Nationalmuseumofkoreavol31 en

curator's talk Baekje Gilt-bronze Incense Burner: Exquisite Representation of

special exhibition The Story of Bohemian Glass rnm exhibition. 1 Cultural Heritages of Wolchulsan Mountain rnm exhibition. 2 Goryeong Jisandong Daegaya Tumuli

published by the nmk spring 2015

VOL .31 SPR ING 2015

ISSN: 2005-1123

special feature Delicacy: A Close Look at Ipsa Wire Inlay Techniques

VOL.31

N AT I O N A L M U S E U M O F KO R E A | Q UA R T E R LY M AG A Z I N E

Polish Art: An Enduring Sprit is the first large-scale exhibition of Polish art to ever be held in Korea. The exhibition traces the history and trends of Polish art from the Middle Ages to the 20th century through a collection of some 200 works in different media such as paintings, drawings and sculptures and handicrafts, on loan from 17 major Polish institutions, including the National Museum in Warsaw. The artists represented are also diverse, covering the range of anonymous sculptors from the Middle Ages to young 19th century artists and contemporary graphic artists. Notably, works related to famous figures from Poland such as Copernicus and Chopin will also be shown.

National Museum of Korea

Baekje Ancient Paradise

POLISH ART: AN ENDURING SPRIT june 5 – august 30, 2015 special exhibition gallery

quarterly magazine

National Museum of Korea

spring 2015

D I R E C T O R ' S M E S S AG E

This year marks the tenth anniversary of our relocation to the Yongsan site. Our ongoing efforts to research and preserve Korean cultural legacy while at the same time popularizing it have paid off, as the number of visitors to the National Museum of Korea has continued to grow. The aggregate number of visitors reached approximately 3.5 million last year, indicating the extent of our public recognition.

In addition, Korea celebrates the 70th anniversary of its liberation from Japanese colonial rule in 2015. With this meaningful year, the quarterly magazine will start new articles from the present issue. A specific keyword will be selected as a theme for both the Special Feature and Curator's Talk columns so that we can treat the refined aesthetic of Korean arts from multiple perspectives. The keyword for Spring is “delicacy” to establish an identity for the Korean aesthetic. The articles highlight the exquisite workmanship and artistic taste that Korean artisans traditionally displayed in their craftworks.

The Zoom-in column examines artifacts recently designated as returned national heritage or newly purchased by the NMK. In addition, Behind the Exhibit introduces new research data uncovered through conservation science and projects to restore and preserve items in the NMK collection. This column offers a glimpse at the behind-the-scenes work of Conservation Science Department.

KOREA HERITAGE

FROM THE GALLERY

THE LATEST

special feature Delicacy: A Close Look at Ipsa Wire Inlay Techniques 02

special exhibition The Story of Bohemian Glass 16

behind the exhibit Conservation Science, like Medical Treatment for Cultural Heritage 30

curator's talk Baekje Gilt-bronze Incense Burner: Exquisite Representation of Baekje Ancient Paradise 10 zoom in Portrait of Kim Chiin at 72 / Ten Kings of Hell 14

visitor Discovering a Glittering Form of Art 22 rnm exhibition. 1 Cultural Heritages of Wolchulsan Mountain 24 rnm exhibition. 2 Goryeong Jisandong Daegaya Tumuli 27

education History and Culture Lectures Open 34 news Activity / Exhibition / Publication 36 new & hidden space Rear Garden and Garden of Dye Plants 40

The magazine continues to introduce special exhibitions being held in the National Museums around the country. This issue covers The Story of Bohemian Glass at the NMK in Seoul, providing readers with a chance to appreciate Czech culture and beautiful glass craftworks from the Czech Republic. Additionally, Cultural Heritages of Wolchulsan Mountain at the Naju National Museum gives you a multifaceted view of a sacred mountain in Jeollanam-do.

If you wish to experience more of the many things that the NMK has to offer, you are cordially invited to come visit on one of these fine spring days.

Kim Youngna Director-General The National Museums of Korea Spring 2015

Cover of Current Issue Iron Brazier Inlaid with Silver and Copper Wire Joseon, 19th century H. 21.0 cm duk 2606

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-797, Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr Editorial Direction Design Team of the NMK Design and Production Ahn Graphics Inc., Editorial Team Translation / Revision Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher.

Printed in Korea Copyright © 2015 National Museum of Korea.

All rights reserved. ISSN: 2005–1123

Note to Readers The related information of image is given in the following order: title, period or produced year, material, dimensions and management number.

Items from all other institutions are classified by their collection names.

National Museum of Korea

spring 2015

D I R E C T O R ' S M E S S AG E

This year marks the tenth anniversary of our relocation to the Yongsan site. Our ongoing efforts to research and preserve Korean cultural legacy while at the same time popularizing it have paid off, as the number of visitors to the National Museum of Korea has continued to grow. The aggregate number of visitors reached approximately 3.5 million last year, indicating the extent of our public recognition.

In addition, Korea celebrates the 70th anniversary of its liberation from Japanese colonial rule in 2015. With this meaningful year, the quarterly magazine will start new articles from the present issue. A specific keyword will be selected as a theme for both the Special Feature and Curator's Talk columns so that we can treat the refined aesthetic of Korean arts from multiple perspectives. The keyword for Spring is “delicacy” to establish an identity for the Korean aesthetic. The articles highlight the exquisite workmanship and artistic taste that Korean artisans traditionally displayed in their craftworks.

The Zoom-in column examines artifacts recently designated as returned national heritage or newly purchased by the NMK. In addition, Behind the Exhibit introduces new research data uncovered through conservation science and projects to restore and preserve items in the NMK collection. This column offers a glimpse at the behind-the-scenes work of Conservation Science Department.

KOREA HERITAGE

FROM THE GALLERY

THE LATEST

special feature Delicacy: A Close Look at Ipsa Wire Inlay Techniques 02

special exhibition The Story of Bohemian Glass 16

behind the exhibit Conservation Science, like Medical Treatment for Cultural Heritage 30

curator's talk Baekje Gilt-bronze Incense Burner: Exquisite Representation of Baekje Ancient Paradise 10 zoom in Portrait of Kim Chiin at 72 / Ten Kings of Hell 14

visitor Discovering a Glittering Form of Art 22 rnm exhibition. 1 Cultural Heritages of Wolchulsan Mountain 24 rnm exhibition. 2 Goryeong Jisandong Daegaya Tumuli 27

education History and Culture Lectures Open 34 news Activity / Exhibition / Publication 36 new & hidden space Rear Garden and Garden of Dye Plants 40

The magazine continues to introduce special exhibitions being held in the National Museums around the country. This issue covers The Story of Bohemian Glass at the NMK in Seoul, providing readers with a chance to appreciate Czech culture and beautiful glass craftworks from the Czech Republic. Additionally, Cultural Heritages of Wolchulsan Mountain at the Naju National Museum gives you a multifaceted view of a sacred mountain in Jeollanam-do.

If you wish to experience more of the many things that the NMK has to offer, you are cordially invited to come visit on one of these fine spring days.

Kim Youngna Director-General The National Museums of Korea Spring 2015

Cover of Current Issue Iron Brazier Inlaid with Silver and Copper Wire Joseon, 19th century H. 21.0 cm duk 2606

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-797, Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr Editorial Direction Design Team of the NMK Design and Production Ahn Graphics Inc., Editorial Team Translation / Revision Timothy V. Atkinson / Cho Yoonjung Lee Mijin / Hwang Chiyoung

National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher.

Printed in Korea Copyright © 2015 National Museum of Korea.

All rights reserved. ISSN: 2005–1123

Note to Readers The related information of image is given in the following order: title, period or produced year, material, dimensions and management number.

Items from all other institutions are classified by their collection names.

02

special feature

From the present issue, the English-language magazine National Museum of Korea is running a new series of articles based on keywords selected for their appropriateness in defining Korea's traditional aesthetics. “Delicacy” is the keyword this time around, and in this connection, the Special Feature column examines ipsa, 入絲 which refers to techniques for inlaying

nmk 2015 spring | korea heritage

03

metal wire of one type (usually gold or silver) into the surface of a different metal.

Delicacy: A Close Look at Ipsa Wire Inlay Techniques by lee yongjin, associate curator of fine arts department

I

psa, 入絲 wire inlay, is a traditional decorative technique that was applied in Korean metal crafts from the Three Kingdoms period down through the Joseon Dynasty. Gold or silver wire was normally the medium for creating patterns in either bronze or iron, with the shiny precious metal providing a sharp contrast with the dark ground material into which it was laid. Such decoration was most often employed on objects that represented the user's authority or on Buddhist handicrafts. However late Joseon saw a proliferation in the range of items so decorated.

Fig 6.

Iron Conical Stirrups with Gold and Silver Wire Inlay Unified Silla H. 24.4 cm Excavated in Pyeongsan, Hwanghae-do bon 13557

02

special feature

From the present issue, the English-language magazine National Museum of Korea is running a new series of articles based on keywords selected for their appropriateness in defining Korea's traditional aesthetics. “Delicacy” is the keyword this time around, and in this connection, the Special Feature column examines ipsa, 入絲 which refers to techniques for inlaying

nmk 2015 spring | korea heritage

03

metal wire of one type (usually gold or silver) into the surface of a different metal.

Delicacy: A Close Look at Ipsa Wire Inlay Techniques by lee yongjin, associate curator of fine arts department

I

psa, 入絲 wire inlay, is a traditional decorative technique that was applied in Korean metal crafts from the Three Kingdoms period down through the Joseon Dynasty. Gold or silver wire was normally the medium for creating patterns in either bronze or iron, with the shiny precious metal providing a sharp contrast with the dark ground material into which it was laid. Such decoration was most often employed on objects that represented the user's authority or on Buddhist handicrafts. However late Joseon saw a proliferation in the range of items so decorated.

Fig 6.

Iron Conical Stirrups with Gold and Silver Wire Inlay Unified Silla H. 24.4 cm Excavated in Pyeongsan, Hwanghae-do bon 13557

04

special feature

Fig 1.

Example of “inserted” ipsa

nmk 2015 spring | korea heritage

Fig 2.

Example of “chiseled” ipsa

Fig 3.

Iron Pommel with Silver Wire Inlay Gaya L. 11.2 cm Excavated from Wolsan-ri, Namwon, Jeollabuk-do jeonju 617

ORIGIN AND TYPES OF IPSA Wire inlay is believed to have begun in the Mesopotamia region around 3000 BCE. The technique in East Asia is thought to have originated in the inlaying of turquoise into metal crafts during China's Shang 1600–1046 BCE and Western Zhou 1046–771 BCE Dynasties.

Chinese bronze vessel production advanced greatly during the Shang and early Zhou, and the tradition was carried over to the Eastern Zhou 770–221 BCE period, when the techniques decorating the metal surfaces were diversified and ipsa was evolved. Inlaying gold, silver or copper wire into the surface of cast bronze vessels required tools that are harder than bronze, so the artisans' adoption of iron tools led to an expanded range of applications for the ipsa technique. New methods, known as cuojin 錯金 in Chinese, were developed for laying down gold wire or gold flakes to create inscriptions or decorative patterns. Cuojin was applied in a couple of ways. Grooves might be carved into the molds prior to casting and the liquid metal poured into them. After casting was complete, a chisel could also be used to etch grooves for inlaying the gold wire or to add grooves to create patterns of greater detail. Once the inlay work was completed, the surface was finished with a whetstone to make it smooth and shiny.

There are two approaches to the ipsa technique: inserting (kkium ipsa) and chiseling (jjoeum ipsa). In the first instance, gold, silver or copper wire fills a set pattern of grooves etched into the surface of a different metal strip or plate, after which the surface is ground smooth (Fig. 1). The second involves the use of a chisel to cut a dense pattern of fine grooves over the entire surface or on specific areas intended for decoration. This way precious metal wire may be inlaid more freely to create a greater diversity of patterns (Fig. 2). “Inserting” was the traditional way, widely employed from the Three Kingdoms on. As such it was used on bronze ware.

By contrast, “chiseling” only became widespread in late Joseon and was employed to decorate iron ware.

IPSA INTRODUCTION AND USE IN THE THREE KINGDOMS The introduction of ipsa is believed to have come through Nangnang, 樂浪 one of the Four Commanderies established after the Chinese Han Dynasty conquered the northern part of the Korean Peninsula and Liaodong Peninsula in 108 BCE. This conclusion is based on the various artifacts inlaid with gold or silver that have been unearthed at the Nangnang site (in present-day Pyeongyang).

Thus, Korea's ipsa techniques most likely began in the Three Kingdoms period with Chinese influence. A Seven-branched Sword 七支刀 was produced in Eastern Jin in 369 (4th year of the Taihe 太和 reign period) and bestowed on the king of Baekje. This episode indicates that ipsa was being practiced in Baekje by the fourth century CE. It is also thought that the metal inlay was being practiced in Gaya by the 5th century and in Silla by the 6th century. More than twenty examples of metal craft with ipsa from

05

Fig 5.

Gilt-bronze Bottle with Silver Wire Inlay Unified Silla H. 16.7 cm bon 12483

Fig 4.

Small Bronze Pot with Gold and Silver Wire Inlay Unified Silla H. 4.8 cm duk 2863

the Three Kingdoms period are known to exist. Most of these are swords with a pommel, while other items include metal quivers.

Goguryeo, Baekje and Silla all produced swords decorated with a ring-shaped ornament on the hilt, but examples with ipsa have only been excavated from Baekje, Gaya and Silla sites (Fig. 3). These iron swords are thought to have served as ceremonial objects that symbolized the authority of the owner. Various decorative motifs were inlaid into the pommels, to include a scroll design, wave pattern, dragon and phoenix, lotus petal design, and hexagonal (or tortoise-shell) pattern.

IPSA IN UNIFIED SILLA Few inlaid metal crafts from the Unified Silla period 676–935 are extant, but the patterns on those that indicate Tang influence, while the forms of those patterns are unique interpreted.

Technically, gold or silver wire was laid into a bronze or iron base, and also used for finishing the surface.

The Small Bronze Pot with Gold and Silver Wire Inlay (Fig. 4)

has a round base and is silver-plated in three places to provide the background for a scene of an animal pair under a tree, which is positioned in the center. The veins of the leaves were inlaid in gold to heighten the visual effect.

The Gilt-bronze Bottle with Silver Wire Inlay (Fig. 5) features a long neck and round body. The six perforations around the shoulder area are thought to have once contained jadestones.

Silver wire was inlaid into the body to create a cloud pattern.

The Iron Conical Stirrups with Gold and Silver Wire Inlay (Fig. 6) were discovered on Pyeongsan in Hwanghae-do. A “heavenly horse” scene was been created in gold and silver inlay on the toe stopper, while dragon scales are depicted on the outer rim. The animal figure appear very lifelike, with auspicious vapors shown emanating around it. The flying mane and charging posture have been executed in fine detail. This piece indicates that ipsa was applied even to everyday metal objects in Unified Silla, providing an important transitional link in the tradition from the Three Kingdoms to Goryeo.

04

special feature

Fig 1.

Example of “inserted” ipsa

nmk 2015 spring | korea heritage

Fig 2.

Example of “chiseled” ipsa

Fig 3.

Iron Pommel with Silver Wire Inlay Gaya L. 11.2 cm Excavated from Wolsan-ri, Namwon, Jeollabuk-do jeonju 617

ORIGIN AND TYPES OF IPSA Wire inlay is believed to have begun in the Mesopotamia region around 3000 BCE. The technique in East Asia is thought to have originated in the inlaying of turquoise into metal crafts during China's Shang 1600–1046 BCE and Western Zhou 1046–771 BCE Dynasties.

Chinese bronze vessel production advanced greatly during the Shang and early Zhou, and the tradition was carried over to the Eastern Zhou 770–221 BCE period, when the techniques decorating the metal surfaces were diversified and ipsa was evolved. Inlaying gold, silver or copper wire into the surface of cast bronze vessels required tools that are harder than bronze, so the artisans' adoption of iron tools led to an expanded range of applications for the ipsa technique. New methods, known as cuojin 錯金 in Chinese, were developed for laying down gold wire or gold flakes to create inscriptions or decorative patterns. Cuojin was applied in a couple of ways. Grooves might be carved into the molds prior to casting and the liquid metal poured into them. After casting was complete, a chisel could also be used to etch grooves for inlaying the gold wire or to add grooves to create patterns of greater detail. Once the inlay work was completed, the surface was finished with a whetstone to make it smooth and shiny.

There are two approaches to the ipsa technique: inserting (kkium ipsa) and chiseling (jjoeum ipsa). In the first instance, gold, silver or copper wire fills a set pattern of grooves etched into the surface of a different metal strip or plate, after which the surface is ground smooth (Fig. 1). The second involves the use of a chisel to cut a dense pattern of fine grooves over the entire surface or on specific areas intended for decoration. This way precious metal wire may be inlaid more freely to create a greater diversity of patterns (Fig. 2). “Inserting” was the traditional way, widely employed from the Three Kingdoms on. As such it was used on bronze ware.

By contrast, “chiseling” only became widespread in late Joseon and was employed to decorate iron ware.

IPSA INTRODUCTION AND USE IN THE THREE KINGDOMS The introduction of ipsa is believed to have come through Nangnang, 樂浪 one of the Four Commanderies established after the Chinese Han Dynasty conquered the northern part of the Korean Peninsula and Liaodong Peninsula in 108 BCE. This conclusion is based on the various artifacts inlaid with gold or silver that have been unearthed at the Nangnang site (in present-day Pyeongyang).

Thus, Korea's ipsa techniques most likely began in the Three Kingdoms period with Chinese influence. A Seven-branched Sword 七支刀 was produced in Eastern Jin in 369 (4th year of the Taihe 太和 reign period) and bestowed on the king of Baekje. This episode indicates that ipsa was being practiced in Baekje by the fourth century CE. It is also thought that the metal inlay was being practiced in Gaya by the 5th century and in Silla by the 6th century. More than twenty examples of metal craft with ipsa from

05

Fig 5.

