A Curriculum Resource for Teachers to accompany the exhibition

Explore Korea: A Visit to Grandfather’ House s
Opening October 23, 1999 to be on view until October 2000 with possible extension Seattle Asian Art Museum, Volunteer Park

Photo: Joung S. Kim

Sarah Loudon, Senior Museum Educator Samuel Yum, Blakemore Intern Contributors: Suzanne Crowder Han Chung Hee Kim Denise Potrzeba Lett This exhibition is based on Explore Korea: A Visit to Grandfather’ House, which was s organized by The Newark Museum, Newark, New Jersey. Explore Korea has been made possible by a generous grant from the Korea Foundation. Additional support has been provided by PONCHO, the Nesholm Family Foundation, Seattle Art Museum Supporters (SAMS), and by a Seattle Public Schools World Language, Culture, and International Education Programs federal grant.

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Table of Contents
Introduction Using This Unit Pre-visit Lesson 1: My Home, Your Home (Grades K–2, 3–5) Did You Know? Pre-visit Background on Korean Household Architecture Student Worksheets Lesson 2: Fold a Paper House (Grades K–5) Did You Know? Living Under a Straw Roof Lesson 3: Arrange Grandfather’ House (Grades K–2) s Did You Know? From Grandfather’ House to High-Rise Apartments s Student Worksheets Lesson 4: Listen to Grandfather: Say and Write Korean Words (Grades 2–5) Did You Know? Han’ gul: The Korean Alphabet Korean Art at SAM: From the Men’ Quarters (Sarangbang) s Student Worksheets Lesson 5: Create a Fan Design (Grades K–2) Did You Know? Buch’ ae— A Fan for All Seasons Korean Art at SAM: On the Veranda (Maru) Student Worksheets Lesson 6: Create a Wrapping Cloth Design (Grades K–2) Did You Know? Pojagi— The Art of the Wrapping Cloth Korean Art at SAM: From the Women’ Quarters (Anbang) s Lesson 7: Picture This! Illustrate a Folk Tale (Grades 1–5) Folk Tale: “The Queen Swallow’ Gift” s Korean Art at SAM: From the Kitchen (Bu’ ok) Further Resources Korea Resources at the SAM Teacher Resource Center Selected Internet Resources for Teaching About Korea Resources for Teaching About Architecture Bibliography 1 2 5 8 11 17 19 21 23 27 31 34 37 39 53 55 56 57 61 64 65 67 71 76

77 80 81 82

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Introduction
Explore Korea: A Visit to Grandfather’ House is the first interactive exhibition for young s children and families at the Seattle Asian Art Museum. Visitors will take a journey to explore the daily lifestyle of a Korean family in Grandfather’ time. The exhibition s features an architectural setting based on a traditional Korean house, a display of Korean folk art, a mural by Seattle-area Korean-American artists, a videotape, and an art workshop space. Upon passing through the gateway of the wall around the courtyard area, visitors can explore the house exterior and view the videotaped story of a Korean-American family preparing to visit Grandfather in Korea. After removing their shoes, young visitors will be able to go inside the various rooms of the house to discover various objects and explore what activities take place there. Children are invited to try on traditional clothing, practice calligraphy, play a board game, and do some imaginary cooking in the kitchen! In the adjacent art workshop space, children ages five to ten will also be able to take part in a related craft activity and create an item— inspired by the exhibition— to take home. This exhibition has been made possible by a generous grant from the Korea Foundation. Additional support has been provided by PONCHO, the Nesholm Family Foundation, Seattle Art Museum Supporters (SAMS), King County Arts Commission and from a Seattle Public Schools World Language, Culture, and International Education Programs federal grant. Study in Korea by Museum staff for this project was made possible by the Korea Society and the Korea Foundation. Our warm thanks to the Community Advisory Committee members for their contributions to the project: Matthew Benuska, Ohm Cederberg, Soomin Chang, Hong-Jun Choi, Kay Hong, Chung Hee Kim, Hyang L. Kim, Jung Ho Kim, Sonja Kim, Hyon S. Lee, Moon Hyang Lee, Michelle Marshall, Patsy Surh O’ Connell, Hee Dai Park, Hye June Park, Cynthia Rekdal, Maria Seo, Ja-Eun Shin and Nahm-Kook Sun. Our thanks for suggestions and advice to Kathleen Peckham Allen, Betty Eng, Cathy Spagnoli, and Fred Wong. Many thanks to William J. Rathbun, Curator of Asian Art, for his work on this special exhibition.

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Using This Unit The unit theme of Explore Korea: A Visit to Grandfather’ House links traditional objects s from Korean households to their original setting within a certain area of the house and to their purpose in this culture.seattleartmuseum. you may wish to print some color transparencies from the web site to share on an overhead projector. Teachers with Internet access can also use the related web site segment (accessed from the education page at www. If you have access within your classroom. shapes. You may wish to use the lesson plan here when you return to the classroom. Time permitting. we suggest that you begin by asking students to give you descriptive words for what they see. these can be discussed when they see the object in the Museum.org). Visual elements: Prompt students to describe lines. and patterns. do you think it has any special meaning? 4 . your students can explore images of a traditional house in Korea prior to visiting the Museum. teachers can lead one or more of the additional activities for follow-up. If your access is not in the classroom itself.) Architecture: Which areas are most public? Most private? How does the family use the house and courtyard during different kinds of weather? What building materials are used? What separates the rooms from one another? Composition: What elements does the artist use to create balance? Function: What do you think this object is used for? Do you think it is still used today? Design: Do you notice any special design motif? If so. to extend what your students did at the Museum. (Color and texture are more difficult to discuss from a computer image or print reproduction. either in person or via the Museum’ web site. When using the images. s School groups touring the exhibition will do one of these activities while at the Museum. Seven activities are outlined in this unit to extend exploration of the house. An introductory activity guides students in describing and analyzing the activities and organization of their own room and household.

World Language. . interdependent world environment. experiences. Reason: Washington is the most trade-dependent state in the nation. Seattle Public Schools 5 . and International Education Programs Vision: To prepare all students to succeed in a global. World Language. multinational. its international gateway. . Seattle. not the exception. International Education Curriculum emphasizing activities. Culture. and are trained to think with an international perspective will be sought after in the work world. Multinational businesses and increased job opportunities with a global perspective will be the norm. Experiences tied to international business and trade opportunities: -Multilevel exchange programs -International relations programs -Multiglobal interaction opportunities Submitted by Cynthia Rekdal. and International Education Programs. Those who speak the world’ s languages. can navigate across its cultures. Culture. .Curriculum Connections Seattle Public Schools Plan for the District One of the top six priorities of a world-class school district is study of language and culture. and programs with a global perspective. Outcomes/Expectations: Multilingual/multicultural education ensuring graduates will be proficient in at least two languages and skilled in working with culturally different people and communities.

Curriculum Connections for Washington State The primary focus of this unit is to address the following two Washington State Essential Academic Learning Requirements: Arts 4. political. clothing. and interaction Grade 4 benchmark: identify the ways cultural traditions are expressed through artistic creations and use of the environment— for example art.3 examine cultural characteristics. family/public/cultural) Geography 3. utilitarian. decorative.4 recognize the influence of the arts in shaping and reflecting cultures and history Grade 4 benchmark: identify examples of the arts in a variety of contexts within a culture (ceremonial. entertainment. and architecture 6 . diffusion. transmission.

another alternative for teachers without these resources is to distribute the answer sheet to provide students with the information they need for making the comparison. so the same room can be dining room. Teacher prompts for leading a class discussion comparing students homes to Korean Grandfather’ House: s -In traditional Korea. furniture is moved around and bedding is rolled up.3 examine cultural characteristics. 7 . and interaction Washington State Mathematics Essential Learnings Focus The student will: 1. diffusion.) Essential Question How do houses reflect differences in organization of activities and family relationships? Generalization Cultural differences in household activities and family relationships can be observed by comparing household arrangements. transmission. living room. did more family members live together? -Did more generations of a family live together? -Was there more separation between men and women? -In what ways are the rooms in the Korean house more flexible than those in your home? (For example.1 use the senses to gather and process information 4.3 understand and apply concepts and procedures from geometric sense: shape and dimension The second part of this lesson asks for observations of Grandfather’ House. For classes without access.Pre-visit Lesson 1: My Home. most rooms are used by all family members. Your Home Grades K–2. 3–5 Washington State Arts Essential Learnings Focus The student will: 2.4 recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: 3. and bedroom. is there a family s or community member who can visit the classroom for an interview? Or.) -Is what ways are the rooms in your home more flexible? (For example. after seeing it s at the museum or on the museum’ web site.

Completed drawing and answers questions for their own room and house. and doors. Part 2. Completes questionnaire for Korean Beginning with a rectangle. Directs students in drawing an x-ray possible explanations for any differences view (or section) of their bedroom and they found. as a group. of a room in a house (a section. asks house. dressed. Compares results. worksheets. Leads the class in drawing. Students describe their room in a drawing and their house in words through a questionnaire (verbally as a group. or trailer) using the questionnaire (K–2. Draws their bedroom and furnishings. and discussing on their sheets which elements are the where to place them. read. play. with 2.Description of Lesson Part 1. Asks students to recall Korean Grandfather’ House from s MuseumVisit. Completed questions for a Korean house. same and which are different. Demonstrates drawing an “x-ray” view 1. and one difference they found. Guides students in extending from their room to outlining information on their home (house. SAM web site images. Completes questionnaire on their home. Shares one similarity such as the blackboard. Identifies from looking at drawings exterior wall removed to reveal what’ s where others sleep. Indicated similarities and differences between the two. Resources Photos. what is inside. or individually in writing). Keeps the results to compare with Korean Grandfather’ s House. furniture. or get inside). students to take turns adding elements 5. 4. Instructional Strategies Creative Process What the Teacher Does What the Student Does 1. Assessment Criteria The student: 1. or shows images of Korean houses (either online or via 8 . 3. Target Learnings The student gathers information and compares the structure and organization of their own home to a traditional Korean house. 2. 3. verbally as a group. Or marks windows. 3–5. optional: children’ books showing different s styles of houses (possibilities are listed in Further Resources). Leads class discussion to compare the results. an x-ray view of the classroom. apartment. Offers 3. Students compare their homes with a traditional Korean house. individually in writing). 2. 5. 4.

and has students complete the second parallel questionnaire for Grandfather’ House. tile.transparencies). 9 . ancestors. women’ s s quarters. plaster Evidence of Student Learning Two questionnaires marked to show similarities and differences Life Applications Student is able to analyze and compare cultural traditions through living spaces. x-ray drawing or section drawing. Possible extension: Extend to discussion of animal shelters (possibly using a children’ s book such as Need a House? Call Ms. clay. veranda. men’ quarters. Mouse) or houses in other cultures (possibly using one of the children’ books with a cultural perspective on architecture listed in Further s Resources). ondol floor. s Assessment Strategies Constructed response to student questionnaires Vocabulary Roofline. courtyard.

