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5th Exhibition
27th August - 2nd September 2026, ION Art gallery, L4 ION Orchard
Reading the Pictures, Painting the Words - 2026 SAMA 5th Exhibition
The Singapore Association of Minhwa Art (SAMA) is pleased to announce its 5th annual group exhibition, titled "Reading the PICTURES, PAINTING the WORDS”. The exhibition will run from 27 August to 2 September 2026 at the L4 ION Art Gallery, ION Orchard.
This year's showcase invites visitors to explore the rich visual narrative and symbolic storytelling of Minhwa (Korean traditional folk art). Blending intricate patterns, vibrant pigments, and literary symbolism, the exhibition bridges the visual and written worlds, transforming traditional motifs into contemporary expressions.
The artwork features classic and modern Chaekgado (bookshelf and scholar studio paintings) and Munjado (paintings with letters and characters) alongside floral and natural motifs, to maximize the wishes and hopes depicted in all Minhwa paintings.
Participating SAMA Artists
Kim Yu Bin / Eunhee Kim / Kim Jun Hee / Kim Hyun Jung / Sissy Hyun Park / Rail Baek / Song Eun Kyoung / Yeom Jungah / Chung-Hoon Sue Yoo / Monica Sunie Lee / June Lee / Joonwon Lee / Jihye Lee / Lee Hye Jin / Jang Sun Hee / Chung Ae Jin / Choi Soo Won / Irene In Young Tae / Ham Minsook Mindy / Hyun Soo Jung
Click the picture for details
Books and Scholar's Accoutrements
Kim Yu Bin
80*50cm
Hanji, Charcoal Ink, Traditional Color Powder, Oriental Painting Pigments, Bongchae, Gold Powder, Silver Powder
The "chaekgado" of the Joseon Dynasty is a painting depicting books, stationery, and utensils displayed on a bookshelf, symbolizing academic passion, success and prosperity, and the king's ruling philosophy.
조선시대 책가도(冊架圖)는 책과 문방구, 기물 등을 책장에 진열한 모습을 그린 그림으로, 학문적 열정, 출세와 번영, 왕의 통치 철학을 상징합니다.
80*50cm
Hanji, Charcoal Ink, Traditional Color Powder, Oriental Painting Pigments, Bongchae, Gold Powder, Silver Powder
The "chaekgado" of the Joseon Dynasty is a painting depicting books, stationery, and utensils displayed on a bookshelf, symbolizing academic passion, success and prosperity, and the king's ruling philosophy.
조선시대 책가도(冊架圖)는 책과 문방구, 기물 등을 책장에 진열한 모습을 그린 그림으로, 학문적 열정, 출세와 번영, 왕의 통치 철학을 상징합니다.
JourneyV: GyuBang
Eun Hee Kim
87*93cm
Gyubang began with the spaces of women from Korean, Peranakan, and Middle Eastern cultures and the objects they used in their daily lives.
In the past, women from different cultures could not always express their thoughts and feelings freely. Instead, they shared their hopes and wishes through everyday objects, patterns, and decorations. Their lives were different, but they shared a similar desire to create beauty and express their feelings in their own ways.
Peranakan patterns, which became part of the artist’s first Journey, were the starting point for this work. The painting brings together Korean tradition, Peranakan culture, and Islamic culture that the artist encountered while living in different countries. For a moment, step into their room of memories and discover the stories and feelings within.
<규방>은 한국, 페라나칸, 중동 문화 속 여성들의 공간과 그들이 일상에서 사용했던 기물에서 시작된 작품이다.
과거 서로 다른 문화 속 여성들은 자신의 생각과 감정을 자유롭게 표현하기 어려웠다. 대신 일상의 기물과 문양, 장식을 통해 자신의 바람과 소망을 표현했다. 살아가는 모습은 달랐지만, 아름다움을 가꾸고 자신만의 방식으로 마음을 표현하고자 하는 마음은 서로 닮아 있었다.
작가의 첫 번째 〈여정〉에 함께했던 페라나칸 문양을 출발점으로, 여러 나라에서 살아오며 만난 한국의 전통문화와 페라나칸 문화, 이슬람 문화를 한 화면에 담았다. 잠시 그녀들의 추억의 방으로 들어가, 그 안에 담긴 이야기와 마음을 함께 느껴보길 바란다.
