• 복식
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• 제63권7호
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• pp.79-93
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• 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.

• 보존과학회지
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• 제37권5호
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• pp.525-535
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• 2021

본 연구는 동궁비 원삼의 직금단과 자수에 사용된 금사를 대상으로 과학적 분석을 통해 재료적 특성을 파악하였다. 동궁비 원삼의 금사 배지는 비목질계 섬유소가 관찰되어 닥나무 섬유의 한지를 사용한 것으로 추정된다. XRF 분석을 통해 동궁비 원삼의 통수스란에는 순금의 편금사, 색동과 한삼에는 편은사로 제직한 직금단임을 알 수 있었다. 특히 편은사에서는 황이 높게 검출되는데 이것은 은을 사용하여 금빛을 내기 위한 훈증의 유황 성분의 영향과 보존환경에 의한 황화은이 형성된 것으로 보인다. 또한 용보의 문양은 연금사와 연은사로 표현하였으며, 용보의 테두리는 순금의 연금사로 장식하였다. 특히 본 연구에서는 금사의 금속면과 배지 사이의 접착제와 혼합물에 대해 GC/MS, XRF, Raman 분석을 실시하였다. 그 결과 단백질계 화합물인 아교와 같은 접착제를 사용하고, 혼합물로는 편금사의 경우 활석을 섞고, 편은사에는 석간주를 혼합하여 사용하였음을 확인할 수 있었다.

• 보존과학회지
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• 제30권3호
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• pp.307-315
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• 2014

직금직물은 금사를 이용한 섬유공예 기술로 삼국시대부터 고려시대와 조선시대까지 이어져 온 공예기법이다. 이와 같은 금사 공예 기법은 우리나라의 문헌기록에서 다양하게 기록되고 있으나 영조 9년 문직기의 철폐와 더불어 현재 금사 제작 기술은 단절된 상태이다. 현재까지 이뤄진 전통 금사에 대한 연구는 주로 보존처리를 위한 세척 및 강화 등이 주로 이루어졌으며 전통 금사의 복원과 재현을 위해서는 재료와 제작기법의 규명이 필수적으로 요구된다. 금사는 금박과 접착제, 배지로 이루어지며 특히 접착제의 경우 외부에 노출되지 않기 때문에 이에 대한 연구가 어려운 실정이다. 본 연구에서는 금사의 각 층을 이루는 재료의 특성을 비교하기 위하여, 문헌과 국외 금사 제작 공방 조사를 토대로 순금 및 가금, 아교 및 옻칠, 다양한 조건의 한지를 선정하여 의사 시료를 제작하였다. 각 재료별 형태적 특성과 안정성을 평가한 결과, 금박은 순금, 접착제는 아교, 배지는 도침지가 가장 적절한 것으로 확인되었다. 전통 금사의 복원과 현대화를 위해서 본 연구를 토대로 하여 향후 제작 기법 및 제직 기법 등에 대한 연구가 필요할 것으로 판단된다.

• 한국의류학회지
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• 제37권6호
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• pp.764-771
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• 2013

The metal component of Chinese and Korean traditional gold thread was analyzed nondestructively using P-XRF and classified morphologically. In the nondestructive analysis of 22 Chinese and Korean artifacts, there were 10 gold threads made up of Au in China and 7 in Korea; in addition, there were 4 silver threads made up of Ag in Korea and 1 copper thread made up of Cu in China. In the morphological classification, 7 gilt paper strips were confirmed in China and Korea and 4 wrapped threads were identified in China and Korea. Zn, Sn and Fe (minor components of the threads) were detected. These components were assumed to be transferred from the metal found in burial goods.

• 보존과학회지
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• 제32권1호
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• pp.43-49
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• 2016

금사는 금속물로 제작된 실을 의미하며, 다양한 재료와 재질이 혼합하여 사용되고, 제작 방식에 따라 다양한 형태가 구분된다. 같은 형태일지라도 지역에 따라 사용재료가 다르게 나타나기 때문에 금박, 접착제, 배지 등에 대한 기초 자료 조사는 제작기법 및 유물의 제작국가에 대한 정보를 확인할 수 있기에 중요하다. 이에 본 연구는 직금 유물에 사용된 전통 편금사의 접착특성 및 제작기법 분석을 위한 연구를 진행하였다. 지역 및 시대가 다른 직금 유물을 선정하여 시료를 일부 채취하였다. 전통 금사에 사용했을 것으로 추정되는 접착제를 선정하여, 종류별로 표준시료를 제작하였다. 접착제는 아교, 주토 혼합 아교, 옻, 주칠을 선정하였으며, 식물성 배지인 한지 위에 접착제를 바른 후 순금박을 올렸다. 직금유물에서 채취한 금사와 제작한 표준시료를 일부 채취하여 형태 및 무기원소 성분 분석을 하였다. 연구 결과, 편금사는 금박층, 접착층, 배지층으로 구분이 되는 것을 확인할 수 있었다. 표준시료와 비교 관찰한 결과, 아교 및 주칠혼합시료와 형태적으로 유사하였다. 붉은색 접착층에 대한 정성분석 결과 알루미늄(Al), 규소(Si), 철(Fe) 성분이 현미경에서 관찰된 붉은색과 일치함에 따라 전통 편금사는 아교에 주토를 혼합하여 접착제로 사용한 것으로 판단된다. 이러한 사실은 국내 문헌 및 국외사례를 통해서도 확인할 수 있으며, 아교에 주토를 혼합함으로써 발색 및 평활도에서 효과를 얻고자 함으로 사료된다. 또한 이러한 방법은 옻을 접착제로 사용하는 일본과는 달리 중국, 한국에서 공통적으로 관찰되는 제작방법이라는 사실도 확인할 수 있었다.본 연구를 통해 향후 전통 금사의 재현 및 생산기술에 대한 기초 자료로 활용될 것으로 기대된다.

