20130912 national museum of korea magazine by KOCIS

NATIONAL MUSEUM OF KOREA

DATE

September 3-October 20, 2013

Gyeongju National Museum, Special Exhibition Hall

Gyeongju has been widely known as the millennium-old capital of Silla. But even during the Goryeo and Joseon periods, the thousand

SUMMER 2013

A city filled with the heritage of a resplendent ancient culture,

VOL. 24

VENUE

QUARTERLY MAGAZINE

GYEONGJU, THE EASTERN CAPITAL OF JOSEON

QUARTERLY MAGAZINE

years following the fall of Silla, Gyeongju maintained its status as a historical city and its culture continued to flourish. Despite the city’s importance in a more modern context, Gyeongju of the Joseon period has received much less attention compared to Gyeongju as the capital of Silla. Hence the Gyeongju National Museum is planning an exhibi-

VOL.24 PUBLISHED BY NATIONAL MUSEUM OF KOREA SUMMER 2013

tion that gives a more balanced view of the city. The exhibition will focus on the status of Gyeongju in the Joseon period and other aspects such as academic progress, the efforts of the people during the Japanese invasions (1592-1598) and other

FEATURE GORYEO’S SELECTIVE ACCEPTANCE OF OUTSIDE

crises, and development of Buddhist culture. It will feature some 120

CULTURAL INFLUENCES

items including related documents and diverse materials that shed light on way of life, philosophy, and faiths of the people of that time. This special exhibition is expected to enhance understanding of the Gyeongju people’s perception of the cultural legacies of Silla and their

SPECIAL EXHIBITION CURATOR TALK

ART FROM THE ISLAMIC

THE UIGWE OF

CIVILIZATION

THE OUTER GYUJANGGAK

FROM THE AL-SABAH

AND THE EORAM UIGWE

COLLECTION, KUWAIT

inheritance of tradition. NMK EXHIBITION 300TH ANNIVERSARY OF THE BIRTH OF KANG SEHWANG A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY

RNM EXHIBITION SOBAN, SMALL DINING TABLES OF THE JOSEON DYNASTY

ISSN: 2005-1123

NATIONAL MUSEUM OF KOREA

DATE

September 3-October 20, 2013

Gyeongju National Museum, Special Exhibition Hall

Gyeongju has been widely known as the millennium-old capital of Silla. But even during the Goryeo and Joseon periods, the thousand years following the fall of Silla, Gyeongju maintained its status as a historical city and its culture continued to flourish. Despite the cityâ&#x20AC;&#x2122;s importance in a more modern context, Gyeongju of the Joseon period has received much less attention compared to Gyeongju as the capital of Silla. Hence the Gyeongju National Museum is planning an exhibition that gives a more balanced view of the city. The exhibition will focus on the status of Gyeongju in the Joseon period and other aspects such as academic progress, the efforts of the people during the Japanese invasions (1592-1598) and other crises, and development of Buddhist culture. It will feature some 120 items including related documents and diverse materials that shed light on way of life, philosophy, and faiths of the people of that time. This special exhibition is expected to enhance understanding of the Gyeongju peopleâ&#x20AC;&#x2122;s perception of the cultural legacies of Silla and their inheritance of tradition.

ISSN: 2005-1123

SUMMER 2013

A city filled with the heritage of a resplendent ancient culture,

VOL. 24

VENUE

QUARTERLY MAGAZINE

GYEONGJU, THE EASTERN CAPITAL OF JOSEON

CONTENTS

DIRECTOR'S MESSAGE

DI DISCOVERING LEGACY LE

02 FEATURE

Goryeo’s Selective Acceptance of outside Cultural Influences

10 CURATOR TALK

The Uigwe of the Outer Gyujanggak and the Eoram Uigwe In and around the grounds of the National Museum of Korea the sweet scent of summer is already in the air. Like the leaves on the trees which grow greener as time

VIEWING NOW

14 SPECIAL EXHIBITION

goes, the NMK’s international relations are becoming more substantial, and our efforts

Art from the Islamic Civilization from The al-Sabah Collection, Kuwait

to make the museum a friendly and comfortable place to visit are beginning to show results. Varied exhibitions and cultural programs are being prepared to turn the

museum into a refreshing haven in the middle of the city.

NMK EXHIBITION

First, convenience facilities have been added in time for the summer holidays so

300th Anniversary of the Birth of Kang Sehwang A Painter’s Life: Kang Sehwang and Literati Culture in the 18th Century

that children can enjoy learning in a pleasant environment. At the entrance of the

Children’s Museum, a new place where children with their teachers or parents can

THEME EXHIBITION

sit down and rest has been created. Moreover, we have improved accessibility for

Buddhist Guardian Deities of Late Joseon

those with physical difficulties. For example, six special exhibition spaces have been established in the Permanent Exhibition Hall on the first floor to provide various

activities for the blind and visually impaired.

Soban, Small Dining Table of the Joseon Dynasty

RNM EXHIBITION

Indeed, summer promises to be lively thanks to diverse exhibitions which are

TELLING MORE

30 PEOPLE

scheduled to continue through late autumn. Art from the Islamic Civilization, organized

Beyond Museum

as part of the NMK’s World Civilizations exhibition series, takes on greater meaning as

it marks the 30th anniversary of a cultural agreement between Korea and Kuwait. In

SERIAL LECTURE

addition, the museum will highlight the life and work of the late Joseon literati artist

Classics that Everyone Should Know: In Search of Emotional Resonance

Kang Sehwang to mark the 300th anniversary of his birth in the special exhibition A Painter's Life: Kang Sehwang and Literati Culture in the 18th century, which features 100 works. Besides, the contents of an open lecture series for 2013 titled “Saturday

DIGESTING NEWS

36 NEWS

Afternoon, Garden of the Humanities” are also introduced in the pages of this magazine.

These lectures, which take an easy and interesting approach to the humanities, are an

EXHIBITIONS & PUBLICATIONS

enjoyable way to learn about Korea’s literary classics.

40 HIDDEN PLACE

In the future, the NMK will focus its energies on improving service for the general

National Museum of Korea Library

public and promoting active international relations. Through continued high-quality exhibitions the museum will be a place where history lives, breathes and the power of culture can be felt.

Thank you.

Kim Youngna Director-General The National Museums of Korea Summer, 2013

QUARTERLY MAGAZINE VOL.24 SUMMER 2013

Publisher: National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-026, Korea Tel: (82 2) 2077-9251 Fax: (82 2) 2077-9936 E-mail: polagu47@korea.kr Editorial Direction: National Museum of Korea Publishing Team Design and Production: Ahn Graphics Inc., Editorial Team Translation / Revision: Timothy V. Atkinson / Cho Yoonjung / Lee Mi-jin / Hwang Chi-young

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher. Printed in Korea Copyright © 2013 National Museum of Korea. All rights reserved. ISSN: 2005-1123

DISCOVERING LEGACY

FEATURE

GORYEO’S SELECTIVE ACCEPTANCE

THE HISTORICAL RELATIONSHIP BETWEEN GORYEO AND CHINA

OUTSIDE CULTURAL INFLUENCES

look back at history reveals that most countries have interacted continuously with their neighboring states, developing their own cultures in the process.

We who live in the modern age may have difficulty in imagining how such exchanges took place when modes of transportation were still undeveloped. However, the nomads who lived on the steppes rode horses, and countries that border the sea had

BY CH A E H A EJ EONG,

ships. Moreover, the people who lived in the regions in between

A SSOCI AT E CU R ATOR OF J EONJ U NAT IONA L MUSEUM

got around on camels, trading their specialty goods with other regions and conveying aspects of their culture at the same time. Traces of foreign cultural influences, transferred in this way, can also be found on Korean cultural properties. Let’s examine some items in the National Museum of Korea collection and see how such outside cultural influences left their mark on the people of Goryeo. 高麗 918-1392 Goryeo’s foreign exchanges were mostly with China, which has maintained a profound relationship with Korea since ancient times. China’s historical circumstances were very complex between the tenth and fourteenth centuries. The north of China was ruled by the Liao, 遼 916-1125 followed by the Jin. 金 1115-1234 To the south, were the Northern Song, 北宋 960-1127 after which came the Southern Song. 南宋 1127-1279 Then, the Mongol hordes invaded from the steppes to overrun the Jin and Southern Song, and once again China was unified under the Yuan. 元 1260-1368 The nomadic tribes brought with their traditions that were much different from those of the sedentary Han people whom they conquered, and something new was created through their contact. The changed ways of life that resulted would affect national cultures. Over time, distinguishing the indigenous cultural elements from those that were imported became very difficult. The situation in China was thus complicated, and Goryeo historically and culturally had exchanges with all these various Reliquary Set Offered by

states. Therefore, it is also indeed difficult to identify exactly

Yi Seonggye

those elements of Goryeo culture that originated outside the

李成桂發願舍利具

Goryeo, ca 1390-91

country. However, some pieces from the period may help to

H. 15.5 cm

shed light on this issue.

Excavated at Geumgangsan Mountain

DISCOVERING LEGACY

FEATURE

Lacquered whisk handle inlaid with mother-of-pearl and turtle shell 螺鈿玳瑁漆菊唐草文拂子

Goryeo, 12th century L. 42.7 cm, C. 1.6 cm

CELADON WARE AND LACQUER WARE WITH MOTHER-OF-PEARL INLAY PRIZED IN CHINA

In 1975, a fisherman was working in the waters off Sinan,

lain ware to the Yuan court in 1297. These were pieces of Goryeo

Jeollanam-do, an area dotted with countless small islands. He

celadon with decorations painted on in gold, and an actual

recovered several pieces of ancient porcelain ware entangled in

inlaid celadon piece decorated in this technique was found at

his ﬁshing net, and the discovery of the centuries-old artifacts

Manwoldae, the site of the Goryeo palace. Flattened celadon jar

led to a series of underwater exploration projects between 1976

with inlaid and gold-painted decoration of a monkey under a

and 1984.

tree has the image of a monkey holding a peach inlaid within

This “Undersea Treasure of Sinan” eventually yielded more

the diamond-shaped section of the surface. Gold powder with-

than 20,000 celadon and white porcelain pieces, mostly from

out an adhesive was laid over the glaze along the inlaid lines

Song and Yuan. Only seven, including a

and the piece was reﬁred at low temperature to make it stick to

maebyeong 梅甁 prunus vase

the slightly melted glaze. The gold coloring on top of the black

and ceramic pillow, were of Goryeo origin. Celadon ware was first made during the Northern Song at the Longquan

kilns, 龍泉窯

in what is now southwestern Zheji-

and white background makes this celadon very ornate. Celadons were not the only craft that Goryeo artisans were

ang. However, Chinese celadon production did not reach its

expert at making. Lacquer ware with mother-of-pearl inlay is

peak until the Southern Song period. Thick layers of glaze were

one for which they were most famous. The records state that

coated onto a thin clay body to product a translucent yet soft

gifts inlaid with mother-of-pearl were sent to the Liao court as

bluish-green. Vase, Celadon with ﬁsh-liked dragon handles re-

early as 1049. In addition, ink-stone cases and writing-brush

covered from the sea at Sinan ﬁrst appeared in Southern Song

boxes so decorated are said to have been bestowed on the Song

but became hugely popular in Yuan. However, pieces produced

court during the reign of Goryeo King Injong r. 1122‒1146 in the 12th

at Longquan kilns were not used in Goryeo. The cargo ship sank

century. Goryeo lacquer ware with mother-of-pearl inlay was

off the coast of the Korean Peninsula, but its destination was

well known in China for its detailed and elaborate decoration

apparently elsewhere. A careful study of the vessel laden with

and sophisticated production techniques. Unfortunately, only

Chinese-made ceramics has found that it was from the Yuan

twenty odd pieces are known to have survived from the Goryeo

period, departed the Chinese port of Qingyuan (in present-day

period. The only entirely intact piece remaining in Korea is

Ningbo, Zhejiang) in 1323, and was en route to the port of Haka-

part of the National Museum of Korea collection. The lacquered

ta in Kyushu, Japan. In other words, the “Undersea Treasure of

whisk handle is decorated with mother-of-pearl and turtle shell.

