• 한국염색가공학회지
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• 제22권4호
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• pp.306-313
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• 2010

To achieve color diversification of natural dyeing, color mixture dyeing with Indigo and Japanese pagoda tree is applied to wool and silk fabrics. After dyeing with Japanese pagoda tree extract solution of 5~25%(o.w.f.), the indigo dyeing was carried out up to four times. Alternatively after repeat dyeing with indigo one to seven times, the dyeing with Japanese pagoda tree extract solution was applied in 5 steps(5~25%). In color mixture dyeing, the dye uptake of wool fabrics appears higher than that of silk. The sequence of Japanese pagoda tree extract dyeing after Indigo dyeing was generally higher dye uptake compared with that of Indigo dyeing after Japanese pagoda tree extract dyeing. For wool and silk fabric, the pre-dyeing with Japanese pagoda tree solution was more effective for color diversification but the pre-dyeing with Indigo was more effective for the exhibition of intermediate color shade.

• 한국염색가공학회:학술대회논문집
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• 한국염색가공학회 2008년도 제39차 학술발표회
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• pp.93-94
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• 2008

The color mixture by using indigo and Japanese pagoda is worked on rayon, which is made of cellulose, to diversify colors of natural dyes. The process which is using indigo first and then Japanese pagoda can be allowed various possibilities of color combination than that of using Japanese pagoda first. And also the color mixture with the use of mordant which is using indigo first and then Japanese pagoda can be expected more effective to get diverse colors than that of using Japanese pagoda first.

• 복식문화연구
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• 제11권3호
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• pp.423-430
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• 2003

Cotton fabric md nylon fabric were chosen as base fabric specimens for dyeing using Japanese pagoda tree colorants through chitosan, treatment. With the chitosan treatment, the dye-uptake of the treated fabric increased. This treatment is also expected to be effective in terms of environment-friendliness. The effect of the dyeing methods, mordanting or non-mordanting, and chitosan treatment on the dye-uptake and air permeability of the treated fabrics was investigated. In case of cotton fabric, Al mordanted dyeing resulted in higher dye-uptake through the chitosan treatment. Therefore, the chitosan treatment is effective in this case. Japanese pagoda tree seems to have direct affinity for nylon fabric without the mordanting treatment. In case of cotton fabric, it seems that the cellulose molecules, colorants, and the chitosan make a complex, thereby reducing the air permeability. In case of nylon fabric, due to the fact the Japanese pagoda tree colorant molecules form direct physical bonding with the nylon molecules, it seems that there is not much of air permeability reduction.

• 한국염색가공학회지
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• 제21권2호
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• pp.29-39
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• 2009

The color mixture, obtained from Indigo and Japanese pagoda tree, was applied to cellulose fibers such as cotton, linen and rayon to diversify color gamut of natural dyes. The color mixture was tried with two different methods. The first process was that cellulose fibers were dyed with $5{\sim}25%$ owf Japanese pagoda tree solution, and then dyed 1 to 4 times with Indigo. The second process was dyeing 1 to 7 times with Indigo, followed by dyeing with $5{\sim}25%$ owf Japanese pagoda tree solution. K/S value of the dyed fibers with one colorant and color mixture increased in the order of linen, cotton, rayon. It was also found that the first process could give higher K/S values than the second process.

• 건축역사연구
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• 제27권3호
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• pp.59-72
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• 2018

The detailed names and meanings of Korean stone pagodas have not yet been properly studied or clearly defined. Therefore, an aim of this report is to compare the detailed names of Korean, Chinese, and Japanese stone pagodas by focusing on content used previously by Ko and his students and content that is currently in use (i.e., since the Japanese colonial era). Additional objectives are to assess the significance of these names and propose an appropriate detailed draft regarding names of stone pagodas. The discussion will proceed by dividing the stone pagoda into three parts: the podium, main structure, and finial. First, the content in Luo Zhewen(羅哲文)'s "Ancient pagodas in China(中國古塔)" (1985) is considered; then, "朝鮮の石塔" (1943)-published by during the Japanese colonial era-is explored. The thesis written by Yu-Seop Ko regarding Korea's first stone pagoda and the content in "A Study of Korean Pagodas(朝鮮塔婆의 硏究)" (1948), which contains Yu-Seop Ko's posthumous works published in book form by his student Su-Yeong Hwang, Heu-Kyoung Kim are examined. to pagodas that are used today, are compared and reviewed. Since Korea, China, and Japan influence each other, pagoda-related terms are shared to some extent. In this study, these were applied to stone pagodas, and names used thus far that have not drawn criticism were studied and proposed as suitable alternatives.

