• 대한가정학회지
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• 제41권1호
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• pp.249-257
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• 2003

For the efficiency in extracting gromwell colorant, methanol, ethanol and aceton were used as solvents. Also, to compare the results when dyed in various conditions and on various fabrics, the ratio of water-dye mixture, pH, temperature, and varieties of fabrics -wool, silk, cotton, nylon, ramie- were selected. L, a, b, ΔE, munsell and K/S value of each sample was measured and compared for the practical use. Water-dye mixture of 5:5 ratio showed the optimum dyeability. Not to mention wool and silk, but also cotton showed a satisfying dying result at the acidity of pH4. As the temperature increased, the dyeability of all three fabrics improved greatly. Especially, wool showed the highest improvement in terms of dyeability as the temperature increased. K/S values for wool and nylon showed superior results to the others in the gromwell colorant. The resulting color turned out somewhat different depending on the solvents used and the sort of fabric that was tested on. When the gromwell colorant extracted with methanol or ethanol was applied, the color of fabrics came out as purple or purpleblue. When the colorant extracted with acetone was used, the color of fabrics came out to be redpurple. The colorfastness to light showed low glades regardless to whichever solvents were used. The grades of colorfastness to laundering were recorded low numerical values, and its record became even lower when the gromwell colorant extracted with aceton was applied. The staining grade of the colorfastness to laundering showed a good grade in the range of 4 to 5. All the dyed fabrics showed a excellent drycleaning fastness.

• 한국산학기술학회논문지
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• 제12권9호
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• pp.3815-3826
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• 2011

본 연구는 아직 잘 알려지지 않은 고려말 조선초의 상류층 여성복식을 고증하여 구체관절인형의상 세트를 시험제작하고 한국 문화상품의 아름다움을 알리기 위한 것이다. 고려말 조선초의 상류층 여성복식은 풍성한 실루엣, 원과 명 복식과의 융합, 옛 고려풍의 부활, 발달한 모시 직조기술, 불교문화 복식이라는 특성을 가진다. 13-14C의 문헌과 유물과 회화를 통한 연구자의 고증과 패턴제작 과정을 거쳐 총 8점의 아이템이 외주제작되었다. 각 아이템은 세트로 구성되었으나 소비자가 단품으로 선택할 수 있으며 다양한 조합이 가능하다. 인체와 특성이 다른 구체관절인형의 바디로 인해 부분적으로 다아트와 작은 고름이 첨가되고 강직한 직물이 사용되었다. 이후로는 기성품 생산을 위한 업체 시스템 개발 연구가 필요하다.

• 자연과학논문집
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• 제11권1호
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• pp.143-150
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• 1999

느릅나무껍질로부터 추출한 염액을 이용하여 면, 마, 모, 견, 나일론 섬유와의 염색성을 조사하였다. 각 섬유와의 최적 염색조건을 설정하였으며 합성매염제와 천연매염제를 사용하여 염색성에 미치는 매염제의 효과를 검토하였다. 또한 느릅나무껍질로 염색한 각 염색포의 세탁견뢰도와 일광견뢰도를 살펴보았다.실험결과 느릅나무 염색의 최적조건은 욕비 1: 40, $80^{\circ}C$, 60분 이었으며 견과 나일론이 가장 잘 염색되었다. 견, 모, 나일론의 경우 매염제의 처리에 의해 염색성이 향상되었으며 매염제의 종류에 따라 색상이 크게 변화되어 다양한 색상을 얻을 수 있었다.

