• 한국염색가공학회지
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• 제28권3호
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• pp.175-182
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• 2016

To investigate dyeing behaviors in accordance with dye structure in cold pad batch dyeing of cotton knit, monochlorotriazine-vinylsulfone bifunctional dyes and monofluorotriazine-vinylsulfone bifunctional dyes were prepared. The spectral property and solubility of the dyes were tested and compared with the imported dyes. In addition, exhaustion behaviors of individual and mixed dye solutions were measured to examine the influence of dye structure on dyeing behavior in cold pad batch dyeing. The substantivity, fixation, migration index and half dyeing time were also calculated for further analysis of dyeing behavior of the prepared dyes. As a result, both dyes exhibited the superior solubilities and satisfactory light absorption properties. Also, monofluorotriazine-vinylsulfone bifunctional dyes showed moderate sensitivity to alkalinity and proper kinetic index values compared with the monochlorotriazine-vinylsulfone bifunctional dyes and the imported dyes. The results indicated monofluorotriazine-vinylsulfone bifunctional structure of the dye is suitable for cold pad batch dyeing.

• 한국의류학회지
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• 제34권12호
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• pp.1933-1946
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• 2010

This paper is a comparative analysis of the $19^{th}$ century practice of indigo dyes and dyeing in Korea and England. From over hundreds species of indigo plants in the world, it was dyer's knotweed and woad that were cultivated in Korea; however, the only indigo plant grown in England was woad. Indigo dye was produced in the form of damp indigo sediment (jeon) in Korea; however, imported indigo (as a main dye) and couched woad (as an additional dye) were indigo dyes used in England. There existed three kinds of indigo vats, the ice vat, ash-water vat, and indigo sediment (jeon) vat, in Korea. The fresh leaves of indigo were used for both the ice vat and ash-water vat. The ice vat was very convenient for preparation, but had a weakness in the inability to produce a very deep shade of blue. The ash-water vat and indigo sediment (jeon) vat were in use for producing a very deep shade of blue. The indigo sediment Goon) vat was employed presumably only by professional dyers. The indigo vat practiced in England was categorized into two types; one was woad-indigo vat, and the other was an indigo powder vat prepared by using imported indigo rock. There was a tendency to adopt different kinds of indigo vats according to the material to be dyed. The woad-indigo vat was employed for the dyeing of wool. A few of chemical vats with imported indigo were adopted, especially for the dyeing of cotton. Indigo dyers in 19th century Korea were differentiated from the rest of the dyers. They managed the growing of indigo plants as well as the production of indigo sediment (jeon). Woad dyers in 19th century England handled woolen cloth as well as worsted and woolen yarn in general. However, they sometimes dyed silk skein as well. They produced several colors such as black, blue, slates, grays, by using both woad and imported indigo.

• 한국의류학회지
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• 제38권5호
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• pp.755-768
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• 2014

This study explores the situation of domestic production and import of dyes as well as type of dye supplier and type of dyer in the Joseon Dynasty based on an analysis of relevant documents. The findings are as follows. Many kinds of natural dyes and natural mordant were produced in the Joseon Dynasty. Some were imported from other countries when in short supply or for diplomatic reasons. As the government organization in charge of the dyes supply and demand, the Jeyonggam was cooperated with the Gongin merchants. As private merchants, there existed Hwapijeon merchants and Cheongramgye merchants. Cheongramgye merchants were both the producer and the seller of indigo sediment. There existed two types of dyers, such as government-operated dyers and private dyers. The Yeomjang (master dyers) and Yeommo (female dyers) were subjugated to government departments in the early part of Joseon Dynasty, but gradually allowed to pursue self-profit. The Yeomga was the private dye house that existed in the early period of the Joseon Dynasty. Ladies and female servants were also allowed to dye for family use or to help in livelihoods. Jeonyeomga was a branch specialized in indigo dyeing. Lastly, the Yoemgye were the merchants of dyed paper and textiles as well as dyers.

• 복식
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• 제60권9호
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• pp.77-94
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• 2010

It was the era, from 1876 to 1910, that some dramatic changes, including an influx of foreign dyes and the beginning of the modern dyeing manufacture, happened in Korea. This paper explores what dyes were sold in the market in this period, who was the main seller of the goods, and how the dyers produced their products. A wide range of natural dye stuffs coexisted with the various kinds of aniline dyes, alizarin dye and synthetic indigo in the market. Coloring materials had been sold by hwapi-jeon, a group of official merchants who acquired a privilege of monopoly from the government. However, the dyes were also traded by sang-jeon and yakguk merchants in the nineteenth century. Most of the synthetic dyes sold in Korea were produced in Germany or in Japan later, and imported in large amount by Chinese, Japanese and German merchants. Yet there also existed Korean merchants and peddlers who sold the goods to the local consumers. Dyers were male and female who belonged to the middle class. They received the orders and payments from the government or merchants. Not only did they dye textiles, threads, cotton, paper and leather, but they also redyed clothes. Indigo dyers were differentiated from other dyers. Modern dyeing manufacture, which was presumably forced to keep pace with the productivity of the weaving process, appeared in the 1900s. It was a branch of the modern weaving manufacture.

