UNJournal  Kayla Lee  | Artist Cheongmok Kim Han-kyoung is already evaluated as a person who has reached the level of mastership in the world of artists in Korea. 

 

 

Artist Kim's works which have always shown the beauty of the art crafts, especially painting, for 50 years, cover a wide range of lacquerware art in Korea and in many parts of the world. 

 

Coloring is considered a luxury among handicrafts because the process is difficult from choosing wood and the technology to make lacquer is difficult. 

 

Kim's work, which is rated to be based on the principle of ‘walking on a single path for consistent craftsmanship and traditional painting,’ is considered a luxury among handcrafts because the process is difficult to choose wood and the technology to make lacquer is difficult. 

 

As the lacquerware work that must go through a demanding and boring process of very high skills and such a process of work, it is sufficient to gauge the competence as a lacquerware artist. 

However, there is also a limit to evaluating his true.
 
This is because he is working on creative work to liberate lacquerware from the artistic sense through constant search and research. 

 

Until now, in the world of lacquerware artists, the method of reproducing and inheriting tradition has been considered to be for granted. 

 

 

In fact, there was no alternative to traditional lacquer crafts in a situation where their reputation is almost cut off after the Japanese colonial rule. 

 

Fortunately, a small number of craftsmen were able to revive lacquerware using traditional techniques, and at this point, masters such as Chongmok were born. 

 

Nevertheless, the domestic lacquer industry is still in a barren climate. 

The willingness of young celebrities to challenge lacquerware to continue the vein is decreasing. 

 

In this reality, Cheongmok thinks that as long as lacquerware is trapped in the complacent view of reproduction and succession of tradition, it cannot attract the attention of young celebrities. 

 

In other words, it is difficult to expect the revival of Chilbo unless the traditional technique and the formative search for a modern sense are made. This awareness of Artist Cheongmok is embodied by the active introduction of pure painting. 

 

 

Cheongmok, who had been interested in and talented in painting since childhood, sought ways to bring out his potential. 

 

In the 1990s, this will of Cheongmok began to materialize, and by examining a new form of shape on existing lacquerware, it was possible to create more diverse and rich works. 

 

In addition, it is receiving a good response through attempting an appreciation work in which only paintings are drawn on panels at the same time as a full-fledged lacquer painting work. 

 

B a s e d o n t h i s p o i nt , Cheongmok recreated the seven paintings of Unbo Kim Ki-chang in this era as mother paintings. 

 

As a result, it gave another high-class work that was different from Unbo's actual work. 

 

Just as European classical copper prints were given a new life by Gaksa, Unbo's work was also given a new life by Cheongmok, an outstanding lacquer artist of this era. 

Such a series of new painting works predict the future of the domestic lacquer industry, including Cheongmok himself, in that it is an expansion of the area of expression of lacquer art.

 

 

What is painting? 

It is estimated that lacquer began to be used as a craft material in Korea around the 3rd century of B.C. 

 

It was discovered that lacquerware was discovered at the end of the Bronze Age in Namjeong-ri, Asan, Chungcheongnam-do, and about 20 pieces of Mumun lacquerware, including circular lacquer and square lacquer, were excavated at the wooden coffin tomb in Daho-ri, Uichang-gun, Gyeong-sangnam-do (1st century B.C). 

 

Lacquer comes from a lacquer tree that is scratched, collected, purified, and then painted on the article to dry at the appropriate temperature and humidity, and natural ingredients are mixed with lacquer to make coloring, which is applied to the inside or outside of the article, or the pattern is examined. 

 

There is a method of painting a pattern with fine strokes, and a method of painting a pattern and painting a pattern on it, drying it, and then grinding the coating to make the pattern appear. 

 

In addition, there are Jugam-jeon lacquerware and Tombstone lacquerware, and lacquer crafts made with these techniques are called lacquerware with different names. 

 

Since the characteristics of the lacquerware are interspersed with lacquer and pigments, it is inherited because of its bright, subtle, and heavy beauty, which cannot be compared to any chemical paint. 

 

The process of coloring, because the work process is very difficult, is also obtained from a long experience. Therefore, it is also known as an area that requires craftsmanship. 

