Nationalmuseumofkoreavol33 en

ISSN: 2005-1123

• special essay Goryeo Buddhist Paintings: Translation of Elegance into Art • curator’s talk Goryeo Celadon, the Epitome of Elegance • feature exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE • rnm exhibition. 1 Arts of Silla • rnm exhibition. 2 Choe Bu’s Diary: An Unexpected Encounter with China

published by the nmk autumn 2015

The National Museum of Korea is staging a special exhibition for the Flemish Baroque Art. The exhibition will present the masterpieces by Peter Paul Rubens, Anthony Van Dyck, Pieter/Jan Brueghel and other great artists from the Collections of the Prince of Liechtenstein, Vaduz-Vienna.

A key aspect of this ambitious exhibition is to explore Rubens and other Flemish-Dutch Artists in depth and to illuminate their influence on artists of subsequent generations. Over 120 selected works will be displayed from the Liechtenstein Collections which is one of the most significant private collections in the world encompassing a number of magnificent Flemish and Dutch Art works as well as the Baroque master Peter Paul Rubens’s bestloved works, Portrait of Clara Serena Rubens and The Discovery of the Infant Erichthonius. With these famous paintings, the exhibition features remarkable sculptures, tapestries, engravings and applied art covering Renaissance, Baroque and Dutch Golden Age. This will provide a unique opportunity to encounter precious masterpieces of European art.

VOL .33 AUTUMN 2015

december 12, 2015 – april 10, 2016 special exhibition gallery i, ii

National Museum of Korea

VOL.33

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

RUBENS AND THE MASTERS OF THE CENTURY

quarterly magazine

National Museum of Korea

autumn 2015

D I R E C T O R’ S M E S S AG E

In October 2005 the National Museum of Korea was moved from Gyeongbokgung Palace to Yongsan, which marked a remarkable renaissance in the museum’s history. To celebrate the 10th anniversary of our relocation, a range of events have been organized for museumrelated figures and visitors including large-scale exhibitions, an international symposium and various free concerts.

This issue of the quarterly magazine highlights the exhibition on Masterpieces of Early Buddhist Sculpture, 100BCE–700CE organized to mark the 10th anniversary. Under the theme of early-stage Buddhist sculpture, this exhibition gathered 220 pieces of great works in one place. It is also an opportunity to highlight the museum’s capabilities which have been accumulated through international exchanges over the past 10 years. Another special exhibition Neolithic People: a New Life and a New Climate sheds light on the strong pioneering spirit of Neolithic people who successfully started a sedentary lifestyle. Some important special exhibitions have also been prepared by regional national museums, Arts of Silla at the Gyeongju National Museum and Choe Bu’s Diary: an Unexpected Encounter with China at the Jeju National Museum. Opened to the public after a long period of preparation these exhibitions feature some rare artifacts that are on display in Korea for the first time.

KOREAN HERITAGE

FROM THE GALLERY

THE LATEST

special essay Goryeo Buddhist Paintings: Translation of Elegance into Art 02

feature exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE 14

behind the exhibit Conservation of Wooden Relics and Lacquered Artifacts 32

curator’s talk Goryeo Celadon, the Epitome of Elegance 08

visitor Early Buddhist Sculpture from Gandhara to Seorabeol 20

education Travel through History with Relics of the Past 34

zoom in The Painting Album of Kang Sehwang 12

special exhibition Neolithic People: a New Life and a New Climate 22

news Activity / Exhibition 36 new & hidden space Opening of ON 溫 40

rnm exhibition. 1 Arts of Silla 26

In the “Korean Heritage” section, which explores the beauty in Korean culture through one keyword, selected the theme for this issue is “elegance.” Of all periods in Korean art history, Goryeo is the one that best fits the word “elegance.” Two curators of the NMK have each written a column exploring the beauty of elegance, one on Goryeo Buddhist paintings marked by graceful yet powerful lines, and the other on the distinction and refinement of Goryeo celadon. In addition, there is a variety of news about new paintings which were recently registered in the NMK’s collection, the latest articles by the museum’s Conservation Science Department, and the results of excavating Geumgwanchong Tomb.

rnm exhibition. 2 Choe Bu’s Diary: An Unexpected Encounter with China 29

As we reflect on the significance of the 10th anniversary of the NMK’s relocation to the Yongsan site, we will continue efforts to promote knowledge of Korean culture while enhancing the credibility of the museum and increasing people’s interest and trust in the NMK.

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

Cover of the Current Issue Celadon Incense Burner with Openwork Decoration Goryeo, 12th century H. 15.3 cm National Treasure No. 95 duk 2990

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 Richard H. Harris / 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. Exceptionally items from all other institutions are classified by their collection names.

In the article Sanskrit words are written according to their English transcription, however captions follow the transcription used in the catalogue. For example, “Sakyamuni” may be written as “Śākyamuni” in the caption according to the spelling used in the country where the artifact is preserved.

National Museum of Korea

autumn 2015

D I R E C T O R’ S M E S S AG E

In October 2005 the National Museum of Korea was moved from Gyeongbokgung Palace to Yongsan, which marked a remarkable renaissance in the museum’s history. To celebrate the 10th anniversary of our relocation, a range of events have been organized for museumrelated figures and visitors including large-scale exhibitions, an international symposium and various free concerts.

This issue of the quarterly magazine highlights the exhibition on Masterpieces of Early Buddhist Sculpture, 100BCE–700CE organized to mark the 10th anniversary. Under the theme of early-stage Buddhist sculpture, this exhibition gathered 220 pieces of great works in one place. It is also an opportunity to highlight the museum’s capabilities which have been accumulated through international exchanges over the past 10 years. Another special exhibition Neolithic People: a New Life and a New Climate sheds light on the strong pioneering spirit of Neolithic people who successfully started a sedentary lifestyle. Some important special exhibitions have also been prepared by regional national museums, Arts of Silla at the Gyeongju National Museum and Choe Bu’s Diary: an Unexpected Encounter with China at the Jeju National Museum. Opened to the public after a long period of preparation these exhibitions feature some rare artifacts that are on display in Korea for the first time.

KOREAN HERITAGE

FROM THE GALLERY

THE LATEST

special essay Goryeo Buddhist Paintings: Translation of Elegance into Art 02

feature exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE 14

behind the exhibit Conservation of Wooden Relics and Lacquered Artifacts 32

curator’s talk Goryeo Celadon, the Epitome of Elegance 08

visitor Early Buddhist Sculpture from Gandhara to Seorabeol 20

education Travel through History with Relics of the Past 34

zoom in The Painting Album of Kang Sehwang 12

special exhibition Neolithic People: a New Life and a New Climate 22

news Activity / Exhibition 36 new & hidden space Opening of ON 溫 40

rnm exhibition. 1 Arts of Silla 26

In the “Korean Heritage” section, which explores the beauty in Korean culture through one keyword, selected the theme for this issue is “elegance.” Of all periods in Korean art history, Goryeo is the one that best fits the word “elegance.” Two curators of the NMK have each written a column exploring the beauty of elegance, one on Goryeo Buddhist paintings marked by graceful yet powerful lines, and the other on the distinction and refinement of Goryeo celadon. In addition, there is a variety of news about new paintings which were recently registered in the NMK’s collection, the latest articles by the museum’s Conservation Science Department, and the results of excavating Geumgwanchong Tomb.

rnm exhibition. 2 Choe Bu’s Diary: An Unexpected Encounter with China 29

As we reflect on the significance of the 10th anniversary of the NMK’s relocation to the Yongsan site, we will continue efforts to promote knowledge of Korean culture while enhancing the credibility of the museum and increasing people’s interest and trust in the NMK.

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

Cover of the Current Issue Celadon Incense Burner with Openwork Decoration Goryeo, 12th century H. 15.3 cm National Treasure No. 95 duk 2990

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 Richard H. Harris / 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. Exceptionally items from all other institutions are classified by their collection names.

In the article Sanskrit words are written according to their English transcription, however captions follow the transcription used in the catalogue. For example, “Sakyamuni” may be written as “Śākyamuni” in the caption according to the spelling used in the country where the artifact is preserved.

02

special essay

The Korean Heritage section for this issue is “elegance,” an indispensible feature in the discussion of Korean traditional beauty. Goryeo Buddhist paintings that embody the height of elegance give a glimpse into the distinctive aesthetic of the Goryeo people.

nmk 2015 autumn | korean heritage

Goryeo Buddhist Paintings: Translation of Elegance into Art by park hyewon, associate curator of the exhibition division

N

o other period in Korean art history is so well described by the term “elegance” than the Goryeo Dynasty.918–1392 Among the diverse art works of Goryeo, refined and sumptuous, Buddhist painting in particular is a genre replete with elegance and grace. The neat, dignified figures, the harmony of the primary red, green and blue pigments, the lavish gold decoration, the lines as fluid as water yet powerful are some of the marks of the beauty of Goryeo Buddhist painting.

At a time when Buddhist painting developed and thrived all over East Asia, the Buddhist painting of Goryeo marked out a distinct identity of its own.

INNER WORLD EXPRESSED IN INK LINES Prior to examining Goryeo Buddhist paintings featuring this sumptuous combination of strong primary colors and gold, attention should be first turned to the drawing that forms the basis of such works. Five Hundred Arhats reveal the true character of the subject with the power of black ink lines. The 170th from the Five Hundred Arhats, called Hyegungo, with his hands clasped together and a peaceful look in his eyes, has entered the state of meditation.

Beside him, on top of a small rock, is an incense burner from which smoke can be seen rising up. The use of color is restrained and with simple black lines the peaceful mental state of the arhat is effectively portrayed, while variation is given to the hem and the sleeves with lines resulting from speedy, rhythmical brushwork. The 357th from the Five Hundred Arhats (Fig. 1), called Uitong, sits cross-legged and faces the left of the picture plane. His eyebrows are drawn out long on either side of the face, and while they are not raised and the eyes are not fierce he has a deep, penetrating look in his eyes, as if he can see right through everything, a look that reflects the depth of his spiritual practice. The brushstrokes used to depict the eyes, the flowing curve of his hooked nose, the forehead and sunken cheeks, are lively and full of movement. This is the height of artistry achieved with the flow of ink lines, which are elegant and solemn at the same time.

TESTING POSSIBILITIES WITH GOLD LINES The act of copying sutras by hand was a means of spiritual practice as well as a way to accumulate good deed. In Goryeo’s aristocratic circles it was highly popular and luxury sutra copies were made

Fig. 5 Water-Moon Avalokiteshvara Late Goryeo Color on silk 98.0 × 55.0 cm The National Research Institute of Cultural Heritage (Photo) / Museum of East Asian Art Cologne (Owner) / Inv. no. A 09,59

03

02

special essay

The Korean Heritage section for this issue is “elegance,” an indispensible feature in the discussion of Korean traditional beauty. Goryeo Buddhist paintings that embody the height of elegance give a glimpse into the distinctive aesthetic of the Goryeo people.

nmk 2015 autumn | korean heritage

Goryeo Buddhist Paintings: Translation of Elegance into Art by park hyewon, associate curator of the exhibition division

N

o other period in Korean art history is so well described by the term “elegance” than the Goryeo Dynasty.918–1392 Among the diverse art works of Goryeo, refined and sumptuous, Buddhist painting in particular is a genre replete with elegance and grace. The neat, dignified figures, the harmony of the primary red, green and blue pigments, the lavish gold decoration, the lines as fluid as water yet powerful are some of the marks of the beauty of Goryeo Buddhist painting.

At a time when Buddhist painting developed and thrived all over East Asia, the Buddhist painting of Goryeo marked out a distinct identity of its own.

INNER WORLD EXPRESSED IN INK LINES Prior to examining Goryeo Buddhist paintings featuring this sumptuous combination of strong primary colors and gold, attention should be first turned to the drawing that forms the basis of such works. Five Hundred Arhats reveal the true character of the subject with the power of black ink lines. The 170th from the Five Hundred Arhats, called Hyegungo, with his hands clasped together and a peaceful look in his eyes, has entered the state of meditation.

Beside him, on top of a small rock, is an incense burner from which smoke can be seen rising up. The use of color is restrained and with simple black lines the peaceful mental state of the arhat is effectively portrayed, while variation is given to the hem and the sleeves with lines resulting from speedy, rhythmical brushwork. The 357th from the Five Hundred Arhats (Fig. 1), called Uitong, sits cross-legged and faces the left of the picture plane. His eyebrows are drawn out long on either side of the face, and while they are not raised and the eyes are not fierce he has a deep, penetrating look in his eyes, as if he can see right through everything, a look that reflects the depth of his spiritual practice. The brushstrokes used to depict the eyes, the flowing curve of his hooked nose, the forehead and sunken cheeks, are lively and full of movement. This is the height of artistry achieved with the flow of ink lines, which are elegant and solemn at the same time.

