
Photography by casa serico
Lacquer
Jongkwan Choi
Chaehwa Chilgi Master, Transmitter of Painted Lacquer Technique
Practice
Choi Jong-gwan works in chaehwa chilgi, painted lacquer, a technique historically distinct from najeon (mother-of-pearl inlay), the tradition that came to dominate Korean lacquerware in later centuries. For over three decades, his practice has centered on this earlier discipline rather than the inlay tradition that now shapes Western understanding of Korean lacquer.
He trained under Kim Tae-hee, holder of Important Intangible Cultural Heritage No. 10 for najeon chilgi, and was designated a Transmitter of Chaehwa Chilgi Technique by the Republic of Korea in 2004. Where inlay offers a technically efficient path to repeating pattern work, Choi has withheld from it, executing each motif by hand in paint rather than material insertion, a choice that positions his output as historically prior to, rather than derivative of, the inlay tradition collectors more commonly encounter.
Lineage
Trained under Kim Tae-hee, Important Intangible Cultural Heritage No. 10, Najeon Chilgi 1992 | Grand Prize, Dong-A Craft Exhibition 1999 | Cultural Heritage Administration Award, Korea Traditional Crafts Exhibition 2004 | designated Transmitter of Chaehwa Chilgi Technique, Republic of Korea 2006 | Prime Minister's Award, Korea Traditional Crafts Exhibition 1996 | Sino-Korean Lacquer Exchange Exhibition, Beijing 2006 | Japan–Korea Lacquer Art Exhibition, Tokyo University of the Arts Museum and Wajima Lacquer Art Museum 2007 | United Nations exhibition of traditional Korean crafts 2010 | SOFA Chicago (Sculpture Objects & Functional Art)
Atelier
Workshop
Photography by casa serico
Collection
Related works

Lacquer
No. 1
An octagonal-topped table in dark wood, the surface inlaid with a willow-leaf motif in gold and shell against black lacquer, set on shaped legs left otherwise plain. Furniture built to carry a single inlaid image rather than a repeating field, closer to Choi's box work than to Kim's unornamented table.
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Lacquer
No. 2
A black lacquer box worked in a tight, all-over repeat of plum-blossom heads in gold, each flower rendered identically and placed without hierarchy across the surface. The density sits between Hwankyeong Kim's script fields and Son's inlaid florals, closer to pattern than to picture.
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Lacquer
No. 3
The most graphic of Choi's boxes: cranes rendered in flat gold alongside abstracted calligraphic line-work, with a second layer of cranes picked out in fractured shell inlay for contrast in material rather than color. Scaled and composed as a single image rather than a repeating field, the box reads as picture before it reads as object.
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