English-Entranced Korean Jade Craftsman "Finger-Sized Royal Seals Sold Out in an Instant" [K Artisan Era③]

Exceptional Artistic Skill and Handcraftsmanship... Kim Young-hee, Holder of Jade Seal
Confidently Restores and Repairs Family and National Museum Artifacts
Creates Finger-Sized Royal Seals... Opens New Avenues for Application
"Increased Potential for Our Crafts... A New Cultural Beginning"

In the past, precious metal crafts were owned only by a small elite with high social status. Modern society is no different. Since the 1980s, the wealthy class began to collect them in earnest. The trigger was the liberalization of overseas travel. Starting in 1983, the government issued tourist passports to citizens over 50 on the condition that they deposit 2 million won for one year. Many brought back precious metal crafts on their return trips. As the international balance of payments turned positive and living standards improved, the tendency to purchase luxury goods strengthened.

Kim Young-hee, an ok craft artisan recognized as a holder of the national intangible cultural heritage "Okjang," poses before an interview on the 30th at the Byeokbong Korean Ornament Museum in Paju, Gyeonggi Province. Photo by Kang Jin-hyung aymsdream@

Areas like Sogong-dong in Seoul, where craftsmen gathered, became bustling. Orders flooded in asking for pieces made like overseas crafts. The precious metal and gemstone export industrial complex pioneered by craftsmen in Iri (now Iksan) was equally busy. Some precious metal crafts were secretly imported into the domestic market and traded. They flourished until the government fully liberalized gemstone imports in 1991.

Kim Young-hee, recognized as a holder of the national intangible heritage jade craft in April, taught jade processing techniques at the industrial complex at that time. Although modern crafts made with diamonds, rubies, sapphires, and others were popular, she never lost focus. She knew better than anyone the value of the clear and brilliant crystals.

Since ancient times, jade has symbolized nobility. Expressions like seomseom-oksoo (delicate jade fingers), okguseul (jade beads), ok-e-ti (a flaw in jade), and okche (jade body) have emerged. It is expensive and difficult to handle. The basic processes include quarrying, designing, cutting, shaping, detailed carving (drilling holes and grooving), and polishing?six steps in total. Exceptional artistry and manual skill are required.

Kim Young-hee, a jade craft artisan recognized as a holder of the national intangible cultural heritage "Okjang," is touching jade at the Byeokbong Korean Jade Ornament Museum in Paju, Gyeonggi Province on the 30th. Photo by Kang Jin-hyung aymsdream@

Kim Young-hee skillfully handles not only jade but also metals, fabric, and stone. Due to a shortage of specialized craftsmen, she took on all processes herself and reached a master level. "Even if I want to divide the work like our ancestors, there are no people. Even when I manage to recruit someone, it often ends up disjointed. I tried several times but was never satisfied. Now, I work closely with my family. My son, (Kim) Cheong-woon, is learning my techniques. My wife (Shin Ok-soon, a Seoul intangible cultural heritage knot master) handles embroidery and knotting. We work so well together that we can easily restore and repair artifacts from the National Museum."

Because it is handmade, productivity is relatively low. However, demand continues to increase. Recently, many people from overseas, including the United States, have shown interest. "In the past, many second- and third-generation Korean immigrants sought these. They displayed jade incense burners and other items at home to establish their identity. Nowadays, many foreigners inquire, especially showing great interest in Joseon royal culture. They understand that crafts and costumes are part of Korea’s history. That is why I have devoted myself to jade techniques. Crafts were everyday items used by royalty and aristocrats, embodying the highest technology of the time. They are assets we must reproduce, restore, and recreate."

Kim Young-hee, an ok craft artisan recognized as a holder of the national intangible cultural heritage 'Okjang,' poses before an interview on the 30th at the Byeokbong Korean Ornament Museum in Paju, Gyeonggi Province. Photo by Kang Jin-hyung aymsdream@

In 2015, Kim Young-hee experienced significant interest in the UK. At the 'Korean Craft Exhibition: People, Places, Stories' hosted by the Korean Cultural Center in the UK, crowds praised the costumes and accessories of Prince Youngchin (1897?1970) and his family. These included the phoenix-shaped daebongjam and front hairpin, white jade chrysanthemum front hairpin, double rings, maejuk binyeo, chorong binyeo, and hodo binyeo. The artifacts, returned in October 1991 under an agreement between Korea and Japan, were meticulously restored one by one using jade, pearls, coral, mother-of-pearl, silver, and pure gold.

