동아대학교박물관 소장 <초충도수병>의 직물과 자수 연구

심연옥,Sim, Yeon-ok 국립문화재연구원 2013 헤리티지:역사와 과학 Vol.46 No.3

동아대학교박물관에 소장된 <초충도수병(草蟲圖繡屛)>(이하 <수병>)은 보물 제595호로 지정되어 있으며 초충도 회화작품보다 더 정교하고 섬세한 사실적 표현과 다채한 입체적 구성으로 미술사 분야에서 그 가치가 높이 평가되어 왔다. 그러나 <수병>이 자수 작품임에도 불구하고 현재까지 섬유공예적 측면에서의 분석과 연구는 이루어지지 않았다. 본고에서는 <수병>의 바탕직물, 자수색사, 자수기법 등을 과학적 기기를 사용하여 조사 분석함으로써 <수병>의 문양소재와 섬유공예적 특징 및 <수병>이 섬유공예사에서 갖는 가치를 규명하였다. 연구 결과, <수병>은 8폭 병풍으로 이루어져 있으며 소재와 구도는 일반적인 초충도 회화작품과 유사하다. 각 폭의 주제문양은 제1폭에서부터 순서대로 오이, 맨드라미, 원추리, 여주, 패랭이, 수박, 가지, 들국화로 이루어져 있다. <수병>의 문양 중 여주는 현전하는 초충도 회화작품에서는 볼 수 없는 특별한 소재이다. 제8폭은 곤충, 파충류 등의 문양이 없이 들국화만 단독으로 시문하여 초충도의 전형적인 형식과 차별이 있다. <수병>의 직물은 지금까지 장식용 자수에서는 볼 수 없었던 검은색을 사용하여 다채한 색사를 강조하여 극대로 표현하고자 했음을 알 수 있다. 바탕직물은 5매 공단[무문단(無紋緞)]을 사용하였다. 자수사는 극히 미약하게 꼬임을 준 반푼사를 사용하였으며 꼬임의 방향은 우연이다. 한 가지 색의 단사를 사용하기도 하고 때로는 두 가지 색을 병사로 사용하거나 합연사한 혼합색을 사용하여 입체적으로 표현하였다. 색상은 열화되고 퇴색이 심하여 원래의 색은 알 수 없지만 가장 많이 사용된 색은 황색계열에서 녹색계열의 색이며 청색, 갈색, 자색 등이 비교적 잘 남아있다. 원추리, 패랭이, 딸기 등의 색은 현재 적황색으로 남아 있는데 초충도와 비교해 볼 때 원래는 주황색 또는 홍색이었을 것으로 추정된다. 자수의 기법은 대부분 표면평수를 사용하여 면을 채우고 있다. 이를 통해 색사의 낭비를 줄이고자 했던 옛 여인들의 알뜰한 지혜가 엿보인다. 평수는 면을 장식하는 비교적 간단한 자수법이지만 색사를 다양화하고 면을 분할하여, 수직, 수평, 사선평수를 배합하고 때로는 자릿수와 같이 서로 맞물리게 자수하여 다양한 질감과 양감을 표현하였다. 곤충의 몸통은 가장자리수와 이음수, 평수를 혼합하여 입체적으로 표현하고 있으며, 특히 가장자리수의 활용이 주목된다. 그 외 이음수로 잎맥 등을 입체감 있게 나타내고, 제7폭의 쇠뜨기는 표면솔잎수를 층층이 자수하여 사실적으로 표현하였다. 패랭이, 딸기, 오이 등에는 평수 위에 장식수를 더하여 세세한 묘사를 더했다. <수병>은 회화사, 문화사적으로도 가치가 크지만 한국 자수공예사에 있어서도 우수한 한국적 자수기법과 색채를 사용하여 신사임당 초충도의 모습을 가장 잘 표현하고 있는 점에서 큰 중요성을 지닌다고 할 수 있다. <Embroidered Screen with Grass and Insects (草蟲圖繡屛)> possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, <Embroidered Screen> consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. <Embroidered Screen> is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.

