Art Therapy

Journal of the American Art Therapy Association

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Traditional Korean Art Materials as Therapeutic

Media: Multicultural Expansion Through Materials
in Art Therapy

Sojung Park, Hyunjung Lee, Seungeun Kim & Yuri Kim

To cite this article: Sojung Park, Hyunjung Lee, Seungeun Kim & Yuri Kim (2020): Traditional
Korean Art Materials as Therapeutic Media: Multicultural Expansion Through Materials in Art
Therapy, Art Therapy, DOI: 10.1080/07421656.2020.1729077

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Published online: 17 Mar 2020.

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 Art Therapy: Journal of the American Art Therapy Association, 0(0) pp. 1–9, # AATA, Inc. 2020
Traditional Korean Art Materials as Therapeutic Media:
Multicultural Expansion Through Materials in
Art Therapy
Sojung Park, Hyunjung Lee, Seungeun Kim, and Yuri Kim
Abstract
The globalization of art therapy requires a high level of
multicultural competence among art therapists for ethical
practice, which includes understanding the traditional
materials of the client’s culture. However, the common
materials used in art therapy remain mostly Western, which
neglects the therapeutic value of art materials from outside
the Eurocentric world. This article explores the relations
between culture and art materials, using the traditional
Eastern materials from the Korean cultural context called
Jipilmuk — Ji (paper) pil (brush) muk (Meok [inkstick]).
A focus on the philosophical esthetics of East Asia reveals the
close connection between materials and culture as well as
their therapeutic implications.
Keywords: Art therapy; materials; culture; multicultural
competence; Korea
The globalization of art therapy is spreading fast, yet
research on art materials from various cultures is not
expanding as rapidly. Many authors have emphasized the
central role of materials in art therapy (Moon, 2011;
Robbins, 2000; Snir, Regev, & Shaashua, 2017).
However, conventional materials used in art therapy
mostly originate in the West. Several authors have steadily
criticized the dominance of Western-centered art therapy
techniques, approaches, and art materials, arguing that
they can be problematic for individuals from non-Euro-
American backgrounds (G
omez Carlier & Salom, 2012;
Hocoy, 2002; Lee, 2014; Jung & Kim, 2018; Potash et al.,
Sojung Park is Assistant Professor, Graduate School of
Education; Hyunjung Lee is a doctoral student for Integrated
Art Therapy; Seungeun Kim is a doctoral student for
Integrated Art Therapy; and Yuri Kim is a master’s student for
Art Therapy Education at Ewha Womans University, Seoul,
South Korea. Correspondence concerning this article should be
addressed to the first author at csnn@ewha.ac.kr
1
2017). This criticism becomes all the more significant
when considering the current globalization of the field.
Orr (2010) stated that art materials, especially those
used for classic art forms, cannot be defined outside the
cultural and societal contexts that develop or employ
them. The cultural roots of art materials are often more
profound than imagined. Similarly, the American Art
Therapy Association (AATA, 2011) emphasized that an
art therapist’s knowledge and understanding of the rela-
tionship between art materials and culture form a vital
part of multicultural competence. Such competence is
“essential to ethical practice, and competence must
become the cornerstone for effective art therapy practice”
(p. 1). The capacity of an art therapist to utilize multicul-
tural perspectives skillfully in art materials demands one’s
active efforts and awareness in learning about materials
that are foreign to oneself. However, art therapy scholar-
ship has thus far neglected assessing the therapeutic value
of art materials developed outside the Eurocentric world,
such as Asia, despite the field’s need to assimilate into vari-
ous local communities successfully (G
omez Carlier &
Salom, 2012; Potash et al., 2017; Salom, 2017).
G
omez Carlier and Salom (2012) memorably
recounted their astonishment when, while working as
sojourner art therapists in Colombia, the local children
asked for materials for their artwork, “To our surprise, their
lists included nontraditional art supplies such as cornstarch,
sugar, rice, shredded coconut, and recyclable materials.
Another surprise was the array of materials they requested
from their environment, such as rocks, feathers, seeds, grass,
and flowers” (p. 8). As the authors further noted, their
experience demonstrated that art therapists must ensure
that their approaches to materials reflect cultural values, as
well as the historical and geographical identities of the com-
munity where art therapy is newly planted.
South Korea adopted art therapy into academia as
early as 1990 (Kim, 2009). It is only recently that schol-
ars such as Jung and Kim (2018) studied the research
trends of materials used in art therapy. Although the
authors reported no precise statistics, they noted that the
majority of previous research focused on the therapeutic
impact of conventional art materials, such as colored
2 TRADITIONAL KOREAN ART MATERIALS AS THERAPEUTIC MEDIA