Sinan” was a 14th century shipment of more than 20,000 ce-

The translucent turtle shell slices were painted red or orange on

ramic pieces made in China and bound for Japan. Considering

the underside before being inlaid into the wooden handle. The

this historical fact, one can easily conclude that the volume and

Chinese were first to produce both celadon ware and lacquer

variety of Chinese items imported by Goryeo were not small,

ware with mother-of-pearl inlay, but the craft genres were rein-

and that these items had direct and indirect influences on

vented in unique styles by Goryeo artisans, who then exported

Goryeo culture.

some of their wares to China. These examples show that one

Conversely, the Chinese were well aware of cultural products

nation’s culture does neither move unilaterally nor is accepted

In-gyu 趙仁規 1227-

wholly by another nation. Rather it is transferred abroad par-

from Goryeo. The historical records state that Jo 1308

of Goryeo presented Yuan Shizu, 世祖 r. 1260-94 Khubilai Khan’s

Vase, Celadon with

Flattened celadon jar with inlaid

fish-liked dragon handles

and gold-painted decoration

靑磁魚龍飾甁

of a monkey under a tree

Yuan, Longquan kilns

靑磁象嵌金彩樹下猿文扁壺

H. 25.6 cm C. (mouth) 9.8 cm, C. (foot) 9.3 cm

Goryeo, late 13th–early 14th century

Excavated at sinan

H. 25.5 cm, C. (foot) 9.3 cm Excavated at Manwoldae, in Gaeseong

tially and then exchanged back again as needed.

title as Chinese emperor, with gold-painted porcelain ware and that Goryeo King Chungnyeol r. 1274‒1308 sent gold-painted porce04

DISCOVERING LEGACY

FEATURE

Silver ewer with young boys motif 銀製童子文注子

Liao H. 17 cm

ASPECTS OF CULTURAL EXCHANGE IN GORYEO METALCRAFTS

Many people who were displaced after Tang and Balhae col-

handicraft making was inﬂuenced by the techniques and design

ing. Natural compositions such as this were frequent nt on

lapsed where absorbed into the Khitan Liao Dynasty, which

patterns of Liao.

handicrafts from the time of the Northern Song on.

ruled Northern China, and Liao craftsmanship advanced fur-

Buddhism was the state-sponsored religion in Goryeo, and

Interestingly, the motif of a young boy and lotus

ther as a result. Tang goldware and silverware traditions were

many small boxes were produced to carry the portable sutras

stems has also been found on silver ewer produced ed in

fused with the special metalworking skills of the Khitans (a

that contained the teachings of the Buddha. The design patterns

Liao. The example shown here was ﬁrst produced out of

confederation of nomadic tribes from what is now Manchuria

on these boxes deserve special attention. The finely detailed

silver and then the gilt decorations were added on. The

and eastern Mongolia) to produce pieces of exceptional qual-

scene on the front and back sides depict young boys holding

ewer body is adorned with the images of large lotuss leaves,

ity. A similar example can be found in Goryeo, too. The Khitans

onto lotus stems, which densely occupy rest of the surface. The

and six circle designs are arranged around the shoulder. ulder. The

invaded Goryeo three times between 993 and 1018. Some Liao

convex presentation adds depth. The huge lotus leaves and

image of a playful young boys clutching the long lotus stem

prisoners of war captured in Goryeo during these invasions

flowers indicate the presence of a lotus pond, while very thin

appears inside each circle, which are ﬁlled with small all beadlike

were highly skilled craftsmen, who were sent to Gagyeong (the

lines have been etched into the surface to enhance realism. Sev-

ﬁgures. Virtually no background is to be seen. This motif itself

capital, present-day Gaeseong) to make dishes and other items.

eral duck-like birds are also shown. Handicrafts from the Tang

is ancient, but careful study is needed to ascertain in why the

Having the foreign artisans in one’s country to make the goods

period typically feature strong design elements and patterns

repoussé technique 打出技法 has been found on metal crafts from

with their own hands has a more direct effect on the local cul-

that are presented symmetrically, but the designs on this sutra

both Goryeo and Liao during the same historical period. riod.

ture than simply having the foreign goods ﬂow in. Thus, Goryeo

box are asymmetrical and are in the style of a realistic paint-

Meanwhile, the inside surface of the Jin Dynasty y white porcelain dish is completely covered with the imagess of playful young boys holding onto peony stems. The same motif can be

Small gilt-bronze sutra box

White porcelain dish with stamped design of interlocking

with lotus pond and young boys motif

peonies (peony scroll) and playing young boys

金銅蓮池童子文經匣

白磁印花纏枝牡丹嬰₺文盤

Goryeo

Jin, Dingyao

L. 10.3 cm

H. 3.6 cm, C. (mouth) 19.7 cm, C. (foot) 6.5 cm Excavated at Gaeseong

found on metal craft from Northern and Southern Song. What

al crafts decorated with repoussé were seen in Song because the b th

is important question is how variations of the young boy motif,

production of pottery proliferated while gold and silver were

which was not seen in Tang, came to appear on the handicrafts

in short supply. In Goryeo, on the other hand, pottery-making

made in numerous countries from the time of the Liao onward.

advanced and repoussé technique was applied extensively to

Therefore, more examples need to be brought together and

produce extremely ornate metal crafts.

carefully studied to ascertain the stylistic differences among

then the decorative elements were gold-plated on. Bottles

them. Another issue worthy of examination is the repoussé tech-

shaped to resemble gourds were very popular in Goryeo and

nique of ornamenting or shaping a malleable metal by ham-

many were made with ceramics, in addition the metal ones. The

mering from the reverse side to create a design in low relief.

surface of the small sutra case introduced above is crammed

Its development in East Asia was inﬂuenced by the silverware

with decorative elements, which were produced using repoussé.

Empire 226-651

These elements are very ornate. The work patterns were all pro-

and its use originated in Tang and was extended from the Song

duced in relief, providing a sense of depth to the piece. Virtually

through the Liao and Yuan. Goryeo also acquired the technique

no ﬂat background is to be seen. The repoussé work in Goryeo is

from Khitan craftsmen around the 11th century. As such, the

most likely linked to the metalworking techniques employed in

linkage of technical influences from Tang through Liao and

China as well as Liao.

production methods used in the Sassanid Persian

The gourd-shaped bottle was first crafted out of silver and

Goryeo need to be considered seriously, too. On the other hand,

Magoksa, a temple in Gongju, Chungcheongnam-do, has

repoussé did not develop in Song to the same extent that it did

a ﬁve-story pagoda, which is rarely found in Korea. The over-

in Liao and Goryeo. Other studies have concluded that few met-

all shape resembles that of most other Goryeo pagodas, but 07

DISCOVERING LEGACY

FEATURE

Repoussé silver gourd-shaped bottle 銀製打出葫蘆甁

Goryeo, 12th-13th century H. 8 cm

the topmost section differs from the traditional Chinese tower

the lotus pedestal on the base is a triangular ornamentation.

look. Instead, the finial is in the so-called “Lama pagoda 喇嘛塔 ”

Meanwhile, the inverted bowl body, normally round, has been

style used in the Lamaistic form of Buddhism, which was

elongated to produce an ovoid ﬁgure. The number of discs on

chieﬂy practices in Tibet, Mongolia and the smaller Himalayan

the ﬁnial, which on a Lama pagoda usually totals thirteen, has

States. This style found its way into Goryeo during the Mongol-

been reduced to just four. Lotus figures adorn the shoulders

dominated Yuan, as Lama Buddhism received Chinese imperial

of the inverted bowl, and a figure of the Buddha with hands

support from the second half of the 13th century. The Lama pa-

joined has been engraved between them. The shape of the in-

goda style features pagoda body shaped like an upturned bowl,

verted bowl and the addition of the Buddha image represent

which is placed atop the base stone.

stylistic changes that were made in Goryeo to a Lama pagoda

Lama Buddhism came to Goryeo after the Goryeo royal

that originated in Yuan.

family and Yuan imperial family intermarried, and Goryeo

Extant handicrafts reveal that Goryeo was engaged in vari-

Buddhist art was influenced accordingly. According to extant

ous forms of exchange with foreign peoples. China at the time

records, four monks from Mongolia and Tibet visited Goryeo

of Goryeo (10th through 14th centuries) had a succession of

in 1271, and that Goryeo King Wonjong r. 1259‒1274 came out from

different ruling dynasties, to include the nomadic Liao, Jin and

the palace to meet them. This event appears to mark the time

Yuan as well as the Han (ethnic Chinese) Northern and South-

when Lama Buddhism was formally introduced to Goryeo.

ern Song. Goryeo interacted with all these states, providing

The records also state that Goryeo kings who had spent time

opportunities to come into contact with diverse cultural tradi-

in the Yuan capital (before ascending the throne) and Goryeo

tions, and some of these cultural ways became mixed in with

queens from the Yuan imperial family attended ceremonies led

the Goryeo traditional practices to produce a new Goryeo style.

by Lama monks. Such ceremonies would require certain ritual

Cultural exchange is never a one-way affair, and the Goryeo

instruments, suggesting that Lama-style Buddhist handicrafts

people selectively embraces certain elements from outside as

make their way into Goryeo as well. At the same time, traces of

needed, enriching the indigenous culture along the way.

the Lama Buddhism imparted from Yuan to Goryeo in the late 13th century can still be seen on the ﬁnial of the ﬁve-story pagoda at Magoksa. The Lama pagodas from Yuan were not entirely reproduced in Goryeo, but some of the reliquaries inside Goryeo pagodas were manufactured in the Lama style, a fact that deserves our attention. The pagoda itself was originally a tomb for enshrining body parts of the historical Buddha. These relics were kept in special containers of various types that were preserved inside the pagoda. Some of these reliquaries were themselves crafted in the shape of a pagoda, and examples can be found from late Goryeo. One of these reliquary set was offered in 1390 to buddha by Yi Seonggye, who founded Joseon in 1392. It is somewhat different from the traditional Lama pagoda style. Beneath 08

DISCOVERING LEGACY

CURATOR TALK

he uigwe, 儀軌 which detail specific state-sponsored projects and ceremonies, represent an important record genre unique to Joseon. Even the king would

refer to these texts. To ensure the preservation of the contents, uigwe were produced in multiple copies and stored at multiple locations, including the government office in the capital that oversaw their compilation. These copies were referred to as bunsang, 分上 for distribution, and kept in the hall called sago, 史庫

which also stored other royal family records at the special repositories, built around the kingdom to preserve the Annals of the Joseon Dynasty, 朝鮮王朝實錄 Joseon Wangjo Sillok. Officials would travel periodically to these special repositories, which were located in remote parts of the kingdom, to expose the various texts, to include the annals and the uigwe, to sunlight and air them out. This activity, which was called poswae, 曝曬 helped to prevent their degradation from insects or mold. The process is detailed in a report called Sillok Poswae Hyeongjian. 實錄曝曬形止案

THE UIGWE OF THE OUTER GYUJANGGAK AND THE EORAM UIGWE

In addition to the bunsang uigwe, a special edition called eoram, 御覽 royal perusal, was made for the king’s personal use.

Uigwe for the Construction of King Heonjong's Tomb, Gyeongneung. Version for Kings 1849 (King Cheoljong, Year of Accession) 45.0 x 32.4 cm

The uigwe directorate dogam, 都監 an ad hoc body organized for each uigwe compilation project, would ask the various government offices to provide with the very best materials, to include the finest quality paper and silk coverings, and most skilled artisans to produce these special volumes. Such requests are clearly evident in written orders called gamgyeol, 甘結 willing agreements, issued from high-level offices to subordinate ofﬁces. Such details are rarely found in other types of records and the extant uigwe are testimony to them.