Gilt-bronze Bottle with Silver Wire Inlay Unified Silla H. 16.7 cm bon 12483

Fig 4.

Small Bronze Pot with Gold and Silver Wire Inlay Unified Silla H. 4.8 cm duk 2863

the Three Kingdoms period are known to exist. Most of these are swords with a pommel, while other items include metal quivers.

Goguryeo, Baekje and Silla all produced swords decorated with a ring-shaped ornament on the hilt, but examples with ipsa have only been excavated from Baekje, Gaya and Silla sites (Fig. 3). These iron swords are thought to have served as ceremonial objects that symbolized the authority of the owner. Various decorative motifs were inlaid into the pommels, to include a scroll design, wave pattern, dragon and phoenix, lotus petal design, and hexagonal (or tortoise-shell) pattern.

IPSA IN UNIFIED SILLA Few inlaid metal crafts from the Unified Silla period 676–935 are extant, but the patterns on those that indicate Tang influence, while the forms of those patterns are unique interpreted.

Technically, gold or silver wire was laid into a bronze or iron base, and also used for finishing the surface.

The Small Bronze Pot with Gold and Silver Wire Inlay (Fig. 4)

has a round base and is silver-plated in three places to provide the background for a scene of an animal pair under a tree, which is positioned in the center. The veins of the leaves were inlaid in gold to heighten the visual effect.

The Gilt-bronze Bottle with Silver Wire Inlay (Fig. 5) features a long neck and round body. The six perforations around the shoulder area are thought to have once contained jadestones.

Silver wire was inlaid into the body to create a cloud pattern.

The Iron Conical Stirrups with Gold and Silver Wire Inlay (Fig. 6) were discovered on Pyeongsan in Hwanghae-do. A “heavenly horse” scene was been created in gold and silver inlay on the toe stopper, while dragon scales are depicted on the outer rim. The animal figure appear very lifelike, with auspicious vapors shown emanating around it. The flying mane and charging posture have been executed in fine detail. This piece indicates that ipsa was applied even to everyday metal objects in Unified Silla, providing an important transitional link in the tradition from the Three Kingdoms to Goryeo.

06

special feature

Fig 7.

Bronze Kundika with Silver-inlaid Landscape Design Goryeo, 12th century H. 37.5 cm National Treasure No. 92 bon 2426

nmk 2015 spring | korea heritage

Fig 8.

Bronze kundika Ewer with Reed, Willow and Waterfowl Design Inlaid with Silver Wire Goryeo, 12th century H. 34.8 cm duk 851

07

IPSA IN GORYEO Metal crafts were not only widely produced in Goryeo but the decorative techniques also reached their apex of development during this period. Silver wire was inlaid into bronze pieces, creating diverse patterns freely on lines and surfaces. Accompanying this trend was the creation of various terms synonymous with ipsa such as hameun 含銀 (containing silver) and nueun 縷銀 (fine strands of silver). They were used in combination with various words for the artisans who specialized in wire inlay such as ipsagong 入絲匠 (inserting wire craftsman), nugong 縷工 (strands artisan) and nusu 縷手 (strands expert). In Goryeo, silver inlay decorations can be found a wide range of metal crafts, but they are most prevalent on Buddhist ritual objects such as bronze kundika 淨甁 and bronze censers.

The kundika is characterized by its jugu,注口 filling spout, on the shoulder and long neck topped by a cheomdae, 尖臺 pouring spout. Production of these Buddhist ritual ewers began on the Korean Peninsula in Unified Silla and was influenced by Tang practices. In Goryeo, kundika were produced in both bronze and celadon, and the body as well as both spouts of the bronze variety would be feature silver inlay. Decorative motifs for the body would include the reed, willow, and waterfowl composition or the cloudlike anuruddha head pattern, while the pouring spout would typically be decorated in a cloud motif and the filling spout would often sport a demon's face. A classic example from the Goryeo period is the Bronze Kundika with Silver-inlaid Landscape

Design designated National Treasure No. 92 (Fig. 7). Silver wire just 0.5mm thick has been used to create an exquisite waterside scene in a painterly fashion. The silver patterns contrast well with the bronze patina, heightening the overall beauty of the piece.

Another ritual ewer in bronze from the Goryeo period has the reed, willow, and waterfowl motif executed in silver wire inlay, and the workmanship of the willow leaves is exceptionally fine (Fig. 8).

Silver wire inlay was most commonly applied to the bronze hyangwan, 香椀 censer, a more-advanced Goryeo version of the Unified Silla hyangno, 香爐 incense burner. These incense burners, characterized by their wide-rimmed bowl with a tall flared base, came in a variety of styles and their ipsa patterns were diverse.

They were also unique to Goryeo and could not be found in neighboring countries during the period.

The decorative patterns on the silver-inlaid Goryeo bronze incense burners evolved in stages. The earliest extant example of Sanskrit letters and a lotus petal pattern on the upper part of the stem is found on a piece inscribed with a Jin reign period date equivalent to 1164, 大定四年 while the first known bronze incense burner with lotus patterns on the base is dated 1177 大定十七年 and a lotus scroll pattern between the Sanskrit letters first appears

Fig 9.

Silver-Inlaid Bronze Incense Burner with inscription of Hampyeonggungjubang Goryeo, early 13th century H. 23.3 cm duk 2375

06

special feature

Fig 7.

Bronze Kundika with Silver-inlaid Landscape Design Goryeo, 12th century H. 37.5 cm National Treasure No. 92 bon 2426

nmk 2015 spring | korea heritage

Fig 8.

Bronze kundika Ewer with Reed, Willow and Waterfowl Design Inlaid with Silver Wire Goryeo, 12th century H. 34.8 cm duk 851

07

IPSA IN GORYEO Metal crafts were not only widely produced in Goryeo but the decorative techniques also reached their apex of development during this period. Silver wire was inlaid into bronze pieces, creating diverse patterns freely on lines and surfaces. Accompanying this trend was the creation of various terms synonymous with ipsa such as hameun 含銀 (containing silver) and nueun 縷銀 (fine strands of silver). They were used in combination with various words for the artisans who specialized in wire inlay such as ipsagong 入絲匠 (inserting wire craftsman), nugong 縷工 (strands artisan) and nusu 縷手 (strands expert). In Goryeo, silver inlay decorations can be found a wide range of metal crafts, but they are most prevalent on Buddhist ritual objects such as bronze kundika 淨甁 and bronze censers.

The kundika is characterized by its jugu,注口 filling spout, on the shoulder and long neck topped by a cheomdae, 尖臺 pouring spout. Production of these Buddhist ritual ewers began on the Korean Peninsula in Unified Silla and was influenced by Tang practices. In Goryeo, kundika were produced in both bronze and celadon, and the body as well as both spouts of the bronze variety would be feature silver inlay. Decorative motifs for the body would include the reed, willow, and waterfowl composition or the cloudlike anuruddha head pattern, while the pouring spout would typically be decorated in a cloud motif and the filling spout would often sport a demon's face. A classic example from the Goryeo period is the Bronze Kundika with Silver-inlaid Landscape

Design designated National Treasure No. 92 (Fig. 7). Silver wire just 0.5mm thick has been used to create an exquisite waterside scene in a painterly fashion. The silver patterns contrast well with the bronze patina, heightening the overall beauty of the piece.

Another ritual ewer in bronze from the Goryeo period has the reed, willow, and waterfowl motif executed in silver wire inlay, and the workmanship of the willow leaves is exceptionally fine (Fig. 8).

Silver wire inlay was most commonly applied to the bronze hyangwan, 香椀 censer, a more-advanced Goryeo version of the Unified Silla hyangno, 香爐 incense burner. These incense burners, characterized by their wide-rimmed bowl with a tall flared base, came in a variety of styles and their ipsa patterns were diverse.

They were also unique to Goryeo and could not be found in neighboring countries during the period.

The decorative patterns on the silver-inlaid Goryeo bronze incense burners evolved in stages. The earliest extant example of Sanskrit letters and a lotus petal pattern on the upper part of the stem is found on a piece inscribed with a Jin reign period date equivalent to 1164, 大定四年 while the first known bronze incense burner with lotus patterns on the base is dated 1177 大定十七年 and a lotus scroll pattern between the Sanskrit letters first appears

Fig 9.

Silver-Inlaid Bronze Incense Burner with inscription of Hampyeonggungjubang Goryeo, early 13th century H. 23.3 cm duk 2375

08

special feature

nmk 2015 spring | korea heritage

on a piece with the inscription 1214. 貞 二年 The oldest anuruddha (auspicious cloud-head pattern) circle around the Sanskrit letter and the lotus petal pattern between the stem and body can be traced to 1218. Thus, the most extravagant decoration of Goryeo incense burners includes Sanskrit letters and lotus scroll above a lotus petal pattern on the body. It is at the same time a composite of Buddhist design elements.

The Silver-Inlaid Bronze Incense Burner with inscription of Hampyeonggungjubang is unique in that its production was commissioned by a Goryeo queen as an act of prayer (Fig. 9). It was intended to be set in front of the Avatamsaka Sutra. Inscribed in silver on its side is a four-syllable Sanskrit mantra Om mani pad, along with images of the lotus and grapevines.

The Goryeo silver wire inlay decoration methods were built on the Unified Silla tradition to accommodate the evolution of metalworking. The incense burners of the period exemplify the Buddhist craftworks of the period.

09

Fig 11.

Square Brazier Inlaid with Silver Wire Joseon, 19th century H. 25.3 cm nam 261

IPSA IN JOSEON The “inserting” approach to silver wire inlay was carried over from Goryeo to early Joseon and was the principle way of decorating bronze articles. Towards the end of the dynasty, however, “chiseling” became the mainstream ipsa method, and the wire inlay material also diversified from gold and silver to include copper and lead.

Fig 10.

Iron Brazier Inlaid with Silver and Copper Wire Joseon, 19th century H. 21.0 cm duk 2606

The advent of iron crafts brought a greater variety of metalworking media and sparked the widespread use of the “chiseling” ipsa technique. The Syrians were the first to inlay wire by chiseling. The technique was introduced to China during the Yuan Dynasty 1271– 1368 and then became known to artisans at the end of Goryeo but did not catch on in a major way. Joseon artisans began to apply the method to military equipment and horse-riding gear in the 16th and 17th centuries and the 18th century began to decorate Buddhist ritual objects this way. By the 19th century the use of “chiseling” inlay had expanded to include stationary items and other articles used in the home. Patterns and motifs with auspicious overtones were inlaid into brush holders, paperweights and other stationery items made of iron. The images of bats deemed auspicious and longevity symbols were also inlaid into tobacco boxes, braziers and censers.

This Iron Brazier Inlaid with Silver and Copper Wire (Fig. 10) has scenes of deer, cranes and turtles (all associated with long life) on the four sides of the body and bat figures around the sides of the lid. The images of four diagrams from the Book of Changes,

representing heaven (☰), earth (☷), water (☵) and fire (☲), have been inlaid with copper wire into the top of the lid.

The Square Brazier Inlaid with Silver Wire (Fig. 11) consists of a body and lid. Executed with the “chiseling” wire inlay are four scenes, one on each of the four sides of the censer body. They include a visit by Liu Bei to Zhuge Liang's thatched cottage; a farmer tilling his fields; a scholar searching for plum blossoms in the falling snow; and a man sitting on a waterside boulder and gazing at the geese.

The ipsa tradition was handed down from the Three Kingdoms period and applied on everything from power symbols to Buddhist ritual vessels and everyday objects. The shift from “inserted” inlay method to the “chiseled” inlay method accompanied the rise of iron craftwork production. The diverse decorations thus portrayed expressed wishes for good luck, long life and heavenly blessings.

08

special feature

nmk 2015 spring | korea heritage

on a piece with the inscription 1214. 貞 二年 The oldest anuruddha (auspicious cloud-head pattern) circle around the Sanskrit letter and the lotus petal pattern between the stem and body can be traced to 1218. Thus, the most extravagant decoration of Goryeo incense burners includes Sanskrit letters and lotus scroll above a lotus petal pattern on the body. It is at the same time a composite of Buddhist design elements.

The Silver-Inlaid Bronze Incense Burner with inscription of Hampyeonggungjubang is unique in that its production was commissioned by a Goryeo queen as an act of prayer (Fig. 9). It was intended to be set in front of the Avatamsaka Sutra. Inscribed in silver on its side is a four-syllable Sanskrit mantra Om mani pad, along with images of the lotus and grapevines.

The Goryeo silver wire inlay decoration methods were built on the Unified Silla tradition to accommodate the evolution of metalworking. The incense burners of the period exemplify the Buddhist craftworks of the period.

09

Fig 11.

Square Brazier Inlaid with Silver Wire Joseon, 19th century H. 25.3 cm nam 261

IPSA IN JOSEON The “inserting” approach to silver wire inlay was carried over from Goryeo to early Joseon and was the principle way of decorating bronze articles. Towards the end of the dynasty, however, “chiseling” became the mainstream ipsa method, and the wire inlay material also diversified from gold and silver to include copper and lead.

Fig 10.

Iron Brazier Inlaid with Silver and Copper Wire Joseon, 19th century H. 21.0 cm duk 2606

The advent of iron crafts brought a greater variety of metalworking media and sparked the widespread use of the “chiseling” ipsa technique. The Syrians were the first to inlay wire by chiseling. The technique was introduced to China during the Yuan Dynasty 1271– 1368 and then became known to artisans at the end of Goryeo but did not catch on in a major way. Joseon artisans began to apply the method to military equipment and horse-riding gear in the 16th and 17th centuries and the 18th century began to decorate Buddhist ritual objects this way. By the 19th century the use of “chiseling” inlay had expanded to include stationary items and other articles used in the home. Patterns and motifs with auspicious overtones were inlaid into brush holders, paperweights and other stationery items made of iron. The images of bats deemed auspicious and longevity symbols were also inlaid into tobacco boxes, braziers and censers.

This Iron Brazier Inlaid with Silver and Copper Wire (Fig. 10) has scenes of deer, cranes and turtles (all associated with long life) on the four sides of the body and bat figures around the sides of the lid. The images of four diagrams from the Book of Changes,

representing heaven (☰), earth (☷), water (☵) and fire (☲), have been inlaid with copper wire into the top of the lid.

The Square Brazier Inlaid with Silver Wire (Fig. 11) consists of a body and lid. Executed with the “chiseling” wire inlay are four scenes, one on each of the four sides of the censer body. They include a visit by Liu Bei to Zhuge Liang's thatched cottage; a farmer tilling his fields; a scholar searching for plum blossoms in the falling snow; and a man sitting on a waterside boulder and gazing at the geese.

The ipsa tradition was handed down from the Three Kingdoms period and applied on everything from power symbols to Buddhist ritual vessels and everyday objects. The shift from “inserted” inlay method to the “chiseled” inlay method accompanied the rise of iron craftwork production. The diverse decorations thus portrayed expressed wishes for good luck, long life and heavenly blessings.

10

curator ' s talk

This column takes an in-depth look at the Baekje Gilt-bronze Incense Burner, the height of sophistication.

nmk 2015 spring | korea heritage

Baekje Gilt-bronze Incense Burner: Exquisite Representation of Baekje Ancient Paradise by park kyeongeun, associate curator of the asian art department

F

or me, art history was such a fascinating field of study that changed my career path when I was in my 20s. The relics of the past, cut off from their familiar old environment to stand before us in the present like some stranger from another place, enabled me to draw closer to the feelings and thoughts of people far away in the past and the beauty that they sought. Relics that exist in the present are much like mediators linking me living in the here and now with the person who made it, now long forgotten and gone with the passage of so much time. The product of the maker's earnest beliefs, hopes, sense of beauty and skilled craftsmanship, relics are sometimes miraculous channels of communication, linking the viewer with the maker in an instant like a wormhole or as in Stargate.

The greatest experience of this kind came to me with the Gilt-bronze Incense Burner of Baekje. (Fig. 1) It is perfection of the form of an artwork that moves those who see it, and the greater the artistry the stronger the emo-

tional response and involvement. In this sense, the Gilt-bronze Incense Burner of Baekje, with its careful composition and meaningful arrangement of images, leads us back to the spiritual world of the ancient people who made it.

The principles behind the design of this incense burner are clear. Between the phoenix on top of the lid and the flying dragon that comprises the pedestal is a regular arrangement of five birds sitting on top of five mountain peaks in the five directions with five musicians placed between the peaks. The human and animal figures expressed on the lid and the body are all moving in the same direction. This regularity is broken, however, as the five peaks multiply to ten and develop into three and then four overlapping layers. Likewise, while the individual figures are basically headed in the same direction, several break the pattern by heading the other way. The whole composition is thoughtful and cohesive, and at the same time artless, free and diverse. While maintaining consistency overall, the design is freely expressed using

diverse techniques. For example, many of the ten holes on the lid were enlarged with a chisel, likely due to problems found in releasing smoke after casting. (Fig. 2) Though hidden by the peaks and the musicians, the originally round holes are deformed and marks left by the chisel are visible, with seeming unconcern for a clean finish.

Along with the principles giving shape to the incense burner, the different elements of the composition reveal the different aspects and nature of the world the Baekje people sought to express. The world on the incense burner is a mountain, as evidenced by the overlapping layers of mountain peaks on the lid, the hills and ridges, and the trees and rocks between them. The ridges are expressed in a simple and stylized manner using long curving lines, the borders filled with short diagonal strokes. Nevertheless, for some reason the overall impression is realistic.

If we take closer look, we can see figures with the bodies of birds and the faces of humans (Fig. 3) as well as figures with human faces and the bodies of animals nat-

Fig 1.

