Nationalmuseumofkoreavol27 en

NATIONAL MUSEUM OF KOREA | QUARTERLY MAGAZINE

PUBLISHED BY NATIONAL MUSEUM OF KOREA

ENCOUNTER WITH AMITAYUS IN SUKHAVATI— BUDDHIST HANGING SCROLL AT HEUNGGUKSA TEMPLE VOL. 27

DATE MAY 2-OCTOBER 26, 2014 VENUE BUDDHIST PAINTING GALLERY, CALLIGRAPHY AND PAINTING SECTION

SPRING 2014

The National Museum of Korea presents the thematic exhibition

SPECIAL COLUMN OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

Encounter with Amitāyus in Sukhāvatī—Buddhist Hanging Scroll at Heungguksa Temple featuring a large hanging scroll once used for Buddhist outdoor rituals. This display is part of the regular series of Buddhist painting exhibitions held at the National Museum of

CURATOR TALK HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

Korea, and the Buddhist hanging scroll from Heungguksa Temple in Goyang will be presented to the public on this occasion. The exhibi-

CULTURE THEMA

tion is an opportunity to understand traditional heritage and appre-

ORIGIN OF THE TWIN-BIRD

ciate new directions in modern Korean Buddhist art.

AND BEAD MOTIF

THEMA EXHIBITION NEW ACQUISITIONS OF ASIAN ART

QUARTERLY MAGAZINE

SPRING 2014 VOL.27 ISSN: 2005-1123

DIRECTOR'S MESSAGE

CONTENTS

The beautiful spring days have come with lovely new blossoms covering the once

National Museum of Korea

sparse branches. In this season, National Museum of Korea is also full of energy with

140-026, Korea

as a variety of exhibitions and programs get under way.

137 Seobinggo-ro, Yongsan-gu, Seoul, Tel: (82 2) 2077-9573 Fax: (82 2) 2077-9258 E-mail: polagu47@korea.kr

QUARTERLY MAGAZINE VOL.27 SPRING 2014

A rich array of exhibitions has been organized for 2014. Starting with Beyond Impressionism: Masterpieces from the Musée d’Orsay, special exhibitions include Blue and White Porcelain of the Joseon Dynasty, and the Pompeii, Culture of the Ancient Roman City. They are a precious opportunity to see some of the world’s greatest masterpieces in Seoul at the NMK. Thematic exhibitions such as New Acquisitions of Asian Art and Encounter with Amitāyus in Sukhāvatī, Buddhist Hanging Scroll at Heungguksa Temple will be an exciting

Design and Production:

CURATOR TALK

CULTURE THEMA

Ahn Graphics Inc., Editorial Team

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

12

Translation / Revision: Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

magazine, abides by the principles set forth by the Korean Committee for

enhance visitors’ understanding of the objects on display while the rest areas and

Ethics in Book and Magazine Publication.

convenience facilities are being continually improved. For the benefit of visitors both

reproduced or transmitted in any form or

No part of this publication may be

from Korea and overseas, the education programs have also been improved while the

by any means, electronic or mechanical,

exhibition guide service is being expanded.

other information storage and retrieval

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN

In 2014 National Museum of Korea, the English magazine, has been upgraded to reflect Printed in Korea

a way to tell stories of the culture of the past, which is coming under increasing atten-

National Museum of Korea.

26

All rights reserved. ISSN: 2005-1123 Note to Readers:

New Space, New View gives an overview of the gallery renewal projects that were

in the following order: title, period or

The related information of image is given

completed last year and shows how the NMK has been improved for easier and more

produced year, material, dimensions and

comfortable viewing.

Items from all other institutions are

management number. classified by their collection names.

CONNECT WITH WORLD

show more clearly and dramatically the beauty and diversity of Korean art. In addition,

RNM EXHIBITION

RNM EXHIBITION

writing from the publisher.

Copyright © 2014

16 20

including photocopy, recording, or any

these various endeavors of the museum. Special Column highlights excavated objects as

THEMA EXHIBITION

NEW ACQUISITIONS OF ASIAN ART

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY

system, without prior permission in

tion. In Curator Talk and Culture Thema different works or fields of art are compared to

02 08

Design Team of the NMK

National Museum of Korea, a quarterly

Special exhibitions aside, the permanent exhibition galleries have been rearranged to

SPECIAL COLUMN

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

Editorial Direction:

CONNECT WITH NMK

visual experience for visitors coming to the museum to take a break from the daily life.

CONNECT WITH LEGACY

Publisher:

PEOPLE AT NMK

YOUNG FRIENDS OF THE MUSEUM: GATHERING AS KEEPERS OF THE KOREAN CULTURE

30 LECTURE AT NMK

AT THE CROSSROADS IN A TIME OF TRANSITION: LOYAL OFFICIALS VS. MERITORIOUS OFFICIALS

Nothing could be more welcome these days than the warm breezes of spring. Cordially expect the NMK’s pleasant changes with diverse cultures as the season’s warmth.

32 TALK AT FACEBOOK

Thank you.

STYLE AND DESIGN FROM FACEBOOK

34 CONNECT WITH NEWS

Kim Youngna DIRECTOR-GENERAL, THE NATIONAL MUSEUMS OF KOREA

N EWS & PUBLICATIONS

36 EXHIBITIONS

38 NEW SPACE, NEW VIEW

A SMILE THAT TRANSCENDS THE AGES: BUDDHIST SCULPTURE GALLERY AND PENSIVE BODHISATTVA GALLERY

40

DIRECTOR'S MESSAGE

CONTENTS

The beautiful spring days have come with lovely new blossoms covering the once

National Museum of Korea

sparse branches. In this season, National Museum of Korea is also full of energy with

140-026, Korea

as a variety of exhibitions and programs get under way.

137 Seobinggo-ro, Yongsan-gu, Seoul, Tel: (82 2) 2077-9573 Fax: (82 2) 2077-9258 E-mail: polagu47@korea.kr

QUARTERLY MAGAZINE VOL.27 SPRING 2014

A rich array of exhibitions has been organized for 2014. Starting with Beyond Impressionism: Masterpieces from the Musée d’Orsay, special exhibitions include Blue and White Porcelain of the Joseon Dynasty, and the Pompeii, Culture of the Ancient Roman City. They are a precious opportunity to see some of the world’s greatest masterpieces in Seoul at the NMK. Thematic exhibitions such as New Acquisitions of Asian Art and Encounter with Amitāyus in Sukhāvatī, Buddhist Hanging Scroll at Heungguksa Temple will be an exciting

Design and Production:

CURATOR TALK

CULTURE THEMA

Ahn Graphics Inc., Editorial Team

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

12

Translation / Revision: Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

magazine, abides by the principles set forth by the Korean Committee for

enhance visitors’ understanding of the objects on display while the rest areas and

Ethics in Book and Magazine Publication.

convenience facilities are being continually improved. For the benefit of visitors both

reproduced or transmitted in any form or

No part of this publication may be

from Korea and overseas, the education programs have also been improved while the

by any means, electronic or mechanical,

exhibition guide service is being expanded.

other information storage and retrieval

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN

In 2014 National Museum of Korea, the English magazine, has been upgraded to reflect Printed in Korea

a way to tell stories of the culture of the past, which is coming under increasing atten-

National Museum of Korea.

26

All rights reserved. ISSN: 2005-1123 Note to Readers:

New Space, New View gives an overview of the gallery renewal projects that were

in the following order: title, period or

The related information of image is given

completed last year and shows how the NMK has been improved for easier and more

produced year, material, dimensions and

comfortable viewing.

Items from all other institutions are

management number. classified by their collection names.

CONNECT WITH WORLD

show more clearly and dramatically the beauty and diversity of Korean art. In addition,

RNM EXHIBITION

RNM EXHIBITION

writing from the publisher.

Copyright © 2014

16 20

including photocopy, recording, or any

these various endeavors of the museum. Special Column highlights excavated objects as

THEMA EXHIBITION

NEW ACQUISITIONS OF ASIAN ART

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY

system, without prior permission in

tion. In Curator Talk and Culture Thema different works or fields of art are compared to

02 08

Design Team of the NMK

National Museum of Korea, a quarterly

Special exhibitions aside, the permanent exhibition galleries have been rearranged to

SPECIAL COLUMN

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

Editorial Direction:

CONNECT WITH NMK

visual experience for visitors coming to the museum to take a break from the daily life.

CONNECT WITH LEGACY

Publisher:

PEOPLE AT NMK

YOUNG FRIENDS OF THE MUSEUM: GATHERING AS KEEPERS OF THE KOREAN CULTURE

30 LECTURE AT NMK

AT THE CROSSROADS IN A TIME OF TRANSITION: LOYAL OFFICIALS VS. MERITORIOUS OFFICIALS

Nothing could be more welcome these days than the warm breezes of spring. Cordially expect the NMK’s pleasant changes with diverse cultures as the season’s warmth.

32 TALK AT FACEBOOK

Thank you.

STYLE AND DESIGN FROM FACEBOOK

34 CONNECT WITH NEWS

Kim Youngna DIRECTOR-GENERAL, THE NATIONAL MUSEUMS OF KOREA

N EWS & PUBLICATIONS

36 EXHIBITIONS

38 NEW SPACE, NEW VIEW

A SMILE THAT TRANSCENDS THE AGES: BUDDHIST SCULPTURE GALLERY AND PENSIVE BODHISATTVA GALLERY

40

CONNECT WITH LEGACY

SPECIAL COLUMN

NMK 2014 SPRING

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

Long-necked Bottle with Wave and Flower Design in Underglaze Iron Black Jizhou Yuan Dynasty H. 14.1 cm sin 6626

BY JANG SUNGWOOK, ASSOCIATE CURATOR OF THE FINE ARTS DEPARTMENT

I

n the 13th century, the Mongol Empire imposed a politi-

Underwater excavations were conducted at the shipwreck site

The Mongols created a network of post stations that sup-

over nine years, from 1976 to 1984. More than 22,000 artifacts,

ported the delivery of documents, travel by officials or

including many thousands of ceramic pieces; twenty-eight tons of

envoys, and transport of goods, activities that significantly facili-

coins; more than 1,000 red sandalwood logs; and some 720 pieces

tated exchanges between East and West.

of the ship’s hull were hauled up. The site survey revealed that the

By the 13th century, the Silk Road had multiple routes, both

ship, laden with trade goods, had left the Chinese port of Ningbo

overland in the north and maritime in the south. However, sub-

(in Zhejiang) and was bound for Japan around 1323. At the time,

sequent advancements in navigation enabled large-scale ship-

many Buddhist temples and Shinto Shrines were being estab-

ments by sea, making the Southern Route the most used. This

lished in Japan, and frequent exchanges were being made with

“Maritime Silk Road” was also known as the “Pottery Road” or

China in order to procure the necessary items for these projects.

“Spice Road” because Chinese pottery compasses, silk and tea

Cash coins with the Zhida period 至大通寶 1308-1311 inscription

as well as gunpowder-making and printing techniques traveled

and wooden tablets inscribed with “third year of Zhizhi,” the

along this seaway to western regions. At the same time, Islamic

reign period of Yuan Yingzong Emperor, 英宗, r. 1320-1323 thus 1323. In

astronomy, calendar-making and military machines were mak-

addition, the ship construction methods as well as the kitchen

ing their way into China. Meanwhile, Indian and Southeast Asian

vessels, millstones, and other items used by the crew verify that

herbs and spices were being carried to Goryeo (today’s Korea)

the ship was Chinese. At the same time, the presence of Japanese

and Japan via China.

Shougi 將棋 chn; Jiangqi, Kor; Janggi chess boards and wooden clogs as well

Given this backdrop, the Sinan Shipwreck demonstrates the scope and scale of maritime trade at that time. The wreck was dis-

02

ince. The wreck site was named after the area where it is located.

cal order that encompassed most of the Asian continent.

as Goryeo spoons indicate that Japanese and Goryeo people were on board.

covered in 1975 after a fisherman found several artifacts, including

Scale weights bearing the inscription “Qingyuanlu” 慶元路 were

a celadon vase, in the coastal waters off Sinan, Jeollanam-do Prov-

excavated from the site, indicating that the ship was traversing

03

CONNECT WITH LEGACY

SPECIAL COLUMN

NMK 2014 SPRING

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

Long-necked Bottle with Wave and Flower Design in Underglaze Iron Black Jizhou Yuan Dynasty H. 14.1 cm sin 6626

BY JANG SUNGWOOK, ASSOCIATE CURATOR OF THE FINE ARTS DEPARTMENT

I

n the 13th century, the Mongol Empire imposed a politi-

Underwater excavations were conducted at the shipwreck site

The Mongols created a network of post stations that sup-

over nine years, from 1976 to 1984. More than 22,000 artifacts,

ported the delivery of documents, travel by officials or

including many thousands of ceramic pieces; twenty-eight tons of

envoys, and transport of goods, activities that significantly facili-

coins; more than 1,000 red sandalwood logs; and some 720 pieces

tated exchanges between East and West.

of the ship’s hull were hauled up. The site survey revealed that the

By the 13th century, the Silk Road had multiple routes, both

ship, laden with trade goods, had left the Chinese port of Ningbo

overland in the north and maritime in the south. However, sub-

(in Zhejiang) and was bound for Japan around 1323. At the time,

sequent advancements in navigation enabled large-scale ship-

many Buddhist temples and Shinto Shrines were being estab-

ments by sea, making the Southern Route the most used. This

lished in Japan, and frequent exchanges were being made with

“Maritime Silk Road” was also known as the “Pottery Road” or

China in order to procure the necessary items for these projects.

“Spice Road” because Chinese pottery compasses, silk and tea

Cash coins with the Zhida period 至大通寶 1308-1311 inscription

as well as gunpowder-making and printing techniques traveled

and wooden tablets inscribed with “third year of Zhizhi,” the

along this seaway to western regions. At the same time, Islamic

reign period of Yuan Yingzong Emperor, 英宗, r. 1320-1323 thus 1323. In

astronomy, calendar-making and military machines were mak-

addition, the ship construction methods as well as the kitchen

ing their way into China. Meanwhile, Indian and Southeast Asian

vessels, millstones, and other items used by the crew verify that

herbs and spices were being carried to Goryeo (today’s Korea)

the ship was Chinese. At the same time, the presence of Japanese

and Japan via China.

Shougi 將棋 chn; Jiangqi, Kor; Janggi chess boards and wooden clogs as well

Given this backdrop, the Sinan Shipwreck demonstrates the scope and scale of maritime trade at that time. The wreck was dis-

02

ince. The wreck site was named after the area where it is located.

cal order that encompassed most of the Asian continent.

as Goryeo spoons indicate that Japanese and Goryeo people were on board.

covered in 1975 after a fisherman found several artifacts, including

Scale weights bearing the inscription “Qingyuanlu” 慶元路 were

a celadon vase, in the coastal waters off Sinan, Jeollanam-do Prov-

excavated from the site, indicating that the ship was traversing

03

CONNECT WITH LEGACY

NMK 2014 SPRING

Celadon Vase with Fish-like Dragon Handles Longquan Yuan Dynasty H. 15.8 cm sin 6558

Celadon Large Vase with Incised Peony Design Longquan Yuan Dynasty H. 45.2 cm, (mouth) D. 19.9 cm, (bottom) D. 11.6 cm sin 1014

Opaque White-glazed Basin Tiedian Yuan Dynasty H. 5.3 cm, (mouth) D. 15.3 cm, (bottom) D. 8.6 cm sin 74

White Porcelain Bowl with Impressed Flower Design Jingdezhen Yuan Dynasty H. 6.6 cm, (mouth) D. 17.8 cm, (bottom) D. 5.6 cm sin 18394

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

Black-glazed Jar Qilizhen Yuan Dynasty H. 8.0 cm, (mouth) D. 8.0 cm, (bottom) D. 3.6 cm sin 20362

Black-glazed Jar Hongtang Yuan Dynasty H. 8.3 cm sin 22832

Brown-glazed Jar with Four Lugs Shiwan Yuan Dynasty H. 41.6 cm, (mouth) D. 12.1 cm, (bottom) D. 15.0 cm sin 15319

Black-glazed Bottle Cizhou Yuan Dynasty H. 30.5 cm sin 7298

a regular route 路 from the port of Qingyuan, 慶元 an old name for

produced during the Yuan are larger in size than in previous pe-

The Jingdezhen kilns, which are among China’s most famous,

shallow bowls 碗 and jars 壺 were retrieved. Noteworthy are the

Ningbo. 寧波 In addition, ink handwriting on the wooden tablets,

riods, the vessel walls are thick, and the shapes are coarse. The

are located in Jiangxi. Ceramics produced here were being sold

pieces of black-painted porcelain on a white base, which were

which were attached to pieces of cargo, stated the times of load-

glaze is also heavier and the green coloration is deep. Vessels for

outside China from as early as the Tang and Song, and the pro-

first produced in the Cizhou kilns in Hebei Province, in the north

ing the trade goods (4th through 6th lunar months) as well as

everyday use make up the bulk of the Longquan ware recovered

duction techniques advanced further during the Yuan, making

of China. The Cizhou potters applied Chinese ink & wash painting

and the

from the Sinan Shipwreck, while some of the pieces are meant

Jingdezhen one of China’s main ceramic production centers.

techniques to decorate their porcelain ware, and after the Song

Shinto temple Hakozakigu 筥崎神社 in Hakada as well as the Bud-

for ritual use. Moreover, the shapes of the ceramic pieces as well

The Jingdezhen ware from the Sinan Shipwreck can be cate-

lost control of northern China to the Jin 金 they moved south and

as their decorations and glazing suggest that they were mostly

gorized into bluish-white porcelain, Shufu-style white porcelain,

settled in the Jizhou area. From this time, Cizhou ware imitations

and Ding-style white porcelain. The bluish-white porcelain cate-

began to be produced at the Jizhou kilns.

the destinations the Buddhist hermitage dhist temple

Tofukuji 東福寺

Chojakuan 釣寂庵

in Kyoto. This means the ship was tak-

ing advantage of the southwest trade winds of summer to carry this cargo to Japan.

made at the main Longquan kiln site.

