• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.3
• /
• pp.359-370
• /
• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.4
• /
• pp.166-177
• /
• 2022

The Shiveet Khairkhan is located on Tsengel Som in the middle of Bayan-ulgi Aimag in the Altai region. Various remains have been identified, and it has been found to be an important area of the Eurasian steppe. In this study, the characteristics of textile fibers and dyes excavated from the tombs of the 1st~3rd century Xianbei period in the sites of Shiveet Khairkhan, Mongolia were investigated. As a result of analysis using optical microscopic observation and attenuated total reflectance-Fourier transform infrared spectroscopy (ATR-FTIR) for fiber identification, green and yellow fabrics were identified as silk fabrics. To investigate the properties of the dye, the surface reflectance of the dyed fabric was measured using an fiber optic reflectance spectrophotometer for non-destructive analysis. The green fabric appeared similar to the reflection spectrum of indigo dye. In addition, as a result of component analysis using gas chromatography-mass spectrometry, isatin and indigotine were detected. Isatin and indigotine are characteristic components of indigo dye, and it was found that the green fabric of the tombs of the Xianbei period was dyed using indigo dye. It was difficult to identify the type of dye in the yellow fabric as a result of reflectance spectrum and gas chromatography analysis. Indigo plants are a dye used for blue dyeing from thousands of years ago, and many species are distributed around the world. It was confirmed that the fabric was relatively well preserved and indigo dye was used for the green Jikryeongui (garment with a straight collar) in the ancient tomb of the Xianbei period about 1,800 years ago, even though it was buried for a long time. Scientific investigation of textile cultural heritage is an essential process for conservation treatment, restoration, exhibition, and the creation of a conservation environment. It is expected that related research will be activated in the future and will be helpful in interpreting the living culture at the time, preserving textiles, and a conservation environment.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.38 no.5
• /
• pp.755-768
• /
• 2014

This study explores the situation of domestic production and import of dyes as well as type of dye supplier and type of dyer in the Joseon Dynasty based on an analysis of relevant documents. The findings are as follows. Many kinds of natural dyes and natural mordant were produced in the Joseon Dynasty. Some were imported from other countries when in short supply or for diplomatic reasons. As the government organization in charge of the dyes supply and demand, the Jeyonggam was cooperated with the Gongin merchants. As private merchants, there existed Hwapijeon merchants and Cheongramgye merchants. Cheongramgye merchants were both the producer and the seller of indigo sediment. There existed two types of dyers, such as government-operated dyers and private dyers. The Yeomjang (master dyers) and Yeommo (female dyers) were subjugated to government departments in the early part of Joseon Dynasty, but gradually allowed to pursue self-profit. The Yeomga was the private dye house that existed in the early period of the Joseon Dynasty. Ladies and female servants were also allowed to dye for family use or to help in livelihoods. Jeonyeomga was a branch specialized in indigo dyeing. Lastly, the Yoemgye were the merchants of dyed paper and textiles as well as dyers.

• Textile Coloration and Finishing
• /
• v.13 no.4
• /
• pp.241-248
• /
• 2001

Natural indigo dyeing has been used mainly on cellulosic fibers and silk during the course of history in Korea. In order to extend the usage of this one of the most important natural dyes, its dyeability on wool fabrics has been studied to find out the optimum dyeing condition for wool fiber which is susceptible to alkaline medium. The dyeing method used was hydrosulphite vat of extracted dye. K/S values of dyed fabrics were investigated to analyze the dyeability of natural indigo on wool fibers and colors were measured through $L^*,\;a^*,\;b^*$ and Munsell Values. Highest K/S values were obtained at the temperature of 60(C and pH 7 to 8. The Munsell Values for hue of wool fabrics dyed with extracted indigo powder using hydrosulphite vat fell mostly in PB range. As the dyebath pH increased, blueness increased. Different dyeing conditions resulted in change of colors of dyed fabrics due to the difference in amounts of indigotin and indirubin contents within the dyed fiber as shown by HPLC.