Gilt-bronze Incense Burner of Baekje H. 61.8 cm Discovered at the Neungsan-ri temple site in Buryeo Buyeo National Museum

11

10

curator ' s talk

This column takes an in-depth look at the Baekje Gilt-bronze Incense Burner, the height of sophistication.

nmk 2015 spring | korea heritage

Baekje Gilt-bronze Incense Burner: Exquisite Representation of Baekje Ancient Paradise by park kyeongeun, associate curator of the asian art department

F

or me, art history was such a fascinating field of study that changed my career path when I was in my 20s. The relics of the past, cut off from their familiar old environment to stand before us in the present like some stranger from another place, enabled me to draw closer to the feelings and thoughts of people far away in the past and the beauty that they sought. Relics that exist in the present are much like mediators linking me living in the here and now with the person who made it, now long forgotten and gone with the passage of so much time. The product of the maker's earnest beliefs, hopes, sense of beauty and skilled craftsmanship, relics are sometimes miraculous channels of communication, linking the viewer with the maker in an instant like a wormhole or as in Stargate.

The greatest experience of this kind came to me with the Gilt-bronze Incense Burner of Baekje. (Fig. 1) It is perfection of the form of an artwork that moves those who see it, and the greater the artistry the stronger the emo-

tional response and involvement. In this sense, the Gilt-bronze Incense Burner of Baekje, with its careful composition and meaningful arrangement of images, leads us back to the spiritual world of the ancient people who made it.

The principles behind the design of this incense burner are clear. Between the phoenix on top of the lid and the flying dragon that comprises the pedestal is a regular arrangement of five birds sitting on top of five mountain peaks in the five directions with five musicians placed between the peaks. The human and animal figures expressed on the lid and the body are all moving in the same direction. This regularity is broken, however, as the five peaks multiply to ten and develop into three and then four overlapping layers. Likewise, while the individual figures are basically headed in the same direction, several break the pattern by heading the other way. The whole composition is thoughtful and cohesive, and at the same time artless, free and diverse. While maintaining consistency overall, the design is freely expressed using

diverse techniques. For example, many of the ten holes on the lid were enlarged with a chisel, likely due to problems found in releasing smoke after casting. (Fig. 2) Though hidden by the peaks and the musicians, the originally round holes are deformed and marks left by the chisel are visible, with seeming unconcern for a clean finish.

Along with the principles giving shape to the incense burner, the different elements of the composition reveal the different aspects and nature of the world the Baekje people sought to express. The world on the incense burner is a mountain, as evidenced by the overlapping layers of mountain peaks on the lid, the hills and ridges, and the trees and rocks between them. The ridges are expressed in a simple and stylized manner using long curving lines, the borders filled with short diagonal strokes. Nevertheless, for some reason the overall impression is realistic.

If we take closer look, we can see figures with the bodies of birds and the faces of humans (Fig. 3) as well as figures with human faces and the bodies of animals nat-

Fig 1.

Gilt-bronze Incense Burner of Baekje H. 61.8 cm Discovered at the Neungsan-ri temple site in Buryeo Buyeo National Museum

11

12

curator ' s talk

nmk 2015 spring | korea heritage

13

Fig 2.

Smoke holes in the Gilt-bronze Incense Burner of Baekje

urally blending into the landscape. There are also an array of figures that do not exist in the real world, including a bird with a long nose like an elephant's trunk, flying fish, creatures with wings on their four legs, and a beast wearing short pants and running upright like a human, and a figure wearing a feathered robe and high topknot cone like the immortals (Fig. 4). These imaginary beings are members that inhabit the world of the immortals described in ancient texts such as Seas Shanhaijing 山海經 (The Classic of Mountains) and Huainanzi 淮 南子 (The Masters of Huainan). The ancient peoples of East Asia would represent these spiritual beings as hybrid creatures that cannot be found in the real world. The outlandish deities on the incense burner are expressed simply but so vividly they look as if they were about to move, a testament to the skills of the Baekje artisans.

The world expressed on the incense burner is not all mystical and mythological, for it contains some fearsome aspects as well. There is a tiger with clearly defined stripes growling, and a boar stares right at the viewer as it rushes out from behind the peak. There is a wild looking beast with a snake clamped in its mouth, an eaglelike bird of prey swallowing another bird, and a monster with a shaggy mane shaking its limbs as it walks. This world filled also with ferocious beasts and merciless animals is an expression of the frightening and unknown world of nature.

Records show that the ancient East Asians frequently hunted and held sacrificial rites as a way to communicate with heavenly gods and immortals and their fears in the wild, unknown power that ruled nature. This is reflected in the hunting scene on the lid (Fig. 5). The armored figure riding a horse wears a cloth head cover and narrow-legged pants for hunting, while the horse is also well fitted out with a bard and harness ornaments and is covered with a saddle blanket. These figures, setting out to hunt, are expressed in such meticulous detail that the craftsmanship of the Baekje artisans brings a smiles to the face. The mountain-shaped incense burners of the Han Dynasty of China 206 BCE–220 CE do not feature such horseback hunting scenes. Instead, they depict people hunting wild beasts with their bare hands or with spears and transporting the animals in an oxcart, which signifies the practice of hunting animals for sacrificial rites and attests to the long tradition of depicting such scenes on mountain-shaped incense burners.

The world depicted on the incense burner also includes scenes of Taoist rites. There is the image of a man bending forward to wash his long hair in a mountain stream, presumably a rite of selfpurification before entering the mountain to practice asceticism. Although only the upper half of the body is visible between the peaks, the figure is very naturally

depicted with the movements skillfully captured. There is another figure is caught in meditation. These figures reflect trends in Taoist thought between the fourth and sixth centuries. In the book Baopuzi (The Master Embracing Simplicity), the author Ge Hong 28 3–3 4 3 of the Eastern Jin Dynasty 317–420 proposed that to achieve immortality one should take the elixir of life, cut grains out of the diet and eat mountain herbs instead, and practice self-reflection through meditation. Traces of such thought can be found on the Gilt-bronze Incense Burner of Baekje in the figure of a man sitting under a tree lost in meditation, hands inside his sleeves and eyes cast down (Fig. 6). This feature, which can also be seen in Goguryeo tomb murals such as that of Ohoe Tomb, distinguishes the Baekje incense burner from others depicting the mythical Taoist mountain Boshan.

The Gilt-bronze Incense Burner of Baekje unfolds before us the sacred world of the immortals, the strange and wonderful world the Baekje people created out of their desires to overcome the human limitations of death and disease through religion and their aspirations to reach the paradise of transcendental beings. Possessing the qualities of both timeliness and timelessness, the Gilt-bronze Incense Burner of Baekje speaks to us across the ages and is an endless source of wonder and delight for its lively, exquisite expression of the spiritual world of the Baekje people.

Fig 3.

Mythical figure with the face of a human and body of a bird on the Gilt-bronze Incense Burner of Baekje

Fig 4.

Taoist immortal on the Gilt-bronze Incense Burner of Baekje

Fig 5.

Hunter on horseback on the Gilt-bronze Incense Burner of Baekje

Fig 6.

Meditating figure on the Gilt-bronze Incense Burner of Baekje

12

curator ' s talk

nmk 2015 spring | korea heritage

13

Fig 2.

Smoke holes in the Gilt-bronze Incense Burner of Baekje

urally blending into the landscape. There are also an array of figures that do not exist in the real world, including a bird with a long nose like an elephant's trunk, flying fish, creatures with wings on their four legs, and a beast wearing short pants and running upright like a human, and a figure wearing a feathered robe and high topknot cone like the immortals (Fig. 4). These imaginary beings are members that inhabit the world of the immortals described in ancient texts such as Seas Shanhaijing 山海經 (The Classic of Mountains) and Huainanzi 淮 南子 (The Masters of Huainan). The ancient peoples of East Asia would represent these spiritual beings as hybrid creatures that cannot be found in the real world. The outlandish deities on the incense burner are expressed simply but so vividly they look as if they were about to move, a testament to the skills of the Baekje artisans.

The world expressed on the incense burner is not all mystical and mythological, for it contains some fearsome aspects as well. There is a tiger with clearly defined stripes growling, and a boar stares right at the viewer as it rushes out from behind the peak. There is a wild looking beast with a snake clamped in its mouth, an eaglelike bird of prey swallowing another bird, and a monster with a shaggy mane shaking its limbs as it walks. This world filled also with ferocious beasts and merciless animals is an expression of the frightening and unknown world of nature.

Records show that the ancient East Asians frequently hunted and held sacrificial rites as a way to communicate with heavenly gods and immortals and their fears in the wild, unknown power that ruled nature. This is reflected in the hunting scene on the lid (Fig. 5). The armored figure riding a horse wears a cloth head cover and narrow-legged pants for hunting, while the horse is also well fitted out with a bard and harness ornaments and is covered with a saddle blanket. These figures, setting out to hunt, are expressed in such meticulous detail that the craftsmanship of the Baekje artisans brings a smiles to the face. The mountain-shaped incense burners of the Han Dynasty of China 206 BCE–220 CE do not feature such horseback hunting scenes. Instead, they depict people hunting wild beasts with their bare hands or with spears and transporting the animals in an oxcart, which signifies the practice of hunting animals for sacrificial rites and attests to the long tradition of depicting such scenes on mountain-shaped incense burners.

The world depicted on the incense burner also includes scenes of Taoist rites. There is the image of a man bending forward to wash his long hair in a mountain stream, presumably a rite of selfpurification before entering the mountain to practice asceticism. Although only the upper half of the body is visible between the peaks, the figure is very naturally

depicted with the movements skillfully captured. There is another figure is caught in meditation. These figures reflect trends in Taoist thought between the fourth and sixth centuries. In the book Baopuzi (The Master Embracing Simplicity), the author Ge Hong 28 3–3 4 3 of the Eastern Jin Dynasty 317–420 proposed that to achieve immortality one should take the elixir of life, cut grains out of the diet and eat mountain herbs instead, and practice self-reflection through meditation. Traces of such thought can be found on the Gilt-bronze Incense Burner of Baekje in the figure of a man sitting under a tree lost in meditation, hands inside his sleeves and eyes cast down (Fig. 6). This feature, which can also be seen in Goguryeo tomb murals such as that of Ohoe Tomb, distinguishes the Baekje incense burner from others depicting the mythical Taoist mountain Boshan.

The Gilt-bronze Incense Burner of Baekje unfolds before us the sacred world of the immortals, the strange and wonderful world the Baekje people created out of their desires to overcome the human limitations of death and disease through religion and their aspirations to reach the paradise of transcendental beings. Possessing the qualities of both timeliness and timelessness, the Gilt-bronze Incense Burner of Baekje speaks to us across the ages and is an endless source of wonder and delight for its lively, exquisite expression of the spiritual world of the Baekje people.

Fig 3.

Mythical figure with the face of a human and body of a bird on the Gilt-bronze Incense Burner of Baekje

Fig 4.

Taoist immortal on the Gilt-bronze Incense Burner of Baekje

Fig 5.

Hunter on horseback on the Gilt-bronze Incense Burner of Baekje

Fig 6.

Meditating figure on the Gilt-bronze Incense Burner of Baekje

14

zoom in

nmk 2015 spring | korea heritage

new paintings 1

Portrait of Kim Chiin at 72

I

“

Portrait of Kim Chiin

By Yi Myeonggi Joseon, 1787 Colors on Silk 177.0 x 71.5 cm Purchased 2012 koo 9354

f there is a single hair that is not the same, then it is not that person.” This seems to sum up the essence of Joseon Dynasty portrait painting. The point was to paint people just as they are, adding nothing and taking nothing away. The most famous Joseon painter of such realistic portraits was Yi Myeonggi, who was active during the reign of King Jeongjo. 1776–1800 He was a court painter who left behind many varied works including royal portraits, portraits of high officials, and even replicas of other portraits.

This portrait was painted by Yi Myeonggi at the age of 32. The subject is 72-year-old Kim Chiin, 1716–1790 who is depicted in an official s hat called samo, official's robe, and belt. Belts such as this one made of rhino horn were worn only by officials of senior first rank or higher. His rank is also shown in the embroidered rank badge on his chest, which features two cranes. He is sitting on a chair covered with leopard skin with his feet resting on a footstool.

The folds and volume of the ample robe are naturally expressed.

Compared to other portraits by Yi showing his characteristic strong brushwork and shading, this one has a much softer feel and is distinguished by tribute written by King Jeongjo in the top right hand corner.

Though no name is written at the top of the painting, the identity of the subject was confirmed by comparison to a halflength painting titled Portrait of Kim Chiin preserved at Tenri University in Japan.

15

new paintings 2

Ten Kings of Hell According to Buddhist faith, after death, people will face judgment from the ten kings of the underworld. This belief spawned an entire genre of Buddhist paintings known as Siwangdo which graphically portray the ten kings issuing harsh judgments and brutal punishments to the souls of the deceased. These rather frightful works stand out among Buddhist paintings, which generally convey a very peaceful and merciful ambience, as they were intended to dissuade people from immoral actions and to inspire the living to pray for the deceased.

The National Museum of Korea purchased three paintings from a private collector in the United States. These three Siwangdo paintings depict the fifth king (King Yama), eighth king, and tenth king. They were originally part of a set of ten paintings, but today only nine of the paintings are extant, and they are scattered in different places. While King Yama looks on, a warden pulls a man's hair and forces him to watch scenes of his sins and transgressions.

A large scale is placed before the eighth king, indicating that the judgment process involves weighing the misdeeds of the deceased against their moral actions. Finally, the tenth and final king assigns people to various reincarnations as animals, ordinary men and women, or monks, in accordance with his name, which means “king who turns the wheel of the five paths of rebirth.”

Ten Kings of Hell (Fifth King) Late Goryeo Dynasty (or Southern Song Dynasty, China) Color on silk 62.0×45.2 cm Purchased in 2010 koo 7479

14

zoom in

nmk 2015 spring | korea heritage

new paintings 1

Portrait of Kim Chiin at 72

I

“

Portrait of Kim Chiin

By Yi Myeonggi Joseon, 1787 Colors on Silk 177.0 x 71.5 cm Purchased 2012 koo 9354

f there is a single hair that is not the same, then it is not that person.” This seems to sum up the essence of Joseon Dynasty portrait painting. The point was to paint people just as they are, adding nothing and taking nothing away. The most famous Joseon painter of such realistic portraits was Yi Myeonggi, who was active during the reign of King Jeongjo. 1776–1800 He was a court painter who left behind many varied works including royal portraits, portraits of high officials, and even replicas of other portraits.

This portrait was painted by Yi Myeonggi at the age of 32. The subject is 72-year-old Kim Chiin, 1716–1790 who is depicted in an official s hat called samo, official's robe, and belt. Belts such as this one made of rhino horn were worn only by officials of senior first rank or higher. His rank is also shown in the embroidered rank badge on his chest, which features two cranes. He is sitting on a chair covered with leopard skin with his feet resting on a footstool.

The folds and volume of the ample robe are naturally expressed.

Compared to other portraits by Yi showing his characteristic strong brushwork and shading, this one has a much softer feel and is distinguished by tribute written by King Jeongjo in the top right hand corner.

Though no name is written at the top of the painting, the identity of the subject was confirmed by comparison to a halflength painting titled Portrait of Kim Chiin preserved at Tenri University in Japan.

15

new paintings 2

Ten Kings of Hell According to Buddhist faith, after death, people will face judgment from the ten kings of the underworld. This belief spawned an entire genre of Buddhist paintings known as Siwangdo which graphically portray the ten kings issuing harsh judgments and brutal punishments to the souls of the deceased. These rather frightful works stand out among Buddhist paintings, which generally convey a very peaceful and merciful ambience, as they were intended to dissuade people from immoral actions and to inspire the living to pray for the deceased.

The National Museum of Korea purchased three paintings from a private collector in the United States. These three Siwangdo paintings depict the fifth king (King Yama), eighth king, and tenth king. They were originally part of a set of ten paintings, but today only nine of the paintings are extant, and they are scattered in different places. While King Yama looks on, a warden pulls a man's hair and forces him to watch scenes of his sins and transgressions.

A large scale is placed before the eighth king, indicating that the judgment process involves weighing the misdeeds of the deceased against their moral actions. Finally, the tenth and final king assigns people to various reincarnations as animals, ordinary men and women, or monks, in accordance with his name, which means “king who turns the wheel of the five paths of rebirth.”

Ten Kings of Hell (Fifth King) Late Goryeo Dynasty (or Southern Song Dynasty, China) Color on silk 62.0×45.2 cm Purchased in 2010 koo 7479

16

special exhibition

nmk 2015 spring | from the gallery

17

FEBRUARY 10 – APRIL 26, 2015 SPECIAL EXHIBITION GALLERY

THE STORY OF BOHEMIAN GLASS by park hyewon, associate curator of the exhibition division

T

o mark the 25th anniversary of the establishment of diplomatic relations between the Republic of Korea and the Czech Republic, the National Museum of Korea presents the exhibition titled The Story of Bohemian Glass. Most Koreans know the Czech Republic primarily for its beautiful capital of Prague, but less is known about the region of Bohemia, which has a prestigious history and tradition as one of the world's leading sites for glassmaking. Crystal as clear and sparkling as jewels is the trademark of Bohemian glass. The glass engraved with

the popular motifs, such as portraits, family and group crests, and hunting scenes from the past are so impressive. Visitors will be able to appreciate the spectacular beauty of Bohemian glass and the unique culture of the Czech Republic.

Various decorative styles were developed, including the use of ruby threads and aventurine. Some glass vessels had double-ply walls, with gold- and silverleaf decorations applied to the interior.

These techniques became even more diverse in the 19th century. One of the major trends of the time was to decorate

glass with opaque coloring and designs to produce pieces that looked like gems such as opals or agate. Beautiful accessories and ornaments made of glass were a popular alternative for expensive jewelry and the industry flourished. The Bohemian glass tradition has been carried on to modern times and is still evolving to this day.

Countless students enroll in glass schools in the Czech Republic while artists adopt glass a material for their works. Artworks of the 20th century that take glass as their medium are evidence that Czech glass tradition is still alive today.

