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A New Encounter with Asian Art: “ACC Asian Art Experience”

Thin and slender pieces of mother-of-pearl are carefully lifted with tweezers and fitted onto glue. One’s entire attention is focused on the fingertips so that these delicate pieces will not break or twist. In this space of intense focus, where even one’s breathing fades into the background, the pieces begin to be assembled. Glittering pieces of brilliant mother-of-pearl bloom into wildflowers, flutter as butterfly’s wings, or spring to life as leaves, fishes, or birds. The beauty of the Korean art of najeonchilgi (mother-of-pearl and lacquerware craft) is no longer a disappearing art; it is as real as the pieces set into perfection. This is the “ACC Asian Art Experience,” where one experiences and rediscovers the values of Asian art.

Rediscovering Najeonchilgi Craft: “Asia Craft”
Creating My Own Seal at “Engraving Asia”

The “ACC Asian Art Experience” is a program designed to deliver the values of Asian art and culture through direct experiences. This year’s program features “Asia Craft,” centered around the Korean art of najeonchilgi (mother-of-pearl and lacquerware), and “Engraving Asia,” where one can create one’s seals. They represent a rare opportunity to experience Asian art and culture one would not normally have access to and, thus, are long-standing National Asia Culture Center (ACC) favorites that fill up quickly once the application window opens. This year’s program, which runs for six sessions from April to June, was no exception, as they were also highly popular and ran out early. The program’s instructor, Kwon Dong-yeon, has developed and run various educational programs at the National Palace Museum, the National Museum of Korean Contemporary History, and the National Hangeul Museum. The “Asia Craft” program allows one to bring oneself closer to Asia through crafts. It consists of theoretical lectures on Asian craft traditions as well as hands-on experience.

• Kwon Dong-yeon | ACC Asian Art Experience Instructor

  “Crafts are not just about making things that are functional but also about making things that have mental or spiritual values. Because they make things that are necessary for us to lead our lives, the materials and designs used are highly reflective of the environment and culture of the region, so crafts are not just objects but valuable cultural heritage that give us a glimpse into society.”

Instructor Kwon emphasizes that Asian crafts can be a valuable way to understand the history and culture of a region. From East Asia to Central, South, West, and Southeast Asia, much can be learned about the times and societies of the region by looking at its crafts. In West Asia, where civilization developed very early around the Euphrates River, clay crafts developed from the rich soil and clay found along the river. With its vast steppes, Central Asia was a nomadic region with a focus on livestock rearing, so most craft materials came from livestock. Traditional carpets made from animal hair, such as those from camels, goats, and other livestock, were not only a necessity that allowed nomadic people to survive in harsh conditions but also a means for them to express beauty.

Southeast Asia is a region of oceans and islands, and as a result, its craft culture has flourished in conjunction with the development of maritime trade. From cosmetic containers shaped like tropical fruits to woodwork made from palm trees, bamboo, and shells, and jewelry made from tortoise shells, the crafts are as varied as the materials. In particular, mother-of-pearl, extracted from seashells, has been a popular craft material throughout Southeast and East Asia. In East Asia, where lacquer trees grow endemically, a unique traditional craft that combines lacquerware and mother-of-pearl can be found: The najeonchilgi, the Korean art of mother-of-pearl and lacquerware craft.

In the past, najeonchilgi was considered a symbol of wealth. After all, it is created through a labor-intensive and difficult process of thinly shaving 1 mm or thinner mother-of-pearl pieces from abalone shells with flint and then placing them onto lacquerware made with lacquer tree sap. Many Koreans have the memory of seeing a “jagae” wardrobe adorning a corner of their grandparents’ house in their youth. Such wardrobe was popularized in the ’70s and ’80s, but over time, they began to disappear. More recently, however, najeonchilgi began to rise to prominence once again with a new boost in popularity, driven by appreciators of Korean craft across the world and the younger generation of Korea.

• Kwon Dong-yeon | ACC Asian Art Experience Instructor

  “According to a survey conducted among international visitors, the number one favorite craft they saw when they came to Korea was najeonchilgi. It is such a beautiful and sophisticated work, but because of the changes in our lives, it is increasingly disappearing. I find that really sad. I hope this class can help kindle the interest in traditional najeonchilgi among the participants, and I hope this allows the participants to remember and look back on this beautiful art.”