고려불화 수월관음도의 복식직물과 문양

심연옥(Sim Yeon Ok) 한국미술사학회 2012 美術史學硏究 Vol.273 No.273

고려시대 직금 직물의 조직 특성 및 유형 분류

심연옥(Sim Yeon-Ok) 한복문화학회 2015 韓服文化 Vol.18 No.4

The following research is to examine the weave structure by investigating and analyzing gold woven silk from the Goryeo Dynasty. The excavation for Jik-geum textile is very much focused on the late 14th century. Until this point, 50 pieces of gold woven silk fabrics from the Goryeo Dynasty has been excavated. Among those gold woven silk fabrics, there are incense bags, sutra case, norigae, bamboo roll cover, and cover of Buddhist scriptures. Other pieces are just small scraps. Gold thread is divided into flat gold thread and wrapped gold thread. All of the gold thread used for making Jik-geum is a flat gold thread. The structure of Jik-geum from Goryeo Dynasty can be classified into lampas, weave with supplementary weft, brocade and some of them are also tapestries. Korean Jik-geum was commonly produced in weave with supplementary wefts. On the basis of foundation structures, it could be classified as tabby with supplementary golden weft (織金䌷), twill with supplementary golden weft (織金绫), damask with supplementary golden weft (織金纹绫), satin with supplementary golden weft (織金缎), and simple gauze with supplementary golden weft (織金紗).

중국 · 일본 · 한국의 금사 제작 기술 비교 연구

심연옥(Sim Yeon-Ok),이선용(Lee Seon-Yong) 한복문화학회 2014 韓服文化 Vol.17 No.3

So far, there isn"t any restoration technique available to make gold thread from discontinued korean tradition. Therefore, we examined for the Korean traditional technique making gold thread to study on the features of materials, process, and tools, and others, and to compare the different techniques via document in China, Korea and Japan, as well as, research of the workshops in Nanjing(南京), China · Kyoto(京都), Japan. This is the result of the study. Looking over the materials used gold thread, manufacturing gold leaf in China, Japan, and Korea was the same. The glue to gild on the paper was used with mixture with red clay, and glue in China, lacquer in Japan, besides mixture with red and white clay and glue in Korea. Used base paper was paper, Sangpiji(桑皮紙), Jukji(竹紙) and imported paper from Singapore in China, Anpiji(雁皮紙) in Japan, Dakji in Korea. The progressing of gold thread is comprised of having base paper, gilding on the paper, shining, and cutting in order, but it is confirmed some of differ in detailed work processes and materials in each three countries. Having base paper was used with watery red color mixture in China, lacquer in Japan, and glue in Korea. Gilding on the paper had different point in part. The progressing, Shining was supposed to make flat gold thread by vertically cutting after making smooth using Mano in China, which is one of jewel, and Sulmunja in Korea and Japan, which is a sort of silk. Moreover, wrapped gold thread was made on flat gold thread reeling thread in with rotatory power. For all these bases, it is confirmed that has some difference thereby comparing the manufacture, process, and materials in China, Korea, and Japan.

삼베짜기 전승현황 및 지역별 특성

심연옥(Sim Yeon-Ok),금다운(Keum Da-Woon) 한복문화학회 2016 韓服文化 Vol.19 No.3

This study is to progress the site inspection, based on lodgement area of hemp production which can be identified the terms as intangible cultural asset of national, municipal, and regional and hemp village in 2015. Also, it compared the current state of transmission of hemp at each region, breed and characteristic of hemp textile. The function of hemp weaving at four regions is designated as intangible cultural asset, and some places like Andong, Bonghwa, Geochang, Dangjin, Muju, Boseong, Namhae, and Jeongseon are where hemp is weaved actively up to now at unit of village. The age of hemp producer at each region is from 50"s, but most of them are over 70"s. Compare to other areas there are many hemp producers in Andong, Geochang, Namhae, and Jeongseon, and wide range of ages. Hemp, which is produced all over the country, is mainly being weaved as 35~38 ㎝ in width, 4~6sae (1sae : warp / 80). In the course of warping, material of starch is being used variously for each region, and the modified loom is mostly being used. The hemp is the main material of shroud. Even in places like Andong, where weaved hemp of various breed, the weaving of Musam and Iknaengi were stopped and produced according to Saengnaengi, due to hassle of the process. Saengnaengi is being produced in various sae, from 5 to 15. Saengnaengi style hemp is being produced even in Bonghwa and Cheongdo, and it is called as Hwangpo and Hwangjipo in Cheongdo. Musam in Andong has similar progress with hemp of other regions, and Musam is produced in Bonghwa. No other regions have any similar weaving method of Iknaengi in Andong.

