Nationalmuseumofkoreavol29 en

NATIONAL MUSEUM OF KOREA | QUARTERLY MAGAZINE

DATE DECEMBER 9, 2014 – APRIL 5, 2015

QUARTERLY MAGAZINE

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

SPECIAL EXHIBITION 2 LANDSCAPES: SEEKING THE IDEAL LAND

RNM EXHIBITION BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

VOL. 29

POMPEII: CULTURE OF THE ANCIENT ROMAN CITY

SPECIAL EXHIBITION 1

VENUE SPECIAL EXHIBITION GALLERY

rea will be holding the special exhibition Pompeii: Culture of the Ancient Roman City. The exhibition features the relics from the ruins of

AUTUMN 2014

As part of its world civilization series, the National Museum of Ko-

the ancient city of Pompeii, which was completely destroyed when Mt. Vesuvius erupted on August 24, 1979. Though the city was devastated, among the ruins the culture of an ancient Roman city lives on. The exhibition will be an opportunity for visitors to get a feel for the splendor of life in Pompeii before it was hit by tragedy.

AUTUMN 2014 VOL.29 ISSN: 2005-1123

DIRECTOR'S MESSAGE

CONTENTS

QUARTERLY MAGAZINE VOL.29 AUTUMN 2014

Autumn has arrived here at the National Museum of Korea, with refreshing breezes

National Museum of Korea

morning and evening. As the season progresses, the number of visitors to our institution

140–026, Korea

137 Seobinggo-ro, Yongsan-gu, Seoul,

increases, and the brilliant autumn colors reflected in the mirror pond causes them to

Tel: (82 2) 2077–9573

linger ever longer.

E-mail: polagu47@korea.kr

We at the NMK are ready to welcome you to two special exhibitions that are sure to calm your mind during this beautiful season. In Blue and White: Porcelains of the Joseon Dynasty offers a chance to see a fine collection of white porcelain masterpieces painted with a cobalt-blue underglaze. Come discover how uniquely Korean aesthetic sensibility is reflected within the pottery tradition. Never before has such a large number of blue-andwhite porcelains been brought together like this treasure trove that may well be never again duplicated.

Design Team of the NMK Design and Production:

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

10

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for

dreamed today.

reproduced or transmitted in any form or

No part of this publication may be by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval

20

Printed in Korea Copyright © 2014

These articles are sure to help further your understanding of Korean traditional art and

National Museum of Korea.

VISITOR

All rights reserved. ISSN: 2005–1123

was newly appointed this past summer, and the new look of the Children’s Museum.

Note to Readers:

Read the updates on the summer vacation program “Finding New Possibilities Inside

in the following order: title, period or

STOPPING AWHILE IN THE LAND OF ETERNITY

26

The related information of image is given

Me,” and see the recently reopened Buyeo National Museum, where the permanent exhi-

produced year, material, dimensions and

bition halls were refurbished to mark the 20-year anniversary.

Items from all other institutions are

RNM EXHIBITION

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

management number.

28

classified by their collection names.

tumn. We have much to offer you, from the new exhibits to the refreshing walks around the grounds.

Thank you.

CONNECT WITH WORLD

Please be sure to put the National Museum of Korea on your “things to do” list this au-

14 LANDSCAPES: SEEKING THE IDEAL LAND

writing from the publisher.

ists, who present special topics or explain specific relics in easy-to-understand language.

SPECIAL EXHIBITION 1

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

SPECIAL EXHIBITION 2

system, without prior permission in

the Special Column, Curator Talk, and Culture Thema segments by our curator special-

culture. There is an interview with the Cultural Foundation of the NMK president who

CURATOR TALK

CULTURE THEMA

Translation / Revision:

Ethics in Book and Magazine Publication.

cial treats for you including the two special exhibitions mentioned above. You can enjoy

02

06

Ahn Graphics Inc., Editorial Team

taking in the utopias imagined by people long ago, you may reflect on those being

The autumn edition of NMK, our English-language magazine, offers a wide range of spe-

SPECIAL COLUMN

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

THE ARTISTIC EFFECT AND MEANING OF BIRD, FLOWER AND ANIMAL PAINTINGS FROM JOSEON

Editorial Direction:

CONNECT WITH NMK

Our theme exhibition Landscapes: Seeking the Ideal Land is another “must-see.” While

Fax: (82 2) 2077–9258

CONNECT WITH LEGACY

Publisher:

LECTURE AT NMK

FINDING NEW POSSIBILITIES INSIDE ME

32 PEOPLE AT NMK

LOOKING TO CREATE A FRIENDLY AND COMFORTABLE CULTURAL VENUE

34 DIRECTOR-GENERAL, THE NATIONAL MUSEUMS OF KOREA AUTUMN, 2014

CONNECT WITH NEWS

Kim Youngna

N EWS

36 EXHIBITION & PUBLICATIONS

38 NEW SPACE, NEW VIEW

THE WISDOM RABBIT LIVES IN THE CHILDREN’S MUSEUM

40

DIRECTOR'S MESSAGE

CONTENTS

QUARTERLY MAGAZINE VOL.29 AUTUMN 2014

Autumn has arrived here at the National Museum of Korea, with refreshing breezes

National Museum of Korea

morning and evening. As the season progresses, the number of visitors to our institution

140–026, Korea

137 Seobinggo-ro, Yongsan-gu, Seoul,

increases, and the brilliant autumn colors reflected in the mirror pond causes them to

Tel: (82 2) 2077–9573

linger ever longer.

E-mail: polagu47@korea.kr

We at the NMK are ready to welcome you to two special exhibitions that are sure to calm your mind during this beautiful season. In Blue and White: Porcelains of the Joseon Dynasty offers a chance to see a fine collection of white porcelain masterpieces painted with a cobalt-blue underglaze. Come discover how uniquely Korean aesthetic sensibility is reflected within the pottery tradition. Never before has such a large number of blue-andwhite porcelains been brought together like this treasure trove that may well be never again duplicated.

Design Team of the NMK Design and Production:

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

10

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for

dreamed today.

reproduced or transmitted in any form or

No part of this publication may be by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval

20

Printed in Korea Copyright © 2014

These articles are sure to help further your understanding of Korean traditional art and

National Museum of Korea.

VISITOR

All rights reserved. ISSN: 2005–1123

was newly appointed this past summer, and the new look of the Children’s Museum.

Note to Readers:

Read the updates on the summer vacation program “Finding New Possibilities Inside

in the following order: title, period or

STOPPING AWHILE IN THE LAND OF ETERNITY

26

The related information of image is given

Me,” and see the recently reopened Buyeo National Museum, where the permanent exhi-

produced year, material, dimensions and

bition halls were refurbished to mark the 20-year anniversary.

Items from all other institutions are

RNM EXHIBITION

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

management number.

28

classified by their collection names.

tumn. We have much to offer you, from the new exhibits to the refreshing walks around the grounds.

Thank you.

CONNECT WITH WORLD

Please be sure to put the National Museum of Korea on your “things to do” list this au-

14 LANDSCAPES: SEEKING THE IDEAL LAND

writing from the publisher.

ists, who present special topics or explain specific relics in easy-to-understand language.

SPECIAL EXHIBITION 1

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

SPECIAL EXHIBITION 2

system, without prior permission in

the Special Column, Curator Talk, and Culture Thema segments by our curator special-

culture. There is an interview with the Cultural Foundation of the NMK president who

CURATOR TALK

CULTURE THEMA

Translation / Revision:

Ethics in Book and Magazine Publication.

cial treats for you including the two special exhibitions mentioned above. You can enjoy

02

06

Ahn Graphics Inc., Editorial Team

taking in the utopias imagined by people long ago, you may reflect on those being

The autumn edition of NMK, our English-language magazine, offers a wide range of spe-

SPECIAL COLUMN

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

THE ARTISTIC EFFECT AND MEANING OF BIRD, FLOWER AND ANIMAL PAINTINGS FROM JOSEON

Editorial Direction:

CONNECT WITH NMK

Our theme exhibition Landscapes: Seeking the Ideal Land is another “must-see.” While

Fax: (82 2) 2077–9258

CONNECT WITH LEGACY

Publisher:

LECTURE AT NMK

FINDING NEW POSSIBILITIES INSIDE ME

32 PEOPLE AT NMK

LOOKING TO CREATE A FRIENDLY AND COMFORTABLE CULTURAL VENUE

34 DIRECTOR-GENERAL, THE NATIONAL MUSEUMS OF KOREA AUTUMN, 2014

CONNECT WITH NEWS

Kim Youngna

N EWS

36 EXHIBITION & PUBLICATIONS

38 NEW SPACE, NEW VIEW

THE WISDOM RABBIT LIVES IN THE CHILDREN’S MUSEUM

40

CONNECT WITH LEGACY

SPECIAL COLUMN

NMK 2014 AUTUMN

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

BY KIM YOOSIK, DIRECTOR OF THE CHILDREN’S MUSEUM

Roof-tile End with Human Face Design Silla Excavated from Yeongmyosa site

N

umerous palaces, government offices, and temples came to be built in Gyeongju the Silla capital, as evidenced by a passage in Chapter Two of the Sam-

gungnyusa: 三國遺事, Memorabilia of the Three Kingdoms “Buddhist

temples glittered against the sky like stars and lotus-crowned pa-

godas stood in lines like flights of wild geese.” Three of these temple complexes were supported and managed by the royal family: Yeongmyosa, 靈廟寺 Hwangnyongsa, 皇龍寺 and Sacheonwangsa 四天王寺 temples. None of these monasteries survive today, but their former sites have yielded numerous important Silla relics. Especially, the roof-tile end with a human face design, ornamental tiles attached to both ends of the main roof ridge, and glazed tiles decorated with spirit general figures attached to pagoda base stones excavated from the Yeongmyosa, Hwangnyongsa, and Sacheonwangsa sites reveal a special lifelikeness and elaborateness unique to Silla Buddhist art.

ROOF-TILES EXCAVATED FROM THE YEONGMYOSA SITE As the roof-tiles are on the uppermost part of structures they symRoof-tile with demon face design Silla Excavated from Yeongmyosa site

02

bolically separate heaven from earth as well as the spirit and human realms. Ancient people used tiles carved or molded with vari-

03

CONNECT WITH LEGACY

SPECIAL COLUMN

NMK 2014 AUTUMN

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

BY KIM YOOSIK, DIRECTOR OF THE CHILDREN’S MUSEUM

Roof-tile End with Human Face Design Silla Excavated from Yeongmyosa site

N

umerous palaces, government offices, and temples came to be built in Gyeongju the Silla capital, as evidenced by a passage in Chapter Two of the Sam-

gungnyusa: 三國遺事, Memorabilia of the Three Kingdoms “Buddhist

temples glittered against the sky like stars and lotus-crowned pa-

godas stood in lines like flights of wild geese.” Three of these temple complexes were supported and managed by the royal family: Yeongmyosa, 靈廟寺 Hwangnyongsa, 皇龍寺 and Sacheonwangsa 四天王寺 temples. None of these monasteries survive today, but their former sites have yielded numerous important Silla relics. Especially, the roof-tile end with a human face design, ornamental tiles attached to both ends of the main roof ridge, and glazed tiles decorated with spirit general figures attached to pagoda base stones excavated from the Yeongmyosa, Hwangnyongsa, and Sacheonwangsa sites reveal a special lifelikeness and elaborateness unique to Silla Buddhist art.

ROOF-TILES EXCAVATED FROM THE YEONGMYOSA SITE As the roof-tiles are on the uppermost part of structures they symRoof-tile with demon face design Silla Excavated from Yeongmyosa site

02

bolically separate heaven from earth as well as the spirit and human realms. Ancient people used tiles carved or molded with vari-

03

CONNECT WITH LEGACY

NMK 2014 AUTUMN

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

very heavy. Considering the sizes of contemporary kilns, the

YANGJI, BUDDHIST SCULPTOR AND ARTIST FROM SILLA

tile was fired in two halves, upper and lower, to ensure success.

The person responsible for making the sixteen-foot-tall Buddha

A rope hole was drilled into the tile to tie the upper and lower

statue, Heavenly King figures and brick pagodas at Yeongmyosa

halves together on top of the roof.

temple is believed to be the same man behind the production of

The high sides make the Hwangnyongsa temple chimi appear

the glazed bricks with molded images of guardian deities on them.

like a war helmet, and the decorative scheme has a series of sec-

No records exist that describe where Yangji came from or who his

tions that resemble plumage along the outer edge. Further inside

ancestors were, but he was renowned for his skills as a sculptor.

two types of circles are alternated, one with a lotus blossom in the

The Roof-tile with demon face design from Yeongmyosa temple

center and the other with a human face. The back end has lotus

shows a strong resemblance to the bricks from Sacheonwangsa

leaf sections demarcated with heavy lines, in which are set the

temple in terms of voluminous quality and production method.

circles with either a human face or a lotus blossom in the middle.

This fact points to the conclusion that they were produced by the

Some of the human faces appear to be male, with facial hair, and

same person or by members of the same school.

others female, with no facial hair. The juxtaposition of human

He resided at Seokjangsa 錫杖寺 temple yet was involved in

faces with lotuses suggests that the people are of very high social

projects at Yeongmyosa and Sacheonwangsa temples. Yangji is

rank.

also known to have produced the hanging calligraphy boards for Beomnimsa and Yeongmyosa temples. Yangji was not just a sculp-

BRICK WITH GUARDIAN FIGURES FROM SACHEONGWANGSA SITE In the traditional Buddhist world view, Mount Sumeru stands Owl’s-tail Tile (side view) Silla H. 186.0 cm, W. 88.0 cm Excavated from Hwangnyongsa site

tor but also an accomplished calligrapher and great scholar monk.

The roof-tiles found scattered about the old sites in the Gyeongju area may be broken but they provide important clues

at the center of the world, with Trayastrimsa 忉利天 (heaven of the

to the age of the sites in question. These bits or archeological evi-

thirty-three devas) at the top. Below this is the realm of the Four

dence help us learn about the artistic spirit of the Silla people and

Heavenly Kings, who serves as protectors of the human world.

feel the artistic soul of one of Northeast Asia’s greatest craftsmen.

They are depicted clad in armor and holding various kinds of ous designs to mark the boundary

temple features a strictly symmetrical design composition, and

weapons, and each one is assigned a different direction: Vaisrava-

lines of architectural structures that

the spatial sections are clearly partitioned. The symmetrical preci-

na, 多聞天王 Guardian of the North; Virudhaka, 增長天王 Guardian of the

reach skyward, elevating the stateli-

sion and balanced borders are palpable. This particular piece was

South; Dhrtarastra, 持國天王 Guardian of the East; and Virupaksa, 廣目

ness of the structure and imparting a

designed for attachment on a brick pagoda, and no design was put

天王

magical quality that was believed to

the lower end, and it has unfortunately been damaged on both

help prevent calamity.

sides.

Guardian of the West.

The Gyeongju National Research Institute of Cultural Heritage

excavated the Sacheonwangsa site from 2006 through 2012, and confirmed the former locations of various auxiliary structures,

A Roof-tile end with a human face design found on the Yeongmyosa temple is representative of Silla

OWL-TAIL TILE DISCOVERED AT THE HWANGNYONGSA SITE

including one pagoda before the main Buddha hall and another

period roof-tiles. The strongly-emphasized facial features (eyes,

Hwangnyongsa temple was located next to a Silla palace complex.

before the lecture hall. The excavation also yielded numerous rel-

nose and mouth) are what stand out; the upturned mouth cre-

An archeological survey of the site was started in 1976 and over

ics, including glazed earthenware tablets bearing relief images of

ates a bright, natural-looking expression that best exemplifies the

the following eight years uncovered close to 30,000 roof tiles. The

guardian deities. Several of the bricks with guardian figure were

Hwangnyongsa dig uncovered six tile pits, each associated with a

found, and the all were produced in a mold. Clay was pressed by

different building site on the old temple grounds. These pits were

hand into molds of the deity images.

“Silla smile.” This type of tile was not like the ordinary ones used to cover roofs, and it is believed to have been shaped by hand.

Roof-tiles decorated with the ferocious image of a demon’s face

filled with ornamental tile fragments, bricks, and roof-tiles.

The bricks were mostly unearthed in the areas two wooden

were put at the end of the sloped roof ridge at the four corners of

The owl-tail, 鴟尾 chimi, is an ornamental tile in the shape of a

pagodas once stood. The pagoda base was square with stairs in the

buildings with a hipped-and-gabled roof or on brick pagodas. The

winged fish, reminiscent of an owl’s tail, attached to both ends of

center of each side, and three tiles bearing a spirit general image

frightening countenance of a monster or wild animal was meant

the main roof ridge. It served both as a decorative function and

were placed on each side of these stairs, meaning a total of twenty-

to prevent malevolent forces from entering the building. A Roof-

as a talisman for protecting the structure from fire. Some contend

four decorated to each pagoda base for a grand total of forty-eight.

tile with demon face design unearthed on the Yeongmyosa site

that the chimi is a visual representation of a phoenix or dragon,

The overall look of all the bricks is similar, but slight differences

has a very different composition and production method than the

but a passage in the Chinese Classic of Mountains and Seas 山海經

are seen in the details of the images and the frames to hold the

pieces from Unified Silla. The voluminous quality is much greater,

describes the chi as a different kind of fabulous fowl.

and the composition of the design is flawless. The shortness of the piece suggests that it was made to decorate a brick pagoda.

The Roof-tile with demon face design from Yeongmyosa

04

Brick with Guardian Figures Silla Excavated from Sacheonwangsa site

The Chimi taken from the Hwangnyongsa site is large, at

bricks in their respective alcoves. All of the guardian “spirit generals” are depicted clad in armor with some weapon or other object

186 cm high and 88 cm wide, meaning that it must have been on

in their hands as they seat themselves on crouching demons who

a very large structure. The ornamental tile not only big but also

wince in pain below.

05

CONNECT WITH LEGACY

NMK 2014 AUTUMN

TREASURES FROM OLD SILLA TEMPLES: ROOF-TILES, RIDGE-END ORNAMENTS AND BRICKS

very heavy. Considering the sizes of contemporary kilns, the

YANGJI, BUDDHIST SCULPTOR AND ARTIST FROM SILLA

tile was fired in two halves, upper and lower, to ensure success.

The person responsible for making the sixteen-foot-tall Buddha

A rope hole was drilled into the tile to tie the upper and lower

statue, Heavenly King figures and brick pagodas at Yeongmyosa

halves together on top of the roof.

temple is believed to be the same man behind the production of

The high sides make the Hwangnyongsa temple chimi appear

the glazed bricks with molded images of guardian deities on them.

like a war helmet, and the decorative scheme has a series of sec-

No records exist that describe where Yangji came from or who his

tions that resemble plumage along the outer edge. Further inside

ancestors were, but he was renowned for his skills as a sculptor.

two types of circles are alternated, one with a lotus blossom in the

The Roof-tile with demon face design from Yeongmyosa temple

center and the other with a human face. The back end has lotus

shows a strong resemblance to the bricks from Sacheonwangsa

leaf sections demarcated with heavy lines, in which are set the

temple in terms of voluminous quality and production method.

circles with either a human face or a lotus blossom in the middle.

This fact points to the conclusion that they were produced by the

Some of the human faces appear to be male, with facial hair, and

same person or by members of the same school.

others female, with no facial hair. The juxtaposition of human

He resided at Seokjangsa 錫杖寺 temple yet was involved in

faces with lotuses suggests that the people are of very high social

projects at Yeongmyosa and Sacheonwangsa temples. Yangji is

rank.

also known to have produced the hanging calligraphy boards for Beomnimsa and Yeongmyosa temples. Yangji was not just a sculp-

BRICK WITH GUARDIAN FIGURES FROM SACHEONGWANGSA SITE In the traditional Buddhist world view, Mount Sumeru stands Owl’s-tail Tile (side view) Silla H. 186.0 cm, W. 88.0 cm Excavated from Hwangnyongsa site

tor but also an accomplished calligrapher and great scholar monk.

