Folk art motifs on the painted plates of Kim So Sun

In our contemporary world, where art is commissioned for anything from airplanes to automobiles, the transposition of 17th-century Korean folk art to modern porcelain dishes should not prove too surprising. In a wonderful burst of innovation, artistKim So Sun has borrowed from the rich folk art tradition of Yi Dynasty Korea (1392-1910, also called the Choson Dynasty). Her exhibition of "Korean Folk Art Imprinted on Porcelain," on display Oct. 2-6 at the gallery of the Korean Cultural Service of the Korean Embassy, provides a rare glimpse into the world of traditional folk art and culture of Korea.

The exhibition consists of 81 works of art. The artist's "canvas" is beautifully simple, white porcelain plates. A graduate of the University of Seoul's Department of Sculpture, the artist is drawn to recurring themes of the Korean folk art world, including felicitous images of tigers and magpies, flowers and birds, and the animals of the zodiac.

The everyday use of white porcelain in Korea dates back to the 17th century. Common porcelain ware was typically painted with cobalt, iron or copper, borrowing art motifs from contemporaneous folk art paintings. The teachings of Confucianism, officially adopted as a state ideology during the Yi Dynasty, paralleled attempts to simplify art by using simple colors. Along with this trend toward simplicity came the rejection of polychromatic designs, especially in decorated porcelain. Unlike their neighbors in China and Japan, Yi Dynasty Korean potters did not create colorful porcelain.

In marked contrast to the muted monochromatic schemes of their pottery, popular folk artists of the day used vibrant colors in their artwork, emphasizing the celebratory and felicitous nature of its themes. Such paintings often decorated children's rooms and the quarters of newlyweds, providing an auspicious touch to home decor.

Folk art paintings, which are called minhwa in Korean, were appreciated by commoners during the Yi Dynasty. The paintings were executed by amateur artists commissioned to provide paintings for commoners' homes. Unlike the monochromatic ink paintings created by professional court painters, who were officially sanctioned with titles and rank by the Bureau of Painting, folk artists were not constricted by protocol or the status quo. Freed of inhibition, they produced colorful paintings that had functional significance in people's everyday lives. In addition to being used decoratively in the home, they were also displayed on festive occasions.

Motifs used in paintings were imbued with symbolic meaning, assuring such things as long life, good health, happiness and a prosperous future for one's children. Stories passed down as part of Confucian tradition, native shamanism and other Korean and Chinese sources helped to reinforce moral principles and beliefs about the spirit world and the gods.

One of the most favored motifs depicted in these folk art paintings was the "tiger with magpies." Hung in home corridors on paper scrolls, these paintings were believed to repel evil spirits and bring happiness into the home. It was also common practice to display this art glued to the wooden entry gate to the home on New Year's Day. Collectively called munbae in Korean, these talismans were changed once a year to ensure their efficacy.

According to indigenous shamanistic beliefs, the tiger in art symbolized the mythical tigers that which acted as faithful messengers of the mountain spirits. The magpies were auspicious birds believed to bear good news to the home. They were typically depicted perched on pine trees, symbolizing longevity. Combined as a motif, the tiger and magpies represented both longevity and the protective watch of the mountain spirits over the well-being of household members.

This motif was also often combined with the dragon motif. When displayed on gateways, the tiger and magpie painting would be hung as part of a pair with an accompanying dragon painting. The dragon was believed to have the power to control rain and clouds; his presence enhanced the protective powers of the tiger.

Nature, in particular flowers and birds, provided much subject matter for folk art. Perhaps the most celebrated flower was the peony. Paintings of peonies always depicted them in full bloom with bright red and orange coloring, symbolizing wealth and honor, love and affection. Appropriately, the peony is a commonly seen motif on folding screens displayed during wedding ceremonies. The peony in Yi Dynasty wedding ceremonies represented the feminine yin forces at work in the world, while rocks and boulders stood for the masculine yang force. The inclusion of both of these motifs on the same folding screen panels represented the desire in Yi Dynasty culture for husband and wife to be joined in unity.

In the exhibition's pieces of the "peony and rock" motif, viewers should note the contrast between the grace and tranquility of the peony with the bold massiveness of the rock formations.

During the exhibition, various performances will be held at the gallery, including fashion shows of traditional costumes and traditional folk music accompaniment. The highlight will be the performance of the Korean tea ceremony, called cha-re in Korean and traditionally held on New Year's Day and during the Harvest Moon Festival. Being associated with these celebrations, it has become one of the most revered rituals of ancestor worship.

During the Harvest Moon Festival, called ch'usok in Korean and held on the 15th day of the eighth lunar month, memorial services for ancestors are performed. Family members gather and offer newly harvested rice, fruits and seasonal fish to the family ancestors. After the ceremony, everyone shares the blessed tea and food. This custom has recently fallen into disuse, but advocates of its integral place in Korean traditional culture, in particular Professor Yeo-yeon of Pusan Women's University, are doing their best to revive it.

Drawing on the rich symbolism and vitality of Korean folk art traditions, Kim So Sun has provided a bridge between the everyday life of Yi Dynasty and our contemporary sensibilities. Her artwork also marries the minimalism of 20th-century porcelain to the dynamism of Yi Dynasty folk art painting. The resulting world is well worth exploring.