Photo: Joung S. Korean houses also reflect a distinct conception and use of space that can be seen even in the apartment households of today's growing urban centers as well as in Korean communities outside Korea. Tiled roofs. the Seattle Asian Art Museum presents its version of the traditional-style Korean houses that continue to dot the countryside of the Korean peninsula. Minsokch’ Yong-in. 10 . covered with curved tiles. It is intended to serve not as a model or replica home but as an interpretive context for the introduction of Korea's artistic and cultural heritage and for the simulation of its rich domestic experience. through time. As with other Korean houses of this style and scale. Thatched-roof houses have all but disappeared in Korea. and across social classes. now a familiar sight. evoking feelings of nostalgia.Did You Know? Pre-visit Background on Korean Household Architecture House gateway. The roofs. The Museum installation has been carefully designed with these aspects in mind. gave these houses an upward tilt at their corners. and clay or mud plaster. Korea on." Commoners’houses were roofed with thatch made from rice straw: long. but the image of their rounded forms with neatly trimmed edges remains in the hearts of many Koreans. lending them what some have described as a "smiling air. While Korean architectural styles vary from region to region. overlapping rolls of thatch were piled to form a solid. weatherproof roof. certain structural elements are recognized as unique to Korea. Kim Through Explore Korea: A Visit to Grandfather's House. Traditional Korean houses are single-story dwellings made of wood. were once a sign of wealth and an indication of upperclass (yangban) status. stone. Grandfather’ House is s enclosed by a gated wall that separates it from neighboring houses and forms a courtyard.

Minsokch’ Yong-in. Items within the women’ quarters of Grandfather’ House tell the story of a Korean s s woman of years past. so it is little wonder that Koreans took their meals. The floors of interior rooms were layered with oiled paper on which household members would go about their daily activities. the sarangbang. playroom.Tile-roofed house. often served as the public men’ quarters. while the anbang. In the men’ s s quarters of Grandfather’ House. also referred to as a study room. Photo: Joung S. Korea’ late Choson period (1392–1910) was marked by a conservatism that fostered a s strict separation of roles and activities for men and women. as in our own homes. however. entertained guests. This extended even to the level of individual family homes. objects and furniture would be pushed against the walls. flues could be closed and the kitchen heat directed outside through chimneys made of stone or clay. Cushions and mats made of cotton. objects and furnishings s reflect the lifestyle of a Korean gentleman. and chests and shelves are also generally small and lightweight in construction. and study. Korea on. made up the more protected women’ quarters. During the course of a day. In households such as Grandfather’ House. In the evening. a wedding box 11 . a single room might function as a dining room. and bedding and quilts spread out over the floor. rooms were able to serve a variety of purposes. rooms within the house were not completely closed off from another by heavy walls or doors with hinges and knobs. the man’ s s quarters and woman’ quarters were often in entirely different buildings. s or receiving room. In this way. Korean tables and desks are low and portable. In larger home complexes. and slept directly on the warmth of their floors! Except for the kitchen. and screens adorned with classical Chinese texts and images. shelves and chests for holding books and scrolls and objects of scholarly curiosity. Korean winters can be wet and cold. the bedding would be folded up and stowed back in a corner or piled s high atop a blanket chest. These include a chest for her clothes and blankets. These include a low desk with inkstone and calligraphy box. a charcoal brazier. Rather. and of course shoes were taken off before entering these interior rooms. For centuries Koreans heated their homes with ondol floors: brick floors with a built-in network of ducts and flues leading from the kitchen hearth. living room. or inner s room. and plant fiber made sitting on the floor comfortable. Floors were kept immaculately clean. Kim Another feature of the Korean house was a central heating system called ondol. they might have been partially divided by walls with open doorways or removable sliding doors. After a good night’ rest. silk. During warmer seasons.

was a favorite spot in the house in the summertime. An embankment of stone and plaster was built not only to contain the fire but also to hold the iron cooking pots above it. and the many other seasonings and sauces that give Korean food its trademark flavor. forming an effective stovetop. the symbolic center of the household. or veranda. These clusters of large earthenware jars represent one of the most distinctive aspects of Korean culture.used for her dowry. or at least by the overhanging eaves of the roof. This also provided quick and easy access to the kitchen for the woman of the household. can be seen hanging from the kitchen walls and rafters. red pepper paste. In Grandfather’ House. gourd dippers and scoops. An extension of the kitchen stretches outside to a place reserved for food storage jars. Join us as we step inside the gate to Grandfather’ House for a closer look at the arts and s activities of Korean living! 12 . whether in the yards of older country homes or on rooftops and balconies in downtown Seoul. is one of the most familiar sights in Korean households. the kitchen was floored only with packed earth. but is without outside walls. sesame seed oil. as was typical. cooking. a millstone. one that people around the world have come to recognize and enjoy: Korean food! Within this bay in Grandfather’ House we can s imagine crocks of pickled radishes and cabbages. the maru area sometimes served as a storage space. perhaps when beginning formal schooling. close to their mothers. would stay in areas close to the anbang and kitchen. Unlike other portions of the house. and mending clothes. where they could learn the practical skills of stocking the food stores. when the roof above provided shade and the open walls allowed a welcome breeze. Young children often stayed within the women’ quarters and kitchen area. and perhaps a painted screen with the familiar “bird and flower” motif. so that those within the inner room could enjoy the warmest benefits of its hearth through the ondol floors. fiber s mats and baskets. Girls. the kitchen of a traditional Korean house stood at the far end s next to the anbang. ironing. along with low food serving tables and trays. on the other hand. Also in the kitchen of Grandfather’ House are shelves holding ceramic bowls and plates. As in Grandfather’ House. sometimes called a condiment bay. and maintaining the fire. Many of these objects. a sewing kit with swatches of her embroidered handwork. This area. but were removed and hung from the ceiling rafters during fair weather. and a mortar and pestle. Since the other rooms had no closet space. whose responsibilities included preparing meals. soybean paste and soy sauce. we can imagine that the maru area. Sometimes the maru area had paper-screen window or wall panels that protected it during cold or wet weather. in addition to more practical attics and cellars. In fact. Rice chests and other units for holding valuable food grains were commonly placed in the maru. Boys might move to s other rooms associated with the sarangbang upon reaching the proper age. heating water. the sarangbang and anbang are separated by a wood-floored s section called the maru. This area is covered by the roof.

The rooms that women and girls usually use are ________________________________. The shape of the windows is ________________________________________________. What room do you keep food in? ________________________________________ What room do you eat in? ______________________________________________ What do you sit on? ___________________________________________________ Where do you play? ___________________________________________________ What room do you read and write in? ________________________________________ What room do you sleep in? __________________What do you sleep on? ___________ The rooms that men and boys usually use are __________________________________. The windows are made of __________________________________________________. Some things right outside my home are _______________________________________. The roof is this shape ____________________________________________________ and is made from _________________________________________________________. Where do you like to sit to keep cool when it is hot? _________________________ Where do you like to sit to keep warm when it is cold? _______________________ 13 .Grades K–2 Worksheet: My Home Name____________________ Date______________________ My home is: ____________________________________________________________.

The shape of the windows is __________. The parts of our house with special decoration are __________________________. The roof is this shape ____________ and is made from ________________. Is there a difference? _______________________ The house is heated by ______________________. Some things right outside my home are _____________________________. The rooms that women and girls usually use are ______________________. What room do you keep food in? ____________What room do you eat in? ___________ What do you sit on? ______________Where do you play? ________________________ What room do you read and write in? ______________________________ What room do you sleep in? __________________What do you sleep on?___________ The rooms that men and boys usually use are _______________________.Grades 3–5 Worksheet: My Home Name _______________________ Date _______________________ My home is: __________________________________________________. The places where we hang or display art are _______________________________. The windows are made of __________. Where do you like to sit to keep cool when it is hot? _____________________________ Where do you like to sit to keep warm when it is cold? ___________________________ 14 .

. 15 . . . . . .Grades K–2 Worksheet: Korean Grandfather’ House s Name _______________________ Date _______________________ At Grandfather’ House in Korea. . . . . . . . . . s The roof is this shape ______________and is made from Some things outside Grandfather’ House are s The windows are made of The shape of the windows is Where do they keep food? Where do they eat? What do they sit on? Where do they play? Where do they read and write? Where do they sleep? What do they sleep on? The rooms that men and boys usually use are The rooms that women and girls usually use are Is there a difference? Where do they like to sit to keep cool when it is hot? Where do they like to sit to keep warm when it is cold? .

Grades 3–5 Worksheet: Korean Grandfather’ House s Name _______________________ Date _______________________ At Grandfather’ House in Korea. The windows are made of _______________. s The roof is this shape_____________ and is made from ____________. The places where art is hung or displayed are _________________________________. Where do they like to sit to keep cool when it is hot? ________________________ Where do they like to sit to keep warm when it is cold? ______________________ 16 . The shape of the windows is _________. What kind of art? ______________________________________________ Where do they keep food? ______________ Where do they eat? ________________ What do they sit on? __________________ Where do they play? _______________ Where do they read and write? ___________________________________________ Where do they sleep? __________________ What do they sleep on? _____________ The rooms that men and boys usually use are ______________________________. Some things outside Grandfather’ House are _________________________________ s ______________________________________________________________________. The rooms that women and girls usually use are ____________________________. Is there a difference? __________________________ The house is heated by _________________________. The parts of the house with special decoration are __________________________.