龍泉大窯, Longquan daiyao

The Tiedian kilns were in Jinhua, Zhejiang Province, and the

gory, which represents the majority the Jingdezhen white porcebowls, 碗

plates, 盤

The Qilizhen kilns at Ganzhou, 竷州 Jiangxi Province began

Importantly, some 20,000 pieces of Chinese celadon were

color quality of the celadon produced there was completely dif-

lain pieces found, includes shallow

high-footed

operating in the late Tang and continued to function through the

brought up from the Sinan Shipwreck, providing a snapshot of

ferent from that coming out of Longquan kilns. The Jinhua re-

cups, jars, bottles, ewers, censers, water droppers, and human fig-

Yuan. Bluish-white porcelain and black-glazed ceramics were

the pottery trade in 14th century East Asia. The cargo has been

gion mainly produced pottery with a celadon glaze, starting from

ures. Interestingly, many of the bluish-white porcelain pieces do

produced here during the Song, but in the Yuan this became the

found to have originated from diverse locations, including the

as early as the Eastern Han (25-220 CE). In the Yuan, 1271-1368 the

not have glaze on the mouth and were fired upside-down. This

center of black-glazed ceramic ware. Black-glazed jar with willow

Longquan, Tiedian, and Laohudong kilns in Zhejiang; Jingdezhen,

Tiedian kilns took to using an opaque glaze in imitation of the

was the firing method employed for mass-production of Ding

design from the Sinan Shipwreck were produced at the Qilizhen

Jizhou and Qilizhen kilns in Jiangxi; Ji'an, 吉安 Minqing and Hon-

milky-glazed ceramics 乳濁釉磁器 from the Jun kilns 鈞窯 in Henan

ware in Hebei Province during the Song, and it continued to be

kilns and they can be classified into several categories according

gtang kilns in Fujian; Shiwan kilns in Guangdong; Cizhou kilns

province. The glaze at Tiedian was heavy and produced a charac-

practiced at Jingdezhen. Shufu-style white porcelain pieces were

to the glaze used. The Qilizhen kilns were geographically near

in Hebei; and Yixing kilns, in Jiangsu. Some sixty percent of all

teristic hue, as seen on the flowerpots, bottles, tripod basins, ew-

also among the Sinan Shipwreck artifacts, and designs painted

the Tiedian kilns, where opaque white-glazed porcelain was pro-

the ceramics came from Longquan.

ers, and four-lug

jars 四耳壺

raised from the Sinan Shipwreck.

in underglaze iron were found inside the base. Finally, the Ding-

duced, and these pieces indicate that pottery-making techniques

The Longquan kilns were located at Longquan in southwest-

The Laohudong kilns at Hangzhou, Zhejiang Province pro-

style white porcelains feature ivory yellow glaze and stamped

were exchanged between the two sites.

ern Zhejiang Province. The English word “celadon” for a class

duced celadon ware for government use during the Southern

designs suggest that they are imitations of Ding ware that were

of ceramics originated from Longquan ware, which became

Song and continued that traditions in the Yuan. The official ware,

produced at a different location.

synonymous with the beautiful celadon coloration. The finest

or Ge ware, 哥窯 is celadon decorated with fine crackles in the

The Jizhou kilns are located in Ji'an, Jiangxi Province and

black-glazed Tenmoku 天目 tea bowls from Japan are more famous.

pieces of Longquan ware are characterized has having a light

glaze. Laohudong celadon pieces from the Sinan Shipwreck in-

are noted for porcelains with black decoration on a white back-

The Jian kilns, situated in the Jianyang area of Fujian Province,

greenish-blue, an effect first achieved at the government kilns

clude incense burners and bottles; their clay bodies are dark, and

ground and for black-glazed stoneware. Artifacts of the former

produced ceramics from the end of the Tang through the Yuan.

of the Southern Song. The glaze is applied repeatedly to achieve

the bottom of the feet bears traces of five or six clay spurs, which

type gleaned from the Sinan Shipwreck include bottles, jars and

The fame of these kilns disappeared with the fall of the Song, but

a refined jade-like texture. Much of the celadon Longquan ware

were attached during firing.

deep bowls, 鉢 while in the latter type, bottles with two handles,

in 14th century Japan, the tea ceremony was immensely popular

04

Also recovered from the Sinan Shipwreck are dozens of blackglazed tea bowls made at China’s Jian kilns, 建窯 although the

05

CONNECT WITH LEGACY

NMK 2014 SPRING

Celadon Vase with Fish-like Dragon Handles Longquan Yuan Dynasty H. 15.8 cm sin 6558

Celadon Large Vase with Incised Peony Design Longquan Yuan Dynasty H. 45.2 cm, (mouth) D. 19.9 cm, (bottom) D. 11.6 cm sin 1014

Opaque White-glazed Basin Tiedian Yuan Dynasty H. 5.3 cm, (mouth) D. 15.3 cm, (bottom) D. 8.6 cm sin 74

White Porcelain Bowl with Impressed Flower Design Jingdezhen Yuan Dynasty H. 6.6 cm, (mouth) D. 17.8 cm, (bottom) D. 5.6 cm sin 18394

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

Black-glazed Jar Qilizhen Yuan Dynasty H. 8.0 cm, (mouth) D. 8.0 cm, (bottom) D. 3.6 cm sin 20362

Black-glazed Jar Hongtang Yuan Dynasty H. 8.3 cm sin 22832

Brown-glazed Jar with Four Lugs Shiwan Yuan Dynasty H. 41.6 cm, (mouth) D. 12.1 cm, (bottom) D. 15.0 cm sin 15319

Black-glazed Bottle Cizhou Yuan Dynasty H. 30.5 cm sin 7298

a regular route 路 from the port of Qingyuan, 慶元 an old name for

produced during the Yuan are larger in size than in previous pe-

The Jingdezhen kilns, which are among China’s most famous,

shallow bowls 碗 and jars 壺 were retrieved. Noteworthy are the

Ningbo. 寧波 In addition, ink handwriting on the wooden tablets,

riods, the vessel walls are thick, and the shapes are coarse. The

are located in Jiangxi. Ceramics produced here were being sold

pieces of black-painted porcelain on a white base, which were

which were attached to pieces of cargo, stated the times of load-

glaze is also heavier and the green coloration is deep. Vessels for

outside China from as early as the Tang and Song, and the pro-

first produced in the Cizhou kilns in Hebei Province, in the north

ing the trade goods (4th through 6th lunar months) as well as

everyday use make up the bulk of the Longquan ware recovered

duction techniques advanced further during the Yuan, making

of China. The Cizhou potters applied Chinese ink & wash painting

and the

from the Sinan Shipwreck, while some of the pieces are meant

Jingdezhen one of China’s main ceramic production centers.

techniques to decorate their porcelain ware, and after the Song

Shinto temple Hakozakigu 筥崎神社 in Hakada as well as the Bud-

for ritual use. Moreover, the shapes of the ceramic pieces as well

The Jingdezhen ware from the Sinan Shipwreck can be cate-

lost control of northern China to the Jin 金 they moved south and

as their decorations and glazing suggest that they were mostly

gorized into bluish-white porcelain, Shufu-style white porcelain,

settled in the Jizhou area. From this time, Cizhou ware imitations

and Ding-style white porcelain. The bluish-white porcelain cate-

began to be produced at the Jizhou kilns.

the destinations the Buddhist hermitage dhist temple

Tofukuji 東福寺

Chojakuan 釣寂庵

in Kyoto. This means the ship was tak-

ing advantage of the southwest trade winds of summer to carry this cargo to Japan.

made at the main Longquan kiln site.

龍泉大窯, Longquan daiyao

The Tiedian kilns were in Jinhua, Zhejiang Province, and the

gory, which represents the majority the Jingdezhen white porcebowls, 碗

plates, 盤

The Qilizhen kilns at Ganzhou, 竷州 Jiangxi Province began

Importantly, some 20,000 pieces of Chinese celadon were

color quality of the celadon produced there was completely dif-

lain pieces found, includes shallow

high-footed

operating in the late Tang and continued to function through the

brought up from the Sinan Shipwreck, providing a snapshot of

ferent from that coming out of Longquan kilns. The Jinhua re-

cups, jars, bottles, ewers, censers, water droppers, and human fig-

Yuan. Bluish-white porcelain and black-glazed ceramics were

the pottery trade in 14th century East Asia. The cargo has been

gion mainly produced pottery with a celadon glaze, starting from

ures. Interestingly, many of the bluish-white porcelain pieces do

produced here during the Song, but in the Yuan this became the

found to have originated from diverse locations, including the

as early as the Eastern Han (25-220 CE). In the Yuan, 1271-1368 the

not have glaze on the mouth and were fired upside-down. This

center of black-glazed ceramic ware. Black-glazed jar with willow

Longquan, Tiedian, and Laohudong kilns in Zhejiang; Jingdezhen,

Tiedian kilns took to using an opaque glaze in imitation of the

was the firing method employed for mass-production of Ding

design from the Sinan Shipwreck were produced at the Qilizhen

Jizhou and Qilizhen kilns in Jiangxi; Ji'an, 吉安 Minqing and Hon-

milky-glazed ceramics 乳濁釉磁器 from the Jun kilns 鈞窯 in Henan

ware in Hebei Province during the Song, and it continued to be

kilns and they can be classified into several categories according

gtang kilns in Fujian; Shiwan kilns in Guangdong; Cizhou kilns

province. The glaze at Tiedian was heavy and produced a charac-

practiced at Jingdezhen. Shufu-style white porcelain pieces were

to the glaze used. The Qilizhen kilns were geographically near

in Hebei; and Yixing kilns, in Jiangsu. Some sixty percent of all

teristic hue, as seen on the flowerpots, bottles, tripod basins, ew-

also among the Sinan Shipwreck artifacts, and designs painted

the Tiedian kilns, where opaque white-glazed porcelain was pro-

the ceramics came from Longquan.

ers, and four-lug

jars 四耳壺

raised from the Sinan Shipwreck.

in underglaze iron were found inside the base. Finally, the Ding-

duced, and these pieces indicate that pottery-making techniques

The Longquan kilns were located at Longquan in southwest-

The Laohudong kilns at Hangzhou, Zhejiang Province pro-

style white porcelains feature ivory yellow glaze and stamped

were exchanged between the two sites.

ern Zhejiang Province. The English word “celadon” for a class

duced celadon ware for government use during the Southern

designs suggest that they are imitations of Ding ware that were

of ceramics originated from Longquan ware, which became

Song and continued that traditions in the Yuan. The official ware,

produced at a different location.

synonymous with the beautiful celadon coloration. The finest

or Ge ware, 哥窯 is celadon decorated with fine crackles in the

The Jizhou kilns are located in Ji'an, Jiangxi Province and

black-glazed Tenmoku 天目 tea bowls from Japan are more famous.

pieces of Longquan ware are characterized has having a light

glaze. Laohudong celadon pieces from the Sinan Shipwreck in-

are noted for porcelains with black decoration on a white back-

The Jian kilns, situated in the Jianyang area of Fujian Province,

greenish-blue, an effect first achieved at the government kilns

clude incense burners and bottles; their clay bodies are dark, and

ground and for black-glazed stoneware. Artifacts of the former

produced ceramics from the end of the Tang through the Yuan.

of the Southern Song. The glaze is applied repeatedly to achieve

the bottom of the feet bears traces of five or six clay spurs, which

type gleaned from the Sinan Shipwreck include bottles, jars and

The fame of these kilns disappeared with the fall of the Song, but

a refined jade-like texture. Much of the celadon Longquan ware

were attached during firing.

deep bowls, 鉢 while in the latter type, bottles with two handles,

in 14th century Japan, the tea ceremony was immensely popular

04

Also recovered from the Sinan Shipwreck are dozens of blackglazed tea bowls made at China’s Jian kilns, 建窯 although the

05

CONNECT WITH LEGACY

NMK 2014 SPRING

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

or water by Song troops under General Han Shizhong 韓世忠 1089–1151

Black-glazed Bowl Jian Song Dynasty, 12-13th century (mouth) D. 11.6 cm sin 3852

during the campaign against the

Jin. 金

A large number of these

close to twenty thousand, come in a wide range of forms, and

bottles were on board the ship that sank off Sinan, and many

were produced at diverse locations. As such, the cargo on board

more have been found on the sea floor around Hakada and Naga-

this ill-fated vessel provide an excellent look at the state of East

saki, Japan.

Asian maritime trade in the 14th century. Chinese pottery has

Meanwhile, seven pieces of Goryeo celadon, produced be-

been an important product since ancient times, has been in de-

tween the 12th and 14th centuries, were recovered from the

mand outside China, and has provided great economic value to

Sinan Shipwreck. Potters in Goryeo began to produce celadon

China. The Chinese government pursued a pro-trade policy in

ceramics in the 10th century by borrowing Chinese methods and

the Song and Yuan, and its maritime trade boomed around the

by the 12th century were turning out pieces that were both origi-

14th century, with pottery shipments steadily on the rise. Today,

nal and refined in terms of shape, inlay decoration and color. The

sunken ships loaded with Chinese pottery are being found in the

pale green hue known as bisaek 翡色 characterizes Goryeo celadon

coastal waters of Korea, Japan, Southeast Asia, the Middle East,

at its best. These pieces were also highly prized in China and

and Europe as well as at the bottom of the Persian Gulf, the In-

Japan, as revealed in the written record. The Chinese envoy Xu

dian Ocean and the Red Sea. In Europe, the word “china” came to

Jing 徐兢 1091–1153

denote porcelain ware, clear evidence of the close link between

visited to the Korean Peninsula in 1123 and com-

pleted his Illustrated Account of the Chinese Embassy to the Goryeo

among monks at temples and members of the upper class. These

were primarily used as tea containers.

tea bowls were most likely being shipped to Japan to satisfy de-

The kilns at Shiwan in Guangdong Province began to pro-

mand from a small segment of the elite class. The worn condition

duce earthenware in the Song. However, they are best known for

of the tea bowls suggests that they were prized as antiques.

milky-glazed ceramics from the Ming and Qing. The Shiwan ware

Minqing in Fujian Province was the site of the Minqing kilns,

pieces found at the Sinan Shipwreck site are large jars with a yel-

which produced pottery as a non-government enterprise in the

low glaze, and vessels of this type were used in Japan to hold the

Song and Yuan Dynasties. Activity here was at its peak during

water used in the tea ceremony .

the Yuan. The main output was bluish-white porcelain, but the

Cizhou in Hebei was home to one of China’s leading non-

glaze here is a light grayish blue and many are decorated with a

government kiln operations during the Song and Yuan. It was

pattern that appears to have been drawn with a thin comb. No

famous for black-glazed porcelain as well as porcelain covered in

glaze was applied around the rim of the vessel mouth, and well-

white slip and then decorated with traditional Chinese painting

wishing phrases such as “May you enjoy abundant riches & long

in black or brown. The images are simply and freely executed; the

life” 富貴長命 or “May white jade fill your halls” are inscribed on the

pottery is coarse, and the colors are rich. Cizhou ware artifacts

inner bottom of the vessels.

from the Sinan Shipwreck include black-glazed porcelain, black-

Hongtang Village in Fujian is home to the Hongtang kilns, which operated during the Song and Yuan and mainly produced

the product and the place of origin.

Court during the Xuanhe Period 宣和奉使高麗圖經 the following year. In

The Sinan Shipwreck has preserved verifiable evidence on

it he praised the quality of the ceramics he encountered. In ad-

the vessel’s port of embarkation, destination, voyage period, con-

dition, the Brocade in the Sleeve, 袖中錦 Xiuzhongjin by the Old Man of

struction methods, and life on board. At the same time, the mas-

Taiping 太平老人 ?-?

at the end of the Song, states that Goryeo cela-

sive load of pottery recovered from the site now comprises an

don is the “best under Heaven.” Apparently, the Goryeo celadon

important collection in its own right at the National Museum of

artifacts found at the Sinan Shipwreck had been sold in China

Korea. With future research and exhibits, this treasure trove will

and subsequently then loaded onto the ship in the Hangzhou

help answer more questions about the histories of pottery devel-

area for transport to Japan.

opment as well as world trade.

Brown-glazed Bottle Yixing Yuan Dynasty H. 32.5 cm sin 2049

Goryeo Celadon Pieces (from left to right) 1. pillow / sin 20336 2. water dropper / sin 14871 3. prunus vase-H. 27.3 cm / sin 6560 4. cup with footed stand / sin 6553 5. lid / sin 19482 6. cup with footed stand / sin 20424 7. bowl / sin 6554

glazed ceramic ware painted in brown and porcelain coated with white slip and decorated with paintings in black.

black-glazed earthenware. Small quantities of celadon and black-

Kilns operating in the Yixing area of Jiangsu Province pro-

glazed ceramics were also made here. This small black-glazed jar

duced large quantities of brown-glazed bottles with four lugs on

from Hongtang is characterized by its thin walls. Similar vessels

the shoulder as well as black-glazed bottles. The brown-glazed

have been unearthed in the Hakada region of Japan, and they

Yixing ware bottles with four lugs were widely used to carry wine

06

The pottery artifacts found at the Sinan Shipwreck site number

07

CONNECT WITH LEGACY

NMK 2014 SPRING

OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

or water by Song troops under General Han Shizhong 韓世忠 1089–1151

Black-glazed Bowl Jian Song Dynasty, 12-13th century (mouth) D. 11.6 cm sin 3852

during the campaign against the

Jin. 金

A large number of these

close to twenty thousand, come in a wide range of forms, and

bottles were on board the ship that sank off Sinan, and many

were produced at diverse locations. As such, the cargo on board

more have been found on the sea floor around Hakada and Naga-

this ill-fated vessel provide an excellent look at the state of East

saki, Japan.

Asian maritime trade in the 14th century. Chinese pottery has

Meanwhile, seven pieces of Goryeo celadon, produced be-

been an important product since ancient times, has been in de-

tween the 12th and 14th centuries, were recovered from the

mand outside China, and has provided great economic value to

Sinan Shipwreck. Potters in Goryeo began to produce celadon

China. The Chinese government pursued a pro-trade policy in

ceramics in the 10th century by borrowing Chinese methods and

the Song and Yuan, and its maritime trade boomed around the

by the 12th century were turning out pieces that were both origi-

14th century, with pottery shipments steadily on the rise. Today,

nal and refined in terms of shape, inlay decoration and color. The

sunken ships loaded with Chinese pottery are being found in the

pale green hue known as bisaek 翡色 characterizes Goryeo celadon

coastal waters of Korea, Japan, Southeast Asia, the Middle East,

at its best. These pieces were also highly prized in China and

and Europe as well as at the bottom of the Persian Gulf, the In-

Japan, as revealed in the written record. The Chinese envoy Xu

dian Ocean and the Red Sea. In Europe, the word “china” came to

Jing 徐兢 1091–1153

denote porcelain ware, clear evidence of the close link between

visited to the Korean Peninsula in 1123 and com-

pleted his Illustrated Account of the Chinese Embassy to the Goryeo

among monks at temples and members of the upper class. These

were primarily used as tea containers.

tea bowls were most likely being shipped to Japan to satisfy de-

The kilns at Shiwan in Guangdong Province began to pro-

mand from a small segment of the elite class. The worn condition

duce earthenware in the Song. However, they are best known for

of the tea bowls suggests that they were prized as antiques.

milky-glazed ceramics from the Ming and Qing. The Shiwan ware

Minqing in Fujian Province was the site of the Minqing kilns,

pieces found at the Sinan Shipwreck site are large jars with a yel-

which produced pottery as a non-government enterprise in the

low glaze, and vessels of this type were used in Japan to hold the

Song and Yuan Dynasties. Activity here was at its peak during

water used in the tea ceremony .

the Yuan. The main output was bluish-white porcelain, but the

Cizhou in Hebei was home to one of China’s leading non-

glaze here is a light grayish blue and many are decorated with a

government kiln operations during the Song and Yuan. It was

pattern that appears to have been drawn with a thin comb. No

famous for black-glazed porcelain as well as porcelain covered in

glaze was applied around the rim of the vessel mouth, and well-

white slip and then decorated with traditional Chinese painting

wishing phrases such as “May you enjoy abundant riches & long

in black or brown. The images are simply and freely executed; the

life” 富貴長命 or “May white jade fill your halls” are inscribed on the

pottery is coarse, and the colors are rich. Cizhou ware artifacts

inner bottom of the vessels.

from the Sinan Shipwreck include black-glazed porcelain, black-

Hongtang Village in Fujian is home to the Hongtang kilns, which operated during the Song and Yuan and mainly produced

the product and the place of origin.

Court during the Xuanhe Period 宣和奉使高麗圖經 the following year. In

The Sinan Shipwreck has preserved verifiable evidence on

it he praised the quality of the ceramics he encountered. In ad-

the vessel’s port of embarkation, destination, voyage period, con-

dition, the Brocade in the Sleeve, 袖中錦 Xiuzhongjin by the Old Man of

struction methods, and life on board. At the same time, the mas-

Taiping 太平老人 ?-?

at the end of the Song, states that Goryeo cela-

sive load of pottery recovered from the site now comprises an

don is the “best under Heaven.” Apparently, the Goryeo celadon

important collection in its own right at the National Museum of

artifacts found at the Sinan Shipwreck had been sold in China

Korea. With future research and exhibits, this treasure trove will

and subsequently then loaded onto the ship in the Hangzhou

help answer more questions about the histories of pottery devel-

area for transport to Japan.

opment as well as world trade.

