• Title/Summary/Keyword: textile of Goryeo dynasty

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Development of Textile Design Using the Formality of Gwamun in the Goryeo Dynasty (고려시대 과문(窠紋)의 조형성을 활용한 텍스타일 디자인 개발)

  • Jiyeon Kim;Jeong-ah Kim
    • Journal of Fashion Business
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    • v.28 no.5
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    • pp.141-159
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    • 2024
  • This study explores the history and defining characteristics of Gwamun during the Goryeo Dynasty and how these elements can be applied to contemporary textile design. Gwamun is a pattern style that features repeated arrangements of various motifs within a defined border. It was particularly popular in Korea during the Goryeo Dynasty and in China during the Song and Yuan Dynasties. The Gwamun styles found in Goryeo relics are categorized based on the shape of the border into three types: Dan-gwamun, which has a round shape; Danhwa-gwamun, characterized by a round flower shape; and Siche-gwamun, which resembles the end of a persimmonstalk. In this study, three pattern types and nine design motifs were derived from the formative characteristics of Gwamun. These motifs were then used to create unit patterns based on the arrangement techniques of Goryeo Dynasty textiles, resulting in a total of 18 unique textile designs. The color palette utilized corresponds to the 2025 trend colors, and each textile pattern was reinterpreted with modern hues and design methods while maintaining traditional forms and values. The developed textile patterns were incorporated into a Cheollik one-piece design using CLO 3D software. This virtual application confirmed the potential for integrating traditional Goryeo Dynasty patterns into new Hanbok designs. Overall, this work provides valuable insights that contribute to the diversification and global expansion of K-fashion.

Conservation Treatment and Material Analysis of Lacquered Head-wear Excavated in Ulsan Dated to Goryeo Dynasty (울산 출토 고려시대 칠사관모의 보존처리 및 재질분석)

  • Park, Hae Jin;Kwon, Young Suk
    • Journal of Conservation Science
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    • v.29 no.1
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    • pp.15-24
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    • 2013
  • Chil-sa head-wear excavated in Buksandong of Ulsan is precious relic with historical, cultural, social and artistic values because it shows head-wear shape at the period of Goryeo dynasty with the invaluable worth in the field of Korean traditional costumes. Also, this excavated head-wear provides the empirical information about Goryeo dynasty which has relatively insufficient remains. The purposes of this study are to recover and maintain the original states of the artifacts from various environmental factors and then to preserve the materials from rapid decomposition. As a result, the original shape of the head-wear from Goryeo dynasty can be conserved and through the material and structure analysis it is found out that the head-wear's surface structure is composed of silk(紗) and the ground structure is made by bamboo(竹絲).

Characteristics of the Excavated Fabrics from unknown Woman's Tomb, Incheon (인천시 석남동 출토 직물에 관한 연구)

  • Cho, Hyo-Sook;Bae, Soon-Wha
    • Journal of the Korean Society of Costume
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    • v.57 no.10
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    • pp.24-34
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    • 2007
  • The purpose of this study is to examine the pieces of 100 fabrics excavated from unknown woman's tomb Incheon, by analyzing woven methods, names of the fabrics, the kinds and the shapes of the patterns. The characteristics to assume the period of the fabrics are as follows. The geumsundan which was woven peacock insignia at chest and back area was excavated for the first time from the tomb of Joseon. Peacock insignia woven with satin weave using supplementary golden wefts, wrapped gold thread. These kind of fabrics were usually imported in the $15^{th}$ century, according to the old documents, 'Nogeoldae' 'Joseonwangjosilrok' written at the end of Goryeo or early in Joseon. Thus, these relics are from about $15^{th}$ century. From this tomb, the mixture fabric of cotton and ramie are excavated. According to another excavated cases, the mixture fabric of cotton and ramie appears from the period before the Japanese Invasion of Korea in 1592, and after the invasion, there are usually mixture fabric of cotton and silk. This also tells that these fabrics show the characteristics of those from the early period of Joseon Dynasty. The rounded patterns of Jangot is only shown from the fabrics of late Goryeo Dynasty, and the cloud pattern of an upper garment with a squared neckline is shown from the early Joseon Dynasty. So, the patterns from these excavated costumes are ranged from the late Goryeo Dynasty to the early Joseon Dynasty. To assume the period through the overall study above, these relics show the characteristics of the $15^{th}$ century fabric.

