• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.340-341
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• 2004

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.667-675
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• 2013

After analyzing excavated $17-18^{th}$ century silk fibers through a scanning electron microscopy, we discovered seven different kinds of fracture morphology. Using Morton & Hearle fiber fracture morphology, we classified the findings into four different categories. Type I is tensile failure resulting from brittle fracture, granular fracture, and ductile fracture. Type II is fatigue failure caused by tensile fatigue, flex fatigue, and axial split (fibrillation). Type III is bacterial deterioration discovered only in excavated artifacts. Type IV is a combination of the three above. Humid underground conditions and the infiltration of bacteria caused the fibers to swell and weaken its interfibrillar cohesion. Fractures occur when drying and processing an excavated artifact that is already in a fragile condition. Therefore, one must minimize damage through a prompt cleaning process and make sure that the least possible force is exerted on the fabric during any treatment for repair and exhibition.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.65-74
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• 2003

The Purpose of this study is to investigate the jeogori included in the buddist statue in 1748. The jeogori was similar in shape to excavated costume of Andong Kwon, Papyung Yoon, and Chungyeongunju in 18th century. This jeogori was useful to estimate the interesting process of shape change of jeogori in 18th century. Four different silk fabrics were used in the jeogori. Outer fabrics were satin weave with floral, lattice strip, dragon, and cloud patterns. The ground area was 5-harness warp faced satin and the patterned area was 5-harness filling faced satin. An inner fabric was simple plain weave. Warp and filling yarns of all fabrics in this jeogori had no twist.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.135-144
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• 2007

This study is about the three pieces of jackets with a symmetric collar that was used to fill in the empty spaces in coffin excavated in 2004, from Seok-nam-dong, Nam-gu, Incheon. The similarities of these three jackets are that the collars are symmetric, there are seops(the outer bodies to overlap the front sides of a jacket) with pleats, and openings on the side seam. The No.2, and No.6 seem to be jegori to wear over others, and the fabrics used for No.2 is damask with cloud pattern, and damask with lotus flower pattern. For the No.4, satin was used and there is peacock pattern weaved on satin using golden thread. No.41 is unlined clothes made with Suk-cho, and the distinctive feature about this clothes is that the collar, and the neckline are very narrow. The three jackets are similar with the recently reported clothes of Kim clan of Gang-leung (deducted to be buried in 1520), the collection of Seok Joo-sun Memorial Museum. Through this report, it provides information about some aspects of upper class women's clothes.

• Journal of Conservation Science
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• v.29 no.2
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• pp.161-170
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• 2013

The purpose of this study is to find the reasonable plan for the restoration method through the practical repair of excavated costume. The minimal repair only without adding the physical force as far as possible after investigating the state of excavated costume has been progressed in case of excavated costume since it is already degraded and weak due to the characteristics of organic matter at the moment when it is excavated. Moreover, it has been restored as the following course; The restoration has been applied according to the state of excavated costume with the maximum stability by classifying items capable of being restored considering the fabric state of excavated costume. The drawn thread from the weak in strength and the refined thread of the Juasa(simple gauze) or the light degraded silk thread has been used in case of thread for restoration. The cotton fabrics has been used in the fabric of cellulose system, the Juasa or the silk has been used in the silk depending on the kind of fabric in connection with the support fabric, some parts have been dyed with Alnus firma fruit and the persimmon, has been repaired by using the dyed fabric with the clove for the purpose of mothproof-antibacterial treatment. The method to repair has been carried out by classifying according to the state of damage and the way of formation of costume. The needlework method suitable for the part and state of damage by using the basting, the broad-stitching, backstitch, the blind stitch and the hemming stitch in connection with the needlework method for restoration.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.93-106
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• 2016

