Journal of Fashion Business Vol. 8, No. 3, pp.20~33(2004)
The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art. Key words: Gubang Craft, Embroidery, Cultural Background, Modern Fiber Art
I. Introduction consciousness, habits, moral, religion, philosophy, and culture of Koreans and to explain 1. The Purpose of Study to what extent these characteristics are expressed in contemporary Korean fabric art. It Korean Gubang art represents the traditional also aims to develop a systematic foundation of embroidery. The Gubang art is recognized as a traditional Korean embroidery art. traditional cultural legacy with high practicality and embellishment. Today, its artistic value is 2. The Scope and Method of Study also reevaluated in the fabric art. In the late 20th century, fabric art focused on its experimental The method of this study is to explore the model and artistic works. In the 21st century, historical development of traditional Korean fabric art began to incorporate technology and embroidery. To illustrate the specific examples of cultural identity. One of the main trends is to traditional embroidery used in the contemporary receive traditional arts such as embroidery with Korean fabric art the following materials in the new methods. museums are analyzed: embroidery for clothing, The purpose of this study is to explore the embroidery for daily life, Buddhist embroidery,
+ This work was supported by the Hanyang University, Korea, made in the program 2001
20 Rhee, Soo-Cheol/The Relationship between Traditional Embroidery of Gubang Craft and Modern Fiber Art in Korea
books and dissertations on embroidery, a variety included thread, needle, thimble, scissor, of pictures and books, and journal on measuring rule, flatiron, and iron. In Gubang embroidery. Internet sites on embroidery are also Chosun women regarded the seven materials as explored. their imagined friends. With these tools Chosun The scope of this study includes the origins women did needleworks as part of artistic and development of traditional embroidery to activities. explain the characteristics used in contemporary The needlework as a basic skill meant an Korean fabric art. A variety of forms of important virtue all Chosun women were required embroidery, its characteristics, and concepts are to possess. Chosun women’ hard works with all analyzed in the first part of the study. The second their heart showed the beauty by itself although part of the study includes the examples of enormous physical pains were given to them in traditional embroidery used in fashion, the process of needlework. Chosun women accessories for daily life, and objects in the elevated their needleworks to artistic activities contemporary Korean fabric art. and contributed to the development of Gubang craft into an independent artistic field called Gubang craft. II. Theoretical Background on the terms Cubang craft is a collection of artistic and of Gubang Craft practical works made by Chosun women. New attempts are currently being made to find and 1. Origins of Gubang Craft utilize traditional characteristics of Gubang craft for the development of new artistic and design Gubang means women’ quarters and living forms in Korea. Especially the plastic elements of rooms in the house where women are only Gubang craft are rediscovered and applied for permitted to stay. Confucianism in the Chosun modern fiber art in Korea. This article is designed dynasty put strict limits on women’ social to explain the characteristics and types of activities. The segregation of women had direct Gubang craft with special emphasis on traditional impact on their social and artistic life. Chosun embroidery and on its impact on modern fiber art. women’ social conditions constitute sharp contrast to those in the Goryo dynasty prior to the Chosun dynasty. Gubang was the only place for 2. Characteristics of Gubang Craft Chosun women where they were free to do what Gubang craft has its own original concept and they wanted to do. Their works included reading, plastic forms which result from the combination of writing, and artistic activities. idea, culture, and art in the Chosun dynasty. The creative energy of Chosun women under Painters and potters in the same era thought that socially restricted conditions provided the leaving a blank space on canvas or on the background for the emergence of Gubang craft surface of white porcelains was one of the most in the Chosun dynasty. There were seven friends important factors to finish their works. They of Gubang called Gujung Chilwoo( ). The 閨中七友 emphasized aesthetic aspects deriving from seven materials of needlework for Gubang craft
