
Photography by casa serico
Painting
Guija Jeong
Minhwa Master, Seoul Intangible Cultural Heritage No. 18
Practice
Jeong Gwi-ja (art name Jeong Seung-hee) works in minhwa, Korean folk painting, a genre historically distinct from the court and literati painting traditions more commonly represented in Western collections of Korean art. She trained under the late Kim Man-hee, a Seoul Intangible Cultural Heritage holder in the discipline, from 1978, and was designated a Transmission Assistant in the same tradition before her own recognition.
In 2019, she was designated Seoul Intangible Cultural Heritage No. 18, Minhwa-jang, succeeding Kim Man-hee as the first such holder in the field. Her standing within the discipline is a matter of institutional record, not self-designation. She operates the Arok Traditional Minhwa Research Institute and continues to teach through the Seoul Intangible Cultural Heritage Donhwamun Education Center.
Lineage
1978 | began practice in minhwa under Kim Man-hee, Seoul Intangible Cultural Heritage holder 2012 | Presidential Citation, Office of the President of the Republic of Korea 2019 | designated Seoul Intangible Cultural Heritage No. 18, Minhwa-jang — the first such designation in the discipline 2019 | Grand Prize, Craft Division, Seoul Munhwa Today Culture Awards — the first such recognition awarded to a minhwa artist in the award's history Works held in the permanent collections of the Korean Cultural Centers in Hanoi, Osaka, and Sofia, and in Niigata, Japan. International presentations include the Belvedere Museum, Vienna, alongside invitational exhibitions across Japan, the United States, Australia, China, Vietnam, Bulgaria, Hungary, and Russia.
Atelier
Workshop
Photography by casa serico
Collection
Related works

Painting
No. 1
A single tiger beneath a pine branch, two magpies overhead, the core composition of the kkachi-horangi (tiger-and-magpie) genre, worked in flat mineral pigment on paper. The earliest of Jeong's four pieces in this collection, dated 2018.
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Painting
No. 2
A two-panel work pairing a coiled, leopard-spotted animal with an upright striped tiger, both rendered in the wide-eyed, flattened idiom particular to this genre. The diptych format sets two variations of the tiger figure against each other rather than isolating one.
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Painting
No. 3
Pairs a crouching striped tiger beneath pine and magpies with a second panel of a roaring tiger beside water, sun, and a further pair of magpies, folding the auspicious sun-and-water motif into the tiger-and-magpie genre. Dated 2018, alongside No. 1 and No. 2.
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Painting
No. 4
An eight-panel folding screen, each panel holding two framed scenes of tigers and leopards in the same idiom as Jeong's 2018 works, expanded here to full screen format. The six-year gap between this piece and Nos. 1–3 marks a move from single studies to a complete, room-scale statement of the same subject.
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