The roof-tiles found scattered about the old sites in the Gyeongju area may be broken but they provide important clues

at the center of the world, with Trayastrimsa 忉利天 (heaven of the

to the age of the sites in question. These bits or archeological evi-

thirty-three devas) at the top. Below this is the realm of the Four

dence help us learn about the artistic spirit of the Silla people and

Heavenly Kings, who serves as protectors of the human world.

feel the artistic soul of one of Northeast Asia’s greatest craftsmen.

They are depicted clad in armor and holding various kinds of ous designs to mark the boundary

temple features a strictly symmetrical design composition, and

weapons, and each one is assigned a different direction: Vaisrava-

lines of architectural structures that

the spatial sections are clearly partitioned. The symmetrical preci-

na, 多聞天王 Guardian of the North; Virudhaka, 增長天王 Guardian of the

reach skyward, elevating the stateli-

sion and balanced borders are palpable. This particular piece was

South; Dhrtarastra, 持國天王 Guardian of the East; and Virupaksa, 廣目

ness of the structure and imparting a

designed for attachment on a brick pagoda, and no design was put

天王

magical quality that was believed to

the lower end, and it has unfortunately been damaged on both

help prevent calamity.

sides.

Guardian of the West.

The Gyeongju National Research Institute of Cultural Heritage

excavated the Sacheonwangsa site from 2006 through 2012, and confirmed the former locations of various auxiliary structures,

A Roof-tile end with a human face design found on the Yeongmyosa temple is representative of Silla

OWL-TAIL TILE DISCOVERED AT THE HWANGNYONGSA SITE

including one pagoda before the main Buddha hall and another

period roof-tiles. The strongly-emphasized facial features (eyes,

Hwangnyongsa temple was located next to a Silla palace complex.

before the lecture hall. The excavation also yielded numerous rel-

nose and mouth) are what stand out; the upturned mouth cre-

An archeological survey of the site was started in 1976 and over

ics, including glazed earthenware tablets bearing relief images of

ates a bright, natural-looking expression that best exemplifies the

the following eight years uncovered close to 30,000 roof tiles. The

guardian deities. Several of the bricks with guardian figure were

Hwangnyongsa dig uncovered six tile pits, each associated with a

found, and the all were produced in a mold. Clay was pressed by

different building site on the old temple grounds. These pits were

hand into molds of the deity images.

“Silla smile.” This type of tile was not like the ordinary ones used to cover roofs, and it is believed to have been shaped by hand.

Roof-tiles decorated with the ferocious image of a demon’s face

filled with ornamental tile fragments, bricks, and roof-tiles.

The bricks were mostly unearthed in the areas two wooden

were put at the end of the sloped roof ridge at the four corners of

The owl-tail, 鴟尾 chimi, is an ornamental tile in the shape of a

pagodas once stood. The pagoda base was square with stairs in the

buildings with a hipped-and-gabled roof or on brick pagodas. The

winged fish, reminiscent of an owl’s tail, attached to both ends of

center of each side, and three tiles bearing a spirit general image

frightening countenance of a monster or wild animal was meant

the main roof ridge. It served both as a decorative function and

were placed on each side of these stairs, meaning a total of twenty-

to prevent malevolent forces from entering the building. A Roof-

as a talisman for protecting the structure from fire. Some contend

four decorated to each pagoda base for a grand total of forty-eight.

tile with demon face design unearthed on the Yeongmyosa site

that the chimi is a visual representation of a phoenix or dragon,

The overall look of all the bricks is similar, but slight differences

has a very different composition and production method than the

but a passage in the Chinese Classic of Mountains and Seas 山海經

are seen in the details of the images and the frames to hold the

pieces from Unified Silla. The voluminous quality is much greater,

describes the chi as a different kind of fabulous fowl.

and the composition of the design is flawless. The shortness of the piece suggests that it was made to decorate a brick pagoda.

The Roof-tile with demon face design from Yeongmyosa

04

Brick with Guardian Figures Silla Excavated from Sacheonwangsa site

The Chimi taken from the Hwangnyongsa site is large, at

bricks in their respective alcoves. All of the guardian “spirit generals” are depicted clad in armor with some weapon or other object

186 cm high and 88 cm wide, meaning that it must have been on

in their hands as they seat themselves on crouching demons who

a very large structure. The ornamental tile not only big but also

wince in pain below.

05

CONNECT WITH LEGACY

CURATOR TALK

NMK 2014 AUTUMN

THE ARTISTIC EFFECT AND MEANING OF BIRD, FLOWER AND ANIMAL PAINTINGS FROM JOSEON

THE ARTISTIC EFFECT AND MEANING OF

BIRD, FLOWER

AND ANIMAL PAINTINGS FROM JOSEON

T

he art category known as hwajohwa, 花鳥畫 actually includes various animals and plants, to include flowers, birds, grasses, fruits and insects. The life forms are conveyed in a way that charms visually or evokes a sense

of mystery and astonishment. The paintings may even inspire

BY CHANG JINA,

CURATOR OF THE FINE ARTS DEPARTMENT

contemplation and raise consciousness towards the environment.

Such thinking may even elicit answers to the difficult questions facing human society.

Birds and flowers have been significant elements in Korean painting since prehistoric times, developing as subject for art during the ancient period. No flower-and-bird paintings per se are extant from Goryeo, 918‒1392 but flowers and birds do appear as refined decorative motifs in Buddhist paintings or on celadon ware.

It was in Joseon that the hwajohwa arrived as a genre of painting with its own significance and style of composition. Special attention needs to be focused on what Joseon painters were doing during the 17th century. Hwajohwa can be divided into two major categories, color and ink & wash, with the latter being the most important during this mid-Joseon period.

An exquisite example is Magpies by Jo Sok, 趙涑, 1595‒1668 on display inside the Painting Hall at the National Museum of Korea.

It shows two pair of birds, one magpies and the other sparrows, sitting in a gnarled old tree, which dominates the scene. The cen-

Magpies

By Jo Sok Joseon, 17th century Hanging scroll, ink on silk 112.4 × 57.3 cm duk 1036

tral focus of the work is the thick branch, rendered in powerful brushstrokes and without borderlines. The tiny offshoots, drawn

06

with thin brush-lines, fan out freely, while the triangular leaves

affection shared between male and female as well as the pulse of

in light ink match well with the tree branch and offshoots and

life conveyed through the birds’ twittering may seem paradoxical

enrich the painting as a whole. The birds’ wings and flight feath-

against the aged and gnarled branch on which they perch. Yet the

ers are executed with minimal brushstrokes, but the poses and

old tree has a role to play in the larger scheme of things, as tiny

expressions they represent are sufficient to elicit a warm response

offshoots proliferate from the main branch, and young leaves

from the viewer.

sprout endlessly in a cycle of life.

The natural elements depicted in this painting—the old tree

Let us have a look at a work by Kim Sik, 金埴, 1579‒1662 who was

and two bird pairs (most likely mates)—are in no way meant to

renowned for his ink & wash paintings of birds and other ani-

mimic a real-world event. The brushstrokes are a blend of power

mals, especially water buffalo. Kim lived around the same time as

and weakness, and the ink is applied heavily in some places and

Jo Sok and was a literati painter, the same as Jo. Kim’s Cattles un-

lightly in others. Scrutinizing this interplay within the painting

der a Tree is the scene of a calf suckled by its mother in the shade

is the key to discovering what the artist wished to portray. The

of a tree, creating a peaceful and leisurely mood. The painting has

07

CONNECT WITH LEGACY

CURATOR TALK

NMK 2014 AUTUMN

THE ARTISTIC EFFECT AND MEANING OF BIRD, FLOWER AND ANIMAL PAINTINGS FROM JOSEON

THE ARTISTIC EFFECT AND MEANING OF

BIRD, FLOWER

AND ANIMAL PAINTINGS FROM JOSEON

T

he art category known as hwajohwa, 花鳥畫 actually includes various animals and plants, to include flowers, birds, grasses, fruits and insects. The life forms are conveyed in a way that charms visually or evokes a sense

of mystery and astonishment. The paintings may even inspire

BY CHANG JINA,

CURATOR OF THE FINE ARTS DEPARTMENT

contemplation and raise consciousness towards the environment.

Such thinking may even elicit answers to the difficult questions facing human society.

Birds and flowers have been significant elements in Korean painting since prehistoric times, developing as subject for art during the ancient period. No flower-and-bird paintings per se are extant from Goryeo, 918‒1392 but flowers and birds do appear as refined decorative motifs in Buddhist paintings or on celadon ware.

It was in Joseon that the hwajohwa arrived as a genre of painting with its own significance and style of composition. Special attention needs to be focused on what Joseon painters were doing during the 17th century. Hwajohwa can be divided into two major categories, color and ink & wash, with the latter being the most important during this mid-Joseon period.

An exquisite example is Magpies by Jo Sok, 趙涑, 1595‒1668 on display inside the Painting Hall at the National Museum of Korea.

It shows two pair of birds, one magpies and the other sparrows, sitting in a gnarled old tree, which dominates the scene. The cen-

Magpies

By Jo Sok Joseon, 17th century Hanging scroll, ink on silk 112.4 × 57.3 cm duk 1036

tral focus of the work is the thick branch, rendered in powerful brushstrokes and without borderlines. The tiny offshoots, drawn

06

with thin brush-lines, fan out freely, while the triangular leaves

affection shared between male and female as well as the pulse of

in light ink match well with the tree branch and offshoots and

life conveyed through the birds’ twittering may seem paradoxical

enrich the painting as a whole. The birds’ wings and flight feath-

against the aged and gnarled branch on which they perch. Yet the

ers are executed with minimal brushstrokes, but the poses and

old tree has a role to play in the larger scheme of things, as tiny

expressions they represent are sufficient to elicit a warm response

offshoots proliferate from the main branch, and young leaves

from the viewer.

sprout endlessly in a cycle of life.

The natural elements depicted in this painting—the old tree

Let us have a look at a work by Kim Sik, 金埴, 1579‒1662 who was

and two bird pairs (most likely mates)—are in no way meant to

renowned for his ink & wash paintings of birds and other ani-

mimic a real-world event. The brushstrokes are a blend of power

mals, especially water buffalo. Kim lived around the same time as

and weakness, and the ink is applied heavily in some places and

Jo Sok and was a literati painter, the same as Jo. Kim’s Cattles un-

lightly in others. Scrutinizing this interplay within the painting

der a Tree is the scene of a calf suckled by its mother in the shade

is the key to discovering what the artist wished to portray. The

of a tree, creating a peaceful and leisurely mood. The painting has

07

CONNECT WITH LEGACY

NMK 2014 AUTUMN

THE ARTISTIC EFFECT AND MEANING OF BIRD, FLOWER AND ANIMAL PAINTINGS FROM JOSEON

widespread. Under these influences, artists would paint the same subjects and theme but come out with entirely different results.

These changes in Korean painting are evident in hwajohwa as well. Take, for example, Hen and Chicks by Byeon Sangbyeok. 卞相璧 fl. 17‒18th C

He captures a common subject and scene often seen in

the real world. The pastoral mood of the setting and maternal affection of the hen differ greatly from the effects elicited by 16th century works. The subjective sentiment of mid-Joseon gave way to a sentimentality shared by artist and viewer alike; subject matter and scene were selected on the basis of their being familiar sights to most people in everyday life. Thus, the very concepts of life and reality were reinterpreted by the late Joseon painters, who approached commonplace and unimportant subjects that the artist of earlier times would never have even considered worthy of being portrayed. This trend also gave rise to a new approach to the painting of birds, animals and flowers.

A concept called sasaeng, 寫生 “draw from nature” or “draw from life,” emerged in which artists sought to grasp the unique nature of living subjects in their natural state by capturing movement at a moment in time. Accomplishing this would require more than their simply caging the animal, observing it closely, and then sketching what he saw. Rather, painters would have to find the exact spot where the subject’s life force was manifested, regardless of the physical distance from the observer.

This is the “draw from nature” idea conceived by the late Joseon literati. A painter who understands the true beauty of Cattles under a Tree

By Kim Sik Joseon, 17th century Hanging scroll, ink and light color on paper 98.5 × 57.6 cm duk 1220

sasaeng seeks to reveal Nature’s purpose rather than the subject’s living habits. To feel, grasp and portray the natural breath and movement of a living entity is the true meaning of trying to ex-

Flowers and Insects

by Sim Sajeong Joseon, 18th century Hanging scroll, ink and light color on paper 163.0 × 43.0 cm bon 2382

press Nature in some form.

The works of Sim Sajeong 沈師正, 1707‒1769 feature the hwajohwa formativeness that exhibits the unique beauty of the “draw from nature” concept. His Flowers and Insects depicts a cicada on

an exotic feel, as water buffalo was not indigenous to Joseon; the

flowering tree in the center of the scene, with rocks, wildflowers

untethered animals impart a sense of freedom, and maternal love

and grass around the periphery. At the bottom is a grasshopper

nondescript summer day in a remote corner of the natural world.

is communicated through the suckling. All these aspects point to

quietly clings onto a blade of grass, indicating a coziness of late

The nature scene is not reproduced exactly as it appears in reality,

the depth of the artist’s intention.

summer. The artist executes the tree and rocks with casual and

but the shapes of the objects are conveyed as the artist feels them

unrestrained brushstrokes, achieving an aesthetic of brush and

and are communicated to the viewers.

The bird, flower, and animal paintings of mid-Joseon, with

techniques 餘技

their characteristic lyricism and artistic effect, underwent major

ink with hobbyist

changes over time as war and upheaval dismantled the exist-

precisely executed style 工筆 of the professional painter. Sim has

not felt by the minutely and

ing social situation and value system. In the arts, the emphasis

also displayed mastery of color sensibility, and he applied the

shifted from abstract ideals to focus on greater realism and sub-

method of outlining the contours and then adding

colors, 鉤勒眞彩

jective life experiences. Artists began to apply their unique artis-

showing a spirit utterly different from the court-style painting.

Hen and Chicks

By Byeon Sangbyeok Joseon, 18th century Hanging scroll, ink and light color on silk 100.9 × 50.0 cm duk 1810

The bird, flower and animal paintings from Joseon express a variety of sentiments and content. They were produced to suggest indirectly the universally human wishes for good fortune, good health, and long life. At the same time they were important for decorating the walls of homes and other buildings. Perhaps the

tic interpretations and methods of expression. “True-view” land-

The painting composition and physical shapes of the plants

lasting impressions that the unique artistic effects of mid-Joseon

scape painting, in which actual places were drawn in the Korean

and insects are the products of learning from painting manuals,

hwajohwa and the purposeful designs of late Joseon hwajohwa

style instead of relying on Chinese painting manuals, and genre

but the aspects of the wildflowers and insect are naturally con-

impart are their ability to move the human heart and connect

painting, which portrayed scenes from everyday life, became

veyed within the overall scene. The painting recalls a leisurely and

with people as art forms.

08

09

CONNECT WITH LEGACY

NMK 2014 AUTUMN

THE ARTISTIC EFFECT AND MEANING OF BIRD, FLOWER AND ANIMAL PAINTINGS FROM JOSEON

widespread. Under these influences, artists would paint the same subjects and theme but come out with entirely different results.

These changes in Korean painting are evident in hwajohwa as well. Take, for example, Hen and Chicks by Byeon Sangbyeok. 卞相璧 fl. 17‒18th C

He captures a common subject and scene often seen in

the real world. The pastoral mood of the setting and maternal affection of the hen differ greatly from the effects elicited by 16th century works. The subjective sentiment of mid-Joseon gave way to a sentimentality shared by artist and viewer alike; subject matter and scene were selected on the basis of their being familiar sights to most people in everyday life. Thus, the very concepts of life and reality were reinterpreted by the late Joseon painters, who approached commonplace and unimportant subjects that the artist of earlier times would never have even considered worthy of being portrayed. This trend also gave rise to a new approach to the painting of birds, animals and flowers.

A concept called sasaeng, 寫生 “draw from nature” or “draw from life,” emerged in which artists sought to grasp the unique nature of living subjects in their natural state by capturing movement at a moment in time. Accomplishing this would require more than their simply caging the animal, observing it closely, and then sketching what he saw. Rather, painters would have to find the exact spot where the subject’s life force was manifested, regardless of the physical distance from the observer.

This is the “draw from nature” idea conceived by the late Joseon literati. A painter who understands the true beauty of Cattles under a Tree

By Kim Sik Joseon, 17th century Hanging scroll, ink and light color on paper 98.5 × 57.6 cm duk 1220

sasaeng seeks to reveal Nature’s purpose rather than the subject’s living habits. To feel, grasp and portray the natural breath and movement of a living entity is the true meaning of trying to ex-

Flowers and Insects

by Sim Sajeong Joseon, 18th century Hanging scroll, ink and light color on paper 163.0 × 43.0 cm bon 2382

press Nature in some form.

The works of Sim Sajeong 沈師正, 1707‒1769 feature the hwajohwa formativeness that exhibits the unique beauty of the “draw from nature” concept. His Flowers and Insects depicts a cicada on

an exotic feel, as water buffalo was not indigenous to Joseon; the

flowering tree in the center of the scene, with rocks, wildflowers

untethered animals impart a sense of freedom, and maternal love

and grass around the periphery. At the bottom is a grasshopper

nondescript summer day in a remote corner of the natural world.

is communicated through the suckling. All these aspects point to

quietly clings onto a blade of grass, indicating a coziness of late

The nature scene is not reproduced exactly as it appears in reality,

the depth of the artist’s intention.

summer. The artist executes the tree and rocks with casual and

but the shapes of the objects are conveyed as the artist feels them

unrestrained brushstrokes, achieving an aesthetic of brush and

and are communicated to the viewers.

The bird, flower, and animal paintings of mid-Joseon, with

techniques 餘技

their characteristic lyricism and artistic effect, underwent major

ink with hobbyist

changes over time as war and upheaval dismantled the exist-

precisely executed style 工筆 of the professional painter. Sim has

not felt by the minutely and

ing social situation and value system. In the arts, the emphasis

also displayed mastery of color sensibility, and he applied the

shifted from abstract ideals to focus on greater realism and sub-

method of outlining the contours and then adding

colors, 鉤勒眞彩

jective life experiences. Artists began to apply their unique artis-

showing a spirit utterly different from the court-style painting.

Hen and Chicks

By Byeon Sangbyeok Joseon, 18th century Hanging scroll, ink and light color on silk 100.9 × 50.0 cm duk 1810

The bird, flower and animal paintings from Joseon express a variety of sentiments and content. They were produced to suggest indirectly the universally human wishes for good fortune, good health, and long life. At the same time they were important for decorating the walls of homes and other buildings. Perhaps the

tic interpretations and methods of expression. “True-view” land-

The painting composition and physical shapes of the plants

lasting impressions that the unique artistic effects of mid-Joseon

scape painting, in which actual places were drawn in the Korean

and insects are the products of learning from painting manuals,

hwajohwa and the purposeful designs of late Joseon hwajohwa

style instead of relying on Chinese painting manuals, and genre

but the aspects of the wildflowers and insect are naturally con-

impart are their ability to move the human heart and connect

painting, which portrayed scenes from everyday life, became

veyed within the overall scene. The painting recalls a leisurely and

with people as art forms.

08

09

CULTURE THEMA

CONNECT WITH LEGACY

NMK 2014 AUTUMN

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

Vessel and Flowering Branches on a Fan

By Ko Huidong and Lee Doyeong Light colors on paper 21.2 × 48.3 cm

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

BY KIM SEUNG-IK, ASSOCIATE CURATOR OF THE EXHIBITION DEPARTMENT

10

T

he still life is a popular subject for art in both East

learning and art , pleasure and vanity this

human vanity, skulls as symbols of death, and flowers to show the transience of life.

and West. In the West, realistic

type of still life conveyed the

Radical changes came to Western still

paintings of everyday objects

message that all wealth and honor

lifes in the 19th century. They were no lon-

lying on a table, such as flowers, food,

enjoyed in this life is in vain, and there-

ger paintings of symbolic objects but ex-

and wine bottles, developed into an in-

fore one should reflect on one’s self in the

pressions of the artist’s individuality. After

dependent genre from the 17th century.

present time. Commonly depicted ob-

the Impressionist period, artists began to

The objects were imbued with all sorts of

jects in vanitas themed paintings include

imbue everyday objects around them with

symbolic meanings. In the Netherlands,

crowns, jewels, and rare and precious

their own feelings and sensibilities. Vincent

hyper-realistic still lifes with the theme

objects symbolizing wealth and author-

van Gogh depicted nature overflowing

of “vanitas” were widely popular, vani-

ity; books, musical instruments, musi-

with energy and vibrancy in vivid colors

tas coming from the Latin indicating the

cal scores and sculptures symbolizing

that seemed to reflect his attempts to over-

meaninglessness and transient nature of

learning and the arts; and wine glasses,

come his own mental anguish, while Paul

earthly life. By placing images of death

cigarettes and pipes symbolizing pleasure.