BY L EE MOON H Y U N, CU R ATOR OF J EONJ U NAT IONA L MUSEUM

The deluxe eoram uigwe differed from the ordinary bunsang versions in various respects, starting with the cover, which was usually covered in green silk. A strip of white silk bearing the title was attached, and the cover was bordered with strips of red silk. Thus much greater craftsmanship went into the eoram uigwe than into the bunsang uigwe texts, which were simply covered with dyed hemp cloth. In addition, each volume was attached to a brass binding with brass tacks decorated with chrysanthemum petal design, and rings. The paper used for the eoram uigwe is called chojuji, 草注紙 the highest grade known of Korean traditional mulberry paper. It cost for to six times more than the lower grade jeojuji 楮注紙 found in the bunsang editions. Chojuji is heavy and has a glossy surface, therefore the black ink and color pigments appear with great clarity and in most cases have not faded appreciably until

Uigwe for the Construction of King Heonjong's Tomb, Gyeongneung. Version for Distribution 1849 (King Cheoljong, Year of Accession) 44.2 x 31.7 cm © Kyujanggak Institute for Korean Studies

the present day. The lines for the text were had drawn by court artists using a red pigment imported from China called dangjuhong. 唐朱紅 By contrast, the text for the bunsang editions was printed from woodblocks. For the king’s deluxe edition, dedicat10

DISCOVERING LEGACY

CURATOR TALK

ed government copyists meticulously brushed the calligraphy

Gyujanggak 奎章閣 installed on the grounds of Changdeokgung

inside the red lines, usually in the tidy block-style. Thus much

Palace 昌德宮 immediately after ascending the throne in 1776. This

more time and effort went into the production of the eoram

institution served as both a library and research facility. Ini-

uigwe than the rest.

tially the writings and drawings of previous kings, royal gene-

Characters that referred to the king or the royal family in

alogies, and other important documents were kept here, but as

the eoram uigwe were raised one or two spaces above the col-

the research function took on greater importance, another place

umn as a mark of distinction, a practice is known as

daedu, 擡頭

became needed as an archive. Thus, the Oegyujanggak, Outer

raise the head. In the bunsang versions, this deferential gesture

Gyujanggak 外奎章閣 was built on Ganghwado (Island) in 1782, and

was often accomplished simply by leaving one space blank. As

the documents related to the royal family as well as the eoram

a result the total number of paged would differ between the two

uigwe were relocated there. The Oegyujanggak had six bays (kan,

text types; extant requests by the uigwe directorate indicate that

the area between four pillars) and was located east of the tem-

10-20% more paper would be required for the deluxe edition

porary palace on Ganghwado. During the reign of Cheoljong r.

that would be used in the regular one. Differences can also be

1849-63

found in the illustrations. Take, for example, the banchado, 班次圖

treasure trove of records documenting the royal family in late

which show where and how the participants and various kinds

Joseon. A record of the facility’s status called Ganghwa-bu oe-

of equipment were positioned during royal processions and

gyujanggak hyeongjian 江華府外奎章閣形止案 was completed in the ninth

ceremonies. Artists from the Royal Bureau of Painting 圖畫署

lunar month of 1857. It says that most of the uigwe were kept on

would draw and then paint each ﬁgure that appears in these il-

tables placed at the north end of the hall.

as many as 6,000 texts were stored there, making this a

lustrations for the king’s version. The same illustration in many

French troops invaded Ganghwado in 1866 in retaliation

bunsang versions have the ﬁgures of people and horses stamped

for the Joseon government’s killing of French priests. This inci-

onto the page and then colored. Even the quality of the pigment

dent was officially termed the “Byeong-in Foreign Disturbance”;

used in the eoram uigwe was better, producing clearer colors.

丙寅洋擾

Great effort was also taken in the preservation and maintenance of the uigwe for the king. King Jeongjo

r. 1776-1800

had

the year byeong-in according to the traditional calendar

is equivalent to 1866 on the Western calendar. The invaders set ﬁre to the government buildings on the island as well as to Drawing of Palace in Ganghwa-bu Prefecture Late 19th century 25.7 x 36.8 cm © National Library of Korea

Uigwe for Crown Prince Hyojang's Investiture Ceremony. Version for Kings 1725 (King Yeongjo, 1st Year of His Reign) 48.1 x 34.8 cm

Uigwe for Crown Prince Hyojang's Investiture Ceremony. Version for Distribution 1725 (King Yeongjo, 1st Year of His Reign) 46.3 x 33.6 cm

and Oegyujanggak, and all were destroyed. Most of the archives

deluxe editions, made especially for the king. As such, both

were lost at that time, but the French did take away more than

their artistic value and quality are great, and they demonstrate

340 books and other documents in 189 types back home with

the very essence of this recordkeeping genre. Importantly, thirty

them. Those materials were ﬁnally repatriated to Korea after 145

of the volumes that were returned to Korea are the sole extant

years.

copies of this precious legacy.

Korean historian Park Byeongseon first went to France as an exchange student in the 1950s and began working as a librarian at the National Library in the 1970s. She located the lost uigwe texts in 1975 and informed the Embassy of the Republic of Korea to the French Republic of her discovery. Thereafter, talks on sending back 297 volumes to Korea including the uigwe, began between the two governments. The first item, Volume 1 the record of the project to relocate the tomb of a royal concubine, Hyeonmok subin. 顯穆綏嬪 In 2011, the remaining 296 volumes finally arrived on Korean soil once again. Most of the uigwe that were kept at the Oegyujanggak were 12

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SPECIAL EXHIBITION

JULY 2 - OCTOBER 20, 2013 SPECIAL EXHIBITION GALLERY

ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT BY K WON K A NGM I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION

n 2013, the National Museum of Korea will host Art from the Islamic Civilization as part of the World Civilization series. The pieces on display are part of the al-Sabah Collection of

Islamic art, one of the most beautiful and comprehensive collecIs tions of its kind. It was begun in the 1970s when Sheikh Nasser Satio bah al-Ahmed al-Sabah of the Kuwaiti royal family started buying ba art objects as a hobby that he shared with his wife, Sheikha Husar sah Sabah al-Salem al-Sabah. These items have been on long-term sa loan to the Kuwait National Museum since 1983, when they were lo relocated to one of the museum’s four buildings, Dar al-Athar alre Islamiyyah (DAI). Is This exhibition is divided into two main sections. The ﬁrst features Islamic art items that are arranged in chronological order, tu from the 8th through 18th centuries, while second organizes the fr displays by theme, thereby highlighting key characteristics of Isdi lamic art. Therefore, visitors can grasp the features of Islamic art la as explained through Arabic calligraphy, geometry, and arabesque patterns. In addition, they can see how Islamic art is expressed ﬁgpa uratively and view the elegantly crafted jewellery that is the pride ur of the al-Sabah Collection.

VIEWING NOW

SPECIAL EXHIBITION

JULY 2 - OCTOBER 20, 2013 SPECIAL EXHIBITION GALLERY

ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT BY K WON K A NGM I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION

n 2013, the National Museum of Korea will host Art from the Islamic Civilization as part of the World Civilization series. The pieces on display are part of the al-Sabah Collection of

TH ORIGINS OF ISLAMIC ART: 8th-10th C THE

al-S al-Sabah Collection

Isl Islam was established in Mecca during the 7th century and sub-

LNSS 1218M

sequently neighboring regions. These were primarily seq quently spread to ne the the Byzantine Empire, a continuation of the Roman Empire, to the Persian Empire to the east, and so th e west and the Sassanid Sass Islamic period reflects elements from these Isllamic art from the early e

SPECIAL EXHIBITION

Bro Bronze Incense Burner Eas Iran, 11-12th Century East

continued to bring people from varied regions together, and co

during this period. In addition, Arabic calligraphers adopted du

the established artistic sensibilities of diverse cultures were ab-

vibrant scripts such as sulus font, produced elegant glass pieces vib

sorbed to create the main repertoire of Islamic art. Furthermore, sor

decorated with precious stones, and metal ware with delicate de

regional centers for metal ware formed; for example, Khorasan, reg

inlays. Carpets decorated with geometric designs from the in

which in what is now eastern Iran, became famous for brass wh

Mamluk Sultanate period were exported to Europe and reproMa

candlestick production. can

duced in craft studios there by Renaissance artists. Meanwhile, du

external ex xternal cultures. For example, the blocks of decorative stone

The surfaces of metal crafts made during this period were

the Nasrid Dynasty 1231-1492 in Spain, with its undecorated woodth

forr structures and glas glass handicrafts made during the Umayyad

decorated entirely; no part was left empty. Ceramic and glass de

en structures and ivory carving, brought Western-inspired ele-

Caliphate, Ca aliphate, 661‒750

were influenced by the Byzantines, while the

artworks maintained ﬁgurative purity while abstract expression art

ments into Islamic art. me

metal that period of time clearly show Sassanian me etal crafts made in th

was added, a fundamental feature of Islamic art. The creativwa

influence. infl fluence.

ity of this art is well expressed in the calligraphic tiraz (Persian

THE APOGEE OF THE GREAT EMPIRES: 16th-18th C TH

Also, the spread of the Qur'an furthered the use of Arabic

for embroidery) inscriptions on the fringes of woven textiles as

The 15th century Timur (or Tamerlane), in a bid to resurrect Th

calligraphy, calligraphy, which is a fundamental feature of Islamic art. The

well as in the carvings of wood and ivory. Meanwhile Islamic we

Mongol dominance, led his “Golden Horde” in invasions of Mo

abstract mode of expression in early ceramics can be

potters, in their competition with the Chinese, developed new po

Delhi, Moscow, Ankara, Isfahan and Damascus. He ordered that De

production methods such as fritware. pr

artisans and prominent members of society in his conquered art

said to be a product of the Islamic culture. With the

lands be seized and taken back to Samarkand in Central Asia. lan

start of the Abbasid Caliphate, 750-1258 the political the Middle East moved east from Damascus center of th

EXPRESSIVE MATURITY: 14th - 15th C EX

Cultural links were thereby established between Central and Cu

to Baghdad and an the artistic styles of both regions were

This section highlights the art pieces produced during the Th

West Asia, and a cosmopolitan Islamic art emerged that was We

fused. This can be seen in the beveled style of wooden

Mamluk Sultanate, 1250‒1517 a system of ruler outside the royal Ma

both mature and reﬁned. bo

structures and the influx of crystal chess-pieces from

line lin of Turkish descent. The Mamluks played an important role

Islamic art and culture enjoyed a golden age from the 16th

India. In addition, geometric patterns and arabesque addit

in Mediterranean history until its defeat at the hands of the Ot-

through 18th centuries, led by the Iranian Safavid Dynasty, Inthr

patterns were developed and graphic design became

toman Empire in 1517. The regions that are comprise Egypt and tom

dian Mughul Empire, and Turkish Ottoman Empire. The Turkdia

steadily more sophisticated. s

Syria were the center of Mamluk Sultanate art. Meanwhile, after Sy

ish Ottomans had the strongest systems of dominance, lasted

the th Mongols took Baghdad in 1258, Mamluk warriors engaged

the longest among these three, and was powerful enough to th

VARIETY ART: 11th-13th C VARIETY IN ISLAMIC ISLA

them the in battle. This process of military conﬂict brought exotic

keep the Europeans in check. Great Ottoman sultans such as ke

The became broken up after the middle T e Abbasid Caliphate Th Calip

artistic motifs from the Far East such as lotuses, spiral clouds, art

Mehmed II r. 1444-1446 and 1451-1481 and Suleiman the Magnificent r. Me

of the 10th centuries, while Islam gained new strength in centu

peonies, and dragons to Islamic art pieces as well. pe

152 1520-1566

built one of the world’s foremost empires. The Safavid

Spain, Central Asia and India. The pilgrimSpain, Northern Africa, A

As Asia’s artistic influences were felt, the tendency toward

Dynasty 1588-1628 sought to bring back the former glory of Persia Dy

age ag ge to Mecca (known as the Haji), as specified in the Qur'an,

abstract decoration became more pronounced in Islamic art ab

and served as a bridge between East and West once more. The an

Manuscript of the Qur’an Ma

Composite-bodied Com

Ena Enamelled Glass Vase

Com Composite-bodied Ceramic Ewer

Par Parchment folio from a manuscript of the Qur’an

Cer Ceramic Crenellation Element

Syr or Egypt, early 14th century Syria

Tur Turkey, 1560-1570

Tun Tunisia, probably Qayrawan 9th century

Pro Probably India, late 16th century

Iran Iran, 12th century

al-S al-Sabah Collection

al-S al S al-Sabah Collection

al-S al-Sabah Collection

LNS 69G

LNS 99C

LNS 2CAa

LNS 277MS

LNS 189C

and contact with diverse cultures, also an

cursive, triangle and a combination of the cu two. tw

Medieval Islamic society, and they enMe joyed joy high social standing. Indeed, those