TESTING POSSIBILITIES WITH GOLD LINES The act of copying sutras by hand was a means of spiritual practice as well as a way to accumulate good deed. In Goryeo’s aristocratic circles it was highly popular and luxury sutra copies were made

Fig. 5 Water-Moon Avalokiteshvara Late Goryeo Color on silk 98.0 × 55.0 cm The National Research Institute of Cultural Heritage (Photo) / Museum of East Asian Art Cologne (Owner) / Inv. no. A 09,59

03

04

special essay

nmk 2015 autumn | korean heritage

05

Fig. 1 The 357th from the Five Hundred Arhats Goryeo, 1235-6 Ink and light color on silk 52.5 × 36.8 cm National Museum of Korea duk 6060

using gold or silver ink on high quality paper, and an illustration depicting the contents was placed at the front. Sutra copying workshops were even operated by the state and members of the upper class. Goryeo monks who specialized in the art gained such fame that, at the request of the Chinese, they were sent to work in China.

Illustrated Manuscript of the Lotus Sutra (Fig. 2) features an illustration painted in gold on indigo-dyed paper with writing in silver.

The illustration is placed inside a square, which serves as a frame.

The frame is bordered with a repeated vajra pattern and the illustration is arranged inside the border. On the right hand side, the Buddha is preaching surrounded by the arhats and bodhisattvas, and on the left hand side the contents of the sutra are depicted. Specifically, the illustration portrays the well-known story of children being rescued from a burning house filled with poisonous snakes and insects with the use of carts drawn by oxen, goats and deer. As this exquisite example shows, sutra illustrations were painted with very fine gold lines. The figures are formed and the decorative patterns

are drawn with gold lines by gold lines. The endless lines show no hint of hesitation. With the use of gold, a perfect pigment that never changes, the Goryeo painters sought perfection in their drawings and tested the limits of what could be achieved through the use of gold lines alone.

THE WONDER OF COLOR Preserved at the quiet Japanese temple Shobo-ji is an Amitabha (Fig. 3), which has been designated as an Important Cultural Property of Japan. The painting features Amitabha Buddha waiting to greet those on the verge of death to take them to the Western Paradise. It is said this painting was known in Japan as the “red Sakyamuni.” The reason for the emphasis on “red” is evident. This is an example of a Goryeo Buddhist painting in which the color is very well preserved, particularly the beautiful red of the Buddha’s robes. With the soft green of the inner robes and the gold decoration shining all over the Buddha’s garments, the painting has an elegant, dignified ambience.

Goryeo Buddhist paintings were generally painted on silk with mineral-based pigments. The luxuriant yet elegant color tone comes from the use of highly saturated primary colors and the method of painting first on the back of the silk and then again on the front to enhance the colors and shading. The colors are consequently deeper and clearer. This is an important painting technique that prevents blotching and delays fading, and as the pigment at the front and back of the canvas stabilize each other, flaking is also minimized, enabling the splendor of Goryeo Buddhist paintings to be enjoyed even today.

ACCOMPLISHED COMPOSITION AND DETAIL Goryeo was a Buddhist nation. The goal of Buddhism was the attainment of enlightenment. What does an enlightened being look like? How would enlightenment be expressed in a painting? Perfect Enlightenment Sutra Illumination (Fig. 4), preserved at the Museum of Fine Arts, Boston, depicts the contents of the Perfect Enlighten-

Fig. 2 Illustrated Manuscript of the Lotus Sutra Goryeo, ca. 1340 Gold and silver on indigo-dyed paper 106 pages (each) H. 33.0 cm, W. 11.4 cm Purchase, Lila Acheson Wallace Gift, 1994 (1994.207) The Metropolitan Museum of Art Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY

04

special essay

nmk 2015 autumn | korean heritage

05

Fig. 1 The 357th from the Five Hundred Arhats Goryeo, 1235-6 Ink and light color on silk 52.5 × 36.8 cm National Museum of Korea duk 6060

using gold or silver ink on high quality paper, and an illustration depicting the contents was placed at the front. Sutra copying workshops were even operated by the state and members of the upper class. Goryeo monks who specialized in the art gained such fame that, at the request of the Chinese, they were sent to work in China.

Illustrated Manuscript of the Lotus Sutra (Fig. 2) features an illustration painted in gold on indigo-dyed paper with writing in silver.

The illustration is placed inside a square, which serves as a frame.

The frame is bordered with a repeated vajra pattern and the illustration is arranged inside the border. On the right hand side, the Buddha is preaching surrounded by the arhats and bodhisattvas, and on the left hand side the contents of the sutra are depicted. Specifically, the illustration portrays the well-known story of children being rescued from a burning house filled with poisonous snakes and insects with the use of carts drawn by oxen, goats and deer. As this exquisite example shows, sutra illustrations were painted with very fine gold lines. The figures are formed and the decorative patterns

are drawn with gold lines by gold lines. The endless lines show no hint of hesitation. With the use of gold, a perfect pigment that never changes, the Goryeo painters sought perfection in their drawings and tested the limits of what could be achieved through the use of gold lines alone.

THE WONDER OF COLOR Preserved at the quiet Japanese temple Shobo-ji is an Amitabha (Fig. 3), which has been designated as an Important Cultural Property of Japan. The painting features Amitabha Buddha waiting to greet those on the verge of death to take them to the Western Paradise. It is said this painting was known in Japan as the “red Sakyamuni.” The reason for the emphasis on “red” is evident. This is an example of a Goryeo Buddhist painting in which the color is very well preserved, particularly the beautiful red of the Buddha’s robes. With the soft green of the inner robes and the gold decoration shining all over the Buddha’s garments, the painting has an elegant, dignified ambience.

Goryeo Buddhist paintings were generally painted on silk with mineral-based pigments. The luxuriant yet elegant color tone comes from the use of highly saturated primary colors and the method of painting first on the back of the silk and then again on the front to enhance the colors and shading. The colors are consequently deeper and clearer. This is an important painting technique that prevents blotching and delays fading, and as the pigment at the front and back of the canvas stabilize each other, flaking is also minimized, enabling the splendor of Goryeo Buddhist paintings to be enjoyed even today.

ACCOMPLISHED COMPOSITION AND DETAIL Goryeo was a Buddhist nation. The goal of Buddhism was the attainment of enlightenment. What does an enlightened being look like? How would enlightenment be expressed in a painting? Perfect Enlightenment Sutra Illumination (Fig. 4), preserved at the Museum of Fine Arts, Boston, depicts the contents of the Perfect Enlighten-

Fig. 2 Illustrated Manuscript of the Lotus Sutra Goryeo, ca. 1340 Gold and silver on indigo-dyed paper 106 pages (each) H. 33.0 cm, W. 11.4 cm Purchase, Lila Acheson Wallace Gift, 1994 (1994.207) The Metropolitan Museum of Art Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY

06

special essay

nmk 2015 autumn | korean heritage

07

The composition, cohesive without being stylized, and the fine individualistic expression of the details make this work a masterpiece of Goryeo Buddhist painting.

Fig. 4 Perfect Enlightenment Sutra Illumination Late Goryeo Colors on silk 165.5 × 85.5 cm (Overall: 240 × 107 × 5.1 cm) Museum of Fine Arts, Boston William Sturgis Bigelow Collection, 11.6142 Photograph © 2015 Museum of Fine Arts, Boston

Fig. 3 Amitabha Late Goryeo Color on silk 190.0 × 87.2 cm Shobo-ji, Kyoto, Japan Important Cultural Property of Japan

ment Sutra: twelve bodhisattvas receive the teachings of the Buddha by asking questions and listening to the Buddha’s answers. The painting hence depicts the twelve bodhisattvas with Manjushri riding a lion and Samantabhadra riding an elephant and an audience vowing to protect the one bearing the sutra. This painting symbolizes the crowd becoming one in mind through the teachings of the Buddha and attaining enlightenment. To express the moment of enlightenment and the atmosphere at the time and place of the event, the painting shows the Buddha, the solemn bodhisattvas, and the audience all linked naturally together in one neat composition. Despite the large number of figures, they are not depicted in dry and identical form but each and every one as a distinct individual being.

The composition, cohesive without being stylized, and the fine individualistic expression of the details make this work a masterpiece of Goryeo Buddhist painting.

THE HEIGHT OF ELEGANCE, AVALOKITESHVARA It can be said that works depicting the Water-Moon Avalokiteshvara represent the height of elegance found in Goryeo Buddhist painting. While Avalokiteshvara was not originally female, the bodhisattva’s distinguishing feature of compassion is commonly equated with the mother’s benevolence. With the transmission of Buddhism throughout East Asia, Avalokiteshvara came to be expressed with feminine characteristics. Artists strove to depict Avalokiteshvara as an ideal being with the benevolence of a mother and the beauty and perfection of a god.

These efforts came to fruition in the Water-Moon Avalokiteshvara. The Avalokiteshvara is the 28th of the 53 Buddhist saints that the boy Sudhana meets on his journey to find the truth, as described in the Avatamsaka Sutra. The Avalokiteshvara is depicted

sitting on a rocky outcrop rising out the sea, representing his abode on Mt. Potalaka, and having an audience with Sudhana. Standing at Avalokiteshvara’s feet, Sudhana listens to the bodhisattva’s teachings with his hands clasped and a look of reverence and joy on his face. Avalokiteshvara, with the finely expressed details and gentle rendering of the face, the natural pose of the hands holding the Buddhist prayer beads, and one leg crossed and resting on the other, is a familiar figure and yet the embodiment of elegance and grace.

The splendid crown and the transparent veil flowing down from it enhance the Avalokisteshvara’s transcendental beauty. The veil is commonly decorated with the S-shaped scroll design distinctive of Goryeo. But as seen in the Water-moon Avalokiteshvara paintings preserved at Kagami Shrine, Senso-ji Temple, and the Museum of East Asian Art Cologne (Fig. 5), the veil is sometimes covered with a phoenix design. Though usually reserved for the robes of the Buddha, the phoenix design is sometimes applied to the veil of the Water-Moon Avalokiteshvara, reflecting the Goryeo people’s special respect for this bodhisattva.

Unfortunately, a few Goryeo Buddhist paintings remain extant in Korea. These elegant religious works that manifest the painting achievements of an age still hold the same fascination and continue to be loved and revered today.

06

special essay

nmk 2015 autumn | korean heritage

07

The composition, cohesive without being stylized, and the fine individualistic expression of the details make this work a masterpiece of Goryeo Buddhist painting.

Fig. 4 Perfect Enlightenment Sutra Illumination Late Goryeo Colors on silk 165.5 × 85.5 cm (Overall: 240 × 107 × 5.1 cm) Museum of Fine Arts, Boston William Sturgis Bigelow Collection, 11.6142 Photograph © 2015 Museum of Fine Arts, Boston

Fig. 3 Amitabha Late Goryeo Color on silk 190.0 × 87.2 cm Shobo-ji, Kyoto, Japan Important Cultural Property of Japan

ment Sutra: twelve bodhisattvas receive the teachings of the Buddha by asking questions and listening to the Buddha’s answers. The painting hence depicts the twelve bodhisattvas with Manjushri riding a lion and Samantabhadra riding an elephant and an audience vowing to protect the one bearing the sutra. This painting symbolizes the crowd becoming one in mind through the teachings of the Buddha and attaining enlightenment. To express the moment of enlightenment and the atmosphere at the time and place of the event, the painting shows the Buddha, the solemn bodhisattvas, and the audience all linked naturally together in one neat composition. Despite the large number of figures, they are not depicted in dry and identical form but each and every one as a distinct individual being.

The composition, cohesive without being stylized, and the fine individualistic expression of the details make this work a masterpiece of Goryeo Buddhist painting.

THE HEIGHT OF ELEGANCE, AVALOKITESHVARA It can be said that works depicting the Water-Moon Avalokiteshvara represent the height of elegance found in Goryeo Buddhist painting. While Avalokiteshvara was not originally female, the bodhisattva’s distinguishing feature of compassion is commonly equated with the mother’s benevolence. With the transmission of Buddhism throughout East Asia, Avalokiteshvara came to be expressed with feminine characteristics. Artists strove to depict Avalokiteshvara as an ideal being with the benevolence of a mother and the beauty and perfection of a god.

