CARD WEAVING에 관한 연구

정영진 부산여자대학 1987 釜山女子專門大學 論文集 Vol.9 No.-

This card weaving which is called as tablet weaving also, is originated from ancient period. The earliest piece of card weaving in existence is Egyptian’s made during 945-745 B. C. In ancient period, the card weaving was popular in Egypt and we can find many good works at its full glory during mediaeval times. Thereafter, it declined due to machanized weaving since the Industrial Revolution. Nowaday it becomes restored gradually in fabric weaving application for graments. Card weaving is the unique textile technique which can which can produce the strong and complicated patterned band without using complex machinery. This fact makes many hand weavers be interested in card weaving. For that reason, Card weaving shall be studied technically more as a important part of contemporary fiber arts. 카드 위빙(Card weaving)은 태블랫 위빙(Tablet weaing)으로도 불리워지는데 그 역사가 매우 깊다. 현존하는 가장 오래된 카드 위빙의 유물은 945-745 B.C 시대의 이집트 것이다. 고대는 이집트를 중심으로 성행하다가 중세에는 유럽에 널리 퍼져 그 전성기를 이루게 된다. 그 후 산업 혁명의 기계화에 밀려 카드 위빙은 쇠퇴하기에 이르나 다시 현대에 와서 부활되어 조금씩 그 활용범위가 넓어지고 있다. 카드 위빙은 직기(織機)를 사용하지 않으면서 간단한 도구(道具)로 매우 튼튼하고 다양한 무늬의 띠(Band)를 만들 수 있으므로 수직(手織) 애호가들에게는 매우 흥미 있는 분야가 된다. 또한 현대 섬유예술(織維藝術)의 한 분야로써 이렇게 흥미 있고 무한한 가능성이 있는 카드 위빙 기법을 계속 탐구해야 할 것이다.

청양춘포짜기의 전통기술 재현과 전승의 대안

김 보 연(Kim Bo-Yeun) 한복문화학회 2021 韓服文化 Vol.24 No.4

Chunpo is a woven textile with ramie threads in the weft and silk threads in the warp. Cheongyang Chunpo is registered as Intangible Cultural Heritage of Chungcheongnam-do and the techniques preserved. However, its traditional techniques are no longer conducted for more than 20 years, and its’ traditional technique succession has stopped. Chunpo weaving consists of the silk-related weaving process, the Mosi-related weaving process, and Chunpo’s character. Chunpo weaving’s main character is its yellow starch on silk warp during warping process to make its finish vivid yellow color from gardenia seed dyed starching process. For the revival of Chunpo traditional weaving, reeling silk cocoon techniques and yellow starching process plus traditional loom weaving silks are essential points to achieve. For Mosi threads, Hansan Mosi threads can be used, and for silk reeling techniques, Doosan village, which is silk weaving National Intangible Cultural Heritage can be acquired. Also for traditional loom weaving techniques can be acquired from Doosan village. Through this study and weaving trials from 3 ways, it is proved or favorable to success Cheongyang Chunpo’s traditional weaving techniques to be transmitted afterward. The first trial was in Cheongyang, the second trials were in Doosan silk weaving village, and the researcher did the third. Above all, weaving Chunpo in Doosan village or using Doosan silk weaver’s skill and after transmission from Doosan to Cheongyang would be the best and practical solution for Cheongyang Chunpo traditional technique revival.

