NATIONAL MUSEUM OF KOREA | QUARTERLY MAGAZINE
CURATOR TALK JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
SPECIAL EXHIBITION POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
THEME EXHIBITION COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
QUARTERLY MAGAZINE
THE STORY OF BOHEMIAN GLASS
and the Czech Republic, the National Museum of Korea presents a special exhibition introducing the history and culture of the Czech Republic as well as the world famous glass-making tradition of the Bohemian region. The Story of Bohemian Glass not only features a range of glass items of a kind are rarely seen in this country but also prayer book illustrations, chalices, icons, and statues of historical figures. The exhibition gives visitors the opportunity to trace the development of Bohemian glass works from antiquity to the present and lose themselves in the colorful world of glass craft.
ISSN: 2005-1123
WINTER 2015
To mark the 25th anniversary of diplomatic relations between Korea
VOL. 30
DATE FEBRUARY 10 – APRIL 26, 2015 VENUE SPECIAL EXHIBITION GALLERY
WINTER 2015 VOL.30
CONTENTS
DIRECTOR'S MESSAGE
QUARTERLY MAGAZINE VOL.30 WINTER 2015
Looking back on the past year, these days were spent planning ways to maximize our
National Museum of Korea
success in 2015. We made great strides through the end of 2014 and truly enjoyed our-
140-797, Korea
137 Seobinggo-ro, Yongsan-gu, Seoul,
selves in the process of preparing for the New Year.
Tel: (82 2) 2077–9573
E-mail: polagu47@korea.kr
Our special exhibitions in the first and second halves of 2014 were very well received by visitors. Beyond Impressionism: Masterpieces from the Musée d’Orsay opened in May, presenting the Parisian mood at the turn of the 20th century and the pulse of various painters who helped to usher in modern art at the end of the Impressionist era. Pompeii: Culture of the Ancient Roman City was opened to the public in December, and is introduced in the present edition of our quarterly magazine. The above-mentioned exhibits were just two of eleven special and theme exhibitions
02 CURATOR TALK
Design Team of the NMK
08
Design and Production: Ahn Graphics Inc., Editorial Team
CULTURE THEMA
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES
Translation / Revision: Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung
12
National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for
while, our traveling exhibition Treasures from Korea: Arts and Culture of the Joseon Dy-
Ethics in Book and Magazine Publication.
nasty 1392–1910 provided American viewers with a comprehensive look at 500 years of
reproduced or transmitted in any form or
art and culture opened.
SPECIAL COLUMN
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
Editorial Direction:
No part of this publication may be by any means, electronic or mechanical, including photocopy, recording, or any
CONNECT WITH NMK
that were held to public acclaim at the National Museum of Korea during 2014. Mean-
Fax: (82 2) 2077–9258
CONNECT WITH LEGACY
Publisher:
SPECIAL EXHIBITION
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
16
other information storage and retrieval
In January of last year, the NMK collection also opened a new homepage to provide the
system, without prior permission in
VISITOR
writing from the publisher.
LOOKING FOR THE GLORIOUS CULTURE OF ROME IN THE LOST CITY OF POMPEII
public with extensive information on various collections of Korean cultural properties. Printed in Korea
These include 122 volumes (more than 40,000 pages) of uigwe previously stored in the
Copyright © 2015
royal archives as well as 176 files (over 60,000 pages) of documents produced by the
National Museum of Korea.
Joseon Government-General Museum during the Japanese colonial period. In 2015, the
THEME EXHIBITION
NMK will complete the job of creating a database for all 297 extant uigwe texts from the
Note to Readers:
royal archives. More than 600 volumes of official documents from the Joseon Govern-
in the following order: title, period or
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
The related information of image is given
ment-General Museum are also scheduled to be available to the public by 2017.
produced year, material, dimensions and
Items from all other institutions are
In addition, we have reorganized parts of the White Porcelain, Calligraphy and Painting
22
All rights reserved. ISSN: 2005–1123
24
management number.
RNM EXHIBITION. 1
classified by their collection names.
Rooms of the permanent exhibition to offer visitors a more diverse selection of pieces
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER
on display. Moreover, the viewing environment has been improved in the Unified Silla
28
Room, Pensive Bodhisattva Room, Buddhist Sculpture Room, and Metal Crafts Room.
RNM EXHIBITION. 2
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME
Thus, the NMK continues work on making history and culture more accessible to domes-
31
tic as well as foreign visitors through exhibitions, educational programs, special events as a world-class museum to an ever-wider audience.
Kim Youngna THE NATIONAL MUSEUMS OF KOREA WINTER, 2015
CONNECT WITH NEWS
DIRECTOR-GENERAL,
CONNECT WITH WORLD
and international exchanges. In 2015, we will apply our experience to introduce the NMK
LECTURE AT NMK
MUSEUM EDUCATION KEYWORD FOR 2015: UNDERSTANDING CULTURAL DIVERSITY
34 E XHIBITION
36 NEWS & PUBLICATION
38 NEW SPACE, NEW VIEW
METAL CRAFT GALLERY REFURBISHED
40
CONTENTS
DIRECTOR'S MESSAGE
QUARTERLY MAGAZINE VOL.30 WINTER 2015
Looking back on the past year, these days were spent planning ways to maximize our
National Museum of Korea
success in 2015. We made great strides through the end of 2014 and truly enjoyed our-
140-797, Korea
137 Seobinggo-ro, Yongsan-gu, Seoul,
selves in the process of preparing for the New Year.
Tel: (82 2) 2077–9573
E-mail: polagu47@korea.kr
Our special exhibitions in the first and second halves of 2014 were very well received by visitors. Beyond Impressionism: Masterpieces from the Musée d’Orsay opened in May, presenting the Parisian mood at the turn of the 20th century and the pulse of various painters who helped to usher in modern art at the end of the Impressionist era. Pompeii: Culture of the Ancient Roman City was opened to the public in December, and is introduced in the present edition of our quarterly magazine. The above-mentioned exhibits were just two of eleven special and theme exhibitions
02 CURATOR TALK
Design Team of the NMK
08
Design and Production: Ahn Graphics Inc., Editorial Team
CULTURE THEMA
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES
Translation / Revision: Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung
12
National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for
while, our traveling exhibition Treasures from Korea: Arts and Culture of the Joseon Dy-
Ethics in Book and Magazine Publication.
nasty 1392–1910 provided American viewers with a comprehensive look at 500 years of
reproduced or transmitted in any form or
art and culture opened.
SPECIAL COLUMN
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
Editorial Direction:
No part of this publication may be by any means, electronic or mechanical, including photocopy, recording, or any
CONNECT WITH NMK
that were held to public acclaim at the National Museum of Korea during 2014. Mean-
Fax: (82 2) 2077–9258
CONNECT WITH LEGACY
Publisher:
SPECIAL EXHIBITION
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
16
other information storage and retrieval
In January of last year, the NMK collection also opened a new homepage to provide the
system, without prior permission in
VISITOR
writing from the publisher.
LOOKING FOR THE GLORIOUS CULTURE OF ROME IN THE LOST CITY OF POMPEII
public with extensive information on various collections of Korean cultural properties. Printed in Korea
These include 122 volumes (more than 40,000 pages) of uigwe previously stored in the
Copyright © 2015
royal archives as well as 176 files (over 60,000 pages) of documents produced by the
National Museum of Korea.
Joseon Government-General Museum during the Japanese colonial period. In 2015, the
THEME EXHIBITION
NMK will complete the job of creating a database for all 297 extant uigwe texts from the
Note to Readers:
royal archives. More than 600 volumes of official documents from the Joseon Govern-
in the following order: title, period or
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
The related information of image is given
ment-General Museum are also scheduled to be available to the public by 2017.
produced year, material, dimensions and
Items from all other institutions are
In addition, we have reorganized parts of the White Porcelain, Calligraphy and Painting
22
All rights reserved. ISSN: 2005–1123
24
management number.
RNM EXHIBITION. 1
classified by their collection names.
Rooms of the permanent exhibition to offer visitors a more diverse selection of pieces
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER
on display. Moreover, the viewing environment has been improved in the Unified Silla
28
Room, Pensive Bodhisattva Room, Buddhist Sculpture Room, and Metal Crafts Room.
RNM EXHIBITION. 2
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME
Thus, the NMK continues work on making history and culture more accessible to domes-
31
tic as well as foreign visitors through exhibitions, educational programs, special events as a world-class museum to an ever-wider audience.
Kim Youngna THE NATIONAL MUSEUMS OF KOREA WINTER, 2015
CONNECT WITH NEWS
DIRECTOR-GENERAL,
CONNECT WITH WORLD
and international exchanges. In 2015, we will apply our experience to introduce the NMK
LECTURE AT NMK
MUSEUM EDUCATION KEYWORD FOR 2015: UNDERSTANDING CULTURAL DIVERSITY
34 E XHIBITION
36 NEWS & PUBLICATION
38 NEW SPACE, NEW VIEW
METAL CRAFT GALLERY REFURBISHED
40
CONNECT WITH LEGACY
SPECIAL COLUMN
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
NMK 2015 WINTER
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT BY HWANG JIHYUN, CURATOR OF THE FINE ARTS DEPARTMENT
J
oseon was a Neo-Confucian society and strict separation
Reading Desk Joseon Dynasty, 19th century L. 89.3 cm, W. 26.6 cm, H. 29.0 cm ssu 9499
of the sexes was the norm. In Joseon residental compunds, therefore, the men and women had separated living space. Sarangbang served as men’s space was located far from An-
bang, women’s room, and especially has a great meaning to seonbi more than residence. The Joseon scholars, seonbi, believed that their main duty in life was to cultivate their characters according to Neo-Confucian
imparts a soft and unpretentious feel, while the grain patterns of
principles and morality and in so doing ultimately help to en-
zelkova or black persimmon wood were used as a decorative finish
lighten the rest of society. To this end, they worked constantly on
that provided natural beauty.
cultivating their scholarship and at the same time were careful not
Joseon scholars spent their entire lives reading and writing, so
to neglect their poetry, calligraphy and painting practice. Therefore,
their sarangbang and the furniture items inside were seen as life-
the Joseon sarangbang served as a study, an art studio and a draw-
long companions. These items also provide modern viewers with
ing room where the master of the house could entertain friends of
the artistry that resulted from their exceptional aesthetic sense.
the same social station and with a similar world view. This was a space that projected the master’s tastes and refinement.
Container for Rolls of Paper Joseon Dynasty, 19th century D. 20.0 cm, H. 15.2 cm nam 2360
02
FINDING THE WAY THROUGH BOOKS
In principle, the Joseon scholar would avoid furniture and
The degree to which books affected scholars’ lives was exception-
other stationery items that were overly ornate or so numerous
ally great during Joseon. The seonbi were leaders in government,
as to appear cluttered. The seonbi pursued a lifestyle of modest
society and culture. They were close to books from an early age
restraint and so would prefer a blend of concise lines, simple
and found their way through life through books.
structures, and pleasant proportions. The sarangbang would tend
Neo-Confucianism was the dominant philosophy for
to be rather small, as hanok (Korean traditional residences) were
approximately five centuries, so texts that explained Neo-
usually narrow and had low ceilings. Pine or paulownia wood was
Confucian thought such as the Four Books (Great Learning,
the main material for the furniture because it was not glossy and
Doctrine of the Mean, Analects of Confucius, and Mencius) and the
03
CONNECT WITH LEGACY
SPECIAL COLUMN
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
NMK 2015 WINTER
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT BY HWANG JIHYUN, CURATOR OF THE FINE ARTS DEPARTMENT
J
oseon was a Neo-Confucian society and strict separation
Reading Desk Joseon Dynasty, 19th century L. 89.3 cm, W. 26.6 cm, H. 29.0 cm ssu 9499
of the sexes was the norm. In Joseon residental compunds, therefore, the men and women had separated living space. Sarangbang served as men’s space was located far from An-
bang, women’s room, and especially has a great meaning to seonbi more than residence. The Joseon scholars, seonbi, believed that their main duty in life was to cultivate their characters according to Neo-Confucian
imparts a soft and unpretentious feel, while the grain patterns of
principles and morality and in so doing ultimately help to en-
zelkova or black persimmon wood were used as a decorative finish
lighten the rest of society. To this end, they worked constantly on
that provided natural beauty.
cultivating their scholarship and at the same time were careful not
Joseon scholars spent their entire lives reading and writing, so
to neglect their poetry, calligraphy and painting practice. Therefore,
their sarangbang and the furniture items inside were seen as life-
the Joseon sarangbang served as a study, an art studio and a draw-
long companions. These items also provide modern viewers with
ing room where the master of the house could entertain friends of
the artistry that resulted from their exceptional aesthetic sense.
the same social station and with a similar world view. This was a space that projected the master’s tastes and refinement.
Container for Rolls of Paper Joseon Dynasty, 19th century D. 20.0 cm, H. 15.2 cm nam 2360
02
FINDING THE WAY THROUGH BOOKS
In principle, the Joseon scholar would avoid furniture and
The degree to which books affected scholars’ lives was exception-
other stationery items that were overly ornate or so numerous
ally great during Joseon. The seonbi were leaders in government,
as to appear cluttered. The seonbi pursued a lifestyle of modest
society and culture. They were close to books from an early age
restraint and so would prefer a blend of concise lines, simple
and found their way through life through books.
structures, and pleasant proportions. The sarangbang would tend
Neo-Confucianism was the dominant philosophy for
to be rather small, as hanok (Korean traditional residences) were
approximately five centuries, so texts that explained Neo-
usually narrow and had low ceilings. Pine or paulownia wood was
Confucian thought such as the Four Books (Great Learning,
the main material for the furniture because it was not glossy and
Doctrine of the Mean, Analects of Confucius, and Mencius) and the
03
CONNECT WITH LEGACY
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
NMK 2015 WINTER
Three Classics (Classic of Odes, Classic of Documents, and Classic of
The sarangbang furniture was the classic venue for manifest-
plate curve upwards and the four S-shaped legs are adorned
Changes) naturally comprised the core of any scholar’s collection.
with various patterns. Of course the decoration elements on the
ing that perceived value. Every furniture item was an artistic mas-
These texts served to inform the scholars on Neo-Confucianism
gyeongsang serving as a furniture piece in a Joseon scholar’s studio
terpiece in its own right, functioning to store items used in the sa-
as a philosophy and everyday morality, and they enabled them to
would have been minimized.
rangbang efficiently as well as to highlight them and display in an
Reading was a daily activity for the seonbi, and they stored
orderly fashion. The structure and size of the chests, shelves and
most of their books in a separate stack room. However, the books
boxes reflected the types of items being stored, the everyday habits
The seonbi naturally had great interest in books as well as in
that they read regularly would be kept on a book shelf or in a book
of the user, and the special considerations of the space in which it
the implements and furniture used for writing and painting. The
chest inside the sarangbang. These furniture pieces were also rela-
was to be placed.
cultivate their learning and characters. Ultimately, their meaning of life was built upon this foundation.
gyeongsang, 經
tively small in order to accommodate the limited interior space.
Every piece has a specific role to play. For example, there was a
both used for reading and writing, were of special importance.
The framework would be made of pine or some other wood sturdy
case where ink sticks and an ink stone were put; a chest for statio-
Gyeongsang was originally used for reading sutras in the temples.
enough to bear the weight of the books, while the paneling would
In Joseon homes people sat on the floor. The ceilings were low
be made of paulownia. Paulownia fiber has special properties
and the interior space was small. Therefore, the master’s desk was
that are resistant to humidity and moisture, making it a popular
also low and only large enough to accommodate one or two open
choice for use in furniture used to store articles of paper and fabric
reading desk, 床
seoan, 書案
and sutra reading desk,
books at a time. In his book Farm
Management 山林經濟
nery, documents, and vessels; and an open sided stand for displayBook Chest Joseon Dynasty, 19th century L. 62.0 cm, W. 37.2 cm, H. 133.0 cm nam 1205
ing various items. The ink stone table, yeonsang, 硯床 is for neatly storing the ink stones, ink sticks, brushes, paper and water dropper. This table is
written by
that are vulnerable to damage from insects or mildew. The pan-
normally large enough to hold one or two ink stones and would
Hong Manseon, 洪萬選, 1643‒1715 a mid-Joseon scholar in Practical
els finished with a technique known as nakdongbeop, 烙桐法 burn-
be put beside the reading desk so as to be within easy reach of the
Learning 實學 school, proscribed carved decorations, metal orna-
engraving with a hot iron and scoured with rice straw, to make the
writer. The document chest, mungap, 文匣 is designed to hold docu-
ments, or lacquered finishes on the reading desks. Instead, he
wood surface stand out and add a natural texture unachievable
ments and to display various articles every scholar’s studio was to
recommended natural wood grain for rusticity. He also warned
with lacquer or paint.
have. Traditionally, it was put either below the rear garden win-
against seoan made of zelkova wood, because the stark wood grain pattern could cause the mind to wander. Thus a plain, natural feel was preferred to artificial adornment. The seoan is simply made, just a plate top supported by a
dow or against the wall next to the warmest spot in the room. The EVERY ITEM IN ITS PROPER PLACE
height is usually between 30 and 40 centimeters so that the piece
“Naturalness is achieved when everything is in its proper place.”
would be below the lintel under the window sill and leave some
This was a key tenet that guided the lives of people in traditional
open space on the wall. The width was also rather narrow so as not
wooden panel on each end. By comparison, the gyeongsang was
times. Notably, the Joseon seonbi believed in limiting their posses-
to take up an excessive amount of the limited interior space. The
considerably more ornate. This type of desk was originally used
sions to what they truly needed, and they carefully selected items
brush holder, ink stone case, viewing stones, and other items may
in Buddhist temples for reading sutras. The edges on the top
so that they would go well together.
Sutra Reading Desk Joseon Dynasty, 19th century L. 76.3 cm, W. 32.0 cm, H. 34.7 cm ssu 6025
Ink Stone Table Joseon Dynasty, 19th century L. 30.9 cm, W. 19.0 cm, H. 22.0 cm ssu 12359
04
05
CONNECT WITH LEGACY
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
NMK 2015 WINTER
Three Classics (Classic of Odes, Classic of Documents, and Classic of
The sarangbang furniture was the classic venue for manifest-
plate curve upwards and the four S-shaped legs are adorned
Changes) naturally comprised the core of any scholar’s collection.
with various patterns. Of course the decoration elements on the
ing that perceived value. Every furniture item was an artistic mas-
These texts served to inform the scholars on Neo-Confucianism
gyeongsang serving as a furniture piece in a Joseon scholar’s studio
terpiece in its own right, functioning to store items used in the sa-
as a philosophy and everyday morality, and they enabled them to
would have been minimized.
rangbang efficiently as well as to highlight them and display in an
Reading was a daily activity for the seonbi, and they stored
orderly fashion. The structure and size of the chests, shelves and
most of their books in a separate stack room. However, the books
boxes reflected the types of items being stored, the everyday habits
The seonbi naturally had great interest in books as well as in
that they read regularly would be kept on a book shelf or in a book
of the user, and the special considerations of the space in which it
the implements and furniture used for writing and painting. The
chest inside the sarangbang. These furniture pieces were also rela-
was to be placed.
cultivate their learning and characters. Ultimately, their meaning of life was built upon this foundation.
gyeongsang, 經
tively small in order to accommodate the limited interior space.