What do they sleep on? s s Bedding that is unrolled at night. The house is heated by the kitchen stove. The parts of the house with special decoration are doors and windows.Put an X next to answers on the sheet for your house that are different from answers for a Korean house. kitchen. then rolled up and put away during the day (like a futon). Where do they eat? Men’ s quarters. Where do they like to sit when it is cold weather. The places where art is hung or displayed are men’ quarters. textiles. wall. tools. the warmer it is! Comparison Now put your two questionnaires together to compare your house with Korean Grandfather’ House. play area. . Where do they read and write? Men’ quarters or women’ quarters. s What do they sit on? Cushions on the floor. to keep cool? Veranda. s Is there a difference? Yes. screen paintings. women’ quarters. clay s jars. to keep warm? On the warm ondol floor. basketry. gate. The windows are made of wood and paper. ceramics. s s What kind of art? Scrolls. The shape of the windows is a rectangle. .Put an O next to answers on the sheet for your house that are the s same as answers for a Korean house. veranda. Some things outside Grandfather’ House are courtyard. 17 . women’ quarters. s s Where do they sleep? Men’ quarters. vegetables or peppers drying. Where do they like to sit when it is hot weather. s The rooms that women and girls usually use are kitchen and women’ quarters (anbang). . The rooms that men and boys usually use are men’ quarters (sarangbang). women’ quarters. Where do they play? Women’ quarters or s courtyard. Where do they keep food? Courtyard. The floors of the other rooms are kept warm by heat ducts from the stove passing under the paper-covered floors of the other rooms (called an ondol floor). clothes drying.Answer Sheet: Grandfather’ House in Korea s The roof is this shape curved and is made from tile. the nearer to the kitchen stove.

veranda. names the other parts of the house: overhanging eaves under the roof (they will fold to make the eaves extend out). and folds their paper model.Lesson 2: Fold a Paper House Grades K–5 Washington State Arts Essential Learnings Focus The student will: 4. gourds. Names parts of the house from the diagram. diffusion. with base underneath). cuts. and step up to the house. 4.walls. background on thatched-roof houses Assessment Criteria The student: 1. Introduces the house drawing. step. 18 . Colors. 2. Resources Diagrams. 2. Copy the 11-by-17-inch version of the paper house model (included in this packet) for each student. Labels parts of the house: roof. door. Instructional Strategies What the Teacher Does 1. 5. Essential Question How can I make a model of a Korean thatched-roof house? Description of Lesson Students make a folded paper house model.4 recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: 1. The primary difference is the thatched roof with gourds growing on it. Creative Process What the Student Does 1. Notice that the house is held a bit up off the ground by the columns. and the entrance includes a step up to get to Generalization Houses can be represented visually by three-dimensional models. Draws something inside the front door. Completed a folded paper house model. Glues model to colored background paper. Identified its major parts. 3. eaves. 2. base of the columns. and asks students what they notice about how it differs from the other Korean house they looked at. With students. columns on both sides (along the walls. The results will be better if you can copy it onto a slightly heavier paper. Target Learning The student identifies major exterior parts of a Korean thatched-roof house.3 examine cultural characteristics. columns. veranda (like a porch. such as a lightweight card stock. in front). and interaction Kindergarten students will need assistance with folding and gluing. transmission.

clay.the front door. step. columns. the eaves and veranda will project out from the page. then glue down the base of the columns. 19 . base of columns. plaster Evidence of Student Learning Verbal or written identification of the parts of the house exterior Life Applications Student can identify major exterior elements of traditional domestic architecture. verbally identify) the parts of their house. 3. eaves. walls. 4. and cut and glue on the door to open. When folded. thatched roof. fold the step under. gourds. Align the veranda. Demonstrates gluing to background paper. gourds. 5. eaves. Asks students to label (or. base of the columns. roof. veranda. for K–1. Suggests that students draw something that can be seen inside. 6. Glue down the back end of the step. door. through the cut-open front door. Directs students to color the drawing (optional) and cut it out. fold to create the projecting eaves and wooden floor veranda. Assessment Strategies Constructed response identifying parts of the house Vocabulary Two-dimensional. Glue the walls down first. columns. veranda. three-dimensional. roofline.

and courtyard. Gourds provided food in the past. However.Did You Know? Living Under a Straw Roof Thatched-roofed house. somewhat like log cabins. 20 . Long. thatched-roof houses were built with stone and wood. but have other uses too. s women’ quarters (anbang). While tile-roof houses were built by upperclass families that could afford to do so. After picking the gourds. The thick layers of straw worked as good insulation for keeping the house warm in the winter and cool in the summer. these gourd ladles were hung on the outside or kitchen walls of the house. Naturally. Korea Photo: Joung S. or a son married and his wife came to live with him and his parents. Resting on the straw roof. or with a wooden framework and earthen walls. additional rooms or wings were added on. The rooms generally had the same names and similar arrangement and functions as in the tile-roof houses: men’ quarters (sarangbang). Sometimes. s Depending on the local materials available. Kim on. weatherproof roof. Thatched-roof houses have now all but disappeared from Korea. the shells were cut in half. Minsokch’ Yong-in. the commoners’thatched-roof houses were smaller than the tile-roof houses and had fewer rooms— sometimes simply one room and a storeroom. even the small thatched-roof houses had a courtyard surrounded by a stone wall. most families lived in houses with thatched roofs. the vines had room to sprawl and ripen in the sun instead of lying on the muddy earth. as families grew gourds (like s small pumpkins) over it. When a family’ fortunes s improved. Some were built with logs. overlapping rolls of thatch made from rice straw were piled to form a solid. but a few folk villages are maintained for visitors to experience. A house’ thatched roof almost became part of the garden. then kept and dried to use as scoops. veranda (maru).

Target Learnings The student applies their understanding of the functions of the areas of a Korean house by placing household items within a diagram. background information Assessment Criteria The student: 1-5. 21 .2 Work cooperatively as a member of a small group Essential Question How does the design and organization of Korean Grandfather’ House reflect daily s life activities? Description of Lesson Students sort and place household items within five areas of the provided house diagram.Lesson 3: Arrange Grandfather’ House s Grades K–2 Washington State Arts Essential Learnings Focus The student will: 4. Placed household items correctly in one to five areas of the house. and interaction Washington State Communication Essential Learnings Focus The student will: 1. s Resources Korean house diagram.4 recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: 3. Generalization Traditional interior design and furnishings reflect a culture’ household activities.3 examine cultural characteristics. diffusion. transmission.2 listen and observe to gain and interpret information 3.

Cuts out pictures of items (bean paste jars. women’ quarters. Leads discussion of activities that take place in each area of a Korean house. courtyard. small fabric purse. painting. creating calligraphy. men’ quarters. in small groups of 4–5. s sewing. Directs students. s drying clothes on a clothesline. sleeping Veranda: cooling off in hot weather. children’ games. Kitchen: Cooking. Optional: Adds drawings of people outside to show some of the activities taking place in the courtyard. fan. s reading and writing for girls Courtyard: Food storage (bean paste). interior. to sort household items by area of the house. stove. bathing Women’ quarters: Sleeping. children’ play area. dressing. 2. Evidence of Student Learning Completed house diagram Life Applications Student is able to organize objects according to their use. child care. referring to Museum visit or web site images. fabric purse. veranda. fan) and pastes them in the appropriate place within the diagram. food preparation. calligraphy brushes. s s ceramic jars. reading. some food storage (rice chest) 2. bean paste.Instructional Strategies What the Teacher Does 1. growing plants Men’ quarters: Entertaining (male) s visiting friends and relatives. Assessment Strategies Constructed response to sorting using diagram Vocabulary Exterior. hanging calligraphy brushes. rice chest Creative Process What the Student Does 1. 22 . writing. eating.

” The outside wing included the male quarters. The two rooms on the opposite side of the apartment are called anbang and konnonbang. was a covered. the erection of two-storied houses. bordering the dining area. the skyline of Seoul is a sea of high-rise apartment buildings. . . there is one room in each corner of the rectangle: two near (and separated by) the front door and two on the opposite corners of the apartment. woodenfloor area open to the courtyard. Many features of the layout of the traditional Korean house have been incorporated into the design of the modern apartment.Did You Know? From Grandfather’ House to High-Rise Apartments s At the end of the 19th century. . which may also be called a madang. A typical modern. from the hills above. which separated the anbang and konnonbang. or inner wing. Opposite the kitchen and bordering the living room area is generally a sliding glass door opening onto a veranda. or courtyard. The poorest might have had only one room. housing many of its 11 million people. a Western observer of Korea noted that “etiquette [forbade] . The rooms near the front door are called sarangbang. and. The maru. The existence of a separate outer wing was the sign of a richer or higher-status family. The outside wing was also where the main gate was located. [C]onsequently an estimated quarter of a million people [were] living on ‘ ground. At the same time. the term maru is used to refer to the open (but covered) space between the rooms of the outer wing (near the front door) and the inner wing. replacing the uncovered courtyard. there is only one room near the door. 23 . In a three-bedroom apartment. The maru is divided between a living room area and a dining area. according to another observer. just as were the male quarters of the outer wing of the traditional house. Today. Poorer and lower-status families had smaller houses that did not include two fully developed wings. The inside wing was the female quarters. or courtyard.” Single-story houses remained the norm until the 1960s. The front door is the equivalent of the main gate of a traditional house. the capital city of Seoul the ” appeared as “a sea of low brown roofs. middle. It included the anbang (inside room). after the names of the rooms of the traditional female quarters. the use of space within is uniquely Korean. when apartment complexes began to be built. A bathroom and/or hallway may separate these two rooms. none. . changes in the use of these traditional features reflect changes in family relations.’ and. The kitchen is now adjacent to the konnonbang. In a four-bedroom apartment. . an adjacent kitchen.or upper-middle-class high-rise apartment is rectangular in shape. the konnonbang (“the room across” the maru from the anbang). and in a two-bedroom. at a right angle. or sarangbang. Despite the Western appearance of these high-rises from the outside. Today. and. a “ceremonial center of the household” and “a fine place to sit— under the shade of its roof— in the hot summer days. Small verandas may also be found on either side of the kitchen. A traditional Korean house in its full form consisted of two L-shaped wings placed so that together they formed a rectangle or square and enclosed a madang.

