Art of 'seven treasures' lights up the world in a kaleidoscope of color
by Korea JoongAng Daily
Master artisan Lee Soo-kyung, recognized as the Grand Master of cloisonné, carefully applies enamel to her work at her studio in Nam District, Ulsan. [PARK SANG-MOON]
Cloisonné, or chilbo in Korean, is a traditional craft where powdered glass enamel is applied to metal surfaces and fired at high temperatures to create vibrant, jewellike artworks.
The name “chilbo,” meaning “seven treasures,” refers to the rich colors resembling those of gold, silver, jade, coral, agate, pearl and amber.
The history of cloisonné in Korea dates back to the Three Kingdoms Period (57 B.C.-668 A.D.) and flourished through the Goryeo (918-1392) and Joseon (1392-1910) dynasties. Korean artisans developed unique patterns and styles that reflected traditional aesthetics.
Lee Soo-kyung's work called "Fantasia" [PARK SANG-MOON]
The origin of the craft is in fact ancient Egypt and spread through Persia to the East and West. And Korea is believed to have adopted it during the Silla Dynasty (57 B.C. to A.D. 935) through trade at Ulsan Port, then a major hub for Arab merchants. But some of them were domestically made, as proven through artifacts such as cobalt-blue glassware and inlaid glass bead necklaces unearthed from royal tombs.
Lee Soo-kyung, born in 1946 and based in Ulsan, has devoted 58 years of her life to cloisonné and is recognized as Korea’s first Grand Master in the field. She is considered one of the most skilled cloisonné artists both domestically and internationally.
Lee Soo-kyung uses drill to polish the beads [PARK SANG-MOON]
As a child, Lee was an avid reader of Korean and world literature, spending countless hours at secondhand bookstores in Cheonggyecheon, Seoul. Beethoven’s music also deeply shaped her philosophy. She still begins each day listening to Beethoven’s Symphony No. 9, "Choral," drawing inspiration from its themes of love, hope, and perseverance.
After marrying the late Kim Ik-sun (1935-2014), Lee began her journey in cloisonné art. In the late 1960s, the couple was trained in royal cloisonné techniques by Yi Bang-ja (1901-1989), wife of Korea’s last crown prince, Yi Eun. At the time, the princess was running a cloisonné studio at Nakseonjae Hall in Changdeok Palace to support Myunghuiwon, a welfare facility she founded for people with disabilities.
Lee Soo-kyung's work called "Seokhwado" [PARK SANG-MOON]
Lee established her own cloisonné craft company in 1968 and began focusing entirely on the art. Initially, she created traditional ornaments like binyeo (hairpins), norigae (pendants), and tteoljam (dangling hair accessories). Over time, she expanded her work to include everyday jewelry such as necklaces, rings and brooches. In 1970, she became the first in Korea to incorporate cloisonné into furniture design, later branching out into fine art and tableware.
She has developed her own style centered on wire cloisonné techniques and has created more than 100 original colors, resulting in distinctive and unparalleled works. Some of her large-scale pieces take three to four years to complete, requiring tens of thousands of individual enamel beads meticulously arranged like embroidery on a canvas.
Cloisonné is often referred to as the “art of fire” or “art of color.” It involves layering powdered glass on a metal surface — typically pure gold, silver or copper — and firing it at 700 to 900 degrees Celsius. The combination of base material, enamel thickness, firing temperature and frequency produces an extraordinary range of colors. Turning glass into something as luminous as gemstones demands arduous work involving thousands of brushstrokes and firings.
Lee Soo-kyung's work called "Yeonliji" [PARK SANG-MOON]
Lee begins her day at 4:30 a.m. with prayer and meditation, starting work by 6 a.m. and continuing until 6 p.m. She has followed this disciplined routine without interruption for 58 years. Her dedication has yielded an unmatched body of work defined by dazzling hues and emotional depth.
Her pieces, sometimes described as more beautiful than natural gemstones, have required tens of millions of brushstrokes and countless firings. Her work has earned her the nickname “the Picasso of Korea" of the 21st century.
Lee’s distinctive color palette and techniques have captivated audiences worldwide. Her works have been exhibited in Britain, France, Italy, Switzerland, the United States, the UAE and Japan. They are also part of collections held by global leaders and royalty.
Master artisan Lee Soo-kyung, right, and his son work together on an art piece. [PARK SANG-MOON]
Due to the cost of materials — requiring metals of 99.9 percent purity — and the complexity of the process, few artisans can practice cloisonné at this level. Even Egypt, where the art originated, no longer produces cloisonné. While a handful of countries continue to create cloisonné for specialized purposes, Lee remains the only artist who pursues both the craft’s technical rigor and highest artistic value.
Her work emanates warmth, compassion and love for humanity. The dazzling and mysterious colors inspire hope and courage.
Today, Lee works alongside her son Kim Hong-beom and daughter-in-law Kim Sung-mi, both masters in their own right, continuing a multigenerational family legacy. Their shared days begin with prayer, as the beauty and light of Korean cloisonné continue to brighten the world.
Cloisonné beads being fired in an 800-degree Celsius kiln [PARK SANG-MOON]
Master artisan Lee Soo-kyung takes out cloisonné beads that have been baked at 800-degree Celsius from the kiln. [PARK SANG-MOON]
Master artisan Lee Soo-kyung's work called "Hope" [PARK SANG-MOON]
Lee Soo-kyung's work "Flowers and Woman" [PARK SANG-MOON]
Lee Soo-kyung's work "Song of the Sun" [PARK SANG-MOON]
Reference Written by PARK SANG-MOON [park.sangmun@joongang.co.kr] Provided by Korea JoongAng Daily
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