These efforts came to fruition in the Water-Moon Avalokiteshvara. The Avalokiteshvara is the 28th of the 53 Buddhist saints that the boy Sudhana meets on his journey to find the truth, as described in the Avatamsaka Sutra. The Avalokiteshvara is depicted

sitting on a rocky outcrop rising out the sea, representing his abode on Mt. Potalaka, and having an audience with Sudhana. Standing at Avalokiteshvara’s feet, Sudhana listens to the bodhisattva’s teachings with his hands clasped and a look of reverence and joy on his face. Avalokiteshvara, with the finely expressed details and gentle rendering of the face, the natural pose of the hands holding the Buddhist prayer beads, and one leg crossed and resting on the other, is a familiar figure and yet the embodiment of elegance and grace.

The splendid crown and the transparent veil flowing down from it enhance the Avalokisteshvara’s transcendental beauty. The veil is commonly decorated with the S-shaped scroll design distinctive of Goryeo. But as seen in the Water-moon Avalokiteshvara paintings preserved at Kagami Shrine, Senso-ji Temple, and the Museum of East Asian Art Cologne (Fig. 5), the veil is sometimes covered with a phoenix design. Though usually reserved for the robes of the Buddha, the phoenix design is sometimes applied to the veil of the Water-Moon Avalokiteshvara, reflecting the Goryeo people’s special respect for this bodhisattva.

Unfortunately, a few Goryeo Buddhist paintings remain extant in Korea. These elegant religious works that manifest the painting achievements of an age still hold the same fascination and continue to be loved and revered today.

08

curator ’ s talk

Artworks of the Goryeo Dynasty reflect the tastes of royalty and aristocracy are hence characterized by “elegance.”

This column explores the elegance of Goryeo artworks focusing on the special quality of celadon.

Goryeo Celadon, the Epitome of Elegance by im jin a, associate curator of the collections management department

nmk 2015 autumn | korean heritage

A

09

t the height of Goryeo celadon production, the foremost considerations were initially color and form. The royal family and aristocrats and the craftsmen who created wares according to their tastes placed highest value on a vessel’s beautiful color and flowing curves. The incised or embossed designs were often hard to see without looking at them very close up, and indeed it could be said that they were added to impart greater naturalness to the color and enhance expression of the details.

The color of celadon was often described as bisaek. This is interpreted to be the color of the kingfisher’s feathers, but in truth it is a color that is hard to define. Rather than being one color it can be seen as a spectrum comprising an exquisite combination of greens, blues and a sense of transparency. At times, a single work of celadon is darker in places and lighter in others, with the glaze thick and transparent in some parts and so thin as to reveal the bare body in others. Such was the quality of bisaek-colored Goryeo celadon, which the Chinese called “the best under heaven.”

The works that exemplify Goryeo celadon at its height are those vessels made in the shapes of animals, plants and human figures. The motifs for such works were largely based on natural and religious themes. Natural motifs were easily recognizable animals and plants, presumably subjects that the people of Goryeo would have found familiar. Bottles, ewers, incense burners and water droppers were made in the shape of ducks, melons, bamboo shoots and gourds.

Religious motifs were basically founded in Buddhism, the state religion of Goryeo. Figures of Buddhas, Bodhisattvas, and Arhats were

made in celadon while molded lotus petals covered the inside or outside of dishes or decorated the base of body. Taoism, while it did not become an organized religion like Buddhism, wielded great influence on the court of Goryeo particularly in the era of King Yejong, 1105–1122 and inspired the creation of various works with Taoist themes. Examples include the celadon ewer in the shape of a person holding up a tray of peaches, as well as incense burners, water droppers and other items in the shape of monkeys, qirins and phoenixes, which are all Taoist related motifs. As these celadon pieces were crafted completely by hand they differ from their Chinese counterparts which were generally made with molds. Hand craftsmanship allowed for more realistic and animated expression.

Celadon Incense Burner with Openwork Decoration (National Treasure No. 95) represents the zenith of Goryeo celadon in terms of color and form, harmony of the whole and expression of the finer details (Fig. 1). Comprised of the body of the censer with a lid and base, it is covered in a glossy, pale bluish-green glaze and features an exquisite combination of decorative techniques including incising, embossing, openwork, appliqué, inlay and painting with underglaze iron.

The lid of the incense burner is comprised of a knob and base.

The globular knob, where the smoke from the body of the incense burner escapes, is elaborately decorated with an openwork, a repeated pattern of four overlapping circles and attached to a discshaped base. The body of the censer is covered with molded chrysanthemum leaves, reminiscent of upturned lotus petals, and looks like one big chrysanthemum. It is composed of two parts, the bud-

Fig. 1-1 Body of the incense burner with a lid and base Fig. 1 Celadon Incense Burner with Openwork Decoration Goryeo, 12th century H. 15.3 cm National Treasure No. 95 duk 2990

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curator ’ s talk

Artworks of the Goryeo Dynasty reflect the tastes of royalty and aristocracy are hence characterized by “elegance.”

This column explores the elegance of Goryeo artworks focusing on the special quality of celadon.

Goryeo Celadon, the Epitome of Elegance by im jin a, associate curator of the collections management department

nmk 2015 autumn | korean heritage

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t the height of Goryeo celadon production, the foremost considerations were initially color and form. The royal family and aristocrats and the craftsmen who created wares according to their tastes placed highest value on a vessel’s beautiful color and flowing curves. The incised or embossed designs were often hard to see without looking at them very close up, and indeed it could be said that they were added to impart greater naturalness to the color and enhance expression of the details.

The color of celadon was often described as bisaek. This is interpreted to be the color of the kingfisher’s feathers, but in truth it is a color that is hard to define. Rather than being one color it can be seen as a spectrum comprising an exquisite combination of greens, blues and a sense of transparency. At times, a single work of celadon is darker in places and lighter in others, with the glaze thick and transparent in some parts and so thin as to reveal the bare body in others. Such was the quality of bisaek-colored Goryeo celadon, which the Chinese called “the best under heaven.”

The works that exemplify Goryeo celadon at its height are those vessels made in the shapes of animals, plants and human figures. The motifs for such works were largely based on natural and religious themes. Natural motifs were easily recognizable animals and plants, presumably subjects that the people of Goryeo would have found familiar. Bottles, ewers, incense burners and water droppers were made in the shape of ducks, melons, bamboo shoots and gourds.

Religious motifs were basically founded in Buddhism, the state religion of Goryeo. Figures of Buddhas, Bodhisattvas, and Arhats were

made in celadon while molded lotus petals covered the inside or outside of dishes or decorated the base of body. Taoism, while it did not become an organized religion like Buddhism, wielded great influence on the court of Goryeo particularly in the era of King Yejong, 1105–1122 and inspired the creation of various works with Taoist themes. Examples include the celadon ewer in the shape of a person holding up a tray of peaches, as well as incense burners, water droppers and other items in the shape of monkeys, qirins and phoenixes, which are all Taoist related motifs. As these celadon pieces were crafted completely by hand they differ from their Chinese counterparts which were generally made with molds. Hand craftsmanship allowed for more realistic and animated expression.

Celadon Incense Burner with Openwork Decoration (National Treasure No. 95) represents the zenith of Goryeo celadon in terms of color and form, harmony of the whole and expression of the finer details (Fig. 1). Comprised of the body of the censer with a lid and base, it is covered in a glossy, pale bluish-green glaze and features an exquisite combination of decorative techniques including incising, embossing, openwork, appliqué, inlay and painting with underglaze iron.

The lid of the incense burner is comprised of a knob and base.

The globular knob, where the smoke from the body of the incense burner escapes, is elaborately decorated with an openwork, a repeated pattern of four overlapping circles and attached to a discshaped base. The body of the censer is covered with molded chrysanthemum leaves, reminiscent of upturned lotus petals, and looks like one big chrysanthemum. It is composed of two parts, the bud-

Fig. 1-1 Body of the incense burner with a lid and base Fig. 1 Celadon Incense Burner with Openwork Decoration Goryeo, 12th century H. 15.3 cm National Treasure No. 95 duk 2990

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curator ’ s talk

nmk 2015 autumn | korean heritage

Fig. 2 Celadon with Inlaid Peony Design in Underglaze Copper-red Decoration Goryeo, 12-13th century H. 34.5 cm, D. 5.8 cm (mouth), 13.2 cm (bottom) Treasure No. 346 duk 434

Fig. 2-1 Detail of Fig 2, part of the lively waving peony flower pattern

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shaped upper part wrapped in overlapping chrysanthemum leaves, This maebyeong, or prunus vase, is striking for its beautiful and the supporting lower part formed of six leaves. The leaves are curves and lively waving peony design. The body is decorated with identical down to the very details, as if they were formed in the three large inlaid peony sprays with finely expressed details, and same mold. Using the appliqué technique, they were attached in the underglaze copper-red highlights on the petals imbue the flowfour overlapping layers starting from the top. The body sits on a ers with life, as if they were actually blooming. The cloud collar defoliated base with three legs in the shape of crouching rabbits. The sign on the shoulders consists of four foliated panels with outlines use of chrysanthemum leaves rather than lotus leaves and the very depicted in two fine black inlaid lines. The band between the lines is presence of the rabbits make this an exceptional piece, for these inlaid with white and a pearl drop hangs from the end of each panel, are elements rarely found in other works from the time, despite the which is decorated inside with a thin design of scrolling chrysandiversity of forms and decorations used in the heyday of celadon themums. Around the foot is a band of lotus petals sparsely decoproduction. The eyes of the rabbits were depicted in black with the rated with inlaid curving lines. use of underglaze iron pigment while the intersecting points in the In the Goryeo period, the vessels known as maebyeong toseven auspicious pattern were marked with white inlaid dots. The day were called jun (literally “liquor pot”). Among the relics from perfect proportions and balance found in the color, form and dea shipwrecked Goryeo trading vessel found off the coast of Taesign, the decorativeness of the details and an, were maebyeong filled with honey and their harmony with the whole, and the very sesame oil. It is not known whether maerareness of the subject matter, make the Cebyeong were filled with other foods than The peonies, so vividly ladon Incense Burner with Openwork Dechoney and sesame oil, and the usage of this oration, standing just 15cm high, a small particular item, Celadon with Inlaid Peony expressed in white inlay and cosmos of its own. In the Goryeo period, Design in Underglaze Copper-red Decoracopper-red pigment that they tion remains unclear. However, this vessel incense was used in royal court rites and Buddhist rites. In the court, incense was seem to be waving in the is most striking not for its color or form burnt to signal the start of the ceremony, wind, are the highlight of this but the design decorating the surface. The and in Buddhist rites it was used to invoke peonies, so vividly expressed in white inwork the Buddha and his teachings. To burn inlay and copper-red pigment that they seem cense, charcoal was first lit and placed into be waving in the wind, are the highlight side the ashes in the censer which had been of this work. For this design the vessel is a formed into a mound, then solid incense was lit and placed directly masterpiece, a classic example of the finest Goryeo celadons along on top or on top of a silver plate. with the Celadon Incense Burner with Openwork Decoration.

The globular knob of the censer fits neatly into one hand and is The peony petals comprise broad white inlaid areas with a warm just the right weight. Evidently, the censer was not just decorative ivory tone. The full blossoms with their small buds are touched with but highly practical as well, made faithful to its function. The mystidark crimson at the ends. The stamens are finely depicted in thin cal aura created as the smoke sporadically seeped out of the censer black inlaid lines and white inlaid dots. The stems are black and the can easily be imagined. leaves are outlined in white and have black veins. Peonies were a Over time, the main point of interest and value of celadon shiftpopular decorative motif for Goryeo celadon works but there are ed from its color and form to the inlaid designs. The inlay techfew examples so luxuriant yet so elegant and full of life. Seemingly, nique involves carving the desired design into the half-dried clay this design reflect the bold and free side of royal and aristocratic body of the vessel, then after the initial firing filling the design with tastes. red or white clay, covering the body in glaze and firing the vessel Goryeo celadon at its height shows almost perfect harmony of once again. The red clay turns black and the white clay shows up color, form and decoration and the beauty of restraint. While exwhite, creating clearly contrasting black and white designs underhibiting utmost delicacy and decorativeness enabled by a high level neath the glaze. As the clay body and the red and white clay of the of skill, the lively expression of themes, mostly based in nature, iminlaid designs have different degrees of shrinkage inside the kiln, part a sense of ease and comfort of mind. the vessel is liable to crack. Hence the creation of inlaid designs in celadon called for, above all else, a high level of craftsmanship.

