• 복식문화연구
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• 제28권5호
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• pp.607-620
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• 2020

The aim of this study is to define the new expressive techniques for multicolored clamp resist (hyuphill) dyeing, based on empirical verification on relics that are estimated to be dyed by the exchange of more than two wood blocks: a previously undiscovered technique. Clamp resist dyeing (assumed to be made by exchanging wood blocks) have uneven resist printing lines or cloudy gradation. These are reproduced as follows: first, they have uneven contour lines, particularly with the color blue. It is possible to exchange wood blocks separately on patterns with uneven resist printing lines, and it has been verified that the exchange of wood blocks makes these irregular resist printing lines. It has also been verified that exchanging the wood blocks according to the gradation (to emphasize the cubic effect on the patterns) yields clamp resist dyeing with no resist printing lines but with cloudy gradations that have accented borders. This study provides basic information that enables methods of multicolored clamp resist dyeing through wood block exchange to be deduced (something that has not been attempted for a long time). Thus, the revival of the modern Korean dyeing culture based on the conservation and perseverance of the traditional dyeing techniques can be achieved.

• 한국의상디자인학회지
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• 제8권3호
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• pp.129-143
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• 2006

This study is to review the printed cotton textile industry of Europe in 17th-l8th century, and specially investigate the development of the Toile do Jouy, printed French fabrics around the 18th century. Generally, the Toile de Jouy has two different meanings. The first meaning is the popular printed cotton textiles producted by wood block printing, copper plate printing and roller printing techniques at Jouy on Joas factory in France, around 18th century. The second meaning is the monochromatic upholstery fabrics printed by copper plate. Actually, this monochromatic printed textiles were the most popular printed cotton fabrics with large scale scenic designs with people, trees, birds, buildings, mythical heroes, protagonists of novel and country scenes of shepherds, sheep and other animals manufactured by Jouy on Joas factory. Main issue of this paper is to propose features of pattern, color and classify types of patterns expressed on the Toile de Jouy fabrics according to printing techniques such as wood block printing, copper plate printing and copper roller printing. And this study is also to analyze on origins of the variety of names called the printed cotton textiles in those days. The results of this study can help to understand the knowledge of printed cotton textiles in Europe and be effectively applied to develop printed fabric design in the textile industry.

• Journal of the Korean Wood Science and Technology
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• 제35권1호
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• pp.64-72
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• 2007

팔만대장경판을 보관하고 있는 장경판전 내부의 판가 기둥에 대하여 생물적 열화 특성을 조사 연구하였다. 장경판전의 법보전과 수다라장의 판가기둥을 대상으로 연구 검토한 결과, 서가의 위치 및 부위 그리고 주변 환경에 따라 다양한 열화 현상이 있음이 밝혀졌다. 부재의 주요 열화는 미생물에 의한 부후현상으로 밝혀졌으나, 부후가 나타난 부분들은 초석에 접촉된 부위였으며 부후 정도가 매우 극심한 상태를 보였다. 법보전 판가기둥 부후가 더 심했다. 부후형은 백색부후형이 많았다. 그리고 일부판가기둥에서는 곰팡이류의 표면오염이 극심한 것으로 나타났다. 특히 동북, 서북, 북향에 위치한 부재에 더 심한 열화가 나타났으며 건물내부의 전면보다는 후면에 위치한 판가 부재의 부후가 심한 것으로 밝혀졌다 해충에 의한 피해는 거의 없었다.

• 한국도서관정보학회지
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• 제50권4호
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• pp.305-337
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• 2019

