How and why would a person choose to place such an object on their body?
This question has fascinated Lee Kangwon throughout her life as she encountered countless pieces of jewellery that filled her with wonder. Inheriting her grandmother’s passion for jewellery, Lee allowed her curiosity and intuition to guide her on a remarkable journey – one that would take her across more than a hundred countries over five decades, each piece she discovered posing new questions about humanity’s timeless desire for adornment.
After earning a degree in journalism from ewha womans University, Seoul in 1970, Lee worked as a photographer before marrying a Korean diplomat. Interested in capturing the beauty of everyday fashion, she sought to tell compelling personal stories through her photography.
CROSS PENDANT NECK RING FROM ETHIOPIA
As her husband’s diplomatic missions took them around the world, Lee saw how communities have kept their ancestral heritage alive through the materials, designs and symbolism of their body ornaments. Having lost her own family’s heirloom jewellery collection during the Korean war, Lee felt a deep calling to preserve these cultural treasures from around the world. Her dream was fulfilled in 2004 when she established the world Jewellery Museum in Seoul, now home to over 3,500 pieces celebrating the diverse aesthetics, craftsmanship and cultural significance of jewellery. Lee’s act of gathering is an intensely personal and spiritual endeavour. The collection is not merely a museum catalogue – it is her visual diary, recording countless encounters with remarkable people and jewellery traditions. As both author and poet, Lee has chronicled these stories in several books, always encouraging others to ‘follow your curiosity and see where it leads you to find your light.’
qing dynasty
l14cm × w9cm
Jewellery’s definition extends far beyond our common understanding.
Through its rich heritage, it embodies aesthetic, social, cultural and religious values of body adornment. Sometimes this results in the permanent transformation of the body – through ritual scars, tattoos, teeth fillings, distended ears and lips – blurring
HAIRPIN FROM CHINA
GILDED SILVER, KINGFISHER
FEATHERS AND STONE
The Han dynasty (206 BC–220 AD) pioneered the use of kingfisher feathers in jewellery. Their brilliant plumage became so prized it nearly led to the birds’ extinction.
stones; the bones and teeth of large predators believed to embody courage, hunting prowess, and spiritual connection. This use of amulets, transcending place and time, reflects humanity’s desire to understand and protect themselves against the unseen world. Gemstones, too, served as powerful amulets; their protective and therapeutic properties were so valued that in the Middle Ages, they were sometimes drilled through the middle to release more of their power. In Hindu astrology, each of the nine planets – or Navagarhas – is represented by precious stones; wearing the Navaratna – referring to all nine gems – is believed to provide ‘a celestial shield.’
Unlike our basic survival instincts, the human drive for beauty reveals a more complex nature. Throughout history, people have transformed their bodies, enduring discomfort to pursue aesthetic ideals. As Charles darwin observed during his global expeditions, humans consistently admire and exaggerate what nature gives them, noting that ‘if everyone were cast in the same mould, there would be no such thing as beauty.’ This
NECKLACE FROM INDIA
EMERALD, DIAMOND AND GOLD
pursuit of beauty finds vivid expression in traditions like that of the Miao women in China, who wear elaborate silver jewellery from head to toe, weighing as much as 15kg. Silver signifies beauty, wealth and protection against evil spirits. Many families believe ‘a girl is not a girl without silver.’ Similarly, among the Samburu of Kenya, a young woman is considered naked and ugly without at least five pounds of massive beaded ensembles around her shoulders and neck – gifts received from her many admirers.
In traditional societies, jewellery can speak volumes about its wearer, reinforcing an individual’s age, ethnic affiliation, marital status, wealth, achievements and social standing. The wearing, motifs, colours and shapes of jewellery form a rich language that can be read. A young dinka woman in Sudan can indicate her eligibility for marriage through the red and blue colours of her beaded corset. In India, a married woman’s multiple bangles are symbols of her union; if she becomes a
DAMIANI NECKLACE WITH DIAMOND, PEARL AND GOLD FROM ITALY 1980s l48cm
Amber
Three Stones of Fortune
Even though it was March, the pristine snow still illuminated the Hongyureung Royal Tomb site with a bright white glow.
The snow had piled especially high around Ma’am’s burial mound, as if nature knew about her love for winter’s white blanket. I imagined she might have wandered through its untouched softness, leaving traces of her presence. It happened in November 1967, during my third year of university. A teaching assistant interrupted my lecture with a note. ‘Ma’am Gwanghwadang is in critical condition. Come quickly to Sagan-dong.’ By the time I reached her residence, Ma’am had already passed away.