The delicate inlaid designs characterized by strong black and white contrast were sometimes highlighted with underglaze-red using copper oxide. Celadon with Inlaid Peony Design in Underglaze Copper-red Decoration (Treasure No. 346) is a masterpiece among the few extant examples (Fig.2).

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curator ’ s talk

nmk 2015 autumn | korean heritage

Fig. 2 Celadon with Inlaid Peony Design in Underglaze Copper-red Decoration Goryeo, 12-13th century H. 34.5 cm, D. 5.8 cm (mouth), 13.2 cm (bottom) Treasure No. 346 duk 434

Fig. 2-1 Detail of Fig 2, part of the lively waving peony flower pattern

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shaped upper part wrapped in overlapping chrysanthemum leaves, This maebyeong, or prunus vase, is striking for its beautiful and the supporting lower part formed of six leaves. The leaves are curves and lively waving peony design. The body is decorated with identical down to the very details, as if they were formed in the three large inlaid peony sprays with finely expressed details, and same mold. Using the appliqué technique, they were attached in the underglaze copper-red highlights on the petals imbue the flowfour overlapping layers starting from the top. The body sits on a ers with life, as if they were actually blooming. The cloud collar defoliated base with three legs in the shape of crouching rabbits. The sign on the shoulders consists of four foliated panels with outlines use of chrysanthemum leaves rather than lotus leaves and the very depicted in two fine black inlaid lines. The band between the lines is presence of the rabbits make this an exceptional piece, for these inlaid with white and a pearl drop hangs from the end of each panel, are elements rarely found in other works from the time, despite the which is decorated inside with a thin design of scrolling chrysandiversity of forms and decorations used in the heyday of celadon themums. Around the foot is a band of lotus petals sparsely decoproduction. The eyes of the rabbits were depicted in black with the rated with inlaid curving lines. use of underglaze iron pigment while the intersecting points in the In the Goryeo period, the vessels known as maebyeong toseven auspicious pattern were marked with white inlaid dots. The day were called jun (literally “liquor pot”). Among the relics from perfect proportions and balance found in the color, form and dea shipwrecked Goryeo trading vessel found off the coast of Taesign, the decorativeness of the details and an, were maebyeong filled with honey and their harmony with the whole, and the very sesame oil. It is not known whether maerareness of the subject matter, make the Cebyeong were filled with other foods than The peonies, so vividly ladon Incense Burner with Openwork Dechoney and sesame oil, and the usage of this oration, standing just 15cm high, a small particular item, Celadon with Inlaid Peony expressed in white inlay and cosmos of its own. In the Goryeo period, Design in Underglaze Copper-red Decoracopper-red pigment that they tion remains unclear. However, this vessel incense was used in royal court rites and Buddhist rites. In the court, incense was seem to be waving in the is most striking not for its color or form burnt to signal the start of the ceremony, wind, are the highlight of this but the design decorating the surface. The and in Buddhist rites it was used to invoke peonies, so vividly expressed in white inwork the Buddha and his teachings. To burn inlay and copper-red pigment that they seem cense, charcoal was first lit and placed into be waving in the wind, are the highlight side the ashes in the censer which had been of this work. For this design the vessel is a formed into a mound, then solid incense was lit and placed directly masterpiece, a classic example of the finest Goryeo celadons along on top or on top of a silver plate. with the Celadon Incense Burner with Openwork Decoration.

The globular knob of the censer fits neatly into one hand and is The peony petals comprise broad white inlaid areas with a warm just the right weight. Evidently, the censer was not just decorative ivory tone. The full blossoms with their small buds are touched with but highly practical as well, made faithful to its function. The mystidark crimson at the ends. The stamens are finely depicted in thin cal aura created as the smoke sporadically seeped out of the censer black inlaid lines and white inlaid dots. The stems are black and the can easily be imagined. leaves are outlined in white and have black veins. Peonies were a Over time, the main point of interest and value of celadon shiftpopular decorative motif for Goryeo celadon works but there are ed from its color and form to the inlaid designs. The inlay techfew examples so luxuriant yet so elegant and full of life. Seemingly, nique involves carving the desired design into the half-dried clay this design reflect the bold and free side of royal and aristocratic body of the vessel, then after the initial firing filling the design with tastes. red or white clay, covering the body in glaze and firing the vessel Goryeo celadon at its height shows almost perfect harmony of once again. The red clay turns black and the white clay shows up color, form and decoration and the beauty of restraint. While exwhite, creating clearly contrasting black and white designs underhibiting utmost delicacy and decorativeness enabled by a high level neath the glaze. As the clay body and the red and white clay of the of skill, the lively expression of themes, mostly based in nature, iminlaid designs have different degrees of shrinkage inside the kiln, part a sense of ease and comfort of mind. the vessel is liable to crack. Hence the creation of inlaid designs in celadon called for, above all else, a high level of craftsmanship.

The delicate inlaid designs characterized by strong black and white contrast were sometimes highlighted with underglaze-red using copper oxide. Celadon with Inlaid Peony Design in Underglaze Copper-red Decoration (Treasure No. 346) is a masterpiece among the few extant examples (Fig.2).

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nmk 2015 autumn | korean heritage

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Fig.1 Album of Paintings (vegetables)

By Kang Sehwang with Comments by Heo Pil Joseon, 18th Century Ink and Color on Paper 26.0 × 28.0 cm Purchased in 2014 koo 9706 Fig.2 Album of Paintings (plantain)

By Kang Sehwang with Comments by Heo Pil Joseon, 18th Century Ink and Color on Paper 26.0 × 28.0 cm Purchased in 2014 koo 9706 Fig.3 Album of Paintings (lotus flower)

By Kang Sehwang with Comments by Heo Pil Joseon, 18th Century Ink and Color on Paper 25.5 × 27.0 cm Purchased in 2014 koo 9707 Fig.4 Detail of Fig. 3, part of the comments by Heo Pil

The Painting Album of Kang Sehwang

K

ang Sehwang 1713–1791 was not only a leading scholar and painter in the late Joseon Dynasty but also taught the famous painter Kim Hongdo. He was widely known as a leader in artistic and literary circles in the 18th century because of his proficiency in the fields of poetry, calligraphy, painting and art criticism. He spent the middle years of his life writing poems and working on calligraphy and painting without a government position. However, even after he entered the government service at the age of 60, his literary and artistic life continued.

Kang Sehwang is particularly famous for a review he wrote on paintings by other artists in the late Joseon Dynasty. Nevertheless, he did not allow anybody to leave a review on his own painting except Heo Pil.1709–1768 The two were close friends and they often met, discussed art, and painted together in Ansan, where Kang’s parentsin-law lived. Kang and Heo were members of the so-called “15 literary men from Ansan,” and grew especially close through art while they provided reviews for each other’s paintings or did joint work.

Korea University Museum actually houses a painting that Kang Sehwang and Heo Pil did together; sharing the same paper on

which to paint was very special to painters at the time. Kang actually described Heo as “a friend who knows my heart.” Another literary figure in the late 19th century also wrote, “Kang Sehwang’s paintings not accompanied by a review from Heo Pil would be like a wise man not wearing his hat.” Thus, this special relationship between the two men was confirmed yet again. Another literary figure, Lee Hyeonhwan, compared their creative activities to the notable Chinese painters Dong Yuan 董源 and Juran.居然 These three pieces were painted on paper using light colors. It is assumed that these paintings were part of Yeongaekpyeonghwacheop,煙客評畫帖 a collection of Kang Sehwang’s paintings and Heo Pil’s reviews, with the three pieces later separated from the collection. The original album contained roughly 20 paintings depicting landscapes, flowering plants, plants & insects, vegetables and pine trees. What is noteworthy is that Kang painted both lotus flowers and plantains—both of which were often painted by Confucian scholars—and common vegetables such as cucumbers, eggplants and pomegranates. His paintings were the result of his interest and observation of objects around him. Heo Pil’s another names, Yeo-

jeong 汝正 and Choseon,草䄠 are written on Kang’s paintings.

Originally part of the album there are traces of it having been folded over at the center of each painting. The Album of Paintings (vegetables) with eggplants, cucumbers, clams and pomegranates display a long line of poetic titles. This makes it clear that Kang did not expect Heo Pil’s reviews would appear on them at first, as Heo’s review is densely written in a narrow corner of the painting while trying not to take away from the eggplant and the cucumber. On the Album of Paintings (lotus flower) there is Heo Pil’s seal, which is stamped on a lotus leaf. Kang painted the outline of lotus leaves using a brush soaked in pale Indian ink, and highlighted the tips of lotus petals by adding a touch of red. Alternatively, lotus leaves were expressed without in an outline, in a method called molgolbeop, with only veins added to the leaves. This painting embodies one which is done in the spirit of a literary artist’s style, which is simple and abstract.

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nmk 2015 autumn | korean heritage

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Fig.1 Album of Paintings (vegetables)

By Kang Sehwang with Comments by Heo Pil Joseon, 18th Century Ink and Color on Paper 26.0 × 28.0 cm Purchased in 2014 koo 9706 Fig.2 Album of Paintings (plantain)

By Kang Sehwang with Comments by Heo Pil Joseon, 18th Century Ink and Color on Paper 26.0 × 28.0 cm Purchased in 2014 koo 9706 Fig.3 Album of Paintings (lotus flower)

By Kang Sehwang with Comments by Heo Pil Joseon, 18th Century Ink and Color on Paper 25.5 × 27.0 cm Purchased in 2014 koo 9707 Fig.4 Detail of Fig. 3, part of the comments by Heo Pil

The Painting Album of Kang Sehwang

K

ang Sehwang 1713–1791 was not only a leading scholar and painter in the late Joseon Dynasty but also taught the famous painter Kim Hongdo. He was widely known as a leader in artistic and literary circles in the 18th century because of his proficiency in the fields of poetry, calligraphy, painting and art criticism. He spent the middle years of his life writing poems and working on calligraphy and painting without a government position. However, even after he entered the government service at the age of 60, his literary and artistic life continued.

Kang Sehwang is particularly famous for a review he wrote on paintings by other artists in the late Joseon Dynasty. Nevertheless, he did not allow anybody to leave a review on his own painting except Heo Pil.1709–1768 The two were close friends and they often met, discussed art, and painted together in Ansan, where Kang’s parentsin-law lived. Kang and Heo were members of the so-called “15 literary men from Ansan,” and grew especially close through art while they provided reviews for each other’s paintings or did joint work.

Korea University Museum actually houses a painting that Kang Sehwang and Heo Pil did together; sharing the same paper on

which to paint was very special to painters at the time. Kang actually described Heo as “a friend who knows my heart.” Another literary figure in the late 19th century also wrote, “Kang Sehwang’s paintings not accompanied by a review from Heo Pil would be like a wise man not wearing his hat.” Thus, this special relationship between the two men was confirmed yet again. Another literary figure, Lee Hyeonhwan, compared their creative activities to the notable Chinese painters Dong Yuan 董源 and Juran.居然 These three pieces were painted on paper using light colors. It is assumed that these paintings were part of Yeongaekpyeonghwacheop,煙客評畫帖 a collection of Kang Sehwang’s paintings and Heo Pil’s reviews, with the three pieces later separated from the collection. The original album contained roughly 20 paintings depicting landscapes, flowering plants, plants & insects, vegetables and pine trees. What is noteworthy is that Kang painted both lotus flowers and plantains—both of which were often painted by Confucian scholars—and common vegetables such as cucumbers, eggplants and pomegranates. His paintings were the result of his interest and observation of objects around him. Heo Pil’s another names, Yeo-

jeong 汝正 and Choseon,草䄠 are written on Kang’s paintings.

Originally part of the album there are traces of it having been folded over at the center of each painting. The Album of Paintings (vegetables) with eggplants, cucumbers, clams and pomegranates display a long line of poetic titles. This makes it clear that Kang did not expect Heo Pil’s reviews would appear on them at first, as Heo’s review is densely written in a narrow corner of the painting while trying not to take away from the eggplant and the cucumber. On the Album of Paintings (lotus flower) there is Heo Pil’s seal, which is stamped on a lotus leaf. Kang painted the outline of lotus leaves using a brush soaked in pale Indian ink, and highlighted the tips of lotus petals by adding a touch of red. Alternatively, lotus leaves were expressed without in an outline, in a method called molgolbeop, with only veins added to the leaves. This painting embodies one which is done in the spirit of a literary artist’s style, which is simple and abstract.

