National museum of korea vol 26 en

NATIONAL MUSEUM OF KOREA

QUARTERLY MAGAZINE

QUARTERLY MAGAZINE

FEATURE WESTERN SCIENCE COMES TO JOSEON

VENUE

MAY �-AUGUST ��, ����

SPECIAL EXHIBITION GALLERY

WINTER 2013

DATE

VOL. 26

MASTERPIECES FROM THE MUSÉE D’ORSAY

CURATOR TALK

SPECIAL EXHIBITION

THE SPLENDID AND DELICATE

FALLING UNDER THE SPELL OF

COLORS OF FLOWERS, GRASSES

THE CONGO RIVER

AND BIRDS NMK EXHIBITION TAOIST CULTURE IN KOREA: THE ROAD TO HAPPINESS JOSEON MUSICAL INSTRUMENTS FROM AMERICA

Masterpieces from the Musée d’Orsay explore the origins of modern art through the development of post-impressionism. The

RNM EXHIBITION

exhibition will feature the works of the greatest European masters of

ONE THOUSAND YEARS OF MOKSAGOL NAJU

the latter half of the ��th century including post-impressionists from Monet and Degas to Van Gogh, Cezanne and Gaugin, as well as symbolism artists such as Rousseau and Redon. Covering the genres of painting, sculpture, drawing, photography and handicraft, the wide range of exhibits reflect the rapid changes in urban culture at the end of the century. By investigating the changes in art against the background of the times, the exhibition will not only show visitors the brilliant art of ��th century France but also a glimpse of the society that produced it.

VOL.26 PUBLISHED BY NATIONAL MUSEUM OF KOREA WINTER 2013

ISSN: 2005-1123

CONTENTS

DIRECTOR'S MESSAGE

DISCOVERING LEGACY

10 CURATOR TALK

been planning and working on over the past few years are now starting to show

The Splendid and Delicate Colors of Flowers, Grasses and Birds

tangible results.

First, Naju National Museum, our twelfth branch outside of the Seoul area, opened on

FEATURE

Western Science Comes to Joseon

The year 2014 has dawned, full of exceptional promise. Several projects that we've

02

VIEWING NOW

14 SPECIAL EXHIBITION

November 22, 2013. The focus of this museum is on the jar-coffin burial practices along

Falling Under the Spell of the Congo River

in the Yeongsangang River Basin during the Mahan period. The museum complex

20

is nestled among a group of old tomb sites in a natural setting, and the building

VISITOR

The Power of Spiritual Art Arising from Nature

structures are designed for maximum eco-friendliness.

22 NMK EXHIBITION

National Museum of Korea has presented various art objects and cultural artifacts

Taoist Culture in Korea: the Road to Happiness

to the Korean public through the World Civilization series, with the most recent exhibition offering a look at the history and culture of Central Africa. Visitors are

24

introduced to the diverse artistic world and traditional tribal customs of the Congo

Musical Instruments of Joseon in America

River Basin, which have evolved from life in tropical rainforests and on the savannas.

26

NMK EXHIBITION

Overseas, meanwhile, we have opened a very meaningful exhibit at the Asian Art

R NM EXHIBITION

One Thousand Years of Moksagol Naju

Museum of San Francisco entitled In Grand Style: Celebrations in Korean Art during the TELLING MORE

Joseon Dynasty.

30 PEOPLE

Seeing a Light Going on in a Viewer’s Mind

At the end of 2013, we opened the Mobile Museum in Gyeongsangnam-do and

32

Jeollanam-do Provinces as part of an ongoing effort to expand public access to our

SERIAL LECTURE

collection. This program was launched in 1990 and has opened 949 times in 627

Landscape

different communities over the past twenty years, drawing some 1.52 million visitors.

Going forward, the Mobile Museum will continue, and other culture-sharing programs

34

provide to expand the opportunities for children and the less privileged to experience

Beyond Death: Martyr Yi Suni's Letter from Prison

the benefits that our museum provides.

SERIAL LECTURE

DIGESTING NEWS

This winter issue of our English-language quarterly magazine will carry the last

EXHIBITIONS

outside world. These stories have described how cultural influences as well as changes

40

and trends in the ancient world were carried along the Silk Road to reach as far as

HIDDEN PLACE

Celadon Gallery at the NMK Opens after Renewal

Goryeo and provided evidence of dynamic diplomacy all the way down to Joseon.

In the coming year, a wide range of exhibitions and educational programs have been prepared to bring National Museum of Korea closer to the goal of being a world-class museum that bridges the cultural histories of East and West. We will remain close to you every step of the way as a hub for exchange and the “Korean Wave” (Hallyu).

QUARTERLY MAGAZINE VOL.26 WINTER 2013

Kim Youngna Director-General

N EWS

38

installment of annual feature story series on traditional Korea’s interaction with the

Thank you.

36

Publisher: National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-026, Korea Tel: (82 2) 2077-9572 Fax: (82 2) 2077-9940 E-mail: superman00@korea.kr Editorial Direction: National Museum of Korea Publishing Team Design and Production: Ahn Graphics Inc., Editorial Team

The National Museums of Korea Winter, 2013

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

CONTENTS

DIRECTOR'S MESSAGE

DISCOVERING LEGACY

10 CURATOR TALK

been planning and working on over the past few years are now starting to show

The Splendid and Delicate Colors of Flowers, Grasses and Birds

tangible results.

First, Naju National Museum, our twelfth branch outside of the Seoul area, opened on

FEATURE

Western Science Comes to Joseon

The year 2014 has dawned, full of exceptional promise. Several projects that we've

02

VIEWING NOW

14 SPECIAL EXHIBITION

November 22, 2013. The focus of this museum is on the jar-coffin burial practices along

Falling Under the Spell of the Congo River

in the Yeongsangang River Basin during the Mahan period. The museum complex

20

is nestled among a group of old tomb sites in a natural setting, and the building

VISITOR

The Power of Spiritual Art Arising from Nature

structures are designed for maximum eco-friendliness.

22 NMK EXHIBITION

National Museum of Korea has presented various art objects and cultural artifacts

Taoist Culture in Korea: the Road to Happiness

to the Korean public through the World Civilization series, with the most recent exhibition offering a look at the history and culture of Central Africa. Visitors are

24

introduced to the diverse artistic world and traditional tribal customs of the Congo

Musical Instruments of Joseon in America

River Basin, which have evolved from life in tropical rainforests and on the savannas.

26

NMK EXHIBITION

Overseas, meanwhile, we have opened a very meaningful exhibit at the Asian Art

R NM EXHIBITION

One Thousand Years of Moksagol Naju

Museum of San Francisco entitled In Grand Style: Celebrations in Korean Art during the TELLING MORE

Joseon Dynasty.

30 PEOPLE

Seeing a Light Going on in a Viewer’s Mind

At the end of 2013, we opened the Mobile Museum in Gyeongsangnam-do and

32

Jeollanam-do Provinces as part of an ongoing effort to expand public access to our

SERIAL LECTURE

collection. This program was launched in 1990 and has opened 949 times in 627

Landscape

different communities over the past twenty years, drawing some 1.52 million visitors.

Going forward, the Mobile Museum will continue, and other culture-sharing programs

34

provide to expand the opportunities for children and the less privileged to experience

Beyond Death: Martyr Yi Suni's Letter from Prison

the benefits that our museum provides.

SERIAL LECTURE

DIGESTING NEWS

This winter issue of our English-language quarterly magazine will carry the last

EXHIBITIONS

outside world. These stories have described how cultural influences as well as changes

40

and trends in the ancient world were carried along the Silk Road to reach as far as

HIDDEN PLACE

Celadon Gallery at the NMK Opens after Renewal

Goryeo and provided evidence of dynamic diplomacy all the way down to Joseon.

In the coming year, a wide range of exhibitions and educational programs have been prepared to bring National Museum of Korea closer to the goal of being a world-class museum that bridges the cultural histories of East and West. We will remain close to you every step of the way as a hub for exchange and the “Korean Wave” (Hallyu).

QUARTERLY MAGAZINE VOL.26 WINTER 2013

Kim Youngna Director-General

N EWS

38

installment of annual feature story series on traditional Korea’s interaction with the

Thank you.

36

Publisher: National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-026, Korea Tel: (82 2) 2077-9572 Fax: (82 2) 2077-9940 E-mail: superman00@korea.kr Editorial Direction: National Museum of Korea Publishing Team Design and Production: Ahn Graphics Inc., Editorial Team

The National Museums of Korea Winter, 2013

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

INITIAL CONTACT: THE TELESCOPE AND ALARM CLOCK

WESTERN SCIENCE COMES TO JOSEON

I

n 1630 Joseon dispatched a delegation to Ming, China

arrived at Dengzhou. He had been working in China as a Jesuit

to express sympathetic concern for the threat the Man-

missionary and was said to have the appearance of an immor-

chus were posing against the capital. The chief envoy

tal. He was intensely interested in the prospect of spreading the

was Jeong Duwon, 鄭斗源 1581-? who had a long diplomatic record

Gospel in Joseon as well, heard that an embassy from Joseon

with Ming officials. Joseon embassies had traveled overland to

was arriving in China and waited to meet the delegation mem-

BY L EE TA EH EE,

the Ming court over for more than two centuries, since capital

bers. The exact conversation shared between Chief Envoy Jeong

A SSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF ASI A N A RT

was relocated to Beijing. However, Manchu forces now con-

and Rodrigues is not known for certain, but the missionary did

trolled the Liaodong Peninsula, forcing the Koreans to make

bestow many items upon the envoy never before seen on the

the journey by sea. Once the delegation led by Jeong had con-

Korean Peninsula, to include science books, a telescope, alarm

(Seen Alarm Clock)

cluded their business in Beijing, they proceeded to the port of

clock, harquebus (early muzzle-loaded firearm) and certain

Anonymous

Dengzhou in Shandong in order to begin their return voyage. A

Western plants.

Scholar’s Equipment

Joseon 19th century

Portuguese gentleman by the name of João Rodrigues (Chinese

Japan invaded Joseon at the end of the 16th century, caus-

Ink and color on paper

name: Lu Ruohan 陸若漢, 1561-1633) was waiting for them when they

ing a war to break out. The Spanish priest Gregorio de Cespedes

198.8 X 39.3 cm (each fold)

02

03

DISCOVERING LEGACY

FEATURE

INITIAL CONTACT: THE TELESCOPE AND ALARM CLOCK

WESTERN SCIENCE COMES TO JOSEON

I

n 1630 Joseon dispatched a delegation to Ming, China

arrived at Dengzhou. He had been working in China as a Jesuit

to express sympathetic concern for the threat the Man-

missionary and was said to have the appearance of an immor-

chus were posing against the capital. The chief envoy

tal. He was intensely interested in the prospect of spreading the

was Jeong Duwon, 鄭斗源 1581-? who had a long diplomatic record

Gospel in Joseon as well, heard that an embassy from Joseon

with Ming officials. Joseon embassies had traveled overland to

was arriving in China and waited to meet the delegation mem-

BY L EE TA EH EE,

the Ming court over for more than two centuries, since capital

bers. The exact conversation shared between Chief Envoy Jeong

A SSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF ASI A N A RT

was relocated to Beijing. However, Manchu forces now con-

and Rodrigues is not known for certain, but the missionary did

trolled the Liaodong Peninsula, forcing the Koreans to make

bestow many items upon the envoy never before seen on the

the journey by sea. Once the delegation led by Jeong had con-

Korean Peninsula, to include science books, a telescope, alarm

(Seen Alarm Clock)

cluded their business in Beijing, they proceeded to the port of

clock, harquebus (early muzzle-loaded firearm) and certain

Anonymous

Dengzhou in Shandong in order to begin their return voyage. A

Western plants.

Scholar’s Equipment

Joseon 19th century

Portuguese gentleman by the name of João Rodrigues (Chinese

Japan invaded Joseon at the end of the 16th century, caus-

Ink and color on paper

name: Lu Ruohan 陸若漢, 1561-1633) was waiting for them when they

ing a war to break out. The Spanish priest Gregorio de Cespedes

198.8 X 39.3 cm (each fold)

02

03

DISCOVERING LEGACY

FEATURE

followed one of the Japanese generals onto Joseon, but his stay was brief since he was traveling with the Japanese forces, and he did not leave anything concrete behind. Extant records suggest that he was the first European to set foot on Joseon soil, but traces of his sojourn are scant. On the other hand, the gifts from Rodrigues marked the starting point for Joseon residents to learn about Western science and culture.

Catholicism began spreading in East Asia from in the 16th century, bringing European missionaries to China and Japan.

Their proselytizing activities were primarily directed at the imperial family and government officials. The Chinese officials were also scholars, as they had been selected for their posts through the imperial examination system. Recognizing this fact,

Summary of the Shixian

the missionaries approached them through learning. Matteo

(Time-regulation Calendar) 1860

Ricci (Chinese name: Li Madou 利瑪竇, 1552-1610) was a fluent speaker Map of Heaven and Earth

W. 21.9 cm, H. 32.8 cm

of Chinese and deeply knowledgeable of the Chinese classics.

late Joseon

As such, he enjoyed broad access to the intellectual elite of

W. 22 cm, H. 13.8 cm

Ming society. As Ricci taught about religion, he also introduced the Chinese to Western astronomy, mathematics and geometry.

He also acquainted the Chinese with scientific tools and gadgets that they had never seen before such as the telescope and alarm clock. Indeed, Ricci was invited to reside in the capital because

CHANGES IN WORLDVIEW AND ADVANCES IN CALENDAR-MAKING

the Wanli Emperor 萬曆帝, r. 1572-1620 expressed an interest in seeing the alarm clock for himself. Likewise, Rodrigues gave gifts to

The Catholic missionaries built a cathedral in Beijing and estab-

Ming. The Ming officials allowed the Western missionaries to

Jeong Duwon as a way to promote his missionary work.

lished a permanent residence there. Thus, the Joseon delega-

participate in the project, and the German-born Jesuit Johann

tions to the Ming capital were exposed to European knowledge

Adam Schall von Bell (Chinese name: Tang Ruowang 湯若望, 1592-

and articles, which in turn prompted the Joseon scholar-offi-

1666)

Schall is especially noted in Korea for his close ties with Jo-

ential work was called the Epitome of Questions on the Heavens,

seon Crown Prince Sohyeon, 昭顯世子, 1612-1645 who was forced to stay

written by Portuguese missionary Emmanuel Diaz (Chinese

in Shenyang as a hostage of the Manchu (Qing) government. In

天問略

Epitome of Questions on the Heavens

Calendar Compendium Following

late Joseon

the New Western Method

W. 29.1 cm, H. 19 cm

late Joseon

National Folk Museum of Korea collection

W. 30.2 cm, H. 19.2 cm Nogudang of the Haenam Yun Clan collection

played a significant role in this endeavor.

cials to alter their traditional view of the world. One such influ-

and first published in 1615. It was

1645, the Crown Prince was allowed to return to Joseon, and he

based on Claudius Ptolemy’s astronomical views and explained

brought various astronomical instruments and Western texts,

the heavenly structure, solar and lunar movements, and vari-

translated into classical Chinese, on astronomical and calendric

ance in daylight and nighttime lengths by latitude. The Epitome

computations and mathematics.

name Yang

Manuo 陽瑪諾, 1574-1659)

of Questions on the Heavens provided an opportunity for Joseon

The grand calendar revision project at the end of the Ming

scholars, whose metaphysical perspective pictured a “Round

produced the Chongzhen lishu 崇禎曆書 (Eternal Calendar of Chong-

Heaven and Square Earth”, 天圓地方 to delve into the workings of

zhen Emperor). However, the new calendar was not adopted

the cosmos. The prominent Joseon silhak scholar Yi Ik 李瀷, 1681-1763

until the Manchus consolidated their control under the Qing,

wrote a postscript for the Epitome, in which he highly regarded

and the calendar was renamed Shixianli 時憲曆 (Time-regulation

the knowledge of the Western missionaries.

Calendar). The use of the Shixianli was suspended temporar-

The Joseon scholars most eagerly embraced the Western calendar computation methods. The Ming employed a suppleShoushili 授時曆

ily at the beginning of the Kangxi Emperor’s reign, 康熙帝, r. 16611722

but then reinstated after its accuracy was recognized by the

(Time-giving Calendar),

Chinese. The Shixianli was widely used until the adoption of the

initially created during the previous Yuan Dynasty. However,

Gregorian calendar in East Asia in the late 19th and early 20th

errors increased with the passage of time, prompting a project

centuries.

mented version of the

to revise Chinese calendar-making methods at the end of the 04

05

DISCOVERING LEGACY

FEATURE

followed one of the Japanese generals onto Joseon, but his stay was brief since he was traveling with the Japanese forces, and he did not leave anything concrete behind. Extant records suggest that he was the first European to set foot on Joseon soil, but traces of his sojourn are scant. On the other hand, the gifts from Rodrigues marked the starting point for Joseon residents to learn about Western science and culture.

Catholicism began spreading in East Asia from in the 16th century, bringing European missionaries to China and Japan.

Their proselytizing activities were primarily directed at the imperial family and government officials. The Chinese officials were also scholars, as they had been selected for their posts through the imperial examination system. Recognizing this fact,

Summary of the Shixian

the missionaries approached them through learning. Matteo

(Time-regulation Calendar) 1860

Ricci (Chinese name: Li Madou 利瑪竇, 1552-1610) was a fluent speaker Map of Heaven and Earth

W. 21.9 cm, H. 32.8 cm

of Chinese and deeply knowledgeable of the Chinese classics.

late Joseon

As such, he enjoyed broad access to the intellectual elite of

W. 22 cm, H. 13.8 cm

Ming society. As Ricci taught about religion, he also introduced the Chinese to Western astronomy, mathematics and geometry.

He also acquainted the Chinese with scientific tools and gadgets that they had never seen before such as the telescope and alarm clock. Indeed, Ricci was invited to reside in the capital because

CHANGES IN WORLDVIEW AND ADVANCES IN CALENDAR-MAKING

the Wanli Emperor 萬曆帝, r. 1572-1620 expressed an interest in seeing the alarm clock for himself. Likewise, Rodrigues gave gifts to

The Catholic missionaries built a cathedral in Beijing and estab-

Ming. The Ming officials allowed the Western missionaries to

Jeong Duwon as a way to promote his missionary work.

lished a permanent residence there. Thus, the Joseon delega-

participate in the project, and the German-born Jesuit Johann

tions to the Ming capital were exposed to European knowledge

Adam Schall von Bell (Chinese name: Tang Ruowang 湯若望, 1592-

and articles, which in turn prompted the Joseon scholar-offi-

1666)

Schall is especially noted in Korea for his close ties with Jo-

ential work was called the Epitome of Questions on the Heavens,

seon Crown Prince Sohyeon, 昭顯世子, 1612-1645 who was forced to stay

written by Portuguese missionary Emmanuel Diaz (Chinese

in Shenyang as a hostage of the Manchu (Qing) government. In

天問略

Epitome of Questions on the Heavens

Calendar Compendium Following

late Joseon

the New Western Method

W. 29.1 cm, H. 19 cm

late Joseon

National Folk Museum of Korea collection

W. 30.2 cm, H. 19.2 cm Nogudang of the Haenam Yun Clan collection

played a significant role in this endeavor.

cials to alter their traditional view of the world. One such influ-

and first published in 1615. It was

1645, the Crown Prince was allowed to return to Joseon, and he

based on Claudius Ptolemy’s astronomical views and explained

brought various astronomical instruments and Western texts,

the heavenly structure, solar and lunar movements, and vari-

translated into classical Chinese, on astronomical and calendric

ance in daylight and nighttime lengths by latitude. The Epitome

computations and mathematics.

name Yang

Manuo 陽瑪諾, 1574-1659)

of Questions on the Heavens provided an opportunity for Joseon

The grand calendar revision project at the end of the Ming

scholars, whose metaphysical perspective pictured a “Round

produced the Chongzhen lishu 崇禎曆書 (Eternal Calendar of Chong-

Heaven and Square Earth”, 天圓地方 to delve into the workings of

zhen Emperor). However, the new calendar was not adopted

the cosmos. The prominent Joseon silhak scholar Yi Ik 李瀷, 1681-1763

until the Manchus consolidated their control under the Qing,

wrote a postscript for the Epitome, in which he highly regarded

and the calendar was renamed Shixianli 時憲曆 (Time-regulation

the knowledge of the Western missionaries.

Calendar). The use of the Shixianli was suspended temporar-

The Joseon scholars most eagerly embraced the Western calendar computation methods. The Ming employed a suppleShoushili 授時曆

ily at the beginning of the Kangxi Emperor’s reign, 康熙帝, r. 16611722

but then reinstated after its accuracy was recognized by the

(Time-giving Calendar),

Chinese. The Shixianli was widely used until the adoption of the

initially created during the previous Yuan Dynasty. However,

Gregorian calendar in East Asia in the late 19th and early 20th

errors increased with the passage of time, prompting a project

centuries.

mented version of the

to revise Chinese calendar-making methods at the end of the 04

05

DISCOVERING LEGACY

FEATURE

each) on the basis of the ecliptic and position the constellations

screen. The central six panels divide the world into the Eastern

accordingly. The last panel lists the names and positions of the

and Western Hemispheres (three panels each). The map indi-

officials who worked on the project.

cates the lines of latitude, longitude, the equator and the tropics

World maps drawn according to Western cartographical

of Capricorn and Cancer. The continent of Australia is depicted

know-how were of interest to the Joseon scholars, too. The Map

more accurately than on earlier world maps, and the first and

of Integrated Lands and Regions of Historical Countries and Capi-

last panels contain information on geographical features such

tals 混一疆理歷代國都之圖

Sahyeong 金士衡, 1341-1407

as lakes and rivers, as well as astronomical information to in-

and others in Joseon in 1402, but it depicted the world from a

clude theories of planetary movement and the earth’s place in

Sino-centric point of view and placed China in the center. The

the cosmos.

new-style maps appearing in Joseon centuries later prompted

Moreover, Western instruments attracted great interest in

the Joseon elite to start rethinking their understanding of the

Joseon. The Swiss Jesuit missionary Johann Schreck (Chinese

world. In 1708, King Sukjong 肅宗, r. 1674-1720 ordered his officials

name: Deng Yuhan 鄧玉函, 1576-1630) basic theory of calendrical science

to reproduce Ricci’s Map of the Myriad Countries of the World

produced a book in 1627 called Collected Diagrams and Explanations

of 1602. The map had been drawn according to the lat-

of the Wonderful Machines of the Far West 遠西奇器圖說 that explained

est Western techniques and included the lines of longitude and

the basic principles and implements used in Western calendar

latitude. Knowledge about the earth and astronomy was placed

making. The late Joseon silhak scholar Jeong Yakyong 丁若鏞, 1762-

in the margins, to include drawings and explanations of the

1836

equator and the Northern and Southern Hemispheres.

then used in the construction of a pontoon bridge across the

坤輿萬國全圖

The Astronomical Observatory in Beijing

CELESTIAL AND TERRESTRIAL MAPPING IN THE WESTERN WAY

had been drawn by Kim

referred to this work when he designed a hoist that was

Then in 1860, Joseon produced the printing plates for a mas-

Hangang River in 1789 and the Suwon Hwaseong fortress walls

ter copy of the Complete Map of the World, 坤輿全圖 initially drawn

in 1792. Jeong, in his writings, indicates that he had received a

by the Belgian Jesuit Ferdinand Verbiest (Chinese name: Nan

copy of Terrenz’s book from King Jeongjo 正祖, r. 1776-1800 himself.

