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Ewha Womans University Museum presents as many as 200 pieces from its collection, boasting multiple decorative techniques and types including intaglio, relief, underglaze, inlaid, sculptural, openwork, and nonpatterned celadon, which will represent Goryeo dynasty. In addition, the museum exhibits those created in the modern era with the aim to reproduce the Goryeo tradition, alongside a number of products created by Ewha Womans University’s Research Institute of Ceramics, the cradle of ceramics education in Korea. Furthermore, the exhibition includes as many as 1,000 celadon shards unearthed from the kiln sites (currently Yucheon-ri kiln site No. 12 and 13) in Yucheon-ri, Buangun, North Jeolla Province, which the museum acquired in 1958. These shards were robbed and removed from the kiln site by a Japanese national named Fukada Yasutoshi (深田泰壽) before being purchased and retained by our museum and the National Museum of Korea. The pieces will demonstrate a variety of decorative techniques and high artistic standard of the production of Buan Celadon, which rivaled those created at Gangjin, South Jeolla Province, during the peak of Goryeo dynasty. This exhibition, encompassing the Goryeo dynasty to the modern era, will be a meaningful venue to observe the history and culture of our celadon in one place.


Cup and Stand with Incised and Inlaid Lotus and Chrysanthemum Design 靑瓷陰刻象嵌蓮菊文托盞 Goryeo 13th century H. 9.9cm	Melon-shaped Ewer with Inlaid Chrysanthemumand Peony Design 靑瓷象嵌菊花牡丹文瓜形注子 Goryeo 13th century H. 24cm	Tiles (restored) 靑瓷裝飾板 (復原) Goryeo 13-14th century From the Kiln Site in Yucheon-ri, Buan H. 14.5cm	Stools with Linked-ring Design in Openwork 靑瓷透刻墩 Treasure No. 416 Goryeo 13-14th century H. 50cm

Flowerpot and Stand with Inlaid Peony, Cloud and Phoenix Design 靑瓷象嵌牡丹雲鳳文花盆付承臺 Goryeo 14th century H. 23.3cm	Pillow with Inlaid Flower, Butterfly, Cloud and Crane Design 靑瓷象嵌花蝶雲鶴文枕 Goryeo 13th century H. 11cm	Maebyeong with Lid with Inlaid Cloud and Crane Design 靑瓷象嵌雲鶴文梅甁 Goryeo 12-13th century H. 37.2cm	Maebyeong with Inlaid Chrysanthemum and Bamboo Design 靑瓷象嵌菊竹文梅甁 Goryeo 12th century H. 27cm

Maebyeong with Inlaid People,Crane and Lotus Design (restored) 靑瓷象嵌人物文梅甁 (復原) Goryeo 13-14th century H. 38.5cm	Maebyeong with Inlaid Dragon and Wave Design (restored) 靑瓷象嵌龍文梅甁 (復原) Goryeo 13-14th century H. 86.3cm	Bowl with Inlaid Arabesque Design. Celadon 靑瓷象嵌唐草文鉢 1910s H. 7cm 李王職美術品製作所

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Embroidery refers to the activity of decorating fabric with patterns using needles and threads of various colors. It developed organically as people began to decorate items of clothing. The Records of the Three Kingdoms writes that people of Buyeo and Goguryeo wore garments adorned with embroidery. Meanwhile, a four-panel folding screen of Goryeo adorned with embroidery of potted flowers shows the delicate taste of the literati of the time. Depending on its purpose, embroidery is divided into three types: clothing, household and artistic embroidery. In Joseon’s court, decorating garments with embroidery was deemed an extravagance and thus discouraged. Therefore, clothing embroidery was confined to ceremonial dresses. Meanwhile, household articles were sumptuously embroidered with designs of auspicious patterns. In addition, folding screens with embroidered painting and calligraphy were appreciated as valuable artwork in themselves.

This exhibition displays a wide range of Joseon embroidery: embroidery found in ceremonial robes such as insignia badges; wedding embroidery for the bride; embroidery for children’s garments designed in hopes of their long and healthy life; and embroidery on household articles that reflects the embroiderers’ wish for abundant wealth. Moreover, this exhibition also displays foreign embroidery techniques introduced via school education, as well as modern embroidery based on picturesque designs, as an overview for the transformation process of embroidery. The various embroidery works on display present the opportunity to witness our ancestors’ skill in turning their daily wishes into art.