연구는 경상남도 의령지역에서 간행된 109종의 문집을 대상으로 문집 간행의 구체적인 양상과 출판문화적 의미를 파악하고자 문집의 판종, 유형, 저자사항, 간행사항을 분석하였다. 연구의 결과 다음과 같은 사실이 밝혀졌다. 경남 의령지역 간행 문집 109종의 판종, 유형, 저자사항, 간행사항을 분석한 결과는 다음과 같다. 1) 판종은 목활자본(52종, 47.7%), 석판본(25종, 22.9%), 신연활자본(18종, 16.5%), 목판본(14종, 12.8%)의 순이다. 2) 유형은 문집(53종, 48.6%), 유집(47종, 43.1%), 실기(9종, 8.3%)의 순이다. 3) 문집 저자의 출생연도는 1318년부터 1902년까지 584년의 간극이 있다. 1318년생은 <경은실기>의 저자인 전조생이고, 1902년생은 <회동유고>의 저자인 전용기(1902-1978)이다. 전체 저자 104명 가운데 19세기 전기 출생자가 16명(15.4%), 19세기 후기 출생자가 54명(51.9%)로서 19세기에는 전체의 67.3%에 해당하는 70명이 출생하였다. 4) 109종 문집 저자의 성관은 모두 29개로서 담양전씨(15종) > 고성이씨(12종) > 진양강씨·탐잔안씨(각9종)의 순이다. 5) 의령에서 문집의 간행년도를 보면, 1610년대부터 1980년대까지 370년간 간행되었고, 1820년대까지는 문집이 목판으로만 간행되었고, 1850년대에 목활자본 문집이 처음 나타나며, 1930년대에 석판본, 신연활자본 문집이 나타난다. 6) 저자 사후 문집간행에 소요되는 기간을 살펴보면. 저자가 별세하는 당해년부터 사후 545년까지 간행되었고, 저자 사후 50년 이내에 63%인 69종이 간행되었다. 7) 문집의 간행소는 판종에 구분없이 조상의 제향공간인 누정과 재실에서 가장 많이 간행되었다. 이는 문집간행이 선조의 학문과 행적을 선양하고자 하는 혈연공동체의 사업이었음을 말해준다.

• 패션비즈니스
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• 제8권5호
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• pp.75-84
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• 2004

Fashion Illustration has become a key method in expressing Fashion, and is being applied in various fields of the modern world, where changes are so rapid that prescribing trends are meaningless. Fashion Illustration was stimulated through progress of wood block printing and development of printing techniques, and grew with fashion magazines. Fashion Illustration advanced along with the appearance of newspapers and magazines that were emerged due to historical demands such as development of printing techniques, spacial spread of human life, obliteration of traditional societies, diffusion of education systems, progress in postal systems, and appearance of commercial broadcast. Fashion Illustration showed growth and decline along with the influence of mass media such as magazines and photography, and the general publics demand. In this study, the author reviews Le Nouvau Mercure Galant, the magazine that first dealt with Fashion Illustrations. The author analyses the magazine in six stages of formation, growth, revolution, golden-age, decline, and reconstruction, to develope a theoretical analysis of Fashion Illustration and to give direction of use of Fashion Illustration in the future.

• 한국도서관정보학회지
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• 제44권3호
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• pp.447-470
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• 2013

이 논문은 조선시대 전반에 걸쳐 목판본 문집 간행의 문화적 양상이 시기에 따라 어떻게 변화하였는지에 관한 연구이다. 조선 초기 조정에서는 명현의 글을 보존하기 위해 문집 간행의 필요성이 계속적으로 부각되었으며, 국가에서 적극적으로 개입하여 문집 간행을 주도하였다. 16세기부터 18세기 초반에는 감사 수령이 중앙에서 지방으로 파견되어 그들의 주도에 의해 지방관아에서 문집이 집중적으로 간행되었다. 17세기를 거쳐 18세기 초중반에는 부세 제도 변화로 지방관아의 재정이 제한되어 문집간행 사업이 현격하게 줄어든 반면, 숙종대에 서원의 수가 폭증하자 지방관 중심의 문집 간행이 18~19세기에는 서원 중심으로 전개되었다. 19세기 후반에는 이전 시기의 형태들이 여전히 존재하였던 반면, 서원의 제도권에 속하지 못하거나 서원의 지지를 얻지 못하였던 사족들의 문집 간행이 19세기 말부터 폭발적으로 이루어져 양반층 전반의 문화로 확산되어 갔다.

