Traditional furniture, like other genres of Korean traditional arts, is “a celebration of simplicity, spontaneity and nature,” in the words of the writer of this month’s cover story. Traditional furniture not only reflects the rustic charm so prized in Confucian society, but also the practical realities of life in old Korea. It is also a manifestation of the relationship of respect between the artisan and his materials, which is to say, nature itself. Contemporary artists such as Ha Jihoon are bringing traditional furniture into the 21st century, guaranteeing the genre’s survival through evolution.

_ Editorial staff, KOREA

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ao studio Kang Jinju, 15 Studio

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Cover Photo

Photographed by 15 Studio

Stylized by d.Floor

Wall color, Dunn Edwards; “M Tea Time,” Jung Woo Ryu; “Swan Black & White,” Interlogue; “Vase (High),” Yido Atelier; “after image_Hojokban01,” Park Bomi; “after image_Ham,” Yido Atelier; “Vase (Low),” Yido Atelier; “Agnes Vase,” Interlogue; “Moon Flower,” Listen Communication; laquered table, Lyu&Kwon, Design House; floor paper, LG Hausys Z:in

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Cover Story | » | Written by Mathieu Deprez Photographed by 15 Studio

Simple, Practical Elegance

Fusing rustic charm and functionality, traditional furniture embodies the beauty of old Korea

“You can reach timelessness if you look for the essence of things and not the appearance. The appearance is transitory – the appearance is fashion, the appearance is trendiness – but the essence is timeless.” Italian designer Massimo Vignelli did not, of course, have traditional Korean furniture in mind when he said that, but it is unlikely that Korean carpenters from times past would have disagreed with him.

Traditional Korean art is a celebration of simplicity, spontaneity and nature. It is at its most beautiful when the maximum impression has been given with the minimum of means. This is apparent, for example, in the dignified beauty of a 12th century celadon vase from Goryeo times (918–1392), whose celadons were celebrated in China, the birthplace of celadon; a 17th century moon jar that reflects the Confucian ideals of simplicity and modesty held in high regard during Joseon times (1392–1910); or, in an 18th century white porcelain jar decorated with a naturalistic motif in underglaze copper and painted in powerful brush strokes.

This tropism also exists in traditional Korean furniture and is one of its defining characteristics.

Beginnings

Because of the perishable nature of wood, finding archaeological remnants of furniture pieces is problematic. Little is known of early pieces. Low four-legged tables, three-legged stools and what appear to be benches are visible on a mural of the Muyong tomb in the modern-day city Ji’an in China, dating from the fifth century of the Goguryeo kingdom. After that, a couple pieces of lacquerware and mother of pearl inlay ware are extant from the Goryeo dynasty.

The vast majority of traditional furniture in existence today dates back to the late Joseon period, during which Confucianism was the state ideology. Confucianism, a system of social and ethical philosophy, was all-pervasive in Korean society. It is only natural then that Confucianism informed and shaped furniture design.

Furniture as a reflection of life

Of course, Korean furniture design was also informed by more practical, earthly considerations. Up until recently, a lot of the life and daily activities inside the household happened sitting directly on the floor. Rooms were heated by ondol, a system of underground flues radiating heat from a fire through the floor of the rooms. With the harsh Korean winters, it is easy to understand how this heating system played a role in cementing this way of life.

Consequently, Korean furniture is low-slung so as to be easily accessed while sitting on the ground. It is also modest in size to fit harmoniously in the small rooms of a traditional house, or Hanok. Because of the underfloor heating, furniture pieces had to allow air to circulate underneath so as not to warp or break from the heat, which could be intense. Accordingly, the bottom of Korean furniture never sits directly flat on ground but is always propped up on legs.

(From top) “Plate,” Seo Hana; “Yiso vase,” KCDF Gallery; “Diamond Brushes Ham,” KCDF Gallery; “Three-drawer chest embroidered with mandarin ducks,” Chung Chae Hun (Intangible Cultural Property of Korea No. 55); “Nickel wind chimes,” KCDF Gallery; “Round Soban5,” Park Honggu, Yido Atelier; Wall color, Dunn Edwards; Floor paper, LG Hausys Z:in

Characteristics of Korean furniture

While the hot, humid summers and cold, dry winters of Korea promotes tree ring growth and thus distinct wood grain, they also cause wood panels to warp or crack. To prevent this, carpenters favored using several smaller panels joined together instead of a single large piece of wood. This technique can often be seen in larger pieces such as a chest, or jang, or a stacked chest, or nong. This also explains why if a panel with decorative wood, often delicate in nature, was to be used, it was often backed by a more resistant wood like pine or paulownia.

It is clear when looking at traditional furniture that the relationship between the carpenter and their material, and by extension with nature, was one of respect. The process of making furniture was one that did not start when an order came in, but years beforehand. Carpenters selected the trees they deemed appropriate, then cut, transported, prepared, sliced, stored and dried them for years before bringing saw to wood. They thus had an intimate knowledge of the material with which they worked. This sympathetic relationship is evident in the way they highlighted the natural beauty of the wood by using natural finishes like vegetable oil, which allowed the grain of the wood to shine through, and used metal ornaments sparingly, often no more than what function dictated.

Pieces of wood were joined using a wide array of wood joints, rather than nails and glue, and thus were able to better withstand the wide spectrum of temperatures and humidity from winter to summer, mading for a durable piece of furniture. Because furniture was seldom thickly lacquered, wood joints are readily apparent in traditional Korean furniture and contribute to its overall beauty. The apparent simplicity of Korean furniture betrays an elaborate use of wood joints from a dedicated craftsman. If nails had to be used, carpenters chose bamboo nails, which shrink and swell with the wood, preventing cracks.

Standing on the shoulders of tradition

Today, the Cultural Heritage Administration recognizes and supports Korean artisans of exceptional talent as Living National Treasures in a bid to protect and promote traditional craftsmanship in the 21st century. A number of furniture makers working in the traditional way are thus better able to concentrate on their trade and share their knowledge with the general public.

Sim Yong-sik, aged 65, has been designated by Seoul as a piece of intangible heritage for his work in traditional doors and windows, or changho. Korean woodworking is divided into two categories, daemokjang, or “big carpentry,” for the construction of traditional houses, structures and temples, and somokjang, or “small carpentry,” for furniture making and door and window making. Sim operates Chung Won Academy in the Bukchon area of Seoul, where he shares his knowledge with his students in the hope of carrying the tradition forward.

Indeed, as important as preservation is, only evolution can guarantee the long term survival of the spirit of traditional furniture making. Furniture designer Ha Jihoon is one of the leading figures amongst the new generation of craftspeople building on tradition. After graduating from Hongik University in Seoul, Ha studied for three years at the Royal Danish Academy of Fine Arts in Copenhagen. It was during this time abroad that he began to appreciate and reflect on Korean traditional furniture.

The first result of Ha’s dialogue with his country’s tradition resulted in the bansang lounge chair. While at first sight not obviously Korean in appearance with its bulbous lines, it is based on Korea’s tradition of sitting on the floor and is reminiscent of traditional sedge mats from Ganghwado. These mats were used in the summer, often outside, to provide a place to sit. The weaves let the air circulate and allowed the mat to stay cool, as well as dissipate body heat. His bansang chair is featured in the permanent collection of the Victoria and Albert Museum in London.

Ha’s hojok series is a playful series of traditional tray tables, or soban. The designer uses individual soban-like modular units to create a new piece of furniture through horizontal aggregation, to form a sofa table, or vertical aggregation, to form an open-sided shelf reminiscent of the traditional sabangtakja, or book and display stand. While the design of the tables is faithful to the originals, Ha breaks away from convention by mixing aluminum and wood.

Master carpenter Park Myeong-bae uses a smoothing plane to make a writing table.

Somokjang are the Korean carpenters who make traditional wooden furniture such as wardrobes, boxes, dressers, desks and stationery chests. The somokjang wield traditional techniques to pursue natural beauty and showcase the textures and pattern of the wood grain. Considering the natural environment and the structure where the work will be housed, the artisans make furniture characterized by traditional styles and functionality.

장롱, 궤, 책상, 문, 경대 등 목조 가구나 목조 기물을 만드는 장인을 소목장이라고 한다. 소목장은 나무의 무늬결을 살려 자연스러운 미를 추구한 한국 전통 목공예기법을 사용한다. 아울러 자연환경과 주택구조 등을 고려하여 한국적인 조형미와 실용성을 살린 가구를 만든다.

The use of chairs and other raised seating in the West and China created spacious, lofty interior spaces, which led to larger, heavy and more decorative furniture. In Korea, on the contrary, houses had lower ceilings and smaller rooms, due to the Korean lifestyle centered around sitting on the floor, influenced by the traditional ondol floor heating. Accordingly, Koreans of the past preferred smaller low, simple furniture to give a feeling of a larger living space and to create a balance throughout the interior of the house.

서구와 중국의 의자생활은 넓고 높은 실내 공간을 형성하여, 가구도 크고 육중하며 장식적인 특징을 갖는다. 반면에 한국은 온돌로 인한 평좌생활의 영향으로 천정이 낮고 실내도 비교적 좁다. 이에 맞춰 옛 한국인들은 작고 낮으며 간결한 가구를 배치해 넓은 생활공간을 확보하고 실내와 조화를 이루게 했다.