		Insignia Badge Featuring a Five-Clawed Dragon 五爪龍補 19th Century Joseon Dynasty Silk D.17.7cm

Bridal Robe 華衣 20th Century Silk L. 130.5cm, Arm Length. 76cm, W. 53cm	Multi-Colored Jacket for Girls 襦 19th Century Joseon Dynasty Silk L.18cm, Arm Length.38.5cm, W.30.5cm	Brush Case 筆囊 19-20th Century Silk L. 32cm, W. 9.3cm

Pouch 夾囊 19-20th Century Silk L.8.5cm, W.12cm	10 Panel Folding Screen with Flowers, Trees and Birds 花鳥圖十幅屛風 19th Century Joseon Dynasty Silk L.230cm, W.390cm	Wrapping Cloth 褓 19-20th Century Silk L.38cm, W.36.5cm

It is no exaggeration to say that the Ewha Womans University Museum has grown since its opening using donations as a stepping stone from Ewha alumnae, including the several presidents, and individuals who have believed in and cared deeply for the museum. Owing to the many people who have made donations without asking for any kind of gain, we were able to house a multitude of valuable cultural assets even though we are a university museum. Especially in the past few years, the donations of modern artifacts collected during Korea’s modern period and passed down in families have increased and the museum has been able to collect various artifacts from the time. To express our gratitude, we prepared the Donated Artifacts of Modern Age exhibition, focusing on artifacts that have been donated in recent years.

This exhibition features photographs which allow us to take a look at Korean society of the modern era, as well as letters, furniture, costumes, and craftwork. The letter handwritten in Korean by Empress Myeongseong is especially of high value, as it is being introduced for the first time. In terms of photographs, the exhibit is featuring a photograph of Empress Sunjeonghyo and a photo album decorated in the Japanese-style, which contains 50 photos of streetcars, streets, and people. Included among donated costume artifacts are a skirt made of valuable Andongpo, a seamless one-piece skirt made of broad cotton fabric dyed in black, and thimbles and patchwork wrapping-cloths of beautiful colors that are in step with today’s artistic taste. Others include wooden tables that display aesthetic qualities different from traditional furniture due to the installation of its many drawers and an asymmetrical division of the plane, and the works of Artist Kim Bong-ryong (1902-1994) who carries on the legacy of the modern craft of lacquerware inlaid with mother-of-pearl. We would like to take this exhibition as an opportunity to convey our deepest thanks to our donors.


Hangul Letter of the Empress Myeongseong	Letter by Myrta Stover	Photographic Album of the Modern Age
19th-Early 20th Century	1929	Early 20th century
Donated by Chung Eun Ju	Donated by Ewha Haktang	Donated by Mark Gaston

Table with Decoration in Mother-of-pearl inlay. Black-lacquered Wood	Black and red-lacquered clothing chest with traditional relics design inlay. Red&Black-lacquered Wood Kim Bong Ryong(1902-1994)	Overcoat for Children. Silk
Early 20th century	The middle of the 20th century	Early 20th Century
Donated by Han Tong Ill	Donated by Choi Seung Won	Donated by Yoo Seung Yup·Kim Hye Sook

Traditional footwear in Korea is roughly divided into hwa, shoes with a high neck and derivative from the mounted nomadic tribes in the north, and ri, low shoes that were developed from the agricultural areas in the south. Records on Korean footwear appear since ancient textual references. According to the Biographies of the Wuhuan, Xianbei, and Dongyi of Book of Wei that are included in the Annals of Three Kingdoms, leather shoes were worn in Buyeo and straw shoes in Mahan. Shoes of Goguryeo can be found in ancient tomb murals, which depict people wearing hwa and ri regardless their class or gender. Since the Joseon dynasty, hwa were established as the footwear worn by noblemen with official or military uniforms, and ri, commonly called hye, were worn for daily use by both men and women. In late Joseon, the design of hwa became lower and its sole got flat. With the design of hye, as the tip became pointier and the outer rim lower, its unique beauty presented a sleek yet curved profile. Unlike clothing, footwear was produced by professional artisans, and the exquisite shapes of a shoe allow us to glimpse at their deft craftsmanship.

In this exhibition, Joseon’s traditional footwear is displayed showing a variety of pieces including mokhwa, which were worn with official uniforms, ceremonial shoes and taesahye made of leather and silk, which was everyday wear for the upper classes, danghye, unhye, and straw shoes worn by commoners. And by including rubber shoes from the modern period, the exhibition examines the changing history of footwear in Korea. As we witness how footwear completed an outfit in harmony with the clothing, we will be able to appreciate the beauty of traditional Korean attire and better understand the lifestyles of our ancestors.