Brown-glazed Bottle Yixing Yuan Dynasty H. 32.5 cm sin 2049

Goryeo Celadon Pieces (from left to right) 1. pillow / sin 20336 2. water dropper / sin 14871 3. prunus vase-H. 27.3 cm / sin 6560 4. cup with footed stand / sin 6553 5. lid / sin 19482 6. cup with footed stand / sin 20424 7. bowl / sin 6554

glazed ceramic ware painted in brown and porcelain coated with white slip and decorated with paintings in black.

black-glazed earthenware. Small quantities of celadon and black-

Kilns operating in the Yixing area of Jiangsu Province pro-

glazed ceramics were also made here. This small black-glazed jar

duced large quantities of brown-glazed bottles with four lugs on

from Hongtang is characterized by its thin walls. Similar vessels

the shoulder as well as black-glazed bottles. The brown-glazed

have been unearthed in the Hakada region of Japan, and they

Yixing ware bottles with four lugs were widely used to carry wine

06

The pottery artifacts found at the Sinan Shipwreck site number

07

CONNECT WITH LEGACY

CURATOR TALK

NMK 2014 SPRING

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

THE PORTRAITS OF THE PRINCIPAL ACTORS IN THE HISTORIC RIVALRIES DURING JOSEON PROVIDE INSIGHTS INTO THE STORIES BEHIND THESE STRUGGLES AS WELL AS HOW THE RESPECTIVE PHILOSOPHICAL AND ACADEMIC PRINCIPLES WERE PUT IN PLAY. FURTHERMORE, ONE CAN FIND CLUES IN THESE PORTRAITS OF HOW THE POLITICAL LEADERS’ VIEWS WERE REFLECTED IN THE POLITICAL REALITIES OF THEIR DAY AND HOW THEY STROVE TO PUT THEIR VIEWS INTO PRACTICE.

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

BY MOON DONGSOO, A SSOCI AT E CU R ATOR OF T H E FI N E A RTS DEPA RTM EN T

08

09

CONNECT WITH LEGACY

CURATOR TALK

NMK 2014 SPRING

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

THE PORTRAITS OF THE PRINCIPAL ACTORS IN THE HISTORIC RIVALRIES DURING JOSEON PROVIDE INSIGHTS INTO THE STORIES BEHIND THESE STRUGGLES AS WELL AS HOW THE RESPECTIVE PHILOSOPHICAL AND ACADEMIC PRINCIPLES WERE PUT IN PLAY. FURTHERMORE, ONE CAN FIND CLUES IN THESE PORTRAITS OF HOW THE POLITICAL LEADERS’ VIEWS WERE REFLECTED IN THE POLITICAL REALITIES OF THEIR DAY AND HOW THEY STROVE TO PUT THEIR VIEWS INTO PRACTICE.

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

BY MOON DONGSOO, A SSOCI AT E CU R ATOR OF T H E FI N E A RTS DEPA RTM EN T

08

09

CONNECT WITH LEGACY

J

NMK 2014 SPRING

oseon politics can be characterized as being highly factionalized, and political power was based upon political-academic factions. King Injo Restoration was carried out when the

Westerners 西人

faction seized con-

Portrait of Song Siyeol Artist unknown Joseon Dynasty, 18th century Ink and color on silk 89.7 x 67.6 cm National Treasure No. 239 duk 2828

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

prominently on his gaunt face, providing the impression of a Tao-

rated after the so-called “Hoeni Controversy,” which took place

ist immortal. He was staunchly upright and radiantly refined, truly

between Song and Yun Jeung’s father Yun Seongeo. The term

a rare kind of person. Heo adhered to the teachings of Yi Hwang

“Hoeni” was coined after the respective residences of the two

(Toegye), was a major figure in the Southerner faction during the

adversaries. Song Siyeol lived in Hoedeok, which was east of the

trol from the Easterners 東人 in 1623. Then the Westerners split

17th century, and had a strong influence on the young scholars

Daejeon stream, while Yun Jeung lived in Niseong, which com-

into the Noron 老論 Old Doctrine and Soron 少論 Young Doctrine

who succeeded him. He clashed with Song Siyeol over the mourn-

prised present-day Noseong-myeon in Nonsan. After Yun Seon-

factions during the reign of King

Sukjong, 肅宗 r. 1674-1720

and they

ing robes that should be worn by King Injo’s second queen, Queen

geo died, an argument broke out over his epitaph, and Yun Jeung

confronted one another and created conflicts on diverse issues

Dowager Jo, for her late stepson, King Hyojong. Thereafter he

ended up accusing Song Siyeol of scholarly and moral lapses in a

for about a century.

served as the magistrate of Samcheok, in Gangwon-do.

letter that ended their master-disciple relationship.

In the middle and latter part of the 17th century, an intense debate took place over

ritual 禮

Joseon endured the Imjin War with Japan at the end of the

In 1687, Yun Jeung sent a letter to Song Siyeol, accusing him

in the Joseon royal court. At the

16th century, followed by invasions by Manchu armies in 1627

of being eccentric and failing to learn the pragmatism that Zhu Xi

heart of the controversy were Heo Mok, 許穆 1595-1682 the leader of

and 1636. To recover, social reform was needed in various areas.

discussed. He described Song’s position of “revering the (fallen)

Southerners, 南人

and Song

Siyeol, 宋時烈 1607-1689

the leader of West-

The East Asian order was turned on its head with the collapse of

Ming and exacting revenge on the Qing” as being empty and of

erners. Both considered ritual propriety as the way to put Neo-

the Ming and rise of the Qing, prompting Joseon scholars to pon-

no practical value. This event exacerbated the feud between the

Confucian ideology into practice in real life.

der how to explain and respond to what had occurred. The schol-

Noron, which followed Song Siyeol, and the Soron, led by Yun

arship and political stripes pursued by each one was different in

Jeung. Song based his political philosophy with regard toward

this regard. Heo Mok was part of the Southerner faction, while

Joseon relations with Qing on an absolutist position of Zhu Xi’s

Song Siyeol was part of the Noron. The scholarly confrontation

thought. On the other hand, Yun sought to interpret scholarship

between these two started during King Injo’s reign and continued

and philosophical thought freely, and he dreamed of government

Hyeonjong. 顯宗 r.

based on real politik. Lurking within their portraits are the politi-

This was more than a simple fight between factions, but

cal philosophies and beliefs that flowed amid Joseon’s political

These two adversaries lived during the same time period, from the end of King Seonjo’s reign 宣祖 r. 1567-1608 through the reign of King Sukjong. They struggled to the death over which mourning robes were to be worn by members of the royal family, which represented the greatest authority of the state. These are political leaders who strove to unify public opinion according to personal

Portrait of Yun Jeung

By Jang Gyeongju (1710~?)

Joseon Dynasty, C. 1744 Ink and color on silk 111.6 x 81.0 cm Chungnam Institute of History and Culture

through the reigns of King Hyojong and King 1659-1674

academic foundations and principles, and their personae are por-

rather signaled the arrival of political maturity through disagree-

trayed in portraits, posing either in official dress or scholar’s garb.

ment on the basis of scholarly learning.

Song Siyeol is posed in the senior scholar’s robe 深衣 with

Joseon Portraits were produced from the perspective of the

hands folded and concealed under the robe sleeves. He was a

Neo-Confucian worldview, and much weight was put on “trans-

key player in organizing King Hyojong’s 孝宗 r. 1649-59 plan to launch

mission of the spirit and mind by depicting the outer appear-

a punitive military campaign against the Manchus. After King

ance”. 傳神寫照 Heo Mok, on the other hand, argued that the spirit

Hyojong suddenly died, Song retired to the countryside but

was without form and therefore could not be represented as an

even while living as a recluse he managed to continue wielding

image. As such, he rejected the accepted essence of portraiture.

his political influence in the capital. In 1689, Lady Jang Huibin,

Contrary to most of the prominent yangban clans of his day,

Sukjong’s senior concubine, bore a son (the future King Gyeong-

Song Siyeol was in favor of having his own portrait made while

jong 景宗 r. 1720-24). The royal birth sparked a controversy over the is-

he was still alive. He wished to have his spirit of being and char-

sue of naming a crown prince and ended with the great purge of the Southerners in gisa (1689). Song protested the bloodshed in a memorial to the throne, and was immediately banished to Jejudo Island. Later, he was compelled to take poison sent from the king.

In 1744, Song Siyeol’s scholarly authority and political legitimacy were publicly exonerated when his spirit tablet was placed in the

acter reflected positively in his painted image, going beyond the Portrait of Heo Mok

By Yi Myeonggi (1756~?)

Joseon Dynasty, 1794 Ink and color on silk 72.1 x 57.0 cm Treasure No. 1509 duk 3836

passive depiction of the subject. He also thought highly of people who revered the portraits of their parents in ritual practice and believed portraits were indispensable objects for veneration during sacrifices to ancestors. He also considered portraits of Confucian sages to be very important.

National Confucian Shrine. Song prided himself on his steadfast

Meanwhile, Yun Jeung 尹拯 1629-1714 stood in opposition to Song

adherence to the doctrines of the Zhu Xi School throughout his

Siyeol’s views. He detested being portrayed so much so that

life. His disciples formed the Joseon Neo-Confucian mainstream,

painters had to observe him under cover to sketch him. He was

and junior scholars revered Song as a saint. His scholarship and

revered by his young disciples for his impeccable integrity. In his

thought became the dominant ideological force in late Joseon.

portrait Yun’s eyes are fixed in an upward gaze, and he is dressed

Heo Mok had the pen name

Misu 眉叟

(“eyebrows of an old

man”), and his bearing and character were consistent with the contents of his 67-volume corpus, the Misu

gieon. 眉叟記言

in everyday robe and coarsely woven hat with four sides—the quintessential look of a Confucian scholar.

His por-

Yun Jeung was twenty-two years younger than Song Siyeol

trait, too, befits his moniker. His long, scraggly eyebrows stand out

and once studied under Song. However, the relationship deterio-

10

factionalism.

11

CONNECT WITH LEGACY

J

NMK 2014 SPRING

oseon politics can be characterized as being highly factionalized, and political power was based upon political-academic factions. King Injo Restoration was carried out when the

Westerners 西人

faction seized con-

Portrait of Song Siyeol Artist unknown Joseon Dynasty, 18th century Ink and color on silk 89.7 x 67.6 cm National Treasure No. 239 duk 2828

HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

prominently on his gaunt face, providing the impression of a Tao-

rated after the so-called “Hoeni Controversy,” which took place

ist immortal. He was staunchly upright and radiantly refined, truly

between Song and Yun Jeung’s father Yun Seongeo. The term

a rare kind of person. Heo adhered to the teachings of Yi Hwang

“Hoeni” was coined after the respective residences of the two

(Toegye), was a major figure in the Southerner faction during the

adversaries. Song Siyeol lived in Hoedeok, which was east of the

trol from the Easterners 東人 in 1623. Then the Westerners split

17th century, and had a strong influence on the young scholars

Daejeon stream, while Yun Jeung lived in Niseong, which com-

into the Noron 老論 Old Doctrine and Soron 少論 Young Doctrine

who succeeded him. He clashed with Song Siyeol over the mourn-

prised present-day Noseong-myeon in Nonsan. After Yun Seon-

factions during the reign of King

Sukjong, 肅宗 r. 1674-1720

and they

ing robes that should be worn by King Injo’s second queen, Queen

geo died, an argument broke out over his epitaph, and Yun Jeung

confronted one another and created conflicts on diverse issues

Dowager Jo, for her late stepson, King Hyojong. Thereafter he

ended up accusing Song Siyeol of scholarly and moral lapses in a

for about a century.

served as the magistrate of Samcheok, in Gangwon-do.

letter that ended their master-disciple relationship.

In the middle and latter part of the 17th century, an intense debate took place over

ritual 禮

Joseon endured the Imjin War with Japan at the end of the

In 1687, Yun Jeung sent a letter to Song Siyeol, accusing him

in the Joseon royal court. At the

16th century, followed by invasions by Manchu armies in 1627

of being eccentric and failing to learn the pragmatism that Zhu Xi

heart of the controversy were Heo Mok, 許穆 1595-1682 the leader of

and 1636. To recover, social reform was needed in various areas.

discussed. He described Song’s position of “revering the (fallen)

Southerners, 南人

and Song

Siyeol, 宋時烈 1607-1689

the leader of West-

The East Asian order was turned on its head with the collapse of

Ming and exacting revenge on the Qing” as being empty and of

erners. Both considered ritual propriety as the way to put Neo-

the Ming and rise of the Qing, prompting Joseon scholars to pon-

no practical value. This event exacerbated the feud between the

Confucian ideology into practice in real life.

der how to explain and respond to what had occurred. The schol-

Noron, which followed Song Siyeol, and the Soron, led by Yun

arship and political stripes pursued by each one was different in

Jeung. Song based his political philosophy with regard toward

this regard. Heo Mok was part of the Southerner faction, while

Joseon relations with Qing on an absolutist position of Zhu Xi’s

Song Siyeol was part of the Noron. The scholarly confrontation

thought. On the other hand, Yun sought to interpret scholarship

between these two started during King Injo’s reign and continued

and philosophical thought freely, and he dreamed of government

Hyeonjong. 顯宗 r.

based on real politik. Lurking within their portraits are the politi-

This was more than a simple fight between factions, but

cal philosophies and beliefs that flowed amid Joseon’s political

These two adversaries lived during the same time period, from the end of King Seonjo’s reign 宣祖 r. 1567-1608 through the reign of King Sukjong. They struggled to the death over which mourning robes were to be worn by members of the royal family, which represented the greatest authority of the state. These are political leaders who strove to unify public opinion according to personal

Portrait of Yun Jeung

By Jang Gyeongju (1710~?)

Joseon Dynasty, C. 1744 Ink and color on silk 111.6 x 81.0 cm Chungnam Institute of History and Culture

through the reigns of King Hyojong and King 1659-1674

academic foundations and principles, and their personae are por-

rather signaled the arrival of political maturity through disagree-

trayed in portraits, posing either in official dress or scholar’s garb.

ment on the basis of scholarly learning.

Song Siyeol is posed in the senior scholar’s robe 深衣 with

Joseon Portraits were produced from the perspective of the

hands folded and concealed under the robe sleeves. He was a

Neo-Confucian worldview, and much weight was put on “trans-

key player in organizing King Hyojong’s 孝宗 r. 1649-59 plan to launch

mission of the spirit and mind by depicting the outer appear-

a punitive military campaign against the Manchus. After King

ance”. 傳神寫照 Heo Mok, on the other hand, argued that the spirit

Hyojong suddenly died, Song retired to the countryside but

was without form and therefore could not be represented as an

even while living as a recluse he managed to continue wielding

image. As such, he rejected the accepted essence of portraiture.

his political influence in the capital. In 1689, Lady Jang Huibin,

Contrary to most of the prominent yangban clans of his day,

Sukjong’s senior concubine, bore a son (the future King Gyeong-

Song Siyeol was in favor of having his own portrait made while

jong 景宗 r. 1720-24). The royal birth sparked a controversy over the is-

he was still alive. He wished to have his spirit of being and char-

sue of naming a crown prince and ended with the great purge of the Southerners in gisa (1689). Song protested the bloodshed in a memorial to the throne, and was immediately banished to Jejudo Island. Later, he was compelled to take poison sent from the king.

In 1744, Song Siyeol’s scholarly authority and political legitimacy were publicly exonerated when his spirit tablet was placed in the

acter reflected positively in his painted image, going beyond the Portrait of Heo Mok

By Yi Myeonggi (1756~?)

Joseon Dynasty, 1794 Ink and color on silk 72.1 x 57.0 cm Treasure No. 1509 duk 3836

passive depiction of the subject. He also thought highly of people who revered the portraits of their parents in ritual practice and believed portraits were indispensable objects for veneration during sacrifices to ancestors. He also considered portraits of Confucian sages to be very important.

National Confucian Shrine. Song prided himself on his steadfast

Meanwhile, Yun Jeung 尹拯 1629-1714 stood in opposition to Song

adherence to the doctrines of the Zhu Xi School throughout his

Siyeol’s views. He detested being portrayed so much so that

life. His disciples formed the Joseon Neo-Confucian mainstream,

painters had to observe him under cover to sketch him. He was

and junior scholars revered Song as a saint. His scholarship and

revered by his young disciples for his impeccable integrity. In his

thought became the dominant ideological force in late Joseon.

portrait Yun’s eyes are fixed in an upward gaze, and he is dressed

Heo Mok had the pen name

Misu 眉叟

(“eyebrows of an old

man”), and his bearing and character were consistent with the contents of his 67-volume corpus, the Misu

gieon. 眉叟記言

in everyday robe and coarsely woven hat with four sides—the quintessential look of a Confucian scholar.

His por-

Yun Jeung was twenty-two years younger than Song Siyeol

trait, too, befits his moniker. His long, scraggly eyebrows stand out

and once studied under Song. However, the relationship deterio-

10

factionalism.

11

CONNECT WITH LEGACY

CULTURE THEMA

NMK 2014 SPRING

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

ILLUSTRATION BY KIM JEANY

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

BY M I N BY U NG -HOON, H EA D OF T H E A SI A DEPA RTM EN T

THE CERAMIC ROOF TILES OF THE UNIFIED SILLA PERIOD ARE DECORATED WITH A WIDE VARIETY OF DESIGNS RANGING FROM LOTUSES AND FOLIAGE SCROLLS SYMBOLIC OF BUDDHISM, TO IMAGINARY ANIMALS SUCH AS THE KALAVINKA AND DRAGONS AS WELL AS LIONS AND BIRDS. AMONG THEM, TILES FEATURING A MOTIF OF TWO BIRDS FOUND AT MANY TEMPLES IN KOREA SUCH AS HWANGNYONGSA, BUNHWANGSA AND GAMEUNSA, AND AT ANAPJI POND. THIS MOTIF, ALONG WITH THE KALAVINKA AND APSARAS, IS A MAJOR EXAMPLE OF A DESIGN THAT

Gilt-silver Tray with Twin-bird and Bead Motif Sasanian Empire, Persia The State Hermitage Museum, Russia

TOOK ROOT IN UNIFIED SILLA AS A RESULT OF ACTIVE EASTWEST CULTURAL EXCHANGE.

12

13

CONNECT WITH LEGACY

CULTURE THEMA

NMK 2014 SPRING

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

ILLUSTRATION BY KIM JEANY

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

BY M I N BY U NG -HOON, H EA D OF T H E A SI A DEPA RTM EN T

THE CERAMIC ROOF TILES OF THE UNIFIED SILLA PERIOD ARE DECORATED WITH A WIDE VARIETY OF DESIGNS RANGING FROM LOTUSES AND FOLIAGE SCROLLS SYMBOLIC OF BUDDHISM, TO IMAGINARY ANIMALS SUCH AS THE KALAVINKA AND DRAGONS AS WELL AS LIONS AND BIRDS. AMONG THEM, TILES FEATURING A MOTIF OF TWO BIRDS FOUND AT MANY TEMPLES IN KOREA SUCH AS HWANGNYONGSA, BUNHWANGSA AND GAMEUNSA, AND AT ANAPJI POND. THIS MOTIF, ALONG WITH THE KALAVINKA AND APSARAS, IS A MAJOR EXAMPLE OF A DESIGN THAT

Gilt-silver Tray with Twin-bird and Bead Motif Sasanian Empire, Persia The State Hermitage Museum, Russia

TOOK ROOT IN UNIFIED SILLA AS A RESULT OF ACTIVE EASTWEST CULTURAL EXCHANGE.