Huairen 南懷仁, 1623-1688) in 1674 and reproduced in Guangdong,

The alarm clock 自鳴鐘 (literally “self-sounding bell”) was

China in 1856. Part of this map is preserved in the Kyujang-

one of the instruments of Western origin that peaked Joseon

gak archives at Seoul National University. The Complete Map of

interest. As mentioned above, it was among the gifts that Ro-

the World was designed for display on an eight-panel folding

drigues presented to Jeong Duwon. In his Miscellaneous Essays

Joseon accepted the Chinese calendar-making system but also

At the same time, the Joseon envoys were introduced to maps

published its own almanac each year, starting from the begin-

of both the heavens and the earth drawn according to the

ning of the dynasty. The Joseon scholars had to be well versed

Western cosmic view. Previous astronomical charts in Joseon

in the methods for making calendars so that they could publish

only depicted stars and planets observable in the Northern

their almanac according to changes in the Chinese system. This

Hemisphere. However, those from 17th century on show the

became an important mission for Joseon embassies dispatched

celestial bodies that appear in the skies above both the North-

W. 451 cm, H. 183 cm

to China from the 17th century, and Joseon would include of-

ern and Southern Hemispheres, based on the equator and the

Beopjusa temple collection

ficials from the Office of Astronomy 觀象監 in the embassy del-

ecliptic. They also include smaller or more distant objects only

egations to the Chinese capital. These officials would go to the

detectable by telescope. The Astronomical Chart Following the

or Catholic church in Beijing to

New Method, 新法天文圖 now kept at Beopjusa, a Buddhist temple

learn about astronomy and calendric computations from the

in Chungcheongbuk-do, is a classic example of this genre in-

Western missionaries. The Astronomical Observatory left a par-

fluenced by Western astronomical science. The Office of As-

ticularly deep impression on the visitors from Joseon because

tronomy of Joseon produced this eight-panel folding screen

of its relatively close proximity to their accommodation.

in 1742 on the basis of a chart conceived by the German Jesuit

Astronomical

Observatory 觀象臺

Astronomical Chart Following the New Method 1742

Ignatius Kögler (Chinese name: Dai Jinxian 戴進賢, 1680-1746) at the Astronomical Observatory in the Qing capital. The first panel presents the sun and moon, along with the five planets (Mercury, Venus, Mars, Jupiter and Saturn) known at that time. The moons of Jupiter and Saturn visible through contemporary telescopes are also shown. The following six panels divide the heavens into the northern and southern skies (three panels 06

07

DISCOVERING LEGACY

FEATURE

each) on the basis of the ecliptic and position the constellations

screen. The central six panels divide the world into the Eastern

accordingly. The last panel lists the names and positions of the

and Western Hemispheres (three panels each). The map indi-

officials who worked on the project.

cates the lines of latitude, longitude, the equator and the tropics

World maps drawn according to Western cartographical

of Capricorn and Cancer. The continent of Australia is depicted

know-how were of interest to the Joseon scholars, too. The Map

more accurately than on earlier world maps, and the first and

of Integrated Lands and Regions of Historical Countries and Capi-

last panels contain information on geographical features such

tals 混一疆理歷代國都之圖

Sahyeong 金士衡, 1341-1407

as lakes and rivers, as well as astronomical information to in-

and others in Joseon in 1402, but it depicted the world from a

clude theories of planetary movement and the earth’s place in

Sino-centric point of view and placed China in the center. The

the cosmos.

new-style maps appearing in Joseon centuries later prompted

Moreover, Western instruments attracted great interest in

the Joseon elite to start rethinking their understanding of the

Joseon. The Swiss Jesuit missionary Johann Schreck (Chinese

world. In 1708, King Sukjong 肅宗, r. 1674-1720 ordered his officials

name: Deng Yuhan 鄧玉函, 1576-1630) basic theory of calendrical science

to reproduce Ricci’s Map of the Myriad Countries of the World

produced a book in 1627 called Collected Diagrams and Explanations

of 1602. The map had been drawn according to the lat-

of the Wonderful Machines of the Far West 遠西奇器圖說 that explained

est Western techniques and included the lines of longitude and

the basic principles and implements used in Western calendar

latitude. Knowledge about the earth and astronomy was placed

making. The late Joseon silhak scholar Jeong Yakyong 丁若鏞, 1762-

in the margins, to include drawings and explanations of the

1836

equator and the Northern and Southern Hemispheres.

then used in the construction of a pontoon bridge across the

坤輿萬國全圖

The Astronomical Observatory in Beijing

CELESTIAL AND TERRESTRIAL MAPPING IN THE WESTERN WAY

had been drawn by Kim

referred to this work when he designed a hoist that was

Then in 1860, Joseon produced the printing plates for a mas-

Hangang River in 1789 and the Suwon Hwaseong fortress walls

ter copy of the Complete Map of the World, 坤輿全圖 initially drawn

in 1792. Jeong, in his writings, indicates that he had received a

by the Belgian Jesuit Ferdinand Verbiest (Chinese name: Nan

copy of Terrenz’s book from King Jeongjo 正祖, r. 1776-1800 himself.

Huairen 南懷仁, 1623-1688) in 1674 and reproduced in Guangdong,

The alarm clock 自鳴鐘 (literally “self-sounding bell”) was

China in 1856. Part of this map is preserved in the Kyujang-

one of the instruments of Western origin that peaked Joseon

gak archives at Seoul National University. The Complete Map of

interest. As mentioned above, it was among the gifts that Ro-

the World was designed for display on an eight-panel folding

drigues presented to Jeong Duwon. In his Miscellaneous Essays

Joseon accepted the Chinese calendar-making system but also

At the same time, the Joseon envoys were introduced to maps

published its own almanac each year, starting from the begin-

of both the heavens and the earth drawn according to the

ning of the dynasty. The Joseon scholars had to be well versed

Western cosmic view. Previous astronomical charts in Joseon

in the methods for making calendars so that they could publish

only depicted stars and planets observable in the Northern

their almanac according to changes in the Chinese system. This

Hemisphere. However, those from 17th century on show the

became an important mission for Joseon embassies dispatched

celestial bodies that appear in the skies above both the North-

W. 451 cm, H. 183 cm

to China from the 17th century, and Joseon would include of-

ern and Southern Hemispheres, based on the equator and the

Beopjusa temple collection

ficials from the Office of Astronomy 觀象監 in the embassy del-

ecliptic. They also include smaller or more distant objects only

egations to the Chinese capital. These officials would go to the

detectable by telescope. The Astronomical Chart Following the

or Catholic church in Beijing to

New Method, 新法天文圖 now kept at Beopjusa, a Buddhist temple

learn about astronomy and calendric computations from the

in Chungcheongbuk-do, is a classic example of this genre in-

Western missionaries. The Astronomical Observatory left a par-

fluenced by Western astronomical science. The Office of As-

ticularly deep impression on the visitors from Joseon because

tronomy of Joseon produced this eight-panel folding screen

of its relatively close proximity to their accommodation.

in 1742 on the basis of a chart conceived by the German Jesuit

Astronomical

Observatory 觀象臺

Astronomical Chart Following the New Method 1742

Ignatius Kögler (Chinese name: Dai Jinxian 戴進賢, 1680-1746) at the Astronomical Observatory in the Qing capital. The first panel presents the sun and moon, along with the five planets (Mercury, Venus, Mars, Jupiter and Saturn) known at that time. The moons of Jupiter and Saturn visible through contemporary telescopes are also shown. The following six panels divide the heavens into the northern and southern skies (three panels 06

07

DISCOVERING LEGACY

FEATURE

from the Five Islands, 五洲衍文長箋散稿 Yi Gyugyeong 李圭景, 1788-? wrote,

summoned the shipwrecked Dutch sailors to the capital. They

“Jeong Duwon brought an alarm clock (to Joseon), but he did

requested the court to allow them to go to Japan so that they

The contact between Joseon and the Western world that

not know how it worked, so never moved. Thereupon, a skilled

could return to Holland. However, their request was denied and

began in the 17th century was mainly an exchange of learning.

technician purchased an alarm clock from Japan and came to

they were also put into the Joseon army. Two of the Dutchmen

The scholars in Joseon were heavily influenced by the West-

understand its workings and was then able to make (Jeong’s

managed to break into the ranks of a Qing delegation that was

ern cultural traditions to which they were exposed, to include

clock) run properly. This anecdote shows that alarm clocks

visiting Joseon, in order to request their repatriation via China.

astronomy, geography, mathematics, geometry, and Catholic

came into Joseon from both China and Japan. An embassy re-

The Joseon officials settled the matter without much problem,

teaching. Of course some of the Western-inspired ideas and ob-

turned from Qing with an alarm clock in 1715, and King Sukjong

but the government realized the Dutch sailors could no longer

jects were dismissed as unimportant, but as a rule, the Joseon

immediately ordered that it be reproduced in Joseon. The re-

be kept in the capital. The group was divided up and sent to

elite valued the astronomical science and calendar-making

nowned scholar Hong Daeyong 洪大容, 1731-1783 also kept in his study

work at various military garrisons in Jeollanam-do province,

methods very highly. Especially significant was the practical-

an alarm clock he bought during a trip to Beijing as a Joseon

in the southwestern part of the country. Thirteen years after

ity and realism of the Western approach, described in Asia as

embassy member. He had a technician named Ra Gyeong-jeok

their arrival in Joseon, eight of the sailors managed to escape to

“seeking the truth from facts.” 實事求是 This aroused the interest of

who kept his alarm clock in working order. When Ra died, Hong

Japan on a small craft that they had acquired. One of the escap-

many Joseon scholars in areas never before deeply examined.

wrote a eulogy, in which he says,

Hamel's Report (replica)

first time to the Joseon Dynasty.

ees was Hendrik Hamel, a gunner, and he left a journal diary in

17th century

which he describes his experiences while in Joseon. Part of that

W. 43.0 cm, H. 27.5 cm

record was published in Dutch, introducing Europeans for the

“Upon the desk is a sounding bell that reports the time without error. 床有鳴鍾 報時不差 The Complete Map of the World

The dragon’s tail coils and roils

1860 W. 504 cm, H. 205 cm

the waters of my spring. 龍尾蜿蜿 激彼泉水 Merit lies in what is accomplished; how can his skills be trivial?” 功在裁成 豈云末技

Even some people from the West showed up unexpectedly in Joseon. As the Age of Discovery dawned, the world’s sea routes were connected, and Western demand rose for tea, ceramics and other items made in East Asia. European merchant ships called on ports in Guangzhou, Macau, Taiwan and Nagasaki, but some had the misfortune of being set adrift or sunk in storms or pirate attacks.

In 1653, the merchant ship Sperwer (Sparrow Hawk), registered to the Dutch India Company (VOC), was sailing from Taiwan to Nagasaki when it was caught in a storm and broke apart on the rocks off Jejudo Island’s southern shore. The ship was completely destroyed; only 36 of the 64 persons on board survived. They were escorted to the governor’s office in the town of Jejudo, and a report was sent to the King in the capital. The Joseon king dispatched an interpreter who went by the name of Pak Yeon 朴燕 to Jejudo to help in the investigation. He was a Dutchman named Jan Janes Weltevree whose had been stranded in Joseon in 1627, was subsequently attached to the Joseon army, and provided instruction on making and using firearms.

Once the investigation was concluded, the Joseon government 08

09

DISCOVERING LEGACY

FEATURE

from the Five Islands, 五洲衍文長箋散稿 Yi Gyugyeong 李圭景, 1788-? wrote,

summoned the shipwrecked Dutch sailors to the capital. They

“Jeong Duwon brought an alarm clock (to Joseon), but he did

requested the court to allow them to go to Japan so that they

The contact between Joseon and the Western world that

not know how it worked, so never moved. Thereupon, a skilled

could return to Holland. However, their request was denied and

began in the 17th century was mainly an exchange of learning.

technician purchased an alarm clock from Japan and came to

they were also put into the Joseon army. Two of the Dutchmen

The scholars in Joseon were heavily influenced by the West-

understand its workings and was then able to make (Jeong’s

managed to break into the ranks of a Qing delegation that was

ern cultural traditions to which they were exposed, to include

clock) run properly. This anecdote shows that alarm clocks

visiting Joseon, in order to request their repatriation via China.

astronomy, geography, mathematics, geometry, and Catholic

came into Joseon from both China and Japan. An embassy re-

The Joseon officials settled the matter without much problem,

teaching. Of course some of the Western-inspired ideas and ob-

turned from Qing with an alarm clock in 1715, and King Sukjong

but the government realized the Dutch sailors could no longer

jects were dismissed as unimportant, but as a rule, the Joseon

immediately ordered that it be reproduced in Joseon. The re-

be kept in the capital. The group was divided up and sent to

elite valued the astronomical science and calendar-making

nowned scholar Hong Daeyong 洪大容, 1731-1783 also kept in his study

work at various military garrisons in Jeollanam-do province,

methods very highly. Especially significant was the practical-

an alarm clock he bought during a trip to Beijing as a Joseon

in the southwestern part of the country. Thirteen years after

ity and realism of the Western approach, described in Asia as

embassy member. He had a technician named Ra Gyeong-jeok

their arrival in Joseon, eight of the sailors managed to escape to

“seeking the truth from facts.” 實事求是 This aroused the interest of

who kept his alarm clock in working order. When Ra died, Hong

Japan on a small craft that they had acquired. One of the escap-

many Joseon scholars in areas never before deeply examined.

wrote a eulogy, in which he says,

Hamel's Report (replica)

first time to the Joseon Dynasty.

ees was Hendrik Hamel, a gunner, and he left a journal diary in

17th century

which he describes his experiences while in Joseon. Part of that

W. 43.0 cm, H. 27.5 cm

record was published in Dutch, introducing Europeans for the

“Upon the desk is a sounding bell that reports the time without error. 床有鳴鍾 報時不差 The Complete Map of the World

The dragon’s tail coils and roils

1860 W. 504 cm, H. 205 cm

the waters of my spring. 龍尾蜿蜿 激彼泉水 Merit lies in what is accomplished; how can his skills be trivial?” 功在裁成 豈云末技

Even some people from the West showed up unexpectedly in Joseon. As the Age of Discovery dawned, the world’s sea routes were connected, and Western demand rose for tea, ceramics and other items made in East Asia. European merchant ships called on ports in Guangzhou, Macau, Taiwan and Nagasaki, but some had the misfortune of being set adrift or sunk in storms or pirate attacks.

In 1653, the merchant ship Sperwer (Sparrow Hawk), registered to the Dutch India Company (VOC), was sailing from Taiwan to Nagasaki when it was caught in a storm and broke apart on the rocks off Jejudo Island’s southern shore. The ship was completely destroyed; only 36 of the 64 persons on board survived. They were escorted to the governor’s office in the town of Jejudo, and a report was sent to the King in the capital. The Joseon king dispatched an interpreter who went by the name of Pak Yeon 朴燕 to Jejudo to help in the investigation. He was a Dutchman named Jan Janes Weltevree whose had been stranded in Joseon in 1627, was subsequently attached to the Joseon army, and provided instruction on making and using firearms.

Once the investigation was concluded, the Joseon government 08

09

DISCOVERING LEGACY

CURATOR TALK

K

oreans living from the last half of the 20th century and into the 21st century seem to have a preconceived notion of what constitutes the “Korean” paint-

ing style. The darkly colored folding screen images are identi-

THE SPLENDID AND DELICATE COLORS

fied as a “Chinese” style, while the ink and wash drawings of the “Four Noble Plants,” the works by Shin Saimdang 申師任堂, 15041551

attributed as “grasses and insects,” or the “birds and flowers”

compositions by Sim Sajeong 沈師正, 1707-1769 or Jeong Seon 鄭 敾 , 16761769

OF

are seen as being indigenously inspired. Yet, the splendid,

delicate colors and elaborate descriptions of the works by Shin Myeong-yeon 申命衍, 1809-1886 and the still-life paintings of An Jung-

FLOWERS, GRASSES AND BIRDS

sik 安中植, 1961-1919 or Jo Seok-jin 趙錫晋, 1853-1920 produced in the 19th and early 20th centuries are not recognized as “Korean.”

However, the Korean attitudes toward painting was differed

BY L EE SU K Y U NG,

from this in the first half of the 20th century. The painter and

A SSOCI AT E CU R ATOR OF CH EONGJ U NAT IONA L MUSEUM

art historian Kim Yeong-gi 金永基, 1911-2003 published the History of Joseon Art in 1948. In it he rates Shin Myeong-yeon as “one of the great arts of late Joseon.” In other words, Shin’s birds and flowers compositions, executed with intense coloration, is inOpium-poppy (detail)

By Shin Myeong-yeon (1809-1886) Joseon Dynasty, 1864 Light color on silk 33.0 × 21.0 cm National Museum of Korea, duk 1101-8

cluded in the Joseon art tradition, rather than being judged as a style alien to it. For some reason, however, Koreans today are quite unfamiliar with brilliantly colored works like Shin’s.

National Museum of Korea collection boasts twenty-one of Shin Myeong-yeon’s paintings, most of which are excellent examples of his sumptuous and exquisite style of flower paintings and birds and flowers compositions. At the time these works were first acquired in 1908, his paintings were on album leaves that were all about the same size, executed on silk and featuring the same kinds of paint and brushstrokes. Therefore they were probably produced around the same time in Shin’s life. One of these paintings, entitled Butterflies, bears the date “last third of the tenth (lunar) month, 1864, meaning the artist was around 55 when he produced many of these works. The collection includes two landscapes in the style of the Chinese Southern School Literati Landscape and nineteen other works that depict flowers (to include pear blossoms, roses, hydrangeas, lotuses, lilies, chrysanthemums, poppies, hollyhocks, plantain lilies, peonies, begonias, and China pinks), as well as orchid-and-rattan and swallow-and-butterfly compositions. Shin applied painting techniques for many of these flowers, grasses and insects from Chinese painting manuals. The style used for his Lotuses and Poppies are not in the Chinese edition of The Mustard Seed Garden Manual of Painting, 芥子園畫傳 first printed in early Qing, but

Cockscomb and Frog (detail) The 5th panel of 8-panel folding screen

Lotus (detail)

instead appear in a 1748 reprint that was produced in Japan.

Joseon Dynasty

By Shin Myeong-yeon (1809-1886)

Color on paper

Joseon Dynasty, 1864

Thus, the artist was knowledgeable of a wide range of painting-

48.6 × 35.9 cm

Light color on silk

Ojukheon & Gangneung Municipal Museum,

34.0 × 21.0 cm

Gangneung

National Museum of Korea, duk 1101-10

10

related texts from both China and Japan.

Shin Myeong-yeon did not paint as a profession, but his 11

DISCOVERING LEGACY

CURATOR TALK

K

oreans living from the last half of the 20th century and into the 21st century seem to have a preconceived notion of what constitutes the “Korean” paint-

ing style. The darkly colored folding screen images are identi-

THE SPLENDID AND DELICATE COLORS

fied as a “Chinese” style, while the ink and wash drawings of the “Four Noble Plants,” the works by Shin Saimdang 申師任堂, 15041551

attributed as “grasses and insects,” or the “birds and flowers”

compositions by Sim Sajeong 沈師正, 1707-1769 or Jeong Seon 鄭 敾 , 16761769

OF

are seen as being indigenously inspired. Yet, the splendid,

delicate colors and elaborate descriptions of the works by Shin Myeong-yeon 申命衍, 1809-1886 and the still-life paintings of An Jung-

FLOWERS, GRASSES AND BIRDS

sik 安中植, 1961-1919 or Jo Seok-jin 趙錫晋, 1853-1920 produced in the 19th and early 20th centuries are not recognized as “Korean.”

However, the Korean attitudes toward painting was differed

BY L EE SU K Y U NG,

from this in the first half of the 20th century. The painter and

A SSOCI AT E CU R ATOR OF CH EONGJ U NAT IONA L MUSEUM

art historian Kim Yeong-gi 金永基, 1911-2003 published the History of Joseon Art in 1948. In it he rates Shin Myeong-yeon as “one of the great arts of late Joseon.” In other words, Shin’s birds and flowers compositions, executed with intense coloration, is inOpium-poppy (detail)

By Shin Myeong-yeon (1809-1886) Joseon Dynasty, 1864 Light color on silk 33.0 × 21.0 cm National Museum of Korea, duk 1101-8

cluded in the Joseon art tradition, rather than being judged as a style alien to it. For some reason, however, Koreans today are quite unfamiliar with brilliantly colored works like Shin’s.