87*93cm
Gyubang began with the spaces of women from Korean, Peranakan, and Middle Eastern cultures and the objects they used in their daily lives.
In the past, women from different cultures could not always express their thoughts and feelings freely. Instead, they shared their hopes and wishes through everyday objects, patterns, and decorations. Their lives were different, but they shared a similar desire to create beauty and express their feelings in their own ways.
Peranakan patterns, which became part of the artist’s first Journey, were the starting point for this work. The painting brings together Korean tradition, Peranakan culture, and Islamic culture that the artist encountered while living in different countries. For a moment, step into their room of memories and discover the stories and feelings within.
<규방>은 한국, 페라나칸, 중동 문화 속 여성들의 공간과 그들이 일상에서 사용했던 기물에서 시작된 작품이다.
과거 서로 다른 문화 속 여성들은 자신의 생각과 감정을 자유롭게 표현하기 어려웠다. 대신 일상의 기물과 문양, 장식을 통해 자신의 바람과 소망을 표현했다. 살아가는 모습은 달랐지만, 아름다움을 가꾸고 자신만의 방식으로 마음을 표현하고자 하는 마음은 서로 닮아 있었다.
작가의 첫 번째 〈여정〉에 함께했던 페라나칸 문양을 출발점으로, 여러 나라에서 살아오며 만난 한국의 전통문화와 페라나칸 문화, 이슬람 문화를 한 화면에 담았다. 잠시 그녀들의 추억의 방으로 들어가, 그 안에 담긴 이야기와 마음을 함께 느껴보길 바란다.
31
Kim Jun Hee
45*125cm
Traditional Otji, bunchae, gold powder
Like the “31 flavors” of an ice cream shop,
the books in this work, each with different colors and textures, represent the layers of experiences and memories accumulated throughout a person’s life.
The characters “福 (Blessing)” and “壽 (Longevity)” woven into the composition convey a heartfelt wish for happiness, peace, and abundance to fill that life.
By reinterpreting the traditional aesthetics of Chaekgeori and Munjado in a contemporary way,
this work portrays life itself as a beautifully layered story.
‘31가지 맛’처럼 각기 다른 색과 결을 가진 책들은
한 사람의 삶 속에 쌓여온 경험과 추억을 의미합니다.
작품 속 ‘복(福)’과 ‘수(壽)’ 문자는
그 삶 위에 행복과 평안이 가득하기를 바라는 마음을 담고 있습니다.
베라의 ‘31가지 맛’처럼,
이 작품은 각기 다른 색과 형태로 쌓여가는 삶의 모습을 표현한 창작 민화입니다.
겹겹이 쌓인 책과 서가들은 한 사람의 인생 속에 축적된 경험과 기억, 감정과 추억을 의미하며,
서로 다른 패턴과 방향은 저마다 다른 삶의 시간과 개성을 상징합니다.
작품 속 ‘복(福)’과 ‘수(壽)’ 문자는
삶 위에 좋은 일과 행복, 평안이 오래 머물기를 바라는 마음을 담고 있습니다.
전통 책거리와 문자도의 조형성을 현대적으로 풀어내어,
각자의 인생이 하나의 아름다운 이야기로 쌓여가는 풍경을 표현하고자 하였습니다.
45*125cm
Traditional Otji, bunchae, gold powder
Like the “31 flavors” of an ice cream shop,
the books in this work, each with different colors and textures, represent the layers of experiences and memories accumulated throughout a person’s life.
The characters “福 (Blessing)” and “壽 (Longevity)” woven into the composition convey a heartfelt wish for happiness, peace, and abundance to fill that life.
By reinterpreting the traditional aesthetics of Chaekgeori and Munjado in a contemporary way,
this work portrays life itself as a beautifully layered story.
‘31가지 맛’처럼 각기 다른 색과 결을 가진 책들은
한 사람의 삶 속에 쌓여온 경험과 추억을 의미합니다.
작품 속 ‘복(福)’과 ‘수(壽)’ 문자는
그 삶 위에 행복과 평안이 가득하기를 바라는 마음을 담고 있습니다.
베라의 ‘31가지 맛’처럼,
이 작품은 각기 다른 색과 형태로 쌓여가는 삶의 모습을 표현한 창작 민화입니다.
겹겹이 쌓인 책과 서가들은 한 사람의 인생 속에 축적된 경험과 기억, 감정과 추억을 의미하며,
서로 다른 패턴과 방향은 저마다 다른 삶의 시간과 개성을 상징합니다.