In the past. Department of Anthropology. The most significant change involves the anbang. men and women have more say in whom they marry. the husband with his older sons in the sarangbang and the wife with her daughters and young sons in the anbang. and husband and wife sleep together.D. Ph. there have been some changes in the use of space.forming the outer wall of the konnonbang and sarangbang. and even after marriage usually slept. while preschool children sleep together with their parents.. Today. or inner wing. This was reflected in the fact that a bride and groom did not meet until their wedding day. either in the konnonbang or sarangbang. the bond between parents and children was more important than that between husband and wife. ate. Even though the layout of the modern apartment and even the terminology of different rooms are reminiscent of the traditional house. Food jars traditionally found in the courtyard can be stored on the veranda. University of Washington 24 . which reflect changes in social relations. --Denise Lett. and entertained separately. the marital bond is more important. Older children have their own rooms. Families now often eat and socialize together in the maru. and the relationships between men and women and between generations. or living and dining room areas.

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Cut them out. a Korean board game played by women and children Jars of bean paste and pickled cabbage Hanging brushes for painting and calligraphy Fan for cooling off in hot weather 28 . Each of the five items below belongs in a different part of his house. with one outside.Student Worksheet 2: Arrange Grandfather’ House s Can you help Grandfather move his household items into the correct rooms of his house? There are four rooms inside and the courtyard outside. Stove with cooking pots Yut game. and glue them where they belong.

Kim 29 . Korea s on.Men’ Quarters (Sarangbang) s Sarangbang (men’ quarters). Photo: Joung S. Minsokch’ Yong-in.

transmission. Wrote with consideration of space and placement on the page. Wrote the words in alignment.Lesson 4: Listen to Grandfather: Say and Write Korean Words Grades 2–5 Washington State Arts Essential Learnings Focus The student will: 1. reproducing the number and direction of strokes in the diagram. and interaction Essential Question How can I create a work of calligraphy by writing Korean words? Description of Lesson Students learn to write a few words in Korean han’ script. Generalization Carefully written and positioned words create a work of calligraphy. 4. 30 . Resources Handouts for Korean words with English pronunciation for numbers 1-10. grandfather. then write them gul with a brush. Target Learning The student creates calligraphy by writing Korean words with attention to elements of line and space.2 organize arts elements into artistic compositions recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: examine cultural characteristics. 3. 2. Used a single brushstroke to create each line of a character. diffusion. Accurately wrote two Korean words. handout on han’ gul writing system Assessment Criteria The student: 1. house.

for example. the word four has six strokes. What happens if you don’ t leave enough room? Assessment Strategies Performance-based assessment of student visual art work Vocabulary Brush. each number represents one stroke. 2. demonstrates how to consider placement without folding the paper. 6. line. planning the spacing of words so that they are relatively the same size. script. 3. calligraphy. making each stroke of a character with a single brushstroke. and picking up the brush to make the next line. positive and negative space.Instructional Strategies What the Teacher Does 1. Evidence of Student Learning Final page of calligraphy Life Applications Student is aware of alternative writing systems (a syllabary) and art forms using a writing script (calligraphy and graphic design). alignment. On the diagrams. 5. Practices writing several words with a brush and black paint or ink. Directs students in completing the worksheet to identify a couple of syllables among the word examples given in the handouts. with space at the top and bottom of the paper. and placement on the page. Models stroke order and stroke direction for writing sample words. using the handout. Leads discussion of the Korean writing system. with attention to the relationship between the words. space. han’ script gul Creative Process What the Student Does 1. 3. which employs symbols for syllables. For final piece. Demonstrates using a brush to practice with paint or ink. spacing. 31 . How is this different from the English alphabet? Discusses positioning of syllables and the change from the traditional vertical right-toleft orientation to the more recent horizontal left-to-right arrangement. Practices writing several words in pencil. Writes two words as a finished product. 2. 4. Demonstrates folding paper into squares to practice writing sample words with a pencil. in horizontal alignment.

Possible extension: In other current classroom work. with folds between them). substitute the Korean numbers for the numbers 1-10. 32 . Or mount the students’work on colored paper in the format of a hanging scroll (individually) or as a folding screen (8-10 students’work joined.

Han’ may be gul written vertically from top to bottom in columns. and enjoy reading scriptures in their own language. tongue. It is a phonetic system gul comprising fourteen consonants and ten vowels. poetry. and magazines. their forms are designed to mirror the shapes made by the human mouth. Long before han’ was developed. Even today. It has been called one of the most scientific writing systems in use today in any language. gul just as we read and write in English. Japanese. It was the hope of King Sejong that all Koreans would one day be able to express themselves through writing letters and verses. But because learning Chinese required long years of study. Chinese ideographs are sometimes mixed with han’ in Korean textbooks.” as great calligraphers can use the elements of line and space to create visually captivating and emotionally expressive compositions. It is also common. For example. the symbol. many written and spoken Chinese words have been introduced to Koreans and incorporated into their language.Did You Know? Han’ gul: The Korean Alphabet Han’ the Korean alphabet. 33 . this art has been practiced for centuries using brush and ink. China. In places such as Korea. and other languages of East Asia. gul. usually men of the wealthy yangban class of landowners. Words are written in syllables as they sound. Koreans speak a unique language. Sometimes the result is a powerful work of art. however. were able to read and write. which are then read from right to left. and throat when uttering these sounds. different from Chinese. While the goal of widespread literacy in Korea has been reached only in the past century. difficult Chinese characters provided gul the only tools for writing. Korea’ king set forth this ideal long ago. s Today. Throughout centuries of close ties between Korea and China. gul At the time when King Sejong decided that the people of Korea should have their own system of writing. for the letter “k” or “g” depicts the angle of the tongue blocking the back of the throat. and religious texts. to see han’ written horizontally from left to right in rows. and Japan. Korean scholars were immersed in studying classical Chinese histories. newspapers. While han’ letters may resemble the brushstrokes of Chinese gul characters. is one of the greatest treasures to Koreans around the world. han’ is used much as it was originally devised. only the most highly educated people. It amounts to far more than just “good handwriting. however. It was developed more than five hundred years ago by a team of Korean scholars during the reign of King Sejong the Great (1418–1450) of the Choson dynasty. Calligraphy Calligraphy is the art of the written word. in which an individual character can represent an entire word or thought. unlike written Chinese.

The ability to read and write was a very special skill in the past. scrolls. available to only a privileged few. In Korea. Great calligraphers would have been celebrated as much as great painters and poets. inkstone. or men’ quarters. of Grandfather’ House! s s 34 . Brush. training in calligraphy was part of an upper-class gentleman’ education. but examples of han’ calligraphy attest to a distinct tradition. and the greatest of artists would have excelled in all three art forms. Calligraphers would have worked in Chinese characters. along with s learning the Chinese classics. ink. gul books— all these tools of traditional learning and scholarship can be found in the sarangbang.

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. as a great portion of his time was spent in his quarters immersed in letters. and foreign objects. smaller in scale and more highly decorated.. denoting “things pertaining to culture or cultural life. The L-shaped openings provided easy access to scrolls and perhaps served as display areas for curiosities such as rocks. translating as “chest. brushes. inkstones. s Similar paired mun’ gap.” A proper yangban scholar would have regular use for such furniture. maintains the Confucian aesthetic of sophistication and simplicity befitting a gentleman’ quarters. flowering plants. 30 ½ in. might be found in the women’ quarters.47. Stout 98. d. Late 19th century Choson Period (1392-1910) Wood with brass fittings h. w. Mun’ often occur in pairs set side by side and gap flanked by tall narrow shelves. A more appropriate term might refer to the scrolls of paper.87 Mun’ are commonly referred to as “document chests. 8 in. and other tools of calligraphy that the low chests housed and that the actual name in Korean and Chinese characters indicates— mun. s 36 . This piece.” and gap.” though it has been suggested gap that this term is slightly misleading. Bequest of Frank D. 10 in.Korean Art at SAM: From the Men’ Quarters (Sarangbang) s Scholar’ cabinet (mun’ s gap) Korean. though decorated with mitered trim and a sculpted skirt.

39. w.Album leaf (Landscape with a man sitting under a tree) Korean. Bayley III 91. 10 ½ in. 37 . Gift of Frank S.. 11 ½ in. late 19th century Choson period (1392–1910) Cho Suk jin (So-rim 1853–1918) Ink on paper h.2 A Korean gentleman enjoys using his brush and ink outside.

“Ah” looks like this: means no consonant means the vowel “ah” Write the two words you found. look for the vowel sound “ah” combined with a consonant. Write the syllable: ___________________________________________________________ Now write the word: __________________________________________ What does it mean? ___________________________________________ 38 .Student Worksheet: Korean Words Name _______________________ Date _______________________ Find the syllable that makes the sound “ah” in two different words. What do they mean? __________________ ________________________ means: __________________ means: ________________________ Now.

