Nationalmuseumofkoreavol30

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

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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