12

13

CONNECT WITH LEGACY

R

NMK 2014 SPRING

oof-end tiles with twin-bird

sengers between heaven and earth, and

designs, feature a bead motif

in ancient Western Asia they served the

around the edge and a sym-

important role of carrying the souls of the

metrical design of two birds

dead to the other world. In the Avesta, the

in the center. The designs on the round

ancient Zoroastrian text, the bird Karship-

roof-end tiles are particularly neat and or-

ta is described as the one to bring the law

derly with the two birds holding in their

of Ahura Mazda, the god of light, to earth.

beaks a twig that hangs down the center

These water birds that fly between heaven

from the top while the area below them

and earth were conceptualized as the

is decorated with a floral motif. This ico-

souls of the dead transformed into birds

nography of two birds in the center sur-

as they headed to the next world.

rounded by a bead motif had flourished

Pegasus, the winged stallion, was

during the days of the Sasanian Empire

also depicted inside beaded borders and

of Persia in Western Asia and spread far

regarded as a carrier for the souls of the

across Central and East Asia when the ex-

dead, while the wild boar lures the sun to

change of cultures via the Silk Road was

the east to facilitate rebirth and pulls the

at its peak.

world out from under the water, and is

The bead motif is found as a symbol

hence considered a symbol of salvation.

of royal authority in the rock reliefs of

In light of the wild boar’s symbolism, it

Tak-i-Bustan which depict the investiture

appears that the water bird, depicted in-

ceremony of the Sasanian emperor. Pearls

side a circle with beaded border holding

were a symbol of khvarenah, a concept in

in its beak the pearls as a talisman against

the Zoroastrian religion which originated

evil, was adopted all over Asia as a symbol

in the highlands of ancient Iran that

of immortality.

means “divine glory.” Hence the spread of

The Unified Silla period was a time of

bead patterns across the whole of Asia is

active exchange of people and culture via

strongly linked to the symbolism inherent

the Silk Road, and the culture developed

in pearls.

in Sasanian Persia traveled the Silk Road,

The bead motif is indeed found in

crossing Central Asia and China before

various forms all along the Silk Road.

reaching the Silla Kingdom. In Unified

Murals in the Sogdian region of Central

Silla the two birds inside the beaded bor-

Asia, which adjoins the Iranian highlands,

der are depicted holding a twig in their

show the bead motif on the clothing of

beaks instead of pearls. This iconography

envoys presenting gifts. In the Eastern

was adopted on the roof tiles of Buddhist

regions beyond the Pamir Mountains the

buildings as an auspicious symbol ex-

bead motif is found in the murals of Bud-

pressing wishes for rebirth, a good exam-

dhist grottoes, on the halos of Buddhist

ple of the local transformation and adap-

images, or in modeling decoration, and

tation of a foreign cultural element. In the

in the Turpan area it is seen on the cloths

round roof-end tiles excavated at Anapji

used to cover the face of the dead.

pond, the two birds face each other like a

Enclosed inside beaded borders are

pair of fond mandarin ducks, creating a

various animal motifs such as the simurgh

composition that surpasses simple sym-

(mythical flying creature), wild boars, Pe-

metry and demonstrates the creativity of

gasus, goats, or water birds with pearls in

the Unified Silla people.

their beaks, which reinforce the religious and mythical meaning of the bead motif.

Birds are generally thought to be mes-

14

1

2

3

5

4

6

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

7

8

1.

Twin-bird and Bead Motif from a Mural in the Buddhist Grottoes of the Bamiyan 6-8th century The National Museum of Afghanistan, Afghanistan 2.

Twin-bird and Bead Motif Depicted on Silken Clothing 7-8th century From the Sogdian region The Cleveland Museum of Art, USA 3.

Architectural Ornament with Twin-bird and Bead Motif Found at Tumshuk Temple 6-7th century Xinjiang, China The National Museum of Arts-Guimet, France 4.

Twin-bird and Bead Motif from a Mural in the Buddhist Grottoes of Kizil 6-7th century Xinjiang, China The State Hermitage Museum, Russia 5.

Textile Piece Featuring Twin-bird and Bead Motif from the Astana Tombs in Turpan 633 Xinjiang, China The Museum of Xinjiang Autonomous Region 6.

Textile Piece Featuring Twin-bird and Bead Motif from the Astana Tombs in Turpan 651 Xinjiang, China The Museum of Xinjiang Autonomous Region 7.

Roof-end Tile Featuring Twin-bird and Bead Motif Found at Bunhwangsa Temple Unified Silla Gyeongju, Korea Yeungnam Univ. Museum 8.

Roof-end Tile Featuring Twin-bird and Bead Motif Found at Bunhwangsa Temple Unified Silla Gyeongju, Korea Gyeongju National Museum

15

CONNECT WITH LEGACY

R

NMK 2014 SPRING

oof-end tiles with twin-bird

sengers between heaven and earth, and

designs, feature a bead motif

in ancient Western Asia they served the

around the edge and a sym-

important role of carrying the souls of the

metrical design of two birds

dead to the other world. In the Avesta, the

in the center. The designs on the round

ancient Zoroastrian text, the bird Karship-

roof-end tiles are particularly neat and or-

ta is described as the one to bring the law

derly with the two birds holding in their

of Ahura Mazda, the god of light, to earth.

beaks a twig that hangs down the center

These water birds that fly between heaven

from the top while the area below them

and earth were conceptualized as the

is decorated with a floral motif. This ico-

souls of the dead transformed into birds

nography of two birds in the center sur-

as they headed to the next world.

rounded by a bead motif had flourished

Pegasus, the winged stallion, was

during the days of the Sasanian Empire

also depicted inside beaded borders and

of Persia in Western Asia and spread far

regarded as a carrier for the souls of the

across Central and East Asia when the ex-

dead, while the wild boar lures the sun to

change of cultures via the Silk Road was

the east to facilitate rebirth and pulls the

at its peak.

world out from under the water, and is

The bead motif is found as a symbol

hence considered a symbol of salvation.

of royal authority in the rock reliefs of

In light of the wild boar’s symbolism, it

Tak-i-Bustan which depict the investiture

appears that the water bird, depicted in-

ceremony of the Sasanian emperor. Pearls

side a circle with beaded border holding

were a symbol of khvarenah, a concept in

in its beak the pearls as a talisman against

the Zoroastrian religion which originated

evil, was adopted all over Asia as a symbol

in the highlands of ancient Iran that

of immortality.

means “divine glory.” Hence the spread of

The Unified Silla period was a time of

bead patterns across the whole of Asia is

active exchange of people and culture via

strongly linked to the symbolism inherent

the Silk Road, and the culture developed

in pearls.

in Sasanian Persia traveled the Silk Road,

The bead motif is indeed found in

crossing Central Asia and China before

various forms all along the Silk Road.

reaching the Silla Kingdom. In Unified

Murals in the Sogdian region of Central

Silla the two birds inside the beaded bor-

Asia, which adjoins the Iranian highlands,

der are depicted holding a twig in their

show the bead motif on the clothing of

beaks instead of pearls. This iconography

envoys presenting gifts. In the Eastern

was adopted on the roof tiles of Buddhist

regions beyond the Pamir Mountains the

buildings as an auspicious symbol ex-

bead motif is found in the murals of Bud-

pressing wishes for rebirth, a good exam-

dhist grottoes, on the halos of Buddhist

ple of the local transformation and adap-

images, or in modeling decoration, and

tation of a foreign cultural element. In the

in the Turpan area it is seen on the cloths

round roof-end tiles excavated at Anapji

used to cover the face of the dead.

pond, the two birds face each other like a

Enclosed inside beaded borders are

pair of fond mandarin ducks, creating a

various animal motifs such as the simurgh

composition that surpasses simple sym-

(mythical flying creature), wild boars, Pe-

metry and demonstrates the creativity of

gasus, goats, or water birds with pearls in

the Unified Silla people.

their beaks, which reinforce the religious and mythical meaning of the bead motif.

Birds are generally thought to be mes-

14

1

2

3

5

4

6

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

7

8

1.

Twin-bird and Bead Motif from a Mural in the Buddhist Grottoes of the Bamiyan 6-8th century The National Museum of Afghanistan, Afghanistan 2.

Twin-bird and Bead Motif Depicted on Silken Clothing 7-8th century From the Sogdian region The Cleveland Museum of Art, USA 3.

Architectural Ornament with Twin-bird and Bead Motif Found at Tumshuk Temple 6-7th century Xinjiang, China The National Museum of Arts-Guimet, France 4.

Twin-bird and Bead Motif from a Mural in the Buddhist Grottoes of Kizil 6-7th century Xinjiang, China The State Hermitage Museum, Russia 5.

Textile Piece Featuring Twin-bird and Bead Motif from the Astana Tombs in Turpan 633 Xinjiang, China The Museum of Xinjiang Autonomous Region 6.

Textile Piece Featuring Twin-bird and Bead Motif from the Astana Tombs in Turpan 651 Xinjiang, China The Museum of Xinjiang Autonomous Region 7.

Roof-end Tile Featuring Twin-bird and Bead Motif Found at Bunhwangsa Temple Unified Silla Gyeongju, Korea Yeungnam Univ. Museum 8.

Roof-end Tile Featuring Twin-bird and Bead Motif Found at Bunhwangsa Temple Unified Silla Gyeongju, Korea Gyeongju National Museum

15

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

MARCH 25 – JUNE 22, 2014 THEMATIC EXHIBITION GALLERY IN THE MEDIEVAL AND EARLY MODERN HISTORY SECTION, 1F

CONNECT WITH NMK

THEMA EXHIBITION

NEW ACQUISITIONS OF ASIAN ART

BY KIM HYEGYEONG, ASSOCIATE CURATOR OF THE ASIA DEPARTMENT

N

ational Museum of Korea hosts the exhibition New Acquisitions of Asian Art from March 25 through June 22, 2014 in the museum’s Thematic Exhibition Gal-

lery on the first floor in a bid to show the characteristics and diversity of Asian art.

With the relocation of the NMK to Yongsan in 2005, the Asian Art Section was newly established in order to show the diverse art and culture of Asia. It comprises five permanent galleries: the China Gallery, the Japan Gallery, the India and Shipwreck Collection Gallery. From the opening the Central Asia and Sinan galleries featured a well-rounded display of items from the museum’s existing collection. However, as it was difficult to put together comprehensive exhibitions showing the history and culture of China, Japan, and India and Southeast Asia due to a lack of resources, ahead of the move to the location the NMK made a concerted effort to acquire additional items through donation or acquisition.

16

Sculpture of an Erotically Portrayed Goddess

Southeast Asia Gallery, the Central Asia Gallery, and the Sinan

17

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

MARCH 25 – JUNE 22, 2014 THEMATIC EXHIBITION GALLERY IN THE MEDIEVAL AND EARLY MODERN HISTORY SECTION, 1F

CONNECT WITH NMK

THEMA EXHIBITION

NEW ACQUISITIONS OF ASIAN ART

BY KIM HYEGYEONG, ASSOCIATE CURATOR OF THE ASIA DEPARTMENT

N

ational Museum of Korea hosts the exhibition New Acquisitions of Asian Art from March 25 through June 22, 2014 in the museum’s Thematic Exhibition Gal-

lery on the first floor in a bid to show the characteristics and diversity of Asian art.

With the relocation of the NMK to Yongsan in 2005, the Asian Art Section was newly established in order to show the diverse art and culture of Asia. It comprises five permanent galleries: the China Gallery, the Japan Gallery, the India and Shipwreck Collection Gallery. From the opening the Central Asia and Sinan galleries featured a well-rounded display of items from the museum’s existing collection. However, as it was difficult to put together comprehensive exhibitions showing the history and culture of China, Japan, and India and Southeast Asia due to a lack of resources, ahead of the move to the location the NMK made a concerted effort to acquire additional items through donation or acquisition.

16

Sculpture of an Erotically Portrayed Goddess

Southeast Asia Gallery, the Central Asia Gallery, and the Sinan

17

Intending to give a comprehensive view of the prehistoric and ancient art and culture of China, from 2002 the NMK set out to collect items according to time and field. As a result, it was possible to round out the existing collection, which had been weighted toward particular fields such as archaeological materials and pottery and ceramics. Active acquisition of new items has enabled organization not only of a proper standing

NEW ACQUISITIONS OF ASIAN ART

THE ART OF ASIA GATHERED TOGETHER

CONNECT WITH NMK

Bowl with Oriental Melon Design Edo Period, c. 1640-1660s Porcelain (Imari ware), Ko-kutani Style H. 7.5 cm, D. 32.0 cm

Noh Mask, Edo Period, Late 17th century

display but also various theme exhibitions using works from the museum’s own collection.

At the time of its opening in 2005, due to a lack of resources, the India and Southeast Asia Gallery display was composed of items on long-term loan from other national museums around the country. With continued acquisition, however, from 2010 the exhibition has been based on the NMK’s own Bowls Liao Dynasty, 1026 Gold koo 3317/3318/3322

collection including miniature paintings, Buddhist images and statues of Hindu deities from India, ancient bronze ware and pottery from Vietnam, and Buddhist sculptures from Cambodia and the Himalayas.

NEW INTRODUCTION TO THE BEAUTY OF ASIA The exhibition New Acquisitions of Asian Art has been organized around new acquisitions and divided into three areas: China, features a wide range of items of various genres dating from ancient to modern times, including a pottery model pavilion with green glaze from the Han Dynasty, a colored human figure from the Tang Dynasty, metal ritual vessels from the Liao Dynasty, lacquer ware and colored ceramics from the Ming and

Goddess India, 10th century Red sandstone H. 81.5 cm koo 4536

Qing Dynasties, and a selection of paintings and calligraphy.

The Japanese section explores the decorative beauty of Japanese paintings and craft works with a selection of genrepainting folding screens and colored prints from the Edo

Human Figure, Tang Dynasty, Early 8th century

Japan, and India and Southeast Asia. The Chinese section

period, color-glazed ceramics of varied styles, and a range of traditional Noh theater masks.

The India and Southeast Asia section highlights the diversity of the religious art of these regions, featuring Indian art works including Gandharan and Mathuran Buddhist sculptures, representative of early Buddhist art, sculpture reliefs from the Pala period, and miniature paintings from the RajasIndonesia.

To promote understanding of the history and culture of the different regions of Asia, the NMK continues to collect items all efforts to enhance the value of the cultural heritage in its possession by displaying newly acquired artifacts to the public as soon as possible and investigating their real meaning and significance through study and research.

18

Donor, Swat, Gandhara, 3rd century

through donation and purchase. Moreover, the museum makes

Bodhisattva and Devotees, Mathura, India, 3-4th century

than region, as well as Buddhist sculptures from Thailand and

19

Intending to give a comprehensive view of the prehistoric and ancient art and culture of China, from 2002 the NMK set out to collect items according to time and field. As a result, it was possible to round out the existing collection, which had been weighted toward particular fields such as archaeological materials and pottery and ceramics. Active acquisition of new items has enabled organization not only of a proper standing

NEW ACQUISITIONS OF ASIAN ART

THE ART OF ASIA GATHERED TOGETHER

CONNECT WITH NMK

Bowl with Oriental Melon Design Edo Period, c. 1640-1660s Porcelain (Imari ware), Ko-kutani Style H. 7.5 cm, D. 32.0 cm

Noh Mask, Edo Period, Late 17th century

display but also various theme exhibitions using works from the museum’s own collection.

At the time of its opening in 2005, due to a lack of resources, the India and Southeast Asia Gallery display was composed of items on long-term loan from other national museums around the country. With continued acquisition, however, from 2010 the exhibition has been based on the NMK’s own Bowls Liao Dynasty, 1026 Gold koo 3317/3318/3322

collection including miniature paintings, Buddhist images and statues of Hindu deities from India, ancient bronze ware and pottery from Vietnam, and Buddhist sculptures from Cambodia and the Himalayas.

NEW INTRODUCTION TO THE BEAUTY OF ASIA The exhibition New Acquisitions of Asian Art has been organized around new acquisitions and divided into three areas: China, features a wide range of items of various genres dating from ancient to modern times, including a pottery model pavilion with green glaze from the Han Dynasty, a colored human figure from the Tang Dynasty, metal ritual vessels from the Liao Dynasty, lacquer ware and colored ceramics from the Ming and

Goddess India, 10th century Red sandstone H. 81.5 cm koo 4536

Qing Dynasties, and a selection of paintings and calligraphy.

The Japanese section explores the decorative beauty of Japanese paintings and craft works with a selection of genrepainting folding screens and colored prints from the Edo

Human Figure, Tang Dynasty, Early 8th century

Japan, and India and Southeast Asia. The Chinese section

period, color-glazed ceramics of varied styles, and a range of traditional Noh theater masks.

The India and Southeast Asia section highlights the diversity of the religious art of these regions, featuring Indian art works including Gandharan and Mathuran Buddhist sculptures, representative of early Buddhist art, sculpture reliefs from the Pala period, and miniature paintings from the RajasIndonesia.

To promote understanding of the history and culture of the different regions of Asia, the NMK continues to collect items all efforts to enhance the value of the cultural heritage in its possession by displaying newly acquired artifacts to the public as soon as possible and investigating their real meaning and significance through study and research.

18

Donor, Swat, Gandhara, 3rd century

through donation and purchase. Moreover, the museum makes

Bodhisattva and Devotees, Mathura, India, 3-4th century

than region, as well as Buddhist sculptures from Thailand and

19

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

CONNECT WITH NMK

View of History Room, Jeonju National Museum

T

RNM EXHIBITION. 1

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA

20

he Folk Culture Room at the Jeonju National Museum has been renovated and reopened as the History Room. The major objective of the renewal project is to

show the history and culture of the Jeollabuk-do Province during the Joseon period. Jeonju National Museum is designed to

JANUARY 17, 2014 – HISTORY ROOM, JEONJU NATIONAL MUSEUM

shed light on the history and culture of Jeonju, the hometown of the Joseon royal family and center of the Jeolla-do Provinces, as well as the city’s forward-thinking intellectuals. The following gives an overview of the new History Room.

The renovated History Room is designed to enhance understanding of Jeonju and the 500-year history of the Joseon Dynasty.

21

ORIGIN OF THE TWIN-BIRD AND BEAD MOTIF

CONNECT WITH NMK

View of History Room, Jeonju National Museum

T

RNM EXHIBITION. 1

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA

20

he Folk Culture Room at the Jeonju National Museum has been renovated and reopened as the History Room. The major objective of the renewal project is to

show the history and culture of the Jeollabuk-do Province during the Joseon period. Jeonju National Museum is designed to

JANUARY 17, 2014 – HISTORY ROOM, JEONJU NATIONAL MUSEUM

shed light on the history and culture of Jeonju, the hometown of the Joseon royal family and center of the Jeolla-do Provinces, as well as the city’s forward-thinking intellectuals. The following gives an overview of the new History Room.

The renovated History Room is designed to enhance understanding of Jeonju and the 500-year history of the Joseon Dynasty.

21

THE JOSEON DYNASTY’S ROYAL FAMILY

north to south, but the peaks of Wansan (old name of

The first thing that greets visitors in the museum is the Portrait

Jeonju) are the most beautiful

of King Taejo dressed in blue royal robes. The Joseon Dynasty,

of all. The auspicious spirit of

founded by Yi Seonggye (later King Taejo) has its roots in Jeonju. The city became the hometown of royalty when the found-

the sovereigns has gathered

ing father of the Jeonju Yi clan, Yi Han, settled there during

over a thousand years and

the reign of King Munseong during the Unified Silla period. Yi

ushered in a new dynasty.”

Seonggye, of course, was from the same clan, and subsequent

_From Recollections of Jeonju,

kings looked upon Jeonju as a historical place where their family roots could be found. The placenta jars of Joseon kings and

written by Kwon Geun

their descendants were buried at an auspicious site in Jeonju

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY

SECTION 1—JEONJU, HOME OF

CONNECT WITH NMK

“The vast mountains stretch

other wars, his name became the subject of myth and legend.