(From left) “Book Shelf,” “Soban,” “Bookcase,” Antique; “Chair,” Ha Jihoon; “Day Bed,” Jo Hyung-suk

A growing visibility

Traditional Korean crafts have experienced a resurgence over the past decade, raising with it the profile of traditional furniture. Scores of galleries, shops and cafés throughout the country now showcase the works of a new generation of craftspeople taking inspiration from the past, in all kinds of media, from traditional mulberry paper to woodcraft to ceramics.

While post-war Korea has rushed ahead without looking back, sometimes to the detriment of precious remnants of the country’s past, post-industrialization Korea is now celebrating the richness of its arts and traditions. Traditional Hanok houses, not long ago dismissed as uncomfortable and outdated, are now sought-after commercial spaces to turn into galleries, cafés or guest houses, or are being renovated as private residences. Korean furniture is thus slowly coming back to the Korean home and becoming more visible to the general public.

Also instrumental in raising the profile of traditional furniture was the opening in 2008 of the Korea Furniture Museum, the sole museum in Korea entirely dedicated to traditional furniture. Hailed as “the most beautiful museum in Korea” by CNN Travel, the museum consists of 10 Hanok buildings, beautifully landscaped grounds and a permanent exhibition of around 500 pieces of wooden furniture from Joseon times. The museum hosts high profile events for foreign dignitaries, which help to promote the beauty of Korean architecture and furniture abroad.

Despite the many hardships Korea has had to face over the last century or so – colonization, poverty – traditional furniture and traditional furniture making have managed to endure and are today, thanks to various public and private efforts, well poised to persevere in the 21th century. Minimalist before minimalism, the timeless beauty of traditional furniture integrates beautifully in all kinds of interiors, from Hanok homes to the showroom of a Milan gallery. Today, young furniture designers, mindful of the past while firmly looking toward the future, are ready to carry the torch of their forebears forward to ensure the survival of Korean furniture making.

Ha Jihoon’s “Jari,” part of the Deoksugung Project, mirrored the decorations of the palace’s walls and ceiling in the chairs’ chrome-coated surfaces.

Ha Jihoon’s floor seats and low dining table were displayed at the “Invitation of Korean Dining” event in Rome.

Recently, many designers have made new furniture that harmonizes with modern minimalism through the reinterpretation traditional Korean furniture.

최근 많은 디자이너들이 전통 가구를 새롭게 해석하는 시도를 통해 현대적 미니멀리즘과 조화를 이루는 가구를 만들고 있다.

1. Wall color, Dunn Edwards 2., 3. “Brushes,” “Forest-stars,” Seo Hana 4. “Folk Candlestick,” Interlogue 5. “Lucky Lak,” Design House 6. “Small Eyes Lagee Face Bottle,” Design House 7. “Moranmun Skein-twisting Patterns Vase,” Design House 8. “Bloom,” Listen Communication 9. “Soban,” Yang Woong Gul 10. “Round ban,” Ha Jihoon, Design House 11. “Maple round tray,” Yido 12. “Tea pot & tea cup,” Yido Atelier 13. “A300 Sofa,” Paul’s Cabinet 14. “Jar patterned tea towel,” havebeenseoul 15. “Round Soban5,” Park Honggu, Yido Atelier 16. “Cobi Gray carpet,” The Yann 17. Floor paper, LG Hausys Z:in

Typical Traditional Furniture Pieces

Soban

Tray table

Soban tables are mostly four-legged wooden tables on which food brought from the kitchen was served to the master or mistress. In the past, a great deal of daily activities around the house were done seated on the floor, including eating. As such, soban tables were the perfect height for someone sitting cross-legged on the floor.

Dining tables come in a great variety of regional styles. Various types of wood were used to make these tables, and it was not rare for the tabletop and the legs to be made of different woods. The tabletop can be round, polygonal, rectangular, square or in the shape of a flower or half-circle, with the polygonal and rectangular designs being the most common. Legs can be straight, bamboo shaped, curving inward, curving outward or akin to side panels.

Sabangtakja

Book and display stand

The sabangtakja was an important piece of furniture in the room of the Korean upper class. It was used to display the prized possessions of its owner, like books, ceramics and curiosities. With these stands the owner of the house had the opportunity to show all the refinements of their taste to their guests. The stands themselves are sober and can have from three to five levels, usually five. Their height was matched to that of the windows of the house.

Bandaji

Clothes chest

Bandaji were used for storage, mainly cothes and documents. Bandaji, meaning “half closing” in Korean, refers to the way the chest opens: the entire upper half or so is hinged and opens outward, allowing easy access to the chest’s contents. A shelf, sometimes accompanied by drawers, is usually located in the top part to store documents and small items. The chest can be secured by placing a lock through a hinged latch. Mattresses and blankets were often folded and put on top of the bandaji when not in use.

Banjitgori

Sewing tray

Sewing was one of the chief activities for upper-class women of Joseon times, and the sewing box was an essential item to store the woman’s “seven friends”: a ruler, spool, thimble, scissors, needles, thread and a small iron used to press seams.

Sewing boxes are usually simple square trays made of wood, lacquered wood, laquered wood inlaid with mother of pearl or painted ox horn sheets glued on wood for the most luxurious. They can have inner compartments and sometimes have a small lidded compartment to store needles.

Byeorutjip/Yeonsang

Inkstone box

Inkstone boxes were used to store the “four friends” of the Confucian scholar – the inkstone, the ink stick, brushes and paper – though some byeorutjip were designed to hold solely the inkstone and nothing else. There are slight differences in design between byeorutjip and yeonsang. Byeorutjip are usually little more than simple rectangular boxes, sometimes with an inner tray and a top that simply lifts off. The design of yeonsang is a little more elaborate, with a hollowed foot stand serving as a storage tray, a split or single top lid opening on a removable divided tray, and sometimes one or more drawers. In keeping with Confucian aesthetics, inkstone boxes had little ornamentation. Beauty was to be found in the proportions and design of the boxes as well as in the quality of the wood.

Bitjeop

Comb case

Specifically designed to store combs, these cases, as with mirror cases, were also used to store accessories such as hairpins, jewelry, cosmetics and the like. Comb cases are usually quite ornate. Inlaid mother of pearl or red lacquer boxes were popular amongst the most influent households. Bitjeob usually have a latched top lip and a series of drawers, although some only have drawers with no top lip. They most often sit on a carved foot base.

Seoan

Study desk

Seoan is a small desk that was used for study. They are usually minimalist in design and decoration, as was befitting of the furniture of a Confucian scholar. They often had a shelf or drawer for storing paper or writing implements.

Dwiju

Rice chest

Rice was, and still is, the all-important staple in the Korean diet. As such, it is no wonder that a piece of furniture was dedicated to its storage. Rice chests are sturdy boxes with four straight legs and a top lid that can be lifted up when not locked. They are usually made of pinewood. Fixtures are almost always iron. Rice chests were kept in the kitchen storage room and sometimes on the wood porch of the house. They have long legs to protect the grain from humidity and vermin.

Travel | » | Written and photographed by Robert Koehler

Taking it Slow in the Korean Alps

Hadong is the very picture of bucolic bliss

Gujaebong Peak offers views of the Seomjingang River, Pyeongsa-ri’s rice fields and the mountains of Hadong.

Pyeongsa-ri and its rice fields are the setting of Pak Kyongni’s serial novel “Toji.”

At 700 meters, the paragliding launch atop Gujeolbong Park is an inspiring spot from which to take in the sunset. The sun begins to set behind the mountains, the orange orb bathing the alpine landscape in a warm light that accentuates the golden rice fields in the valley below. The Seomjingang River snakes its way through the hills, silver at first, but later orange and purple, the waterway camouflaging with the sky as day turns to dusk. Beyond the valley, the purple ridges of the mountains seem to go on forever, like giant ripples in the sand, the crest of Cheonwangbong, the highest peak of sacred Mt. Jirisan, most prominent among them.

Flanked to the west by the Seomjingang River and to the north by the gargantuan massif of Mt. Jirisan, the small town of Hadong bills itself as the “Alps of Korea,” an allusion to the region’s spectacular highland beauty. This rugged slice of southeast Korea boasts soaring peaks, deep valleys, meandering rivers, scenic roads, verdant tea fields, historical markets and plenty of laid-back rural ambiance. It’s a milieu that lends itself to taking things slow, giving the senses time to properly take in the charm.

River bend

The Seomjingang River is the lifeblood of Hadong. Starting in the highlands of Jeollabuk-do, the river winds its way for 212 kilometers through the mountains of southern Korea until it finally empties into Gwangyang Bay. Relatively pristine, the river serves as a sinuous natural highway to a more rustic time.

In the old days, sail boats laden with seafood, salt, grain and other goods would ply the waters of the winding river, occasionally stopping to unload cargo at the markets that developed along the river’s course. Located between the southeastern Yeongnam region and southwestern Honam region, Hadong became a major distribution center, an entrepôt where fish and salt from Yeongnam and grains and agricultural produce from Honam were collected and shipped to the rest of the country.