국립고궁박물관 소장 직기의 복원에 관한 연구

박윤미,김동귀 한복문화학회 2017 韓服文化 Vol.20 No.4

There have been many kinds of looms in Korea since ancient times, but there are few looms left, mostly after the 20th century. As of today, National Palace Museum of Korea owns two Treadle Looms and some parts. However, detailed structure and operation principle are not clear, because there are no important parts such as heddle plate, body, etc. This weaving machine is the only remaining weaving machine which is used for royal palace, so it is highly valuable for historical materials from the point of royal relics. In this research, it is to restore the Treadle Loom which is owned at National Palace Museum of Korea and to check whether it is to implement the weaving or not. To this end, it analyzed the shape of owned Treadle Loom in detail and grasped the nature. Furthermore, by comparing and analyzing for literature concerning Treadle Loom and similar domestic and foreign Treadle Loom, we produced the damaged parts and restored it. It is estimated that the production date for weaving machine at National Palace Museum of Korea was produced between late 1800 to early 1900. This loom has 4 heddles and 4 pedals. It has a reed pulling device and the fabric beam can be controlled by connecting the metal nail with a rope. It has 4 heddles and 4 pedals, and heddle was made by silk thread. The reed hanger was made by strapping black bamboo. As a result of restoring weaving machine and weaving it, it is possible for weaving of plain fabrics and twilled fabrics. On the contrary, there are some portions to complement for smooth weaving.Pedal should be come up from behind weaving machine, and separator of pedal should be installed. In addition, it requires the fixing equipment with sawtooth to operate loom roller easily.

Evolution of 3D weaving and 3D woven fabric structures

Yasith Sanura Perera,Rajapaksha Mudiyanselage Himal Widooshaka Muwanwella,Philip Roshan Fernando,Sandun Keerthichandra Fernando,Thantirige Sanath Siroshana Jayawardana 한국의류학회 2021 Fashion and Textiles Vol.8 No.1

3D fabric preforms are used as reinforcements in composite applications. 3D woven preforms have a huge demand in ballistic applications, aircraft industry, automobiles and structural reinforcements. A variety of 3D woven fabric reinforced composites and two dimensional woven fabric reinforced laminates can be found in the literature. However, the majority of the said products lack in delamination resistance and possess poor out-of-plane mechanical characteristics, due to the absence or insufficiency of through-thickness reinforcement. 3D fully interlaced preform weaving introduces a method of producing fully interlaced 3D woven fabric structures with throughthickness reinforcement, which enhances the delamination resistance as well as out-of-plane mechanical characteristics. 3D woven fabric preforms made from 3D fully interlaced preform weaving, using high-performance fiber yarns such as Dyneema, Carbon, Kevlar and Zylon, have exceptional mechanical properties with light-weight characteristics, which make them suitable candidates for high-end technical composite applications. In this work, a brief introduction is given to the history of weaving followed by an introduction to 3D woven fabrics. In the existing literature, an emphasis is given to the 3D fully interlaced preform weaving process, distinguishing it from other 3D woven fabric manufacturing methods. Subsequently, a comprehensive review is made on the existing literature on 3D fully interlaced preform weaving devices, such as primary and secondary mechanisms as well as modelling of 3D woven fabric structures produced by 3D fully interlaced preform weaving. Finally, the authors attempted to discuss the existing research gaps with potential directions for future research.

회화와 직조의 결합, 紙織畫 연구

김수연 한국미술사학회 2020 美術史學硏究 Vol.306 No.306

Picture on woven paper, or painting on weaving, refers to visual images that knit together painting and weaving. Without brushed finish, it displays distinct aesthetics by embracing a method of textile production—plain weaving—for producing painting. The noteworthy medium, which exemplifies not only various techniques of painting but also the diversity of painting on its own right, has unfortunately received scant scholary attention, not to mention art-historical approaches. Given that all surviving paintings on woven paper are considered Korean without close examination, they requires a thorough study. Born in Yongchun, Fujian province of China, the painting on woven paper made its way to Korea and Japan in and after the eighteenth century. Since the transmission the painting has gone through an assimilation into folk painting, the genre to which common people had easy access. Its pictorial qualities have reached maturity with the addition of visual effects, which include subdued colors the method of cutting and weaving entails, and of post-weaving retouches onto the first draft that would otherwise be too plain. Presumably its products have been favored across East Asia since then. In other words, the paining demonstrates a cultural course of the nineteenth to early twentieth century in which the introduction of various techniques has broadened conceptual boundaries of painting and eventually led to the diversity of visual culture. 紙織畫, 織造繪畫는 용어 그대로 회화와 직조가 결합한 형태의 그림을 의미한다. 붓으로 그려완성하는 것이 아니라 회화와 平織이라는 직물 직조 방법을 더하여 색다른 미감을 표현한 그림이다. 그림을 그리는 다양한 방식, 회화의 다양성 측면에서 조명할 수 있는 지직화에 대한 미술사적 접근은이루어지지못했고,연구도진행된바가없었다. 그리고현전하는지직화의국적을모두조선으로만보고 있는점에서이를제대로고찰할필요가있다고판단하였다. 지직화는 중국 福建省 永春에서 시작되었고, 18세기 이후 조선과 일본으로 전래되었다. 화풍은민화와유사한양상으로민간에서더욱쉽게접할수있고감상하는그림으로제작되었다. 자칫심심할수있는 바탕 그림을 자르고 짜는 과정을 통해 은은한 색감으로 변하는 시각적 효과를 가져오고, 직조 이후 채색과가필을통해회화로서완성도를높였다. 동아시아 삼국에서 함께 향유한 것으로 파악되는 지직화는 19세기~20세기 전반 다양한 기법을활용하여회화의범주를넓히고,미술문화가다양화되는양상을살필수있는회화장르의하나로이해할 수있다.