직금·자수에 사용된 금사의 형태와 특징 비교 고찰

심연옥(Sim Yeon Ok),이선용(Lee Seon Yong) 한국복식학회 2013 服飾 Vol.63 No.7

In the Korean literature, records of systematic gold thread manufacturing such as gold foil(金 箔匠), gold foil bonded with fabrics(付金匠), gold foil bonded with paper materials(金箋紙匠), refining gold(鍊金匠), cutting gold(裁金匠), and making gold thread(絲金匠) can be easily found. We can infer from these literatures that the Korean people used to make gold threads. However, is not existent the gold thread making technique. Thus, a research was done using 67 pieces of gold thread artifacts used in textiles craft of Korea, China and Japan. The purpose of this research was to identify the characteristics of the Korean gold thread by studying the artifacts` form classification, gold foil, glue and the base. First, gold thread is divided into flat gold thread and wrapped gold thread. Wrapped gold thread was made in more various methods such as with a paper on the flat gold thread, metal thread and wrapped gold thread with gold foil on top. Compared to the flat gold thread, wrapped gold thread uses a thread that has a thinner and wider. Through this analysis, even making of the base of the gold threads was different according to the type. Secondly, we looked into the characteristics of materials according to form structure of the gold thread. After analysis of experiment results, we could know that to attach Korean gold thread, glue and the mixture of materials such as Red soil(朱土) was also added. The kinds of the base of gold threads were identified as paper, leather and intestines. Among those materials, for paper, Korea``s Dakji, China``s Sangpiji(桑皮紙) and Jukji(竹紙) and Japan``s Anpiji(雁皮紙) seemed to have all been used, so because of the difference among countries, we can prove that Korea has also produced gold thread. By looking at the research, the base of gold threads and making features hugely vary according to the area.

불국사 석가탑 내 발견 금직물(錦織物) 고찰

심연옥(Yeon Ok Sim) 한국복식학회 2012 服飾 Vol.62 No.3

In 1966, Seokgatap pagoda in Bulguksa temple was damaged by the tomb robbers and was dismantled to fix the damage. In the process, many offerings to Buddha and containers for Sarira(the cremated remains) were found in Sarigong(specially designated space for the Sarira casket) inside the second floor of the pagoda. Many fabrics like Geum, Neung(twill), Rha(complex gauze), silk tabby and linen were also excavated. In this study, Geum fabric from the Seokgatap was closely examined. Geum of seokgatap is weft-faced compound weave according to the analysis of its weaving pattern which was wrongly presumed as warp-faced compound weave for some time. Technical analysis of Geum: Main: silk, Binding: silk, Proportion: 1 main warp to 1 binding warp, Count: 15 main warps and 15 binding warps per centimeter, Weft: polychrome silk without apparent twist, Colors: yellow, mustard yellow, deep blue, green and purple, Weave: weft-faced compound twill, 1/2 S. Geum of Seokgatap was made in the 8th century, since it was weaved in weft-faced compound weave twill which was popular in the 8-9th century. And also, the arrangement of the colors was done in the same way of gradation Geum silk which was popular in the 7-8th C in China and Japan. Third, we restored the pattern of Geum of the Unified Shilla Dynasty for the first time. It was very difficult to figure out the shape and the size of pattern since the fabric was partially lost and ruined. We tried to draw the diagram of structure with the cross point of the warp and the weft to restore the pattern. By doing so, we could identify two kinds of small flower pattern, palmette and the pattern of repeating vines. Fourth, we could infer that the Geum of Seokgatap was used for geumdae(a pouch made of geum) by analyzing all the documents and the characteristics of the fabric.