21 Journal of Fashion Business Vol. 8, No. 3 simplicity and neatness in their artistic works. In Second, one of the most important characteris- contrast, the women who created Gubang craft tics of Gubang craft is the transmission of skills expressed their artistic creativity through very from generation to generation. Gubang craft was splendid and decorative handicraft art works. handed down to a daughter from a mother or to The social atmosphere of the Chosun dynasty the daughter-in-law from the mother-in-law. In the was imbued with Confucian values which had process techniques and trained expertises direct influence on artistic works. The artists in the peculiar to each family were inherited to next other field pursued non-technical, non-artificial, generations. From early ages most Chosun and unplanned artistic techniques consistent with women learned to do needlework for their family Confucian moral values. Yet the women who was and cultivation for themselves. They weaved and separated from outside society and stayed inside knitted fabrics to make costumes and everyday Gubang followed their own artistic sensitivities goods. They also embroidered splendid patterns and imaginations. They could also get a variety of to make wishes for bringing health and domestic materials for their craft. As a result, happiness to their family. The techniques and Gubang craft is characterized by splendid, skills inherited by ancestors helped to improve decorative, and ornamental handicraft artistic the qualities of Gubang craft and to make works with its own original plastic forms. ordinary Chosun women to be experts. The characteristics of Gubang craft result from Third, the characteristic of diversity derives Chosun women’ artistic creativity, senses of moral from the tradition of self-sufficiency in the Chosun and family values, and the realization of self- dynasty. The people in the era made daily goods esteem. Four main characteristics for housing, food, and clothing by themselves. can be identified in Gubang craft: embellish- The women could not get a systematic social ment, inheritance of craftsmanship, diversity, and education. They were taught by either their feminity. mother or other family members. Chosun women First, embellishment is easy to find in Gubang could develop independent and individual skills craft works. They include embroidery sewed with and techniques of needlework representing splendid threads, colorful patchwork, seven peculiar family culture and customs. They were treasure accessories, and paper craft works. free to choose artistic forms and concept for their Chosun women sought to make house comfor- works and did not follow dignified and formative table, cozy, and joyful for children and other high artistic categories. This freedom gave family members. They used bright, brilliant, and Gubang craft artistic richness and diversity. delight colors to decorate interior parts of the Fourth, the character of feminity comes from house because the rest part of the house was the feministic factors in Gubang craft. Gubang decorated with either dark or monochrome colors craft showed the feministic senses of elegance, without any accents. Chosun women recognized gorgeousness, and warm feeling rather than that too simplified a color would bring depressed those of braveness, prowess, and decisiveness. conditions to the family although they stayed in The feminity also appears in the size of Gubang Gubang. The recognition contributed to the works which mostly consist of small craft works. development of embellishment in Gubang craft. Gubang craft expresses Chosun women’ desires
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to bring peace and happiness to their family. embroidery pouch, embroidery eyeglasses case, embroidery shoes, hats(Fig. 9) and embroidery bag. III. Categories of Gubang Craft The food category includes embroidery or patched table cloth, tray cover(Fig. 10), food Gubang Craft can be divided into three container case, spoon case, and medicine case. categories: housing, food, and clothing. Each For the housing category, it was classified into category can be subdivided into two parts by embroidery stuffs, quilts, and paper works. function. (see the table 1). Embroidery for housing includes decorative The clothing category includes Hanbok(tradi- curtain, drapery for the door of the house and tional Korean costumes, Fig. 1), Jasoo(embroide- cart, and