• 박물관보존과학
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• 제23권
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• pp.49-60
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• 2020

국립중앙박물관 소장 운보문단 보자기(증9393) 유물의 전시와 안전한 보호를 위한 보존처리를 실시하였다. 이후 보존 처리한 직물 무늬의 시대를 추정하기 위하여 함께 기증 된 이항복(1556-1618)의 17세기 활동시기와 후모본(後模本) 초상화의 제작시기인 18세기의 유물과 비교하여 운보문단 보자기 무늬의 구성과 연대를 추정하였다. 운보문단의 시대 추정을 위해 시대가 확실한 유물과 비교한 내용을 확인한 결과는 다음과 같다. 첫째, 이항복의 생몰년(1556-1618)을 기준으로 유사한 시기의 출토복식과 의궤의 표지의 무늬와 비교하였으나 운두와 꼬리크기의 비율에서 확연히 차이가 보여 이항복의 생몰년 대에 제작한 직물로는 추정되지 않다고 판단되었다. 둘째, 이항복의 호성공신과 위성공신 초상 후모본의 제작시기인 18세기 운보문단 직물 무늬와 비교한 결과 가장 유사한 1702년 『숙종인원왕후가례도감의궤』 표지의 운보문단이 확인 되었으며, 이외 1730년대까지의 의궤표지와 출토직물에서 배열, 크기, 비율 등 유사한 구성양식을 나타내고 있었다. 보자기의 정확한 용도는 확인 할 수 없었지만 함께 기증 된 후모본 초상화와 유사한 18세기 초에 제작된 것으로 추정할 수 있다.

• 한국의류산업학회지
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• 제5권3호
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• pp.299-303
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• 2003

Some of historical textiles were analyzed to identify the imprinted textures on the metal remains of Haengyeup(a horse strap pendant) and Doja (a knife), which were excavated in the ruins of Hwangsung-dong, Kyungju city in the fifth century and textiles imprinted on the human bones that were excavated in the Pungnae 4th Area, Namyangju county in the sixteenth century. The results analyzed arc as follows ; It was confirmed that the imprinted textures of Haengyeup and Doja are white ramie since the structural characteristics of cellulosic bast fibers, partially projected long oval cross sections with large lumens and the imprinted textures of human bones are silk fabrics since the triangular cross sections of fibroin is showed. All of the textiles were designed in plain weaves. In the case of weaving yarns, the warp threads were thicker than the weft threads, that is, the imprinted textures of Haengyeup were measured by 1.35 mm for warp and 1.21 mm for weft, and the Doja by 1.16mm for warp and 1.11 mm for weft. In connection with the direction of the yarn twist, the Z-twist were observed in the imprinted textures of human bones, whereas it presented the S-twist in the case of Haengyeup and Doja. The warp yarns were mostly harder twisted than the weft yarns on the amounts of twist, that is, it was observed that the case of Haengyeup were amounted to 0.33 twists per centimeter for warp yarns and 0.25 twists per centimeter for weft yarns. Also it was showed 0.32 twists per centimeter for warp yarns and 0.26 twists per centimeter in the case of the textures of human bones. On the fabric counts, it was showed that the finer the yarns the higher the densities since it were $4.3{\times}5.1$ threads per sqaure centimeters and $7.6{\times}7.1$ threads per sqaure centimeters each in the case of Haengyeup and Doja, whereas it was $18.2{\times}33.7$ threads per sqaure centimeters in the case of the textures of human bones.

• 복식
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• 제59권3호
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• pp.131-144
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• 2009

This study is about single-layered $Chog{\breve{a}}ri$ excavated from SongHyosang(宋效商, 1430-1490, SHS hereafter), SongHeeJong(宋喜從, the late 1500s, SHJ hereafter) tombs. There are 7 single-layered $Chog{\breve{a}}ris$ for men. We focus on comparison of their design and sowing method. 1. Design: Investigating collar, $Chog{\breve{a}}ris$ from SHS have MokpanGit and $Chog{\breve{a}}ris$ from SHJ have KalGit. KalGit has been seen from SHJ to 17th, 18th and 19th centuries. After the late 1500s, there is no MokpanGit single-laTered $Chog{\breve{a}}ri$ for men. Side panel under arm has various shapes(triangle, trapezoid, triangle+trapezoid) in 15th century. After the late 1500s, It changes into no side panel. Two $Chog{\breve{a}}ris$ with no side panel from SHJ reveals that the late 1500s is a period of transition. 2. Sewing method: First, researching lengthwise grainline of the fly, the left fly has lengthwise grainline outside In four, inside in three. The right fly has lengthwise grainline outside in just one, the others have lengthwise grainline inside. Compared with today's way, there is a great difference, but in those times there isn't an established rule. This is true of side panel under arm. The sewing method are backstitch, running stitch, and hemming. Researching the construction method of seam, in putting two selvages together, open seam and plain seam are used. In putting selvage and bias, bias and bias together, flat felled seam and french seam are used. This study shows that single-layered $Chog{\breve{a}}ri$ far men from 15C. to 16C. has changes of design such as collar(Git) and side panel undo. arm. But there is little change in sewing method.

• 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.