• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.4
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• pp.633-645
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• 2017

This study examined the effects of the number of Dakji layer (a layer, two layers), the time of Jumchichigi (20, 40 and 60 minutes) and the type of Choji method making Dakji (Oebal-teugi, Ssangbal-teugi) on five strength properties of Jumchi-Hanji. As a result, the number of Dakji layer and the time of Jumchichigi influenced the five strength properties (tensile, wet tensile, tearing, bursting, and folding strengths). Jumchi-Hanjis made with two layers of Dakijis had higher properties than Jumchi-Hanjis with a layer of Dakji in the strength properties. The more the time for Jumchichigi is spent, the more the five strength properties of Jumchi-Hanji increased. The type of Choji was related to only three strength properties. The tearing strength of Jumchi-Hanjis with one and two layers, and the wet tensile and the folding strengths of Jumchi-Hanjis with two layers depended on the type of Choji. The differences of Jumchi-Hanji and Dakji were also identified in the strength properties. All Jumchi-Hanjis had low tensile and wet tensile strengths when compared to Dakjis. However, Jumchi-Hanjis, made by sixty minute Jumchchigi, had generally higher tearing, bursting, and folding strengths than the Dakjis. In conclusion, the strength properties of Jumchi-Hanji could be improved by controlling the number of Dakji layers and the time of Jumchichigi.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.245-248
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• 2004

This study examied ned physical properties and surface characteristics of papers post-processed by Jumchi technique and stainability of extract from Amur Cork-Tree to use Dakji as clothing material. Then, it found the following results. After-treatment by Amorphophalus konjac K. Koch and persimmon juice showed stronger tensile strength and tearing strength than untreated samples and the drape stiffness was substantially increased. After-treatment by persimmon juice generated dyeing effects as well as excellent tensile strength and tearing strength all samples were generally dyed well by Amur Cork-Tree, While the untreated samples did not show any significant effects in dyeing for more than 5 minutes. It was found that after-treatment substantially contributed on concentration of dyeing as dyeing amounts of post-processed samples were gradually increased as time increased. After-treated sample with agar did not show any significant differences from untreated sample. Accordingly, it has to be studied further.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.224-236
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• 2018

This study analyzed differences between Jumchi-Hanji papers not dyed and dyed with persimmon juice (50% concentration) in five strength properties (tensile, wet tensile, tearing, bursting, and folding strengths). For the analysis, the undyed and the dyed Jumchi-Hanji papers were made by Jumchichigi during 40 minutes and made with the Dakji of different layer (a layer, two layers) and Choji method (Oebal-teugi, Ssangbal-teugi). Differences between Jumchi-Hanji papers dyed with the different concentration of persimmon juice (20% vs 70%) in the five strengths were also identified. For this examination, Jumchi-Hanji papers were made with two layer Dakji (Oebal-teugi Choji method) and by Jumchichigi during 60 minutes. Jumchi-Hanji papers made in this study were used as test samples. As a result, Jumchi-Hanji papers dyed with persimmon juice had higher tensile strength (CD), wet tensile strength (MD, CD), and bursting strength than those of undyed Jumchi-Hanji papers. However, tearing strengths (MD, CD) of dyed Jumchi-Hanji papers were lower than undyed Jumchi-Hanji papers. Folding strengths (CD) of dyed Jumchi-Hanji papers were low but the folding strengths (MD) of them were high compared to undyed Jumchi-Hanji papers. In addition, the concentration of persimmon juice influenced the five strength properties of Jumchi-Hanji. The tensile, wet tensile, and bursting strengths of Jumchi-Hanji papers dyed with a 70% concentration were higher than those one of Jumchi-Hanji papers dyed with a 30% concentration while the tearing and folding strengths of Jumchi-Hanji papers dyed with a 70% concentration were lower than Jumchi-Hanji papers dyed with a 30% concentration.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.79-93
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• 2013

In the Korean literature, records of systematic gold thread manufacturing such as gold foil(金 箔匠), gold foil bonded with fabrics(付金匠), gold foil bonded with paper materials(金箋紙匠), refining gold(鍊金匠), cutting gold(裁金匠), and making gold thread(絲金匠) can be easily found. We can infer from these literatures that the Korean people used to make gold threads. However, is not existent the gold thread making technique. Thus, a research was done using 67 pieces of gold thread artifacts used in textiles craft of Korea, China and Japan. The purpose of this research was to identify the characteristics of the Korean gold thread by studying the artifacts' form classification, gold foil, glue and the base. First, gold thread is divided into flat gold thread and wrapped gold thread. Wrapped gold thread was made in more various methods such as with a paper on the flat gold thread, metal thread and wrapped gold thread with gold foil on top. Compared to the flat gold thread, wrapped gold thread uses a thread that has a thinner and wider. Through this analysis, even making of the base of the gold threads was different according to the type. Secondly, we looked into the characteristics of materials according to form structure of the gold thread. After analysis of experiment results, we could know that to attach Korean gold thread, glue and the mixture of materials such as Red soil(朱土) was also added. The kinds of the base of gold threads were identified as paper, leather and intestines. Among those materials, for paper, Korea's Dakji, China's Sangpiji(桑皮紙) and Jukji(竹紙) and Japan's Anpiji(雁皮紙) seemed to have all been used, so because of the difference among countries, we can prove that Korea has also produced gold thread. By looking at the research, the base of gold threads and making features hugely vary according to the area.