This study is a research on the craft historical value and characteristics of Goryeo Dynasty embroidery. This research classifies and analyzes embroidery artifacts with foreign and domestic written records of its time and compares the data with histor...
This study is a research on the craft historical value and characteristics of Goryeo Dynasty embroidery. This research classifies and analyzes embroidery artifacts with foreign and domestic written records of its time and compares the data with historical records of adjacent times.
Research on Korean embroidery has been focused on the late Joseon Dynasty or the 20th century than Goryeo Dynasty, its research subject heavily concentrated on design or pattern study more than materials or technique. Goryeo Dynasty being a period where embroidery artifacts and records can be confirmed in earnest, Goryeo artifacts are invaluable in enlightening the context of Korean handicraft history.
Written records of Goryeo embroideries can be found throughout the country's foundation year to the latter periods, but it is mostly concentrated in Goryeo’s early stages. Records state an exclusive labor force and production system around government factories, and though there is no immediate record of it, we can speculate active embroidery production in civilian and temple manufacturers through several scripts prohibiting embroidery across the country. While ban on the produce of embroidery by the private sector continues, various records of embroidered goods appear in the royal sector, showing a double aspect in society.
Embroidered pieces identified in records were classified into clothes, ceremonial objects, flags, decoration objects, and architectural decorations, taking into account their similarities and use. There are mostly records related to the royals or officials and often appear as objects of luxury or of royal goods.
For the background material of embroideries, purple and red Ra(羅, 라, complex gauze) is mentioned several times. Chook-Geum(축금, 蹙金, "Couching Stitch with wrapped Gold Threads or Gold Couching Embroidery") and Nap-Su(납수, 納綉, Counted Stitch) techniques can be verified.
There are a total of 8 artifacts announced as Goryeo embroideries and can be confirmed as Bul-Bok-Jang-Mul(불복장물, 佛腹藏物, sacred objects enshrined in Buddhist statues) or passed down artifacts. They are as follows; Woljeongsa Museum(월정사성보박물관)’s <Embroidered Incense Pouch on Complex Gauze(수라향낭, 繡羅香囊>. Onyang Folk Museum(온양민속박물관)’s <Pouch(주머니)>, a Bul-Bok-Jang-Mul of their Amitabha Buddha. Central Buddhist Museum(불교중앙박물관)’s <Incense Pouch(향낭, 香囊)> and <Norigae(노리개)>, a Bul-Bok-Jang-Mul of their Gilt-Bronze Seated Bhaisajyaguru(Medicine Buddha) Statue of Janggok-Temple. Songgwangsa Museum(송광사성보박물관)’s <Embroidered Twill Damask(자수 문능, 刺繡 紋綾)> a Bul-Bok-Jang-Mul of their Wooden Amitabha Buddha Statue of Jawun-Temple. Andong Teasameo(안동 태사묘, 安東 太師廟)’s <Embroidered Non-Patterned Twill (자수 무문능, 刺繡 無紋綾)>. Leeum, Samsung Museum of Art(삼성미술관 리움)’s <Embroidered Amitabha(자수 아미타여래도, 刺繡 阿彌陀如來圖)>, Museum of Korean Embroidery(한국자수박물관)’s <Embroidered Folding Screen of Potted Plants in Four Seasons(자수 사계분경도, 刺繡 四季盆景圖)>. The composition and fabric of each artifact were analyzed and researched on embroidery techniques and patterns.
As embroidery materials, Ra(라, 羅, Complex Gauze), Si(시, 絁, Silk Tabby), Gi(기, 綺, Damask on Tabby), Neung(능, 綾, Twill), Sa(사, 紗, Simple Gauze), Dahn(단, 緞, satin) and such can be seen used as background textile. Mu-Yeon-Sa(무연사, 無撚絲, Twistless Yarn), Yag-Yeon-Sa(약연사, 弱撚絲, Soft Twist Yarn) are often used as embroidery threads, as well as Gang-Yeon-Sa(강연사, 强撚絲, High Twist Yarn) and Yeon-Geum-Sa(연금사, 撚金絲, Wrapped Gold Thread). Techniques can be categorized into 15 types; Jeom-Su(점수, Dot Stitch), Seun-Su(선수, Straight Stitch), Pyeong-Su(평수, Satin Stitch), Ga-Reum-I-Eum-Su(가름이음수, Split Stitch), I-Eum-Su(이음수, Outline Stitch), Ga-Reum-Su(가름수), Ja-Ryeon-Su(자련수, Long and Short Stitch), Ja-Ri-Su(자리수, Mat Stitch), Jing-Geum-Su(징금수, Couching Stitch), Mae-Deub-Su(매듭수, Knot Stitch), Sok-Su(속수, Padded Stitch), Nap-Su(납수, Counted Stitch), Ga-Jang-Ja-Ri-Su(가장자리수, Blanket Stitch or Buttonhole Stitch), Sa-Seul-Jing-Geum-Su(사슬징금수, "Chain Couching Stitch"), Ol-Lyeo-But-Im-Su(올려붙임수, Applique). Techniques that refer to certain modern pattern making such as Sol-Ip-Su(솔잎수) and Sa-Seon-Gyeog-Ja-Su(사선격자수) were not categorized. Furthermore, Sa-Sul-Su(사슬수) and Go-Li-Gam-Gae-Su(고리감개수, 环编绣, Needle-Looping) were exempted from this study.
Although comparison study with the Three Kingdoms and Unified Silla Period is difficult due to its lack of embroidery artifacts, it seems that most of the basic techniques, which are now called traditional embroidery, had started being used in earnest from Goryeo Dynasty at the latest.
As a period to examine the interaction between the neighboring countries of the Goryeo Dynasty, primarily with Liao Dynasty, Song and Yuan Dynasty, it is confirmed that the composition and technique of contemporary embroidery are shared between the countries. Through this, we can see that we have achieved our own textile craft culture in active exchange with neighboring countries.
This study is an attempt to collect and categorize Goryeo embroidery related artifacts to understand the characteristics of its period and historical trends. However, there were limitations in the study about the color, tools, dyeing and the making of the embroidery threads. Although it is a small study that collects pieces from written records and interprets the materials and techniques of the actual artifacts, it is hoped that the research will be used as a basic material for understanding the embroidery of Goryeo Dynasty.