National Museum of Korea collection boasts twenty-one of Shin Myeong-yeon’s paintings, most of which are excellent examples of his sumptuous and exquisite style of flower paintings and birds and flowers compositions. At the time these works were first acquired in 1908, his paintings were on album leaves that were all about the same size, executed on silk and featuring the same kinds of paint and brushstrokes. Therefore they were probably produced around the same time in Shin’s life. One of these paintings, entitled Butterflies, bears the date “last third of the tenth (lunar) month, 1864, meaning the artist was around 55 when he produced many of these works. The collection includes two landscapes in the style of the Chinese Southern School Literati Landscape and nineteen other works that depict flowers (to include pear blossoms, roses, hydrangeas, lotuses, lilies, chrysanthemums, poppies, hollyhocks, plantain lilies, peonies, begonias, and China pinks), as well as orchid-and-rattan and swallow-and-butterfly compositions. Shin applied painting techniques for many of these flowers, grasses and insects from Chinese painting manuals. The style used for his Lotuses and Poppies are not in the Chinese edition of The Mustard Seed Garden Manual of Painting, 芥子園畫傳 first printed in early Qing, but

Cockscomb and Frog (detail) The 5th panel of 8-panel folding screen

Lotus (detail)

instead appear in a 1748 reprint that was produced in Japan.

Joseon Dynasty

By Shin Myeong-yeon (1809-1886)

Color on paper

Joseon Dynasty, 1864

Thus, the artist was knowledgeable of a wide range of painting-

48.6 × 35.9 cm

Light color on silk

Ojukheon & Gangneung Municipal Museum,

34.0 × 21.0 cm

Gangneung

National Museum of Korea, duk 1101-10

10

related texts from both China and Japan.

Shin Myeong-yeon did not paint as a profession, but his 11

DISCOVERING LEGACY

CURATOR TALK

works cover the widest variety of flower types of any Joseon

interacted with Chinese scholars, embraced things Chinese, and

artist. He painted subjects that were readily seen in everyday

began to collect Chinese paintings. His Qing painting collection

life. Earlier Joseon painters had also followed the painting

mainly included works by artists from Beijing in the 18th and

techniques found in Chinese manuals, but Shin’s works seem

19th centuries, covering all the traditional schools. Many were

unfamiliar to modern Koreans because his painting style can

influenced by the Yun Shouping style.

be traced back to the early Qing Artist Yun Shouping. 惲壽平, 1633-

The limitations on contact with the Qing in the 18th century

So what is behind Shin’s acceptance of Chinese painting

were eased in the 19th century, providing ready access to Chi-

schools? The answer lies in the influence that Yun Shouping

nese objects and ideas. As a result, the flowers of Yun Shouping

had on Qing artists and on the connections that his father, Shin

became widely recognized in Joseon art circles. Kim Jeong-

Wi, 申緯, 1769-1847 had with China.

hui 金正喜, 1786-1856 had a discerning eye for art and shared his love

1690

Yun Shouping abandoned the literati painters’ traditional

of culture and the arts with Shin Wi. The late-Joseon scholar

preference for ink and wash, combining strong colors (such as

and renowned calligrapher judged Yun Shouping to be without

reds and purples, traditionally deemed gaudy and offensive)

peer in his ability to sketch true-to-life images and praised his

and the “boneless,” painting technique 沒骨法 (without outlines)

work as “refreshing and outstanding.”

with precise, true-to-life sketching. After creating the shapes

Shin Myeong-yeon also painted in this artistic environ-

with boneless method, he applied color on wet paper or diluted

ment of 19th century Joseon. External influences on Joseon art

it with water to produce a refreshing, elegant, natural, and live-

was relatively small in the 18th century, but the Joseon artists

ly image. He is credited with reviving the flower painting genre

in Shin’s time were much more exposed to Qing art, to include

with his vibrant and expressive presentations. Yun’s flowers

works by Yun Shouping. In addition, Shin Wi disparaged those

dominated the Beijing artistic world in the 18th and 19th cen-

artists who confined themselves to ink and wash paintings. In

turies. Members of Joseon embassies visiting the Qing capital

his extant writings he stressed the need, when working in paint,

in color, and considered Yun Shouping’s flowers as a useful tool.

during this time were exposed to works in the Yun Shouping

to use concise brushwork and light colors to produce a remote

Shin’s flower paintings tend to portray objects in a two-

style. In 1812, Shin Wi went on a diplomatic mission to Qing,

effect. Shin Myeong-yeon was influenced by his father’s interest

Lily and China Pink

dimensional color field, with the elegant light-color of refined

By Shin Myeong-yeon (1809-1886)

brushwork. These are sensational works that appeal to the

Joseon Dynasty, 1864 Light color on silk

fanciness by focusing on minute alterations in color. Such fea-

30.5 × 19.0 cm

tures are evident in his Plantain Lily, where the flower shape is

National Museum of Korea, duk 1101-20

precise but the leaves that fill the lower part of the painting are devoid of curvature, and the leaf veins run in a uniform direc-

Hydrangea (detail)

Plantain Lily (detail)

By Shin Myeong-yeon (1809-1886)

By Shin Myeong-yeon (1809-1886)

tion, eliciting planarity. Moreover, the leaves in Hydrangea are

Joseon Dynasty, 1864

Joseon Dynasty, 1864

executed with diagonal lines and all point forward unrealisti-

Light color on silk

Light color on silk

33.5 × 21.5 cm

33.5 × 21.0 cm

cally. They are in various shades of blue green and yellow green,

National Museum of Korea, duk 1101-12

National Museum of Korea, duk 1101-9

showing the process of color change, but the artist’s selection of colors is more about balance within the painting than on naturalness. In Lily and China Pink, the lilies are elaborately drawn with contour lines, whereas the stems and leaves are done in the “boneless” method (lacking an outline) and in light colors, meticulously portraying color variation.

Joseon painting from the late 19th and early 20th centuries may be the closest chronologically to today, but modern Koreans are mostly unfamiliar with it. One reason was that Koreans tend to consider the works from the 18th century to typify the Korean style of flower paintings. Moreover, the interest of Korean history and art history researchers has mainly ended with that period. Now is the time to enrich our understanding of Korean culture by recognizing how Qing culture was embraced in 19th century Joseon and how the Joseon aesthetic evolved from the previous century.

12

13

DISCOVERING LEGACY

CURATOR TALK

works cover the widest variety of flower types of any Joseon

interacted with Chinese scholars, embraced things Chinese, and

artist. He painted subjects that were readily seen in everyday

began to collect Chinese paintings. His Qing painting collection

life. Earlier Joseon painters had also followed the painting

mainly included works by artists from Beijing in the 18th and

techniques found in Chinese manuals, but Shin’s works seem

19th centuries, covering all the traditional schools. Many were

unfamiliar to modern Koreans because his painting style can

influenced by the Yun Shouping style.

be traced back to the early Qing Artist Yun Shouping. 惲壽平, 1633-

The limitations on contact with the Qing in the 18th century

So what is behind Shin’s acceptance of Chinese painting

were eased in the 19th century, providing ready access to Chi-

schools? The answer lies in the influence that Yun Shouping

nese objects and ideas. As a result, the flowers of Yun Shouping

had on Qing artists and on the connections that his father, Shin

became widely recognized in Joseon art circles. Kim Jeong-

Wi, 申緯, 1769-1847 had with China.

hui 金正喜, 1786-1856 had a discerning eye for art and shared his love

1690

Yun Shouping abandoned the literati painters’ traditional

of culture and the arts with Shin Wi. The late-Joseon scholar

preference for ink and wash, combining strong colors (such as

and renowned calligrapher judged Yun Shouping to be without

reds and purples, traditionally deemed gaudy and offensive)

peer in his ability to sketch true-to-life images and praised his

and the “boneless,” painting technique 沒骨法 (without outlines)

work as “refreshing and outstanding.”

with precise, true-to-life sketching. After creating the shapes

Shin Myeong-yeon also painted in this artistic environ-

with boneless method, he applied color on wet paper or diluted

ment of 19th century Joseon. External influences on Joseon art

it with water to produce a refreshing, elegant, natural, and live-

was relatively small in the 18th century, but the Joseon artists

ly image. He is credited with reviving the flower painting genre

in Shin’s time were much more exposed to Qing art, to include

with his vibrant and expressive presentations. Yun’s flowers

works by Yun Shouping. In addition, Shin Wi disparaged those

dominated the Beijing artistic world in the 18th and 19th cen-

artists who confined themselves to ink and wash paintings. In

turies. Members of Joseon embassies visiting the Qing capital

his extant writings he stressed the need, when working in paint,

in color, and considered Yun Shouping’s flowers as a useful tool.

during this time were exposed to works in the Yun Shouping

to use concise brushwork and light colors to produce a remote

Shin’s flower paintings tend to portray objects in a two-

style. In 1812, Shin Wi went on a diplomatic mission to Qing,

effect. Shin Myeong-yeon was influenced by his father’s interest

Lily and China Pink

dimensional color field, with the elegant light-color of refined

By Shin Myeong-yeon (1809-1886)

brushwork. These are sensational works that appeal to the

Joseon Dynasty, 1864 Light color on silk

fanciness by focusing on minute alterations in color. Such fea-

30.5 × 19.0 cm

tures are evident in his Plantain Lily, where the flower shape is

National Museum of Korea, duk 1101-20

precise but the leaves that fill the lower part of the painting are devoid of curvature, and the leaf veins run in a uniform direc-

Hydrangea (detail)

Plantain Lily (detail)

By Shin Myeong-yeon (1809-1886)

By Shin Myeong-yeon (1809-1886)

tion, eliciting planarity. Moreover, the leaves in Hydrangea are

Joseon Dynasty, 1864

Joseon Dynasty, 1864

executed with diagonal lines and all point forward unrealisti-

Light color on silk

Light color on silk

33.5 × 21.5 cm

33.5 × 21.0 cm

cally. They are in various shades of blue green and yellow green,

National Museum of Korea, duk 1101-12

National Museum of Korea, duk 1101-9

showing the process of color change, but the artist’s selection of colors is more about balance within the painting than on naturalness. In Lily and China Pink, the lilies are elaborately drawn with contour lines, whereas the stems and leaves are done in the “boneless” method (lacking an outline) and in light colors, meticulously portraying color variation.

Joseon painting from the late 19th and early 20th centuries may be the closest chronologically to today, but modern Koreans are mostly unfamiliar with it. One reason was that Koreans tend to consider the works from the 18th century to typify the Korean style of flower paintings. Moreover, the interest of Korean history and art history researchers has mainly ended with that period. Now is the time to enrich our understanding of Korean culture by recognizing how Qing culture was embraced in 19th century Joseon and how the Joseon aesthetic evolved from the previous century.

12

13

VIEWING NOW

SPECIAL EXHIBITION

OCTOBER 22, 2013 JANUARY 19, 2014 SPECIAL EXHIBITION ROOM

FALLING UNDER THE SPELL OF THE CONGO RIVER

BY YA NG SEONGH Y EOK , ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION

O

ver the years the National Museum of Korea has continued to work with prestigious museums overseas to organize exhibitions introducing diverse

cultures from around the world to the Korean public. As part of this program, the NMK and the Musée du Quai Branly in France have organized the current special exhibition Congo River-Art of Central Africa. This exhibition introduces somewhat unfamiliar culture of Africa, or specifically the culture of central Africa, which can be seen as the most remote part of the continent, showing the artistic achievements of this region and at the same time broadening the cultural horizons of museum visitors.

14

15

VIEWING NOW

SPECIAL EXHIBITION

OCTOBER 22, 2013 JANUARY 19, 2014 SPECIAL EXHIBITION ROOM

FALLING UNDER THE SPELL OF THE CONGO RIVER

BY YA NG SEONGH Y EOK , ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION

O

ver the years the National Museum of Korea has continued to work with prestigious museums overseas to organize exhibitions introducing diverse

cultures from around the world to the Korean public. As part of this program, the NMK and the Musée du Quai Branly in France have organized the current special exhibition Congo River-Art of Central Africa. This exhibition introduces somewhat unfamiliar culture of Africa, or specifically the culture of central Africa, which can be seen as the most remote part of the continent, showing the artistic achievements of this region and at the same time broadening the cultural horizons of museum visitors.

14

15

called bwami to deal with political, social

and effecting education and justice. The

and religious issues. The association had

person wearing the mask may be trans-

members of various levels which formed

formed into a tribal ancestor, a great

a strict hierarchy. When members were

hero, or a supernatural spirit. The masks

promoted to a higher level within the as-

of central Africa take the shape of the

sociation, they went through an initiation

heart because the Bantu tribes of this re-

rite that went on for several days. The

waters and is hence a remote place, the least cultivated part of

gion believed that the heart image would

mask is the symbol of members of the

cover varied climate belts including the temperate zone to the

Africa. This area was originally a society of hunters and gath-

protect them from supernatural forces.

highest level in the bwami.

north of the Equator and the temperate zone to the south. On

erers, but when the Bantu tribes, farming people, moved here

Though the heart-shaped masks may all

Ancestor veneration was an important

that vast continent there are as many as 55 countries big and

from the western part of Africa some three thousand years ago,

look rather similar, they take different

part of the lives of the people of central

small, and some 900 peoples who speak more than 1,000 dif-

it was transformed into an agricultural society. Though a single

forms and functions according to the cus-

Africa. They believed the ancestors’ mys-

ferent languages. Africa is also the origin of the present human

nation was not formed in the vast Congo River Basin, the Congo

toms of the tribes. The mask with encircl-

tical powers and authority would protect

species. This immense area with its diverse natural environ-

kingdom existed on the Pacific coast at the mouth of the river

ing horns of the Kwele tribe living in the

them and their descendants. Some tribes

ment, people and cultures and endless history is the greatest

and the Luba kingdom in the downstream area. Over thousands

rainforests of northern Gabon expresses

preserved the bones and skulls of great

repository and source of human culture.

of years, the Bantu tribes of the Congo River Basin created

the spirits of the forest. When the hunt-

ancestors such as kings and warriors, or

ing was poor or the village was threat-

respected mothers and heroic women.

ened with disease or some other crisis,

The skull was brought out for important

the Kwele people carried out a rite called

tribal events such as coming of age, fu-

beete to rally the community together, in

nerals, or elections of a new tribal chief.

which this kind of mask was worn. Vari-

It was carefully preserved in a wooden

ous dances were performed during the

chest or basket or some other form of

rite and the spectators joined in, enhanc-

reliquary or case and handed down from

ing the solidarity of the tribe.

generation to generation. Sculptures of

THE CONGO RIVER, RUNNING THROUGH

Damp rainforests, vast savannas, countless animals, dark na-

THE HEART OF THE CONTINENT

tives, poverty and disease, war… These are some of the most

The Congo River, originating in the highlands and lakes region,

common images of Africa. For some a land of aspiration and

flows through the heart of Africa along the Equator. Winding

for others a land of despair, Africa presents many faces to the

through 4,700km of the land, it is the second longest river in

world. This is hardly surprising considering that Africa is 136

Africa after the Nile, and the deepest river in the world. The

times the size of the Korean Peninsula, and the second larg-

Congo River Basin is covered in thick rainforests and rough

est continent in the world after Asia. It is the only continent to

SPECIAL EXHIBITION

expelling evil spirits, healing disease,

AFRICA, REPOSITORY OF HUMAN CULTURE

The mask of the Lega tribe of the

heads or full figures were sometimes

Democratic Republic of Congo was not

placed on top of the skull case. Such

made to be worn on the face but as a

sculptures were not so much portraits of

symbol of social standing . The Lega

the ancestors but a guardian of the skull.

©musée du quai Branly, photo Claude Germain

people voluntarily form associations

The Fang tribe of Gabon is famous for

Reliquary figure (mbulu ngulu) Gabon, Kota Early 20th century Wood, Copper alloy, Iron H. 56.5 cm

a rich and varied art tradition as they spread across the forests

THREE CODES TO READING CENTRAL AFRICA

and plains by the riverside. Though they lived scattered across a

The diverse arts of the Congo River Basin covering rainforests

vast area they shared many cultural points in common.

and grassy plains are explored under three themes: Heart-

The cultural tradition of the Bantu tribes is rooted in re-

shaped Face Masks, Ancestor Veneration, and Female Figures.

ligion. For the Bantu people, nature was their habitat, their

These themes serve to culturally link together the Bantu tribes

place of rest, and source of energy. They believed that the spir-

scattered across a vast area, each with their own identity.

its lived in nature, in heaven and earth, in the rivers and the

Heart-shaped masks were generally made by the tribes liv-

trees. They regarded the spirits of their ancestors as sacred and

ing in equatorial rainforest areas. Made of wood or ivory they

believed that they constantly watched over their descendants.

are painted white on the forehead and cheeks, the color white

Such belief in the spirits and ancestral worship was reflected

being symbolic of the land of the dead and ancestral territory.

in their art. The masks and sculptural works in particular are

The white pigment called mpemba was made of kaolin clay

personifications of their beliefs and expression of spiritual

gathered by the riverside. The heart-shaped masks, simple and

power and at the same time are symbolic of their culture.

minimal in form, represented various gods and spirits and were

Mask with encircling horns

Mask

Reliquary figure (eyima bieri)

used in all kinds of rituals and ceremonies featuring dance,

Gabon, Kwele

Democratic Republic of Congo, Lega

Gabon, Fang

song and chants. Dancing with a mask on the face is not simply

Early 20th century

Early 20th century

Early 20th century

Wood

Wood

Wood, Metal

a form of entertainment but the act of unifying the community, 16

H. 45.0 cm

H. 14.0 cm

H. 19.3 cm

©musée du quai Branly, photo Claude Germain

©musée du quai Branly, photo Claude Germain

©musée du quai Branly, photo Claude Germain

17

called bwami to deal with political, social

and effecting education and justice. The

and religious issues. The association had

person wearing the mask may be trans-

members of various levels which formed

formed into a tribal ancestor, a great

a strict hierarchy. When members were

hero, or a supernatural spirit. The masks

promoted to a higher level within the as-

of central Africa take the shape of the

sociation, they went through an initiation

heart because the Bantu tribes of this re-

rite that went on for several days. The

waters and is hence a remote place, the least cultivated part of

gion believed that the heart image would

mask is the symbol of members of the

cover varied climate belts including the temperate zone to the

Africa. This area was originally a society of hunters and gath-

protect them from supernatural forces.

highest level in the bwami.

north of the Equator and the temperate zone to the south. On

erers, but when the Bantu tribes, farming people, moved here

Though the heart-shaped masks may all

Ancestor veneration was an important

that vast continent there are as many as 55 countries big and

from the western part of Africa some three thousand years ago,

look rather similar, they take different

part of the lives of the people of central

small, and some 900 peoples who speak more than 1,000 dif-

it was transformed into an agricultural society. Though a single

forms and functions according to the cus-

Africa. They believed the ancestors’ mys-

ferent languages. Africa is also the origin of the present human

nation was not formed in the vast Congo River Basin, the Congo

toms of the tribes. The mask with encircl-

tical powers and authority would protect

species. This immense area with its diverse natural environ-

kingdom existed on the Pacific coast at the mouth of the river

ing horns of the Kwele tribe living in the

them and their descendants. Some tribes

ment, people and cultures and endless history is the greatest

and the Luba kingdom in the downstream area. Over thousands

rainforests of northern Gabon expresses

preserved the bones and skulls of great

repository and source of human culture.

of years, the Bantu tribes of the Congo River Basin created

the spirits of the forest. When the hunt-

ancestors such as kings and warriors, or

ing was poor or the village was threat-

respected mothers and heroic women.

ened with disease or some other crisis,

The skull was brought out for important

the Kwele people carried out a rite called

tribal events such as coming of age, fu-

beete to rally the community together, in

nerals, or elections of a new tribal chief.

which this kind of mask was worn. Vari-

It was carefully preserved in a wooden

ous dances were performed during the

chest or basket or some other form of

rite and the spectators joined in, enhanc-

reliquary or case and handed down from

ing the solidarity of the tribe.

generation to generation. Sculptures of

THE CONGO RIVER, RUNNING THROUGH

Damp rainforests, vast savannas, countless animals, dark na-

THE HEART OF THE CONTINENT

tives, poverty and disease, war… These are some of the most

The Congo River, originating in the highlands and lakes region,

common images of Africa. For some a land of aspiration and

flows through the heart of Africa along the Equator. Winding

for others a land of despair, Africa presents many faces to the

through 4,700km of the land, it is the second longest river in

world. This is hardly surprising considering that Africa is 136

Africa after the Nile, and the deepest river in the world. The

times the size of the Korean Peninsula, and the second larg-

Congo River Basin is covered in thick rainforests and rough

est continent in the world after Asia. It is the only continent to

SPECIAL EXHIBITION

expelling evil spirits, healing disease,

AFRICA, REPOSITORY OF HUMAN CULTURE

The mask of the Lega tribe of the

heads or full figures were sometimes

Democratic Republic of Congo was not

placed on top of the skull case. Such

made to be worn on the face but as a

sculptures were not so much portraits of

symbol of social standing . The Lega

the ancestors but a guardian of the skull.

