The Adoption and Development of the Gu’s Embroidery in Late-Joseon embroidery

Abstract

This article uses the idioms of embroidery appreciation as depicted in narrative figure paintings in the collection of the National Museum of Korea, to examine the effects of Gu-style embroidery, which reached Korea during the late Joseon period, on the development of late Joseon embroidered pictures enjoyed by the royal court.<br/>The late Joseon period saw unprecedented developments in social, economic and cultural norms. Among these were friendly relations with Qing, allowing Koreans access to new imported culture including various regional Chinese embroidery styles. Gu embroidery became an early source of influence on change and production of embroidery in the royal court. By the 18th century, embroidered everyday items had spread into the private homes of aristocrats and commoners as part of a luxury trend. Expert producers created masterpieces specifically for viewing, which were collected for this purpose. Decorative embroidered screens were created featuring Taoist hermit and narrative figure paintings, driving artistic growth based on motifs of elegance and appreciation of luxury. Characteristics relating to Gu found in these works include: first, the filling of parts corresponding to Gu-style mixed embroidery and painting with long and short stitches and irregular long and short stitches; second, the development of a type of decorative stitching capable of the same elaborate expression as Gu; third, the replacement of untwisted thread, in which Gu style was used to achieve gradation, with twisted thread; fourth, the tracing of the outlines of all pictorial elements with outline stitch, unlike in Gu, emphasizing neatness; fifth, the use of contrasting complementary colors rather than intermediate colors; and sixth, the production of Taoist hermit paintings such as Banquet at Jade Pond and narrative figure paintings as screens. In sum, it can be said that this series of phenomena developed into a formal idiom in Joseon embroidery, which had become more highly renowned than that of China by the 19th century.