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Begaenmo Pillow Decoration |
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388 |
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Begaenmo
Pillow Decoration
As for the Korean-style pillow, which differs markedly from that of the West, begaenmo refers to the decorative pads that are used to adorn the ends of a pillow. A traditional Korean pillow is made with a cloth sack that is stuffed with various filler material, such as red beans or mung beans, as well as rice bran, buckwheat chaff, or dried flower petals. Therefore, in contrast to the fluffy type of pillow found in the West, a Korean pillow is noticeably firmer and more compact, usually with a rectangular or cylindrical shape.
Tradition called for the pillow’s ends to be adorned with decorative features, which might involve such crafts as mother-of-pearl inlay (najeonchim) or hand-painted ox-horn appliqué (hwagakchim). However, by far, the most popular choice was the decoration of pillow ends with works of embroidery. The embroidered designs, typically related to symbols of good fortune and longevity, would often be based on the user’s gender or circumstances. For example, decorative images of butterflies and flowers, such as peonies, orchids, lotus and apricots, were favored for women, while a pine tree or bamboo, symbols of a forthright character, were suitable for men. And pillows for newlyweds would be decorated with twin phoenix images and seven baby birds to symbolize marital bliss and fecundity. Other popular patterns included symbols of longevity, such as the crane, deer, pine tree, turtle, and bullocho (fungus of immortality), and auspicious Chinese characters.
In the past, it was common for a mother to embroider the pillow end adornments for her husband and children. As such, the great care and affection that went into the making of pillow decorations have been captured in works of poetry. In the poem “My Lover is Sleeping” by the modern Korean poet Seo Jeong-ju (1915-2000, pen name Midang), he writes: “While my lover is sleeping, I become a crane in flight on his pillow’s end.”
The pillow end depicted here is titled “Pillow End Embroidered with the Symbol of Royal Longevity,” which features blue and yellow cranes, along with a saw-tooth pattern that is meant to fend off misfortune. According to Huh Dong Hwa, director of the Museum of Korean Embroidery, who owns this pillow, the scent of musk that permeates this piece clearly identifies it as an artifact from the royal palace. At a Begaen¬mo Exhibition being held at the Museum of Korean Embroidery, located in Nonhyeon-dong, Seoul, in October, visitors will have a rare opportunity to view 100 or so pieces of royal and traditional pillow ends, which Huh Dong Hwa has collected over several decades.
Begaenmo is another example of the importance and value that regular Korean people placed on everyday articles, such as their pillows, bedspreads, and clothing. Along with enhancing the aesthetic appearance of these daily items, the decorative elements were also expressions of hope for good health and
prosperity.
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