Special Exhibition

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Title

Cups, Between Us

Period

July 23 (Thu) – November 1 (Sun), 2026

Venue

Open Storage 16 National Folk Museum of Korea, Paju

Exhibition Title: 《Cups, Between Us》

Location: Open Storage 16 National Folk Museum of Korea, Paju

Duration of Exhibition: July 23 (Thu) – November 1 (Sun), 2026

Overview: An exploration of "cups" through a wide range of exhibits, featuring earthenware cups, Celadon tea bowls, glass cups, paper cups, as well as contemporary craftworks and installations.

Exhibits: Over 190 folkloric artifacts—including earthenware cups with handles, Celadon tea bowls, brass cups, traditional brass water vessels (oksugruet), paper cups, coffee cup sets, and makgeolli (rice wine) cups—alongside artwork by 13 contemporary artists, featuring Tea Bowls and Teacups, Silver Inlaid Technique Cups, Colored Vessel Series, and Suspended Objects.

Admission: Free

Opening Remarks

National Folk Museum of Korea, Paju presents Cups, Between Us, its eighth exhibition continuing its exploration of how open storage can be made more accessible, shared, and creatively utilized.

Throughout history, people have crafted cups for distinct purposes, constantly weaving the stories of life into them with a creative touch. Just like the diverse texture of Korean life, each cup embraces its own unique shape. These historical artifacts do not merely stay in the past; instead, they reach people today as a fresh source of inspiration.

This exhibition follows the journey of cups that have always been right by the side of the Korean people in daily life—starting from the most primitive clay to metals, glass, and contemporary materials and techniques. Through this journey, we invite you to look back at the collective memories held within them.

From ancient earthenware cups once buried underground to traditional forms, and modern creations that push the boundaries of materials—the multi-faceted world of these cups reveals timeless moments of human connection, where generations of Koreans have crossed time and space to catch up and share warmth. As symbols reflecting individual memories and unique values, these cups illustrate how the Korean people have built close, meaningful bonds through them, regardless of the era.

Among the countless cups gathered here, which one will make your heart linger? We hope you discover and connect with the timeless stories that these cups have held for all of us.