SPECIAL EXHIBITION

Mughul Empire, with its vast resources Mu

Dagger and Scabbard

in the way of geometric patterns. Climbing plants are shown

Turkey, 16th century al-Sabah Collection

branching out or leaves are curved, but individual design elebr

LNS 216J

ments never stand alone. Instead the pattern is repetitive and me

The most popular calligraphic styles

who wh worked on transcribing the Qur'an

are the simpliﬁed rectangular Kuﬁc script

and an their patrons were objects of great

CALLIGRAPHY IN ISLAMIC ART CA

and an the simple, cursive Naskhi script. The

envy. In addition, the craftsmen’s names en

Arabic calligraphy is another fundamenAr

former is widely used for stelae inscripfor

were we normally not put on pieces of Is-

tal aspect of Islamic art. Reading and

tions and Qur'an transcriptions, while tio

lamic lam art, but calligraphers virtually al-

Above, we have seen how the fundamental elements of Islamic Ab

writing the Arabic script spread fast with wr

the th latter has been in widespread use

ways wa signed and dated their works. Thus

art are found in calligraphy, geometry and arabesque patterns.

the dissemination of the Qur'an, which th

since sin the 12th century. In addition, thu-

the historical period for individual pieces

Islam’s law against idol worship is generally considered the Isl

is only written in Arabic. The importance

luth lut script (“one-third” in Arabic), with

of calligraphy can easily be identiﬁed.

reason that depictions of human or animals are taboo. Most rea

given to literacy in Arabic can be seen in giv

its verticals elongated three times its hor-

Chapter 96, Verses 4 and 5 of the Qur'an, Ch

izontals, is a style loved by calligraphers izo

GEOMETRY IN ISLAMIC ART GE

to reproduce people and animals and so the act of drawing or

with references to “a God that teaches wi

throughout the Islamic world. thr

Among the most salient motifs found Am

sculpting such figures is blasphemous. Thus the religion does scu

produced artworks of exceptional quality. pr

organically ﬁt together. org

FIGURATIVE IN ISLAMIC ART FI

Islamic theologians contend that only God has the authority Isl

(use of) the pen” and “a God that teaches (u

Arabic calligraphy is particularly

on Islamic art are elegant and complex

not allow depictions of the Prophet Muhammad or other huno

people things they do not know.” Arabic pe

prominent on buildings and commemopr

geometric patterns that are made up of ge

man beings, animals, God, or angels; however, this prohibition ma

reads horizontally from right to left, and rea

rative monuments. Calligraphers were rat

circles, triangles, quadrangles, pentagons, cir

must be understood as being applied only to religious sites such mu

Arabic calligraphy has three basic styles: Ar

highly respected for their occupation in hig

hexagons, astral shapes, straight lines, he

as mosques. Figurative expression is found in handicrafts used in everyday life. Many of the items on display in this section were produced in the Iranian region and show the inﬂuence from the traditions of the Sassanid Persians. Depictions of bent-tailed animals was joined with stylized scroll patterns, and many fantastic beasts joi such as griffins, simurghs and dragons appear. Miniature paintsu ings are characteristic of the artworks created in Islamic culture, ing but realism is not the objective. For example, perspective and bu depth are not applied, and human subjects are not shown castde ing a shadow.

THE JEWELLED ARTS TH Fine Spinel (‘Balas Ruby’) Bead

The ﬁnal section of the exhibition introduces Islamic jewellery, Th

India, late 16th century - early 17th century

and the al-Sabah Collection has an unparalleled assemblage of an

al-Sabah Collection

these pieces, many of which are from the Mughul Empire 1526th

LNS 2787J

curves, and other such elements. Geocu

part pa of Islamic architectural structures.

A rhythm is created through the repeti-

185 1857

metric patterns are preferred for their me

Their superb artistry and complexity Th

tion tio of these design elements. The term

palaces spurred craftsmen to produce exquisite jewellery for pa

great complexity. Ever since Islam was gre

can ca be seen on the ceiling of the Hall of

is French and derived from arabesque ar

members of the Mughul royal family and nobility. me

founded, its uncompromising monothefou

the th Abencerrajes at Alhambra Palace in

the Renaissance Italian arabesco, which th

ism demanded the destruction of all

Granada, Spain in the 14th century as Gr

means “very leafy” or “with stems.” m

forms of idolatry in Mecca. Thus, Islamic for

well we as at the Sultan Qaytbay Funerary

The arabesque pattern in Islamic cul-

its mount) as well as Persian decorative methods, champleve

artists shunned the depiction of people art

Complex in Cairo, Egypt. Carefully calcuCo

ture most likely advanced for the same tu

Enamel for precious stones. Emeralds, rubies, sapphires, diaEn

and animals and sought to express the an

lated geometric patterns also adorn the lat

reason the geometric pattern did. That re

monds and jade were all popular adornments for turbans, earmo

“intrinsic oneness of the world’s inﬁnite “in

(mosque pulpit), mihrab (semiminbar mi

is, prohibition against the worship of is

rings, necklaces, and bracelets, and sometimes sword hilts were rin

diversity” instead. That is to say, geometdiv

circular niche in the mosque wall), latcir

animate creations forced painters’ and an

elegantly decorated with stones to show off the wearer’s high ele

ric connections can successfully convey

ticework, and doors of Islamic structures tic

sculptors’ to create vegetal decorative sc

social status. so

the character of an infinite God. The th

as well as everyday utensils.

schemes. The floral pattern may be one sc

Meanwhile, the miniature paintings produced during this

type or flower or multiple varieties inty

period are important for understanding how the jewellery was pe worn at the time of its manufacture. wo

development of geometric patterns is de also connected to Islamic science, which als

THE TH ARABESQUE IN ISLAMIC ART

tertwined, and the decorated surface is te

included advanced mathematics and geinc

Another important motif on Islamic art An

densely covered. Sometimes, showy ﬂowde

ometry at that time. om

pieces is arabesque, scrolling decorapi

ers are depicted filling a vase. At other er

tions tio of vines or ﬂowers on leafy stems.

times, the ﬂowers are stylized and linked tim

Geometric patterns are an essential 20

in the 17th and 18th centuries. The tradition of extravagant

These pieces were made using India’s indigenous Kundan technique (gems set with gold foil between the stones and tec

KANG SEHWANG’S DRAMATIC LIFE Kang Sehwang lived a dramatic life. His family is famed for having produced three generations who were members of Giroso. His grandfather, Kang Baeknyeon 1603-1681, his father, Kang Hyeon, 1650-1733 and Kang Sehwang himself all entered Giroso, the office of senior statesmen past the age of 70 who had reached the position of senior ﬁrst rank. Only ﬁve families throughout the Joseon Dynasty achieved the same honor. Though hailing from such an illustrious family, Kang Sehwang initially gave up on the idea of entering government, and at the age of 32 went Cooling off under Paulownia Trees

to live near his wife’s family in Ansan. There he lived for 30

(Byeogo cheongseodo)

years before he started his official career and moved back to the

Light colors on paper 30.5 × 35.8 cm

capital. During this time in the provinces, Kang associated with

Leeum Samsung Museum of Art

a wide range of people and expanded the scope of his artistic activities. With his brother-in-law Yu Gyeongjong 1714-1784 he developed his critical eye for art; with the artist Heo Pil 1709-1768 he produced an album of calligraphy and paintings; and with the so-called “15 scholars of Ansan” he exchanged works of poetry. An autobiographical work written at the age of 54 shows that

VIEWING NOW

NMK EXHIBITION

JUNE 25 - AUGUST 25, 2013 SPECIAL EXHIBITION ROOM II, PERMANENT EXHIBITION HALL, 1F

300TH ANNIVERSARY OF THE BIRTH OF KANG SEHWANG

Kang lived on limited means in Ansan, and is ﬁlled with melancholy thoughts of his work remaining unrecognized. But it can be said that the friendships formed and the artistic capabilities

A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY

developed in the Ansan years laid the foundation for Kang’s art, which was later praised by King Jeongjo as “the art of elegance and the three perfections.” Kang Sehwang was called back to court in 1773. When his son Kang In took part in the annual Royal Feast for Elders as a record-keeping official, King Yeongjo, remembering Kang In grandfather, Kang Hyeon, then recalled that Kang Sehwang was

BY M I N K I L HONG,

still living in retirement in the country and soon after gave him

ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF FI N E A RT

an official appointment. So at the age of 61, Kang Sehwang began his government career in the low position of chambong (junior ninth rank) but quickly rose to as high as chief magistrate of Hanseong-bu, the Office of the Capital. Indeed, in his final years his career was as illustrious as he might have wished, be-

ang Sehwang (1713-1791, penname Pyoam) was a re-

came into contact with Western civilization and exposed them-

ing admitted to Giroso, and taking part in a mission to China as

nowned literati painter of the Joseon Dynasty, famous

selves to other new knowledge and experiences, and highly

vice-envoy and meeting Emperor Qianlong. Kang’s talents in

both as the teacher of genre painter Kim Hongdo and

creative literary and artistic works were also produced. Armed

for his Album of Journey to Songdo (Songdo gihaengcheop), the

with artistic passion and talent Kang forged a very individual

1782 (aged 70)

his grandsons Kang Ioh, 1788-? Kang Icheon ?-1801 and Kang Jin, 1807-

outcome of his travels around the Gaeseong region. The Na-

art world encompassing poetry, calligraphy and painting.

Colors on silk

1858

tional Museum of Korea has organized a special exhibition to

Thanks to his discernment and profound knowledge of art, he

Owned by the Jinju Kang clan

commemorate the 300th anniversary of his birth.

was also a prominent critic. Kang’s acumen and wide scope of

PORTRAITS OF KANG SEHWANG,

activity resulted in the formation of a large network of people

REFLECTIONS OF OFFICIALDOM AND RETIREMENT

Kang Sehwang lived in the 18th century Joseon Dynasty,

of all ranks and classes tied together by art, including the king,

Kang Sehwang’s dramatic life can be read in his portrait. The

a time that came to be called the “Joseon Renaissance” for its

ordinary court artists, and Confucian scholars. This network not

small self-portrait produced when living in the country, simple

flowering of art and culture. It was a time when the capital

only promoted friendship among the individuals but formed an

and sketch-like, is accompanied by an inscription that conveys

flourished under the peace and stability of the reign of King

undercurrent of shared artistic aspirations. Hence, Kang is an

his desire to mark out his own place in history for posterity,

Yeongjo, and a time of great vitality owing to changes in the

essential ﬁgure in understanding the dynamism of the Korean

driven by the fear of remaining unrecognized. In the portrait

people’s outlook on the world and ways of living. Intellectuals

art scene of the 18th century.

from his government days, Kang is not dressed in uniform but is

Self-Portrait (of Kang Sehwang)

88.7 × 51.0 cm

poetry, calligraphy and painting were passed on to his son and

who were all artists.

NMK EXHIBITION

wearing his official’s hat. The inscription

feel as if they are in the middle of the

no other yellow object readily comes to

reads, “I may be serving in government,

scenery.” In this sense, he believed travel-

mind. But by adding the yellow, it seems

but I have not forgotten my desire for a

ogues were better than poetry and paint-

Kang was trying to throw the radish into

private life.” As this indicates, the portrait

ings better than travelogues. His criticism

relief and give a sunny feel to the whole

is a visual depiction of the identity of the

of Jeong Seon for uniformly using the

painting, a touch that is indicative of

18th century literati who aspired to enter

same kind of texture strokes when paint-

Kang’s smart sense of color.

officialdom and live in seclusion at the

ing Geumgangsan Mountain came from

same time. The painting is assumed to be

his conviction that one should paint a

THE FOUR GRACIOUS PLANTS:

a self-portrait judging from the content

scene just as one sees it, without being

TRANSFORMATION OF A CLICHÉD

GREATEST CRITIC OF HIS TIME

of the inscription.

tied to any particular technique. That

SUBJECT

The ﬁnal part of the exhibition features Joseon Dynasty paint-

Kang partially adopted Western tech-

As a symbol of the virtues of the literati,

ings that were critiqued by Kang, who was considered be the

TRAVEL AND PAINTING FROM LIFE:

niques can be seen in Entryway to Yeong-

the four noble plants (chrysanthemums,

greatest art critic of his time. Kang developed his eye for art in

ON THE ROAD TO SEEK THE NEW

tongdong, while Scenes in Buan Prefecture

bamboo, plum blossoms, and orchids)

company with a wide range of literary men, going back and

Five "True view landscapes of Kang Se-

with its free composition and method of

had from early times been a favorite sub-

forth between Seoul and Ansan. Later, when he stopped paint-

hwang's paintings, which were painted

depiction best shows that Kang was un-

ject for scholars to paint. It was a subject

ing for a time under the advice of King Yeongjo, he started to

from real life observation, flourished in

fettered by traditional techniques.

where the brushwork was a clear indica-

demonstrate his artistic talent through another channel, by cri-

proach to art, continued to ask questions and try new things to improve his work. Orchid and Bamboo in the collection of the National Museum of Korea, from the later years of Kang’s life, is marked by its clean open composition and rich, mellow brushwork, and can be called the artist’s major painting of the four gracious plants.

tor of the artist’s abilities and one area

the 18th century. These include land-

paintings. Kang, who had no match in the seriousness of his ap-

Radish (from the Painting Album by Pyoam)

tiquing the works of other artists.

scapes of Songdo (present-day Gaeseong),

EXPERIMENTALISM AND A NEW FEEL

in which the literati artists outshone the

Ink and light colors on silk

Buan in Jeollabuk-do, and the Geum-

Kang was an artist who constantly tried

court artists. Kang Sehwang’s paintings of

28.5 × 22.3 cm

gangsan Mountain area, and a landscape

new things and his use of color and sub-

the four gracious plants are particularly

other. In the case of Jeong Seon, for example, all things con-

painted on the road as part of the mission

ject matter was highly individual. While

prized for Kang was the ﬁrst Joseon artist

sidered, there is no possibility that the two had any association

to China to attend the “Thousand Elders

painting all the subjects that any other

to paint all four of the plants as a set.

with each other. It is most likely that someone took the paint-

Banquet” hosted by Emperor Qianlong.