耕織圖에서 養蠶 우키요에(浮世繪)로 ― 일본 耕織圖 수용과 변용 과정에 나타난 젠더구조

李姃恩 ( Lee Jungeun ) 성균관대학교 대동문화연구원 2022 大東文化硏究 Vol.118 No.-

본 논고는 일본 내 경직도가 중국으로부터 수용되어 변용되는 과정에서 시기별로 형태와 매체, 내용 면에서 서로 다른 특징을 보인다는 점에 주목하여, 그 제작과 소비를 둘러싼 복합적인 층위를 젠더적 관점에서 살펴보는 것을 목적으로 한다. 耕織圖는 耕圖(耕作)와 蠶圖(蠶織), 즉, 농업과 잠업과 관련된 일련의 작업 과정, 기술, 풍속에 대해 묘사한 그림을 총칭하는 용어이다. 중국 송대 제작된 이래, 그 내용이 지니는 감계적이고 교훈적인 의미와 더불어 전근대 동아시아에서 가장 보편적으로 제작된 대표적 화제 중 하나라 할 수 있다. 일본에는 중국 남송대 제작된 경직도와 누숙(樓璹, 1090~1162) 경직도의 명대 간행본, 청대 康熙帝의 어제 경직도 등이 유입되었고, 무로마치 시대부터 에도 시대를 거치며, 경직도 관련 그림이 다양하게 제작되었다. 1676년에는 가노 에이노(狩野永納, 1631~1697)에 의해 중국 간행본을 토대로 한 和刻本 『경직도』가 제작되었고, 이후 耕作을 담은 耕圖 장면은 17~18세기 사계경작도로 대형의 병풍이나 후스마(襖)에 그려진다. 한편, 蠶圖는 다치바나 모리쿠리(橘守国, 1679~ 1748)의 『絵本直指宝』권1에 일부 장면이 변용된 이래, 18세기 말부터 우키요에의 주제로 蠶圖와 織圖가 미인도와 결합하여 등장한다. 이는 경작과 잠직이 단순히 각각 남성과 여성의 일과 직무, 교양과 덕목이라는 성 역할에 따른 구조를 넘어서, 그림의 제작과 소비를 둘러싸고, 공적 사적 영역이라는 사용 공간의 문제, 漢과 和라는 중국(他國)과 일본(自國)의 문제, 수묵/병풍과 다채/우키요에, 雅와 俗이라는 화풍과 매체의 문제, 그리고 여성의 노동을 둘러싼 경제적 가치와 계층의 문제와도 복잡하게 연결되어 있음을 시사한다. 본고는 일본 내 경직도 관련 회화에서 나타나는 도상의 계승과 변용 과정을 추적하고, 그 과정에서 나타나는 경작도와 잠직도 사이의 층위의 분화를 젠더 구조 속에서 분석한다. 이를 통해 일본에서 경직도라는 그림의 구체적 사용 양산뿐만 아니라, 당시 양잠업과 여성의 노동을 둘러싼 경제적 가치와 인식이 어떻게 그림 속에 표현되었는지 살펴본다. This paper examines the complex layers surrounding Japanese acceptance and appropriation of Chinese painting in the “pictures of tilling and weaving” genre from a gender perspective, noting that, in Japan, the genre adopts different characteristics in terms of form, medium, and content of images by period in the process of acceptance and transformation. Pictures of tilling and weaving (耕織圖) is a generic term for a painting depicting a series of work processes, techniques, and customs related to agriculture and sericulture. Since the beginning of the Song Dynasty in China, such depictions have been one of the most commonly produced and representative subjects of paintings in pre-modern East Asia, along with their authoritative, edifying, exemplary, and instructive meaning. In Japan, with the introduction of Southern Song handscroll painting (probably Liang Kai’s), Ming Dynasty artists’ copy of Southern Song Lou Shou’s pictures of tilling and weaving, and Qing Dynasty printed versions, various paintings related to this genre were also produced during the Muromachi throughout the Edo period. In particular, in 1676, Kano Eino published a Japanese version of pictures of tilling and weaving, and Kano artists produced large folding screens or fusuma-e paintings depicting four seasons of cultivation in the 17th-18th centuries; meanwhile, sericulture and weaving images appeared as subjects of ukiyo-e print in combination with the images of beautiful women from the end of the 18th century. Such developments suggest that paintings of rice cultivation and sericulture and weaving images were not simply related to the gender roles, but rather linked to more complicated issues, such as the use of paintings in public and private spaces, involving painting styles and media ranging from ink paintings on folding paintings to various colors on ukiyo-e woodblock prints, as well as class and labor. Therefore, this paper delves into the complex layers and implications surrounding the acceptance and transformation, consumption, and production of these tilling and weaving paintings in premodern Japan.