Create Your Own Brilliant and Colorful Jagae Box

The “ACC Asian Art Experience - Asia Craft” is a session where one can use this ever-disappearing art to create one’s unique jagae box. One can capture that brilliant light, the colors of the rainbow, and the deep sea in a one-of-a-kind piece. The instructor explains the techniques of the craft, such as pattern-cutting, breaking and connecting, fracturing, and adhering, followed by step-by-step guidance. The participants begin to develop their patterns under the instructor’s assistance, their focus apparent on their fingertips. After more than an hour of concentration, the work is finished. One cannot help but be impressed. Upon closer inspection, the mother-of-pearl pieces, each with a different color, come together to create a sublimely brilliant tapestry of colors. The participants’ faces are filled with joy and pride as they complete their masterpieces. This moment reaffirms the najeonchilgi craft’s value as something that is far beyond an old and outdated art—a precious cultural heritage still loved today.

• Hong Su-hyeon | Asia Craft Participant, Gwangsan-gu, Gwangju

  “I’ve been wanting to participate in the Asia Craft program for a while now, and I was lucky enough to get in this time as these sessions tend to fill up quickly on a first-come, first-served basis. It’s my first time making a najeonchilgi piece, and I think it’s a really new experience. It wasn’t easy to make, but I think it’s something I’ll keep and use for a long time.”

• Jeong Mi-yeong | Asia Craft Participant, Gwangsan-gu, Gwangju

  “Back in my childhood, I saw jagae wardrobes quite frequently. But these days, they are quite difficult to find. It was a great opportunity for me to learn anew a traditional craft passed down from our ancestors’ time, and in particular, I really appreciate this opportunity for today’s youth to learn traditional craft. The jagae box I made today—I’ll gift it to my child.”

Understanding Asia through the Culture of Seals

Another lesson included in the “ACC Asian Art Experience” program, “Engraving Asia,” was held in the evening to help broaden the accessibility of these lectures to more people. This session focused on the seal (印章) culture across Asia, examining how these seals developed over time in Asian civilizations, what forms these traditional seals take, and how people’s lifestyles in the period can be derived through the seals. The lecturer’s comments elucidate the long history of Asian seals and bring them to the present day anew.

Like any craft tradition, seals have evolved into distinctive forms that vary depending on the time and environment. Mesopotamian civilizations along the Tigris and Euphrates rivers used cylindrical seals that could be stamped on clay tablets, while Egyptians invoked their belief in the afterlife with scarab seals, symbols of immortality and rebirth, placed on the chests of mummies. On the other hand, the Yellow River civilization used a mud seal called “fengni” to seal scrolls made of split bamboo and later developed a culture of seals using various materials and forms. In particular, kings were allowed to use the seal of the turtle, and only emperors were allowed to use the seal of the dragon. Therefore, the use of the dragon seal under the reign of Gojong during the Korean Empire period shows not only the claim to the authority of the emperor but also the commitment to self-governance he had when he founded the Korean Empire.

Like the seals that symbolized the authority of kings and emperors, participants in the session created a seal that symbolized their uniqueness. After a brief explanation of seal-making, including the difference between embossing and engraving, participants hold their engraving knife for the first time. The process of digging into the material and engraving the seal is not as easy as it sounds. It requires a lot of precision and skill, so the help of the instructor and assistant instructors is essential. If one ends up carving in the wrong place, one must quickly raise one’s hand and ask for help. It’s also easy to get caught up in the work and lose oneself in the intense focus required for this task. But whatever happens, it is not an easy task, so one comes out of the process with a great sense of accomplishment and pride. What patterns will these one-of-a-kind seals be engraving in the future? It feels as if the “Asia Craft” and “Engraving Asia” programs delivered a valuable gift we shall hold onto for years.

• Jeong Myeong-suk | “Engraving Asia” Participant, Seo-gu, Gwangju

  “My daughter came with me today for this program, and we got to learn about the history of seals and make our own. We had such a great time. You know, I have a seal with my name at home, as well as a bunch of other seals, but they’re all just made by machines. The one I made today is something I will treasure for a long, long time.”

• Dylan | “Engraving Asia” Participant, International Student at Chonnam National University

  “I’ve never used a Korean dojang (seal) in my life, and it was such a great experience for me to make my seal with my own hands. I hope there will be many opportunities to sign my name with this seal.”