Jasu, or embroidery, appears to have begun in prehistoric times when the human race first started to make clothes. People used needles made out of bones of fish or animals to sew and weave animal skins and the bark or leaves of trees. Later,
as civilization gradually developed, clothes began to be made, and with the advent of metal needles, embroidery emerged.
| Korean embroidery fully expresses the Korean character. Embroidered Sipjangsaeng, the 10 longevity symbols. |
From then on, jasu developed as an art used to decorate textiles, and it, like
the embroidery of other cultures, reflects that the nation's particular living
environment, customs, and religion.
Korean jasu has a long history. As times changed, it expressed the Koreans ideal
of beauty. Along with weaving and sewing, jasu was a method of cultivating beauty
in every corner of daily life. Sincere efforts went into every stitch and required
delicate dexterity. The full expression of the Korean character can be found
in jasu.
Among the Korean prehistoric excavated relics, a bangchucha (a spindle cart)
that was made out of earth or stone, big and small bone needles and stone needles
and needle pouches were found. Based on the finding of such weaving tools, it
is clear that weaving and sewing existed during that period. Throughout the
Bronze and Iron Ages, metal equipment for farming developed, thereby remarkably
improving the farming industry.
In Korea, ma (hemp) and ppong (mulberry) trees were cultivated; myeonpo (cotton
cloth) and mapo (hemp cloth), as well as hapsa (twisted thread), were also produced.
The development of weaving became the fundamental prerequisite for the development
of jasu, and jasu was used to represent the status and rank of the ruling class
in the form of decoraton on clothes, flags or wagons.
During the Three Kingdoms period, overall production technology developed greatly.
Accordingly, weaving machines were improved and textile skills advanced; not
only a variety of textile was produced, but also the quality improved. Naturally
jasu became popular. A trace of jasu that was embroidered with golden thread
was found among the relics in the Cheonmachong (Tomb of the Heavenly Horse)
in Gyeongju, a good example that shows the status of jasu culture during that
period.
During
the Unified Silla period, horse saddles and things related to everyday life,
not to mention clothes, were decorated with jasu. Buddhist jasu was also commonly
created. Particularly during the 9th year (834) of King Heungdeok, a prohibition
on clothing style was pronounced to strictly regulate the usage of textiles
according to the golpum (aristocratic rank) system. During this period, due
to the prosperity of Buddhism, much of the nobility eagerly gave donations for
the construction or decoration of temples. As such a phenomenon accelerated,
King Aejang prohibited construction of new temples and allowed only the repair
of existing temples to be done to prevent the waste of materials. Usage of golden
threads in Buddhist items was also prohibited. This indicates that high quality
silk and jasu was used even in decorating objects in the beopdang, the main
halls of Buddhist temples.
Gongbangs (artisan shops) existed that were in charge of weaving, dyeing, and
sewing. Artisans exported silk to China, and dyeing techniques were greatly
improved during this time. Developments in dyeing techniques became a major
factor that enabled the diversification and delicate coloring of textiles and
threads.
In the Goryeo Dynasty, jasu became excessively luxurious. jasu of that era,
for convenience sake, can be classified into boksik jasu, giyong jasu,gamsang
jasu, and Buddhist jasu.
Boksik jasu refers to jasu embroidered to decorate clothing. Dress was strictly
regulated according to status and rank. For example, during the 3rd year (1034)
of the reign of King Deokjong, children and women were prohibited from wearing
golden ornamental hairpins or embroidered silk clothes. During the 9th year
(1043) of Jeongjong's reign, ordinary men and women were prohibited from decorating
silk with dragon-or phoenix-patterns, along with golden stitches.
Also, during the 22nd year (1144) of King Injong's reign (1144), the King prohibited
the use of golden thread in clothing and jade decoration in bowls. It can be
inferred that during that era boksik jasu was more than simply delicate and
refined; it became excessively luxurious.
The queen and noble women of that time enjoyed red clothing with jasu decorations.
The guardsmen who escorted the king largely wore silk clothes with flowers in
five colors or bird patterns, and their belts were also often decorated with
embroidered flowers in five colors.
Giyong
jasu embroidery decorated various materials used in the king's palace.
Gamsang jasu was embroidery which developed as a type of artistic work. In other
words, by use of jasu, various ornamental materials were decorated. Such jasu
was prevalently used in folding screens in the bedroom or living room.
Buddhist jasu was embroidery related to Buddhism. During the Goryeo Dynasty,
Buddhism, as a means of defending the nation and promoting prosperities, was
supported as the national religion. As a result, more than in any other era,
Buddhism became very prosperous, and jasu was heavily used in the statues of
Buddha or various temples.
During the Joseon Dynasty, marked changes occurred in many aspects of the country:
political, economic, social, and cultural. Due to its early advocacy of an agriculture-first
policy as its basic principle and the suppression of commercial industry, the
handicraft industry did not develop. As a result, farmers concentrated on the
production of food as their main occupation, and manual handicrafts became a
secondary business. In spite of such circumstances, the production of clothing
was prominent.
Accordingly, the textile industry, as well as weaving and dyeing, generally
became the responsibility of women. Female workers were encouraged to perform
such work to increase productivity. It was also emphasized as a requisite skill
for every woman.