coverlet. Noobi was originally made for ry, Fig. 2), Noobi(quilts, Fig. 3), and the seven winter costumes, but it was also used for coverlet treasures(七寶) accessory(Fig. 4). It was subdi- for bed and wrapper for storage. Paper craft vided into ordinary Hanbok, Hwalwot(ceremonial pieces(Fig. 11) are characterized by the diversity dress, Fig. 5), Hoosoo(same as hood, Fig. 6), because they were created by each family with Hungbae(special decoration refers official rank, strong family tradition and regional specialty. The Fig. 7), Noobiwot(quilted dress for winter, Fig. 8), paper works were made for storage box like tool embroidery and seven treasures accessory, case of needlework, thread case, accessory
Categories of Gubang CraftClothing Food Housing Classification Function Usages Classification Function Usages Classification Function Usages Hwalwot Ceremonial Dress Bobsangbo Table Cloth Embroidery Special Decoration Chimjang Drapery for the Hungbae for Costumes which Door in the house Dubgaebo Tray Cover Boksik Jasoo Refers Official Rank Embroidery Bojagi Jasoo(Em Gyoryum Drapery for the (Embroidery Hoosoo Hood, refers (Patch Door of the Cart Official Rank Work) broidery) of Costumes) Embroidery Embroidery Sooeebul Soosamji Shikjibo Food Container Coverlet Cigarette Pouch Cover Embroidery Ggotshin Embroidery Shoes Soobaegetmo Pillow Case Soo Norigae Embroidery Noobi Eebul Quilted Coverlet Fashion Accessory (Quilts) Bojagi Quilted Wrapper Soo Jumoney Embroidery Wallet Soo Yak Embroidery Needle Work Jomoney Medicine Case Bangigori Boochae Fan Tool Case Soo Danggi Embroidery Hair Jasoo Silchub Tread Case Accessory Accessory (Embroidery) Jittong Paper Container Soo Embroidery Eye Paper Craft Paemulham Treasure Box Ankyungjib Glasses Case Embroidery Soojujib Seven Spoon· Hwabyung Vase Hair Pin, Fashion Chopstick Case Treasures Accessories, etc. Accessory Wotsangja Closet
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Hanbok; traditional Korean Chasoo; embroidery(ten Noobi; quilts dress for ordinary women(19C) longevity symbolic objects (pillow cases, 19C) pattern pouch, 19C)
The Seven Treasures Hwalwot; ceremonial embroidery Hoosoo; hood(express Accessories(19C) dress(19C) official level, 19C)
Hungbae; special Noobiwot; quilted winter jacket Decorative Embroidery decoration of costume for women(19C) Hat for Upper Class refers official rank(19C) Children(19C)
Embroidery Tray Cover(19C) Paper Craft; needle-work tool Embroidery Dragon box(19C) Robe for King(19C)
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case, treasure box, cosmetic case, and even develop as an independent artistic form to vase for flower. decorate textiles and to exhibit Korean nation’s Embroidery is one of the most distinguished art living environment, costumes, and religion. works in Gubang Craft although there are a Embroidery is a method of cultivating beauty in variety of art pieces in the categories of housing, everyday life in Korea. Korean people calls food, and clothing. Chosun women practiced embroidery “Jasoo” in Korean. basic skills for their needleworks from early age Jasoo began to become popular and luxurious and mastered themselves. They produced daily in the Goryo Dynasty although it existed in prior goods and used their skills and techniques on dynasties. the fabric with a variety of artistic expressions. According to Goryeo Dokyung1), embroidery in These artistic practices contributed to the the Goryo Dynasty can be classified into Boksik development of embroidery. Embroidery craft Jasoo2), Jangsik Jasoo3), and Buddhist Jasoo. can be construed as Chosun women’ efforts to Boksik Jasoo means embroidery used for reach artistic completion and to realize their self- decorating some parts of the clothes. The King esteem as women by means of cultivating in wore embroidered dragon robe(Fig. 12) with male-centered confucian society. Chosun women royal crest. The symbols of state and king such sought to achieve their artistic and social as flags, fans, and pendants were embroidered. objectives through embroidery works. The Queen and noble women also wore red clothes with Jasoo decoration(Fig. 13). To prevent extravagance the types of embroidery IV. Features of Traditional Embroidery in were strictly regulated according to status and Gubang Craft aristocratic ranks by the state. One of the most interesting developments of 1. Historical Background embroidery in the Goryo Dynasty was Jangsik Jasoo as a type of artistic piece. Jangsik Jasoo Embroidery has continued to develop with was widely used in