• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.1-11
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• 2019

This study examined the cause of the phenomenon of shrinkage in machine-embroidered fabrics, specifically those made of thin and pliable fabrics. Four woven fabrics and two knitted fabrics were selected as samples for analysis. The fabrics selected were silk organza, flax linen, polyester chiffon, cotton batiste, polyester raschel mesh, and cotton jersey. The thickness and drapability of the fabrics were observed and the shrinkage of the various types of embroidered fabrics produced using satin & step stitch techniques were measured. Moreover, the correlation between the shrinkage of the machine-embroidered fabrics and the drapability of the original fabrics was analyzed. Also, the colorfastness of six embroidery yarns was determined. The results of the study are as follows: first, the shrinkage of machine-embroidered fabrics increased at a greater rate than in embroidered knitted fabrics as compared to rates in embroidered woven fabrics. Moreover, in terms of stitch techniques, there was a greater shrinkage rate when satin stitch was applied compared to step stitch. Second, the shrinkage rate of machine-embroidered fabrics decreased when a stabilizer was fused onto the fabric. The shrinkage rate also decreased for fabrics when fused with paper stabilizer compared to those without it, and the rate decreased at a greater amount with paper stabilizer as compared to alginate film. Third, since there was a strong correlation between the shrinkage rate of the embroidered fabric and the drapability ratio of the original fabric, it was generally the case that the more pliable the fabric was, the greater the shrinkage rate was when the fabric was embroidered. Fourth, while the embroidery yarns mainly used in machine-embroidery presented an overall excellent level of colorfastness, there was slight color migration of level 4 to level 5 when using viscose rayon.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.49-62
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• 2022

The embroidered Kasaya is the twenty-five column Kasaya of Triratna: Buddha, Dharma, and Sangha. Even though it is a representative artifact of embroidery, the method of manufacturing heavily depends on the collector's reports. This study focuses on the prayer's recorder: Gonmyeong Park, born in Muja, and Ven. Haebung, who acted as a historical investigator of embroidered Kasaya. The beginning of Haebung's public record was in 1815, and his entrance into nirvana in 1826. The birth year of prayer in Muja was 1768. Therefore, the embroidered Kasaya was manufactured at the end of the 18th century or the early 19th century. Haebung appears to have played a critical role in historical investigation, and consequently the 125 icons of Triratna are almost identical in three treasures: the Kasaya at Seonamsa Temple, the embroidered Kasaya, and the painting of the embroidered Kasaya at Cheongnyongsa Temple. The embroidered Kasaya was particularly affected by the religion of a thousand Buddhas and by Triratna in the late Joseon era. Unlike the Kasaya of a thousand Buddhas in the Ming and Qing Dynasties, the embroidered Kasaya shows the Triratna in detail, suggesting that the icons of Triratna were newly created.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.88-100
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• 2017

This study is for the textiles of at Sun Am Temple and characteristic of embroidery. Tak Ui was composed of orange body and green upper cover, and had no strings. The body plate was covered with embroidery, with Gauze base, and upper part was appliqued, by cutting dragon pattern, cloud pattern on satin damask. The thread for embroidery was silk floss, silk twisted thread, rapped gold thread, and rapped silk thread. For padding, it was used cotton thread in the part of dragon's scales. It was used satin stitch, outline stitch, split stitch, couching, and counted stitch, etc. as method of embroidery. In particular, it embroidered counted stitch of diamond shape consecutively on the whole of Tak Ui, it does so with counted stitch of same effect of weaving Brocade in the part of cloud. Besides, it is one of the characteristic for couching rapped silk thread. Such lead embroidery is the popular method in the Ming dynasty of China, in the 16~17 century. The design of Tak Ui is dragon, cloud, and wave in the theme. In the center, 'Seong-su-man-nyeon' was placed on the heads of dragon. This is similar to Dragon Robe of Four-petalled medallion patterns, period of Ming dynasty in China. Therefore, it confirmed that Tak Ui was remodeled the embroidered textiles, made for royal robe, originally, with Tak Ui at temple.

• Proceedings of the Costume Culture Conference
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• 2003.02a
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• pp.16-17
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• 2003

• The International Journal of Costume Culture
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• v.5 no.2
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• pp.42-52
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• 2002

The purpose of this research is to survey minpo(the nations pojagi), especially supo(the embroidered pojagi), of the Yi Chosun of Korea during the nineteenth century. This study explores the history and background of minpo, its characteristics, including forms, designs, materials, and how they related to women's daily life during the Yi Chosun in social and cultural aspects. There were minpos for use in everyday life as well as for special occasions such as weddings, funerals and religions rites, including Buddhist and other services. The research undertaken here is done by classifying minpos according to composition, design, pattern and motif.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.1-14
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• 2006

This study is to examine the Hyangnag used in China. Results of the study can be described as below. 1. Hyangnang was also called Hyangdae, Hyanghapo, Hunnang and Chunnang. Perfumes were used to make the body and clothes diffuse a good fragrance. And Perfumes were used to prevent insects and remove related pollutions. It was possible to prevent insects when perfumes were burnt out. 2. In the Han, Song, Yao and Win periods, Hyangnang had Cylinderical, Rectangular, Cylinderical and Rectangular, Circular and Calabach types. These various types were developed into one, Norigae type, in the period of Ching. 3. Hyangnang were decorated mainly with embroideries, knots and seams. Embroideries were applied always onto the surface of Hyangnang. Knots were used mainly in the Song and Win periods, decorative seams were used mainly in the Ching. 4. From the Han to Yao periods, Hyangnang was made of perforate textiles like na and Sa for practical reasons, making perfume smells more easily diffused. From the Win to Ching periods, Hyangang was made of dense textiles like silk and Dan, which could be easily embroidered for decoration purposes. 5. Hyangnang was often hanged down from the waistband and up onto the fore chest or the elbow, or put into the liner of the sleeve. 6. Hyangnang has immanent implications of symbolism, ideology and aristocraticism.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.57-65
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• 1984

This is to study some female court costumes, Jamgsam and Sooboro etc. (장삼, 수보노), which seem to had been used as ceremonial robes. There is no remaines, and only a little written materials can be used. The Kook-Chang-Dogam Eui Gues(국장도감의구) give us some know ledges on the shapes, materials, embroideries and the usages of them. After surveying the provisions of the Eui-Gues, Auther arrived at conclusions as follow; 1. Jangsam(장삼) set is the counterpart of the Myunbok(면복) set. 2. Sooboro(수보노), worn over the Sang(상), is short, divided into three parts from the middle of the length, and the peonies(목단) are embroidered at the bottom of the three parts. 3. Jangsam(장삼) is accompanied by susik(수식), which seems to be a kind of headband, and a pair of gloves(수의).

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.8
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• pp.1057-1064
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• 2004

Silk, polyester, cotton, and wool fabrics were embroidered with varying stitch length of 3mm, 5mm, and 10mm to examine the difference in fabric shrinkage in terms of sewing direction, fabric thickness, cover factor, stitch length, and fiber type. Warp, filling, and bias direction of sewing resulted in no difference in fabric shrinkage. Within the samples with same stitch length, there was less fabric shrinkage in fabrics with higher fabric thickness or higher cover factor. There was larger shrinkage when sewn with longer stitch length. Comparing fabrics with different fiber types but similar fabric thickness, silk and polyester fabrics showed the smallest fabric shrinkage and wool fabrics showed the largest shrinkage. It is shown that similar fabric shrinkage between silk and polyester is due to the similarity in cover factor.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.