대한제국 적의 직물 제직에 대한 고찰

심연옥(Sim Yeon Ok) 국립고궁박물관 2011 古宮文化 Vol.- No.4

본 연구는 대한제국시기 적의직물에 대한 문헌조사와 적의유물 3점에 대한 조사·분석을 병행하여 적의직물의 구성과 제직특성을 고찰하였으며, 적의직물의 제작지에 대한 규명을 위해 일본의 직조자료를 조사하고, 대한제국시기 왕실직물제직에 대한 기록과 유물을 조사하여 다음과 같이 결론을 얻었다. 1. 대한제국시기 황제국으로서 위상을 확립하기 위하여 적의제도를 새로 마련하고 이 내용을『 대한예전(大韓禮典)』과『 예복(禮服)』에 담았다. 적의제도는『 대명회전(大明會典)』의 내용을 그대로 따르고 있어 적의 직물의 종류도 명대의 직물명을 그대로 사용하고 있다. 적의에 적문(苧絲, 紗, 羅), 선단에 직금(織金)(苧絲, 紗, 羅)를 임의대로 사용하였다. 대한제국시기의『 순종순종비가례도감의궤』22)에는 당시 실제 사용된 적의 직물명과 소요량을 적고 있다. 직물의 종류는 채적문필단, 직금운용문필단, 안감에 필단, 사를 사용했다. 2. 적의유물의 제직특성을 조사하여 비교하였다. 적의 직물 3점은 모두 7매 수자조직의 채화단이며, 선단은 연금사(撚金絲)로 짠 직금직물로서 고궁박물관 적의와 세종대 적의는 직금능이며 역사박물관 적의는 직금단이다. 고궁박물관과 세종대학교 유물은 문양과 구성에는 차이는 있으나 적의와 선단에 사용한 견사, 금사가 같고, 조직 및 제직특성이 동일하게 나타난다. 역사박물관 적의는 조직에 있어서는 고궁과 세종대 12등 적의와 같으나 경사의 짜임이 성글고 문위사가 가늘며 직물의 도안이나 제직상태의 완성도가 떨어진다. 선단과 안감의 직물도 차이가 있어 서로 다른 제직환경에서 제직했음이 나타난다. 3. 적의직물의 제작지에 대해 고찰한 결과 고궁박물관 소장 영친왕비 9등 적의의 채적문단과 세종대학교 박물관에 소장된 순정효황후 적의의 채적문단은 일본 쿄토 가와시마직물(川島織物)셀콘에서 제직한 것을 확인했다. 모두 4점의 직물샘플을 조사했으며 A샘플은 12등 적의 뒷길의 하단부분이며, B샘플은 12등 적의 폐슬의 부분이었으며, C샘플은 9등 적의 폐슬부분과 앞길, 뒷길이 이어지는 부분의 시직으로 판단되지만 문양의 간격에는 차이가 있어 좀더 연구가 필요하다. D샘플 9등 적의의 소매부분의 샘플임을 확인했다. 정확한 제작연대나 경위 등에 대해서는 현재 조사가 진행 중이다. 4. 역사박물관 적의는 영친왕비 9등 적의와 순정효황후 12등 적의와는 제직특성상 많은 차이를 보이고 있어 이것이 대한제국시기 국내에서 제직된 직물이라고 추정하였다. 대한제국 궁내부(宮內府)에 1904년 직조과(織造科)를 따로 설치하여 황실의 의복을 만들었으며, 어용 직조기(御用織造機)를 두어 황실의 직물을 제직하였다. 서울역사박물관 9등 적의 제작시기는 궁내부 직조과가 설치되었던 1904년에서 한일합방되어 궁내부가 폐지되는 1910년 사이일 것으로 추정한다. 이때의 국혼으로는 순정효황후 윤씨의 가례가 있어 이때 소용된 복식이었을 가능성을 생각해 볼 수 있으나 앞으로 좀 더 보완된 연구가 필요하다. 조선시대 후기 문직물 직조기술은 영조시대 사치를 금하기 위한 조처로 상방의 직기를 철폐시킨 이후부터 답보상태에 머무르게 된다. 직조기술력이 떨어지는 상황에서도 직조과를 새로 설치하고 황실의 복식을 국내에서 자체적으로 제직한 것은 황제국 체제 정비를 통한 자주독립국으로서 대한제국의 위상을 세우고자 했던 노력의 일환이었다. This research has studied the form and weaving characteristics of jeogui textile during the Korean Empire Period, by researching and analyzing documents and the textiles of the three pieces of jeogui relics. And by researching Japan’s weaving documents to investigate the production area of jeogui textile and researching the documents and relics of the Korean Empire Period’s royal woven textile, this research has resulted in gaining conclusion as below; 1. The Korean Empire had newly prepared a jeogui system to establish stature as emperor country. And left this contents in『 Daehan-yejeon(大韓禮典)』and『 Yebok(禮服)』. The jeogui system follows the contents of 『Da-Ming huidian(大明會典)』 and the type of jeogui textile uses the same name from Ming period. The ramie, gauze(苧絲, 紗, 羅) for jeogui, and Jikgeum(織金) for Sundan. In the Korean Empire’s『 Garaedogam(嘉禮都監儀軌)』, shows the textile name and demand quantity of jeogui used in that period. For the fabric type there were Dahn with pheasant(彩翟紋匹緞) and Dahn with Jikguem cloud and dragons(織金雲龍 紋匹緞) for the lining, Dahn and Sa was used. 2. Researched and compared the weaving characteristics of jeogui relic. The three pieces of jeogui textile were all Dahn with flowers(彩花緞) of seven-end satin binding. Sundan is a Jikgeum textile woven by twisted-gold thread(撚金絲). The jeogui in the National Palace Museum of Korea and Sejong University Museum are Jikgeum Nueng and the one in Seoul Museum of History is Jikgeum Dahn. The relics in the National Palace Museum of Korea and Sejong University Museum show difference in pattern and composition, but the silk and gold thread used in jeogui and sundan are the same and so is the composition and weaving characteristic. The composition of jeogui at the Seoul Museum of History is the same as the one in the National Palace Museum of Korea and Sejong University Museum, but has loose warp threads, thin supplementary weft, and the execution of design and weaving status is depreciated. It shows that they were woven in a different weaving environment from the difference in sundan and lining fabric. 3. In researching the production area of jeogui textile, the Dahn with pheasant-patterned jeogui of the consort of the imperial prince Yeong at the National Palace Museum of Korea and Empress Yun’s jeogui at Sejong University Museum were woven in Kawasima-selcon(川島織 物) Kyoto, Japan. This study has researched total of 4 woven fabric sample pieces. A sample is the lower part of twelve-tier jeogui, B sample is part of twelve-tier jeogui’s pyeseul(蔽膝), C sample is judged to be the test weaving of the pyeseul part and connecting part of from the nine-tier jeogui. D sample is the sleeve sample part of the nine-tier jeogui. 4. The weaving characteristic of jeogui at the Seoul Museum of History is different from nine-tier jeogui of the consort of the imperial prince Yeong and Empress Yun’s twelve-tier jeogui, so it is assumed to be made in domestic during the Korean Empire Period. In 1904, Department of Weaving(織造科) and a government-patronized loom(御用織造機) was established by the Korean Empire Gungnaebu(宮內府) to produce the imperial family’s garments and fabrics. The production period of nine-tier jeogui at the Seoul Museum of History is assumed to be from 1904 to 1910. There was a royal wedding for Empress Yun, and this might be the dressing used, but this theory needs more research. The weaving technology of late Joseon Dahn was an action to prohibit luxury during the King Yeongjo period, so the loom of Sangeuiwon(尙衣院) was abolished and after that everything was on standstill. The Korean Empire tried to set up its status as an independence country by establishing Department of Weaving(織造科) and weaving the imperial family’s garments.

