as main patterns and treasures patterns were regularly used as sub-patterns. The robe of the Great Monk of Seo San was unique, in that both main and sub patterns consisted of the treasures patterns. From the 17th century, treasures patterns began to be used as main patterns. For example, a relic with eight alternatively arranged treasures patterns were found. Though there were still some cases where the patterns were used as sub-patterns, they begin to appear bigger than the previous period and became similar to main patterns in size. In the 18th and 19th centuries, there were various cases where treasures patterns were combined with flowers, fruits, animals, and letter patterns and used as main patterns. And there are many different methods of representing and developing the patterns.

• Journal of the Korean Society of Costume
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• v.51 no.8
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• pp.1-12
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• 2001

An empirical review on silk fabrics of the Chosen period showed that they varied in kind and design according to their uses. Thus the purpose of this study is to classify the fabrics into temple and excavated fabrics according to their uses and collected places and then to examine characteristics of each type. Concerning fabrics collected in temples. satin was most used, followed by twill, tabby, multiply, leno and gauze and clossing fabrics in order. Tabby and silk fabrics used Ju(紬) as their main material. Cho( ) was much more used in fabrics collected in temples than in excavated ones. This indicate that Cho( ), more luxurious than Ju(紬), had divine applications such as covering Buddha s bones of temples. Brilliant, colorful multiply fabrics using goldern and color threads had high effects of ornamenting altar covers, umbrellas, surplices and palanquins. Fabrics held in temples adapted composite designs, in which more than two shapes were used, rather than single ones. Single designs employed plant shapes in most cases. followed by treasures pattern, geometrical, cloud and animal shapes in order. Most composite designs used a combination of animal and plant shapes, followed by plant and geometry, treasures pattern and plant, cloud and animal, and animal, treasures pattern and plant in order. Few excavated fabrics used animal designs while fabrics collected in temples were often designed with shapes of propitious animals such as dragon. Treasures pattern. representing a good omen of Buddhism, was often used sing1y or sometimes compositely with another design.nother design.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.2
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• pp.244-255
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• 2023

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang continued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as "falling flowers and flowing water," the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flower patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and arranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfillment and longevity.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.85-110
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• 2022

This study investigates the production and use, development of Buncheongsagisang-gamunryongmunho, focusing on Buncheong Jar with dragon and cloud patterns(龍樽) in the early the Joseon Dynasty. The Buncheong Jar with dragon and cloud patterns(龍樽) which is the size of a large bottle as high as 50cm is a form of stability to have gorgeous decorativeness with the inlaid and stamped pattern. The Buncheongsagisanggamunryongmunho is the Buncheong Jar with dragon and cloud patterns(龍樽) used for Flower Vessels(花樽) at Royal Ritual in King Sejong(世宗) era. In the 1420s and 1430s, made in Premium ceramic factory of Sangju-mok, it is Blue and white porcelain in reference to dragon and cloud patterns in the Yuan and Ming Dynasties in aspects of shapes and patterns, to the inlaid Celadon in the period of Late Goryeo Dynasty in aspects of patterns, and to Joseon porcelain in aspects of shapes and decoration techniques. The Joseon Royal family found out the appropriateness of the founding of the dynasty and the base for the system of civilization from Ming dynasty, to follow Ming dynasty by choosing white porcelains as the King's vessel. Jars passed down from Emperor Ming served as a standard for Royal Ritual Jars, to use Blue and White Porcelain Jar with dragon and cloud patterns as Flower Vessels(花樽) and Liquor Vessels(酒樽) for ages. Consequently, the Buncheong Jar with dragon and cloud patterns(龍樽) as Royal Ritual Jar had been used till 1430's when Blue and white porcelain Jar with dragon and cloud patterns(靑花雲龍白磁酒海) was passed down from Emperor Ming, Xuande Emperor(宣德帝), only to lose its Meaning and Use as the Royal Jar with dragon and cloud patterns(龍樽) during the early Joseon Period gradually.