Exhibition Highlights

	Earthenware Cup with Handle, Earthenware Cup with Mounted Foot Three Kingdoms Period Earthenware cups from the Three Kingdoms Period were fired without glaze, revealing the rough yet strong, natural texture of the clay. These cups were placed in tombs as burial goods to pray for the deceased's eternal afterlife. In particular, earthenware cups with handles were primarily found in the Gaya and Silla kingdoms, sharing a striking resemblance to the modern mug shapes we use today.
	Celadon Tea Bowl and Cup Goryeo Dynasty Goryeo celadon was fired with a bluish glaze, revealing a subtle, smooth texture in its iconic jade-green color (bisaek). Celadon cups were primarily used to serve tea and liquor during Seon (Zen) meditation or formal gatherings. In particular, the wide-rimmed tea bowl (dawan) was optimized for the tea culture of the time, in which powdered tea was mixed with hot water and whisked into a rich froth using a bamboo tea whisk (daseon).
	*Buncheong Teacup with Brush-stroke Pattern (Guiyal) and Celadon Cup with Black and White Inlay* Early 20th Century These teacups and liquor cups were produced primarily by modern ceramic workshops, such as Samhwa Goryeoso (Samhwa Goryeo Kiln). As the tradition of Joseon white porcelain declined in the early 20th century, Goryeo celadon and early Joseon buncheong ware re-emerged as popular tastes. In response to this commercial demand, buncheong and celadon cups were reproduced to reflect these revived aesthetic preferences.
	Brassware Cup and *Jak* (Bird-Shaped Ritual Cup) 19th Century These cups, saucers, and jak (bird-shaped ritual cups) were crafted from brass, a copper-tin alloy. The cups and saucers were used to offer liquor during ancestor worship and other formal rites. The jak was a specific type of ritual liquor cup used during the Five Rites (Orye) of the Joseon Dynasty, as well as in ceremonial rites at Daeseongjeon Hall in Sungkyunkwan and local Confucian academies (hyanggyo). It earned its name because its shape closely resembles that of a bird (jak, 雀).
	Ritual Vessel for Sacred Water Mid-20th Century This is a ceremonial vessel used to offer oksu (sacred water)—the purest and clearest water—to deities. Unlike ordinary cups, it was strictly reserved for extraordinary occasions to present offerings to gods within sacred spaces. It reflects the folk belief system that revered water as the most sacred of all ritual offerings.
	Glass Cups and Glass Coffee Cup Set Mid-20th Century These glass cups were designed for serving beverages such as water and coffee. Due to visual qualities like transparency and luster, glassware was traditionally perceived as seasonal tableware suitable for cold drinks in summer. As industrial glass tableware became widely popular after the 1950s, cut glass cups—crafted by faceting thick glass or adding color—gained popularity. In the 1970s, durable crystal glassware made with special reinforcement techniques emerged, and mass-produced pressed glass featuring simple stamped floral patterns became immensely popular.
	Paper Cups Late 20th Century These disposable paper cups represent two iconic forms: standard cylindrical cups and envelope-style flat cups. The cup-shaped paper cups gained widespread popularity in the 1970s alongside the introduction of coffee vending machines and instant mix coffee, driving a mainstream culture of beverage consumption. The envelope-style paper cups, commonly placed beside water purifiers, feature minimal waterproof coating—requiring the user to drink quickly before the water seeps through the paper.
	*Nuptial Wine Cups (Haphwanju-jan*) Mid-20th Century** These cups were used by the bride and groom during a traditional Korean wedding. In the ceremony known as Hapgeunrye (the nuptial cup ritual), the bride and groom exchange and drink liquor from these cups to seal their marital vows. Crafted from a single gourd split into a matching pair, the two halves fit back together to form one complete gourd. This symbolizes that two individuals have joined together in a new union through marriage.
	Liquor Glasses Late 20th Century These glasses were used for drinking soju, beer, and Western spirits. In response to social phenomena such as the 1970s youth culture, the draft beer boom of the 1980s, and the mass consumption of diluted soju, liquor companies produced glassware printed with their brand logos or promotional mascots and distributed them to restaurants and bars. Soju glasses, in particular, became standardized with straight, cylindrical sides optimized for the "one-shot" corporate dining (hoesik) culture—making them ideal for drinking in a single gulp, as well as being easy to wash and stack.
	*Commemorative Silver Cup for the 60th Birthday (Hoegap*) 1950s** This silver cup was received as a gift to celebrate a hoegap (a person's 60th birthday). It was customary to exchange silverware, including cups, as gifts to mark major life events and celebrations.
	Commemorative Cup for the 2002 World Cup 2002 This cup commemorates the 2002 FIFA World Cup Korea/Japan™. The exterior of the cup is decorated with motifs of a soccer ball and the Korean national flag (Taegeukgi).
	*Gourd Dipper Cup (Pyojubak*) Late Joseon Dynasty – Early 20th Century** This portable cup was used during outdoor activities. It features a ring or handle for easy carrying. Crafted by cutting a round gourd or carving wood, it resembles a peach sliced in half. The outer surface of the cup is decorated with natural motifs such as stems, leaves, and flowers using relief carving or openwork techniques.
	*Tea Bowls and Teacups* Kim Syyoung Mixed Kaolin and Clay / 1995, 1996, 2017, 2018 This work modernizes Goryeo heukja (black-glazed porcelain), a lost tradition resurrected through the artist's scientific study into the physical properties of clay and glaze. Having endured the intense flames of a kiln reaching up to 1,450°C, these tea bowls and teacups showcase unique structural colors that shimmer like the Milky Way in the dark, embodying the unpredictable aesthetics of kiln transformation (yobyeon). The artist captures a vast microcosm within a small vessel. Through this work, Kim conveys a wish for viewers to encounter the shimmering, vibrant colors of nature during the everyday act of sipping tea, encouraging reflection on the natural flow of life.
	*Cups with Silver Inlay Technique and Flower-shaped Cups* Hong Seongil Silk White Porcelain, Silver Overglaze, Opaque White Glaze / 2026 This artwork applies the silver overglaze technique (eunchae) onto twice-fired porcelain, finished with a white porcelain glaze to highlight the clear color of tea. The rim of the cup, gently rolled like flower petals, is thoughtfully designed to enhance the user's subtle tactile experience. Narrowing the gap between "a vessel good to look at" and "a vessel good to use," these teacups integrate seamlessly into daily life—serving as a medium of connection where each user can discover their own unique aesthetic appreciation and beauty.
	*Diagonal Leather Texture Cups* Lee Dasol Ceramic, Clear Glaze / 2026 This artwork captures a soft grain on the ceramic surface so convincing that it feels like real leather. Through an innovative attempt to translate leather's texture into ceramics, the work overcomes the material limitations of real leather and presents an original tactile quality rarely seen in traditional tableware. The unexpected delight created by this interplay of sight and touch infuses sensory vitality into everyday spaces and dining tables.
