Metal crafting
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Kwack Hong-chan, a third-generation traditional metal artisan, shows the process of creating a traditional metal work in his workshop in Bucheon, Gyeonggi Province. Kwack carves on the surface of silver artifacts or other metal ornaments using a fine chisel, or inlays gold, silver or blackened copper threads in the grooves to make various patterns. / Korea Times photos by Shim Hyun-chul
Master seeks to popularize traditional metal craft
By Chung Ah-young
BUCHEON, Gyeonggi Province — It is no accident that Cartier is one of the world’s most esteemed luxury jewelry brands. The French jewelry maker has a 168-year-old tradition of producing jewelry and watches for royalty.
Are there any well-known Korean brands that have been making jewelry for a long time, like Cartier? There could be in the future, but not at this time. Kwack Hong-chan, a third-generation traditional metal artisan, said he aims to make his craft known around the world.
“We have a long history of creating splendid metalwork. Even today, artisans have kept the tradition of producing high-quality artwork using the ancient skills that have been handed down from generation to generation. But we don’t have any widely known brand that is based on a centuries-old traditional craft,” Kwack said in an interview with The Korea Times.
His grandfather Kwack Sun-bok created metalwork for the court and the noble class in Insa-dong, central Seoul, during the late Joseon Kingdom (1392-1910).
Following the footsteps of his father and grandfather, Kwack Hong-chan has kept the tradition of creating artwork for the presidential office, Cheong Wa Dae, and distinguished foreign guests.
“I am committed to reviving the traditional forms of art as much as I can. But although I have been doing this for decades, this art remains unnoticed among the people,” he said.
Traditional Korean metal craft dates back to the Korean Bronze Age, flourishing during the Silla and Goryeo kingdoms and declining during the Joseon Kingdom.
The artisan said even exceptional craftsmen were not treated well during the Joseon era owing to the influence of Neo-Confucianism, which maintained a rigid social hierarchy for scholars, farmers, artisans and tradesmen.
Kwack became an artisan at the age of 19 by learning the skills from his father and grandfather. He said since then he has never looked back.
He also said the low perception of artisans remains today, making it hard for them to thrive. The traditional Korean craft can become known globally for its sophistication, which has not been fully appreciated by Korean people, he said.
“If people see how advanced the metal craft techniques were even in ancient times, they will understand why modern Korea has been increasing its presence in various creative cultural fields. Cultural power comes from our thousands of years of cultural heritage,” he said.
Kwack cited cases of global brands based on centuries-old traditional craft in other advanced countries.
“Traditional Korean artisans have failed to popularize their crafts because of a lack of awareness on both their part and the public. We should be proud of our own culture. I want to make my artwork more fashionable not only in Korea but also abroad,” he said.
Legacy and beyond
His elaborate craftsmanship is evident in “Gwansanggam Yundo,” a geomantic compass inlaid with silver threads, and “Cheonsangyeolcha Bunyajido,” an astronomical chart inlaid with silver threads, which are on display in his workshop in Bucheon, Gyeonggi Province.
The two masterpieces are his reproductions of relics, using his metal craft technique. “I wanted these relics to be better preserved over time, as metallic materials last longer than materials used in other crafts,” he said.
Kwack spent four years in creating Gwansanggam Yundo on a copper plate, based on the original 170-year-old wooden compass. The compass contains some 4,600 Chinese letters, and he could carve and inlay only 10 letters a day.
“The compass shows our ancestors’ wisdom and knowledge of geomancy. I want to show our ancestors’ excellence to the next generations,” he said.
On the other hand, it took two years for Kwack to complete Cheonsangyeolcha Bunyajido, on which 1,464 stars are inscribed. The original chart was carved in stone in the 13th year of reign of King Sukjong of the Joseon Kingdom.
The decadent precious metal articles from ancient tombs show that metal craft was highly developed even in the 4th and 5th centuries. During those times, a diverse range of ornaments, such as crowns, earrings, necklaces, rings, belts and shoes, were created from gold, silver and other precious metals.
Around the Goryeo Kingdom, decorative techniques were in vogue owing to the influence of Buddhism as well as the elaborate tastes of the noble classes.
However, in the Joseon Kingdom, sophisticated metalwork declined as brasswork became popular. During that time, metalware, which had been used mainly by royalty and nobility, became widely accessible to commoners.
“Many people ask me why I am doing this. I tell them if our ancestors didn’t make these precious articles, we wouldn’t have anything to enjoy at museums. If I don’t make my work, future generations will not see our traditional treasures,” he said.
Kwack is currently reproducing a gilt silver ewer and basin from the Goryeo Kingdom, which are housed in the Museum of Fine Arts, Boston, in the United States.
“We have lost many historical treasures. My duty is to reproduce such treasures using the same traditional techniques for our descendants,” he said.
Kwack said even if his priority is to preserve traditional methods, he also carefully reinterprets traditional artwork. He wants to create traditional metalwork for modern products such as cosmetic cases and interiors of high-end automobiles.
“Perhaps my generation puts more emphasis on preservation, but the next generation will improve the design and applications of traditional crafts to elevate them to the next level. I am paving the way for that,” he said.
Along with various creations, Kwack said artisans should make more efforts to promote their traditional art through cultural events and education. In his case, when people attend his events, he explains to them not only the techniques but also the history and implications of traditional crafts.
Who is Kwack Hong-chan?
Kwack Hong-chan was born in 1956 in Seoul. He is a third-generation metal craft artisan, succeeding his father Kwack Sang-jin and grandfather Kwack Sun-bok, who created metal articles for the court and the noble class in Insa-dong, Seoul, in the late Joseon Kingdom.
He was named Intangible Cultural Property No. 39 for Gyeonggi Province in 2004. He has crafted numerous traditional metalwork for foreign dignitaries and the presidential office, Cheong Wa Dae.
He currently runs his workshop in Bucheon, Gyeonggi Province. People can find out more about his work on his website,
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What is metal craft?
Metalwork includes knives, spears and other weapons, as well as agricultural tools and ritual utensils. It dates back to the Korean Bronze Age, flourishing during the Silla and Goryeo Kingdoms and declining during the Joseon Kingdom owing to the influence of Neo-Confucianism, which promoted a rigid social hierarchy.
The decadent precious metal articles excavated from ancient tombs show that metal craft was already highly developed even in the 4th and 5th centuries. A diverse range of ornaments, such as crowns, earrings, necklaces, rings, belts and shoes, were created from gold, silver and other precious metals.
Decorative techniques on metal articles were in vogue during the Goryeo Kingdom owing to the influence of Buddhism and the elaborate tastes of the aristocrat classes.
However, in the Joseon Kingdom, the sophisticated metal craft declined as brasswork became popular. During that time, metalware, which had been used mainly by royalty and nobility, became accessible to commoners.
Kwack carves on the surface of silver artifacts or ornaments using a fine chisel, or inlays gold, silver or blackened copper threads in the grooves to make various patterns. His methods vary from flat carving, flesh carving, inlaying, piercing carving and piled carving.