• Textile Coloration and Finishing
• /
• v.20 no.3
• /
• pp.18-24
• /
• 2008

The purpose of this study is to develop the dyeing method with dry leaves of indigo plant. Coloring matter was extracted from dry leaves of indigo plant with hot sodium hydroxide solution. The extract was reduced with sodium dithionite, and it was used for dyeing cotton fabrics under various conditions. UV-visible absorption spectra of extract, reduction rate of extracts by reducing agent, and the surface color of dyed cotton, lightfastness were examined. For the initial 20 minutes, the absorbance of indigo solution rapidly decreased. However, several hours later, the decreasing rate retarded. By repeating the dyeing process, the shade looked deeper and deeper. At $30-40^{\circ}C$, the value of K/S reached the highest point. The concentration of indigo solution in dye bath seemed to playa critical role for the reaction of the reducing agent. It was observed that the surface color of cotton fabrics was getting bluish and its degree of value and chroma seemed slightly decreased as the K/S value was increasing. The lightfastness was clearly enhanced by increasing the K/S value.

• Fashion & Textile Research Journal
• /
• v.15 no.2
• /
• pp.192-201
• /
• 2013

This study explores the culture surrounding the dyeing of royal garments in the late Joseon Dynasty. The findings of this study are as follows. First, several dyes were used to color royal garments, such as jicho, honghwa, danmok, simhwang, sambo, goehwa, chija, and namjong. Mordants such as maesil, hwanghoemok, yeohoe, and baekban were also used with the dyes. Second, the Sangeuiwon (尙衣院) was the department in charge of the purchasing of dyes and the entire dyeing practice. It was the Seonhyecheong (宣惠廳) and the Hojo (戶曹) who provided revenue to the Sangeuiwon through a wongong, regular tribute, and a bokjeong (supplementary tribute). Additionally, additional dyes, if found to be insufficient, could be provided by the Hojo. Every year the Hojo provided jicho, honghwa, and danmok to the Sangeuiwon, and sometimes imported namjong from China. Third, royal garments were, in most cases, dyed by the Sangeuiwon's professional dyers and court ladies belonging to the sewing department in each palace. Naenongpo (內農圃) eunuchs were in charge of the indigo crops of each palace. Finally, more dye was used in royal garments than in the clothes of commoners to obtain a deeper shade of color. In addition, dyers tried to achieve a clear and vivid tone in their garments. Silk which absorbed color relatively easily, was dyed inside the palace using an ice vat filled with fresh indigo leaves; however, cotton was difficult to dye and was sent to professional indigo dyers outside the palace.

• Korean Journal of Human Ecology
• /
• v.22 no.2
• /
• pp.365-374
• /
• 2013

The purposes of this study were to evaluate the color characteristics and color sensibility of mulberry/cotton blended fabrics dyed with indigo, the natural dye, and analyze effects of them on color preferences. The values of CIE $L^*$, $a^*$, $b^*$ $C^*$, h were calculated for the color characteristics of indigo-dyed fabrics, and their hue, value, and chroma were calculated according to the Munsell color system. Fifty male and female college students evaluated the color sensibility of nine types fabrics dyed with indigo on a seven-point scale. The data were analyzed by descriptive statistics, factor analysis, Kruscal-Wallis test, correlation analysis, and regression analysis. The mulberry/cotton blended fabrics naturally dyed with indigo showed the characteristics of PB color tones, low value, and low chroma. The color sensibilities of fabrics dyed with indigo were classified into four factors: 'classic', 'sporty', 'elegant' and 'natural'. There were significant differences according to the fibers and the repeating times of dyeing in the color sensibility for the fabrics. Cotton fabrics were evaluated to be more classic, sporty, elegant, and natural than the mulberry/cotton blended fabrics, and the deeper the color, the more classic, sporty, and elegant the fabric was evaluated. The students preferred the indigo dyed fabrics which have more classic, sporty, and natural sensibility. There were significant relationships between the color sensibilities and colorimetric properties of the fabrics dyed with indigo. The color preferences of the dyed fabrics with indigo were found to be influenced by the 'classic', 'sporty', 'natural' of color sensibility.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.38 no.4
• /
• pp.540-556
• /
• 2014