©musée du quai Branly, photo Claude Germain

people voluntarily form associations

The Fang tribe of Gabon is famous for

Reliquary figure (mbulu ngulu) Gabon, Kota Early 20th century Wood, Copper alloy, Iron H. 56.5 cm

a rich and varied art tradition as they spread across the forests

THREE CODES TO READING CENTRAL AFRICA

and plains by the riverside. Though they lived scattered across a

The diverse arts of the Congo River Basin covering rainforests

vast area they shared many cultural points in common.

and grassy plains are explored under three themes: Heart-

The cultural tradition of the Bantu tribes is rooted in re-

shaped Face Masks, Ancestor Veneration, and Female Figures.

ligion. For the Bantu people, nature was their habitat, their

These themes serve to culturally link together the Bantu tribes

place of rest, and source of energy. They believed that the spir-

scattered across a vast area, each with their own identity.

its lived in nature, in heaven and earth, in the rivers and the

Heart-shaped masks were generally made by the tribes liv-

trees. They regarded the spirits of their ancestors as sacred and

ing in equatorial rainforest areas. Made of wood or ivory they

believed that they constantly watched over their descendants.

are painted white on the forehead and cheeks, the color white

Such belief in the spirits and ancestral worship was reflected

being symbolic of the land of the dead and ancestral territory.

in their art. The masks and sculptural works in particular are

The white pigment called mpemba was made of kaolin clay

personifications of their beliefs and expression of spiritual

gathered by the riverside. The heart-shaped masks, simple and

power and at the same time are symbolic of their culture.

minimal in form, represented various gods and spirits and were

Mask with encircling horns

Mask

Reliquary figure (eyima bieri)

used in all kinds of rituals and ceremonies featuring dance,

Gabon, Kwele

Democratic Republic of Congo, Lega

Gabon, Fang

song and chants. Dancing with a mask on the face is not simply

Early 20th century

Early 20th century

Early 20th century

Wood

Wood

Wood, Metal

a form of entertainment but the act of unifying the community, 16

H. 45.0 cm

H. 14.0 cm

H. 19.3 cm

©musée du quai Branly, photo Claude Germain

©musée du quai Branly, photo Claude Germain

©musée du quai Branly, photo Claude Germain

17

Stool with female figure

Mask

Republic of Congo, Bembe

Democratic Republic of Congo, Luba

Gabon, Punu

Early 20th century

Early 20th century

Early 20th century

Wood, Shell, Pearls

Wood

Wood, Pigments

H. 15.0 cm

H. 30.5 cm

H. 33.0 cm

©musée du quai Branly,

©musée du quai Branly,

©musée du quai Branly,

photo Thierry Ollivier, Michel Urtado

photo Thierry Ollivier, Michel Urtado

photo Claude Germain

SPECIAL EXHIBITION

Ancestor figure

Male figure Republic of Congo, Teke Early 20th century Wood H. 34.0 cm ©musée du quai Branly, photo Claude Germain

present and the future, and the figures were symbolic of women as beings retaining the memories of the ancestors.

The Luba tribe of the Democratic Republic of Congo has a saying that the body of woman has a hold over the spirits as strong as that of kings. The stool on which kings sat was made in the form of women supporting the seat. This signified that women were the ones who spiritually assisted the king of the Luba tribe and served as a link between the king and the ancestors to reinforce his power.

Expressions of beauty can also be found in images of women. Idealized figures of young and ample women expressed the beauty and authority of maternal ancestors. The masks of the Punu tribe represent the ideal Punu woman of the time, featuring thick lips, high arched eyebrows, almond shaped eyes, scarifications, and elaborate hairstyles. The face of the mask is covered in white pigment symbolizing healing, peace, and the realm of the dead. Such masks were used in rites and funerals.

AFRICAN ART AS THE SOURCE OF PLURALISM IN MODERN ART The special exhibition at the NMK features 71 masks and sculptures from the Musée du Quai Branly. European collectors

such reliquary figures, which are called

petuation of the family, tribal unity and

taining kaolin as a symbol of the ancestor

began to acquire such pieces from the end of the 19th century,

eyima bieri. These figures were placed on

the authority of the tribal chief. The small

as well as the beard hairs or other relic of

when a large number of masks made their way to Paris from

top of cylindrical baskets containing the

ancestor figures made by the Bembe tribe

the dead. When the butti was seen to have

Africa, which had been colonized by the French. The masks

skull or bones of a revered ancestor to

of the Republic of Congo were considered

lost its power, the magic man replaced

attracted much public attention. The functionality of African

protect the remains from evil spirits and

to be mediators between human beings

the bundle inside the sculpture.

sculptures and their mysterious yet powerful and exotic expres-

to guard against invaders.

and spiritual forces, guardians of the fam-

In the culture of the savanna region

sion greatly inspired young artists of the time who were looking

For the Kota tribe of Gabon, ancestor

ily, and a means of punishing those who

south of the equator, women played an

for a new style. Inspired by the radical expressiveness of African

veneration was a particularly important

persisted in evil deeds. The figures are

important role as rulers, priests, respected

Art, artists such as Picasso, Braque, Matisse, Vlaminck, and De-

part of social and religious life. In reli-

portrayed holding a sword, horns or stick,

mothers, or illustrious ancestors. Many

rain created new art movements such as cubism and fauvism.

quaries called bwete, they preserved the

items that reveal the status of the figure

of the Bantu tribes went beyond the rain-

Understanding and application of this primitive artistic expres-

bones of their ancestors and other spiri-

within the tribe. Figures with swords are

forests to settle in the plains where their

sion influenced later movements such as impressionism, surre-

tual items. These reliquaries were topped

ancestors who were great warriors, those

production of food increased through

alism, and abstract art. The primitive life force and magical aura

with figures called mbulu ngulu, highly

with horns are healers of disease, and

farming and their numbers multiplied.

of African Art infused vitality modern art with new vitality and

stylized figures made of metal plate fixed

those with sticks are mediators when

Consequently, new economic, social,

laid the foundation for the emergence of new art.

on top of wood. The Kota people believed

problems arose in the tribe.

political and religious systems were es-

The sculptural beauty of the works on display is sure to im-

Some tribes filled empty spaces in the

tablished. Many of the Bantu communi-

press all visitors to the exhibition, while their primitive vitality

ancestor figures with earth dug up from

ties were matriarchal societies based on

should provide funds of artistic inspiration. Some visitors may

Another expression of ancestor wor-

the tombs of the dead. In these cases, the

maternal lineages. As those who give

feel a sense of empathy for these works which have wandered

ship is found in the ancestor figures made

sculpture was not so much a portrayal of

and nurture life, women were revered as

the world and come so far from home. However, as one having

by the Bantu tribes of Central Africa.

an ancestor or guardian deity but rather

metaphorical beings who linked the an-

participated in preparations for the exhibition, it is my hope

Though these sculptures were considered

functioned as a magical doll. The Teke

cestors with future generations. Figures

that the exhibition will broaden our perception of the art of

portraits of individual ancestors, their

tribe of the Republic of Congo produced

of women were also produced in patri-

central Africa and widely promote the artistic achievements of

features were commonly typecast. Factors

ancestor figures called butti to pray for

archal societies where they served to ex-

the Bantu tribes living in the region.

such as the hairstyle, headpiece, scarifi-

success or protect the tribe from danger

press acceptance of the other world. That

cations, and accessories emphasized the

with the power of the ancestors. In the

is, women were considered mediators for

status of the individual. Such ancestor

hollow body of these sculptures they en-

the spirits of the ancestors from beyond

figures were produced to express per-

shrined small bundles called bongo con-

the universe and controllers of both the

that the reflective nature of metal would ward off misfortune.

18

19

Stool with female figure

Mask

Republic of Congo, Bembe

Democratic Republic of Congo, Luba

Gabon, Punu

Early 20th century

Early 20th century

Early 20th century

Wood, Shell, Pearls

Wood

Wood, Pigments

H. 15.0 cm

H. 30.5 cm

H. 33.0 cm

©musée du quai Branly,

©musée du quai Branly,

©musée du quai Branly,

photo Thierry Ollivier, Michel Urtado

photo Thierry Ollivier, Michel Urtado

photo Claude Germain

SPECIAL EXHIBITION

Ancestor figure

Male figure Republic of Congo, Teke Early 20th century Wood H. 34.0 cm ©musée du quai Branly, photo Claude Germain

present and the future, and the figures were symbolic of women as beings retaining the memories of the ancestors.

The Luba tribe of the Democratic Republic of Congo has a saying that the body of woman has a hold over the spirits as strong as that of kings. The stool on which kings sat was made in the form of women supporting the seat. This signified that women were the ones who spiritually assisted the king of the Luba tribe and served as a link between the king and the ancestors to reinforce his power.

Expressions of beauty can also be found in images of women. Idealized figures of young and ample women expressed the beauty and authority of maternal ancestors. The masks of the Punu tribe represent the ideal Punu woman of the time, featuring thick lips, high arched eyebrows, almond shaped eyes, scarifications, and elaborate hairstyles. The face of the mask is covered in white pigment symbolizing healing, peace, and the realm of the dead. Such masks were used in rites and funerals.

AFRICAN ART AS THE SOURCE OF PLURALISM IN MODERN ART The special exhibition at the NMK features 71 masks and sculptures from the Musée du Quai Branly. European collectors

such reliquary figures, which are called

petuation of the family, tribal unity and

taining kaolin as a symbol of the ancestor

began to acquire such pieces from the end of the 19th century,

eyima bieri. These figures were placed on

the authority of the tribal chief. The small

as well as the beard hairs or other relic of

when a large number of masks made their way to Paris from

top of cylindrical baskets containing the

ancestor figures made by the Bembe tribe

the dead. When the butti was seen to have

Africa, which had been colonized by the French. The masks

skull or bones of a revered ancestor to

of the Republic of Congo were considered

lost its power, the magic man replaced

attracted much public attention. The functionality of African

protect the remains from evil spirits and

to be mediators between human beings

the bundle inside the sculpture.

sculptures and their mysterious yet powerful and exotic expres-

to guard against invaders.

and spiritual forces, guardians of the fam-

In the culture of the savanna region

sion greatly inspired young artists of the time who were looking

For the Kota tribe of Gabon, ancestor

ily, and a means of punishing those who

south of the equator, women played an

for a new style. Inspired by the radical expressiveness of African

veneration was a particularly important

persisted in evil deeds. The figures are

important role as rulers, priests, respected

Art, artists such as Picasso, Braque, Matisse, Vlaminck, and De-

part of social and religious life. In reli-

portrayed holding a sword, horns or stick,

mothers, or illustrious ancestors. Many

rain created new art movements such as cubism and fauvism.

quaries called bwete, they preserved the

items that reveal the status of the figure

of the Bantu tribes went beyond the rain-

Understanding and application of this primitive artistic expres-

bones of their ancestors and other spiri-

within the tribe. Figures with swords are

forests to settle in the plains where their

sion influenced later movements such as impressionism, surre-

tual items. These reliquaries were topped

ancestors who were great warriors, those

production of food increased through

alism, and abstract art. The primitive life force and magical aura

with figures called mbulu ngulu, highly

with horns are healers of disease, and

farming and their numbers multiplied.

of African Art infused vitality modern art with new vitality and

stylized figures made of metal plate fixed

those with sticks are mediators when

Consequently, new economic, social,

laid the foundation for the emergence of new art.

on top of wood. The Kota people believed

problems arose in the tribe.

political and religious systems were es-

The sculptural beauty of the works on display is sure to im-

Some tribes filled empty spaces in the

tablished. Many of the Bantu communi-

press all visitors to the exhibition, while their primitive vitality

ancestor figures with earth dug up from

ties were matriarchal societies based on

should provide funds of artistic inspiration. Some visitors may

Another expression of ancestor wor-

the tombs of the dead. In these cases, the

maternal lineages. As those who give

feel a sense of empathy for these works which have wandered

ship is found in the ancestor figures made

sculpture was not so much a portrayal of

and nurture life, women were revered as

the world and come so far from home. However, as one having

by the Bantu tribes of Central Africa.

an ancestor or guardian deity but rather

metaphorical beings who linked the an-

participated in preparations for the exhibition, it is my hope

Though these sculptures were considered

functioned as a magical doll. The Teke

cestors with future generations. Figures

that the exhibition will broaden our perception of the art of

portraits of individual ancestors, their

tribe of the Republic of Congo produced

of women were also produced in patri-

central Africa and widely promote the artistic achievements of

features were commonly typecast. Factors

ancestor figures called butti to pray for

archal societies where they served to ex-

the Bantu tribes living in the region.

such as the hairstyle, headpiece, scarifi-

success or protect the tribe from danger

press acceptance of the other world. That

cations, and accessories emphasized the

with the power of the ancestors. In the

is, women were considered mediators for

status of the individual. Such ancestor

hollow body of these sculptures they en-

the spirits of the ancestors from beyond

figures were produced to express per-

shrined small bundles called bongo con-

the universe and controllers of both the

that the reflective nature of metal would ward off misfortune.

18

19

VISITOR

JEON SOYEONG

JEONG DEOKSU

LEE EUNSEON, JIN MYEONGSUN

TEACHER, SEOUL

OFFICE WORKERS, SEOUL

STUDENT, SEOUL

QUESTIONS ON THE SPECIAL EXHIBITION

1

1. I came to the museum for the

1. I came to the museum to pre-

1. Our business partners (farm-

first time because of a school pro-

pare for a school excursion. After

ers) are coming up to Seoul tomor-

gram. I was surprised such a big

looking around the permanent

row from the countryside. We will

museum exists in Korea and real-

exhibition, I found out that there

be visiting the museum together

ized how uninformed I had been.

was a free special exhibition on the

and it is our job to guide them, so

Congo River. The exhibition space

we came here to get to know the

2. The exhibition showed the

is dark overall with the lights fo-

museum and to look at the special exhibition.

What made you come to see the special exhibition Congo River—Art of Central Africa?

free art of the African people, who

cused only on the objects on dis-

expressed themselves without pre-

play, which turned the space into

The exhibition introduces somewhat

tense. The masks are painted a col-

something totally new.

unfamiliar culture of Central Africa.

or close to that of their own skin and the natural characteristics

What did you think of it?

of brown-colored wood are exploited in their art works. While

2. Although Korean art works also include some rough and

We made sure to listen to the audio guide. The scale of the ex-

3

the Korean works in the museum were naturally impressive,

earthy items resulting from the culture of the ordinary people

hibition was smaller than expected but it was very interesting

such special exhibitions enhance the whole museum experi-

they are mostly sophisticated. In contrast, the African works

for its lively introduction to the life and culture of the African

ence by giving a glimpse into the culture of other country.

featured in the exhibition are very simple but imbued with

people. The very honest, primitive expression of the artworks

4

ardent emotion. It was exciting to see these exotic artifacts that

was unexpectedly endearing.

3. The exhibition made me think again about the African peo-

were such an intimate part of the everyday life of the African

Did any item particularly impress you?

ple’s consciousness of their own survival. I realized the earnest-

people living in the arms of nature.

2

After viewing the exhibition did you see Africa in a new way?

2. This is the first exhibition of African art that we’ve ever seen and it left a striking impression.

3. From the audio guide we came to understand the wisdom of the African people. For example, the colors they used to paint

ness of their efforts to survive in nature as human beings by 3. In addition to the artifacts on display, videos featuring the

their faces all have their own special meaning. By painting the

varied tribes of Africa brought the region more vividly to life.

masks with the color white, a symbol of the dead and the realm

4. I was most struck by the heart-shaped mask titled “Mask

They showed the essence of human beings, revealing the people

of the ancestors, they believed they could protect themselves

with Encircling Horns” that appears as soon as you enter the ex-

free and natural. In contrast, we tend to embellish many parts

from supernatural forces. This also shows the people’s wisdom

hibition. I was also impressed by the “Double-Faced Mask” that

of our lives. Actually, it seems that because the African people

in seeking ways to survive.

features many faces joined together. The belief that the ances-

accepted each other as they were, they were able to create such

tors drive away misfortune and protect their descendants has

natural works of art.

praying to their ancestors and wearing masks to affect heroism.

4. Because we’re women perhaps, but the most impressive work was “Stool with Female Figure.” The fact that the seat used

much in common with the folk culture of the Korean people.

THE POWER OF SPIRITUAL ART ARISING FROM NATURE INTERVIEWED BY THE EDITORIAL TEAM

20

4. The ancestor figures, shown naked as an expression of au-

by the highest ruler took female form indicates that women

thority, were most memorable. Unlike European sculptures of

were regarded as tutelary gods. It is interesting to note that

the gods, they are representations of actual people and there-

women were a means of communication with the spiritual

fore fire up the imagination.

world.

REVIEW FROM SNS

@minjiminji I went to see the Congo River exhibition, which was great because it shows the culture of various African tribes. The stories of the tribes, which resembled each other but had their own unique identities, were fascinating.

@lds3836 At the Congo River exhibition I saw a video that showed a vast continent like a giant snake unwinding its coils.

@jjjjjbin This is a belated review of the Congo River exhibition at the National Museum of Korea. To think that European artists like Picasso, Braque and Derain were influenced by African art!

@hyun02 The Congo River exhibition features a combination of artifacts and videos. It was unforgettable. I’ve been recharged with the energy and power of the African people.

21

VISITOR

JEON SOYEONG

JEONG DEOKSU

LEE EUNSEON, JIN MYEONGSUN

TEACHER, SEOUL

OFFICE WORKERS, SEOUL

STUDENT, SEOUL

QUESTIONS ON THE SPECIAL EXHIBITION

1

1. I came to the museum for the

1. I came to the museum to pre-

1. Our business partners (farm-

first time because of a school pro-

pare for a school excursion. After

ers) are coming up to Seoul tomor-

gram. I was surprised such a big

looking around the permanent

row from the countryside. We will

museum exists in Korea and real-

exhibition, I found out that there

be visiting the museum together

ized how uninformed I had been.

was a free special exhibition on the

and it is our job to guide them, so

Congo River. The exhibition space

we came here to get to know the

2. The exhibition showed the

is dark overall with the lights fo-

museum and to look at the special exhibition.

What made you come to see the special exhibition Congo River—Art of Central Africa?

free art of the African people, who

cused only on the objects on dis-

expressed themselves without pre-

play, which turned the space into

The exhibition introduces somewhat

tense. The masks are painted a col-

something totally new.

unfamiliar culture of Central Africa.

or close to that of their own skin and the natural characteristics

What did you think of it?

of brown-colored wood are exploited in their art works. While

2. Although Korean art works also include some rough and

We made sure to listen to the audio guide. The scale of the ex-

3

the Korean works in the museum were naturally impressive,

earthy items resulting from the culture of the ordinary people

hibition was smaller than expected but it was very interesting

such special exhibitions enhance the whole museum experi-

they are mostly sophisticated. In contrast, the African works

for its lively introduction to the life and culture of the African

ence by giving a glimpse into the culture of other country.

featured in the exhibition are very simple but imbued with

people. The very honest, primitive expression of the artworks

4

ardent emotion. It was exciting to see these exotic artifacts that

was unexpectedly endearing.

3. The exhibition made me think again about the African peo-

were such an intimate part of the everyday life of the African

Did any item particularly impress you?

ple’s consciousness of their own survival. I realized the earnest-

people living in the arms of nature.

2

After viewing the exhibition did you see Africa in a new way?

2. This is the first exhibition of African art that we’ve ever seen and it left a striking impression.

3. From the audio guide we came to understand the wisdom of the African people. For example, the colors they used to paint

ness of their efforts to survive in nature as human beings by 3. In addition to the artifacts on display, videos featuring the

their faces all have their own special meaning. By painting the

varied tribes of Africa brought the region more vividly to life.

masks with the color white, a symbol of the dead and the realm

4. I was most struck by the heart-shaped mask titled “Mask

They showed the essence of human beings, revealing the people

of the ancestors, they believed they could protect themselves

with Encircling Horns” that appears as soon as you enter the ex-

free and natural. In contrast, we tend to embellish many parts

from supernatural forces. This also shows the people’s wisdom

hibition. I was also impressed by the “Double-Faced Mask” that

of our lives. Actually, it seems that because the African people

in seeking ways to survive.

features many faces joined together. The belief that the ances-

accepted each other as they were, they were able to create such

tors drive away misfortune and protect their descendants has

natural works of art.

praying to their ancestors and wearing masks to affect heroism.

4. Because we’re women perhaps, but the most impressive work was “Stool with Female Figure.” The fact that the seat used

much in common with the folk culture of the Korean people.

THE POWER OF SPIRITUAL ART ARISING FROM NATURE INTERVIEWED BY THE EDITORIAL TEAM

20

4. The ancestor figures, shown naked as an expression of au-

by the highest ruler took female form indicates that women

thority, were most memorable. Unlike European sculptures of

were regarded as tutelary gods. It is interesting to note that

the gods, they are representations of actual people and there-

women were a means of communication with the spiritual

fore fire up the imagination.

world.

REVIEW FROM SNS

@minjiminji I went to see the Congo River exhibition, which was great because it shows the culture of various African tribes. The stories of the tribes, which resembled each other but had their own unique identities, were fascinating.

@lds3836 At the Congo River exhibition I saw a video that showed a vast continent like a giant snake unwinding its coils.

@jjjjjbin This is a belated review of the Congo River exhibition at the National Museum of Korea. To think that European artists like Picasso, Braque and Derain were influenced by African art!

@hyun02 The Congo River exhibition features a combination of artifacts and videos. It was unforgettable. I’ve been recharged with the energy and power of the African people.

21

paradise of eternal youth and eternal life.

The Three Deity Mountain was another symbolic place representing the world of the immortals. In Korea, this mountain was often reproduced in landscaping projects such as the artificial Gungnamji pond in the Baekje Kingdom, and Anapji pond in Unified Silla, and also expressed in works of art and handicraft, such as the Baekje Gilt-bronze Incense Burner and decorative tiles. Hence, from ancient times Koreans also sought longevity and eternal youth in the world of the immortals.

Section 3 delves into the concept of wealth and longevity through themes such as ‘Taoism and the People,” “Wishing for Fortune,” and “Folk Beliefs and Taoism.” It examines how Taoism coexisted with other religions and systems of thought and shows how the Taoist practice of wishing for good fortune left its mark in paintings, handicrafts and other objects used in daily life.

In Taoist belief there were two ways to become an immortal:

Heavely peaches Reverse side of The sun, moon and five peeks Ink and color on paper

by external means such as drinking the elixir of eternal life, or by internal means such as the accumulation of spiritual energy through mental cultivation. The Korean tradition of internal cultivation, or internal alchemy, goes back to the Unified Silla period in the 9th century when Kim Gagi, Choe Seungu and VIEWING NOW

NMK EXHIBITION

DECEMBER 10, 2013 MARCH 2, 2014

TAOIST CULTURE IN KOREA: THE ROAD TO HAPPINESS

SPECIAL EXHIBITION GALLERY

the monk Jahye studied it in the Tang Dynasty of China, and reached its heyday during the Joseon Dynasty. It was believed, however, that neither the elixir nor mental cultivation was of any use in becoming an immortal if one did not remain faithful to ethics and morals, and that immorality shortened one’s life.