	*Yellow Jade Bamboo-shaped Cup, Green Jade Dragon and Ruyi Cup, Green Jade Bamboo-shaped Cup, Hanbai Jade Cup, and Jadeite Cup* Jang Seok Yellow Jade, Green Jade, Hanbai White Jade, Jadeite / 2024–2026 These works are carved to highlight the beautiful natural grain of raw gemstones. Reinterpreting traditional Korean jade craft, the artist incorporates subtle elegance and perseverance—qualities deeply rooted in Korean cultural sentiment—into contemporary designs. Blending inherent traditional beauty with modern sensibilities, these jade cups not only add grace to precious occasions but also convey profound aesthetic value in everyday life.
	*ATTO Cup and Saucer, Ottchil Glass Cup, and Ottchil Art Cup* Jeong Eunjin Glass, Ottchil (Korean Lacquer) on Ash Wood / 2009, 2020 This collection showcases the infinite possibilities of color and texture in ottchil through traditional wooden lacquerware and modern glass lacquerware techniques. The ash wood cups express a bold presence with high color saturation and rich luster, while the glass cups convey a calm, profound depth through low saturation and a soft glow. Combining translucent glass with the warm hues of ottchil, the artwork creates a unique and subtle aesthetic—reminiscent of gentle light filtering through a traditional ramie patch-work wrapping cloth (jogakbo).
	*Hanji Round Glass, Hanji Round Cup, and Texture Goblet* Choi Youjung Glass, Glass Fiber / 2006 Using glass as a medium, these works evoke the delicate texture of hanji (traditional Korean paper) and the delicate appearance of fine threads layered upon one another. Moving beyond the intrinsic properties of glass, the artist experiments with diverse techniques to harmoniously integrate contrasting textures onto a single vessel. The subtle air bubbles captured within the glass enhance the refreshing feel of the beverage inside, creating a sophisticated visual effect.
	*Colored Vessel Series* Ryu Jongdae Bioplastic, Wood Powder / 2019, 2021, 2026 These cups are created by fusing 3D printing technology and handcrafting with bioplastics derived from cornstarch. Reinterpreting everyday household items with vivid, vibrant colors and unique textures, the artist strives to create works that seamlessly blend into daily life while accommodating personal tastes. Furthermore, by combining research into new materials, digital fabrication techniques, and artistic imagination, he continues to expand an experimental artistic world that transcends conventional forms.
	*Dot Goblet in the Forest, Wings Series: Wan, Wings Series: Liquor Glass, Shot Glass Series, and Singular Cup Series* Shin Soeon White Porcelain / 2021–2026 These cups feature striking, vibrant glaze colors. Projecting the concept of "aposematism" (warning coloration in nature) onto the vessels, the artist views each cup as an individual navigating through society. Just as individuals with unique backgrounds and traits continuously interact with one another, these cups receive various spirits and beverages, with their clinking together echoing human interaction. Through the medium of the "cup," the artist artistically visualizes how countless individuals connect and harmonize with one another.
	*Heobeok Cup and Saucer* Kim Gyongchan Jeju Clay / 2026 This work reimagines heobeok—a traditional water jar unique to Jeju Island—into modern cups and table objects. Historically, heobeok served as a medium of community culture, around which Jeju women shared the sorrows and joys of life while carrying water. Using Jeju's volcanic ash soil and firing in a traditional stone kiln, the artist captures the distinctive value of age-old techniques and local materials. While adhering to the traditional manufacturing process of heobeok, this piece reshapes the form for modern utility, bringing forgotten daily routines of the past back into the present.
	*RE:ANTIQUE Mini Glass Set and Goblet, Cyclic Relic Series: Objects and Sculptural Glasses, and Continuity of Time Series: Objects and Bowls* Park Seonmin Glass / 2019–2026 Focusing on the physical qualities and temporality of glass—a material that can retain its form for thousands of years or be remelted to take on new life—this work expands the narrative of glass from ancient times to the present through a modern sculptural language. The Cyclic Relic series utilizes diverse color expressions and glassmaking techniques to translate the forms and temporality of ancient artifacts into contemporary shapes. Among these, the Re:Bottle project transforms discarded glass bottles into new vessels, demonstrating the circularity and sustainability inherent in glass. Through this approach, the artist invites viewers to experience the passage of time and the circulation of matter—connecting the past, present, and future—within their daily lives.
	*Suspended Objects* Bae Joohyun Pottery, Cotton Thread / 2026 Through an installation approach that tightly binds and connects tea bowls and utensils with cotton thread, this work visually encapsulates the myriad forms of human relationships. Transcending the singular limitations of its materials, the piece infuses the space with non-deterministic three-dimensionality and a fresh emotional atmosphere. By breaking down the intrinsic functions and stereotypes of objects, it offers an opportunity for deep contemplation and imaginative freedom, encouraging us to reflect on the complex webs of relationships that surround our lives. In particular, the cups suspended at length for visitors to hold directly create a realm of tactile communion beyond mere visual appreciation. In doing so, the work connects current senses with objects of the past that have become relics within storage, serving as contemplative objects that reframe the relationship between humans and things.
	*Hyacinth Bean, Black Soybean, Large Mung Bean, Large Kidney Bean, Large Tiger Bean, Black Soybean Pod, and Sword Bean Pod* Shin Gaeun Ceramics / 2023–2024 This series captures the forms and colors of crops based on the artist's firsthand observation of planting and cultivating them in nature. It faithfully incorporates the unique hues of sword beans, kidney beans, mung beans, black soybeans, tiger beans, and hyacinth beans, alongside the natural colors of their pods. Through these moments of harvest encountered at a slower pace amidst the fast flow of daily life, the artist expresses a gentle wish for everyone to find their own complete and meaningful season.
	*Lily of the Valley Cup* Yi Hyejin White Porcelain Clay Body, Opaque White Glaze / 2026 This artwork embodies the natural mood and sense of comfort encountered in everyday life. Inspired by observing lilies of the valley blooming in a garden, the artist captured her emotions and reflections within the piece. Intricately depicted in relief, the image of the lily of the valley offers a rich visual and tactile experience on the cup, serving as a metaphor for the artist's inner world. Through the repetitive act of shaping clay and the pure textures of the completed vessel, the artist seeks to convey a respect for nature and the warm tranquility of daily life.

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