This research investigated the effective conditions to dye cotton with commercial indigo leaf powder. We tested dyeing conditions of: pH of dyebath (6.5, 9-12), heating ($20^{\circ}C$, $50^{\circ}C$, $70^{\circ}C$, $90^{\circ}C$), ageing (0, 0.5, 1, 4, 24 hours), reduction time (0, 30, 60 min), and dyeing temperature ($2^{\circ}C$, $10^{\circ}C$, $20^{\circ}C$, $50^{\circ}C$, $70^{\circ}C$, $80^{\circ}C$), dyeing was conducted for 20 minutes. The highest K/S value was obtained when cotton was dyed using pH 11 dyebath, heated at $50^{\circ}C$ for 30 minutes, aged for 24 hours at room temperature ($20^{\circ}C$), reduction carried out for 30 minutes, and dyed at $50^{\circ}C$. It is proposed that the K/S value is primarily influenced by the dyebath pH and dyeing temperature, followed by the presence or absence of ageing time and reduction time. The color of cotton with high K/S values was B type by Munsell hue value, which was similar to the color obtained in previous studies by freshly made indigo leaf powder and indigo leaf juice. The results indicate that the dyeing conditions established in this research are suitable to maximize the dyeability of commercial indigo leaf powder and that the indigo leaf powder can be used as a substitute for fresh indigo leaf juice.

• Journal of the Korean Society of Costume
• /
• v.60 no.9
• /
• pp.77-94
• /
• 2010

It was the era, from 1876 to 1910, that some dramatic changes, including an influx of foreign dyes and the beginning of the modern dyeing manufacture, happened in Korea. This paper explores what dyes were sold in the market in this period, who was the main seller of the goods, and how the dyers produced their products. A wide range of natural dye stuffs coexisted with the various kinds of aniline dyes, alizarin dye and synthetic indigo in the market. Coloring materials had been sold by hwapi-jeon, a group of official merchants who acquired a privilege of monopoly from the government. However, the dyes were also traded by sang-jeon and yakguk merchants in the nineteenth century. Most of the synthetic dyes sold in Korea were produced in Germany or in Japan later, and imported in large amount by Chinese, Japanese and German merchants. Yet there also existed Korean merchants and peddlers who sold the goods to the local consumers. Dyers were male and female who belonged to the middle class. They received the orders and payments from the government or merchants. Not only did they dye textiles, threads, cotton, paper and leather, but they also redyed clothes. Indigo dyers were differentiated from other dyers. Modern dyeing manufacture, which was presumably forced to keep pace with the productivity of the weaving process, appeared in the 1900s. It was a branch of the modern weaving manufacture.

• Journal of the Korea Furniture Society
• /
• v.24 no.4
• /
• pp.408-415
• /
• 2013

In order to evaluate a feasibility of industrial art use of veneer such as cylindrical laminated veneer lumber, the veneers of 4 species of Korean pine, radiata pine, yellow poplar and Japanese cypress were natural dye-colored and clear finished. Natural dyes were red color originated from sappanwood, blue color from polygonum indigo, and yellow color from Amur cork tree and gardenia. the clear coats of crack seal clear and UV protection oil were applied on the dyed veneer. The dyeing and finishing characteristics through fading test were summarized as follows; In non-dyed and non-finished Korean pine veneer, lightness was decreased and yellow and red hues increased after fading test. In natural dyed- and finished-veneer, color difference of gardenia-mixed Amur cork tree was generally highest, and that of polygonum indigo was lowest. Compared to non-treatment of veneers of Korean pine and yellow poplar, color difference decreasing effect by finishing was shown in crack seal clear and UV protection oil. In addition, UV protection oil was more favorable than crack seal clear with more decreased color difference. In result, maximum values of color difference after fading for 8 days were recorded about 16 to 20, which are remarked 'very much' of 12.1 or more when reviewing with 'National bureau of standards unit in USA'.