Traditional key chains embody the elegance and philosophy of old Korea
by KoreaJoongAngDaily
Jung Jung‑lan, a certified master of silken needlework, crafts a key tag at her Gain Hanbok Study in Gwangju, Gyeonggi. [PARK SANG-MOON]
Yeolsaepae — literally "key tags" — are artifacts from the Joseon Dynasty (1392-1910). They functioned like key chains, but their significance was something beyond it, as they represented Korea's uniquely ornamented and decorative objects.
Those designed for display purposes were crafted with elaborate designs embodying wishes for longevity, wealth, health, peace, prosperous offspring, social advancement and marital harmony.
They symbolized authority and wealth during the Joseon Dynasty. Few survive today because they were produced in limited quantities for the elites.
An ihwamun key tag, a popular dowry item in the late Joseon [PARK SANG-MOON]
Yeolsaepae weren't considered simple artifacts but the quintessence of Korea's artistic sensibilities, cultural emotions and heartfelt aspirations of the era.
The core part of this ornament is a byeoljeon — a commemorative coin invalid as legal tender. These were often engraved with auspicious patterns or inscriptions calling for blessings, prosperity or longevity. Metal pieces were sometimes attached to ward off misfortune and summon luck.
Brightly colored silk cords in the traditional five hues were knotted and threaded with beads, embroidery and tassels for a dazzling effect.
Byeoljeon key tags became popular as wedding gifts in the late Joseon Dynasty.
Daughters heading to their in-laws would receive these with norigae — knotted trinkets — in their dowry chest as a prayer for fortune and blessings.
Key tag embroidered with patterns [PARK SANG-MOON]
This era marked the peak of their production.
Joseon elites considered displaying a byeoljeon yeolsaepae both fashionable and a point of pride.
The tradition declined during Japanese colonial rule, with only a few master artisans keeping the craft alive.
Various engraved byeoljeon coins, which are commemorative coins invalid as legal tender [PARK SANG-MOON]
In recent years, renewed interest in traditional Korean arts has rekindled enthusiasm for collecting yeolsaepae.
Against this backdrop, Jung Jung-lan, a certified master in silken needlework, designated as an intangible cultural heritage of Seoul, has devoted herself to reviving yeolsaepae through both reproduction and instruction, working to make this art form accessible and known worldwide.
Although Jung had worked in design, she began engaging with traditional Korean clothing, or hanbok, in her mid-20s, initially by painting on traditional garments — a popular trend at the time.
Encouraged by her older sister, she became mesmerized by the depth of the craft and soon aspired to make entire garments herself.
With no formal textile training, Jung mastered the basics through sheer dedication.
Thread, needle, scissors, ruler, thimble, iron and heavier iron used by women of Gyubang [PARK SANG-MOON]
She studied at the Korean Royal Court Garment Research Institute under the Institute of Home Economics at Sungkyunkwan University.
There, she met her lifelong mentor, Park Kwang-hun (1932-2019), a silken needlework master in Seoul's intangible cultural heritage program.
Under his guidance, she spent more than 35 years refining both traditional dressmaking and women's handicrafts, or gyubang.
Sleeveless over-jacket worn atop a hanbok vest, called jeogori [PARK SANG-MOON]
Her mentor urged her to not only make garments but to exhibit them publicly.
Following his advice, Jung has showcased traditional Korean clothing at domestic fashion shows as well as at international shows in Italy, Japan, Taiwan and Uzbekistan.
One day, however, Jung’s routine flipped when her mother, her partner in running a hanbok shop in Seoul’s Bangbae-dong for over 20 years, was stricken by illness. Jung moved from Seoul to Gwangju, Gyeonggi, five years ago to care for her, establishing a small workshop called Gain Hanbok Study to continue her work.
Rice bowl pouch called jubal baribo [PARK SANG-MOON]
In this more intimate setting, Jung turned her attention to gyubang crafts — needlework, natural dyeing, knotting and embroidery — descended from goods made by Joseon women for daily life.
Among her recent focuses is the key tag.
Traditional stitching, knotting and embroidery techniques allow for richer, more vibrant key tags, a challenge that deeply appeals to her. She felt compelled to devote all her skill to this little-known but distinctly Korean art.
In Jung’s view, the decorative key tag is not just national artistry — it belongs in the world’s luxury craft canon, because it carries philosophical and symbolic significance unmatched anywhere else.
“Tradition isn’t a trace of the past,” she says, “but a window reflecting the present and linking into the future.”
She sees it as her duty to bring this uniquely Korean beauty and spirit of Joseon key tags back into the contemporary world.
Crafted pillow covers [PARK SANG-MOON]
Reference Written by PARK SANG-MOON [park.sangmoon@joongang.co.kr]
Provided by Korea JoongAng Daily
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