Joseon artist captured on paper, Kang

Moreover, Kang Sehwang was an art-

ing to Kang to look at. From this we can see that Kang’s works

These paintings of beautiful scenery are

also painted more unusual objects such

ist who thought deeply on every subject

in art criticism are not the result of his personal contacts but

the consequence of Kang Sehwang as-

as peaches and sweet briar, which were

and technique and left behind many

the result of his discerning eye for art. That is, because of his

sociation with the people who led him

not easily tackled by other artists.

National Museum of Korea

While a painting may feature a critique by Kang, it does not necessarily mean the artist and Kang had any contact with each

related records. At the age of 72, Kang

renowned discernment, people who owned paintings brought

to visit those regions. The paintings

Of all the Joseon paintings featuring a

took part on a mission to China. During

them to Kang for his appraisal.

in Album of a Journey to Songdo reflect

long white radish, Kang’s is the most out-

the months of long journey he began to

Talented in poetry, calligraphy and painting, Kang Sehwang

the relationship between Kang and Oh

standing. The dry brushstroke used for

wonder whether the quality of the pa-

is the artist most representative of the three perfections. More-

Suchae. 1692-1759

the outline of the radish brings to mind

per used could explain the better results

over, Kang was even a talented critic who left behind critiques

Kang Sehwang explained true-view

Kang’s handwriting. The yellow shading

achieved by Chinese artists when paint-

on many paintings. These works take on even greater signifi-

landscapes as “paintings that can make

on the ground appears to be the shadow

ing bamboo, and began to experiment

cance when we consider that each and every line of his cri-

people who have not been to the place

of the radish but while this is not the case

with Chinese paper for his own bamboo

tiques provides theoretical grounds for study of the history of Joseon Dynasty art today. Orchid and Bamboo Ink on paper 39.3 × 283.7 cm National Museum of Korea

he exhibition Buddhist Guardian Deities of Late Joseon was organized in time with the Day of Buddhas' Coming, which fell on May 17 this year. In the Buddhist

world, these guardian deities are lower in the hierarchy than the Buddhas and bodhisattavas. Originally indigenous Indian deities, they were incorporated into Buddhism as deities charged with guarding the Buddha and his teachings. In the Joseon period, the cult of the guardian deities was so widespread that paintings of guardian deities such as of Indra (Jeseokcheon), Skanda (Witaecheon) and Brahma (Beomcheon) outnumbered paintings of the Buddhas and bodhisattvas.

PART 1: INDRA, THE LORD OF DEVAS Indra (Kr. Jeseokcheon 帝釋天) can be considered the major ﬁgure in paintings of the Buddhist guardian deities. Of Indian origin, Indra was the lord of devas who conquered evil spirits with a lightning bolt. In the Joseon period, Indra was generally depicted like a goddess or noblewoman and the giver of good fortune and longevity. Paintings of Indra were sometimes produced on their own and also as a set with a painting of the Eight Divine THEME EXHIBITION

VIEWING NOW

Being. In later times the two were combined in paintings of Indra and the Divine Beings, stimulating active production of paintings of the guardian deities of Buddhism.

Indra and the Divine Beings 帝釋天龍圖

Four Heavenly Kings 四天王圖

Joseon, 1750

Joseon, 19th C

Colors on silk

173.3 × 204.0 cm

318.0 × 202.5 cm

National Museum of Korea

PART 2: SKANDA, THE PROTECTOR OF BUDDHIST LAW This part of the exhibition focuses on Skanda (Kr. Witaecheon

BUDDHIST GUARDIAN DEITIES OF LATE JOSEON

韋駄天).

Skanda was originally an Indian warrior god who killed

evil spirits and is characterized by the weapon on his forearms

Buddha. His mantra is believed to carry

Kings were commonly installed as guard-

nary people and the religious tolerance

and helmet made of feathers. Skanda was originally depicted as

great power and is therefore often recited

ians at the Gate of the Heavenly Kings,

inherent in Buddhism.

a small ﬁgure in paintings of the Divine Beings but was soon el-

in Buddhist rituals. Ucchusma is charac-

the entryway to a Buddhist temple. The

evated in rank to become the leading ﬁgure. In paintings of In-

teristically depicted with a fierce facial

exhibition features paintings of these

The theme exhibition Buddhist Guardian

dra and the Divine Beings he is treated as being of almost equal

expression, spiky hair, multiple arms, and

ﬁgures as well as sculptures of evil spirits

Deities of Late Joseon has been organized

importance to Indra.

weapons, which impart a strong sense of

to give a lively representation of the Four

in an easy and interesting way to en-

power.

Heavenly Kings treading evil spirits un-

hance the enjoyment of museum visitors,

derfoot.

even those who tend to regard Buddhist

BY PA R K H Y EWON, ASSOCI AT E CU R ATOR OF DEPA RTM EN T OF FI N E A RT

PART 3: ASSEMBLY OF THE THREE GODS

DATE

PART 5: FOUR HEAVENLY KINGS,

Indra and Skanda but also Brahma(Kr. Beomcheon

THE PROTECTORS OF THE FOUR

PART 6: PRAYERS TO GUARDIAN DEITIES

ining the paintings on view, the names

Indian god of creation. Paintings featuring this triad gradually

CARDINAL DIRECTIONS

This part of the exhibition explores the

and identities of the gods, often confusing

came to be established as the typical form of guardian deities

Unlike the other f igures featured in

meaning and content of the cult of Bud-

and hard to distinguish, will come across

paintings, which ﬂourished in the late Joseon period.

paintings of the guardian deities, the

dhist guardian deities. As indicated by

as distinct beings with their own stories

Four Heavenly Kings are often depicted

inscription “Wishing for a long life” in

and unique personalities. Paintings of the

PART 4: MAHESHVARA AND UCCHUSMA

on their own. The Four Heavenly Kings

the corner, of a guardian deities paint-

guardian deities are full of stories that

Other major guardian deity figures include Maheshvara (Kr.

are Dhartarastra (Kr. Jiguk-cheonwang)

ing, they were made to express prayers

inspire the imagination. Through this

Daejajaecheon 大自在天) and Ucchusma (Kr. Yejeok-geumgang 穢跡

in the east, Virupaksha (Kr. Gwangmok-

for longevity, good fortune, fulfillment

exhibition it is hoped that many visitors

金剛).

Shiva, the Indian god of destruction, is usually depicted in

cheonwang) in the west, Virudhaka (Kr.

of one’s wishes, wealth and honor, and

will discover the attraction of paintings

梵天),

the

MAY 14-SEPTEMBER 8, 2013 VENUE BUDDHIST PAINTING GALLERY, PAINTING AND CALLIGRAPHY SECTION

painting as a difficult subject. After exam-

Late Joseon guardian deities paintings bring together not only

CONTENT

Joseon paintings with multiple arms and three eyes and riding

Jeungjang-cheonwang) in the south, and

to keep away evil spirits and misfortune.

of Buddhist guardian deities, which tell

27 LATE JOSEON PAINTINGS OF

an ox. Ucchusma, though the last ﬁgure to appear in paintings

Vaishravana (Damun-cheonwang) in the

The cult of guardian deities and its art

such interesting stories about the gods

GUARDIAN DEITIES AND RELATED ITEMS

of the guardian deities, makes the strongest impression. Accord-

north. In the Joseon period, sculptures

reveal the intimate place they had in the

and reflect the wishes of the ordinary

ing to the sutras, Ucchusma is the incarnation of Shakyamuni

and paintings of these Four Heavenly

everyday lives and prayers of the ordi-

people. 27

Opening Hours

Lacquered Single-legged Small Table Inlaid

(weekdays) 09:00-18:00

with Mother-of-Pearl

(weekends, public holidays) 09:00-19:00

Joseon, 19th century

(extended hours) 09:00-21:00

H. 24.0 cm, D. 36.0 cm

*Every Saturday from March to October

National Museum of Korea

DATE

VENUE

MAY 14 - JUNE 30, 2013

Jeonju National Museum, Special Exhibition Gallery

Closing Days Every Monday (except public holiday Mondays) and January 1 Website http://jeonju.museum.go.kr Address 249 Ssukgogae-ro, Wansan-gu, Jeonju, Jeollabuk-do Province Inquiries 82-63-223-5651/2

VIEWING NOW

RNM EXHIBITION

SOBAN, SMALL DINING TABLE OF THE JOSEON DYNASTY BY THE EDITORIAL TEAM OF THE NATIONAL MUSEUM OF KOREA

new exhibition as clean and

soban from the early days in the Gogu-

the way soban reﬂected in their size and

appetizing as a well-laid din-

ryeo and Goryeo periods to Joseon, when

material the social philosophy, living

ner table has opened. The ﬁrst

pictures of the tables could be found in

environment, food customs and other

special exhibition for 2013 at the Jeonju

documentary paintings and genre paint-

aspects of life in the Joseon era. Also on

National Museum is Soban, Small Dining

ings. It was in the Joseon period that

display are pictures of soban found in Jo-

Table of the Joseon Dynasty. In a simple yet

soban were ﬁrst produced as both a kind

seon documentary paintings and genre

ingenuous way it tells the story of soban,

of tray for carrying things and a table for

paintings, which makes the subject more

which are indeed much more than just a

dining. Under the influence of Confu-

real for visitors.

piece of wooden furniture. Soban have a

cianism, people of different rank, gender

Part 2 focuses on the uses of soban.

long history, as attested to by Goguryeo

and age did not eat at the same table so

The most basic function of soban was, of

tomb murals. The oldest evidence of this

dining tables were made in a small size

course, a table for dining. But on special

kind may be the pictures of small tables

suitable for individual use. The typical

days, soban played an important role in

that very closely resemble soban found

structure of houses also had an effect on

the rites and ceremonies held to mark the

in the murals of Gakjeochong (Tomb of

soban. In a Joseon traditional home, all

day. That is, soban were used in not only

the Wrestlers) and Muyongchong (Tomb

the furniture was low in height accord-

in official royal ceremonies such as court

of the Dancers) among others. Notably,

ing to the lifestyle of sitting and sleeping

banquets, but also individual rites of pas-

the pictures indicate that, like soban, the

directly on the ﬂoor. It also had separate

sage such as coming-of-age ceremonies,

tables were portable and served as din-

quarters for the men and for the women

weddings, funerals and memorial rites. In

ing tables placed on the floor. But soban

of the family, and as no separate space

addition, soban were connected with the

in fact had more diverse functions. Not

was set aside for dining , meals were

Joseon people’s most ardent wishes and

only were the dining tables, in the Joseon

taken in the bedrooms. This means the

dreams. These small tables carried vari-

period they were used in various ways in

meals had to be carried from the kitchen

ous articles needed for practice of faith

traditional rites and religious practices.

to the bedrooms, via the wood-floored

and were placed wherever people prayed

The special exhibition has hence been or-

central hall. The dishes used, however,

for the safety and well-being of their fam-

ganized to enhance understanding of the

were all heavy brass or porcelain. These

ilies and the community. These diverse

changing and varied uses of soban in the

factors considered, soban were designed

functions of soban serve to give us insight

Joseon period over time and according to

to strong but as light as possible, which

into aspects of Joseon traditional culture

region and function.

meant using wood that could be cut thin

and rites.