• 한국작물학회:학술대회논문집
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• 한국작물학회 2022년도 추계학술대회
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• pp.193-193
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• 2022

Cowpea(Vigna unguiculata L. Walp) has a low fat and protein content and a relatively high starch content, so it is mainly used in various ways for song-pyeon sediment, rice-cake paste, and porridge. In Yeonggwang-gun, Jeollanam-do, cowpea for seed production is being cultivated for the localization of raw material for Rice cake with ramie leave. A cowpea variety 'Jang-Alchan' was improved from the cross between IT145373 and IT145391 at the JARES in 2019. 'Jang-alchan' has an erect plant with an intermediate plant habit, light purple-colored corolla, and heart-shaped leaflets. 'Jang-alchan' has an orange-yellow seed seed-surface of faint luster, and brown and straight pods when matured. The stem length of 'Jang-alchan' was 48cm, 9cm longer than that of the control cultivar 'Okdang' and the 100-seed weight was 14.1g. The weight ratio of the seed coat for the entire seed was 11.2%, which was 0.2%p lower than that of the control cultivar. Field resistance of 'Jang-alchan' to leaf and systemic diseases was similar to that of the control cultivar. Is field resistance of 'Jang-alchan' to lodging was slightly lower than that of the control cultivar. The average yield of 'Jang-alchan' was 1.85ton per hectare, which was 14% higher than that of the control cultivar 'Okdang', 'Jang-Alchan' does not require the installation of an espalier-net and is taller than the existing supplied 'Okdang', so it can be harvested by combine harvesting. In addition, it is expected to contribute to the localization of raw material grains for regional specialties as it can be cultivated over a large area.

• 한국인터넷방송통신학회논문지
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• 제23권6호
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• pp.103-108
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• 2023

아날로그 자연사 표본정보 전달의 한계점을 디지털 형태의 정보로 전달하여 관람자에게 흥미와 재미를 부여하고 표본전시활용의 디지털 디오라마 활용방안에 대한 방향성을 제시한다. 이번전시는 일만원권 지폐 드라마, 신문기사등 각종 매체를 통해 대중에게 친숙한 그림인 일월오봉도를 직접 현실에서 실감할수 있도록 미디어아트로 재현하였다. 해, 달 다섯 개의 산봉우리, 한쌍의 폭포, 그리고 네그루의 소나무등이 좌우대칭으로 그려져 있는 조선시대 작품이다. 자연의 생동감으로 표현하기 위해 해와 달의 상징을 빛의효과등으로 연출하여 몰입도를 극대화하고 산봉우리 아래에는 파도의 출렁임, 두루미 움직임, 사슴, 모시나비, 잉어등 동물을 새로 삽입하고 행동을 부여하여 자연과 그 속에 뛰어노는 생물의 생동감을 연출하고 미디어아트 병풍을 스크린으로 제작하여 연출하였다. 또한 작품소개 및 작품속 생물 관련 정보는 QR 코드를 통해 제공하였다. 결론으로 관람자에게 기존 아날로그 표본 전시의 정보전달 단점을 2D, 3D디지털 형태의 표본 전시효과 및 관람자에게 일월오봉도의 왕권의 상징성을 미디어아트로 표현하고 자연사 콘텐츠와 결합하여 예술과 자연사의 만남을 연출하였다.

• 헤리티지:역사와 과학
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• 제52권4호
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• pp.170-183
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• 2019

