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