The Most Local Is the Most Global
As South Korea solidifies its reputation as a global cultural powerhouse, both domestic and international initiatives are propelling the growth of its cultural tourism and related industries to unprecedented scales. In response to this momentum, ST embarks on a journey to trace the origins of these modernized “Korean icons,” uncovering the authentic heritage that continues to shape our contemporary identity........Ed
Jagae
South Korea is currently a major influencer in global popular culture, with the K-culture trend expanding beyond music and performance. International audiences are increasingly interested in the unique cultural aesthetics underlying K-pop, a shift most visible in the global success of groups like BTS. During a recent live performance at Gwanghwamun on March 21st, BTS wore modern reinterpretations of traditional armor, demonstrating that traditional styles can be adapted for contemporary audiences.
This trend has triggered widespread interest in Korean traditional crafts, martial arts, and architecture. Items previously associated with museums—including traditional archery(Gukgung), mother-of-pearl lacquerware(Najeonchilgi), Hanbok and Hanok housing—are being integrated into modern life as sports, consumer goods, and design elements. Particularly among the younger generation, possessing and utilizing these reimagined traditional items has become a new standard of trendiness.
At the heart of korea’s traditional crafts is Jagae, the beautiful art of using shiny seashell pieces to decorate objects. Deeply connected to Korea’s history, this thousand-year-old tradition reached its peak during the Goryeo Dynasty through Najeonchilgi. This is a method that mixes colorful seashell pieces with a natural protective coating called laquer. Once a luxury made only for kings and wealthy families, these shiny artworks have long been a proud symbol of high-quality Korean culture.
What makes Najeonchilgi truly special is how its look changes. The shine of the shell shifts depending on the light and where you stand, a feature that people often compare to the strong energy of the Korean people. However, behind this beautiful look is a very long and hard process. Artists must carefully cut hard abalone shells into paper-thin pieces, arrange them into detailed patterns, and apply dozens of layers of waterproof lacquer. Because this coating keeps the items safe from water and damage for hundreds of years, this art was historically used for valuable family furniture, like large closets and special storage boxes made to last for generations.
Today, this ancient art is becoming highly popular again by fitting into modern lifestyles. As people stopped buying large, traditional furniture, modern artists changed their focus. They started making smaller items that fit into the everyday lives of today’s buyers. Now, Jagae decorates everyday things like tumblers, phone cases, and small jewelry. This change has become a huge hit. Young people now wait in long lines the moment national museum gift shops open just to buy these products, successfully turning an old tradition into a cool, modern global trend.
Gukgung
The Korean people have a long history as skilled archers, earning them the historical name “Dongyi,” which means the eastern people who are good at archery. Notable historical figures like King Jumong of Goguryeo and King Yi Seong-gye of Joseon were master archers, and the nation developed high performance composite bows known as Gakgung. For centuries, the traditional archery, Gukgung served as the primary combat skill of the Korean military, actively dominating battlefields and repelling foreign invasions. As firearms replaced bows in the late Joseon period, archery transitioned from a military requirement to a civilian sport.
Technically, the Korean traditional bow, Gakgung is classified as a short, composite, reflex bow. It is typically under two meters in length and constructed from multiple materials, including wood, bamboo, and horn. Its bay-like curvature provides high elasticity and a long effective range. The Gakgung was able to shoot a special arrow called Pyeonjeon. Pyeonjeon, also known as Aegisal is a short projectile measuring about one-third the length of a conventional arrow. To launch it, archers utilized a specializes wooden guide tube called Tongah. Because of its reduced weight and high structural stability this short arrow achieved significantly greater range and armor-piercing velocity than standard arrows. Joseon’s secret weapon Gakgung and Pyeonjeon show how technologically advanced Josen was in defending itself against foreign threats.
Historically, archery was the most common martial art among the public because the government promoted it for education and military recruitment. During Joseon Dynasty, archery was a mandatory subject for military service exams, creating a large population of practitioners. The royal family also supported the practice. Palaces maintained archery ranges where kings and officials participated in rituals like Daesarye, which combined archery with music to emphasize national defense. Emperor Gojong later established the Hwanghakjeong pavilion to promote archery as a national physical education tool.
Today, the introduction of modern carbon-fiber bows and arrows has successfully lowered the barrier to entry, fueling a renewed public interest in Gukgung. Particularly on college campuses, a growing number of university students have embraced this heritage through Gukgung clubs, finding a meaningful way to connect with their ancestors. This modern trend, however, does not diminish its historical significance. Gukgung endures as a sacred cultural legacy that blends mental cultivation with a fierce history of homeland defense and a resilient martial spirit. Crucially, it embodies the ancestral concept of Pungnyu, reflecting a lifestyle defined by inner dignity and broad-minded generosity. Today, the steady stream of people visiting traditional archery grounds underscores a collective desire to safeguard this legacy.
Hanok
Hanoks are traditional Korean houses. The term Hanok was first used in 1907. Before the introduction of western architecture, there was no need to distinguish houses with a specific name. The official origin of Hanok is unknown, however some view prehistoric huts as its beginning. With the emergence of ancient countries, non-housing structures such as palaces and temples began to be built. During Goryeo Dynasty, the influence of Buddhism led to the construction of many temples, and the Ondol(underfloor heating system) became widely adopted during this period. Also, the Feng shui theory, still commonly used today, is known to have emerged around this time. In Joseon Dynasty, architectural styles, such as the size of houses, the number of rooms and the materials of roofs, started to be limited by social status. This is also when the concept of the traditional Hanok began to be properly established. As such, Hanok varies in its form and type depending on the era, making it difficult to define within a single category.