The aims of this study are to elucidate the relationship between the luxurious trends of costumes and the importation of Ming's patterned textiles in the $17^{th}$ century, and to analyze the similarity between certain Joseon and Ming fabric patterns. After Imjinwaeran[임진왜란] and Byungjahoran[병자호란], more diverse Joseon textile patterns appeared. Generally, wars lead to a shortage of luxury goods and basic commodities. However, $17^{th}$ century Joseon had an abundance of luxury goods, which allowed even some commoners to have clothing made of Chinese silk. That was the result of free trade between the Koreans and the Chinese merchants in Joseon. Ming's merchants followed the Ming's troops into the Korean Peninsula and targeted Koreans to sell their goods, such as fur coats and fur hats. Free trade between Ming and Joseon took place at Junggang [중강] and Donggangjin [동강진]. Joseon imported Chinese textiles there and resold them to Japanese merchants. Some of the Changgi Chung's excavated fabrics might be an evidence of the import from the Ming. These fabrics had the inscription and were similar to Ming fabrics. It can be assumed that trade occurred between Joseon, China, and Japan, as fabrics found in the countries had similar patterns such as flower, bee, and four seasons, which represented longevity. Furthermore, Chinese fabrics might have triggered Joseon's weaving skills to develop, which led to the ability to weave refined and beautiful brocade satin at Sangbang [상방]. According to Uigwe[의궤], Sangbang could weave silk fabrics in the 1620s and 1630s. The improvement of weaving techniques might make it possible to weave some popular patterns at Sangbang.

• Textile Coloration and Finishing
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• v.19 no.1 s.92
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• pp.31-36
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• 2007

There are several factors in the degradation of textiles. The crucial factors in textile weakening are humidity, dust, smoke, sunlight, microorganisms and so on. Especially silk fabrics are more susceptible to microorganisms than other fabrics, because they are mainly consisted of proteins. In this study, we investigated the activities for degrading casein and silk fibers with 2 strains, Bacillus cereus TX1 and Pseudomonas fluorescens TX 2, isolated from domestic museums. They were compared to those of standard control strains, Klebsiella pneumoniae and Staphylococcus aureus, usually used for the antibiotic test of fabrics. The caseinolytic activities of K. pneumoniae and S. aureus were higher than those of isolated strains. But in the cases of silk fiber degrading, B. cereus TX 1 showed the highest activity on both silk 1 and silk 2. Therefore, caseinolytic activities were not coincident with the activity to degrade silk fibers. All strains degraded silk 1(strength retention 100%) better than silk 2(strength retention 50%). It means that bacteria mainly participate in the early stage of degrading silk fabrics, but as time goes by, the importance of bacteria for degrading silk fabrics would decreased. Even though the importance of bacteria may decrease, controlling bacterial activity is necessary to preserve historic silk fabrics.

• 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.67 no.1
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• pp.56-73
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• 2017

The purpose of this study is to categorize the lotus patterns of traditional Korean fabrics. This study collected 169 fabrics of Korean lotus flower patterns and then made a list of era, configuration of pattern, type of artifact, findspot and holding institutions. It analyzes the characteristics of 251 kinds of lotus woven on 169 Korean fabrics, 251 kinds of lotus on 169 fabrics divided into Realistic Type, Design Type, and Abstract Type. They consist of 213 kinds of Design Type(84.8%), 21 kinds of Realistic Type(8.4%), and 17 kinds of Abstract Type(6.8%). The largest part of lotus patterns is Design Type. Design Types are subdivided into 14 types. This result contrasted with the conclusion of the research paper about peony patterns in Traditional Korean Textiles. The largest part of peony patterns was Realistic Types. Realistic Types of lotus patterns in Korean textiles are subdivided into 6 types. Korea has more diverse forms and a higher ratio of Realistic Types than China and this can be interpreted to reflect that there is a tendency in Korea to prefer natural patterns. Besides abstract Types are subdivided into 3 types. When the lotus flower patterns of Korea and China are categorized and similar types are compared, there are some unique patterns that appear only in Korea or China. Not only that, similar types display differences in pattern arrangement methods and portrayal among the two countries. If such study results are utilized, they can be grounds for distinguishing the production area of lotus flower textile fabrics when they are newly excavated in the future.