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The book that embodies Korea’s traditional craft techniques andbackground
TheKorean Craft and Design Foundation (KCDF;President Bonghyun Choi), publishes the “Korean Craft &Design Resource Book” series in aims to introduce the traditional techniques ofKorean craft and its background. Starting with Najeon: Korean Nacre Lacquerware in 2011, the KCDF has published 15resource books in the series on topics ranging from traditionalnatural dyeing, Somok (traditional woodwork joinery), Jangseok (traditionalmetalwork for joinery), Hanji (Korean handmade paper), Baekja (Koreanporcelain), Nubi (traditional quilt), Onggi (traditionalearthenware), Chimseon (traditional sewing), and Maedeup (decorativeknotting) to Ipsa (traditionalsilver or gold inlaying), Cheongja (Korean celadon), Otchil (Koreantraditional lacquer), Soban (traditional portable dining table), and Jewa(traditional handmade roof tile). As part of the sequence, Geumbak:Korean Traditional Gold Leaf Imprinting and Hwahye: Korean Traditional Shoes were published this year.

The book that presents Korean traditional gold leaf imprintingat a glance
Gold leaf imprinting is a textilecraft technique that amplifies the beauty of the decorative ornaments ongarments and textiles with its golden elegance. Geumbak decorations were imprinted on garments, hats and decorativeornaments by the royal court and ordinary people alike. Its rich history andexquisite craftsmanship are evidenced by the artifacts dating as far back asthe Three Kingdoms Period.

Geumbak: Korean Traditional Gold Leaf Imprinting covers a wide range of topics regarding this outstanding traditionalcraft. It approaches the readers with lucid depictions of “The history ofGeumbak,” “Different uses of Geumbak,” “Crafting Geumbak,” andends with an “Interview with theGeumbakjang (gold leaf imprintingmaster).”

The book is backed by professionalinsight and research by the authors. In particular, it is written to beunderstood at a glance by laymen and experts alike, ringing true to the purposeof this series.

In particular, the imprintingprocess demonstrated by the National Intangible Cultural Heritage title holder,Master Kim Gi-ho, is vividly portrayed via photos and video (via QR scan).Contemporary artworks by craftsmen of today show how traditions arere-interpreted.

The interview with Master KimGi-ho is situated at the end of the book. The book not only depicts the currentaddress of our traditional crafts, but it also shows how they are passed downand charts new paths forward.

Contents
Chapter 1?Geumbak: Review of Literature
What is Geumbak? 14
Gold Processing Techniques 16
Gold Crafting Techniques 18
History of Geumbak 20

Chapter 2?Patterns Used on Traditional Dresses and Textiles
Patterns and Pattern Blocks 28
Geumbak on Hereditary and Contemporary Traditional 50

Chapter 3 Craftsmanship
Delicate Prowess in Crafting Gold 108
The Adhesives?112
Rich Representation?114
Succession of Craftsmanship 118
Materials and Tools 121
Process of Gold Leafing 126

Chapter 4?Refashioning Geumbak
Linking Our Past with the Present and Future 146
Timeless Beauty of the Tradition 164

Appendix
Craft & Design Map 178
List of Masters 180
List of Illustrations 181
Bibliography 185
Advisors and Advisory Institutions 188
Index 189

Gold leaf was widely employed to embellish clothing, headdress, and personal ornaments from royal family members to commoners. The gilded phoenix motif on the ceremonial garments such as wonsam and dang-ui visually signaled the status and authority of the wearers. The dragon motifs on the dragon robe of young prince were expressed by means of gold leaf. Motifs with varied flowers and auspicious meaning were employed to embellish women's jeogori (top), dang-ui (semi- formal jacket) and chima (skirt). Unmarried ladies elaborately adorned their hair using daeng-gi (a red sash for hair) embellished with gold leaf. The motifs used in children's dresses particularly were chosen from ones with auspicious meanings such as longevity, good health and fortune. People invoked children's good life through the visual effect of motifs in gold leaf on their dresses.
Geumbak: Korean Traditional Gold Leaf Imprinting is composed of four chapters encompassing the definition, history, usage, artisan, technique and modernized form of gold leaf. We have provided literary as well as visual sources for comprehensive accounts.
- Writer. Yeonok Sim