작품 속 ‘복(福)’과 ‘수(壽)’ 문자는
삶 위에 좋은 일과 행복, 평안이 오래 머물기를 바라는 마음을 담고 있습니다.
전통 책거리와 문자도의 조형성을 현대적으로 풀어내어,
각자의 인생이 하나의 아름다운 이야기로 쌓여가는 풍경을 표현하고자 하였습니다.
Silken Dream
Kim Hyun Jung
70*130cm*2
Hanji,charcoal,Traditional color powder
This traditional Chaekgeori incorporates the characters for Longevity (壽) and Blessing (福), and below the characters colorful Korean patchwork pillow ends, expressing wishes for long life, happiness, and auspicious dreams.
책거리 속 수(壽)와 복(福), 화려한 베갯모에 장수와 복, 행복한 꿈이 오래도록 이어지길 바라는 마음을 담았다.
70*130cm*2
Hanji,charcoal,Traditional color powder
This traditional Chaekgeori incorporates the characters for Longevity (壽) and Blessing (福), and below the characters colorful Korean patchwork pillow ends, expressing wishes for long life, happiness, and auspicious dreams.
책거리 속 수(壽)와 복(福), 화려한 베갯모에 장수와 복, 행복한 꿈이 오래도록 이어지길 바라는 마음을 담았다.
KOREA Munjado
Sissy Hyun Park
45*163cm
Hanji,charcoal,Traditional color powder
한국 대표의 대표 다섯 장르로 구성한 KOREA 영어 문자도.
K 모란도, O 호랑이 까치, R 황룡도, E 장생도, A 일월오봉도로 각 알파벳을 장식
45*163cm
Hanji,charcoal,Traditional color powder
한국 대표의 대표 다섯 장르로 구성한 KOREA 영어 문자도.
K 모란도, O 호랑이 까치, R 황룡도, E 장생도, A 일월오봉도로 각 알파벳을 장식
Peach Blossom Spring
Rail Baek
30*60, 180*60cm
Hanji, Charcoal Ink, Traditional Color Powder, Bongchae, Stonepowder
도화원, 피어난 이상향과 영원한 평안
30*60, 180*60cm
Hanji, Charcoal Ink, Traditional Color Powder, Bongchae, Stonepowder
도화원, 피어난 이상향과 영원한 평안
Baekdongja Munjado
Song Eun Kyoung
36.5*57cm*3
Hanji, mineral pigments, stone pigment, ink
A painting combing the backdongjado which signifies many descendants
with wooden shape munjado, wishing for the prosperity offspring and abundance.
많은 자손을 의미하는 백동자도와 문자도를 결합,
자손 번창과 풍요를 기원하는 그림.
36.5*57cm*3
Hanji, mineral pigments, stone pigment, ink
A painting combing the backdongjado which signifies many descendants
with wooden shape munjado, wishing for the prosperity offspring and abundance.
많은 자손을 의미하는 백동자도와 문자도를 결합,
자손 번창과 풍요를 기원하는 그림.
Books and Scholar's Accoutrements
Yeom Jungah
42.5*71.4cm
Hanji, Charcoal Ink, Traditional Color Powder, Oriental Painting Pigments, Bongchae, Gold Powder, Silver Powder
Through a harmonious arrangement of symbolic motifs representing scholarly success and prosperity, this painting conveys blessings for academic achievement, happiness, and flourishing fortune.
입신양명과 부귀를 상징하는 다양한 소재를 조화롭게 표현하여 학문과 행복, 번영을 기원한 작품
42.5*71.4cm
Hanji, Charcoal Ink, Traditional Color Powder, Oriental Painting Pigments, Bongchae, Gold Powder, Silver Powder
Through a harmonious arrangement of symbolic motifs representing scholarly success and prosperity, this painting conveys blessings for academic achievement, happiness, and flourishing fortune.
입신양명과 부귀를 상징하는 다양한 소재를 조화롭게 표현하여 학문과 행복, 번영을 기원한 작품
Yeongnakdo
Chung-Hoon Sue Yoo
60*130cm
Hanji, Charcoal Ink, Traditional Color Powder
Yeongnakdo (영락도 / 瓔珞圖) traditionally depict Buddhist beaded jewelry, tassels, and ornamental regalia. While it originally symbolized the accumulated good deeds and spiritual merits of a practitioner, in Korean Minhwa, it has evolved to become auspicious symbols for prosperity, honour and good fortune. For example, bats symbolize the five blessings (wealth, health, virtue, longevity, and peaceful death) and phoenixes represent high social status, honor, and peace.
