Blue Pigment Extracted from Indigo Plants Is Bluer than the Plants Themselves

Traditional natural dyeing involves extracting pigments from a wide range of materials that provide vivid colors, including from the flowers, fruit, leaves, roots, and bark of plants. It can also be made from certain animals, minerals, seaweed, bacteria, fungi, and lichens. Historically, most dyeing materials were plant-based, with Japanese indigo (Persicaria tinctoria) being particularly widespread. Indigo plants were utilized primarily for dyeing vegetable fibers, but animal fibers such as silk and wool also absorbed indigo readily. As a result, indigo became widely used in everyday dyeing practices and traditional crafts.

As well as referring to a single plant, “nam” (藍, Japanese indigo) is a collective term for all plants containing indigo pigments. Such indigo-bearing plants are categorized as “藍” in Korean, Chinese, and Japanese archival sources. In Korean, they have also been called jjok or jjokmul. Indigo dyeing originated in India and Egypt and later spread to China, Korea, and Japan. A passage from the “Exhortation to Learning” Chapter in Xunzi by the Chinese philosopher Xunzi in the third century B.C.E. states that “blue pigment is extracted from nam (indigo plants), but it is bluer than the nam” (靑出於藍). This is understood as a metaphor for a student surpassing the teacher. The use of nam in this text suggests that indigo plants were already in use prior to the third century B.C.E.

Dyeing in Korea before the Three Kingdoms period is mentioned in the “Biographies of the Eastern Barbarians” section of Volume 85 of the Hou Hanshu (Book of the Later Han), which describes Koreans as producing ornate patterned silk and garments embroidered with colored (gold and silver) threads. This indicates that dyeing in Korea arrived earlier than the Three Kingdoms period. Later, during the Three Kingdoms period, the clothing regulations of the Baekje Kingdom were reorganized during the reign of King Goi. In the Silla Kingdom, eleven dyeing artisans were appointed as government officials, and several departments related to dyeing existed, including Hongjeon, Neungsaekjeon, and Sobangjeon.

During the Goryeo Dynasty, the Doyeomseo (Office of Dye Production and Dyeing) was established under the Jikyeomguk (Bureau of Weaving and Dyeing) to oversee the dyeing nationwide. Experts in dye making and dyeing were placed in charge. In the subsequent Joseon Dynasty, state-employed dyeing technicians were further specialized into blue, red, and yellow dyeing artisans, reflecting a division of labor that helped advance the dyeing technology of the day.

From the mid-Joseon period onward, dyeing gradually shifted into the private sector, becoming a side job or even a primary livelihood for self-sufficient commoners. Interest in dyeing consequently increased, even among the nobility, leading to the development of now-traditional household dyeing techniques and their widespread application to items associated with married life, such as clothing, bedding, daily necessities, and wrapping cloths. However, the emergence of synthetic dyes in 1856 and then the disruption caused by the Korean War a century later fueled a temporary decline in traditional dyeing. Nevertheless, since the late 1970s, traditional dyeing techniques have been revived and transmitted systematically. Today, particularly with the rise of environmental consciousness, traditional dyeing has regained prominence as a craft appreciated by the general public.

Indigo-dyed items were once considered high-end products, to the extent that many unmarried women wished to take indigo-dyed blankets with them when they married. They were also used as backing material for paintings and calligraphy since indigo-bearing plants were known to repel insects.

Yun Byeong-un, Who Dedicated His Life to the Preservation of Traditional Indigo Dyeing

Yun Byeong-un, a recognized holder of intangible cultural heritage for dyeing, was born into a family of indigo dyers in 1921 in Myeongha Village in Munpyeong-myeon, Naju-si, Jeollanam-do Province. He began practicing indigo dyeing at the age of thirteen and eventually devoted his entire life to the craft. His family tradition traces back to his great-grandfather (Yun Chi-mun) through his grandfather (Yun Tae-hong) and his father (Yun Ju-sik).

Myeongha Village where Yun Byeong-un was born is located near Gomakcheon Stream, a branch of the Yeongsangang River. There were once ten households in the village engaged in dyeing, but over time, only Yun’s family continued the practice of traditional indigo dyeing. Although Yun did not formally study the botany of indigo-bearing plants, he became a master artisan through a lifetime devoted to his craft. He wore indigo-dyed undergarments year-round, and the dye had so deeply penetrated his body that his nail beds appeared almost black.

Yun worked in traditional dyeing from 1934 to 1950. After halting his efforts during the Korean War and the subsequent period of turmoil, he resumed cultivating Japanese indigo plants in 1974. Although it is commonly believed that stored indigo seeds will always germinate, their gemination rate actually drops drastically even after one year, making continuous cultivation essential for dyeing to remain possible. Furthermore, the introduction of synthetic fibers to South Korea in the 1950s left little room for natural dyeing. 

Jo Il-sun, an artisan in Korean decorative knotting, brought indigo seeds from Japan and traveled across the nation in search of a suitable place to grow them. In most cases, her efforts failed. On one occasion, she encountered Yun Byeong-un, who ultimately succeeded in germinating, cultivating, collecting, and fermenting the seeds. His achievement was possible despite the complete discontinuation of the tradition because he had internalized the practices of indigo dyeing through lifelong experience.

After Yun succeeded in reviving indigo dyeing, many others turned to the art. Interest in Yun’s traditional indigo dyeing grew. In the 1990s, broadcast media and newspapers vied to feature his efforts. In 1994, he submitted two pieces of ramie hanbok (traditional Korean clothing) to the Korea Annual Traditional Handicraft Art Exhibition, and both were accepted. In 1995, he was designated as a dyeing transmitter by the Human Resources Development Service of Korea. He was also selected as a proud resident of Jeollanam-do Province and received an award from the governor in 1997.

In 2001, Yun was designated as a holder of national intangible cultural heritage in dyeing. Having devoted his entire life to preserving traditional indigo dyeing, Yun passed away in August 2010 at the age of ninety. This family tradition handed down through four generations is now carried on by his son Yun Dae-jung, who serves as an assistant instructor for successor training. A wide variety of products dyed with indigo continue to be developed.

Artwork

Indigo Dyeing (silk cloth) / W. 40 × L. 1800 cm

Production Process

Dyeing cloth with indigo involves immersing natural fabric in fermented indigo and then oxidizing it. This process is typically repeated ten to fifteen times, significantly influencing the final color. The general dyeing process is as follows: preparing lime, placing fermented indigo solution in a jar, mixing the solution with lime, separating the indigo pigment from the mixture, preparing lye, mixing the lye with the indigo pigment, dyeing the fabric six days later (repeating the process about ten times), rinsing the lye off with clear water, and finally completing the finished product. The tools and materials required for this process include a sieve, a hoe for leveling or scraping, an earthenware bowl, a support, a steamer, a jar, oyster shells, hemp cloth, lye, and indigo pigment. A wide spectrum of hues from light jade to dark navy blue can be achieved depending on the number of dyeing cycles. Among these colors, a deep navy tone with a slight purple tint is regarded as the most beautiful shade of indigo blue. Producing cloth richly dyed with indigo is a sweet reward earned through long patience and dedication.