"The empress’s grand ceremonial hairstyle (daesumeori) used in the royal ceremony performance thrilled museum directors and curators in the UK. It strengthened my pride and sense of mission. After returning home, I pressured Cheong-woon, warning him not to be lazy (laughs)."

On the 30th, the Sejong Permanent Gold Reserve is exhibited at the Byeokbong Korean Ornaments Museum in Paju, Gyeonggi Province. Photo by Jin-Hyung Kang aymsdream@

Kim Young-hee has also demonstrated broad applicability by crafting various treasures (bopaek). Notable examples include jewelry production for the film 'Hwang Jini' and the drama 'Sungkyunkwan Scandal.' "If I had been asked to make ordinary historical drama jewelry, I wouldn’t have done it. But they said they wanted to direct reflecting young people’s tastes at the time, so I agreed. Instead of strict historical verification, we set the concept in consultation with art and costume directors. The response was quite good. Riding the Korean Wave, it spread widely, and many overseas recognized it. For someone like me who has focused only on reproduction, restoration, and replication, it was a refreshing experience."

On the 30th, the jade belt ornament of Empress Myeongseong (left) and the jade hairpin of Crown Princess Yeongchin are exhibited at the Byeokbong Korean Ornament Museum in Paju, Gyeonggi Province. Photo by Jin-Hyung Kang aymsdream@

She also opened new paths with royal seals (eobo), symbolizing the authority and dignity of the royal family. From 2018 for two years, she produced many miniature jade seals of Empress Myeongseong’s posthumous title, about the size of a finger. This was through the 'Joseon Royal Seals Commemorative Medal' series jointly planned by the Cultural Heritage Administration, Korea Minting and Security Printing Corporation, and the Overseas Cultural Heritage Foundation. Officials who saw the finished products were amazed. The miniature jade seal of Empress Myeongseong’s posthumous title (a kind of stamp or seal) was reproduced at 1/30 scale, with intricate details including a dragon-shaped handle, red seal cords, and a hidden image (jam-sang) to prevent forgery. The quantities by material were 300 pieces of gold (37.5g) priced at 3.08 million won, 500 pieces of gold-plated (31.1g) at 385,000 won, and 1,000 pieces of silver (31.1g) at 297,000 won. They sold out instantly once the purchase window opened on the Korea Minting and Security Printing Corporation’s online store.

On the 30th, the jewelry of the Yeongchinwang family is exhibited at the Byeokbong Korean Jewelry Museum in Paju, Gyeonggi Province. Photo by Jin-Hyung Kang aymsdream@

"They really sold out in an instant. Everyone said they waited sitting in front of their computers to secure one. I barely got one myself and could feel the popularity. Honestly, it was a struggle. Securing materials is not easy. You don’t buy gold or silver at a supermarket (laughs). Buying in the billions of won range is no small hardship. Even knowing that, I wanted to do it. I wanted to show that we can do profitable work too. If I set my mind to it, I can make even more elaborate works. I just hesitate because I see the hard road ahead."

Kim Young-hee is now knocking on overseas markets. As a recognized jade craft holder, she wants to leave a monumental achievement to pave the way for juniors. She was reserved about specific plans but shared the reason she believes she has a chance. It was a preview of a new tradition fused with modern sensibility.

Kim Young-hee, an ok craft artisan recognized as a holder of the national intangible cultural heritage "Okjang," poses before an interview on the 30th at the Byeokbong Korean Ornament Museum in Paju, Gyeonggi Province. Photo by Kang Jin-hyung aymsdream@

"Recently, a contemporary European artist donated a piece to the Byeokbong Korean Jewelry Museum I run. It was a craft inspired by Joseon women’s jewelry. I was amazed, thinking, ‘So it can be interpreted like this.’ Why did he take such an interest in our traditional culture and boldly attempt something new? It shows how great the applicability of our crafts is. Even if the function is the same, techniques change with the times. Even after 53 years of honing jade techniques, I have to learn what I can. That could be the start of a new culture."