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3 examine cultural characteristics.Lesson 5: Create a Fan Design Grades K–2 Washington State Arts Essential Learnings Focus The student will: 1. worksheet. and interaction This lesson assumes prior introduction to the art elements of line. Kindergarten version. construction paper in red. and other colors. Reviews organic shapes (with 40 . 2. 2. Next. art materials such as light cardboard or tagboard. Identifies shapes made with curved lines. when time is limited: Color a design in the fan shape on the pattern sheet without constructing the fan. shape. color in the worksheet using primary colors and the t’ aeguk design. Essential Question: How can I design a fan with organic shapes and contrasting colors? Description of Lesson Students create their own fan design. Shares and discusses background information. 2. transmission. creating one’ own design using curving lines and one’ own choice of s s contrasting colors. stapler and scissors. and composition. yellow. Creative Process What the Student Does 1. Resources Background on Korean fans. blue.2 organize arts elements into artistic compositions 2. Positioned shapes of different colors to create contrast. First. Made organic shapes.2 generate and analyze solutions to problems using creativity and imagination 4. color in the second sheet.4 recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: 3. 3. tongue depressors or craft sticks. Generalization Organic shapes in contrasting colors can be positioned to create a composition. Instructional Strategies What the Teacher Does 1. Combined organic shapes within the fan form. patterns. pencils Assessment Criteria The student: 1. Cuts and combines organic shapes to Target Learnings The student uses organic shapes in contrasting colors to create a composition in a fan format. glue. diffusion.

Selects shapes and contrasting colors to combine. Looks at the comma shapes of t’ aeguk design.curvilinear edges) by identifying examples in the room. Primary colors are contrasting colors. 3. Asks students how they will use their fans. organic shapes. Positions and glues down shapes within a fan shape on the provided pattern. what kind of curving edges does it have? 4. 5. cuts out the fan along its outer edge. 6. Demonstrates cutting three comma shapes and placing them together to make the t’ aeguk. Student recognizes t’ aeguk design as a visual element of Korean culture. and man) 5. earth. Traces and cuts out two fan frames from lightweight cardboard. Decides on the use of their fan— for some function. glues or staples them together to make a handle for the fan. Demonstrates combining larger organic shapes in primary colors to create a composition in the shape of the fan frame. Inserts a craft stick between the two pieces of cardboard. for decoration. primary colors. How is this balanced? What does it mean? (balance of heaven. composition. what would be other contrasting colors? What would not be contrasting colors (such as three shades of red)? Your different shapes will show up very well in contrasting colors. 41 . Evidence of Student Learning Fan design Life Applications Student recognizes how and why utilitarian objects can also serve an expressive function. 6. 4. curving lines/curvilinear edges. make a t’ aeguk design or their own design. contrasting colors 3. or both. Assessment Strategies Performance-based assessment of visual art work Vocabulary Fan. t’ aeguk.

they are more typically decorated with colored paper and rubbed with oil to add strength and a translucent finish. However. While today electric fans and air conditioners provide relief from summer’ heat. At some traditionalstyle weddings. the most elaborate fans would have been carried by wealthy or upper-class men and women. their surfaces may be painted or inscribed with skilled brushwork. landscapes. Bamboo ribs and handles may be covered with ox horn or mahogany. round fans also make very effective sunscreens. but they are no less meaningful for Koreans today. Just as with folding fans. they are exchanged as gifts. earth. This is why the Korean t’ aeguk often has three primary comma shapes of red. Perhaps the best recognized form is the t’ aegukson. even in the middle of winter. Korean fans continue to serve in a variety of forms and functions. In a society that has seen rapid changes. Flat-screen fans come in a variety of shapes— one is said to resemble the crown of a fairy. Folding fans in particular are highly decorated. Large. The sight of family members holding fans while seated on the maru (the woodfloored. often by famous calligraphers and artists. personal modesty was a closely guarded virtue. “The people here carry hand fans. a round fan with the familiar t’ aeguk symbol at its center. As in many countries in Asia. In the past.” We know that fans are a simple way to cool oneself in the heat of summer.Did You Know? Buch’ ae— A Fan for All Seasons As a traveler to old Korea once remarked. Korea. open-air section of the house) was a familiar summertime picture not long ago. another the tail of a goldfish.” signifies the unity of the cosmos in East Asian philosophy. buch’ and t’ ae aegukson are reminders to Koreans of former ways of life. and some are even incised with burned designs. the bridegroom may hold a blue silk fan while the bride shields her face with a red silk fan sewn with pearls. or the “Supreme Ultimate. In contrast. fans were used not only for adorning oneself but also for covering one’ face or casting off the unwelcome gaze of s a stranger. This includes a basic harmony between heaven and earth. While the symbol most commonly appears as a circle of two interlocking comma shapes (best known as yin and yang in their Chinese form). light and dark. enabling the symbol to represent the balance of heaven. T’ aeguk. especially when holidays and special occasions call for traditional dress. Folding fans and flat-screen fans are made from thin bamboo strips covered with mulberry paper. even today. or buch’ for the people of ae. sun and moon. and humankind. Poetry. During the Choson period (1392–1910). when the activities of men and women were kept separate. In public. and yellow. and fan making is a prized and specialized craft. blue. Koreans s can still be seen carrying their hand fans. flat-screen fans are simpler and more commonly used. sometimes a third element is included. and familiar flower and bird motifs are brushed on the paper surfaces. fans in Korea continue to be both useful and decorative. But why carry a fan when it is cold outside? The answer lies in the special significance of the fan. 42 .

one of three areas noted in late Choson period (1392-1910) administrative records for producing the finest hwamunsok. This mat bears a conjugal pair of cranes signifying fidelity and longevity. or “flower decorated mat.153 Hwamunsok. Above and below the interlocking cranes are the Chinese characters for “double happiness” and a surrounding cloud scroll pattern enhances the bold geometric and symmetrical design. 71 ½ in. 43 .Korean Art at SAM: On the Veranda (Maru) Mat (hwamunsok) Korean. especially as summer floor coverings as the fibers absorb moisture but remain smooth and cool to the touch. Gift of Helen and Marshall Hatch 92. Hwamunsok continue to be used today. 20th century Woven sedge grass l. w. 104 ½ in. This mat was woven by an artist from Kanghwa Island..” is the general Korean term for traditional sedge grass mats typically adorned with floral patterns and bird and animal motifs in bright colors.

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Photo: Joung S. Minsokch’ Yong-in. Korea s on.Women’ Quarters (Anbang) s Anbang (women’ quarters). Kim 46 .

4 recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: 3. Target Learnings The student positions geometric shapes and colors to create a balanced composition.3 examine cultural characteristics. 47 . Resources Overhead projector Image of SAM pojagi (color transparency plus black-and-white illustration) and background information Tissue paper or rice paper (if possible. Combined geometric shapes in a composition. and composition. Placed colors and shapes to balance the composition. collect paper scraps from other projects to use) or lightweight fabric scraps (translucent. diffusion. pattern. gauzy.2 organize arts elements into artistic compositions 2. Found and/or cut straight edges to create geometric shapes. while eliminating the principle of balance.2 generate and analyze solutions to problems using creativity and imagination 4. transmission. and interaction This lesson assumes prior introduction to the art elements of line. or silklike fabric is best) in at least six different bright colors Glue stick for paper. 14 inches square Assessment Criteria The student: 1.Lesson 6: Create a Wrapping Cloth Design Grades K–2 Washington State Arts Essential Learnings Focus The student will: 1. shape. Essential Question How can I combine geometric shapes to create a balanced design? Description of Lesson Students make a paper or fabric patchwork wrapping cloth. Kindergarten version: Complete the project with a focus on shape and color. Generalization Geometric shapes of differing colors can be positioned to create a balanced composition. 3. Elmer’ glue or fabric s glue for fabric scraps Backing paper or muslin fabric. 2.

geometric shape. balanced composition. Demonstrates how to experiment with positioning of pieces by moving them around on the paper before gluing them down. 6. Life Applications Student recognizes elements of visual composition and cultural tradition in domestic/functional art forms. repeated pattern. distinguishing between symmetry.) 4. 3. Glues down shapes. Reviews geometric shapes by identifying examples in the room. 6. 3. Decides on a final composition when balance is achieved. and balance. Looks at example of pojagi (wrapping cloth) and discusses how it creates balance. Evidence of Student Learning Student work includes geometric shapes in a balanced composition. to the muslin side of the completed project. Identifies shapes made with straight lines. 48 . 24 inches long. Cuts straight edges to create geometric shapes. others repeat shapes and colors without using an exact repeated pattern. What different solutions are evidenced? Assessment Strategies Performance-based assessment of visual art work Vocabulary Textile. 4. 5. 2. add two ribbon ties. (Prompts: Are all the pieces of a single color in the same section of the piece? Which pojagi uses a repeated pattern? How can a composition be balanced without a repeated pattern? Some are symmetrical— two halves or four quadrants are mirror images of one another. repeated pattern. Shares and discusses background information on the function and design of wrapping cloths. symmetry Creative Process What the Student Does 1. Shares work with classmates. wrapping cloth (pojagi).Instructional Strategies What the Teacher Does 1. or sorts out and creates geometric shapes from scraps. patchwork. Attach the ribbon in an X pattern to the center with glue. 2. Demonstrates finishing: For pieces made with fabric scraps. Experiments with different arrangements on backing. 5. Looks at student work as a group.

collect and display samples of what Grandmother made. or other art objects made from recycled materials. other textile pieces made from fabric scraps.Possible extension: As a class. 49 .

and white. ranging from coverings and pouches for ceremonial items to wrappings for clothes and bedding to covers for meals and table settings. How are wrapping cloths made? Pojagi vary in size and materials according to their intended use. gossamer. a ruler. Source: Kumja Paik Kim and Huh Dong-hwa. and a pair of scissors. Woven into the fabric of their cloths are individual pictures of resourcefulness. and ramie are used in bright shades of red. Most were secluded from the public realm. and their abstract geometric compositions. blue. creativity. Some pojagi are lined. green.Did You Know? Pojagi— The Art of the Wrapping Cloth Why use a wrapping cloth? Koreans have shared the belief that by carefully wrapping or covering an object. others padded or quilted. pink. 1995). and a woman’ close s companions were said to include needle and thread. purple. wrapping cloths tell a broad story of Korean society and culture. painting. had few avenues for personal expression. cotton. pojagi have been fashioned of cloth material not only to protect possessions and gifts. are remarkable for their intricate stitching. These patchwork wrapping cloths. on occasion. What do wrapping cloths tell us about the women who made them? As much as chogak po demonstrate a refinement of Korean artistic concerns. or chogak po. How are designs created with patchwork? Among the pojagi best appreciated today are those pieced together from scraps of fabric left over from clothing or quilts. 50 . through much of the Choson period (1392–1910). but are generally square or rectangular in shape. a thimble. and exuberance of spirit. Decorative techniques include embroidery (designs sewn on with thick colored thread). blessings may be captured or bestowed through that object. in Profusion of Color: Korean Costumes and Wrapping Cloths of the Choson Dynasty (Seoul: Asian Art Museum of San Francisco and Museum of Korean Embroidery. In viewing patchwork cloths in recent museum exhibitions and catalogues. their use of balanced and contrasting colors. For centuries. and. Pojagi are thus multipurpose. there is little wonder that curators and writers discover a modern aesthetic sensibility— some even finding parallels to the work of Piet Mondrian (1872–1944) and Paul Klee (1879–1940). but also to secure general good fortune. yellow. Popular materials of silk. These are the works of anonymous women who. gold leaf appliqué (gluing on very thin pieces of gold).