Taoist books encouraging people to be good were widespread in Korea in the latter half of the Joseon Dynasty.

BY A N K Y U NGSU K , ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF A RCH A EOLOGY A N D H ISTORY

From ancient times, the three religions, that is, Taoism, Confucianism and Buddhism, played an important role in Korea and East Asia as a whole. In the Goryeo Dynasty when Taoism thrived it was considered a great virtue to be greatly knowl-

T

edgeable in Taoism and behave like an immortal. Even in the he special exhibition on Taoism consists of three sec-

gods of water such as the Dragon God were established as Taoist

Joseon Dynasty when Taoism greatly declined in favor the har-

tions. The first section explores Taoist deities and ritu-

deities.

mony of the three religions was reflected in literary works and paintings.

als and the people’s prayers to the gods through the

The Taoist view of the gods was accepted in Korea based on

themes of “Deification of Laozi,” “The Gods of Heaven, Earth,

the native concept of the gods of heaven, earth and water. The

Among the Taoist gods many derive from native Chinese be-

and Water,” and “National Rites.” Laozi, deified in the early days

rites held for Taoist gods were called jaecho, and in the Goryeo

liefs, and of these not a few have points in common with native

of Taoism, was called the Ultra Supreme Elder Lord and consid-

Dynasty they were carried out at the national level to pray for

Korean gods. The Seven-star God deriving from the Big Dipper,

ered the highest of the Taoist deities. Over time the lineage of

the longevity of the king, for rain, and for the eradication of

the City God who guarded over villages and fortresses, and the

the Taoist deities was systematically organized into a trinity, the

disease. In the following Joseon Dynasty, however, these rites

Kitchen God who looks after the fire are Taoist deities that were

Three Pure Ones, including The Universal Lord of the Primal

virtually disappeared with the adoption of Confucianism as the

naturally assimilated into native folk beliefs when they were

Beginning, and the Jade Emperor as the highest deity.

ruling ideology.

introduced to Korea.

From ancient times, heaven, earth and water were con-

Section 2 explores the idea of eternal youth and eternal

The NMK’s special exhibition shows how the Korean people

sidered to be sacred, and this old religious concept was later

life through the themes “The World of the Immortals,” “Grotto

embraced or rejected Taoist culture on their journey to seek

incorporated into Taoism. The gods of the sky, or the constella-

Heaven,” “Becoming an Immortal” and “Dreaming of the World

happiness in life. It is sure to enhance understanding of the

tions such as the sun and moon and the Big Dipper, as well as

of the Immortals.” From ancient China, the world inhabited

Taoist cultural legacy in Korea and stimulate thought on the

the gods of the earth such as the Goddess of the Earth, and the

by Taoist deities and immortals has been regarded as Utopia, a

meaning of Taoist culture in contemporary life.

22

Baekje Gilt-bronze Incense Burner Gilt bronze National Treasure No. 287 Buyeo National Museum

23

paradise of eternal youth and eternal life.

The Three Deity Mountain was another symbolic place representing the world of the immortals. In Korea, this mountain was often reproduced in landscaping projects such as the artificial Gungnamji pond in the Baekje Kingdom, and Anapji pond in Unified Silla, and also expressed in works of art and handicraft, such as the Baekje Gilt-bronze Incense Burner and decorative tiles. Hence, from ancient times Koreans also sought longevity and eternal youth in the world of the immortals.

Section 3 delves into the concept of wealth and longevity through themes such as ‘Taoism and the People,” “Wishing for Fortune,” and “Folk Beliefs and Taoism.” It examines how Taoism coexisted with other religions and systems of thought and shows how the Taoist practice of wishing for good fortune left its mark in paintings, handicrafts and other objects used in daily life.

In Taoist belief there were two ways to become an immortal:

Heavely peaches Reverse side of The sun, moon and five peeks Ink and color on paper

by external means such as drinking the elixir of eternal life, or by internal means such as the accumulation of spiritual energy through mental cultivation. The Korean tradition of internal cultivation, or internal alchemy, goes back to the Unified Silla period in the 9th century when Kim Gagi, Choe Seungu and VIEWING NOW

NMK EXHIBITION

DECEMBER 10, 2013 MARCH 2, 2014

TAOIST CULTURE IN KOREA: THE ROAD TO HAPPINESS

SPECIAL EXHIBITION GALLERY

the monk Jahye studied it in the Tang Dynasty of China, and reached its heyday during the Joseon Dynasty. It was believed, however, that neither the elixir nor mental cultivation was of any use in becoming an immortal if one did not remain faithful to ethics and morals, and that immorality shortened one’s life.

Taoist books encouraging people to be good were widespread in Korea in the latter half of the Joseon Dynasty.

BY A N K Y U NGSU K , ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF A RCH A EOLOGY A N D H ISTORY

From ancient times, the three religions, that is, Taoism, Confucianism and Buddhism, played an important role in Korea and East Asia as a whole. In the Goryeo Dynasty when Taoism thrived it was considered a great virtue to be greatly knowl-

T

edgeable in Taoism and behave like an immortal. Even in the he special exhibition on Taoism consists of three sec-

gods of water such as the Dragon God were established as Taoist

Joseon Dynasty when Taoism greatly declined in favor the har-

tions. The first section explores Taoist deities and ritu-

deities.

mony of the three religions was reflected in literary works and paintings.

als and the people’s prayers to the gods through the

The Taoist view of the gods was accepted in Korea based on

themes of “Deification of Laozi,” “The Gods of Heaven, Earth,

the native concept of the gods of heaven, earth and water. The

Among the Taoist gods many derive from native Chinese be-

and Water,” and “National Rites.” Laozi, deified in the early days

rites held for Taoist gods were called jaecho, and in the Goryeo

liefs, and of these not a few have points in common with native

of Taoism, was called the Ultra Supreme Elder Lord and consid-

Dynasty they were carried out at the national level to pray for

Korean gods. The Seven-star God deriving from the Big Dipper,

ered the highest of the Taoist deities. Over time the lineage of

the longevity of the king, for rain, and for the eradication of

the City God who guarded over villages and fortresses, and the

the Taoist deities was systematically organized into a trinity, the

disease. In the following Joseon Dynasty, however, these rites

Kitchen God who looks after the fire are Taoist deities that were

Three Pure Ones, including The Universal Lord of the Primal

virtually disappeared with the adoption of Confucianism as the

naturally assimilated into native folk beliefs when they were

Beginning, and the Jade Emperor as the highest deity.

ruling ideology.

introduced to Korea.

From ancient times, heaven, earth and water were con-

Section 2 explores the idea of eternal youth and eternal

The NMK’s special exhibition shows how the Korean people

sidered to be sacred, and this old religious concept was later

life through the themes “The World of the Immortals,” “Grotto

embraced or rejected Taoist culture on their journey to seek

incorporated into Taoism. The gods of the sky, or the constella-

Heaven,” “Becoming an Immortal” and “Dreaming of the World

happiness in life. It is sure to enhance understanding of the

tions such as the sun and moon and the Big Dipper, as well as

of the Immortals.” From ancient China, the world inhabited

Taoist cultural legacy in Korea and stimulate thought on the

the gods of the earth such as the Goddess of the Earth, and the

by Taoist deities and immortals has been regarded as Utopia, a

meaning of Taoist culture in contemporary life.

22

Baekje Gilt-bronze Incense Burner Gilt bronze National Treasure No. 287 Buyeo National Museum

23

T

the composition of instruments sent to

have well preserved reeds. The part of

the exposition, it can be guessed that

the reed that was held in the mouth is

the music played for the president was a

oxidized, indicating that both instru-

America. Among the featured exhibits are eight musical instru-

form of military music normally used for

ments were actually used. The daegeum

ments that were submitted to the World’s Columbian Exposi-

the king’s procession or a procession of

on the other hand is in such good condi-

tion held in Chicago in 1893, and afterwards donated to the Pea-

envoys.

tion, with little sign of use evident on the

he National Museum of Korea and the National Gugak Center have organized the special exhibition A Return Journey after 120 Years: Musical Instruments of Joseon in

Saenghwang 19th century L. 44 cm Peabody Essex Museum

holes, that it appears this instrument was

body Essex Museum in Salem on the outskirts of Boston.

RECREATING THE WORLD’S

NMK EXHIBITION

OCTOBER 1, 2013 -DECEMBER 1, 2013 THEMATIC EXHIBITION ROOM

MUSICAL INSTRUMENTS OF JOSEON IN AMERICA

BY Y U N YONGH U I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF A RCH A EOLOGY A N D H ISTORY

EXPOSITION

The 1893 World’s Columbian Exposition, also known as the

The exhibition is divided into three sec-

strument of its kind, and is of absolute

Chicago World’s Fair, ran for six months from May 1 to October

tions. Section 1 is based on the theme the

importance in the study of dangbipa that

30 that year. The Joseon Dynasty participated in the expo as an

World’s Columbian Exposition and the

were used in the performance of court

independent sovereign state under the name of “Daejoseon,”

Joseon Pavilion; Section 2 on the World’s

music in the latter half of the Joseon Dy-

and in a pavilion measuring 82.6m² with the national flag flying

Columbian Exposition and Korean tradi-

nasty. The materials and workmanship

it promoted Joseon culture and art to the world. To take charge

tional instruments; and Section 3 on Ko-

that went into making the instrument

of the nation’s participation, King Gojong, r. 1863-1907 the 26th

rea’s music culture reflected in traditional

give it the air and dignity of an item used

monarch of Joseon, appointed assistant interior minister Jeong

musical instruments.

in the royal court. The yanggeum is also

as Korean commissioner. In February 1893

Section 1 includes a selection of pho-

well preserved with strings and bridges

Jeong left for America accompanied by ten musicians including

tographs of the 1893 World’s Columbian

completely intact, and the geomungo,

Park Yonggu, Lee Chaeyeon, Choe Munhyeon, and An Giseon.

Exposition in Chicago, which drew the

featuring an unusually shaped sound

That ten of the sixteen-strong delegation were royal court mu-

participation of 46 countries and was

hold in the lower left side, has such

sicians, underscores the resolve to show Korean culture to the

a resounding success with a total 27

clean strings that it appears to have been

world as distinct from Chinese and Japanese culture through

million visitors, as well as the Joseon

hardly used.

the performance of music characterized by uniquely Korean

pavilion at the event. Through various

Section 3 of the exhibition show-

melodies. Throughout the run of the exposition, the musicians,

documents drawn up at the time, visitors

cases paintings from the NMK collection

dressed in red robes, performed traditional tunes and managed

can get a feel for Joseon’s efforts to show

on the theme of music, including Kim

to earn the praise “The classical music of Joseon is the finest in

itself as a proud member of world society

Hongdo’s Child Taoist Hermit Playing the

Asia.”

by participating in the event in its own

Flute, as well as musical scores, uigwe and

Information on the musicians who took part in the exposi-

pavilion, despite the rigors of a journey

other music related items, giving visi-

tion can be found in the 1959 book titled A Brief History of Joseon

that began in March, when the members

tors the opportunity to not only learn

Music (Joseon eumak sosa) by Ham Hwajin and a thesis titled

left for America, and ended with a report

about Joseon instruments and music but

“Korean Military Music of the Millennium Past” (Cheonnyeo-

made to King Gojong nine months later

also imagine the resonance of Korean

njeon-ui joseon gunak) by An Hwak, written in 1930. By name,

upon their return in December that year.

traditional music performed far away in

1841-1898

the musicians include Yi Gyeongryong (geomungo, six-stringed

In Section 2 visitors can see for them-

zither), Choe Eulryong (piri, flute), Shin Heungseok (daegeum,

selves the eight Joseon instruments

large transverse flute), Jeong Giyong (piri), Yi Changeop (janggu,

that travelled to America 120 years ago

double-headed drum), Yi Jaeryong (piri). As to each musician’s

including the saenghwang, hyangpiri, dae-

specialization, this can be conjectured from several records of

geum, dangbipa (Tang mandolin), yang-

state events (uigwe) such as Imjin jinchan uigwe, a birthday

geum (hammered dulcimer), geomungo,

banquet held for King Gojong in 1892; Sinchuk jinchan uigwe,

and janggu. All of these instruments were

records of a royal birthday banquet held in 1901; and Imjin

actually used in the royal court of Joseon,

jinyeon uigwe, records of a royal banquet held in 1902. However,

which makes them valuable in terms of

as the musicians of the time were proficient in several instru-

music history as well as traditional craft,

ments, these records alone do not provide conclusive evidence

and as such researchers in these fields

on each musician’s specialty. It is known that on the opening

should find the display very worthwhile.

day of the Chicago exposition the Joseon musicians performed

The saenghwang is particularly important

for President Grover Cleveland, who visited the Joseon pavil-

for research as this instrument is no lon-

ion. In a record written by Commissioner Jeong Gyeongwon,

ger produced in Korea.

there is mention of “royal music.” Considering this record and 24

The dangbipa is the oldest extant in-

EXCHANGE GOING BACK 150 YEARS

Gyeongwon

VIEWING NOW

not used but made for display purposes.

the United States at the end of the 19th century.

There are two hyangpiri, both of which 25

T

the composition of instruments sent to

have well preserved reeds. The part of

the exposition, it can be guessed that

the reed that was held in the mouth is

the music played for the president was a

oxidized, indicating that both instru-

America. Among the featured exhibits are eight musical instru-

form of military music normally used for

ments were actually used. The daegeum

ments that were submitted to the World’s Columbian Exposi-

the king’s procession or a procession of

on the other hand is in such good condi-

tion held in Chicago in 1893, and afterwards donated to the Pea-

envoys.

tion, with little sign of use evident on the

he National Museum of Korea and the National Gugak Center have organized the special exhibition A Return Journey after 120 Years: Musical Instruments of Joseon in

Saenghwang 19th century L. 44 cm Peabody Essex Museum

holes, that it appears this instrument was

body Essex Museum in Salem on the outskirts of Boston.

RECREATING THE WORLD’S

NMK EXHIBITION

OCTOBER 1, 2013 -DECEMBER 1, 2013 THEMATIC EXHIBITION ROOM

MUSICAL INSTRUMENTS OF JOSEON IN AMERICA

BY Y U N YONGH U I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF A RCH A EOLOGY A N D H ISTORY

EXPOSITION

The 1893 World’s Columbian Exposition, also known as the

The exhibition is divided into three sec-

strument of its kind, and is of absolute

Chicago World’s Fair, ran for six months from May 1 to October

tions. Section 1 is based on the theme the

importance in the study of dangbipa that

30 that year. The Joseon Dynasty participated in the expo as an

World’s Columbian Exposition and the

were used in the performance of court

independent sovereign state under the name of “Daejoseon,”

Joseon Pavilion; Section 2 on the World’s

music in the latter half of the Joseon Dy-

and in a pavilion measuring 82.6m² with the national flag flying

Columbian Exposition and Korean tradi-

nasty. The materials and workmanship

it promoted Joseon culture and art to the world. To take charge

tional instruments; and Section 3 on Ko-

that went into making the instrument

of the nation’s participation, King Gojong, r. 1863-1907 the 26th

rea’s music culture reflected in traditional

give it the air and dignity of an item used

monarch of Joseon, appointed assistant interior minister Jeong

musical instruments.

in the royal court. The yanggeum is also

as Korean commissioner. In February 1893

Section 1 includes a selection of pho-

well preserved with strings and bridges

Jeong left for America accompanied by ten musicians including

tographs of the 1893 World’s Columbian

completely intact, and the geomungo,

Park Yonggu, Lee Chaeyeon, Choe Munhyeon, and An Giseon.

Exposition in Chicago, which drew the

featuring an unusually shaped sound

That ten of the sixteen-strong delegation were royal court mu-

participation of 46 countries and was

hold in the lower left side, has such

sicians, underscores the resolve to show Korean culture to the

a resounding success with a total 27

clean strings that it appears to have been

world as distinct from Chinese and Japanese culture through

million visitors, as well as the Joseon

hardly used.

the performance of music characterized by uniquely Korean

pavilion at the event. Through various

Section 3 of the exhibition show-

melodies. Throughout the run of the exposition, the musicians,

documents drawn up at the time, visitors

cases paintings from the NMK collection

dressed in red robes, performed traditional tunes and managed

can get a feel for Joseon’s efforts to show

on the theme of music, including Kim

to earn the praise “The classical music of Joseon is the finest in

itself as a proud member of world society

Hongdo’s Child Taoist Hermit Playing the

Asia.”

by participating in the event in its own

Flute, as well as musical scores, uigwe and

Information on the musicians who took part in the exposi-

pavilion, despite the rigors of a journey

other music related items, giving visi-

tion can be found in the 1959 book titled A Brief History of Joseon

that began in March, when the members

tors the opportunity to not only learn

Music (Joseon eumak sosa) by Ham Hwajin and a thesis titled

left for America, and ended with a report

about Joseon instruments and music but

“Korean Military Music of the Millennium Past” (Cheonnyeo-

made to King Gojong nine months later

also imagine the resonance of Korean

njeon-ui joseon gunak) by An Hwak, written in 1930. By name,

upon their return in December that year.

traditional music performed far away in

1841-1898

the musicians include Yi Gyeongryong (geomungo, six-stringed

In Section 2 visitors can see for them-

zither), Choe Eulryong (piri, flute), Shin Heungseok (daegeum,

selves the eight Joseon instruments

large transverse flute), Jeong Giyong (piri), Yi Changeop (janggu,

that travelled to America 120 years ago

double-headed drum), Yi Jaeryong (piri). As to each musician’s

including the saenghwang, hyangpiri, dae-

specialization, this can be conjectured from several records of

geum, dangbipa (Tang mandolin), yang-

state events (uigwe) such as Imjin jinchan uigwe, a birthday

geum (hammered dulcimer), geomungo,

banquet held for King Gojong in 1892; Sinchuk jinchan uigwe,

and janggu. All of these instruments were

records of a royal birthday banquet held in 1901; and Imjin

actually used in the royal court of Joseon,

jinyeon uigwe, records of a royal banquet held in 1902. However,

which makes them valuable in terms of

as the musicians of the time were proficient in several instru-

music history as well as traditional craft,

ments, these records alone do not provide conclusive evidence

and as such researchers in these fields

on each musician’s specialty. It is known that on the opening

should find the display very worthwhile.

day of the Chicago exposition the Joseon musicians performed

The saenghwang is particularly important

for President Grover Cleveland, who visited the Joseon pavil-

for research as this instrument is no lon-

ion. In a record written by Commissioner Jeong Gyeongwon,

ger produced in Korea.

there is mention of “royal music.” Considering this record and 24

The dangbipa is the oldest extant in-

EXCHANGE GOING BACK 150 YEARS

Gyeongwon

VIEWING NOW

not used but made for display purposes.

the United States at the end of the 19th century.

There are two hyangpiri, both of which 25

Opening Hours

DATE

VENUE

NOVEMBER 22, 2013 -

SPECIAL EXHIBITION GALLERY,

FEBRUARY 16, 2014

NAJU NATIONAL MUSEUM

(weekdays) 09:00-18:00 (weekends, public holidays) 09:00-19:00 Closing Days Every Monday, January 1 (Except for Mondays that fall in the annual Lunar New Year or Chuseok holidays) Website http://naju.museum.go.kr Gilt-bronze Crown Address

Three Kingdom Period

747 Gobun-ro, Bannam-myeon,

H. 25.5 cm

Naju, Jeollanam-do

National Treasure No.295

Inquiries 82-61-330-7800

T

here is good news from Naju,

the old days, the administrative district

a city boasting a history of one

of Naju-mok was very large. It was also

thousand years. The Naju Na-

interesting to note that its locational fea-

tional Museum opened in November 2013

tures are similar to those of Seoul with

as Korea’s 12th regional national mu-

Jiseokcheon, a tributary of the Yeong-

seum. On a winter day with white snow

sangang River flowing to the south and

falling from the sky, we went to visit this

mountains and villages to the north.

new museum .

VIEWING NOW

RNM EXHIBITION Rood-Tiles with Inscription Goryeo - Joseon L. 15.4 cm

ONE THOUSAND YEARS OF MOKSAGOL NAJU

BY THE EDITORIAL TEAM OF THE NATIONAL MUSEUM OF KOREA

26

The second theme is “The River and

The Naju National Museum is located

the Culture,” which focuses on the cul-

on the outskirts of the city of Naju, some

ture of Naju people who settled by the

30 minutes’ away from the city center.

Yeongsangang River. The river fertilizes

The building is situated in the Bannam

the vast plains of Naju and leads the way

Tomb Complex, naturally harmonizing

to the sea. A large village was formed

with its setting. In addition to the perma-

along the riverside, fortress walls were

nent exhibition, the special exhibition

built, and various buildings were located

One Thousand Years of Moksagol Naju has

in the center including the local govern-

also been organized to mark the opening

ment office and armory. The exhibition

of the museum. This is a good opportu-

features tiles bearing inscriptions that

nity to explore the burial culture of the

were found in the fortress by the river in-

Yeongsangang River Basin area and the

cluding one bearing the characters mun 門

cultural heritage of the Naju region.

for “gate” and gwan 官 signifying “official”

To gain a feel for the Naju area we

or “government.” At the Naju guesthouse

first visited the special exhibition. The

Geumseonggwan, white porcelain dishes,

small but substantial exhibition is orga-

buncheong ware and ritual vessels bearing

nized under four themes. The first theme

the character wol 月, meaning “moon” have

is “The Geography and History of Naju.”

been found. Naju’s grand role in protect-

Old maps such as Yeojido, Gwanseog-

ing the nation’s seas is also highlighted.

wanbukdo, and Jeollado jido show that in

The birthplace of Na Daeyong who was 27

Opening Hours

DATE

VENUE

NOVEMBER 22, 2013 -

SPECIAL EXHIBITION GALLERY,

FEBRUARY 16, 2014

NAJU NATIONAL MUSEUM

(weekdays) 09:00-18:00 (weekends, public holidays) 09:00-19:00 Closing Days Every Monday, January 1 (Except for Mondays that fall in the annual Lunar New Year or Chuseok holidays) Website http://naju.museum.go.kr Gilt-bronze Crown Address

Three Kingdom Period

747 Gobun-ro, Bannam-myeon,

H. 25.5 cm

Naju, Jeollanam-do

National Treasure No.295

Inquiries 82-61-330-7800

T

here is good news from Naju,

the old days, the administrative district

a city boasting a history of one

of Naju-mok was very large. It was also

thousand years. The Naju Na-

interesting to note that its locational fea-

tional Museum opened in November 2013

tures are similar to those of Seoul with

as Korea’s 12th regional national mu-

Jiseokcheon, a tributary of the Yeong-

seum. On a winter day with white snow

sangang River flowing to the south and

falling from the sky, we went to visit this

mountains and villages to the north.

new museum .