SECTION 2—JEONJU, THE CENTER OF

This is attested to by a number of relics including Genealogy

THE JEOLLA REGION

of the Yi Family, the Royal Family of the Joseon Dynasty, the Epic Poem Royal Chants for the Greatness of King Taejo (Yongbi eo-

This part of the exhibition has been rearranged to show di-

cheonga), and the Rubbing of the Monument Commemorating

verse aspects of Jeonju as the center of Jeollabuk-do Province.

Yi Seonggye’s Repulsion of Japanese Pirates.

Jeonju is especially renowned as a city of culture and the arts.

One of the most important objects on display as part of

The handcrafts made here were presented to the royal court,

the History Room renewal is the Placenta Jar and Memorial

and the wooden printing blocks for classical Korean novels that

Stone of King Yejong. The placenta jar was originally buried in

were so well made that Jeonju led the printing culture with the

a village devoted to placenta burials in Gui-myeon, Wanju. But

capital, Seoul.

when the village was destroyed during the Japanese colonial

Indeed, the printing and publication culture of Jeonju has

period, the jar and memorial stone were moved to Seoul in

deep roots. Records show that in the Goryeo period various

1928 and buried and sealed near the grounds of Seosamneung

books were printed at the government office and temples in

and a storehouse for the preservation of important national

(Three Tombs of the West), and then to Gyeonggijeon in Jeonju

the city. In the Joseon period, the Jeolla governor’s office (Jeolla

records was established in the city. The place that most clearly

in 1970. In more recent times, the placenta jar was preserved

Gamyeong) published a range of books on various topics re-

demonstrates the connection between Jeonju and Joseon

at the National Museum of Korea while the memorial stone

quested by the central government. Moreover, the scholar-offi-

royalty is Gyeonggijeon. This shrine was built in 1410 to house

was preserved at the National Palace Museum. They have been

cials of Jeonju published various books and collected writings

the portraits of Joseon kings after the Jeonju government office

reunited as a set for this exhibition in Jeonju. The exhibition

for the own possession. From the 17th century, books for public

made a request in 1409 to be allowed to preserve the portrait of

also features objects that explore the efforts Emperor Gojong

sale were printed in the Taein district by members of the jungin

King Taejo.

made to enhance the orthodoxy of the royal family following

(technical workers) class, while classical novels for commercial

his proclamation of the Daehan Empire in 1897, which include

sale were published in the Jeonju area.

Such a request was made because of King Taejo’s achievements in the city. From the late Goryeo period, Taejo was

an overhaul of the burial grounds of Yi Han, founding father of

With the establishment of the publishing industry, related

renowned for his deeds not only in Jeonju but the whole

the Jeonju Yi clan. Other objects on display attest to interesting

fields also grew. The craftsmen who carved the printing wood-

Jeollabuk-do region as he solidified his political position. As he

stories and episodes in history.

blocks flourished and there was noticeable development in the

drove out the Japanese invaders in the Battle of Hwangsan and

quality of hanji, traditional paper made with mulberry bark.

View of the Section 1 Publications of Jeolla-do Province

Calligraphy of Yi Samman

Seal, Possessions of Yi Jeongjik

22

23

THE JOSEON DYNASTY’S ROYAL FAMILY

north to south, but the peaks of Wansan (old name of

The first thing that greets visitors in the museum is the Portrait

Jeonju) are the most beautiful

of King Taejo dressed in blue royal robes. The Joseon Dynasty,

of all. The auspicious spirit of

founded by Yi Seonggye (later King Taejo) has its roots in Jeonju. The city became the hometown of royalty when the found-

the sovereigns has gathered

ing father of the Jeonju Yi clan, Yi Han, settled there during

over a thousand years and

the reign of King Munseong during the Unified Silla period. Yi

ushered in a new dynasty.”

Seonggye, of course, was from the same clan, and subsequent

_From Recollections of Jeonju,

kings looked upon Jeonju as a historical place where their family roots could be found. The placenta jars of Joseon kings and

written by Kwon Geun

their descendants were buried at an auspicious site in Jeonju

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY

SECTION 1—JEONJU, HOME OF

CONNECT WITH NMK

“The vast mountains stretch

other wars, his name became the subject of myth and legend.

SECTION 2—JEONJU, THE CENTER OF

This is attested to by a number of relics including Genealogy

THE JEOLLA REGION

of the Yi Family, the Royal Family of the Joseon Dynasty, the Epic Poem Royal Chants for the Greatness of King Taejo (Yongbi eo-

This part of the exhibition has been rearranged to show di-

cheonga), and the Rubbing of the Monument Commemorating

verse aspects of Jeonju as the center of Jeollabuk-do Province.

Yi Seonggye’s Repulsion of Japanese Pirates.

Jeonju is especially renowned as a city of culture and the arts.

One of the most important objects on display as part of

The handcrafts made here were presented to the royal court,

the History Room renewal is the Placenta Jar and Memorial

and the wooden printing blocks for classical Korean novels that

Stone of King Yejong. The placenta jar was originally buried in

were so well made that Jeonju led the printing culture with the

a village devoted to placenta burials in Gui-myeon, Wanju. But

capital, Seoul.

when the village was destroyed during the Japanese colonial

Indeed, the printing and publication culture of Jeonju has

period, the jar and memorial stone were moved to Seoul in

deep roots. Records show that in the Goryeo period various

1928 and buried and sealed near the grounds of Seosamneung

books were printed at the government office and temples in

and a storehouse for the preservation of important national

(Three Tombs of the West), and then to Gyeonggijeon in Jeonju

the city. In the Joseon period, the Jeolla governor’s office (Jeolla

records was established in the city. The place that most clearly

in 1970. In more recent times, the placenta jar was preserved

Gamyeong) published a range of books on various topics re-

demonstrates the connection between Jeonju and Joseon

at the National Museum of Korea while the memorial stone

quested by the central government. Moreover, the scholar-offi-

royalty is Gyeonggijeon. This shrine was built in 1410 to house

was preserved at the National Palace Museum. They have been

cials of Jeonju published various books and collected writings

the portraits of Joseon kings after the Jeonju government office

reunited as a set for this exhibition in Jeonju. The exhibition

for the own possession. From the 17th century, books for public

made a request in 1409 to be allowed to preserve the portrait of

also features objects that explore the efforts Emperor Gojong

sale were printed in the Taein district by members of the jungin

King Taejo.

made to enhance the orthodoxy of the royal family following

(technical workers) class, while classical novels for commercial

his proclamation of the Daehan Empire in 1897, which include

sale were published in the Jeonju area.

Such a request was made because of King Taejo’s achievements in the city. From the late Goryeo period, Taejo was

an overhaul of the burial grounds of Yi Han, founding father of

With the establishment of the publishing industry, related

renowned for his deeds not only in Jeonju but the whole

the Jeonju Yi clan. Other objects on display attest to interesting

fields also grew. The craftsmen who carved the printing wood-

Jeollabuk-do region as he solidified his political position. As he

stories and episodes in history.

blocks flourished and there was noticeable development in the

drove out the Japanese invaders in the Battle of Hwangsan and

quality of hanji, traditional paper made with mulberry bark.

View of the Section 1 Publications of Jeolla-do Province

Calligraphy of Yi Samman

Seal, Possessions of Yi Jeongjik

22

23

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY

Jar of King Yejong’s Placenta Joseon Dynasty, 15th century Outer Jar: National Museum of Korea duk 6370

CONNECT WITH NMK

Map of the Jeonju in Joseon Dynasty Artist unknown Joseon Dynasty, 19th century Ink and color on paper jun 71

More than ten bookstores also appeared

on a number of men who left behind

When he retired from the court and

in the city. In the private sector, edu-

great achievements both in learning and

came to live in Jeonju he set up a por-

cational books were published along

culture including Yi Samman, 1770-1847,

trait painting studio. He concentrated on

with books for entertainment such as

penname Changam

hero novels and dramatic popular tales.

Seokjeong

A range of old books is featured in the

Seokji Hwang

exhibition, allowing visitors to imagine

and Shin Gyeongjun. 1712-1782, penname Yeoam

photographic techniques and Western

the state of publishing at the time.

Though based on tradition, they sought

painting techniques in his work.

One notable exhibit is Map of Jeonju

Chae Yongsin, 1850-1941, penname Yunseok, 1729-1791, penname Ijae

progress in their learning and culture by

painting other patriotic men who were like comrades in arms. He introduced new methods to portraiture, reflecting

The intellectuals of Jeollabuk-do

in the Joseon Dynasty, which shows

adopting new technologies and ideas.

hence did not sit on their academic

Jeonju as a flourishing city of the 19th

They did not hesitate to share their

laurels but devoted time to teaching

century. The map shows in detail the

achievements and contribute to society

and readily accepted new cultures.

city surrounded by fortress walls and

by various means—sometimes writing

The books, calligraphic, ink paintings,

places such as the governor’s office,

books, sometimes teaching students,

portraits, and astronomic charts they

Gyeonggijeon, a hotel, Jogyeongmyo,

and sometimes working together with

produced have been systematically

which is the shrine of Yi Han, as well as

the ordinary people.

sorted and newly arranged for exhibi-

the neighboring areas. Jeonju as a city of

24

Yi

Jeongjik, 1841-1910, penname

Yi Samman is counted as one of

21,176 households and 72,773 people is

the three greatest calligraphers of the

spread before the eyes.

late Joseon period, famed for his rendi-

tion, giving a clearer picture of their lives, learning and philosophies.

The renovated History Room is

tions of the Yusuche script which are

designed to enhance understanding of

SECTION 3—INTELLECTUALS OF

as fluid as running water. Yi Jeongjik, a

Jeonju and the 500-year history of the

JEOLLABUK-DO PROVINCE

representative figure of Confucianism

Joseon Dynasty through a wide range of

in the Honam region, introduced the

objects presented under various themes.

Bacon 1561-1626

This part of the exhibition is where

work of Francis

visitors come face to face with people

and is noted for trying to seek middle

to Korea

ing for renewal of the Fine Arts Room

who were intellectuals in the real sense,

ground between Western philosophy

and establishment of a children’s mu-

leaders of academic learning and culture

and Chinese Neo-Confucianism. Chae

seum in the second half of this year.

in the Jeollabuk-do region. It focuses

Yongsin was a famous portrait painter.

White Horse with a Blue Mane and Tail Eight Swift Horses Artist unknown Late Joseon Dynasty Ink and color on paper duk 2236

Portrait of King Taejo Artist unknown Joseon Dynasty, 1872 Ink and color on silk National Treasure No. 317 Jeonju, Jeollabuk-do

Jeonju National Museum is now prepar-

Portrait of Jeon U

By Chae Yongsin (1850-1941) 1911 Ink and color on silk National Museum of Modern and Contemporary Art, Korea

25

THE LANDSCAPE OF JEONJU IN THE JOSEON DYNASTY

Jar of King Yejong’s Placenta Joseon Dynasty, 15th century Outer Jar: National Museum of Korea duk 6370

CONNECT WITH NMK

Map of the Jeonju in Joseon Dynasty Artist unknown Joseon Dynasty, 19th century Ink and color on paper jun 71

More than ten bookstores also appeared

on a number of men who left behind

When he retired from the court and

in the city. In the private sector, edu-

great achievements both in learning and

came to live in Jeonju he set up a por-

cational books were published along

culture including Yi Samman, 1770-1847,

trait painting studio. He concentrated on

with books for entertainment such as

penname Changam

hero novels and dramatic popular tales.

Seokjeong

A range of old books is featured in the

Seokji Hwang

exhibition, allowing visitors to imagine

and Shin Gyeongjun. 1712-1782, penname Yeoam

photographic techniques and Western

the state of publishing at the time.

Though based on tradition, they sought

painting techniques in his work.

One notable exhibit is Map of Jeonju

Chae Yongsin, 1850-1941, penname Yunseok, 1729-1791, penname Ijae

progress in their learning and culture by

painting other patriotic men who were like comrades in arms. He introduced new methods to portraiture, reflecting

The intellectuals of Jeollabuk-do

in the Joseon Dynasty, which shows

adopting new technologies and ideas.

hence did not sit on their academic

Jeonju as a flourishing city of the 19th

They did not hesitate to share their

laurels but devoted time to teaching

century. The map shows in detail the

achievements and contribute to society

and readily accepted new cultures.

city surrounded by fortress walls and

by various means—sometimes writing

The books, calligraphic, ink paintings,

places such as the governor’s office,

books, sometimes teaching students,

portraits, and astronomic charts they

Gyeonggijeon, a hotel, Jogyeongmyo,

and sometimes working together with

produced have been systematically

which is the shrine of Yi Han, as well as

the ordinary people.

sorted and newly arranged for exhibi-

the neighboring areas. Jeonju as a city of

24

Yi

Jeongjik, 1841-1910, penname

Yi Samman is counted as one of

21,176 households and 72,773 people is

the three greatest calligraphers of the

spread before the eyes.

late Joseon period, famed for his rendi-

tion, giving a clearer picture of their lives, learning and philosophies.

The renovated History Room is

tions of the Yusuche script which are

designed to enhance understanding of

SECTION 3—INTELLECTUALS OF

as fluid as running water. Yi Jeongjik, a

Jeonju and the 500-year history of the

JEOLLABUK-DO PROVINCE

representative figure of Confucianism

Joseon Dynasty through a wide range of

in the Honam region, introduced the

objects presented under various themes.

Bacon 1561-1626

This part of the exhibition is where

work of Francis

visitors come face to face with people

and is noted for trying to seek middle

to Korea

ing for renewal of the Fine Arts Room

who were intellectuals in the real sense,

ground between Western philosophy

and establishment of a children’s mu-

leaders of academic learning and culture

and Chinese Neo-Confucianism. Chae

seum in the second half of this year.

in the Jeollabuk-do region. It focuses

Yongsin was a famous portrait painter.

White Horse with a Blue Mane and Tail Eight Swift Horses Artist unknown Late Joseon Dynasty Ink and color on paper duk 2236

Portrait of King Taejo Artist unknown Joseon Dynasty, 1872 Ink and color on silk National Treasure No. 317 Jeonju, Jeollabuk-do

Jeonju National Museum is now prepar-

Portrait of Jeon U

By Chae Yongsin (1850-1941) 1911 Ink and color on silk National Museum of Modern and Contemporary Art, Korea

25

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN

CONNECT WITH NMK

RNM EXHIBITION. 2

MARCH 18 – JUNE 22, 2014 SPECIAL EXHIBITION GALLERY, GYEONGJU NATIONAL MUSEUM

"The exhibition brings to life the splendid burial goods attesting to the authority of the king and the luxurious funeral rites of the Silla period. The ancient heavenly horse flies again in this exhibition that enhances the charm of spring in Gyeongju."

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA

Mound Jar with from Cheonmachong, Royal of Silla Artifacts are displayed as Lid they were found at thethe time of Tomb excavation

26

G

yeongju National Museum has organized special exhibitions on the theme of Silla royal tombs since 2010. This year comes the third exhibition in the

series, featuring Cheonmachong, or the Tomb of the Heavenly Horse. The exhibition features two famous items from the tomb that have only been revealed in excavation reports, the “Birch Bark Mudguard with Heavenly Horse Painting” and the “Bamboo Mudguard with Gilt-bronze Openwork,” which are on display for the public for the first time. Moreover, this exhibi-

For protection of the mudguard with the painting of a heavenly horse, it will be on display for limited periods as follows: March 18-April 6/ April 29-May 18/ June 3-22

tion is the first in which nearly all the items excavated from Cheonmachong can be seen.

27

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN

CONNECT WITH NMK

RNM EXHIBITION. 2

MARCH 18 – JUNE 22, 2014 SPECIAL EXHIBITION GALLERY, GYEONGJU NATIONAL MUSEUM

"The exhibition brings to life the splendid burial goods attesting to the authority of the king and the luxurious funeral rites of the Silla period. The ancient heavenly horse flies again in this exhibition that enhances the charm of spring in Gyeongju."

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA

Mound Jar with from Cheonmachong, Royal of Silla Artifacts are displayed as Lid they were found at thethe time of Tomb excavation

26

G

yeongju National Museum has organized special exhibitions on the theme of Silla royal tombs since 2010. This year comes the third exhibition in the

series, featuring Cheonmachong, or the Tomb of the Heavenly Horse. The exhibition features two famous items from the tomb that have only been revealed in excavation reports, the “Birch Bark Mudguard with Heavenly Horse Painting” and the “Bamboo Mudguard with Gilt-bronze Openwork,” which are on display for the public for the first time. Moreover, this exhibi-

For protection of the mudguard with the painting of a heavenly horse, it will be on display for limited periods as follows: March 18-April 6/ April 29-May 18/ June 3-22

tion is the first in which nearly all the items excavated from Cheonmachong can be seen.

27

notice in 1973 when it surprised the world with the artifacts that it yielded. To gain some practice ahead of excavating the very large Hwangnamdaechong (Great Hwangnam Tomb), researchers first began work on the smaller Cheonmachong and found artifacts buried in the tomb of unexpectedly high standard. with circumference of 47 meters. The deceased was placed inside a wooden chamber in the tomb before the funeral rites were held. Then stones of various sizes were then piled up on top of the wooden chamber and formed into a mound that was covered with earth. In the exhibition, efforts have been made to show the artifacts found in their original positions inside of burial.

Hence the first exhibits that visitors come across are the

Gilt-bronze Front Saddle Bow W. 44.5 cm

artifacts that were buried outside the wooden chamber. These include a gold cap and gold cap ornaments, glass beads and pottery. The gold cap, indicative of the power of the person buried in the tomb, is the height of splendor with its openwork in the shape of birds’ wings and mystical blue-colored glass beads of various sizes. Also on display are a collection of earthenware vessels, gold earrings and other accessories, which hint at live burial of people associated with the deceased.

This section leads to the wooden chamber in which the

The Digital Magnifying Glasses

gold plate decoration. It is displayed with gold cap ornaments

Mound Jar with Lid from Cheonmachong, the Royal Tomb of Silla

the tomb to help visitors understand the situation at the time

Ornamental Horse Trappings

Cheonmachong is about 12.7 meters high and has a mound

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN

duction to the tomb, Cheonmachong. The tomb first came to

Birch Bark Mudguard with Heavenly Horse Painting L. 73.4 cm

CONNECT WITH NMK

Understanding the exhibition properly first requires an intro-

person was buried. Here the artifacts are displayed as they were found at the time of excavation, inspiring images of the occupant of the tomb covered in gold ornaments. It appears the person was wearing a gold crown with gold pendants and gold earrings, a necklace made of gold, glass and jade pieces, a gold

with mud. One mudguard is hung from

decoration was first discovered in the

The exhibition brings to life the splendid

belt with pendants at the waist, and the “Iron Sword with Gilt-

each side of the saddle, so they form a

process of conservation work. Visitors

burial goods attesting to the authority of

bronze Phoenix-shaped Pommel” at the side, gold bracelets on

set of two. Very few examples of such

to the exhibition can examine the fine

the king and the luxurious funeral rites

the arms and gold rings on the fingers.

mudguards from the Three Kingdoms

details such as the scales on the flying

of the Silla period. Thanks to the synergy

At the head is a case filled with burial items. The exhibition

period survive, as they were generally

horse and the crosshatch design with

created by research and conservation

features an iron pot with earthenware lid and an assortment of

made of organic materials such as bark

the help of digital magnifying glasses.

work on the museum’s collection, the

earthenware vessels of various sizes inside a display cabinet.

or leather, which easily rot away. While

Gyeongju National Museum is the first

ancient heavenly horse flies again in this

When excavated the tomb was filled with all sorts of lacquer

mudguard discoveries are rare, three

national museum in Korea to introduce

exhibition that enhances the charm of

ware and gilt-bronze vessels while the top layer of the case was

sets were found in the case in Cheon-

the digital magnifying glasses, enabling

spring in Gyeongju.

tightly packed with horse trappings. The saddle, bit, bells and

machong. The “Bamboo Mudguard with

the works to be examined up close in all

bridle ornaments are evidence of the rank and power of the

Gilt-bronze Openwork” is shown to the

their lively details. The “Birch Bark Mud-

tomb occupant. The mudguard with the painting of a heavenly

public for the first time. The backing

guard with Heavenly Horse Painting” set

horse was also found at the top of the same case. At the foot

is made of thin bamboo strips woven

is also on display and visitors can enjoy

of the deceased lay some 120 iron arrowheads and the “Iron

together and covered with hemp cloth

the beauty of the painting and read an

Sword with Three-ring Pommel,” seemingly signifying protec-

then decorated with ten openwork

explanation of how the mudguard was

tion of the king.

gilt-bronze plates of various sizes fea-

made using birch bark. That the bark

turing the heavenly horse and other

was joined with strips running in op-

with the heavenly horse decoration. As the name suggests, the

designs, fixed to the bamboo with gilt-

posing directions to prevent warping is

mudguard protects the mounted rider from getting splattered

bronze nails. The gilt-bronze openwork

evidence of ancient wisdom.