방적과정을 통해 본 조선시대 여성의 길쌈노동

남미혜(Nam, Mi-Hye) 한국사학회 2019 史學硏究 Vol.0 No.133

예로부터 국가에서는 ‘男耕女織’을 지속적으로 권장하였으며 이러한 생산활동 모델은 아주 오래전부터 국가의 세금제도 속에 내재되어 있었다. 직물생산이 여성들의 일이었으므로 조선시대 여성들은 어려서부터 길쌈을 배워야 했으며 길쌈을 잘하는 것이 婦德으로 간주되었다. 조선시대 여성들에게 길쌈이 부덕으로 권장되었지만 신분에 따라 권장된 길쌈의 종류는 달랐다. 여성의 길쌈으로 생산되는 직물은 명주·무명·삼베·모시 네 가지이다. 직물의 생산과정은 매우 힘든 노동이었고 특히 방적과정에서의 노동강도는 각 직물마다 차이가 있었다. 누에고치는 長絲로 방적과정이 비교적 쉽고 시간이 많이 걸리지 않는다. 목화의 경우에도 물레를 이용하여 실을 길게 잇는 작업을 하므로 방적과정이 그다지 어렵지 않다. 반면에 靭皮纖維인 대마·저마는 방적과정에 여성의 손톱과 치아, 무릎이 작업도구로 이용되었다. 신체 노출이 필요하고 치아, 손톱 등 신체손상을 수반하는 삼베·모시 방적은 조선시대 상층신분의 여성들에게 권장되었던 노동은 아니었다. 조선시대 사족 여성들이 주로 참여했던 길쌈은 명주·무명 정도였다. 여성들은 힘이 많이 들고 시간이 많이 소요되는 삼베나 모시 방적작업에 단체노동인 길쌈두레를 이용하였다. 길쌈두레에는 무명 두레·모시두레·삼 두레가 있었으며, 양잠은 길쌈두레가 운영되지 않고 각 농가에서 개별적으로 작업이 진행되었다. 삼베·모시 길쌈이 여성의 신체 손상을 수반하는 매우 힘든 노동이었지만, 여성들은 이를 자신의 직업으로 自負하며 능동적으로 삶을 개척해 나갔다. 조선후기에는 길쌈을 통해 자산가로 성장하는 여성도 나타났다. 고달픈 삶을 굳은 의지로 개척해 나가는 한국여성의 강인한 모습을 길쌈을 통해서도 확인할 수 있다. Since ancient times, the country had consistently encouraged the “male farming, ploughing, and female weaving” and this model of production activity had been embedded in the nation’s tax system for a long time. Since textile production was the work of women, the women of the Joseon Dynasty had to learn the weaving from an early age, and it was regarded as a virtue for women to be good at weaving. Weaving was recommended as a virtue for women during the Joseon Dynasty, but the recommended types of weaving were different depending on their social status. There were four types of fabrics produced by women’s weaving: hemp, ramie, cotton and silk. The production process of textiles was very hard labor, and especially in the spinning process, the intensity of labor was different for each fabric. Silk yarn was lengthy products, so the spinning process was relatively easy and not time-consuming. Also in the case of cotton yarn, the spinning process was not too difficult, because the connection work to make the lengthy yarn was done by using a spinning wheel. On the other hand, for the bast fiber, hemp and ramie, women’s teeth, nails, and knees were used as a working tool for the spinning process. Thus, the hemp and ramie spinning process required the physical exposure of women and frequently involved their physical damage. Through the Joseon Dynasty, the hemp and ramie spinning, which caused women’s physical injuries, were not the recommended work for the noble women. The spinning, which was mostly participated by the noble women during the Joseon Dynasty, was mostly silk and cotton work. For the work of hemp and ramie spinning, which was very difficult and time-consuming, women used to utilize Gilssam Dure, a group laborer. In the Gilssam Dure, there were cotton dure, ramie dure, and hemp dure, but the sericulture was not included, instead it was carried out separately at each farmhouse. Although the weaving work was a very hard labor involving the injuries of women’s bodies, women actively explored their lives by taking it as their job. In the late Joseon Dynasty, several women who grew into an asset were also seen through the weaving. Through the Joseon Dynasty, we can see the strength of Korean women with a firm will, who tried to pioneer their hard life through the weaving.