Every piece has a specific role to play. For example, there was a
both used for reading and writing, were of special importance.
The framework would be made of pine or some other wood sturdy
case where ink sticks and an ink stone were put; a chest for statio-
Gyeongsang was originally used for reading sutras in the temples.
enough to bear the weight of the books, while the paneling would
In Joseon homes people sat on the floor. The ceilings were low
be made of paulownia. Paulownia fiber has special properties
and the interior space was small. Therefore, the master’s desk was
that are resistant to humidity and moisture, making it a popular
also low and only large enough to accommodate one or two open
choice for use in furniture used to store articles of paper and fabric
reading desk, 床
seoan, 書案
and sutra reading desk,
books at a time. In his book Farm
Management 山林經濟
nery, documents, and vessels; and an open sided stand for displayBook Chest Joseon Dynasty, 19th century L. 62.0 cm, W. 37.2 cm, H. 133.0 cm nam 1205
ing various items. The ink stone table, yeonsang, 硯床 is for neatly storing the ink stones, ink sticks, brushes, paper and water dropper. This table is
written by
that are vulnerable to damage from insects or mildew. The pan-
normally large enough to hold one or two ink stones and would
Hong Manseon, 洪萬選, 1643‒1715 a mid-Joseon scholar in Practical
els finished with a technique known as nakdongbeop, 烙桐法 burn-
be put beside the reading desk so as to be within easy reach of the
Learning 實學 school, proscribed carved decorations, metal orna-
engraving with a hot iron and scoured with rice straw, to make the
writer. The document chest, mungap, 文匣 is designed to hold docu-
ments, or lacquered finishes on the reading desks. Instead, he
wood surface stand out and add a natural texture unachievable
ments and to display various articles every scholar’s studio was to
recommended natural wood grain for rusticity. He also warned
with lacquer or paint.
have. Traditionally, it was put either below the rear garden win-
against seoan made of zelkova wood, because the stark wood grain pattern could cause the mind to wander. Thus a plain, natural feel was preferred to artificial adornment. The seoan is simply made, just a plate top supported by a
dow or against the wall next to the warmest spot in the room. The EVERY ITEM IN ITS PROPER PLACE
height is usually between 30 and 40 centimeters so that the piece
“Naturalness is achieved when everything is in its proper place.”
would be below the lintel under the window sill and leave some
This was a key tenet that guided the lives of people in traditional
open space on the wall. The width was also rather narrow so as not
wooden panel on each end. By comparison, the gyeongsang was
times. Notably, the Joseon seonbi believed in limiting their posses-
to take up an excessive amount of the limited interior space. The
considerably more ornate. This type of desk was originally used
sions to what they truly needed, and they carefully selected items
brush holder, ink stone case, viewing stones, and other items may
in Buddhist temples for reading sutras. The edges on the top
so that they would go well together.
Sutra Reading Desk Joseon Dynasty, 19th century L. 76.3 cm, W. 32.0 cm, H. 34.7 cm ssu 6025
Ink Stone Table Joseon Dynasty, 19th century L. 30.9 cm, W. 19.0 cm, H. 22.0 cm ssu 12359
04
05
CONNECT WITH LEGACY
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
NMK 2015 WINTER
be arrayed on the top plate of the chest. Such an arrangement corresponded well with the orderliness that Joseon scholars sought in their everyday lives. The open four-sided shelf, sabang takja, 四方卓子 usually consists of three or four wood panels connected at the corners to four thin posts. It is for displaying books and stationery items for the sarangbang as well as various knick-knacks simply for viewing pleasure. This piece is relatively taller than other traditional furniture for the sarangbang, but the absence of side panels allowed the white wall of the room to remain visible, preserving the sense of unfettered open space. The simple, straight lines of the structure gives this piece a modern feel. The furniture seen here helped to make the sarangbang conform to the life view of Joseon scholars, who believed that every-
Open Four-sided Shelf Joseon Dynasty, 19th century L. 38.7 cm, W. 38.7 cm, H. 149.5 cm nam 1008
thing they needed had to be put in its designated place. STATIONERY: THE SCHOLAR’S CONSTANT COMPANIONS Cultivating Neo-Confucian learning was the purpose of life for the Joseon seonbi, and they valued propriety and reputation highly. They strove to manifest the ideal Neo-Confucian world in the present world and would not hesitate to express their opinions openly when they felt they were in the right. Some would pass the state examinations, be appointed to government posts, and
Sarangbang in a Traditional House
participate in governing the country. Others would rusticate
themselves in the countryside, criticize the central government
hanging letter holder, 考備 brush holder 筆筒 and water dropper. 硯滴
and denounce high officials for actions they perceived to be in
These items could be made from a variety of materials, but wood
violation of their principles. They also wrote books in order to
was the preferred choice. Moreover, the decoration was understated
promulgate their ideals and learning.
and the design was practical and concise, in keeping with the
However, the seonbi did more than devote themselves to study.
aesthetic taste of those who seek the ideal world in Neo-Confucian
The scholar’s bearing stemmed primarily from the spirit of “letters
terms. Certain decorative motifs were used, however, to include
and art are means to the same Document Chest Joseon Dynasty, 19th century L. 108.0 cm, W. 21.2 cm, H. 28.4cm ssu 9467
end.” 學藝一致
Those who excelled at
the ten longevity symbols, dragons, or carp. The carp was seen as a
both were considered to be fully realized persons. The enjoyment
nascent dragon, and the dragon symbolized authority, which was
from painting and calligraphy was more than the ability of produc-
the aim of most seonbi as they prepared for the state examinations.
ing something with the hands. Rather, it underscored the scholar’s bookish air and literary aura. Thus were essential items for these
The sarangbang was at the heart of the Joseon scholars’ world,
people who cultivated learning and enjoyed art as a way of life.
which revolved around learning and art. The elegance and dig-
The ink stone, ink stick, brush and paper were known in Jo-
dition, a look at the studio furniture and stationery items reveals
tion on the Chinese phrases Four Treasures of a Scholar’s Studio 文
the priority given to practical function over superficial adorn-
房四寶
or Four Lords of a Scholar’s
Studio. 文房四侯
Thus, the Joseon
ment. The preference for the plain and simple and the careful
seonbi compared essential stationery items as a beloved friend
positioning of each piece express the sense of high refinement.
could not live without.
06
nity of their private lives is vividly apparent in this space. In ad-
seon as the Four Precious Items for Scholars 文房四友 a slight varia-
People today tend to see change and decoration as aesthetically
Various types of furniture for the sarangbang were designed to
pleasing, while the value conveyed by the studio furniture and
keep Four Precious Items for Scholars close at hand. These included
stationery remind us of the adage “find answers to new problems
the cylindrical container for storing rolls of paper 紙筒 and wall-
by examining the past.” 溫故知新
07
CONNECT WITH LEGACY
SARANGBANG: LEGACY OF THE JOSEON SEONBI SPIRIT
NMK 2015 WINTER
be arrayed on the top plate of the chest. Such an arrangement corresponded well with the orderliness that Joseon scholars sought in their everyday lives. The open four-sided shelf, sabang takja, 四方卓子 usually consists of three or four wood panels connected at the corners to four thin posts. It is for displaying books and stationery items for the sarangbang as well as various knick-knacks simply for viewing pleasure. This piece is relatively taller than other traditional furniture for the sarangbang, but the absence of side panels allowed the white wall of the room to remain visible, preserving the sense of unfettered open space. The simple, straight lines of the structure gives this piece a modern feel. The furniture seen here helped to make the sarangbang conform to the life view of Joseon scholars, who believed that every-
Open Four-sided Shelf Joseon Dynasty, 19th century L. 38.7 cm, W. 38.7 cm, H. 149.5 cm nam 1008
thing they needed had to be put in its designated place. STATIONERY: THE SCHOLAR’S CONSTANT COMPANIONS Cultivating Neo-Confucian learning was the purpose of life for the Joseon seonbi, and they valued propriety and reputation highly. They strove to manifest the ideal Neo-Confucian world in the present world and would not hesitate to express their opinions openly when they felt they were in the right. Some would pass the state examinations, be appointed to government posts, and
Sarangbang in a Traditional House
participate in governing the country. Others would rusticate
themselves in the countryside, criticize the central government
hanging letter holder, 考備 brush holder 筆筒 and water dropper. 硯滴
and denounce high officials for actions they perceived to be in
These items could be made from a variety of materials, but wood
violation of their principles. They also wrote books in order to
was the preferred choice. Moreover, the decoration was understated
promulgate their ideals and learning.
and the design was practical and concise, in keeping with the
However, the seonbi did more than devote themselves to study.
aesthetic taste of those who seek the ideal world in Neo-Confucian
The scholar’s bearing stemmed primarily from the spirit of “letters
terms. Certain decorative motifs were used, however, to include
and art are means to the same Document Chest Joseon Dynasty, 19th century L. 108.0 cm, W. 21.2 cm, H. 28.4cm ssu 9467
end.” 學藝一致
Those who excelled at
the ten longevity symbols, dragons, or carp. The carp was seen as a
both were considered to be fully realized persons. The enjoyment
nascent dragon, and the dragon symbolized authority, which was
from painting and calligraphy was more than the ability of produc-
the aim of most seonbi as they prepared for the state examinations.
ing something with the hands. Rather, it underscored the scholar’s bookish air and literary aura. Thus were essential items for these
The sarangbang was at the heart of the Joseon scholars’ world,
people who cultivated learning and enjoyed art as a way of life.
which revolved around learning and art. The elegance and dig-
The ink stone, ink stick, brush and paper were known in Jo-
dition, a look at the studio furniture and stationery items reveals
tion on the Chinese phrases Four Treasures of a Scholar’s Studio 文
the priority given to practical function over superficial adorn-
房四寶
or Four Lords of a Scholar’s
Studio. 文房四侯
Thus, the Joseon
ment. The preference for the plain and simple and the careful
seonbi compared essential stationery items as a beloved friend
positioning of each piece express the sense of high refinement.
could not live without.
06
nity of their private lives is vividly apparent in this space. In ad-
seon as the Four Precious Items for Scholars 文房四友 a slight varia-
People today tend to see change and decoration as aesthetically
Various types of furniture for the sarangbang were designed to
pleasing, while the value conveyed by the studio furniture and
keep Four Precious Items for Scholars close at hand. These included
stationery remind us of the adage “find answers to new problems
the cylindrical container for storing rolls of paper 紙筒 and wall-
by examining the past.” 溫故知新
07
CONNECT WITH LEGACY
CURATOR TALK
JOSEON CERAMICS: WHITE PORCELAIN AND
BUNCHEONG WARE BY IM JIN A, ASSOCIATE CURATOR OF THE COLLECTIONS MANAGEMENT DEPARTMENT
NMK 2015 WINTER
JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
W
hite porcelain ware and buncheong ware 粉靑
circumspect even when alone and unobserved by others.
are ceramic types most closely associated
In early Joseon, the “four noble ones” 四君子 were the most
with the Joseon Dynasty. 1392‒1897 Celadon ware
popular motifs for white porcelain with designs painted in cobalt
was also produced in Joseon, but unlike the
blue underglaze 青畫白磁 and white porcelain painted in iron-based
famous Goryeo celadon, was simply white ceramic paste coated
underglaze 鐵畫白磁 because they reflect Neo-Confucian values so
with celadon glaze. The Joseon celadon ware was produced
very well. The “noble ones” refers to four plants that embody
exclusively for the crown prince’s household through the mid-
such virtues as perseverance, purity and nobility. The white plum
17th century, and very few pieces survive.
blossom braves the late winter cold to flower ahead of the other
沙器
Buncheong ware was used by both the king and govern-
plants; the elegant orchid grows in deep mountain valleys and
ment offices at the start of the Joseon Dynasty but was replaced
emits a delicate fragrance; the chrysanthemum flowers in late
by white porcelain was the official ceramic ware for the king’s
fall, after the other flowers have all withered; and the bamboo re-
household in the second half of the 15th century. While the num-
mains green throughout the cold winter months.
ber of white porcelain users gradually increased over time, its role
The new government systematically organized the various
as the ruler’s dishes and vessels remained constant. Meanwhile,
ceremonies involving the state and royal household into five
buncheong ware gained popularity with people in Jeolla-do and
categories: “auspicious ceremonies” 吉禮 for deceased royal ances-
Chungcheong-do and its production continued until the end of the
tors or state guardian sprits; “festive ceremonies” 嘉禮 such as wed-
16th century, meaning white porcelain and buncheong ware were Buncheong Jar with Inlaid Cloud and Dragon Design Joseon Dynasty, 15th century H. 48.5 cm National Treasure No. 259 duk 2411
simultaneously produced for no more than a century and a half. Interestingly, buncheong ware initially evolved out of the Goryeo celadon tradition but increasingly resembled white porcelain before disappearing altogether. In addition, it’s worthy of attention to the differences in the buncheong ware produced for use by the
Blue-and-white Porcelain Jar with Cloud and Dragon Design Joseon Dynasty, 18th century H. 53.9 cm duk 4073
royal household and government offices and that produced after white porcelain became the preferred genre for the king. WHITE PORCELAIN: ALL THE BEST-KNOWN TECHNIQUES EMPLOYED TO PRODUCE VESSELS FOR THE KING A 1447 entry in the Annals of King Sejong reports that white porcelain was to be used in place of silver to make the king’s dishes and vessels. Then in 1466, the general use of white
White Porcelain Jar with Bamboo and Plum Design in Underglaze Iron Red Joseon Dynasty, 16th-17th century H. 40.0 cm National Treasure No. 166 duk 6294
porcelain was banned, and the state control of the white clay mines. White porcelain for the royal household was produced by the official kilns at Gwangju, in Gyeonggi-do. These kilns were ceramic factories managed by the Bureau for Overseeing Ceramic Production & Palace Kitchen Management, 司饔院 which was in charge of the king’s meals and food supply within the court. The glazing for Joseon white porcelain varied somewhat in different time periods. Decoration was primarily painted onto the surface in cobalt blue, iron or copper pigments before applying the glaze. Incising, engraving in relief and openwork techniques were applied at times. Of special note, professional painters attached to the Royal Bureau of Painting 圖畫署 were dispatched to the kilns to paint the decorations on the blue-and-white porcelains. White porcelain embodied the Neo-Confucian spirit of selfpurity embraced by the newly-emerged literati who led the establishment of the Joseon Dynasty. When Confucius taught about cultivating one’s character, he emphasized the need to be
08
09
CONNECT WITH LEGACY
CURATOR TALK
JOSEON CERAMICS: WHITE PORCELAIN AND
BUNCHEONG WARE BY IM JIN A, ASSOCIATE CURATOR OF THE COLLECTIONS MANAGEMENT DEPARTMENT
NMK 2015 WINTER
JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
W
hite porcelain ware and buncheong ware 粉靑
circumspect even when alone and unobserved by others.
are ceramic types most closely associated
In early Joseon, the “four noble ones” 四君子 were the most
with the Joseon Dynasty. 1392‒1897 Celadon ware
popular motifs for white porcelain with designs painted in cobalt
was also produced in Joseon, but unlike the
blue underglaze 青畫白磁 and white porcelain painted in iron-based
famous Goryeo celadon, was simply white ceramic paste coated
underglaze 鐵畫白磁 because they reflect Neo-Confucian values so
with celadon glaze. The Joseon celadon ware was produced
very well. The “noble ones” refers to four plants that embody
exclusively for the crown prince’s household through the mid-
such virtues as perseverance, purity and nobility. The white plum
17th century, and very few pieces survive.
blossom braves the late winter cold to flower ahead of the other
沙器
Buncheong ware was used by both the king and govern-
plants; the elegant orchid grows in deep mountain valleys and
ment offices at the start of the Joseon Dynasty but was replaced
emits a delicate fragrance; the chrysanthemum flowers in late
by white porcelain was the official ceramic ware for the king’s
fall, after the other flowers have all withered; and the bamboo re-
household in the second half of the 15th century. While the num-
mains green throughout the cold winter months.
ber of white porcelain users gradually increased over time, its role
The new government systematically organized the various
as the ruler’s dishes and vessels remained constant. Meanwhile,
ceremonies involving the state and royal household into five
buncheong ware gained popularity with people in Jeolla-do and
categories: “auspicious ceremonies” 吉禮 for deceased royal ances-
Chungcheong-do and its production continued until the end of the
tors or state guardian sprits; “festive ceremonies” 嘉禮 such as wed-
16th century, meaning white porcelain and buncheong ware were Buncheong Jar with Inlaid Cloud and Dragon Design Joseon Dynasty, 15th century H. 48.5 cm National Treasure No. 259 duk 2411
simultaneously produced for no more than a century and a half. Interestingly, buncheong ware initially evolved out of the Goryeo celadon tradition but increasingly resembled white porcelain before disappearing altogether. In addition, it’s worthy of attention to the differences in the buncheong ware produced for use by the
Blue-and-white Porcelain Jar with Cloud and Dragon Design Joseon Dynasty, 18th century H. 53.9 cm duk 4073
royal household and government offices and that produced after white porcelain became the preferred genre for the king. WHITE PORCELAIN: ALL THE BEST-KNOWN TECHNIQUES EMPLOYED TO PRODUCE VESSELS FOR THE KING A 1447 entry in the Annals of King Sejong reports that white porcelain was to be used in place of silver to make the king’s dishes and vessels. Then in 1466, the general use of white
White Porcelain Jar with Bamboo and Plum Design in Underglaze Iron Red Joseon Dynasty, 16th-17th century H. 40.0 cm National Treasure No. 166 duk 6294
porcelain was banned, and the state control of the white clay mines. White porcelain for the royal household was produced by the official kilns at Gwangju, in Gyeonggi-do. These kilns were ceramic factories managed by the Bureau for Overseeing Ceramic Production & Palace Kitchen Management, 司饔院 which was in charge of the king’s meals and food supply within the court. The glazing for Joseon white porcelain varied somewhat in different time periods. Decoration was primarily painted onto the surface in cobalt blue, iron or copper pigments before applying the glaze. Incising, engraving in relief and openwork techniques were applied at times. Of special note, professional painters attached to the Royal Bureau of Painting 圖畫署 were dispatched to the kilns to paint the decorations on the blue-and-white porcelains. White porcelain embodied the Neo-Confucian spirit of selfpurity embraced by the newly-emerged literati who led the establishment of the Joseon Dynasty. When Confucius taught about cultivating one’s character, he emphasized the need to be
08
09
CONNECT WITH LEGACY
NMK 2015 WINTER
White Porcelain Jar Joseon Dynasty, 15-16 century H. 32.2 cm ssu 13744
White Porcelain Jar with Plum, Bamboo and Bird Design Joseon Dynasty, 15th-16th century H. 25.0 cm duk 1224
Buncheong Lidded Case with Stamped Chrysanthemum Design Joseon Dynasty, 15th century H. 15.9 cm (with lid) don 200
dings for the king or crown prince or birthdays for senior royal
buncheong ware is believed to have been a natural extension of
family members; “guest ceremonies” 賓禮 for welcoming foreign
the Goryeo celadon tradition.
envoys; “mournful
ceremonies” 凶禮
for inauspicious occasions
Seven major techniques were used to apply designs to
which included
buncheong ware: inlaying , 象嵌 stamping , 印 花 incising , 彫 花
archery contests and military reviews overseen by the king. Blue-
sgraffito, 剝地 painting with iron pigment, 鐵 畫 brushing and
and-white porcelain wine jars and flower vases decorated with
dipping. The techniques among these that were in vogue changed
dragon-and-cloud motifs were used at the banquets that were the
over time.
such as funerals; and “military
ceremonies,” 軍禮
focal point of the “festive ceremonies.”
JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
and carving away the background through the white slip to ac-
clay body into the slip. At first glance, this deombeong, or dipped,
centuate the motifs (sgraffito). This type was mainly used in the
buncheong can be mistaken for soft white porcelain. The dipped
Jeolla-do from the mid-15th century through the 16th century.
buncheong was mainly produced in the Jeolla-do, which was
Buncheong ware with iron red is known from the Hakbong-ri
slower than the central region to adopt white porcelain.
kilns, at the foot of Mt. Gyerongsan in Chungcheongnam-do. This
The government-run kilns at Gwangju, Gyeonggi-do, were the
type was also produced at the Undae-ri kilns in Goheung, Jeolla-
initial center for firing white porcelain in large quantities, while
nam-do. The special vitality inherent in buncheong decorated in
the buncheong ware was made at local kilns and used freely
iron red presents an effect that differs from that of the white por-
throughout the country. As a result, its look and character varied
celain painted in underglaze iron red.
by region. Buncheong ware remained in production for only 150-
Sometimes the potters would use a rough brush called gwiyal
200 years, while the production of white porcelain spread coun-
to apply the white slip onto the surface of the buncheong piece.
trywide. However, the unfettered expression of buncheong ware,
This was a basic process used in combination with inlaying,
achieved through incising, sgraffito, and iron-pigment painting
stamping, incising, sgraffito, or painting with iron pigment, and
techniques, can be described as both abstract and satirical. Such
gwiyal became a decorative technique in its own right. From the
traits remain deeply impressive today and can be said to repre-
16th century, the main decorative method was to dip the whole
sent the true identity of the buncheong genre.
Buncheong Bottle with Fish Design Painted in Iron Red Joseon Dynasty, 15th-16th century H. 26.8 cm don 274
Buncheong Bottle with Brushed Decoration Joseon Dynasty, 15th-16th century H. 29.5 cm ssu 10569
Dipped Buncheong Bowl Joseon Dynasty, 16th century H. 9.0 cm don 600
Inlaid buncheong and stamped buncheong were produced
Meanwhile, production of white porcelain painted in copper
until the second half of the 15th century, and they were used in
red underglaze 銅畫白磁 did not begin until the late 17th century.
the king’s household as well as in government offices until white
Its popularity was modest and did not last very long. The folk
porcelain took their place. For this reason, some of the stamped
paintings used for decoration were simply executed, but the
buncheong included the name of the government office in which
presentation was in the same style as that for white porcelains
then were to be delivered to prevent them from being destroyed
painted underglaze in either cobalt blue or iron red.
or stolen. The style of these inlaid and stamped buncheong pieces reflected user demand, and they were unlike the free-spirited
BUNCHEONG WARE: SEVEN DIFFERENT METHODS EMPLOYED FREELY
look so often associated with buncheong ware tradition. However, once white porcelain came on the scene and
Buncheong ware 粉靑沙器 is an abbreviation for bunjang hoecheong
replaced buncheong ware as the official ceramic ware, buncheong
sagi, 粉 粧 灰靑 沙 器 or "powdered grayish green porcelain.” The
production moved to provincial kilns, and the styles thereafter
first buncheong ware was decorated with inlay or stamping
exude potters’ individuality and offer a look at contemporary tastes.
techniques, and the inlay methods did not differ much from
Many buncheong pieces have been decorated by simultane-
those applied to Goryeo celadon ware. As such, the early inlaid
ously incising the design outline into the base of the white slip
10
11
CONNECT WITH LEGACY
NMK 2015 WINTER
White Porcelain Jar Joseon Dynasty, 15-16 century H. 32.2 cm ssu 13744
White Porcelain Jar with Plum, Bamboo and Bird Design Joseon Dynasty, 15th-16th century H. 25.0 cm duk 1224
Buncheong Lidded Case with Stamped Chrysanthemum Design Joseon Dynasty, 15th century H. 15.9 cm (with lid) don 200
dings for the king or crown prince or birthdays for senior royal
buncheong ware is believed to have been a natural extension of
family members; “guest ceremonies” 賓禮 for welcoming foreign
the Goryeo celadon tradition.
envoys; “mournful
ceremonies” 凶禮
for inauspicious occasions
Seven major techniques were used to apply designs to
which included
buncheong ware: inlaying , 象嵌 stamping , 印 花 incising , 彫 花
archery contests and military reviews overseen by the king. Blue-
sgraffito, 剝地 painting with iron pigment, 鐵 畫 brushing and
and-white porcelain wine jars and flower vases decorated with
dipping. The techniques among these that were in vogue changed
dragon-and-cloud motifs were used at the banquets that were the
over time.
such as funerals; and “military
ceremonies,” 軍禮
focal point of the “festive ceremonies.”
JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
and carving away the background through the white slip to ac-
clay body into the slip. At first glance, this deombeong, or dipped,
centuate the motifs (sgraffito). This type was mainly used in the
buncheong can be mistaken for soft white porcelain. The dipped
Jeolla-do from the mid-15th century through the 16th century.
buncheong was mainly produced in the Jeolla-do, which was
Buncheong ware with iron red is known from the Hakbong-ri
slower than the central region to adopt white porcelain.
kilns, at the foot of Mt. Gyerongsan in Chungcheongnam-do. This
The government-run kilns at Gwangju, Gyeonggi-do, were the
type was also produced at the Undae-ri kilns in Goheung, Jeolla-
initial center for firing white porcelain in large quantities, while
nam-do. The special vitality inherent in buncheong decorated in
the buncheong ware was made at local kilns and used freely
iron red presents an effect that differs from that of the white por-
throughout the country. As a result, its look and character varied
celain painted in underglaze iron red.
by region. Buncheong ware remained in production for only 150-
Sometimes the potters would use a rough brush called gwiyal
200 years, while the production of white porcelain spread coun-
to apply the white slip onto the surface of the buncheong piece.
trywide. However, the unfettered expression of buncheong ware,
This was a basic process used in combination with inlaying,
achieved through incising, sgraffito, and iron-pigment painting
stamping, incising, sgraffito, or painting with iron pigment, and
techniques, can be described as both abstract and satirical. Such
gwiyal became a decorative technique in its own right. From the
traits remain deeply impressive today and can be said to repre-
16th century, the main decorative method was to dip the whole
sent the true identity of the buncheong genre.
Buncheong Bottle with Fish Design Painted in Iron Red Joseon Dynasty, 15th-16th century H. 26.8 cm don 274
Buncheong Bottle with Brushed Decoration Joseon Dynasty, 15th-16th century H. 29.5 cm ssu 10569
Dipped Buncheong Bowl Joseon Dynasty, 16th century H. 9.0 cm don 600
Inlaid buncheong and stamped buncheong were produced
Meanwhile, production of white porcelain painted in copper
until the second half of the 15th century, and they were used in
red underglaze 銅畫白磁 did not begin until the late 17th century.
the king’s household as well as in government offices until white
Its popularity was modest and did not last very long. The folk
porcelain took their place. For this reason, some of the stamped
paintings used for decoration were simply executed, but the
buncheong included the name of the government office in which
presentation was in the same style as that for white porcelains
then were to be delivered to prevent them from being destroyed
painted underglaze in either cobalt blue or iron red.
or stolen. The style of these inlaid and stamped buncheong pieces reflected user demand, and they were unlike the free-spirited
BUNCHEONG WARE: SEVEN DIFFERENT METHODS EMPLOYED FREELY
look so often associated with buncheong ware tradition. However, once white porcelain came on the scene and
Buncheong ware 粉靑沙器 is an abbreviation for bunjang hoecheong
replaced buncheong ware as the official ceramic ware, buncheong
sagi, 粉 粧 灰靑 沙 器 or "powdered grayish green porcelain.” The
production moved to provincial kilns, and the styles thereafter
first buncheong ware was decorated with inlay or stamping
exude potters’ individuality and offer a look at contemporary tastes.
techniques, and the inlay methods did not differ much from
Many buncheong pieces have been decorated by simultane-
those applied to Goryeo celadon ware. As such, the early inlaid
ously incising the design outline into the base of the white slip
10
11
CONNECT WITH LEGACY
CULTURE THEMA
NMK 2015 WINTER
T
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES BY KIM SEWON, ASSOCIATE CURATOR OF THE COLLECTIONS MANAGEMENT DEPARTMENT
Bain du Sultan
12
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES
urkey can be largely divided
influence of the ancient Anatolian civiliza-
Turkish bath culture.
into Anatolia, the Asian end of
tion, the Greek and Roman civilizations,
The origin of the Turkish bath is
the continent, and Thrace, the
and the Byzantine Empire. Then in 1453,
traced back to the influx of ancient Ro-
European end. Because of this
Constantinople, center of the Byzantine
man and Greek culture at the time of
geographic characteristic, Turkey has been
Empire, fell to the Ottoman Empire and
Alexander the Great’s Eastern Expedition.
a land where the Asian and European cul-
was from that time called Istanbul. This is
The bathing practices that were adopted
tures naturally mixed to create a vigorous
when various Turkish products and cus-
by Turkey flourished in Istanbul, and un-
culture that is uniquely Turkish. Turkey’s
toms became widely popular including
der the influence of the Islamic faith fur-
unique culture and history developed
coffee, tobacco, spices, fermented foods
ther developed across the whole country.
magnificently over the ages under the
such as olive pickles and yoghurt, and the
The Islamic ideology of ritual purification
of the body spread through the country,
to the Western world and gained huge
very hot room, a cool room, and a cold
and as the Ottoman Empire prospered in
popularity there.
room. Under the influence of Islam, the
Le Bain turc By Jean-Auguste-Dominique Ingres France
every new city a large public bathhouse
The Turkish people certainly loved
Turkish people only bathed in clean run-
was constructed along with a mosque and
their baths, the oldest hamam in the
ning water. In addition, the heated marble
school. The hamam is hence a cultural
country having a history of more than
floor in a Turkish hamam and the con-
standard for understanding Turkey. Le
500 years, and the bathing culture had
tinued flow of running water meant that
Bain turc, a painting by Jean-Auguste-
some distinct characteristics. Generally,
bathers wore wooden bath clogs on their
Dominique Ingres, a French artist of the
the Turkish bath is similar to a sauna in
feet. Men’s clogs were called takunya while
Neo-Classical school famous for “Grand
that bathers sit in a room with a heated
the more heavily decorated women’s clogs
Odalisque,” is an artwork that gives in-
marble floor and continuous flow of hot
were called nalin. The women’s clogs were
sight into the hamam culture of the Otto-
air. According to the temperature of the
often made with high quality materials
man Empire, which was later introduced
marble floor, the bath is divided into a
according to the wearer’s social and eco-
13
CONNECT WITH LEGACY
CULTURE THEMA
NMK 2015 WINTER
T
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES BY KIM SEWON, ASSOCIATE CURATOR OF THE COLLECTIONS MANAGEMENT DEPARTMENT
Bain du Sultan
12
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES
urkey can be largely divided
influence of the ancient Anatolian civiliza-
Turkish bath culture.
into Anatolia, the Asian end of
tion, the Greek and Roman civilizations,
The origin of the Turkish bath is
the continent, and Thrace, the
and the Byzantine Empire. Then in 1453,
traced back to the influx of ancient Ro-
European end. Because of this
Constantinople, center of the Byzantine
man and Greek culture at the time of
geographic characteristic, Turkey has been
Empire, fell to the Ottoman Empire and
Alexander the Great’s Eastern Expedition.
a land where the Asian and European cul-
was from that time called Istanbul. This is
The bathing practices that were adopted
tures naturally mixed to create a vigorous
when various Turkish products and cus-
by Turkey flourished in Istanbul, and un-
culture that is uniquely Turkish. Turkey’s
toms became widely popular including
der the influence of the Islamic faith fur-
unique culture and history developed
coffee, tobacco, spices, fermented foods
ther developed across the whole country.
magnificently over the ages under the
such as olive pickles and yoghurt, and the
The Islamic ideology of ritual purification
of the body spread through the country,
to the Western world and gained huge
very hot room, a cool room, and a cold
and as the Ottoman Empire prospered in
popularity there.
room. Under the influence of Islam, the
Le Bain turc By Jean-Auguste-Dominique Ingres France
every new city a large public bathhouse
The Turkish people certainly loved
Turkish people only bathed in clean run-
was constructed along with a mosque and
their baths, the oldest hamam in the
ning water. In addition, the heated marble
school. The hamam is hence a cultural
country having a history of more than
floor in a Turkish hamam and the con-
standard for understanding Turkey. Le
500 years, and the bathing culture had
tinued flow of running water meant that
Bain turc, a painting by Jean-Auguste-
some distinct characteristics. Generally,
bathers wore wooden bath clogs on their
Dominique Ingres, a French artist of the
the Turkish bath is similar to a sauna in
feet. Men’s clogs were called takunya while
Neo-Classical school famous for “Grand
that bathers sit in a room with a heated
the more heavily decorated women’s clogs
Odalisque,” is an artwork that gives in-
marble floor and continuous flow of hot
were called nalin. The women’s clogs were
sight into the hamam culture of the Otto-
air. According to the temperature of the
often made with high quality materials
man Empire, which was later introduced
marble floor, the bath is divided into a
according to the wearer’s social and eco-
13
CONNECT WITH LEGACY
nomic status. Over time the nalin have become increasingly more decorative in appearance while the heels have grown
NMK 2015 WINTER
Havlu Ottoman Empire, 19th century Cotton and gold thread 69.0 × 173.0 cm Collection of TSM
higher.
workmanship of the time. These opulent silver basins were placed here and there in the hamam that was installed in the harem at Topkapi Palace in Istanbul and
As the Turkish people do not like to
were used when attending on the sultan’s
show their genitals while bathing, from
bath. The hamam hence played an impor-
the past it was common to bathe with
tant part in the culture of the palace, as
the body wrapped in a towel. The Turk-
it was such an intimate part of the lives
ish bath towels were generally made of
of the sultan’s wives, female servants and
cotton or silk embroidered with beauti-
concubines who occupied the harem, or
ful colored or gold threads, or woven in
the women’s quarters of the palace. Natu-
decorative patterns. The technology used
rally, the quality of bath goods used by
to make bath towels that developed along
the women of the royal palace improved.
with the spread of the Turkish bathing
In particular, the bathing clogs used by
culture drove the growth of Turkish carpet
the women of the Ottoman court had
weaving and embroidery into specialty
very high heels to match the status of the
crafts of the Ottoman Empire. Bath towels
wearers, while the very best of their kind
were also an important marriage articles
were lavishly decorated with silver and
for Turkish women. As mothers would
mother-of-pearl.
make bath towels for their daughters or
The hamam with its unique history
girls of marriageable age would make
and customs is now a time-honored part
their own, these textile items also influenced women’s everyday lives and marriage practices. The Turkish fouta towel, a larger wrap worn to cover the body in the
of the Turkish culture. In some respects Hamam Tasi Ottoman Empire, 19th century Silver H. 6.0 cm, D. 19.0 cm Collection of TSM
public baths, was generally very luxuri-
the Turkish bathhouse is very similar to the Korean bathhouse, jjimjilbang, which is also an element of the Korean pop culture boom.
ous. A necessity in the baths, fouta towels
From ancient times, Koreans have
were items that satisfied personal desires
considered water to be sacred and have
and tastes for beauty. They were made
hence made water a close part of every-
by the textile craft guilds that lasted for
day life. Water, as featured in native folk
hundreds of years through the Ottoman
beliefs and the founding myth of the na-
Empire, and each guild produced fouta
tion, is both an object of fear and at the
with its own distinctive patterns and designs. Hence, the fouta served as the mark of each guild as well as a sign of the user’s wealth and a kind of talisman for good
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES
Dano Day By Sin Yunbok Glass plate photo National Treasure No. 135
same time a divine entity that people rely Hamam Nalin Ottoman Empire, 18th century Wood, silver and mother-of-pearl H. 22.0 cm Collection of TSM
on to get rid of ill fortune and make their wishes come true. Such evolved until bathing was not just the act of making the
fucian thought. Confucianism continued
of the commoner class would go down to
process is followed in a Korean public
body clean but also a way to control dis-
to exert great influence on all areas of life
the stream to bathe and wash their hair
bathhouse, down to paying the attendant
In the Ottoman royal palaces, the
eases and stay healthy. It was also a holy
in the Joseon Dynasty including politics,
and sit around in groups chatting and so-
directly for a hair wash. Like Koreans, the
hamam culture was developed to a higher
act, representing purification of the body
education and culture. As it was forbid-
cializing. Hence women of old Korea also
Turkish people do not consider the bath-
level to match the status of the power-
before any important event to control the
den to reveal the body to others, members
formed their own secret bathing culture.
house as just a place for getting clean,
ful sultans. The production of luxurious
mind and to get rid of any ill fortune that
of upper-class, yangban, were partially
As can be seen from the above, Ko-
they see it as a place to socialize. Turkish
bath goods led to advances in handicrafts
might be present.
health.
clothed when they took full body baths.
rean bathing practices are very similar to
women not only bathe at the hamam but
and bathing procedures were formalized
Like the Turkish people, who placed
Partial baths were also taken to keep cer-
those of Turkey. The typical Turkish bath
chat and have fun with their friends, often
according to the complex rules and stan-
great importance on keeping the body
tain parts of the body clean. In traditional
involves first lying flat on a heated marble
spending hours there. This is little differ-
dards of the court. The Tasi, a kind of ba-
clean at all times under the influence of
Korea there was no public bathhouse like
floor to sweat, then being scrubbed and
ent to the way Koreans spend hours in
sin used to throw water on the body while
Islam, the Korean people placed equal
the Turkish hamam, on the Dano Day (the
massaged by a bath attendant, and finally
the bathhouse, enjoying the special atmo-
bathing, shows the high standard of silver
importance on keeping clean under Con-
fifth day of the fifth lunar month) women
washing in running water. A very similar
sphere and culture of the place.