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feature exhibition

nmk 2015 autumn | from the gallery

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SEPTEMBER 25 – NOVEMBER 15, 2015 SPECIAL EXHIBITION GALLERY

MASTERPIECES OF EARLY BUDDHIST SCULPTURE, 100BCE–700CE by yang heechung, associate curator of the exhibition division

A

Buddhist sculpture may be a god to some and just an object to others. This is a difference that comes not only from faith or the lack thereof, but from an attitude towards the Buddhist Sculpture. The Buddhist sculptures that we see today were born from the overturning of accepted ideas about religious icons that prevailed in Indian society, and continued to develop while winning over those who believed and those who did not.

The same was true when Buddhism was transmitted to other countries and cultural spheres. From their initial creation to their development over the ages, Buddhist sculptures had to convince people of all classes and gain legitimacy, and aspects such as size and beauty and similarity (or likeness) to the Buddha became the standards applied.

The 200 some works featured in the exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE exemplify such development of Buddhist images. Originating in India, Buddhism was transmitted to China as the result of centuries of people coming and going between the two nations, and its eastward advance continued to Indo-China Peninsula, Korea and as far as Japan. Images of Buddha in the form of a human being first appeared in India. In other words, the worship of images had existed in Buddhism but images of the Buddha in human form were neither made in his lifetime or more than 400 years after his death. For it was thought that the highest truth has no form, and that a great being could not be confined to an object created in human likeness. But this long tradition was broken by the desire to worship the Buddha in human form

that had emerged at some unknown point.

Though it may seem natural now to worship images that look like human beings, would the Buddhist believers of ancient times have responded favorably to the first sculpture of the Buddha? It is more likely that they did not. The visual elements considered to be the iconographic characteristics of Buddhist sculptures were in many cases adopted to win over those who would potentially oppose the creation of Buddha images. The authority and role of Buddhist sculptures were very different to what they are today. In India where there was a strong tradition of stupa worship, Buddhist images were on the same level as the votive offerings ornamenting the stupa surroundings. It was when relics were enshrined inside the body that Buddhist sculptures gained the authority and status of sacred objects of worship.

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feature exhibition

nmk 2015 autumn | from the gallery

15

SEPTEMBER 25 – NOVEMBER 15, 2015 SPECIAL EXHIBITION GALLERY

MASTERPIECES OF EARLY BUDDHIST SCULPTURE, 100BCE–700CE by yang heechung, associate curator of the exhibition division

A

Buddhist sculpture may be a god to some and just an object to others. This is a difference that comes not only from faith or the lack thereof, but from an attitude towards the Buddhist Sculpture. The Buddhist sculptures that we see today were born from the overturning of accepted ideas about religious icons that prevailed in Indian society, and continued to develop while winning over those who believed and those who did not.

The same was true when Buddhism was transmitted to other countries and cultural spheres. From their initial creation to their development over the ages, Buddhist sculptures had to convince people of all classes and gain legitimacy, and aspects such as size and beauty and similarity (or likeness) to the Buddha became the standards applied.

The 200 some works featured in the exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE exemplify such development of Buddhist images. Originating in India, Buddhism was transmitted to China as the result of centuries of people coming and going between the two nations, and its eastward advance continued to Indo-China Peninsula, Korea and as far as Japan. Images of Buddha in the form of a human being first appeared in India. In other words, the worship of images had existed in Buddhism but images of the Buddha in human form were neither made in his lifetime or more than 400 years after his death. For it was thought that the highest truth has no form, and that a great being could not be confined to an object created in human likeness. But this long tradition was broken by the desire to worship the Buddha in human form

that had emerged at some unknown point.

Though it may seem natural now to worship images that look like human beings, would the Buddhist believers of ancient times have responded favorably to the first sculpture of the Buddha? It is more likely that they did not. The visual elements considered to be the iconographic characteristics of Buddhist sculptures were in many cases adopted to win over those who would potentially oppose the creation of Buddha images. The authority and role of Buddhist sculptures were very different to what they are today. In India where there was a strong tradition of stupa worship, Buddhist images were on the same level as the votive offerings ornamenting the stupa surroundings. It was when relics were enshrined inside the body that Buddhist sculptures gained the authority and status of sacred objects of worship.

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The production of such Buddhist sculptures in India was concentrated in two regions. That is, the desire to possess objects of worship in human likeness was manifested in both Gandhara and Mathura, but the differences in sculptures from the two regions attest to the influence of external factors on determining the details—for example, the nature of the stone most easily obtained, existing sculpture traditions, taboos, weather and clothing traditions.

While both the Gandhara and Mathura regions established their sculpture traditions independently some exchange did

Buddha Mathura Kushan period, 2nd century Sandstone H. 72.5 cm, W. 47.0 cm, D. 12.5 cm National Museum, New Delhi L.55.25

nmk 2015 autumn | from the gallery

take place between them. Hence early Gandhara and Mathura Buddhist sculptures have some points in common, and the influence of Gandhara images could have brought changes to those of Mathura. Because of its location at the end of the Silk Road before entering India proper, Gandhara sculptures, compared to the those of Mathura which was located further inland, were soon transmitted to China overland. The sculptures of central and southern India were transmitted by sea to East Asia via Southeast Asia. After the 7th century, however, the production of

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Buddhist sculptures in India, the home of Buddhism and Buddhist art, entered decline and eventually died out.

In the 2nd and 3rd centuries, when Buddhism entered China, debate had ended in India and a sculpture tradition including images in human form had already been established. There was no need for further discussion in China on whether Buddhist sculptures were faithful to the likeness of the Buddha. In the early days of Buddhism’s introduction to China, the Chinese people went through a period of deciding where the deity named

Preaching Buddha Gandhara Kushan period, 2nd-3rd century Schist H. 55.5 cm, W. 29.0 cm, D. 12.0 cm Museum of Asian Art, Berlin I 46 © Staatliche Museen zu Berlin, Museum für Asiatische Kunst

“Buddha” would fit in their pantheon. Afterwards, decisions were made regarding which visual elements of the Buddhist sculptures created in India had to be maintained and which should be changed to reflect their own traditions. Consequently, efforts to create Buddhist sculptures that Chinese believers would find comfortable and appealing became more pronounced. At times however, Chinese Buddhist images were strongly reminiscent of the origins of Buddhism, as evident in Ashoka-type Buddha images reflecting the Chinese people’s respect for India’s authority as the source of the religion. Indeed, India was considered the source of new stylistic inspiration. Later, experimentation with style and form simultaneously occurred in various regions and regional characteristics emerged in places such as Hebei, Shandong, Shaanxi, and Sichuan. It can be said that early Chinese Buddhist sculpture is characterized

Birth of Siddhārtha Gandhara Kushan period, 2nd-3rd century Schist H. 22.0 cm, W. 49.5 cm Tokyo National Museum TC-732 © Tokyo National Museum. Image: TNM Image Archives

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feature exhibition

The production of such Buddhist sculptures in India was concentrated in two regions. That is, the desire to possess objects of worship in human likeness was manifested in both Gandhara and Mathura, but the differences in sculptures from the two regions attest to the influence of external factors on determining the details—for example, the nature of the stone most easily obtained, existing sculpture traditions, taboos, weather and clothing traditions.

While both the Gandhara and Mathura regions established their sculpture traditions independently some exchange did

Buddha Mathura Kushan period, 2nd century Sandstone H. 72.5 cm, W. 47.0 cm, D. 12.5 cm National Museum, New Delhi L.55.25

nmk 2015 autumn | from the gallery

take place between them. Hence early Gandhara and Mathura Buddhist sculptures have some points in common, and the influence of Gandhara images could have brought changes to those of Mathura. Because of its location at the end of the Silk Road before entering India proper, Gandhara sculptures, compared to the those of Mathura which was located further inland, were soon transmitted to China overland. The sculptures of central and southern India were transmitted by sea to East Asia via Southeast Asia. After the 7th century, however, the production of

17

Buddhist sculptures in India, the home of Buddhism and Buddhist art, entered decline and eventually died out.

In the 2nd and 3rd centuries, when Buddhism entered China, debate had ended in India and a sculpture tradition including images in human form had already been established. There was no need for further discussion in China on whether Buddhist sculptures were faithful to the likeness of the Buddha. In the early days of Buddhism’s introduction to China, the Chinese people went through a period of deciding where the deity named

Preaching Buddha Gandhara Kushan period, 2nd-3rd century Schist H. 55.5 cm, W. 29.0 cm, D. 12.0 cm Museum of Asian Art, Berlin I 46 © Staatliche Museen zu Berlin, Museum für Asiatische Kunst

“Buddha” would fit in their pantheon. Afterwards, decisions were made regarding which visual elements of the Buddhist sculptures created in India had to be maintained and which should be changed to reflect their own traditions. Consequently, efforts to create Buddhist sculptures that Chinese believers would find comfortable and appealing became more pronounced. At times however, Chinese Buddhist images were strongly reminiscent of the origins of Buddhism, as evident in Ashoka-type Buddha images reflecting the Chinese people’s respect for India’s authority as the source of the religion. Indeed, India was considered the source of new stylistic inspiration. Later, experimentation with style and form simultaneously occurred in various regions and regional characteristics emerged in places such as Hebei, Shandong, Shaanxi, and Sichuan. It can be said that early Chinese Buddhist sculpture is characterized

Birth of Siddhārtha Gandhara Kushan period, 2nd-3rd century Schist H. 22.0 cm, W. 49.5 cm Tokyo National Museum TC-732 © Tokyo National Museum. Image: TNM Image Archives

18

feature exhibition

Buddha Triad Baekje, 6th–7th century Gilt bronze H. 28.1 cm (central Buddha) Tokyo National Museum N-143 © Tokyo National Museum. Image: TNM Image Archives

nmk 2015 autumn | from the gallery

by this complex and somewhat confusing plurality, until the Tang Dynasty took control over the central plains region and established a distinctive style. Hence this special exhibition’s reference to “early” Buddhist sculpture.

While the technology for making Buddhist sculptures developed over the ages and a greater diversity of Buddhist images were created, the question as to how they should be understood was repeatedly brought up throughout Chinese history. In response to persecution of Buddhism by the state it was argued that Buddhist sculptures were needed because “people come to understand the existence of the Buddha through these images.” But among the people who believed the Buddha transcended all images, there was constant vigilance against excessive worship of images in both India and China, and the status of Buddhist art rose and fell accordingly. Those who consciously or unconsciously recognized the value of images, produced Buddhist sculptures for various purposes, for example, as a means of spiritual practice, as a way to accumulate merit, or to memorialize the dead.

Whether in Korea or Indo-China, Buddhist sculptures more strongly reflected a society’s preferences, breadth of choices, and exchange with other nations during the first 200 to 300 years of Buddhism’s transmission than in the time Buddhism had become firmly established, while technical experimentation and the successes and failures were also more marked. Original sculptures, which set the standard for new images, and copies of those originals often cause confusion for researchers seeking to determine the country of origin, and the various channels for Buddhism’s introduction to a country make accurate analysis on the origin of influence very difficult.

The limitations in determining the provenance based on external characteristics alone apply to the Buddhist sculptures found on the Korean Peninsula and in Vietnam which

are featured in the exhibition. To overcome difficulties in determining country of origin, this exhibition explores diverse materials including information on place of excavation, form of inscriptions, method of production and materials.

The ultimate goal of Buddhism is not salvation but freedom, and the focus is not on worship of god. In this sense, it has been debated that Buddhism, rather than falling under the traditional category of religion, should be seen as a philosophy.

The emphasis is not reliance on god as the absolute being, but spiritual practice and following the path pointed out by the Buddha. Images of the pensive bodhisattva, which originated in India based on the tradition of portraying figures lost in contemplation, encourage us to turn back to the one who instigated the creation of all these sculptures. The pensive images from India, China, Korea and Japan that comprise the final part of the exhibition turn our attention to the origins of religion and symbolize the significance of the exchange that took place between nations through the means of Buddhist sculptures. Herein lies the reason for holding this special exhibition to mark the tenth anniversary of the National Museum of Korea’s relocation to the Yongsan site.