조선후기 사대부가 여성의 治産과 경제활동 ― 길쌈을 중심으로

남미혜 동양고전학회 2016 東洋古典硏究 Vol.0 No.64

조선시대에는 남성에게는 농업을, 여성에게는 길쌈 즉 직조업을 적극 권장하였다. 조선전기 사대부가 여성들에게 婦德으로 적극 권장된 길쌈은 양잠업이었다. 사대부가 여성들에게 양잠업이 권장된 이유는 사대부의 의복재료가 명주였다는 점과 아울러 양잠이 다른 직물보다 노동과정 및 방적과정이 비교적 수월하다는 데 있었다. 그러므로 조선시대 사대부가 여성들이 직접 방적⋅방직과정에 참여했던 길쌈은 명주길쌈이었다. 조선전기 여성의 부덕으로 권장되었던 길쌈은 조선후기 사회경제적 변화와 場市의 활성화에 힘입어 부를 창출할 수 있는 주요 산업으로 성장하였다. 조선후기에는 화폐경제의 발달과 함께 서민의 경제력과 의식이 성장하면서 조선 사회를 지탱해 왔던 신분제가 동요하였다. 경제력의 상승에 따라 신분간의 이동 현상이 활발해지면서 여성들의 생산노동, 治産능력을 높게 평가하는 사회적 분위기가 형성되었다. 조선전기에 婦德으로 권장되었던 길쌈은 부덕의 영역에서 벗어나 치산이 가능한 경제활동으로 인식되기 시작하였다. 조선후기 사대부가 여성들은 직접 방적⋅방직에 참여하였으며 길쌈을 통해 가정경제를 이끌어가거나 부를 축적한 여성도 나타났다. 조선후기 여성들의 적극적인 길쌈 참여에 따라 길쌈기술의 점진적인 발전이 가능하였으며, 직물의 명산지가 형성되었다. In the Joseon dynasty, agriculture was recommended for men, and as well as weaving was recommended for women. As womanly virtues, weaving, especially silkworm farming was highly recommended for women of the gentry in the early Joseon dynasty. The reasons for silkworm farming recommended, were that clothing material was basically silk, and also labor process of silkworm farming and spinning process were relatively much easier than those of other fabric making. Therefore, women of the gentry in the Joseon dynasty had become used to directly participate in the spinning and textile manufacturing process of silk weaving. As womanly virtues, the weaving which was recommended for women in the early Joseon dynasty, was growing into a major industry that could create wealth, owing to the socio-economic change and the activation of rural market in the late Joseon dynasty. In the late Joseon dynasty, the economic growth and social consciousness of ordinary people was greatly grown along with the development of monetary economy, and thereby it made the caste system supporting the Joseon society significantly shaken. With the rise of economic power, a phenomena of moving social status among people was actively occurred, and also a social atmosphere highly evaluating women's management of household economy and socio-economic activities was created. The weaving recommended for women in the early Joseon dynasty, began to be recognized as economic activities of creating a wealth beyond the simple womanly virtues. Many women of the gentry in the late Joseon dynasty were directly and actively involved in the spinning and weaving, and several women appeared, who were leading the household economy or making a fortune through the weaving. Based on the active participation of women in the late Joseon dynasty, it had been possible to make a gradual progress of the weaving technology and form several famous areas for the fabric.