14
15
CONNECT WITH LEGACY
nomic status. Over time the nalin have become increasingly more decorative in appearance while the heels have grown
NMK 2015 WINTER
Havlu Ottoman Empire, 19th century Cotton and gold thread 69.0 × 173.0 cm Collection of TSM
higher.
workmanship of the time. These opulent silver basins were placed here and there in the hamam that was installed in the harem at Topkapi Palace in Istanbul and
As the Turkish people do not like to
were used when attending on the sultan’s
show their genitals while bathing, from
bath. The hamam hence played an impor-
the past it was common to bathe with
tant part in the culture of the palace, as
the body wrapped in a towel. The Turk-
it was such an intimate part of the lives
ish bath towels were generally made of
of the sultan’s wives, female servants and
cotton or silk embroidered with beauti-
concubines who occupied the harem, or
ful colored or gold threads, or woven in
the women’s quarters of the palace. Natu-
decorative patterns. The technology used
rally, the quality of bath goods used by
to make bath towels that developed along
the women of the royal palace improved.
with the spread of the Turkish bathing
In particular, the bathing clogs used by
culture drove the growth of Turkish carpet
the women of the Ottoman court had
weaving and embroidery into specialty
very high heels to match the status of the
crafts of the Ottoman Empire. Bath towels
wearers, while the very best of their kind
were also an important marriage articles
were lavishly decorated with silver and
for Turkish women. As mothers would
mother-of-pearl.
make bath towels for their daughters or
The hamam with its unique history
girls of marriageable age would make
and customs is now a time-honored part
their own, these textile items also influenced women’s everyday lives and marriage practices. The Turkish fouta towel, a larger wrap worn to cover the body in the
of the Turkish culture. In some respects Hamam Tasi Ottoman Empire, 19th century Silver H. 6.0 cm, D. 19.0 cm Collection of TSM
public baths, was generally very luxuri-
the Turkish bathhouse is very similar to the Korean bathhouse, jjimjilbang, which is also an element of the Korean pop culture boom.
ous. A necessity in the baths, fouta towels
From ancient times, Koreans have
were items that satisfied personal desires
considered water to be sacred and have
and tastes for beauty. They were made
hence made water a close part of every-
by the textile craft guilds that lasted for
day life. Water, as featured in native folk
hundreds of years through the Ottoman
beliefs and the founding myth of the na-
Empire, and each guild produced fouta
tion, is both an object of fear and at the
with its own distinctive patterns and designs. Hence, the fouta served as the mark of each guild as well as a sign of the user’s wealth and a kind of talisman for good
KOREA AND TURKEY: SIMILAR BUT DIFFERENT BATHING CULTURES
Dano Day By Sin Yunbok Glass plate photo National Treasure No. 135
same time a divine entity that people rely Hamam Nalin Ottoman Empire, 18th century Wood, silver and mother-of-pearl H. 22.0 cm Collection of TSM
on to get rid of ill fortune and make their wishes come true. Such evolved until bathing was not just the act of making the
fucian thought. Confucianism continued
of the commoner class would go down to
process is followed in a Korean public
body clean but also a way to control dis-
to exert great influence on all areas of life
the stream to bathe and wash their hair
bathhouse, down to paying the attendant
In the Ottoman royal palaces, the
eases and stay healthy. It was also a holy
in the Joseon Dynasty including politics,
and sit around in groups chatting and so-
directly for a hair wash. Like Koreans, the
hamam culture was developed to a higher
act, representing purification of the body
education and culture. As it was forbid-
cializing. Hence women of old Korea also
Turkish people do not consider the bath-
level to match the status of the power-
before any important event to control the
den to reveal the body to others, members
formed their own secret bathing culture.
house as just a place for getting clean,
ful sultans. The production of luxurious
mind and to get rid of any ill fortune that
of upper-class, yangban, were partially
As can be seen from the above, Ko-
they see it as a place to socialize. Turkish
bath goods led to advances in handicrafts
might be present.
health.
clothed when they took full body baths.
rean bathing practices are very similar to
women not only bathe at the hamam but
and bathing procedures were formalized
Like the Turkish people, who placed
Partial baths were also taken to keep cer-
those of Turkey. The typical Turkish bath
chat and have fun with their friends, often
according to the complex rules and stan-
great importance on keeping the body
tain parts of the body clean. In traditional
involves first lying flat on a heated marble
spending hours there. This is little differ-
dards of the court. The Tasi, a kind of ba-
clean at all times under the influence of
Korea there was no public bathhouse like
floor to sweat, then being scrubbed and
ent to the way Koreans spend hours in
sin used to throw water on the body while
Islam, the Korean people placed equal
the Turkish hamam, on the Dano Day (the
massaged by a bath attendant, and finally
the bathhouse, enjoying the special atmo-
bathing, shows the high standard of silver
importance on keeping clean under Con-
fifth day of the fifth lunar month) women
washing in running water. A very similar
sphere and culture of the place.
14
15
SPECIAL EXHIBITION
DECEMBER 9, 2014 – APRIL 5, 2015 SPECIAL EXHIBITION GALLERY
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY BY GU MOONGY U NG, A SSOCI AT E CU R ATOR OF T H E EX H I BI T ION DEPA RTM EN T
W
hen volcanic activity began
vert the course of the Sarno River when
forgiven for thinking the roads they are
on Mt. Vesuvius on August
he discovered ancient Roman artifacts
walking on and the scenes spread before
24 in 79 CE, the people liv-
buried in the ground. It was the first time
them are a newly built film set. Indeed,
ing in Pompeii and the surrounding area
the existence of Pompeii had come to
the roads, the walls of the houses, the
had little idea of the real danger it posed.
light since the eruption of Vesuvius. But
amphitheater and other structures are so
Despite the signs of a major eruption,
the architect did not dig any further. Sev-
well preserved that it is hard to believe
many people were unable to escape and
eral excavations were attempted there-
they are more than 2,000 years old. The
were caught shivering with fear in their
after, but excessive curiosity and greed
city of Pompeii was not ruined; rather it
homes. Finally, that night a pyroclastic
hampered work and led to the damage
is a giant time capsule, a city where time
surge of immense proportions covered
of discovered artifacts. The first proper
stopped back on August 24, 79.
Pompeii, burying the city in silence and
excavations of Pompeii began in 1748, re-
The special exhibition Pompeii: Cul-
in history.
sulting in rediscovery of the ancient city,
ture of the Ancient Roman City features
and excavation work on Pompeii and the
artifacts that shed light on the everyday
surrounding area continues to this day.
lives of the people of Pompeii. It is di-
Some 1,500 years passed. Then in the 16th century, the architect Domenico Fontana was working on a channel to di-
16
First-time visitors to Pompeii may be
vided into nine sections that show what
17
SPECIAL EXHIBITION
DECEMBER 9, 2014 – APRIL 5, 2015 SPECIAL EXHIBITION GALLERY
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY BY GU MOONGY U NG, A SSOCI AT E CU R ATOR OF T H E EX H I BI T ION DEPA RTM EN T
W
hen volcanic activity began
vert the course of the Sarno River when
forgiven for thinking the roads they are
on Mt. Vesuvius on August
he discovered ancient Roman artifacts
walking on and the scenes spread before
24 in 79 CE, the people liv-
buried in the ground. It was the first time
them are a newly built film set. Indeed,
ing in Pompeii and the surrounding area
the existence of Pompeii had come to
the roads, the walls of the houses, the
had little idea of the real danger it posed.
light since the eruption of Vesuvius. But
amphitheater and other structures are so
Despite the signs of a major eruption,
the architect did not dig any further. Sev-
well preserved that it is hard to believe
many people were unable to escape and
eral excavations were attempted there-
they are more than 2,000 years old. The
were caught shivering with fear in their
after, but excessive curiosity and greed
city of Pompeii was not ruined; rather it
homes. Finally, that night a pyroclastic
hampered work and led to the damage
is a giant time capsule, a city where time
surge of immense proportions covered
of discovered artifacts. The first proper
stopped back on August 24, 79.
Pompeii, burying the city in silence and
excavations of Pompeii began in 1748, re-
The special exhibition Pompeii: Cul-
in history.
sulting in rediscovery of the ancient city,
ture of the Ancient Roman City features
and excavation work on Pompeii and the
artifacts that shed light on the everyday
surrounding area continues to this day.
lives of the people of Pompeii. It is di-
Some 1,500 years passed. Then in the 16th century, the architect Domenico Fontana was working on a channel to di-
16
First-time visitors to Pompeii may be
vided into nine sections that show what
17
Scene,” which once covered three walls of
which were important events in the city,
the reception room of the “House of the
peii as an Ancient Roman city.
give an idea of life in Pompeii at the time.
Golden Bracelet,” can be seen in the spe-
the master to his slave,” clearly indicating that slave women also wore jewelry.
Section five is filled with secret stories of eroticism. The people who took part in
Section four delves into the econom-
early excavations were startled by the de-
ic life of the city. Pompeii was a harbor
piction of sexual love between men and
city and at the same time an industrial
women in many of the frescos remain-
and agricultural city. Its waterside loca-
ing in the city and artifacts with clear
tion facilitated trade, and the wine made
expression of the penis. So many frescos
from the grapes grown in the fertile soil
and artifacts were based on the theme of
around Mt. Vesuvius was an important
eroticism that they gave the impression
export item that promoted the economy
of Pompeii as a city steeped in carnal
of the city. That such economic activity
pleasures, and for a long time many of
The first section introduces scenes of
The second section explores the lives
the streets of Pompeii and various inci-
of the aristocrats or wealthy people of
Section three comprises a display of
dents revealed in records. These records
Pompeii. At the time, large houses were
women’s cosmetics and accessories. It
provide important clues to understand-
filled with lavish frescos and sculptures.
is said that in Ancient Rome, men were
ing the contents of frescos found in the
The walls of the houses were covered
not allowed to wear anything more than
city. For example, the annals of the his-
with scenes from mythology, paintings
one ring in the way of accessories. But as
torian Tacitus record that fighting broke
depicting love between man and woman,
women came under no such restrictions,
out between the residents of Pompeii and
or other decoration. The garden located at
they covered their whole bodies with
the neighboring settlement of Nuceria at
the inner part of the house featured the
splendid ornaments. The snake-shaped
was founded on a strictly implemented
the discoveries were not shown to the
a gladiator show in the year 59, and this
busts of human figures or marble sculp-
bracelet featured in this part of the exhi-
system of weights and measures is evi-
public. Prostitution was not banned in
scene can be found depicted in a fresco.
tures of animals, which sat among the
bition is engraved with the words “DO-
denced by the discovery of stone weight
Ancient Rome and considering that book
Other frescos featuring scenes of gladi-
well-tended plants. “Fresco with Garden
MINUS ANCILLAE SUAE,” meaning “From
engraved with numbers.
The Art of Love (Ars amatoria), written by
Fresco with Bacchus and Ariadne H. 216.0 cm, L. 129.0 cm Pompeii, House of the Golden Bracelet Inv. 41658
Bronze Gladiator’s Helmet H. 45.0 cm, L. 45.0 cm Pompeii, Quadriporticus of the Theatres Inv. 5674
Fresco with Garden Scene H. 207.0 cm, L. 370.0 cm Pompeii, House of the Golden Bracelet Inv. 40690b
cial exhibition.
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
ator shows and theater performances,
erupted and explore the culture of Pom-
CONNECT WITH NMK
people were doing the day Mt. Vesuvius
Marble Statue of Venus H. 60.0 cm, L. 28.5 cm Pompeii, II, 9, 4 Inv. 37999
Gold Armbands with Glass Paste Eyes D. 7.6 cm Murecine Inv. 81580
18
19
Scene,” which once covered three walls of
which were important events in the city,
the reception room of the “House of the
peii as an Ancient Roman city.
give an idea of life in Pompeii at the time.
Golden Bracelet,” can be seen in the spe-
the master to his slave,” clearly indicating that slave women also wore jewelry.
Section five is filled with secret stories of eroticism. The people who took part in
Section four delves into the econom-
early excavations were startled by the de-
ic life of the city. Pompeii was a harbor
piction of sexual love between men and
city and at the same time an industrial
women in many of the frescos remain-
and agricultural city. Its waterside loca-
ing in the city and artifacts with clear
tion facilitated trade, and the wine made
expression of the penis. So many frescos
from the grapes grown in the fertile soil
and artifacts were based on the theme of
around Mt. Vesuvius was an important
eroticism that they gave the impression
export item that promoted the economy
of Pompeii as a city steeped in carnal
of the city. That such economic activity
pleasures, and for a long time many of
The first section introduces scenes of
The second section explores the lives
the streets of Pompeii and various inci-
of the aristocrats or wealthy people of
Section three comprises a display of
dents revealed in records. These records
Pompeii. At the time, large houses were
women’s cosmetics and accessories. It
provide important clues to understand-
filled with lavish frescos and sculptures.
is said that in Ancient Rome, men were
ing the contents of frescos found in the
The walls of the houses were covered
not allowed to wear anything more than
city. For example, the annals of the his-
with scenes from mythology, paintings
one ring in the way of accessories. But as
torian Tacitus record that fighting broke
depicting love between man and woman,
women came under no such restrictions,
out between the residents of Pompeii and
or other decoration. The garden located at
they covered their whole bodies with
the neighboring settlement of Nuceria at
the inner part of the house featured the
splendid ornaments. The snake-shaped
was founded on a strictly implemented
the discoveries were not shown to the
a gladiator show in the year 59, and this
busts of human figures or marble sculp-
bracelet featured in this part of the exhi-
system of weights and measures is evi-
public. Prostitution was not banned in
scene can be found depicted in a fresco.
tures of animals, which sat among the
bition is engraved with the words “DO-
denced by the discovery of stone weight
Ancient Rome and considering that book
Other frescos featuring scenes of gladi-
well-tended plants. “Fresco with Garden
MINUS ANCILLAE SUAE,” meaning “From
engraved with numbers.
The Art of Love (Ars amatoria), written by
Fresco with Bacchus and Ariadne H. 216.0 cm, L. 129.0 cm Pompeii, House of the Golden Bracelet Inv. 41658
Bronze Gladiator’s Helmet H. 45.0 cm, L. 45.0 cm Pompeii, Quadriporticus of the Theatres Inv. 5674
Fresco with Garden Scene H. 207.0 cm, L. 370.0 cm Pompeii, House of the Golden Bracelet Inv. 40690b
cial exhibition.
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
ator shows and theater performances,
erupted and explore the culture of Pom-
CONNECT WITH NMK
people were doing the day Mt. Vesuvius
Marble Statue of Venus H. 60.0 cm, L. 28.5 cm Pompeii, II, 9, 4 Inv. 37999
Gold Armbands with Glass Paste Eyes D. 7.6 cm Murecine Inv. 81580
18
19
that eroticism was an open subject and not considered lewd.
Pompeii. The seventh section focuses on the gods. The Ancient Romans worshipped
Section six features artifacts related
a wide variety of gods and constructed
to the food culture. Thanks to the
temples all over the cities. Worship of
prosperity of the Roman Empire,
the gods was such an everyday part
various foodstuffs were sold on
of life that the people had shrines in
the streets of Pompeii and baker-
their homes where they prayed for
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
Ovidius, was widely popular, it appears
CONNECT WITH NMK
Cast of a Crouching Man H. 90.0 cm, L. 50.0 cm, W. 60.0 cm Pompeii
was so highly developed that simple
The ninth and final part of the ex-
surgery was possible and medicinal
hibition vividly conveys the tragedy of
treatment was also well advanced. Evi-
the day Mt. Vesuvius erupted through
Various video materials can be seen
dence is found in the surgical tools, and
videos and the plaster casts of dead bod-
throughout the exhibition hall. One
medicine boxes and bottles shown in the
ies. The casts were created by injecting
explains the structure of a large manor
exhibition. On the outskirts of the city
plaster into the voids in the layer of ash
through recreations of every part of the
walls of Pompeii many tombs have been
that covered Pompeii left by the dead
house and a dining scene based on the
found. The people of Pompeii believed
bodies of humans and animals. This
contents of a fresco, bringing to life the
that death was the continuation of life
method was devised by Giuseppe Fio-
culture of the time. A video regarding
in another world. Hence the dead were
relli, who took charge of excavations in
the erotically explicit artifacts that can
buried with the possessions that they
the 19th century. The exhibition features
be seen at the actual Pompeii site con-
used in life, such as toys buried with
the cast of a man crouching down and
tains images of the expression of sex. A
pain speaks for the devastation of the volcanic eruption.
ies sold bread with locally milled
good fortune. Interestingly, the gods of
grains. Astonishingly, carbonized
other countries were also adopted. Har-
bread remains are similar in form
pokrates, for example, was adapted from
to the bread sold today. Garum,
the Egyptian child god Horus, the god of
a sauce made with fermented
silence. The exhibition features a bronze
children, weapons with adult men, and
covering his mouth and nose with his
video of the eruption of Mt. Vesuvius
fish, was so famous that there
sculpture of this deity.
sundry small items with adult women.
hand, and that of a woman lying down
is divided into time segments showing
are records mentioning it, along
The eighth section comprises a col-
Related exhibits include a stone marker
covering her face with her clothes in an
how the disaster progressed, and along
with wine, as an impor-
lection of artifacts related to medicine
indicating the spot where a funerary jar
attempt to block the ashes. In addition,
with the plaster casts vividly recreates
tant local specialty of
and funerals. Ancient Roman medicine
was buried.
the cast of a dog evidently writhing in
the situation.
Bronze Surgical Instruments with Container H. 10.0 cm (shortest), 15.0 cm (longest) Pompeii I, 11, 15 Inv. 11286, 11286a-e
20
21
that eroticism was an open subject and not considered lewd.
Pompeii. The seventh section focuses on the gods. The Ancient Romans worshipped
Section six features artifacts related
a wide variety of gods and constructed
to the food culture. Thanks to the
temples all over the cities. Worship of
prosperity of the Roman Empire,
the gods was such an everyday part
various foodstuffs were sold on
of life that the people had shrines in
the streets of Pompeii and baker-
their homes where they prayed for
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
Ovidius, was widely popular, it appears
CONNECT WITH NMK
Cast of a Crouching Man H. 90.0 cm, L. 50.0 cm, W. 60.0 cm Pompeii
was so highly developed that simple
The ninth and final part of the ex-
surgery was possible and medicinal
hibition vividly conveys the tragedy of
treatment was also well advanced. Evi-
the day Mt. Vesuvius erupted through
Various video materials can be seen
dence is found in the surgical tools, and
videos and the plaster casts of dead bod-
throughout the exhibition hall. One
medicine boxes and bottles shown in the
ies. The casts were created by injecting
explains the structure of a large manor
exhibition. On the outskirts of the city
plaster into the voids in the layer of ash
through recreations of every part of the
walls of Pompeii many tombs have been
that covered Pompeii left by the dead
house and a dining scene based on the
found. The people of Pompeii believed
bodies of humans and animals. This
contents of a fresco, bringing to life the
that death was the continuation of life
method was devised by Giuseppe Fio-
culture of the time. A video regarding
in another world. Hence the dead were
relli, who took charge of excavations in
the erotically explicit artifacts that can
buried with the possessions that they
the 19th century. The exhibition features
be seen at the actual Pompeii site con-
used in life, such as toys buried with
the cast of a man crouching down and
tains images of the expression of sex. A
pain speaks for the devastation of the volcanic eruption.
ies sold bread with locally milled
good fortune. Interestingly, the gods of
grains. Astonishingly, carbonized
other countries were also adopted. Har-
bread remains are similar in form
pokrates, for example, was adapted from
to the bread sold today. Garum,
the Egyptian child god Horus, the god of
a sauce made with fermented
silence. The exhibition features a bronze
children, weapons with adult men, and
covering his mouth and nose with his
video of the eruption of Mt. Vesuvius
fish, was so famous that there
sculpture of this deity.
sundry small items with adult women.
hand, and that of a woman lying down
is divided into time segments showing
are records mentioning it, along
The eighth section comprises a col-
Related exhibits include a stone marker
covering her face with her clothes in an
how the disaster progressed, and along
with wine, as an impor-
lection of artifacts related to medicine
indicating the spot where a funerary jar
attempt to block the ashes. In addition,
with the plaster casts vividly recreates
tant local specialty of
and funerals. Ancient Roman medicine
was buried.
the cast of a dog evidently writhing in
the situation.