19

PUBLICATION

This catalog accompanies the special exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE. It is composed of four chapters: Part 1 “Beginning of a Long History: Early Buddhist Sculpture of India,” Part 2 “Chinese Buddhist Sculpture from Origins to the Sui Dynasty,” Part 3 “Korean Buddhist Sculpture of the Three Kingdoms Period,” and Part 4 “Emergence and Development of the Pensive Bodhisattva.” Each chapter contains an introduction, explanations of the photos, and short articles on related subjects.

This is an abridged version of the main catalog for the special exhibition. The articles have been revised and simplified to enhance understanding, and photos of selected works are also included. A pocket-sized paperback, the book is easy to carry around while looking at the exhibition.

Title Masterpieces of Early Buddhist Sculpture, 100BCE–700CE

Title Masterpieces of Early Buddhist Sculpture, 100BCE–700CE (paperback)

ISBN 979-11-85087-10-8

ISBN 979-11-85087-11-5

Pages 320

Pages 224

Size 28.5 × 24.0 cm

Size 21.5 × 14.0 cm

Language Korean (partly in English)

Language Korean (partly in English)

Published September 18, 2015

Published September 23, 2015

Price KRW 35,000 (approx. $30)

Price KRW 12,000 (approx. $10)

18

feature exhibition

Buddha Triad Baekje, 6th–7th century Gilt bronze H. 28.1 cm (central Buddha) Tokyo National Museum N-143 © Tokyo National Museum. Image: TNM Image Archives

nmk 2015 autumn | from the gallery

by this complex and somewhat confusing plurality, until the Tang Dynasty took control over the central plains region and established a distinctive style. Hence this special exhibition’s reference to “early” Buddhist sculpture.

While the technology for making Buddhist sculptures developed over the ages and a greater diversity of Buddhist images were created, the question as to how they should be understood was repeatedly brought up throughout Chinese history. In response to persecution of Buddhism by the state it was argued that Buddhist sculptures were needed because “people come to understand the existence of the Buddha through these images.” But among the people who believed the Buddha transcended all images, there was constant vigilance against excessive worship of images in both India and China, and the status of Buddhist art rose and fell accordingly. Those who consciously or unconsciously recognized the value of images, produced Buddhist sculptures for various purposes, for example, as a means of spiritual practice, as a way to accumulate merit, or to memorialize the dead.

Whether in Korea or Indo-China, Buddhist sculptures more strongly reflected a society’s preferences, breadth of choices, and exchange with other nations during the first 200 to 300 years of Buddhism’s transmission than in the time Buddhism had become firmly established, while technical experimentation and the successes and failures were also more marked. Original sculptures, which set the standard for new images, and copies of those originals often cause confusion for researchers seeking to determine the country of origin, and the various channels for Buddhism’s introduction to a country make accurate analysis on the origin of influence very difficult.

The limitations in determining the provenance based on external characteristics alone apply to the Buddhist sculptures found on the Korean Peninsula and in Vietnam which

are featured in the exhibition. To overcome difficulties in determining country of origin, this exhibition explores diverse materials including information on place of excavation, form of inscriptions, method of production and materials.

The ultimate goal of Buddhism is not salvation but freedom, and the focus is not on worship of god. In this sense, it has been debated that Buddhism, rather than falling under the traditional category of religion, should be seen as a philosophy.

The emphasis is not reliance on god as the absolute being, but spiritual practice and following the path pointed out by the Buddha. Images of the pensive bodhisattva, which originated in India based on the tradition of portraying figures lost in contemplation, encourage us to turn back to the one who instigated the creation of all these sculptures. The pensive images from India, China, Korea and Japan that comprise the final part of the exhibition turn our attention to the origins of religion and symbolize the significance of the exchange that took place between nations through the means of Buddhist sculptures. Herein lies the reason for holding this special exhibition to mark the tenth anniversary of the National Museum of Korea’s relocation to the Yongsan site.

19

PUBLICATION

This catalog accompanies the special exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE. It is composed of four chapters: Part 1 “Beginning of a Long History: Early Buddhist Sculpture of India,” Part 2 “Chinese Buddhist Sculpture from Origins to the Sui Dynasty,” Part 3 “Korean Buddhist Sculpture of the Three Kingdoms Period,” and Part 4 “Emergence and Development of the Pensive Bodhisattva.” Each chapter contains an introduction, explanations of the photos, and short articles on related subjects.

This is an abridged version of the main catalog for the special exhibition. The articles have been revised and simplified to enhance understanding, and photos of selected works are also included. A pocket-sized paperback, the book is easy to carry around while looking at the exhibition.

Title Masterpieces of Early Buddhist Sculpture, 100BCE–700CE

Title Masterpieces of Early Buddhist Sculpture, 100BCE–700CE (paperback)

ISBN 979-11-85087-10-8

ISBN 979-11-85087-11-5

Pages 320

Pages 224

Size 28.5 × 24.0 cm

Size 21.5 × 14.0 cm

Language Korean (partly in English)

Language Korean (partly in English)

Published September 18, 2015

Published September 23, 2015

Price KRW 35,000 (approx. $30)

Price KRW 12,000 (approx. $10)

20

visitor

nmk 2015 autumn | from the gallery

EARLY BUDDHIST SCULPTURE FROM GANDHARA TO SEORABEOL

LEE YOUNGCHAN Office worker

What made you come to see the exhibition?

1.

2. What was it like to see all those ancient Buddhist sculptures in one place?

3. Is there one work that was particularly unforgettable?

4. Do you have anything to say regarding the 10th anniversary of the NMK at Yongsan?

Monk

1. I am a monk from the Bras-Spungs monastery, one of the major monasteries of southern India. I was invited to give a lecture in Seoul by the Sangdo Meditation Center and I heard about the exhibition, so I came to see it.

2. Korean Buddhist sculptures, their faces and overall form, are different to anything that I have seen before. The bodhisattvas as described in the sutras are very beautiful, but the Korean ones have a different feel. The Buddhist sculptures of the sacred Bodh Gaya site in India or the Chinese sculptures in Hassan are truly beautiful. But the faces of the Korean sculptures that I saw today are rather dark and not balanced. I found them rather strange. It’s probably because I don’t know much about Korean Buddhist sculpture, but I found myself wondering what the sculptors wanted to convey.

3. It was interesting to see the similarities between Korean and Chinese sculptures.

I can guess that they influenced each other over a long period of time. The purpose of making a Buddhist image is to inspire faith in those who see it, which is why it must be very beautiful.

In that respect, the most memorable Korean Buddhist sculpture is the Buddha in Seokguram Grotto. It is so exquisite that it cannot be described in words. It is a world class work of art, but I had no knowledge of it before I came to Korea. It is a mystical work that does not look like the work of human hands.

4. The museum is beautiful and I hope it will continue to thrive.

1. A friend from the same Buddhist organization that I belong to told me about the exhibition the day before Chuseok. I was happy that I could come and see it.

2. I was hoping to see the difference between Baekje and Silla sculptures, but the exhibition showed the many varied changes in the transmission of Buddhist sculpture from the Gandhara and Ashoka periods to Seorabeol (the capital of Silla), which was wonderful. Baekje Buddhist sculptures are elegant and picturesque and rather comic because of the irregular proportions, while Silla works are solemn and dignified and in perfect balance.

On Indian sculptures the form of the Buddha’s hair is unique and the Chinese Sui Dynasty sculptures are striking as they are made in the image of Chinese people.

by the editorial team

CHHE WANG

21

YOON EUNSUB Homemaker

1. I saw an article in the morning newspaper. I have always been interested in history and culture and as a Buddhist I was particularly attracted to today’s exhibition.

2. I saw countless Buddhist sculptures when I travelled to northern and southern India. As I noticed back then, the Buddhist sculptures of each country resemble the people of that country.

Probably because I’m Korean, but when I see the compassionate smile of the Buddhist sculptures remaining on Mt. Namsan in Gyeongju I find peace of mind.

3. The Gilt-bronze Pensive Bodhisattvas (National Treasure No. 78 and No. 83) were deeply moving, even though I have seen them countless times in books and on television. It’s the first time I’ve seen the two works displayed together. I’ll never forget the sight of the sculptures

3. A thrill went through my body when I saw National Treasure No. 78 and No. 83 in their own separate exhibition space. I have never seen anything so wonderful and probably will never again.

I wondered what it would be like to see in the same exhibition the Wooden Pensive Bodhisattva in Kyoto, Japan, which is almost a twin of National Treasure No. 83.

4. The exhibition featured a sculpture 170cm high from the Kyungpook National University Museum. It was impressive to see so many staff and such diverse devices employed to show off a work that visitors would only stop and look at for a minute or two. I applaud the NMK’s efforts to put on the best exhibitions possible, as it has always done in the past.

under the lighting, which is dark at first and gradually grows lighter. As the late Choe Sun-wu, former director of the NMK, said in a book the complex expression on their faces contains a mixture of feelings that make them look sad and happy at the same time. In fact, they look different every time according to my mood. I’m in a good mood today so they looked warm and happy.

4. I can’t believe it’s already been ten years since the NMK moved to Yongsan.

I love the museum because it’s cool in summer and cozy in winter. I come here often in the spring and autumn to enjoy the weather while strolling through the garden. I am always grateful that we have such a museum.

20

visitor

nmk 2015 autumn | from the gallery

EARLY BUDDHIST SCULPTURE FROM GANDHARA TO SEORABEOL

LEE YOUNGCHAN Office worker

What made you come to see the exhibition?

1.

2. What was it like to see all those ancient Buddhist sculptures in one place?

3. Is there one work that was particularly unforgettable?

4. Do you have anything to say regarding the 10th anniversary of the NMK at Yongsan?

Monk

1. I am a monk from the Bras-Spungs monastery, one of the major monasteries of southern India. I was invited to give a lecture in Seoul by the Sangdo Meditation Center and I heard about the exhibition, so I came to see it.

2. Korean Buddhist sculptures, their faces and overall form, are different to anything that I have seen before. The bodhisattvas as described in the sutras are very beautiful, but the Korean ones have a different feel. The Buddhist sculptures of the sacred Bodh Gaya site in India or the Chinese sculptures in Hassan are truly beautiful. But the faces of the Korean sculptures that I saw today are rather dark and not balanced. I found them rather strange. It’s probably because I don’t know much about Korean Buddhist sculpture, but I found myself wondering what the sculptors wanted to convey.

3. It was interesting to see the similarities between Korean and Chinese sculptures.

I can guess that they influenced each other over a long period of time. The purpose of making a Buddhist image is to inspire faith in those who see it, which is why it must be very beautiful.

In that respect, the most memorable Korean Buddhist sculpture is the Buddha in Seokguram Grotto. It is so exquisite that it cannot be described in words. It is a world class work of art, but I had no knowledge of it before I came to Korea. It is a mystical work that does not look like the work of human hands.

4. The museum is beautiful and I hope it will continue to thrive.

1. A friend from the same Buddhist organization that I belong to told me about the exhibition the day before Chuseok. I was happy that I could come and see it.

2. I was hoping to see the difference between Baekje and Silla sculptures, but the exhibition showed the many varied changes in the transmission of Buddhist sculpture from the Gandhara and Ashoka periods to Seorabeol (the capital of Silla), which was wonderful. Baekje Buddhist sculptures are elegant and picturesque and rather comic because of the irregular proportions, while Silla works are solemn and dignified and in perfect balance.

On Indian sculptures the form of the Buddha’s hair is unique and the Chinese Sui Dynasty sculptures are striking as they are made in the image of Chinese people.

by the editorial team

CHHE WANG

21

YOON EUNSUB Homemaker

1. I saw an article in the morning newspaper. I have always been interested in history and culture and as a Buddhist I was particularly attracted to today’s exhibition.

2. I saw countless Buddhist sculptures when I travelled to northern and southern India. As I noticed back then, the Buddhist sculptures of each country resemble the people of that country.

Probably because I’m Korean, but when I see the compassionate smile of the Buddhist sculptures remaining on Mt. Namsan in Gyeongju I find peace of mind.

3. The Gilt-bronze Pensive Bodhisattvas (National Treasure No. 78 and No. 83) were deeply moving, even though I have seen them countless times in books and on television. It’s the first time I’ve seen the two works displayed together. I’ll never forget the sight of the sculptures

3. A thrill went through my body when I saw National Treasure No. 78 and No. 83 in their own separate exhibition space. I have never seen anything so wonderful and probably will never again.

I wondered what it would be like to see in the same exhibition the Wooden Pensive Bodhisattva in Kyoto, Japan, which is almost a twin of National Treasure No. 83.