To apply gold leaf on fabric, the glue should be imprinted beforehand on the fabric using pattern blocks called munyangpan. Thereafter, sheets of gold leaf are placed upon the glued pattern. Sometimes the pattern blocks used for gold leafing are employed to draft patterns for embroidery works. pattern block was made with dense and hard wood such as the Asian pear tree, birch tree, and jujube tree of which their properties are less vulnerable to the variation of temperature and humidity. A piece of selected wood board is carved into a relief, leaving the motif and the cutting away of the background. The phrase "the birch wood is carved for gold leafing朴達木刻 成付金" recorded in Injo Jangryeolwanghu garyedogam uigwe 仁祖莊烈王后嘉禮都監儀軌 (Royal Protocol on the Wedding of King Injo and Queen Jangryeol, 1638) explicates the use of birch wood for the pattern block of gold leaf roundels金圓紋 on the ceremonial robe called noui 露 衣. Birch trees that grow throughout the entire Korean territory have been extensively used in architecture, sculpture and crafts. Giho Kim, the Important Intangible Cultural Property No. 119 Master Artisan of Gold Leaf and owner of the studio KeumBakYeon, has been using Asian pear trees to make pattern blocks - an inherited source from his ancestor artisans. is the artisan who takes care of all the process of Geumbak including procuring woods, illustrating motifs on the wood boards, carving, imprinting glue and affixing gold leaf on fabric. Therefore the artisan should possess accurate knowledge of each motif and the coordinated place where it should be applied. Since the patterns on traditional Korean dresses signified the wearers'status and well-wishes for the wearers, precise gold leafing of motifs has long been practiced and the pattern blocks were accordingly prepared to serve in line with the required styles. For example, although the dragon motif was a symbol of royalty, the number of claws in the dragon differed depending on the wearer's status within the royal family. The five- clawed dragon was appropriate for the king; the four-clawed dragon was for the crown prince, and the three-clawed dragon was for the king's grandson who is designated as the heir to the royal throne. The back and the sides of a pattern block were inscribed with detailed information such as the date of completion of the pattern block, the name of clothing and the exact location on which the pattern was applied. If it were for sleeves, whether it is for the front or back, the location would be clearly stated. For example, "somaejeon ??매전" denoted the front of the sleeves and "somaehu ??매후" indicated the back of the sleeves. For the shoulder roundels of dragon robes, each pattern block was inscribed whether it was for the left or right. "Jwagyeon 좌견" denoted that the pattern block was for the roundel on the left shoulder. If the block inscription says "jumchipan 줌치판," the pattern block was made for patterns on pouches.
28p

You inherited the core skills of royal gold leafing from your father Kim Deokhwan. How was it like to learn from him?
There was no preset rule. He never said "do like this" or "don't do like this." He taught me by showing the process of his work. It was not verbal. Since I was little, I have naturally observed what he was working on, and gradually absorbed the process in a free atmosphere. He used to say, "it is natural for the art of gold leaf to evolve because the craftsmanship cannot be the same throughout the time and for an artisan." At work, he was always sincere.

What is the most difficult for you as the fifth generation successor of a family business?
As much as I am proud of that, I feel strong responsibility in what I inherited including the techniques and the tools from the Joseon dynasty. I am curious how my ancestors would appraise my work if they visited me. What I am concerned the most and hate to hear is the judgmental remark that the work has been different or downgraded. I may lack in the quality that my ancestors were good at. However, I strive not to ruin my family reputation.

You adhere to the traditional method. Could you please explain the process of your work?
In order to represent delicate and fine patterns with gold on fabric, the pure gold should be beaten into 100nm leaf. For the pattern, I either sketch a design of pattern on the wood block or select one from existing pattern blocks, most of which are drawn from surviving clothing artifacts. Then I carve the pattern block to imprint the glue on fabric. I make my own glue and apply the glue evenly on the pattern block. After stamping the glue on the fabric, the gold leaf is instantly placed on the fabric before it gets dried. When the gold leaf was completely affixed on the fabric, the unglued gold leaf is removed by sharp tools. I use about five different kinds of glue: (1) agyo - extracted from parts of cow, which has been used for gold leaf since the Joseon dynasty, (2) eogyo - liquidized dried swim bladders of croaker, (3) the glue concocted with offset ink that my father invented, (4) the plant oil-based glue that I invented, and (5) otchil - the varnish with lacquer. My recent interest is more drawn to otchil (the varnish) related work.

interview [Idea and Value Embedded in the Beauty of Gold Leaf ] 171p