Part 1 is titled “Soban through History.”

without warping or cracking. The special

An eye-catching feature of the ex-

The exhibition delves into the history of

exhibition gives a detailed overview of

hibition are the more decorative (if less 29

RNM EXHIBITION

tops are mostly square, multi-sided, circular, or lobed (ﬂowershaped), while the legs are classiﬁed as tiger legs, dog legs, legs in the form of carved side boards, and legs made out of solid

Small Dining Table with “S”–shaped Legs Joseon, 19th Century H. 29.0 cm, D. 44.0 cm National Museum of Korea

unsplit wood. The legs also functioned as decorative elements, carved with designs that achieved harmony with the other parts of the table or varied in proportions to lend individuality to the tables. Produced all over the country during the Joseon period, soban exhibited distinct features according to region of origin. Different types of soban therefore carry regional names: Najuban from Naju, Tongyeongban from Tongyeong, Haejuban from Haeju, Gangwonban from Gangwon-do Province, and Chungjuban from Chungju. They are so distinctive in form that it is easily identiﬁed different types of tables at a glance. In production method and expression, regional differences are also found in the table top and the legs. Tables from Haeju, however, particularly stand out from the rest. Composed of a table top and two side boards, they are different to other tables in that

sturdy) tables with one leg, called iljuban, which were used not

prevent dishes from falling off the table while the table was be-

the table top and the edge are formed from one piece of wood

for meals but to serve tea, snacks, and fruit. The “Lacquered

ing carried. The tables were not made with sharp edges but with

rather than the edge being separately made and joined. In ad-

Single-legged Small Table Inlaid with Mother-of-pearl,” formed

rounded corners or lobed in the shape of a ﬂower. Most soban

dition, the side boards are decorated with openwork circles

in the shape of a lotus leaf and decorated with an inlaid design

have four legs, except those made in the Haeju region and those

featuring floral scrolls and other designs, or a square window

of lotus leaf veins, tortoises, lotus blossoms, and ﬁsh, exhibits

made with one leg. To strengthen the legs, a bar running round

is cut out of the boards to create a clean, simple design. Visitors

the height of beauty achieved in this small item of furniture.

all four sides at mid-height was sometimes attached, a feature

to the exhibition will be surprised at the wealth of stories to be

The exhibition also features the so-called gwolban, or tables

of soban from Tongyeong or Naju. The legs were also connected

discovered in these simple tables.

that were used in the royal palace for the king’s dining table or

at the bottom by a horizontal bar. These two features give the

for court banquets. Most of them are red lacquered or red and

table visual and structural stability.

Since its opening in October 1990, the Jeonju National Museum has held a wide variety of exhibitions, and education and

black lacquered, a sign of the court, for since the beginning of

Just beneath the table top is a skirting board called ungak

activity programs. Various hands-on facilities and education

the Joseon period the use of red lacquer was limited to the royal

that also connects the legs together. Besides being an indispens-

programs are offered at the museum’s Experience Learning

palace.

able structural member that serves to ﬁx the legs in place, it is

Center, while efforts are being made to develop and operate

Part 3 is titled “Soban of Different Shapes.” The major parts of

also a decorative feature, beautifully curved in shape and often

lectures for adults, programs to promote sharing with minority

soban are the table top, the legs, and the skirting board beneath

carved with designs. Soban are divided into categories generally

groups, and education programs to foster professionals from the

the top plate. A raised edge was attached around the table top to

according to the shape of the table top and the legs. The table

local area.

Meal Table for an Official on Duty

Lacquered Single-legged Small Table Inlaid

Red and Black-lacquered Dining Table

Small Dining Table Manufactured

Joseon, 19th century

with Mother-of-Pearl

with “S”–shaped Legs

in Haeju Area

in Tongyeong Area

in Naju Area

H. 27.6 cm, D. 44.8 cm

Joseon, 19th century

Late of Joseon Dynasty

Joseon, 19th century

National Museum of Korea

H. 24.0 cm, D. 36.0 cm

H. 40.0 cm, D. 47.5 cm

46.0 × 36.0 cm, H. 29.0 cm

44.0 × 25.0 cm, H. 27.0 cm

46.0 × 37.0 cm, H. 30.0 cm

National Museum of Korea

Small Dining Table Manufactured

TELLING MORE

PEOPLE

BEYOND MUSEUM I N T ERV I EW W I T H WOO H Y U NSOO,

and an provided financial support for new

them give lessons on Chinese, Japanese, th

purchases, and promoted the growth and pu

Korean and other Asian art before the Ko

profile of the Korean collection through pr

children visit the museum. We are makch

p u b l i c i t y a n d p a t ro n a g e o f Ko re a n

ing efforts to raise understanding of the

culture in the Philadelphia area. The cu

art of unfamiliar cultures. When there ar

Korean Heritage Weekend was launched Ko

is a planned special exhibition on Asian

in 1996 and held annually for more than

art, we take applications from teachers art

ten years. Over the two-day weekend a

one year ahead for a related education on

variety of programs on Korean art and va

program. By stimulating teachers’ interest pr

culture were organized for the public, cu

in the exhibition, we hope to encourage

including traditional and fusion music, in

teachers to include exhibition-related tea

dance performances, making art works da

subjects or themes in the following year’s su

with wi the family, and Korean handcraft

curriculum. Ultimately, we are providing cu

workshops and demonstrations. Unforwo

the foundations needed to promote active th

tunately, it has not been held for the past tun

use of the special exhibition in education. us

CU R ATOR AT T H E PH I L A DEL PH I A MUSEUM OF A RT

What are your major responsibilities as

was donated to the museum back in 1903, wa

Geese and Reeds and Jeong Hakgyo’s Rocks Ge

curator of the Korean Gallery at the Phila-

and now includes some 450 objects. It an

and an Orchids. Another major acquisition is

delphia Museum of Art?

largely consists of pottery and ceramics, lar

the th White Porcelain Jar with Lid, a typical

It is my responsibility to manage and ex-

paintings, handcrafts, and furniture from pa

example of 15th century white porcelain. ex

pand the Korean collection, carry out and

the 4th century to modern times. The th

publish research on the items, plan the

museum is making continued efforts to mu

What is the Korean Heritage Group at the Wh

permanent and special exhibitions, and

expand the collection through purchase ex

Philadelphia Museum of Art? Also, could Ph

train docents and lecturers of the mu-

and gifts. an

seum’s education programs—not much

you tell us about the annual Korean Heriyo tage Weekend? tag

different to the work of any other art

Is there any one exhibit in the Korean Gal-

In 1997 the museum’s Asian Art Depart-

museum curator. But at the Philadelphia

lery that you would particularly like to tell ler

ment and Education Department came me

Museum of Art, curator of the Korean

us about?

together to form a Korean art support to

Gallery is a very special position. It is a

The 12th century Celadon Maebyeong with Th

Woo Hyunsoo, The Maxine and Howard Lewis Associate Curator of Korean Art Woo served as researcher at the Brooklyn Museum in New York (1997-2001) and Deputy Director at the Japan Society Gallery (20012005) before joining the Philadelphia Museum of Art in 2006, where she has since served as curator of the Korean art. She is now busy preparing for the Joseon Art Exhibition to be held next spring. The exhibition will be held in the museum’s special gallery, which covers one thousand square meters, and will later tour the Los Angeles County Museum of Art and the Museum of Fine Arts Houston.

inc incised Design, which was shown at the

Heritage Group, comprised of Korean He

Philadelphia Museum of Art and is solely

special exhibition Korean Art from the sp

and American individuals from the local an

devoted to Korean art. It is also the only

Un United States held at the National Mu-

community, was launched. Over the past co

endowed position of Korean art curator

seum of Korea last June, is a masterpiece seu

ten years, the Korean Heritage Group

at any US museums. As the position is

among masterpieces. From comparison am

has worked to attract new donations ha

funded by generous supports by the lead-

with excavated relics, it is thought to wi

ing community members in Philadelphia,

have been produced at the Sadang-ri kiln ha

it is financially independent from the

in Gangjin, and its ﬁnely executed incised

museum’s operation budget. The Korean

design and beautiful color make it a work de

art curator appointment will remain a

of national treasure level. Since I was

meaningful achievement as long as the

appointed curator in 2006, the Korean ap

museum remains in existence.

collection has been steadily expanded co

are planning to launch a more substantial

Do you have any exchange plans with the

event next year in time for The Art of the ev

National Museum of Korea, or other Korean Na

Joseon Dynasty Exhibition. Jos

museums? mu The Art of the Joseon Dynasty Exhibition, Th

Does the Philadelphia Museum of Art run Do

which opens in spring 2014, was orgawh

any education programs on Korean art or an

nized in cooperation with the National ni

other Asian art? If so, what is the content of oth

Museum of Korea with the view of proMu

such programs and how they run? su

moting cultural exchange between Korea mo

The education programs sometimes exTh

and the United States. The first outcome an

1. Vase (Maebyeong) 12th century, Goryeo Dynasty (918-1392), Porcellaneous stoneware with incised decoration under celadon glaze, 16 x 9 1/2 inches (40.6 x 24.1 cm) Philadelphia Museum of Art, Purchased with the Fiske Kimball Fund and the Marie Kimball Fund, 1974 Courtesy of the Philadelphia Museum of Art

plore the Asian art collection according to plo

of such cooperation is the exhibition Art

different cultures, and sometimes as part diff

Across America, which is was held at the Ac

of a thematic program along with Euro-

NMK, and The Art of the Joseon Dynasty NM

pean and American art. One example is pe

Exhibition will be the second. It is already Ex

the program where children make their th

attracting a lot of attention as it will mark att

own artworks inspired by works in the ow

the th ﬁrst large-scale exhibition of Korean

2. Featuring east entrance or rocky steps Courtesy of the Philadelphia Museum of Art

permanent exhibition. In addition, learnpe

art to be held in Philadelphia. It is also

ing materials on Asian art developed by

the th ﬁrst exhibition in the United States to

the Education Department, based on the th

give giv an overview of the Joseon Dynasty.

group. In May that year the Korean gr

position instituted for the ﬁrst time at the

two tw years, but after some amendment we

3. Installation view, Celebrate Korea: A Decade of Collecting (2006) Courtesy of the Philadelphia Museum of Art

works in the museum’s collection, are wo distributed to school teachers to help di

through purchase and gifts, and currently thr Could you tell us about the scale and history

we are focusing on the expansion of the

of the Korean collection at the Philadelphia

painting collection. In addition to major pa

Museum of Art?

folding screens such as One Hundred Boys, fol

The Korean collection has grown steadily

Peonies, and Lotus Blossoms, the painting Pe

since the first object, a buncheong dish,

collection also includes Yang Gihun’s co

TELLING MORE

SERIAL LECTURE

KIM MANJUNG AND GUUNMONG

CLASSICS THAT EVERYONE SHOULD KNOW: IN SEARCH OF EMOTIONAL RESONANCE

As the reader remains uninformed of the fact also, Seongjin and the reader are in

BY YU GWANGSU, PROFESSOR OF YONSEI UNIVERSITY

PROGRAM FOR THE FIRST HALF OF 2013

Kim Manjung (penname Seopo, 1637-

the same position. Hence the reader ac-

1692) wrote Guunmong (The Cloud Dream

companies Seongjin as he goes through

of the Nine) while living in Seoncheon

transmigration of the soul and is reborn

when he was exiled for the second time.

as Yang Soyu, and becomes a great and

Kim wrote the novel for his mother, out

successful man, and is likewise shocked

of the guilt he felt all his life for being

when Seongjin is shocked to find that it

unable to take care of her when he had to

was all a dream. Like Seongjin who ques-

go into exile. In the conservative Joseon

tions the meaning of life and bows before

Dynasty when novels were considered a

Yukgwan in a bid to gain true enlighten-

low form of culture, Kim, a government

ment, the reader also raises the same

official, began writing novels in the first

question and desires true enlightenment.

place because of his mother. Therefore,

With the employment of such strategic

the theme of Guunmong is commonly

deceit, the author urges the reader to gain

said to be “the frailty of human life” or

true insight.

that “life is an empty dream.” But this is

MARCH 23

Detail from Painting of

a mistaken notion. As apparent in the

TRANSMIGRATION:

content of the novel, it is not possible

PUNISHMENT OR REWARD?

the Cloud Dream of the Nine

to appease a mother’s worries with the

Seoul Auction

idea of the frailty of human life. Would

Scolding Seongjin for his sin, Yukgwan

a dutiful son console a lone and elderly

sends him to Pungdo (hell) for trans-

mother with the words “Mother, wealth,

migration of the soul. But instead of

rank and fame are nothing but an empty

being punished, Seongjin is reborn as

Classics that Everyone Should Know:

dream”? Would the mother ﬁnd solace in

Yang Soyu and enjoys a rich and fruit-

In Search of Emotional Resonance / Yu Gwangsu

these words? Surely her worries would

ful life, achieving everything he desires.