Cezanne spent long hours trying to capture

together symbols of wealth and authority,

Added to these were mirrors representing

the fundamental form of objects, imbued

11

CULTURE THEMA

CONNECT WITH LEGACY

NMK 2014 AUTUMN

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

Vessel and Flowering Branches on a Fan

By Ko Huidong and Lee Doyeong Light colors on paper 21.2 × 48.3 cm

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

BY KIM SEUNG-IK, ASSOCIATE CURATOR OF THE EXHIBITION DEPARTMENT

10

T

he still life is a popular subject for art in both East

learning and art , pleasure and vanity this

human vanity, skulls as symbols of death, and flowers to show the transience of life.

and West. In the West, realistic

type of still life conveyed the

Radical changes came to Western still

paintings of everyday objects

message that all wealth and honor

lifes in the 19th century. They were no lon-

lying on a table, such as flowers, food,

enjoyed in this life is in vain, and there-

ger paintings of symbolic objects but ex-

and wine bottles, developed into an in-

fore one should reflect on one’s self in the

pressions of the artist’s individuality. After

dependent genre from the 17th century.

present time. Commonly depicted ob-

the Impressionist period, artists began to

The objects were imbued with all sorts of

jects in vanitas themed paintings include

imbue everyday objects around them with

symbolic meanings. In the Netherlands,

crowns, jewels, and rare and precious

their own feelings and sensibilities. Vincent

hyper-realistic still lifes with the theme

objects symbolizing wealth and author-

van Gogh depicted nature overflowing

of “vanitas” were widely popular, vani-

ity; books, musical instruments, musi-

with energy and vibrancy in vivid colors

tas coming from the Latin indicating the

cal scores and sculptures symbolizing

that seemed to reflect his attempts to over-

meaninglessness and transient nature of

learning and the arts; and wine glasses,

come his own mental anguish, while Paul

earthly life. By placing images of death

cigarettes and pipes symbolizing pleasure.

Cezanne spent long hours trying to capture

together symbols of wealth and authority,

Added to these were mirrors representing

the fundamental form of objects, imbued

11

CONNECT WITH LEGACY

NMK 2014 AUTUMN

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

with his own style. For Post-Impressionist

observing and reflecting on sundry objects

plants. But the range of objects actually

latter half of the 19th century, was famous

painters, it was not important to realistical-

as well as flowers, fruit and vegetables had

depicted varied widely, including all sorts

for his gimyeong jeolji paintings. His Paint-

ly reproduce objects in the classical way or

already existed. Gimyeong jeolji, paintings

of fruit and vegetables, fish, crabs and other

ing of a Hundred Objects contains the tradi-

to convey messages through them. Rather,

of “Vessels with flowering branches,” were

shellfish, rendering the term gimyeong jeolji

tional auspicious messages of this genre,

the core of the still life became the private

particularly popular from the 19th century.

rather insufficient.

but it also strongly reflects the artist’s

communication between the artist and the

They were similar in style to Western still

Bringing together a number of sepa-

individuality. The horizontally long paint-

objects or the artist’s particular way of see-

lifes as they were not depictions of a part of

rate objects, these paintings are compa-

ing features old bronze vessels, a ewer, a

ing those objects.

nature but the objects as independent enti-

rable to 17th century Western still lifes

water dropper, orchids, a radish, ginseng

ties, arranged in a very deliberate way.

In Korea, still lifes were established

Still Life with Onions

By Paul Cezanne 1896-1898 Oil on canvas 66.0 × 82.0 cm Musée d’Orsay, Paris

in that all objects are imbued with some

roots, chestnuts, shellfish, and crabs, all

as an art genre in the early 20th century

Such paintings therefore are a kind of

kind of symbolism. In contrast to the

arranged in a free zigzag pattern. It has no

with the introduction of Western art into

still life featuring a jar, pot or some other

vanitas paintings, however, which convey

trace of the coldness of some Western still

the country. However, a long tradition of

old vessel with a variety of flowers and

didactic messages and a sense of futil-

lifes with their precise, calculated compo-

ity, the Korean still lifes fundamentally

sitions. Instead, the touches of pale blue

painter Lee Doyeong 李道榮, 1884‒1933 collabo-

but as a reflection of the artists’ personal

express hopes, desires, and various auspi-

and yellow coloring, deformed shapes and

rated on the work Vessel and Flowering

feelings, particularly their love of pleasure.

cious messages such as “long life and hap-

bold brushwork convey a kind vivid sense

Branches on a Fan, which shows various

Korean still lifes, which went beyond con-

piness” or “wealth, honor and many sons.”

of life. The French term for still life is na-

objects such as radishes, fish, ewer, red

veying the abstract meaning contained in

For this reason, gimyeong jeolji paintings

ture morte, which means “dead nature,”

peppers, corn, raspberries, and watermelon

the objects to show the artist’s sentiments

were generally commissioned for deco-

but in East Asia the corresponding term is

painted on a paper folding fan. On the

and sensibilities, can be compared to the

rative folding screens intended as gifts.

jeongmul which means motionless object,

left side, painted by Lee Doyeong in the

works of the Post-Impressionists who cap-

These paintings were not simply charac-

indicating an object that is unmoving and

traditional way, the shading and three-

tured objects in a subjective way and pro-

terized by their auspicious subject matter.

quiet but still contains life.

Painting of a Hundred Objects

By Jang Seung-eop Joseon, later 19th century Light colors on silk 38.8 × 233.0 cm

Vanitas Still Life

By Pieter Claesz 1630 Oil on canvas 39.5 × 56.0 cm Mauritshuis, The Hague

12

dimensionality of the objects is not empha-

jected their own inner feelings onto them.

As they often featured old well-worn jars

Still lifes began to be widely painted

sized. The right hand side, painted by Ko

While Korean painting and Western paint-

or other vessels, they reveal the senti-

in Korea in the early 20th century when

Huidong, shows the influence of Western

ing use the different mediums of ink and

ments of the Joseon literati, who were

they were encouraged under Western art

art in the use of color, shading, depth and

wash and oil paints respectively, the two

fond of collecting antiques, as well as the

education. But Western style painters with

arrangement of objects. The inscription on

types of art from different times and places

tastes of the artist or the person commis-

a strong interest in traditional art carried

the painting, which talks about drinking

looked at objects in the context of their re-

sioning the work.

on the form and subject matter of gimyeong

while singing poetic songs and savoring

spective traditions, with their perspectives

one of

jeolji. Korea’s first Western style painter,

good food, shows that the objects are not

sometimes overlapping.

the most important Korean painters of the

Ko Huidong, 高羲東, 1886‒1965 and traditional

depicted simply for their symbolic meaning

Jang

Seung-eop, 張承業, 1843‒1897

13

CONNECT WITH LEGACY

NMK 2014 AUTUMN

KOREAN AND WESTERN PERSPECTIVES ON STILL LIFES

with his own style. For Post-Impressionist

observing and reflecting on sundry objects

plants. But the range of objects actually

latter half of the 19th century, was famous

painters, it was not important to realistical-

as well as flowers, fruit and vegetables had

depicted varied widely, including all sorts

for his gimyeong jeolji paintings. His Paint-

ly reproduce objects in the classical way or

already existed. Gimyeong jeolji, paintings

of fruit and vegetables, fish, crabs and other

ing of a Hundred Objects contains the tradi-

to convey messages through them. Rather,

of “Vessels with flowering branches,” were

shellfish, rendering the term gimyeong jeolji

tional auspicious messages of this genre,

the core of the still life became the private

particularly popular from the 19th century.

rather insufficient.

but it also strongly reflects the artist’s

communication between the artist and the

They were similar in style to Western still

Bringing together a number of sepa-

individuality. The horizontally long paint-

objects or the artist’s particular way of see-

lifes as they were not depictions of a part of

rate objects, these paintings are compa-

ing features old bronze vessels, a ewer, a

ing those objects.

nature but the objects as independent enti-

rable to 17th century Western still lifes

water dropper, orchids, a radish, ginseng

ties, arranged in a very deliberate way.

In Korea, still lifes were established

Still Life with Onions

By Paul Cezanne 1896-1898 Oil on canvas 66.0 × 82.0 cm Musée d’Orsay, Paris

in that all objects are imbued with some

roots, chestnuts, shellfish, and crabs, all

as an art genre in the early 20th century

Such paintings therefore are a kind of

kind of symbolism. In contrast to the

arranged in a free zigzag pattern. It has no

with the introduction of Western art into

still life featuring a jar, pot or some other

vanitas paintings, however, which convey

trace of the coldness of some Western still

the country. However, a long tradition of

old vessel with a variety of flowers and

didactic messages and a sense of futil-

lifes with their precise, calculated compo-

ity, the Korean still lifes fundamentally

sitions. Instead, the touches of pale blue

painter Lee Doyeong 李道榮, 1884‒1933 collabo-

but as a reflection of the artists’ personal

express hopes, desires, and various auspi-

and yellow coloring, deformed shapes and

rated on the work Vessel and Flowering

feelings, particularly their love of pleasure.

cious messages such as “long life and hap-

bold brushwork convey a kind vivid sense

Branches on a Fan, which shows various

Korean still lifes, which went beyond con-

piness” or “wealth, honor and many sons.”

of life. The French term for still life is na-

objects such as radishes, fish, ewer, red

veying the abstract meaning contained in

For this reason, gimyeong jeolji paintings

ture morte, which means “dead nature,”

peppers, corn, raspberries, and watermelon

the objects to show the artist’s sentiments

were generally commissioned for deco-

but in East Asia the corresponding term is

painted on a paper folding fan. On the

and sensibilities, can be compared to the

rative folding screens intended as gifts.

jeongmul which means motionless object,

left side, painted by Lee Doyeong in the

works of the Post-Impressionists who cap-

These paintings were not simply charac-

indicating an object that is unmoving and

traditional way, the shading and three-

tured objects in a subjective way and pro-

terized by their auspicious subject matter.

quiet but still contains life.

Painting of a Hundred Objects

By Jang Seung-eop Joseon, later 19th century Light colors on silk 38.8 × 233.0 cm

Vanitas Still Life

By Pieter Claesz 1630 Oil on canvas 39.5 × 56.0 cm Mauritshuis, The Hague

12

dimensionality of the objects is not empha-

jected their own inner feelings onto them.

As they often featured old well-worn jars

Still lifes began to be widely painted

sized. The right hand side, painted by Ko

While Korean painting and Western paint-

or other vessels, they reveal the senti-

in Korea in the early 20th century when

Huidong, shows the influence of Western

ing use the different mediums of ink and

ments of the Joseon literati, who were

they were encouraged under Western art

art in the use of color, shading, depth and

wash and oil paints respectively, the two

fond of collecting antiques, as well as the

education. But Western style painters with

arrangement of objects. The inscription on

types of art from different times and places

tastes of the artist or the person commis-

a strong interest in traditional art carried

the painting, which talks about drinking

looked at objects in the context of their re-

sioning the work.

on the form and subject matter of gimyeong

while singing poetic songs and savoring

spective traditions, with their perspectives

one of

jeolji. Korea’s first Western style painter,

good food, shows that the objects are not

sometimes overlapping.

the most important Korean painters of the

Ko Huidong, 高羲東, 1886‒1965 and traditional

depicted simply for their symbolic meaning

Jang

Seung-eop, 張承業, 1843‒1897

13

Blue-and-white Porcelain Round Dish with crane and cloud design Joseon, 19 th century H. 5.3 cm, C. 19.6 cm soojung 203

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

SEPTEMBER 30 – NOVEMBER 16, 2014 SPECIAL EXHIBITION GALLERY

CONNECT WITH NMK

SPECIAL EXHIBITION 1

they were produced exclusively for the

porcelain pieces that have not been in

new dynasty. Addition of the blue deco-

enjoyment of the Joseon elite, to include

public view since the Japanese Colonial

ration resulted in a refined product that

the royal family, scholar-officials, literati

Period. 1910‒1945

showed the elegant artistic taste of the

and others with great wealth.

The exhibition is organized into five

Joseon royal family.

More than 500 pieces make up the

Section 2 is “Blue-and-White Porce-

present exhibition, with numerous mu-

White Porcelain and Blue-and-White

lain: Royal Family Propriety and Au-

seums providing some of the very best

Porcelain,” covers the period when blue-

thority.” The Joseon central government

blue-and-white porcelain in their col-

and-white porcelain first appeared

organized major state-sponsored events

lections. Japanese participants include

in the kingdom. White porcelain was

such as royal weddings and birthdays

the Tokyo National Museum, Idemitsu

determined to be the style of dishes used

according to Neo-Confucian principles.

Museum of Arts, and Osaka Museum

by the Joseon royal family, and these

The vessels, furniture and other imple-

of Oriental Ceramics, Japan. They have

white porcelain pieces were produced at

ments to be used were produced accord-

loaned pieces produced in Joseon as

the official kiln in Gwangju, Gyeonggi-

ing to the royal family rules and autho-

well as in Ming during the reigns of

do, managed as a branch kiln 分院 by the

rized specifications recorded in a series

Yongle 1402‒1424

Xuande 1425‒1435

Bureau for Overseeing Ceramic Pro-

of texts known as uigwe, which were

Emperors, and in Japan, providing an

duction. 司饔院 In addition, government

produced after each such event was

exceptional opportunity for comparison.

painters working in the Royal Bureau

concluded. These uigwe describe blue-

Fourteen Korean institutions are also

of Painting would decorate the white

and-white porcelain jars such as juhae 酒

involved, including the National Muse-

porcelain with scenes in cobalt blue pig-

海

um of Korea, Leeum Samsung Museum

ment. The pure white porcelain reflected

banquets to hold wine or flowers. Such

of Art and Horim Museum Sillim. The

the spiritual world of the Neo-Confucian

vessels can be said to represent royal

NMK is showing many blue-and-white

scholar-official class that arose with the

family propriety. In addition, tomb tab-

Blue-and-white Porcelain Round Dish with Persimmon and Chestnut Tree Joseon, 19 th century H. 2.4 cm, C. 16.2 cm soojung 199

Blue-and-white Porcelain Jar with Cloud and Dragon Design Joseon, 18th century H. 41.5 cm koo 3117

Blue-and-white Porcelain Jar with Orchid Joseon, 18th century H. 26.2 cm dong 415

the

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

sections. Section 1, entitled “Joseon

and

and jun 樽 that were to be used at royal

BY I M J I NA , A SSOCI AT E CU R ATOR OF T H E EX H I BI T ION DEPA RTM EN T

I

n Blue and White: Porcelains of the

during the Ming. 1368‒1644 The popularity

ans were influenced by the Ming style

Joseon Dynasty opens at the Nation-

of this chinaware in Europe sparked the

but also added some uniquely Joseon

al Museum of Korea opens this fall.

“Chinoiserie” artistic style, character-

elements such as a painterly style of

This is the essence of the Joseon royal

ized by fanciful imagery of an imaginary

decorative presentation. State-run kilns

family’s aesthetic sense that combines

China, from the 17th century. Chinese

produced blue-and-white porcelain that

pottery-making with painting. Never

porcelain also had a direct correlation to

catered to the tastes and high standards

before has a collection of this type ever

the birth of European hard quality white

of the royal family members through the

been assembled in Korea.

porcelain in the 18th century.

end of the 19th century. Joseon never

Blue-and-white porcelain first ap-

14

Joseon was just the world’s second to

exported these pieces, despite the brisk

peared in China during the Yuan Dynas-

produce blue-and-white porcelain, start-

trading in blue-and-white porcelain

ty 1271‒1368 and was exported to Europe

ing around the 15th century. The Kore-

among China, Japan and Europe. Instead

15

Blue-and-white Porcelain Round Dish with crane and cloud design Joseon, 19 th century H. 5.3 cm, C. 19.6 cm soojung 203

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

SEPTEMBER 30 – NOVEMBER 16, 2014 SPECIAL EXHIBITION GALLERY

CONNECT WITH NMK

SPECIAL EXHIBITION 1

they were produced exclusively for the

porcelain pieces that have not been in

new dynasty. Addition of the blue deco-

enjoyment of the Joseon elite, to include

public view since the Japanese Colonial

ration resulted in a refined product that

the royal family, scholar-officials, literati

Period. 1910‒1945

showed the elegant artistic taste of the

and others with great wealth.

The exhibition is organized into five

Joseon royal family.

More than 500 pieces make up the

Section 2 is “Blue-and-White Porce-

present exhibition, with numerous mu-

White Porcelain and Blue-and-White

lain: Royal Family Propriety and Au-

seums providing some of the very best

Porcelain,” covers the period when blue-

thority.” The Joseon central government

blue-and-white porcelain in their col-

and-white porcelain first appeared

organized major state-sponsored events

lections. Japanese participants include

in the kingdom. White porcelain was

such as royal weddings and birthdays

the Tokyo National Museum, Idemitsu

determined to be the style of dishes used

according to Neo-Confucian principles.

Museum of Arts, and Osaka Museum

by the Joseon royal family, and these

The vessels, furniture and other imple-

of Oriental Ceramics, Japan. They have

white porcelain pieces were produced at

ments to be used were produced accord-

loaned pieces produced in Joseon as

the official kiln in Gwangju, Gyeonggi-

ing to the royal family rules and autho-

well as in Ming during the reigns of

do, managed as a branch kiln 分院 by the

rized specifications recorded in a series

Yongle 1402‒1424

Xuande 1425‒1435

Bureau for Overseeing Ceramic Pro-

of texts known as uigwe, which were

Emperors, and in Japan, providing an

duction. 司饔院 In addition, government

produced after each such event was

exceptional opportunity for comparison.

painters working in the Royal Bureau

concluded. These uigwe describe blue-

Fourteen Korean institutions are also

of Painting would decorate the white

and-white porcelain jars such as juhae 酒

involved, including the National Muse-

porcelain with scenes in cobalt blue pig-

海

um of Korea, Leeum Samsung Museum

ment. The pure white porcelain reflected

banquets to hold wine or flowers. Such

of Art and Horim Museum Sillim. The

the spiritual world of the Neo-Confucian

vessels can be said to represent royal

NMK is showing many blue-and-white

scholar-official class that arose with the

family propriety. In addition, tomb tab-

Blue-and-white Porcelain Round Dish with Persimmon and Chestnut Tree Joseon, 19 th century H. 2.4 cm, C. 16.2 cm soojung 199

Blue-and-white Porcelain Jar with Cloud and Dragon Design Joseon, 18th century H. 41.5 cm koo 3117

Blue-and-white Porcelain Jar with Orchid Joseon, 18th century H. 26.2 cm dong 415

the

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

sections. Section 1, entitled “Joseon

and

and jun 樽 that were to be used at royal

BY I M J I NA , A SSOCI AT E CU R ATOR OF T H E EX H I BI T ION DEPA RTM EN T

I

n Blue and White: Porcelains of the

during the Ming. 1368‒1644 The popularity

ans were influenced by the Ming style

Joseon Dynasty opens at the Nation-

of this chinaware in Europe sparked the

but also added some uniquely Joseon

al Museum of Korea opens this fall.