4. The exhibition featured a sculpture 170cm high from the Kyungpook National University Museum. It was impressive to see so many staff and such diverse devices employed to show off a work that visitors would only stop and look at for a minute or two. I applaud the NMK’s efforts to put on the best exhibitions possible, as it has always done in the past.

under the lighting, which is dark at first and gradually grows lighter. As the late Choe Sun-wu, former director of the NMK, said in a book the complex expression on their faces contains a mixture of feelings that make them look sad and happy at the same time. In fact, they look different every time according to my mood. I’m in a good mood today so they looked warm and happy.

4. I can’t believe it’s already been ten years since the NMK moved to Yongsan.

I love the museum because it’s cool in summer and cozy in winter. I come here often in the spring and autumn to enjoy the weather while strolling through the garden. I am always grateful that we have such a museum.

22

special exhibition

OCTOBER 20, 2015 – JANUARY 31, 2016 SPECIAL EXHIBITION GALLERY

NEOLITHIC PEOPLE: A NEW LIFE AND A NEW CLIMATE by yang seonghyeok, curator of the archaeology and history department

nmk 2015 autumn | from the gallery

I

n 2008, the U.S. government designated the polar bear as an endangered species. All the abnormal changes around the world are caused by one reason: global warming. Since the Industrial Revolution, the global climate system has changed due to mankind’s thoughtless use of fossil fuels. Such changes have caused abnormal climate changes, such as floods, heavy rain, desertification and typhoons, all of which have led to natural disasters that threaten human lives. This is not the first time that mankind has faced a crisis due to drastic changes in the global environment. From approximately 15,000 to 10,000 years ago, mankind encountered an environmental change that they had never experienced before. In the aftermath, human beings created an entirely new culture.

The Earth has gone through four different glacial periods since its creation.

From 50,000 to 10,000 years ago, the Earth was in a glacial period called the Würm. Out of this period, it was coldest roughly 18,000 years ago, at which time the temperature of the Earth gradually rose. As glaciers that covered the mid-latitudes gradually started to thaw out, low areas sank under water and the sea level became higher. Thus, today’s coastlines were formed around 10,000 years ago.

Also, evaporation gradually increased, making cold and dry weather eventually into warm and humid weather. What responded first to such climate change were plants. Coniferous forests grew throughout the mid-latitudes, and this slowly changed into deciduous forests.

As changes occurred in the climate and

23

with plants, animals such as woolly mammoths and woolly rhinoceroses—both of which had been a good match for the cold weather—gradually disappeared from the land. (However, some insist that these animals became extinct not simply because of climate change but because of humans’ overhunting.) In fact, this change occurred over a long period and mankind was not able to recognize it intuitively. It must have been a serious ordeal for humans that had adapted themselves to nature and gained food from its bounty in ways they inherited from former generations. The changes taking place in plants and animals all around them because of climate change led mankind to uncover different ways of life. In some regions, groups of humans expanded their scope of activities into a wider area, searching

for animals that had moved to colder regions, while in other regions groups of humans changed hunting tools to catch animals they had not been able to capture before. In yet other regions, people started to grow plants even as other people developed new storage methods to be prepared for seasons when they lacked food. As such, mankind did not passively accept a crisis due to climate change, but actually overcame it and created a brand-new culture by developing new tools as well as methods to secure or store food on their own. The result was a Neolithic culture.

The National Museum of Korea’s special exhibition helps shed light on the lives of Neolithic people on the Korean Peninsula—people who created a human order different from the order of nature—from various points of view.

22

special exhibition

OCTOBER 20, 2015 – JANUARY 31, 2016 SPECIAL EXHIBITION GALLERY

NEOLITHIC PEOPLE: A NEW LIFE AND A NEW CLIMATE by yang seonghyeok, curator of the archaeology and history department

nmk 2015 autumn | from the gallery

I

n 2008, the U.S. government designated the polar bear as an endangered species. All the abnormal changes around the world are caused by one reason: global warming. Since the Industrial Revolution, the global climate system has changed due to mankind’s thoughtless use of fossil fuels. Such changes have caused abnormal climate changes, such as floods, heavy rain, desertification and typhoons, all of which have led to natural disasters that threaten human lives. This is not the first time that mankind has faced a crisis due to drastic changes in the global environment. From approximately 15,000 to 10,000 years ago, mankind encountered an environmental change that they had never experienced before. In the aftermath, human beings created an entirely new culture.

The Earth has gone through four different glacial periods since its creation.

From 50,000 to 10,000 years ago, the Earth was in a glacial period called the Würm. Out of this period, it was coldest roughly 18,000 years ago, at which time the temperature of the Earth gradually rose. As glaciers that covered the mid-latitudes gradually started to thaw out, low areas sank under water and the sea level became higher. Thus, today’s coastlines were formed around 10,000 years ago.

Also, evaporation gradually increased, making cold and dry weather eventually into warm and humid weather. What responded first to such climate change were plants. Coniferous forests grew throughout the mid-latitudes, and this slowly changed into deciduous forests.

As changes occurred in the climate and

23

with plants, animals such as woolly mammoths and woolly rhinoceroses—both of which had been a good match for the cold weather—gradually disappeared from the land. (However, some insist that these animals became extinct not simply because of climate change but because of humans’ overhunting.) In fact, this change occurred over a long period and mankind was not able to recognize it intuitively. It must have been a serious ordeal for humans that had adapted themselves to nature and gained food from its bounty in ways they inherited from former generations. The changes taking place in plants and animals all around them because of climate change led mankind to uncover different ways of life. In some regions, groups of humans expanded their scope of activities into a wider area, searching

for animals that had moved to colder regions, while in other regions groups of humans changed hunting tools to catch animals they had not been able to capture before. In yet other regions, people started to grow plants even as other people developed new storage methods to be prepared for seasons when they lacked food. As such, mankind did not passively accept a crisis due to climate change, but actually overcame it and created a brand-new culture by developing new tools as well as methods to secure or store food on their own. The result was a Neolithic culture.

The National Museum of Korea’s special exhibition helps shed light on the lives of Neolithic people on the Korean Peninsula—people who created a human order different from the order of nature—from various points of view.

24

special exhibition

nmk 2015 autumn | from the gallery

A TIME FOR A NEW CULTURE The time for a new culture on the Korean Peninsula eventually took root. Evidence of this can be found on Jejudo Island, which is located southwest of the peninsula. Approximately 15,000 years ago, as the sea level slowly rose, Jejudo Island became separated as an island from the peninsula. By this time, there emerged a new aspect of material culture that had not been found on the Korean Peninsula up until then. Many historic sites on Jejudo Island were verified to contain microblade cores, a piece of stoneware from the later Paleolithic Period, as well as pieces of earthenware and arrowheads, both of which are considered indicator artifacts of the Neolithic Period. A well-known historic site on the island is Gosan-ri. What is noteworthy among the artifacts excavated from the Gosan-ri site is its earthenware. A

significant number of pieces of this plain, reddish brown earthenware have traces of vegetable fiber added as reinforcing material within its material clay. This unique form of earthenware is now referred to as Gosan-ri-style earthenware. This style earthenware has gained attention among academic circles, as it is similar to the first earthenware made in Northeastern Asia.

Along with this, another interesting artifact is the arrowhead. The arrowhead was an innovative hunting tool that enabled people to catch quick animals even from a distance, although it was much smaller than a former hunting tool, the spear. On top of this, the Gosan-ri relics also produced polished stone axes (a wood processing tool), stone grinding pestles and saddle querns to peel/grind plant seeds or fruit, and whetstones to produce polished stone tools. Alternatively, the microblade

cores found at Gosan-ri are not in the typical form that emerged in the later Paleolithic Period. When we look at the whole of Northeast Asia, such a combination of historic artifacts shows the same pattern found when the final stage of the later Paleolithic Period turns into the Neolithic Period. This exhibition displays the true nature of the early Neolithic culture on the Korean Peninsula and focuses on Gosanri, which is now considered the oldest historic site from the Neolithic Period on the peninsula.

Gosan-ri Type Potteries H. 25.6 cm Jeju Cultural Heritage Institute

Stone Harpoons

Digging Tools L. 14.0 cm ssu 22947

UTILIZING NUMEROUS RESOURCES Unlike the Paleolithic Period, when people constantly moved, searching for food, people started to live a sedentary life based on more abundant plant and marine resources in a changed environment as the

post-glacial age began. In this process, people continuously adapted themselves to this changed environment by developing methods to collect food resources in a short amount of time during the different seasons and to utilize them efficiently.

Related to resource utilization, this exhibition is largely divided into sea exploration, plant growing, and animal resource utilization. With sea exploration, the exhibition highlights an aspect of marine culture on the Korean Peninsula in the early Neolithic Period when people lived a sedentary life using the abundant resources around them. In the plant growing part, the exhibition reveals the existence of farming, which had not been clearly verified up until then, while the animal resource utilization part shows the importance of animal resources as raw materials of bone implements and clothing.

25

One characteristic of this exhibition is that it tries to show—in the most realistic way possible—what kind of food Neolithic people ate with the tools at their disposal.

Instead of simply displaying tools, the museum restored these tools and displayed actual ways of using them in various ways to show how people utilized marine, plant, and animal resources. In this process, food that people ate at the time has been revealed based on many scientific analyses.

ASKING NEOLITHIC PEOPLE ABOUT OUR FUTURE The biggest difference of the Neolithic Period from the previous Paleolithic Period lies in successful sedentism. The core of this exhibition is to show how the Neolithic people were able to realize successful sedentism in the midst of drastic environmental changes. In the later Paleo-

lithic Period, not all groups survived the changed environment. People who survived it were none other than those who developed new skills and utilized various resources. They lived a successful sedentary lifestyle through the development and utilization of new skills, all of which were based on the fact that they could have stable lives and develop culture.

Today, we are facing another environmental change. As mentioned earlier, abnormal climate changes can be found around the world due to global warming.

In addition, a new cultural environment based on information technology is entirely changing our lifestyle. These changes form a crisis for some people. At the same time, they can provide opportunities. An answer to the question of how to greet such changes may be found in Neolithic people.

PUBLICATION

Following the organization of the special exhibition, this catalogue is divided into three parts: “Part 1, Changes Brought by Warmth,” “Part 2, The Gift of Warmth,” and “Part 3, the Product of Abundance.” It has a prologue at the front and epilogue at the back, which provides the basic background information for understanding of the Neolithic culture. In the middle of the catalogue is a separate section column showing how earthenware was made, giving insights into the characteristics of major earthenware works from the Neolithic age.

Title Neolithic People: a New Life and a New Climate ISBN 979-11-954263-4-8 Pages 160 Size 260.0 × 220.0 cm Language Korean (partly in English) Published October 19, 2015 Price KRW 23,000 (approx. $ 20.3)

24

special exhibition

nmk 2015 autumn | from the gallery

A TIME FOR A NEW CULTURE The time for a new culture on the Korean Peninsula eventually took root. Evidence of this can be found on Jejudo Island, which is located southwest of the peninsula. Approximately 15,000 years ago, as the sea level slowly rose, Jejudo Island became separated as an island from the peninsula. By this time, there emerged a new aspect of material culture that had not been found on the Korean Peninsula up until then. Many historic sites on Jejudo Island were verified to contain microblade cores, a piece of stoneware from the later Paleolithic Period, as well as pieces of earthenware and arrowheads, both of which are considered indicator artifacts of the Neolithic Period. A well-known historic site on the island is Gosan-ri. What is noteworthy among the artifacts excavated from the Gosan-ri site is its earthenware. A

significant number of pieces of this plain, reddish brown earthenware have traces of vegetable fiber added as reinforcing material within its material clay. This unique form of earthenware is now referred to as Gosan-ri-style earthenware. This style earthenware has gained attention among academic circles, as it is similar to the first earthenware made in Northeastern Asia.

Along with this, another interesting artifact is the arrowhead. The arrowhead was an innovative hunting tool that enabled people to catch quick animals even from a distance, although it was much smaller than a former hunting tool, the spear. On top of this, the Gosan-ri relics also produced polished stone axes (a wood processing tool), stone grinding pestles and saddle querns to peel/grind plant seeds or fruit, and whetstones to produce polished stone tools. Alternatively, the microblade

cores found at Gosan-ri are not in the typical form that emerged in the later Paleolithic Period. When we look at the whole of Northeast Asia, such a combination of historic artifacts shows the same pattern found when the final stage of the later Paleolithic Period turns into the Neolithic Period. This exhibition displays the true nature of the early Neolithic culture on the Korean Peninsula and focuses on Gosanri, which is now considered the oldest historic site from the Neolithic Period on the peninsula.