16

special exhibition

nmk 2015 spring | from the gallery

17

FEBRUARY 10 – APRIL 26, 2015 SPECIAL EXHIBITION GALLERY

THE STORY OF BOHEMIAN GLASS by park hyewon, associate curator of the exhibition division

T

o mark the 25th anniversary of the establishment of diplomatic relations between the Republic of Korea and the Czech Republic, the National Museum of Korea presents the exhibition titled The Story of Bohemian Glass. Most Koreans know the Czech Republic primarily for its beautiful capital of Prague, but less is known about the region of Bohemia, which has a prestigious history and tradition as one of the world's leading sites for glassmaking. Crystal as clear and sparkling as jewels is the trademark of Bohemian glass. The glass engraved with

the popular motifs, such as portraits, family and group crests, and hunting scenes from the past are so impressive. Visitors will be able to appreciate the spectacular beauty of Bohemian glass and the unique culture of the Czech Republic.

Various decorative styles were developed, including the use of ruby threads and aventurine. Some glass vessels had double-ply walls, with gold- and silverleaf decorations applied to the interior.

These techniques became even more diverse in the 19th century. One of the major trends of the time was to decorate

glass with opaque coloring and designs to produce pieces that looked like gems such as opals or agate. Beautiful accessories and ornaments made of glass were a popular alternative for expensive jewelry and the industry flourished. The Bohemian glass tradition has been carried on to modern times and is still evolving to this day.

Countless students enroll in glass schools in the Czech Republic while artists adopt glass a material for their works. Artworks of the 20th century that take glass as their medium are evidence that Czech glass tradition is still alive today.

18

special exhibition

Among the works in the exhibition, the religious artifacts are not to be missed. Czech people of the Christian faith made beautiful stained glass works, and the exhibition features three such pieces from the collection of the National Museum in Prague, which are among the oldest Czech stained glass works still extant. Other religious highlights include the One Side Chasuble with Crucifixion of Christ, the wooden carving of Madonna with Child, and the Statue of Infant Jesus with Crown.

The exhibition is organized into six parts that trace the development of Bohemian glass in chronological order. Part 1 explores the origin of the glassmaking culture on Czech territory. Glass beads and bracelets from the prehistoric era attest to the use of glass in the region from early times. However, the glass production of the Czech Republic began to fully flourish in the Middle Ages. With economic and cultural prosperity the production of glass rose rapidly to meet the demands of the royal court, aristocrats, church dignitaries, and urban nobility. Much high quality glassware was made at this time.

The increase in the number of churches and other buildings led to the creation of stained glass windows, made of pieces of colored glass soldered together with lead and decorated with a contour-style of painting known as “schwarlotz.”

nmk 2015 spring | from the gallery

Humpen with the Imperial Eagle and Prince-Elector's Coat of Arms 1587 H. 23.8 cm, D. 12.8 cm NM, Inv. H2-3257

The glass engraved with the popular motifs, such as portraits, family and group crests, and hunting scenes from the past are so impressive.

Covered Goblet Dedicated to Josef Jungmann Circa 1836 H. 36.0 cm NM, Inv. H2-3233/a-d

19

Part 2 shows the development of Bohemian glass under the patronage of King Rudolf II during the Renaissance and Mannerism periods. The glass artisans of Bohemia constantly worked to develop new techniques and styles, yielding an array of diverse glass products. Enameled glassware, in an abundance of vivid colors, was especially popular, and was used to make special steins called humpen for celebrations and banquets. Under the rule of King Rudolf II of Bohemia, Prague was not only the capital of the Holy Roman Empire, but also the center of European science and culture. Employing ancient techniques for working with precious stones, new ways were found to craft glass

products and this had a great influence on the development of Bohemian glass craft.

Part 3 of the exhibition focuses on the great progress made in Bohemian glass during the Baroque and Rococo periods.

Crystal glass is the characteristic Bohemian glass of the Baroque period and is worked with Renaissance gemstone working techniques. Portraits, coats of arms, hunting scenes and other popular themes were finely engraved on the surface of glass vessels. In the mid-18th century, Rococo style, strongly influenced by French court artists, was popular. Small, elegant dishes were decorated with genre paintings or allegorical motifs, and “milk glasses” (white-colored glass resembling

Hat Pins with Floral and Geometrical Decoration Late 19th-early 20th century L. 21.0 – 30.5 cm, D. 2.5 – 4.4 cm NM, Inv. H2-143233, Inv. H2-140188, Inv. H2-140198, Inv. H2-140199, Inv. H2-38651

Panoramic view of the exhibition part 3

Religious highlights featured in the exhibition

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special exhibition

Among the works in the exhibition, the religious artifacts are not to be missed. Czech people of the Christian faith made beautiful stained glass works, and the exhibition features three such pieces from the collection of the National Museum in Prague, which are among the oldest Czech stained glass works still extant. Other religious highlights include the One Side Chasuble with Crucifixion of Christ, the wooden carving of Madonna with Child, and the Statue of Infant Jesus with Crown.

The exhibition is organized into six parts that trace the development of Bohemian glass in chronological order. Part 1 explores the origin of the glassmaking culture on Czech territory. Glass beads and bracelets from the prehistoric era attest to the use of glass in the region from early times. However, the glass production of the Czech Republic began to fully flourish in the Middle Ages. With economic and cultural prosperity the production of glass rose rapidly to meet the demands of the royal court, aristocrats, church dignitaries, and urban nobility. Much high quality glassware was made at this time.

The increase in the number of churches and other buildings led to the creation of stained glass windows, made of pieces of colored glass soldered together with lead and decorated with a contour-style of painting known as “schwarlotz.”

nmk 2015 spring | from the gallery

Humpen with the Imperial Eagle and Prince-Elector's Coat of Arms 1587 H. 23.8 cm, D. 12.8 cm NM, Inv. H2-3257

The glass engraved with the popular motifs, such as portraits, family and group crests, and hunting scenes from the past are so impressive.

Covered Goblet Dedicated to Josef Jungmann Circa 1836 H. 36.0 cm NM, Inv. H2-3233/a-d

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Part 2 shows the development of Bohemian glass under the patronage of King Rudolf II during the Renaissance and Mannerism periods. The glass artisans of Bohemia constantly worked to develop new techniques and styles, yielding an array of diverse glass products. Enameled glassware, in an abundance of vivid colors, was especially popular, and was used to make special steins called humpen for celebrations and banquets. Under the rule of King Rudolf II of Bohemia, Prague was not only the capital of the Holy Roman Empire, but also the center of European science and culture. Employing ancient techniques for working with precious stones, new ways were found to craft glass

products and this had a great influence on the development of Bohemian glass craft.

Part 3 of the exhibition focuses on the great progress made in Bohemian glass during the Baroque and Rococo periods.

Crystal glass is the characteristic Bohemian glass of the Baroque period and is worked with Renaissance gemstone working techniques. Portraits, coats of arms, hunting scenes and other popular themes were finely engraved on the surface of glass vessels. In the mid-18th century, Rococo style, strongly influenced by French court artists, was popular. Small, elegant dishes were decorated with genre paintings or allegorical motifs, and “milk glasses” (white-colored glass resembling

Hat Pins with Floral and Geometrical Decoration Late 19th-early 20th century L. 21.0 – 30.5 cm, D. 2.5 – 4.4 cm NM, Inv. H2-143233, Inv. H2-140188, Inv. H2-140198, Inv. H2-140199, Inv. H2-38651

Panoramic view of the exhibition part 3

Religious highlights featured in the exhibition

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special exhibition

Vase 1902 H. 26.5 cm Produced in the Lötz Glassworks UPM, Inv. 70787

nmk 2015 spring | from the gallery

ceramics), was decorated with enameled pictures. Along with artistic and technical progress, an international trade network had also been formed, enabling Bohemian glassware to surpass the eminent glassware of Venice and take an unrivalled status in both the European and international markets.

Part 4 features a colorful array of Bohemian glass works from the 19th century, influenced by the various systems of thought that were found in Europe at the time. In the transitional period that marked the start of the 19th century, Bohemian glass primarily followed the rational order of Classicism, but with the reign of Emperor Napoleon I, r. 1804–1814, 1815 the geometric motifs and new forms of Empire Style became dominant. On the rising influence of the ordinary people, a practical style called Biedermeier emerged as well. In the early 19th century, Bohemian glass saw a decline in sales because of the Napoleonic Wars, but its development continued, and its status in the world markets was soon restored through the achievement of diverse colors, elaborate shapes, and intimate carvings. Agate glass and Lithyalin, a marbled glass that resembles gemstones were also produced.

At the same time, the use of color stain and luster allowed for an even wider array of colors and effects.

In the late 19th century, historicism came into vogue and Neo-Gothic, NeoRenaissance, and Neo-Classic style glassware inspired by the past became more popular, along with works utilizing traditional techniques or incorporating Oriental and Eastern motifs.

Part 5 features Bohemian glass from the first half of the 20th century. As Art Nouveau swept Europe at the turn of the century, many glass vases were produced, decorated with diverse flowers, plants, and Oriental motifs. Around this time, Czech businessmen, seeking to fuse new, outside influences with traditional techniques, established many new glass factories such as Lötz, Meyr, Kralik, Moser, and Harrach. The influence of glass artisans was great as they worked at these factories as designers or collaborated with them.

A popular style in early 20th century was Art Deco, featuring geometric and abstract patterns. The late 1920s brought the onset of functionalism and designs focusing on the practical usage of items and elimination of all unnecessary ornamentation were made. In the meantime, the department of glass art had been established at the School of Applied Arts in Prague (current Academy of Arts, Architecture and Design) and glass was adopted as a medium for creative works. Spe-

cialized training in the art of glass making remains a strong factor in the glass industry of today.

Part 6 of the exhibition explores the transformation of glassworks into contemporary art. By the late 20th century Czech artists had begun to see glass as a material for fine art. This led to the creation of numerous works with superb aes-

21

PUBLICATION

thetics and philosophical contents, which signaled the transformation of glass into art. Glass artworks also made their way into the public domain with glass creations installed at various public institutions and cultural facilities from the 1950s. Modern Czech glass works of art are now featured at international exhibitions and expositions around the world.

Wave

By Pavel Hlava (1924–2003) 2002 H. 33.0 cm, L. 64.5 cm UPM, Inv. 101904

This catalogue accompanying the special exhibition The Story of Bohemian Glass features high-definition photos of 275 glass works. Following the organization of the exhibition, the catalogue is comprised of six chapters, each chapter beginning with an overall summary written by Jana Kunešová from the National Museum in Prague and Milan Hlaveš from the Museum of Decorative Arts in Prague, whose essays are also included in the volume. The beautiful photos clearly show the designs and engravings on the glass while the annotations give a detailed account of the cultural background to the works and the social status of the people who used them.

Title The Story of Bohemian Glass ISBN 979-11-954263-1-7 Pages 256 Size 265 x 225 cm

Czech glass in the 20th century

Bohemian glass in the 19th century

Language Korean (with titles of works in English) Published February 9, 2015 Price KRW 27,000 (approx. $24)

20

special exhibition

Vase 1902 H. 26.5 cm Produced in the Lötz Glassworks UPM, Inv. 70787

nmk 2015 spring | from the gallery

ceramics), was decorated with enameled pictures. Along with artistic and technical progress, an international trade network had also been formed, enabling Bohemian glassware to surpass the eminent glassware of Venice and take an unrivalled status in both the European and international markets.

Part 4 features a colorful array of Bohemian glass works from the 19th century, influenced by the various systems of thought that were found in Europe at the time. In the transitional period that marked the start of the 19th century, Bohemian glass primarily followed the rational order of Classicism, but with the reign of Emperor Napoleon I, r. 1804–1814, 1815 the geometric motifs and new forms of Empire Style became dominant. On the rising influence of the ordinary people, a practical style called Biedermeier emerged as well. In the early 19th century, Bohemian glass saw a decline in sales because of the Napoleonic Wars, but its development continued, and its status in the world markets was soon restored through the achievement of diverse colors, elaborate shapes, and intimate carvings. Agate glass and Lithyalin, a marbled glass that resembles gemstones were also produced.

At the same time, the use of color stain and luster allowed for an even wider array of colors and effects.

In the late 19th century, historicism came into vogue and Neo-Gothic, NeoRenaissance, and Neo-Classic style glassware inspired by the past became more popular, along with works utilizing traditional techniques or incorporating Oriental and Eastern motifs.

Part 5 features Bohemian glass from the first half of the 20th century. As Art Nouveau swept Europe at the turn of the century, many glass vases were produced, decorated with diverse flowers, plants, and Oriental motifs. Around this time, Czech businessmen, seeking to fuse new, outside influences with traditional techniques, established many new glass factories such as Lötz, Meyr, Kralik, Moser, and Harrach. The influence of glass artisans was great as they worked at these factories as designers or collaborated with them.

A popular style in early 20th century was Art Deco, featuring geometric and abstract patterns. The late 1920s brought the onset of functionalism and designs focusing on the practical usage of items and elimination of all unnecessary ornamentation were made. In the meantime, the department of glass art had been established at the School of Applied Arts in Prague (current Academy of Arts, Architecture and Design) and glass was adopted as a medium for creative works. Spe-

cialized training in the art of glass making remains a strong factor in the glass industry of today.

Part 6 of the exhibition explores the transformation of glassworks into contemporary art. By the late 20th century Czech artists had begun to see glass as a material for fine art. This led to the creation of numerous works with superb aes-

21

PUBLICATION

thetics and philosophical contents, which signaled the transformation of glass into art. Glass artworks also made their way into the public domain with glass creations installed at various public institutions and cultural facilities from the 1950s. Modern Czech glass works of art are now featured at international exhibitions and expositions around the world.

Wave

By Pavel Hlava (1924–2003) 2002 H. 33.0 cm, L. 64.5 cm UPM, Inv. 101904

This catalogue accompanying the special exhibition The Story of Bohemian Glass features high-definition photos of 275 glass works. Following the organization of the exhibition, the catalogue is comprised of six chapters, each chapter beginning with an overall summary written by Jana Kunešová from the National Museum in Prague and Milan Hlaveš from the Museum of Decorative Arts in Prague, whose essays are also included in the volume. The beautiful photos clearly show the designs and engravings on the glass while the annotations give a detailed account of the cultural background to the works and the social status of the people who used them.

Title The Story of Bohemian Glass ISBN 979-11-954263-1-7 Pages 256 Size 265 x 225 cm

Czech glass in the 20th century

Bohemian glass in the 19th century

Language Korean (with titles of works in English) Published February 9, 2015 Price KRW 27,000 (approx. $24)

22

visitor

nmk 2015 spring | from the gallery

DISCOVERING A GLITTERING FORM OF ART by the editorial team

KIM YOUNGMOON

Retiree

1. What made you visit the special exhibition?

3. Which of the 340 items on display did you find most memorable?

4. Please say a word to anyone whom you think should see the exhibition.

LEE GYEHYANG

1. I come to the museum every Wednesday for the Culture and History Lectures, which run from March to December every year. This year's program hasn't started yet, but since today is “Culture Day” (last Wednesday every month, when use of cultural facilities if free or discounted) I came to the museum and the exhibition happened to be on.

2. I was struck from the start by the poster in the lobby. The exhibition filled with high-quality glass works was astounding. In front of my eyes were all these pieces that were hundreds and in some cases thousands of years old but superior to modern works. It was wonderful to have the chance to see works starting from the origins of glass production through to recent pieces by Czech artists.

3. The most impressive work was “Container with a Game Playing Scene.” The explanation said that it was intricately made by layering two cups and decorating the space in between with gold leaf. It looked like a very sophisticated technique and the more I looked at it the more amazing I found it to be. Another unforgettable work was “Wave” made with glass fragments to create a unique sense of form. I told myself that on my way home, if I saw anything resembling the glass in the exhibition I would buy it.

4. Anyone who attends the Wednesday lectures would enjoy the exhibition. Ten years ago I went travelling to Prague with a friend. I'll have to show her the pictures I took today and tell her to come and see the exhibition. I didn't pay much attention to the glass works back then but today I was able to look at the exhibition while listening to the explanations by the docent.

1. Since retiring, I have been coming to the museum frequently with my wife. I read about this exhibition in the newspaper and came out bit early today to look around the exhibition.

2. I was totally fascinated by the beautiful, finely crafted works. The exhibition made me realize why glassware from Prague in the Czech Republic is considered the finest in the world. It was interesting to see how glass was artistically transformed, from plain glass to glass of all different colors.

There were some pieces using techniques and expression hard to find in Korea and I stood in front of them for a long time, looking at them in wonder.

2. What are your thoughts after seeing Czech glassware up close?

Housewife

23

CHOI JAEHEE / KIM HANBEE

Students

1. CHOI My uncle has been a docent at the NMK for more than ten years, so I've been coming to the museum three or four times a month since I was young.

Coming to the museum is a part of my everyday life. Aside from my uncle recommending this exhibition very highly, the explanations on the museum's Facebook also got me interested.

2. CHOI I fell totally in love with the beautiful crystal works, which are among the finest in the world. I kept taking pictures with my phone, which was a natural reaction to the beauty of the pieces on display. I think I'll plan a trip to Prague before the impression wears off.

3. KIM There was one work that embodied the saying that art is the vessel of culture and history. In an age when the influence of the Catholic Church was strong, people made beautiful stained glass windows, and with the emergence of the Protestant Church changes came in the ornamentation and techniques used.

3. I particularly liked the part showcasing pieces that were apparently used by the Czech upper class of the 19th century, which was past the section devoted to religious artifacts. The pieces finely engraved with family crests or portraits were also wonderful, as well as the small pieces featuring genre pictures.

4. Seniors at the age of 70 or more will find the exhibition stimulating both culturally and emotionally. The older you get the more you need to feel the happiness of seeing beautiful things.

I hope that increased publicity will bring more people to the exhibition so that they can discover the unexpected enjoyment of looking at the Czech glass works of art.