한산모시와 에치고조후·오지야치지미 제직 비교

김보연(Kim Bo-Yeun),차영순(Cha Young-Soon) 한복문화학회 2021 韓服文化 Vol.24 No.1

Mosi is ramie in Korea and jofu is the one in Japan. ‘Weaving of Mosi(fine ramie) in the Hansan region’ is registered as Intangible Cultural Heritage and the techniques preserved. Ojiya-chijimi, Echigo-jofu also same in Japan. Both are UNESCO Intangible Cultural Heritage of Humanity. The materials same but the process and the final result are different. Main difference is that Hansan Mosi weaves no pattern, it’s either natural or white plain weave. Whereas Echigo-jofu mainly weaves stripes or kasuri with delicate patterns, Ojiya-chijimi has overall wrinkle surface due to high twist applied on weft ramie threads. Hansan Mosi focuses on making delicate threads with special tools and all possible methods to present clean and half transparent ramie surface, the technique level required without twist as bast fiber for weaving is high. Due to applied twist, Echigo-jofu·Ojiya-chijimi threads preparation becomes to have silk threads characters after twist process. Both weaving culture face difficulties in transmit the techniques to next generation thus have special programme of weaving, this study includes how they make efforts to preserve and transmit and the main differences between the programmes. Hansan educate overall process from fiber extraction to weaving, focusing on modified modern type loom. Echigo-jofu·Ojiya-chijimi devide process into threads making, Kasuri pattern course and weaving course with traditional loom.

3차원 위빙 대용착 지능 용접캐리지 개발 및 적용

김영주,조방현,아미트,이상범,이원구,김진용,허만주,Kim, Young-Zoo,Cho, Bang-Hyun,Amit, Amit,Lee, Sang-Bum,Lee, Weon-Gu,Kim, Jin-Yong,Huh, Man-Joo 대한용접접합학회 2010 대한용접·접합학회지 Vol.28 No.2

In shipbuilding industry, welding position are usually flat and vertical position at the erection stage. Application of SAW and EGW for these positions makes it possible to achieve enhanced productivity and high quality. But owing to their large size and weight it is difficult to apply these techniques in short and narrow regions. To overcome this problem, our company developed light weight and compact size 4-axis welding carriage which perform 3D weaving. The purpose of this study is to explain the development and application of intelligent welding carriage using 3D weaving pattern that can fill a large amount of welds and thereby making it possible to achieve high quality of welding. This study shows 3D weaving pattern, development of weaving database, and skill of adaptive control response for the variable gap. Also, it shows the results of procedure qualification test for the AH-grade steel when applied to the intelligent welding carriage.