VIEWING NOW

RNM EXHIBITION Rood-Tiles with Inscription Goryeo - Joseon L. 15.4 cm

ONE THOUSAND YEARS OF MOKSAGOL NAJU

BY THE EDITORIAL TEAM OF THE NATIONAL MUSEUM OF KOREA

26

The second theme is “The River and

The Naju National Museum is located

the Culture,” which focuses on the cul-

on the outskirts of the city of Naju, some

ture of Naju people who settled by the

30 minutes’ away from the city center.

Yeongsangang River. The river fertilizes

The building is situated in the Bannam

the vast plains of Naju and leads the way

Tomb Complex, naturally harmonizing

to the sea. A large village was formed

with its setting. In addition to the perma-

along the riverside, fortress walls were

nent exhibition, the special exhibition

built, and various buildings were located

One Thousand Years of Moksagol Naju has

in the center including the local govern-

also been organized to mark the opening

ment office and armory. The exhibition

of the museum. This is a good opportu-

features tiles bearing inscriptions that

nity to explore the burial culture of the

were found in the fortress by the river in-

Yeongsangang River Basin area and the

cluding one bearing the characters mun 門

cultural heritage of the Naju region.

for “gate” and gwan 官 signifying “official”

To gain a feel for the Naju area we

or “government.” At the Naju guesthouse

first visited the special exhibition. The

Geumseonggwan, white porcelain dishes,

small but substantial exhibition is orga-

buncheong ware and ritual vessels bearing

nized under four themes. The first theme

the character wol 月, meaning “moon” have

is “The Geography and History of Naju.”

been found. Naju’s grand role in protect-

Old maps such as Yeojido, Gwanseog-

ing the nation’s seas is also highlighted.

wanbukdo, and Jeollado jido show that in

The birthplace of Na Daeyong who was 27

scholar-official of Joseon hailing from Naju. Noh In was cap-

used in the 16th century wars against Japan, is located in Naju,

tured during the Japanese invasion of 1597 at the Battle of Nam-

while the 12-panel folding screen “Sugun joryeondo,” which de-

wonseong Fortress, who managed after two years as a prisoner

picts a naval drilling session, shows a Naju-affiliated turtle ship

of war to escape to a ship carrying Ming Dynasty envoys and

at the head of the armada.

return to Korea via Beijing.

RNM EXHIBITION

placed in charge of building the famous turtle ship (geobukseon)

Basin was the center of the Mahan Con-

mountain. From these tombs relics that

erful person who had regular exchange

federacy. The Mahan people developed

would have belonging to powerful rulers

with Japan. However, Baekje relics were

forms of burial rarely found in other

have been found, including a gold crown

also excavated from the tomb, which

parts of the country, most notably burial

and dagger with phoenix shaped handle,

Naju museum researchers look upon as

of groups of clay coffins.

which are also on display at the museum.

evidence of active exchange among the people of the Yeongsangang River Basin,

Under the third theme “Mountains and Culture,” the exhi-

The special exhibition hence presents the thousand year

As large clay jars were used for burial

Of the tombs in the river basin area,

bition highlights the vestiges of Buddhist culture found in the

history of Moksagol Naju through its mountains, rivers and

over a long time in the river basin area,

the so-called janggu-shaped (drum-

mountains around Naju. Notable artifacts are the man images

people.

various forms and sizes developed ac-

shaped) tomb is notable. In shape it is

As the Naju National Museum is sur-

Baekje, and Japan.

of Buddhist disciples (arhats) that were found at Bulhoesa tem-

The Naju National Museum’s permanent exhibition pro-

cording to period and locale. Those on

similar to Japanese tombs of the Kofun

rounded by mountains and tombs, fields

ple. Not one of them like another, these sculptures bear finely

vides the context for fuller understanding of the Naju region. It

display at the Naju National Museum

period which are square in front and

and hills, it is the perfect place to enjoy

carved yet friendly expressions and reflect Buddhist culture af-

is largely divided into two galleries. The first gallery is divided

range in date from around the beginning

round at the back. Another similarity

culture and contemplation. It is a place

ter the transition from Goryeo to Joseon.

into four zones showing the history of the Yeongsangang River

of the Common Era to the fifth century,

with the Japanese tombs is the way it is

where visitors will find relaxation and

Finally, under the theme of “People and Culture” the exhi-

Basin and Jeollanam-do Province. The second gallery comprises

when clay coffin burial was at its height

surrounded by cylindrical earthenware

healing by taking a step back from the

bition features generations of famous figures from Naju and

an activity based archaeological exhibition area and an open

and the jars reached massive size. The

vessels. Indeed, along with native Korean

pressures of everyday life to look on life

related relics. These include the wooden printing blocks for

storeroom, where visitors can learn about the museum’s preser-

bigger jars in particular are among the

relics, bronze mirrors, sueki pottery, and

from the long perspective of history.

Gieon, the anthology of writings by the Joseon scholar-official

vation of cultural artifacts.

largest burial vessels made of earth found

iron armor of Japanese origin have also

in the East Asia.

been discovered. For these reasons, there

Heo Mok, who is famed for his debates on the concept of pro-

One of the highlights of the permanent exhibition is the

priety with Song Siyeol. They are preserved at Micheon Seowon,

display of large pottery coffins, accompanied by explanations of

In Bannam-myeon, where the mu-

is continued debate regarding the person

a Confucian academy in Naju. Geumgye ilgi (Diary of Geumgye)

this method of burial and items excavated from the tombs. Dur-

seum is located, some 40 tombs are scat-

buried in the tomb, who may have been a

shows the dramatic life of Noh In (penname Geumgye) a loyal

ing the 3rd to 5th centuries Naju and the Yeongsangang River

tered through the area around Jamisan

Japanese official of Baekje origin, or pow-

28

29

scholar-official of Joseon hailing from Naju. Noh In was cap-

used in the 16th century wars against Japan, is located in Naju,

tured during the Japanese invasion of 1597 at the Battle of Nam-

while the 12-panel folding screen “Sugun joryeondo,” which de-

wonseong Fortress, who managed after two years as a prisoner

picts a naval drilling session, shows a Naju-affiliated turtle ship

of war to escape to a ship carrying Ming Dynasty envoys and

at the head of the armada.

return to Korea via Beijing.

RNM EXHIBITION

placed in charge of building the famous turtle ship (geobukseon)

Basin was the center of the Mahan Con-

mountain. From these tombs relics that

erful person who had regular exchange

federacy. The Mahan people developed

would have belonging to powerful rulers

with Japan. However, Baekje relics were

forms of burial rarely found in other

have been found, including a gold crown

also excavated from the tomb, which

parts of the country, most notably burial

and dagger with phoenix shaped handle,

Naju museum researchers look upon as

of groups of clay coffins.

which are also on display at the museum.

evidence of active exchange among the people of the Yeongsangang River Basin,

Under the third theme “Mountains and Culture,” the exhi-

The special exhibition hence presents the thousand year

As large clay jars were used for burial

Of the tombs in the river basin area,

bition highlights the vestiges of Buddhist culture found in the

history of Moksagol Naju through its mountains, rivers and

over a long time in the river basin area,

the so-called janggu-shaped (drum-

mountains around Naju. Notable artifacts are the man images

people.

various forms and sizes developed ac-

shaped) tomb is notable. In shape it is

As the Naju National Museum is sur-

Baekje, and Japan.

of Buddhist disciples (arhats) that were found at Bulhoesa tem-

The Naju National Museum’s permanent exhibition pro-

cording to period and locale. Those on

similar to Japanese tombs of the Kofun

rounded by mountains and tombs, fields

ple. Not one of them like another, these sculptures bear finely

vides the context for fuller understanding of the Naju region. It

display at the Naju National Museum

period which are square in front and

and hills, it is the perfect place to enjoy

carved yet friendly expressions and reflect Buddhist culture af-

is largely divided into two galleries. The first gallery is divided

range in date from around the beginning

round at the back. Another similarity

culture and contemplation. It is a place

ter the transition from Goryeo to Joseon.

into four zones showing the history of the Yeongsangang River

of the Common Era to the fifth century,

with the Japanese tombs is the way it is

where visitors will find relaxation and

Finally, under the theme of “People and Culture” the exhi-

Basin and Jeollanam-do Province. The second gallery comprises

when clay coffin burial was at its height

surrounded by cylindrical earthenware

healing by taking a step back from the

bition features generations of famous figures from Naju and

an activity based archaeological exhibition area and an open

and the jars reached massive size. The

vessels. Indeed, along with native Korean

pressures of everyday life to look on life

related relics. These include the wooden printing blocks for

storeroom, where visitors can learn about the museum’s preser-

bigger jars in particular are among the

relics, bronze mirrors, sueki pottery, and

from the long perspective of history.

Gieon, the anthology of writings by the Joseon scholar-official

vation of cultural artifacts.

largest burial vessels made of earth found

iron armor of Japanese origin have also

in the East Asia.

been discovered. For these reasons, there

Heo Mok, who is famed for his debates on the concept of pro-

One of the highlights of the permanent exhibition is the

priety with Song Siyeol. They are preserved at Micheon Seowon,

display of large pottery coffins, accompanied by explanations of

In Bannam-myeon, where the mu-

is continued debate regarding the person

a Confucian academy in Naju. Geumgye ilgi (Diary of Geumgye)

this method of burial and items excavated from the tombs. Dur-

seum is located, some 40 tombs are scat-

buried in the tomb, who may have been a

shows the dramatic life of Noh In (penname Geumgye) a loyal

ing the 3rd to 5th centuries Naju and the Yeongsangang River

tered through the area around Jamisan

Japanese official of Baekje origin, or pow-

28

29

TELLING MORE

PEOPLE

SEEING A LIGHT GOING ON IN A VIEWER’S MIND I N T ERV I EW W I T H JA N E PORTA L , CH A I R OF A SI A , OCEA N I A A N D A FR IC A AT T H E MUSEUM OF FI N E A RTS BOSTON

Jane Portal She has worked for four years, having previously worked at the British Museum as a Senior Curator of Korean and Chinese Collections. She is delighted to manage a department which covers one quarter of the MFA’s collection of 450,000 works of art and 73% of the world’s population. It includes one of the best Asian collections in the West.

How did you come to major in Chinese stud-

the West, is particularly strong in cela-

Italy, the plain white color scheme and

number of students in the many colleges

high fired stoneware technology, wood-

ies at university, and why did you choose to

don, Buddhist metalwork and Buddhist

the touch screen where visitors can learn

in the Boston area. We had hundreds of

block prints etc. However, Korean art has

become a curator?

paintings. The quality of the ceramics is

about ceramic techniques. They also love

visitors here for our first KF Day, includ-

some unique features and qualities. For

I chose to study Chinese after visiting the

extremely high and probably can only be

the 18th century trompe l’oeil bookshelf

ing an artist’s talk by Kang Ik-joong and

example, in ceramics the invention of

Genius of China exhibition at the Royal

compared outside Korea with the Gomp-

screen on loan from a private collection.

two rousing performances by Gong Myo-

inlay and the use of copper red under a

Academy London in 1973 and became in-

ertz collection in Cambridge, England,

ung.

celadon glaze, as well as the predilection

spired by it. After I graduated from Cam-

and the Museum of Far Eastern Ceramics

Do you have any special plans for the

bridge, I studied Chinese archaeology at

in Osaka. Many of the great Buddhist

Korean Gallery in terms of exhibitions or

Korea’s culture, art and history are rela-

Dynasty; in painting, the delicate and re-

Beijing University in 1979-80 and started

paintings were collected in Japan by

direction?

tively little known overseas compared to the

fined Buddhist painting of Goryeo as well

working at the British Museum in 1987. I

Bostonians who went to live there in the

We have an exhibition at present in the

country’s economic position. As a curator of

as the “true-view” landscapes of Joseon;

guess I will always have a special place in

late 19th century. They had been stored

adjacent gallery called Divine Depictions-

Korean art, do you have anything to say on

in decorative art, the use of inlay can be

my heart for the British Museum, having

there in temples for hundreds of years.

Joseon Buddhist Paintings. This is a great

this point?

called a Korean characteristic; and fine

worked there for 21 years, studied Korean

Since I arrived in 2008, I have acquired

opportunity to show paintings which

Although Korean art is less well known

quality Korean paper and gold and silver

and curated the Korea Foundation Gal-

twenty works of Korean art , includ-

have been in storage for many years. I am

in the West for historical reasons, the

illuminated manuscripts are also highly

lery, which opened there in 2000.

ing contemporary ceramics and Joseon

determined to make Korean art more ac-

MFA has a very strong Korean collection

developed in Korea.

Dynasty screens. I decided to juxtapose

cessible and better known, after a period

of high quality masterpieces. I think they

Could you tell us a bit about the Korean

contemporary ceramics with traditional

when the collection has been somewhat

will speak for themselves in the new Ko-

Gallery at the Museum of Fine Arts, Boston?

ones to show how present day artists are

overshadowed by that of China and Japan.

rean Gallery.

The Korean Gallery at the MFA originally

engaging with their tradition. We are also

opened in 1982 to mark the centenary

displaying Korean paintings and screens,

You held your first “Korean Foundation

What features distinguish Korean art from

of the establishment of diplomatic rela-

which will rotate every nine months, so

Day” at the museum on November 16, 2012.

the art of other countries?

tions between the USA and Korea in 1882.

there will always be something new to see.

What was the objective for that event, and

For Westerners, there are some common

what results did you see?

features amongst art from East Asian

The newly renovated gallery opened in

30

for plain white porcelain in the Joseon

2012, thirty years later, so it is timely.

How are people responding to the exhibition

We wanted to engage with the local Ko-

countries compared with Western art; for

The gallery is arranged chronologically

in the Korean Gallery?

rean community and encourage greater

example: ink painting on silk and paper,

but with themes within that. Our Korean

I have been told that people like the fresh

interest in Korea amongst the general

mounting of paintings on hanging and

collection, one of the best and oldest in

look, the new Goppion display cases from

population of Boston. There are a huge

hand scrolls and albums, Buddhist art, 31

TELLING MORE

PEOPLE

SEEING A LIGHT GOING ON IN A VIEWER’S MIND I N T ERV I EW W I T H JA N E PORTA L , CH A I R OF A SI A , OCEA N I A A N D A FR IC A AT T H E MUSEUM OF FI N E A RTS BOSTON

Jane Portal She has worked for four years, having previously worked at the British Museum as a Senior Curator of Korean and Chinese Collections. She is delighted to manage a department which covers one quarter of the MFA’s collection of 450,000 works of art and 73% of the world’s population. It includes one of the best Asian collections in the West.

How did you come to major in Chinese stud-

the West, is particularly strong in cela-

Italy, the plain white color scheme and

number of students in the many colleges

high fired stoneware technology, wood-

ies at university, and why did you choose to

don, Buddhist metalwork and Buddhist

the touch screen where visitors can learn

in the Boston area. We had hundreds of

block prints etc. However, Korean art has

become a curator?

paintings. The quality of the ceramics is

about ceramic techniques. They also love

visitors here for our first KF Day, includ-

some unique features and qualities. For

I chose to study Chinese after visiting the

extremely high and probably can only be

the 18th century trompe l’oeil bookshelf

ing an artist’s talk by Kang Ik-joong and

example, in ceramics the invention of

Genius of China exhibition at the Royal

compared outside Korea with the Gomp-

screen on loan from a private collection.

two rousing performances by Gong Myo-

inlay and the use of copper red under a

Academy London in 1973 and became in-

ertz collection in Cambridge, England,

ung.

celadon glaze, as well as the predilection

spired by it. After I graduated from Cam-

and the Museum of Far Eastern Ceramics

Do you have any special plans for the

bridge, I studied Chinese archaeology at

in Osaka. Many of the great Buddhist

Korean Gallery in terms of exhibitions or

Korea’s culture, art and history are rela-

Dynasty; in painting, the delicate and re-

Beijing University in 1979-80 and started

paintings were collected in Japan by

direction?

tively little known overseas compared to the

fined Buddhist painting of Goryeo as well

working at the British Museum in 1987. I

Bostonians who went to live there in the

We have an exhibition at present in the

country’s economic position. As a curator of

as the “true-view” landscapes of Joseon;

guess I will always have a special place in

late 19th century. They had been stored

adjacent gallery called Divine Depictions-

Korean art, do you have anything to say on

in decorative art, the use of inlay can be

my heart for the British Museum, having

there in temples for hundreds of years.

Joseon Buddhist Paintings. This is a great

this point?

called a Korean characteristic; and fine

worked there for 21 years, studied Korean

Since I arrived in 2008, I have acquired

opportunity to show paintings which

Although Korean art is less well known

quality Korean paper and gold and silver

and curated the Korea Foundation Gal-

twenty works of Korean art , includ-

have been in storage for many years. I am

in the West for historical reasons, the

illuminated manuscripts are also highly

lery, which opened there in 2000.

ing contemporary ceramics and Joseon

determined to make Korean art more ac-

MFA has a very strong Korean collection

developed in Korea.

Dynasty screens. I decided to juxtapose

cessible and better known, after a period

of high quality masterpieces. I think they

Could you tell us a bit about the Korean

contemporary ceramics with traditional

when the collection has been somewhat

will speak for themselves in the new Ko-

Gallery at the Museum of Fine Arts, Boston?

ones to show how present day artists are

overshadowed by that of China and Japan.

rean Gallery.

The Korean Gallery at the MFA originally

engaging with their tradition. We are also

opened in 1982 to mark the centenary

displaying Korean paintings and screens,

You held your first “Korean Foundation

What features distinguish Korean art from

of the establishment of diplomatic rela-

which will rotate every nine months, so

Day” at the museum on November 16, 2012.

the art of other countries?

tions between the USA and Korea in 1882.

there will always be something new to see.

What was the objective for that event, and

For Westerners, there are some common

what results did you see?

features amongst art from East Asian

The newly renovated gallery opened in

30

for plain white porcelain in the Joseon

2012, thirty years later, so it is timely.

How are people responding to the exhibition

We wanted to engage with the local Ko-

countries compared with Western art; for

The gallery is arranged chronologically

in the Korean Gallery?

rean community and encourage greater

example: ink painting on silk and paper,

but with themes within that. Our Korean

I have been told that people like the fresh

interest in Korea amongst the general

mounting of paintings on hanging and

collection, one of the best and oldest in

look, the new Goppion display cases from

population of Boston. There are a huge

hand scrolls and albums, Buddhist art, 31

TELLING MORE

SERIAL LECTURE

is the expression of history, which is

that places the identity of the singular

something be added to it. It has a soul, a

compelling because it is etched with real

and the restoration of the everyday over

spirit, and it even speaks. According to

suffering of the past….Without historical

development and totality. Min has under-

Susanne K. Langer, 1895-1985 if architecture

remembrance there would be no beauty.

scored that “today we must revive our old

is the visualization of the character of a

The past, and with it the cultural land-

spirit of harmony with nature, a tradition

place, architecture must begin by care-

scape, would be accorded guiltlessly to

that perceived heaven, earth and man as

fully listening to the new demands of the

a liberated humanity, free especially of

one.”

land. It is land that has experienced the

nationalism.”

Hisao Koyama, 1937- the Japanese archi-

great expanse of history. Architecture is

History inscribed on the ground; that is

tectural scholar, has written on the im-

the respectful act of revealing its fasci-

the landscape that makes us true. The

portance of the memory of place: “Place

nating language; it is the act of thinking

ruin, a space where the flow of history

can only be perceived as the layering of

deeply and then humbly, adding to the

has ceased, is a beautiful piece of fossil-

culture, that is, as tradition. In the con-

land by building on to it a new poetic

ized landscape. J. B. Jackson 1909-1996 in The

tinuous layering of time, a place is where

language. Only the memory that we were

Necessity for Ruins expands the classical

many different events occur. It is the ba-

once there remains. That is the only spe-

meaning of landscape towards the mod-

sis for a human community to come to-

cific truth.

ern idea of cultural landscape. “That is

gether as one. Place is the foundation and

what I mean when I refer to…the necessi-

central support of the community.”

ty of ruins to origins….The old order has

Indeed, like our fingerprints and the

to die before there can be a born-again

lines on our palms, the memory of the

landscape….History ceases to exist.”

past remains imprinted on all lands. As

The architect Min Hyunsik 1946- has claimed

every fingerprint is unique, so is the pat-

that “in the new era, monumental struc-

tern on every piece of land. Sometimes

tures that symbolize political power, re-

the pattern is created from natural his-

ligious might, and the invisible force of

tory; sometimes it is a pattern imprinted

capital must disappear…Our landscape

through the continuity of human life. The

must be integrated with its surroundings,

record and story of our lives are written

created by figures pulled out from the

on the land. The land is thus a grand and

conditions of the land. Such is the ethics

noble book of history, as precious as it

of human and nature, a spirit that must

can be. Let us call this the “landscript.”

be upheld as the goal of the new millen-

The landscript is an ever-changing or-

nium - an era of multi-centered pluralism

ganism and a life force that demands

*T he above is a summary of the contents of the final lecture in the Creative CEO Course. * S ource: All That is Old is Beautiful (Seung H-sang, Culturegrapher, 2012)

and urban planners, places like Fez or

Pyramid of the Moon in Teotihuacan,

Leather dyeing workshop in Fez

Scenery of Fez

the ancient city of the gods

LANDSCRIPT

BY SEUNG, H-SANG, ARCHITECT

In 2000, the international architectural

between land and building, the ethics

exhibition of the Venice Biennale an-

between building and building, and the

Marrakesh in Morocco, where houses of

nounced its theme of “Less Aesthetics,

ethics between building and human.

similar structure are clustered together.

