![[Lee Kyong-hee] ‘Mr. Tiger’ to Derpy, across a half century](assets/images/news/68ac1f1438fc2_news-p.v1.20250824.87b7bf73985845bf9fc43bec83f2db98_P1.jpg)
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August 25, 2025
[Lee Kyong-hee] ‘Mr. Tiger’ to Derpy, across a half century
As Netflix's “KPop Demon Hunters” captivates viewers worldwide (me included — repeatedly) to remain a global hit, I recall Zo Za-yong, a pioneer of Korea’s 20th-century folk art movement. Decades before today’s fascination with Derpy, a mysterious tiger messenger in the musical animation, Zo tirelessly collected, preserved and exhibited humorous tiger-and-magpie paintings and other folk works of art that came close to being destroyed and forgotten. In the 1960s and 1970s, when putting three meal
**From "Mr. Tiger" to Derpy: A Half-Century Journey of Korean Folk Art**
Netflix's "KPop Demon Hunters" is currently captivating audiences globally, and its success highlights a long-standing fascination with Korean folklore. The musical animation features Derpy, a mysterious tiger messenger, who has quickly become a fan favorite. But the story of Derpy and the modern appreciation for these whimsical characters has roots that stretch back decades, to a time when preserving Korean folk art was a lonely and challenging endeavor.
Enter Zo Za-yong, a true pioneer of Korea's 20th-century folk art movement. Long before Derpy charmed viewers worldwide, Zo dedicated his life to collecting, preserving, and exhibiting humorous tiger-and-magpie paintings and other folk artworks. These pieces, now recognized as important cultural artifacts, were on the verge of being lost and forgotten.
In the 1960s and 1970s, a period when basic necessities were often a struggle for many Koreans, Zo's passion for folk art was considered unconventional. He faced considerable challenges in his mission to safeguard these artistic treasures. While others focused on economic development and modernization, Zo recognized the intrinsic value of these seemingly simple, often humorous, depictions of tigers and magpies.
These paintings, known for their playful and often satirical portrayals of the tiger – a symbol of power and authority – alongside the magpie, a messenger of good news, offer a unique glimpse into the humor and spirit of the Korean people. Zo understood that these works were more than just pretty pictures; they were reflections of the nation's soul, its values, and its history.
Zo's tireless efforts laid the groundwork for the current appreciation of Korean folk art and, perhaps indirectly, paved the way for characters like Derpy to resonate with a global audience. His dedication ensured that these whimsical depictions of tigers, once on the brink of oblivion, are now celebrated and enjoyed by millions, proving that preserving cultural heritage can have a profound and lasting impact. The journey from "Mr. Tiger" in traditional paintings to the animated Derpy is a testament to the power of art and the importance of those who champion its preservation.
Netflix's "KPop Demon Hunters" is currently captivating audiences globally, and its success highlights a long-standing fascination with Korean folklore. The musical animation features Derpy, a mysterious tiger messenger, who has quickly become a fan favorite. But the story of Derpy and the modern appreciation for these whimsical characters has roots that stretch back decades, to a time when preserving Korean folk art was a lonely and challenging endeavor.
Enter Zo Za-yong, a true pioneer of Korea's 20th-century folk art movement. Long before Derpy charmed viewers worldwide, Zo dedicated his life to collecting, preserving, and exhibiting humorous tiger-and-magpie paintings and other folk artworks. These pieces, now recognized as important cultural artifacts, were on the verge of being lost and forgotten.
In the 1960s and 1970s, a period when basic necessities were often a struggle for many Koreans, Zo's passion for folk art was considered unconventional. He faced considerable challenges in his mission to safeguard these artistic treasures. While others focused on economic development and modernization, Zo recognized the intrinsic value of these seemingly simple, often humorous, depictions of tigers and magpies.
These paintings, known for their playful and often satirical portrayals of the tiger – a symbol of power and authority – alongside the magpie, a messenger of good news, offer a unique glimpse into the humor and spirit of the Korean people. Zo understood that these works were more than just pretty pictures; they were reflections of the nation's soul, its values, and its history.
Zo's tireless efforts laid the groundwork for the current appreciation of Korean folk art and, perhaps indirectly, paved the way for characters like Derpy to resonate with a global audience. His dedication ensured that these whimsical depictions of tigers, once on the brink of oblivion, are now celebrated and enjoyed by millions, proving that preserving cultural heritage can have a profound and lasting impact. The journey from "Mr. Tiger" in traditional paintings to the animated Derpy is a testament to the power of art and the importance of those who champion its preservation.
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