• 패션비즈니스
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• 제10권2호
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• pp.27-39
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• 2006

In this study, physical/chemical characteristics of the fabrics dyed using Japanese pagoda tree which is a yellowish dyestuff was investigated. We tried to estimate the dyeing mechanism among fiber macromolecules, mordants, chitosan, and dyestuffs by measuring the change of air-permeability according to the dyeing process. Also wash fastness and light fastness were measured in order to estimate the fastness according to the dyeing characteristics. When the chitosan pre-treatment was introduced, the wash fastness increased significantly in the cotton fabrics while the fastness did not change in the nylon fabrics significantly. The light fastness was not improved by the chitosan treatment. when the antibacterial activity was measured for the dyed cotton fabrics, Japanese pagoda tree itself did not exhibit antibacterial activity. However, chitosan treated dyed fabrics exhibited low antimicrobial activity.

• 복식문화연구
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• 제10권4호
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• pp.433-440
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• 2002

Natural gardenia and Japanese pagoda tree have been known as them of the most widely used yellow vegetable dyes. Cotton and silk fabrics(KS K 0905) were chosen as specimens. Those were dyed with natural gardenia and Japanese pagoda tree. The conditions of dyeing were varied according to the kinds of mordants, using mordants or not and the concentrations of the natural dyes. Sn, Al, Fe and Cu were chosen for the mordants. 5%(owf), 10%(owf), 15%(owf) and 20%(owf) were used as for the concentration of the natural dyes. The color differences were measured by the Spectrometer(UV-VIS-NIR) before and after dyeing. The results are as follows: 1. Deeper colors were proportionately shown up to the concentration of the natural dye. 2. Silk was shown the higher dye affinity than the cotton at the same concentration of the dye. 3. The color difference between the Sn-mordanted specimens and the Al-mordanted specimens were significant. When the concentration of the dye increased, the colors got darker, specially in b* value. 4. The color difference between the Fe-mordanted specimens and the Cu-mordanted specimens were significant in L* value and b* value. 5. The deeper or lighter yellow were controllable under the concentration of the natural dye and the mordants. 6. The most effective and the economic concentration of the natural dye was 10% owf through the experiments.

• 한국의류학회지
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• 제29권6호
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• pp.868-876
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• 2005

Silk fabrics were dyed with yellow natural materials. Gardenia, turmeric, amur cork tree, safflower, Japanese pagoda tree, and onion were used as natural materials. Color image of natural dyed silk fabrics was classified by 4 factors(Cheerfulness, Comfortness, Pastrol, Revealation). Cheerfulness factor affected significantly with color image. Amur cork tree or turmeric dyed fabrics were shown as light and cute, safflower or gardenia dyed fabric shown as comfort, and onion dyed fabrics shown as mature and simple. Color image with specialty was significant difference in Preference and Revelation factor. Preference was appeared as amur cork tree>turmeric>gardenia>safflower>Japanese pagoda tree>onion.

• 건축역사연구
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• 제19권4호
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• pp.55-70
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• 2010

Although scholarly terminology should have clear meanings as signs, Korean pagoda terminology has become jargon and is creating difficulties in communicating meanings which are far from the originally intended meanings; this terminology is sometimes notated in dead language, meaning old Chinese characters, or Japanese styled Chinese characters. Nobody has asked questions on the terminology itself which has long been commonly used for a century, since the Japanese-ruling period. One of the main reasons for this error is that the Indian Buddhist scriptures in Sanskrit has been translated into Chinese with vague understanding of form and meaning of stupa since 3rd Century A.D. On the other hand, the English-language terminology, already built by Indology scholars since the beginning of the 20th century, consists of easier language and clearer meanings. This paper examines misunderstanding and mistranslation of the original Indian stupa terms and suggests new terminology in current, easier language.