Mid-calf Length Boots for Official	Shoes for Women	Shoes for Men	Clogs
Joseon Dynasty 19th Century	Joseon Dynasty 19th Century	Early 20th Century	Joseon Dynasty 19th Century
Private Collection

Ewha Womans University Museum presents a special woodcraft collection exhibition titled Wood·Craft in celebration of the 130th anniversary of the university’s foundation. This exhibition was designed to look back on the usefulness and beauty of furniture and crafts made of wood. As wood is nature’s longest and most basic resource, it has been around in the life of mankind for a long period of time. Wood has served as the most basic material to build shelters to live in and tools to use. Therefore, it is wood craftsmanship that reveals the basic skills and wisdom of those living in a certain region.

A total of about 100 objects displayed for this exhibition are Korean furniture and crafts that were produced and used from the Joseon dynasty to modern times. Next to ceramics, woodcrafts are the largest holdings in the University Museum’s collections. The University Museum has collected a wide variety of relics and donations since its foundation, some of which would be singled out for special events (in the case of the university inviting prominent figures from overseas) or displayed in the president’s office to highlight the beauty of Korea and the rich cultural tradition of the university.

This exhibition presents a vast array of woodcrafts that were made in consideration of space and the user, such as a bookshelf and desk in the study of a scholar, a document chest and wardrobe, along with a comb box and a dressing stand, placed in the women’s quarters, and a small portable dining table used in the kitchen—all of which are displayed in different sections according to use and design, demonstrating the material properties of wood, its aesthetic values, and history. In addition, an education room was designed to assist the audience, including school children, to understand the artworks by utilizing digital media and displaying tools and lumber used for the production of the woodcrafts.


Two-tier Clothing Chest with Tortoise Shell Design in Mother-of-pearl Inlay	Three-tier Wardrobe with Decoration in Mother-of-Pearl Inlay	Wardrobe Chest	Treasure Chest with Ten Longevity Symbols in Mother-of-pearl Inlay
Early 20th century	Early 20th century	Joseon 19th century	Joseon Early 20th century

Paper-covered Box with Cloud Designs in Mother-of-pearl Inlay	Four-tier Shelf	Writing Desk with Calligraphy in Mother-of-pearl Inlay	Octagonal Hat Case
Joseon 19th century	Joseon 19th century	Joseon 19th century	Joseon 19th century

In celebration of the 130th anniversary of Ewha’s foundation, Ewha Womans University Museum has arranged a special exhibition to reminisce upon the 130-year history of Ewha. In 1886, Ewha started out with a single female student in 1886, taught by American missionary Mary F. Scranton, sent from the Women’s Foreign Missionary Society of the Methodist Episcopal Church, at her house in Jeong-dong, Seoul. In those days, Ewha, the first modern educational institute for Korean women, was the hope and vision for women to begin a career and to fulfill gender equality. Overcoming the dark days of Japanese colonial rule, Ewha was officially accredited by the government as the first university in Korea in 1946, opening a new chapter in higher education for women. Enduring the nation’s suffering during the Korean War in the 1950s, Ewha developed into a university that adapted to the needs of the new era and led women trends at the time in the 1960s to 70s.

In the 1980s, Ewha strengthened its original purpose as a university under the slogan, “University as Center of Research.” The establishment of the world’s first engineering college for women led to overcoming the crisis of women’s universities at the time and strengthened its pride and role as an educational institution. In the 2000s, Ewha faced a significant opportunity to make a new leap forward. As Ewha Bridge was dismantled and Ewha Campus Complex (ECC) was built, the Ewha campus reestablished itself as a setting for education and culture, as well as a national and international attraction. Ewha is setting the pace for change that will foster women leaders from Ewha in the 21st Century. Ewha’s 130-year history has evolved along with the modern history of Korea. Ewha’s past is not only its own history, but also reveals the changes in Korea’s modern history, education, and women’s status, helping situate Ewha’s future course and identity.