From the 20th century, the glass works took on a modern and abstract beauty, like the vase by Jan Kotik, which was especially beautiful.

CHOI I liked everything, but if I had to choose one it would be “Goblet in the Shape of a Boat.” I remember the explanation, which said it was made with the schwarzlot technique, which is painting on clear glass with black pigment. I can't get the picture out of my head.

4. CHOI Anyone interested in Czech crystal and the culture that it embodies should come see the exhibition. It's an exhibition that really shows that art is for everyone.

22

visitor

nmk 2015 spring | from the gallery

DISCOVERING A GLITTERING FORM OF ART by the editorial team

KIM YOUNGMOON

Retiree

1. What made you visit the special exhibition?

3. Which of the 340 items on display did you find most memorable?

4. Please say a word to anyone whom you think should see the exhibition.

LEE GYEHYANG

1. I come to the museum every Wednesday for the Culture and History Lectures, which run from March to December every year. This year's program hasn't started yet, but since today is “Culture Day” (last Wednesday every month, when use of cultural facilities if free or discounted) I came to the museum and the exhibition happened to be on.

2. I was struck from the start by the poster in the lobby. The exhibition filled with high-quality glass works was astounding. In front of my eyes were all these pieces that were hundreds and in some cases thousands of years old but superior to modern works. It was wonderful to have the chance to see works starting from the origins of glass production through to recent pieces by Czech artists.

3. The most impressive work was “Container with a Game Playing Scene.” The explanation said that it was intricately made by layering two cups and decorating the space in between with gold leaf. It looked like a very sophisticated technique and the more I looked at it the more amazing I found it to be. Another unforgettable work was “Wave” made with glass fragments to create a unique sense of form. I told myself that on my way home, if I saw anything resembling the glass in the exhibition I would buy it.

4. Anyone who attends the Wednesday lectures would enjoy the exhibition. Ten years ago I went travelling to Prague with a friend. I'll have to show her the pictures I took today and tell her to come and see the exhibition. I didn't pay much attention to the glass works back then but today I was able to look at the exhibition while listening to the explanations by the docent.

1. Since retiring, I have been coming to the museum frequently with my wife. I read about this exhibition in the newspaper and came out bit early today to look around the exhibition.

2. I was totally fascinated by the beautiful, finely crafted works. The exhibition made me realize why glassware from Prague in the Czech Republic is considered the finest in the world. It was interesting to see how glass was artistically transformed, from plain glass to glass of all different colors.

There were some pieces using techniques and expression hard to find in Korea and I stood in front of them for a long time, looking at them in wonder.

2. What are your thoughts after seeing Czech glassware up close?

Housewife

23

CHOI JAEHEE / KIM HANBEE

Students

1. CHOI My uncle has been a docent at the NMK for more than ten years, so I've been coming to the museum three or four times a month since I was young.

Coming to the museum is a part of my everyday life. Aside from my uncle recommending this exhibition very highly, the explanations on the museum's Facebook also got me interested.

2. CHOI I fell totally in love with the beautiful crystal works, which are among the finest in the world. I kept taking pictures with my phone, which was a natural reaction to the beauty of the pieces on display. I think I'll plan a trip to Prague before the impression wears off.

3. KIM There was one work that embodied the saying that art is the vessel of culture and history. In an age when the influence of the Catholic Church was strong, people made beautiful stained glass windows, and with the emergence of the Protestant Church changes came in the ornamentation and techniques used.

3. I particularly liked the part showcasing pieces that were apparently used by the Czech upper class of the 19th century, which was past the section devoted to religious artifacts. The pieces finely engraved with family crests or portraits were also wonderful, as well as the small pieces featuring genre pictures.

4. Seniors at the age of 70 or more will find the exhibition stimulating both culturally and emotionally. The older you get the more you need to feel the happiness of seeing beautiful things.

I hope that increased publicity will bring more people to the exhibition so that they can discover the unexpected enjoyment of looking at the Czech glass works of art.

From the 20th century, the glass works took on a modern and abstract beauty, like the vase by Jan Kotik, which was especially beautiful.

CHOI I liked everything, but if I had to choose one it would be “Goblet in the Shape of a Boat.” I remember the explanation, which said it was made with the schwarzlot technique, which is painting on clear glass with black pigment. I can't get the picture out of my head.

4. CHOI Anyone interested in Czech crystal and the culture that it embodies should come see the exhibition. It's an exhibition that really shows that art is for everyone.

24

rnm exhibition. 1

nmk 2015 spring | from the gallery

rnm exhibition

FEBRUARY 11 – APRIL 19, 2015 NAJU NATIONAL MUSEUM

CULTURAL HERITAGES OF WOLCHULSAN MOUNTAIN by the editorial team

been revered by the local people as a holy mountain. To widely promote knowledge of the relics found around the mountain, the museum has organized the exhibition Cultural Heritages of Wolchulsan Mountain. On display are some 200 items including earthenware, ceramics, Buddhist relics, collected writings and the Buddhist Manuscript. This, National Treasure No. 185, is believed to have been enshrined at

Dogapsa Temple on Mt. Wolchulsan.

The exhibition is divided into five parts, each with a theme related to the cultural heritage of the mountain. Part 1, titled “Moon Rising over the Mountain,” explores the natural environment of Mt. Wolchulsan, whose name means the mountain where the moon rises. On display are descriptions of the mountain found in records such as History of the

(top) Buddhist Manuscript Goryeo, 1373 H. 31.3 cm, L. 11.7 cm National Treasure No. 185 ssu 2243

(left lower) Poem of Writings

By Ki Daeseung Joseon H. 32.2 cm, L. 21.2 cm National Library of Korea

(right lower) Annals of Yeongam-gun Joseon, 1899 H. 37.4 cm, L. 23.6 cm Kyujanggak Institute for Korean Studies

Earthenware and ceramics excavated from kiln sites

T

he Naju National Museum is hosting a special exhibition on the theme of Mt. Wolchulsan, the guardian mountain of the Honam region, and the cultural heritage found there. Located some 30 minutes away from the museum, Mt. Wolchulsan is one of the three major rocky mountains of Korea along with Mt. Juwangsan and Mt. Seoraksan, and for a long time has

Three Kingdoms and the geography section of the Annals of King Sejong. In the Silla period, the mountain was called Wollaak, and in the Goryeo Dynasty Wolsaengsan, both names referring to the moon. The early Joseon scholar Kim Siseup, penname Maewoldang, said of Wolchulsan, “The moon does not rise in the clear sky but over the mountain” and as this suggests, the sight of the moon rising over the rocky mountain has been admired by many poets and artists over the ages.

Part 2, titled “ The Mountain as Home,” introduces the lives of the people who settled on the mountain from prehistoric times to the Joseon Dynasty.

The earthenware and ceramics excavated from kiln sites in the villages of Gurimri, Sangwol-ri, and Wolha-ri are evidence that the area around the mountain provided a good environment for human habitation. In addition, a document from Gurim-ri recording the formation of a mutual aid society among villagers, called daedonggye, attests to the tradition of villagers helping each other out in times of hardship.

Part 3, titled “Holy Mountain,” introduces Wolchulsan as the single mountain in Jeollanam-do with the greatest number of Buddhist relics. The rock-carved seated figure of Maitreya (National Treasure No. 144) found 600m up the mountain is a large, exquisitely carved Buddhist image reaching 8.6m high. It can be seen in the exhibition through photographs. This part of the exhibition also features many items found at Buddhist temples on the mountain such as the Giant Bronze Wind Chime from Wollamsa Temple site and the Portrait of Seon Priest Doseon from Dogapsa Temple, which attest to the flourishing of Buddhist culture in the Goryeo and Joseon Dynasties. Considered a holy mountain, from ancient times national rites were held on the highest peak, Cheonhwangbong, and the exhibition encourages visitors to think about the meaning of such rites.

25

24

rnm exhibition. 1

nmk 2015 spring | from the gallery

rnm exhibition

FEBRUARY 11 – APRIL 19, 2015 NAJU NATIONAL MUSEUM

CULTURAL HERITAGES OF WOLCHULSAN MOUNTAIN by the editorial team

been revered by the local people as a holy mountain. To widely promote knowledge of the relics found around the mountain, the museum has organized the exhibition Cultural Heritages of Wolchulsan Mountain. On display are some 200 items including earthenware, ceramics, Buddhist relics, collected writings and the Buddhist Manuscript. This, National Treasure No. 185, is believed to have been enshrined at

Dogapsa Temple on Mt. Wolchulsan.

The exhibition is divided into five parts, each with a theme related to the cultural heritage of the mountain. Part 1, titled “Moon Rising over the Mountain,” explores the natural environment of Mt. Wolchulsan, whose name means the mountain where the moon rises. On display are descriptions of the mountain found in records such as History of the

(top) Buddhist Manuscript Goryeo, 1373 H. 31.3 cm, L. 11.7 cm National Treasure No. 185 ssu 2243

(left lower) Poem of Writings

By Ki Daeseung Joseon H. 32.2 cm, L. 21.2 cm National Library of Korea

(right lower) Annals of Yeongam-gun Joseon, 1899 H. 37.4 cm, L. 23.6 cm Kyujanggak Institute for Korean Studies

Earthenware and ceramics excavated from kiln sites

T

he Naju National Museum is hosting a special exhibition on the theme of Mt. Wolchulsan, the guardian mountain of the Honam region, and the cultural heritage found there. Located some 30 minutes away from the museum, Mt. Wolchulsan is one of the three major rocky mountains of Korea along with Mt. Juwangsan and Mt. Seoraksan, and for a long time has

Three Kingdoms and the geography section of the Annals of King Sejong. In the Silla period, the mountain was called Wollaak, and in the Goryeo Dynasty Wolsaengsan, both names referring to the moon. The early Joseon scholar Kim Siseup, penname Maewoldang, said of Wolchulsan, “The moon does not rise in the clear sky but over the mountain” and as this suggests, the sight of the moon rising over the rocky mountain has been admired by many poets and artists over the ages.

Part 2, titled “ The Mountain as Home,” introduces the lives of the people who settled on the mountain from prehistoric times to the Joseon Dynasty.

The earthenware and ceramics excavated from kiln sites in the villages of Gurimri, Sangwol-ri, and Wolha-ri are evidence that the area around the mountain provided a good environment for human habitation. In addition, a document from Gurim-ri recording the formation of a mutual aid society among villagers, called daedonggye, attests to the tradition of villagers helping each other out in times of hardship.

Part 3, titled “Holy Mountain,” introduces Wolchulsan as the single mountain in Jeollanam-do with the greatest number of Buddhist relics. The rock-carved seated figure of Maitreya (National Treasure No. 144) found 600m up the mountain is a large, exquisitely carved Buddhist image reaching 8.6m high. It can be seen in the exhibition through photographs. This part of the exhibition also features many items found at Buddhist temples on the mountain such as the Giant Bronze Wind Chime from Wollamsa Temple site and the Portrait of Seon Priest Doseon from Dogapsa Temple, which attest to the flourishing of Buddhist culture in the Goryeo and Joseon Dynasties. Considered a holy mountain, from ancient times national rites were held on the highest peak, Cheonhwangbong, and the exhibition encourages visitors to think about the meaning of such rites.

25

26

rnm exhibition. 1

nmk 2015 spring | from the gallery

through a series of photographs. Wolchulsan is often compared to Mt. Geumgangsan, now in North Korea, which is famed for its spectacular beauty.

The special exhibition shows various aspects of the culture of Mt. Wolchulsan and is a good opportunity to get a glimpse into the lives and thoughts of the ancestors who took the mountain for their home.

Portrait of Seon Priest Doseon Joseon H. 131.0 cm, L. 79.8 cm Dogapsa Temple

Iron ingots and cylinder-shaped stand

Part 4, titled “Mountain of Inspiration,” features literary works where impressions of Wolchulsan are expressed in poetry and prose by writers who stopped by to admire the views. These works include a poem by Kim Geukgi, which is found in Newly Enlarged Geography of Korea, 新增東 國輿地勝覽 and other poems by noted figures such as Kim Jongjik, Ko Gyeongmyeong, Yun Seondo, Ki Daeseung, and Kim Changhyeop, as well as travel accounts of Wolchulsan by Yi Hyu, Yi Hagon, Jeong Sang and others. From these works visitors can get glimpse of the thoughts of people from past times.

Part 5, titled “Wolchulsan, the Little Mt. Geumgangsan of Honam,” highlights the scenic splendor of the mountain

Buncheong flat bottle, pieces of broken dishes and containers

rnm exhibition

27

APRIL 14 – JUNE 14, 2015 DAEGU NATIONAL MUSEUM PUBLICATION

This catalogue is composed of five parts and an appendix containing articles written by the director of the Naju National Museum, director of the Wolchulsan National Park, and the director of the Sunchon National University Museum.

It carries photos of the items on display and the cultural and archaeological sites around the mountain. Especially the part 4, the catalogue contains excerpts of the texts written in Chinese characters with interpretations of the original contents at the side to enhance understanding and appreciation of the works on display.

Title Special Exhibition: Cultural Heritages of Wolchulsan, Mountain ISBN 978-89-98234-19-5 Pages 248 Size 280.0 × 225.0 cm Language Korean (titles of works in English also) Published February 11, 2015 Price KRW 25,000 (approx. $22)

GORYEONG JISANDONG DAEGAYA TUMULI by the editorial team

T

he Daegu National Museum hosts a special exhibition of the relics found in the group of tombs from Daegaya, an ancient city-state that existed during the Three Kingdoms period, located in Jisan-dong, Goryeong. The Jisan-dong tumuli, which were included in the Tentative Lists of UNESCO World Heritage Sites in 2013, are found in the county of Goryeong, which was the center of the Daegaya state. They are the tombs of kings, other members of the royal family, and members of the ruling class. Along with the tumuli in Daesong-dong in the city of Gimhae and the tumuli in Mt. Malisan, Haman, the Jinsan-dong tumuli were selected in March this year as priority candidates for inscription on the World Heritage list. The Daegu National Museum planned the special exhibition to mark such recognition of the Jisan-dong tumuli as the cultural heritage of humanity.

Goryeong, the old capital of Daegaya, abounds with royal palace sites, mountain fortresses and tombs with high mounds.

Of all the states in Gaya confederacy, only in Daegaya has a giltbronze crown been found. The Jisan-dong tumuli, constructed between the early 5th century and mid-6th century, comprise

26

rnm exhibition. 1

nmk 2015 spring | from the gallery

through a series of photographs. Wolchulsan is often compared to Mt. Geumgangsan, now in North Korea, which is famed for its spectacular beauty.

The special exhibition shows various aspects of the culture of Mt. Wolchulsan and is a good opportunity to get a glimpse into the lives and thoughts of the ancestors who took the mountain for their home.

Portrait of Seon Priest Doseon Joseon H. 131.0 cm, L. 79.8 cm Dogapsa Temple

Iron ingots and cylinder-shaped stand

Part 4, titled “Mountain of Inspiration,” features literary works where impressions of Wolchulsan are expressed in poetry and prose by writers who stopped by to admire the views. These works include a poem by Kim Geukgi, which is found in Newly Enlarged Geography of Korea, 新增東 國輿地勝覽 and other poems by noted figures such as Kim Jongjik, Ko Gyeongmyeong, Yun Seondo, Ki Daeseung, and Kim Changhyeop, as well as travel accounts of Wolchulsan by Yi Hyu, Yi Hagon, Jeong Sang and others. From these works visitors can get glimpse of the thoughts of people from past times.

Part 5, titled “Wolchulsan, the Little Mt. Geumgangsan of Honam,” highlights the scenic splendor of the mountain

Buncheong flat bottle, pieces of broken dishes and containers

rnm exhibition

27

APRIL 14 – JUNE 14, 2015 DAEGU NATIONAL MUSEUM PUBLICATION

This catalogue is composed of five parts and an appendix containing articles written by the director of the Naju National Museum, director of the Wolchulsan National Park, and the director of the Sunchon National University Museum.

It carries photos of the items on display and the cultural and archaeological sites around the mountain. Especially the part 4, the catalogue contains excerpts of the texts written in Chinese characters with interpretations of the original contents at the side to enhance understanding and appreciation of the works on display.

Title Special Exhibition: Cultural Heritages of Wolchulsan, Mountain ISBN 978-89-98234-19-5 Pages 248 Size 280.0 × 225.0 cm Language Korean (titles of works in English also) Published February 11, 2015 Price KRW 25,000 (approx. $22)

GORYEONG JISANDONG DAEGAYA TUMULI by the editorial team

T

he Daegu National Museum hosts a special exhibition of the relics found in the group of tombs from Daegaya, an ancient city-state that existed during the Three Kingdoms period, located in Jisan-dong, Goryeong. The Jisan-dong tumuli, which were included in the Tentative Lists of UNESCO World Heritage Sites in 2013, are found in the county of Goryeong, which was the center of the Daegaya state. They are the tombs of kings, other members of the royal family, and members of the ruling class. Along with the tumuli in Daesong-dong in the city of Gimhae and the tumuli in Mt. Malisan, Haman, the Jinsan-dong tumuli were selected in March this year as priority candidates for inscription on the World Heritage list. The Daegu National Museum planned the special exhibition to mark such recognition of the Jisan-dong tumuli as the cultural heritage of humanity.

Goryeong, the old capital of Daegaya, abounds with royal palace sites, mountain fortresses and tombs with high mounds.

Of all the states in Gaya confederacy, only in Daegaya has a giltbronze crown been found. The Jisan-dong tumuli, constructed between the early 5th century and mid-6th century, comprise

28

rnm exhibition. 2

nmk 2015 spring | from the gallery

Scales of Armor

Panoramic view of the Part 1 to 2 in the exhibition

Round-pommeled Sword with Phoenix Pattern

some 700 graves, more than any other tomb complex in Korea.