A Study on Shoes(靴) Shown in Buddist Paintings in the Late Joseon Dynasty (조선후기 불화에 나타난 화(靴)에 관한 연구)

  • Park, Hea-Ryung;Cho, Shin-Hyun
    • The Korean Fashion and Textile Research Journal
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    • v.9 no.2
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    • pp.176-187
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    • 2007
  • Buddhist paintings in the late Joseon dynasty are characterized by diversification and subdivision of subject matters. Buddhist paintings rapidly declined since 19th century, being miniaturized and showing complicated composition. Figures that identified the shape of shoes in Buddhist paintings of late Joseon dynasty included sacheonwang that were placed in the left and right bottom of Buddhist paintings, sinjung, gwiwang and pan-gwan of siwangtaeng. Sacheonwang, an Indian folk god, was depicted as a noble person in "ahamgyeong", an early sutra, but was depicted as an armored warrior in Mahayana Buddhism world. The style of shoes sacheonwang in Korea were different depending on the times. The shoes of the sacheonwang sculpture in Seogguram of Shilla dynasty are sandal type. The sacheonwang that was drawn on Jijangbosaldo in Goryeo dynasty wears non-showy armor and red yi(履). The sacheonwang that was expressed on Buddhist paintings in Joseon dynasty wears showy armor and decorated hwa. Comparing the yi of Goryeo Jijangbosaldo sacheonwang with the yi of Bodhisattva on the Dunhuang yeolbanbyeonsangdo, Jijangbosaldo sacheonwang's shoes are Korean style in which the sole is flat and the front part has no decoration, but in the shoes of Bodhisattva on the Dunhuang yeolbanbyeonsangdo the sole is not flat, the front part is lifted. The style of shoes of pan-gwan, who is depicted on Siwangtaeng, is hwa. However, unlike the decorative hwa of sacheonwang, its front is not lifted and it has no decoration. It is assumed that the shoes of sacheonwang or pan-gwan represented obangsaek based on the idea of eumyang-ohaeng. Depiction of shoes shown in Buddhist paintings reflected the phases of the social life. In addition, the sandals of Shilla sacheonwang implies that sourthern culture in addition to Buddhism was introduced. Having expressed the shoes of Goryeo sacheonwang with conventional yi implies that Buddhism governed the inner world of the people, and the shape and material of the shoes reveals aristocracy. It is assumed that that an armored warrior wore yi, not hwa implies that the then society was stable. Also, it is assumed that that the shoes of sacheonwang on Buddhist paintings in Joseon dynasty were hwa implies that the role of tutelary god was stressed in the disordered society.

Modern Enterprise & ESG Management philosophy of Gaeseong Ginseng Merchant (개성 인삼상인의 근대기업화와 ESG 경영이념)

  • Ock, Soon Jong
    • Journal of Ginseng Culture
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    • v.3
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    • pp.90-118
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    • 2021
  • Gaeseong fostered the conditions necessary for modern capitalism, as huge capital was accumulated through the cultivation and trade of ginseng, which were activities that flourished in the 18th century. During the Japanese colonial era, ginseng merchants were not simply limited to acquiring landowner capital from ginseng trade but actively converted such resource to productive and financial capital, thereby becoming modern entrepreneurs. Ginseng merchants led the joint management and investment of Gaeseong Electric Co., Ltd., Daehan Cheonil Bank, Gaeseong Brewing Co., Ltd., and Songgo Textile Company, founded in the early 20th century. They pursued corporate profits and, as leading individuals of society, spearheaded regional development by supporting educational and cultural projects in Gaeseong. These projects included the establishment of the Gaeseong Commercial School, the publication of Goryeo Times, and the operation of the Gaeseong Jwa Theater. Although liberal economics prioritized shareholder interest, the 21st century witnessed an emphasis on social responsibility among stakeholders asthe major purpose of enterprises. A trend that emerged was ESG (environment, social, governance) management, in which non-financial factors are valued more highly than financial performance. A successful business, which was denoted only by high profits in the past, is now defined by whether a company fulfills its social responsibility. In the early 20th century, the corporate activities of ginseng merchants in Gaeseong reflected entrepreneurship and stakeholder-centered ESG management, which later emerged as essential elements of modern business management. The modern management philosophy ahead of its times stemmed from the regionality of Gaeseong. The political discrimination against Gaeseong residents in the Joseon Dynasty precluded them from becoming government officers, and under a strict social hierarchy, yangban ("noblemen"), the intellectuals of the Joseon Dynasty, were forced to serve as merchants. Son Bong-sang and Kong Seong-hak, aside from being representative ginseng merchants, were both Confucian scholars and writers. The second and third generations of ginseng merchant families who had received higher education abroad returned to Gaeseong to carry on with their family businesses, then established modern companies with capital accrued from the ginseng industry. An analysis of the commercial activities of ginseng merchants in the early 20th century confirmed that these individuals were pioneering entrepreneurs who adopted the ESG management philosophy. In ginseng merchants, one sees a dimension of capitalism with a human face, as with ginseng thatsaves human life.