Table 1. Philosophical Esthetics of the East

Monistic Perceptions
View of nature Humans as part of nature: humans and nature must
coexist and harmonize with each other in one body
View of space Recognize space in integration: totality, interaction, and
circulation of objects and backgrounds
View of nothingness Nothingness as spiritual somethingness: a state full of Ki for
endless possibilities and creations

pencils, crayons, clay, and magazines. The researchers
acknowledged a few recent studies in applying traditional
Korean art materials in practice, such as the use of Meok
(ink) and Hanji (the traditional Korean paper) for adult
inpatients with a diagnosis of schizophrenia (Park, 2011;
Seok, 2011) and geriatric clients in the early stage of
Alzheimer’s disease (Chae & Moon, 2018). However,
Jung and Kim (2018) criticized the lack of in-depth and
qualitative research into traditional Korean art materials
as therapeutic media, since most of the previous studies
had been limited to pre- and post-tests to prove the effi-
cacy of interventions rather than focusing on the thera-
peutic characteristics of the materials. The authors
further noted how this lack reflects a western-centric art
therapy that was imported into Korean culture without
an appropriate acculturation process.
Such notable examples of art therapy’s global applica-
tion underscore the significant implications of materials in
art therapy prompting several questions. First, what do art
therapists consider traditional art materials to be and why
are they referred to as such? Perhaps, the definition of
traditional needs to be reconsidered because of its double
meaning. For instance, do art therapists mistakenly con-
sider conventional art materials developed mostly in the
West, yet used globally, to be traditional art materials that
have been handed down historically within a specific cul-
tural context? Art therapists need to examine their prejudi-
ces, assumptions, and biases in these regards. Second, are
art therapists culturally blind when unilaterally applying
Western materials to all clients and disregarding their cul-
tural backgrounds and familiarity with the materials? Art
therapists must be aware that the use of culturally unsuit-
able art materials can result in art therapy’s indirect “Euro-
American enculturation and colonization” (Hocoy, 2002,
p. 142) during its globalization process, as has occurred in
the Korean art education scene (Go, 2001; Jung, 2005;
Park & Myung, 2017). Lastly, what cultural meanings do
art materials embody for clients? Art therapists need to
comprehend that clients’ familiarity with specific art
materials communicates essential information about their
cultural backgrounds.
This article explores how art materials reflect the cul-
tures, philosophies, and ideologies of their origins through
the traditional Korean art materials called Jipilmuk (paper,
brush, and Meok). Additionally, it reviews the therapeutic
implications of Jipilmuk in a cultural context based on the
philosophies and ideologies of Korea.
Philosophical Esthetics of East Asia
Eastern philosophical esthetics historically share the
monism rooted in Buddhism, Confucianism, and Taoism
combined, reflecting the Eastern belief that the universe
creates harmony through an organic relationship among
man, nature, and all things that exist. Accordingly, this
esthetic perception formed the core principles of trad-
itional paintings in East Asia, focusing on retaining the
beauty of totality and universality in art (Choi, 2010;
Chou & Bae, 2002; Kang, Ha, & Kim, 2013).
The Taoist energy called Ki, in particular, also plays a
central role in Eastern philosophical esthetics. Ki is a vital
energy that recognizes nature, humans, objects, and spirits
as the origin of creation and change of all things in the
universe (Bock, 2017). Besides energy, Ki often translates
into spirit, air, or breath in English (Kim, Lee, Lee, &
Kim, 2004). However, due to the fundamental differences
of the meanings between Ki and those English renditions,
