During the colonial period (1910–1945) modern Korean metalwork evolved around the public Joseon Art Exhibition (Joseon misul jeollamhoe), which was organised by the Japanese colonial government. Many craftspeople were summoned to work for the Lee Dynasty Art Workshop (Iwangga misulpum jejakso), and the Japanese Trade Association (Ilin sanghoe). During this time, the traditional craft was adapted to the Japanese taste and demand. Metalcraft declined, as inlaid lacquer and ceramics were favoured by the Japanese and modern manufactured goods swept the market. Thus, artistic activity and output in metalcraft were low.
After the liberation in 1945, the founding of a significant number of related art associations, the integration of craft into the curriculum of universities and the inclusion of a crafts section in the two major art exhibitions, the National Art Exhibition of The Republic of Korea (Daehanminguk Misul Jeollamhoe) and the National Exhibition for Applied Arts of the Republic of Korea (Daehanminguk sanggongeob misuljeon), set the ground for a revival of metalwork in Korea. However, it wasn’t until the 1970s and 1980s that metalcraft was again thriving. Post-modernist influences and experimental trends have shaped contemporary metalcraft in Korea since the late 20th century. At the same time, the traditional metalcraft has been well-preserved and characteristic techniques, like the silver inlay and brassware production, have been designated as Intangible Cultural Heritage under the Cultural Heritage Protection Act of 1962. The continuation of traditional Korean metalwork can be seen through the objects presented in this category. Having only three locks, this category reflects the collection but does not reflect the full extent of Korean metalwork produced in this period.