• 복식
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• 제56권9호
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• pp.37-49
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• 2006

The purpose of this study is to figure out the types and characteristics of the twill damask fabrics through literatures review of both domestic and Chinese documents and records. In addition, the study aims to review the characteristics of the twill damask fabrics found at Sukga Pagoda. The twill damask fabrics can be categorized in terms of the weaving method into Float Pattern on a Tabby Ground, Twill Pattern on a Tabby Ground, Float Pattern on a Twill Ground, Twill Pattern on a Twill Ground, and Without Pattern on a Twill Ground. The fabrics ran also be divided in terms of their name into Ki, Neung, and Munju. Four items of twill damask fabrics were found inside the Sukga Pagoda. All of them are Twill Pattern on a Twill Ground. At the primitive level of weaving skill, twill damask fabric was made by adding patterns with twill damask or BuJik on the background of plain weave. At more advanced level, the fabrics are weaved by making patterns with twill damask or BuJik on the background of twill damask. Compared to the relics of Koryo and Chosun Dynasty, these twill damask fabrics were loosely weaved with relatively thick thread.

• 복식
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• 제59권6호
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• 복식
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• 제63권4호
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• 복식
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• 제58권5호
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• pp.153-165
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• 2008

The methods used in determining the weaving period of the textiles comprises not only radiocarbon dating but also discrimination of the motif and the textile structure. This study surveys the variation of the structure and the characteristics of the patterned textile of the Joseon dynasty to determine the weaving period. The number of twill gradually decreased in the Joseon dynasty while satin weave became more popular and the non-patterned twill almost vanished after 1600 A.D. The patterned plain weave was started to weave from the beginning of the Joseon dynasty but this has been shifted to twill, satin weave, floated weave, or the textiles with combined techniques more than 2 kinds after 1800 A.D. For the twist of threads, the number of the fabrics with Z-twisted thread in the warp and the non-twisted thread in the weft showed peak in 1600 A.D. and gradually decreased afterward. After 1600 A.D., the textile without twist became general trend.The satin weave started to appear with the 5-end satin in the beginning of the Joseon dynasty but the 8-end satin started to appear from the middle of 17th century and got more popularity with time. At the same period, the patterned textile on the ground of the satin weaved with the different techniques from the earlier period started to appear. The twist of the satin in the 1600 A.D. showed similar trends as twill, this general trend resulted from the fact that the non-twisted thread in the weaving became more popular with the time at that period.

• 한국의류학회지
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• 제26권10호
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• pp.1390-1400
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• 2002

The purpose of this study is to categorize the type of fabrics and to analyze weaving method on the silk fabrics from ewongun's Tomb. The conclusions of this research are as follow. 1) Among the 26pieces of excavated clothes,98% of them were made of silk fabric and among them 84% used high-quality non-patterned silk I would assume, therefore, that the tomb was owned by a person who had a dignified yet humble tagte of higher society. 2) The weaving methods of textiles are plain weave, twil1 weave, satin weave. Plain weave includes spun silk tabby, fine filament silk tabby, raw silk tabby, thine silk tabby, damask on tabby, twill weave includes twill damask with different directions, satin weave includes non-patterned satin damask,5-end satin damask(4/1 warp faces ground, l/4 wok faced pattern). As the result of literature survey, I settled the names of textiles as follows; tabby was called Myunju, Saeju, Saengcho, and Sookcho according to the kind and density of silk threads used; Damask on tabby was ca]led Hwamunju) Twill damask was called Hwmunnung Satin damask was ca]led Hwamundan if they bear patterns by themselves or Mumundan if they don't have any patterns on them.

• 복식
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• 제51권4호
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• pp.81-95
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• 2001

The purpose of this study is to categorize the typs of fabrics and to analyze weaving method and pattern design on the silk fabrics from Jang-Gi Jung s tomb. The conclusions of this research are as follows. 1) Among the 32 pieces of excavated clothes, 90% of them were made of silk fabric and 65% used patterned silk. I would assume, therefore, that the tomb was owned by a person of higher society who could afford the best clothes of the time. 2) The weaving methods of silk include tabby, twill damask with different direction (2/1 warp faced ground, 1/3$\cdot$1/4 weft faced pathern), self-patterned satin damask (4/1 warp faces ground, 1/4 weft faced pattern), and brocaded satin damask. 3) The arrangement of the motifs and the kinds of patterns on these silk fabric can be divided into two categories: first group is allover arrangement of peony or lotus and second group is the scattered arrangement of omen of luck. 4) Two pieces of fabric was stamped and the letters of the stamp make me to think about the possibility that the fabrics are from China. But to make this paint clear more relics of this kind should be excavated so that further research can be done.