most scholars use Ki (Korean pronunciation), Qi, or Chi
(Chinese pronunciations) instead of translating them
(Kim et al., 2004). The concept of Ki permeates East
Asian daily life, philosophy, and literature and is distinct
from religious practice. It often appears in traditional
Eastern paintings, reflecting the monistic appreciation of
nature, space, and nothingness, as seen in Table 1.
First, the monistic view of nature underscores that
one body connects man and nature, which coexist by
harmonizing each other’s Ki (Park, 1979). Second, the
monistic view of space recognizes the Ki of space in inte-
gration, focusing on totality, interaction, and the circula-
tion of objects and backgrounds in harmony (Min,
1999). Lastly, the monistic view of nothingness does not
refer to a physically void space, as in the West, but a
space full of Ki with infinite possibilities for changes and
creations. Therefore, nothingness is considered something-
ness in Eastern philosophy (Nishida, 1976). Accordingly,
traditional Eastern paintings reflect these philosophical-
esthetic values. For example, traditional Eastern land-
scape paintings emphasize union and totality and blur
the boundary between objects and backgrounds to accen-
tuate the harmony among all beings that are living and
non-living. Furthermore, an intentional blank space may
appear in Eastern paintings to express Ki. In contrast,
Western canvases often bear paint all over because of dif-
ferent esthetic perceptions in recognizing empty spaces
(Park, 1979).
 PARK / LEE / KIM / KIM
Figure 1. Autumn 2004 (2004), Painted by Yuri Kim, One of the Authors of This Article
Seonbi Ideology of Korea
Despite the transnational philosophical epistemology
of East Asia, such as Buddhism, Taoism, and
Confucianism, each country developed its specific ideol-
ogy or spirit reflecting its geographical, political,
religious, and cultural backgrounds. For example,
Sinocentrism in China, the Bushido spirit in Japan, and
Seonbi ideology in Korea continue to influence the
current cultures in modern society, among the few
traditional ideologies that represent each country (You,
2017; Kwon, 2004; O, 2014; Sung, 2012).
Traditional Korean philosophies developed as they
absorbed elements from East Asian philosophies and
thought. They became integrated into Korea’s unique
cultural philosophy of life rather than a religious practice
(Do, 2015). In this regard, Korea’s Seonbi ideology
reflects the human ideals that Seonbi strived to attain
based on the country’s cultural values. Seonbi were
Joseon Dynasty (a Korean dynastic kingdom from the
14th to the 20th century) intellectuals. Due to the influx
of Chinese neo-Confucianism at the time, the govern-
ment elected officials based on their scholarly knowledge
and deep understanding of academic work. Seonbi were
3
members of the ruling class who studied the works of
Confucius and Mencius. They believed that Confucian
virtues and intellect, which placed enormous value on
fidelity, simplicity, and honorable poverty, completed
the ideal human being (Sohn, 2012). Based on this
belief, Seonbi ideology refers to the spirit and mind to
pursue inner essences rather than external appearances,
such as social status or wealth. Seonbi also regarded har-
mony between intelligence and sensibility as essential for
the ideal human being; they emphasized caring for their
emotional senses through the arts as much as cultivating
intelligence. Thus, most Seonbi were skilled at poetry,
writing, and art, which comprised their main channels
to meditate on the inner self and balance their academic
knowledge, as in the traditional painting of Korea
called Sumukhwa.
Sumukhwa and Eastern Esthetics
Sumukhwa—Sumi-E in Japanese, Shuimouhua in
Chinese, ink wash painting in English—is a type of trad-
itional art in East Asia that uses Meok and water (Figure 1).
The spirit of Sumukhwa closely reflects the aforementioned
philosophical esthetics of East Asia. Understanding the
4 TRADITIONAL KOREAN ART MATERIALS AS THERAPEUTIC MEDIA