In this painting, traditional Chinese characters (Munja) were incorporated into the ornaments (Yeongnak), which married two different genres. The characters are taken from the 8 core Confucian virtues, in this case specifically; Shin (信) or Trust, Chung (忠) or Loyalty, Ui (義) or Righteousness, Yeom (廉) or Integrity, Ye (禮) or Propriety and Chi (恥) or Self awareness.
Having prosperity, honour and good fortune without basic virtues will ultimately lead to ruin and disgrace, which is why the two should go hand in hand.
60*130cm
Hanji, Charcoal Ink, Traditional Color Powder
Yeongnakdo (영락도 / 瓔珞圖) traditionally depict Buddhist beaded jewelry, tassels, and ornamental regalia. While it originally symbolized the accumulated good deeds and spiritual merits of a practitioner, in Korean Minhwa, it has evolved to become auspicious symbols for prosperity, honour and good fortune. For example, bats symbolize the five blessings (wealth, health, virtue, longevity, and peaceful death) and phoenixes represent high social status, honor, and peace.
In this painting, traditional Chinese characters (Munja) were incorporated into the ornaments (Yeongnak), which married two different genres. The characters are taken from the 8 core Confucian virtues, in this case specifically; Shin (信) or Trust, Chung (忠) or Loyalty, Ui (義) or Righteousness, Yeom (廉) or Integrity, Ye (禮) or Propriety and Chi (恥) or Self awareness.
Having prosperity, honour and good fortune without basic virtues will ultimately lead to ruin and disgrace, which is why the two should go hand in hand.
Malseonang
Monica Sunie Lee
76*125cm
Hanji, Charcoal Ink, Traditional Color Powder, Gold Powder
My Lovely Guardian Garden
Title: Mushindo_Malseonang: An-Nyeong (무신도_말서낭: 안녕_安寧)
This artwork is a contemporary painterly reinterpretation of Malseonang (the Seonghwang deity on horseback) from the Geumseongdang Shrine, a sacred guardian revered for watching over village borders, repelling the intrusion of malevolent spirits, and protecting the peace of both communities and families.
While the majestic, spirited depiction of the divine general and the mystical horse—adorned with talisman-like dappled patterns—faithfully adheres to traditional iconography, the background infuses a sense of cozy warmth through playful variations of Hangul typography that spells out "An-nyeong" (well-being/peace).
In place of intimidating solemnity, a tender message of promise—vowing to reliably and peacefully protect our family’s daily life—shines brilliantly within this softly colored garden.
76*125cm
Hanji, Charcoal Ink, Traditional Color Powder, Gold Powder
My Lovely Guardian Garden
Title: Mushindo_Malseonang: An-Nyeong (무신도_말서낭: 안녕_安寧)
This artwork is a contemporary painterly reinterpretation of Malseonang (the Seonghwang deity on horseback) from the Geumseongdang Shrine, a sacred guardian revered for watching over village borders, repelling the intrusion of malevolent spirits, and protecting the peace of both communities and families.
While the majestic, spirited depiction of the divine general and the mystical horse—adorned with talisman-like dappled patterns—faithfully adheres to traditional iconography, the background infuses a sense of cozy warmth through playful variations of Hangul typography that spells out "An-nyeong" (well-being/peace).
In place of intimidating solemnity, a tender message of promise—vowing to reliably and peacefully protect our family’s daily life—shines brilliantly within this softly colored garden.
Tiger Shield
June Lee
24.5*105cm
Mixed media
제주 문자도 양식에서 갖고와 새로이 작업한 호랑이 방패
24.5*105cm
Mixed media
제주 문자도 양식에서 갖고와 새로이 작업한 호랑이 방패
Royal Peonies
Joonwon Lee
47*110cm
Hanji, Charcoal Ink, Traditional Color Powder, Bongchae
n Korean Minhwa, the royal peony symbolizes prosperity, honor and abundance. This piece carries a wish for happiness and flourishing life.
