• 복식
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• 제39권
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• pp.59-77
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• 1998

This paper is focused on the traditional sash weaving handicraft of‘She’ethnic group, which is located in Fujian, Zhejiang, Jiangxi, Guangdong province of China. This research is main-ly based on the field work, analyzed and inter-preted the traditional sash in systematic and reasoned way. The summary of this study are as follows : 1. On its technological aspect, weaving structure of the traditional sash is made of warp rod backed weaving. The used tool is primitive one but the weaving process includes scientific method. 2. From the social-cultural point of view, the sash ha been the symbol of love towards her lover. Every woman of this group had taken training for this sash weaving from a child. 3. On its ethnological aspect, it has been long history and has interchanged with other ethnic group like Miao, Han and also Okinawa country of Japan. The pattern inside this sash are almost looks like characters, but they are not Chinese characters whereas are the inde-pendent code of‘She’ group and have been inherent from ancestors and which will be tran-smitted to their posterity. These independent code of‘She’group are the traditional message to their later generation implicating their natural circumstances, human relationship, ethnic myth, spirit etc. 4. I recognize that the pattern inside the sash is defined as the communicative code and in comparison to language, it is more repetition and less apparent as close code. Nowadays China has been developed es-pecially in the economical fields rapidly. Under the circumstances traditional weaving culture of ethnic groups has been facing a crisis of disappearance, which will be a great loss for the country as well as the human beings. For this reason, I emphasize that it is very immediate to make co-researches into the material culture of Chinese ethnic groups.

• Journal of Welding and Joining
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• 제27권4호
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• pp.49-53
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• 2009

For Al 6k21-T4 alloy, linear laser welding produced the lower shear-tensile strength than the base metal. This study improved the shear-tensile strength by using the weaving laser at the optimized welding condition, i.e., 2mm weaving width and 25Hz frequency. The large weaving width increased the weld width, therefore improving the joint strength. For the specimen of low strength, the porosity was distributed continuously along the intersection between the plates and fusion line. However, for the optimized welding condition, large oval-shaped porosities were located only in the advancing track of the concave part. Regardless of the welding condition, solidification cracking was initiated at the intersection and propagated through small porosities in the weld part. furthermore, the concave part had more significant porosity in the weld and HAZ, respectively than the convex part. The continuity of porosities played a key role to determine the strength. And, the weaving width was an important parameter to control the strength.

• 복식
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• 제59권6호
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• pp.140-155
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• 2009

This study tries to find out the special twine technique of flat string and refers to historical documents, records, artifacts of excavated articles, and real materials. In Japan weaved cloth is called Jomul or Jonue and these methods were brought to Japan from Korea during Aska Period(645${\sim}$710) and Nara Period(710${\sim}$794). Among those knot methods, the 1/1 knot was written as a Shillajo on a documentary record at Heian Period, Engisik, and Samdaesillok which is a historic document from King Saiya to King Gowooko(858${\sim}$887). Also 2/2 knot weaving was recorded as Goryeojo that the technique originated for a long time in Japan. During the Joseon Dynasty, Gunmok was written as Dahoi, and Gwangdahoe, which means wide and flat Gunmok, was the name of Dae(Belt). The frame for the twine Gwangdahoe is no longer in Korea, but only can be found in Japan as a Goraiwoochi loom for Shillajo and Goryeojo from Korea. There are currently artifacts by the techniques of Shillajo and Goryeojo that were excavated in 15${\sim}$17C in Korea. Therefore this study was looked into the artifacts from 6${\sim}$8C in $Sh{\"{O}}so$-in, and the features of Dae (Belt) weaved by Shillajo and Goryeojo case method. Gwangdahoe excavated artifacts in the mid Jeosun Dynasty was restored by the process of Goryeojo weaving method.

• 한국물환경학회지
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• 제20권6호
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• pp.664-669
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• 2004

An upflow BAF(Biological Aerated Filter) equipped with an expanded clay media was applied to reuse weaving wastewater of water jet loom. The performance of lab-scale biofilter was investigated by the adjustment of EBCTs(Empty Bed Contact Time) and the packing ratio of media, which were changed 1.1 to 3.7hr and 38 to 63%, respectively. In most conditions except 1.1hr of EBCT, BOD, CODcr, SS and Turbidity of the effluent were 1~4mg/L, 7~16mg/L, 1~5mg/L and 5~14NTU, where their removal efficiencies were 76~95%, 82~93%, 63~94% and 59~81%, respectively. From the observation of SEM(Scanning Electron Microscope) photographs of porous clay media, it was revealed that this media provided good performance of retaining microbes effectively. In addition, $0.44~0.49kgVSS/kgBOD_{rem}$. of low sludge reduction was expected. The most efficient back washing cycle and procedure were once per 4 to 9 days and air including collapse-pulsing method, respectively. Therefore, this system can be of use as an weaving wastewater treatment for reuse.