“Chinoiserie” artistic style, character-

elements such as a painterly style of

This is the essence of the Joseon royal

ized by fanciful imagery of an imaginary

decorative presentation. State-run kilns

family’s aesthetic sense that combines

China, from the 17th century. Chinese

produced blue-and-white porcelain that

pottery-making with painting. Never

porcelain also had a direct correlation to

catered to the tastes and high standards

before has a collection of this type ever

the birth of European hard quality white

of the royal family members through the

been assembled in Korea.

porcelain in the 18th century.

end of the 19th century. Joseon never

Blue-and-white porcelain first ap-

14

Joseon was just the world’s second to

exported these pieces, despite the brisk

peared in China during the Yuan Dynas-

produce blue-and-white porcelain, start-

trading in blue-and-white porcelain

ty 1271‒1368 and was exported to Europe

ing around the 15th century. The Kore-

among China, Japan and Europe. Instead

15

lets, detailing the life accomplishments of a deceased person, were produced and buried at the site of ancestral graves according to Neo-Confucian protocol.

The oldest known surviving piece of Joseon blue-and-white porcelain is a Tomb Tablet Inscription Eulogizing the Wife of the Heungnyeong Prefecture Magistrate, dated 1456 (Treasure No. 1768, Korea University Museum collection). Tomb tablets and vessels used in ancestor memorial services were produced in blue-and-white porcelain

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

Blue-and-white Porcelain Jar with Landscape Joseon, 18th century H. 38.1 cm soojung 285

CONNECT WITH NMK

Blue-and-white Porcelain Lidded Bowl with Buddhist Floral Design Joseon, 19 th century H. 15.0 cm sin 544

and-white porcelain symbolized the

also extended to blue-and-white porce-

protocols for and inaccessible dignity

lain ware, which appeared with poetic

Porcelain Becomes the People’s Pot-

of the royal family. At first, the blue-

inscriptions and painted scenes. Prime

tery.” Early in the dynasty, this pottery

and-white porcelain ware produced in

examples include pieces decorated with

genre was reserved for the royal family,

Joseon were heavily influenced by the

the autumn orchid motif or landscapes.

but with time its accessibility broad-

pieces bequeathed by the Ming impe-

They demonstrate how blue-and-white

ened across the society to those with

rial court, but before lone a distinctive

porcelains were produced explicitly

the means to afford it. The shapes and

Joseon style emerged, and subsequently

for the gentleman’s studio, to serve as

categories of pieces diversified greatly

exchanges were carried out with Japan

storage containers and as objects to

and product volumes swelled toward

as well. Section 2 offers an opportunity

be admired for their elegance. In late

the end of Joseon. This trend was related

to compare important specimens from

Joseon, antiques, calligraphy, paintings

to the increased in cobalt blue imports,

all three countries. .

and dwarf trees in pots were hobbies

but it also is an indication of how much

Section 3, “Blue-and-White Porce-

Section 4 is entitled “Blue-and-White

enjoyed by the educated class, and these

Joseon society had changed. Earlier, the

lain: Loved by the Literati,” presents

became decorative motifs for blue-and-

decorative motifs had been mainly the

by the end of Joseon. This means that

pieces decorated with paintings and

white porcelain. Potted plums and plan-

four noble plants (plum, orchid, chry-

white porcelain painted with a cobalt-

poetry. During the reigns of Kings

tains were popular themes, along with

santhemum and bamboo), landscapes

blue underglaze helped to spread royal

Yeongjo r. 1724‒1776

paintings of flowers, grass and strangely-

with human figures and other subjects

family ritual practices among the Joseon

the 18th century, the Joseon royal family

shaped stones. Blue-and-white porcelain

preferred by literati painters. Later on,

populous as a whole.

was both a trendsetter and supporter

ware of this type filled the capital like

however, the themes painted under-

of the literati artistic taste. This trend

the fragrance of flowers in spring.

glaze in cobalt-blue came to express the

and widely used by private families

In early Joseon, meanwhile, blue-

and

Jeongjo r. 1776‒1800

in

4th part of the special exhibition

16

17

lets, detailing the life accomplishments of a deceased person, were produced and buried at the site of ancestral graves according to Neo-Confucian protocol.

The oldest known surviving piece of Joseon blue-and-white porcelain is a Tomb Tablet Inscription Eulogizing the Wife of the Heungnyeong Prefecture Magistrate, dated 1456 (Treasure No. 1768, Korea University Museum collection). Tomb tablets and vessels used in ancestor memorial services were produced in blue-and-white porcelain

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

Blue-and-white Porcelain Jar with Landscape Joseon, 18th century H. 38.1 cm soojung 285

CONNECT WITH NMK

Blue-and-white Porcelain Lidded Bowl with Buddhist Floral Design Joseon, 19 th century H. 15.0 cm sin 544

and-white porcelain symbolized the

also extended to blue-and-white porce-

protocols for and inaccessible dignity

lain ware, which appeared with poetic

Porcelain Becomes the People’s Pot-

of the royal family. At first, the blue-

inscriptions and painted scenes. Prime

tery.” Early in the dynasty, this pottery

and-white porcelain ware produced in

examples include pieces decorated with

genre was reserved for the royal family,

Joseon were heavily influenced by the

the autumn orchid motif or landscapes.

but with time its accessibility broad-

pieces bequeathed by the Ming impe-

They demonstrate how blue-and-white

ened across the society to those with

rial court, but before lone a distinctive

porcelains were produced explicitly

the means to afford it. The shapes and

Joseon style emerged, and subsequently

for the gentleman’s studio, to serve as

categories of pieces diversified greatly

exchanges were carried out with Japan

storage containers and as objects to

and product volumes swelled toward

as well. Section 2 offers an opportunity

be admired for their elegance. In late

the end of Joseon. This trend was related

to compare important specimens from

Joseon, antiques, calligraphy, paintings

to the increased in cobalt blue imports,

all three countries. .

and dwarf trees in pots were hobbies

but it also is an indication of how much

Section 3, “Blue-and-White Porce-

Section 4 is entitled “Blue-and-White

enjoyed by the educated class, and these

Joseon society had changed. Earlier, the

lain: Loved by the Literati,” presents

became decorative motifs for blue-and-

decorative motifs had been mainly the

by the end of Joseon. This means that

pieces decorated with paintings and

white porcelain. Potted plums and plan-

four noble plants (plum, orchid, chry-

white porcelain painted with a cobalt-

poetry. During the reigns of Kings

tains were popular themes, along with

santhemum and bamboo), landscapes

blue underglaze helped to spread royal

Yeongjo r. 1724‒1776

paintings of flowers, grass and strangely-

with human figures and other subjects

family ritual practices among the Joseon

the 18th century, the Joseon royal family

shaped stones. Blue-and-white porcelain

preferred by literati painters. Later on,

populous as a whole.

was both a trendsetter and supporter

ware of this type filled the capital like

however, the themes painted under-

of the literati artistic taste. This trend

the fragrance of flowers in spring.

glaze in cobalt-blue came to express the

and widely used by private families

In early Joseon, meanwhile, blue-

and

Jeongjo r. 1776‒1800

in

4th part of the special exhibition

16

17

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

CONNECT WITH NMK

wishes and aspirations of all people, to

of King Gojong and private resident of

porcelain tradition forward into the

include long life and good fortune in

his father, Heungseon Daewongun. The

present day. There are also works made

particular. The blue representations or

display will confirm the consistent high

in the 1950s and 1970s by Kim Whanki,

the ten longevity symbols and auspi-

quality and refinement of the blue-and-

who collected genuine Joseon blue-and-

cious animals such as phoenixes, tigers

white porcelain ware used by the Joseon

white porcelain; From the Point series

or griffins on the white porcelain back-

royal family throughout the dynasty.

by Lee Ufan; and some of Korea’s best

ground had a powerful and mysterious

Section 5, “The Aesthetics of Blue-

modern blue-and-white porcelain by

effect. Pieces decorated with various

and-White Porcelain Alive Today,”

Park Youngsook, Lee Yeongho, Kwon

patterns that express “wealth and pros-

presents paintings and blue-and-white

Youngsik, Jung Jaehyo, Jeong Yeontaek,

perity” show the style of Joseon blue-

porcelain pieces inspired by the Joseon

and Hwang Kapsun.

and-white porcelain in the early modern

tradition and produced in the early

period.

modern or modern periods. The display

took the world by storm in centuries

begins with works produced by Jeong

past, and In Blue and White: Porcelains of

Gyu and Yu Gangyeol at the Seongbuk-

the Joseon Dynasty is an opportunity to

At the end of Section 4, visitors may view blue-and-white porcelains that

kiln 1955‒1962

run by the Research

The blue-and-white porcelain craze

were used by royal family members at

dong

state-sponsored events in late Joseon,

Institute for Korean Formative Art and

out in Joseon as well as how this genre

including pieces inscribed with the

Culture, 韓國造形文化硏究所

has affected Korea’s modern pottery

name “Unhyeongung,” the birthplace

lished in 1955 to bring the Joseon white

which was estab-

learn how this the phenomena played

tradition and artistic sensibilities.

Blue-and-white Porcelain Jar with Plum Blossom and Bird Design Joseon, 15 –16th century H. 16.5 cm National Treasure No. 170 sin 4522

18

19

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

CONNECT WITH NMK

wishes and aspirations of all people, to

of King Gojong and private resident of

porcelain tradition forward into the

include long life and good fortune in

his father, Heungseon Daewongun. The

present day. There are also works made

particular. The blue representations or

display will confirm the consistent high

in the 1950s and 1970s by Kim Whanki,

the ten longevity symbols and auspi-

quality and refinement of the blue-and-

who collected genuine Joseon blue-and-

cious animals such as phoenixes, tigers

white porcelain ware used by the Joseon

white porcelain; From the Point series

or griffins on the white porcelain back-

royal family throughout the dynasty.

by Lee Ufan; and some of Korea’s best

ground had a powerful and mysterious

Section 5, “The Aesthetics of Blue-

modern blue-and-white porcelain by

effect. Pieces decorated with various

and-White Porcelain Alive Today,”

Park Youngsook, Lee Yeongho, Kwon

patterns that express “wealth and pros-

presents paintings and blue-and-white

Youngsik, Jung Jaehyo, Jeong Yeontaek,

perity” show the style of Joseon blue-

porcelain pieces inspired by the Joseon

and Hwang Kapsun.

and-white porcelain in the early modern

tradition and produced in the early

period.

modern or modern periods. The display

took the world by storm in centuries

begins with works produced by Jeong

past, and In Blue and White: Porcelains of

Gyu and Yu Gangyeol at the Seongbuk-

the Joseon Dynasty is an opportunity to

At the end of Section 4, visitors may view blue-and-white porcelains that

kiln 1955‒1962

run by the Research

The blue-and-white porcelain craze

were used by royal family members at

dong

state-sponsored events in late Joseon,

Institute for Korean Formative Art and

out in Joseon as well as how this genre

including pieces inscribed with the

Culture, 韓國造形文化硏究所

has affected Korea’s modern pottery

name “Unhyeongung,” the birthplace

lished in 1955 to bring the Joseon white

which was estab-

learn how this the phenomena played

tradition and artistic sensibilities.

Blue-and-white Porcelain Jar with Plum Blossom and Bird Design Joseon, 15 –16th century H. 16.5 cm National Treasure No. 170 sin 4522

18

19

Mountains and Rivers without End (detail)

By Yi Inmun Joseon, 18th century 43.9 × 856.0 cm duk 927

SPECIAL EXHIBITION 2

Paintings of the peach blossom land are typically

JULY 29 – SEPTEMBER 28, 2014 SPECIAL EXHIBITION GALLERY

BY K WON H Y E-EU N, A SSOCI AT E CU R ATOR OF T H E FI N E A RTS DEPA RTM EN T

20

in New York, the Shanghai Museum in

people have always dreamed

China, and the Kyoto National Museum

about the ideal land in which

in Japan. Among them are 42 Chinese

in the style of luxuriant

they want to live. In both East and West,

and Japanese masterpieces on show in

blue-green landscapes that

past and present, the ideal land has been

Korea for the first time.

effectively portray the ideal

a favorite subject for artists. In East Asia

land that people sought to

LANDSCAPES: SEEKING THE IDEAL LAND

T

hroughout human history,

find, if only in their dreams.

there has been a clear trend to express

PROLOGUE. PRISTINE AND PEACE-

the ideal land in a landscape of moun-

FUL LANDSCAPE

tains and rivers.

From ancient times, mountain and

The National Museum of Korea has

Bricks with Figure and Landscape Design Baekje, 7th century 29.0 × 29.0 cm Treasure No. 343 bon 13972

river landscapes have been perceived

prepared a special exhibition that brings

as wonderful sacred places where the

together traditional landscape paint-

Taoist immortals reside and the masters

ings from Korea, China and Japan under

engage in spiritual practice. Moreover,

the title Landscapes: Seeking the Ideal

as indicated by the words of Confucius 孔

Land. The exhibition features 109 paint-

子, 551‒479 BCE

ings from the collection of the NMK

and the good man likes mountains,” the

and Leeum, Samsung Museum of Art in

rivers and mountains were associated

Korea, the Metropolitan Museum of Art

with desirable human virtues such as

“the wise man likes water,

21

Mountains and Rivers without End (detail)

By Yi Inmun Joseon, 18th century 43.9 × 856.0 cm duk 927

SPECIAL EXHIBITION 2

Paintings of the peach blossom land are typically

JULY 29 – SEPTEMBER 28, 2014 SPECIAL EXHIBITION GALLERY

BY K WON H Y E-EU N, A SSOCI AT E CU R ATOR OF T H E FI N E A RTS DEPA RTM EN T

20

in New York, the Shanghai Museum in

people have always dreamed

China, and the Kyoto National Museum

about the ideal land in which

in Japan. Among them are 42 Chinese

in the style of luxuriant

they want to live. In both East and West,

and Japanese masterpieces on show in

blue-green landscapes that

past and present, the ideal land has been

Korea for the first time.

effectively portray the ideal

a favorite subject for artists. In East Asia

land that people sought to

LANDSCAPES: SEEKING THE IDEAL LAND

T

hroughout human history,

find, if only in their dreams.

there has been a clear trend to express

PROLOGUE. PRISTINE AND PEACE-

the ideal land in a landscape of moun-

FUL LANDSCAPE

tains and rivers.

From ancient times, mountain and

The National Museum of Korea has

Bricks with Figure and Landscape Design Baekje, 7th century 29.0 × 29.0 cm Treasure No. 343 bon 13972

river landscapes have been perceived

prepared a special exhibition that brings

as wonderful sacred places where the

together traditional landscape paint-

Taoist immortals reside and the masters

ings from Korea, China and Japan under

engage in spiritual practice. Moreover,

the title Landscapes: Seeking the Ideal

as indicated by the words of Confucius 孔

Land. The exhibition features 109 paint-

子, 551‒479 BCE

ings from the collection of the NMK

and the good man likes mountains,” the

and Leeum, Samsung Museum of Art in

rivers and mountains were associated

Korea, the Metropolitan Museum of Art

with desirable human virtues such as

“the wise man likes water,

21

in the Goryeo period, many artists and

Southern and Northern Dynasties'

spiritual world. And such landscapes

writers depicted the eight views of the

scholar Zong Bing 宗炳, 375‒443 got old and

depicting the ideal land were highly

Xiao and Xiang rivers in words and pic-

could no longer roam about, he always

prized.

tures. In the later Joseon period, Korean

kept beautiful landscape paintings by

artists developed their own local eight

his side and enjoyed vicarious travel as

PART 1. EPITOME OF AN IDEAL

views series such as the Eight Views of

he looked at them.

LAND: EIGHT VIEWS OF THE XIAO

Gwandong and the Eight Views of Jang-

AND XIANG RIVERS

dong. Japanese artists also developed

on landscapes can be found in a 7th

Paintings with the common title Eight

their own original style and tradition. In

century brick from the Baekje Kingdom.

Views of the Xiao and Xiang Rivers depict

this respect, there is no better subject in

Discovered in Buyeo, a Brick with figure

eight beautiful scenes of the area south

the history of East Asian art for explora-

and land­scape design shows mountain

of Dongting Lake in China where the

tion of similarities and original features

peaks surrounded by rocks at the bot-

Xiao and Xiang rivers meet. The set of

among the three countries.

tom and at the top a phoenix leading

eight paintings under this title, first done

Traces of ancient Koreans’ thoughts

Di 宋迪, ca. 1015‒1080

of the North-

This part of the exhibition includes Mountain Market, Clear with Rising Mist,

to the sky above. That is, the landscape

by Song

is seen as a pristine land linking the

ern Song Dynasty, are representative

painted by Xia Gui in the early 13th cen-

earthly world, represented by the rocks,

paintings of the ideal world. This theme

tury, from the Metropolitan Museum of

with the heavenly world, represented by

later generated the widespread subject

Art, New York, one of the earliest paint-

the phoenix. In the East Asian culture,

of eight scenic views of various other

ings of the eight views. Also featured are

landscapes filled with beauty and the

places. Since its introduction to Korea

major works from the Southern Song

Dynasty to the Ming Dynasty including

LANDSCAPES: SEEKING THE IDEAL LAND

virtue of purity, symbolized a lofty, ideal

CONNECT WITH NMK

wisdom and benevolence. When China’s

Eight Views of the Xiao and Xiang Rivers by Wen Zhengming and Eight Views of Yan and Wu (Shanghai Museum) by Dong Qichang. In addition, early and mid-Joseon paintings on the main theme as well as Jeong Seon’s Eight Views of Jangdong in Seoul are on display along with Eight Views of the Xiao and Xiang Rivers by So Ami, master of the Ami school of painting in Japan’s Muromachi period.

Eight Views of Jangdong in Seoul

By Jeong Seon Joseon, 18th century 33.7 × 29.9 cm (each) bon 6505

PART 2. CONFUCIAN SAGE’S NINEBEND STREAM: WUYI MOUNTAIN The Nine-Bend Stream of Wuyi Mountain

Nine-Bend Stream of the Wuyi Mountain (detail)

By Yi Seonggil Joseon, 1592 33.5 × 398.5 cm duk 2216

is the common title for paintings depicting the natural scenery around the stream with nine-bends at Mount Wuyi in China where the great Neo-Confucian sage Zhu Xi 朱熹, 1130‒1200 built his study.

These paintings idealized the Nine-Bend Stream as the place where the sages taught, and painting as well as appreciating these works were seen as a way of showing reverence to them. The literati of Joseon, whose studies were founded in Confucianism, were particularly fond of this theme as symbolic of Zhu Xi, the major philosopher of Neo-Confucianism.

Mid-Joseon paintings of the NineBend Stream followed the traditional Chinese style. But as Neo-Confucianism took firm root in Korea, similar landscapes were established around the country and poems and paintings depicted these local Nine-Bend Stream sites. Dosan Seowon, the private Confucian academy dedicated to Yi Hwang, penname Toegye, and the Nine-Bends of Gosan, written by Yi I, penname Yulgok, are two important examples. Hence, notable works in this part of the exhibition are Master Zhu’s Nine-Bend Stream of Wuyi Mountain, the oldest Joseon painting of this theme, and Nine-Bend Stream of Wuyi Mountain by Yi Seonggil.

22

23

in the Goryeo period, many artists and

Southern and Northern Dynasties'

spiritual world. And such landscapes

writers depicted the eight views of the

scholar Zong Bing 宗炳, 375‒443 got old and

depicting the ideal land were highly

Xiao and Xiang rivers in words and pic-

could no longer roam about, he always

prized.

tures. In the later Joseon period, Korean

kept beautiful landscape paintings by

artists developed their own local eight

his side and enjoyed vicarious travel as

PART 1. EPITOME OF AN IDEAL

views series such as the Eight Views of

he looked at them.

LAND: EIGHT VIEWS OF THE XIAO

Gwandong and the Eight Views of Jang-

AND XIANG RIVERS

dong. Japanese artists also developed

on landscapes can be found in a 7th

Paintings with the common title Eight

their own original style and tradition. In

century brick from the Baekje Kingdom.