궁중모란도는 부귀와 영화, 풍요를 상징하는 민화입니다. 이 작품에는 행복과 번영을 기원하는 마음을 담았습니다.
47*110cm
Hanji, Charcoal Ink, Traditional Color Powder, Bongchae
n Korean Minhwa, the royal peony symbolizes prosperity, honor and abundance. This piece carries a wish for happiness and flourishing life.
궁중모란도는 부귀와 영화, 풍요를 상징하는 민화입니다. 이 작품에는 행복과 번영을 기원하는 마음을 담았습니다.
Jeju Munjado
Jihye Lee
31*54cm*4
Ink, cinnabar, mineral pigments, and bongchae pigments on hemp
Traditional Hyoje Munjado centers on Chinese characters representing Confucian virtues—孝 (filial piety), 悌 (fraternal respect), 忠 (loyalty), 信 (trustworthiness), 禮 (propriety), 義 (righteousness), 廉 (integrity), and 恥 (sense of shame). Symbolic motifs are arranged within or around the characters, which are often prominently rendered in ink.
Jeju Munjado is rooted in this tradition, yet it places greater emphasis on the pictorial quality of the characters themselves, so much so that from a distance, the works can appear almost like decorative paintings.
Jeju Munjado typically follows a three-part composition, with motifs associated with ancestral rites or Jeju’s natural environment appearing in the upper and lower sections. The characters themselves are highly distinctive: the ends of individual strokes may resemble a bird’s beak or a fish’s head, while the interiors of the characters are sometimes filled with wave-like lines.
Unlike the generally elaborate and highly detailed Munjado, Jeju Munjado is characterized by a restrained and rustic simplicity, with a spontaneous quality that can feel almost like freehand doodling. While embracing the concept of Munjado within the unique geographical setting of an island, Jeju seems to have reinterpreted it entirely in its own way, creating a distinctive form of Munjado whose composition and expression fully reflect the character of Jeju.
For this exhibition, I painted four characters—禮, 義, 廉, and 恥 (propriety, righteousness, integrity, and sense of shame)—from the traditional eight-panel Munjado series, at approximately 70% of the original size. To convey the simple and humorous charm of Jeju Munjado, I chose textured hemp instead of paper, preparing the fabric with agar and animal glue.
As this exhibition celebrates the 10th anniversary of the Singapore Association of Minhwa Art, I incorporated motifs connected to Singapore into the upper and lower sections of the characters. Some motifs, such as bamboo shoots and lotus flowers, were adapted from other Munjado paintings, while others were newly introduced, including Marina Bay Sands with bird-of-paradise flowers, a Supertree with the Merlion, and a stingray.
The sea, a landscape strongly associated with both Jeju and Singapore, serves as a connecting thread between the two places. Through this Jeju Munjado series, I hope to introduce Korean Minhwa to audiences in Singapore once again in a way that feels warm, familiar, and approachable.
31*54cm*4
Ink, cinnabar, mineral pigments, and bongchae pigments on hemp
Traditional Hyoje Munjado centers on Chinese characters representing Confucian virtues—孝 (filial piety), 悌 (fraternal respect), 忠 (loyalty), 信 (trustworthiness), 禮 (propriety), 義 (righteousness), 廉 (integrity), and 恥 (sense of shame). Symbolic motifs are arranged within or around the characters, which are often prominently rendered in ink.
Jeju Munjado is rooted in this tradition, yet it places greater emphasis on the pictorial quality of the characters themselves, so much so that from a distance, the works can appear almost like decorative paintings.
Jeju Munjado typically follows a three-part composition, with motifs associated with ancestral rites or Jeju’s natural environment appearing in the upper and lower sections. The characters themselves are highly distinctive: the ends of individual strokes may resemble a bird’s beak or a fish’s head, while the interiors of the characters are sometimes filled with wave-like lines.
Unlike the generally elaborate and highly detailed Munjado, Jeju Munjado is characterized by a restrained and rustic simplicity, with a spontaneous quality that can feel almost like freehand doodling. While embracing the concept of Munjado within the unique geographical setting of an island, Jeju seems to have reinterpreted it entirely in its own way, creating a distinctive form of Munjado whose composition and expression fully reflect the character of Jeju.
For this exhibition, I painted four characters—禮, 義, 廉, and 恥 (propriety, righteousness, integrity, and sense of shame)—from the traditional eight-panel Munjado series, at approximately 70% of the original size. To convey the simple and humorous charm of Jeju Munjado, I chose textured hemp instead of paper, preparing the fabric with agar and animal glue.
