The Conservation and Display of a Traditional Korean Hwarot Panel with a Discussion of Purple Gromwell Dye

ABSTRACT

This paper covers how, as conservation professionals, we promote and contribute to the Victoria and Albert Museum’s collections through the understanding of historic materials and techniques that go into the making of complex objects. The conservation of a Korean embroidery panel originally found on an hwarot or bridal gown demonstrates this approach. The collaboration of both conservation disciplines and Korean practitioners enabled the work to be meaningful and informative. The decision to remount the hwarot panel as a robe structure, as it had been previously disassembled for the foreign export market, was agreed upon, as was the retention of the lilac repairs. The use of natural dyes to create a rainbow of coloured silks found in the embroidery brings its own problems, especially as purple gromwell is a dye less known in Western culture. The replica robe considers the historical context of the panel and can be re-utilized for subsequent mounting.

ZUSAMMENFASSUNG

Dieses Papier diskutiert die Rolle von Konservierungsprofis im Victoria and Albert Museum bei der Verbesserung der akademischen Forschung und der Besuchererfahrung durch das Verständnis der historischen Materialien und Techniken, die bei der Herstellung komplexer Objekte verwendet werden. Es hebt die Konservierung eines koreanischen Stickereipanels von einem Brautkleid hervor, die eine multidisziplinäre Zusammenarbeit involvierte, die das Projekt bedeutungsvoll und informativ machte. Wesentliche Entscheidungen beinhalteten die Wiederanbringung des Panels als Robe und das Beibehalten von fliederfarbenen Reparaturen als Zeichen von Tragen. Herausforderungen umfassten die flüchtige Natur der in der Stickerei verwendeten Naturfarbstoffe, adressiert durch die Betrachtung einer Methode zur Fixierung der Farbstoffe. Die Erstellung einer Replik-Robe, informiert durch den historischen Kontext und die vom Koreanischen Volksmuseum bereitgestellten Maße, unterstützt die Konservierung und zukünftige Ausstellung des Stücks.

KEYWORDS:

• Korean hwarot
• organic dyes
• Korean embroidery, purple gromwell
• Hanji

SCHLÜSSELWÖRTER:

• Koreanisches Hwarot
• Organische Farbstoffe
• Koreanische Stickerei
• Purpurrote Gromwell
• Hanji

Acknowledgements

Bhavash Shah, Preventative Conservation and Data Scientist, Victoria and Albert Museum, London. Dr. Rosalie Kim, Curator (Korea), Victoria and Albert Museum, London. Gesa Werner, Textile Mounter, Victoria and Albert Museum, London. Nora Brockmann, Textile Conservator, Victoria and Albert Museum, London. National Research Institute of Cultural Heritage Conservation Science Centre, Seoul, South Korea. National Folk Museum of Korea, Seoul, South Korea. Jang Seong-woo, Jang Ji Bang, South Korea. Chisun Park, Seoul, South Korea. Kwang Young Chun Studio, South Korea.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 The Joseon Dynasty ran for over 500 years, from 1398 to 1910. The date of the panel was confirmed after discussions with Korean curators at the National Palace Museum in Seoul where a Hwarot exhibition was being held during September 2023.

2 Translation confirmed by Hongxing Zhang, Senior Curator (Asia), Victoria and Albert Museum.

3 pubchem.ncbi.min.nih.gov>compound>shikonin [accessed 12 May 2020].

4 At Professor Chisun Park’s Jeongjae Studio, Seoul, South Korea, a local alcohol (Jinro Soju) 18% was used for the first extraction and acetone for a second extraction. Alum mordant.

5 Alum: potassium aluminium sulphate.

6 Traditional Natural Dyeing (2012: 81).

7 pubchem.ncbi.nim.nih.gov>compound>Cyclododecane [accessed 16 June 2021].

8 A craft tool for applying wax to create a resist for batik.

9 An et al. (2003).

10 Confirmed by FTIR carried out by V&A Science Conservation Section September 2020.

11 Han meaning Korean and ji meaning paper.

12 Paper fibres are held in water with mucilage of Hibiscus manihot to aid fibre dispersion. This is mucilage is referred to as dakpul and when mixed with the fibres, makes the stock solution, dakjuk.

13 Unlike a Japanese mould, which contains the stock solution within an edge or deckle.

14 Conservation: Korean Hanji Paper Making – YouTube, https://www.youtube.com/watch?v=x7mPGaa_NMA.

15 See the decision making discussed by Kusunoki et al. (2021).

16 Oebaltteugi (Heullimteugi) method: Using a single point of screen attachment.

17 Japanese alder cone: 500 ml water to 200 g of cones. Direct dye method as does not require a mordant.

18 Also a flavonoid, Sappanwood or Brazil wood was used as opposed to safflower red and it is an easier dye to handle and produces a good colour.

19 Heavier hanji 25 g.

20 Email communication 2021.

Additional information

Notes on contributors

Susan Catcher

Susan Catcher initially qualified in textiles and used this specialism to work as a volunteer teacher in Kenya for three years. Whilst living in a mud hut she studied for a BA honours degree in art history with the Open University and on returning to the UK she attended Camberwell College of Arts, London and graduated with an MA in Conservation. After a period of freelance work, she completed an internship in paper conservation at the Victoria and Albert Museum, and never really left. She is currently a Senior Paper Conservator in charge of loans whilst also specializing in East Asian art combining her interest in textiles and multimedia objects.