Of all these items the most important is the mudguard

28

Gold Crown from Cheonmachong Tomb Silla Kingdom Copper Alloy H. 32.5 cm National Treasure No. 188

29

notice in 1973 when it surprised the world with the artifacts that it yielded. To gain some practice ahead of excavating the very large Hwangnamdaechong (Great Hwangnam Tomb), researchers first began work on the smaller Cheonmachong and found artifacts buried in the tomb of unexpectedly high standard. with circumference of 47 meters. The deceased was placed inside a wooden chamber in the tomb before the funeral rites were held. Then stones of various sizes were then piled up on top of the wooden chamber and formed into a mound that was covered with earth. In the exhibition, efforts have been made to show the artifacts found in their original positions inside of burial.

Hence the first exhibits that visitors come across are the

Gilt-bronze Front Saddle Bow W. 44.5 cm

artifacts that were buried outside the wooden chamber. These include a gold cap and gold cap ornaments, glass beads and pottery. The gold cap, indicative of the power of the person buried in the tomb, is the height of splendor with its openwork in the shape of birds’ wings and mystical blue-colored glass beads of various sizes. Also on display are a collection of earthenware vessels, gold earrings and other accessories, which hint at live burial of people associated with the deceased.

This section leads to the wooden chamber in which the

The Digital Magnifying Glasses

gold plate decoration. It is displayed with gold cap ornaments

Mound Jar with Lid from Cheonmachong, the Royal Tomb of Silla

the tomb to help visitors understand the situation at the time

Ornamental Horse Trappings

Cheonmachong is about 12.7 meters high and has a mound

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN

duction to the tomb, Cheonmachong. The tomb first came to

Birch Bark Mudguard with Heavenly Horse Painting L. 73.4 cm

CONNECT WITH NMK

Understanding the exhibition properly first requires an intro-

person was buried. Here the artifacts are displayed as they were found at the time of excavation, inspiring images of the occupant of the tomb covered in gold ornaments. It appears the person was wearing a gold crown with gold pendants and gold earrings, a necklace made of gold, glass and jade pieces, a gold

with mud. One mudguard is hung from

decoration was first discovered in the

The exhibition brings to life the splendid

belt with pendants at the waist, and the “Iron Sword with Gilt-

each side of the saddle, so they form a

process of conservation work. Visitors

burial goods attesting to the authority of

bronze Phoenix-shaped Pommel” at the side, gold bracelets on

set of two. Very few examples of such

to the exhibition can examine the fine

the king and the luxurious funeral rites

the arms and gold rings on the fingers.

mudguards from the Three Kingdoms

details such as the scales on the flying

of the Silla period. Thanks to the synergy

At the head is a case filled with burial items. The exhibition

period survive, as they were generally

horse and the crosshatch design with

created by research and conservation

features an iron pot with earthenware lid and an assortment of

made of organic materials such as bark

the help of digital magnifying glasses.

work on the museum’s collection, the

earthenware vessels of various sizes inside a display cabinet.

or leather, which easily rot away. While

Gyeongju National Museum is the first

ancient heavenly horse flies again in this

When excavated the tomb was filled with all sorts of lacquer

mudguard discoveries are rare, three

national museum in Korea to introduce

exhibition that enhances the charm of

ware and gilt-bronze vessels while the top layer of the case was

sets were found in the case in Cheon-

the digital magnifying glasses, enabling

spring in Gyeongju.

tightly packed with horse trappings. The saddle, bit, bells and

machong. The “Bamboo Mudguard with

the works to be examined up close in all

bridle ornaments are evidence of the rank and power of the

Gilt-bronze Openwork” is shown to the

their lively details. The “Birch Bark Mud-

tomb occupant. The mudguard with the painting of a heavenly

public for the first time. The backing

guard with Heavenly Horse Painting” set

horse was also found at the top of the same case. At the foot

is made of thin bamboo strips woven

is also on display and visitors can enjoy

of the deceased lay some 120 iron arrowheads and the “Iron

together and covered with hemp cloth

the beauty of the painting and read an

Sword with Three-ring Pommel,” seemingly signifying protec-

then decorated with ten openwork

explanation of how the mudguard was

tion of the king.

gilt-bronze plates of various sizes fea-

made using birch bark. That the bark

turing the heavenly horse and other

was joined with strips running in op-

with the heavenly horse decoration. As the name suggests, the

designs, fixed to the bamboo with gilt-

posing directions to prevent warping is

mudguard protects the mounted rider from getting splattered

bronze nails. The gilt-bronze openwork

evidence of ancient wisdom.

Of all these items the most important is the mudguard

28

Gold Crown from Cheonmachong Tomb Silla Kingdom Copper Alloy H. 32.5 cm National Treasure No. 188

29

CONNECT WITH WORLD

PEOPLE AT NMK

NMK 2014 SPRING

YOUNG FRIENDS OF THE MUSEUM: GATHERING AS KEEPERS OF THE KOREAN CULTURE

YOUNG FRIENDS OF THE MUSEUM: GATHERING AS KEEPERS OF THE KOREAN CULTURE

1.

Fundraising concert for the National Museum of Korea 2.

Donation of celadon tiles for Cheongjajeong to mark the centennial of the NMK 3.

Silla Gold Crown Gallery, one of the exhibition space renovation projects

The Silla Gold Crown Gallery, the Pensive Bodhisattva Gallery, the Buddhist Sculpture Gallery have been turned into wonderful exhibition spaces that set off the beauty of the finest items in the National Museum of Korea collection and provide an atmosphere where visitors can focus on the works. Behind the renovation of these galleries is Young Friends of the Museum (YFM), a subgroup of the Friends of the National Museum of Korea comprised of young business people who love Korean culture. We met with YFM Chairman Chung Yongjin to hear about the group and its activities.

INTERVIEW WITH CHUNG YONGJIN, CHAIRMAN OF YFM (VICE-CHAIRMAN OF THE SHINSEGAE GROUP)

1

What motivated your participation in YFM?

2

not stop at donating relics and funds.

It is meaningful that the role of culture

The YFM was founded in 2009 to carry

patrons and benefactors has expanded to

out various programs including dona-

activities that directly add to the enjoy-

tions of relics to the museum as well as

ment of museum visitors.

promoting the practice of donating relics and funds. I love the museum and visit

I understand that “Friends groups” play a

it often. I naturally became interested in

significant role at famous museums around

YFM and decided to take part.

the world. What is the role of the YFM in

3

terms of promoting the patronage of culYFM’s activities go beyond simple donation.

ture?

Could you explain in some detail?

The members of YFM are socially active YFM supports the museum in progres-

young business people ranging in age

sive and original ways. After its launch,

from their late 20s to late 40s. Young

the YFM’s first project was the donation

business people should not only engage

of celadon tiles for Cheongjajeong

in economic activities but naturally take

(literally “celadon pavilion,” located by

part in cultural support and help raise

the pond in front of the museum) to

You have held five fundraising concerts

hence the concerts are events where the

awareness among future benefactors. It is

(KFFM), and we have also joined the

What direction will the YFM take in the fu-

mark the 100th anniversary of the NMK.

since the launch of YFM. Could you tell us

organizer, performers and audience come

our task to organize meaningful activi-

World Federation of Friends of Museums

ture, and what kind of backing do you hope

We hold several social volunteer pro-

about how the event was inaugurated and

together under the same goal of support-

ties that will lead to continued donation

(WFFM) which brings together museum

for from the NMK?

grams, such as inviting children living

some of the results? Also, we would be inter-

ing culture. As for the Silla Gold Crown

rather than one-off events, and become

support groups from 40 countries around

in regions with little access to cultural

ested to hear how you felt when you saw

Gallery, the Pensive Bodhisattva Gallery,

business people who fulfill their social

the world. The international activities of

It is my hope that the YFM will take the

events to visit the NMK. Our members

the galleries that were renovated with the

the Buddhist Sculpture Gallery—they

responsibilities from a young age so that

Korean friends of museums are mostly

lead in raising awareness of support for

tour the exhibitions with the children,

support of YFM.

exhibit works that are not only some of

philanthropy becomes a part of our lives.

attended by YFM. We take part in the

culture and in acting upon this idea. We

international congresses and seminars of

will strive to provide strong support so

formances with them. We also organize

More than anything else, the concerts

tion but also in the history of Korean art.

Does YFM have any exchange with other

the WFFM, which are held on a regular

that the NMK can take its place among

field trips to cultural sites and lectures on

were created as opportunities to share

Renovation of the galleries provided an

museum support groups? In addition, do

basis. Through such forums we share

the world’s leading museums. The inter-

major items in the museum’s collection.

with the many visitors to the museum

opportunity to bring new attention to the

you take part in activities overseas as well

our experiences and activities with the

est and support of the museum for our

One of YFM’s most important programs

the goals and values of YFM, which exists

beauty of the major treasures of the mu-

as in Korea?

NMK and learn about the work of friends

endeavors will encourage members to

is the annual fundraising concert which

to safeguard our cultural heritage and

seum and create an atmosphere where

groups in other countries. Last year we

further their efforts.

includes classical music, musicals, and

raise awareness about the importance

visitors can concentrate on the art works

In 2010 the domestic friends of museums

hosted the Seoul WFFM Council and

ballet which are held to raise funds for

of protecting it. The artists performing

in front of them, thereby enhancing the

groups came together to form the Korean

General Assembly Meeting, the first ever

the museum.

in the concerts donate their talents, and

overall quality of the museum. We do

Federation of Friends of Museums

to be held in Asia.

take part in the activities, and watch per-

30

the greatest treasures of the NMK collec-

31

CONNECT WITH WORLD

PEOPLE AT NMK

NMK 2014 SPRING

YOUNG FRIENDS OF THE MUSEUM: GATHERING AS KEEPERS OF THE KOREAN CULTURE

YOUNG FRIENDS OF THE MUSEUM: GATHERING AS KEEPERS OF THE KOREAN CULTURE

1.

Fundraising concert for the National Museum of Korea 2.

Donation of celadon tiles for Cheongjajeong to mark the centennial of the NMK 3.

Silla Gold Crown Gallery, one of the exhibition space renovation projects

The Silla Gold Crown Gallery, the Pensive Bodhisattva Gallery, the Buddhist Sculpture Gallery have been turned into wonderful exhibition spaces that set off the beauty of the finest items in the National Museum of Korea collection and provide an atmosphere where visitors can focus on the works. Behind the renovation of these galleries is Young Friends of the Museum (YFM), a subgroup of the Friends of the National Museum of Korea comprised of young business people who love Korean culture. We met with YFM Chairman Chung Yongjin to hear about the group and its activities.

INTERVIEW WITH CHUNG YONGJIN, CHAIRMAN OF YFM (VICE-CHAIRMAN OF THE SHINSEGAE GROUP)

1

What motivated your participation in YFM?

2

not stop at donating relics and funds.

It is meaningful that the role of culture

The YFM was founded in 2009 to carry

patrons and benefactors has expanded to

out various programs including dona-

activities that directly add to the enjoy-

tions of relics to the museum as well as

ment of museum visitors.

promoting the practice of donating relics and funds. I love the museum and visit

I understand that “Friends groups” play a

it often. I naturally became interested in

significant role at famous museums around

YFM and decided to take part.

the world. What is the role of the YFM in

3

terms of promoting the patronage of culYFM’s activities go beyond simple donation.

ture?

Could you explain in some detail?

The members of YFM are socially active YFM supports the museum in progres-

young business people ranging in age

sive and original ways. After its launch,

from their late 20s to late 40s. Young

the YFM’s first project was the donation

business people should not only engage

of celadon tiles for Cheongjajeong

in economic activities but naturally take

(literally “celadon pavilion,” located by

part in cultural support and help raise

the pond in front of the museum) to

You have held five fundraising concerts

hence the concerts are events where the

awareness among future benefactors. It is

(KFFM), and we have also joined the

What direction will the YFM take in the fu-

mark the 100th anniversary of the NMK.

since the launch of YFM. Could you tell us

organizer, performers and audience come

our task to organize meaningful activi-

World Federation of Friends of Museums

ture, and what kind of backing do you hope

We hold several social volunteer pro-

about how the event was inaugurated and

together under the same goal of support-

ties that will lead to continued donation

(WFFM) which brings together museum

for from the NMK?

grams, such as inviting children living

some of the results? Also, we would be inter-

ing culture. As for the Silla Gold Crown

rather than one-off events, and become

support groups from 40 countries around

in regions with little access to cultural

ested to hear how you felt when you saw

Gallery, the Pensive Bodhisattva Gallery,

business people who fulfill their social

the world. The international activities of

It is my hope that the YFM will take the

events to visit the NMK. Our members

the galleries that were renovated with the

the Buddhist Sculpture Gallery—they

responsibilities from a young age so that

Korean friends of museums are mostly

lead in raising awareness of support for

tour the exhibitions with the children,

support of YFM.

exhibit works that are not only some of

philanthropy becomes a part of our lives.

attended by YFM. We take part in the

culture and in acting upon this idea. We

international congresses and seminars of

will strive to provide strong support so

formances with them. We also organize

More than anything else, the concerts

tion but also in the history of Korean art.

Does YFM have any exchange with other

the WFFM, which are held on a regular

that the NMK can take its place among

field trips to cultural sites and lectures on

were created as opportunities to share

Renovation of the galleries provided an

museum support groups? In addition, do

basis. Through such forums we share

the world’s leading museums. The inter-

major items in the museum’s collection.

with the many visitors to the museum

opportunity to bring new attention to the

you take part in activities overseas as well

our experiences and activities with the

est and support of the museum for our

One of YFM’s most important programs

the goals and values of YFM, which exists

beauty of the major treasures of the mu-

as in Korea?

NMK and learn about the work of friends

endeavors will encourage members to

is the annual fundraising concert which

to safeguard our cultural heritage and

seum and create an atmosphere where

groups in other countries. Last year we

further their efforts.

includes classical music, musicals, and

raise awareness about the importance

visitors can concentrate on the art works

In 2010 the domestic friends of museums

hosted the Seoul WFFM Council and

ballet which are held to raise funds for

of protecting it. The artists performing

in front of them, thereby enhancing the

groups came together to form the Korean

General Assembly Meeting, the first ever

the museum.

in the concerts donate their talents, and

overall quality of the museum. We do

Federation of Friends of Museums

to be held in Asia.

take part in the activities, and watch per-

30

the greatest treasures of the NMK collec-

31

CONNECT WITH WORLD

LECTURE AT NMK

NMK 2014 SPRING

AT THE CROSSROADS IN A TIME OF TRANSITION: LOYAL OFFICIALS VS. MERITORIOUS OFFICIALS

1.

Sambongjip, Collected Works of Jeong Dojeon Joseon Dynasty Paper 24.0 x 16.3 cm sinsu 15087

1

2

2.

Yi Saek's Answer Sheet for the State Civil Service Exams

In the late Goryeo period, the political moves of the scholarofficial class (sadaebu) diverged into two paths. Yi Saek, Jeong Mongju, and Yi Sungin and many others remained loyal to Goryeo. On the other hand, others such as Jeong Dojeon, Jo Jun and Yun Sojong helped to establish the new Joseon Dynasty. In the following, we examine the reason for this parting of ways as either officials loyal to the old state or meritorious officials contributing to the new.

AT THE CROSSROADS IN A TIME OF TRANSITION: LOYAL OFFICIALS VS. MERITORIOUS OFFICIALS

BY DO HYEONCHUL, PROFESSOR OF HISTORY, YONSEI UNIVERSITY

RISE OF THE SADAEBU IN LATE GORYEO

32

matic relations with China to be focused

important factor. He believed in a family-

on private ties and blood relationships

on the Ming.

governed monarchic country and that

advocated under the name of moral duty.

politics should operate on the basis of

He believed the monarch was not the

DIVERGING PATHS OF YI SAEK AND

blood ties. That is, he explained monarchi-

subject of loyalty and fidelity just because

JEONG DOJEON: LOYAL OFFICIALS OR

cal authority, the summit of public order,

he was the king; the king should only be

MERITORIOUS OFFICIALS

as well as laws and other national norms

recognized as the legitimate ruler and

as an extension of family ethics. Hence

be obeyed when he lived up to his moral

The Wihwado Retreat in 1388, when Gen-

Yi Saek sought to explicate the concept

duties. In his arguments, Jeong stressed

eral Yi Seonggye turned his army around

of loyalty, a public or social relationship,

the “mandate of heaven” and “the change

at Wihwado Island on his way to do battle

through the concept of filial piety, which

of dynasty decreed by heaven,” concepts

with the Ming and returned to the capital

is concerned with the private relationship

found in the Confucian classics, and

to stage a coup, took place at a time of

between blood relatives, As relationships

focused on the need for grounds to justify

crisis during the reign of King U, marked

formed through blood are absolute and

the existence of the king.

by political collapse and accumulated

cannot be severed, he believed in accept-

In light of the Confucian theory of moral

social ills. Following this incident, politi-

ing and maintaining the given relation-

duty and cardinal principles of righteous-

cal reform based on Neo-Confucianism

ship between king and subject whatever

ness, Jeong and others argued that King

rising scholar-officials adopted Neo-Con-

gained momentum. But while agreeing in

the conditions.

U was not the king, and drove his son,

fucianism as their ideology for reform.

principle to Neo-Confucian based reform,

On the other hand, Jeong Dojeon be-

King Chang, off the throne. Consequently,

A new class of scholar-officials emerged

During the reform period in the early days

there were disagreements as to the way

lieved improving systems was the answer

they contrived to place on the throne a

in the latter days of the Goryeo period in

of King Gongmin and the reform led by

in which reform should be achieved. Yi

rather than human character in terms

king who did fulfill his moral duty and to

response to changes in society. They pur-

the monk Sindon, they were still mostly

Saek, 1328-1396 Kwon Geun and Yi Sungin

of enlightening the people and stabiliz-

establish a new king and subject rela-

sued political reform and were the main

low, working-level officials and had little

sought to replace the ideology and sys-

ing their livelihood, and hence sought to

tionship. This theory of moral duty ran

force behind the rise of the Joseon Dy-

impact on affairs of state. But gradually,

tems of Goryeo in gradual stages. On the

establish measures that would ensure the

counter to the Goryeo theory of propriety

Dojeon 1342-1398

nasty. Rising under the military govern-

with increased political and social aware-

contrary, Jeong

welfare of the people. Jeong and others

based on blood ties. It is because of such

ment of the time, socially they belonged

ness of Neo-Confucianism, they began to

ers wanted rapid reform based on Neo-

and oth-

like him worked to raise productivity,

ideological differences that Jeong Dojeon

to the class of local officials (hyangni),

make their presence felt in real reform.