Hadong’s administrative center, Hadong-eup, was one such riverine port. While not abundantly endowed with urban creature comforts, the town occupies a lovely location on a bend in the Seomjingang River. The best place to see it, especially at sunrise, is from the peak of Mt. Mudongsan, a small mountain just across the river in the neighboring town of Gwangyang. The river is lined by wide sand beaches and forests. The Hadong Pine Forest, planted in the 18th century, complements the river and sand, making it a popular leisure spot.

Choi Champandaek is a collection of 14 homes overlooking Pyeongsa-ri.

The Seomjingang River forms the boundary between southeast and southwest Korea.

Choi Champandaek hosts regular performances of traditional Korean music, including this one by local youth arts troupe Haullim.

Slow city

Follow the Seomjingang River northward and you’ll come to Agyang, an agricultural hamlet in a broad valley at the foot of towering mountains. Life moves slow here, a point of local pride, so much so in fact that the town was designated Korea’s fifth “Slow City” in 2009.

Besides the mountains and the river, Agyang’s defining geographic feature is the sprawling rice and barley fields that cover the valley floor. In autumn, when the rice ripens, it’s as if a giant golden carpet blankets the valley. A pair of pine trees stand alone in the sea of gold, making them a popular subject for photographers.

To many people, Agyang is most famous as a major setting of author Pak Kyongni’s serial novel “Toji,” published between 1969 and 1994. The epic documents Korea’s painful early 20th century through the eyes of the village’s residents. One of the most seminal works of Korean modern literature, the novel spawned a TV series, a movie, an opera and even a comic book. The Choi Champandaek, a collection of 14 Korean traditional homes located on a hill overlooking Pyeongsa-ri, attempts to recreate the setting of the novel. The complex hosts regular performances of traditional arts, craft classes, accommodations and more.

The path to Ssanggyesa Temple is lined by beautiful forests.

A market lives on

Still further up the river is the village of Hwagae, home to the vibrant Hwagae Market. The market, now a popular tourist attraction, specializes in herbs and mountain roots, sweetfish, green tea and other locally produced agricultural products from the surrounding region. As lively as it is now, it’s actually a shadow of its former self. During Joseon times, it was not only one of Korea’s five biggest markets, but also served as a meeting spot where people from the Yeongnam and Honam regions mixed freely, a place where the usual market sounds were peppered by the local dialects of not just one but two regions.

Connecting Hwagae Market and the major Buddhist monastery of Ssanggyesa is a scenic road lined by cherry trees, a spectacular sight in spring when the flowers blossom. The road is flanked by green tea fields, where Hadong’s nationally renowned green tea is produced. Hadong is the birthplace of Korea’s green tea industry. Some 1,200 years ago, Korean monks planted green tea trees from China in front of Ssangyesa Temple. Green tea still grows at the site, although the historical field is now just one of many tea fields that line the valley to the temple. You’ll find plenty of teahouses along the road, too. Some tea fields offer programs in which visitors can try picking tea, roasting tea leaves or other tea-related activities.

You can find plenty of local herbs and roots at the Hwagae Market.

Freshwater marsh clams, or jaecheop, are a local specialty.

Where to eat

Hadong’s culinary specialty is freshwater marsh clams, or jaecheop. These come in a soup, jaecheopguk, or in a tangy salad, jaecheophoe. You can find restaurants specializing in jaecheop everywhere in Hadong, but Hwagae Market is probably the best place.

Where to stay

You can find small motels in downtown Hadong and Hwagae. You’ll find plenty of bed-and-breakfasts in Hwagae, too. If you’re going upscale, check out the Kensington Resort Hadong, near Ssangyesa Temple.

Getting there

Buses to Hadong depart from Seoul’s Nambu Bus Terminal (travel time: 4 hours).

People | » | Written by Hahna Yoon Photographed by 15 Studio

Dressing Words with Emotion

Calligrapher Lee Sang-hyun places his art on a global platform

“The road for a traditional Korean calligraphy artist is long and even if you do it until you die, you’ll never be satisfied with what you’ve done. It’s a fight with yourself,” says calligraphy artist Lee Sang-hyun, whose general hint of mischievousness is lost in these particular sentiments. Often credited with being the first to bring Korean calligraphy to an international audience, Lee’s achievements are many. From a performance combining the folk song “Arirang” and calligraphy in New York’s Times Square to designing the Hangeul Google logo back in 2015 and creating the lettering of dozens of book covers and movie posters, Lee’s work crosses into many genres. With affability unbefitting his success, he tells stories of his youth, determination and art almost as well as he brings storytelling to calligraphy.

A troublemaker finds his way

“I was a troublemaker when I was in the fourth grade. A critical level troublemaker,” says Lee, whose parents urged him to have a hobby as a means of expanding his attention span. “When I was sent to piano lessons, I got kicked out for dancing on top of the piano keyboard and trying to emulate MacGyver on the first day.”

His parents sent him to one private academy after another and Lee managed to get kicked out of them all, until he reluctantly entered an academy for calligraphy, or seoye. “When the teacher wasn’t looking, I scribbled on the white walls of that academy. Instead of berating, he actually praised me: ‘I got so tired of always looking at the same white wall. Why don’t you color it black for me?’”

By instructing Lee to grind an ink stick, or meok, and encouraging him to doodle on the walls, Lee’s teacher taught him that a polished black wall couldn’t be completed without intention. “Whatever your goal is, I’ll help you get there,” Lee’s teacher said, opening up a newfound dedication to seoye for the young troublemaker.

Falling in love with seoye

“I went from being a kid who couldn’t sit still for two minutes to grinding meok for as long as two hours,” Lee says. “In the sixth grade, only two years after I began learning, I took away the first prize in the National Korean Calligraphy Competition. I’m a genius, no?”

Without a specific career plan in mind, Lee decided to pursue calligraphy. “I loved the smell of the ink and seeing the ink spread across the rice paper. I loved the process of grinding the meok and completing an entire work with the materials that I prepared myself.”

When he entered university, he found that the calligraphy he knew was much broader than he had realized. In looking for ways to connect the public with calligraphy, he thought of design. “Design is the way we live, but in Korea, we often think of design with too much complexity. In the way we choose to cut our hair or pick out our outfits for the day, we are constantly in the process of design, whether we know it or not.”

Lee’s work featured in the poster for the MBC historical drama “Moon Embracing the Sun”

Lee used kudzu root to write the title for the film “Tazza: The High Rollers.”

A hard road to success

After graduating college and serving in the military, he started a small calligraphy and design company in 1999 with a friend, the motto of which was “dressing Hangeul with emotion.”

“We visited every design company and pitched them this idea. If we introduced calligraphy to design, couldn’t we be able to make more of a Korean-esque design? Everything we have now is so Western.” Lee pleaded unsuccessfully with the potential clients that he met. “We couldn’t pay rent for our office. We had so much debt. We didn’t have money for the 1,000 won university cafeteria lunches we snuck into, so we would buy one meal ticket and steal an extra.”

Lee’s small company had their major break by designing the title on the cover of Lee Byung-joo’s novel “Wind and Cloud and Rain.” “Everyone wanted to know the name of the font on the cover and it got around that there was a small company that did calligraphy for book covers – opening up a world of publishers and movie companies interested in us,” he says. Lee worked on the posters for “Sympathy for Mr. Vengeance,” “Tazza” and more.

“A project like that involves a lot of communication. A movie poster might have me reading the entire script, or going to the film’s shoot and interviewing the director about the title’s message. It could take me up to two months to complete,” he says. “Sympathy for Mr. Vengeance,” for example, has bold, red lettering smeared like blood – especially on the last word. “For the first time, Korean films were able to have a Korean face,” Lee says.

Lee practicing his art.

Lee has blazed his own path through the world of calligraphy.

Personal projects flourish

Although Lee’s business began to do well, he started to feel more like he was “a factory of selling words” than an artist. He had frustrating meetings with clients who didn’t really know what they wanted and got calls in the middle of the night from those who urgently wanted their logos in an hour or so. “I had wanted to start a new creative industry where Korea could develop quality design of its own and this wasn’t it,” he says. He decided to leave the company and become a freelance artist in 2000.

“Whenever I dream about a project, I feel like it comes true,” says Lee. “I wanted to exhibit on a movie screen, and Megabox Theaters allowed me to have a video in the previews section for two years,” he says. “I wanted to exhibit on the largest screen in the world, and I worked on some media calligraphy for Seoul Square (the world’s biggest LED screen).” Citing two projects he’s most proud of, he mentions his work with Google and his performance in Times Square. “I wanted to put on a performance of the song ‘Arirang’ and calligraphy in a place in the world where everyone would see it – New York’s Times Square,” he says. “It only took me three years to achieve that dream and in 2014, I performed in the rain. The NYPD came to shut us down because we took up more space than we had permission for, but I didn’t care if I would be arrested. I performed it until the end.”

Lee writes “Arirang” during a street performance in New York’s Times Square.