Table 2. Monism in Eastern Esthetics and Seonbi Ideology Reflected in Sumukhwa

Sumukhwa and Monism Sumukhwa and Seonbi Ideology

Representation of nature
Representation of space
Representation of nothingness
 Source of true beauty where
artists gain an epiphany
 Channel to sublimate an artist’s
inner world subjectively and
intuitively
 Delicate and various uses of
Meok’s potential for gradation,
depicting the monistic value of
integration between objects and
backgrounds in harmony
 The omission of unnecessary
parts to value the beauty of
nothingness
 Seonbi efforts to assimilate and
harmonize with nature
 Symbols for the Confucius
virtues of Seonbi, as seen in the
theme of Sagunja
 Ability to control Meok’s opacity
to reflect the values of Seonbi,
such as integrity and frugality,
esthetically
 The beauty of blank space for
the grace, simplicity, and
quietness of Seonbi

concept of Ki is essential to appreciate Sumukhwa, for trad-
itional artists in the East focus on catching and reflecting
the essence of the object via their originality and Ki.
Sumukhwa, therefore, expresses spirituality, together with
the absence of shades and shadows (Kang, 2018).
The esthetic characteristics of Sumukhwa also reside
in the three monistic perceptions of nature, space, and
nothingness. First, the monistic understanding of nature
views Sumukhwa as a sublimated representation of the
artist’s epiphany when observing nature, the source of true
beauty. The artist’s Ki infuses the Sumukhwa, along with
his or her respectful attitude toward nature and effort to
coexist in harmony. Second, the delicate and various uses
of Meok and its gradations mirrors the monistic perception
of space and shows the value of the integration of objects
and backgrounds, rather than hierarchizing and placing
boundaries around individual objects. Third, monism val-
ues omitting anything unnecessary in Sumukhwa to retain
the beauty of nothingness, which enables endless possibil-
ities and creations from an eastern esthetic perspective.
Thus, an audience must similarly appreciate Sumukhwa’s
blank spaces and acknowledge it as filled with beauty
because of the possibilities its emptiness inspires to accord
with the monistic view of nothingness.
Sumukhwa and Seonbi Ideology
Sumukhwa developed through East Asia’s shared
philosophical esthetics, yet the predominant spirit of each
culture modified and strengthened the expressions and
attitudes toward art and materials. Since Sumukhwa was a
popular hobby among Seonbi in Korea, they considered it
to be an extension of the self-discipline they valued and
pursued as Seonbi (Chou, 2017). Accordingly, Seonbi
placed a profound yet straightforward focus on expressing
one’s ideology, essence, and Ki through the painting.
Their emphases correlate to Koreans’ view of an image as
delineating the inner nature of human beings.
The Seonbi ideology also impacted the esthetic per-
ception of nature, space, and nothingness represented in
Sumukhwa (Table 2). First, the Seonbi spirit generated
reinterpretations of the monistic view of nature, as
Seonbi pursued a harmonious life with nature. Therefore,
traditional Korean Sumukhwa continues to express an
artist’s efforts to assimilate and harmonize with nature
through simplicity and naturalism (Yoon, 2010).
Sagunja, one of Sumukhwa’s preferred themes, also
shows the impact of Seonbi ideology and their philo-
sophical esthetics (Figure 2). Sagunja, meaning the four
men of virtue, specifically refers to four plants: plum
(prunus mume), orchid, chrysanthemum, and bamboo.
These themes represent the four characteristics of schol-
ars through each plant’s symbolic meaning. For instance,
the plum is the first plant to blossom in early spring; the
orchid spreads its delicate fragrance throughout the deep
mountains; the chrysanthemum overcomes the first chill
to bloom in late autumn, and bamboo retains green
leaves even in winter when other plants have waned
(Chou & Bae, 2002). Notably, the Sagunja theme has
been especially popular in Korea, as the spirit of the four
men of virtue symbolically synchronizes with the spirit
of Seonbi. In contrast, Sagunja has been not as favored
in Japan’s Sumi-e, where the Bushido spirit of Samurai
features as the predominant ideology (Lee, 2006).
Second, an ability to control Meok’s opacity also
reflects the values of Seonbi, such as integrity and frugal-
ity, in an esthetic and integrated manner (Shim, 2015).
Seonbi refrained from using decorative colors in
Sumukhwa since they believed that colors symbolized
vanity, luxury, and extravagance, which in turn signaled
academic and political corruption. Notably, only the pal-
ace accepted the use of colors in paintings, although
they became popular among ordinary people during the
Joseon Dynasty in later years. Lastly, Seonbi ideology
permeates Sumukhwa’s appreciation for blank space, as it
connected the beauty of blank space to the grace, simpli-
city, quietness, gentleness, and relaxation of Seonbi, who
highly valued such qualities (Chou & Bae, 2002).
 PARK / LEE / KIM / KIM 5

Figure 2. Meok-Orchid (2019), Painted by Yuri Kim, One of the Authors of This Article