• 복식
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• 제54권8호
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• pp.87-100
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• 2004

This study is to understand the types and characteristics of wool fabrics of the Korea. It classifies the types of wool fabrics whose name can be found in the documents by their weaving methods and it researches their characteristics by type, time, usage, and pattern. In Wool fabric of the ancient age were there compound weaving fabric, such as Gyesoo. which is made with embroidery method, Gyegum, which is made with embroidery in gold threads, as well as general fabric, such as plain-weaved Gal, twill-weaved Sagal, gauze-weaved Mosa, Mora, etc. There were also various weaving methods, such pile-weaved Yung, tapestry-weaved Tabdung, or Guyoo, or Dahm, felt-weaved Jeon, etc. It was found in documents that wool fabric such as Gye, Jeon, Dahm were produced in Korea and China. In case of Korea, wool fabric was enormously developed in Koguryo, Shilla, Balhai, United Shilla. Koryo era. Particularly in Koguryo and Balhai, the stock-farming and hunting were the main parts of their occupation. In Koryo era, the weaving technique of wool fabric had made great development. The wool fabric was used not only in clothing but also in official hats, rugs. wall-tapestries, etc.

• 한국염색가공학회지
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• 제12권5호
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• pp.273-279
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• 2000

Interlace textured yarn was developed in order to increase weaving process efficiency. Today, interlace texturing is very useful method of manufacturing the high added value compound yarns for new synthetic fabrics. In this research, new silky type high added value compound yarns were. manufactured by interlace texturing technology and tested their properties. The object of this research is to investigate the relationship between interlace textured yarn properties and processing parameters that is air pressure, yarn tension and take-up speed. The original filament yarns used were TTD(Thick & Thin Semi-Dull) 110d/72f and SCD(Semi-Dull Cation Dyeable) 75d/36f. 27 specimens were manufactured and tested for their physical properties-nip density, tensile properties, multi-step shrinkage test and surface structure by SEM. The air pressure was main process condition to change properties of interlace textured yarns. And interlace textured process had influence on weaving preparation process, weaving, knitting and so on. It has some influence on shrinkage properties of dyeing and finishing processes.

• 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.

• 한국의상디자인학회지
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• 제10권1호
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• pp.45-53
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• 2008

Different method of textile fabrication had existed since the ancient times, but the most dominant form was the 'weaving' method which embodies the cross fabrication of vertical and horizontal threads using special weaving machines (looms). In addition, fabrication methods like knitting, felt, and lace were commonly practiced while intertwinement methods like twisting, braiding, and knotting techniques were frequently used for weaving strings and braid type textiles. In the past, people did not pay attention to strings and braids because they were classified as non-textiles, but, in this paper, we have expanded the scope of definition of textile to include strings and braids, and seek to conduct in-depth research on various different intertwinement of textiles. The adaptation of intertwinement method in arts and crafts enables limitless creative works reflecting the ever-changing taste and style of the creator. This creativity is further broadened by the fact that intertwinement methods encompass no set patterns and the subject and shape of its creation is as broad as its artistic pursuits. We can infer the knowledge of our ancestors, their aesthetic taste, and the pattern of life from these creations. In addition, these creations can provide comfort and improve the quality of life of modem people who are deeply deprived of sentimental and emotional solitude in the technological civilization of the 21stcentury. The main purpose of this paper is to examine traditional Korean arts and crafts made using the intertwinement methodology through the context of strings, braids, straw crafts and knotting method. Then it will conduct through research on the different materials, forms, characteristics, usage and other key notions based on the currently preserved records and relics to contribute to the research on traditional textiles and provide the foundations to the development of the Korean culture and cultural products, reflecting the true sole and aesthetics of traditional Korean textile crafts.

• 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.

• 한국의류산업학회지
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• 제7권1호
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• pp.23-32
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• 2005

This study attempts to address the development processing of yarn-dyeing jacquard design by using jacquard textile design professional CAD system to create high valued worth products. To carry out this purpose, two kinds of necktie samples were designed and each of them was different in three types of weaving method. The results are as follows; All over type is appropriate when the motive's size is small. And the work can be finished within short time and design can be illustrated by basic jacquard system. However, one point type can represent rather big and audacious motive but it needs lots of working hours and jacquard system. Though the motives are identical, showed many changes in cubicle representation according to weaving methods and the structure. To express simple and modest design, single fabric woven is suitable and in the need of colorful and technical design, expressing by double weft cloths and triple weft cloths rather than single fabric woven are better to give creativity and colorfulness. For the production of jacquard design, cad system using ability is important but the understanding and study of the whole process of weaving development should be made.