제섬(製纖)이란 원료에서 섬유를 갈라내거나 뽑아내는 일로 식물의 섬유질을 추출하는 과정을 일컫는다. 용어의 정의에서 알 수 있듯이 제섬은 식물 재료에 행해지는 1차 재료 가공 기술로 인피 섬유가 발달한 식물에 행해진다. 대표적인 인피식물로는 모시풀(苧麻), 삼(大麻), 아마(亞麻), 닥나무(楮) 등이 있는데 그 중 삼은 재배의 역사가 길고 분포 지역도 광범위하여 인류의 생활과 문화의 재료로서 매우 보편적이고 일반화된 식물이다. 본 연구는 『오주연문장전산고』에 기술되어 있으나 현재 국내에서 전승되고 있지 않은 자연건조쇄경식 제섬 기술을 재현 실험하여 기술의 이행 가능성과 특징을 살펴보고자 하였다. 문헌에 기록된 방식으로 인피를 채취하고 실험한 결과, 실제로 삼 섬유를 얻을 수 있었다. 삼 줄기에서 속대와 껍질을 분리하기 위한 요인은 변색으로 확인할 수 있는 건조의 정도였으며, 완전히 누렇게 변색된 면적에 한해서 속대와 껍질을 분리할 수 있었다. 일조량과 기온은 건조를 보다 가속시키는 조건이었다. 다만 오랜 시간 동안 노출되기만 한다면 일조량과 기온에 상관없이 인피를 채취하기에 적합한 상태가 되는 것으로 확인되었다. 도리깨질의 물리적 힘을 이용하는 자연건조쇄경식은 함경도 육진 지역 제섬 기술의 핵심 공정으로 여겨진다. 삼의 껍질과 속대는 두드릴수록 분리되었고, 인피는 가늘게 쪼개지며 외피는 벗겨져 실로 채취하기에 적합한 상태가 되었다. 물리적인 힘을 가하여 섬유를 채취하는 방식은 섬유에 잔털이 피는 현상을 유발하는 탓에 인피섬유직물인 삼베나 모시제작에서는 일반적으로 지양되었다. 그러나 함경도 육진의 제섬법은 이 원리를 역이용하여 섬세한 직물을 만드는 방식에 적용시킨 것으로 보인다. 이러한 방식은 현재 우리나라 안동 지역에서 확인되는 증열식 피마 제섬법과는 구분되며, 삼을 방적하여 직물을 제작하는 서양의 사례와 유사함을 알 수 있었다.

• 복식문화연구
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• 제8권2호
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• pp.237-260
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• 2000

According to the study of Jik-Ryoung(直領) consulting chronicles of the Chosun Era, Jik-Ryoung had been worn for various uses as official outfit, ordinary attire or clothes for the celebration of their coming of age, wedding ceremonies, funeral rites, and religious ceremonies, etc. from the beginning to the end of the Chosun Era. The conclusions are shown briefly as follows. 1. There are several terms of Po(袍) related to Jik-Ryoung in the chronicles under the name of Jik-Ryoung Ui(直領衣), Ui-Sal Jik-Ryoung(衣撒直領), and Jik-shin(直身). Jik-Ryoung Ui is the other name of Jik-Ryoung that they called it when it was used for funeral rites and religious ceremonies. The chinese Ye-Sal(曳撒) was called the Ui-Sal Jik-Ryoung in Korea, but this is different with Jik-Ryoung regarding its divided up and bottom style. Jik-Shin is almost same as Jik-Ryoung. 2. During the latter period of the Chosun Era, we can find diferent frequency in use of the Jik-Ryoung. Jik-Ryoung was shown constantly in the cases of that ding, Chinese Prince and lower-level constantly in the cases of that king, Crown Prince and lower-level officials wore it for funeral rites and lower-level officials, artisans, merchants, humbles and slaves wore it for official outfit. Uses of the Jik-Ryoung increased for military officers'outfits, in contrast to decreasing of uses for ordinary attires of king, Crown Prince, and the commons, and official outfits of civil officials. 3. These different aspects mean the change of estate and role. For the basic four ceremonial occasions the ceremonies of coming of age, marriage, funeral, and ancestor memorial-, it appeared constantly. Therefore the social role had been maintained also by then. As an official garb, the role for official uniform of petty official maintained by the end of the Dynasty. But from the latter 1600's to the former 1700's, the roles for official garbs of civil officials and military officers decreased and increased respectively. Before the Hideyoshi's Invasion of Korea in 1592, ordinary social clothes had orders by people's social status who wore them ; those were Dan Ryoung(團領), Hong Jik Ryoung(紅直領), Jik Ryoung(直領), Cho'l Rick(철릭) in the order named. After the war, various Po(袍), Shim Ui(深衣), Jung Chi Mak(中致莫), Chang Ui(　衣), Jang Ui(長衣), Ju Ui(周衣) and so on had been worn until the King Young Jo(英祖)·Jung Jo(正祖) period. In result, the social role of Jik-Ryoung was reduced as the uses decreased more and more. For a mourning dress, it had a same aspect as the case of ordinary social wear. 4. Considering the color, they used blue for the clothes for doing-up-the-hair ceremony, white for mourning clothes, and white, black for ancestor memorial ceremony clothes. On the official outfits of officials, dark blue and black were used mostly. And lower-level officials'clothes had white, red, and green on them. They used red and green for the plain dresses. 5. Examining the materials, clothes for the celebration of one's coming of age were made of high quality silks, Kwang Hwa Dan(廣禾緞). Also, they made clothes for funeral rites of rough and thick linen, and made clothes for religious ceremonies of linen and hemp. The official outfits were made of practical materials like cotton, hemp and ramie. Cotton, pongee and satin were used to make ordinary attire.

