Exhibition in Seoul Unveils 400-Year-Old Silk Artwork for the First Time

“Tiger and Magpie,” by an unknown artist. Joseon Dynasty, late 19th century. Colors on paper. 116.5 × 83.0 cm. Private collection.
In this quintessential depiction of a tiger and magpie artwork, a magpie perched in a pine tree appears to converse with a large tiger that listens attentively. This tableau may draw influence from folk tales where magpies act as emissaries for the mountain spirit, delivering sacred messages to tigers in realms beyond the spirit’s domain. The tiger portrayed here is rendered with a relative degree of realism, including intricate fur details. However, its amusing facial expression and exaggerated size in comparison to the pine tree are characteristic features of folk art.

Folk art serves as a medium through which a culture communicates its values and beliefs. Frequently crafted by artists without formal education, these works form a vital part of a culture’s heritage, providing insight into the visual language of their era. In Korean tradition, the combination of magpies and tigers is prevalent throughout folk art. These cherished creatures have been depicted in art for many generations. Their pairing is termed hojakdo, where “ho” signifies tiger, and “jak” indicates magpie. Presently, an aptly named exhibit, Tigers and Magpies, can be seen at the Leeum Museum of Art in Seoul, presenting various interpretations these artworks have historically embraced.

What is the significance of tigers being paired with magpies? Theories abound, and one begins with the tiger itself. In Korean mythology, tigers are thought to ward off bad luck. They have been a long-standing symbol in traditional artwork and are often paired with other animals to enrich the narrative within the art.

The pairing of tigers and magpies is believed to have given rise to a distinctive genre of paintings. One example is Chulsanho, meaning “tiger descending the mountain,” depicting the large feline asserting its dominance over other animals mimicking its form—creatures lower in the hierarchy, such as foxes and wolves. Another variant is known as gyeongjo, meaning “surprised bird,” which illustrates a bird astonished and overjoyed by the arrival of a tiger cub. Additionally, Yuho, meaning “nursing tiger,” showcases a mother tiger nurturing her cubs, symbolizing a remarkable individual with innate talent.

Tigers and Magpies features a significant piece within the hojak tradition. The exhibition introduces, for the first time, a silk painting from 1592 showing a magpie resting on a branch above a tiger and its cubs. Considered a formal artwork, it contrasts with the more humorous 19th-century pieces that convey layered meanings while still reflecting traditional folklore. This layering is achieved through techniques such as social satire, where the tiger symbolizes a corrupt official, and the magpie represents the common people who “chirp” or simply disregard the tiger.

Tigers and Magpies will be on display until November 30, 2025, at the Leeum Museum of Art.

In the context of traditional Korean culture, the depiction of tigers and magpies is a prevalent motif in folk art. Their association is known as “hojakdo.”