Myeonggi are funerary objects, such as figurines, animal figures, and vessels, that were buried with the dead, while myoji are epitaph tablets that bore inscriptions about the dead. The universal practice of burying various objects and placing epitaphs on tombs existed since ancient times, and Korea was not an exception to this tradition. Examining what was buried in tombs and written on epitaph tablets provides valuable clues to understanding the burial customs of the past. This exhibition consisted of pottery from the Silla (57 B.C.-668) and Gaya periods (42-562), earthen figurines of ducks, houses, ships, and candles, as well as small white porcelain vessels and masks from the Joseon dynasty (1392-1910). Myoji displayed during this exhibition included Buncheong ware, white porcelain, and blue-and-white porcelain epitaph tablets. There were also rubbings of myoji from the Three Kingdoms period (57 B.C.-668) and the Goryeo dynasty (918-1392).

This exhibition consisted of some 90 pieces of small wood works divided, as are all wooden artifacts in the possession of the Ewha Womans University Museum, into the following five categories: furniture; small wood works; serving tables with legs; lacquer ware inlaid with mother-of-pearl; and painted ox-horn sheet handicrafts. Small wood works are defined as smaller pieces of furniture or objects that scholars widely used in their studies, such as brush stands, book shelves, small writing stands, cases for hats, ash trays, cases for paper work, and lamp stands. They also include cases for arrows and gunpowder. In spite of their sometimes diminutive stature, many of these wooden objects were beautifully decorated with mother-of-pearl inlay or painted ox-horn sheets, and evidence the refined tastes of Joseon dynasty (1392-1910) literati.

The Gisagyecheob, designated as Treasure No. 638, is a silk album with colored paintings and writings made to commemorate the ceremony that King Sukjong (1675~1720) held with his high-level subjects over the age of 70, to celebrate his own 60th birthday. Work on the Gisagyecheob began in 1719 and was completed in 1720, after King Sukjong's death. It is composed of a total of twelve volumes. Contained in the Gisagyecheob are an introduction, writings by King Sukjong, five paintings of the ceremony, a list of participants, portraits and poems of ten members, and a list of those who produced the work itself. An accurately dated and well preserved complete volume of the Gisagyecheob was revealed for the first time in this exhibition, thereby providing important information on the history of painting, clothing, and traditional culture.

Brush holders and brush stands are stationery items with an intimate relation to literary activities. A brush holder is a round, square or hexagonal cask in which brushes are kept, and a brush rack is used to hang brushes. Casks larger than brush holders are usually paper roll holders, which come in a variety of shapes and designs. On display were simple wooden brush holders made from paulownia, zelkova, and bamboo, as well as brilliant wooden holders decorated with lacquer-ware inlaid with mother-of-pearl and black cinnabar lacquer, stone brush holders made with white, red, and green stone, and ceramic brush and paper holders dating from the late 19th to early 20th century. Most of the artifacts on display consisted of ceramic brush and paper roll holders, and, among these, the White Porcelain Paper Roll Holder with Tiger and Pine Tree Design, the White Porcelain Paper Roll Holder with Grapevine in Underglaze Blue and Iron, and brush holders with lotus, peach, plantain, and tortoise shell openwork designs were the highlight of the exhibition. All the brush stands exhibited were of ceramic. Among them, the fan and mountain-shaped plain white porcelain brush stand, and the mountain-shaped brush stand with landscape design in underglaze blue were extraordinary.

In Asia, various stationery items, such as brushes, ink sticks, ink stones, and water droppers, have long been used in painting and writing. These tools are not only daily necessities but also excellent works of art, reflecting an artistic and noble temperament. The Ewha Womans University Museum has collected various types of stationary from the Three Kingdoms period (57 B.C.-668) to the Joseon dynasty (1392~1910). The ceramic stationary items produced at the Bunwon-ri kiln are particularly highly acclaimed at home and abroad. The theme of this first special exhibition dedicated to stationery was "the ink stone and the water dropper."
The ink stone is an essential tool on which ink sticks or pigment is ground for painting or writing. Earthenware ink "stones" from the Three Kingdoms period and Unified Silla (668 A.D.-935), ink stones proper from Goryeo (918~1392), and ceramic ink "stones" from Joseon (1392~1910) were put on display.
The water dropper is used to place a measured amount of water onto the ink stone prior to grinding the ink stick. It has two holes--one out of which the water flows, and another into which air flows--to adjust the amount of water flow. Most of the water droppers on display were ceramic water droppers from the Joseon dynasty, and they took on various forms. Example include geometrical shapes, such as circles, squares, hexagons, heptagons, and octagons, animal shapes, such as birds, ducks, the mythical animal haetae, turtles, and butterflies, and also shapes from everyday life, such as houses, mountains, peaches, reeds, and knees. Water droppers are made of white porcelain, black-brown glaze, and onggi (stoneware). The white porcelain water droppers include not only plain white porcelain but also water droppers with landscapes, plants, animals, and geometrical designs painted with pigment such as underglaze copper and underglaze iron. Water droppers may be seen as the essence of stationery, and, depending on the ways in which their shapes, designs, and materials blend together, water droppers may appear noble, innocent, or even humorous.