• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.153-165
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• 2008

The methods used in determining the weaving period of the textiles comprises not only radiocarbon dating but also discrimination of the motif and the textile structure. This study surveys the variation of the structure and the characteristics of the patterned textile of the Joseon dynasty to determine the weaving period. The number of twill gradually decreased in the Joseon dynasty while satin weave became more popular and the non-patterned twill almost vanished after 1600 A.D. The patterned plain weave was started to weave from the beginning of the Joseon dynasty but this has been shifted to twill, satin weave, floated weave, or the textiles with combined techniques more than 2 kinds after 1800 A.D. For the twist of threads, the number of the fabrics with Z-twisted thread in the warp and the non-twisted thread in the weft showed peak in 1600 A.D. and gradually decreased afterward. After 1600 A.D., the textile without twist became general trend.The satin weave started to appear with the 5-end satin in the beginning of the Joseon dynasty but the 8-end satin started to appear from the middle of 17th century and got more popularity with time. At the same period, the patterned textile on the ground of the satin weaved with the different techniques from the earlier period started to appear. The twist of the satin in the 1600 A.D. showed similar trends as twill, this general trend resulted from the fact that the non-twisted thread in the weaving became more popular with the time at that period.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.10
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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.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.150-162
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• 2014

This study examined the excavated clothes of Lady Sim Cheongsong(1753~1810) in Jecheon which were excavated in 2012. Lady Sim died at the age of 57 and the excavated relics belonged to the 18th and 19th centuries. The excavated relics consisted of 9 pieces of three-kind-clothes. They showed various qualities such as Plain-Silk, Plaited-Silk, Patterned Twill, Plain Twill, Plain Satin, and Satin Damask. Through comparing them with the other excavated clothes of the 18th and 19th centuries, we can comprehend the periodical changes of the excavated Jegori and Yeomo (the hat for a dead woman). The excavated Jegori shows the difference of length and form from the other Jegori of the 18th century. The total length of the excavated Jegori ranged from 24 cm to 25 cm, which is 10 cm shorter than that of the other Jegori of the 18th century. The excavated hat for a dead woman shows the changes of the form and needlework. The form of a rectangular cover was changed into that of a round shape. In regards to the sewing composition, the way of inserting the cover into Mosin(the body of the hat for a dead woman) was replaced by that of connecting the cover into Mosin. The excavated clothes show three kinds of textile fabrics: plain silk fabrics and plaited silk, plain twill and four-leaf-patterned twill, eight-leaf-plain satin of life-lettered textile and five-leaf satin damask, and plain satin. Especially, the combination of eight-leaf satin and four-leaf twill with mixed textile is considered as a fabric of high quality. The excavated clothes of Lady Sim Cheongsong showed a periodical change which was different from the clothes of the 18th century in terms of the formal composition of Jegori and Yeomo. Regarding Women's Jegori a short length and slim and long sleeves are changed into short and tight Jegori, which signaled the specific change of Jegori aesthetics. The significance of the excavated clothes of Lady Sim Cheongsong lies in its role as the bases for understanding the couture culture of the 19th century.

• Fashion & Textile Research Journal
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• v.8 no.4
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• pp.400-406
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• 2006

The purpose of this study is to investigate characteristics of arrangement methods and weaving types of fabrics during 16-17 century. Research was done through the references of exhumed clothing in Chosun Dynesty. Seeing the waving types of fabrics of flower patterned fabrics of total 108 items, satin damask(Dahn) was 71items, took the majority. And the next order was twill(Neung) and plain(Ju). It means Dahn was the most popular fabric among the upper classes. It was regarded as one of the noble textiles, because of its luxurious appearance and pleasant touch. Flower patterned plain fabric(Munju) was found only 9items, even though the plain fabric was the most common used type. Assumed for the reason, Chosun government had restrict to extravagance of the people. In terms of the arrangement of flower pattern, it can be classified into three methods. The most common arrangement method was Arabesque type, followed by open order shaped type and scattering shaped type. In the repetition of pattern, there were brick-shaped pattern and half drop pattern which were spread flower pattern all over the surface of fabric.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.759-769
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• 2001

The principal purpose of this study is focused on the fabrics used in Kaya period by investigating the imprinted fabrics on the remains of the old tomb of Dohang-ri and Jeesan-dong which were built around the late 4th century to the late 6th century. Most of the remains are plain weaved, however there is one remain that 4-end complex gauze with patterned, and the other is weaved with geometrical pattern which were plain weave with 2 · 1 twill and 3 · 1 twill. The imprinted fabrics that had twists had S twists only. Of all the fabrics that were examined, the most loose one had the density of 8 × 6/cm, the most fine fabric had the weft density of 91.8 strands/cm and the warp density cannot be counted. It is No. 416 of Doharg-ri tomb that has the highest ratio of density as 3.15. All the fabrics observed by SEM and Polarizing Microscope are hemp.

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.113-129
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• 2003

This study examined textiles used for the ancient costumes that are excavated from tombs of the Chosun dynasty, focusing especially on Po(overcoat). The result of the study is that silk occupies 79.8% of all the textiles used for Po, and cotton and linen follow. The weaving method of silk was primarily plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo dynasty, are considerably decreased in Chosun dynasty. Danlyeong(단령) and Cheollik(첩리) had been made of various textile fabrics like cotton, linen, silk and blended fabric before Imjinwaeran(임진왜란). After the war, they were simplified in gauze weaved silk or satin weaved silk, And also patterned fabric were widely used for them than other Po. Simple fabrics like cotton, linen and plain weaved silk had been used for Aekjureum(액주름) and Jiklyeong(직령) before Imjinwaeran. After the war, Jiklyeong was used as underwears of Danlyeong, so it was made of high quality patterned silk. Dopo(도포) and Changuiryu(창의류) were mainly excavated from tombs after the war, high quality plain weaved silk are used than gorgeous Patterned silk. For the Dopho(답호) and Bansuui(반수의), before the war, they were made with various textiles such as plain weaved silk, twill weaved silk, satin weaved silk, cotton, linen, and blended fabric. But after the war plain weave was mainly used. In Jangui(장의), since it was mostly for women, many kinds of women's patterned silk were used in than any other Po. There were only a few excavation of Simui(심의) and most of them were made of ramie and were hemmed in black satin without pattern.

• Journal of the Korean Society of Costume
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• v.59 no.6
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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.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.132-151
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• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.139-150
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• 2006

Eighty-four fabrics, all weaved from silk, were excavated from Kim Yeoon's tomb. They comprised 51 pieces of silk tabby, 13 of satin damask, 17 of twill, and 2 of complex gauze, 1 of damask on tabby. The fabrics featured high quality of satin, a uniquely patterned satin damask, various silk tabbies, and 3-end complex gauze. The names of the fabrics used in this article are based on literature sources and include silk tabby(紬), thin silk tabby(紬), filament silk tabby(絹), satin damask(段), complex gauze(羅), simple gauze(紗), and twill(綾).