In the past these patchwork cloths were sewn together from scrap material to be used as ordinary wrapping cloths for everyday objects.. This particular pojagi is a fine example of chogak po. Purchased with funds from the estate of Pauline King Butts 93. or patchwork designs runs deep in Korean traditions— as deep as the belief that by carefully wrapping an object. or “pieces” pojagi. one can convey one’ blessings. w.Korean Art at SAM: From the Women’ Quarters (Anbang) s Wrapping cloth (pojagi) Korean. Today Korean women continue to produce these cloths for practical use. 33 ¼ in. but they also know that they are actively engaged in a contemporary creative process. 31 in. 20th century Ramie cloth in patchwork design l. however. honor. chogak po have been admired even above the traditionally esteemed embroidered pojagi for their complex designs and color schemes that appeal to the modern eye. 51 . painted. but they are also an expressive means for packing good wishes.164 Pojagi are wrapping cloths created by Korean women for the purpose of covering and protecting objects. The practice of stitching together cloth and elaborating its surface with embroidered. Recently. and respect along with that s object.

Minsokch’ Yong-in.Kitchen Kitchen. Photo: Joung S. Kim 52 . Korea on.

3 examine cultural characteristics. in which part of the house? This is the setting for the event. mat ? ? Women’ quarters: bedroll. hat s 53 . To help the audience visualize the unfolding story. the singer included many descriptive details. clothing. transmission. wall ? ? Men’ quarters: calligraphy brushes.4 recognize the influence of the arts in shaping and reflecting cultures and history Washington State Geography Essential Learnings Focus The student will: 3. furniture.Lesson 7: Picture This! Illustrate a Korean Folk Tale Grades 1–5 Washington State Reading Essential Learnings Focus The student will: 1. At certain points during the story.4 understand elements of literature— fiction 2. the singer would include many verses listing the contents of the house or room in great detail. A singer could take several days to sing and tell the full story! The singer used her voice and some movement to tell the story.2 expand comprehension by analyzing. gate. the audience saw the events in their minds instead of on a screen. rice chest. stove. Teacher prompts for discussion while students plan their illustration of a story event: ? ? Where did the episode happen? Inside the house or outside? If inside. interpreting. ? ? What are some items found in this area of the house that you could include in your drawing to show where the incident took place? Review images that can create a setting: ? ? Kitchen: kettle. purse s ? ? Courtyard: storage jars. and interaction Suggested introduction: Teachers may wish to introduce the p’ ansori tradition of singing and storytelling. kite. and synthesizing information and ideas 3. diffusion.3 read for literary experience Washington State Communication Essential Learnings Focus The student will: 1.2 listen and observe to gain and interpret information Washington State Arts Essential Learnings Focus The student will: 1. This story was one of the five basic tales in the p’ ansori tradition. cooking pots ? ? Veranda: fan.2 organize arts elements into artistic compositions 4. The folk tale students will hear was originally told in the form of an epic song.1 comprehend important ideas and details 2.

Essential Question How can I create a folk tale illustration showing its household setting? Description of Lesson Students read and illustrate a Korean folk tale. Target Learnings The student illustrates a story incident within its household setting.

Generalization Folk tale words and illustrations can be enriched by the details of a setting. Resources Handout of folk tale “The Queen Swallow’ s Gift,” images of Korean houses, drawing materials Assessment Criteria 1. The student drew an illustration of an incident from the Korean folk tale. 2. The illustration depicts the house as its general setting (includes walls, roof, or other general feature). 3. The illustration depicts the appropriate part of the house as its setting (includes household or courtyard items specific to one area).

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Instructional Strategies What the Teacher Does 1. Reads, or has students read, the Korean folk tale with discussion of the household setting at the places indicated by an asterisk. 2. Guides students in recalling events from the story and putting them in proper sequence. 3. Guides students in choosing an incident from the story to illustrate in a setting of a part of the house. For K2: students choose a favorite incident from the story as a group. For 3-5: Students choose their own event individually. 4. Explains that students should draw the event in its setting, and discuss visual elements that can be included in the drawing to create this setting. 5. Guides students in drawing their story event in the center of their page, reminding them to leave some space around it to draw in the setting. 6. Suggest that students begin by drawing some part of the house (such as door, walls, or roof), and then add a household item. 7. Compare results. How did different drawings show the event? Show the setting? Assessment Strategies Performance-based assessment of visual art work Vocabulary Folk tale, sequence, setting, space, auspicious, eaves, gourd, silk, brocade

Creative Process What the Student Does 1. Listens to story and identifies which part of the house or what type of house (thatched-roof or tile-roof) is involved for specific incidents; names some of the contents of the rooms. 2. Recalls events from the story in sequence. 3. Draws or positions story characters within a household setting. 4. Draws details to indicate a specific location within the household setting.

Evidence of Student Learning Student illustrations

Life Applications Student can visualize settings from text. Student can use key selected visual elements to represent a larger whole.

Possible extension: If enough students have illustrated different episodes, their work can be put together into a set of storytelling cards. Students can take turns retelling the story while showing the illustrations. Or compare versions of the story. A different version is included on the audiotape Tales of Korea by Cathy Spagnoli (New York: The Korea Society, 1994) and on the Explore Korea

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page of the Museum’ web site. In this version, a talking turtle takes the place of the s swallow; the tape teaches and then uses the Korean words for family members and the numbers 1–5. The version of the story with the swallow has also been published with the title “The Grateful Swallow,” in Korea for Children: A Treasure of Legends, Myths and Heroes, vol. 2 (Seoul: Daihak Publishing, 1982), and “Hungbu Nolbu: Two Brothers and Their Magic Gourds,” in Korean Folk Stories for Children, series II (Seoul: Seoul International Tourist Publishing, 1981).

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sharing everything equally. “You and your brats have been a burden for long enough. Hungbu’ wife had to do all the cooking. and what would he find there?] From that day on. he turned quickly and walked into his study. shaking his pipe at Hung-bu. “My sons. I want the two of you and your families to live in harmony together. “I want you and your family out of this house. pause to consider which area of the house this episode takes place in. “Those brats of Hung-bu’ are going to be the s s ruin of us. frowning and ll stroking his chin. They’ going to s. One day the brothers were called to their father’ bedside. If Hung-bu’ children cried for more food. “Hung-bu!” he screamed after a few minutes. Then one day Nol-bu’ wife said to him.” replied Nol-bu. re be the ruin of us. he closed his eyes and died. Nol-bu’ family ate first and Hung-bu’ family had to s s make do with the leftovers. but before he could get his shoes off to enter. Nol-bu jumped up and began yelling. Nol-bu searched his father’ room and took everything of value he could find. or maru] where Nol-bu was sitting. “Come here! I want to see you at once!” Hung-bu hurried to the open hall* [veranda. Nol-bu’ wife s s would slap them and say they had eaten more than their share. Now get out! Be gone with you!” With those words. Hung-bu and Nol-bu were brothers. cleaning and washing.* s [Break for teacher prompt: what part of the house is that.Folk Tale: “The Queen Swallow’ Gift” s Note: At the points marked with an asterisk (*) in the story. a wealthy landowner.” “What’ that? The ruin of us?” asked Nol-bu. 57 . It was an auspicious spot overlooking a stream. “it is time for me to leave this world. Nol-bu and his wife treated Hung-bu and his family like servants.” he said in a raspy s voice. Hung-bu and Nol-bu buried him on a mountain slope beneath their house. That is all I ask. Nol-bu was the oldest. s “Those kids of Hung-bu’ They eat so much there is never anything left.” he shouted. They and their families lived together with their elderly father. and his children had to do all s the chores and run all the errands. As soon as they returned home from the burial ceremony.” “Then I guess I’ just have to do something about them.” After a few moments of labored breathing.

“Oh Sister-in-law. Hung-bu did odd jobs at houses in nearby villages. Please give me something. who was standing on the porch. To their 58 . you s s bum! Get out!” she shrieked. Brother. mushrooms and berries for their meals. you bum! Get out! And don’ come begging around here again!” t Leaving the house. but he [was grieved by] facing his starving children even more. They wandered from one place to another until they stumbled upon a rundown old shack which was hardly large enough for all them to lie down.” Hung-bu laughed as he pulled some rice from his cheek and stuck it in his mouth. looking up at Nol-bu.” Nol-bu said haughtily.* At that very moment Nol-bu’ wife s was putting hot steamy rice into a bowl.” t “I’ give you something. s “Please. Thank you for hitting me with the rice scoop. “Get out. They left the house to the sound of the resounding bang of the gate as Nol-bu’ s grinning wife slammed it behind them. Hung-bu passed by the kitchen. Hung-bu and his wife began to worry as the autumn nights got colder and it became more and more difficult to find food. laughing and turning his other cheek to her. she swung at Hung-bu’ other cheek but hit the s doorframe because he ducked. thank you. Somehow Hung-bu and his family made it through the long. stepping down from the porch. “Please go to your brother’ house and get something. hitting Hung-bu over and over with a stick. “Take ll this. so the next morning he went to Nol-bu’ house.” Hung-bu hated the thought of facing his brother. Finally Hung-bu’ wife said.A shocked Hung-bu helped his wife and crying children gather up what few belongings they had. sticking his head inside the doorway. too. “Won’ you hit t this cheek. Quickly wiping the scoop from her apron. They were happy when spring finally arrived because they could gather roots and plants to eat. you good-for-nothing bum! Take this!” he yelled. “Oh. Sister-in-law. even if s s it is only barley. “please give me a scoop of rice. cold winter. They made a game of trying to find things with which to mend the roof. Hung-bu laughed as he ran through the [court]yard* and out the gate. Nol-bu’ wife hit Hung-bu’ cheek with the rice scoop. pulling the remaining grains from his face and eating them. and his wife and children gathered wild vegetables.” he said.” called Nol-bu.* “We don’ have anything to eat. “Get out of here.” In a flash.” he said. and in no time it was repaired. However. spare us a few bags of barley.

