Hangeul Design: Prototypes and Future of the Korean Alphabet

공연 소개

Introduction This year marks the 620th anniversary of King Sejong’s birth who invented our script Hangeul. King Sejong took pity on the people who were not able to communicate their thoughts because of illiteracy. Out of such love for the people he developed a new script which was easy and efficient to use. National Hangeul Museum plans to hold overseas exhibitions each year in order to promote values of Hangeul culture, and these exhibitions, in turn, will be presented to the national audience later on. As the first step, the exhibition titled ‘Hangeul Design: Prototypes and Future of the Korean Alphabet’ opened in 2016 at Korean Cultural Center in Tokyo. The current exhibition is the first of the same title touring in Korea. The exhibition consists of ‘Part 1: Easily Learned and Conveniently Used’ and ‘Part 2: Limitlessly Altered’. The exhibition explains the principles of creating 28 letters, by combining simple shapes based on primary forms such as dots, lines, and circles, along with 8 basic letters. In this exhibition, the forms of original Hangeul letters of the 15th century contained in the Hunminjeongeum are reinterpreted into 30 different design works. We hope the exhibition will provide an opportunity to appreciate different characteristics of the original forms of Hangeul and its unlimited potentials found in various fields in our daily lives. Easily Learned and Conveniently Used: Letters of Consideration and Communication King Sejong (in reign from 1418 to 1450), the 4th King of the Joseon dynasty, devised Hangeul in 1443 for ‘the people who could not express themselves fully even if they had something to say’. Hangeul, which can easily be learned and conveniently used, has simple shapes and is comprised of a few letters suiting the purpose of its invention. Eight principle letters using basic shapes of ‘dots, lines and circles’, and their variations in 28 letters can be learned in one morning by ‘a quick-witted person and 10 days even for a slow-witted person’. They are letters of consideration and communication. “a quick-witted person could learn before a morning is over, even a slow-witted person could learn in 10 days.” Jeong Inji’s Preface to the HunminjeongeumLimitlessly Altered: Expandability of Hangeul Reinterpreted Through Design For about 570 years since its invention, Hangeul has been a foundation of Korean culture and evolving continually in places closest to our everyday lives. Especially today, along with linguistic content that Hangeul possesses the modern design field is growing bigger where designers focus on the artistic and visual aspects of Hangeul. In this exhibition, 22 teams of designers project their design perspectives on Hangeul in the present and also in the Hunminjeongeum of the 15th century. Expandability of Hangeul exceeding the boundary of a script can be experienced through the design works reinterpreting the 15th century Hangeul and the Hunminjeongeum. “With these 28 letters alterations can be limitless” Jeong Inji’s Preface to Hunminjeongeum Photo ▲ Series on Changed Scenery, Designer O Hezin Four archaic words (슈‧룹, 싣, 브, :뫼) that are unique in their forms are selected from Yongjarye to be displayed with the modern word equivalents (우산, 단풍나무, 부엌, 산) meaning umbrella, maple tree, kitchen, and mountain respectively through graphic illustrations. Lenticular printing is used so that the shape of archaic and modern word pairs can be compared with the corresponding illustrations. ▲Component of Old Hangeul, Designer Yoon Min-goo Principles of Hangeul is reinterpreted with ‘Edomoji’, Japanese lettering styles from the Edo Period. The word ‘샘[saem]’ is deconstructed into four letter components (ㅅ, ㆍ, ㅣ, ㅁ) and each component is filled into four separate frames. Each frame in itself is considered as an independent work but it can also function as a graphic or a word through certain combination of the frames. ▲ Editable Format, Designer Kimgarden The work was inspired by the endeavor in writing Yongjarye, the carefully selected words by scholars, and the page format composed of 8 row and 13 letter which adds up to 104 letter per page. Yongjarye is reconstructed into a book consisting of 428 sheets containing a single letter per page. The book in turn is put into a three-dimensional frame consisting of 8 row and 13 letter to create an expanded page of Yongjarye. ▲ Hangeul Block, Designer Song Bong-kyu The block designs are inspired by Hangeul vowels and consonants. Each The material and shape of each block is realized through 3D digital tool method by applying extruding, revolving and railing techniques. ▲ KerfSeries‘Hunminjeongeum’Edition, Designer Hwang Hyung-shin The principles of Hangeul provided an inspiration for this series of work entitled Hunminjeongeum. Just as sound and meaning change by adding strokes to basic vowels and consonants, the work tries to show how various combination of wooden furniture can serve a different set of functions such as stool, bench, chair and etc. ▲ Hangeul + Puzzle, Designer Min Byung-geol Sound transformation is reflected in Hangeul letterform in a scientific way. By continuously changing a pair of vowel and consonant, the work is designed to illustrate diverse sounds of Korean language. Color and light work in the same manner as Hangeul in that a new color can be created by combining basic colors. The work is type of a play which unravels the overlapped letters through clues given by Hangeul and color. ▲ Jangsuk Chest, Designer Ha Jee-hoon The chest was inspired by traditional wooden furniture and metal ornament for the wooden furniture from the Joseon period. Applying the idea that dot, line, and circle are basic elements of Hangeul, Hangeul letterforms are discovered from the traditional metal decoration designs. The intrinsic function of Korean metal ornament is reinterpreted as decorative motifs to represent the beauty of Hangeul. 관련 자료 ○ 전시 해설: 오후 3시 [2017. 3. 1.~5. 28.] ○ 보도자료: [2016. 9. 12.] ○ 교육: --> .poster_img{float:left;display:inline-block;margin-right:20px;width:298px; border:1px inset #ccc} #program_preview > .description {float:right;width:367px;} #program_preview > .description li {border-bottom:1px solid #ccc} #program_preview > .description li .stitle{font-weight:bold;color:#355b78;background-color: #fff;} #program_preview > .description li .stitle > p{display:inline-block;padding:4px 5px;margin-right:5px;font-weight:bold;font-size:1em;color:#fff;background-color:#4dafd3;} #program_preview > .description li > h6{font-weight:bold;font-size:1.8em;line-height:24px;margin:11px 0;color:#2b2b2b;} #program_preview > .description li > dl{padding:9px 0;font-size:1.2em} #program_preview > .description li > dl dt{float:left;display:inline-block;width:100px;height:40px;font-weight:bold;} #program_preview > .description li > dl > dd > dl {display:inline-block;width:auto;margin:-10px 0 0 1px;border-bottom:1px solid #ccc;font-size:0.9em} #program_preview > .description li > dl > dd > dl > dt, #program_preview > .description li > dl > dd > dl > dd{padding:9px 2px;border-top:1px solid #ccc;} #program_preview > .description li > dl > dd > dl > dt{width:48px;display:inline-block;font-weight:normal;margin:0;} #program_preview > .description li > dl > dd > dl > dd{width:199px;margin-left:49px;font-weight:bold;} .exhibition_composition {display:block;margin:10px 0 30px 0;padding:20px 30px; 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