• 한국의상디자인학회지
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• 제15권4호
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• pp.113-128
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• 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.

• 보존과학회지
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• 제37권2호
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• pp.144-153
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• 2021

1979년 국가민속문화재로 지정된 광화당 원삼은 보존상태가 상당히 양호하다. 그러나 지정조사 시에는 없던 봉흉배가 부착되어 '봉흉배가 달린 유일한 자적원삼(紫赤圓衫)' 유물로 알려지면서 보존처리의 필요성이 제기되었다. 이에 지정문화재에 대한 잘못된 정보를 바로잡기 위한 과학적 분석과 동시에 지정 상태로의 원형 복원도 요구되었다. 본 연구를 통해 광화당 원삼에 대한 유물 이력을 조사하고, 현전하는 봉흉배와 봉흉배 수본(繡本) 등의 유물 조사를 병행하여 원형 복원에 대한 자료를 확보하였다. 직접적으로는 에너지 분산형 X선 형광분석을 실시하여, 봉흉배에 사용된 금속사가 은을 기본으로 티타늄 코팅한 것을 확인하였다. 티타늄으로 도금된 금사를 사용한 봉흉배는 1986년 광화당 원삼 사진에서는 확인되지 않았으며, TiN계 피막 도금법이 1990년대에는 여러 산업에서 활용되었다는 점에서 1990년대 초중반에 봉흉배가 부착된 것으로 추정할 수 있다. 특히 X선 형광분석을 활용한 금사의 과학적 분석 결과를 통해 보존처리의 핵심적인 근거자료를 확보하였다. 본고는 전세 유물 보존처리에 있어 유물 이력과 유사 유물 조사의 중요성에 대한 각성과 지정문화재에 대한 잘못된 정보를 바로잡을 수 있는 원형복원의 선례로서 의미가 있다.

• 복식
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• 제50권8호
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• pp.5-16
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• 2000

This study attempts to examine compound weave among silk fabrics of Cho-Sun Dynasty. These silk fabrics have colorful patterns. They can be classified into two types by their texture structure one is called polychrome woven silk of which structure is plain or twill fabric : another is called satan damask of which structure is stain fabric. Their texture structure consist of warp and weft. In addition. there are other types of warp and weft for pattern structure ; various twill structures were used for patterns. A variety of colorful threads, including gold and silver ones. are used fur patterns in them. The brocaded-type fabric was primarily developed during Won Era of China. It was most developed in Ko-Rye Kingdom. During that era flat strip was used the most but its length was usually not long enough to finish one pattern. However, wrapped thread was increasingly used during the middle and later period of Cho-Sun Dynasty due to the development of weaving technology for gold thread. The brocaded-type fabric was produced in Korea and it was also Imported from China according to some record. There are some domestic empirical documents that show the names of imported Satin Samite, Brocaded satin and these are good evidence to prove the nationwide use of the cloth during Cho-Sun Dynasty. The density ratio of warp and weft is almost same except Samite in the third and Satin with flower motif in the second period is most density among them. C·F of Brocaded satin with Mang motif in the third period values the highest price. Brocaded satin, used with both gold and silver threads, is thickest.

• 한국의류학회지
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• 제33권8호
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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.

• Archives of Plastic Surgery
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• 제39권1호
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• pp.42-45
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• 2012

Background : Conservative techniques designed to block or delay the aging process have been utilized in various ways for many years. However, their effects can be relatively minimal and short-term in most cases compared to surgery. The objective of this study was to evaluate the efficacy and safety of gold thread implantation for the treatment of periorbital wrinkles. Methods : A total of 78 consecutive patients who showed mild to severe periorbital wrinkles were deemed appropriate candidates, including 69 women and 9 men ranging from 31 to 59 years (mean, 47 years). Six gold threads about 4 cm in length were inserted subdermally in each patient at intervals of about 0.5 cm. Follow-up assessments were performed 1, 4, and 12 weeks after the procedure. The efficacy was rated by the physician using the Wrinkle Severity Rating Scale and patients who made global assessments of changes in periorbital wrinkles using the Visual Analog Scale. Adverse events were monitored throughout the course of the study. Results : The patients showed significant improvements after the procedure. There were minor complications such as foreign body sensation in the eye (2.63%) and eye pain (1.32%) that improved spontaneously without any specific treatments. Conclusions : Subdermal implantation of gold thread improves the appearance of periorbital wrinkles and does not appear to have serious side effects. Insertion of gold thread may be an effective and safe method for facial rejuvenation.