SEOUOL, KOREA- Hyeokpil (Leather Brush Art), a genre of Korean folk paintings, is a type of illustration using handwriting which has advanced from Munjado (Handwriting Art). Using finely cut ends of leather and rainbow colored paints to write characters or draw figures, it has a significant legacy in Korean typography art and shows the pliable and splendid stroke of the brush.
Not knowing exactly where and when it has been derived from historically, it is assumed Bibaekseo - (a handwriting using split branches dipped in ink) introduced in the ‘Gyeongdo magazine’ written by Yudeukgong, a Silhak scholar in the late of Choson Dynasty, holds the origin of Hyeokpil. Also, it seems that some of the painting that remains today comes from unknown and poor trying to make a living.
It is an unique Korean folk art called “Name folk painting” which combines characters and beautiful scenery such as plum blossoms, orchids, chrysanthemums, bamboos, flowers, birds, fishes, the sea, ships, and rainbows. People in the past believed they could escape from their misfortune, keep their health, and revive good fortune when they wrote down their names, words of blessing, and family or life mottoes on papers or silks in this style and hang it at their home or workplace. The practice can be seen occurring to this day.
Hyeokpil seems to be unique to Korean and has been called “Blossom Handwriting” in the East and “Rainbow Calligraphy” in the West. The tradition has barely survived in its native country because of a lack of codification as a Korean traditional legacy and its lack of popularity among the Korean population as a whole.
The precious few calligraphers which still practice the art of Hyeokpil in Korea are usually only found in tourist spots such as the Korean Folk Village in Yongin-si, Namhansanseong in Seongnam-si, Insadong in Seoul, and in Itaewon as well as some of the more well-known local festivals, including the Mask festival in Andong.
Nam Sangjun, the head of Hyeokpil culture research center, has expressed concern that Hyeokpil is on the brink of extinction with the few existing calligraphers rapidly aging.
To save this underappreciated part of Korean folk culture, the most urgent issues is to train younger students and for the practice to be designated as intangible cultural property. Above all, he emphasized the need for getting Hyeokpil into the public. People do not learn this beautiful calligraphy because it is less respected among the public and it is next to impossible to gain employment from learning the practice.
To raise social awareness, Mr. Nam accepted the invitation as a traditional performer and created 150~200 paintings per day using the Hyeokpil style at the Nagoya exposition in Japan in 2005. It painting raised about 8,000 dollars (8.5 million won).
Hyeokpil calligraphers, ironically, are highly acclaimed abroad in Japan, China, Europe, and the U.S though they continue to be underrated and seen as ‘a common painter in the street market’ at home.
Mr. Nam said the key for Hyeokpil in its popularity in overseas’ markets has been it willingness to be created in many different languages, not only in Chinese and Korean characters. Hiragana and even English are frequently used. Traveling overseas has also helped Mr. Nam realize the elevated status of Korean culture, when a number of Western foreigners asked for him to write down their names in Korean not in English. He found this to be especially true when he worked in the U.S cities of San Francisco, Miami and New Orleans.
Hyeokpil can play an important role in leading Korean culture around the world in many international halls, not just those designated for artists from the East. However, it’s low status at home may be the biggest obstacle.
Mr. Nam has criticized one-off Government support. Seoul city, for instance, provides subsidies and held exhibitions every year for artists of Korean traditional culture which are deemed worthy of preserving and passing on to coming generation. Mr. Nam also put his Hyeokpil paintings on exhibition in Namsan Traditional Korean Village when his entries were selected in April, but it failed to rouse a long-term public interest. There seems to have been little or no improvement for Hyeokpil within Korean culture.
To help save endangered traditions like Hyeokpil, he believed that it is necessary to make continuous follow-up support rather than just on off economic support.
Both within Korea and around the world many people now have become concerned with the development of Korean cultural content more than before, increasing awareness for Mr. Nam’s cause. Korean culture and tourism, however, is still at an early stage, not yet fully diversified and organized.
Hyeokpil paintings could commercialize using Korean ‘Hangul’ and in conjunction with overseas’ trends, not just as souvenirs and framed paintings for gifts from festivals. For example, we could sell various personal and household supplies to foreigners such as tee shirts, phone cards, key rings and plates with the customer’s name, the year in which they was born, or their wishes written in the Hyeokpil style.
Doing so, could possibly go a long way to solve awareness problems and its lack of popular appeal, low profitability, and shortage or artists. Furthermore, Hyeokpil may become one of the leading tradition contents which could contribute highly to the Korean wave.
* Nam Sangjun Hyeokpil Culture Research Center (☎018-307-3595)