(Yonsei University professor)

multiply. This point considered, it would

Though Seongjin’s sin was coveting hu-

be more correct to say the theme of Gu-

man wealth and fame, Yukgwan, while

unmong is “emptiness.”

admonishing the sin, allows Seongjin

A Happy Museum: The Identity of Korean Culture / Ta Seoksan (philosopher and writer) APRIL 27

MAY 25

to achieve his desires. As he is not con-

Humanities of the Human Body Interpreted through Dongui-bogam / Goh Misuk (classics critic)

2013 NATIONAL MUSEUM OF KOREA

UNDERSTANDING

tinually being reborn, it is difficult to

HUMANITIES LECTURES

THE AUTHOR’S INTENT

see Seongjin’s experience of living the happy life of a man named Yang Soyu in a

The National Museum of Korea hosts

The first chapter in Guunmong shows

dream as punishment. So while Yukgwan

The Hearts of Koreans

“Saturday Afternoon, Garden of the Hu-

Seongjin, favored disciple of the Great

condemns the sin, in reality he forgives

Reﬂected in Old Poems / Na Taeju

manities,” a series of monthly lectures

Monk Yukgwan, committing sin and

the sin and gives Seongjin what he wants,

(Director of Gongju Cultural Center)

which are open to the general public.

as a result being reincarnated as a man

but in the form of a dream. As such, Yuk-

The overall theme is “Strolling through

named Yang Soyu. Everything Yang does

gwan’s reprimands and censure serve to

the Classics on a Saturday Afternoon.”

is a success. He rises to a high position

trick the reader.

With fascinating, in-depth exploration

in government, achieves victory in war,

Yukgwan’s reprimands are seen as strict

of various subjects in the humani-

and lives a happy life with eight beautiful

judgment for breaking the Buddhist

ties, the objective of the lectures is to

wives.

precepts. They stress the seriousness of

stimulate interest in and broader un-

Seong jin’s reincarnation as Yang is a

Seongjin’s sin, for which he cannot avoid

derstanding of Korean culture and give

dream but the novel deals with the story

the punishment of transmigration. But

museum visitors a pleasant learning

as if it were reality. The author deliber-

in his reprimands Yukgwan only points

experience.

ately hides the fact that Yang is dreaming.

out the wrongs committed by Seongjin

JUNE 22

TELLING MORE

SERIAL LECTURE

and does not go into detail about the

superiority melts away like snow the mo-

cision to seek immortality has been made

punishment he is to receive. But the sin-

ment he is reborn, the moment that he

clear, but he leads Yang not on that road

ner Seongjin, who keeps making feeble

categorizes himself as a newborn baby.

but to his past life. The reason is simple.

excuses, is the ﬁrst to say that he should

As a newborn baby he remembers that

Though Yang may seek the state of emp-

be banished. This is seen as confession on

he was once the Buddhist male Seongjin

tiness he cannot attain it.

Seongjin’s part that the gravity of his sin

but can no longer exercise any magical

Appearing in the form of the Indian

deserves banishment. This is when Yukg-

powers. Not only that, he is a completely

monk, Yukgwan leads Yang Soyu to the

wan tells him to “go to Pungdo.” Through

powerless being who can consciously ut-

past through conversation, and by this

this series of events and by making

ter nothing but the cry of a baby.

Yang Soyu returns to his original form.

Seongjin decide his own method of pun-

This is the result of limiting himself in-

Under Yukgwan’s guidance, Yang Soyu

ishment, to the reader it seems right and

side a certain framework. He can no lon-

realizes that he is neither the highest of-

inevitable that Seongjin go to hell and be

ger seek after truth or consciously attain

ficial in the land, nor a poor, ordinary

put through the process of transmigra-

enlightenment of his own accord. In this

scholar. That is, he realizes he is not Yang

tion and reincarnation.

way, Seongjin forgets who he was and

Soyu but Seongjin.

In fact, however, Seongjin’s sin is not so

becomes Yang Soyu. Yang Soyu’s world

Yukgwan talks with Yang Soyu and by

great, and because he repented of his own

is one where things grow without effort,

this conversation Yang Soyu is led to

accord it can be said that the punishment

where the seeds of ambition germinate

remember his past. At first, Yang Soyu

of transmigration is rather severe. In the

and achieve fulf illment . That world,

treats Yukgwan like a stranger. But Yukg-

end, Seongjin’s contempt and announce-

however, is one of fundamental delusion

wan keeps repeating the question, “Don’t

ment of his own punishment, and the

where people do not realize when they

you know me?” which in other words

unfolding of the narrative in the order of

are placed in a ridiculous situation.

means “I am your treacher Yukgwan.”

(high official). By doing so the aim is to

Soyu. While these two desires resemble

beings caught in the cycle of transmigra-

But up to the end Yang Soyu fails to rec-

make Yang Soyu realize the basic nature

each other, they nurture each other and

tion of the soul desire something but

ognize Yukgwan in the old monk. He

of his existence. But Yang Soyu is unable

reject each other at the same time.

are not aware of the outcomes. This is

gradually draws closer to realization but

to grasp the nature of any of these identi-

Seongjin becomes Yang Soyu because

because humans are limited beings who

sin, hell, and transmigration, the reader comes to see transmigration as Seongjin’s

BECOMING SEONGJIN AGAIN

unavoidable fate. When everything is

Painting of the Cloud Dream of the Nine Joseon period 120 x 37.0 cm Kyonggi University Museum

revealed to be a dream, the reader is

After a life of fame and success, Yang

never quite breaks the barrier. The reason

ties, because he is neither the highest of-

of his ambition, which is focused on

can only remember the present stage

no longer interested in the question of

Soyu retires to his palace where he lives

is simple. Because of the fundamental

ﬁcial in the land nor a poor scholar, nor is

wealth, rank and fame. This is realized

they are in, as revealed in the narrative

whether Seongjin’s punishment is justi-

in seclusion. A long time passes. When

limitations of the life of transmigration

he even Yang Soyu. He is really Seongjin.

through the life of Yang Soyu, who makes

of Guunmong. Seonjin becomes Yang

ﬁed or not. The fact that it is all a dream

Yang is an old man, an Indian monk ap-

where he is caught in the chain of self-

He simply thinks he is the highest official,

Seongjin’s ambitions concrete.

Soyu and Yang Soyu becomes Seongjin.

completely obscures this argument. For

pears before him. The monk is none other

forgetting and self-memory, Yang Soyu

and remembers being a poor scholar, and

In turn, Yang Soyu becomes Seongjin

Seonjin desires to be Yang Soyu and Yang

inside dreams, not only transmigration

than Yukgwan.

is unable to remember the time when he

has not the slightest doubt that he is Yang

because of his desire to reach the state of

Soyu desires to be Seongjin. Therefore,

but all sorts of absurd and unbelievable

The monk’s appearance comes not after

was Seongjin.

Soyu.

immortality and break free from a sense

the two desires are in vain. When he is

things happen quite naturally.

Yang Soyu begins to feel the frailty of hu-

Finally, Yang Soyu asks how he can get

This reﬂects life where people are caught

of futility, which is the life that had been

Seongjin he desperately longs to be Yang

man life but after his realization of the

break the barrier. As if this is the moment

up in their own understanding of things

pursued by Seongjin, the Buddhist be-

Soyu and when he is Yang Soyu he des-

CHANGE OF IDENTITY THROUGH

frailty of human life and his decision that

he has been waiting for, Yukgwan awak-

and cannot see the true nature of things.

liever. The young Seongjin tried to sup-

perately longs to be Seongjin, but this is

TRANSMIGRATION

the only way to overcome this state is to

ens Yang Soyu from his dream. Yukgwan

The narrative shows this in a concrete

press his desire for wealth and fame but

all in vain. But like Seongjin and Yang

embrace the Buddhist faith. Or to put it

then leads Yang Soyu little by little back

way through the appearance of the In-

found that was not the way to overcome

Soyu, people do not realize this.

As the result of such change in space,

more clearly, the monk appears as soon

to the past, calling his name, until Yang

dian monk and his dialogue, the change

it. Yukgwan therefore interferes to en-

W h e n Ya n g S oy u awa k e n s f ro m t h e

physical body, and name, Seongjin for-

as Yang Soyu announces the decision he

realizes the limitations of his own life, his

in Yang Soyu’s perceptions, and through

able Seongjin to feed his ambitions in

dream and becomes Seongjin again, Yuk-

gets his original identity and remembers

has already made and gains the approval

memory, and his understanding. His use

his awakening from the dream.

the future, that is, to become Yang Soyu.

gwan says to him, “You have barely wo-

only his other self. Seongjin, a healthy

of those around him. If the monk had not

of various names for Yang is deliberate.

At that point, the young Seongjin could

ken from the dream,” and he could not be

young 20-year-old male, Seongjin who

appeared and awoken Yang Soyu from

A name is an objective marker of a per-

CEASELESS CIRCULATION OF

not identify his desires. He did not know

more correct. By this Yukgwan is saying

had the ability to fly through the sky to

his dream, then the next day, as he had

son’s identity. Yukgwan calls Yang Soyu

THE TWO DESIRES

what his desires were but came to nur-

that desire has to be fundamentally over-

reach the underwater palace of the Sea

announced, Yang would have certainly

various names such as Daeseungsang

ture them. But it was all in vain, as Yang

come, that is, one must reach the state of

God, Seongjin who had a face as white

set out to reach the state of neither birth

(great prime minister), Gwiin (noble

In Guunmong there are two different yet

Soyu the great prime minister comes to

emptiness. To realize that is the greatest

as snow and greater intelligence and

nor death (immortality).

man), Yang Jangwon (Yang, first place

similar desires. Simply put, they are the

realize.

enlightenment.

wisdom than the rest of the crowd—this

The monk appears when Yang Soyu’s de-

winner in the state exams), Sanggong

desires of Seongjin and the desires of Yang

Like Seongjin and Yang Soyu, all human

DIGESTING NEWS

ACTIVITIES

NEWS

V VIRTUAL MUSEUM, A INTERNATIONAL CULTURE AN P PROJECT

In cooperation with NHN (CEO Kim Sang-

To carry out the project, the NMK and the

their lunchboxes. To comply with this modest

hun), the National Museum of Korea and hu

National Museum of Ethnology of the Neth-

the National Museum of Ethnology of the

erlands worked together to establish policies,

Netherlands (director Stijn Schoonderwoerd) Ne

create and edit contents including academic

A new n lunch area was opened May 3 for the

have launched the renewed Virtual Collection hav

research, information on the artifacts, and

convenience of school and family groups visitco

M MUSEUM NEWLY OPENED CHILDREN’S LUNCH AREA CH

request, NMK Director-General Kim Youngna set aside space near the entrance to the Children’s Museum for the ease of young visitors 2

EX EXHIBITION SPACE AND PERFORMANCE PREVIEWS PE FOR THE VISUALLY FO IMPAIRED IM

and families.

of Asian Masterpieces (VCM), an international

keep close contact with member museums.

ing the National Museum of Korea. The 82m

The new lunch area, in addition to the exist-

The National Museum of Korea has Th

cul cultural project bringing together the major

NHN, as partner in the project, installed the

spa space is big enough for around 72 people to

ing lunch area (first floor of the museum,

pre prepared exhibition space inside the

mu museums of ASEM (Asia-Europe Meeting)

main server for the VCM website in Korea and

sit down and eat a packed lunch. The project

accommodates about 140 people), means

Per Permanent Exhibition Hall for the blind

co countries.