• 한국의류산업학회지
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• 제9권1호
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• 한국의류학회지
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• 제8권2호
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• pp.41-46
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• 1984

Ancient Korean and China litteratures show us that it has been long since people from humbler classes to king most commonly used bast fabrics as materials of their cloth. According to the record of these ancient litteratures, highly developed fine bast fabrics and those woven in figures were used as tribute between ancient Korea and China. In this study we will make a brief research of the history of bast fabric culture from ancient times to the Korea Dynasty in which the bast fabric culture flourished and reached the summit of prosperity. After having compared the bast fabric culture of ancient Korea with that of ancient China in which the bast fabric culture developed very much and bast fabrics were used more commonly as materials of cloth than any other fabrics, we could come to conclusions as follows. 1. Names were given to bast fabrics according to the kinds of bast fibers, the degree of fineness and the containing of figures: Ma-po, Jeo, Jeo-po, Bag-jeo-po, Moon-jeo-po, Po and Se-po. The number of 'Seung' which indicated the degree of fineness was attached to the top of each name to show how fine they are. 2. While the bast fabric of 30 Seung is known to be the most fine one of the ancient China, in ancient Korea fine bast fabric of higher than 30 Seung was woven. This fact proves that the technique of weaving bast fabrics of the ancient Korea was more highly developed than that of ancient China. 3. In ancient China the highest Seung number of the ordinary clothes which were put on after putting off livery of grief was regulated to be 15. But in ancient Korea, Sil-la, it was regulated to be 28. Judging from this fact, we may say that the consumption level of the ancient Korean people in cloth was higher than that of the ancient China people. 4. The reason why in ancient Korea the technique of weaving bast fabrics was so highly developed is suppoed to be that the ancient Korean people preferred elegant, refine and simple taste in cloth. 5. The excellent bast fabric culture of the ancient Korea flowed into ancient Japan. It proves that Korea played an important part in the history of textile development of the world.

• 보존과학회지
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• 제32권3호
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• pp.321-331
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• 2016

아세트알데하이드가 직물에 미치는 손상여부, 손상정도는 다른 재질에 비해 명확하지 않다. 본 연구는 견, 면, 모시, 삼베의 무염색, 천연염색시편을 대상으로 아세트알데하이드 0.1, 0.5, 1, 10, 100, 500, 1000 ppm 농도에서의 손상, 손상농도에서 온 습도 조건에 따른 손상 가중, 손상농도에서 열화직물시편의 손상을 광학적, 화학적, 물리적 측정방법으로 평가하였다. 이 결과, 아세트알데하이드 농도 1000 ppm/day에서 면_황색시편의 색차가 증가하였고, 고습조건($25^{\circ}C$, 80%), 고온조건($30^{\circ}C$, 50%), 고온 고습조건($30^{\circ}C$, 80%)에서 황색시편들의 색차 증가와 변퇴색등급 감소가 뚜렷하였으며, 고온 고습조건($30^{\circ}C$, 80%)에서 면_무염색시편의 아세트산이온 농도 증가, 견_무염색시편의 pH 감소가 나타났다. 열화직물의 경우, 흑색시편들의 아세트산이온 농도가 증가하였다. 이를 통해 아세트알데하이드가 전통직물에 미치는 손상은 크지 않으나 황색직물의 탈색과 열화된 흑색직물의 아세트산이온 농도 증가가 예상된다.