folding screens(Fig. 14) as costumes and fibers used for human beings in ornamental objects in the rooms and banquet Korea as well as in other countries. Primitive curtains. With the wide usage of embroidery, people used the skin of animals, leaves, and Boksik and Jangsik Jasoo became extremely some fibers from plants to cover their body. They delicate, refined and luxurious. invented tools and simple sewing skills for Buddhist Jasoo was flourished in the Goryo practical reason. They began to develop new Dynasty because Buddhism became the state sewing techniques for their costumes to make religion. Buddhism was promoted as a means of them look better. The concept of embroidery defending the nation and achieving the appeared as human concern for better prosperity of the kingdom. Buddhist Jasoo was appearance increased. used for decorating Buddhist temples and Korean people used embroidery since the making special clothes for monks. ancient time. With the development of weaving In the Chosun dynasty which was erected after and sewing techniques, embroidery began to the collapse of the Goryo Dynasty, the
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Embroidery Robe for Embroidery Folding Screen(18-19C) Gungsu; Queen (for special embroidery for occasion, 19C) the family of the king(16-19C) development of embroidery was greatly influence state religion and provided for the moral by the types of the Goryo Dynasty. Chosun standards for social activities. Women were embroidery is classified into three categories; prohibited to run their own businesses outside the Gungsu4), Minsu5), and Buddhist Jasoo6). Chosun house and stayed in Gubang(閨房), that is women took all the responsibility for the whole women’s quarters of the house. They were process of Gungsu and Minsu. Minsu is called encouraged to make clothing for family ‘Gubang Jasoo(閨房刺繡)’ in Korean. Gubang members. The most skilled women in the field of Jasoo was emphasized as a prerequisite virtue embroidery selected on the nation level entered for any ordinary woman in the Chosun era. the palace to work at Subang7) and were Clothes and other ornaments such as book registered. cover, folding screen, pendant, purse, shoes, The major designs and patterns of embroidery pillow, hair accessories, and fan were decorated in the Chosun Dynasty were the four gracious with embroidery called Gubang Jasoo. plants(plum, orchid, bamboo, and chrysanthe- mums), lotus, turtle, duck, tiger, phoenixes, peonies, clouds, wave, water fall, mountain, 2. Techniques and Classifications of Chinese letters, geometric patterns, and other Traditional Embroidery in the Chosun living creatures. Dynasty For traditional Jasoo, Chosun women usually 1) Techniques embroidered on silk fabric with twisted silk threads. Depending on patterns and designs, In the early period of the Chosun Dynasty, the they chose an appropriate embroidering method use of embroidery was limited to the royal class from three types of Jasoo. The first type is the of the society. Political, economic, social, and method of joining the line; the second is the cultural situations became different from those in method of covering the space by the specific the Goryo Dynasty. Confucianism became the
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pattern; the third is the method of making delicate continued to develop and make the emblem touch for detail. Three main types of embroide- luxurious after a series of modifications in the ring method had a variety of techniques by Chosun era. figures and functions. The main patterns of embroidery of Hyungbae First, the techniques for joining the line are were mostly abstract symbolic designs signifying Jumsu8), Iemsu9), and Jingkumsu10). longevity and authority. The color scheme of Second, for the method of covering the space Hyungbae was characterized by its simple look by specific patterns, Chosun women used and delicate aesthetic appeal. Pungsu11), Garumsu12), Guansu13), Munimoksu14), Gungsu includes not only Hyungbae but also a Samipsu and Solipsu15), Byulmunisu16), and great variety of designs such as large screens, Chilbosu17). ceremonial clothes, room and cart draperies, Third, For the type of making delicate touch for flags, and pouches. details, they used Jaryunsu18), Soksu19), and The Gungsu tradition continued until the end of Saetulsu20)21). the Chosun Dynasty. The professional painter designed the drafts, skilled dyers created clothes 2) Classification of Traditional Embroidery in the and threads, and a person in charge of Chosun Dynasty