formed a team of specialists in the fields of

wa was instigated by a letter sent to the mu-

the museum now has room for more than

an and visually impaired. Six special spaces

Th The renewed website is faster overall, and ev-

information technology, design, marketing

seu seum September 10, 2012 by an elementary

200 people to sit down and eat the food they

hav have been established on the first floor to

ery page has been redesigned and the menu

and public relations, and law to look after

sch school child asking that the museum prepare

have brought with them.

pro provide various activities designed to en-

reo reorganized, while other features such as

related issues. Website: http://vcm.asemus.

ap place where children could sit down with

art artifact search, lists and maps of participating

museum Mobile address: http://m.vcm.

vis visually impaired such as touching models

mu museums, SNS links, and multimedia materials

asemus.museum

of exhibition artifacts, listening to easy-to-

ha hance the learning experience for blind and

hav have been reinforced.

op operate audio commentary on the exhibits, an and reading Braille explanations. Starting wit with this project for the blind and visually im impaired, the NMK plans to expand services

MUSEUM WEEK EVENTS FOR THE ENJOYMENT OF ALL

for the disabled. To mark the opening of the special areas inside the Permanent Exhi-

The National Museum of Korea hosted

bit bition Hall, the NMK in conjunction with

Museum Week, a series of events held May

the Korea Blind Union held a preview with

17 through 26. Museum Week was organized

on April 19 at 10:30 am. It is anticipated

in cooperation with the Korean Museum As-

that many more people will now be able tha

sociation and the Ministry of Culture, Sports

to visit the museum in comfort and take

and Tourism to mark World Museum Day,

advantage of the various exhibitions and adv activities the museum has to offer. act

as designated by the International Council of Museums (ICOM), and featured diverse contents designed for the enjoyment of all visitors and employees of the museum. The

FE FESTIVAL OF KOREAN PERFORMING ARTS PE HELD IN JUNE HE

instrumental ensembles, and one-act traditional musical plays (changgeuk). On the second day, members of the Seoul

first day’s event, “A Happy Museum-Photog-

band), folk songs of Jeollanam-do, folk dance,

raphy Competition,” garnered great response.

The National Museum of Korea hosted a Th

Performing Arts Company, known for its cre-

Under the theme of “A Happy Museum,” 335

special free concert of Korean traditional spe

ative musical performances based on Korean

photos were entered in the competition.

music (gugak) for all museum visitors in the mu

traditional subject matter, staged a show

In addition, those visiting the museum on

Open Plaza on Saturday June 8 and Sunday Op

featuring a “heavenly drum” performance,

Sunday May 19 were able to see the per-

June 9 at 3 p.m. On the first day, members Jun

the hourglass drum dance, traditional rural

manent exhibition for free and receive a 50

of the Namwon National Gugak Center, who

percussion music and rural musical parade.

percent discount on the special exhibition Art

have worked constantly over a long period of hav

The month of June was a memorable one

Across America. Gyeongju National Museum

time to preserve Korean folk music and dance tim

for visitors to the National Museum of Korea

and other regional museums also held various

and to develop them for future generations, an

thanks to the array of things to see includ-

exhibitions, concerts and hands-on activity

gave a fine performance of different genres gav

ing the permanent exhibition and outdoor

programs tailored to the local region.

including Samullori (traditional percussion inc

sculpture garden. 39

DIGESTING NEWS

EXHIBITIONS & PUBLICATIONS

ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT ISBN

EXHIBITIONS & PUBLICATIONS

K KOREAN ART DIGITAL CONTENTS D DEVELOPED BY THE FREER G GALLERY OF ART AND ARTHUR M M. SACKLER GALLERY

978-89-93518-27-6

The National Museum of Korea has published a catalog introducing relics from the Islamic culture discovered across a vast continent covering East and West, dating from the 8th century to the 18th century. The contents are organized to show the historical development of Islamic art from its origins through its growth and glory days. The catalog also highlights distinctive aspects of Islamic art such as the geometric patterns and artistic Islamic script.

NE DISPLAYS IN INDIAN, NEW SOUTHEAST ASIAN SO AND JAPANESE GALLERIES AN DATE DAT VEN VENUE

APRIL 23, 2013 NATIONAL MUSEUM OF KOREA

A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY ISBN

978-89-92788-59-5

This catalog brings together the relics of Kang Sehwang, the leading figure in the art circle of the 18th century, handed down in the family from generation to generation as well as the artist’s major works. The life and work of the artist is explored in various

The Freer Gallery of Art and Arthur M. SackTh

the path of Freer, the gallery’s founder, and

Sixteen new exhibits have been out on Six

chapters titled “The Literati Artist Ideal,” “Family and the Times,”

display in the India and Southeast Asia dis

“Dreams and Ideals of the Literati,” “Travel and Sketches,” and “The

on the works but also six articles written by

an and Japan galleries. Of the five new Indian

Greatest Critic of the Age.” The contents of the catalog will give a fascinating glimpse into the art and culture of the 18th century, the time known as the Joseon Renaissance.

ler Gallery has recently launched an ipad

how he came to own a large collection of

Korean scholars in both Korean and English.

paintings, four are miniatures that are being pa

application on Korean art, an online cataap

Korean art. Some of the items in the col-

Korean Art in the Freer and Sackler Gal-

exhibited for the first time since they were exh

log, and a guidebook under the National log

lection are shown in 3D and can be rotated

leries is a comprehensive guidebook first

acquired by the National Museum of Korea acq

Museum of Korea’s support project for the Mu

360 degrees.

published by the museum in 2010 and now

in 2011. They dated to the 17th and 18th

CATALOG OF CENTRAL ASIAN COLLECTION PUBLISHED

American gallery’s Korean art collection. Am

The online catalog Korean Ceramics in the

in its second print run. Like the ipad ap-

centuries and were produced in the Bengal cen

The ipad application titled Charles Lang Th

Freer Gallery of Art can be found at http://

plication, the guidebook follows the history

and North Deccan regions of India. Prince an

Freer: Collecting Korea is the first applicaFre

korean-ceramics.asia.si.edu. It features 300

of the Korean collection and includes color

Sit Sitting on the Terrace and Nawar Albadi

ISBN

tion developed by the Freer Gallery and can tio

ceramics from the gallery’s Korean collec-

photographs and detailed explanations of

Khan and His Nephew Saulat Jang feature Kh

The National Museum of Korea has published its first catalog of

selected works.

detailed depiction of the individual characdet

its Central Asian art collection, titled Religious Paintings of Central

ter teristics of the subjects and reveal traces of

Asia. The focus was placed on two aspects. First, for systematic

the tradition of Mughul portraits set against

introduction of the collection and publication of new related re-

a lyrical ly scenic background.

search, a large number of good quality photographs of each item

New exhibits in the Japanese gallery include Ne

were included, forty of the color photographs being published

eig eight ukiyo-e woodblock prints showing

for the first time ever. The second point of focus was scientific

scenes of the 53 Stations of the Tokaido. sce

investigation of collection. The catalog includes a detailed report

Among the modern art works, an important Am

on conservation work carried out on 30 of the items.

currently be downloaded for free. It follows cur

ED FOLDING SCREENS EDO AND OTHER NEW AN ACQUISITIONS ON DISPLAY AC IN THE JAPANESE GALLERY

tion and provides not only basic information

were popular motifs in Edo period paintings as they were considered auspicious symbols of fecundity and good fortune. In the century a large number of highly individual artists emerged in Kyoto, Rosetsu being one of

DATE DAT VEN VENUE

JUNE 11, 2013 NATIONAL MUSEUM OF KOREA

them. The folding screen shows 41 children forming a long train and the composition, the expressions of the children, innocent yet

From June 11, the National Museum of Korea Fro

naughty, highlight Rosetsu’s originality.

will be exhibiting in the Japanese Gallery its wil

In the future another folding screen titled

newly acquired Japanese art works in stages. new

Recreation at Home, featuring genre paint-

The first to be revealed are a collection of Th

ings of various recreational activities set

Edo period (1603-1867) folding screens Ed

inside a large house such as a circle dance,

dealing with various themes. The best among de

looking at flowers, and the board game go,

them is the folding screen Chinese Children the

will also be exhibited. Both of these folding

Pla Playing by Kyoto-based artist Nagasawa

screens, dating to the mid-17th century, are

Rosetsu Ro (1754-1799). The children in the

wonderful works that show varied scenes of

picture pic are called karako, which refers specif-

daily life from the early Edo period.

ically ica to Chinese children, as indicated by the Chinese Ch style hair and dress. These children

978-89-98234-05-8

pa part of the NMK’s Japanese collection, the works of three Japanese artists from the wo Kyoto region have been chosen for display. Kyo Yam Yamakawa Shuho’s Dance, showing a

THE WRITINGS OF GREAT KOREAN MONKS—HANAM AND TANHEO OF WEOLJEONGSA TEMPLE

woman dancing in a black kimono, is exhibwo ited beside Nakamura Daizaburo’s Spring, ite

ISBN

978-89-91331-00-6

fea featuring the figure of modern girl wearing

The National Museum of Korea has published a catalog of callig-

ah hat trimmed with lace caught from behind,

raphy by the two great monks Hanam and Tanheo of Woljeongsa

thereby the giving a glimpse of Japanese art

Temple. The catalog includes portraits, writings, and the relics of

tre trends in the transition from tradition to the

the two monks, which give a glimpse into their hearts as they seek

new in the late 1930s. The folding screen

the truth. The three parts of the catalog—“Hanam’s Life and Writ-

Quiet Morning Sea by Matsumoto Ichiyo, Qu

ings,” “Hanam and Tanheo,” and “Tanheo’s Life and Writings”—

wh who studied Japanese traditional yamato-e,

and other essays will give readers a sense of the monks’ academic

ref reflects the quiet, delicate Japanese sense of

maturity, reflections on life, high ideals and firm faith.

aes aesthetics.

DIGESTING NEWS

HIDDEN PLACE

NATIONAL MUSEUM OF KOREA LIBRARY

Opening hours 09:00 – 18:00 Closing days Every Monday and public holidays (and other days designated by the NMK Director-General) Homepage http://library.museum.go.kr

In addition, there is a collection of historical records, which are however unavailable to the general public. They include records of major archaeological excavations from the Japanese colonial period as well as materials relating to the museum established by the Japanese Government-General, which have been preserved at the library since 1973 when it was located on the site occupied by the National Folk Museum today. A separate library is devoted to donated books including those given by the late Kim Chaewon, ﬁrst NMK director, and by scholars inside and outside the country. Visitors to the library can also access materials that are not distributed to the public such as the Museum News, the newsletter of the Cultural Foundation of the National Museum of Korea, and the Children’s Museum newspaper.

The Recommended Books section under “Book Information” on the

NMK library homepage features books selected by the librarians. Every week ﬁve books are chosen from among newly arrived additions to the library, each introduced with a photo of the cover and brief run-down of the contents. The books can be searched by month. Priority is given to books published by the NMK and regional national museums as well as catalogs and books on current exhibitions. Among the 20 books that were introduced in this fashion in April are the catalogs for the special exhibition The Peranakan World: Cross-cultural Art from

Singapore and the Straits and theme exhibition in the calligraphy gallery titled Calligraphy of Korean Seon Masters: Hanam and Tanheo of Woljeongsa Temple.

Through active collection of materials published by

the world’s major museums and books in the ﬁelds of history, cultural heritage, archaeology, art, anthropology and conservation science, the NMK Library aims to fulﬁll its role as an archive of specialized academic materials.

At the top of the central stairway at the National Museum of Korea, the entranceway to the left leads to the museum’s hidden archives, the National Museum of Korea Library. The library is a light-ﬁlled place with the sunlight coming through the plate glass windows. The quiet reading room with its large windows endows the library with an air of dignity and grace. The white toned walls and wooden furniture create a pleasant interior and a non-distracting environment where you can concentrate on your work. The wide open space covering some 1,300 square meters has the atmosphere of a library inside a gallery. The bookcases covering a whole wall take command of the reading room with the charisma of an art installation.

This quiet and pleasant

library is mostly frequented by employees of the NMK or those studying art or history related subjects. In that sense it can be rightly regarded as a specialized library, and the collection of museum-related materials in the ﬁelds of research, exhibition, conservation and education is growing. Moreover, all systems have been designed to provide users with efficient and methodical information service. The library has a total of some 142,000 volumes including more than 100,000 books, 37,000 periodicals, 3,400 multimedia materials, and 784 old and rare books.