Meanwhile, from the mid-1920s to 1940s, the housing shortage rate increased from 5.5% to 22.1%, leading to high domestic housing demand. During this era, people mainly chose Hanoks as they were easy to modify within a short time, leading to the mass production of modernized Hanok-style houses. However, as housing types reorganized around western-style houses and apartments in the 1960s, Hanok became no longer sustainable, due to the difficulty in maintenance.
Nevertheless, several forms of Hanok can still be found across Korea. As the result of the Hanok preservation movement in 2000s and the “Bukchon Village Management” project carried out by the Seoul Metropolitan Government in 2001, a boom in urban-type Hanok and contemporary Hanok surged around Jongno District. Today, the area known as “Bukchon Hanok Village” has become one of Seoul’s representative attractions. As of 2023, the village attracts over 6.67 million visitors per year, gaining popularity from international tourists as well.
In addition, various efforts have been made to preserve and promote traditional architectural culture. Around Hwaseong Fortress, a United Nations Educational, Scientific and Cultural Organization World Heritage site in Suwon, there are private party rooms and Hanok-style accommodations for overnight stays, as well as traditional Hanok where tourists can experience the culture. “The romantic atmosphere made me feel at ease, and I was especially satisfied with the ondol,” said one visitor in her twenties who recently stayed at a Hanok accommodation. Even today there are many opportunities for those who appreciate the beauty of history.
Hanbok
Hanbok, Korean traditional clothing, represents the identity of Korea, having been part of Korean history for about 5,000 years. Given its long history, its form and structure have also evolved in various ways over time. The earliest recordings of Hanbok can be found in Goguryeo murals, where people can be seen wearing a long upper garment tied with a belt, along with a skirt and a bandana. As time passed through the Goryeo and Joseon dynasties, the length of the female upper garment gradually shortened, and western garments such as vests were incorporated. As for men, Hanbok typically consists of a “Jeogori”(traditional upper garment) and pants tied at the ankles, with outer garments such as “Durumagi” or “Dopo” depending on the season. The style of Hanbok can vary depending on the occasion and social class, reflecting a wide diversity of types from plain white cotton to bright-colored silk.
After the opening of ports in the 19th century, western suits, blouses and skirts became popular, and fewer people wore traditional Hanbok. However, despite such changes, one special custom continued for a relatively long time. The tradition of “Seolbim.” “Seol” means Lunar New Year, and “Bim” means the act of preparing new clothes. It refers to new garments worn to mark a fresh start of the new year and to exchange greetings. However, even this tradition, which has managed to continue on until the 2010s, has noticeably declined in recent years. This is due to the high cost of Hanbok and the limited opportunities to wear them in everyday life. The number of Hanbok businesses in Korea has decreased from 3,737 in 2010 to 1,668 in 2024, demonstrating a rapid drop in the production of traditional Hanbok.
Although the number of people seeking traditional Hanbok is decreasing, new forms of Hanbok are gaining attention. It is not difficult to spot foreign tourists wearing fusion Hanbok when walking around Gyeongbokgung Palace. Hanbok rental shops provide the opportunity to experience Hanbok at affordable prices. For between 24,000 and 90,000 won, visitors can enjoy Hanbok rental, as well as makeup and hairstyling services. Mehrsa, an international student from Iran, said, “I have always been in love with Hanbok because of K-dramas, and when I rented one at Gyeongbokgung Palace, it was quite comfortable.” She also added, “I loved the vibe and the intricate details of it, so I would like to wear it again when visiting palaces in Korea.”
Even in the current wave of modernization, efforts to preserve traditional Hanbok continue. The World Culture Association holds the “Korea Hanbok Model Contest” each year from March to April, choosing models to represent the beauty of Hanbok. Also, the Korea Craft & Design Foundation designates a “Hanbok Culture Week” in October every year, during which various Hanbok-related programs are held across the country, allowing people to enjoy the culture of Hanbok.
The Future of Korean Traditions
Korean traditional culture is a valuable asset that has accompanied the lives of its people throughout a long history. Although it once experienced a period of decline amid modernization and urbanization, it has been rediscovered and reinvented in new forms across tourism, culture, and design. Examples where Korean tradition is reinterpreted in modern ways, such as traditional archery competitions, mother-of-pearl merchandise, and Bukchon Hanok Village, demonstrate that Korean culture can indeeds be integrated into contemporary life.
But there exist voices of concern that this interest may only be a short lived trend. For interest in Korean culture to persist over the long term, more proactive measures are needed. Alongside preservation efforts through government policies and cultural initiatives, an environment where culture can naturally be enjoyed in everyday life is also crucial.
Currently, the view that original forms of tradition should be preserved and passed down, and the view that a certain level of modernization is necessary coexist. It is important to move forward in a direction where these two values can harmonize instead of leaning to one view. Ultimately, the value judgment regarding the future of Korean traditional culture lies with all of us who experience and engage with it today.
Lee Geon-yong(ST Reporter)
rjsdyd0414@soongsil.ac.kr
Jung Ah-in(ST Reporter)
ahinjung@soongsil.ac.kr