• 한국문헌정보학회지
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• 제28권
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• pp.71-81
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• 1995

There are no exact copies or carvings of India's original Buddhist Scripts published in Korea that had been flowed into Japan except those of WanSanJungUiMongSanPuPo(환산정의몽산법어). YaWoonJaKyung (야운자경). KyeChoShimHakInMoon(계초심학인문) PalSimSooHangChang(발심수행장) and MongsanWhaSangPupoRackLock published by a mid-Chosun Dynasty Buddhist monk, YaWoon TaesunSa. Others are the translations by Chinese people. All printings were of woodblock except ChonjimyungYangsoo- RhockChapMoon(천지명양수육잡문) of Inkyng wood printing type. This shows perhaps that the Buddhists were so devout that they spared no effort in their prayers to head for the Paradise. Even the woodblock carver himself took his hard work for granted in his belief and engraved the blocks with all his heart taking his work as God-given task. Or. perhaps they to use wood-block printing as the demand for the Scripts soared. By the way. as the Koryo Dynasty took Buddhism as the state religion, it was natural that the Buddhist Scripts were published at TaeJangToKam (the publishing office) and were much encouraged. It is noteworthy. however, that not a few Buddhist Scripts had been published during the Chosun Dynasty despite its crack-down on Buddhism as the Confucianism was declared as the state principle. The Scripts were even published by such temples as MoonJooSa(문수사), MyoHeeAm(묘희암). SsangbongSa(쌍봉사). PyoHoonSa(표훈사), YooJupSa(유점사), YongJangSa(용장사). and AnShimSa(안심사). The fact that the Scripts were even published by KanKyungToKam(간경부감) leads us to reconsider the traditional way of thinking of the Chosun Dynasty as anti-Buddhist or flunkeyist. The historical fact that a record number of Buddhist publications had been transmitted to Japan - is it accidental? - This issue could well be another subject matter for further research. However, it should be noted that very few of above­mentioned Buddhist Scripts are found in present-day Korea.

• 한국도서관정보학회지
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• 제35권2호
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• pp.31-45
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• 2004

The purpose of this study is analyze physical and textual characteristics of the fold screen with Gosi(고시), tour ancient poems own by Beopjusa temple(법주사) in Mt. Sokrisan(속리산). The calligraphic specimen of this fold screen is written by King Seonjo(선조), and it seems to be made by between 1725 and 1758. On the view of physical point, the size of the fold screen is 190.0cm high, and 67.2cm wide each fold. And its format is made by 8 fold screen and its calligraphic style is a ‘cursive’ style. It was printed by wood block printing with chinese ink on the Geonji(견지). On the view of textual point, the fold screen of Gosi(고시) is consist of four ancient poems, and its content is describe to yearning for the appearance of the true gentleman possessed with high principles and virtue. And the four ancient poems is arranged by a well organized passage.

• 한국도서관정보학회지
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• 제26권
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• pp.401-440
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• 1997

The purpose of this paper is to study the historical background of the development of bibliography in the Sam-Kug Period. In the Sam-Kug Period, Bibliographic civilization was due to be invented the character. The invention of script was the revolution in communication and education. It is the acceptance of confucianism, Buddhism and Taoism to be influenced by the Bibliogaphy's development in this period. So it has produced a large number of student studying abroad and mission. And they were able to collect lots of books in China. It was various the way that they collected the materials. During one's stay in China as a student, they asked them give the books, or bought it at government expense. Their primary responsibility was to study and collect the classical canon, the Buddhist Sutras etc. Majority of the collected materials were classical canon and the Buddhist Sutras. And it was first copied by calligrapher and printed with the wood-block. Example, Dharani Sutra was found in the second story of Sokkatap pagoda of Pulguksa Temple in 1966. It was put inside the Pagoda when it was built in 751(in the 10th year of king Kyong-Duk). This is the worldwide cultural property of which we are proud. The collected books were annotated by learned priests and confucian scholars. An annotation of the sacred books were based on the Buddhist civilization, the art of printing and the development of bibliography. But we are unha n.0, ppy that it was reduced to ashes lots of the temples and the materials by the effect of war or fire.