A Study on the Weaving Characteristics of Decorative Silk in the Jangseogak Collections of Eshipgongsin Hoemaengchuk and Gyomyeong - Focusing on the Comparison between Uigwe Records and Extant Textiles -

This study examines the structure and decorative textile coverings (janghwang, 粧潢) of two Eshipgongsin Hoemaengchuk (Twenty Meritorious Subjects Alliance Oaths) and two Gyomyeong (Royal Edicts) preserved in the Jangseogak Archives of the Academy of Korean Studies. While prior research has predominantly addressed the formal and structural features of these scrolls, this study aims to clarify the relationship between the textiles recorded in the uigwe (royal protocols) and the materials actually used, through microscopic scientific analysis. The parameters analyzed include weave structure, twist direction, yarn thickness, warp–weft thickness ratio, density, and warp–weft density ratio. The results are as follows. First, the Eshipgongsin Hoemaengchuk scrolls comprise a main body (bon), a border (byeona), an outer frame (hoejang), a backing (ui), and a title label (yeongja). At the same time, the Gyomyeong features double-layered janghwang in both the border and frame to emphasize royal authority. Second, in the Hoemaengchuk for Yeongguk-gongsin, cho (綃), neung (綾), paengdan (彭段), daedan (大段), and jinhongsa (眞紅絲) were used for the respective components. In contrast, in the Hoemaengchuk for Bosa-gongsin, paengdan was replaced with daedan. Microscopic analysis revealed that paengdan—a textile term no longer found after the reign of King Injo—referred to a 5/2 warp-faced satin fabric with Z-twisted warp yarns, thereby identifying its historical weave characteristics. Third, although the uigwe records list baekneung (white damask) for the border fabric, the extant textiles were munneung (patterned damask) and mundan (patterned satin), indicating discrepancies between documentation and actual production practices. Fourth, the main textile of the Gyomyeong, not specified in written records, was identified as chaedan (colored satin). Fifth, the backing fabrics consisted of red-toned yumoondaedan for the Hoemaengchuk and husu-dan or multicolored osekhusu-dan for the Gyomyeong, enhancing visual harmony when the scrolls are rolled. Lastly, the weaves used for janghwang evolved from 5/2 or 5/3 to 8/3 satin structures, reflecting an intention to minimize interlacements and produce a smooth, lustrous surface that maximized decorative effect. These findings provide valuable empirical data for reconstructing the weaving characteristics and production techniques of royal janghwang textiles during the Joseon dynasty. Furthermore, the study contributes to expanding scholarship on Korean royal craftsmanship, textile culture, and the material aesthetics of court art.