embroidery performed the actual embroidery. Embroidery of the Chosun Dynasty is classified Because of the standard drafts and the into three groups; Gungsu(宮繡), Minsu(民繡), advanced skills of the artisans and experts, and Buddhist Jasoo. Gungsu had very refined elegance of embroidery First, Gungsu(Fig. 15) is embroidery for clothes with its technical perfection24). and miscellaneous materials for the king and its Second, in contrast with Gungsu, Minsu(Fig. family. There existed a special organization 16) was made for the need of the common called Subang(繡房) in the palace. people from gentry to farmer. Unlike specialized Selected women at Subang from all over the Gungsu, Minsu was done by women in the country were responsible for the production of house. Minsu was a domestic skill passed down clothes and other textile products and through the family, from mother to the daughter. embroidery decorations used for the royal family As a result, Minsu did not have its standard rules. and the nobility. They created Jasoo to satisfy the Minsu had the characteristics of each woman demands from the royal family and the who created it. bureaucracy. There are a great variety of Minsu including The Hyungbae system in the Chosun era screen and thimble. In contrast to Gungsu, Minsu contributed to a significant development of lacks in artistic skills in its design or color Gungsu as embroidery. Hyungbae refers to the schemes. Yet it successfully represented the embroidered emblem symbolizing the ranks of simple sentiment of the common people. the royal family and officials. According to According to its function, Minsu can be divided Tanjongsillok22), the first implementation of the into many categories: Byungpoong (folding Hyungbae system was announced in the second screen), Boksik (related to the clothes and year of King Tanjong(AD 1454)23). The system accessories), and decoration items in the house.
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Minsu; embroidery for ordinary people(19C) Buddhist Jasoo; the embroidery for the buddhism(Hyunyookyung: Cover of ‘Goryo Daejangkyung’(高麗大藏經, 16C)
For practical and artistic reasons, folding screen Jasoo are found. An example is the illustration Jasoo, that is Byungpoong, was developed in all called ‘Bubhwakyung Bulkyung(法華經佛經) three Chosun embroidery, that is Gungsu, Minsu, Cover’ in the 15th year of King Taejong(AD 1415). and Buddhist Jasoo. Because folding screens The widow of Ryu Kwun(劉根) made seven were widely used for banquets, anniversaries, sheets of covers for the book and offered it to the and ceremonies. It was also used in each room of temple called Raesosa(來蘇寺) to pray for her the gentry house, the room for royal family, the dead husband. It is kept in the Junju Provincial hallway and meeting room of the palace, Museum in Korea25). temples, and shrines. Other Buddhist Jasoos showed extraordinary Boksik Jasoo of Minsu relates to embroidery on expertise, artistic skills, and refined execution. clothes and accessories. It includes Hwalot (the Religious Buddhist Jasoo has the donator’s name ceremonial dress for the women in the palace embroidered. and for the ordinary women at their wedding), shoes, Norige (women’s accessories like pendant), hat, pouch, purse, Danggi(women’ hair V. Embroidery Tradition of Gubang Craft accessories like ribbon), and fan. The ordinary in Modern Fiber Art in Korea people were not allowed to wear embroidered clothes except for Hwalot. Recently fiber artists in Korea are trying to find Embroidered decorate items used in the home various ways of expression for its artistic diversity include spoon cases, eyeglass cases, pillow, to keep up with rapid changes in arts. Especially cushions, and Bojagi(褓; wrapping cloths; it was fiber art calls for much more abundant medium to also called Jogakbo). Minsu has various color overcome its limits. It tries to improve artistic harmonies, refined patterns, and characterized levels by borrowing aesthetic values and forms designs. from traditional handicrafts. Third, Buddhist Jasoo(Fig. 17) had religious Modern Korean fiber works get insights from purposes to decorate temples and to show the aesthetic traits of traditional Gubang Jasoo Buddhist status. Few examples of Buddhist with emphasis on natural beauty, plasticity, and
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the modern korean fiber art I: take the the modern korean fiber art II: choose nature as subject, by Yunjung Lee, 2002. naturally dyed fabrics and threads, by ‘Flower’ Yunhyung Sul, 2002. ‘S.F.A.A.’