Bronze Surgical Instruments with Container H. 10.0 cm (shortest), 15.0 cm (longest) Pompeii I, 11, 15 Inv. 11286, 11286a-e
20
21
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. Did you have any special reason for visiting the exhibition? 2. After seeing the exhibition, what was your impression of the art and culture of Pompeii? 3. What was the most memorable work in the exhibition?
LOOKING FOR THE GLORIOUS CULTURE OF ROME IN THE LOST CITY OF POMPEII
LOOKING FOR THE GLORIOUS CULTURE OF ROME IN THE LOST CITY OF POMPEII
CONNECT WITH NMK
VISITOR
KIM JUNGHUI
former teacher
1. It’s been a long time since I read about
3. When I was looking at the marble stat-
the Pompeii disaster in history books. I
ue of Venus and the grand garden fresco
have always wondered how high the cul-
I could sense the dignity and grace of the
tural level was there, how serious the vol-
Ancient Roman Empire. Decorating a
canic eruption and ensuing tragedy was,
whole interior wall with a fresco is under-
and to see it all with my own eyes.
standable. But to turn even the exterior walls in the garden into art—such artistic
2. Having seen the exhibition, I can imagine the lives of the people of Pompeii, a people who had a great sense of beauty
4. The last things I saw were the cast.
and knew how to make lovely gardens.
Perhaps that’s why I think the exhibition
Though they owed their lifestyle to their
should be interesting for the elderly. It
wealth, they were far from profligate and
makes you think about the meaning of
were much more intelligent than we are
death, which comes to us all one day, and
today, with a high level of culture. I got so
this can make the rest of your life more
caught up in the way of life of the Pom-
meaningful. In addition, for those at the
peii people that I wanted to meet and talk
age of 65 or more there’s a discount of
with one of them.
50 percent, which means the exhibition
4. The exhibition runs through April 5. Who would you recommend the exhibition to?
LEE YUNAH · CHO MINAN university students
only costs 6,000 won.
YU CHANGKEUN · KIM JUWON private after-school academy owners
1. (Cho) Two years ago we travelled to
3. (Cho) It’s fascinating to know that the
1. (Kim) We operate a private after-school
much bigger than the one I saw in Italy
Europe together and Pompeii was one
aristocrats ate their meals lying on their
academy where we read and discuss
and hence more imposing. For me the
of the places we visited. When we heard
sides on a bed by the table. There were
things with the students. We’re planning
word fresco brings up the image of the
about the exhibition, we wanted to see
many other exhibits that gave a good
a history tour to Florence and Rome with
Goguryeo tomb murals, but as these
it together and go over our memories of
idea of what was like in Pompeii at the
the students in February and thought it
paintings decorate tombs they have a
the trip.
time.
would be a good idea to see the exhibi-
sense of tension. On the other hand, the
(Lee) I like luxurious accessories, so I
tion before we leave, considering Pom-
glorious Pompeii fresco was painted to
2. (Cho) It was much better than I had
had a good look at the snake-shaped
peii was part of the Roman Empire. We
decorate a garden and has a sense of ease
expected. There is such a wide variety
bracelet, necklaces and rings.
came here today to survey the exhibition
and comfort.
first and will come back later with the
(Yu) When I was starting to think the
students.
retrieval of relics from Pompeii, which
of exhibits that it’s like being there on the spot. When we travelled Italy we
4. (Lee) Anyone who’s been backpacking
didn’t have a guide and made a lot of
around Europe will find something spe-
guesses about the things we saw. But go-
cial in the exhibition. Rather than ignor-
2. (Kim) I’ve actually been to Pompeii a
tion, seemed rather inefficient, I entered
ing round the exhibition today, carefully
ing it because you’ve seen it before, if
few times and seen a similar exhibition
the section displaying the casts of the
reading the explanations in Korean, I
you visit the exhibition when you have
at the National Archaeological Museum
Pompeii people who had died all hud-
learnt a lot of new things.
the chance you’ll see a lot of things in a
of Naples. I was concerned that this ex-
dled over. No lengthy explanations were
(Lee) I watched the videos closely be-
new light.
hibition would just be an assortment of
needed as the casts vividly conveyed the
cause from them you can imagine what
related objects but I didn’t need to worry.
moment when tragedy hit, closing the
it was like at the time of the eruption.
The videos were installed in just the right
exhibition with impact.
The video at the end of the exhibition,
places to bring the life and culture of Pom-
which compares Pompeii before and
peii alive and the content of the exhibition
4. (Kim) I would recommend the exhibi-
after the event by time, gave a very real-
seemed to grow richer as it went on.
tion to anyone with an interest in world
had been destroyed in a volcanic erup-
history. It is very helpful in gaining a gen-
istic sense of the disaster, incomparable to anything I’ve read in books.
22
sense leaves us far behind.
3. (Kim) The most overwhelming work
eral understanding of an ancient people’s
was the garden fresco. It was actually
thoughts and way of living.
23
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. Did you have any special reason for visiting the exhibition? 2. After seeing the exhibition, what was your impression of the art and culture of Pompeii? 3. What was the most memorable work in the exhibition?
LOOKING FOR THE GLORIOUS CULTURE OF ROME IN THE LOST CITY OF POMPEII
LOOKING FOR THE GLORIOUS CULTURE OF ROME IN THE LOST CITY OF POMPEII
CONNECT WITH NMK
VISITOR
KIM JUNGHUI
former teacher
1. It’s been a long time since I read about
3. When I was looking at the marble stat-
the Pompeii disaster in history books. I
ue of Venus and the grand garden fresco
have always wondered how high the cul-
I could sense the dignity and grace of the
tural level was there, how serious the vol-
Ancient Roman Empire. Decorating a
canic eruption and ensuing tragedy was,
whole interior wall with a fresco is under-
and to see it all with my own eyes.
standable. But to turn even the exterior walls in the garden into art—such artistic
2. Having seen the exhibition, I can imagine the lives of the people of Pompeii, a people who had a great sense of beauty
4. The last things I saw were the cast.
and knew how to make lovely gardens.
Perhaps that’s why I think the exhibition
Though they owed their lifestyle to their
should be interesting for the elderly. It
wealth, they were far from profligate and
makes you think about the meaning of
were much more intelligent than we are
death, which comes to us all one day, and
today, with a high level of culture. I got so
this can make the rest of your life more
caught up in the way of life of the Pom-
meaningful. In addition, for those at the
peii people that I wanted to meet and talk
age of 65 or more there’s a discount of
with one of them.
50 percent, which means the exhibition
4. The exhibition runs through April 5. Who would you recommend the exhibition to?
LEE YUNAH · CHO MINAN university students
only costs 6,000 won.
YU CHANGKEUN · KIM JUWON private after-school academy owners
1. (Cho) Two years ago we travelled to
3. (Cho) It’s fascinating to know that the
1. (Kim) We operate a private after-school
much bigger than the one I saw in Italy
Europe together and Pompeii was one
aristocrats ate their meals lying on their
academy where we read and discuss
and hence more imposing. For me the
of the places we visited. When we heard
sides on a bed by the table. There were
things with the students. We’re planning
word fresco brings up the image of the
about the exhibition, we wanted to see
many other exhibits that gave a good
a history tour to Florence and Rome with
Goguryeo tomb murals, but as these
it together and go over our memories of
idea of what was like in Pompeii at the
the students in February and thought it
paintings decorate tombs they have a
the trip.
time.
would be a good idea to see the exhibi-
sense of tension. On the other hand, the
(Lee) I like luxurious accessories, so I
tion before we leave, considering Pom-
glorious Pompeii fresco was painted to
2. (Cho) It was much better than I had
had a good look at the snake-shaped
peii was part of the Roman Empire. We
decorate a garden and has a sense of ease
expected. There is such a wide variety
bracelet, necklaces and rings.
came here today to survey the exhibition
and comfort.
first and will come back later with the
(Yu) When I was starting to think the
students.
retrieval of relics from Pompeii, which
of exhibits that it’s like being there on the spot. When we travelled Italy we
4. (Lee) Anyone who’s been backpacking
didn’t have a guide and made a lot of
around Europe will find something spe-
guesses about the things we saw. But go-
cial in the exhibition. Rather than ignor-
2. (Kim) I’ve actually been to Pompeii a
tion, seemed rather inefficient, I entered
ing round the exhibition today, carefully
ing it because you’ve seen it before, if
few times and seen a similar exhibition
the section displaying the casts of the
reading the explanations in Korean, I
you visit the exhibition when you have
at the National Archaeological Museum
Pompeii people who had died all hud-
learnt a lot of new things.
the chance you’ll see a lot of things in a
of Naples. I was concerned that this ex-
dled over. No lengthy explanations were
(Lee) I watched the videos closely be-
new light.
hibition would just be an assortment of
needed as the casts vividly conveyed the
cause from them you can imagine what
related objects but I didn’t need to worry.
moment when tragedy hit, closing the
it was like at the time of the eruption.
The videos were installed in just the right
exhibition with impact.
The video at the end of the exhibition,
places to bring the life and culture of Pom-
which compares Pompeii before and
peii alive and the content of the exhibition
4. (Kim) I would recommend the exhibi-
after the event by time, gave a very real-
seemed to grow richer as it went on.
tion to anyone with an interest in world
had been destroyed in a volcanic erup-
history. It is very helpful in gaining a gen-
istic sense of the disaster, incomparable to anything I’ve read in books.
22
sense leaves us far behind.
3. (Kim) The most overwhelming work
eral understanding of an ancient people’s
was the garden fresco. It was actually
thoughts and way of living.
23
THEME EXHIBITION
BY L EE TA EH EE, A SSOCI AT E CU R ATOR OF T H E A SI A DEPA RTM EN T
24
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910 –1945
CONNECT WITH NMK
OCTOBER 28, 2014 – JANUARY 11, 2015 SPECIAL EXHIBITION GALLERY
T
he word dongyang originally means “the eastern part of
1995. Painted by the Japanese artist Wada Sanzō, 1883‒1967 it deals
the sea.” Around the 13th century, when maritime trade
with a legend that exists in both Korea and Japan. By empha-
was active, Chinese officials took the port of Guangzhou
sizing the connection between the two countries, the painting
(or Canton) as their standard in dividing trading partners into
aims to show the ideal of colonial rule. The exhibition hence
those located in the eastern sea dongyang and those located in
offers the chance to explore the historical and artistic value
the western sea xiyang means “the western part of the sea.” But
of the old Asian artworks and historical materials collected at
in the early 20th century, Japan, having successfully developed
the crossroads of imperialism and colonialism, and between
into a modern nation, tried to place itself on the same level as
antiques and art, as well as the cultural policies and direction
the West by proposing dongyang as an opposite concept of “the
of museums in terms of acquisition and exhibition.
West.” Hence dongyang came to mean all of Asia. The exhibition Collecting Asian Objects in Colonial Korea,
The theme of the first section is “Ancient Culture of East Asia in the Government-General Museum of Korea.” This
1910–1945 reflects changes in the word dongyang as it explores
Government-General museum was opened in December 1915,
the acquisition of cultural properties by the Japanese and their
using facilities originally built for the Joseon Product Exhibi-
exhibitions of such during their occupation of Korea. The first
tion, an exposition commemorating the 5th year of Japan’s
thing that comes into sight upon entering the exhibition hall is
colonial rule of Korea. From its inception, the museum estab-
a large mural that used to decorate the central hall of the Japa-
lished a policy of acquisition of cultural properties relating to
nese Government-General building, which was demolished in
the history of Korea and Japan.
25
THEME EXHIBITION
BY L EE TA EH EE, A SSOCI AT E CU R ATOR OF T H E A SI A DEPA RTM EN T
24
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910 –1945
CONNECT WITH NMK
OCTOBER 28, 2014 – JANUARY 11, 2015 SPECIAL EXHIBITION GALLERY
T
he word dongyang originally means “the eastern part of
1995. Painted by the Japanese artist Wada Sanzō, 1883‒1967 it deals
the sea.” Around the 13th century, when maritime trade
with a legend that exists in both Korea and Japan. By empha-
was active, Chinese officials took the port of Guangzhou
sizing the connection between the two countries, the painting
(or Canton) as their standard in dividing trading partners into
aims to show the ideal of colonial rule. The exhibition hence
those located in the eastern sea dongyang and those located in
offers the chance to explore the historical and artistic value
the western sea xiyang means “the western part of the sea.” But
of the old Asian artworks and historical materials collected at
in the early 20th century, Japan, having successfully developed
the crossroads of imperialism and colonialism, and between
into a modern nation, tried to place itself on the same level as
antiques and art, as well as the cultural policies and direction
the West by proposing dongyang as an opposite concept of “the
of museums in terms of acquisition and exhibition.
West.” Hence dongyang came to mean all of Asia. The exhibition Collecting Asian Objects in Colonial Korea,
The theme of the first section is “Ancient Culture of East Asia in the Government-General Museum of Korea.” This
1910–1945 reflects changes in the word dongyang as it explores
Government-General museum was opened in December 1915,
the acquisition of cultural properties by the Japanese and their
using facilities originally built for the Joseon Product Exhibi-
exhibitions of such during their occupation of Korea. The first
tion, an exposition commemorating the 5th year of Japan’s
thing that comes into sight upon entering the exhibition hall is
colonial rule of Korea. From its inception, the museum estab-
a large mural that used to decorate the central hall of the Japa-
lished a policy of acquisition of cultural properties relating to
nese Government-General building, which was demolished in
the history of Korea and Japan.
25
tomb relics from the Han Dynasty. BCE 206‒CE 220 This was a deliberate move toward comparison with relics from the Nangnang commandery found in Pyeongannam-do, present-day North Korea. Nangnang was established by the Han Dynasty when it conquered Gojoseon and is a site that has yielded many Chinese relics. Japanese scholars considered Nangnang to be the place of origin of the Korean culture. Japan has used the theory that the Korean culture began when the Chinese culture entered the peninsula with the establishment of the Nangnang commandery to argue for the dependency of Korean culture on other cultures and justification of its own colonial rule. By exhibiting Nangnang and Han relics together at the Government-General Museum of Korea,
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
The Chinese artifacts collected at the time were focused on
CONNECT WITH NMK
Tetra-leaf Shaped Ornament with Inlaid Crystal Han Dynasty 9.4 × 9.0 cm Bronze and crystal Acquired on January 10, 1929 Gift of Yamanaka Sadajiro bon 10621
the Japanese attempted to express this idea visually as well. Moreover, by exhibiting Silla earthenware together with earthFace-shaped Ornaments Buyeo L. 27.4 cm Gilt bronze Acquired on April 18, 1923 Purchased from Takahashi Kaneaki bon 8926
enware from the Kitakyushu region of Japan, they emphasized the similarity of the culture of Korea’s southern region with that of Kyushu. In this way the closeness between Korea and Japan in ancient times was emphasized to provide historical grounds for the colonial policy of assimilation. The theme of the second section is “Art of the Western Regions in Sujeongjeon at Gyeongbokgung Palace: Central Asian Collection in the Government-General Museum of Korea.” This collection was donated to the museum in 1916 by Fusanosuke Kuhara, 1869‒1965 president of a Japanese mining company, and comprises the personal possessions of Kōzui Ōtani 1876‒1948 abbot of Nishihonganji Temple in Kyoto. In an attempt to identify the origins of Japanese Buddhism, Ōtani financed three expeditions to Central Asia between 1902 and 1914. The donor, Kuhara, was from Yamaguchi prefecture in Japan, and came from the same
Pensive Bodhisattva Northern Qi Dynasty H. 44.2 cm White marble Acquired on April 1, 1914 Purchased from Uratani Seiji duk 4684
hometown as Masatake Terauchi, 1852‒1919 the Japanese Governor-
newly constructed in 1911, the museum also made use of some
General at the time. Based on his successful mining business
of the original palace halls, including Myeongjeongjeon and
(currently housing the National Museum of Modern and Con-
in Japan, he ventured into Korea in 1915, building a refinery in
Haminjeong. A Buddhist stele purchased from China in 1916
temporary Art, Deoksugung) and the collection of the Yi Royal
Jinnampo and making moves to develop the gold-mining busi-
and a replica of the main icon in Seokguram Grotto were ex-
Family Museum was moved here from Changgyeonggung. The
ness. It is assumed that his donation of Ōtani’s Central Asian
hibited in Myeongjeongjeon. In those days, the Japanese took
Yi Royal Family Museum hence became a place for the exhibi-
Collection was part of his business lobbying activities. Thanks
the development of Buddhist art to be the standard for cultural
tion of old Korean works and contemporary Japanese art, and
to this donation, the Government-General Museum, which had
development in its own history. They intended to apply the
walking through the two exhibition halls made viewers feel a
opened in December 1915, obtained an important collection of
same formula to Korean history, and in this context regarded
sort of continuation of history.
artifacts. The collection was exhibited to the public in Septem-
the Joseon Dynasty as a period of cultural decline. Against this
ber 1916 in Sujeongjeon at Gyeongbukgung Palace. The exhibi-
political background, Buddhist sculptures formed the core of
those by judges or award winners in the Japanese state-spon-
tion was widely publicized through postcards and an exhibition
the museum’s collection.
sored national art exhibition. They were therefore the major
catalogue was also published. These moves served to widely promote the cultural administration of the Government-General. The theme of the third section is “Buddhist Sculpture in
26
The theme of the fourth section is “Japanese Modern Art
In 1938 a new building was constructed in front of Seokjojeon
The Japanese works exhibited in Seokjojeon were mainly
Japanese artists of their time and as they served as judges or
in Seokjojeon at Deoksugung Palace: The Collection of the Yi
invited artists in the Joseon national art exhibition, they natu-
Royal Family Museum of Art.” When made to step down from
rally had an influence on Korean artists of that time. With the
Gojong r. 1863‒1907
Myeongjeongjeon at Changgyeonggung Palace: The Collection
the throne by the Japanese, Emperor
of the Yi Royal Family Museum.” The Yi Royal Family Museum
to live in Deoksugung. After his death in 1919, the palace was
went
War in the 1930s, Japanese and Korean art were used to stimu-
was opened in 1909 at Changgyeonggung Palace as the Impe-
left empty for a while. Then in 1933 it was turned into a park
late militarism. The current exhibition on colonial Korea shows
rial Museum of the Daehan Empire. Acquisition of Korean
and made open to the public. This is when Seokjojeon, the
the works of the artists who served as judges for the Korean
artifacts began before the opening of the museum, along with
Western-style stone building inside the palace, was turned into
national art exhibition and had an influence on Korean artists
items from China and Japan. Along with the main building,
a museum for the exhibition of Japanese contemporary art.
