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Korean modern crafts have evolved through the seamless integration of traditional techniques and contemporary aesthetics. Throughout various fields of craftsmanship, highly skilled artisans possessing exceptional technical expertise and artistic refinement have actively contributed to its advancement. Among them, metal inlay master Lee Hak-eung, wood lacquer artisan Song Ju-an, and ceramic artist Hwang Jong-gu made significant contributions in metalwork, wood and lacquer craft, and ceramics, respectively, laying the foundation for modern Korean craft. Lee Hak-eung (1900–1988) was a master of traditional metal inlay techniques, meticulously embedding gold and silver wires into finely chiseled grooves on metal surfaces. During the Japanese colonial period, he worked at the Yi Royal Household Art Studio, preserving and continuing Korea’s traditional craft heritage. In 1983, he was officially recognized as the holder of National Intangible Cultural Heritage No. 78. He passed down his techniques to Hong Jeong-sil (current holder of the title), who has further developed and refined the craft. Lee Hak-eung made significant contributions to the continuation of Korea’s traditional metalcraft, and his legacy endures to this day. Song Ju-an (1901–1981) was a renowned nacre artisan who skillfully applied the ‘kkeuneumjil’ technique, a method of cutting mother-of-pearl into fine pieces to create intricate patterns. Born in Sacheon, Gyeongsangnam-do, he learned and practiced Najeon chilgi (mother-of-pearl lacquerware) in Tongyeong, a city known for its rich lacquer craft tradition. He excelled in both kkeuneumjil and jureumjil techniques, particularly in crafting detailed landscape designs using a tool called sangsa to create delicate lines. In 1979, he was designated as the holder of National Intangible Cultural Heritage No. 54. His son, Song Bang-ung, inherited and further refined his techniques, receiving national recognition in 1990, ensuring the continuation of this esteemed craft tradition. Hwang Jong-gu (1919–2003) played a pivotal role in shaping modern Korean ceramics through his experimental research and revival of traditional pottery techniques. He learned the art of celadon reproduction from his father, Hwang In-chun, a master of Goryeo celadon, and further honed his skills while studying in Japan. Dedicated to preserving and advancing traditional ceramics, he contributed to the establishment of Ewha Womans University`s Ceramic Research Institute in the 1950s and served as its first professor. His work extended beyond education to include kiln site excavations, academic journal publications, and ceramic literature. Renowned for developing innovative patterns and techniques, he reinterpreted celadon craftsmanship with a modern sensibility, significantly influencing the evolution of Korean ceramics. Each of these artisans played a crucial role in preserving traditional techniques while infusing them with a modern sensibility, spearheading the revival of Korean craft in the modern era. The dedication of modern craft artisans has elevated craft beyond mere functionality, transforming it into a refined form of artistic expression. Even today, their legacy continues to serve as a powerful reminder of the value and potential of Korea’s traditional crafts.