• 한국의류산업학회지
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• 제15권2호
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• pp.192-201
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• 2013

This study explores the culture surrounding the dyeing of royal garments in the late Joseon Dynasty. The findings of this study are as follows. First, several dyes were used to color royal garments, such as jicho, honghwa, danmok, simhwang, sambo, goehwa, chija, and namjong. Mordants such as maesil, hwanghoemok, yeohoe, and baekban were also used with the dyes. Second, the Sangeuiwon (尙衣院) was the department in charge of the purchasing of dyes and the entire dyeing practice. It was the Seonhyecheong (宣惠廳) and the Hojo (戶曹) who provided revenue to the Sangeuiwon through a wongong, regular tribute, and a bokjeong (supplementary tribute). Additionally, additional dyes, if found to be insufficient, could be provided by the Hojo. Every year the Hojo provided jicho, honghwa, and danmok to the Sangeuiwon, and sometimes imported namjong from China. Third, royal garments were, in most cases, dyed by the Sangeuiwon's professional dyers and court ladies belonging to the sewing department in each palace. Naenongpo (內農圃) eunuchs were in charge of the indigo crops of each palace. Finally, more dye was used in royal garments than in the clothes of commoners to obtain a deeper shade of color. In addition, dyers tried to achieve a clear and vivid tone in their garments. Silk which absorbed color relatively easily, was dyed inside the palace using an ice vat filled with fresh indigo leaves; however, cotton was difficult to dye and was sent to professional indigo dyers outside the palace.

• 한국의류학회지
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• 제24권5호
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• pp.619-627
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• 2000

Historically, dyed textiles were symbols of status and, because of their expense, reserved only for people of wealth and specalist, Early dye sources probably included plant, animal and mineral extracts. As synthetic dyes have been developed, beginning with synthetic indigo in 1897, reliance on natural dye sources diminished. But renewed interest in natural dyes is fueled by a pro-environment consumer aware of the ecological liabilities of the dye industry. Han Jee was imported from China where it was influenced to period of the three kingdoms(Silla, Baekje, Kokuryo). After that, Han Jee was used for paper in old Korea for long thime before paper was came with civilization. In this paper, dyeing of Han Jee with loess were investigated according to dyeing temperature, dyeing time, loess concentration, and effects of additives. As a reuslts, λmax of Han Jee dyed by loess was 710nm. ΔE values of Han Jee increased by loess concentration, dyeing time, dyeing temperature. Dyeing with additives treatment increased dyeability. Especially, Han Jee treated with aluminium acetate shows the largest dyeability of the Han Jee. The Han Jee dyed loess had very good lightfastness.

• 대한가정학회지
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• 제20권2호
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• pp.37-43
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• 1982

The white color is the main characteristics of the traditional color of clothes. From the historical point of view, the Korean's pattern of wearing Baik-Eui can be found its origin from many people of North-East Asia in ancient time. The beginning of wearing Baik-Eui in Korea was at the age of tribes, and it was delivered to middle age, later on, to modern age near the end of Yi Dynasty. The other charactics of the traditional colors. are summarized as follows: 1. Prefered light color to dark color and light blue was noble and worthy. 2. The kinds of color were not various. 3. Color was native and pure not including grey or other colors. From the economical point of vie, the first thing is that Baik Eui was primitive in ti's color Though some say that wearing Baik-Eui is considered as a kind of worship of the Sun, yet we can also find that the every reason of it is that we had little dyes at that time. Especially the reddish dyeing materials were in short supply, so that had been imported mainly from Japan.

• 복식
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• 제25권
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• pp.145-155
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• 1995

After I stated the kinds of ancient embro-ideries of Shoso-in and the other places in Japan, including Silk embroidered design of a bird, Silk embroidery on a silk ground, and Buddha preaching. I searched for the possible countries they could have been made in. I found that Japan merely imported the dyes and paints from Korea, On the other hand, Korea unlike Japan, was capable of manufac-turing the embroderies from early times. The embroideries in Shoso-in and the other place, have respectivly on them the old Korean types of patterns such as flowers, lotuses, flying clouds, phoenixes, intertwined lions, houses, ghost masks, fairies and turtles, seen often on the titles of Silla.

• 복식
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• 제52권4호
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• pp.65-73
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• 2002

This research is to reveal an aspect of costume culture interchange in the relationship of the early Chosun Dynasty, by considering the imported goods from Japan, of the trading goods derived by the trade diplomacy between the two countries in the early Korea-Japan relationship in the medieval era. The research results are as follows. A good-neighbor Policy in the early Chosun Dynasty was established by a link of a barbarian ban policy to blockade the frequent intrusion by Japanese barbarians. The exchange was the form of presenting a return present in return for a tribute to the Chosun Dynasty from the Japanese envoy, which has a polycentric characteristic. Pusanpo, Naipo, and Yumpo were designated as the open ports, which played a pivotal role in the Korea-Japan exchange. In trading goods between Korean and Japan. the imported goods from Japan to Korea were a wide variety of items primarily such as dyes, mordant, medicines, steel, spicers, etc. In particular, Somok used as a red mordant, which were intermediate goods to Southeast Asia, was the most heavily-traded items of imported goods from Japan. It had been consumed primarily as a raw material making the costume suit of the royal family and the aristocracy. The increased import of Somok was derived from a thought of preferred red color by our people. As its inflow was increased. the costumes tended to be luxurious In early Chosun Dynasty and resulted in social issues. This active trading from the early Chosun Dynasty caused from the communication of the Japanese envoy. In addition the study of the trading provided an opportunity that can glance at an aspect of the costume culture, though It was fractionary.

• 한국의류학회지
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• 제21권1호
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.