선암사 소장 <용문자수탁의(龍紋刺繡卓衣)> 연구

심연옥(Sim Yeon-Ok) 한국복식학회 2017 服飾 Vol.67 No.2

우리나라와 중국 명대의 직물 교류 연구Ⅰ

심연옥(Sim Yeon-Ok),금종숙(Keum Jong-Suk) 한복문화학회 2013 韓服文化 Vol.16 No.2

This study is focused on the Ming Dynasty of China when textile exchange was most active. After researching and organizing textiles sent from Korea to China during the Ming Dynasty through documents to categorize textiles’ usage and analyze their characteristics, we have successfully come to the following conclusion. Usage of textiles sent from Korea to China during the Ming Dynasty was to send to the imperial family or to sell or exchange with ambassador, leaders, hostages or even to be given as a gift from the Imperials to Chinese brought during the Western China Conquest. Textiles sent were ramie(苧布), hemp(麻布), and cotton(綿布). For silk, spun tabby silk(綿紬), tabby silk(綿), spun tabby silk(土紬), fine tabby silk(?), tabby damask(交綺), simple gauze(紗), complex gauze(羅). For leathers, marten(貂皮), tiger(虎皮), fox(狐皮), leopard(豹皮), otter(?皮), lynx(土豹皮), mouse(鼠皮, 豹鼠皮), bear(態皮), deer(鹿皮), seal(水?皮) and etc. Other than these, silk and hemp blended tabby(絲麻交織布, 絲麻兼織布), silk and ramie blended tabby(絲苧交織布, 絲苧兼織布), and carpets(?) were also sent. Among these one of the most common ones sent were ramie and hemp. For costumes, there were Gwanmo(冠帽), Ui(衣), shoes(신), and Gita(其他). Textiles used as hemp fabrics(麻織物) were ramie and hemp. As cotton fabric(綿織物) is cotton and as silk fabrics(絹織物) were spun tabby silk, tabby silk, fine tabby silk, tabby damask, simple gauze, complex gauze, satin(段子), wool(毛), felt(氈) and etc. As leather, deer(鹿皮), horse(馬皮), marten(貂皮), mouse(鼠皮) and etc. Colors for textiles and costumes were yellow(黃), red(紅, 大紅), white(白), black(黑), purple(紫, 紫的), green(綠, 草綠, 水綠), blue(靑, 柳靑), lapis lazul(鴉靑), dark brown(茶褐), gray(灰), dark blue(紺色) and etc. Among these, yellow was only used in Imperial Family. Lapis lazul was only for ambassadors or leaders. Grey could be only seen among ambassadors, leaders, wives or child. Dark blue was only used for wives’ clothes. Likewise, usage of colors differed accordingly with the one’s social status.