Korean Jewelry Grand Master Kim Sang-sil - Innovating the Royal Style in the 21st Century: Combining Nature with Detail in Gungjungchehwa

With a unique and innovative approach to art, Grand Master Kim Sang-sil transforms antiquated elements of nature into jeweled, ornate centerpieces. His artistic journey began by gathering wood that he found alongside the Han River in Seoul, South Korea. Using these restored materials in combination with natural stones such as amethyst and semi-precious organic mother-of-pearl, he crafts shiny, beautiful pieces that maintain their natural dignity and shape. To bring his vision to life, Grand Master Kim created the Namsong Jewelry Technique, a method that enables people of all skill levels to learn the art of weaving jewelry pieces together. Grand Master Kim notes, “In the diversification of daily life, many people are living with mental damage. There are many kinds of artistic activities to cure this, but among them, Namsong Jewelry craft items are considered to be truly valuable items.”

Inspired by the Korean artistic style Muninhwa, Kim Sang-sil nurtured the extraordinary in ordinary pieces by bringing them to life with natural color stacked upon dramatic black foundations. The Muninhwa art form was used by the upper class in Korean society and royal artwork. During the Joseon period, Minhwa, or the peoples’ art, came about as a return to the beauty of daily life using personal creative expression following the lines of nature. The gentleness of the art form with vibrant coloring was in contrast to the more formal Muninhwa.  In the Joseon period, a cultural artistic shift occurred that allowed middle-class people more freedom of expression; thus, Minhwa reflected the art of the everyday person. A comparison of the gentleness of Minhwa can be found in the Rococo art forms of Europe during the 18th century. The difference is that the colors of Minhwa are bolder, perhaps to replicate the Royal Korean colorings.

Grand Master Kim Sang-sil is an experienced artisan who was humble and patient enough to explain his vision to a guest at his art exhibit. His pieces were airy with clusters of stones, made excellent use of negative space, and followed the organic lines found in nature. He explained that his artwork was intended to be viewed from all sides so that one could see the beauty at every angle. As he extensively studied the Gungjungchehwa (royal palace formal floral decorations), the pieces reflect historical artistry. When asked why he chose for his wall pictures to slope from right to left, he responded that Koreans traditionally wrote right to left, showing the wisdom and experience he has in the historical arts. 

You can find more information regarding his work on the following website: https://seoulartkorea.modoo.at/