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