Therapeutic Applications of Jipilmuk
The necessary materials for Sumukhwa, as well as
Eastern arts, are paper, brush, and Meok (Figure 3).
The combination of these three materials is called “Ji
(paper) pil (brush) muk (Meok)” in Korean. In Eastern
art, Jipilmuk embodies the essential media that reveal the
artist’s Ki through the form of Sumukhwa. Especially in
Korea, Jipilmuk represents Seonbi ideology, as they used
it widely for their poetry, writing, and art (Kang, 2018).
Recently, a few art therapists in Korea utilized trad-
itional Korean materials in art therapy, emphasizing the
therapeutic value of using materials that are culturally
familiar to their Korean clients (Jung & Kim, 2018; Woo,
2012). Previous studies had revealed various limitations,
such as the lack of clear reports or descriptions of statistics,
methods, or the structure of the sessions. However, they
showed that the researchers used Jipilmuk most frequently,
among the various traditional art materials offered, across
the broadest range of populations, underlining the thera-
peutic applications of Jipilmuk in art therapy.
Meok and Byeoru
Meok is an inkstick primarily made by mixing the
soot with a natural glue called Agyo. Traditionally, Meok
6 TRADITIONAL KOREAN ART MATERIALS AS THERAPEUTIC MEDIA
Figure 3. Jipilmuk (Paper, Brush, and Meok): The Basic Materials in Eastern Paintings
takes a solid form, frequently using the ash of pine trees
in Korea and lasting up to 100 years. However, a liquid
type has been developed for convenience in modern
times (Park, 2017). Byeoru is an inkstone that pairs with
Meok and consists mostly of pure stones. Meok becomes
liquefied when the artist repeatedly grinds it on Byeoru
by adding water, which creates its unique variations of
gray. Meok and Western ink may appear to be the same
black, but the two materials’ concept and spirit differ
wildly. For example, Western ink represents a practical
tool for writing or drawing, while Meok from the East,
especially in Korea, refers to a medium to contain the
color of essence (Park, 2017) as it includes tens of thou-
sands of colors that make up the universe (Jung, 2001,
p. 153).
Notably, those creating Meok add medicinal herbs
and spices, such as musk, whose scents may calm the
mind and body. The slow and monotonous movements
of grinding are necessary to achieve the quality of Meok,
though it is more critical to prepare the mind before
painting. Chou and Bae (2002) reiterated that these
repetitive motions stimulate the hypothalamus in the
interbrain, leading to a state of tranquility and high
awareness. Therefore, the process of grinding Meok on
Byeoru enables meditation by engaging all the human
senses. This meditative yet time-consuming process dove-
tails with Korean Seonbi ideology, as creating the har-
mony between Meok and Byeoru symbolizes one’s efforts
to align with nature. Accordingly, many believed that
true Sumukhwa reflected the essence of the painter’s
mind, and grinding in mindfulness remains an integral
part of the artistic process in Korea (Chou &
Bae, 2002).
Several art therapists used Meok and Byeoru in their
practice in Korea and researched various populations,
including individuals with schizophrenia (Park, 2011;
Seok, 2011), dementia (Kim & Chun, 2014), and stress
(Kim, 2002). For example, Park (2011) applied the
theme of Sagunja to clients with schizophrenia in group
art therapy in an inpatient psychiatric unit by providing
a directive to think about the meaning of the plum from
Sagunja and trace a copy from an original Sumukhwa
(p. 1332). Those studies showed Meok’s positive impacts,
and all of the researchers specifically cited its meditative
processes for enabling clients to stay present and stabilize
their moods (Kim & Chun, 2014; Park, 2011).
Brush
The brush is an essential tool for conveying the
painter’s will in Eastern paintings. Traditionally, Korean
Seonbi considered mindfulness before holding the brush
to be crucial in deciding the direction the brush takes on
the paper. Thus, the traces of the brush continue to
symbolize the artist’s inner world for traditional Korean
artists today (Sohn, 2010).
As in the West, artists use brushes that vary in tex-
ture, size, and hair type in Sumukhwa. Compared to
Western brushes that are usually stiff and highly elastic,
Korean brushes are rather soft, as they consist of over 20
kinds of animal hair, such as that from rabbits, sheep,
and weasels (Park, 2017). Chou and Bae (2002)
recounted that traditional Korean brushes have devel-
oped to suit the unique characteristics of Seonbi, who
used the brush for both painting and writing.
Significantly, one final, uninterrupted brushstroke, espe-
cially in writing, represented the Ki of Seonbi and
expressed their ideals through Sumukhwa. Therefore, the
traditional Korean brushes absorb and contain more
Meok and water in comparison to Western brushes,
allowing the painter to operate the brush freely after one
dip in Meok.
 PARK / LEE / KIM / KIM
Moreover, Seonbi did not separate the brushes for
painting from those for writing, so their linear quality
improved throughout history. Accordingly, the brushes
became a suitable tool to express objects through various
lines by providing clarity, boundedness, and complete-