as well as works that have a clearly militaristic flavor.
outbreak of the Manchurian Incident and the Sino-Japanese
27
tomb relics from the Han Dynasty. BCE 206‒CE 220 This was a deliberate move toward comparison with relics from the Nangnang commandery found in Pyeongannam-do, present-day North Korea. Nangnang was established by the Han Dynasty when it conquered Gojoseon and is a site that has yielded many Chinese relics. Japanese scholars considered Nangnang to be the place of origin of the Korean culture. Japan has used the theory that the Korean culture began when the Chinese culture entered the peninsula with the establishment of the Nangnang commandery to argue for the dependency of Korean culture on other cultures and justification of its own colonial rule. By exhibiting Nangnang and Han relics together at the Government-General Museum of Korea,
COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
The Chinese artifacts collected at the time were focused on
CONNECT WITH NMK
Tetra-leaf Shaped Ornament with Inlaid Crystal Han Dynasty 9.4 × 9.0 cm Bronze and crystal Acquired on January 10, 1929 Gift of Yamanaka Sadajiro bon 10621
the Japanese attempted to express this idea visually as well. Moreover, by exhibiting Silla earthenware together with earthFace-shaped Ornaments Buyeo L. 27.4 cm Gilt bronze Acquired on April 18, 1923 Purchased from Takahashi Kaneaki bon 8926
enware from the Kitakyushu region of Japan, they emphasized the similarity of the culture of Korea’s southern region with that of Kyushu. In this way the closeness between Korea and Japan in ancient times was emphasized to provide historical grounds for the colonial policy of assimilation. The theme of the second section is “Art of the Western Regions in Sujeongjeon at Gyeongbokgung Palace: Central Asian Collection in the Government-General Museum of Korea.” This collection was donated to the museum in 1916 by Fusanosuke Kuhara, 1869‒1965 president of a Japanese mining company, and comprises the personal possessions of Kōzui Ōtani 1876‒1948 abbot of Nishihonganji Temple in Kyoto. In an attempt to identify the origins of Japanese Buddhism, Ōtani financed three expeditions to Central Asia between 1902 and 1914. The donor, Kuhara, was from Yamaguchi prefecture in Japan, and came from the same
Pensive Bodhisattva Northern Qi Dynasty H. 44.2 cm White marble Acquired on April 1, 1914 Purchased from Uratani Seiji duk 4684
hometown as Masatake Terauchi, 1852‒1919 the Japanese Governor-
newly constructed in 1911, the museum also made use of some
General at the time. Based on his successful mining business
of the original palace halls, including Myeongjeongjeon and
(currently housing the National Museum of Modern and Con-
in Japan, he ventured into Korea in 1915, building a refinery in
Haminjeong. A Buddhist stele purchased from China in 1916
temporary Art, Deoksugung) and the collection of the Yi Royal
Jinnampo and making moves to develop the gold-mining busi-
and a replica of the main icon in Seokguram Grotto were ex-
Family Museum was moved here from Changgyeonggung. The
ness. It is assumed that his donation of Ōtani’s Central Asian
hibited in Myeongjeongjeon. In those days, the Japanese took
Yi Royal Family Museum hence became a place for the exhibi-
Collection was part of his business lobbying activities. Thanks
the development of Buddhist art to be the standard for cultural
tion of old Korean works and contemporary Japanese art, and
to this donation, the Government-General Museum, which had
development in its own history. They intended to apply the
walking through the two exhibition halls made viewers feel a
opened in December 1915, obtained an important collection of
same formula to Korean history, and in this context regarded
sort of continuation of history.
artifacts. The collection was exhibited to the public in Septem-
the Joseon Dynasty as a period of cultural decline. Against this
ber 1916 in Sujeongjeon at Gyeongbukgung Palace. The exhibi-
political background, Buddhist sculptures formed the core of
those by judges or award winners in the Japanese state-spon-
tion was widely publicized through postcards and an exhibition
the museum’s collection.
sored national art exhibition. They were therefore the major
catalogue was also published. These moves served to widely promote the cultural administration of the Government-General. The theme of the third section is “Buddhist Sculpture in
26
The theme of the fourth section is “Japanese Modern Art
In 1938 a new building was constructed in front of Seokjojeon
The Japanese works exhibited in Seokjojeon were mainly
Japanese artists of their time and as they served as judges or
in Seokjojeon at Deoksugung Palace: The Collection of the Yi
invited artists in the Joseon national art exhibition, they natu-
Royal Family Museum of Art.” When made to step down from
rally had an influence on Korean artists of that time. With the
Gojong r. 1863‒1907
Myeongjeongjeon at Changgyeonggung Palace: The Collection
the throne by the Japanese, Emperor
of the Yi Royal Family Museum.” The Yi Royal Family Museum
to live in Deoksugung. After his death in 1919, the palace was
went
War in the 1930s, Japanese and Korean art were used to stimu-
was opened in 1909 at Changgyeonggung Palace as the Impe-
left empty for a while. Then in 1933 it was turned into a park
late militarism. The current exhibition on colonial Korea shows
rial Museum of the Daehan Empire. Acquisition of Korean
and made open to the public. This is when Seokjojeon, the
the works of the artists who served as judges for the Korean
artifacts began before the opening of the museum, along with
Western-style stone building inside the palace, was turned into
national art exhibition and had an influence on Korean artists
items from China and Japan. Along with the main building,
a museum for the exhibition of Japanese contemporary art.
as well as works that have a clearly militaristic flavor.
outbreak of the Manchurian Incident and the Sino-Japanese
27
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER
CONNECT WITH NMK
RNM EXHIBITION. 1
T
he Gwangju National Museum is holding the special ex-
forerunner of late Joseon painting, Yun was a realist who placed
hibition Gongjae Yun Duseo: Encounter with a Great Master
great importance on the observation of everyday life. Yun’s
to mark the 300th anniversary of the death of the great
approach to art can be surmised from the following statement
artist. The exhibition not only explores the work of Yun Duseo
by Nam Taeung, 1687‒1740 an artist and contemporary of Yun
but also his son, Yun Deokhui, 尹德熙, 1685‒1776 and his grandson,
Duseo: “For years, when he painted horses he would stand in
Yun
Yong. 尹愹, 1708-1740
Self-Portrait of Yun Duseo, National Treasure
front of the stables all day and watch them. With his mind’s eye
No. 240 and the greatest self-portrait of the Joseon period, is rea-
he captured their shape and movements and only began to paint
son enough to visit the exhibition. Other famous works featured
when he was absolutely certain that he could reproduce them.”
include Gajeon bohoe which has been designated Treasure No.
Self-Portrait of Yun Duseo Joseon Dynasty, 18th century 38.5 x 20.5 cm Ink and color on paper National Treasure no. 240 Nogudang
OCTOBER 21, 2014 – JANUARY 18, 2015 GWANGJU NATIONAL MUSEUM, SPECIAL EXHIBITION HALL
The exhibition is divided into four parts. Part 1, titled “Yun
481 and Yunssi gabo, two albums of paintings by the artists in the
Duseo’s Life and Family Relations,” shows the scholarly atmo-
Yun family. The exhibition also features some 200 rare paint-
sphere of Yun’s home and how the vast learning of the Haenam
ings, books, seals and other items that have left Nogudang, Yun
Yun clan influenced Yun’s own studies. The paintings, books
Duseo’s ancestral home, for the first time ever.
and calligraphy works preserved at Nogudang, indicate that
With his keen powers of observation and excellent
Yun’s liberal attitude to study and curiosity about other civili-
brushwork, Yun Duseo was a pioneering artist who dealt with
zations are in line with his attitude to art. For him a painting
subjects previously overlooked. Depicting the real world and
was not simply a hobby or pastime but study of the principle
real people, he opened a new horizon in Joseon painting. As the
behind objects, that is, the Confucian idea of the investigation of all things. The second part explores the theme “Yun Duseo’s World of Calligraphy and Painting” by showing his works according to
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER BY T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA
28
subject matter: landscapes, figure paintings, genre paintings, and horses. In the Joseon art scene, Yun pioneered the Chinese Southern School trend and the methodology behind producing works of art. Old Monk and Riverside under the Moonlight exemplify the new trends reflected in Yun Duseo’s various paintings. The third part titled “Calligraphy and Paintings of Yun Deokhui and Yun Yong” focuses on the three generations of The Gwangju National Museum has held the special exhibition to mark the 300th anniversary of the death of the great artist, Yun Duseo.
literati artists in Yun Duseo’s family. Under the influence of his father, Yun Deokhui worked in many styles and types of paint-
29
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER
CONNECT WITH NMK
RNM EXHIBITION. 1
T
he Gwangju National Museum is holding the special ex-
forerunner of late Joseon painting, Yun was a realist who placed
hibition Gongjae Yun Duseo: Encounter with a Great Master
great importance on the observation of everyday life. Yun’s
to mark the 300th anniversary of the death of the great
approach to art can be surmised from the following statement
artist. The exhibition not only explores the work of Yun Duseo
by Nam Taeung, 1687‒1740 an artist and contemporary of Yun
but also his son, Yun Deokhui, 尹德熙, 1685‒1776 and his grandson,
Duseo: “For years, when he painted horses he would stand in
Yun
Yong. 尹愹, 1708-1740
Self-Portrait of Yun Duseo, National Treasure
front of the stables all day and watch them. With his mind’s eye
No. 240 and the greatest self-portrait of the Joseon period, is rea-
he captured their shape and movements and only began to paint
son enough to visit the exhibition. Other famous works featured
when he was absolutely certain that he could reproduce them.”
include Gajeon bohoe which has been designated Treasure No.
Self-Portrait of Yun Duseo Joseon Dynasty, 18th century 38.5 x 20.5 cm Ink and color on paper National Treasure no. 240 Nogudang
OCTOBER 21, 2014 – JANUARY 18, 2015 GWANGJU NATIONAL MUSEUM, SPECIAL EXHIBITION HALL
The exhibition is divided into four parts. Part 1, titled “Yun
481 and Yunssi gabo, two albums of paintings by the artists in the
Duseo’s Life and Family Relations,” shows the scholarly atmo-
Yun family. The exhibition also features some 200 rare paint-
sphere of Yun’s home and how the vast learning of the Haenam
ings, books, seals and other items that have left Nogudang, Yun
Yun clan influenced Yun’s own studies. The paintings, books
Duseo’s ancestral home, for the first time ever.
and calligraphy works preserved at Nogudang, indicate that
With his keen powers of observation and excellent
Yun’s liberal attitude to study and curiosity about other civili-
brushwork, Yun Duseo was a pioneering artist who dealt with
zations are in line with his attitude to art. For him a painting
subjects previously overlooked. Depicting the real world and
was not simply a hobby or pastime but study of the principle
real people, he opened a new horizon in Joseon painting. As the
behind objects, that is, the Confucian idea of the investigation of all things. The second part explores the theme “Yun Duseo’s World of Calligraphy and Painting” by showing his works according to
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER BY T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA
28
subject matter: landscapes, figure paintings, genre paintings, and horses. In the Joseon art scene, Yun pioneered the Chinese Southern School trend and the methodology behind producing works of art. Old Monk and Riverside under the Moonlight exemplify the new trends reflected in Yun Duseo’s various paintings. The third part titled “Calligraphy and Paintings of Yun Deokhui and Yun Yong” focuses on the three generations of The Gwangju National Museum has held the special exhibition to mark the 300th anniversary of the death of the great artist, Yun Duseo.
literati artists in Yun Duseo’s family. Under the influence of his father, Yun Deokhui worked in many styles and types of paint-
29
great potential as an artist and was especially talented in painting landscapes, genre paintings and Taoist or Buddhist figure paintings. Under the theme “Influence of Yun Duseo’s Family on Later Generations,” the fourth part of the exhibition looks at the artists who came to learn from Yun Duseo and those whose work came under his influence. Later Joseon artists, from literati painters such as Jeong Seon, Jo Yeongseok, Sim Sajeong, and Kang Sehwang, to professional artists such as Kim Ikju, Kim Duryang, Kim Hongdo, Yi Inmun, and Kim Deuksin were able to forge their own paths thanks to the efforts of Yun Duseo
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME
the immortals. Yun Yong, like his grandfather Yun Duseo, had
CONNECT WITH NMK
ing and was especially famous for his paintings of horses and
before them. Visitors will be intrigued to see Yun’s painting Stonemason Breaking a Stone displayed alongside Kang Huian’s painting of the same title. The influence of Yun Duseo’s family of artists was such that it helped shape the history of 300 years of painting in the Honam region and in making the region “the home of the arts.” The special exhibition examines painting trends in the Honam Old Monk By Yun Duseo Joseon Dynasty, late 17th – early 18th century 57.7 × 37.0 cm bon 262
region and the cultural-historical significance of later Joseon, and the stream of both Korean and foreign visitors confirms the wide interest in the art of Yun Duseo and his descendants.
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME BY T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA
RNM EXHIBITION. 2
T
he Jeju National Museum is hosting the exhibition Korean Horses: Galloping across Space and Time to commemorate Jeju’s designation this year as Korea’s first
special zone for support of the horse industry. The exhibition
OCTOBER 7 – DECEMBER 7, 2014 JEJU NATIONAL MUSEUM, SPECIAL EXHIBITION GALLERY
brings together horse-related artifacts from institutions and private collections all over the country to increase viewers’ understanding of the native horse culture and underscore Jeju’s identity as the center of Korea’s horse industry. Featuring 490 items, it is the largest exhibition in Korea to be held on this theme. The exhibition is divided into four sections. The first section, under the theme “Symbol of Sacredness and Dignity,” introduces related items from the prehistoric and ancient periods. Fast and lively, the horse has from ancient times been considered a mystical animal and mediator between heaven and earth. With its ability to move and react quickly, the horse brought victory in battle and was also a mythical beast that
Front view of the Jeju National Museum
30
guided the souls of the dead to heaven. It was also considered
31
great potential as an artist and was especially talented in painting landscapes, genre paintings and Taoist or Buddhist figure paintings. Under the theme “Influence of Yun Duseo’s Family on Later Generations,” the fourth part of the exhibition looks at the artists who came to learn from Yun Duseo and those whose work came under his influence. Later Joseon artists, from literati painters such as Jeong Seon, Jo Yeongseok, Sim Sajeong, and Kang Sehwang, to professional artists such as Kim Ikju, Kim Duryang, Kim Hongdo, Yi Inmun, and Kim Deuksin were able to forge their own paths thanks to the efforts of Yun Duseo
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME
the immortals. Yun Yong, like his grandfather Yun Duseo, had
CONNECT WITH NMK
ing and was especially famous for his paintings of horses and
before them. Visitors will be intrigued to see Yun’s painting Stonemason Breaking a Stone displayed alongside Kang Huian’s painting of the same title. The influence of Yun Duseo’s family of artists was such that it helped shape the history of 300 years of painting in the Honam region and in making the region “the home of the arts.” The special exhibition examines painting trends in the Honam Old Monk By Yun Duseo Joseon Dynasty, late 17th – early 18th century 57.7 × 37.0 cm bon 262
region and the cultural-historical significance of later Joseon, and the stream of both Korean and foreign visitors confirms the wide interest in the art of Yun Duseo and his descendants.
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME BY T H E EDI TOR I A L T EA M OF T H E NATIONA L MUSEUM OF KOR EA
RNM EXHIBITION. 2
T
he Jeju National Museum is hosting the exhibition Korean Horses: Galloping across Space and Time to commemorate Jeju’s designation this year as Korea’s first
special zone for support of the horse industry. The exhibition
OCTOBER 7 – DECEMBER 7, 2014 JEJU NATIONAL MUSEUM, SPECIAL EXHIBITION GALLERY
brings together horse-related artifacts from institutions and private collections all over the country to increase viewers’ understanding of the native horse culture and underscore Jeju’s identity as the center of Korea’s horse industry. Featuring 490 items, it is the largest exhibition in Korea to be held on this theme. The exhibition is divided into four sections. The first section, under the theme “Symbol of Sacredness and Dignity,” introduces related items from the prehistoric and ancient periods. Fast and lively, the horse has from ancient times been considered a mystical animal and mediator between heaven and earth. With its ability to move and react quickly, the horse brought victory in battle and was also a mythical beast that
Front view of the Jeju National Museum
30
guided the souls of the dead to heaven. It was also considered
31
illustrated chart of King Jeongjo’s procession to the tomb of his
appearance of a new emperor. Such symbolism is manifested
father, Hwaseong wonhaeng banchado, 華城園幸班次圖 which shows
in various paintings and other artworks, with this part of the
the royal horse ridden by the king, and a painting of the funeral
horses, Mongmado, from the mid-Joseon period, are also on
exhibition featuring the Black Lacquered Stirrups from Unified
procession of Queen Jeongsun, second queen of King Yeongjo,
display.
Silla, clay figurines excavated from ancient tombs, and horse
Eulchuk jeongsun hwanghu insado. Visitors are particularly fasci-
trappings such as bells, stirrups, and ornaments.
nated by a painting of the eight horses of Taejo, the founding
to Jeju” and focuses on the horse-related culture of Jeju. From
monarch of Joseon. Measuring 59cm across and 104cm high, it
the Goryeo to the Joseon periods, state-operated ranches were
tures horse-related objects from fields such as transportation,
is presented under the so-called “smart glass” to enhance the
established on Jeju, and hence horse-breeding skills on island
freight, war and foreign relations. Books and records such as
vitality of the painting.
were much more advanced than in other parts of the country.
The second section, “The Measure of National Power,” fea-
History of 典
Goryeo, 高麗史
Grand Code of State
Administration, 經國大
and Sequel to the Grand Code 續大典 show that various govern-
Eight Steed of King Taejo (Eungsangbaek) Late Joseon 42.5 x 34.8 cm
showing horses as the companion of people through the joys and sorrows of life, such as a peaceful pastoral scene of twelve
The theme of the fourth section is “People to Seoul, Horses
The third section, themed “Horses and the Joys and Sor-
The stock-farming skills developed on Jeju had a strong impact
rows of Life,” focuses on various records regarding horses.
on Korean stock-farming in general, and this part of the exhi-
ment offices were established for the management of horses,
The horse symbolized the beginning of a government career,
bition includes relics related to the Jeju’s horse herders called
which were vital to the major industries on which national
represented wishes for an age of peace and prosperity, and was
teuri. In addition, the album of paintings Tamna sullyeokdo
strength was built. Therefore, the state revised systems for
even worshipped under folk beliefs. The exhibition explores
shows scenes from life on Jeju in the early 18th century, featur-
horse management and implemented policies to ensure a sup-
the relationship between Koreans and their horses as reflected
ing detailed depictions of people in charge of managing the
ply of good horses. Displayed to the public for the first time
in the genre paintings of Kim Hongdo. Works from Kim’s Album
horses and inspection facilities. Through this special exhibi-
in this exhibition is the Silk Identification of Envoys to China, a
of Genre Paintings such as Shoeing the Horse (Pyeonja bakgi), On
tion, visitors from Korea and other countries will realize that
kind of pass issued to Goryeo officials who came to the island
the Way to the Wedding (Sinhaeng), and On the Way to the Market
Jeju has long been the home of Korean horses and come away
as part of a mission to China. Also featured in this part of the
(Jangteo gil), which are usually seen only in textbooks, will be
with the feeling of knowing much more about the island than
exhibition are various items from the royal court including the
shown in three rotations. Other masterpieces of genre painting
they did before.
