Detail

Gungjung Chaehwa refers to elaborately crafted artificial flowers used to decorate court banquets and royal ceremonies. During the Joseon Dynasty, Chaehwa made by court-appointed artisans adorned various royal events and celebrations. Although the tradition was discontinued during the Japanese colonial period, it was successfully revived in modern times by artisan Hwang Suro, holder of National Intangible Cultural Heritage No. 124, Gungjung Chaehwa, through research based on ancient documents. br br The crafting methods of Gungjung Chaehwa were documented in royal protocols such as the Sunjong Jinyeon Uigwe (Records of Sunjong’s Royal Banquet), and the Gojong Imin Jinyeon Uigwe (Records of Gojong’s Imin-Year Banquet), which are part of UNESCO’s Memory of the World Register. The production process is exceptionally intricate and delicate. Fine silk or ramie is dyed using natural pigments, then cut into petal shapes and carefully ironed. Each stamen and petal is then hand-shaped using pine pollen and beeswax. The resulting flowers splendidly adorned banquet spaces, elevating the dignity and beauty of royal ceremonies. br br Gungjung Chaehwa was also featured on Jidangpan, the central stage set up for Jeongjae (court dance performances) during royal banquets. These were typically used for performances such as the Crane Dance and the Yeonhwadae. The Jidangpan, a floral stage styled as a lotus pond, became the centerpiece for ceremonial performances. During Naejinyeon (inner palace banquets), dancers circled the Jidangpan, holding peony blossoms, while performing dances such as the Gainjeonmokdan Court Dance, Cheoyongmu, and Jangsaengboyeonjimu. This stamp features both the Sunjo Gichuk Jinchan Jidangpan and the Gojong Jeonghae Jinchan Jidangpan. br br The Sunjo Gichuk Jinchan Jidangpan, recreated based on the Sunjo Gichuk Jinchan Uigwe, captivates with its distinctive beauty. Beneath the lotus-leaf-shaped roof, Chilbo Deungnong hangs, accompanied by two tassels draping from either side, which enhances its antique charm. As the central Chilbo Deungnong is lit, child dancers and court performers circle the lotus-filled pond, holding lotus blossoms as they perform dances such as Yeonhwamu, Cheoyongmu, and Saseonmu. The lotus flowers on the Jidangpan bloom harmoniously over the water in a vivid arrangement of large lotus buds, leaves, fully bloomed flowers, and emerging blossoms with their leaves. br br In contrast, the Gojong Jeonghae Jinchan Jidangpan, recreated from the Gojong Imin Jinyeon Uigwe, presents a different kind of grandeur. Unlike the Sunjo version, it features tassels on all four corners of a roof lacquered in juchil (vermilion with a hint of yellow), creating a more magnificent and colorful impression. Large lotus flowers in blue and red are placed on each side, while the majestic peony, the “king of all flowers, is lavishly used in the decoration. br br Gungjung Chaehwa is more than a decorative object. It is a symbolic art form that encapsulates the Joseon royal court’s philosophy of auspiciousness and harmony. Representing refined aesthetics and timeless beauty, these floral creations are invaluable cultural assets. Sustained interest and preservation efforts are essential to ensure that the eternal elegance of Gungjung Chaehwa endures for future generations. br br