The
legislation of the hyungbae (official insignia) system in the early Joseon Dynasty
was a noteworthy development in the history of jasu.
Hyungbae refers to the embroidered emblems that represented the rank of the
government's civil and military officials. It was first implemented during the
first year (1453) of King Danjong's reign. Later, after several modifications,
the hyungbae system was improved and the emblems gradually became luxurious.
As
a type of a publicly-used embroidery, hyungbae jasu is a good reference for
understanding the development of embroider during this period. Artisans who
were mobilized to produce textiles, and related items such as hyungbae, were
among the most skilled people in the nation; they were placed in the central
and regional governmental offices and devoted themselves to this field. They
were responsible for the production of clothing and other textile products and
embroidery decorations that were used by the royal family and high-ranking governmental
officials.
Besides these organizations, there was an additional organization called the
subang (embroidery room) that was exclusively responsible for the embroidery
of clothes and miscellaneous materials for the family of the king. Upon completion
of a certain level of education and expertise, women were selected to enter
the palace to work in the subang and were registered; they exclusively produced
jasu to meet the demands of the palace. During the Joseon Dynasty, interrelations
among various artisan organizations and the subang provided the cornerstone
of the palace jasu, which is also called gungsu. The gungsu tradition was sustained
until the end of the Joseon Dynasty, and due to the standard format and the
advanced skills of the artisans, the embroidery was delicate and perfectly executed.
In contrast with gungsu, there was minsu (folk embroidery) that was produced
by the common people. Unlike the specialized gungsu, minsu was a domestic skill
passed down through the family or the region, and women in the household were
in charge. As a result, in comparison with gungsu, minsu reflected the characteristics
of the individuals who created it. If Korean traditional jasu is classified
according to function, it can be divided into byeongpung (folding screen) jasu,
boksik jasu (decorating clothes and accessories used in the home), and Buddhist
jasu.
Embroidered
folding screens played an important role in major events in life. For example,
they were widely used at congratulatory banquets, such as those for anniversaries,
birthdays especially the 60th birthday and engagements and for mourning ceremonies
and other rites.
Embroidered folding screens were not only used in the various rooms of the home,
but also in temples and shrines, as well as in the palaces, guest houses and
lecture rooms.
The byeongpung jasu, therefore, exhibited great variety. The majority of screens,
however, were of flowers and birds, the sipjangsaeng, or 10 longevity symbols,
and subok, or Chinese characters for "long life" and "happiness." For flower
and bird screens, the peony, chrysanthemum, water lily, plum tree, and paulownia
trees were matched with a couple of pheasants, a mandarin duck, phoenixes or
ducks to symbolize a happy family. The sipjangsaeng are ten natural objects
symbolizing long life: the sun, clouds, mountains, water, pine, bamboo, crane,
deer, turtles and the fungus of immortality.
There were many other embroidery designs, usually pertaining to lucky omens
and education. Educational subjects, however, faded away from their original
intention and later adhered to simple subjects. Hence, in jasu, emphasis was
centered on creating beauty rather than on education. Embroidered screens, like
painted screens, consisted mostly of eight panels, followed by 12, 10, 4 and
2 panels; there were even 20-panel screens.
Boksik jasu refers to embroidery on clothes and accessories. Particularly during
the Joseon Dynasty, dress styles were highly differentiated according to class
and rank, and patterns used in jasu followed such distinctions. To represent
high social status and authority, dresses worn in the palace usually had golden
stitches or colored threads. Jasu was done in two styles: one was embroidering
on the surface of the clothes directly, another was attaching jasu applique
to the clothes. The first was used for the king's state ceremonial dress and
various ceremonial dresses for the king's family members; the latter included
miscellaneous dress embroidery, such as the embroidered patches on the breast
and on the back of official uniforms.
On a hwarot, which was the ceremonial dress for the women of the palace, patterns
of various flowers, such as peonies, chrysanthemums, fungus of immortality,
and herbs, as well as various lucky omens and patterns of longevity were luxuriously
embroidered. The clothing of males in the royal family and government officials
did not have embroidery directy on the surface of the cloth; instead hyungbae
decorated in patterns of cranes or tigers were attached to everyday clothing.
Pyojang, an emblem which was attached to the dress of the king and queen, on
the other hand, was differentiated from hyungbae and called bo; its embroidery
consisted of dragons or phoenixes.
For the most part, common people were not allowed to wear embroidered clothes,
except for a hwarot, or ceremonial dress, at the time of their wedding. Other
materials that were embroidered included children's hats, vests and belts. Especially,
embroidered clothing for children used various colors and matching patterns
to express their innocence.
Jasu also decorated numerous items used in the home. It would be impossible
to list them all, but they include pillow cases, eyeglass cases, cushions and
pouches for such thing as tobacco, spoons and chopsticks and brushes.
Unlike embroidery for purely decorative purposes, Buddhist jasu, which decorated
temples and Buddhist statues, was created out of religious devotion. They were
executed with extreme care by artisans of extraordinary expertise. Accordingly,
there are many masterpieces which are preserved in temples and museums.