Certificate of Graduation from Ewha Hakdang	Ewhahaktang Korean Flag	Desk Used by Ewha Womans University’s 6th President Appenzeller(held the post from 1922 to 1939)
1917	The Great Han Empire 20th century	The Great Han Empire 20th century
Print on Paper	Silk

HerstoryⅡ	Crown for May Queen at the 80th anniversary	Main Hall of Ewha Campus in Autumn
Cho Duck-Hyun, 1999	1966	2012
graphite and charcoal on canvas		Ink and Light Color on Paper

The Joseon dynasty, adopting Neo-Confucianism as its ruling principle, supported Yechi, rule by propriety, through the establishment and implementation of national rituals in accordance with the Five Rites. Dress and accessories in national ceremonies were a typical way of obeying the formalities according to rank and procedure. In that respect, ceremonial dress is seen as a comprehensive symbol of embodying the social order and world view of the time. The ceremonial dress of the Joseon dynasty changed according to a relationship with China. In the early Joseon, the dynasty embraced the clothing system of the Ming dynasty including the ceremonial attire, myeonbok, for the king, the robe, daesusam, and neck strip for the queen. However, the foundation of the Qing dynasty made the Joseon clothing system seek its identity with the development of Joseon-centrism emphasizing authenticity of the Confucian culture. Meanwhile, the royal ladies wore jeogui, the queen’s ceremonial attire modified under the influence of the Ming clothing, and dresses tailored in Joseon’s style like wonsam, hwarot, and dangui, on ceremonies like wedding and royal banquets. The patterns and colors of these dresses symbolized the virtue required for the wearers and their rank and matching accessories added authority and splendor to the ceremonies. This exhibition presents various ceremonial dresses and accessories for rituals as well as the clothing and official robes at court during late Joseon. It will allow you to take a look at ancestors’ esthetic sense of transforming the authority and significance of ceremonies into refined beauty through clothing and accessories. Besides, by appreciating diverse symbolic patterns and colors, you will gain a deeper understanding of our ancestors’ insight into the ideal human character and life on the basis of Confucian values.


Double Phoenix Frontal Hair Ornament	Ornamental Hairpin	Dragon-shaped Hairpins	Hairpins with Ornamental Jades and Beads
19th Century Joseon Dynasty	19th Century Joseon Dynasty	19th Century Joseon Dynasty	19th Century Joseon Dynasty
L. 5cm	L. 10.5cm	L. 38.2, 37.8cm	L. 33.5, 29cm


Bridal Robe	Ceremonial Robe for Woman	Ceremonial Long Jacket for Woman	Ceremonial Coronet for Woman
19th Century Joseon Dynasty	Early 20th Century	19th Century Joseon Dynasty	19th Century Joseon Dynasty
L. 123.4cm, Arm Length. 96.5cm, W. 46cm	L. 130cm, Arm Length. 87cm, W. 51.8cm	L. 79cm, Arm Length. 66cm, W. 39cm	H. 9.3cm, L. 11cm, W. 8cm


Ceremonial Robe for courtiers	Courtier's Ceremonial Hat	Courtier’s Robe for the Royal Ancestral Rites Replica	Courtier’s Ritual Hat
19th Century Joseon Dynasty	19th Century Joseon Dynasty		19th Century Joseon Dynasty
L. 134cm, Arm Length. 103cm, W. 46cm	H. 20cm, D. 16.5cm	L. 90, 122cm, Arm Length. 81.4cm W. 52.4, 55cm	H. 19cm, D. 18cm

In 2015 Ewha Womans University Museum presents a special exhibition of its collection White Porcelain in the Joseon Dynasty to commemorate the museum’s 80th anniversary. This exhibition looks at the royal court and white porcelains, birth and death as reflected in white porcelain, literary culture in vogue, and the symbols and meanings of designs, focusing on the royal kiln porcelains made from the early to late Joseon period. The characteristics of local porcelains are also presented in comparison with those of vessels from the royal kilns. This exhibition will give you a chance to witness the purity and formality of Joseon white porcelain, created for use in practicing ancestral rites in keeping with the ideology that the Joseon Dynasty pursued for more than 500 years. At the same time, you will enjoy the aesthetic beauty inside the white porcelain, widely used and loved by people of all classes. Ceramics take up the largest portion of this museum’s collection and its Joseon white porcelains are diverse enough to show the history of white porcelains from the 15th to the 19th centuries. The exhibition will be the largest single white porcelain exhibition held in Korea, featuring more than 600 pieces throughout our exhibit halls on the first and the second floors. Through this special exhibition, you will have a look at the research results and the direction that Ewha Womans University Museum has taken in acquiring its collection over the past 80 years.

Beyond a mere expository display, the newest media for in-depth observation, facilities in which the visitors can relax while they view the ceramics, and a resource center meeting the intellectual curiosity of the youth and general visitors will also be provided for the exhibition.