My grandmother was Gwanghwadang Lee (real name Lee wan deok, 1885–1967). She was from a noble family and served as a
AMBER
late 19th century 60–80cm
NECKLACES FROM ETHIOPIA
Ethiopia, My Love
M
ore than forty years have passed since Ethiopia gave me an extraordinary gift – five years that would change my life forever.
even now, when I hear stories from ethiopia, I feel a pang of separation in my heart. w hile all nine countries I’ve called home shine equally in my mind, ethiopia pulls at my heartstrings in a unique way. Is it because we share a history, like star-crossed lovers – finding each other again after ten years apart, only to be forced to separate on two occasions, fleeing to Korea each time to escape the conflict?
As a diplomat’s wife, I had grown accustomed to news of evacuations from conflict zones, viewing such stories with casual indifference – until ethiopia made them my reality. In 1978,
CROSS PENDANTS
SILVER
19th-20th century
l3–16cm × w2.5–7cm
For Ethiopian Christians, the pendant cross is the most valuable personal possession. It is suspended around the neck by a silk cord or a cotton blue cord (mateb) received at baptism. It was during the reign of Emperor Zara Yacob (1434–1468) that a mandate was issued, ordering all Christians to wear a cross on their neck as a symbol of faith.
Social status is indicated by the size and refinement of the cross. Individual designs identify a wearer with his or her province and the crosses are named after the province they come from.
PROCESSIONAL CROSSES
h21–35cm × w10–15cm
HAND CROSS
SILVER
early 20th century
l35cm × w12cm
Ethiopian hand crosses incorporating human figures are quite rare. In this cross, the figure holding up the cross is Adam. The rectangular base may be interpreted as a reference to the Arc of the Covenant venerated by Ethiopian Christians or to the four corners of the world. In the centre of the cross, the open ‘window’ reveals Mary and Christ, from whom the four branches of the cross emanate.
PRE-COLUMBIAN
FIGURES
10-16th century
l6–9cm × w3.2–4.5cm
COLLECTION OF GLOBAL BRACELETS, 20TH CENTURY:
(Top row, from left)
BRACELET FROM SAUDI
ARABIA, YEMEN
GOLD AND SILVER d8cm
BRACELET FROM SAUDI
ARABIA, YEMEN
SILVER
d9.5cm
BRACELET FROM SAUDI
ARABIA, YEMEN
SILVER d6cm × h7cm
(Middle row)
ARGENTINIAN BRACELET
SILVER w9cm × h8cm
ETHIOPIAN BRACELET
SILVER d8cm
TURKMEN FIRE-GILDED BRACELET
SILVER AND CARNELIAN w8cm × h5cm
(Bottom row)
ETHIOPIAN ARGOBA BRACELET
SILVER w6cm
CHINESE MIAO BRACELET
SILVER
d7.5cm
ETHIOPIAN BRACELET
SILVER AND GLASS d6cm × h7cm
OPPOSITE
BALHYANG NORIGAE
PENDANT FROM KOREA
JUNIPER, NEPHRITE, KINGFISHER FEATHER, GOLD, SILK AND METALLIC THREAD
19th century
l35cm × w7cm
Rare ‘fragrance diffuser’ norigae from the Joseon dynasty (1392–1910) worn by royal women to chase away evil spirits. Herbal medicine and juniper incense powder were made into beads and strung like a beaded screen. According to Korean tradition, special aromas have the ability to ward off misfortune and to clear one’s mind.
GAKHYANG NORIGAE PENDANT FROM KOREA
HERBAL MEDICINE, GOLD POWDER, NEPHRITE, SILK AND METALLIC THREAD
19th century
l19–35cm × w3.8–4.2cm
Very rare norigae with herbal medicine mixed with incense made into a paste, moulded and stamped into auspicious symbols such as a bat or bokjumeoni (lucky pouch), covered with gold powder. Mostly worn during birthdays and festive events.
BROOCH FROM ITALY
GOLD, LAPIS LAZULI AND STONE 19th century
l4cm × w6.4cm
Micromosaic jewellery is created from hundreds, sometimes thousands, of tiny fragments of glass or semiprecious stones to depict a detailed portrait, landscape, ancient Roman architecture, animals, or floral bouquet. The inlay process is extremely painstaking and laborious, cutting and fitting like a puzzle.
19th century
l5.2cm × w4cm
OPPOSITE
CAMEO BROOCH FROM ITALY
EMERALD, DIAMOND, PEARL AND GOLD
Earrings & Headdress
EARRINGS FROM CENTRAL ASIA (TEKKE TURKMEN)
FIRE-GILDED SILVER AND CARNELIAN early 20th century
l22cm × w5.5cm
These versatile ornaments could be suspended from the earlobe, woven into hair braids, or attached to headdresses. Their triangular form is believed to offer spiritual protection.
OPPOSITE
HEADDRESS FROM ALGERIA (KABYLIA)
SILVER, CORAL AND ENAMEL 20th century
l25cm × w19cm
Geometric form influenced by eastern Arabian diadem designs, exemplifying traditional Kabyle craftsmanship.