Hangeul and calligraphy

For aspiring calligraphers, Lee explains that a passion for the art is key and goes in-depth about the beauty of Hangeul. “The Korean alphabet is unique because of its final consonant. In typography, Hangeul doesn’t appear polished because the final consonant doesn’t allow all the letter sizes to match up. Calligraphy allows you to capture emotion and the repetition of the letters as big, small, big, small allows the words to have more rhythm,” says Lee.

Despite strong opposition from traditionalists, Lee believes a non-Korean reader can still appreciate the beauty of Hangeul in calligraphy. “Let’s say I write the word ‘flower’ with straight, harsh lines, perhaps not. If you can tell that story through image, someone that doesn’t know Korean can still feel the fragility, softness, thinness of the flower through calligraphy’s lines. Depending on how Hangeul is portrayed, everyone can sympathize with it even if they can’t read it.”

Lee designed the Google Doodle celebrating Hangeul Day 2015.

Continuing to dream

In addition to teaching classes and working on projects, Lee often travels to different countries to lecture on Korean calligraphy and Hangeul. In his spare time, he is learning Farsi, having returned from a trip to Iran recently, and loves to watch action films and drink soju with friends. “I love meeting people who work in different fields and gain inspiration from them,” Lee says. “I still have so many dreams, though I won’t reveal them all,” he adds mysteriously. “My dreams are why I continue to live and work so passionately. I want to continue to make new projects and never stop being curious.”

Korea & I | » | Written by Bartomeu Marí Director, National Museum of Modern and Contemporary Art, Korea (MMCA) Illustrated by Kim Min Ho

Battleground of Korean Modernity

Museum director Bartomeu Marí examines Deoksugung Palace’s architectural significance

Deoksugung is the name of the residential building where I live in Seoul. It is located near the palace compound of the same name, next to Seoul City Hall. I moved to Korea nearly two years ago with the privileged commission of serving as the director of the National Museum of Modern and Contemporary Art, Korea (MMCA). The museum features three venues in the Seoul metropolitan area. On my last Sunday of “freedom” before officially joining the staff of the museum in December 2015, I visited Deoksugung Palace for the first time, as a tourist.

Modern and museum

I had multiple reasons for this. To begin with, Deoksugung Palace hosts a modest venue of the MMCA, the one that I had never visited before in my numerous but always very short visits to Korea. The MMCA Deoksugung is where the museum organizes exhibitions of modern art. I believe deeply that the mission of a big museum like ours is to explain the link between the values of modern art and the innovations of contemporary art. This is the Gordian Knot of our identity. I had to discover that Korean modernity was so specific, with a unique chronology and a singular vocabulary. Explaining this to the world has become one of my most important missions.

My first paid job as a curator was in a museum of architecture in Brussels. In 1989, right after obtaining a degree in philosophy and sciences of education, I joined the Foundation for Architecture, where I developed a program with contemporary artists in relation to architecture and urban culture. At the library and collections of the Archives of Modern Architecture, the museum and publishing house that generated the Foundation, I learned modern architecture, design and art. I learned about the values of historical heritage and how European, Western modernity erased tradition. Modern and traditional were, in the West, antagonistic. Or, as the great poet Gertrude Stein told the first director of the MoMA around 1927, “You cannot be modern and museum at the same time.”

Monument to life’s evolutions

In Deoksugung, I found myself in a totally original page of modernity, as if the palace was a crucial chapter in Korea’s modern history. All forms of art are essential in order to define what modernity is. Differences and identity are not only a factor of space and geographies. We, as individuals and as communities, are different through time as well. This is why we need monuments like Deoksugung – to measure our evolutions in life. We need museums of art to keep the records of our change as humans and express what makes us different at the same time.

Deoksugung is a park, a monument and the stage for individual and collective dramas, with the scars of historical aggression. It was used as early as 1592, and it was Emperor Gojong who established it as an official residence in 1897 after declaring the Korean Empire, a true statement about the sovereignty of Korea in relation to its ambitious and bellicose neighbors. We commemorate the 120th anniversary of that even today. Upon entering the Daehanmun Gate, you find yourself in a park, with abundant trees and uneven ground. Presently, you discover the traditional Korean buildings and halls that hosted the different functions of the palace. The non-specialized visitor must wander around trying to decipher their function, their hierarchy and meaning. All signs, starting with the Chinese characters on their façade, may seem cryptic. Yet soon, a surprise, a visual and symbolic shock appears: a Neoclassical construction with arcades developed in three levels. It is the Seokjojeon, a stone building erected as the residence of Emperor Gojong. He was, however, unlucky enough to see the building completed in 1910, the year the Japanese forcibly annexed Korea.

Beautiful and relevant

Under colonial rule, modern forms, technologies and habits, virtues and vices, fashions and techniques were imported and forced upon the population. In 1938, the Japanese transformed the Seokjojeon, once the imperial residence, into a museum, building a “modern” extension in the language of fascist inspiration. An elevated passage connects the two buildings, as a prosthesis with dubious aesthetic attraction. This is our Museum of Modern Art, a time capsule that provides beautiful orthogonal galleries of great proportions and elegant, modest finishes.

Deoksugung is the example of a modernity that was wanted by the Koreans, as Emperor Gojong, we learn, desired to bring to Korea the advancements and wealth of the time. It was also an imposed modernity, however, with which different forms of art and new languages were quickly introduced. While in the past, some saw this compound as an expression of decadence through occupation, one can “read” it through time, in more complex ways, and enjoy it as what it is: one of the most relevant and beautiful battlefields of Korean modernity.

Arts & Entertainment 1 | » | Written by Miruh Jeon

Exploring the Future of Architecture

Seoul presents the cities of tomorrow in a series of architecture festivals

With its theme of “Imminent Commons,” the Seoul Biennale of Architecture and Urbanism points to the sustainable city of the future.

This fall, Seoul hosted a series of exciting architecture events to discuss the future of the field, becoming a global hub for architects from around the world. Professionals got a chance to exchange innovative ideas about design and planning, while the general public learned to appreciate architecture as an art form.

A city with a soul

Seoul, which was named a Creative City of Design by UNESCO in 2010, is a fascinating metropolitan area that is accessible and rich in cultural heritage. Among the many architecture gatherings held in September, the UIA World Congress and the Seoul Biennale of Architecture and Urbanism were two of the most highly-anticipated events. Tens of thousands of architects and other attendees congregated in Seoul to share ideas that will shape the future of architecture.

The 2017 UIA (International Union of Architects) World Congress kicked off on Sept. 3 and ran until Sept. 10. Recognized as one of the most prestigious forums of its kind, the UIA World Congress first began in Lausanne, Switzerland, back in 1948. This year, for the first time ever, the congress decided to gather in Seoul, and the organizers held the 26th congress at the COEX Convention Center and the DDP, under the theme “Soul of a City.” According to the organizers, this year’s theme highlights the importance of “having souls dissolved in the architecture and cities we live in.”

The event featured various programs and seminars, as well as keynote speeches by renowned architects and global leaders, including Seoul Mayor Park Won-soon, Korean architect Cho Min-suk, and French architect and urban planner Dominique Perrault.

Donuimun Museum Village hosts the Seoul Biennale of Architecture and Urbanism’s main exhibit.

Citizens take part in a workshop at the Seoul Biennale of Architecture and Urbanism.

Smart urban planning

The Seoul Biennale of Architecture and Urbanism also opened its doors to visitors in September and is scheduled to run until Nov. 5. Organized by the Seoul Design Foundation and the city government, this event is filled with a wide range of academic programs and exhibits that focus on transforming Korea’s capital into a sustainable urban space that people can share and pass on to posterity.

With climate change threatening all parts of the globe, it’s more important than ever for cities to come up with eco-friendly solutions to various urban issues. One of the activities that the festival offers is the “Live Projects Seoul” program, which allows participants to take part in workshops and conduct various experiments under various themes. For instance, individuals from different parts of the world will work together to figure out ways to improve urban manufacturing or come up with solutions to water shortage problems.

The Seoul World Architects Congress can be called the Olympics of the architecture world.

Architecture and film come together at the Seoul International Architecture Film Festival.

A city without boundaries

Another exciting event held last month was the Ninth Seoul Architecture Festival (SAF). The SAF offered free programs and seminars to the public and provided a variety of hands-on activities, including a VR earthquake simulator and a tour of the “Future House 2020” exhibit.

Held under the theme “Blurring the Boundaries,” this year’s event focused on refurbishing and re-opening existing facilities that have become inaccessible or forgotten over time. That’s precisely the reason why the event was held at the Oil Tank Culture Park. Back in the 1970s, this venue was a huge oil reserve near what is now the Seoul World Cup Stadium. For more than 40 years, the facility was off-limits to the public, as the government felt the area was too hazardous. However, in 2015, the Seoul city government announced its plans to renovate the oil reserve and transform it by 2017 into a cultural space that is readily available to the public.

Filming architecture

Some of the additional events exposed individuals to architecture and urban planning through film. The Ninth Seoul International Architecture Film Festival, which ran from Sept. 4 until Sept. 24 under the theme “City/Sharing,” screened a total of 34 films produced in 21 different countries.

It shone a spotlight on films that touch on the idea of “sharing” within an urban environment. For instance, the opening film, director Jung Jae-eun’s documentary “Ecology in Concrete,” highlighted the history behind the development of concrete apartments and told the stories of the people that live in them.

