Playing with fire: Korean artist takes hot irons to canvas for intricate drawings

Home > Culture > Korean Heritage

Playing with fire: Korean artist takes hot irons to canvas for intricate drawings

Published: 25 Feb. 2025, 07:24 Updated: 25 Feb. 2025, 15:26

PARK SANG-MOON
[email protected]

Audio report: written by reporters, read by AI

Kim Yeong-jo, who is designated as a national intangible cultural asset due to his knowledge on the techniques of creating nakhwa paintings, which uses a heated iron instead of a brush, works at his studio in Boeun, North Chungcheong. [PARK SANG-MOON]

Kim's reproduction of the famous ancient painting "Hasando" (Summer Mountains) using the nakhwa technique [PARK SANG-MOON]

[Zoom Korea]

Nakhwa refers to the traditional technique of drawing and writing on paper, wood, leather and silk using a heated iron. Nak means to scorch, while hwa means to draw in Chinese characters. The drawing technique of nakhwa is similar to that of sumukhwa, a traditional painting style that uses ink and water. However, nakhwa requires advanced dexterity, as it uses a soldering iron instead of a brush. The genre requires skills in both painting and handicrafts. Since it takes longer to hone all the essential skills in nakhwa compared to other traditional painting styles, it is on the verge of disappearing, but master artisan Kim Yeong-jo is striving to preserve the tradition.

Kim’s gallery and workshop are located in Boeun, North Chungcheong. Two mushroom-shaped buildings stand next to each other. One is a gallery called Cheongmok and the other is a place where people can learn the techniques of nakhwa. Kim and his daughter Yu-jin, who learned nakhwa techniques from her father, are in charge of the workshop and gallery, the only places where people can experience nakhwa paintings on home soil.

Kim's nakhwa painting of Eunhaesa, a main temple of the Jogye Order of Korean Buddhism, located in Yeongcheon, North Gyeongsang [PARK SANG-MOON]

Kim's nakwha painting [PARK SANG-MOON]

Kim's reproduction of a famous ancient painting by late Joseon-painter Yi In-mun (1745-1821) titled "Gangsan Mujindo" (late 18th century), which can be translated as "Rivers and Mountains without End," in English, using nakhwa technique [PARK SANG-MOON]

Kim started drawing using the nakhwa technique at the age of 22 in 1972. Although he was a talented young artist and had won many awards in drawing competitions, he was unable to pursue his dream of becoming a painter.

His grandfather fought for the freedom of the country when it was under Japanese colonization (1910-45), and his father, who ran for election to the National Assembly but failed to win, suddenly passed away when Kim was a high school student. So, his family needed a breadwinner and Kim was the only one eligible.

One day, when Kim flipped through a newspaper in search of job openings, an advertisement caught his attention. The ad sought people who wished to learn nakhwa painting at a private academy located in Jongno, central Seoul. The institute even guaranteed paid work for those who signed up for the course. As soon as Kim began his studies at the academy, he knew that art would be something he could do for a living for the rest of his life.

About 30 or so students learned from Jeon Chang-jin at the academy. Jeon, who acquired a knowledge of nakhwa from masters Baek Hak-gi and Choi Seong-su during the Japanese colonial period, taught everything he knew to his students.

Kim's reproduction of a cultural heritage "The Bonjon Statue" at Seokguram Grotto using nakhwa technique [PARK SANG-MOON]

Kim's reproduction of a cultural heritage "Rock-carved Bodhisattva" at Sinseonam Hermitage using nakhwa technique [PARK SANG-MOON]

At first, Kim began drawing simple things, such as plum flowers and bamboo, but he later became experienced enough to draw more complex things like portraits and landscapes. However, his peers quit halfway through. They said they couldn’t build a future based on traditional drawing, but Kim decided he wanted to take the risk.

He challenged himself to survive on the art of traditional painting. Kim made souvenirs using nakhwa and sold them at nationwide gift shops near popular sightseeing spots. He earned quite a good living from the souvenirs. But, he kept trying to elevate his nakhwa skills to the next level by operating souvenir shops for about two decades.

Drawing with a soldering iron, which is heated up to 800 degrees Celsius (1,472 degrees Fahrenheit) on charcoal, is indeed a daunting task. By holding the heated iron in one hand, the artisan creates diverse contrasts, strokes and textures by pressing the iron against the canvas differently.

Kim's reproduction of a famous late Joseon-era painting "Maenghodo," which can be translated as "Painting of a fierce tiger," using nakhwa technique [PARK SANG-MOON]

After some trial and error, Kim could finally use his iron even on paper and wood, the most vulnerable of materials.

In the hope of promoting the beauty and excellence of nakhwa, the master has been vigorously participating in overseas exhibitions.

In 2014, Kim was invited to the Biennale d'Arte di Asolo held in Italy and captivated visitors by drawing for 4 hours on the eve of the opening ceremony.

Kim also draws portraits of famous figures using the soldering iron. Pope Francis, former U.S. President Jimmy Carter and former German Chancellor Angela Merkel are some of the people who Kim has drawn.

Kim also endeavored to designate nakhwa as a national intangible cultural asset. His efforts paid off in 2018 when the Korea Heritage Service confirmed the art form's designation.

Traditional irons used to create nakhwa [PARK SANG-MOON]

Two types of irons are needed for nakhwa: one is a so-called parrot beak iron with a pointed tip and the other is a regular flat iron. [PARK SANG-MOON]