SEJONG CENTER

<Purpose of the exhibition>
A. To expand the artistic value of Hangeul through a harmonious encounter between traditional and modern engravings, and to provide an opportunity for people to directly experience the practicality, artistry, science and creativity of Hangeul.
B. To provide an opportunity to reflect the magnificence and meaning of Hangeul through the modern succession and sublimation of tradition.

<Expectation>
A. By widening the understanding of our unique 인출 culture through an appreciation of the writing in traditional engraving work (books, ceramic plates, stencils, verse couplet, etc.), visitors can experience the excellence of Hangeul and Korean culture directly.
나. Appreciate the formative beauty of the letters through modern engraving work, and share in activities of artistic sublimation by spreading the beauty of Hangeul widely.


Hyeonmok Son: President of the Korean Wood Engraving Association, invited writer of the Korean Engraver Competition, invited writer of the Gyeongbuk-American Association, and more
Myunghwan Kim: Invited writer of the Korean Engraver Competition,
Hyunju Kim: Invited writer of the Korean Calligraphy Literati, currently an elementary school teacher
Hyangsook Kim: Manager of the Gumi branch of the Korean Engraver Association
Ungseo Park: Participated in a reprinting project of “The Heritage of the Three States,” awarded the winning prize of the 34th Modern Art Competition, and more.
Yoonhwa Jo: Invited writer of the Daegu City Calligraphy Association, CEO of Yongji Seogak, and more
Daecheol Jeong: Joined the individual competition three times and the group competition many times, etc.
Jisook Choi: Awarded the Korean Engraver Association President’s Award, Corporate Purchase Award, and others.

<Introduction to the works of the exhibition>
Since 2013, the Korean Wood Engraving Association has hosted the ‘Beautiful Hangeul Exhibition.’ This is the ninth time.
In the modern engraving work exhibited in this exhibition, there are many pieces where Hangeul and pictures are harmonized appropriately, and works with well-known passages of poetry, so it is easily understandable and approachable for visitors. In particular the bibliography of the ‘Hunminjeongeum Annotation’ from a traditional engraving, as well as the ‘Eunbogamo’ and ‘Cheongsan byulgok’ from Oryunhaensildo, were reprinted by saving the original wood frame as much as possible, and cannot be seen easily. ‘Geumnangro Yeonseo’, a modern creation, combines traditional and modern work and represents the efforts three authors and three engravers.