Views of the Xiao and Xiang Rivers depict

this respect, there is no better subject in

Discovered in Buyeo, a Brick with figure

eight beautiful scenes of the area south

the history of East Asian art for explora-

and land­scape design shows mountain

of Dongting Lake in China where the

tion of similarities and original features

peaks surrounded by rocks at the bot-

Xiao and Xiang rivers meet. The set of

among the three countries.

tom and at the top a phoenix leading

eight paintings under this title, first done

Traces of ancient Koreans’ thoughts

Di 宋迪, ca. 1015‒1080

of the North-

This part of the exhibition includes Mountain Market, Clear with Rising Mist,

to the sky above. That is, the landscape

by Song

is seen as a pristine land linking the

ern Song Dynasty, are representative

painted by Xia Gui in the early 13th cen-

earthly world, represented by the rocks,

paintings of the ideal world. This theme

tury, from the Metropolitan Museum of

with the heavenly world, represented by

later generated the widespread subject

Art, New York, one of the earliest paint-

the phoenix. In the East Asian culture,

of eight scenic views of various other

ings of the eight views. Also featured are

landscapes filled with beauty and the

places. Since its introduction to Korea

major works from the Southern Song

Dynasty to the Ming Dynasty including

LANDSCAPES: SEEKING THE IDEAL LAND

virtue of purity, symbolized a lofty, ideal

CONNECT WITH NMK

wisdom and benevolence. When China’s

Eight Views of the Xiao and Xiang Rivers by Wen Zhengming and Eight Views of Yan and Wu (Shanghai Museum) by Dong Qichang. In addition, early and mid-Joseon paintings on the main theme as well as Jeong Seon’s Eight Views of Jangdong in Seoul are on display along with Eight Views of the Xiao and Xiang Rivers by So Ami, master of the Ami school of painting in Japan’s Muromachi period.

Eight Views of Jangdong in Seoul

By Jeong Seon Joseon, 18th century 33.7 × 29.9 cm (each) bon 6505

PART 2. CONFUCIAN SAGE’S NINEBEND STREAM: WUYI MOUNTAIN The Nine-Bend Stream of Wuyi Mountain

Nine-Bend Stream of the Wuyi Mountain (detail)

By Yi Seonggil Joseon, 1592 33.5 × 398.5 cm duk 2216

is the common title for paintings depicting the natural scenery around the stream with nine-bends at Mount Wuyi in China where the great Neo-Confucian sage Zhu Xi 朱熹, 1130‒1200 built his study.

These paintings idealized the Nine-Bend Stream as the place where the sages taught, and painting as well as appreciating these works were seen as a way of showing reverence to them. The literati of Joseon, whose studies were founded in Confucianism, were particularly fond of this theme as symbolic of Zhu Xi, the major philosopher of Neo-Confucianism.

Mid-Joseon paintings of the NineBend Stream followed the traditional Chinese style. But as Neo-Confucianism took firm root in Korea, similar landscapes were established around the country and poems and paintings depicted these local Nine-Bend Stream sites. Dosan Seowon, the private Confucian academy dedicated to Yi Hwang, penname Toegye, and the Nine-Bends of Gosan, written by Yi I, penname Yulgok, are two important examples. Hence, notable works in this part of the exhibition are Master Zhu’s Nine-Bend Stream of Wuyi Mountain, the oldest Joseon painting of this theme, and Nine-Bend Stream of Wuyi Mountain by Yi Seonggil.

22

23

PEACE AND PROSPERITY

games, all expressing dreams of an ideal

The 18th century was a vibrant period in

city life. Both Mountains and Rivers with-

Korea when cities grew and culture and

out End and The City of Supreme Peace

arts flourished under the stable reigns of

reflect the Joseon people’s dreams of a

Kings Yeongjo and Jeongjo. What kind

rich and prosperous society.

of world would the late Joseon intellects of that time have dreamt about?

Mountains and Rivers without End,

SANCTUARY

ers. Dating to the Yuan-Ming periods, it

after returning to the real world he was

scape changed from traditional scenes

is a masterpiece that very simply de-

never able to find the village again.

holding lofty values to familiar scenes of

picts Tao Yuanming returning home in

The peach blossom land, a paradise

everyday life as a retreat from the cold-

a boat as his family wait to greet him.

that does not exist in this world, has long

ness of city life. Paradise, female artist

Kim Hongdo’s Being in Nature is Better

been a favorite subject of East Asian art.

Baek Namsoon’s only extant work, is an

than Official Rank, is a grand eight-panel

Paintings of the peach blossom land are

oil painting that depicts a utopian world

folding screen depicting the idea that a

typically in the style of luxuriant blue-

blending Eastern and Western elements.

life in harmony with nature cannot be

green landscapes that effectively portray

In 1980, Chang Ucchin reinterpreted the

exchanged even for the post of prime

the ideal land that people sought to find,

landscape as a comfortable everyday

minister. This part of the exhibition also

if only in their dreams. This common

scene providing respite from the cold-

painted by Yi Inmun, one of the most

Confucian scholars’ aim in life was to

famous court painters of the late Joseon

read and study hard in order to cultivate

features late Joseon works such as Jeon

picture of the ideal land that has been

heartedness of the city. Landscape is one

Dynasty, represents an ideal land where

virtue and enter government service to

Gi’s Ode on Returning Home and Moun-

continued through the ages can be seen

of Chang’s works that is being revealed

individuals, society and nature are all in

help the king take care of his people.

tain Study Surrounded by Plum Blossoms,

in Ding Yupeng’s Peach Blossom Spring

to the public for the first time in this

harmony. On a large picture plane over

At the same time, they also dreamt of

which reflect the desires for a country

from China, Small Boat by the Peach Blos-

exhibition.

eight meters long, Yi depicted indi-

escaping the often tumultuous reality of

life harbored by members of the jung-in

som Spring by Joseon’s last court painter

viduals living peacefully in society, set

life in the court and living in seclusion

class, whose dreams were frustrated by

An Jungsik from Korea, and Peach

Seeking the Ideal Land, featuring a wide

against the grandeur of nature. Indeed,

in the country. Symbolic of such re-

their social status.

Blossom Spring of Wuling by the modern

range of works from the 7th century

to the Confucian way of thinking the

cluses are the ancient Chinese poets Tao

Japanese painter Tomioka Tessai.

Baekje brick with figure and land­scape

ideal nation, and the ideal land, was

Yuanming 346‒427

one where all the people faithfully went

The Joseon literati, who dreamt of get-

Taoists believed in an ideal land where

EPILOGUE. ANOTHER IDEAL LAND

scape painting, is the first exhibition of

about their respective duties while the

ting away from the world and living a

people could live true to their basic

In modern times, artists who lived

its kind in Korea. It is an opportunity to

king ruled the people with goodness,

simple, quiet life in the country, satisfied

nature, free from the ties of politics and

through the tumultuous Japanese oc-

see Asian landscapes painted through

as seen in Mountains and Rivers without

their desires vicariously by looking at

other systems. This ideal is expressed in

cupation period and the Korean War

the ages, exploring the theme of the

End. In contrast, The City of Supreme

paintings reflecting this ideal. The reclu-

Tao Yuanming’s Peach Blossom Spring,

sought to escape from the confusion

ideal land.

Peace shows little nature to focus on the

sive life of Tao Yuanming, who gave up

a fable about the discovery of a blissful

of society and rest for a while in land-

crowded streets of a city, prosperous un-

government service in search of a happy

Utopia: In the Jin Dynasty, a fisherman

scapes depicting the humble paradise of

der the development of commerce, with

life in the country, has been a theme for

happens to discover a small village in

everyday life. These artists expressed the

fancy buildings in the background. The

countless paintings and literary works.

a forest of blossoming peach trees, a

ideal land in different ways, for example,

paradise where the people lived hap-

oil paintings mixing elements of East

pily unfettered by worldly concerns. The

and West, or in peaceful everyday rural

fisherman was warmly welcomed, but

scenes. The meaning of the ideal land-

eight-panel folding screen is filled with

24

PART4. NATURE AS A SPIRITUAL

LANDSCAPES: SEEKING THE IDEAL LAND

colorful processions, and acrobats and

CONNECT WITH NMK

PART 3. SYMBOLIC LANDSCAPE OF

and Wang

Wei. 699‒759

The painting Ode on Returning Home

such scenes as crowded streets lined

from the Metropolitan Museum of Art,

with shops selling all kinds of goods,

New York, is familiar to Korean view-

PART 5. BLISSFUL UTOPIA

Small Boat by the Peach Blossom Spring

By An Jungsik 1915 143.5 × 50.7 cm Bequest of Lee Hongkun dong 2556

The special exhibition Landscapes:

design to the 1980 Chang Ucchin land-

25

PEACE AND PROSPERITY

games, all expressing dreams of an ideal

The 18th century was a vibrant period in

city life. Both Mountains and Rivers with-

Korea when cities grew and culture and

out End and The City of Supreme Peace

arts flourished under the stable reigns of

reflect the Joseon people’s dreams of a

Kings Yeongjo and Jeongjo. What kind

rich and prosperous society.

of world would the late Joseon intellects of that time have dreamt about?

Mountains and Rivers without End,

SANCTUARY

ers. Dating to the Yuan-Ming periods, it

after returning to the real world he was

scape changed from traditional scenes

is a masterpiece that very simply de-

never able to find the village again.

holding lofty values to familiar scenes of

picts Tao Yuanming returning home in

The peach blossom land, a paradise

everyday life as a retreat from the cold-

a boat as his family wait to greet him.

that does not exist in this world, has long

ness of city life. Paradise, female artist

Kim Hongdo’s Being in Nature is Better

been a favorite subject of East Asian art.

Baek Namsoon’s only extant work, is an

than Official Rank, is a grand eight-panel

Paintings of the peach blossom land are

oil painting that depicts a utopian world

folding screen depicting the idea that a

typically in the style of luxuriant blue-

blending Eastern and Western elements.

life in harmony with nature cannot be

green landscapes that effectively portray

In 1980, Chang Ucchin reinterpreted the

exchanged even for the post of prime

the ideal land that people sought to find,

landscape as a comfortable everyday

minister. This part of the exhibition also

if only in their dreams. This common

scene providing respite from the cold-

painted by Yi Inmun, one of the most

Confucian scholars’ aim in life was to

famous court painters of the late Joseon

read and study hard in order to cultivate

features late Joseon works such as Jeon

picture of the ideal land that has been

heartedness of the city. Landscape is one

Dynasty, represents an ideal land where

virtue and enter government service to

Gi’s Ode on Returning Home and Moun-

continued through the ages can be seen

of Chang’s works that is being revealed

individuals, society and nature are all in

help the king take care of his people.

tain Study Surrounded by Plum Blossoms,

in Ding Yupeng’s Peach Blossom Spring

to the public for the first time in this

harmony. On a large picture plane over

At the same time, they also dreamt of

which reflect the desires for a country

from China, Small Boat by the Peach Blos-

exhibition.

eight meters long, Yi depicted indi-

escaping the often tumultuous reality of

life harbored by members of the jung-in

som Spring by Joseon’s last court painter

viduals living peacefully in society, set

life in the court and living in seclusion

class, whose dreams were frustrated by

An Jungsik from Korea, and Peach

Seeking the Ideal Land, featuring a wide

against the grandeur of nature. Indeed,

in the country. Symbolic of such re-

their social status.

Blossom Spring of Wuling by the modern

range of works from the 7th century

to the Confucian way of thinking the

cluses are the ancient Chinese poets Tao

Japanese painter Tomioka Tessai.

Baekje brick with figure and land­scape

ideal nation, and the ideal land, was

Yuanming 346‒427

one where all the people faithfully went

The Joseon literati, who dreamt of get-

Taoists believed in an ideal land where

EPILOGUE. ANOTHER IDEAL LAND

scape painting, is the first exhibition of

about their respective duties while the

ting away from the world and living a

people could live true to their basic

In modern times, artists who lived

its kind in Korea. It is an opportunity to

king ruled the people with goodness,

simple, quiet life in the country, satisfied

nature, free from the ties of politics and

through the tumultuous Japanese oc-

see Asian landscapes painted through

as seen in Mountains and Rivers without

their desires vicariously by looking at

other systems. This ideal is expressed in

cupation period and the Korean War

the ages, exploring the theme of the

End. In contrast, The City of Supreme

paintings reflecting this ideal. The reclu-

Tao Yuanming’s Peach Blossom Spring,

sought to escape from the confusion

ideal land.

Peace shows little nature to focus on the

sive life of Tao Yuanming, who gave up

a fable about the discovery of a blissful

of society and rest for a while in land-

crowded streets of a city, prosperous un-

government service in search of a happy

Utopia: In the Jin Dynasty, a fisherman

scapes depicting the humble paradise of

der the development of commerce, with

life in the country, has been a theme for

happens to discover a small village in

everyday life. These artists expressed the

fancy buildings in the background. The

countless paintings and literary works.

a forest of blossoming peach trees, a

ideal land in different ways, for example,

paradise where the people lived hap-

oil paintings mixing elements of East

pily unfettered by worldly concerns. The

and West, or in peaceful everyday rural

fisherman was warmly welcomed, but

scenes. The meaning of the ideal land-

eight-panel folding screen is filled with

24

PART4. NATURE AS A SPIRITUAL

LANDSCAPES: SEEKING THE IDEAL LAND

colorful processions, and acrobats and

CONNECT WITH NMK

PART 3. SYMBOLIC LANDSCAPE OF

and Wang

Wei. 699‒759

The painting Ode on Returning Home

such scenes as crowded streets lined

from the Metropolitan Museum of Art,

with shops selling all kinds of goods,

New York, is familiar to Korean view-

PART 5. BLISSFUL UTOPIA

Small Boat by the Peach Blossom Spring

By An Jungsik 1915 143.5 × 50.7 cm Bequest of Lee Hongkun dong 2556

The special exhibition Landscapes:

design to the 1980 Chang Ucchin land-

25

STOPPING AWHILE IN THE LAND OF ETERNITY I N T ERV I EW ED BY T H E EDI TOR I A L T EA M OF NATIONA L MUSEUM OF KOR EA

QUESTIONS ON THE SPECIAL EXHIBITION 1. What made you visit this exhibition, Landscapes: Seeking the Ideal Land?

2. What did you think of the exhibition?

3. Which work most closely resembles your ideal land, or which work did you like best?

4. If you were to recommend this exhibition to anyone, who would it be and why?

STOPPING AWHILE IN THE LAND OF ETERNITY

CONNECT WITH NMK

VISITOR

LIM SUNYOUNG student LIM SEUNGBI office worker 1. (LSY) I come to the museum around

3. (LSY) I have always dreamt of living in

once every two or three months. Today I

a house with a garden, so I found identi-

came with a friend to see Beyond Impres-

fied with the painting Ode on Returning

sionism: Masterpieces from the Musée

Home, by an unknown painter. It was

d’Orsay. When we learnt that another

fun to look at some of the works from

special exhibition had started, we came

a distance and then up close to look for

to see it.

the human figures deep in the mountains or on the wide rivers, their facial

2. (LSY) I was so happy to see not only

expressions so lively and real.

the wonderful landscapes but also the

(LSB) I found myself attracted to the

exquisitely expressed poems and inscrip-

paintings on the intriguing theme of

tions on them. I walked around looking

Utopia, which is something that cannot

at the paintings and wondering what the

be found in real life. I envied the people

artists had been thinking, telling myself,

in the paintings, heading to their own

“The ideal land that they dreamt of must

private paradise, unknown to the rest of

have been very beautiful to come up with

the world.

such expressions.”

(LSB) At first the landscapes here seemed

4. (LSB) I would like my colleagues from

a little dull, perhaps the result of com-

work to come here and rest for a while.

ing here straight after seeing the colorful

It’s more than just coming to the mu-

works from the Musée d’Orsay. But as

seum—I want to share with them this

I walked around, I came to understand

feeling of having taken a leisurely stroll

the ideal lands that they presented, and

through the paintings.

strangely enough I soon fell under the spell of the stories told in the paintings.

PAIK JINSUK

SUNGHO SHAWN KWON ICT consultant

landscape painter

1. I lived in China for about 12 years, work-

land with his everyday life. In the end,

1. Whenever I visit the NMK to see one of

be focused on the human figures. It was

ing as an artist, and only recently returned

I believe the ideal land that we dream of

its big special exhibitions, I make a point

interesting to see these slight differences

to Korea. I always lamented the fact that

is to be found in our everyday lives.

of looking around the theme exhibitions

in the ideal land sought by people from

and any other special exhibitions as well.

different countries.

paintings in the style I like most, that is,

26

very large works, were all Chinese. But

3. Of all the works in the exhibition, I

when I saw the ad for this exhibition in

found Yi Inmun’s Mountains and Rivers

2. I realized that countless artists felt a

3. When I come to the NMK to see an ex-

the newspaper, I hoped I would be able to

without End most memorable. It is a big

vicarious satisfaction in painting land-

hibition, I like to take a quick overview,

see some Korean works of the kind I like.

scroll painting more than eight meters

scapes showing a world not found in

and then come back to the works that I

long, and it was good to see at least a part

reality. Seeing the overwhelming scale

like best and look at them more closely.

2. First of all, the title of the exhibition

of it. It was particularly special to me, as

with which nature is portrayed and

Today I spent a long time in front of Eight

is wonderful. I like the way it makes

my own dream is to one day complete a

the way human beings are depicted as

Views of the Xiao and Xiang Rivers by

you think about the true ideal land that

painting that is 365 meters long.

small as microbes made me think, “We

the Japanese artist So Ami. The painting

everyone wants to find. The exhibition

are nothing more than small beings, but

seemed to convey the peacefulness of

was a rare opportunity to see Japanese

4. The same painting can look differ-

we run this way and that, unable to see

nature.

landscapes, which I am not familiar with.

ent depending on where it is displayed.

beyond what’s in front of us.” The Ko-

If people of the past looked for the ideal

In this case, the ceiling is high and the

rean works brought peace of mind with

4. All working people tired by reality will

land in books, from some point in time

lighting has been designed especially for

their mystical, dream-like atmosphere,

find healing beyond anything they might

numerous artists started to paint the

landscapes, so it is my hope that the ex-

while the Chinese works seemed to be

expect.

ideal land inside nature. Then, the Korean

hibition will be seen by as many people

grand overall but featured interesting

painter, Chang Ucchin fused the ideal

as possible.

details. The Japanese works seemed to

27

STOPPING AWHILE IN THE LAND OF ETERNITY I N T ERV I EW ED BY T H E EDI TOR I A L T EA M OF NATIONA L MUSEUM OF KOR EA

QUESTIONS ON THE SPECIAL EXHIBITION 1. What made you visit this exhibition, Landscapes: Seeking the Ideal Land?

2. What did you think of the exhibition?

3. Which work most closely resembles your ideal land, or which work did you like best?

4. If you were to recommend this exhibition to anyone, who would it be and why?

STOPPING AWHILE IN THE LAND OF ETERNITY

CONNECT WITH NMK

VISITOR

LIM SUNYOUNG student LIM SEUNGBI office worker 1. (LSY) I come to the museum around

3. (LSY) I have always dreamt of living in

once every two or three months. Today I

a house with a garden, so I found identi-

came with a friend to see Beyond Impres-

fied with the painting Ode on Returning

sionism: Masterpieces from the Musée

Home, by an unknown painter. It was

d’Orsay. When we learnt that another

fun to look at some of the works from

special exhibition had started, we came

a distance and then up close to look for

to see it.

the human figures deep in the mountains or on the wide rivers, their facial

2. (LSY) I was so happy to see not only

expressions so lively and real.

the wonderful landscapes but also the

(LSB) I found myself attracted to the

exquisitely expressed poems and inscrip-

paintings on the intriguing theme of

tions on them. I walked around looking

Utopia, which is something that cannot

at the paintings and wondering what the

be found in real life. I envied the people

artists had been thinking, telling myself,

in the paintings, heading to their own

“The ideal land that they dreamt of must

private paradise, unknown to the rest of

have been very beautiful to come up with

the world.

such expressions.”

(LSB) At first the landscapes here seemed

4. (LSB) I would like my colleagues from

a little dull, perhaps the result of com-

work to come here and rest for a while.

ing here straight after seeing the colorful

It’s more than just coming to the mu-

works from the Musée d’Orsay. But as

seum—I want to share with them this

I walked around, I came to understand

feeling of having taken a leisurely stroll

the ideal lands that they presented, and

through the paintings.

strangely enough I soon fell under the spell of the stories told in the paintings.