the modern korean fiber art III: use bold and the modern korean fiber art IV: use advanced skills on traditional item, by symbolic diagram, by Yunjung Lee, 2002. Jungsook Lee, 1999. ‘Hair Comb Case’ ‘Origami 2’
feminity. Although embroidery originated from the into three major groups. Gungsu and Buddhist development of textiles, it is also used as means Jasoo was specialized in ideological, prosperous for decorative effect. Decorative embroidery and delicate format and performed by reflects ethnic trends in fiber art. professional experts. Minsu did not have any The tradition of Korean embroidery is standard rules and revealed the simple and characterized by refinement, elegance, and unique feelings of the common people. symbolization formed during the Goryo and Minsu called Gubang Jasoo was the product of Chosun dynasties. Embroidery tradition implies a nameless women with individual tastes in method of creativity and an idea of pattern embroidery in which devotion, perseverance, and inherited from generation to generation. fine disposition of woman can be found. Chosun embroidery, that is Jasoo, is classified Traditional values of Gubang Jasoo are the
29 Journal of Fashion Business Vol. 8, No. 3 result of the Korean women’ ideas, traits of their abstract materials are increased in modern fiber like, and artistic views. The beauty of Gubang art(Fig. 18). Jasoo may be said to be consistent with Second, silk, golden, silver thread and naturally naturalism26). This may be said to originate from dyed fabrics were mainly used in traditional not only Korean women but also from Korean Gubang Jasoo. Modern fiber artists use naturally people’s love for and attachment to natural dyed fabrics and threads although artistic fabrics phenomenon. For example, most of the subject are available(Fig. 19). matters for traditional embroidery depict nature Third, the technique of Gubang Jasoo was the and represent a longing for auspices. Some of realistic revival of advanced skills with emphasis the modern Korean fiber artists have developed on size. Modern fiber art adopts individual bold the Korean ethnic style in recent works to depict techniques and adapts itself in formative fiber natural beauty with no artificial affection. art(Fig. 20). Once the beauty of traditional embroidery Fourth, an original color scheme of the artist disappeared under the situation of Japanese with a wide range of color tones forms the main colonial rule at the end of the Chosun Dynasty, trend in modern fiber art because of industrial Japanese embroidery prevailed for fifty years in development. For primary colors, modern artists Korea. And after liberation in 1945, western dyed fabrics with natural dye by using many embroidery was widely introduced and spread in different types of flowers and herbs as was the Korea. The inflow of western culture has resulted case for Gubang Jasoo. in rapid change in all the fields of the Korean Fifth, the expression of Gubang Jasoo was society. Embroidery was also changed in the influenced by oriental paintings and became direction of expressing artist’s own perceived schematic and realistic. Modern fiber art is world from an individual subjective point of characterized by the individual expression of view27). Embroidery almost neglected in history artists’s social opinion as seen in the other fine now occupies a new position in the history of and formative arts. Modern fiber artist use Korean culture. symbolic diagrams borrowed from traditional Traditional embroidery elements identified in embroidery(Fig. 21). modern fiber art in Korea are the choice of free Traditional Gubang Jasoo and modern fiber art materials, individual coloring, daring techniques, coexist despite difference in characteristics. They and a wide variety of modes. To express their undergo steady changes for the expression of inner world several characteristics in traditional new version of ethnic styles due to the Gubang Jasoo reappears in modern fiber art in development of new materials, modelling senses, Korea. and aesthetic consciousness of the age with First, major designs and patterns of traditional plane and even three-dimensional effects in Gubang Jasoo depicts and symbolizes a variety unlimited formative extent. of natural objects such as clouds, waves, The sonorous plasticity of Gubang Jasoo such mountains, trees, water falls, flowers, insects, and as the construction of patterns, the combination animals. Modern fiber artists also choose its of colors, a correct sense towards beauty, the subject matter from nature. The choice of passion, sufficient techniques, and the creativity,