Confucianism principles.

improve the land system, which was the

and others from the scholar-official class,

economically were small landowners, and

In the foundation year of King U, they

These two opposing political streams can

foundation of agriculture, and through

though subjects of Goryeo, were not loyal

philosophically were students of Neo-

strongly opposed the reception of en-

be examined through the two respective

such means focused on securing the basis

to Goryeo but rather became meritorious

Confucianism. They can be seen as the

voys from the Northern Yuan Dynasty of

proponents, Yi Saek and Jeong Dojeon.

of production for small farmers.

officials recognized for their contribution

political force in opposition to the power-

China. Recognizing that political moves in

In relation to the livelihood and enlight-

In addition, Jeong Dojeon remained

in founding the new nation of Joseon.

ful aristocratic families of Goryeo.

Northeast Asia foretold the fall of Yuan to

enment of the ordinary people, Yi Saek

faithful to the noble cause of Neo-Confu-

Adapting to the current of the times, the

the Ming Dynasty, they argued for diplo-

considered human character to be most

cianism. He was critical of values based

33

CONNECT WITH WORLD

LECTURE AT NMK

NMK 2014 SPRING

AT THE CROSSROADS IN A TIME OF TRANSITION: LOYAL OFFICIALS VS. MERITORIOUS OFFICIALS

1.

Sambongjip, Collected Works of Jeong Dojeon Joseon Dynasty Paper 24.0 x 16.3 cm sinsu 15087

1

2

2.

Yi Saek's Answer Sheet for the State Civil Service Exams

In the late Goryeo period, the political moves of the scholarofficial class (sadaebu) diverged into two paths. Yi Saek, Jeong Mongju, and Yi Sungin and many others remained loyal to Goryeo. On the other hand, others such as Jeong Dojeon, Jo Jun and Yun Sojong helped to establish the new Joseon Dynasty. In the following, we examine the reason for this parting of ways as either officials loyal to the old state or meritorious officials contributing to the new.

AT THE CROSSROADS IN A TIME OF TRANSITION: LOYAL OFFICIALS VS. MERITORIOUS OFFICIALS

BY DO HYEONCHUL, PROFESSOR OF HISTORY, YONSEI UNIVERSITY

RISE OF THE SADAEBU IN LATE GORYEO

32

matic relations with China to be focused

important factor. He believed in a family-

on private ties and blood relationships

on the Ming.

governed monarchic country and that

advocated under the name of moral duty.

politics should operate on the basis of

He believed the monarch was not the

DIVERGING PATHS OF YI SAEK AND

blood ties. That is, he explained monarchi-

subject of loyalty and fidelity just because

JEONG DOJEON: LOYAL OFFICIALS OR

cal authority, the summit of public order,

he was the king; the king should only be

MERITORIOUS OFFICIALS

as well as laws and other national norms

recognized as the legitimate ruler and

as an extension of family ethics. Hence

be obeyed when he lived up to his moral

The Wihwado Retreat in 1388, when Gen-

Yi Saek sought to explicate the concept

duties. In his arguments, Jeong stressed

eral Yi Seonggye turned his army around

of loyalty, a public or social relationship,

the “mandate of heaven” and “the change

at Wihwado Island on his way to do battle

through the concept of filial piety, which

of dynasty decreed by heaven,” concepts

with the Ming and returned to the capital

is concerned with the private relationship

found in the Confucian classics, and

to stage a coup, took place at a time of

between blood relatives, As relationships

focused on the need for grounds to justify

crisis during the reign of King U, marked

formed through blood are absolute and

the existence of the king.

by political collapse and accumulated

cannot be severed, he believed in accept-

In light of the Confucian theory of moral

social ills. Following this incident, politi-

ing and maintaining the given relation-

duty and cardinal principles of righteous-

cal reform based on Neo-Confucianism

ship between king and subject whatever

ness, Jeong and others argued that King

rising scholar-officials adopted Neo-Con-

gained momentum. But while agreeing in

the conditions.

U was not the king, and drove his son,

fucianism as their ideology for reform.

principle to Neo-Confucian based reform,

On the other hand, Jeong Dojeon be-

King Chang, off the throne. Consequently,

A new class of scholar-officials emerged

During the reform period in the early days

there were disagreements as to the way

lieved improving systems was the answer

they contrived to place on the throne a

in the latter days of the Goryeo period in

of King Gongmin and the reform led by

in which reform should be achieved. Yi

rather than human character in terms

king who did fulfill his moral duty and to

response to changes in society. They pur-

the monk Sindon, they were still mostly

Saek, 1328-1396 Kwon Geun and Yi Sungin

of enlightening the people and stabiliz-

establish a new king and subject rela-

sued political reform and were the main

low, working-level officials and had little

sought to replace the ideology and sys-

ing their livelihood, and hence sought to

tionship. This theory of moral duty ran

force behind the rise of the Joseon Dy-

impact on affairs of state. But gradually,

tems of Goryeo in gradual stages. On the

establish measures that would ensure the

counter to the Goryeo theory of propriety

Dojeon 1342-1398

nasty. Rising under the military govern-

with increased political and social aware-

contrary, Jeong

welfare of the people. Jeong and others

based on blood ties. It is because of such

ment of the time, socially they belonged

ness of Neo-Confucianism, they began to

ers wanted rapid reform based on Neo-

and oth-

like him worked to raise productivity,

ideological differences that Jeong Dojeon

to the class of local officials (hyangni),

make their presence felt in real reform.

Confucianism principles.

improve the land system, which was the

and others from the scholar-official class,

economically were small landowners, and

In the foundation year of King U, they

These two opposing political streams can

foundation of agriculture, and through

though subjects of Goryeo, were not loyal

philosophically were students of Neo-

strongly opposed the reception of en-

be examined through the two respective

such means focused on securing the basis

to Goryeo but rather became meritorious

Confucianism. They can be seen as the

voys from the Northern Yuan Dynasty of

proponents, Yi Saek and Jeong Dojeon.

of production for small farmers.

officials recognized for their contribution

political force in opposition to the power-

China. Recognizing that political moves in

In relation to the livelihood and enlight-

In addition, Jeong Dojeon remained

in founding the new nation of Joseon.

ful aristocratic families of Goryeo.

Northeast Asia foretold the fall of Yuan to

enment of the ordinary people, Yi Saek

faithful to the noble cause of Neo-Confu-

Adapting to the current of the times, the

the Ming Dynasty, they argued for diplo-

considered human character to be most

cianism. He was critical of values based

33

CONNECT WITH WORLD

TALK AT FACEBOOK

NMK 2014 SPRING

UPLOAD TIME: FEB. 10, 2014

UPLOAD TIME: JAN. 8, 2014

STYLE AND DESIGN FROM FACEBOOK

INLAID CELADON BOX WITH OPENWORK TORTOISE-SHELL DESIGN Goryeo Period Ceramics—Celadon 12.1 x 12.8 x 22.4 cm Mosan-ri Tomb, Sinbuk-myeon, Yeongam, Jeollanam-do bon 14563

When it was excavated from a tomb in

delineate the pattern. Covered in thick

Mosan-ri, Yeongam, Jeollanam-do Prov-

celadon glaze with a pale-green color,

ince, this celadon box contained a celadon

there are signs that the box was fired on

oil bottle with inlaid chrysanthemum de-

numerous silica supports on the inside of

sign, bronze mirror and case for acupunc-

the lid and the bottom of the body to pre-

WWW.FACEBOOK.COM /NMK.SEOUL.KOREA

WHITE PORCELAIN WATER DROPPER WITH RAISED PLUM BLOSSOM DESIGN Joseon Dynasty Ceramics—White porcelain H. 5.5 cm duk 1673

On the National Museum of Korea’s Facebook, news about the museum and information about the collection is posted in real time. The number of people who have participated in the NMK’s Facebook by clicking on the “Like” button reaches 8,799 (as of Feb. 20, 2014).

Items from the museum’s collection that you may have missed when visiting the museum can be seen online. The English magazine National Museum of Korea takes a selection of these items for comparison under set themes. In this issue, a Goryeo celadon design is compared with that on a work of Joseon white porcelain in an attempt to shed light on changes in design that accompanied changes in material.

In the late Joseon period, many high-

petals on the top face are executed in the

quality calligraphy related items such

openwork technique while those on the

as water droppers, brush holders, and

other three faces are raised and thrown

inkstones were made of white porcelain,

into even greater relief by a fine incised

among them an especially large number

line running around the design. The char-

of white porcelain water droppers of di-

acteristic feature of this plum blossom

verse shapes. This rectangular water drop-

design is that the flowers on the branches

ture needles. The box is similar in shape

vent them from sticking to the kiln floor

to lacquered cases inlaid with mother-

when the glaze melted during firing. The

of-pearl that were used to hold Buddhist

tortoise-shell design is a kind of geomet-

per is a superior work exhibiting elegant

are expressed with simple circles. The

sutras. It is designed so that when the

ric design based on the hexagon. Geomet-

form and finely executed design. The

hole where the water comes out is in the

box is opened the lid can be rested on the

ric designs date back to prehistoric times

quality of its glaze and clay paste indicate

form of a squirrel-like animal head, which

ledge at the opening. The inside of the

when people first began to make cover-

that it was likely produced in the official

was in vogue in the 18th and 19th centu-

box is divided into compartments deco-

ings for their bodies including textiles and

kilns of Joseon, and judging from its over-

ries, and is surrounded by a raised wave

rated with an openwork scroll design. The

knitted cloth. The tortoise-shell design is

all excellence it was probably made at

design. The entire surface evenly covered

whole body and lid are also decorated

also found in Goguryeo tomb murals as a

special order by the court or an influential

in a clear blue-tinted glaze.

with an openwork tortoise-shell design

symbol of longevity and good fortune.

person. Each face of the water dropped

edged with white inlaid lines that clearly

34

STYLE AND DESIGN FROM FACEBOOK

features a plum blossom design, but the

35

CONNECT WITH WORLD

TALK AT FACEBOOK

NMK 2014 SPRING

UPLOAD TIME: FEB. 10, 2014

UPLOAD TIME: JAN. 8, 2014

STYLE AND DESIGN FROM FACEBOOK

INLAID CELADON BOX WITH OPENWORK TORTOISE-SHELL DESIGN Goryeo Period Ceramics—Celadon 12.1 x 12.8 x 22.4 cm Mosan-ri Tomb, Sinbuk-myeon, Yeongam, Jeollanam-do bon 14563

When it was excavated from a tomb in

delineate the pattern. Covered in thick

Mosan-ri, Yeongam, Jeollanam-do Prov-

celadon glaze with a pale-green color,

ince, this celadon box contained a celadon

there are signs that the box was fired on

oil bottle with inlaid chrysanthemum de-

numerous silica supports on the inside of

sign, bronze mirror and case for acupunc-

the lid and the bottom of the body to pre-

WWW.FACEBOOK.COM /NMK.SEOUL.KOREA

WHITE PORCELAIN WATER DROPPER WITH RAISED PLUM BLOSSOM DESIGN Joseon Dynasty Ceramics—White porcelain H. 5.5 cm duk 1673

On the National Museum of Korea’s Facebook, news about the museum and information about the collection is posted in real time. The number of people who have participated in the NMK’s Facebook by clicking on the “Like” button reaches 8,799 (as of Feb. 20, 2014).

Items from the museum’s collection that you may have missed when visiting the museum can be seen online. The English magazine National Museum of Korea takes a selection of these items for comparison under set themes. In this issue, a Goryeo celadon design is compared with that on a work of Joseon white porcelain in an attempt to shed light on changes in design that accompanied changes in material.

In the late Joseon period, many high-

petals on the top face are executed in the

quality calligraphy related items such

openwork technique while those on the

as water droppers, brush holders, and

other three faces are raised and thrown

inkstones were made of white porcelain,

into even greater relief by a fine incised

among them an especially large number

line running around the design. The char-

of white porcelain water droppers of di-

acteristic feature of this plum blossom

verse shapes. This rectangular water drop-

design is that the flowers on the branches

ture needles. The box is similar in shape

vent them from sticking to the kiln floor

to lacquered cases inlaid with mother-

when the glaze melted during firing. The

of-pearl that were used to hold Buddhist

tortoise-shell design is a kind of geomet-

per is a superior work exhibiting elegant

are expressed with simple circles. The

sutras. It is designed so that when the

ric design based on the hexagon. Geomet-

form and finely executed design. The

hole where the water comes out is in the

box is opened the lid can be rested on the

ric designs date back to prehistoric times

quality of its glaze and clay paste indicate

form of a squirrel-like animal head, which

ledge at the opening. The inside of the

when people first began to make cover-

that it was likely produced in the official

was in vogue in the 18th and 19th centu-

box is divided into compartments deco-

ings for their bodies including textiles and

kilns of Joseon, and judging from its over-

ries, and is surrounded by a raised wave

rated with an openwork scroll design. The

knitted cloth. The tortoise-shell design is

all excellence it was probably made at

design. The entire surface evenly covered

whole body and lid are also decorated

also found in Goguryeo tomb murals as a

special order by the court or an influential

in a clear blue-tinted glaze.

with an openwork tortoise-shell design

symbol of longevity and good fortune.

person. Each face of the water dropped

edged with white inlaid lines that clearly

34

STYLE AND DESIGN FROM FACEBOOK

features a plum blossom design, but the

35

CONNECT WITH NEWS

NEWS & PUBLICATIONS

NMK 2014 SPRING

2014 “SATURDAY AFTERNOON, GARDEN OF THE HUMANITIES”

NMK SIGNS MOU WITH PRUSSIAN CULTURAL HERITAGE FOUNDATION, GERMANY National Museum of Korea signed a memorandum of understanding with the Prussian Cultural Heritage Foundation and the National Museums of Berlin for cooperating in expanding cultural exchange between Korea and Germany. Under the MOU, the two parties will pursue exchange exhibitions and loan of each other’s artifacts, work together toward establishment of a Korean gallery in the Museum for Asian Art, planned as part of the Humboldt Forum in Berlin to be completed by 2019, and train curators who will be able to take charge of the Korean gallery.

The Prussian Cultural Heritage Foundation is the largest foundation in Germany for the operation of cultural facilities. It is taking the lead in turning the Berlin Palace, ruined during the Second World War, into the Humboldt Forum, a museum and research center for non-European countries.

The Berlin Palace is located on Museum Island, where all of Berlin’s major museums such as the Pergamon Museum are gathered. The Museum for Asian Art to open

36

in the building will be developed into a European hub for the research and exhibition of Asian art.

With the signing of the MOU, National Museum of Korea plans to actively cooperate in the establishment of a Korean gallery in the Museum for Asian Art by formulating exhibition contents and training curators specializing in Korean art.

2014 CREATIVE CEO COURSE, “TRAVEL AND MUSEUMS” The eighth edition of the Creative CEO Course was organized with the objective of fostering creative-minded business leaders who understand the diversity, universality and particularity of culture and are able to communicate with the people of the world via the means of culture. Under the theme of “Travel and Museums” this year’s lectures are designed to shed light on the diverse cultures of other countries through travel and the museums one encounters.

By understanding the universality and particularity of culture in its diversity, the aim is to look once again at “I and we” and “others” at the same time, and thereby devise changes in management philosophy.

The lecture series serves as a takeoff point

GORYEO CELADON The first “Saturday Afternoon, Garden of the Humanities” lecture for 2014 was held on February 22. This year’s Saturday afternoon program focuses on people who lived in the same time but walked different paths in life, and explores the historical circumstances that influenced their choices. There are numerous choices we must make in the course of our lives. Each time a decision has to be made, we mull over which choice will bring the best results. As we examine the choices faced by people of the past, the decisions they made, and the consequences of those decision, we take a moment to think about the direction we should take in our own lives. The lectures are held on the fourth Saturday of every month from February to November at 2:00-4:00 p.m. in the National Museum of Korea’s main auditorium.

ISBN 978-89-92681-14-8 96630

National Museum of Korea has published a catalogue on Goryeo celadon as this year’s edition in a series of English catalogues dedicated to Korean cultural heritage produced by the museum since 2009. Through these catalogues, which are distributed to relevant institutions and scholars around the world, the museum strives to promote the significance and value of Korea’s rich cultural heritage.

This catalogue includes four chapters and two shorter articles. The four chapters are “The Best under Heaven: “The Celadons of the Goryeo Dynasty”; “Goryeo Bisaek”; “Decoration Techniques and Designs of Goryeo Celadon”; and “International Exchange of Goryeo Celadon.” The two columns are “Maritime Transport of Goryeo Celadon” and “Celadon Artifacts from Sites Associated with the Goryeo Royal Court.”

for cultural management. To advance into the global market an understanding of other cultures is essential. National Museum of Korea includes in its collections artifacts from many other cultures. Participants in the lecture series not only listen to lectures but are also given opportunities to view the

exhibitions while listening to explanations by curators. In this way, they can learn about the exhibits and develop a discerning eye for appreciation. The course also takes participants outside of the museum to travel in Korea and overseas with specialists.

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN ISBN 978-89-93773-32-3

Gyeongju National Museum has published a catalogue accompanying The Heavenly Horse Flies Again, a special exhibition on Cheonmachong and the third in the museum’s series highlighting the royal tombs of Silla. To give an overall understanding of the tomb in context, chapter one gives a detailed explanation of Cheonmacheong and its geographical location, Tomb No. 155 Hwangnam-dong, and a report of the first excavation. Chapter two investigates the structure and construction of the tomb, which is believed to be a royal tomb, through the artifacts found buried inside it. Chapter three focuses on the saddle flap featuring the picture of a flying horse and ornamental horse trappings, explaining the how the saddle flap was made and the pigments that were used for the painting.

The appendix contains a chronology of the excavation and research results as well as the history of exhibitions featuring the gold crown from the tomb.

37

CONNECT WITH NEWS

NEWS & PUBLICATIONS

NMK 2014 SPRING

2014 “SATURDAY AFTERNOON, GARDEN OF THE HUMANITIES”

NMK SIGNS MOU WITH PRUSSIAN CULTURAL HERITAGE FOUNDATION, GERMANY National Museum of Korea signed a memorandum of understanding with the Prussian Cultural Heritage Foundation and the National Museums of Berlin for cooperating in expanding cultural exchange between Korea and Germany. Under the MOU, the two parties will pursue exchange exhibitions and loan of each other’s artifacts, work together toward establishment of a Korean gallery in the Museum for Asian Art, planned as part of the Humboldt Forum in Berlin to be completed by 2019, and train curators who will be able to take charge of the Korean gallery.

The Prussian Cultural Heritage Foundation is the largest foundation in Germany for the operation of cultural facilities. It is taking the lead in turning the Berlin Palace, ruined during the Second World War, into the Humboldt Forum, a museum and research center for non-European countries.

The Berlin Palace is located on Museum Island, where all of Berlin’s major museums such as the Pergamon Museum are gathered. The Museum for Asian Art to open

36

in the building will be developed into a European hub for the research and exhibition of Asian art.

With the signing of the MOU, National Museum of Korea plans to actively cooperate in the establishment of a Korean gallery in the Museum for Asian Art by formulating exhibition contents and training curators specializing in Korean art.

2014 CREATIVE CEO COURSE, “TRAVEL AND MUSEUMS” The eighth edition of the Creative CEO Course was organized with the objective of fostering creative-minded business leaders who understand the diversity, universality and particularity of culture and are able to communicate with the people of the world via the means of culture. Under the theme of “Travel and Museums” this year’s lectures are designed to shed light on the diverse cultures of other countries through travel and the museums one encounters.