The exhibition features some 500 relics recently excavated from tombs No. 73, 74, and 75 and others nearby. Tombs No. 73 and 75 date to the early 5th century, while No. 74 dates to the mid5th century, which means they are early Daehaya tombs that give testimony to the origin and rise of the state.

The special exhibition Goryeong Jisandong Daegaya Tumuli is divided into 5 parts. Part 1 is devoted to relics from the Jisandong tumuli overall, Part 2 to tomb No. 73, Part 3 to tomb No. 74, Part 4 to tombs in the surrounding area, and Part 5 to tomb No. 75. Part 1 features representative Jisan-dong relics including the Long-necked Jar Inscribed with Daewang, meaning Great King, the distinctive mounted dishes from this area, and gold earrings that were a symbol of rulers.

Part 2 recreates the scene inside tomb No. 73 with the main occupant buried with one horse and eight other people, who were live sacrifices. The large number of people who were buried alive or killed just before burial according to custom is a distinguishing feature of Daegaya tombs. Also buried were objects that the dead would need in the afterlife, which in this case include the Round-pommeled Sword with Phoenix Pattern, horse ornaments, daily utensils and cutlery pieces. In addition, the head of the horse that was buried alive is on public display for the first time in Korea.

Tomb No. 74, featured in Part 3 of the exhibition, is adjacent to No. 73 on the western side, the two mounds rising up side by side. Major items on display include a spindle whorl that would have been used by the tomb occupant, as well as mounted jars

29

and long-necked jars that are typical of Daegaya style. In addition, there are crown ornaments, gilt-bronze earrings, and tubular jade pieces, which attest to the high social standing of the person buried in the tomb.

Part 4 features relics found in nine tombs near Nos. 73 and 74. Nos. 3, 7, 2, 4, 6 and 1 were constructed sometime between Nos. 73 and 74, while Nos. 5, 8 and 9 were constructed after No. 74. The items on display give an indication of the changes in burial items over a period of 150 years when the smaller tombs were built one by one. Found among the luxury items and everyday utensils, are short-mounted cups that reflect the advance of Silla forces into the area.

Part 5 focuses on tomb No. 75, where at least 12 people were

buried alive. Major items found in this tomb include scales of armor, horse armor, and iron weapons.

The exhibition has been planned according to the information in a report on excavation of the Jisan-dong tumuli published in 2012 and related research materials, and hence gives clues to the mysteries regarding the formation of Daegaya.

Luxury items reflect the authority of the Daegaya ruling class, while the traces of textiles once attached to relics and fish bones remaining inside mounted dishes give a glimpse into everyday life. Moreover, items such as the Cylinder-shaped Stand vividly decorated with the figure of a descending snake and a necklace made of polished jade pieces attest to the scientific and artistic world of the Daegaya people.

Long-necked Jar Inscribed with Daewang Chungnam National University Museum

Horse Armor

Bowl-shaped Stand and Long-necked Jar with Cover

28

rnm exhibition. 2

nmk 2015 spring | from the gallery

Scales of Armor

Panoramic view of the Part 1 to 2 in the exhibition

Round-pommeled Sword with Phoenix Pattern

some 700 graves, more than any other tomb complex in Korea.

The exhibition features some 500 relics recently excavated from tombs No. 73, 74, and 75 and others nearby. Tombs No. 73 and 75 date to the early 5th century, while No. 74 dates to the mid5th century, which means they are early Daehaya tombs that give testimony to the origin and rise of the state.

The special exhibition Goryeong Jisandong Daegaya Tumuli is divided into 5 parts. Part 1 is devoted to relics from the Jisandong tumuli overall, Part 2 to tomb No. 73, Part 3 to tomb No. 74, Part 4 to tombs in the surrounding area, and Part 5 to tomb No. 75. Part 1 features representative Jisan-dong relics including the Long-necked Jar Inscribed with Daewang, meaning Great King, the distinctive mounted dishes from this area, and gold earrings that were a symbol of rulers.

Part 2 recreates the scene inside tomb No. 73 with the main occupant buried with one horse and eight other people, who were live sacrifices. The large number of people who were buried alive or killed just before burial according to custom is a distinguishing feature of Daegaya tombs. Also buried were objects that the dead would need in the afterlife, which in this case include the Round-pommeled Sword with Phoenix Pattern, horse ornaments, daily utensils and cutlery pieces. In addition, the head of the horse that was buried alive is on public display for the first time in Korea.

Tomb No. 74, featured in Part 3 of the exhibition, is adjacent to No. 73 on the western side, the two mounds rising up side by side. Major items on display include a spindle whorl that would have been used by the tomb occupant, as well as mounted jars

29

and long-necked jars that are typical of Daegaya style. In addition, there are crown ornaments, gilt-bronze earrings, and tubular jade pieces, which attest to the high social standing of the person buried in the tomb.

Part 4 features relics found in nine tombs near Nos. 73 and 74. Nos. 3, 7, 2, 4, 6 and 1 were constructed sometime between Nos. 73 and 74, while Nos. 5, 8 and 9 were constructed after No. 74. The items on display give an indication of the changes in burial items over a period of 150 years when the smaller tombs were built one by one. Found among the luxury items and everyday utensils, are short-mounted cups that reflect the advance of Silla forces into the area.

Part 5 focuses on tomb No. 75, where at least 12 people were

buried alive. Major items found in this tomb include scales of armor, horse armor, and iron weapons.

The exhibition has been planned according to the information in a report on excavation of the Jisan-dong tumuli published in 2012 and related research materials, and hence gives clues to the mysteries regarding the formation of Daegaya.

Luxury items reflect the authority of the Daegaya ruling class, while the traces of textiles once attached to relics and fish bones remaining inside mounted dishes give a glimpse into everyday life. Moreover, items such as the Cylinder-shaped Stand vividly decorated with the figure of a descending snake and a necklace made of polished jade pieces attest to the scientific and artistic world of the Daegaya people.

Long-necked Jar Inscribed with Daewang Chungnam National University Museum

Horse Armor

Bowl-shaped Stand and Long-necked Jar with Cover

30

behind the exhibit

nmk 2015 spring | the latest

31

Metal conservation lab.

In the Prehistory and Ancient History section on the first floor, a group of visitors is singing the praises of a Phoenix Head-shaped Glass Bottle from the Silla period. Would they have known that the bottle was restored by joining 180 glass fragments together after first

Conservation Science, like Medical Treatment for Cultural Heritage

dismantling the bottle?

The Conservation Science Department plays a crucial role in the museum's

by the editorial team with the cooperation of the conservation science department

major activities of acquisition, exhibition and restoration. But relatively few people are aware of the fact. This magazine plans to publish a series of articles introducing the major projects of the department, whose scope of activity and value is growing by the day. As a preview, this issue gives an overview of the work of the Conservation Science Department and the role that it plays.

39 YEARS OF CONSERVATION AT THE NMK The Conservation Science Department, established in 1976 with just two staff, has grown rapidly over the past 39 years. In the early days, when the concept of conservation science was still new, the two scientists (one had studied ceramics at the National Palace Museum in Taiwan and

one had studied in Japan) worked in poor conditions with a desk and a set of tools and chemicals bought overseas between them. Today, the same department has a staff of 30, comprised of 14 scientists and assistants, who work in nine fields: metal objects, wooden objects, wooden craft, painting and writing, pottery and ceramics, stone and murals, textiles, scientific

analysis, and the museum environment.

Conservation science is commonly described as medical treatment of cultural heritage. Just as a sick person goes to the doctor and first answers questions on his/ her condition, which is recorded on a medical chart, then has further examination and treatment according to the diagnosis, cultural heritage goes through similar procedures.

Conservation science is divided into three areas: examination and analysis, conservation treatment, and management of storage and exhibition environments.

The number of items treated by the NMK's conservation scientists so far reaches some 26,000, or around 1,500 items annually in recent years. The NMK collection consists of 350,000 items and of these 170,000 items, about half the collection, requires treatment. Every year the number grows with the addition of repatriated cultural heritage and new acquisitions. This means treatment of the remaining articles would take 110 years, which is why the NMK is planning to promote the department into a Conservation Science Center and expand personnel and equipment.

On top of the NMK collection, the Conservation Science Department also works on items from other public and private museums in Korea as well as Korean cultural heritage preserved in museums

overseas. Also, when Korean heritage items are taken outside the country, for example the recent Treasures from Korea exhibition held in the United States, a conservation scientist goes along and keeps check on their condition. This measure is necessary to prevent damage to the items as a result of transportation and change in exhibition conditions.

Recently, the NMK's Conservation Science Department completed work on two Korean paintings from the British Museum. It was the first project undertaken under an agreement between the two museums on conservation of Korean paintings signed in 2011. This year the NMK plans to sign an agreement with a Museum in Germany, regarding restoration of a Buddhist painting in its collection, preferably in Korea if conditions allow. While Europe and the United States began conservation science much earlier, they deal with different types and materials to Korea.

So the NMK is the world's leading institution when it comes to the preservation of Korean cultural heritage.

Moreover, the Conservation Science Department is also responsible for work on the relics that are retrieved from excavation projects in Vietnam and Mongolia currently being carried out by the NMK's Archaeology and History Department.

As the two countries lack the necessary

facilities and conservation specialists, the excavated items are being treated in Korea and then returned their home countries where they can then be safely exhibited.

SCIENTIFIC INSPECTION The conservation scientist begins work by making a visual measure of the relics, noting down the size, weight and any visible cracks and other damage. As the causes for damage and flaws are diverse, thorough examination and analysis of the item is crucial. When necessary, photographs are taken and other means utilized, for example microscopy, infra-red rays, ultraviolet rays, and X-rays. Such examination and analysis provide the grounds for determining the method of treatment and in this process conservation scientists work with experts in archaeology and art history to put together as much information as possible on the cultural heritage and hence reduce any margin of error. Once conservation work begins, the object cannot be examined in its original state, so meticulous analysis of all available information is of vital importance.

Such examination and analysis have yielded significant results. For example, when the NMK held a special exhibition titled The Secret of Joseon Portraits several years ago, the famous head-only Portrait of Yun Duseo was exhibited alongside the re-

30

behind the exhibit

nmk 2015 spring | the latest

31

Metal conservation lab.

In the Prehistory and Ancient History section on the first floor, a group of visitors is singing the praises of a Phoenix Head-shaped Glass Bottle from the Silla period. Would they have known that the bottle was restored by joining 180 glass fragments together after first

Conservation Science, like Medical Treatment for Cultural Heritage

dismantling the bottle?

The Conservation Science Department plays a crucial role in the museum's

by the editorial team with the cooperation of the conservation science department

major activities of acquisition, exhibition and restoration. But relatively few people are aware of the fact. This magazine plans to publish a series of articles introducing the major projects of the department, whose scope of activity and value is growing by the day. As a preview, this issue gives an overview of the work of the Conservation Science Department and the role that it plays.

39 YEARS OF CONSERVATION AT THE NMK The Conservation Science Department, established in 1976 with just two staff, has grown rapidly over the past 39 years. In the early days, when the concept of conservation science was still new, the two scientists (one had studied ceramics at the National Palace Museum in Taiwan and

one had studied in Japan) worked in poor conditions with a desk and a set of tools and chemicals bought overseas between them. Today, the same department has a staff of 30, comprised of 14 scientists and assistants, who work in nine fields: metal objects, wooden objects, wooden craft, painting and writing, pottery and ceramics, stone and murals, textiles, scientific

analysis, and the museum environment.

Conservation science is commonly described as medical treatment of cultural heritage. Just as a sick person goes to the doctor and first answers questions on his/ her condition, which is recorded on a medical chart, then has further examination and treatment according to the diagnosis, cultural heritage goes through similar procedures.

Conservation science is divided into three areas: examination and analysis, conservation treatment, and management of storage and exhibition environments.

The number of items treated by the NMK's conservation scientists so far reaches some 26,000, or around 1,500 items annually in recent years. The NMK collection consists of 350,000 items and of these 170,000 items, about half the collection, requires treatment. Every year the number grows with the addition of repatriated cultural heritage and new acquisitions. This means treatment of the remaining articles would take 110 years, which is why the NMK is planning to promote the department into a Conservation Science Center and expand personnel and equipment.

On top of the NMK collection, the Conservation Science Department also works on items from other public and private museums in Korea as well as Korean cultural heritage preserved in museums

overseas. Also, when Korean heritage items are taken outside the country, for example the recent Treasures from Korea exhibition held in the United States, a conservation scientist goes along and keeps check on their condition. This measure is necessary to prevent damage to the items as a result of transportation and change in exhibition conditions.

Recently, the NMK's Conservation Science Department completed work on two Korean paintings from the British Museum. It was the first project undertaken under an agreement between the two museums on conservation of Korean paintings signed in 2011. This year the NMK plans to sign an agreement with a Museum in Germany, regarding restoration of a Buddhist painting in its collection, preferably in Korea if conditions allow. While Europe and the United States began conservation science much earlier, they deal with different types and materials to Korea.

So the NMK is the world's leading institution when it comes to the preservation of Korean cultural heritage.

Moreover, the Conservation Science Department is also responsible for work on the relics that are retrieved from excavation projects in Vietnam and Mongolia currently being carried out by the NMK's Archaeology and History Department.

As the two countries lack the necessary

facilities and conservation specialists, the excavated items are being treated in Korea and then returned their home countries where they can then be safely exhibited.

SCIENTIFIC INSPECTION The conservation scientist begins work by making a visual measure of the relics, noting down the size, weight and any visible cracks and other damage. As the causes for damage and flaws are diverse, thorough examination and analysis of the item is crucial. When necessary, photographs are taken and other means utilized, for example microscopy, infra-red rays, ultraviolet rays, and X-rays. Such examination and analysis provide the grounds for determining the method of treatment and in this process conservation scientists work with experts in archaeology and art history to put together as much information as possible on the cultural heritage and hence reduce any margin of error. Once conservation work begins, the object cannot be examined in its original state, so meticulous analysis of all available information is of vital importance.

Such examination and analysis have yielded significant results. For example, when the NMK held a special exhibition titled The Secret of Joseon Portraits several years ago, the famous head-only Portrait of Yun Duseo was exhibited alongside the re-

32

behind the exhibit

nmk 2015 spring | the latest

33

Examination for the condition of a Buddhist Sculpture before the conservation

sults of infrared photography of the painting, which had revealed the faint outline of the subject's upper body invisible to the naked eye. In addition, analysis of Goguryeo Tomb Murals, based on how the paintings were produced and the ingredients of the pigments among other factors, revealed that the Goguryeo murals had influenced the Takamatsuzuka Tomb Murals in Japan.

Among many other cases, a Metal Plate In­ scribed with the Diamond Sutra (National Treasure No. 123-1) found inside the fivestory stone pagoda of Wanggung-ri, Iksan, was previously known to be made of gold, but analysis of the material revealed the metal to be silver plated with gold.

As for the Gilt-bronze Pensive Bodhisattva (National Treasure No. 78), a scan of the sculpture using radioisotopes to study the interior structure clearly revealed the sculpture's metal core, its method of assembly, and the method of production used for the part needing restoration, thus providing all the information necessary for understanding the sculpture.

Pensive Bodhisattva upper body X-ray photo

Pensive Bodhisattva Three Kingdoms Period, late 6th century H. 83.2 cm National Treasure No. 78 bon 2789

CONSERVATION ACCORDING TO THE CONDITION OF THE CULTURAL HERITAGE When the condition of an item has been diagnosed, work begins to either prevent further damage or restore the damaged part. The optimal solution has to be found

in order to restore the item to its original state and prevent any further problems. As restoration work is tantamount to replication of the workmanship of past artists and craftsmen, many conservation scientists have highly developed artistic sensibilities and are clever with their hands. Though different methods are used according to materials and type of heritage, the conservation process is generally divided into three stages. First, any foreign material that should not be on the item is removed, and then any material that could cause corrosion or decay is removed to return the item to stable condition. Second, any weak parts are reinforced with synthetic resin or patching with layers of paper to prevent damage from external pressure.

Finally, any broken fragments are joined to the main body and any missing parts are restored as close as possible to the original.

The adhesives used differ in strength and ingredients according to material and must be selected with care.

The amount of time taken to restore cultural heritage differs from one item to the next depending on the work required.

For example the piece of paper covered with dirt when found inside Seokgatap Pagoda at Bulguksa Temple had to be safely unstuck and unfolded, while restoration of an official's robe from the Joseon period involved realignment of the warp and

weft threads. Some items are easily treated while others can take one to two years. Big projects can even take more than ten years.

THOROUGH PREVENTATIVE CONSERVATION Cultural heritage that has been restored and returned to its original form has to be protected from exposure and contact as much as possible. But as all items are inevitably moved between display cabinets and storage, for optimal preservation all care has to be taken to provide the right environment for each one according to material.

Damage to cultural heritage largely comes from three types of external factors: environmental factors, biological factors, and materials used in exhibiting and storing relics. To prevent damage from the environment, temperature and humidity levels must be adjusted according to material, and exposure to UV rays and harmful gases must be blocked. Biological factors such as mold and pest damage must be continuously monitored and damage prevented with the help of fumigation equipment. Finally, materials test must be carried out on all materials used in the storage and exhibition halls to discover anything that poses a threat to cultural heritage.

Next year will mark the 40th year since the Conservation Science Department was

established at the NMK. Though countless treasures have already been restored, reports written and a wide variety of exhibitions arranged, no clear explanation has been made as to what conservation science is and what the scientists in the department actually do. Hence, the NMK is preparing a large-scale exhibition to mark the 40th anniversary of the department. In the run-up to the exhibition, NMK Magazine will be introducing the museum's various conservation projects, providing a rare opportunity to follow the whole process that a cultural artifact goes through before it finds itself inside the display cabinet. The magazine will follow the conservation scientists at work, as they treat wooden items as required of wooden items, paintings and calligraphy as required of paintings and calligraphy, examine items according to the extent of damage, draw up record cards, and reinforce any weak spots.