PAIK JINSUK

SUNGHO SHAWN KWON ICT consultant

landscape painter

1. I lived in China for about 12 years, work-

land with his everyday life. In the end,

1. Whenever I visit the NMK to see one of

be focused on the human figures. It was

ing as an artist, and only recently returned

I believe the ideal land that we dream of

its big special exhibitions, I make a point

interesting to see these slight differences

to Korea. I always lamented the fact that

is to be found in our everyday lives.

of looking around the theme exhibitions

in the ideal land sought by people from

and any other special exhibitions as well.

different countries.

paintings in the style I like most, that is,

26

very large works, were all Chinese. But

3. Of all the works in the exhibition, I

when I saw the ad for this exhibition in

found Yi Inmun’s Mountains and Rivers

2. I realized that countless artists felt a

3. When I come to the NMK to see an ex-

the newspaper, I hoped I would be able to

without End most memorable. It is a big

vicarious satisfaction in painting land-

hibition, I like to take a quick overview,

see some Korean works of the kind I like.

scroll painting more than eight meters

scapes showing a world not found in

and then come back to the works that I

long, and it was good to see at least a part

reality. Seeing the overwhelming scale

like best and look at them more closely.

2. First of all, the title of the exhibition

of it. It was particularly special to me, as

with which nature is portrayed and

Today I spent a long time in front of Eight

is wonderful. I like the way it makes

my own dream is to one day complete a

the way human beings are depicted as

Views of the Xiao and Xiang Rivers by

you think about the true ideal land that

painting that is 365 meters long.

small as microbes made me think, “We

the Japanese artist So Ami. The painting

everyone wants to find. The exhibition

are nothing more than small beings, but

seemed to convey the peacefulness of

was a rare opportunity to see Japanese

4. The same painting can look differ-

we run this way and that, unable to see

nature.

landscapes, which I am not familiar with.

ent depending on where it is displayed.

beyond what’s in front of us.” The Ko-

If people of the past looked for the ideal

In this case, the ceiling is high and the

rean works brought peace of mind with

4. All working people tired by reality will

land in books, from some point in time

lighting has been designed especially for

their mystical, dream-like atmosphere,

find healing beyond anything they might

numerous artists started to paint the

landscapes, so it is my hope that the ex-

while the Chinese works seemed to be

expect.

ideal land inside nature. Then, the Korean

hibition will be seen by as many people

grand overall but featured interesting

painter, Chang Ucchin fused the ideal

as possible.

details. The Japanese works seemed to

27

a Stone Basin of Buyeo placed

T

wenty-one years after the Buyeo National Museum was relocated to the foot of Mt. Geumseongsan, the museum’s permanent exhibition hall has been completely

in the wide open central lobby.

renovated. The run-down display cabinets and other facili-

The high ceiling, which lets

ties that were first installed in 1993 have been replaced with a

in natural light, enhances the

sophisticated modern space. Reopened this past August, it is a

bright and sophisticated.

completely different place. After two years of thorough preparations and detailed planning, the museum embarked on a great renovation project covering an area of 7,943m² and which took

A display of the Stone Basin of Buyeo placed in the open central lobby

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

CONNECT WITH NMK

The first thing visitors see is

ten months to complete. The hardware, including the walls, cabinets, lighting and audio-visual facilities have all been replaced.

Thanks to this, visitors to the museum can now examine relics from the Sabi era of the Baekje Kingdom in closer detail.

As visitors pass through the doors of the reopened Buyeo National Museum, the first thing they see is a Stone Basin of Buyeo placed in the wide open central lobby. The high ceiling, which lets in natural light, enhances the bright and sophisticated

ambience. Of all Korea’s regional national museums, the Buyeo National Museum attracts the most foreign visitors and school A display of the Stone Basin of Buyeo placed in the open central lobby

groups after the Gyeongju National Museum. The new central

lobby is a multipurpose space that serves as reception area that

accommodates hundreds of people at the same time, and also as a place where individual visitors coming and going through the four exhibition halls can rest on the curving benches placed in all direction or examine a Stone Basin of Buyeo at their leisure.

Thanks to the new entrance hall, the path of circulation has also been changed to move in the anti-clockwise direction. Over the past 21 years visitors had to put up with the inconvenience of looking at the exhibits going in the clockwise direction, following a one-way path of circulation through all four exhibition Gilt-bronze Avalokitesvara Baekje H. 21.1 cm National Treasure No. 293 M 335

halls. Now visitors can move more freely from the exhibition halls to the restrooms, museum shop and other facilities.

A major focus of the renovation project was the lighting.

To boost concentration, the exhibition halls were kept dark but some visitors were disgruntled with this forced mode of view-

RNM EXHIBITION

AUGUST 6, 2014 – BUYEO NATIONAL MUSEUM

ing, which they said they found tiring. The overall atmosphere has been brightened with the use of brighter ceiling lights and illumination increased on relics not particularly affected by the lights. The walls have also been colored white and warm grey.

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

BY T H E EDI TOR I A L T EA M OF NATIONA L MUSEUM OF KOR EA

The Buyeo National Museum has been reopened on August 6, 2014.

28

29

a Stone Basin of Buyeo placed

T

wenty-one years after the Buyeo National Museum was relocated to the foot of Mt. Geumseongsan, the museum’s permanent exhibition hall has been completely

in the wide open central lobby.

renovated. The run-down display cabinets and other facili-

The high ceiling, which lets

ties that were first installed in 1993 have been replaced with a

in natural light, enhances the

sophisticated modern space. Reopened this past August, it is a

bright and sophisticated.

completely different place. After two years of thorough preparations and detailed planning, the museum embarked on a great renovation project covering an area of 7,943m² and which took

A display of the Stone Basin of Buyeo placed in the open central lobby

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

CONNECT WITH NMK

The first thing visitors see is

ten months to complete. The hardware, including the walls, cabinets, lighting and audio-visual facilities have all been replaced.

Thanks to this, visitors to the museum can now examine relics from the Sabi era of the Baekje Kingdom in closer detail.

As visitors pass through the doors of the reopened Buyeo National Museum, the first thing they see is a Stone Basin of Buyeo placed in the wide open central lobby. The high ceiling, which lets in natural light, enhances the bright and sophisticated

ambience. Of all Korea’s regional national museums, the Buyeo National Museum attracts the most foreign visitors and school A display of the Stone Basin of Buyeo placed in the open central lobby

groups after the Gyeongju National Museum. The new central

lobby is a multipurpose space that serves as reception area that

accommodates hundreds of people at the same time, and also as a place where individual visitors coming and going through the four exhibition halls can rest on the curving benches placed in all direction or examine a Stone Basin of Buyeo at their leisure.

Thanks to the new entrance hall, the path of circulation has also been changed to move in the anti-clockwise direction. Over the past 21 years visitors had to put up with the inconvenience of looking at the exhibits going in the clockwise direction, following a one-way path of circulation through all four exhibition Gilt-bronze Avalokitesvara Baekje H. 21.1 cm National Treasure No. 293 M 335

halls. Now visitors can move more freely from the exhibition halls to the restrooms, museum shop and other facilities.

A major focus of the renovation project was the lighting.

To boost concentration, the exhibition halls were kept dark but some visitors were disgruntled with this forced mode of view-

RNM EXHIBITION

AUGUST 6, 2014 – BUYEO NATIONAL MUSEUM

ing, which they said they found tiring. The overall atmosphere has been brightened with the use of brighter ceiling lights and illumination increased on relics not particularly affected by the lights. The walls have also been colored white and warm grey.

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

BY T H E EDI TOR I A L T EA M OF NATIONA L MUSEUM OF KOR EA

The Buyeo National Museum has been reopened on August 6, 2014.

28

29

ously the items were simply laid on the bottom of the display cabinet, but now they have been placed on stands so that visitors can see the objects from three or even four sides under the new bright lighting. As a result, the general atmosphere of the exhibition halls has been transformed with some visitors even saying that the new exhibition methods have made them see Baekje (National Treasure No. 287), the prize piece of the Buyeo National Museum, is in a separate space of its own, enabling visitors to inspect the work in detail and appreciate its beauty.

To this end, the interior of the exhibition room has the air of a

Part of the Exhibition Hall II, a display of some bricks came from Sabi Baekje era

Baekje culture in a new way. The Gilt-bronze Incense Burner of

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

ing the relics inside the cases has also been amended. Previ-

Gilt-bronze Incense Burner of Baekje Baekje H. 61.8 cm National Treasure No. 287 buyeo 5333

CONNECT WITH NMK

With changes in the lighting system, the method of display-

solemn and sacred traditional place fitted out with Erco lights, famous for display uses.

The permanent exhibition hall, where new display methods and diverse audio-visual media have been adopted, is divided into four halls with the respective themes of “Prehistoric and Ancient Culture of Buyeo,” “Sabi Baekje and the Gilt-Bronze

Finally, Exhibition Hall IV is devoted to the display of items

Incense Burner of Baekje," “Buddhist Culture of Baekje,” and

donated to the museum by Prof. Park Mansik and 50 other

of the Baekje Cultural Festival, the exhibition Buyeo and Neigh-

“Donated Cultural Heritage.” The items on display number 1,500

benefactors. Overall, the new permanent exhibition marks a

bouring Kingdoms will be held September 25 through November

including three state-designated National Treasures and five

clear departure from the old storytelling method of display

30. The exhibition explores Baekje’s cultural exchange with

Treasures. In Exhibition Hall I, visitors can explore the culture

based on the dynastic lineages of Baekje.

Silla, Goguryeo, and Gaya and the significance of such interac-

of Buyeo from prehistoric to ancient times. As they move on to

Each exhibition hall is equipped with the latest high-tech fa-

To mark the museum’s reopening and the 60th anniversary

tion. In addition the Buyeo National Museum is in the process

Exhibition Hall II, they can delve into the Sabi era, when Sabi

cilities such as touch screens enabling search for detailed infor-

of putting together reports on Baekje artifacts found in exca-

(present-day Buyeo) was the capital of Baekje, from diverse

mation on the museum’s collection and on the neighboring area.

vations undertaken without a curator during the Japanese

aspects such as daily life, politics and government and reli-

Visitors can satisfy their curiosity on any of the items on display

occupation period, specifically the excavations of the Gunsu-

gious ceremonies. Exhibition Hall III focuses on the superior

right away and thanks to the specially produced videos repeat-

ri, Dongnam-ri, and Jeongnimsa temple sites. Carried out on a

handicrafts and technical skills of the Baekje people through

edly played all day on the LCD screens installed here and there,

yearly basis, this project will solidify the museum’s position as a

Buddhist sculptures and relics related to temple architecture.

it is possible to imagine the Baekje culture of the Sabi period.

specialist in the Baekje culture.

Chamber Pot Baekje, 6th century H. 25.7 cm buyeo 2480

Jar Pottery Stand H. 28.7 cm (upper part) Bequest of Prof. Park Mansik buyeo 3542

Bamboo-shaped Bronze Artifacts Early Iron Age H. 25.0 cm (right) buyeo 2299

30

31

ously the items were simply laid on the bottom of the display cabinet, but now they have been placed on stands so that visitors can see the objects from three or even four sides under the new bright lighting. As a result, the general atmosphere of the exhibition halls has been transformed with some visitors even saying that the new exhibition methods have made them see Baekje (National Treasure No. 287), the prize piece of the Buyeo National Museum, is in a separate space of its own, enabling visitors to inspect the work in detail and appreciate its beauty.

To this end, the interior of the exhibition room has the air of a

Part of the Exhibition Hall II, a display of some bricks came from Sabi Baekje era

Baekje culture in a new way. The Gilt-bronze Incense Burner of

BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

ing the relics inside the cases has also been amended. Previ-

Gilt-bronze Incense Burner of Baekje Baekje H. 61.8 cm National Treasure No. 287 buyeo 5333

CONNECT WITH NMK

With changes in the lighting system, the method of display-

solemn and sacred traditional place fitted out with Erco lights, famous for display uses.

The permanent exhibition hall, where new display methods and diverse audio-visual media have been adopted, is divided into four halls with the respective themes of “Prehistoric and Ancient Culture of Buyeo,” “Sabi Baekje and the Gilt-Bronze

Finally, Exhibition Hall IV is devoted to the display of items

Incense Burner of Baekje," “Buddhist Culture of Baekje,” and

donated to the museum by Prof. Park Mansik and 50 other

of the Baekje Cultural Festival, the exhibition Buyeo and Neigh-

“Donated Cultural Heritage.” The items on display number 1,500

benefactors. Overall, the new permanent exhibition marks a

bouring Kingdoms will be held September 25 through November

including three state-designated National Treasures and five

clear departure from the old storytelling method of display

30. The exhibition explores Baekje’s cultural exchange with

Treasures. In Exhibition Hall I, visitors can explore the culture

based on the dynastic lineages of Baekje.

Silla, Goguryeo, and Gaya and the significance of such interac-

of Buyeo from prehistoric to ancient times. As they move on to

Each exhibition hall is equipped with the latest high-tech fa-

To mark the museum’s reopening and the 60th anniversary

tion. In addition the Buyeo National Museum is in the process

Exhibition Hall II, they can delve into the Sabi era, when Sabi

cilities such as touch screens enabling search for detailed infor-

of putting together reports on Baekje artifacts found in exca-

(present-day Buyeo) was the capital of Baekje, from diverse

mation on the museum’s collection and on the neighboring area.

vations undertaken without a curator during the Japanese

aspects such as daily life, politics and government and reli-

Visitors can satisfy their curiosity on any of the items on display

occupation period, specifically the excavations of the Gunsu-

gious ceremonies. Exhibition Hall III focuses on the superior

right away and thanks to the specially produced videos repeat-

ri, Dongnam-ri, and Jeongnimsa temple sites. Carried out on a

handicrafts and technical skills of the Baekje people through

edly played all day on the LCD screens installed here and there,

yearly basis, this project will solidify the museum’s position as a

Buddhist sculptures and relics related to temple architecture.

it is possible to imagine the Baekje culture of the Sabi period.

specialist in the Baekje culture.

Chamber Pot Baekje, 6th century H. 25.7 cm buyeo 2480

Jar Pottery Stand H. 28.7 cm (upper part) Bequest of Prof. Park Mansik buyeo 3542

Bamboo-shaped Bronze Artifacts Early Iron Age H. 25.0 cm (right) buyeo 2299

30

31

CONNECT WITH WORLD

LECTURE AT NMK

NMK 2014 AUTUMN

FINDING NEW POSSIBILITIES INSIDE ME

Program details O rientation, organization of teams, DAY 1 selection of theme DAY 2 V iewing of permanent exhibitions, looking for stories related to themes DAY 3, 4 S hooting for production of UCC DAY 5 E diting of UCC including mixing, sound, and dubbing DAY 6

Screening of finished works

Students, outside experts and staffs from the NMK education teams

FINDING NEW POSSIBILITIES INSIDE ME

BY THE EDITORIAL TEAM OF NATIONAL MUSEUM OF KOREA

NMK THROUGH THE EYES OF THE FIVE

new aspects of their own characters by

VALUABLE OUTCOMES FROM A NEW

TEAMS

observing the students to see if they were

EDUCATION PROGRAM

Overall, the students who took part in

making full use of their abilities in their

In cooperation with the related depart-

the program had great interest in history,

given tasks, and whether they showed

ments, the NMK plans to upload the

but only three or four of them had any

talent in an area different to the one they

finished UCC on YouTube, blogs and SNS

experience in making UCC. Of the total,

were working on.

channels. “By sharing the UCC, which

ten were male, and the greatest number

present new and interesting images of

of students came from Seoul, followed by

THE JOY OF DISCOVERING YOUR

the museum as seen through the eyes of

four from Incheon, two from Gyeonggi-

POSSIBILITIES

teenagers, we hope to generate response

SPECIAL EDUCATION TO CULTIVATE

documentary, or mini-drama based on a

abilities that they did not know they had.

do, and one from Mokpo. Two of them

From the second day the students began to

from a wider audience,” said Won Geumok

CULTURAL SENSIBILITIES

theme related to the museum’s exhibits.

A video, or UCC, was chosen as the final

were in their final year of high school.

work on their videos, drawing up the basic

from the museum’s education team. “Held

The National Museum of Korea held a

For the students, it was a valuable experi-

outcome for the program because video

The students were divided into teams of

outline and writing the script. They had a

for the first time this year, the program

special summer holiday program open to

ence that, in the process of producing the

is seen to be the most comprehensive art

six, following the multiple intelligence

lot of fun doing the shooting on their own,

produced greater results than expected

all high-school students. Titled “Finding

video, enabled them to discover their own

form requiring a range of talents to pro-

theory, and each student chose which

and stayed in the lecture rooms till five or

and this has led to calls for systematic

New Possibilities Inside Me,” the six-day

potential and new fields of interest.

duce different aspects such as the script,

role to play in producing the UCC accord-

six in the afternoon. They were so engaged

implementation of the program during the

program held August 4–9 gave students

music, shooting and acting.

ing to his or her abilities. For example,

in what they were doing that the mood

school term and on weekends. Moreover,

the time to freely roam the Exhibition

THE MULTIPLE INTELLIGENCES THEORY

As most students undergo some sort of

the student who is good at languages

was like a TV drama shoot, with scenes

learning materials will be made regard-

Hall to explore Korean culture, history

According to the multiple intelligences

ability or character testing at school, they

wrote the script, the student with strong

that did not meet their standards being re-

ing the program’s content and method of

and life from diverse perspectives.

theory, all people have eight basic abili-

have a vague idea of what fields they can

visual-spatial abilities did the filming,

shot 20 to 30 times. They were determined

operation for distribution to schools, with

For participation in this program, the

ties: musical-rhythmic, visual-spatial,

do well in. But the results of such tests

the student with musical abilities looked

to produce the best video possible within

the plan to enable schools to carry out real

NMK received applications online and

verbal-linguistic, logical-mathematical,

are not always guaranteed to be correct.

after the sound, and the student with

their capabilities and to fulfill their given

life history lessons in the form of making

selected 30 students on a first-come basis.

bodily-kinesthetic, interpersonal, intrap-

Rather, it is highly likely that an indi-

bodily-kinesthetic abilities did the acting.

tasks so as not to disadvantage other team

videos at the NMK, where real historical

Prior to the start, the students took a

ersonal, and naturalistic. Each individual

vidual discovers his or her abilities in

In some cases two students worked on

members in any way. At first, the students

artifacts are to be found.”

preliminary multiple intelligences test.

is said to have a unique blend of these

unexpected areas. As suggested by the

the same task, and in others one student

may have had only a vague interest in

The holiday program proved to be an in-

Based on the results, students with dif-

intelligences. Through the holiday pro-

name—“Finding New Possibilities Inside

looked after two different jobs.

history but as they searched the museum

valuable experience for the students. They

ferent strengths and weaknesses were

gram it was the aim of the NMK to apply

Me”—the NMK holiday program was orga-

Each team chose from one of five themes

for artifacts suited to their UCC theme and

did not simply look at the items on display,

organized into five groups of six people.

this theory as a means of finding the each

nized in cooperation with outside experts

for their video—wishes, people, record-

began to research related materials, they

but thanks to the research they carried out

By the end of the week, each group was

student’s most outstanding abilities and

to help students discover abilities in areas

ing, love, and pungnyu (enjoyment of the

discovered the special stories surrounding

to make their videos they saw the artifacts

required to produce a 4-minute UCC

providing an opportunity to use those

they had not thought of.

arts)—and was assigned a mentor. The

the artifacts and began to feel a deeper at-

with greater understanding, which stimu-

video in the form of publicity video, mini-

abilities and at the same time discover

mentors helped the students to discover

tachment to what they were doing.

lated a greater interest in history.