More Ethics.” I was a bit surprised. Be-

Thus our architecture was in harmony

Theodor Adorno 1903-1969 used the word

cause “Ethics” was a word in Western

with nature, with its surroundings, and

Kulturlandschaft to speak of the beauty

architecture that had long slipped my

with human. It created a landscape in

of history inscribed onto the land. “By

memory. Ethics emerges from the relation

which the whole was in harmony. At the

disengaging the notion of landscape

between the self and others. For Western

beginning of this new age, Western archi-

from its strict association with land and

architecture, dominated by methods of

tecture, which had always emphasized

interpreting it in the tradition of the un-

self-existence, ethics had become all too

dominance and obedience over harmony,

derstanding of urbanity, it is possible to

unfamiliar.

was searching for a new paradigm.

find qualities in the existing that lie be-

For our ancestors, ethics was a necessity.

Like our poor hillside neighborhoods,

yond scientific limits and parameters….

For our ancestors, the first principle of

there are cities in the West that have not

Perhaps the most profound force of re-

architecture was to consider the ethics

felt the touch of the hands of architects

sistance stored in the cultural landscape

32

33

TELLING MORE

SERIAL LECTURE

is the expression of history, which is

that places the identity of the singular

something be added to it. It has a soul, a

compelling because it is etched with real

and the restoration of the everyday over

spirit, and it even speaks. According to

suffering of the past….Without historical

development and totality. Min has under-

Susanne K. Langer, 1895-1985 if architecture

remembrance there would be no beauty.

scored that “today we must revive our old

is the visualization of the character of a

The past, and with it the cultural land-

spirit of harmony with nature, a tradition

place, architecture must begin by care-

scape, would be accorded guiltlessly to

that perceived heaven, earth and man as

fully listening to the new demands of the

a liberated humanity, free especially of

one.”

land. It is land that has experienced the

nationalism.”

Hisao Koyama, 1937- the Japanese archi-

great expanse of history. Architecture is

History inscribed on the ground; that is

tectural scholar, has written on the im-

the respectful act of revealing its fasci-

the landscape that makes us true. The

portance of the memory of place: “Place

nating language; it is the act of thinking

ruin, a space where the flow of history

can only be perceived as the layering of

deeply and then humbly, adding to the

has ceased, is a beautiful piece of fossil-

culture, that is, as tradition. In the con-

land by building on to it a new poetic

ized landscape. J. B. Jackson 1909-1996 in The

tinuous layering of time, a place is where

language. Only the memory that we were

Necessity for Ruins expands the classical

many different events occur. It is the ba-

once there remains. That is the only spe-

meaning of landscape towards the mod-

sis for a human community to come to-

cific truth.

ern idea of cultural landscape. “That is

gether as one. Place is the foundation and

what I mean when I refer to…the necessi-

central support of the community.”

ty of ruins to origins….The old order has

Indeed, like our fingerprints and the

to die before there can be a born-again

lines on our palms, the memory of the

landscape….History ceases to exist.”

past remains imprinted on all lands. As

The architect Min Hyunsik 1946- has claimed

every fingerprint is unique, so is the pat-

that “in the new era, monumental struc-

tern on every piece of land. Sometimes

tures that symbolize political power, re-

the pattern is created from natural his-

ligious might, and the invisible force of

tory; sometimes it is a pattern imprinted

capital must disappear…Our landscape

through the continuity of human life. The

must be integrated with its surroundings,

record and story of our lives are written

created by figures pulled out from the

on the land. The land is thus a grand and

conditions of the land. Such is the ethics

noble book of history, as precious as it

of human and nature, a spirit that must

can be. Let us call this the “landscript.”

be upheld as the goal of the new millen-

The landscript is an ever-changing or-

nium - an era of multi-centered pluralism

ganism and a life force that demands

*T he above is a summary of the contents of the final lecture in the Creative CEO Course. * S ource: All That is Old is Beautiful (Seung H-sang, Culturegrapher, 2012)

and urban planners, places like Fez or

Pyramid of the Moon in Teotihuacan,

Leather dyeing workshop in Fez

Scenery of Fez

the ancient city of the gods

LANDSCRIPT

BY SEUNG, H-SANG, ARCHITECT

In 2000, the international architectural

between land and building, the ethics

exhibition of the Venice Biennale an-

between building and building, and the

Marrakesh in Morocco, where houses of

nounced its theme of “Less Aesthetics,

ethics between building and human.

similar structure are clustered together.

More Ethics.” I was a bit surprised. Be-

Thus our architecture was in harmony

Theodor Adorno 1903-1969 used the word

cause “Ethics” was a word in Western

with nature, with its surroundings, and

Kulturlandschaft to speak of the beauty

architecture that had long slipped my

with human. It created a landscape in

of history inscribed onto the land. “By

memory. Ethics emerges from the relation

which the whole was in harmony. At the

disengaging the notion of landscape

between the self and others. For Western

beginning of this new age, Western archi-

from its strict association with land and

architecture, dominated by methods of

tecture, which had always emphasized

interpreting it in the tradition of the un-

self-existence, ethics had become all too

dominance and obedience over harmony,

derstanding of urbanity, it is possible to

unfamiliar.

was searching for a new paradigm.

find qualities in the existing that lie be-

For our ancestors, ethics was a necessity.

Like our poor hillside neighborhoods,

yond scientific limits and parameters….

For our ancestors, the first principle of

there are cities in the West that have not

Perhaps the most profound force of re-

architecture was to consider the ethics

felt the touch of the hands of architects

sistance stored in the cultural landscape

32

33

TELLING MORE

SERIAL LECTURE

family in Jeonju. Despite her comfortable

may be the only country in the world

situation in life, she chose a difficult path

where people came to the Catholic faith

in life. That is, she chose death, knowing

not through the work of missionaries but

that faith in the Catholic Church meant

from learning of the faith through books.”

death if the world remained unchanged.

As exemplary members of the Catholic

In order to devote herself wholly to her

Church whose faith came through their

faith, she wanted to keep her chastity,

own studies, they made known the fact

and in order to keep her chastity she

they were in danger of disappearing from

agreed to a celibate marriage with a man

the earth and asked for help in this way.

who had the same convictions. The mar-

As they had said, the Joseon Church, or

riage was unavoidable because unmar-

rather, the Joseon people had of their

BY JUNG BYUNGSUL,

ried Catholic believers were more easily

own accord sought out new values, and

PROFESSOR OF KOREAN LANGUAGE AND LITERATURE,

found out. Yi Suni was willing to sacrifice

a new faith and belief. In this context, Yi

to her faith not only her wealth and posi-

Suni is a representative figure. Yi Suni

tion but also her life. With her husband,

and the Joseon Catholic Church speak

who thought the same way, she planned

for the idealism of the Korean people

to use the great wealth to be inherited

at the time, and show the extremes of

from their parents in saving the poor.

idealism put into action. Though the Jo-

At the time Yi Suni was martyred, perse-

seon Catholic Church continued to be

1

BEYOND DEATH: MARTYR YI SUNI'S LETTER FROM PRISON

2

SEOUL NATIONAL UNIVERSITY

34

Less than twenty years after the first

died in Seoul along for their involvement

cution had driven the Catholic Church

persecuted by the government for over a

Catholic baptism in the Joseon Dynasty,

in the Catholic Church. At the time, Jo-

in Korea to the verge of complete an-

century, it managed to survive and later

the number of believers grew rapidly to

seon was a nation of 15 million people. Of

nihilation. The believers died or fell to

experienced explosive growth. Statistics

reach ten thousand. Men, and even more

the Catholic population of ten thousand,

disease; they were driven out of their

show that there are more than five mil-

so women, from members of the rul-

it is estimated that more than one out of

homes to wander round the countryside

lion Catholics in Korea today. With the

ing yangban class to the low-barn were

every ten believers died because of some

suffering from hunger and cold. Helping

addition of the number of Presbyterians,

strongly attracted to the new religion.

connection to the church. This means

each other out, they barely managed to

the number of Christians goes well over

The existing ruling elite hence felt threat-

that almost every Catholic family suf-

survive the crisis, and ten years later they

ten million. This makes Korea a country

ened by the explosive growth of this new

fered in some way.

made their plight known to the Pope

where one in every three or four people

force, which resulted in the persecution

Yi Suni was a believer who was martyred

many miles away over the seas. In their

is a Christian.

of Catholics. In 1791 a Catholic believer

in this persecution. She was captured

letter, the Joseon believers said, “Joseon

was executed for burning his ancestors’

and taken to prison in October 1801 and

spirit tablets and failing to carry out the

beheaded in Jeonju on January 30, 1802.

traditional ancestral memorial rites, but

During her three months in prison, she

in 1801 all-out persecution of Catholics

wrote a letter to her mother and sister-

took place across the country.

in-law. While persecution of Catholics

It is said that more than a hundred peo-

continued for more than a hundred

ple were killed and more than 400 were

years, with believers hunted down and

exiled. These figures, however, only re-

killed, this letter miraculously survived

flect those who were officially punished.

to be handed down to the present. It was

The actual figures would be much higher

found by the Bishop Antoine Daveluy in

if we take into account those who died

the process of organizing the history of

after being beaten in interrogation, from

Korean Catholic martyrs in the late 1850s.

disease contracted in poor prison condi-

Greatly moved by the letter, he said that

tions, and from the after effects of torture

he hoped the precious lives of the mar-

after their release from prison. According

tyrs would be recorded in “letters of gold,”

to “Hwang Sayeong’s Baekseo,” a letter

as he introduced the contents of the letter

written on a piece of silk as the author

to the Western world.

hid in a cave during the height of Catho-

Yi Suni was born to an illustrious family

lic persecution, more than 300 people

in Seoul and married the son of a wealthy

1.

Beheading scene from an album of paintings by Kim Yunbo

3

2.

Stained glass window featuring Yi Suni and her husband Yu Jungcheol at Jeondong Cathedral in Jeonju 3.

Site of the home of Yi Suni’s in-laws, located in Namgye-ri, Iseo-myeon, Wanju, Jeollabuk-do Province

35

TELLING MORE

SERIAL LECTURE

family in Jeonju. Despite her comfortable

may be the only country in the world

situation in life, she chose a difficult path

where people came to the Catholic faith

in life. That is, she chose death, knowing

not through the work of missionaries but

that faith in the Catholic Church meant

from learning of the faith through books.”

death if the world remained unchanged.

As exemplary members of the Catholic

In order to devote herself wholly to her

Church whose faith came through their

faith, she wanted to keep her chastity,

own studies, they made known the fact

and in order to keep her chastity she

they were in danger of disappearing from

agreed to a celibate marriage with a man

the earth and asked for help in this way.

who had the same convictions. The mar-

As they had said, the Joseon Church, or

riage was unavoidable because unmar-

rather, the Joseon people had of their

BY JUNG BYUNGSUL,

ried Catholic believers were more easily

own accord sought out new values, and

PROFESSOR OF KOREAN LANGUAGE AND LITERATURE,

found out. Yi Suni was willing to sacrifice

a new faith and belief. In this context, Yi

to her faith not only her wealth and posi-

Suni is a representative figure. Yi Suni

tion but also her life. With her husband,

and the Joseon Catholic Church speak

who thought the same way, she planned

for the idealism of the Korean people

to use the great wealth to be inherited

at the time, and show the extremes of

from their parents in saving the poor.

idealism put into action. Though the Jo-

At the time Yi Suni was martyred, perse-

seon Catholic Church continued to be

1

BEYOND DEATH: MARTYR YI SUNI'S LETTER FROM PRISON

2

SEOUL NATIONAL UNIVERSITY

34

Less than twenty years after the first

died in Seoul along for their involvement

cution had driven the Catholic Church

persecuted by the government for over a

Catholic baptism in the Joseon Dynasty,

in the Catholic Church. At the time, Jo-

in Korea to the verge of complete an-

century, it managed to survive and later

the number of believers grew rapidly to

seon was a nation of 15 million people. Of

nihilation. The believers died or fell to

experienced explosive growth. Statistics

reach ten thousand. Men, and even more

the Catholic population of ten thousand,

disease; they were driven out of their

show that there are more than five mil-

so women, from members of the rul-

it is estimated that more than one out of

homes to wander round the countryside

lion Catholics in Korea today. With the

ing yangban class to the low-barn were

every ten believers died because of some

suffering from hunger and cold. Helping

addition of the number of Presbyterians,

strongly attracted to the new religion.

connection to the church. This means

each other out, they barely managed to

the number of Christians goes well over

The existing ruling elite hence felt threat-

that almost every Catholic family suf-

survive the crisis, and ten years later they

ten million. This makes Korea a country

ened by the explosive growth of this new

fered in some way.

made their plight known to the Pope

where one in every three or four people

force, which resulted in the persecution

Yi Suni was a believer who was martyred

many miles away over the seas. In their

is a Christian.

of Catholics. In 1791 a Catholic believer

in this persecution. She was captured

letter, the Joseon believers said, “Joseon

was executed for burning his ancestors’

and taken to prison in October 1801 and

spirit tablets and failing to carry out the

beheaded in Jeonju on January 30, 1802.

traditional ancestral memorial rites, but

During her three months in prison, she

in 1801 all-out persecution of Catholics

wrote a letter to her mother and sister-

took place across the country.

in-law. While persecution of Catholics

It is said that more than a hundred peo-

continued for more than a hundred

ple were killed and more than 400 were

years, with believers hunted down and

exiled. These figures, however, only re-

killed, this letter miraculously survived

flect those who were officially punished.

to be handed down to the present. It was

The actual figures would be much higher

found by the Bishop Antoine Daveluy in

if we take into account those who died

the process of organizing the history of

after being beaten in interrogation, from

Korean Catholic martyrs in the late 1850s.

disease contracted in poor prison condi-

Greatly moved by the letter, he said that

tions, and from the after effects of torture

he hoped the precious lives of the mar-

after their release from prison. According

tyrs would be recorded in “letters of gold,”

to “Hwang Sayeong’s Baekseo,” a letter

as he introduced the contents of the letter

written on a piece of silk as the author

to the Western world.

hid in a cave during the height of Catho-

Yi Suni was born to an illustrious family

lic persecution, more than 300 people

in Seoul and married the son of a wealthy

1.

Beheading scene from an album of paintings by Kim Yunbo

3

2.

Stained glass window featuring Yi Suni and her husband Yu Jungcheol at Jeondong Cathedral in Jeonju 3.

Site of the home of Yi Suni’s in-laws, located in Namgye-ri, Iseo-myeon, Wanju, Jeollabuk-do Province

35

DIGESTING NEWS

NEWS

CHILDREN’S MUSEUM LIBRARY “GUREUM MARU” OPENS

ACTIVITIES

INTERNATIONAL SYMPOSIUM HELD TO SHED NEW LIGHT ON GORYEO INLAID LACQUER WARE

At the National Museum of Korea, a library where young visitors and their parents can read and watch videos was opened December 3 in the Children’s Museum. Named “Gureum Maru,” the library is used as an extension of gallery space for special exhibitions, while the existing audio-visual room serves as a place where families can relax and read and keep an eye on their children as they view the exhibition.

National Museum of Korea and the Asia Mu-

importance in understanding the culture of

In addition to reading at the library, children

seum Institute hosted an international sym-

the Goryeo period.

can look at traditional paintings and related

posium focusing on a major work of Goryeo

Though the incense case was damaged

videos. Animated presentations of works that

lacquer ware inlaid with mother-of-pearl

severely during the Japanese colonial period

are familiar to children such as Kim Hongdo’s

(Goryeo najeon), the “Lacquered Incense Box

and the Korean War, it was anticipated that

Seodang (Village School) transform the

with Willow and Waterfowl Design Inlaid in

reexamination of case would shed light on

atmosphere from that of a stuffy library to

Mother-of-Pearl,” held at the NMK’s small

Goryeo najeon craft and furthermore enhance

a fun place like a movie theater.

auditorium Nov. 29-30, 2013.

understanding of the lacquer craft of East

The interior of the library has been designed

During the event, specialists from Korea

Asia.

to set it apart from ordinary libraries and cre-

and other countries carried out a thorough

The main design on the case is a landscape of

ate a place where children and their parents

investigation of the work that represents the

willows, other trees, and waterfowl, similar

can learn and enjoy the museum together.

essence and height of Goryeo najeon. Around

to the designs found on inlaid celadon vessels

The terraced seating allows children to sit

20 Goryeo najeon works remain extant, most

and the famous bronze kundika with silver

and read in comfort.

of which are preserved in Japan or other

inlay, both estimated to date to the 11th and

In the future, a greater and quantity of

countries. The Goryeo najeon incense case

12th centuries. The design hence is important

books will be displayed to draw visitors back

with a design of willow trees and waterfowl

in understanding the craft tradition of the

to the library again and again. Varied special-

in the collection of the NMK is the product

Goryeo period.

ist books that even adults will find useful,

of highly developed skill, and hence of great

will be secured by actively promoting book donation by those with an interest in the

CHILDREN’S MUSEUM HOLDS FIRST SPECIAL EXHIBITION

children’s library.

HIGH DEFINITION CULTURAL HERITAGE CONTENTS AVAILABLE FREE ONLINE

titled “Old Secrets in Old Paintings,” explores the meanings and symbolism hidden in the paintings. As they look at and explore the exhibits one by one, the children are ex-

made available online at no cost, enabling

service drastically reduces the time and cost

The Children’s Museum is holding its first

pected to come to a natural understanding

their use for commercial purposes in the

previously required for offline copying, reduc-

special exhibition since it was opened at the

of the meaning of the objects.

private sector, and in various fields such as

ing the burden for end-users. In addition,

National Museum of Korea to give young

Part 3, titled “Artists Immersed in Nature,”

education, the culture industry, and academic

English-language service is provided to help

visitors easy access to history and culture.

introduces four Joseon artists who were

From January 2014, the National Museum

research. The 7,300 artworks were selected

foreigners enjoy images of Korean cultural

The exhibition, running December 3, 2013 to

particularly engrossed with a particular part

of Korea will make available high definition

by category from the collection of the NMK

heritage also.

September 28, 2014, focuses on paintings of

of nature, for example plum blossoms or

images of major works from its collection,

and regional branch museums include desig-

the Joseon period featuring natural subjects

butterflies, and produced a large number of

organized according to category, via the

nated National Treasures and Treasures. They

that are found all around us including flow-

paintings on that one subject.

online service Nurijip. The images cover

are the representative works most frequently

ers, birds and insects.

Moreover, the Children’s Museum plans

some 60,000 works in total including 7,300

sought out by the public.

From long in the past our ancestors have

to hold varied programs related to the

artworks from the museum, some 40,000

The 15-million-pixel, high-definition images

treasured nature and from nature found

special exhibition. Some examples are the

pages from 122 volumes of uigwe (records of

have been provided in the form of public data

wisdom for living. This attitude was naturally

kindergarten program “Journey through the

state ceremonies) from Oegyujanggak (branch

with the hope that their use will stimulate

reflected in their art. These paintings con-

Forest of Buildings” and “Walk through Old

of the royal library) and some 60,000 pages

growth in various ways. They can be freely

taining subjects familiar to children such as

Paintings with Stories to Tell” for elementary

from 176 volumes of records compiled by the

used in the publishing, cultural product devel-

flowers, birds and insects are presented in

school children. Along with the exhibition

museum under the Japanese Government-

opment, design and related industries, and by

a way that will spark their interest in tradi-

itself, these programs will make it easier

General.

guaranteeing their commercial application it

tional paintings, which may have seemed

for children to understand and enjoy old

The majority of these cultural heritage images

is hoped the free image service will contribute

hard to understand before.

paintings.

are being revealed to the public for the first

to the creation of jobs and new business

Part 1, titled “Winding Journey through the

time through the online service. Images that

start-ups.

Seasons” features a selection of paintings of

could be accessed offline for a fee have been

In addition, the unlimited image download

the four seasons on touch screens. Part 2,

36

37

DIGESTING NEWS

NEWS

CHILDREN’S MUSEUM LIBRARY “GUREUM MARU” OPENS

ACTIVITIES

INTERNATIONAL SYMPOSIUM HELD TO SHED NEW LIGHT ON GORYEO INLAID LACQUER WARE

At the National Museum of Korea, a library where young visitors and their parents can read and watch videos was opened December 3 in the Children’s Museum. Named “Gureum Maru,” the library is used as an extension of gallery space for special exhibitions, while the existing audio-visual room serves as a place where families can relax and read and keep an eye on their children as they view the exhibition.

National Museum of Korea and the Asia Mu-

importance in understanding the culture of

In addition to reading at the library, children

seum Institute hosted an international sym-

the Goryeo period.

can look at traditional paintings and related

posium focusing on a major work of Goryeo

Though the incense case was damaged

videos. Animated presentations of works that

lacquer ware inlaid with mother-of-pearl

severely during the Japanese colonial period

are familiar to children such as Kim Hongdo’s

(Goryeo najeon), the “Lacquered Incense Box

and the Korean War, it was anticipated that

Seodang (Village School) transform the

with Willow and Waterfowl Design Inlaid in

reexamination of case would shed light on

atmosphere from that of a stuffy library to

Mother-of-Pearl,” held at the NMK’s small

Goryeo najeon craft and furthermore enhance

a fun place like a movie theater.

auditorium Nov. 29-30, 2013.

understanding of the lacquer craft of East

The interior of the library has been designed

During the event, specialists from Korea

Asia.

to set it apart from ordinary libraries and cre-

and other countries carried out a thorough

The main design on the case is a landscape of

ate a place where children and their parents

investigation of the work that represents the

willows, other trees, and waterfowl, similar

can learn and enjoy the museum together.

essence and height of Goryeo najeon. Around

to the designs found on inlaid celadon vessels

The terraced seating allows children to sit

20 Goryeo najeon works remain extant, most

and the famous bronze kundika with silver

and read in comfort.

of which are preserved in Japan or other

inlay, both estimated to date to the 11th and

In the future, a greater and quantity of

countries. The Goryeo najeon incense case

12th centuries. The design hence is important

books will be displayed to draw visitors back

with a design of willow trees and waterfowl

in understanding the craft tradition of the

to the library again and again. Varied special-

in the collection of the NMK is the product

Goryeo period.

ist books that even adults will find useful,

of highly developed skill, and hence of great

will be secured by actively promoting book donation by those with an interest in the

CHILDREN’S MUSEUM HOLDS FIRST SPECIAL EXHIBITION

children’s library.