32

behind the exhibit

nmk 2015 spring | the latest

33

Examination for the condition of a Buddhist Sculpture before the conservation

sults of infrared photography of the painting, which had revealed the faint outline of the subject's upper body invisible to the naked eye. In addition, analysis of Goguryeo Tomb Murals, based on how the paintings were produced and the ingredients of the pigments among other factors, revealed that the Goguryeo murals had influenced the Takamatsuzuka Tomb Murals in Japan.

Among many other cases, a Metal Plate In­ scribed with the Diamond Sutra (National Treasure No. 123-1) found inside the fivestory stone pagoda of Wanggung-ri, Iksan, was previously known to be made of gold, but analysis of the material revealed the metal to be silver plated with gold.

As for the Gilt-bronze Pensive Bodhisattva (National Treasure No. 78), a scan of the sculpture using radioisotopes to study the interior structure clearly revealed the sculpture's metal core, its method of assembly, and the method of production used for the part needing restoration, thus providing all the information necessary for understanding the sculpture.

Pensive Bodhisattva upper body X-ray photo

Pensive Bodhisattva Three Kingdoms Period, late 6th century H. 83.2 cm National Treasure No. 78 bon 2789

CONSERVATION ACCORDING TO THE CONDITION OF THE CULTURAL HERITAGE When the condition of an item has been diagnosed, work begins to either prevent further damage or restore the damaged part. The optimal solution has to be found

in order to restore the item to its original state and prevent any further problems. As restoration work is tantamount to replication of the workmanship of past artists and craftsmen, many conservation scientists have highly developed artistic sensibilities and are clever with their hands. Though different methods are used according to materials and type of heritage, the conservation process is generally divided into three stages. First, any foreign material that should not be on the item is removed, and then any material that could cause corrosion or decay is removed to return the item to stable condition. Second, any weak parts are reinforced with synthetic resin or patching with layers of paper to prevent damage from external pressure.

Finally, any broken fragments are joined to the main body and any missing parts are restored as close as possible to the original.

The adhesives used differ in strength and ingredients according to material and must be selected with care.

The amount of time taken to restore cultural heritage differs from one item to the next depending on the work required.

For example the piece of paper covered with dirt when found inside Seokgatap Pagoda at Bulguksa Temple had to be safely unstuck and unfolded, while restoration of an official's robe from the Joseon period involved realignment of the warp and

weft threads. Some items are easily treated while others can take one to two years. Big projects can even take more than ten years.

THOROUGH PREVENTATIVE CONSERVATION Cultural heritage that has been restored and returned to its original form has to be protected from exposure and contact as much as possible. But as all items are inevitably moved between display cabinets and storage, for optimal preservation all care has to be taken to provide the right environment for each one according to material.

Damage to cultural heritage largely comes from three types of external factors: environmental factors, biological factors, and materials used in exhibiting and storing relics. To prevent damage from the environment, temperature and humidity levels must be adjusted according to material, and exposure to UV rays and harmful gases must be blocked. Biological factors such as mold and pest damage must be continuously monitored and damage prevented with the help of fumigation equipment. Finally, materials test must be carried out on all materials used in the storage and exhibition halls to discover anything that poses a threat to cultural heritage.

Next year will mark the 40th year since the Conservation Science Department was

established at the NMK. Though countless treasures have already been restored, reports written and a wide variety of exhibitions arranged, no clear explanation has been made as to what conservation science is and what the scientists in the department actually do. Hence, the NMK is preparing a large-scale exhibition to mark the 40th anniversary of the department. In the run-up to the exhibition, NMK Magazine will be introducing the museum's various conservation projects, providing a rare opportunity to follow the whole process that a cultural artifact goes through before it finds itself inside the display cabinet. The magazine will follow the conservation scientists at work, as they treat wooden items as required of wooden items, paintings and calligraphy as required of paintings and calligraphy, examine items according to the extent of damage, draw up record cards, and reinforce any weak spots.

34

education

Lecturer and attentive audiences in the second lecture

nmk 2015 spring | the latest

History and Culture Lectures Open by the editorial team

This year's History and Culture Lectures at the National Museum of Korea have opened. Held annually from spring to late autumn, the Old People Culture Class has been held usually Wednesday at the museum since 1987. Admission to the lectures is free for any adult wishing to attend. Specifically, this year's lectures are held every Wednesday 2:00 to 4:00 p.m., from March 25 to November 18, at the NMK main auditorium.

Twenty-nine lectures are offered featuring contents that will promote wide understanding of Korean history, culture and art from prehistoric times to the modern transition period. The theme of the first

lecture was “Art of the Later Paleolithic Period” while the theme for the 29th and final lecture is “Transformation of Traditional Art with the Introduction of Visual Media in the Modern Era.” The lectures start with the Paleolithic Era and the Bronze Age and move on through all the major periods including the Unified Silla, Goryeo and Joseon periods, and up to the present time, giving participants a broad overview of Korean history and an understanding of the lives of past Koreans. The lecturers are diverse including professors in related fields, curators, researchers from public and private organizations, and museum directors. As the lecturers

provide different perspectives on the topics concerned, historical facts can be examined from many different angles.

The History and Culture Lectures being the major adult education program operated by the NMK, when March comes around regular participants eagerly look forward to the start of lectures after the winter break. Often, the majority of the participants are retired citizens in their 60s and 70s. With a passion for learning about history and culture, some of them have been attending the lectures year after year and it is this strong regular audience that has sustained the program for 30 years. In the auditorium, ten minutes or so before the start of lectures people who have come to know each other over the years can be seen greeting each other. And they are so knowledgeable that they can answer the lecturer's questions right away. Rather than being anxious to memorize the lecture contents, they have built up their capacity to understand by attending the lectures repeatedly over several years. As they find their knowledge accumulating and becoming their own through experience, they come to know the joy of developing a discerning eye for culture and history.

Those who cannot make it to the lectures every week can come on a casual basis, listening to any lecture these choose.

One of the most popular lectures last year was that given by NMK Director-General Kim Youngna on “Post-Impressionism: Paul Cezanne, Paul Gaugin, and Vincent van Gogh” in connection with the special exhibition Beyond Impressionism: Masterpieces from the Musée d'Orsay.

Lectures linked to concurrent exhibitions

35

not only increase understanding of the exhibition itself, but give the opportunity to appreciate various cultural and historic relics from around the world that are hard to see at normal times. Such lectures, therefore, draw a larger audience. This year six lectures will be held in connection with special exhibitions: New Scientific Revelations about Gold Crown from Seobongchong Tomb, The Earnest Wishes Contained in Prayers, Polish Art: An Enduring Spirit, Great Exhibition of Goryeo Buddhist Sculptures, and The Neolithic Culture of Korea. In addition, Wednesday October 28 this year marks the tenth anniversary of the NMK's relocation to its present site in Yongsan and a special lecture will be given on the day by Lee Geonmu, former director of the NMK. The lectures always draw a crowd, with the main auditorium filled to capacity and extra seats placed in the aisles. The lecture materials are handed out in front of the auditorium on a first-come first-served basis, with each set of materials bearing a designated seat number. When the auditorium is full, TV screens and speakers are installed in the foyer so that those who failed to get a seat can inside still hear the lectures.

Shin Sukjeong, the director of the Hangang Institute of Cultural Heritage, from the second lecture

34

education

Lecturer and attentive audiences in the second lecture

nmk 2015 spring | the latest

History and Culture Lectures Open by the editorial team

This year's History and Culture Lectures at the National Museum of Korea have opened. Held annually from spring to late autumn, the Old People Culture Class has been held usually Wednesday at the museum since 1987. Admission to the lectures is free for any adult wishing to attend. Specifically, this year's lectures are held every Wednesday 2:00 to 4:00 p.m., from March 25 to November 18, at the NMK main auditorium.

Twenty-nine lectures are offered featuring contents that will promote wide understanding of Korean history, culture and art from prehistoric times to the modern transition period. The theme of the first

lecture was “Art of the Later Paleolithic Period” while the theme for the 29th and final lecture is “Transformation of Traditional Art with the Introduction of Visual Media in the Modern Era.” The lectures start with the Paleolithic Era and the Bronze Age and move on through all the major periods including the Unified Silla, Goryeo and Joseon periods, and up to the present time, giving participants a broad overview of Korean history and an understanding of the lives of past Koreans. The lecturers are diverse including professors in related fields, curators, researchers from public and private organizations, and museum directors. As the lecturers

provide different perspectives on the topics concerned, historical facts can be examined from many different angles.

The History and Culture Lectures being the major adult education program operated by the NMK, when March comes around regular participants eagerly look forward to the start of lectures after the winter break. Often, the majority of the participants are retired citizens in their 60s and 70s. With a passion for learning about history and culture, some of them have been attending the lectures year after year and it is this strong regular audience that has sustained the program for 30 years. In the auditorium, ten minutes or so before the start of lectures people who have come to know each other over the years can be seen greeting each other. And they are so knowledgeable that they can answer the lecturer's questions right away. Rather than being anxious to memorize the lecture contents, they have built up their capacity to understand by attending the lectures repeatedly over several years. As they find their knowledge accumulating and becoming their own through experience, they come to know the joy of developing a discerning eye for culture and history.

Those who cannot make it to the lectures every week can come on a casual basis, listening to any lecture these choose.

One of the most popular lectures last year was that given by NMK Director-General Kim Youngna on “Post-Impressionism: Paul Cezanne, Paul Gaugin, and Vincent van Gogh” in connection with the special exhibition Beyond Impressionism: Masterpieces from the Musée d'Orsay.

Lectures linked to concurrent exhibitions

35

not only increase understanding of the exhibition itself, but give the opportunity to appreciate various cultural and historic relics from around the world that are hard to see at normal times. Such lectures, therefore, draw a larger audience. This year six lectures will be held in connection with special exhibitions: New Scientific Revelations about Gold Crown from Seobongchong Tomb, The Earnest Wishes Contained in Prayers, Polish Art: An Enduring Spirit, Great Exhibition of Goryeo Buddhist Sculptures, and The Neolithic Culture of Korea. In addition, Wednesday October 28 this year marks the tenth anniversary of the NMK's relocation to its present site in Yongsan and a special lecture will be given on the day by Lee Geonmu, former director of the NMK. The lectures always draw a crowd, with the main auditorium filled to capacity and extra seats placed in the aisles. The lecture materials are handed out in front of the auditorium on a first-come first-served basis, with each set of materials bearing a designated seat number. When the auditorium is full, TV screens and speakers are installed in the foyer so that those who failed to get a seat can inside still hear the lectures.

Shin Sukjeong, the director of the Hangang Institute of Cultural Heritage, from the second lecture

36

news

nmk 2015 spring | the latest

37

ACTIVITY 1

2015 MUSEUM ON WHEELS PROGRAM

2

This year's Museum on Wheels program has begun operation under the theme of “The Museum as Found in Textbooks.” The program aims to help people in certain regions, schools and welfare facilities who have limited access to culture gain a proper understanding of Korea's cultural heritage.

Following the first touring exhibition in 1990, the Museum on Wheels has so far visited 150 places and facilities around the country, reaching out to 1.6 million people. Now in its 22nd

year, the Museum on Wheels first visited the citizens and children of Tongyeong this year.

Over two days from March 30, a “school concert” was held at the Tongyeong Concert Hall and an exhibition titled Korea's First State: Gojoseon at the children's concert hall. Through the program, the residents of Tongyeong were given the opportunity to touch exhibits and experience aspects of their cultural heritage as a way to learn about the life and culture of people from prehistoric and ancient times.

Children at the front of bus for the Museum on Wheels Program

GEUMGWANCHONG TOMB OFFICIALLY EXCAVATED 70 YEARS AFTER LIBERATION

DIGITAL OEGYUJANGGAK UIGWE CONTENTS UPDATED

1 Gold Crown excavated from the Geumgwanchong Tomb site (National Treasure No.87) 2 Gold Crown after the conservation

Official excavation of Geumgwanchong Tomb got under way this year, marking the 70th anniversary of Korea's liberation from Japanese colonial rule. Geumgwanchong Tomb, the first in Korea to yield a gold crown, astounded all Koreans when it was discovered after the crown was dug up during repairs of a house near Gyeongju back in the colonial period. Excavation of the tomb back then was a hurried affair and ended in just four days.

Although discovery of the tomb was a milestone in study of the Silla Kingdom, as excavation was not properly carried out the tomb had its limits in providing research material.

Recognizing this situation, the NMK in Seoul joined hands with the Gyeongju National

Museum to carry out a proper excavation.

Work on the project began in March this year and is scheduled for completion by the end of June. The tomb is currently in a rather damaged state but excavation should provide information that will confirm the structure of the tomb, which has remained unclear. Throughout the entire excavation period, the site will remain open to the public and explanations of the project will be held at set times.

For the NMK the importance of the official excavation lies in the opportunity it provides to put records about the tomb in order. Results of excavations from the colonial period were written from the Japanese imperialist perspective and are therefore considered problematic.

These records can only be used as research materials when they have been reinterpreted and reorganized from Korea's own postliberation perspective. The NMK has been steadily carrying out this type of work on materials dating to the Museum of the Japanese Government-General, and the excavation of Geumgwanchong Tomb can be seen as part of these efforts.

SATURDAY HUMANITIES LECTURES AT THE CHILDREN'S MUSEUM

A family program titled “The Scent of the Humanities,” designed to spark children's interest in the humanities, will be held once a month from April through July this year. The lecture for April, titled “Secrets of the Heroes of Myths and Legends,” will be given by Professor Choe Wono from Gwangju National University of Education. In May, Professor Byeon Sunyong from Seoul National University of Education will lecture on “Philosophy and the Power of the Mind,” and in June Professor Emeritus Na Deokseong from Chung-Ang University will perform on the cello as part

of the lecture titled “The Story of Music with the Cello.” The final lecture in July, titled “The Children's Classics Reading,” will be given by Song Jaehwan, an elementary school teacher who is carrying out research on ways to make literary classics more accessible for children.

The program is open to children in grade one through four and their families. Twenty families will be accepted each time on a first come first served basis.

The homepage for the digital Oegyujanggak Uigwe (http://uigwe.museum.go.kr), records of state rites of the Joseon Dynasty, has been updated with additional materials. The volume of information is vast, with 100 books comprising a total of 38,000 pages.

For the convenience of users, the functions of the site have been reinforced. For example, the entire table of contents can be viewed in one glance and the details can be accessed more easily by clicking on the relevant item. Also, the original contents of uigwe were previously viewed horizontally only, but can now be viewed vertically.

In addition, Academic Report on the Oegyujanggak 2, can be downloaded in PDF format from the resources section. The report gives an overview of the first scientific analysis of the book bindings and contains information on the metal, fabric and paper used in their production.

36

news

nmk 2015 spring | the latest

37

ACTIVITY 1

2015 MUSEUM ON WHEELS PROGRAM

2

This year's Museum on Wheels program has begun operation under the theme of “The Museum as Found in Textbooks.” The program aims to help people in certain regions, schools and welfare facilities who have limited access to culture gain a proper understanding of Korea's cultural heritage.

Following the first touring exhibition in 1990, the Museum on Wheels has so far visited 150 places and facilities around the country, reaching out to 1.6 million people. Now in its 22nd

year, the Museum on Wheels first visited the citizens and children of Tongyeong this year.

Over two days from March 30, a “school concert” was held at the Tongyeong Concert Hall and an exhibition titled Korea's First State: Gojoseon at the children's concert hall. Through the program, the residents of Tongyeong were given the opportunity to touch exhibits and experience aspects of their cultural heritage as a way to learn about the life and culture of people from prehistoric and ancient times.

Children at the front of bus for the Museum on Wheels Program

GEUMGWANCHONG TOMB OFFICIALLY EXCAVATED 70 YEARS AFTER LIBERATION

DIGITAL OEGYUJANGGAK UIGWE CONTENTS UPDATED

1 Gold Crown excavated from the Geumgwanchong Tomb site (National Treasure No.87) 2 Gold Crown after the conservation

Official excavation of Geumgwanchong Tomb got under way this year, marking the 70th anniversary of Korea's liberation from Japanese colonial rule. Geumgwanchong Tomb, the first in Korea to yield a gold crown, astounded all Koreans when it was discovered after the crown was dug up during repairs of a house near Gyeongju back in the colonial period. Excavation of the tomb back then was a hurried affair and ended in just four days.

Although discovery of the tomb was a milestone in study of the Silla Kingdom, as excavation was not properly carried out the tomb had its limits in providing research material.

Recognizing this situation, the NMK in Seoul joined hands with the Gyeongju National

Museum to carry out a proper excavation.

Work on the project began in March this year and is scheduled for completion by the end of June. The tomb is currently in a rather damaged state but excavation should provide information that will confirm the structure of the tomb, which has remained unclear. Throughout the entire excavation period, the site will remain open to the public and explanations of the project will be held at set times.

For the NMK the importance of the official excavation lies in the opportunity it provides to put records about the tomb in order. Results of excavations from the colonial period were written from the Japanese imperialist perspective and are therefore considered problematic.

These records can only be used as research materials when they have been reinterpreted and reorganized from Korea's own postliberation perspective. The NMK has been steadily carrying out this type of work on materials dating to the Museum of the Japanese Government-General, and the excavation of Geumgwanchong Tomb can be seen as part of these efforts.

SATURDAY HUMANITIES LECTURES AT THE CHILDREN'S MUSEUM

A family program titled “The Scent of the Humanities,” designed to spark children's interest in the humanities, will be held once a month from April through July this year. The lecture for April, titled “Secrets of the Heroes of Myths and Legends,” will be given by Professor Choe Wono from Gwangju National University of Education. In May, Professor Byeon Sunyong from Seoul National University of Education will lecture on “Philosophy and the Power of the Mind,” and in June Professor Emeritus Na Deokseong from Chung-Ang University will perform on the cello as part

of the lecture titled “The Story of Music with the Cello.” The final lecture in July, titled “The Children's Classics Reading,” will be given by Song Jaehwan, an elementary school teacher who is carrying out research on ways to make literary classics more accessible for children.