32

33

CONNECT WITH WORLD

LECTURE AT NMK

NMK 2014 AUTUMN

FINDING NEW POSSIBILITIES INSIDE ME

Program details O rientation, organization of teams, DAY 1 selection of theme DAY 2 V iewing of permanent exhibitions, looking for stories related to themes DAY 3, 4 S hooting for production of UCC DAY 5 E diting of UCC including mixing, sound, and dubbing DAY 6

Screening of finished works

Students, outside experts and staffs from the NMK education teams

FINDING NEW POSSIBILITIES INSIDE ME

BY THE EDITORIAL TEAM OF NATIONAL MUSEUM OF KOREA

NMK THROUGH THE EYES OF THE FIVE

new aspects of their own characters by

VALUABLE OUTCOMES FROM A NEW

TEAMS

observing the students to see if they were

EDUCATION PROGRAM

Overall, the students who took part in

making full use of their abilities in their

In cooperation with the related depart-

the program had great interest in history,

given tasks, and whether they showed

ments, the NMK plans to upload the

but only three or four of them had any

talent in an area different to the one they

finished UCC on YouTube, blogs and SNS

experience in making UCC. Of the total,

were working on.

channels. “By sharing the UCC, which

ten were male, and the greatest number

present new and interesting images of

of students came from Seoul, followed by

THE JOY OF DISCOVERING YOUR

the museum as seen through the eyes of

four from Incheon, two from Gyeonggi-

POSSIBILITIES

teenagers, we hope to generate response

SPECIAL EDUCATION TO CULTIVATE

documentary, or mini-drama based on a

abilities that they did not know they had.

do, and one from Mokpo. Two of them

From the second day the students began to

from a wider audience,” said Won Geumok

CULTURAL SENSIBILITIES

theme related to the museum’s exhibits.

A video, or UCC, was chosen as the final

were in their final year of high school.

work on their videos, drawing up the basic

from the museum’s education team. “Held

The National Museum of Korea held a

For the students, it was a valuable experi-

outcome for the program because video

The students were divided into teams of

outline and writing the script. They had a

for the first time this year, the program

special summer holiday program open to

ence that, in the process of producing the

is seen to be the most comprehensive art

six, following the multiple intelligence

lot of fun doing the shooting on their own,

produced greater results than expected

all high-school students. Titled “Finding

video, enabled them to discover their own

form requiring a range of talents to pro-

theory, and each student chose which

and stayed in the lecture rooms till five or

and this has led to calls for systematic

New Possibilities Inside Me,” the six-day

potential and new fields of interest.

duce different aspects such as the script,

role to play in producing the UCC accord-

six in the afternoon. They were so engaged

implementation of the program during the

program held August 4–9 gave students

music, shooting and acting.

ing to his or her abilities. For example,

in what they were doing that the mood

school term and on weekends. Moreover,

the time to freely roam the Exhibition

THE MULTIPLE INTELLIGENCES THEORY

As most students undergo some sort of

the student who is good at languages

was like a TV drama shoot, with scenes

learning materials will be made regard-

Hall to explore Korean culture, history

According to the multiple intelligences

ability or character testing at school, they

wrote the script, the student with strong

that did not meet their standards being re-

ing the program’s content and method of

and life from diverse perspectives.

theory, all people have eight basic abili-

have a vague idea of what fields they can

visual-spatial abilities did the filming,

shot 20 to 30 times. They were determined

operation for distribution to schools, with

For participation in this program, the

ties: musical-rhythmic, visual-spatial,

do well in. But the results of such tests

the student with musical abilities looked

to produce the best video possible within

the plan to enable schools to carry out real

NMK received applications online and

verbal-linguistic, logical-mathematical,

are not always guaranteed to be correct.

after the sound, and the student with

their capabilities and to fulfill their given

life history lessons in the form of making

selected 30 students on a first-come basis.

bodily-kinesthetic, interpersonal, intrap-

Rather, it is highly likely that an indi-

bodily-kinesthetic abilities did the acting.

tasks so as not to disadvantage other team

videos at the NMK, where real historical

Prior to the start, the students took a

ersonal, and naturalistic. Each individual

vidual discovers his or her abilities in

In some cases two students worked on

members in any way. At first, the students

artifacts are to be found.”

preliminary multiple intelligences test.

is said to have a unique blend of these

unexpected areas. As suggested by the

the same task, and in others one student

may have had only a vague interest in

The holiday program proved to be an in-

Based on the results, students with dif-

intelligences. Through the holiday pro-

name—“Finding New Possibilities Inside

looked after two different jobs.

history but as they searched the museum

valuable experience for the students. They

ferent strengths and weaknesses were

gram it was the aim of the NMK to apply

Me”—the NMK holiday program was orga-

Each team chose from one of five themes

for artifacts suited to their UCC theme and

did not simply look at the items on display,

organized into five groups of six people.

this theory as a means of finding the each

nized in cooperation with outside experts

for their video—wishes, people, record-

began to research related materials, they

but thanks to the research they carried out

By the end of the week, each group was

student’s most outstanding abilities and

to help students discover abilities in areas

ing, love, and pungnyu (enjoyment of the

discovered the special stories surrounding

to make their videos they saw the artifacts

required to produce a 4-minute UCC

providing an opportunity to use those

they had not thought of.

arts)—and was assigned a mentor. The

the artifacts and began to feel a deeper at-

with greater understanding, which stimu-

video in the form of publicity video, mini-

abilities and at the same time discover

mentors helped the students to discover

tachment to what they were doing.

lated a greater interest in history.

32

33

PEOPLE AT NMK

CONNECT WITH WORLD

NMK 2014 AUTUMN

LOOKING TO CREATE A FRIENDLY AND COMFORTABLE CULTURAL VENUE

LOOKING TO CREATE A FRIENDLY AND COMFORTABLE CULTURAL VENUE

Gim Hyungtae

2014 • Appointed 4th President of the Cultural Foundation of the National Museum of Korea

• C ultural business sub-committee member of the Presidential Committee for Cultural Enrichment

1999 • A ppeared in Hamlet Project (Theater Company Mucheon); Won male popularity award at the 34th Baeksang Arts Awards for the role of Hamlet; appeared in Theater Company Jayu’s performance of the Bald Woman Singer.

2013 • S erved as women’s culture sub-committee member of the 18th Presidential Transition Committee

• Head of Cultural Space Golden Age

1997 • F ormed Hwang Shin-hye Band (songwriter, producer, lead vocalist)

2005 • P ublished a collection of magazine articles New Thoughts, New Every Day

1992 • P lanned and operated the Hongdae club Baljeonso (Power Plant) and the alternative project bar Gompangi (Mold).

1995 • Founded the cultural planning agency Dosirak

INTERVIEW WITH GIM HYUNGTAE, PRESIDENT OF THE CULTURAL FOUNDATION OF THE NATIONAL MUSEUM OF KOREA

2004 • P ublished youth counseling book You There, You’re Lonely 2003 • P ublished Gim Hyungtae ‘s Dosirak Vol. 1: Tales of Mrs. Bear

How would you identify the role of

president, I told the product development

need to adopt a different approach, we’re

the CFNMK?

team to pour their hearts into job, believ-

working through ideas such as holding

ing that the replicas and everyday goods

concerts related to issues closely con-

The National Museum of Korea is the

we make using cultural heritage motifs

cerned the NMK, for example, a concert to

starting point of the cultural life of Ko-

will, after the passage of a hundred years,

celebrate the 130th anniversary of Korea-

reans. If it is to a cultural venue that can

be cultural artifacts in their own right.

France diplomatic relations next year,

be enjoyed by everyone, rather than just

As for visitors using the food and bever-

or a concert under a title such as “Please

a repository of historical and cultural

age services all they want is one thing: to

Return Our Cultural Heritage” to bring

artifacts, it has to satisfy diverse visitors’

feel free and comfortable, as if they were

attention to the Korean cultural treasures

demands for cultural enjoyment through

in their own homes. Currently, private

that are preserved in other countries.

cultural products, restaurants, perfor-

museums are doing a better job in this

mances and other things. To make the

respect. Noting such changes, we plan

You’ve worked in the culture circle for many

museum a desired destination for dating

to raise the quality of food and beverage

years now, leading culture and art trends.

couples or families, to draw more people

services so that those coming to the NMK

On a scale of 0-10, based on your experience,

in general, it has to be more friendly and

can enjoy the lingering impressions of

how would you rate your will to turn your

accessible. In this respect, the founda-

their visit.

thoughts into action?

tion will take the lead in reaching out to

Lastly, performances are an effective

museum visitors.

means for the NMK to make its presence

Severely reduced, I would say 10. There

felt. The quality performances held at the

were times in the past when it was 20. To

The CFNMK’s business is largely divided

NMK also travel to the 12 regional nation-

get along with the many employees of the

into three areas—performances, cultural

al museums in the country for the benefit

CFNMK you could say I’ve compromised.

product development, and food and beverage

of local populations. So, we are very com-

A few days ago I announced to the staff

services. What are your plans for improving

mitted to this business as well.

the “three instants.” That is, when anyone

business in these areas?

1989 • G raduated from the Department of Painting, Hongik University; held five solo exhibitions; active as a modern artists

gives us an idea, “Suggest plans on the Is it safe to say the Saturday Open Cultural

spot instantly, act on plans instantly, and

There are things I want to try in each

Program held outdoors is largely influenced

solve any issues instantly.” But don’t get

business area but I am especially in-

by you, considering your varied experience?

the wrong idea. Just because I act quickly doesn’t mean I’m rash. Once I’ve set a

You’re ability to get things done will surely

First, I want people to say that the foun-

my goal to provide services fitting to the

products. While the performances and

It’s a program that was organized before

goal, a make detailed plans for achiev-

have a positive influence on the CFNMK’s

dation has found its proper place under

status of the NMK as the country’s repre-

restaurants can only cater to a limited

my appointment. But we plan to enrich

ing that goal, distinguishing between the

business. If there’s anything that you par-

the operation of a person from the culture

sentative museum. Through the founda-

number of people, cultural products have

the contents and reach out to museum

things that need to be done right away

ticularly want to achieve during your three-

circle. I hope that such an evaluation will

tion, I mean to devote myself to ensuring

the potential to reach all corners of the

visitors. Of course, outdoor performances

and the things that are more long-term.

year term as president of the foundation,

pave the way for culture-related figures to

that more and more people come into

globe. That’s why, when I took the post of

are held at many other places. But as we

That’s my way of life.

what would it be?

be appointed in other fields. Second, it is

contact with Korean culture.

terested in the development of cultural

34

35

PEOPLE AT NMK

CONNECT WITH WORLD

NMK 2014 AUTUMN

LOOKING TO CREATE A FRIENDLY AND COMFORTABLE CULTURAL VENUE

LOOKING TO CREATE A FRIENDLY AND COMFORTABLE CULTURAL VENUE

Gim Hyungtae

2014 • Appointed 4th President of the Cultural Foundation of the National Museum of Korea

• C ultural business sub-committee member of the Presidential Committee for Cultural Enrichment

1999 • A ppeared in Hamlet Project (Theater Company Mucheon); Won male popularity award at the 34th Baeksang Arts Awards for the role of Hamlet; appeared in Theater Company Jayu’s performance of the Bald Woman Singer.

2013 • S erved as women’s culture sub-committee member of the 18th Presidential Transition Committee

• Head of Cultural Space Golden Age

1997 • F ormed Hwang Shin-hye Band (songwriter, producer, lead vocalist)

2005 • P ublished a collection of magazine articles New Thoughts, New Every Day

1992 • P lanned and operated the Hongdae club Baljeonso (Power Plant) and the alternative project bar Gompangi (Mold).

1995 • Founded the cultural planning agency Dosirak

INTERVIEW WITH GIM HYUNGTAE, PRESIDENT OF THE CULTURAL FOUNDATION OF THE NATIONAL MUSEUM OF KOREA

2004 • P ublished youth counseling book You There, You’re Lonely 2003 • P ublished Gim Hyungtae ‘s Dosirak Vol. 1: Tales of Mrs. Bear

How would you identify the role of

president, I told the product development

need to adopt a different approach, we’re

the CFNMK?

team to pour their hearts into job, believ-

working through ideas such as holding

ing that the replicas and everyday goods

concerts related to issues closely con-

The National Museum of Korea is the

we make using cultural heritage motifs

cerned the NMK, for example, a concert to

starting point of the cultural life of Ko-

will, after the passage of a hundred years,

celebrate the 130th anniversary of Korea-

reans. If it is to a cultural venue that can

be cultural artifacts in their own right.

France diplomatic relations next year,

be enjoyed by everyone, rather than just

As for visitors using the food and bever-

or a concert under a title such as “Please

a repository of historical and cultural

age services all they want is one thing: to

Return Our Cultural Heritage” to bring

artifacts, it has to satisfy diverse visitors’

feel free and comfortable, as if they were

attention to the Korean cultural treasures

demands for cultural enjoyment through

in their own homes. Currently, private

that are preserved in other countries.

cultural products, restaurants, perfor-

museums are doing a better job in this

mances and other things. To make the

respect. Noting such changes, we plan

You’ve worked in the culture circle for many

museum a desired destination for dating

to raise the quality of food and beverage

years now, leading culture and art trends.

couples or families, to draw more people

services so that those coming to the NMK

On a scale of 0-10, based on your experience,

in general, it has to be more friendly and

can enjoy the lingering impressions of

how would you rate your will to turn your

accessible. In this respect, the founda-

their visit.

thoughts into action?

tion will take the lead in reaching out to

Lastly, performances are an effective

museum visitors.

means for the NMK to make its presence

Severely reduced, I would say 10. There

felt. The quality performances held at the

were times in the past when it was 20. To

The CFNMK’s business is largely divided

NMK also travel to the 12 regional nation-

get along with the many employees of the

into three areas—performances, cultural

al museums in the country for the benefit

CFNMK you could say I’ve compromised.

product development, and food and beverage

of local populations. So, we are very com-

A few days ago I announced to the staff

services. What are your plans for improving

mitted to this business as well.

the “three instants.” That is, when anyone

business in these areas?

1989 • G raduated from the Department of Painting, Hongik University; held five solo exhibitions; active as a modern artists

gives us an idea, “Suggest plans on the Is it safe to say the Saturday Open Cultural

spot instantly, act on plans instantly, and

There are things I want to try in each

Program held outdoors is largely influenced

solve any issues instantly.” But don’t get

business area but I am especially in-

by you, considering your varied experience?

the wrong idea. Just because I act quickly doesn’t mean I’m rash. Once I’ve set a

You’re ability to get things done will surely

First, I want people to say that the foun-

my goal to provide services fitting to the

products. While the performances and

It’s a program that was organized before

goal, a make detailed plans for achiev-

have a positive influence on the CFNMK’s

dation has found its proper place under

status of the NMK as the country’s repre-

restaurants can only cater to a limited

my appointment. But we plan to enrich

ing that goal, distinguishing between the

business. If there’s anything that you par-

the operation of a person from the culture

sentative museum. Through the founda-

number of people, cultural products have

the contents and reach out to museum

things that need to be done right away

ticularly want to achieve during your three-

circle. I hope that such an evaluation will

tion, I mean to devote myself to ensuring

the potential to reach all corners of the

visitors. Of course, outdoor performances

and the things that are more long-term.

year term as president of the foundation,

pave the way for culture-related figures to

that more and more people come into

globe. That’s why, when I took the post of

are held at many other places. But as we

That’s my way of life.

what would it be?

be appointed in other fields. Second, it is

contact with Korean culture.

terested in the development of cultural

34

35

CONNECT WITH NEWS

NEWS

1

NMK 2014 AUTUMN

NMK SIGNS AGREEMENT ON LIGHTING PROJECT

2

The National Museum of Korea and Samsung Electronics signed an agreement July 10 on a project to improve the lighting in the NMK. Under the agreement, Samsung Electronics will provide 3 billion Korea won to enhance the lighting in the museum’s exhibition halls, where the most precious cultural treasures of Korea are gathered. Although the NMK has been carrying out continued renewal projects over the past eight years, it had not been able to do anything about the lighting due to a lack of funds. But thanks to the recent agreement, the museum will be able to display the country’s most precious artifacts more clearly.

3

The lighting project will be carried out over three years, starting in the latter half of 2014. During this period, the NMK will

newly install ceiling lights as well as specially manufactured display cabinets to use the new lighting to best advantage.

RARE LACQUERED SUTRA BOX PUT ON DISPLAY 4

EXHIBITION OF AWARD WINNING WORKS IN 39TH NMK CHILDREN'S ART AND LITERARY COMPETITION The National Museum of Korea’s Art and Literary Competition for young students was held July 21. Now in its 39th year, the event was an opportunity for students to creatively express in words or pictures their impressions and feelings after looking around the exhibitions.

36

This year’s event drew the participation of 450 students who demonstrated their talent to their hearts’ content. Different to previous years, the art and literary contests were not held in separate venues but together in the exhibition hall, enabling participants to look at the artworks that inspired them as

1. One of the Award-winning paintings 2. Art competition participant 3. Award-winning works exhibition in the lobby in front of the food court 4. Orientation for the students applied to the 39th NMK Children's Art and Literary Competition

they worked. A total of 224 award-winning works were exhibited in the lobby of the NMK food court for a month from September 2 to October 5. Ten photos of students taking part in the competition were also exhibited, giving a glimpse into the festive mood of the event.

A Lacquered Sutra Box inlaid with motherof-pearl, an artifact of National Treasure standard, was revealed for public display for the first time on July 15 at the National Museum of Korea. The epitome of Goryeo handcraft, the sutra box was donated to the museum by the support group Friends of the National Museum of Korea.

Inlaid lacquer ware (najeon chilgi), along with celadon and Buddhist painting, is one of the most important crafts of the Goryeo Dynasty. It is just as prized today, as indeed it was in the Goryeo period, for its fine workmanship and artistry. However, only ten Goryeo najeon chilgi works remain

throughout the world. Of these Korea previously had just one, the Lacquered Whisk Handle inlaid with Mother-of-Tortoiseshell in the collection of the NMK. There are eight extant Goryeo lacquer ware sutra boxes in the world, preserved in museums in Japan, the United States, Europe and in private collections. The sutra box recently revealed to the public at the NMK is one that has been returned to Korea. At a time when the return of Korea’s cultural treasures overseas is of paramount interest, the permanent return of the sutra for display to the Korean public holds great significance.

SIXTH ASEMUS GENERAL CONFERENCE HELD The Sixth ASEMUS General Conference was held September 24-27 at the World Museum Vienna, Austria, under the theme of “Exploring Borders.” Director-General of the National Museums of Korea Kim Youngna attended the event, where she officially ended her three-year post as Chair of the ASEMUS Executive Committee.

Among those speaking at the conference were Cho Hyejin, curator at the NMK Children’s Library, who talked about the organization of exhibitions to meet children’s eye level, as well as Song Chunnoonsong-e, coordinator in the NMK’s cultural exchange and publicity department, who gave an overview of progress in the Virtual Collection of Asian Masterpieces (VCM), a project undertaken by ASEMUS. The two presentations generated much interest among the conference participants.

37

CONNECT WITH NEWS

NEWS

1

NMK 2014 AUTUMN

NMK SIGNS AGREEMENT ON LIGHTING PROJECT

2

The National Museum of Korea and Samsung Electronics signed an agreement July 10 on a project to improve the lighting in the NMK. Under the agreement, Samsung Electronics will provide 3 billion Korea won to enhance the lighting in the museum’s exhibition halls, where the most precious cultural treasures of Korea are gathered. Although the NMK has been carrying out continued renewal projects over the past eight years, it had not been able to do anything about the lighting due to a lack of funds. But thanks to the recent agreement, the museum will be able to display the country’s most precious artifacts more clearly.

3

The lighting project will be carried out over three years, starting in the latter half of 2014. During this period, the NMK will

newly install ceiling lights as well as specially manufactured display cabinets to use the new lighting to best advantage.

RARE LACQUERED SUTRA BOX PUT ON DISPLAY 4

EXHIBITION OF AWARD WINNING WORKS IN 39TH NMK CHILDREN'S ART AND LITERARY COMPETITION The National Museum of Korea’s Art and Literary Competition for young students was held July 21. Now in its 39th year, the event was an opportunity for students to creatively express in words or pictures their impressions and feelings after looking around the exhibitions.

36

This year’s event drew the participation of 450 students who demonstrated their talent to their hearts’ content. Different to previous years, the art and literary contests were not held in separate venues but together in the exhibition hall, enabling participants to look at the artworks that inspired them as

1. One of the Award-winning paintings 2. Art competition participant 3. Award-winning works exhibition in the lobby in front of the food court 4. Orientation for the students applied to the 39th NMK Children's Art and Literary Competition

they worked. A total of 224 award-winning works were exhibited in the lobby of the NMK food court for a month from September 2 to October 5. Ten photos of students taking part in the competition were also exhibited, giving a glimpse into the festive mood of the event.