• 한국의류학회지
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• 제31권7호
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• pp.1097-1106
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• 2007

The purpose of this study is for development textile design and making fabric actually for dementia patients hospital clothing using symbol which has social care meaning. For achievement the aim, process and research methods were as follows. First the symbol design was developed. Second the symbol was applied as textile design for dementia patients hospital clothing. Symbol design was under processed with a letter 'Alzheimer' and meanings as like 'love', 'happiness' 'care' 'hope' and 12 design samples were developed by CAD and photoshop. Total 15 evaluation members chose 2 design samples. The 2 design sample were practically arrangement 7 textile design pattern with ground different colors. And finally 3 design pattern and 3 colorway were selected and add white ground. Totally 7 textile design was printed on 100% cotton, 20 yarn count, 1/2 twill. Therefore this new textile design for dementia patient's hospital clothing can be used in medical clinically and the symbol can be use for daily care item for the patients more comfort and high quality in their lives in hospital.

• 한국농림기상학회지
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• 제3권3호
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• pp.135-142
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• 2001

이 연구는 강원도 지역의 시계열 기상자료와 산불발생현황자료를 이용하여 시ㆍ군별 산불발생유형을 구분하고자 지역간 기상요인과 발생원인 그리고 산불발생 일을 근거로 한 지역별 유형화 구분을 목적으로 시도되었다. 기상요인에 의한 산불발생 유형화에서는 최근 6년간의 강원도 소재 기상대의 기상자료를 적용하였으며, 지역과 산불발생원인과의 관련성 규명과 산불발생일의 불일치계수를 이용한 수량화된 다차원척도법 유형화에서는 최근 10년간의 산불발생현황자료를 적용하였다. 연구결과를 요약하면 다음과 같다. 첫째, 강원도 동해안산불과 같은 대형산불에 관련되는 기상요인으로는 평균온도, 최저온도, 최저초상온도, 평균풍속, 최대풍속 등으로 규명되었다. 둘째, 산불발생원인과 지역간의 관계를 도식화한 대응일치분석 결과에서는 지역과 산불발생원인과의 관계에서 가장 확연히 구분되는 지역으로는 '강릉'의 경우로 '방화'와 깊은 관련이 있는 것으로 나타났으며, '삼척'은 '입산자실화'와 '철원', '화천', '양구'지역은 군사훈련과 관계하는 것으로 보여지며, '속초'와 '춘천'의 경우에는 '쓰레기 소각'과 '담뱃불'이 타지역보다 밀접한 관련성이 있는 것으로 나타났다. 마지막으로 산화발생일을 근거로 각 시ㆍ군의 산불발생 유사성 정도 및 유형화 구분을 위한 다차원척도법 적용결과에서는 강원도 18개 시ㆍ군 지역이 5개의 유형으로 분류되었는데, 유형 I로 구분된 지역으로는 삼척, 강릉, 춘천, 원주, 홍천, 횡성으로 나타났으며, 유형 Ⅱ는 동해, 태백, 양양, 평창지역, 유형 Ⅲ은 정선, 철원, 화천지역, 유형 Ⅵ는 고성, 인제, 양구지역이, 그리고 마지막으로 유형 V는 속초와 영월지역으로 구분되었다. 지금까지의 도출된 연구결과들은 산불현황자료와 기상자료를 기초로 하여 도출된 결과를 근거로 제시하였고, 지역별 산불발생 특성을 보다 체계적으로 구분하기 위하여는 이외에도 지역별 임상요인과 지형 및 사회적 요인에 대한 검토들이 병행되어야 할 것으로 판단된다.의 경쟁이 생장에 영향을 미치는 것이 사실이다. 따라서 앞으로의 연구에서는 지형, 토양, 미기후 조건, 그리고 임목 간의 경쟁관계가 종합적으로 고려된 환경요인에 의한 생장특성을 파악하는 연구가 필요하다. 아울러 본 연구에서와 같이 지형기후학적 방법에 의하여 추정된 미기후를 통하여 보다 정확한 결과를 얻기 위해서는 무인자동기상관측 망의 설치를 통하여 이를 검증하는 작업이 필요하다.deling of self-similar traffic.ti colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.Standards for Livestock Products of Korea". The measured mean concentrations of Ca, Fe, Zn were generally higher than lower limit of labeled value(above 80% of labeled value). The mean concentration of sodium was lower than upper limit of labeled value(below 120％ of labeled value).