The program is open to children in grade one through four and their families. Twenty families will be accepted each time on a first come first served basis.

The homepage for the digital Oegyujanggak Uigwe (http://uigwe.museum.go.kr), records of state rites of the Joseon Dynasty, has been updated with additional materials. The volume of information is vast, with 100 books comprising a total of 38,000 pages.

For the convenience of users, the functions of the site have been reinforced. For example, the entire table of contents can be viewed in one glance and the details can be accessed more easily by clicking on the relevant item. Also, the original contents of uigwe were previously viewed horizontally only, but can now be viewed vertically.

In addition, Academic Report on the Oegyujanggak 2, can be downloaded in PDF format from the resources section. The report gives an overview of the first scientific analysis of the book bindings and contains information on the metal, fabric and paper used in their production.

38

news

nmk 2015 spring | the latest

EXHIBITION

PUBLICATION

PARTIAL RENEWAL OF THE JOSEON EXHIBITION Date | From February 2 Venue | Joseon Dynasty I–V

The display in the Joseon part of the Medieval and Early Modern History Gallery has been partially renewed with a change of items.

Among the new exhibits is a Suit of Armor Made of Cotton that was actually worn in battle. Publicly displayed for the first time, the cotton armor is made of 30 layers of cotton cloth. On the inside the name “Gong Gunok” is written in black ink, which is presumed to be the name of the person who owned the armor.

The cotton armor, like a short vest, has a round collar and is longer in the front than in the back. It has no sleeves or neckband and the sides are open. It was worn by tying the bands on either side. The measures 82.5cm in front length, 75cm in back length, 1.5cm in thickness and weighs 5.5kg. A black design is stamped in six spots.

Also new to the display are two letters of diplomacy sent by the two Joseon kings to the Qing emperor, one written in 1827 (27th year of King Sunjo) and in 1852 (3rd year of King Cheoljong). The letters were written first in Chinese characters with Qing script at the end.

39

Another notable exhibit is Interpretation of the Great Learning, Daehak janggu, written in gold on blue paper. Writing on blue paper with gold powder mixed with glue was a method used to express great respect for a precious subject, and was commonly used to copy Buddhist sutras or draw illustrations of the Buddha. Interpretation of the Great Learning is an annotation to the Great Learning, one of the Four Books of Confucianism, written by Zhu Xi of the Song Dynasty. In the Joseon Dynasty, the importance of NeoConfucianism grew and this copy of Interpretation of the Great Learning conveys the reverence the people of the time held for the book.

PENSIVE BODHISATTVA, NATIONAL TREASURE NO. 78

The Pensive Bodhisattva, National Treasure No. 83, which had been on display till the end of February, has been replaced with another Pensive Bodhisattva, National Treasure No. 78.

The statue is the figure of a Bodhisattva lost deep in thought, sitting with the right leg resting on the left knee and the fingers of the right hand lightly touching the cheek. Such pensive images are modeled on the figure of Prince Siddhartha meditating deeply about human life and death and disease. On the head is a high, elaborate crown featuring combined motifs of the sun and the crescent moon and which is hence called a “sun and moon crown.”

The sculpting technique is highly sophisticated, as seen in the so-called “archaic smile” playing about the lips, the natural seated pose with one leg pendant, the rhythmic folds in the hem and the way the sash falls at the side.

The lost wax casting technique was used to produce the sculpture, which means the inside is hollow. Although rather large for a giltbronze figure, the image is only 2–4mm thick, which speaks for the excellence of the casting technique.

PARTIAL RENEWAL OF THE PAINTING EXHIBITION

KR

EN

Date | From March 9 Venue | Painting Section

A diverse collection of paintings by Joseon Dynasty artists is now on display in the painting room of the Painting and Calligraphy Gallery on the second floor. The theme of the exhibition is winter landscapes featuring plum blossoms and, at a time when spring is at its height, the featured works will help visitors get a feel for the lives of past Koreans as they endured through the winter and dreamed of an ideal life, as symbolized by the plum blossoms.

One of the major works is Plum Blossoms under the Moon by Yi Mongryong. 1566–1617 The composition emphasizes the vertical and is focused on the center. The ink has a medium tone overall, and using the “flying white” technique, the artist showed the white ground through the dry brushwork to create a free and strong style. Other winter landscapes include Searching for Plum Blossoms in the Snow by Kim Myeongguk 600–1662 and Searching for Plum Blossoms over the Ba River Bridge by Sim Sajeong. 1707–1769

GYEONGJU SEOBONGCHONG ISBN | 978-89-816411-3-9

JOURNAL OF KOREAN ART AND ARCHAEOLOGY ISSN | 2005-1115

The book is the 13th in a series of reports published since 2013 on relics excavated during the Japanese occupation period (1910–1945). Seobongchong, also known as Noseo-ri Tomb No. 129, is part of the Noseo-dong tomb complex in Gyeongju, next to the Daereungwon royal tombs. Its name means “Tomb of the Auspicious Phoenix,” and indeed the tomb is famous for the gold crown with phoenix decoration found inside it. Though the tomb was excavated in 1926 by Akio Koizumi from the Japanese Government-General Museum, but no report on the project was published. The relics from the tomb are in storage at the National Museum of Korea and this report, published 88 years after the first excavation, focuses on the relics and glass plate photographs.

This book contains diagrams and photographs of 573 items. The gold crown and all other gold items found inside the tomb have been surveyed in detail and an analysis of purity was carried out, the results of which are included in the appendix. Survey of the gold crown revealed that the crown looks somewhat different today compared to 1926 when it was excavated, which has raised the issue of the need for remedy and repair.

The eighth edition of Journal of Art and Archaeology, inaugurated in January 2008, has now been released. Published annually every January, this journal serves as a means to share research on Korean traditional culture and art with the international academic community and widen the horizons of research in the field of Korean studies.

Under the theme of “Metal Crafts of Baekje and Silla,” the latest edition of the journal includes eight papers selected by the 12-member editorial committee. Those directly related to the theme include “Development of Silla Headband Crowns with Tree-shaped Uprights,” by Ham Sunseop (director of the Daegu National Museum), “Silla Crowns and Crown Ornaments of the Yeongdong Region”

by Gu Mungyeong (curator at the National Museum of Korea), “Metalwork Objects from Ungjin-period Baekje Tombs in the Gongju Region” by Lee Sanghan (professor at Daejeon University), and “Taoist Iconography of the Baekje Gilt-bronze Incense Burner” by Park Yeongeun (curator at the National Museum of Korea). Going forward the journal will continue to serve as a bridgehead academic research and international exchange in the field of Korean cultural heritage and Korean studies.

38

news

nmk 2015 spring | the latest

EXHIBITION

PUBLICATION

PARTIAL RENEWAL OF THE JOSEON EXHIBITION Date | From February 2 Venue | Joseon Dynasty I–V

The display in the Joseon part of the Medieval and Early Modern History Gallery has been partially renewed with a change of items.

Among the new exhibits is a Suit of Armor Made of Cotton that was actually worn in battle. Publicly displayed for the first time, the cotton armor is made of 30 layers of cotton cloth. On the inside the name “Gong Gunok” is written in black ink, which is presumed to be the name of the person who owned the armor.

The cotton armor, like a short vest, has a round collar and is longer in the front than in the back. It has no sleeves or neckband and the sides are open. It was worn by tying the bands on either side. The measures 82.5cm in front length, 75cm in back length, 1.5cm in thickness and weighs 5.5kg. A black design is stamped in six spots.

Also new to the display are two letters of diplomacy sent by the two Joseon kings to the Qing emperor, one written in 1827 (27th year of King Sunjo) and in 1852 (3rd year of King Cheoljong). The letters were written first in Chinese characters with Qing script at the end.

39

Another notable exhibit is Interpretation of the Great Learning, Daehak janggu, written in gold on blue paper. Writing on blue paper with gold powder mixed with glue was a method used to express great respect for a precious subject, and was commonly used to copy Buddhist sutras or draw illustrations of the Buddha. Interpretation of the Great Learning is an annotation to the Great Learning, one of the Four Books of Confucianism, written by Zhu Xi of the Song Dynasty. In the Joseon Dynasty, the importance of NeoConfucianism grew and this copy of Interpretation of the Great Learning conveys the reverence the people of the time held for the book.

PENSIVE BODHISATTVA, NATIONAL TREASURE NO. 78

The Pensive Bodhisattva, National Treasure No. 83, which had been on display till the end of February, has been replaced with another Pensive Bodhisattva, National Treasure No. 78.

The statue is the figure of a Bodhisattva lost deep in thought, sitting with the right leg resting on the left knee and the fingers of the right hand lightly touching the cheek. Such pensive images are modeled on the figure of Prince Siddhartha meditating deeply about human life and death and disease. On the head is a high, elaborate crown featuring combined motifs of the sun and the crescent moon and which is hence called a “sun and moon crown.”

The sculpting technique is highly sophisticated, as seen in the so-called “archaic smile” playing about the lips, the natural seated pose with one leg pendant, the rhythmic folds in the hem and the way the sash falls at the side.

The lost wax casting technique was used to produce the sculpture, which means the inside is hollow. Although rather large for a giltbronze figure, the image is only 2–4mm thick, which speaks for the excellence of the casting technique.

PARTIAL RENEWAL OF THE PAINTING EXHIBITION

KR

EN

Date | From March 9 Venue | Painting Section

A diverse collection of paintings by Joseon Dynasty artists is now on display in the painting room of the Painting and Calligraphy Gallery on the second floor. The theme of the exhibition is winter landscapes featuring plum blossoms and, at a time when spring is at its height, the featured works will help visitors get a feel for the lives of past Koreans as they endured through the winter and dreamed of an ideal life, as symbolized by the plum blossoms.

One of the major works is Plum Blossoms under the Moon by Yi Mongryong. 1566–1617 The composition emphasizes the vertical and is focused on the center. The ink has a medium tone overall, and using the “flying white” technique, the artist showed the white ground through the dry brushwork to create a free and strong style. Other winter landscapes include Searching for Plum Blossoms in the Snow by Kim Myeongguk 600–1662 and Searching for Plum Blossoms over the Ba River Bridge by Sim Sajeong. 1707–1769

GYEONGJU SEOBONGCHONG ISBN | 978-89-816411-3-9

JOURNAL OF KOREAN ART AND ARCHAEOLOGY ISSN | 2005-1115

The book is the 13th in a series of reports published since 2013 on relics excavated during the Japanese occupation period (1910–1945). Seobongchong, also known as Noseo-ri Tomb No. 129, is part of the Noseo-dong tomb complex in Gyeongju, next to the Daereungwon royal tombs. Its name means “Tomb of the Auspicious Phoenix,” and indeed the tomb is famous for the gold crown with phoenix decoration found inside it. Though the tomb was excavated in 1926 by Akio Koizumi from the Japanese Government-General Museum, but no report on the project was published. The relics from the tomb are in storage at the National Museum of Korea and this report, published 88 years after the first excavation, focuses on the relics and glass plate photographs.

This book contains diagrams and photographs of 573 items. The gold crown and all other gold items found inside the tomb have been surveyed in detail and an analysis of purity was carried out, the results of which are included in the appendix. Survey of the gold crown revealed that the crown looks somewhat different today compared to 1926 when it was excavated, which has raised the issue of the need for remedy and repair.

The eighth edition of Journal of Art and Archaeology, inaugurated in January 2008, has now been released. Published annually every January, this journal serves as a means to share research on Korean traditional culture and art with the international academic community and widen the horizons of research in the field of Korean studies.

Under the theme of “Metal Crafts of Baekje and Silla,” the latest edition of the journal includes eight papers selected by the 12-member editorial committee. Those directly related to the theme include “Development of Silla Headband Crowns with Tree-shaped Uprights,” by Ham Sunseop (director of the Daegu National Museum), “Silla Crowns and Crown Ornaments of the Yeongdong Region”

by Gu Mungyeong (curator at the National Museum of Korea), “Metalwork Objects from Ungjin-period Baekje Tombs in the Gongju Region” by Lee Sanghan (professor at Daejeon University), and “Taoist Iconography of the Baekje Gilt-bronze Incense Burner” by Park Yeongeun (curator at the National Museum of Korea). Going forward the journal will continue to serve as a bridgehead academic research and international exchange in the field of Korean cultural heritage and Korean studies.

40

new & hidden space

nmk 2015 spring | the latest

Rear Garden and Garden of Dye Plants

41

1

Hujeong, the garden at the back of the NMK, is the perfect place to take a walk and breathe in the fresh air after emerging from the exhibition halls inside. Incorporating Korean tra­ ditional scenic elements found in the rear gardens of royal palaces, this traditional space is charmingly designed with traditional walls and gates, chimney roof, flower beds, lotus pond, and dirt yard.

At the bottom of the escalator between the eastern and western wings of the museum, a low wall topped with tiles comes into view. In front of it is a square pond belonging to the rear garden, where visitors can lose themselves in the antiquated atmosphere and the mood of bygone days, if only for a moment. Following the stone path around the pond and through the first traditional gate, there appears a Joseon-style garden. Modeled on Amisan, the small garden behind Gyotaejeon, the main residence of the queen at Gyeongbokgung Palace, this area is glorious in spring when all the flowers are in bloom.

The path through the second traditional gate leads to another small garden which is devoted to plants used for traditional dyes. The NMK created this garden full of trees and plants that have long been used to create beautiful colors as a way to appreciate the value of the traditional art of dyeing with natural pigments while nurturing the plants. The base colors of Korean traditional dyes are the five colors of the five directions (including

1 Rear garden and the back of the NMK from the garden of dye plants 2 Around the Korean traditional gate 3 Cherry blossoms in full bloom

2

the center)—blue, white, red, black and yellow and shades in between—based on the theory of the five elements, which defines the relationship between humans and nature. The plants in the garden that yield blue dyes include the indigo plant, mugwort, spiderwort, and knotweed. Also found in the garden are red dye plants such as fleece flowers, madder, mountain ash, and garden chamomile. For black dyes, plants that can be used include irises, Korean chamchwi, trailplants, and for yellow dyes eulalia grass, sweet woodruff, sorrel, and sophora roots. Aside from these, the garden features a wide variety of other plants whose roots, stems, leaves or fruits can also be used to make natural dyes. A walk through this small but charming garden will bring home the value of preserving these plants that yield such beautiful natural dyes and are a time-honored part of the Korean culture.

3

40

new & hidden space

nmk 2015 spring | the latest

Rear Garden and Garden of Dye Plants

41

1

Hujeong, the garden at the back of the NMK, is the perfect place to take a walk and breathe in the fresh air after emerging from the exhibition halls inside. Incorporating Korean tra­ ditional scenic elements found in the rear gardens of royal palaces, this traditional space is charmingly designed with traditional walls and gates, chimney roof, flower beds, lotus pond, and dirt yard.

At the bottom of the escalator between the eastern and western wings of the museum, a low wall topped with tiles comes into view. In front of it is a square pond belonging to the rear garden, where visitors can lose themselves in the antiquated atmosphere and the mood of bygone days, if only for a moment. Following the stone path around the pond and through the first traditional gate, there appears a Joseon-style garden. Modeled on Amisan, the small garden behind Gyotaejeon, the main residence of the queen at Gyeongbokgung Palace, this area is glorious in spring when all the flowers are in bloom.

The path through the second traditional gate leads to another small garden which is devoted to plants used for traditional dyes. The NMK created this garden full of trees and plants that have long been used to create beautiful colors as a way to appreciate the value of the traditional art of dyeing with natural pigments while nurturing the plants. The base colors of Korean traditional dyes are the five colors of the five directions (including

1 Rear garden and the back of the NMK from the garden of dye plants 2 Around the Korean traditional gate 3 Cherry blossoms in full bloom

2

the center)—blue, white, red, black and yellow and shades in between—based on the theory of the five elements, which defines the relationship between humans and nature. The plants in the garden that yield blue dyes include the indigo plant, mugwort, spiderwort, and knotweed. Also found in the garden are red dye plants such as fleece flowers, madder, mountain ash, and garden chamomile. For black dyes, plants that can be used include irises, Korean chamchwi, trailplants, and for yellow dyes eulalia grass, sweet woodruff, sorrel, and sophora roots. Aside from these, the garden features a wide variety of other plants whose roots, stems, leaves or fruits can also be used to make natural dyes. A walk through this small but charming garden will bring home the value of preserving these plants that yield such beautiful natural dyes and are a time-honored part of the Korean culture.

3

quarterly magazine

curator's talk Baekje Gilt-bronze Incense Burner: Exquisite Representation of Baekje Ancient Paradise special exhibition The Story of Bohemian Glass

POLISH ART: AN ENDURING SPRIT

Polish Art: An Enduring Sprit is the first large-scale exhibition of Polish art to ever be held in Korea. The exhibition traces the history and trends of Polish art from the Middle Ages to the 20th century through a collection of some 200 works in different media such as paintings, drawings and sculptures and handicrafts, on loan from 17 major Polish institutions, including the National Museum in Warsaw. The artists represented are also diverse, covering the range of anonymous sculptors from the Middle Ages to young 19th century artists and contemporary graphic artists. Notably, works related to famous figures from Poland such as Copernicus and Chopin will also be shown.

ISSN: 2005-1123

VOL .31 SPR ING 2015

june 5 – august 30, 2015 special exhibition gallery

rnm exhibition. 1 Cultural Heritages of Wolchulsan Mountain rnm exhibition. 2 Goryeong Jisandong Daegaya Tumuli

published by the nmk spring 2015

special feature Delicacy: A Close Look at Ipsa Wire Inlay Techniques

VOL.31

N AT I O N A L M U S E U M O F KO R E A | Q UA R T E R LY M AG A Z I N E

National Museum of Korea