A Lacquered Sutra Box inlaid with motherof-pearl, an artifact of National Treasure standard, was revealed for public display for the first time on July 15 at the National Museum of Korea. The epitome of Goryeo handcraft, the sutra box was donated to the museum by the support group Friends of the National Museum of Korea.

Inlaid lacquer ware (najeon chilgi), along with celadon and Buddhist painting, is one of the most important crafts of the Goryeo Dynasty. It is just as prized today, as indeed it was in the Goryeo period, for its fine workmanship and artistry. However, only ten Goryeo najeon chilgi works remain

throughout the world. Of these Korea previously had just one, the Lacquered Whisk Handle inlaid with Mother-of-Tortoiseshell in the collection of the NMK. There are eight extant Goryeo lacquer ware sutra boxes in the world, preserved in museums in Japan, the United States, Europe and in private collections. The sutra box recently revealed to the public at the NMK is one that has been returned to Korea. At a time when the return of Korea’s cultural treasures overseas is of paramount interest, the permanent return of the sutra for display to the Korean public holds great significance.

SIXTH ASEMUS GENERAL CONFERENCE HELD The Sixth ASEMUS General Conference was held September 24-27 at the World Museum Vienna, Austria, under the theme of “Exploring Borders.” Director-General of the National Museums of Korea Kim Youngna attended the event, where she officially ended her three-year post as Chair of the ASEMUS Executive Committee.

Among those speaking at the conference were Cho Hyejin, curator at the NMK Children’s Library, who talked about the organization of exhibitions to meet children’s eye level, as well as Song Chunnoonsong-e, coordinator in the NMK’s cultural exchange and publicity department, who gave an overview of progress in the Virtual Collection of Asian Masterpieces (VCM), a project undertaken by ASEMUS. The two presentations generated much interest among the conference participants.

37

CONNECT WITH NEWS

EXHIBITION & PUBLICATIONS

NMK 2014 AUTUMN

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

LANDSCAPES: SEEKING THE IDEAL LAND ISBN 978-89-92788-67-0

ISBN 978-89-8164-106-1

GEUMGWANCHONG TOMB AND KING ISAJI DATE JULY 8 – SEPTEMBER 28, 2014 VENUE THEMATIC EXHIBITION GALLERY, MEDIEVAL AND EARLY MODERN HISTORY SECTION

An ancient sword with ring-shaped pommel, bearing the name “King Isaji” inscribed on the scabbard, is currently on display for the first time in the thematic exhibition Geumgwanchong Tomb and King Isaji. Geumgwanchong, or the Tomb of the Golden Grown, is one of the most important royal tombs of the Silla period.

Astonishingly, it came to light when a gold crown was discovered during renovation of an ordinary house in the city of Gyeongju back in 1921. The excavations were led

by Hamada Kosaku from the Kyoto Imperial University and Koizumi Akio from the Japanese Government-General in Korea. In 1924 a three-volume report and book on

the survey was published in Kyoto, Japan.

At the time the sword was discovery, it was not known that it carried an inscription.

The inscription “Isajiwang,” 尒斯智王 meaning “King Isaji,” was discovered in 2013 in the course of conservation work on the sword carried out by the National Museum of Korea. Other characters representing “Yi,” “eight” and “ten” 尒, 八, 十 were also discovered on other swords and parts.

The current thematic exhibition introduces the discovery of the tomb and confirmation of the “King Isaji” inscription on the sword.

In the center of the exhibition hall, various graphics replicate the discovery of the relics inside the tomb. Exhibited nearby are the

inscribed sword and other major artifacts from the tomb. Other notable relics include a Bronze Jar with four handles, presumed to be from the Goguryeo Kingdom; a vessel called Chodu, which was used to heat liquids; and Harness Fittings made from the shell of imogai, a Japanese shellfish. The Harness Fittings attest to exchange between Silla and Wae (Japan), no evidence of which is found in written records.

The exhibition gives a detailed presentation of the discovery and excavation of the tomb during the Japanese occupation period, and is a good opportunity to inspect the inscribed sword first-hand.

FIRST JOINT EXHIBITION HELD BY THE DIRECTORS’ SUMMIT OF THE NATIONAL MUSEUMS OF KOREA, CHINA, AND JAPAN

Under the theme “Ceramic Culture of Korea, China and Japan” the exhibition features the major works from each museum concerned and is a precious opportunity to explore the mutual influences and distinctive features of each country’s ceramic culture. The NMK chose to present a selection focusing on celadon works including the Celadon Turtle-shaped Ewer (National Treasure No. 96) and the Celadon Maebyeong with plum blos­s om, bamboo and crane design (National Treasure No. 1168). This joint exhibition by Korea, China and Japan is anticipated to further strengthen and develop ties among the three countries and lay the groundwork for greater understanding.

DATE SEPTEMBER 20 – NOVEMBER 24, 2014 VENUE HONKAN ROOM T5, TOKYO NATIONAL MUSEUM

East Asian Elegance: Masterpieces of Ceramics, the result of an agreement reached at the Directors’ Summit of the National Museums of Korea, China, and Japan, is the first joint exhibition held by the national museums of the three countries.

38

This catalogue accompanying the special exhibition In Blue and White: Porcelains of the Joseon Dynasty is particularly important as it brings together the best of Joseon blue-and-white porcelain works. Following the organization of the exhibition, the book consists of five parts that trace the spread of blue-and-white porcelain from the royal court to the literati and finally to the ordinary people and show how this ceramic tradition has been inherited and developed in modern times. The first part of the catalogue contains articles on the official kilns in Gwangju, Gyeonggi-do, where goods for the court were produced, and on cobalt, the main pigment used to produce blue-andwhite wares. These articles will give readers deeper understanding of Joseon blue-andwhite porcelain and help develop a keener appreciation of the works on display.

BUDDHIST ART OF NORTH KOREA: DOCUMENTATION IN GELATIN DRY PLATES ISBN 978-89-8164-102-3 93650

The National Museum of Korea has acquired and preserved a collection of 38,000 gelatin dry plates possessed by the former Japanese Government-General Museum of Korea.

This book is a rich collection of photos of Buddhist cultural heritage in North Korea and follows another collection of gelatin dry plate photos titled Palaces, which was published in 2008.

The book divides the Buddhist culture of North Korea into the five categories of Temple Architecture, Buddhist Painting, Buddhist Sculpture, Buddhist Handcraft, and the Art of Stone, and contains a total of 169 photos. The book also includes a curator’s article on “Survey of the Buddhist Culture of North Korea in the Japanese Occupation Period as Reflected in the Gelatin Dry Plates,” as well as an essay on “The Temples of Mt. Geumgangsan Past and Present” in the appendix.

This book is the catalogue accompanying the special exhibition Landscapes: Seeking the Ideal Land. It contains high definition photos divided into seven themes as found in the actual exhibition: “Pristine and Peaceful Landscape,” “Epitome of the Ideal land: Eight Views of the Xiao and Xiang Rivers,” “Confucian Sage’s Nine-bend Stream: Wuyi Mountain,” “Symbolic Landscape of Peace and Prosperity,” “Nature as a Spiritual Sanctuary,” “Blissful Utopia,” and “Another Ideal Land.” In addition, there are a number of essays on subjects such as “The Ideal Land in East Asian Landscapes,” “The Ideal Land in Old Literature,” and “East Asian Landscapes and the Xiao and Xiang Rivers.” The poems and inscriptions written on some of the paintings, also included in the catalogue, give insight into the artist’s thoughts and intentions.

BUYEO NATIONAL MUSEUM ISBN 978-89-959388-5-0

The Buyeo National Museum has published a new catalogue to reflect the renewal of its permanent exhibition following full renovation and reopening of its Permanent Exhibition Hall. The book gives a full overview of the brilliant history and culture of Sabi Baekje period and includes the latest research results on related artifacts. Published in both Korean and English, the book is divided into five sections: “Prehistoric and Ancient Culture of Buyeo,” “Sabi Baekje and the Gilt-Bronze Incense Burner of Baekje," “Buddhist Culture of Baekje,” “Donated Cultural Heritage,” and “Outdoor Exhibition.”

Containing text and photos explaining 313 items from the Buyeo National Museum’s collection, it gives a glimpse into the culture created by Baekje people living in the Buyeo region from prehistoric times.

39

CONNECT WITH NEWS

EXHIBITION & PUBLICATIONS

NMK 2014 AUTUMN

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

LANDSCAPES: SEEKING THE IDEAL LAND ISBN 978-89-92788-67-0

ISBN 978-89-8164-106-1

GEUMGWANCHONG TOMB AND KING ISAJI DATE JULY 8 – SEPTEMBER 28, 2014 VENUE THEMATIC EXHIBITION GALLERY, MEDIEVAL AND EARLY MODERN HISTORY SECTION

An ancient sword with ring-shaped pommel, bearing the name “King Isaji” inscribed on the scabbard, is currently on display for the first time in the thematic exhibition Geumgwanchong Tomb and King Isaji. Geumgwanchong, or the Tomb of the Golden Grown, is one of the most important royal tombs of the Silla period.

Astonishingly, it came to light when a gold crown was discovered during renovation of an ordinary house in the city of Gyeongju back in 1921. The excavations were led

by Hamada Kosaku from the Kyoto Imperial University and Koizumi Akio from the Japanese Government-General in Korea. In 1924 a three-volume report and book on

the survey was published in Kyoto, Japan.

At the time the sword was discovery, it was not known that it carried an inscription.

The inscription “Isajiwang,” 尒斯智王 meaning “King Isaji,” was discovered in 2013 in the course of conservation work on the sword carried out by the National Museum of Korea. Other characters representing “Yi,” “eight” and “ten” 尒, 八, 十 were also discovered on other swords and parts.

The current thematic exhibition introduces the discovery of the tomb and confirmation of the “King Isaji” inscription on the sword.

In the center of the exhibition hall, various graphics replicate the discovery of the relics inside the tomb. Exhibited nearby are the

inscribed sword and other major artifacts from the tomb. Other notable relics include a Bronze Jar with four handles, presumed to be from the Goguryeo Kingdom; a vessel called Chodu, which was used to heat liquids; and Harness Fittings made from the shell of imogai, a Japanese shellfish. The Harness Fittings attest to exchange between Silla and Wae (Japan), no evidence of which is found in written records.

The exhibition gives a detailed presentation of the discovery and excavation of the tomb during the Japanese occupation period, and is a good opportunity to inspect the inscribed sword first-hand.

FIRST JOINT EXHIBITION HELD BY THE DIRECTORS’ SUMMIT OF THE NATIONAL MUSEUMS OF KOREA, CHINA, AND JAPAN

Under the theme “Ceramic Culture of Korea, China and Japan” the exhibition features the major works from each museum concerned and is a precious opportunity to explore the mutual influences and distinctive features of each country’s ceramic culture. The NMK chose to present a selection focusing on celadon works including the Celadon Turtle-shaped Ewer (National Treasure No. 96) and the Celadon Maebyeong with plum blos­s om, bamboo and crane design (National Treasure No. 1168). This joint exhibition by Korea, China and Japan is anticipated to further strengthen and develop ties among the three countries and lay the groundwork for greater understanding.

DATE SEPTEMBER 20 – NOVEMBER 24, 2014 VENUE HONKAN ROOM T5, TOKYO NATIONAL MUSEUM

East Asian Elegance: Masterpieces of Ceramics, the result of an agreement reached at the Directors’ Summit of the National Museums of Korea, China, and Japan, is the first joint exhibition held by the national museums of the three countries.

38

This catalogue accompanying the special exhibition In Blue and White: Porcelains of the Joseon Dynasty is particularly important as it brings together the best of Joseon blue-and-white porcelain works. Following the organization of the exhibition, the book consists of five parts that trace the spread of blue-and-white porcelain from the royal court to the literati and finally to the ordinary people and show how this ceramic tradition has been inherited and developed in modern times. The first part of the catalogue contains articles on the official kilns in Gwangju, Gyeonggi-do, where goods for the court were produced, and on cobalt, the main pigment used to produce blue-andwhite wares. These articles will give readers deeper understanding of Joseon blue-andwhite porcelain and help develop a keener appreciation of the works on display.

BUDDHIST ART OF NORTH KOREA: DOCUMENTATION IN GELATIN DRY PLATES ISBN 978-89-8164-102-3 93650

The National Museum of Korea has acquired and preserved a collection of 38,000 gelatin dry plates possessed by the former Japanese Government-General Museum of Korea.

This book is a rich collection of photos of Buddhist cultural heritage in North Korea and follows another collection of gelatin dry plate photos titled Palaces, which was published in 2008.

The book divides the Buddhist culture of North Korea into the five categories of Temple Architecture, Buddhist Painting, Buddhist Sculpture, Buddhist Handcraft, and the Art of Stone, and contains a total of 169 photos. The book also includes a curator’s article on “Survey of the Buddhist Culture of North Korea in the Japanese Occupation Period as Reflected in the Gelatin Dry Plates,” as well as an essay on “The Temples of Mt. Geumgangsan Past and Present” in the appendix.

This book is the catalogue accompanying the special exhibition Landscapes: Seeking the Ideal Land. It contains high definition photos divided into seven themes as found in the actual exhibition: “Pristine and Peaceful Landscape,” “Epitome of the Ideal land: Eight Views of the Xiao and Xiang Rivers,” “Confucian Sage’s Nine-bend Stream: Wuyi Mountain,” “Symbolic Landscape of Peace and Prosperity,” “Nature as a Spiritual Sanctuary,” “Blissful Utopia,” and “Another Ideal Land.” In addition, there are a number of essays on subjects such as “The Ideal Land in East Asian Landscapes,” “The Ideal Land in Old Literature,” and “East Asian Landscapes and the Xiao and Xiang Rivers.” The poems and inscriptions written on some of the paintings, also included in the catalogue, give insight into the artist’s thoughts and intentions.

BUYEO NATIONAL MUSEUM ISBN 978-89-959388-5-0

The Buyeo National Museum has published a new catalogue to reflect the renewal of its permanent exhibition following full renovation and reopening of its Permanent Exhibition Hall. The book gives a full overview of the brilliant history and culture of Sabi Baekje period and includes the latest research results on related artifacts. Published in both Korean and English, the book is divided into five sections: “Prehistoric and Ancient Culture of Buyeo,” “Sabi Baekje and the Gilt-Bronze Incense Burner of Baekje," “Buddhist Culture of Baekje,” “Donated Cultural Heritage,” and “Outdoor Exhibition.”

Containing text and photos explaining 313 items from the Buyeo National Museum’s collection, it gives a glimpse into the culture created by Baekje people living in the Buyeo region from prehistoric times.

39

NEW SPACE, NEW VIEW

THE WISDOM RABBIT LIVES IN THE CHILDREN’S MUSEUM

scattered about the room. Children and their families can have fun playing with the furniture as they wait their turn. Thanks to redesign of the waiting area, crowding on weekdays and weekends with school groups and families respectively has been eased. Surrounding the lobby are facilities such as the information desk, restrooms, lunch lounge, Children’s Museum Shop, and lockers. A wide range of programs for children aged 6 to 11 have been prepared for the rest of the year. Anyone can participate after signing up online. The permanent weekday programs are Hide and Seek in Old Paintings and Orchestra of Chickens, while the weekend programs are Three Kingdoms Take the Hangang River and Stories of the Four Seasons in Old Paintings. The Children’s Museum will continue to provide varied opportunities for children to learn about the lives and wisdom of Koreans of the past through fun and interesting exhibitions.

The Children’s Museum at the National Museum of Korea, opened in 2005, is a place where young visitors can satisfy their curiosity by inspecting and touching replicas of the major works in the permanent collection. With emphasis on hands-on experience, the museum is divided into four zones of Housing, Agriculture, War and Music under the theme “The Lives of Past Koreans” to promote in children a sense of pride in their cultural heritage. Following renovation of the Housing and Agriculture zones in 2012, the Music zone was renovated this year and work is set to begin on the War zone next year. The Children’s Museum is hence being transformed into a place designed to suit young visitors’ tastes. From this autumn, the Wisdom Rabbit will take up residence in the Children’s Museum, with the renewal of the Music zone under the theme of “The Wisdom of Our Ancestors: Find the Wisdom Rabbit.” As children take part in various activities in their search for the Wisdom Rabbit in four completely revamped sections—Hunter’s Territory, Merchant’s Scales, Eyes of the Earth, and Letter from the Tortoise—they will naturally about traditional culture and the wisdom old Koreans needed in their daily lives. For the convenience of visitors waiting for entry to the Children’s Museum, which comes 90-minute intervals, the lobby has been transformed into a waiting area designed especially for children. The furniture is designed to reflect children’s play and consists of various shapes in various sizes

NEW SPACE, NEW VIEW

THE WISDOM RABBIT LIVES IN THE CHILDREN’S MUSEUM

scattered about the room. Children and their families can have fun playing with the furniture as they wait their turn. Thanks to redesign of the waiting area, crowding on weekdays and weekends with school groups and families respectively has been eased. Surrounding the lobby are facilities such as the information desk, restrooms, lunch lounge, Children’s Museum Shop, and lockers. A wide range of programs for children aged 6 to 11 have been prepared for the rest of the year. Anyone can participate after signing up online. The permanent weekday programs are Hide and Seek in Old Paintings and Orchestra of Chickens, while the weekend programs are Three Kingdoms Take the Hangang River and Stories of the Four Seasons in Old Paintings. The Children’s Museum will continue to provide varied opportunities for children to learn about the lives and wisdom of Koreans of the past through fun and interesting exhibitions.

The Children’s Museum at the National Museum of Korea, opened in 2005, is a place where young visitors can satisfy their curiosity by inspecting and touching replicas of the major works in the permanent collection. With emphasis on hands-on experience, the museum is divided into four zones of Housing, Agriculture, War and Music under the theme “The Lives of Past Koreans” to promote in children a sense of pride in their cultural heritage. Following renovation of the Housing and Agriculture zones in 2012, the Music zone was renovated this year and work is set to begin on the War zone next year. The Children’s Museum is hence being transformed into a place designed to suit young visitors’ tastes. From this autumn, the Wisdom Rabbit will take up residence in the Children’s Museum, with the renewal of the Music zone under the theme of “The Wisdom of Our Ancestors: Find the Wisdom Rabbit.” As children take part in various activities in their search for the Wisdom Rabbit in four completely revamped sections—Hunter’s Territory, Merchant’s Scales, Eyes of the Earth, and Letter from the Tortoise—they will naturally about traditional culture and the wisdom old Koreans needed in their daily lives. For the convenience of visitors waiting for entry to the Children’s Museum, which comes 90-minute intervals, the lobby has been transformed into a waiting area designed especially for children. The furniture is designed to reflect children’s play and consists of various shapes in various sizes

NATIONAL MUSEUM OF KOREA | QUARTERLY MAGAZINE

DATE DECEMBER 9, 2014 – APRIL 5, 2015

QUARTERLY MAGAZINE

IN BLUE AND WHITE: PORCELAINS OF THE JOSEON DYNASTY

SPECIAL EXHIBITION 2 LANDSCAPES: SEEKING THE IDEAL LAND

RNM EXHIBITION BUYEO NATIONAL MUSEUM, A PLACE BATHED IN LIGHT

VOL. 29

POMPEII: CULTURE OF THE ANCIENT ROMAN CITY

SPECIAL EXHIBITION 1

VENUE SPECIAL EXHIBITION GALLERY

rea will be holding the special exhibition Pompeii: Culture of the Ancient Roman City. The exhibition features the relics from the ruins of

AUTUMN 2014

As part of its world civilization series, the National Museum of Ko-

the ancient city of Pompeii, which was completely destroyed when Mt. Vesuvius erupted on August 24, 1979. Though the city was devastated, among the ruins the culture of an ancient Roman city lives on. The exhibition will be an opportunity for visitors to get a feel for the splendor of life in Pompeii before it was hit by tragedy.

AUTUMN 2014 VOL.29 ISSN: 2005-1123