“How could a bum like you become wealthy overnight? Come on. they cut the second gourd. It made him very cross. a pair of swallows made a nest in the eaves of their roof. He looked into the nest. all kinds of precious jewels. Then he looked on the ground. By autumn. he walked up to it and called loudly. Hung-bu picked up the baby swallow and examined it. One of its legs was broken. Hungbu gently bound the leg with string and put the bird back in its nest. Out marched hundreds of tiny carpenters. It was empty. Then he realized that he didn’ t hear any chirping coming from under the eaves. The snake had eaten the other babies but in doing so had pushed this one out of the nest. They cut the last gourd. Hung-bu and his family carefully planted the seed and s looked forward to eating gourds come autumn. They were wealthy! Word of Hung-bu’ newfound wealth spread quickly throughout the nearby villages and s soon reached Nol-bu.delight. Finally Nol-bu could not restrain s himself. There was one of the tiny swallows. Hung-bu and his family danced for joy. Then it flew in a circle around their yard* several times. for it meant the end of another long. “Hung-bu! Hung-bu! Let me in!” Hung-bu welcomed Nol-bu as if nothing had ever happened. The children lovingly cared for it.* They couldn’ believe their eyes. when the gourds were ripe enough to eat. Who did you rob?” 59 . dropped a seed at Hung-bu’ feet and flew away. In late autumn it flew southward with all the other birds. and while they talked in Hung-bu’ study*. he noticed a big snake near the corner of the house. Happily they cut the first gourd. In a few weeks the nest was home to several baby swallows who chirped constantly for food. Nol-bu stood in wonder in front of the impressive tile-roofed gate.* He killed it with a hoe. One warm day a lone swallow perched on their roof and chirped loudly. and soon it was flittering about the yard. hard winter. Hung-bu and his wife were surprised at how fast and big the gourds grew. his wife served them persimmon tea. grew quickly into a s vine and soon there were three small gourds on it. At once the yard became filled with sacks of rice. Once they were over the surprise. Hung-bu knew at once what had happened. they were so big that Hung-bu and his children had to use a saw to cut them. and finally he could not stand it any longer— he had to go see for himself. Out tumbled strings of t gold and silver coins. The seed. One day when Hung-bu returned home from working in a nearby field. The next spring Hung-bu and his family were glad to see the birds return. Within a few minutes they constructed a large tile-roofed house surrounded by a wall with a large gate and then disappeared. a gift from the Queen Swallow to repay Hung-bu’ kindness. and he blurted out. tell me the truth. and silk and brocade fabrics. feeding it worms and insects. * Shaking his head.

There’ been a mistake. Then he bound up the leg with some cord and. He took one of the babies from the nest and broke one of its legs with his bare hands. saying. In a blink of an eye they were all over the house. I fixed your broken leg so next spring bring me a magic gourd seed. Spring finally arrived. “Okay. Then one day he decided he had waited long enough for a snake to come. When the birds hatched. he jumped up and said he had to leave. He shouted to his wife to come out and together they planted the seed. they sawed open the first gourd. Spring arrived and Nol-bu watched for the swallow to return.” “What’ that?” asked Nol-bu. stroking his chin pensively. It flew around the yard and then dropped a seed at Nol-bu’ feet and flew away. After a few moments’silence. which fell onto the ground and broke its leg.” said Nol-bu. and he and his wife anxiously waited for a pair of swallows to build a nest under the eaves of their house.” “It seems that way.” said Nol-bu. the bird flew away and the next spring brought you a magic gourd seed.Hung-bu told him about the swallow dropping the seed and how they planted it and were so surprised when they cut open the gourds. “I see. Then you bandaged the leg and when it healed. you little bird. They even scattered a variety of grains in the yard and on the rooftop in hopes of attracting a pair. 60 .” smiled Hung-bu. a snake crawled into the nest and ate all of the birds but one. All summer they watched the seed grow into a vine and three of the biggest gourds they had ever seen ripen on it. and then he explained about the swallow m falling out of the nest. At long last a pair of swallows did build a nest under the eaves.” said Hung-bu. Nol-bu s was ecstatic.” cried his wife. “Let me get this straight. “”Something is wrong.” placed it back in its nest.* Out jumped hundreds of beggars. “This can’ be!” screamed Nol-bu. Talking about how wealthy they were going to be. and in a few weeks it was home to several baby birds. “All I can imagine is that the swallow must have been the one whose leg I bandaged.” t s “Surely there must be gold in the next gourd. eating every edible thing they could find. I’ not exactly sure. Autumn arrived and it was finally time to open the gourds. The bird recovered and flew southward in the autumn. “A pair of swallows built a nest under the eaves of your roof. Nol-bu’ thoughts were filled with images of swallows and magic gourd s seeds. From that day on. “You say you bandaged a swallow’ leg and it gave you the s s magic seed?” “Well. Every day Nol-bu watched for a snake to raid the nest* and every day he was disappointed. Finally a lone swallow came.

They searched through the rubble and found Nol-bu and his wife. Out tumbled an army of ogres carrying large spiny mallets. But they still did not give up. N. From Korean Folk and Fairy Tales.” From that day on. “I was wrong.: Hollym International. Ironically. Nol-bu looked into Hung-bu’ eyes and said. and their families lived happily together. Hung-bu and his wife decided to pay a visit to Nol-bu to try to [let] bygones be bygones. They gently propped them up and gave them some water. Reprinted by permission of the author. they sawed open the last gourd. I was wrong. Out poured putrid night soil and covered them from head to foot. t Everything will be fine. Then they disappeared along with the beggars. They were shocked to find the house in a shambles. on that very day. 1991). You and your family can come live with us. Hung-bu and Nol-bu became the best of brothers. When nothing was left s standing. and at once they began breaking down Nol-bu’ house.J. After a few moments they regained consciousness. “Just rest. they hit Nol-bu and his wife until they passed out. Hungs bu. 61 . Please forgive me.” “Don’ talk now. Retold by Suzanne Crowder Han (Seoul and Elizabeth. Slipping and sliding in the foul-smelling muck.” said Hung-bu.Quickly they sawed open the next gourd.

white porcelain began to be produced in great quantity and variety for popular consumption.. s bowls. dia.15 Toward the end of the eighteenth century. 3 ½ in. 2 ¾ in. Choson period white porcelain (paekcha) was used by a broad range of individuals and households. Once the reserve of Korea’ elites s and admired as far as Ming China and Japan.Korean Art at SAM: From the Kitchen (Bu’ ok) Covered jar Korean. as were cups.” 62 . the jar is simple and elegant and draws attention for its serviceable form. As with other white wares of this variety. late 19th century Choson period (1392–1910) White porcelain with cobalt underglaze decoration h. and food vessels for use in ancestral rites in commoner households. The finish has a bluish tint indicating a higher iron content than earlier porcelains and the lid is decorated with a folkish rendition of the Chinese character for “fortune. Gift of Herbert Hall 92. Small objects such as brush stands and water droppers for the scholar’ desk were fashioned in unusual shapes. This covered food jar dates to a period when even more practical ceramics were being manufactured for everyday use.

030) Cooking the Korean Way. Korea 20.Further Resources Korea Resources at the SAM Teacher Resource Center (TRC) The following materials are available by loan from the SAM Teacher Resource Center (TRC). 1998. 1995. Recipes for Korean dishes. Each folio contains three sets of four 10-by-14-inch prints.org/trc>. Cathy Spagnoli.010) Notes on Things Korean. glossary.Y. primarily since 1965. Exhibition catalog of Choson period court and religious art. 1996. (ASIA/Reg. Suzanne Crowder Han. The call numbers given are those used by the TRC. stories. New York: The Korea Society. TRC hours are Thursdays. (ASIA 10.03. Brian Lehrer. Profusion of Color: Korean Costumes and Wrapping Cloths of the Choson Dynasty. Includes chronology. Seoul: Hollym. Korea— Cultures of the World series. CD-ROM. 1993. Kumja Paik Kim and Huh Dong-wha.023) Korean Arts of the 18th Century: Splendor and Simplicity. Available resources are listed by format: audiocassette. (ASIA/Reg. (ASIA 20. Charles Reasoner.: Hollym International. located at the Seattle Asian Art Museum in Volunteer Park. Contains color photographs of period textiles and related articles. Okwha Chung and Judy Monroe. Includes captions. curriculum guide. (ASIA 20. With photographs.03. 1995. Troll Associates.027) The Immigrant Experience: The Korean Americans.007) Books Asian Tales and Tellers. 1994. Exhibition catalog. Korea 20.03. book. N. New York: The Asia Society Galleries and Weatherhill. Dong-Sung Kim. Little Rock. Stories from various Asian countries on topics such as faith and belief. 1995.seattleartmuseum. 1996. Ark. and riddles. Fridays. (ASIA 20. (ASIA 20.03. Jill DuBois.006) Long Long Time Ago: Korean Folk Tales. 1–5pm. New York and Philadelphia: Chelsea House Publishers. (ASIA/Reg. and additional references. Includes audiotape and teacher's guide.J. Cathy Spagnoli. proverbs. (ASIA 20. Tarrytown. Korean folktales. and Saturdays. Lauren Lee. Audiocassettes Tales of Korea. 1994. pamphlet.008–. Seoul: Asian Art Museum of San Francisco and the Museum of Korean Embroidery.020) Korean Americans— Cultures of America series. Includes glossary and bibliography. Complete listings are available from the TRC’ online database at s <http://www. 2–5pm. The Magic Amber: A Korean Legend. Korea 20. New York: Michael Cavendish.03. Minneapolis: Lerner Publications. 1994. 1988.03. 2–5pm. Seoul: Editions API.: Marshall Cavendish. Cultural history of Koreans in the United States.025) Minhwa Korean Folk Art Prints.03. Seoul and Elizabeth. and harmony and friendship.03. 1998. general editor. Sandra Stotsky.: August House. and video. N.003) 63 .