By understanding the universality and particularity of culture in its diversity, the aim is to look once again at “I and we” and “others” at the same time, and thereby devise changes in management philosophy.

The lecture series serves as a takeoff point

GORYEO CELADON The first “Saturday Afternoon, Garden of the Humanities” lecture for 2014 was held on February 22. This year’s Saturday afternoon program focuses on people who lived in the same time but walked different paths in life, and explores the historical circumstances that influenced their choices. There are numerous choices we must make in the course of our lives. Each time a decision has to be made, we mull over which choice will bring the best results. As we examine the choices faced by people of the past, the decisions they made, and the consequences of those decision, we take a moment to think about the direction we should take in our own lives. The lectures are held on the fourth Saturday of every month from February to November at 2:00-4:00 p.m. in the National Museum of Korea’s main auditorium.

ISBN 978-89-92681-14-8 96630

National Museum of Korea has published a catalogue on Goryeo celadon as this year’s edition in a series of English catalogues dedicated to Korean cultural heritage produced by the museum since 2009. Through these catalogues, which are distributed to relevant institutions and scholars around the world, the museum strives to promote the significance and value of Korea’s rich cultural heritage.

This catalogue includes four chapters and two shorter articles. The four chapters are “The Best under Heaven: “The Celadons of the Goryeo Dynasty”; “Goryeo Bisaek”; “Decoration Techniques and Designs of Goryeo Celadon”; and “International Exchange of Goryeo Celadon.” The two columns are “Maritime Transport of Goryeo Celadon” and “Celadon Artifacts from Sites Associated with the Goryeo Royal Court.”

for cultural management. To advance into the global market an understanding of other cultures is essential. National Museum of Korea includes in its collections artifacts from many other cultures. Participants in the lecture series not only listen to lectures but are also given opportunities to view the

exhibitions while listening to explanations by curators. In this way, they can learn about the exhibits and develop a discerning eye for appreciation. The course also takes participants outside of the museum to travel in Korea and overseas with specialists.

CHEONMACHONG, THIRD SPECIAL EXHIBITION ON THE ROYAL TOMBS OF SILLA: THE HEAVENLY HORSE FLIES AGAIN ISBN 978-89-93773-32-3

Gyeongju National Museum has published a catalogue accompanying The Heavenly Horse Flies Again, a special exhibition on Cheonmachong and the third in the museum’s series highlighting the royal tombs of Silla. To give an overall understanding of the tomb in context, chapter one gives a detailed explanation of Cheonmacheong and its geographical location, Tomb No. 155 Hwangnam-dong, and a report of the first excavation. Chapter two investigates the structure and construction of the tomb, which is believed to be a royal tomb, through the artifacts found buried inside it. Chapter three focuses on the saddle flap featuring the picture of a flying horse and ornamental horse trappings, explaining the how the saddle flap was made and the pigments that were used for the painting.

The appendix contains a chronology of the excavation and research results as well as the history of exhibitions featuring the gold crown from the tomb.

37

CONNECT WITH NEWS

EXHIBITIONS

TREASURES FROM KOREA: ARTS AND CULTURE OF THE JOSEON DYNASTY, 1392-1910 PHILADELPHIA MUSEUM OF ART MARCH 2 - MAY 26, 2014 LOS ANGELES COUNTY MUSEUM OF ART JUNE 29 - SEPTEMBER 28, 2014 MUSEUM OF FINE ARTS, HOUSTON NOVEMBER 2, 2014 - JANUARY 11, 2015

38

NMK 2014 SPRING

National Museum of Korea and three major art museums of the United States present an overview of the art and culture of the Joseon Dynasty in an overseas exhibition titled Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910. The show is part of a collaborative exchange between the Philadelphia Museum of Art, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, and the Terra Foundation for American Art, which jointly organized the exhibition Art Across America held in Korea in 2013. It is held in an effort to reinforce friendship between Korea and the United States and enhance the two countries’ understanding of each other’s culture.

Through exploration of diverse objects from the nation’s most recent past, the Joseon period (1392-1897) and the Daehan Empire period (1897-1910), the exhibition aims to enhance understanding of Korean history and religion, and philosophies and culture.

It comprises some three hundred works including nine designated treasures and national treasures and an array of paintings, calligraphy, ceramics, furniture, lacquerware, metal craft, sculpture, and clothing used in the court and the homes of the ruling elite and the ordinary people. Among these diverse treasures are the records of state events of Joseon called uigwe and the large Buddhist hanging painting from Hwaeomsa Temple, objects that have never been shown outside of Korea before.

RENEWAL OF PAINTING AND CALLIGRAPHY SECTION EXHIBITIONS DATE FROM MARCH 2014 VENUE PAINTING GALLERY, CALLIGRAPHY GALLERY, AND BUDDHIST PAINTING GALLERY

National Museum of Korea has changed its exhibitions in the Painting and Calligraphy section to newly feature 209 paintings (82 works) from its collection. Works such as the Album of Writings by King Seongjong, which shows how the Songxue script took root in Joseon and changed to reflect local characteristics, and “King Seonjo’s Six-panel Folding Screen of Tang Poems” feature a range of brushstrokes. The new exhibition also features the seal of the Joseon scholar Heo Mok, displayed for the first time, showing exquisite harmony of the script and the carving.

The exhibition in the Buddhist Painting Gallery has been reorganized to focus on paintings as objects of worship and paintings for ceremonial purposes. Kshitigarbha and the Ten Kings of Hell, which has never been displayed before, has an interesting story behind it.

The Painting Gallery’s renewal focuses on showing a diverse range of works from the early to late Joseon period. Among the genre paintings are Kim Hongdo’s Archery and Shin Yunbok’s Woman Wearing in a Cloak. Through this varied selection of newly exhibited works, visitors to the museum can enjoy the beauty of paintings and calligraphy to their heart’s content.

BEYOND IMPRESSIONISM: MASTERPIECES FROM THE MUSÉE D'ORSAY

ANCIENT CIVILIZATION IN VIETNAM, THE EARLY MORNING AROUND RED RIVER

VENUE SPECIAL EXHIBITION GALLERY DATE MAY 3 - AUGUST 31, 2014

VENUE SPECIAL EXHIBITION GALLERY DATE APRIL 29 - JUNE 29, 2014

This exhibition features 175 major works from the collection of the Musée d’Orsay in Paris, the cradle of Impressionist art. Tracing the development of post-Impressionism, the exhibition explores the beginnings of modern art through the most important works of renowned Impressionists such as Monet, Renoir and Degas and post-Impressionist artists including Cezanne, Van Gogh, Gaugin, Redon and Rousseau. Diverse aspects of modern Paris at the end of the century are also shown through works of various media such as handcrafts, drawings and photos.

As the exhibition sheds light on the rapid changes that took place in the culture of a modern city at the end of the century, it conveys the spirit of the artists who heralded the birth of modern art after Impressionism and the atmosphere of Paris at the time.

This exhibition explores the origins of the ancient culture of Vietnam through an exhibition of Vietnamese Bronze Age artifacts. It features artifacts from the Dong Son culture of northern Vietnam and the Sa Huynh culture of the central region from the collection of the Vietnam National Museum of History, as well as new materials uncovered in a joint survey carried out in conjunction with the National Museum of Korea.

Introducing the Bronze Age of Vietnam, the exhibition focuses on the development of bronze drums of the Dong Son culture and agriculture in the Red River Basin. In addition, it features the jar coffins that characterize the burial customs of the Sa Huynh culture of central Vietnam and artifacts attesting to exchange with neighboring areas. It is a good overview of the Bronze Age culture of Vietnam, which marked the formation of Vietnam as a state and the dawn of Vietnamese culture in ancient East Asia.

39

CONNECT WITH NEWS

EXHIBITIONS

TREASURES FROM KOREA: ARTS AND CULTURE OF THE JOSEON DYNASTY, 1392-1910 PHILADELPHIA MUSEUM OF ART MARCH 2 - MAY 26, 2014 LOS ANGELES COUNTY MUSEUM OF ART JUNE 29 - SEPTEMBER 28, 2014 MUSEUM OF FINE ARTS, HOUSTON NOVEMBER 2, 2014 - JANUARY 11, 2015

38

NMK 2014 SPRING

National Museum of Korea and three major art museums of the United States present an overview of the art and culture of the Joseon Dynasty in an overseas exhibition titled Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910. The show is part of a collaborative exchange between the Philadelphia Museum of Art, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, and the Terra Foundation for American Art, which jointly organized the exhibition Art Across America held in Korea in 2013. It is held in an effort to reinforce friendship between Korea and the United States and enhance the two countries’ understanding of each other’s culture.

Through exploration of diverse objects from the nation’s most recent past, the Joseon period (1392-1897) and the Daehan Empire period (1897-1910), the exhibition aims to enhance understanding of Korean history and religion, and philosophies and culture.

It comprises some three hundred works including nine designated treasures and national treasures and an array of paintings, calligraphy, ceramics, furniture, lacquerware, metal craft, sculpture, and clothing used in the court and the homes of the ruling elite and the ordinary people. Among these diverse treasures are the records of state events of Joseon called uigwe and the large Buddhist hanging painting from Hwaeomsa Temple, objects that have never been shown outside of Korea before.

RENEWAL OF PAINTING AND CALLIGRAPHY SECTION EXHIBITIONS DATE FROM MARCH 2014 VENUE PAINTING GALLERY, CALLIGRAPHY GALLERY, AND BUDDHIST PAINTING GALLERY

National Museum of Korea has changed its exhibitions in the Painting and Calligraphy section to newly feature 209 paintings (82 works) from its collection. Works such as the Album of Writings by King Seongjong, which shows how the Songxue script took root in Joseon and changed to reflect local characteristics, and “King Seonjo’s Six-panel Folding Screen of Tang Poems” feature a range of brushstrokes. The new exhibition also features the seal of the Joseon scholar Heo Mok, displayed for the first time, showing exquisite harmony of the script and the carving.

The exhibition in the Buddhist Painting Gallery has been reorganized to focus on paintings as objects of worship and paintings for ceremonial purposes. Kshitigarbha and the Ten Kings of Hell, which has never been displayed before, has an interesting story behind it.

The Painting Gallery’s renewal focuses on showing a diverse range of works from the early to late Joseon period. Among the genre paintings are Kim Hongdo’s Archery and Shin Yunbok’s Woman Wearing in a Cloak. Through this varied selection of newly exhibited works, visitors to the museum can enjoy the beauty of paintings and calligraphy to their heart’s content.

BEYOND IMPRESSIONISM: MASTERPIECES FROM THE MUSÉE D'ORSAY

ANCIENT CIVILIZATION IN VIETNAM, THE EARLY MORNING AROUND RED RIVER

VENUE SPECIAL EXHIBITION GALLERY DATE MAY 3 - AUGUST 31, 2014

VENUE SPECIAL EXHIBITION GALLERY DATE APRIL 29 - JUNE 29, 2014

This exhibition features 175 major works from the collection of the Musée d’Orsay in Paris, the cradle of Impressionist art. Tracing the development of post-Impressionism, the exhibition explores the beginnings of modern art through the most important works of renowned Impressionists such as Monet, Renoir and Degas and post-Impressionist artists including Cezanne, Van Gogh, Gaugin, Redon and Rousseau. Diverse aspects of modern Paris at the end of the century are also shown through works of various media such as handcrafts, drawings and photos.

As the exhibition sheds light on the rapid changes that took place in the culture of a modern city at the end of the century, it conveys the spirit of the artists who heralded the birth of modern art after Impressionism and the atmosphere of Paris at the time.

This exhibition explores the origins of the ancient culture of Vietnam through an exhibition of Vietnamese Bronze Age artifacts. It features artifacts from the Dong Son culture of northern Vietnam and the Sa Huynh culture of the central region from the collection of the Vietnam National Museum of History, as well as new materials uncovered in a joint survey carried out in conjunction with the National Museum of Korea.

Introducing the Bronze Age of Vietnam, the exhibition focuses on the development of bronze drums of the Dong Son culture and agriculture in the Red River Basin. In addition, it features the jar coffins that characterize the burial customs of the Sa Huynh culture of central Vietnam and artifacts attesting to exchange with neighboring areas. It is a good overview of the Bronze Age culture of Vietnam, which marked the formation of Vietnam as a state and the dawn of Vietnamese culture in ancient East Asia.

39

NEW SPACE, NEW VIEW

A SMILE THAT TRANSCENDS THE AGES: BUDDHIST SCULPTURE GALLERY AND PENSIVE BODHISATTVA GALLERY

dark exhibition space, they also produce a tranquil atmosphere. The large grey-colored stone Buddha is bathed overall in soft, indirect light while a number of spotlights clearly bring out the form and texture. Previously the natural light through the windows had made it difficult to see statue properly but the latest improvements have dealt with the problem. Blackout screens and metal backing panels were installed, and natural lighting was replaced with indirect artificial lighting. The interior floors, walls and ceiling were all painted the same color to enable visitors to focus on the Buddhist images on display without distraction. In addition, LED lights were installed to highlight some of the masterpieces of Korean Buddhist sculpture such as the Maitreya Bodhisattva and Amitabha Buddha from Gamsansa Temple and the Iron Buddha from Hasachang-dong, Hanam, Gyeonggi Province. The texture and molding of the sculptures are thrown into relief, and the expression on the Buddha’s face comes alive. With its renovation, the Gilt-bronze Pensive Bodhisattva Gallery, where the sculptures National Treasure Nos. 78 and 83 are exhibited alternately, has also been imbued with an air of greater serenity. The color scheme has been unified and the existing lights replaced with LED lighting.

The actual sculpture has been brought closer to the glass for a more dramatic viewing experience. The simple yet balanced shaping of the body, the naturally falling folds of the robes, the clearly expressed facial features, the flawless casting technique, and most of all, the subtle smile on the face, all result in an artwork of sublime beauty. As soon as he was born, Shakyamuni (Siddhartha) is said to have taken seven steps and proclaimed, “In the heavens above and the earth beneath, I alone am the honored one.” Commonly taken as an expression of self-righteousness, this statement in fact contains the profound teaching of individual self-esteem.

Take a look around at the Buddha images, some comic, some benign, and some looking as if they had attained enlightenment, and recover some lost confidence in the radiant spring weather.

A place where you are greeted with an infinitely benevolent smile, a quiet and peaceful place where you can lose yourself in meditation, a place where you can quietly savor the beauty of sculpture—the Buddhist Sculpture Gallery at the National Museum of Korea is that kind of place. Located on the third floor of the Permanent Exhibition Hall, the Buddhist Sculpture Gallery features a selection of works that reveal the distinguishing characteristics and beautiful forms of Korean Buddhist sculpture. The exhibits reveal the changes in Korean Buddhist sculpture over time from the Three Kingdoms period to the Joseon period, and the features of different types of Buddhist iconography. At the entrance to the room, visitors are greeted by a massive stone Buddha and iron Buddha, dating to the Unified Silla and Goryeo periods respectively. In a separate room is the GiltBronze Pensive Bodhisattva, a National Treasure. Finally, in a separate section is a collection of small gilt-bronze Buddhist images arranged according to time and theme. Renewal of these galleries for Buddhist sculpture was completed on January 22, 2013. Although the blackout screens covering the windows make for a

NEW SPACE, NEW VIEW

A SMILE THAT TRANSCENDS THE AGES: BUDDHIST SCULPTURE GALLERY AND PENSIVE BODHISATTVA GALLERY

dark exhibition space, they also produce a tranquil atmosphere. The large grey-colored stone Buddha is bathed overall in soft, indirect light while a number of spotlights clearly bring out the form and texture. Previously the natural light through the windows had made it difficult to see statue properly but the latest improvements have dealt with the problem. Blackout screens and metal backing panels were installed, and natural lighting was replaced with indirect artificial lighting. The interior floors, walls and ceiling were all painted the same color to enable visitors to focus on the Buddhist images on display without distraction. In addition, LED lights were installed to highlight some of the masterpieces of Korean Buddhist sculpture such as the Maitreya Bodhisattva and Amitabha Buddha from Gamsansa Temple and the Iron Buddha from Hasachang-dong, Hanam, Gyeonggi Province. The texture and molding of the sculptures are thrown into relief, and the expression on the Buddha’s face comes alive. With its renovation, the Gilt-bronze Pensive Bodhisattva Gallery, where the sculptures National Treasure Nos. 78 and 83 are exhibited alternately, has also been imbued with an air of greater serenity. The color scheme has been unified and the existing lights replaced with LED lighting.

The actual sculpture has been brought closer to the glass for a more dramatic viewing experience. The simple yet balanced shaping of the body, the naturally falling folds of the robes, the clearly expressed facial features, the flawless casting technique, and most of all, the subtle smile on the face, all result in an artwork of sublime beauty. As soon as he was born, Shakyamuni (Siddhartha) is said to have taken seven steps and proclaimed, “In the heavens above and the earth beneath, I alone am the honored one.” Commonly taken as an expression of self-righteousness, this statement in fact contains the profound teaching of individual self-esteem.

Take a look around at the Buddha images, some comic, some benign, and some looking as if they had attained enlightenment, and recover some lost confidence in the radiant spring weather.

A place where you are greeted with an infinitely benevolent smile, a quiet and peaceful place where you can lose yourself in meditation, a place where you can quietly savor the beauty of sculpture—the Buddhist Sculpture Gallery at the National Museum of Korea is that kind of place. Located on the third floor of the Permanent Exhibition Hall, the Buddhist Sculpture Gallery features a selection of works that reveal the distinguishing characteristics and beautiful forms of Korean Buddhist sculpture. The exhibits reveal the changes in Korean Buddhist sculpture over time from the Three Kingdoms period to the Joseon period, and the features of different types of Buddhist iconography. At the entrance to the room, visitors are greeted by a massive stone Buddha and iron Buddha, dating to the Unified Silla and Goryeo periods respectively. In a separate room is the GiltBronze Pensive Bodhisattva, a National Treasure. Finally, in a separate section is a collection of small gilt-bronze Buddhist images arranged according to time and theme. Renewal of these galleries for Buddhist sculpture was completed on January 22, 2013. Although the blackout screens covering the windows make for a

NATIONAL MUSEUM OF KOREA | QUARTERLY MAGAZINE

PUBLISHED BY NATIONAL MUSEUM OF KOREA

ENCOUNTER WITH AMITAYUS IN SUKHAVATI— BUDDHIST HANGING SCROLL AT HEUNGGUKSA TEMPLE VOL. 27

DATE MAY 2-OCTOBER 26, 2014 VENUE BUDDHIST PAINTING GALLERY, CALLIGRAPHY AND PAINTING SECTION

SPRING 2014

The National Museum of Korea presents the thematic exhibition

SPECIAL COLUMN OCEAN EXPLORATION; CERAMICS FROM THE SINAN SHIPWRECK

Encounter with Amitāyus in Sukhāvatī—Buddhist Hanging Scroll at Heungguksa Temple featuring a large hanging scroll once used for Buddhist outdoor rituals. This display is part of the regular series of Buddhist painting exhibitions held at the National Museum of

CURATOR TALK HISTORIC RIVALS REVEALED IN JOSEON PORTRAITS

Korea, and the Buddhist hanging scroll from Heungguksa Temple in Goyang will be presented to the public on this occasion. The exhibi-

CULTURE THEMA

tion is an opportunity to understand traditional heritage and appre-

ORIGIN OF THE TWIN-BIRD

ciate new directions in modern Korean Buddhist art.

AND BEAD MOTIF

THEMA EXHIBITION NEW ACQUISITIONS OF ASIAN ART

QUARTERLY MAGAZINE

SPRING 2014 VOL.27 ISSN: 2005-1123