Jar with Grapevine Design in Underglaze Iron	Jar	Jar with Cloud and Dragon Design in Underglaze Iron	Bowl with Characters of “Su” · “Bok” Design in Underglaze Blue	Bottle with Chrysanthemum Design in Underglaze Blue
Joseon 18th century	Joseon 15th century	Joseon 17th century	Joseon early 19th century	Joseon 19th century
H. 53.3cm	IH. 45.5cm	H. 45.8cm	H. 8.7, D. 22.2cm	H. 36.4cm
National Treasure No.107		Treasure No.645


Placenta Jars	High-footed Rectangular and Octagonal Dishes·Bowl·Incense Burner with Cover	Burial Container	Epitaphs of Royal Concubine Yoon in Underglaze Blue
Joseon 1481	Joseon 19th century	Joseon 16th century	Joseon 1568
H.28.2, 47cm	H. 8-10.5cm	H. 0.5-10.6cm	24.5x18.5cm, T.1cm


Jar with Pine Tree, Bamboo and Figure Design in Underglaze Blue	Jar with Plum, Bamboo and Bird Design in Underglaze Blue	Flattened Bottle with Landscape Design in Underglaze Blue	Jar with Plum, Bamboo, and Poem Design in Underglaze Iron	Fan-shaped Brush Washer · Brush Stand with Plum Tree and Bamboo Design
Joseon 16th century	Joseon 16th century	Joseon late 18th-19th century	Joseon 17th century	Joseon 19th century
H. 47cm	H. 27.8cm	H. 32cm	H. 35.3cm	H. 3.3cm
Treasure No.644


Jar	Bottle with Floral Design· Jar with Twin Circles Design in Underglaze Copper
Joseon 15th century	Joseon 19th century
H. 11.8cm	H. 24.7, 21.0cm


Hexagonal Bottle Engraved in Relif with Ten longevity Symbols and Underglaze Blue Coating	Paper Roll Holder with Grapevine Design in Openwork and Underglaze Blue and Iron	Bowl and Cover with Characters of “Su” · “Bok” Design in Underglaze Blue	Bowl with Character Design in Underglaze Blue	Dish with Ganoderma Lucidum and Flowering Grass Design and Inscription of “Yuk”(毓) in Underglaze Blue	Bottle with Plum and Chrysanthemum Design in Relif
Joseon 19th century	Joseon 19th century	Joseon 19th century	Joseon 19th century	Joseon 19th century	Joseon 19th century
H. 22cm	H. 16.4 cm D. 18cm	H. 12cm	H. 10.2cm	D. 21cm	H. 31cm

The Ewha Womans University Museum began with a display of Korean folk artifacts collected by students and faculty. This initial exhibition was held at Room 109 in the main building of Ewha’s Sinchon campus in 1935, five years after Professor Edna M. Van Fleet of Ewha College suggested the establishment of a museum. Although the entire collection at the museum dispersed upon the outbreak of the Korean War in 1950, the museum reopened in Pilseung-gak, Busan. After Ewha returned to Seoul in 1953, the museum once again opened the exhibition room in the main building of the Sinchon campus. The artifacts collected around this time laid the foundation for the museum today. In 1960, a separate museum building was built, and the museum offered permanent exhibitions of its collection(free of charge) and carried out research projects including excavations of tombs and kiln sites. In 1989, the current museum building was constructed as part of the university’s centenary celebrations. In 1999, the Chang Budeok Memorial Gallery was set up within the museum building to commemorate the donation by Chang Sook-whan. In 2005, the museum building was extended to its current size in preparation for a new leap forward. The Ewha Womans University Museum was selected as the best university museum in 1999, 2000 and 2003. It was also given the Art Award of the Year by Arts Council Korea in 2005, and has since actively worked to promote the excellence of Korean culture.


Excavation of Hwangnam-dong Tomb in Silla Period	Examination antiquity from Jotap-dong Tomb	Cover of Jar with Flying Horse Design in Underglaze Blue of Sangbeoncheon-ri White Porcelain Klin No.9	Excavation of Usan-ri White Porcelain Klin No.9
Aug.1975	Oct.1963	Oct.1998	July.1992


Excavation of Hwangnam-dong Tomb in Silla Period	Examination antiquity from Jotap-dong Tomb	Cover of Jar with Flying Horse Design in Underglaze Blue of Sangbeoncheon-ri White Porcelain Klin No.9	Excavation of Usan-ri White Porcelain Klin No.9
Aug.1975	Oct.1963	Oct.1998	July.1992