As this exhibition celebrates the 10th anniversary of the Singapore Association of Minhwa Art, I incorporated motifs connected to Singapore into the upper and lower sections of the characters. Some motifs, such as bamboo shoots and lotus flowers, were adapted from other Munjado paintings, while others were newly introduced, including Marina Bay Sands with bird-of-paradise flowers, a Supertree with the Merlion, and a stingray.
The sea, a landscape strongly associated with both Jeju and Singapore, serves as a connecting thread between the two places. Through this Jeju Munjado series, I hope to introduce Korean Minhwa to audiences in Singapore once again in a way that feels warm, familiar, and approachable.
Scholar's Accoutrements
Lee Hye Jin
104*87cm
Hanji, Charcoal Ink, Traditional Color Powder, Bongchae, Gold Powder
This work is a reproduction of a section of a late Joseon Dynasty Chaekgado in the collection of the National Palace Museum of Korea. Unlike conventional Chaekgado paintings, which typically depict books alongside ceramics, scholars’ objects, flowers, and other decorative items, this composition features shelves filled exclusively with books. The volumes are shown both with and without protective book cases (pogap). By omitting all objects other than books, the work achieves a striking sense of simplicity, restraint, and refined elegance.
국립고궁박물관에 소장된 조선시대 말기 책가도의 일부를 재현한 그림이다. 도자기, 문방구, 화훼 등을 함께 배치하는 일반적인 책가도와 달리 서가에 오직 책만 쌓아놓은 형식이며, 서책은 포갑이 있는 것과 없는 것으로 나뉜다. 서책 이외에 다른 기물들을 묘사하지 않아 단순하지만 절제되고 세련된 느낌을 준다.
104*87cm
Hanji, Charcoal Ink, Traditional Color Powder, Bongchae, Gold Powder
This work is a reproduction of a section of a late Joseon Dynasty Chaekgado in the collection of the National Palace Museum of Korea. Unlike conventional Chaekgado paintings, which typically depict books alongside ceramics, scholars’ objects, flowers, and other decorative items, this composition features shelves filled exclusively with books. The volumes are shown both with and without protective book cases (pogap). By omitting all objects other than books, the work achieves a striking sense of simplicity, restraint, and refined elegance.
국립고궁박물관에 소장된 조선시대 말기 책가도의 일부를 재현한 그림이다. 도자기, 문방구, 화훼 등을 함께 배치하는 일반적인 책가도와 달리 서가에 오직 책만 쌓아놓은 형식이며, 서책은 포갑이 있는 것과 없는 것으로 나뉜다. 서책 이외에 다른 기물들을 묘사하지 않아 단순하지만 절제되고 세련된 느낌을 준다.
Saekdong and Hangul
Jang Sun Hee
30*30cm*9
Korean paper Hanji, Korean paint powder Bunchae
Beautiful Hangul and korea five colored seeding meet like a Jewel.
보석처럼 빛나는 한글이 한국의색동과 민화와 만나다
30*30cm*9
Korean paper Hanji, Korean paint powder Bunchae
Beautiful Hangul and korea five colored seeding meet like a Jewel.
보석처럼 빛나는 한글이 한국의색동과 민화와 만나다
The Scholar's Accoutrements and Eight Confucian Virtues
Chung Ae Jin
368*158cm
Hanji, Charcoal Ink, Traditional Mineral Pigment (Bunchae and Bongchae), Gold Powder (Geumbun)
Each panel represents one of the eight Confucian virtues—filial piety (孝), fraternal love (悌), loyalty (忠), trust (信), propriety (禮), righteousness (義), integrity (廉), and honour (恥). Together, they convey moral teachings and auspicious blessings through symbolic motifs, encouraging reflection on values that continue to resonate across generations.
효(孝)·제(悌)·충(忠)·신(信)·예(禮)·의(義)·염(廉)·치(恥)**의 여덟가지 유교윤리를 담아 도덕적 교훈과 복을 표현하는 그림이다.
368*158cm
Hanji, Charcoal Ink, Traditional Mineral Pigment (Bunchae and Bongchae), Gold Powder (Geumbun)
Each panel represents one of the eight Confucian virtues—filial piety (孝), fraternal love (悌), loyalty (忠), trust (信), propriety (禮), righteousness (義), integrity (廉), and honour (恥). Together, they convey moral teachings and auspicious blessings through symbolic motifs, encouraging reflection on values that continue to resonate across generations.