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needs to be continuously handed down to wedding ceremony. The function of Hwalot helps establish a high level of modern fiber art in Korea. us to understand the fate given to certain level of An analysis of traditional Gubang Jasoo’s women. Sensuality was conveyed through the influence on modern fiber art in Korea also shows dialectics of concealment and exposure in changing notions of feminity expressed in costume. ‘Hwalot’ patterns of various flowers embroidery art from the fifteenth century up to the such as peonies, chrysanthemums, fungus of present. immortality, herbs as well as various lucky omens Gubang Jasoo was a plane art that was and designs of longevity were luxuriously performed only on fiber with needle and thread. It embroidered. In contrast, the clothing of males in represented feminity as passed down through the royal family and government officials did not the family and women in the household. The have embroidery on the surface of the cloth. expression of feminity of Gubang Jasoo put Instead, ‘Hyungbae(Fig. 7)’ decorated patterns of emphasis on aesthetic effects of Korean cranes or tigers on everyday clothing. traditional embroidery as composition factors for Embroidery makers among lower classes of clothing, ornaments, and other decorative items women who were the most skilled people in the in the house made by women. nation can take the position in either the palace or Embroidery in modern fiber art in Korea has the central governmental offices and devote remained not as a traditional handicraft itself but themselves to this field. Making embroidery well as precious data which serves as the sources of would be the only way to have an opportunity of new ideas and reflect modern feministic points of an increase in status in the Chosun Dynasty. view. Cooperation among various artisan Attention to the art of the East has been organizations and professional embroidery increased. The artists and designers in the world makers contributed to the development of are interested in traditional handicraft in the embroidery with artistic originality and technical oriental embroidery. They are also interested in perfection. Both traditional embroidery creator in the social and cultural backgrounds of the palace and in the Gubang of the ordinary embroidery. house during the Chosun Dynasty exhibited Embroidery as traditional handicraft of women elaborate skills, representing sonorous quality reflects women’ role and social mobility, cultural aesthetic values. points of view, economic conditions, and the level Traditional embroidery, Gubang Jasoo, in of technological development. The expression of modern fiber art in Korea has famine feminity in traditional embroidery in Korea, characteristics according to differences in social Gubang Jasoo, helps to understand women’ status and classes and were expressed in issues and relates to the subject of modern fiber various modes following individual tastes for arts art. by women creators. For example, in Korea the traditional As a result, the notions of femininity expressed embroidery costume ‘Hwalot(Fig. 5)’ was the in Gubang Jasoo in modern fiber art can change ceremonial dress for the women in the palace according to the cultural milieu and consensus of and was not allowed to ordinary women except each class. This circumstance helps us to
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understand the history of power relations 5) Minsu(民繡): folk embroidery embodied in embroidery as well as the potentials 6) Buddhist Jasoo(佛敎刺繡): Buddhist of women to actively use fiber art’s signifier to Embroidery overcome repressive relations. 7) Subang(繡房): embroidery room in the palace 8) Jumsu(點繡); it appeared with tiny continued points, usually indicated the outline of the VI. Conclusion figure. 