HIGH DEFINITION CULTURAL HERITAGE CONTENTS AVAILABLE FREE ONLINE

titled “Old Secrets in Old Paintings,” explores the meanings and symbolism hidden in the paintings. As they look at and explore the exhibits one by one, the children are ex-

made available online at no cost, enabling

service drastically reduces the time and cost

The Children’s Museum is holding its first

pected to come to a natural understanding

their use for commercial purposes in the

previously required for offline copying, reduc-

special exhibition since it was opened at the

of the meaning of the objects.

private sector, and in various fields such as

ing the burden for end-users. In addition,

National Museum of Korea to give young

Part 3, titled “Artists Immersed in Nature,”

education, the culture industry, and academic

English-language service is provided to help

visitors easy access to history and culture.

introduces four Joseon artists who were

From January 2014, the National Museum

research. The 7,300 artworks were selected

foreigners enjoy images of Korean cultural

The exhibition, running December 3, 2013 to

particularly engrossed with a particular part

of Korea will make available high definition

by category from the collection of the NMK

heritage also.

September 28, 2014, focuses on paintings of

of nature, for example plum blossoms or

images of major works from its collection,

and regional branch museums include desig-

the Joseon period featuring natural subjects

butterflies, and produced a large number of

organized according to category, via the

nated National Treasures and Treasures. They

that are found all around us including flow-

paintings on that one subject.

online service Nurijip. The images cover

are the representative works most frequently

ers, birds and insects.

Moreover, the Children’s Museum plans

some 60,000 works in total including 7,300

sought out by the public.

From long in the past our ancestors have

to hold varied programs related to the

artworks from the museum, some 40,000

The 15-million-pixel, high-definition images

treasured nature and from nature found

special exhibition. Some examples are the

pages from 122 volumes of uigwe (records of

have been provided in the form of public data

wisdom for living. This attitude was naturally

kindergarten program “Journey through the

state ceremonies) from Oegyujanggak (branch

with the hope that their use will stimulate

reflected in their art. These paintings con-

Forest of Buildings” and “Walk through Old

of the royal library) and some 60,000 pages

growth in various ways. They can be freely

taining subjects familiar to children such as

Paintings with Stories to Tell” for elementary

from 176 volumes of records compiled by the

used in the publishing, cultural product devel-

flowers, birds and insects are presented in

school children. Along with the exhibition

museum under the Japanese Government-

opment, design and related industries, and by

a way that will spark their interest in tradi-

itself, these programs will make it easier

General.

guaranteeing their commercial application it

tional paintings, which may have seemed

for children to understand and enjoy old

The majority of these cultural heritage images

is hoped the free image service will contribute

hard to understand before.

paintings.

are being revealed to the public for the first

to the creation of jobs and new business

Part 1, titled “Winding Journey through the

time through the online service. Images that

start-ups.

Seasons” features a selection of paintings of

could be accessed offline for a fee have been

In addition, the unlimited image download

the four seasons on touch screens. Part 2,

36

37

DIGESTING NEWS

EXHIBITIONS

EXHIBITIONS

SILLA: KOREA’S GOLDEN KINGDOM OPENS IN NEW YORK

IN GRAND STYLE: CELEBRATIONS IN KOREAN ART DURING THE JOSEON DYNASTY OPENS IN SAN FRANCISCO

NATIONAL HANGEUL MUSEUM COMPLETED A new museum has been built inside National Museum of Korea complex: the National Hangeul Museum. National Hangeul Mu-

DATE OCTOBER 25, 2013 - JANUARY 12, 2014

seum has been established to promote the

VENUE SPECIAL EXHIBITION GALLERIES AT DATE NOVEMBER 4, 2013 - FEBRUARY 23, 2014

spread of hangul and stimulate rediscovery

THE ASIAN ART MUSEUM, SAN FRANCISCO

of its cultural importance.

VENUE SPECIAL EXHIBITION GALLERY, 1ST FLOOR, METROPOLITAN MUSEUM OF ART, NEW YORK

National Museum of Korea (NMK) opened on

National Hangeul Museum has four floors.

October 25 the special exhibition In Grand

The underground floor is devoted to re-

Style: Celebrations in Korean Art during the

search space, while the first floor features

Joseon Dynasty at the Asian Art Museum,

an archive where a wide range of materials

San Francisco. The grand opening ceremony

on hangul are stored and where information

The opening ceremony for the special

was held at 6:30 p.m. on the 24th, local

can be searched and shared. On the second floor are the permanent exhibition rooms

exhibition Silla: Korea’s Golden Kingdom,

time, with the directors of NMK and National

organized by National Museum of Korea,

Palace Museum of Korea (NPM) attending.

explore the significance of hangul through

Gyeongju National Museum, and the Met-

The exhibition, which runs through January

the developments it brought to everyday

ropolitan Museum of Art in New York, was

12, 2014, is based on a previous show titled

life and fields such as education, art and

held at the Met in New York on October

Rites and Ceremonies held at the National Pal-

publishing. The third floor is devoted to

29. Starting with a press briefing at 10 a.m.

ace Museum in 2009. When Jay Xu, director

an activity area and the special exhibition

that day in the special exhibition gallery,

of the Asian Art Museum, saw the exhibition

the opening events continued with a formal

in Seoul at the time, he expressed the wish

seum of Korea and National Palace Museum

The new museum will facilitate the ac-

ceremony in the evening attended by figures

to host the exhibition in San Francisco. When

as well as National Folk Museum, Kyujang-

cumulation of hangul related materials and

from the art, media and culture circles,

the NPM came on board as co-organizer, the

gak Institute for Korean Studies, Jangseogak

systematic spread and promotion of the

including Kim Youngna, Director-General of

plan grew in scale and richer in content.

Royal Archives, Leeum Samsung Museum

script. Through the visitors to the museum,

the National Museums of Korea; Lee Yeong-

The 110 items featured in the special exhibi-

of Art, Korea University Museum, Dong-A

the culture of the Korean writing system will

hoon, Director of the Gyeongju National

tion In Grand Style: Celebrations in Korean Art

University Museum, Sookmyung Women’s

be recreated and spread, paving the way

Museum; and Thomas P. Campbell, Director

during the Joseon Dynasty cover a wide range

University Museum, and the Korean Museum

for communication with the world using

of the Metropolitan Museum of Art.

from paintings and books to handcrafts,

of Embroidery.

hangul.

The exhibition is composed of three parts.

furniture and costume gathered from ten

The first part focuses on the gold artifacts

institutes in Korea including National Mu-

gallery.

that can be called the most distinctive aspect of Silla culture. Part two highlights Silla’s active exchange with other countries.

The third part of the exhibition focuses on the flourishing Buddhist culture of Silla and features the Gilt-bronze Pensive Bodhisattva, glazed clay plaques from the Sacheonwang-

INCENSE BURNERS OF THE GORYEO DYNASTY DATE DECEMBER 17, 2013 - FEBRUARY 16, 2014 VENUE THEMATIC EXHIBITION GALLERY, MEDIEVAL AND EARLY MODERN HISTORY SECTION

messenger of the Buddha and was hence used to call on the Buddha to impart his teachings. Buddhist incense burners from the Goryeo period include those in the shape of bowls, bottles with long handles, and hanging burners, and the exhibition

sa (Temple of the Four Heavenly Kings), Buddhist images molded on metal plate from

National Museum of Korea hosts the theme

includes works particularly noted for their

the Anapji pond, and clay plaques featuring

exhibition Incense Burners of the Goryeo

diversity and originality. The NMK’s final

bosanghwa (precious visage flower) designs.

Dynasty from December 17, 2013 through

exhibition of 2013, Incense Burners of the

The Metropolitan Museum of Art, the exhi-

February 16, 2014.

Goryeo Dynasty, will give a glimpse into

bition venue, attracts more than six million

The exhibition focuses on showing the tradi-

the place incense had in the culture of the

visitors annually, making it one of the top

tion, international character, and individual-

Goryeo people.

three museums in the world. For one week

ity of incense burners from the Goryeo

following the opening ceremony, the Met’s

period (918-1392). It features 40 major

180,000 members were given the chance to

Buddhism-related and court-related items,

see a preview of the Silla exhibition before it

including Celadon Incense Burner with Lion

officially opened to the public on November

Ornament (National Treasure No. 60).

4 for a run that continues through February

The Goryeo royal court used incense in

23, 2014.

everyday life and also in rites, when incense was burned to signal the start of proceedings. In Buddhism, incense was seen as the

38

39

DIGESTING NEWS

EXHIBITIONS

EXHIBITIONS

SILLA: KOREA’S GOLDEN KINGDOM OPENS IN NEW YORK

IN GRAND STYLE: CELEBRATIONS IN KOREAN ART DURING THE JOSEON DYNASTY OPENS IN SAN FRANCISCO

NATIONAL HANGEUL MUSEUM COMPLETED A new museum has been built inside National Museum of Korea complex: the National Hangeul Museum. National Hangeul Mu-

DATE OCTOBER 25, 2013 - JANUARY 12, 2014

seum has been established to promote the

VENUE SPECIAL EXHIBITION GALLERIES AT DATE NOVEMBER 4, 2013 - FEBRUARY 23, 2014

spread of hangul and stimulate rediscovery

THE ASIAN ART MUSEUM, SAN FRANCISCO

of its cultural importance.

VENUE SPECIAL EXHIBITION GALLERY, 1ST FLOOR, METROPOLITAN MUSEUM OF ART, NEW YORK

National Museum of Korea (NMK) opened on

National Hangeul Museum has four floors.

October 25 the special exhibition In Grand

The underground floor is devoted to re-

Style: Celebrations in Korean Art during the

search space, while the first floor features

Joseon Dynasty at the Asian Art Museum,

an archive where a wide range of materials

San Francisco. The grand opening ceremony

on hangul are stored and where information

The opening ceremony for the special

was held at 6:30 p.m. on the 24th, local

can be searched and shared. On the second floor are the permanent exhibition rooms

exhibition Silla: Korea’s Golden Kingdom,

time, with the directors of NMK and National

organized by National Museum of Korea,

Palace Museum of Korea (NPM) attending.

explore the significance of hangul through

Gyeongju National Museum, and the Met-

The exhibition, which runs through January

the developments it brought to everyday

ropolitan Museum of Art in New York, was

12, 2014, is based on a previous show titled

life and fields such as education, art and

held at the Met in New York on October

Rites and Ceremonies held at the National Pal-

publishing. The third floor is devoted to

29. Starting with a press briefing at 10 a.m.

ace Museum in 2009. When Jay Xu, director

an activity area and the special exhibition

that day in the special exhibition gallery,

of the Asian Art Museum, saw the exhibition

the opening events continued with a formal

in Seoul at the time, he expressed the wish

seum of Korea and National Palace Museum

The new museum will facilitate the ac-

ceremony in the evening attended by figures

to host the exhibition in San Francisco. When

as well as National Folk Museum, Kyujang-

cumulation of hangul related materials and

from the art, media and culture circles,

the NPM came on board as co-organizer, the

gak Institute for Korean Studies, Jangseogak

systematic spread and promotion of the

including Kim Youngna, Director-General of

plan grew in scale and richer in content.

Royal Archives, Leeum Samsung Museum

script. Through the visitors to the museum,

the National Museums of Korea; Lee Yeong-

The 110 items featured in the special exhibi-

of Art, Korea University Museum, Dong-A

the culture of the Korean writing system will

hoon, Director of the Gyeongju National

tion In Grand Style: Celebrations in Korean Art

University Museum, Sookmyung Women’s

be recreated and spread, paving the way

Museum; and Thomas P. Campbell, Director

during the Joseon Dynasty cover a wide range

University Museum, and the Korean Museum

for communication with the world using

of the Metropolitan Museum of Art.

from paintings and books to handcrafts,

of Embroidery.

hangul.

The exhibition is composed of three parts.

furniture and costume gathered from ten

The first part focuses on the gold artifacts

institutes in Korea including National Mu-

gallery.

that can be called the most distinctive aspect of Silla culture. Part two highlights Silla’s active exchange with other countries.

The third part of the exhibition focuses on the flourishing Buddhist culture of Silla and features the Gilt-bronze Pensive Bodhisattva, glazed clay plaques from the Sacheonwang-

INCENSE BURNERS OF THE GORYEO DYNASTY DATE DECEMBER 17, 2013 - FEBRUARY 16, 2014 VENUE THEMATIC EXHIBITION GALLERY, MEDIEVAL AND EARLY MODERN HISTORY SECTION

messenger of the Buddha and was hence used to call on the Buddha to impart his teachings. Buddhist incense burners from the Goryeo period include those in the shape of bowls, bottles with long handles, and hanging burners, and the exhibition

sa (Temple of the Four Heavenly Kings), Buddhist images molded on metal plate from

National Museum of Korea hosts the theme

includes works particularly noted for their

the Anapji pond, and clay plaques featuring

exhibition Incense Burners of the Goryeo

diversity and originality. The NMK’s final

bosanghwa (precious visage flower) designs.

Dynasty from December 17, 2013 through

exhibition of 2013, Incense Burners of the

The Metropolitan Museum of Art, the exhi-

February 16, 2014.

Goryeo Dynasty, will give a glimpse into

bition venue, attracts more than six million

The exhibition focuses on showing the tradi-

the place incense had in the culture of the

visitors annually, making it one of the top

tion, international character, and individual-

Goryeo people.

three museums in the world. For one week

ity of incense burners from the Goryeo

following the opening ceremony, the Met’s

period (918-1392). It features 40 major

180,000 members were given the chance to

Buddhism-related and court-related items,

see a preview of the Silla exhibition before it

including Celadon Incense Burner with Lion

officially opened to the public on November

Ornament (National Treasure No. 60).

4 for a run that continues through February

The Goryeo royal court used incense in

23, 2014.

everyday life and also in rites, when incense was burned to signal the start of proceedings. In Buddhism, incense was seen as the

38

39

DIGESTING NEWS

HIDDEN PLACE

CELADON GALLERY AT THE NMK OPENS AFTER RENEWAL

Venue Celadon Gallery, Sculpture and Crafts Section of the Permanent Exhibition Opening date November 26, 2013

tea vessels, as well as decorating techniques such as incising, embossing, and openwork, and the beauty of works made in the shape of animals or plants. Also covered in this part of the exhibition are the relationship between metal crafts and celadon wares, and the influence of Chinese ceramics, themes which shed light on the status and role of Goryeo celadon as practical used in everyday life to serve tea, liquor and food and as beautiful works of art for appreciation.

The exhibition is not simply an array of famous masterpieces

but an arrangement of works according to theme in enjoyable number and density. Following the layout of the exhibition, visitors can easily track the overall history of Goryeo celadon while also exploring individual works under diverse themes that give a glimpse into life in Goryeo times. Compared to the previous standing exhibition which featured only 60 items, the new display had been greatly expanded to 160 works (not counting the celadon shards), including 11 National Treasures and 6 Treasures. Moreover, it features all the works found in elementary and secondary school textbooks, satisfying both educational and art appreciation purposes.

Redesign of the gallery included reinforcement of the structural features that have been in

place since the museum moved into its new home in Yongsan in 2005 and a change in the color of the walls and vitrines. Smaller artifacts have also been placed in new display cabinets suited for their size, enabling visitors to look at them up close. The greatest change may be the lighting. The lights have all been replaced with new ones and all efforts have been made to show the color of celadon as if under natural light. In fact, the major factor in the redesign of the gallery was to fulfill the universal desire to appreciate the true color of the Goryeo celadon pieces. To enhance the viewing experience and increase understanding of celadon, new audio-visual materials providing varied information have been installed at strategic points throughout the exhibition. With the reopening of the celadon gallery, the NMK hopes to see visitors from Korea and abroad enjoy the exquisite beauty of Goryeo celadon in an atmosphere that takes them back to Goryeo times.

National Museum of Korea’s Celadon Gallery was reopened Nov. 26 after a renewal project. Part of the permanent exhibition, the Celadon Gallery’s renewal comes as part of an annual project to improve the galleries and provide a more pleasant environment in which visitors can explore Korea’s cultural treasures. In terms of content, the new exhibition aims to show the essence and aesthetics of Goryeo celadon in its heyday through varied themes following the history of its development. In terms of design, the interior environment has been greatly enhanced to highlight the particular beauty of Goryeo celadon.

The reorga-

nized exhibition in the Celadon Gallery can be largely divided into two themes: “Color and Form,” which focuses on the jade-green color characterizing celadon, and “Decoration and Designs,” which focuses on the inlay technique. The jade-green color and inlay technique are two features representative of Goryeo celadon at its peak.

The “Color and Form” part of the exhibition explores different stages in the development

of the color of celadon glaze, which grew increasingly deeper from the time celadon was first made to produce

DIGESTING NEWS

HIDDEN PLACE

CELADON GALLERY AT THE NMK OPENS AFTER RENEWAL

Venue Celadon Gallery, Sculpture and Crafts Section of the Permanent Exhibition Opening date November 26, 2013

tea vessels, as well as decorating techniques such as incising, embossing, and openwork, and the beauty of works made in the shape of animals or plants. Also covered in this part of the exhibition are the relationship between metal crafts and celadon wares, and the influence of Chinese ceramics, themes which shed light on the status and role of Goryeo celadon as practical used in everyday life to serve tea, liquor and food and as beautiful works of art for appreciation.

The exhibition is not simply an array of famous masterpieces

but an arrangement of works according to theme in enjoyable number and density. Following the layout of the exhibition, visitors can easily track the overall history of Goryeo celadon while also exploring individual works under diverse themes that give a glimpse into life in Goryeo times. Compared to the previous standing exhibition which featured only 60 items, the new display had been greatly expanded to 160 works (not counting the celadon shards), including 11 National Treasures and 6 Treasures. Moreover, it features all the works found in elementary and secondary school textbooks, satisfying both educational and art appreciation purposes.

Redesign of the gallery included reinforcement of the structural features that have been in

place since the museum moved into its new home in Yongsan in 2005 and a change in the color of the walls and vitrines. Smaller artifacts have also been placed in new display cabinets suited for their size, enabling visitors to look at them up close. The greatest change may be the lighting. The lights have all been replaced with new ones and all efforts have been made to show the color of celadon as if under natural light. In fact, the major factor in the redesign of the gallery was to fulfill the universal desire to appreciate the true color of the Goryeo celadon pieces. To enhance the viewing experience and increase understanding of celadon, new audio-visual materials providing varied information have been installed at strategic points throughout the exhibition. With the reopening of the celadon gallery, the NMK hopes to see visitors from Korea and abroad enjoy the exquisite beauty of Goryeo celadon in an atmosphere that takes them back to Goryeo times.

National Museum of Korea’s Celadon Gallery was reopened Nov. 26 after a renewal project. Part of the permanent exhibition, the Celadon Gallery’s renewal comes as part of an annual project to improve the galleries and provide a more pleasant environment in which visitors can explore Korea’s cultural treasures. In terms of content, the new exhibition aims to show the essence and aesthetics of Goryeo celadon in its heyday through varied themes following the history of its development. In terms of design, the interior environment has been greatly enhanced to highlight the particular beauty of Goryeo celadon.

The reorga-

nized exhibition in the Celadon Gallery can be largely divided into two themes: “Color and Form,” which focuses on the jade-green color characterizing celadon, and “Decoration and Designs,” which focuses on the inlay technique. The jade-green color and inlay technique are two features representative of Goryeo celadon at its peak.

The “Color and Form” part of the exhibition explores different stages in the development

of the color of celadon glaze, which grew increasingly deeper from the time celadon was first made to produce

NATIONAL MUSEUM OF KOREA

QUARTERLY MAGAZINE

QUARTERLY MAGAZINE

FEATURE WESTERN SCIENCE COMES TO JOSEON

VENUE

MAY �-AUGUST ��, ����

SPECIAL EXHIBITION GALLERY

WINTER 2013

DATE

VOL. 26

MASTERPIECES FROM THE MUSÉE D’ORSAY

CURATOR TALK

SPECIAL EXHIBITION

THE SPLENDID AND DELICATE

FALLING UNDER THE SPELL OF

COLORS OF FLOWERS, GRASSES

THE CONGO RIVER

AND BIRDS NMK EXHIBITION TAOIST CULTURE IN KOREA: THE ROAD TO HAPPINESS JOSEON MUSICAL INSTRUMENTS FROM AMERICA

Masterpieces from the Musée d’Orsay explore the origins of modern art through the development of post-impressionism. The

RNM EXHIBITION

exhibition will feature the works of the greatest European masters of

ONE THOUSAND YEARS OF MOKSAGOL NAJU

the latter half of the ��th century including post-impressionists from Monet and Degas to Van Gogh, Cezanne and Gaugin, as well as symbolism artists such as Rousseau and Redon. Covering the genres of painting, sculpture, drawing, photography and handicraft, the wide range of exhibits reflect the rapid changes in urban culture at the end of the century. By investigating the changes in art against the background of the times, the exhibition will not only show visitors the brilliant art of ��th century France but also a glimpse of the society that produced it.

VOL.26 PUBLISHED BY NATIONAL MUSEUM OF KOREA WINTER 2013

ISSN: 2005-1123