효(孝)·제(悌)·충(忠)·신(信)·예(禮)·의(義)·염(廉)·치(恥)**의 여덟가지 유교윤리를 담아 도덕적 교훈과 복을 표현하는 그림이다.
Apobangpo
Choi Soo Won
80*60cm
Hanji, Mixed media
80*60cm
Hanji, Mixed media
Tale of Two Hearts
Irene In Young Tae
90*71cm
Hanji, Charcoal, Traditional color powder
A tale of relationships between two when one is eager and sometimes reluctant. The writing is a lyric singing about the irony of love, how one can become a lover and a nobody so easily.
남에서 님으로, 또 남으로 변할 수 있는 인연, 그 사이의 질주와 머뭇거림을 표현한 작품이다.
90*71cm
Hanji, Charcoal, Traditional color powder
A tale of relationships between two when one is eager and sometimes reluctant. The writing is a lyric singing about the irony of love, how one can become a lover and a nobody so easily.
남에서 님으로, 또 남으로 변할 수 있는 인연, 그 사이의 질주와 머뭇거림을 표현한 작품이다.
Sesi Chaekgeori
Ham Minsook Mindy
44*72cm*6
Hanji, Traditional Colour Powder
A Chaekgeori painting inspired by Korea’s traditional seasonal customs (from right: Seollal, Jeongwol Daeboreum, Dano, Sambok, Chuseok, and Dongji), celebrating the beauty of its cultural heritage and the wisdom of the changing seasons.
한국의 세시풍속(오른쪽부터 설, 정월대보름, 단오, 삼복, 추석, 동지)과 절기 문화를 책거리 형식으로 담아, 전통의 가치와 삶의 지혜를 표현한 작품이다.
44*72cm*6
Hanji, Traditional Colour Powder
A Chaekgeori painting inspired by Korea’s traditional seasonal customs (from right: Seollal, Jeongwol Daeboreum, Dano, Sambok, Chuseok, and Dongji), celebrating the beauty of its cultural heritage and the wisdom of the changing seasons.
한국의 세시풍속(오른쪽부터 설, 정월대보름, 단오, 삼복, 추석, 동지)과 절기 문화를 책거리 형식으로 담아, 전통의 가치와 삶의 지혜를 표현한 작품이다.
Scholar's Accoutrements
Hyun Soo Jung
45*120cm*2
Hanji, Charcoal Ink, Traditional Color Powder, Oriental Painting Pigments, Bongchae, Gold Powder, Silver Powder
색채를 제한하여 통일감과 화려함을 동시에 표현한 책거리로 책이 여러겹으로 쌓여있는 구성에 학, 거북, 봉황, 물고기 등을 함께 그려넣어 정물화 안에서 생동감을 표현하였다. 꽉찬 책갑과 그안에 가득한 문양은 기복과 염원을 담고 있으며 장수, 평화, 입신출세, 풍요 등을 의미하는 동물들을 함께 그려넣어 다양한 소원을 담은 그림이다.
45*120cm*2
Hanji, Charcoal Ink, Traditional Color Powder, Oriental Painting Pigments, Bongchae, Gold Powder, Silver Powder
색채를 제한하여 통일감과 화려함을 동시에 표현한 책거리로 책이 여러겹으로 쌓여있는 구성에 학, 거북, 봉황, 물고기 등을 함께 그려넣어 정물화 안에서 생동감을 표현하였다. 꽉찬 책갑과 그안에 가득한 문양은 기복과 염원을 담고 있으며 장수, 평화, 입신출세, 풍요 등을 의미하는 동물들을 함께 그려넣어 다양한 소원을 담은 그림이다.
Group Chaekgeori
Kim Jung Ok, Kim Hyun Jung, Rail Baek, Lee Hye Jin, Chung Ae Jin
720*130
720*130
Group Munjado
Kim Sung Ji, Park So Hyun, Bang Hee Jung, Suh Youngah, Ahn Jung Sook, Cha Ji Yeon
Group Munjado2
Kim Hyun Jung, Kim Jung Ok, Lee Hye Jin
Group Chaekgado
Kim Hyun Jung. Lee Hye Jin
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