Catalog included. 1997. Teacher’ introduction to Korean decorative painting based on the s exhibition. Topics include: “cultural transformer and transmitter.03. 1998. Suzanne Crowder Han. Byong Won Lee. 1995. Korea 20.” “vortex of conflict. and further resources. housing.A Treasury of Asian Stories and Activities for Schools and Libraries. popular beliefs and folklore. 1997. art lesson plans.to third grade-levels.005) Contemporary Korea and the Art of Yoong Bae.029) The Rabbit’ Escape. (ASIA Korea 20.). (ASIA/Reg. s Korean Arts of the 18th Century: Splendor and Simplicity. Includes teacher's manual. Los Angeles: Los Angeles County Museum of Art. 1992. Korea 20. Suzanne Crowder Han. 1994. maps. Styles and Esthetics in Traditional Korean Music. Includes story notes.019) Discover Korea: Family and Home. Includes six slides with descriptions and two classroom activities. New York: Holt. Korea 20. Seoul: National Folk Museum.” and “division and reunification.013) Asian Art for Young People: Curriculum Guide K–12. San Francisco: Asian Art Museum of San Francisco. 64 . A middle school boy narrates a 25 minute introduction of Korean home and family life. Suzanne Crowder Han. A user-friendly CD-ROM covering Korean art in three topics. Los Angeles: Los Angeles County Museum of Art. Text included (86 pp. San Francisco: Asian Art Museum of San Francisco. Hopes and Aspirations.03. 1987. Korea 20. 1998. Fort Atkinson: Alleyside Press. 1989. 1997. s The Rabbit’ Tail. (ASIA/Reg. s CD-ROMs Korean Folk Life. occupations. New York: Holt. 1989. Contains notes on history. Teacher’ complement to the exhibition. festivals.012) Hopes and Aspirations: A Teacher Workshop. 1999. (ASIA/Reg.03. Tales and activities for young listeners from preschool. New York: East Asian Curriculum Project (EACP). clothing.015 VIDEO) Evenings for Educators 1993–94: Splendor and Simplicity in Korean Art.026) sun moon mountains rocks: An Introduction to Korean Art of the Choson Dynasty.030) Korean Spirit in Design. New York: Holt..03. 1995. Cathy Spagnoli. Seoul: National Center for Korean Traditional Performing Arts.03 016 CD) Curriculum Guides Approaches to Teaching About Korea in a World Cultures Social Studies Curriculum.03. bibliography. s The Rabbit’ Judgment. and a poster of a Korean home. Activities based on the museum’ poster exhibit (posters not s included). (ASIA 20. San Francisco: Asian Art Museum of San Francisco. (ASIA 10. 1994. an annotated script. glossary.03.” With chronology and list of further resources. (ASIA 20. New York: The Asia Society. Columbia University. and selected internet sources. (ASIA/Reg. Seoul: Samsung. Topics include history. General introduction to Korean folk culture. (ASIA 10. food.

Los Angeles: Los Angeles County Museum of Art.01. and discussion topics. Profiles a Korean American struggle to retain traditional values while adjusting to life in the United States. 30 mins.” National Project on Asia in American Schools. 1997. New York: The Asia Society. 1986. with bibliographies. their relationships with each other and with the United States. activities. 1992. (ASIA/Reg. lesson plans. (ASIA/Reg. and multicultural materials.Korea: Art. (ASIA 20.004) Korea: A Teacher’ Guide.03. 1993.002) “Recommended Resources on Korea Grades K–12: An Introductory Listing. Vt.011) Korea: Culture and Values— A Teacher's Guide. Nine slides with general overview on Korea.03.03. Ann Arbor. Park.03. and Social Studies.005) Videos Korean Americans. New York: The Asia Society.03. (ASIA 20. (ASIA 20. Columbia University.” s s Seoul: Overseas Information Service. (ASIA 20. Seattle.018) The Pacific Century. (ASIA 20. N. San Francisco: Asian Art Museum of San Francisco. Korean Arts of the 18th Century: Splendor and Simplicity. N. and a map. History. 1993. 1994." 30 mins. Performance of two contemporary compositions written for traditional Korean instruments: "Dance in Perfume of Aloes" and "Spring Snow. (ASIA 20. 1991. Oh: A Korean Calligrapher. Two illustrated pamphlets. Readings on Korean s society and art. (ASIA 20.03.: Films for the Humanities and Sciences. (ASIA 20. Choi Moon-Jin and Peter J.03. Teacher's guide with twelve slides from the exhibition.J. 50 mins. 1993.: Annenberg/CPB Collection. Princeton.: Films for the Humanities and Sciences. Includes information on Korean history. Listings include curriculum materials.022) Korean Music: New Traditions.: Association for Asian Studies.056) 65 .J.03. 1995. Study of political and economic development in Pacific nations over the past 150 years.021) Mr. South Burlington. illustrations.001) Pamphlets “The Moon Through Clouds: Korea’ History and Korea’ Cultural and Artistic Heritage. Princeton. fiction and nonfiction readings. Pacific Basin Institute and KCTS/Seattle. Korea 20. Korea 20. Profiles a Korean calligrapher now living in San Francisco. Includes map and an annotated bibliography.03. 60 mins. Mich.017) The Korean War.

hollym.co.kocis.com General Information on Korean Culture Korea.lifeinkorea.go.ac.kr/youth/folktale Hollym International http://www.korcon.org Korean Cultural Service http://www.postech.kr Window to Korea www.co.hawaii.koreanfolk.kr Korean American Historical Society http://www.or.museum.Selected Internet Resources for Teaching About Korea Children’ Books on Korea s Borim Publishing http://www. Korea) http://www.samsung.kr National Museum of Korea (Kyongju.askasia.edu/korea The Korean Connection http://www.org/lacm/kam Korean Folk Village (Yong-in.com Korea Insights http://www. Korea) http://www.hoammuseum.kocis.org Center for Korean Studies http://www2.kofo. California) http://home.com/entertainment/window Korean Cultural Organizations Korea Foundation http://www.lacm.kr/tour/kyongju/museum/museum.kr Korean Overseas Culture and Information Service http://www.com http://www.kr 66 .insights.go. Korea) http://firefox.korea.kahs.com/language Korean Museums and Cultural Centers Ho-Am Art Museum (Seoul.html National Museum of Korea (Seoul.com Life in Korea http://www.koreanculture.go.korea.org Korean Language and Study AskAsia— Asia Society http://www. Korea) http://www.org Korean American Museum (Los Angeles.

Sylvia. Tim. Bonnie. Anna and Kevin Cahill. White. 1997. Duquette. Chicago: Children’ Press. Nathan B. Salt Lake City: Peregrine Smith Books and Utah Heritage Foundation. 1995. New York: Viking Children’ Books. New York: Scholastic. 1988. 1995. Horizon Communications. Taylor. Welcome Home! A World of Difference. 1996. Winters. The Sourcebook: Learning by Design. New York: Putnam. Why Design? Activities and Projects from the National Building Museum. Revised edition by Utah Heritage Foundation. Plattsburgh NY: Tundra Books. 1981. 1986. Keith. Washington. 1995. Esta Es Mi Casa. s 67 . Houses of China. The House Book (Picture Books). Architecture Is Elementary: Visual Thinking Through Architectural Concepts. s Wood. Arthur.C. 1999. Shemie.Resources for Teaching About Architecture Slafer. Architecture and Children. Houses and Homes— See Through History series. Anne.: American Institute of Architects. Children’ Books on the Architecture of Other Cultures s Dorros. Chicago: Chicago Review Press. 1997. D.

Thought and Religion-vol. Seoul: Seoul International Tourist Publishing. Cambridge: Harvard University Asia Center. I. Seoul: Korea Foundation. 2. 4. N. Seoul: Daihak Publishing Company. Korean Folk Stories for Children Series. 1981. 1997. Traditional Lifestyles-vol. Korean Folk and Fairy Tales. Translated by John Holstein. N. Seoul: Korea Foundation.vol. Myths and Heroes Series. 1994.: Hollym International. 4. Hanbok: The Art of Korean Clothing. O-Young. The Grateful Swallow-vol. 1998. Denise Potrzeba. Profusion of Color: Korean Costumes and Wrapping Cloths of the Choson Dynasty. 1994. Yang. Kim. Princess Pyonggang and Ondal the Fool-vol.Bibliography Fine Arts. Seoul: Korea Foundation. 1982.J.J.: Hollym International.2. Lee. Retold by Suzanne Crowder Han. Koreana: Korean Cultural Heritage Series. Seoul: Asian Art Museum of San Francisco and the Museum of Korean Embroidery. Korea for Children: A Treasure of Legends. Koreana: Korean Cultural Heritage Series. Myths and Heroes Series. 1998. 1995. Sunny. Hungbu Nolbu: Two Brothers and Their Magic Gourds-vol. Seoul: Design House Publishers. 1996. Yoon Chin-young. Koreana: Korean Cultural Heritage Series. 68 . Lett. Yoon Chin-young . In Pursuit of Status: The Making of South Korea’ “New” Urban s Middle Class. 1982. Seoul and Elizabeth. 2. Korea for Children: A Treasure of Legends. Korea in Its Creations. Seoul: Daihak Publishing Company. 1991. Seoul and Elizabeth. Kumja Paik and Huh Dong-wha.

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