Horse Rider-shaped Clay Vessel Silla L. 27.4 cm Gyeongju National Museum
32
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME
CONNECT WITH NMK
a sacred animal that heralded the birth of a new nation or
Wood Figurines for Decorating a Funeral Bier Late Joseon Dynasty H. 31.5 cm Kokdu Museum
Stirrups Unified Silla, 7-8 century H. 14.7 cm (left) Treasure No. 1151 Gyeongju National Museum
Silk Identification Card of Envoys to China Goryeo, 1390 34.0 × 124.0 cm
33
illustrated chart of King Jeongjo’s procession to the tomb of his
appearance of a new emperor. Such symbolism is manifested
father, Hwaseong wonhaeng banchado, 華城園幸班次圖 which shows
in various paintings and other artworks, with this part of the
the royal horse ridden by the king, and a painting of the funeral
horses, Mongmado, from the mid-Joseon period, are also on
exhibition featuring the Black Lacquered Stirrups from Unified
procession of Queen Jeongsun, second queen of King Yeongjo,
display.
Silla, clay figurines excavated from ancient tombs, and horse
Eulchuk jeongsun hwanghu insado. Visitors are particularly fasci-
trappings such as bells, stirrups, and ornaments.
nated by a painting of the eight horses of Taejo, the founding
to Jeju” and focuses on the horse-related culture of Jeju. From
monarch of Joseon. Measuring 59cm across and 104cm high, it
the Goryeo to the Joseon periods, state-operated ranches were
tures horse-related objects from fields such as transportation,
is presented under the so-called “smart glass” to enhance the
established on Jeju, and hence horse-breeding skills on island
freight, war and foreign relations. Books and records such as
vitality of the painting.
were much more advanced than in other parts of the country.
The second section, “The Measure of National Power,” fea-
History of 典
Goryeo, 高麗史
Grand Code of State
Administration, 經國大
and Sequel to the Grand Code 續大典 show that various govern-
Eight Steed of King Taejo (Eungsangbaek) Late Joseon 42.5 x 34.8 cm
showing horses as the companion of people through the joys and sorrows of life, such as a peaceful pastoral scene of twelve
The theme of the fourth section is “People to Seoul, Horses
The third section, themed “Horses and the Joys and Sor-
The stock-farming skills developed on Jeju had a strong impact
rows of Life,” focuses on various records regarding horses.
on Korean stock-farming in general, and this part of the exhi-
ment offices were established for the management of horses,
The horse symbolized the beginning of a government career,
bition includes relics related to the Jeju’s horse herders called
which were vital to the major industries on which national
represented wishes for an age of peace and prosperity, and was
teuri. In addition, the album of paintings Tamna sullyeokdo
strength was built. Therefore, the state revised systems for
even worshipped under folk beliefs. The exhibition explores
shows scenes from life on Jeju in the early 18th century, featur-
horse management and implemented policies to ensure a sup-
the relationship between Koreans and their horses as reflected
ing detailed depictions of people in charge of managing the
ply of good horses. Displayed to the public for the first time
in the genre paintings of Kim Hongdo. Works from Kim’s Album
horses and inspection facilities. Through this special exhibi-
in this exhibition is the Silk Identification of Envoys to China, a
of Genre Paintings such as Shoeing the Horse (Pyeonja bakgi), On
tion, visitors from Korea and other countries will realize that
kind of pass issued to Goryeo officials who came to the island
the Way to the Wedding (Sinhaeng), and On the Way to the Market
Jeju has long been the home of Korean horses and come away
as part of a mission to China. Also featured in this part of the
(Jangteo gil), which are usually seen only in textbooks, will be
with the feeling of knowing much more about the island than
exhibition are various items from the royal court including the
shown in three rotations. Other masterpieces of genre painting
they did before.
Horse Rider-shaped Clay Vessel Silla L. 27.4 cm Gyeongju National Museum
32
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME
CONNECT WITH NMK
a sacred animal that heralded the birth of a new nation or
Wood Figurines for Decorating a Funeral Bier Late Joseon Dynasty H. 31.5 cm Kokdu Museum
Stirrups Unified Silla, 7-8 century H. 14.7 cm (left) Treasure No. 1151 Gyeongju National Museum
Silk Identification Card of Envoys to China Goryeo, 1390 34.0 × 124.0 cm
33
LECTURE AT NMK
CONNECT WITH WORLD
NMK 2015 WINTER
MUSEUM EDUCATION KEYWORD FOR 2015: UNDERSTANDING CULTURAL DIVERSITY
MUSEUM EDUCATION KEYWORD FOR 2015: UNDERSTANDING CULTURAL DIVERSITY INTERVIEW WITH A DIRECTOR, EDUCATORS, AND AN ASSISTANT CURATOR OF THE EDUCATION DIVISION
GOALS OF THE EDUCATION DIVISION
participants showed great interest in the
OF THE NATIONAL MUSEUM OF KOREA
programs and expressed a high level of
Although everyone comes to like the mu-
satisfaction, judging the programs to be
seum for a different reason, the moment
well organized and operated. Internally,
viewers begin communication with the
it has been assessed that the education
artworks and relics on they inevitably de-
programs have reached a stable point in
velop an interest in and affection for the
terms of operation and have gained high
museum. The people who help pave the
credibility from the public. As the Educa-
way for such interaction are the educators
tion Division runs such a large number of
and curators at the museum. The Educa-
programs for different target groups, the
tion Division at the NMK, in addition to
educators must carefully think over the
helping as many people as possible to
most appropriate methods and contents of
properly enjoy the museum, has the im-
each program. While the youth programs
tions at the museum to in-crease students’
programs such as ceramics, calligraphy
and operated on the basis of education
FUTURE PLANS
portant role of leading the development
call for new methods with the changing
understanding of culture. The teachers’
and seal making, as well as gallery tour
theories such as STEAM(Science, Technol-
Many fields remain to be explored in
of programs and presenting directions for
times, adult groups tend to prefer educa-
program on the one hand provides educa-
the permanent exhibition. Next year,
ogy, Engineering, Arts and Mathematics)
museum education, especially considering
linking education with the museum’s col-
tion methods with which they are famil-
tional materials that will enable teachers
the museum plans to run an additional
or multiple intelligences. “Finding new
the growing expectations of museum visi-
lection to raise the standard of museum
iar. In this context, we refer to exemplary
to explain the exhibits on site when they
program for teachers at the international
Possibilities inside Me,” an education pro-
tors. The Education Division of the NMK
education in Korea. To meet and indeed
case studies from overseas museums that
bring their students to see the permanent
schools in Korea. In connection with the
gram based on the multiple intelligences
has worked hard over the past ten years.
anticipate the demands of the NMK as a
have a wealth of know-how accumulated
exhibition, and on the other hand includes
programs for Korean school teachers, the
theory, gave students the opportunity to
With its wealth of experience, the mu-
social education institution, it is exploring
over the years. However, we are not only
a workshop where teachers will learn how
new program will gradually expand after
discover their individuality and aptitudes
seum over the next ten years will explore
directions for development in all related
looking into programs from established
to lead their students through museum
couple of pilot sessions.
in the process of making UCC videos
new opportunities in the field of museum
aspects. Through exchange and communi-
museums in Europe and America. We also
programs and teach follow-up lessons
using the exhibits in the NMK. “Journey
education and establish a system of close
cation among museum educators all over
try to find meaningful museum programs
back in the classroom.
INTRODUCTION OF NEW EDUCATION
through History with the Museum Ex-
connection between education and exhi-
the country, such efforts and delibera-
that we can learn from in small and newly
METHODS
hibits” is an especially effective educa-
bitions. Moreover, continued research into
tion are helping to boost the abilities and
opened museums around the world.
BOOSTING PROGRAMS FOR FOREIGN
The major audience of the Education
tion program run in cooperation with the
theory and program development effort
STUDENTS AND TEACHERS
Division is junior and senior high school
NMK’s conservation science division that
will serve as the basis for increasing the
NEW MOVES FOR THIS YEAR
In Korea’s foreign community, language
students. Since standard lecture format
focuses on the research and conserva-
quality of education programs overall.
capacities of educators both in Seoul and regional national museums.
Staff of the Education Division, who will set the direction for next year’s museum education programs. From left to right are Lee Soomi (Director of the Education Division), Woo Souyeon (Museum Educator), Won Geumok (Museum Educator), and Kim Doyoon (Assistant Curator).
With a focus on education intermediaries,
schools, companies that hire a large num-
or simple hands-on programs are not
tion of cultural relics from the scientific
EVALUATION OF THE LAST YEAR’S
the program for junior high and senior
ber of international workers, and interna-
enough to have an appeal to this age
perspective. These endeavors paved the
EDUCATION PROGRAMS
high school teachers will be strengthened
tional schools all provide classes designed
group, we have carried out an in-depth re-
way for students to gain a deeper under-
The last year the NMK organized a wide
in 2015. This direction was set based on the
to promote understanding of cultural
search to implement more effective ways
standing of the museum, and hence the
variety of education programs tailored to
fact that many teachers find it difficult to
diversity. One of the NMK programs “Feel
to engage them to our programs. As a
program will be reinforced and offered
specific interest groups or age levels. The
make good use of the exhibits and exhibi-
Korea!” includes 6 hands-on cultural
result, this year’s programs were planned
next year as well.
34
35
LECTURE AT NMK
CONNECT WITH WORLD
NMK 2015 WINTER
MUSEUM EDUCATION KEYWORD FOR 2015: UNDERSTANDING CULTURAL DIVERSITY
MUSEUM EDUCATION KEYWORD FOR 2015: UNDERSTANDING CULTURAL DIVERSITY INTERVIEW WITH A DIRECTOR, EDUCATORS, AND AN ASSISTANT CURATOR OF THE EDUCATION DIVISION
GOALS OF THE EDUCATION DIVISION
participants showed great interest in the
OF THE NATIONAL MUSEUM OF KOREA
programs and expressed a high level of
Although everyone comes to like the mu-
satisfaction, judging the programs to be
seum for a different reason, the moment
well organized and operated. Internally,
viewers begin communication with the
it has been assessed that the education
artworks and relics on they inevitably de-
programs have reached a stable point in
velop an interest in and affection for the
terms of operation and have gained high
museum. The people who help pave the
credibility from the public. As the Educa-
way for such interaction are the educators
tion Division runs such a large number of
and curators at the museum. The Educa-
programs for different target groups, the
tion Division at the NMK, in addition to
educators must carefully think over the
helping as many people as possible to
most appropriate methods and contents of
properly enjoy the museum, has the im-
each program. While the youth programs
tions at the museum to in-crease students’
programs such as ceramics, calligraphy
and operated on the basis of education
FUTURE PLANS
portant role of leading the development
call for new methods with the changing
understanding of culture. The teachers’
and seal making, as well as gallery tour
theories such as STEAM(Science, Technol-
Many fields remain to be explored in
of programs and presenting directions for
times, adult groups tend to prefer educa-
program on the one hand provides educa-
the permanent exhibition. Next year,
ogy, Engineering, Arts and Mathematics)
museum education, especially considering
linking education with the museum’s col-
tion methods with which they are famil-
tional materials that will enable teachers
the museum plans to run an additional
or multiple intelligences. “Finding new
the growing expectations of museum visi-
lection to raise the standard of museum
iar. In this context, we refer to exemplary
to explain the exhibits on site when they
program for teachers at the international
Possibilities inside Me,” an education pro-
tors. The Education Division of the NMK
education in Korea. To meet and indeed
case studies from overseas museums that
bring their students to see the permanent
schools in Korea. In connection with the
gram based on the multiple intelligences
has worked hard over the past ten years.
anticipate the demands of the NMK as a
have a wealth of know-how accumulated
exhibition, and on the other hand includes
programs for Korean school teachers, the
theory, gave students the opportunity to
With its wealth of experience, the mu-
social education institution, it is exploring
over the years. However, we are not only
a workshop where teachers will learn how
new program will gradually expand after
discover their individuality and aptitudes
seum over the next ten years will explore
directions for development in all related
looking into programs from established
to lead their students through museum
couple of pilot sessions.
in the process of making UCC videos
new opportunities in the field of museum
aspects. Through exchange and communi-
museums in Europe and America. We also
programs and teach follow-up lessons
using the exhibits in the NMK. “Journey
education and establish a system of close
cation among museum educators all over
try to find meaningful museum programs
back in the classroom.
INTRODUCTION OF NEW EDUCATION
through History with the Museum Ex-
connection between education and exhi-
the country, such efforts and delibera-
that we can learn from in small and newly
METHODS
hibits” is an especially effective educa-
bitions. Moreover, continued research into
tion are helping to boost the abilities and
opened museums around the world.
BOOSTING PROGRAMS FOR FOREIGN
The major audience of the Education
tion program run in cooperation with the
theory and program development effort
STUDENTS AND TEACHERS
Division is junior and senior high school
NMK’s conservation science division that
will serve as the basis for increasing the
NEW MOVES FOR THIS YEAR
In Korea’s foreign community, language
students. Since standard lecture format
focuses on the research and conserva-
quality of education programs overall.
capacities of educators both in Seoul and regional national museums.
Staff of the Education Division, who will set the direction for next year’s museum education programs. From left to right are Lee Soomi (Director of the Education Division), Woo Souyeon (Museum Educator), Won Geumok (Museum Educator), and Kim Doyoon (Assistant Curator).
With a focus on education intermediaries,
schools, companies that hire a large num-
or simple hands-on programs are not
tion of cultural relics from the scientific
EVALUATION OF THE LAST YEAR’S
the program for junior high and senior
ber of international workers, and interna-
enough to have an appeal to this age
perspective. These endeavors paved the
EDUCATION PROGRAMS
high school teachers will be strengthened
tional schools all provide classes designed
group, we have carried out an in-depth re-
way for students to gain a deeper under-
The last year the NMK organized a wide
in 2015. This direction was set based on the
to promote understanding of cultural
search to implement more effective ways
standing of the museum, and hence the
variety of education programs tailored to
fact that many teachers find it difficult to
diversity. One of the NMK programs “Feel
to engage them to our programs. As a
program will be reinforced and offered
specific interest groups or age levels. The
make good use of the exhibits and exhibi-
Korea!” includes 6 hands-on cultural
result, this year’s programs were planned
next year as well.
34
35
CONNECT WITH NEWS
EXHIBITION
NMK 2015 WINTER
BUDDHIST HANGING SCROLL AT GAEAMSA TEMPLE DATE OCTOBER 28, 2014 – APRIL 26, 2015 VENUE BUDDHIST PAINTING GALLERYV
MODEL BOOK OF CALLIGRAPHY: CHINESE RUBBINGS DATE DECEMBER 16, 2014-MARCH, 15, 2015 VENUE THEMATIC EXHIBITION GALLERY
Rubbing of the Datang Sanzang Shengjiao Xu By Wang Xizhi
Rubbing of the Doubao Pagoda Stele By Yan Zhenqing
The NMK has organized an exhibition of 30 books of model inscriptions by Chinese calligraphers over history. These copybooks, called beopcheop, contain reproductions or rubbings of exemplary inscriptions. Serving as a basic text for the study of calligraphy, they were also spread throughout Korea. With deep respect for letters and learning, Koreans upheld Chinese calligraphy while compiling copybooks of the finest Korean works as a way to pass down Korean calligraphy to the next generation. The exhibition Model Book of Calligraphy: Chinese Rubbings features the model books of some of the finest calligraphers of China over the ages, including Chunhua ge tie, a model calligraphy from Chunhua Pavilion, and Da tang sanzang sheng jiao xu, a model book that brings together the works of the famous Chinese calligrapher Wang Xizhi. 303-361
Rubbing of the Huangfu Dan Tablet By Ouyang Xun
The theme exhibition Buddhist Hanging Scroll at Gaeamsa Temple is the ninth in the NMK’s series of exhibitions of hanging scrolls from temples around the country. The Gaeamsa gwaebul (Treasure No. 1269) was painted in 1749. It measures 13.17 meters in height, which makes it one of the largest hanging scrolls of its kind. In the center of the painting is a triad comprised of Sakyamuni flanked by the bodhisattvas Manjusri and Samantabhadra. The upper half of the painting features the buddhas Prabhutaratna and Amitabha, and the bodhisattvas Avalokitesvara and Mahasthamaprapta, making a total of seven figures. The Gaeamsa gwaebul is painted on a scroll made by joining 28 lengths of hemp, each measuring 30 cm wide. A large quantity of bright colored pigments and other materials were used in its creation. Along with the finished painting the base drawing for the Gaeamsa gwaebul has also been preserved. The fact that both the base drawing and finished scroll painting have survived makes the Gaeamsa gwaebul even more precious. Records indicate that the painting was not only used in the Yeongsanjae, but also various other ceremonies including rites to pray for rain. The exhibition is a chance for visitors to see the Gaeamsa gwaebul up close and learn about the many stories it has to tell.
SPECIAL EXHIBITION OF NEW ACQUISITIONS DATE OCTOBER 14, 2014 – NOVEMBER 30, 2014 VENUE THEMATIC EXHIBITION GALLERY
Special Exhibition of New Acquisitions featuring a lacquered Sutra Box Decorated with Mother-of-pearl and other objects newly acquired by the NMK was recently held in the Thematic Exhibition Gallery. The new acquisitions featured in the exhibition comprise 12 important works covering
36
varied genres. Among them, the Unified Silla Buddhist Sculpture is a rare item, complete with pedestal and aureole and decorated with jewels. The exhibition also features items that show the depth of the culture of the Joseon period, including Jeongwae gigongdobyeong, a folding screen painted to commemorate defeat of the Japanese in 1598, the final year of the Japanese invasions, as well as the Portrait of Kim Chi-in by Yi Myeonggi, the finest portrait painter during the reign of King Jeongjo, and a painting by Kang Sehwang, 1713-1791 a famous painter and art connoisseur of his time.