9) Iemsu(線繡); it is similar with outline stitches in Modern fiber art needs to find new method and Western embroidery techniques and new materials to express artist’s inner world. Their emphasizes the outline of the figure. efforts help to create diversified, creative, and 10) Jingkumsu: it is similar with coaching stitches independent works. It is necessary to study in Western embroidery techniques and using traditional techniques and styles to develop such special textured threads such as golden, diversified forms of expression and to keep up silver, and other metallic or thick twisted with new changes in art we are facing. An threads. analysis of traditional Korean embroidery can 11) Pungsu(平繡); filled the inner space of outline contribute to understand new trends in modern figured stitches and left same traces upside fiber art in Korea. and downside of fabric. The rapid growth of arts due to time passing 12) Garumsu: it usually applied for description of have had an effect even on fiber art, and so, the leaves. current fiber art calls for the best method, 13) Guansu(關繡); skip one or two steps of development of new materials and expression of stitches and led the horizontal lining inner a true inner world to create much more space of the figure to bring the softness of diversified, creative and independent works. cloud, wave, and water. It is urged to newly recognize such traditional 14) Munimoksu(文樣目繡); made different angle techniques or styles, in order to develop such stitches by regularly and the results showed diversified forms of expression keeping pace with dark and brightness of embroidery space. new changes now we are facing. And the 15) Samipsu and Solipsu: it applied for leaves of expression of embroidery art can be activated by pine tree. examining trend of embroidery art in fiber art 16) Byulmunisu(星繡); it applied to fill the large category in Korea. space of the costume with star shape stitches. 17) Chilbosu(七寶繡); to make geometric pattern Endnotes with repeating oval shapes, usually used golden and silver threads. 1) 高麗圖經: Custom Guide of Goryeo 18) Jaryunsu: to show realistic images with 2) Boksik(服飾): for clothes overlapping stitches. 3) Jangsik(裝飾): for decoration 19) Soksu(內繡); using cotton, paper, or strings 4) Gungsu(宮繡): royal court embroidery between the fabrics to make three dimensio-
32 Rhee, Soo-Cheol/The Relationship between Traditional Embroidery of Gubang Craft and Modern Fiber Art in Korea
nal objectiveness. refers three ancient dynasties of Korea). 20) Saetulsu(羽繡): just for describing the feathers 5) Dae So Jung(大沼亭), Encyclopedia of of bird and animal. Decoration(服裝大百科事典), Association of 21) Young Hwa Han, Traditional Embroidery, Costume Culture Publication(被服文化協會出 Daewonsa, 1999, pp. 87-94. 版局), 1971 22) 端宗實錄: The book refers on the activity of 6) Go, Boo Ja, “The Customs of the Needlework, King Tanjong(AD 1452 ~ 1455). Washing, and Storage”, 2000 Years of Korean 23) Dong Hwa Hu, About Gubang Culture, Costumes: The Exhibition of History of Korean Daewonsa, 1997, pp. 143-144. Costumes, National Folk Museum, 1997 24) Hee Kyung Ryu, The History of Korean 7) Han, Young Hwa, Traditional Embroidery, Costumes(韓國服飾文化史), Goimoonsa, Daewonsa, 1999 1983, pp. 206-208. 8) Hu, Dong Hwa, About Gubang Culture, 25) Byung-Sook Lee, A Study on the Realities and Daewonsa, 1997 Aesthetic Character of the Traditional 9) Kim, Dong Wuk, Customs of Silla, Association Embroidery in Korea, The Master Degree of Silla Culture Advertisement, 1970 Thesis of the Graduate School of Education, 10) Kim, Young Gi, The Understanding of Beauty Yonsei University, Seoul, Korea, 1998, pp. 17- of Korean Art, Ewha Women’s University 18. Press, 2000 26) Young Gi Kim, The Understanding of Beauty 11) Lee, Byung Sook, A Study on the Realities of Korean Art, Ewha Women’s University and Aesthetic Character of the Traditional Press, 2000, pp. 208-209. Embroidery in Korea, The Master Degree 27) Hak Lee, Culture of Korean Costumes, Thesis of the Graduate School of Education, Association of Korean Embroidery Research, Yonsei University, Seoul, Korea, 1998 1986, p. 174. 12) Lee, Hak, Culture of Korean Costumes, Association of Korean Embroidery Research, 1986 References 13) Lee, Tae Sung, Research of Chosun Dynasty Costumes, Backyangsa, 1947 1) Danjongsilrok(端宗實錄: The book refers on 14) Ryu, Hee Kyung, The History of Korean the activity of King Tanjong, AD 1452 ~ 1455). Costumes(韓國服飾文化史), Goimoonsa, 2) Goryeodokyung(高麗圖經: Custom Guide 1983 book of Goryeo Dynasty) 15) Shin, Jae Young, The Upgrade Book Compar- 3) Samgukji Wiji Dongeejun, Booyu Chapter (三 ison(增補文獻備考), Dongkukmunhwasa, 國志 魏志 東夷傳 中 夫餘傳: The book which 1957 represents three states age of the history of ancient China). Received 16 March, Accepted 4 May. 4) Samguksagi(三國史記: The old history book
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