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.


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.