Arts & Entertainment 2 | » | Written by Han Hyelim

Hip-Hop Fever Grips Korea

Korean hip-hop breaks into the mainstream

Mnet’s talent show “Show Me the Money” has helped bring hip-hop into the mainstream.

Over the last several years, Korea’s hip-hop scene has exploded, with the genre gaining popularity while gradually establishing a global presence. Although many hip-hop artists have collaborated with K-pop artists, Korean hip-hop has established itself as a dominant musical genre separate from K-pop.

Rap wasn’t built in a day

The local rap scene, as we know it today, did not emerge overnight. Korean hip-hop dates back to Hong Seo-beom’s “Kim Sat-gat” released in 1988, and Seo Taiji and Boys’ “Nan Arayo” released in 1992. The 1990s and 2000s saw many rappers from the underground circuit, including MC Sniper, Drunken Tiger, Verbal Jint and many others, who helped the Korean hip-hop scene grow considerably.

With popularity in the genre soaring, several independent labels representing Korean hip-hop emerged, including Brand New Music, Illionaire Records and AOMG, paving the ground for the scene to grow.

Korea’s youngest rapper when he debuted, Dok2 has made it big as a hip-hop producer.

A dose of reality TV

Korea’s hip-hop reality competition show “Show Me The Money,” which airs on Mnet, has greatly helped Korean hip-hop, heightening awareness of the scene and giving birth to other hip-hop competition shows like Mnet’s “High School Rapper,” “Unpretty Rapstar” and JTBC’s “Hip-Hop Tribe.” The show, which has grown in popularity since its premier in 2012, is currently in its sixth season. Despite some controversies, the show has been a commercial hit, releasing collaboration tracks and new songs each episode. “Unpretty Rapstar,” known as a female counterpart of “Show Me The Money,” premiered in January 2015 on Mnet, providing a pathway to fame for female rappers.

Lim Jin-mo, a pop music critic, says that with more and more people listening to hip-hop music, the genre is becoming mainstream. “Hip-hop targeted a specific generation and is likely to continue the momentum,” he says. “‘Show Me The Money’ has contributed to the Korean pop scene in no small measure.”

Dok2 is the CEO of Illionaire Records, one of the most influential labels on the Korean hip-hop scene. He is well-known for his rap skills and live performances. He has earned particular renowned for his meaningful lyrics. Since his performance of “Lookin' For Luv” during season three of “Show Me The Money,” his popularity has soared.

A studio audience enjoys an episode of “Show Me the Money.”

“Unpretty Rapstar” is a female counterpart to “Show Me the Money.”

Embracing universal values

Is there any other way for Korean rappers to reach overseas without the help of mass media or large-scale labels?

Keith Ape is a Korean rapper who made it in the United States. According to The New York Times, Keith Ape’s “It G Ma” has made a proportionately larger impact in the U.S. than in Korea. The newspaper reported that plenty of U.S. artists have been in touch with the rapper about collaboration.

During an interview with Billboard at K-Pop Night Out during the 2017 SXSW Conference and Festivals at The Belmont on March 17, 2017, in Austin, Texas, Tiger JK recalled the beginning of his career in the 1990s. “Cops harassed us. People booed us. Now, I can just rap 60 bars and people know that’s hip-hop.” Now, as Tiger JK ascends a stage funded by the Korean government, the audience cheered the rapper wearing traditional Korean clothes. Yoonmirae, his wife and one of the most established female rappers in Korea, also performed.

In recent years, Korean hip-hop has become a popular music genre topping Korea’s music charts many times. Although Korean hip-hop isn’t at the same level overseas as K-pop, the genre is on a strong footing to reach hip-hop lovers around the world. Thrust into the limelight, Korean hip-hop could become the next big thing.

Korean Culture in Brief | » |

Lotte World Tower Wins Design Awards

The Sky Shuttle, the elevator that ascends to the observation deck of Seoul’s landmark Lotte World Tower, and Mega Column, an exhibit displaying the tower’s construction, have earned awards from the Red Dot Design Awards, one of the world’s most prestigious design competitions.

The Sky Shuttle takes visitors 496 meters up the tower at 10 meters per second, making it the world’s longest and fastest double-deck elevator. Mega Column is a 3-D simulation revealing how the skyscraper was erected, serving both as an architectural archive and a tourist attraction in its own right.

KCON Gives Big Finale in Sydney

The world’s biggest Korean pop festival, KCON, had its final run of the year in Sydney on Sept. 22 and 23. KCON 2017 Australia offered performances by nine groups: Exo, Girl’s Day, Wanna One, Monsta X, Viction, Up10tion, Cosmic Girls, Pentagon and SF9. Fans also had a chance to meet popular boy band Exo and up-and-coming stars Wanna One.

First held in Irvine, California, in 2012, KCON marked its sixth year in 2017. This year alone, the festival traveled to Mexico City, Tokyo, New York and Los Angeles. The Sydney show was its first in Australia.

Nation Celebrates Korean Alphabet

Observed on Oct. 9, Hangeul Day is a national holiday that celebrates the genius of Korea’s indigenous alphabet, Hangeul. King Sejong the Great proclaimed the Hangeul alphabet in 1446. Designed to promote literacy, Hangeul was crafted by a team of scholars, led by King Sejong himself, using advanced linguistic theories.

Hangeul Day is marked by a variety of events. The biggest is the Hangeul Festival, a two-day affair held in the landmark Gwanghwamun district featuring exhibitions, concerts, writing contests and more. The National Hangeul Museum, meanwhile, hosts a special exhibit, “100 Years of Korean Fairy Tales in Hangeul,” a display of 207 books, documents and audio books on traditional Korean tales. To mark the holiday, the museum will also hold outdoor performances of Korean fairy tales.

Tripitaka Koreana Festival Pays Tribute to Treasured Buddhist Texts

Haeinsa Temple, a major Buddhist monastery in southeast Korea and a UNESCO World Heritage Site, hosts the Tripitaka Koreana Festival on Oct. 20 to Nov. 5. The Tripitaka Koreana Festival celebrates the creation of the eponymous Tripitaka Koreana, also known in Korean as the palman daejanggyeong, a collection of 81,258 wooden printing blocks that represent the only complete copy of the Buddhist canon still extant on the mainland of Asia. Carved in the 1200s, the blocks still produce crisp copies of the texts thanks to their durability and a remarkable storage system that makes masterful use of the temple’s geography and landscape. The blocks were added to the UNESCO Memory of the World Register in 2007.

The Tripitaka Koreana Festival includes exhibits and hands-on programs designed to teach visitors about the wood blocks and the history and traditions behind them. The hands-on programs include chances to try your hand at print making. The festival includes parades, arts programs and more.

Seoul Hosts Major Dance Festival

The Seoul section of CID-UNESCO hosts the Seoul International Dance Festival (SIDance) from Oct. 9 to Oct. 29. One of Korea’s premier celebrations of dance, SIDANCE has contributed greatly to local dance, encouraging its development and promoting it overseas.

ARKO Arts Theater, Seoul Arts Center, Sogang University Mary Hall and other venues are participating in the festival. SIDance has two international sections. The International Collaboration section presents three programs by 11 companies from seven nations, and the Official Invitation section presents 16 programs by 17 companies from 13 countries. The domestic section features seven programs by 17 companies.

Korea Goes Shopping During Korea Sale FESTA

Korea’s biggest shopping festival, the Korea Sale FESTA, takes place from Sept. 28 to Oct. 31. The celebration of conspicuous consumption features major discounts at department stores, super stores, online shopping malls, traditional markets and other shops nationwide. The event has a cultural component as well, with night markets, performances and exhibits of traditional arts, regional festivals and concerts by leading pop stars.

The festival also offers a wide range of benefits to foreign visitors, including discounted airfare, hotel and restaurant packages and special discounts on cosmetics and other products.

Literature | » | Written by Chang Iou-chung Illustrated by Kim Yoon-myung

On the Road

Jang Eun-jin’s ‘No One Writes Back’ shows how we still long for someone to talk with, even when traveling alone

Traveling. I find the subject a magical conversation opener. When I can’t stand the silence in the office over lunch, I ask my coworkers about their latest business trip to New York. Meh. Nothing really, they say.

Within a minute, however, they start to talk about where they went, apart from their meetings, about the people they met at a dinner party in Ms. So-and-so’s garden, about the exotic dish they had at that gourmet restaurant for which they had to book well in advance.

I also bring up the subject if I can’t escape from the world’s most boring date. Sometimes, I can learn a lot about my not-very-interesting date by simply asking about his latest holiday or his travel experiences. This is, in fact, quite an effective measure to gauge your compatibility. If you’re a hiker and he’s a resorts-only type of person, you’ll immediately learn that there’ll be no Mendelssohn march. If you’re a pro traveler and he’s a not-so-much traveler, that’s another alarming sign. (Or sometimes, even if all the other signs say no, your stupid brain can still send you “go” signs just because he and you both managed not to kill each other that one time traveling together for three days on an Indian train.)

