bells rang throughout town, the men would return to their families and only then were women able to step out of their homes. Despite this sequestered way of living, the women found rich satisfaction in stitching colorful and beautiful fabrics in a specially designated inner sanctum within their house.
A completed bojagi revealed the socioeconomic status of the maker. At times intense, and at other times gentle, the range of color combinations tell stories of families and histories and is heavily influenced by the ancient Chinese philosophies of yin and yang, Feng Shui and the five-elements theory that make up the universe. The five colors associated with the elements that form the basis of the entire natural world are: blue, white, red, black and yellow. Blue represents spring and is oriented toward the east; it symbolizes birth, creation, and hope. Red represents summer and is south-facing; it symbolizes passion, love and growth. White is autumn and westward; it symbolizes innocence, truth, bereavement and transition. Black is winter and points to the north; it symbolizes darkness. Yellow represents the earth itself, at the center; it symbolizes light and life. Although the colors red or green may be used in place of black, these five main colors comprise the essential directional elements and form the foundation of the bojagi color scheme. Various expressions can be evoked via the color combinations, from delicate and lighthearted to fiercely dark.
For example, a Chogakpo constructed in a Hoppo style often utilizes pastel colors that indicate a richness and complexity, and the colors reference the purple hues that only the wealthy could afford to use in days of yore.
In examining the various colors and configurations of Chogakpo bojagi, there are quite a few that seem to have no rhyme or reason in terms of design. In any kind of art, there is usually a planning phase and the final piece is executed in accordance to this plan. However, Chogakpo involves randomly piecing together available scraps and it is, in fact, this organic method that creates its unique beauty. Tattered fabrics destined for the dustbin are given a second life, and I believe the resulting work could stand on its own as a piece of art.
At its heart, bojagi is a utilitarian, age-old Korean craft accessible to everyone. Born from respectful and law-abiding women who—despite their cloistered existence— created moments of respite and artistry from the humble activity of needlework to establish a practice of joy and hope. I am guided and inspired by these women and consider it my life work to spread this joy and hope.
May this book bring you good fortune, as bojagi is meant to. I think of the many anonymous women who tirelessly pieced together small pieces of fabrics one stitch at a time and have designed this book to bring a fresh perspective while preserving the integrity of the craft. My hope is that this lovely tradition dating back to the beginnings of the Joseon Dynasty will be enjoyed as part of modern daily living, and I included sections on the wonderful variety of projects that have evolved from this art form. I’m certain that you’ll find projects that strike your fancy in these pages.
Finally, I want to express my heartfelt gratitude to Huh Dong Hwa, the president of the Museum of Korean Embroidery, whose vast collection of and ardent advocacy for the craft of bojagi has not only given bojagi the spotlight it deserves but enlightened us all about its beauty as an art form and narrative. Furthermore, I am deeply appreciative of his permission to use his materials as references and samples in this book.
Please note: The projects in this book were designed and executed using metric measurements. Imperial measurements to the nearest eighth of an inch are provided in the instructions, but these are approximate. Using the more precise metric measurements is strongly recommended.
Terminology
There are many finishing techniques associated with bojagi, and the resulting style will differ depending on the combination of how seam allowances are handled for certain construction methods. To avoid confusion, the techniques and construction methods will be called out in Korean for each project.
Style (Construction Methods)
Hopp—single-layer bojagi
Kyoppo—two-layer bojagi with a top piece and backing piece
Sompo—more of a traditional quilt with two layers of bojagi sandwiching a layer of batting. Also known as Nubi.
Finishing Techniques
Komsul—Seam allowance is pressed open. Typically used in a two-layer construction method.
Samsul—Similar to a flat-felled seam, the raw edges of the seam allowance are folded over each other and sewn down. Used in single-layer construction method.
Kapsul (Keki)—The raw edges are separately folded toward the wrong side and stitched into place with a series of running stitches. Used in a single-layer construction method.
Hatsul—The seam allowance is pressed to one side and secured with backstitches from the right side of the fabric.
Choi Yangsook
References
“Colors and Shapes of Korea: Traditional Korean Textile Crafts” by Jiaodong. Published by Kyotoka Institute for Culture and Art, the Korea Museum Association, and the Japan-Korea Cultural Exchange Project Implementation Committee. “Embroidery and Cloth in the Yi Dynasty Period: an Hommage to Nameless Artists”. Published by the Kyotoka Foundation, International Art and Culture Promotion Committee.
HOME DECORATIONS
Light and Wind
Bojagi is pieced together from old fabric odds and ends and is infused with blessings of fortune, longevity and good health. Traditionally meant for wrapping and covering, these projects can be certainly used in that way, but they could be beautiful and modern as window coverings or room partitions as well. Happiness is the glow of sunrays filtered through mindfully stitched scraps.
Tapestry
Lightweight silk in hues of pinks, blues and green patched together. When the light hits the finished seam allowances, it casts layers of lovely shadows.
26” x 19½” (66 x 49.5 cm) ❖ Fabric: lightweight silk ❖ Style: Hoppo ❖ Finishing technique: Samsul ❖ Instructions on page 66
Antique Bojagi Replica
Here we’ve replicated a 19th-century square Chogakpo bojagi*. The seam allowances vary in size, and the shadows create an interesting design. This versatile bojagi can be enjoyed and displayed in any direction.
22½” x 22½” (57 x 57 cm) ❖ Fabric: silk (nobang, okusa) ❖ Style: Kyoppo ❖ Finishing technique: Hatsul ❖ Instructions on page 67
*Bojagi’s Simple Elegance by Dong-hwa-hur, published by the Museum of Korean Embroidery. Reproduction of 19th century Chogakpo, page 225.
Chinese Lantern Plants
With