 

 

Exhibitions and wards concerning Artist Cheongmok: 

1961: Lacquered Wooden Craft Workshop 
1976: Establishment of the Chaehwa Painting Research Institute (Internal Workshop) 
1979: Korean, Japanese, and Taiwanese lacquerware exhibition 
1986: 1st solo exhibition of lacquerware (Modern Art Museum) 
1989: Contemporary Art Exhibition Chaehwa Painting (Vase of Painting) Grand Prize 
1992: 22nd National Crafts Competition Judge, Judge and Chairman of the Promotion Committee of the 3rd Korea Lacquered Contest 
1993 4th Korea Lacquered Contest Judge International Ishigawa Chil Design Exhibition Chaekhwa Vase Silver Award (Japan Ishigawa Award) 
Winner of the Grand Prize for Painting at the International Arts Awards (First Artist Award) Traditional Unique Technology Committee Member (Production Technology Institute of the Ministry of Trade and Industry) 
1996: Senior Vice Chairman of the Korean Lacquerware Protection Association, 96 International Ishigawa Chil Design Exhibition Special Award Commendation by the Minister of Culture, Sports and Tourism 
1997: China Lacquered Exchange Exhibition (National Museum of Art, Beijing) 
1998: 15th National Competition for Skill Competition for Persons with Disabilities Najeon Chilgi (Lacquerware) Judge Cultural Product Development Committee Professor of Traditional Religious Art, Catholic University of Incheon 
1999: 99' International Ishigawa Design Exhibition Invitational Artist 
On April 20: Queen Elizabeth of England presented with a gift of the Moonyang Sutra (LG Group) 
Lotte Hotel mural, folding screen production in Jeju Island 
2000: Senior Researcher at Hanyang University's Institute of Traditional Art, Invited Artist of the World Chil Culture Association 
2000: Outstanding Craft Culture Product 100 Awarded Korean Millennium Product Selection 
2001: UN Educator Award Winner Invitation Exhibition (Lotte Jamsil Folk Art Museum) Special Invitation Exhibition (Modern Art Museum) 
2002: Minister of Commerce, Industry and Energy Award, Korea Institute of Industrial Technology Review Committee member 
An invited artist for Saint Germainen Laye of France 
4th Korea Comprehensive Arts Competition Grand Prize in Craft category President Bush Award (Presentational Champion Award) 
2003: France Luong International Exposition Invitation Writer 
2003: U.S. Marine Corps Command I nvitation War to commemorate the 100th anniversary of the Korea-U.S. alliance 
2003: First International NGO Invitation to Matoguros, Brazil 
2004: Intangible Cultural Property No. 1 Chaehwa Chiljang) Designated (Seoul Mayor) Nominated Arnold Schwarzenegger as an advisor to the Korea Craft Artists Association 
2005: Special Exhibition to commemorate the designation of Cheongmok Intangible Cultural Property (Lotte Museum of Art)Master of Traditional Crafts at Myongji Graduate School, Master of Traditional Crafts, and Honorary Citizenship of Columbus Mayor of the U.S. Foundation of World Peace Culture Sports, Mel-bourne, Australia, World Culture Exchange Festival, Australia 
2006: Korea Culture and Arts Competition Craft Division Grand Prize (Vice Prime Minister and Minister of Science and Technology Award) Honorary Citizenship Auditor General, LA Korean Festival, USA 
2008: Gyeonggi-do Functional Competition Technical Review Committee appointed (Najeon Bucheon World Intangible Cultural Heritage Expo Preparatory Committee Director Intangible Cultural Heritage Function Preserva-tion Association Management Committee Chaehwa Painting Individual Exhibition (Lotte Gallery) 
2009: Gyeonggi-do Functional Competition Technical Review Committee (Najeon Chilgi) Selected as a newsmaker who won the 2009 Seoul Traditional Artist Award by the Korea Important Intangible Cultural Heritage Function Preservation Association 
Director of the Intangible Cultural Heritage Functional Preservation Association 
an advisor to the Korea Craft Artists Association 
2010: Jeonju Asia-Pacific Intangible Cultural Heritage Festival 
- "Traditional Crafts Exhibition 30." 
- President Obama's letter of appreciation 
Korea Traditional Craft Industry Promotion Association Appreciation Letter 
Individual exhibition of Chilhwa Special Planning (Lotte Gallery) 
Rome, Italy - Korean Najeon and Seven Years Ago 
2010: Sulhwa Culture Exhibition 
G20 Summit First Lady Gift Production 
2011: Seoul Intangible Cultural Heritage Functional Preservation Association Exhibition 
Namsangol Hanok Village Invitation Exhibition 
2000: Breaths, Rediscovery of lacquerware 
31st Traditional Crafts 
Seoul Intangible Cultural Heritage Functional Preservation Association Exhibition 
Director of Social Welfare Jeongseok Foundation (current) 
Chairman of the Lacquer Association (current) 
Operation of Cheongmok Lacquer Research Institute (current) 
Director of the World Peace War Organizing Committee