Traveling may be the Ultimate Subject for many people because it has become much easier to do over the past century or so. Spending holidays somewhere exotic or not-so-exotic is now a commonplace experience for the world’s middle class.

However, there’s something more about traveling. People talk about their holidays to Chiang Mai or their trek to Machu Picchu, and all I can see is that look on their faces, that lively, soulful, passionate look.

What’s so special about traveling? What makes people dream of traveling, or simply enjoy being away from home? Why do people travel?

Probably one reason is that you can step away – for a short or long time – from your day-to-day life. Your life may hurt, may be busy or may just be boring. Traveling can provide you with a refuge from life, from the pressure.

One thing is sure, though, that it can give you the time to refresh. Eventually, it can take you to a new starting line. This is particularly true when you travel alone. From whatever it was that you were fleeing, whether it’s busy work, your once-love or reality in general, being alone on the road will take you back to life and back to reality, with a full battery. The character Jihun in “Nobody Writes Back” (2009), by author Jang Eun-jin, is not an exception from this formula for solo travel.

No One Writes Back

Written by Jang Eun-jin
Translated by Jung Yewon
Published in 2013 by Dalkey Archive Press
203 pages

Travels with Wajo

Jihun is a 30-something single man who has been traveling for three years. He left home for a trip because he “suffered from a phobia.” It wasn’t some sort of claustrophobia or anything. Just a “phobia of a certain place.” The “certain place” that gave him seizures was his home. There was not a single sign of his seizures when he visited a friend’s place, but as soon as he stepped in through the front door of his own home, he felt nervous, couldn’t eat and couldn’t sleep. My eyebrows lifted in skepticism, but it was understandable. Everyone has their own reason for their journey.

So Jihun quits his job and decides to go on a journey with only a couple pairs of underpants, an MP3 player and a copy of Maugham’s “The Moon and Sixpence.” He has company on this journey. Wajo is a blind Labrador retriever. Retired now, the pooch used to be a guide dog for Jihun’s grandfather. His grandfather suffered from diabetes for half of his life, eventually losing his sight. Jihun’s blind grandfather then adopted Wajo, and they became a “perfect team and spent every day outdoors” until one day, they were hit by a car. After three months in the hospital, his grandfather died. Wajo lost his sight because of the accident. That’s how Jihun became responsible for the dog. Setting out, Jihun didn’t necessarily design a journey with Wajo. If he had done so, the only book he would have brought with him in his backpack would have been Steinbeck, not Maugham. At any rate, Jihun had asked his grandmother to take care of Wajo, but Wajo refused to stay with her and followed Jihun.

Travels with 751

Jihun set out on his journey to treat his phobia. The reason why he actually continues with his journey, however, is the writing of letters. During his journey, Jihun writes letters: to his mom and dad, to his brother and sister, and mostly to the people he meets along the road. Of the thousand or so people he meets on the road, he has written to 750 of them. He assigns a serial number to each person to whom he writes, and he only writes to people who give him their address. As he writes his letters, he decides that he will finish the journey when any one of those people write him back. He calls his friend in his neighborhood back home every other day to ask whether or not anyone has written him. Nobody writes back, yet.

Serial No. 751 is a novelist he met on the subway. 751 asked him why he writes. She presumes as to the reason why he writes letters. She thinks it’s “because he wants to receive letters.” She annoys Jihun by saying, “A letter not sent or delivered is like a letter not written, isn’t it? So, in the same way, a letter without response is like a letter not written, isn’t it?”

The novelist is promoting and selling her own novel, “Toothpaste and Soap,” and Jihun somehow ends up traveling together with her, sharing motel rooms. No, this is not a saccharine Korean soap opera or telenovela. It does not turn into a romance. Instead, they develop a platonic friendship and learn how to communicate with other people and to accept the intimacy that develops naturally between individuals.

Throughout her career and across her oeuvre, author Jang Eun-jin has shown consistent interest in alienated individuals in today’s modern urban sprawl. In this novel, too, she talks about people who claim that they’re OK when alone and who claim to enjoy being alone. She doesn’t argue with the idea of being alone. She simply says that you still need and want others with whom to talk.

At first, the character Jihun considers 751’s attention to be bothersome and annoying, though he obviously seems to be lonely. That’s probably why he writes letters to strangers, as 751 points out. In the meantime, however, 751 claims that being alone is rather convenient for her and that there’s no need for her to be together with someone, even though she’s the one who joined Jihun whether he wanted to travel together or not. However, they become more comfortable with each other as Jihun helps 751 sell her book. 751 takes care of Jihun as he catches a cold. Their unplanned and unexpected journey together reminds them that they are not necessarily alone in the world, even though they used to be alone, and that having company can never be a disaster.

Back home

All journeys must come to an end, though, when the traveler returns home. By the end of the novel, Jihun, too, returns home. What brings an end to his journey is not a letter, but Wajo, the blind retriever.

Wajo is sick. For the sake of the old hound who has been great company for him during his journey, Jihun decides to return. Wajo faces death, but at least he can face death at home.

Earlier on, Jihun says, “This journey wasn’t meant as a means to gain something.” The only thing he hopes to gain from this journey, if there is any, he says, is “probably something like quiet stability.”

Did he get what he wanted from the journey? Readers can see that he doesn’t have seizures anymore. He might have even gained more than that, though. You’ll have to find out by reading the novel yourself.

I put the beer and the nachos down on the bed, and go into the bathroom to take a shower. I wash my hair, and then my underwear, and hang it to dry. I threw away a pair of underwear with holes in it, so I have to stay naked until the underwear dries. The greatest burden for a traveler is his clothes. Two pairs of underwear and one outer layer of clothing will suffice. I buy new clothes only when my old ones gets tattered or so torn I can no longer wear them. People who care about appearances can never travel. In some cases, of course, circumstances naturally prevent you from caring about appearances.

My younger sister is a case in point of someone who can’t travel because of her clothes or appearances. She has never traveled, for she dreads getting ready for a trip. She has tried, of course, several times to go on a trip. The problem was that as she packed this and that, her luggage increased, and in the end, she couldn’t go anywhere because of too much luggage.

I say from time to time, if you want to know about someone else’s desires, you should have them pack a suitcase. Or take a peek into their suitcase. Someone who packs his bag with all kinds of stuff ends up suffering from just that much fatigue and stress, even while traveling. The weight of the bag alone will guarantee that. The trip, intended as a way to unburden yourself, suddenly becomes a burden in itself. People who care about what other people think of them, like my sister, can never go on a trip.

Instead, my sister planned other trips—trips to the department store, on which she wore high heels and carried a purse. She insists to whoever’s next to her that shopping is a form of traveling, too. It’s a good thing that at least she doesn’t say she’s back from traveling when she’s back from shopping.

“All you do is g-go spend money—th-that’s not traveling,” I said.

“Your feet hurt, and you get something out of it, so it’s the same thing. Do you know what an incredible thing it is to walk around in high heels? It’s a lot more ascetic than the travels you talk about,” she said.

[…]

Whenever my sister came back from her trips to the department store, both her arms would be laden with shopping bags like clusters of apples. She looked even more tired coming back from her trips. She didn’t gain any wisdom, even as she picked and ate the apples that hung from her arms. The apples only enticed—when she bit into them, they didn’t taste like anything at all. Nevertheless, my sister’s journeys for sweet apples that did not exist never came to an end. (p. 18-19).

Policy Review | » | Written by Lee Kijun

Green Power Revolution

Kicking its dependency on fossil fuels, Korea turns towards renewable energy

Throughout modern Korean history, enormous industrial plants and coal power stations, chimneys discharging thick smoke, were regarded as symbols of rapid industrialization. Korea has not only depended heavily on fossil fuels, but has also subsidized them through tax benefits to keep prices low.

The new administration, however, is making an about-face. Newly elected President Moon Jae-in is proposing an energy strategy that would discourage the uses of coal and nuclear power in favor of both natural gas and renewable sources like hydroelectric and solar power.

The Ministry of Trade, Industry and Energy presented its policy goals to President Moon at a meeting in Sejong City last month. “The ministry will expand the country’s reliance on renewable energy to 20 percent by 2030,” the ministry said in a press release. “Also, we will phase out coal-fired power stations and improve facilities to cut emissions of pollution materials by half by 2030.”

The floating solar power plant on the Geumgwang Reservoir in Anseong is the world’s first.

Reducing dependency on fossil fuel

Korea produces a massive part of its electricity from fossil fuels. According to 2015 statistics, petroleum and oil products accounted for 41 percent of the country’s total energy consumption, coal for 31 percent, natural gas for 14 percent, nuclear power for 13 percent and renewable energy sources for just 1 percent. This means that for the 20 percent target to be achieved, significant new renewable energy projects should be constructed. Korea imported 98 percent of its fossil fuel consumption needs and is considered one of the world’s top energy importers.

President Moon wants to change that. He has been pushing the country away from fossil fuels, replacing them with renewable energy like solar and wind power.

Closing nuclear power plants

The president had campaigned to suspend construction of new nuclear reactors, too, saying he will take measures to transform Korea into a nuclear-free country. In line with his pursuit, the country’s oldest nuclear reactor, Kori 1, was shut down permanently in June and the construction of two reactors temporarily suspended until a citizens’ committee decides whether to make the suspension permanent. If the pledge goes through, Korea’s nuclear power capacity will gradually fall until the last nuclear plant, Shin-Hanul 2, reaches the end of its operational life cycle.