• 미술자료
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• 제100권
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• pp.50-80
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• 2021

본고는 원각사탑에 대한 지난 백 년간의 근대 학설사를 층수에 초점을 맞추어 비판적으로 성찰하였다. 먼저 제II장에서는 근대 개항기에 조선을 여행한 서양인들이 종래 한성의 '비미(非美)'내지는 흉물로 간주되던 원각사탑을 한성의 '기관(奇觀)'내지 '위관(偉觀)'으로 재발견하는 역동적인 과정을 추적하였다. 이들은 불탑에 관한 예비지식이 거의 없는 서양 출신이었기 때문에, 역설적으로 원각사탑에 대하여 객관적인 견문기를 남길 수 있었는바, 그들이 접촉한 조선 지식인들을 통하여 대체로 13층설을 받아들였다. 이어서 제III장에서는 대한제국 선포 이후 일인 관변학자들이 원각사탑을 본격적으로 학술 조사하고, 일제식민기 동안 조선총독부가 원각사탑을 문화재로서 관리하는 과정 및 그 문제점을 언급하였다. 특히 지난 100여 년 동안 원각사탑 층수 문제에 관하여 가장 큰 영향력을 행사한 세키노 타다시(關野 貞)의 학설이 10층설에서 13층설로, 다시 다층설로 변하는 문제를 집중 조명하였다. 마지막으로 제IV장에서는 해방 이후부터 1962년까지 원각사탑에 대한 인식이 다층설에서 10층설로 바뀐 경과를 정리하되, 선행하는 일제식민기 조선 지식인들의 인식이 13층설 일변도였음을 특기해두었다. 다만 1962년 이후 지금까지 원각사탑에 관련하여 중요한 연구성과가 적지않이 발표되었지만, 층수에 관한 한 대부분 1962년에 확정된 10층설을 전제로 하였기 때문에, 본고에서는 따로 정리하지 않았다. 학설사 검토의 결과, 원각사탑이 13층탑으로서 건립되었다는 근거가 명백함에도 불구하고, 일제시기는 물론 해방 이후 지금까지 백 년이 넘도록 13층설은 단 한 번도 공인받지 못하였으며, 학계에서 층수 문제가 본격적으로 다루어지지도 않았음을 확인할 수 있었다. 원각사탑과 경천사탑이 10층탑이라는 현재의 통설은, 백 년 전에 세키노 타다시(關野 貞)가 최초로 주창하였다. 세키노는 원각사에 남아있는 「원각사비」가 글자를 거의 판독할 수 없을 정도로 마멸이 심하였기 때문에 원각사탑의 현상만 건축학의 관점에서 고찰하고 10층탑이라고 주장하였다. 공교롭게도 그 직후에 발견된 『속동문선』에 실린 「원각사비」에서 '탑 13층을 세웠다.'라는 구절이 확인되었다. 또한 15세기 후반 왕명으로 『동국여지승람』을 편찬한 편찬자들도 원각사탑의 모범인 경천사탑 또한 '13층탑'임을 분명히 인식하고 있었다. 특히 원각사탑 건립 직후 왕명으로 건립된 「원각사비」는 세키노의 10층설이 전제에 오류가 있음을 명백히 보여준다. 세키노는, '3층의 기단 위에 탑신 10층이 올려져 있어서, 세상 사람들이 13층탑이라고 불렀다.'라고 하였는데, 「원각사비」는 세조가 처음부터 13층탑으로서 원각사탑을 건립하였음을 생생하게 증언한다. 다만 이례적이게도 13층탑을 3층의 기단 위에 탑신 10층을 올린 형태로 조성하였을 따름이다. 그렇다면 세조는 왜 13층탑을 세웠으며, 왜 그것을 3층의 기단 위에 탑신 10층이라는 이례적인 형태로 구현하였는가? 세조가 원각사13층탑을 건립한 의도를 온전히 이해하려면, 먼저 원각사탑의 정체를 파악해야 하는바, 그 첫 단추는 원래의 명칭을 회복하는 데 있다. 필자는 전제의 오류 위에 구축된 세키노의 10층설-나아가 절충적인 다층설-은 이제 폐기하고, 「원각사비」에서 말하는 13층설을 복원할 것을 촉구한다.