37
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EXHIBITION
NMK 2015 WINTER
BUDDHIST HANGING SCROLL AT GAEAMSA TEMPLE DATE OCTOBER 28, 2014 – APRIL 26, 2015 VENUE BUDDHIST PAINTING GALLERYV
MODEL BOOK OF CALLIGRAPHY: CHINESE RUBBINGS DATE DECEMBER 16, 2014-MARCH, 15, 2015 VENUE THEMATIC EXHIBITION GALLERY
Rubbing of the Datang Sanzang Shengjiao Xu By Wang Xizhi
Rubbing of the Doubao Pagoda Stele By Yan Zhenqing
The NMK has organized an exhibition of 30 books of model inscriptions by Chinese calligraphers over history. These copybooks, called beopcheop, contain reproductions or rubbings of exemplary inscriptions. Serving as a basic text for the study of calligraphy, they were also spread throughout Korea. With deep respect for letters and learning, Koreans upheld Chinese calligraphy while compiling copybooks of the finest Korean works as a way to pass down Korean calligraphy to the next generation. The exhibition Model Book of Calligraphy: Chinese Rubbings features the model books of some of the finest calligraphers of China over the ages, including Chunhua ge tie, a model calligraphy from Chunhua Pavilion, and Da tang sanzang sheng jiao xu, a model book that brings together the works of the famous Chinese calligrapher Wang Xizhi. 303-361
Rubbing of the Huangfu Dan Tablet By Ouyang Xun
The theme exhibition Buddhist Hanging Scroll at Gaeamsa Temple is the ninth in the NMK’s series of exhibitions of hanging scrolls from temples around the country. The Gaeamsa gwaebul (Treasure No. 1269) was painted in 1749. It measures 13.17 meters in height, which makes it one of the largest hanging scrolls of its kind. In the center of the painting is a triad comprised of Sakyamuni flanked by the bodhisattvas Manjusri and Samantabhadra. The upper half of the painting features the buddhas Prabhutaratna and Amitabha, and the bodhisattvas Avalokitesvara and Mahasthamaprapta, making a total of seven figures. The Gaeamsa gwaebul is painted on a scroll made by joining 28 lengths of hemp, each measuring 30 cm wide. A large quantity of bright colored pigments and other materials were used in its creation. Along with the finished painting the base drawing for the Gaeamsa gwaebul has also been preserved. The fact that both the base drawing and finished scroll painting have survived makes the Gaeamsa gwaebul even more precious. Records indicate that the painting was not only used in the Yeongsanjae, but also various other ceremonies including rites to pray for rain. The exhibition is a chance for visitors to see the Gaeamsa gwaebul up close and learn about the many stories it has to tell.
SPECIAL EXHIBITION OF NEW ACQUISITIONS DATE OCTOBER 14, 2014 – NOVEMBER 30, 2014 VENUE THEMATIC EXHIBITION GALLERY
Special Exhibition of New Acquisitions featuring a lacquered Sutra Box Decorated with Mother-of-pearl and other objects newly acquired by the NMK was recently held in the Thematic Exhibition Gallery. The new acquisitions featured in the exhibition comprise 12 important works covering
36
varied genres. Among them, the Unified Silla Buddhist Sculpture is a rare item, complete with pedestal and aureole and decorated with jewels. The exhibition also features items that show the depth of the culture of the Joseon period, including Jeongwae gigongdobyeong, a folding screen painted to commemorate defeat of the Japanese in 1598, the final year of the Japanese invasions, as well as the Portrait of Kim Chi-in by Yi Myeonggi, the finest portrait painter during the reign of King Jeongjo, and a painting by Kang Sehwang, 1713-1791 a famous painter and art connoisseur of his time.
37
CONNECT WITH NEWS
NEWS & PUBLICATION
DONATIONS OF TWO IMPORTANT DOCUMENTS FROM THE JOSEON DYNASTY
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY ISBN 978-89-966749-2-4
NMK 2015 WINTER
The National Museum of Korea has recently received donations of two old documents from the Joseon Dynasty, one a royal letter of appointment to a government post and the other a certificate for passing the state exams. The Josung gosin wangji, Royal Letter of Appointment of Jo Sung (Treasure No. 953) was presented to Jo Sung in 1396, 3rd month of the 5th year of King Taejo’s reign. It states that Jo has been appointed to the highest government office of the time, Dopyeong-uisasa, and carries the official seal of the king. The Joseogyeong mugwa hongpae, Certificate of Jo Seogyeong’s Success in the State Military Service Exams, was presented by the king to Jo Sung’s grandson, Jo Seogyeong in 1435, 17th year of King Sejong. Marked on the certificate are Jo Seogyeong’s name, exam results and official rank, as well as the official seal of the king. The two documents, after thorough study and conservation work on them, will be used for display and research purposes.
COLLECTING ASIAN ART OBJECTS IN COLONIAL KOREA, 1910–1945 ISBN 978-89-8164-108-5
SCULPTURE OF UNIFIED SILLA
SURVEY OF BUDDHIST SCULPTURE I
ISBN 978-89-8164-115-3
ISBN 978-89-8164-105-4
An English-language catalogue on the Buddhist sculpture of Unified Silla has been published. This book based on the special exhibition of 2008 titled Echoes of Life: The Enduring Tradition of Unified Silla. The Silla Kingdom has an important place in Korean history as the state that unified the Three Kingdoms and then drove out the Tang forces. The open-mind, cosmopolitan nature of the Silla people is reflected in their art, and Silla Buddhist sculpture in particular is lauded as the epitome of Korea’s cultural heritage from ancient times. The book is divided into five parts, featuring 200 high resolution photographs and commentary written by experts in the field. It is a wonderful way to trace the changes in the Buddhist sculpture of Unified Silla over time.
This report covers the survey of Buddhist sculptures carried by the NMK from 2012 as well as results of conservation work carried out from 2005. Included in the report are detailed survey results including the measurements, X-ray photos, wood analysis and dating estimations, and material analysis of five wooden sculptures and one clay sculpture. Through analysis of the style, form of the crown, and dating of the wood, the seated wooden Avalokitesvara sculpture (duk 935), known to have been made in the early Joseon period, has been found to be a product of the Goryeo period. Other sculptures surveyed include a Wooden Seated and Robed Image of Avalokitesvara Bodhisattva from late Joseon, a Wooden Seated Amitabha Sculpture from Cheonjusa Temple, and a Clay Standing Sculpture of the Ksitigarbha Bodhisattva.
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER IN THE LATE JOSEON DYNASTY
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME ISBN 978-89-92788-68-7
ISBN 978-89-98234-14-0
This catalogue has been published to accompany the special exhibition Pompeii: Culture of the Ancient Roman City. Composed of eight sections, the catalog features 300 exhibits with detailed explanations. Lost to world history for 1,500 years, Pompeii has become one of the world’s most famous historical cities since its rediscovery. The book is filled with photos of frescoes, sculptures, accessories and other items excavated from the city of Pompeii that attest to the rich and abundant lives once enjoyed by its residents. Through these works, the book shows the tragedy of death on the day of the city’s demise.
38
This catalogue accompanying the special exhibition Collecting Asian Art Objects in Colonial Korea, 1910–1945 is divided into five parts. Part 1 contains detailed explanations of the ancient East Asian artifacts collected by the Government-General Museum of Korea. Part 2 shows the scale and contents of wide-reaching academic studies carried out by the Japanese GovernmentGeneral. Part 3 introduces the Central Asian Collection of the Government-General Museum of Korea. Part 4 includes Buddhist sculpture from the collection of the Yi Royal Family Museum, which was exhibited at Myeongjeongjeon in Changgyeonggung Palace, and Part 5 introduces the Japanese contemporary artworks that were exhibited at Seokjojeon in Deoksugung Palace. To give readers a better understanding of the exhibition overall, the catalogue includes two articles.
This catalogue was published to accompany the Gwangju National Museum’s special exhibition held to mark the 300th anniversary of Yun Duseo’s death. It is organized to show the work of three generations of artists from Nogudang, the head house of the Haenam Yun clan: Yun Duseo, his son, and his grandson. At the front part of the catalogue, curator Jeong Myeonghui gives an overview of the exhibition and its organization and talks about the stories that the artworks convey. All 163 photographs in the book are explained by 13 curators, and eminent art historian Ahn Hwijun (Professor Emeritus, Department of Archaeology and Art History at Seoul National University), provides an article titled “How to Interpret Gongjae Yun Duseo’s Paintings” to give readers an understanding of Yun Duseo’s significance in the art history of Korea.
This is the catalogue accompanying the special exhibition Korean Horses: Galloping Across Space and Time held at the Jeju National Museum. The book is divided into four parts and contains so many photos of the exhibits that it runs over 400 pages. It also contains a variety of articles by Kim Ducheol (Professor, Department of Archaeology, Pusan National University), Pyo Inju (Professor, Department of Korean Language and Literature, Chonnam National University), Kang Manik (Special Research Fellow, Tamla Culture Research Institute, Jeju National University) and Oh Yeonsuk (Curator, Jeju National Museum. The appendix includes horse-related terminology and records on horses found in the History of Goryeo and the Annals of the Joseon Dynasty and conveys the message of the importance of preserving and passing on the horse culture of Jeju.
39
CONNECT WITH NEWS
NEWS & PUBLICATION
DONATIONS OF TWO IMPORTANT DOCUMENTS FROM THE JOSEON DYNASTY
POMPEII: CULTURE OF THE ANCIENT ROMAN CITY ISBN 978-89-966749-2-4
NMK 2015 WINTER
The National Museum of Korea has recently received donations of two old documents from the Joseon Dynasty, one a royal letter of appointment to a government post and the other a certificate for passing the state exams. The Josung gosin wangji, Royal Letter of Appointment of Jo Sung (Treasure No. 953) was presented to Jo Sung in 1396, 3rd month of the 5th year of King Taejo’s reign. It states that Jo has been appointed to the highest government office of the time, Dopyeong-uisasa, and carries the official seal of the king. The Joseogyeong mugwa hongpae, Certificate of Jo Seogyeong’s Success in the State Military Service Exams, was presented by the king to Jo Sung’s grandson, Jo Seogyeong in 1435, 17th year of King Sejong. Marked on the certificate are Jo Seogyeong’s name, exam results and official rank, as well as the official seal of the king. The two documents, after thorough study and conservation work on them, will be used for display and research purposes.
COLLECTING ASIAN ART OBJECTS IN COLONIAL KOREA, 1910–1945 ISBN 978-89-8164-108-5
SCULPTURE OF UNIFIED SILLA
SURVEY OF BUDDHIST SCULPTURE I
ISBN 978-89-8164-115-3
ISBN 978-89-8164-105-4
An English-language catalogue on the Buddhist sculpture of Unified Silla has been published. This book based on the special exhibition of 2008 titled Echoes of Life: The Enduring Tradition of Unified Silla. The Silla Kingdom has an important place in Korean history as the state that unified the Three Kingdoms and then drove out the Tang forces. The open-mind, cosmopolitan nature of the Silla people is reflected in their art, and Silla Buddhist sculpture in particular is lauded as the epitome of Korea’s cultural heritage from ancient times. The book is divided into five parts, featuring 200 high resolution photographs and commentary written by experts in the field. It is a wonderful way to trace the changes in the Buddhist sculpture of Unified Silla over time.
This report covers the survey of Buddhist sculptures carried by the NMK from 2012 as well as results of conservation work carried out from 2005. Included in the report are detailed survey results including the measurements, X-ray photos, wood analysis and dating estimations, and material analysis of five wooden sculptures and one clay sculpture. Through analysis of the style, form of the crown, and dating of the wood, the seated wooden Avalokitesvara sculpture (duk 935), known to have been made in the early Joseon period, has been found to be a product of the Goryeo period. Other sculptures surveyed include a Wooden Seated and Robed Image of Avalokitesvara Bodhisattva from late Joseon, a Wooden Seated Amitabha Sculpture from Cheonjusa Temple, and a Clay Standing Sculpture of the Ksitigarbha Bodhisattva.
GONGJAE YUN DUSEO: ENCOUNTER WITH A GREAT MASTER IN THE LATE JOSEON DYNASTY
KOREAN HORSES: GALLOPING ACROSS SPACE AND TIME ISBN 978-89-92788-68-7
ISBN 978-89-98234-14-0
This catalogue has been published to accompany the special exhibition Pompeii: Culture of the Ancient Roman City. Composed of eight sections, the catalog features 300 exhibits with detailed explanations. Lost to world history for 1,500 years, Pompeii has become one of the world’s most famous historical cities since its rediscovery. The book is filled with photos of frescoes, sculptures, accessories and other items excavated from the city of Pompeii that attest to the rich and abundant lives once enjoyed by its residents. Through these works, the book shows the tragedy of death on the day of the city’s demise.
38
This catalogue accompanying the special exhibition Collecting Asian Art Objects in Colonial Korea, 1910–1945 is divided into five parts. Part 1 contains detailed explanations of the ancient East Asian artifacts collected by the Government-General Museum of Korea. Part 2 shows the scale and contents of wide-reaching academic studies carried out by the Japanese GovernmentGeneral. Part 3 introduces the Central Asian Collection of the Government-General Museum of Korea. Part 4 includes Buddhist sculpture from the collection of the Yi Royal Family Museum, which was exhibited at Myeongjeongjeon in Changgyeonggung Palace, and Part 5 introduces the Japanese contemporary artworks that were exhibited at Seokjojeon in Deoksugung Palace. To give readers a better understanding of the exhibition overall, the catalogue includes two articles.
This catalogue was published to accompany the Gwangju National Museum’s special exhibition held to mark the 300th anniversary of Yun Duseo’s death. It is organized to show the work of three generations of artists from Nogudang, the head house of the Haenam Yun clan: Yun Duseo, his son, and his grandson. At the front part of the catalogue, curator Jeong Myeonghui gives an overview of the exhibition and its organization and talks about the stories that the artworks convey. All 163 photographs in the book are explained by 13 curators, and eminent art historian Ahn Hwijun (Professor Emeritus, Department of Archaeology and Art History at Seoul National University), provides an article titled “How to Interpret Gongjae Yun Duseo’s Paintings” to give readers an understanding of Yun Duseo’s significance in the art history of Korea.
This is the catalogue accompanying the special exhibition Korean Horses: Galloping Across Space and Time held at the Jeju National Museum. The book is divided into four parts and contains so many photos of the exhibits that it runs over 400 pages. It also contains a variety of articles by Kim Ducheol (Professor, Department of Archaeology, Pusan National University), Pyo Inju (Professor, Department of Korean Language and Literature, Chonnam National University), Kang Manik (Special Research Fellow, Tamla Culture Research Institute, Jeju National University) and Oh Yeonsuk (Curator, Jeju National Museum. The appendix includes horse-related terminology and records on horses found in the History of Goryeo and the Annals of the Joseon Dynasty and conveys the message of the importance of preserving and passing on the horse culture of Jeju.
39
NEW SPACE, NEW VIEW
METAL CRAFT GALLERY REFURBISHED
REOPENING DATE | JANUARY 6, 2015 VENUE | SCULPTURE AND CRAFTS CONTENTS | 250 ITEMS INCLUDING THE RELIQUARY FROM THE EAST PAGODA AT GAMEUNSA TEMPLE SITE
Also enhancing the viewing experience are devices such as the “digital magnifying glass” (touch screen), which visitors can use to see works enlarged or in full 360-degree rotation, or a smart phone application (AR Curator, for android and iOS) that provides a virtual experience of using the ancient metal works featured. Thanks to improvement of the gallery and interactive programs visitors will find the metal crafts on display even more fascinating than before.
With the completion of renovations that started last year, the metal craft gallery has been reopened to the public. To provide a visitor-friendly exhibition environment, the temporary partition walls have all been removed to create a wide open space. Upon entering the gallery, the first thing that comes into sight is the Buddhist Bell from Cheonheungsa Temple (National Treasure No. 280), standing 174.2cm high. Located along the central wall, this large bronze bell makes a strong impression on its own and at the same time gives a sense of balance to the exhibition space overall.
Big changes are also evident in the arrangement and
composition of the exhibition. Departing from the focus on bronze works and Buddhist crafts, the exhibits have been arranged in sections according to material—gold, silver, bronze and iron—to show off the diversity of metal crafts. In the middle of the exhibition room is a glass cabinet featuring some of the NMK’s metal craft masterpieces. Of the 250 items now on display, around one third are being presented for the first time thanks to completion of conservation and restoration work in time with the gallery’s reopening.
The dis-
play cabinets, made of low-reflecting glass, makes it easier to see the intricate beauty and splendor of the works, while the LED lighting, now much brighter than before, brings out the color. In the best possible viewing environment for metal works, visitors can relax and concentrate on the exhibition.
NEW SPACE, NEW VIEW
METAL CRAFT GALLERY REFURBISHED
REOPENING DATE | JANUARY 6, 2015 VENUE | SCULPTURE AND CRAFTS CONTENTS | 250 ITEMS INCLUDING THE RELIQUARY FROM THE EAST PAGODA AT GAMEUNSA TEMPLE SITE
Also enhancing the viewing experience are devices such as the “digital magnifying glass” (touch screen), which visitors can use to see works enlarged or in full 360-degree rotation, or a smart phone application (AR Curator, for android and iOS) that provides a virtual experience of using the ancient metal works featured. Thanks to improvement of the gallery and interactive programs visitors will find the metal crafts on display even more fascinating than before.
With the completion of renovations that started last year, the metal craft gallery has been reopened to the public. To provide a visitor-friendly exhibition environment, the temporary partition walls have all been removed to create a wide open space. Upon entering the gallery, the first thing that comes into sight is the Buddhist Bell from Cheonheungsa Temple (National Treasure No. 280), standing 174.2cm high. Located along the central wall, this large bronze bell makes a strong impression on its own and at the same time gives a sense of balance to the exhibition space overall.
Big changes are also evident in the arrangement and
composition of the exhibition. Departing from the focus on bronze works and Buddhist crafts, the exhibits have been arranged in sections according to material—gold, silver, bronze and iron—to show off the diversity of metal crafts. In the middle of the exhibition room is a glass cabinet featuring some of the NMK’s metal craft masterpieces. Of the 250 items now on display, around one third are being presented for the first time thanks to completion of conservation and restoration work in time with the gallery’s reopening.
The dis-
play cabinets, made of low-reflecting glass, makes it easier to see the intricate beauty and splendor of the works, while the LED lighting, now much brighter than before, brings out the color. In the best possible viewing environment for metal works, visitors can relax and concentrate on the exhibition.
NATIONAL MUSEUM OF KOREA | QUARTERLY MAGAZINE
CURATOR TALK JOSEON CERAMICS: WHITE PORCELAIN AND BUNCHEONG WARE
SPECIAL EXHIBITION POMPEII: CULTURE OF THE ANCIENT ROMAN CITY
THEME EXHIBITION COLLECTING ASIAN OBJECTS IN COLONIAL KOREA, 1910–1945
QUARTERLY MAGAZINE
THE STORY OF BOHEMIAN GLASS
and the Czech Republic, the National Museum of Korea presents a special exhibition introducing the history and culture of the Czech Republic as well as the world famous glass-making tradition of the Bohemian region. The Story of Bohemian Glass not only features a range of glass items of a kind are rarely seen in this country but also prayer book illustrations, chalices, icons, and statues of historical figures. The exhibition gives visitors the opportunity to trace the development of Bohemian glass works from antiquity to the present and lose themselves in the colorful world of glass craft.
ISSN: 2005-1123
WINTER 2015
To mark the 25th anniversary of diplomatic relations between Korea
VOL. 30
DATE FEBRUARY 10 – APRIL 26, 2015 VENUE SPECIAL EXHIBITION GALLERY
WINTER 2015 VOL.30