Going renewable

To reach the president’s goal, the government plans to install several new facilities for renewable energy. One of the projects is a proposed 2.67 MW PV solar plant on the Deoku Reservoir in Hwaseong, Gyeonggi-do. “We built the world’s first floating solar plants in Anseong three years ago,” an official of the Korea Rural Community Corporation (KRC) said. “The system has demonstrated its excellence since then. We expect the upcoming floating solar plants to be another successful model for renewable energy.”

According to the KRC, the solar panels of the plant can float on water and rotate in unison with the sun’s movements, maximizing the production of electricity. The technology delivers 22 percent more solar energy compared to a fixed installation on land, as well as a 16 percent increase compared to a typical floating solar array.

The installation on Deoku Reservoir isn’t the only floating solar array Hwaseong has planned. Two additional solar plants are expected at the Myeoku Reservoir. All three facilities are scheduled to be completed by the end of November. When combined, they will add 5.76 MW of solar PV capacity to the city’s energy portfolio.

This is Pyeongchang | » | Written by Lee Kijun Photos courtesy of POCOG

An Olympic Honor

Honorary ambassadors to the PyeongChang 2018 Olympic and Paralympic Winter Games help make games a success

Former figure skater Kim Yuna accepts her appointment as promotional ambassador for the PyeongChang 2018 Olympic and Paralympic Winter Games.

In just four months, snowboarders, skiers, skaters and other athletes will gather in Pyeongchang in pursuit of the Olympic dream. We’ll watch as athletes from all over the world compete in winter sports, catching their golden dreams in Pyeongchang during the PyeongChang 2018 Olympic and Paralympic Winter Games.

Other prominent figures will also arrive in Pyeongchang. The honorary ambassadors for the 2018 Winter Games include many sporting icons, some of whom know what it feels like to win Olympic gold. Others come from the worlds of entertainment, music and the arts. Regardless of their field of expertise, they are all passionate in their desire to help ensure the success of PyeongChang 2018.

Retired footballer Park Ji-sung is one of several former sports stars serving as promotional ambassadors.

Athletic greats return as ambassadors

One of the most famed athletes in recent years, Olympic figure skating gold medalist Kim Yuna was the ideal choice to champion the cause of the first Olympic Winter Games to take place in her native country.

Kim is considered to be one of the best figure skaters of all time. Throughout her entire career, Kim had never finished a competition off the podium. She became the first athlete to score 220 points in figure skating at the 2010 Winter Olympic Games, where she captured a gold medal.

“I remember the moment when Pyeongchang was announced as the host city of the Olympic Games,” Kim said. “For the success of the PyeongChang Olympic Games, I will work hard to attract attention and bring publicity to the event and as a former skater, to create an environment where athletes can give their best performances.”

There is one more global sports star among the PyeongChang 2018 ambassadors, Park Ji-sung. Park is one of the most successful Asian soccer players in history. He played for Manchester United for eight years and became the first Asian soccer player to win the UEFA Champions League trophy in 2008.

“I appreciate that I have been given the opportunity through the PyeongChang 2018 Games to pay back the love that I have been receiving from the public since I played as a soccer player,” Park said. “I will do my best to revive the passion of the people who cheered for the national team, who filled the stadiums and streets during the 2002 FIFA World Cup again next year.”

Promotional ambassador Jo Sumi is a globally acclaimed vocalist.

Cultural icons lend a hand, too

Globally famed artists and TV stars add a cultural element to the roster, such as world famous ballerina Kang Sue-jin, soprano Jo Sumi and actor Lee Min-ho.

Kang studied in Monte Carlo for three years and was taken into the Stuttgart Ballet in 1986. In 2007 she was awarded the German national title of Kammertänzerin for her excellence. Kang came back to Korea to serve as an artistic director at the Korean National Ballet in January 2014.

“I will do my best to let the world know about PyeongChang 2018 and touch their hearts with Korean arts and colors,” Kang said.

Jo is a Grammy Award-winning soprano known for her interpretations of the bel canto repertoire. She has appeared with the best symphony orchestras, such as the Vienna Philharmonic. Jo is also known as a sports enthusiast, especially for soccer.

Jo said, “I will do my best so that the PyeongChang Games, which are not that far away, can become a global festival.”

TV star Lee Min-ho was the first actor appointed as an honorary ambassador for the Olympics. After gaining widespread fame in Korea and parts of Asia for his role as Gu Jun-pyo in “Boys Over Flowers” in 2009, Lee has starred in many acclaimed TV shows and movies. The success of Lee’s television shows across Asia established him as a top star.

“I enjoy sports like skiing and surfing, so I have a lot of interest in the Olympics,” Lee said. “I have a lot of pride, holding a global event like the Winter Olympics and Paralympics in Pyeongchang, known for its scenery. Regardless of the ambassador position, as a Korean, I’m proud.”

Promotional ambassador Lee Min-ho is one of Korea’s most internationally beloved actors.

Current Korea | » | Written by Eugene Kim Photos courtesy of Yonhap News

Building Bridges to Regional Development and Peace

At the Eastern Economic Forum in Vladivostok, President Moon bolsters cooperation with Russia and other important neighbors

President Moon Jae-in and Russian President Vladimir Putin hold summit talks in Vladivostok on Sept. 6.

“When the growing demand for development across the Russian Far East is combined with Korean technology and experiences, I believe that the infinite potential in this region will be able to materialize.”

So said President Moon Jae-in to the TASS Russian News Agency and the Rossiyskaya Gazeta daily on September 5, just one day ahead of his two-day visit to the Russian port city of Vladivostok to attend the Eastern Economic Forum (EEF), an annual summit hosted by Russia with the aim of promoting economic development in the Russian Far East and boosting cooperation in the Asia-Pacific Region. The trip was an opportunity for Korea to strengthen its strategic cooperative partnership with Russia, but also a chance to bolster cooperation with other important neighbors, including Japan and Mongolia. The forum also provided a space for Korea and its neighbors to discuss issues related to regional security, including ways to establish a lasting peace on the Korean Peninsula.

Royal road to the future

In a keynote address to the forum on September 7, President Moon called on Korea and Russia to expand cooperation, especially in nine sections, or “bridges,” as he called them: gas, railway, seaports, electricity, Arctic shipping routes, shipbuilding, job creation, agriculture and fisheries. Dubbing these “nine bridges” as the “royal road to the future,” he stressed that while it’s important to work on large projects, “being successful in more likely, short-term projects will help build deeper trust among companies in both countries.” Signaling his support for Russia’s Energy Super Ring project, an initiative that seeks to connect the energy grids of Korea, Russia, Japan, China and Mongolia, he said the plan could create the “world’s largest energy community.”

President Moon receives a Joseon-era sword as a gift from President Putin.

President Moon delivers a keynote address at the EEC’s plenary session.

Summits with Russia, Mongolia and Japan

The day before, President Moon held summit talks with Russian President Vladimir Putin. The two discussed issues of bilateral interest, including trade, investment and North Korea. President Moon emphasized to his counterpart Korea’s potential as a partner. “The Russian Far East is where Russia’s New East Asia Policy and Korea’s New Northern Policy meet,” he said. “In terms of the development of the Russian Far East, Korea is the best partner.”

In particular, President Moon pointed to Korea’s advanced technology and Russia’s vast resources, noting that the combination of the two would make the Russia Far East a “land of opportunity for the prosperity of Korea and Russia.” President Putin said Korea was one of Russia’s most important partners and that the two nations would work together on many projects, including the development of the port of Vladivostok.

Also on that day, President Moon met with President Khaltmaa Battulga of Mongolia. Stressing the two nation’s ethnic and linguistic affinity, President Moon said the personal trust between he and his Mongolian counterpart would lay the foundation for better bilateral ties. He explained his desire to establish a “Northeast Asia Peace and Cooperation Initiative,” a plan to bring Korea, the U.S., Japan, China, Russia and Mongolia together to discuss regional threats.

On September 7, President Moon met with Japanese Prime Minister Shinzo Abe to discuss matters of mutual interest, including North Korea. The two leaders agreed to maximize sanctions and pressure on Pyongyang to give up its nuclear weapons and missile programs, in cooperation with the international community. They also emphasized the “future-oriented relationship” between the two nations, expressing hope that the relationship would bolster bilateral exchanges in business, tourism and the arts as well as contribute to the resolution of lingering historical issues.

Global Korea | » |

New York

Workshops on Korean Beauty Held in New York

A pair of workshops on Korean beauty techniques proved a hit in New York.

The Korean Cultural Center in New York hosted the “K-Beauty Prep like a K-Pop Star” workshops on July 29 and August 1. Makeup artist and YouTube star Sydney Kim, who was recently named one of YouTube’s top Korean beauty bloggers by U.S. women’s online magazine Bustle, shared skincare and makeup tips and tricks before packed houses that drew participants from not only New York, but also cities as far as Philadelphia. In fact, her workshops were so popular that the waiting list alone had nearly 100 people on it.