ness. These characteristics enhanced monotonic expres-
sion: traditional Korean art is often called the art of lines
(Yoon, 2010, p. 39), distinguishing it from the trad-
itional artwork of China and Japan (Chou & Bae, 2002;
Yanagi, 1994).
Therapists have applied the qualities of traditional
Korean brushes in art therapy in Korea, usually assisting
the proper use of Meok. While they did not highlight
the brush itself as a vital therapeutic tool, it plays an
important role when coupled with Meok to complete the
characteristics of Korean traditional painting by provid-
ing freedom.
Hanji
The history of paper in East Asia began long before
that of the West. Cai Lun undertook the first documented
papermaking process in China in AD 105; it spread to the
West in the eighth century (Lee & Song, 1992).
Traditionally, Asia believed that paper was a sacred, sym-
bolic, and living object, following its agricultural beliefs,
rather than a convenient tool for humans (Yi, 2012).
Hanji is the traditional Korean paper, while the
traditional Asian paper is usually called “rice paper” in
English. Hanji is handmade from the bark of mulberry
trees, which creates varying paper thicknesses. The exact
beginning of Hanji is unknown, though it originated at
least 2,000 years ago when Korea imported Chinese
papermaking techniques that enhanced its quality (Yi,
2012). In Sumukhwa, Hanji plays a fundamental role, as
it best accommodates and absorbs Meok. Therefore,
Hanji provides a crucial space to contain and express the
artist’s ideology, spirit, and emotions (Park, 2010). This
perception is distinct from the Western view of the can-
vas, as seen in Seo’s (2006) comparison between a can-
vas, which physically binds the paint to the surface, and
Hanji, which embraces the painter’s marks.
Another characteristic of Hanji is that it breathes
with nature, again reflecting the critical Korean value of
harmonizing with the environment. Accordingly, Hanji
is soft and flexible, yet strong against the light, water,
and wind. Hanji also has high durability and conserva-
tion properties due to the density of its fiber, which also
makes the edge soft when cut or torn. On the other
hand, Hanji becomes sturdy and practical when one
applies lacquer and is useful for three-dimensional clay
and craft arts, such as traditional windows, furniture,
and stationery (Yi, 2012; Seo, 2006).
Various forms in art therapy have exploited Hanji’s
qualities, such as papier m^ach
e (Seo, 2002), tie-dye (Jun,
2004), and the background for Sumukhwa (Yang, 2009;
Kim, Park, & Lee, 2012; Jung & Kim, 2018). Several
authors have described how Hanji’s absorbent and sturdy
7
qualities helped their clients self-regulate and relax.
Furthermore, the paper’s softness and easy usability
prompted creativity and confidence by creating little
resistance to the materials. The authors also agreed that
traditional Korean art materials, including Meok and
brushes, were relatively easy to control and yielded
esthetic results that satisfied the clients.
Significantly, several authors have proposed that the
use of traditional art materials and media is culturally
appropriate in Korean art therapy practice, especially for
the geriatric population. Lim and Chung (2003)
described how the softness and familiarity of Hanji pro-
moted creativity and integration among the elderly by
provoking fond memories. Furthermore, they noted that
the choice of materials should depend on the clients’
lifestyle, culture, and personal ideology. Therefore, the
use of traditional art materials and media can be suitable
for clients in those environments.
Conclusion
Despite the challenges in covering over 5,000 years
of Eastern history and Korean culture in traditional art
materials, this article nevertheless illustrates how art
materials reflect the culture of their origin using trad-
itional Eastern materials, Jipilmuk, and Korean perspec-
tives as examples. The rapid globalization of art therapy
requires an advanced level of multicultural competence
and sensitivity from art therapists. Expanding the cul-
tural understanding of art materials, especially traditional
ones, provides insight into clients who share the same
origins as the materials. Furthermore, clients’ abilities to
utilize art materials within their cultural contexts can
deepen their therapeutic efficacy when combined with
the therapist’s knowledge of its philosophical back-
grounds. Thus, this article suggests that professional
opportunities to become acquainted with art materials
used outside of Western culture—such as those used in
Asia and Africa—should become more widely available
through graduate school curriculums and workshops in
art therapy related conferences.
Sim (2012) claimed that art materials and media
not only impact the art’s content or format but also
influence the creator. Therefore, what art therapists offer
from their material tool kits directly influence the clients’
perception of the world as represented in the form of
art. To avoid unintended Western colonization of art
therapy, showing respect to the art materials and media
of clients from other cultural backgrounds is vital for the
true globalization of art therapy.
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