The first workshop introduced Korea’s popular multistep skin care routine and the makeup techniques used by Rosé of girl group Blackpink. The second workshop taught basic skincare techniques for men and makeup techniques used by pop star and fashion icon G-Dragon. Participants also got a chance to try out Korean beauty products and ask Kim questions about makeup and skincare. An official from the Korean Cultural Center noted that while specific products might get hot in the U.S. beauty market, it was rare for an entire nation’s beauty scene to take off like Korea’s has.

Indonesia

Korean Team Wows Spectators of ASEAN Parade

The Korean Cultural Center in Indonesia put on a display of Korean traditional music, traditional dress and traditional martial arts during the ASEAN 50 Parade, a celebratory event marketing the 50th anniversary of the founding of the Association of Southeast Asian Nations (ASEAN), held in Jakarta on August 27. The Korean team proved so popular that the parade ran late because of the many spectators and reporters that surrounded the team along the entire parade route. The 80-person team was even named the event’s top participant.

One of the participants in the team was Hanbapae, a band specializing in Korean rural music, or samulnori. Students from Jakarta International Korean School, meanwhile, donned Korean traditional dress to take part in the parade. A youth taekwondo team drew considerable interest, too.

Written by Esraa Elzeny, Korea.net Honorary Reporter

Photos courtesy of Esraa Elzeny

Korean Crafts on the Nile

Egyptians learn the time-honored art of lacquerware

If you have a chance to travel to Korea someday, don’t miss the best and finest Korean souvenir you’ll ever buy. An ornate traditional Korean jewelry box, inlaid with nacre, or mother of pearl, is a wonderful example of the beauty and luxury of Korean handicrafts. These boxes and other pieces of traditional lacquerware can be beautifully decorated with pearls and shells, showcasing Korean artisans’ mastery and craftsmanship. This distinctive form of Korean art has a rich history, which continues even today.

Beautiful, but treat with caution

Otchil, the lacquer used to coat and protect the mother-of-pearl inlay, is made from the sap of the laquer tree. These trees are rare and exist only in some Asian countries, like Korea, China, Japan and Vietnam. Artisans in each of these countries tend to use different colors of lacquer in their work. In Korea, black is used for the background of each piece, whereas red is often preferred in China.

Thanks to otchil, pieces of Korean lacquerware up to 2,000 years old are preserved and protected. The coating protects the wood from bacteria and rot and is resistant to water, heat and fire. A fully natural product, the lacquer is biodegradable and free from artificial chemicals. However, otchil is very expensive, as the liquid sap is highly toxic, making extraction and processing a difficult and risky operation. Although beautiful, the craft must be executed with caution.

Lasting memories

In August, the Korean Cultural Center in Cairo hosted Korean lacquer artist Oh Jong-hoon for a week-long workshop on lacquerware. Oh explained the history of the mother-of-pearl technique and gave participants a chance to try their hand at the ancient craft.

During the week, Oh also learned more about Arabic arts. He noted that despite their excellence, Egyptian manufacturers introduced machines to increase production, which has reduced the quality of the art. In contrast, Korean artisans still take as long as three months to create one piece. It’s not as quick, but it shows true mastery.

On the final day of the workshop, the Egyptian students finished their crafts that would be presented at the cultural center’s fair in October.

In his farewell speech, Oh said that he hopes to visit Egypt again. He was impressed by the how quickly the students learned and how passionate they were for Korean art. The workshop was also attended by Cultural Advisor Park Jae Yang, who paid tribute to the students and took photos with them.

Flavor | » | Written by Cynthia Yoo Photographed by ao studio Kang Jinju Stylized by 101recipe

Pyeonyuk

Boiled, pressed and sliced meat is the healthy choice

Three verbs describe the making of pyeonyuk: boil, press and slice. Chunks of pork, beef or even chicken feet are boiled, then pressed together firmly before being sliced into delicious morsels of collagen-filled meat. Pyeonyuk is more about form and texture rather than strong flavors or specific ingredients.

Pyeonyuk is first mentioned in mid-19th century Joseon texts. The dish has traditionally been part of the celebration or feast table. It’s a natural by-product of dishes using large amounts of beef or pork stock. As such, it’s used as a topping for soups and noodles. Today, there’s even a raging debate whether beef or pork pyeonyuk is the proper topping for Pyongyang-style chilled noodles. Tempests in teapots aside, pyeonyuk continues to be a popular dish as a snack served with alcohol or as a dish served at ancestral rites or traditional holidays.

Part of the reason for its popularity is that pyeonyuk goes so well with other dishes and seasonings. A cursory search into pyeonyuk results in as many posts about how to eat it as how to make it. While the main draw of pyeonyuk is its cold texture and the rich fat and collagen chunks, the real flavors come from the various dishes with which it’s combined. People across the country like to wrap pyeonyuk with kimchi. Others enjoy pyeonyuk with various salted and fermented seafood. Some swear by ssamjang with hot chili peppers and garlic slices. Apparently, folks with a choding, or unsophisticated, palate prefer sweet and tangy gochujang chili paste.

Pyeonyuk’s popularity may seem strange to the uninitiated but another reason is that it’s a great source of protein. Women think of pyeonyuk as a diet dish because of its collagen content. In fact, there are diets that recommend pyeonyuk dishes made with pork rind or even chicken feet. Many believe pork trotters and chicken feet are the new super-food because they’re rich in collagen, a protein responsible for skin and muscle tone. Unfortunately, such claims haven’t been borne out by science, but it’s a popular belief nonetheless.

Whether you’re a collagen believer or not, pyeonyuk is a quintessential Korean dish that packs a flavorful punch when it’s combined with side dishes and seasoning. It’s well-worth a try, particularly with a bottle or two of makgeolli rice beer and who knows, your complexion may thank you, years from now.

How to make pyeonyuk:

1. Clean pork parts and soak in cold water to remove blood. Then boil in 4 liters of water with cinnamon, cloves and bay leaves.

2. After meat is cooked through, wrap with a cloth and press down with a weight. Leave it for half a day.

3. Slice into thin pieces. Pyeonyuk slices can be served with a variety of seasoned sauces like choganjang or fermented shrimp. It’s also popular with many different kinds of kimchi.

Learning Korean | » | Written by Lim Jeong-yeo Illustrated by Kim Yoon-myung

At a Loss for Words

Crime film ‘Veteran’ gives new meaning to the Korean phrase for dumbfounded

The crime-action film “Veteran,” released in 2015, has forever changed in the people’s minds the common Korean phrase “eoiga eomne,” which translates as “the state of being at loss for words, bewildered by an incomprehensible situation.”

“Veteran,” the second latest work by award-winning director Ryoo Seung-wan, garnered over 13.4 million moviegoers, selling the third largest number of tickets of all time in Korea. It also nabbed a top award at the year’s Sitges Film Festival in Spain.

In one of the most remembered scenes from “Veteran,” Jo Tae-oh (played by Yoo Ah-in), the unrestrained, diabolical semi-top official of a corporate group eager to prove himself to his father, the corporate president, invites the workers protesting outside his building to his private office and talks down to the man for pestering him about an outstanding quote for a sum that is miniscule from a CEO’s perspective.

Before he brutally beats the man and later throws him down the staircase to fake the cause of his lethal injury, Jo speaks in hardly suppressed rage, “Do you know the name of a millstone’s handle? It’s called an eoi.”

“When you’re grinding something with a millstone and suddenly the handle comes off, what do you do, you can’t do your job because of an insignificant glitch, no? People say in this instance that there is no eoi,” Jo says, throwing a rhetorical question. “That’s exactly my feelings right now. Eoiga eomne!”

The phrase can also end with the suffix “-da.” “Eoiga eopda” can variably translate in English to “makes no sense,” “dumbfounded” and “stunned.” One can also do without the “ga” and simply say “eoieopda.”

The idiom can be used when a person’s actions, words, circumstances or accidents are beyond immediate comprehension. The emotions accompanying the expression are often when one is aghast, angry or frustrated.

Korean Art Through Coloring

Mother of Pearl Box Jagaeham

Thank you for your feedback

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Readers’ Comments

What I liked most about the August issue was its high-quality pictures. The pictures in the magazine were absolutely fabulous! I also liked the literature article titled “Not So Hard to Say I Am Sorry.”

Teacher from U.S.A.

I enjoyed most of the content in the August Issue, but I especially liked the literature section. Lee Kiho’s novel made me realize how important apologies are. Also, I think it is a good idea to cooperate with foreign honorary reporters to publish what people love about Korea in their own countries.

University student from Indonesia

From the August issue, I liked the Arts & Entertainment article on the movie “Battleship Island,” as it described the movie very well. The Korea & I article about Taekkyeon martial arts was impressive as well. I’d like to see more articles about other countries such as Poland, as well as Korean history.

Retiree from U.S.A.

The Travel section article about Namhae was my favorite article from the August issue, as I came to know more about the pictorial scenery of Korea. I’d like to suggest introducing Korean postal stamps in the next issue.

Retiree from India

The August issue’s travel article, “Treasure Island,” provided me with an opportunity to learn about a new destination. It would be good if the magazine were to cover more Korean history.

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