Gosan-ri Type Potteries H. 25.6 cm Jeju Cultural Heritage Institute

Stone Harpoons

Digging Tools L. 14.0 cm ssu 22947

UTILIZING NUMEROUS RESOURCES Unlike the Paleolithic Period, when people constantly moved, searching for food, people started to live a sedentary life based on more abundant plant and marine resources in a changed environment as the

post-glacial age began. In this process, people continuously adapted themselves to this changed environment by developing methods to collect food resources in a short amount of time during the different seasons and to utilize them efficiently.

Related to resource utilization, this exhibition is largely divided into sea exploration, plant growing, and animal resource utilization. With sea exploration, the exhibition highlights an aspect of marine culture on the Korean Peninsula in the early Neolithic Period when people lived a sedentary life using the abundant resources around them. In the plant growing part, the exhibition reveals the existence of farming, which had not been clearly verified up until then, while the animal resource utilization part shows the importance of animal resources as raw materials of bone implements and clothing.

25

One characteristic of this exhibition is that it tries to show—in the most realistic way possible—what kind of food Neolithic people ate with the tools at their disposal.

Instead of simply displaying tools, the museum restored these tools and displayed actual ways of using them in various ways to show how people utilized marine, plant, and animal resources. In this process, food that people ate at the time has been revealed based on many scientific analyses.

ASKING NEOLITHIC PEOPLE ABOUT OUR FUTURE The biggest difference of the Neolithic Period from the previous Paleolithic Period lies in successful sedentism. The core of this exhibition is to show how the Neolithic people were able to realize successful sedentism in the midst of drastic environmental changes. In the later Paleo-

lithic Period, not all groups survived the changed environment. People who survived it were none other than those who developed new skills and utilized various resources. They lived a successful sedentary lifestyle through the development and utilization of new skills, all of which were based on the fact that they could have stable lives and develop culture.

Today, we are facing another environmental change. As mentioned earlier, abnormal climate changes can be found around the world due to global warming.

In addition, a new cultural environment based on information technology is entirely changing our lifestyle. These changes form a crisis for some people. At the same time, they can provide opportunities. An answer to the question of how to greet such changes may be found in Neolithic people.

PUBLICATION

Following the organization of the special exhibition, this catalogue is divided into three parts: “Part 1, Changes Brought by Warmth,” “Part 2, The Gift of Warmth,” and “Part 3, the Product of Abundance.” It has a prologue at the front and epilogue at the back, which provides the basic background information for understanding of the Neolithic culture. In the middle of the catalogue is a separate section column showing how earthenware was made, giving insights into the characteristics of major earthenware works from the Neolithic age.

Title Neolithic People: a New Life and a New Climate ISBN 979-11-954263-4-8 Pages 160 Size 260.0 × 220.0 cm Language Korean (partly in English) Published October 19, 2015 Price KRW 23,000 (approx. $ 20.3)

26

rnm exhibition 1.

JULY 21 – NOVEMBER 1, 2015 GYEONGJU NATIONAL MUSEUM

ARTS OF SILLA by the editorial team

nmk 2015 autumn | from the gallery

T

he Gyeongju National Museum holds the exhibition Arts of Silla in celebration of its 70th anniversary. The exhibition draws attention from the public due to the fact that it is associated with the Gyeongju World Culture Expo’s “Silk Road Cultural Festival in Gyeongju 2015,” which is being held in and around Gyeongju. The exhibition consists of five parts according to the order of research and excavation regarding Silla culture— Gold Culture, Royal Tombs, Interconnection, Royal Capital, and Land of Buddha—with over 600 pieces on display, including National Treasures and other important treasures. The exhibition has expanded the scope of exhibits other than the special exhibition, Silla: Korea’s Golden Kingdom, which was held at New York’s Metropolitan Museum of Art in October 2013, and provides an opportunity to examine the overall culture of Silla for the first time in Korea.

Part 1, Gold Culture, displays golden artifacts excavated by the Japanese when they discovered ancient tombs in Gyeongju during the Japanese colonial era. 1910–1945 Found in 1921, gold crown that had been accidentally excavated from Geumgwanchong Tomb generated great interest in Silla, as it was the first proof of Silla’s gold crowns. From that time on, the excavation of ancient tombs in Gyeongju and awareness about the golden kingdom of Silla started to generate more interest in the subject.

As a result, people gain a better understanding about Silla and its luxurious gold culture. The exhibit includes gold belt ornaments, gold earrings and necklaces that appear to have been worn by kings and the royal family, and further proof that a culture of gorgeous gold flourished in the Silla period.

After the restoration of Korean independence in 1945, Koreans began taking the initiative to excavate royal tombs and to conduct detailed academic research at the same time. Part 2, under the theme of Royal Tombs, introduces the culture of Silla’s royal tombs and focuses on excavated articles from large-scale tombs. Ever since many of the large royal tombs in Gyeongju, in-

Gold Crown (left side) Silla, 5th century H. 27.5 cm Geumgwanchong Tomb, Gyeongju National Treasure No. 87 bon 9435

Gold Earrings (right side) Silla, 6th century L. 8.6 cm (left), 8.8 cm (right) Bubuchong Tomb, Gyeongju National Treasure No. 90 bon 6255

cluding Cheonmachong Tomb and Hwangnamdaechong Tomb, were excavated in the 1970s, Silla’s culture has been put in the spotlight. Major exhibits include decadent jewelry that has left us with abundant knowledge about the buried people, such as gold caps and silver pendants, and other various grave items that reveal people’s view of the afterlife, like everyday items and iron ingots.

Another distinctive characteristic of Silla’s culture lies in its international aspect. Part 3, Interconnections, sheds light on Silla’s active exchanges with different countries in Central Asia, Western Asia and China. The most important artifact is the Dagger and Scabbard, which was found at Gyerim-ro Tomb No. 14.

Detailed analysis has revealed that it was an exported product containing the substance of a precious stone that did not exist

27

Chestlace Silla, 4–5th century L. 43.5 cm

26

rnm exhibition 1.

JULY 21 – NOVEMBER 1, 2015 GYEONGJU NATIONAL MUSEUM

ARTS OF SILLA by the editorial team

nmk 2015 autumn | from the gallery

T

he Gyeongju National Museum holds the exhibition Arts of Silla in celebration of its 70th anniversary. The exhibition draws attention from the public due to the fact that it is associated with the Gyeongju World Culture Expo’s “Silk Road Cultural Festival in Gyeongju 2015,” which is being held in and around Gyeongju. The exhibition consists of five parts according to the order of research and excavation regarding Silla culture— Gold Culture, Royal Tombs, Interconnection, Royal Capital, and Land of Buddha—with over 600 pieces on display, including National Treasures and other important treasures. The exhibition has expanded the scope of exhibits other than the special exhibition, Silla: Korea’s Golden Kingdom, which was held at New York’s Metropolitan Museum of Art in October 2013, and provides an opportunity to examine the overall culture of Silla for the first time in Korea.

Part 1, Gold Culture, displays golden artifacts excavated by the Japanese when they discovered ancient tombs in Gyeongju during the Japanese colonial era. 1910–1945 Found in 1921, gold crown that had been accidentally excavated from Geumgwanchong Tomb generated great interest in Silla, as it was the first proof of Silla’s gold crowns. From that time on, the excavation of ancient tombs in Gyeongju and awareness about the golden kingdom of Silla started to generate more interest in the subject.

As a result, people gain a better understanding about Silla and its luxurious gold culture. The exhibit includes gold belt ornaments, gold earrings and necklaces that appear to have been worn by kings and the royal family, and further proof that a culture of gorgeous gold flourished in the Silla period.

After the restoration of Korean independence in 1945, Koreans began taking the initiative to excavate royal tombs and to conduct detailed academic research at the same time. Part 2, under the theme of Royal Tombs, introduces the culture of Silla’s royal tombs and focuses on excavated articles from large-scale tombs. Ever since many of the large royal tombs in Gyeongju, in-

Gold Crown (left side) Silla, 5th century H. 27.5 cm Geumgwanchong Tomb, Gyeongju National Treasure No. 87 bon 9435

Gold Earrings (right side) Silla, 6th century L. 8.6 cm (left), 8.8 cm (right) Bubuchong Tomb, Gyeongju National Treasure No. 90 bon 6255

cluding Cheonmachong Tomb and Hwangnamdaechong Tomb, were excavated in the 1970s, Silla’s culture has been put in the spotlight. Major exhibits include decadent jewelry that has left us with abundant knowledge about the buried people, such as gold caps and silver pendants, and other various grave items that reveal people’s view of the afterlife, like everyday items and iron ingots.

Another distinctive characteristic of Silla’s culture lies in its international aspect. Part 3, Interconnections, sheds light on Silla’s active exchanges with different countries in Central Asia, Western Asia and China. The most important artifact is the Dagger and Scabbard, which was found at Gyerim-ro Tomb No. 14.

Detailed analysis has revealed that it was an exported product containing the substance of a precious stone that did not exist

27

Chestlace Silla, 4–5th century L. 43.5 cm

28

rnm exhibition. 1

Gold Necklace (upper) Silla, 6th century L. 30.3 cm Noseodong Tomb, Gyeongju Treasure No. 456 bon 13613

Gold Cap Ornament (lower) Silla, 5th century H. 45.0 cm, W. 59.0 cm Cheonmachong Tomb, Gyeongju Treasure No. 617 Gyeongju 2276

nmk 2015 autumn | from the gallery

in Korea, while its exotic shape also implied the same. In addition, there are records that foreigners lived in Silla, so it seems exchanges with foreign countries were common in the Silla era.

The presence of foreigners during this time can also be seen in various sculptures. Military Official Statue set in front of a royal tomb, which further exemplifies active international exchanges during the Unified Silla Period, is being displayed for the first time at the museum.

Focusing on the Royal Capital of Silla, Part 4 introduces people to the beautiful lifestyles and advanced culture throughout Seorabeol, the capital of Silla. With the royal capital revealing aspects of the ideology of the nation in an ancient kingdom, research is still going on to reveal a broader picture of the royal capital. Furthermore, this exhibition features many roof tiles and jeon (earthen flooring pieces) excavated from the Crown Prince’s Palace and Wolji Pond(Anapji). The bronze phoenix decoration and various molded statues were excavated from the site around Hwangnyongsa Temple.

Part 5, Land of Buddha, exhibits Buddhist statues and crafts that clearly reflect Silla’s prosperous Buddhist culture.

Buddhist art is centered on Buddhist pagodas and statues, and the exhibition displays sarira reliquaries excavated from Buddhist pagodas and the body parts of pagodas as well as pensive bodhisattva and various gilt-bronze Buddhist statues. Many materials regarding Seokguram Grotto and Bulguksa Temple are also exhibited, all of which are examples of Silla citizens’ desire for a Buddhist nation.

29

Pyohaerok Joseon, 16th century 24.0 × 17.0 cm Korea University Library

JULY 21 – OCTOBER 4, 2015 JEJU NATIONAL MUSEUM

CHOE BU’S DIARY : AN UNEXPECTED ENCOUNTER WITH CHINA PUBLICATION

This book was specifically created for the special exhibition and provides detailed descriptions on each artifact to help readers understand the culture of Silla. There is a separate English summary of the five-part exhibition and an appendix which contains six articles that examine research results regarding Silla’s gold culture, interconnections, and Buddhist art.

by the editorial team Title Arts of Silla ISBN 978-89-93518-37-5 Pages 268 Size 290.0 × 218.0 cm Published July 16, 2015 Language Korean (partly summarized in English) Price KRW 25,000 (approx. $21)

T

he Jeju National Museum has been holding a special exhibition entitled Choe Bu’s Diary: An Unexpected Encounter with China, which has been organized with Zhejiang Provincial Museum over the past two years. The main character of the exhibition is Choe Bu,崔溥, 1454–1504 who was a government official during the time of King Seongjong r. 1469–1494 of the Joseon Dynasty. He was newly appointed as Gyeongchagwan, Commissioner of Registers, for Jeju in

November 1487, but on his way back to hometown of Naju for his father’s funeral in 1488. On the way home, however, he drifted on the ocean and suffered a great deal, hovering between life and death with his subordinates. Miraculously, he and the others were cast ashore in China, where they continued to suffer. Later, Choe’s position as a government official was verified and everyone in the group had to travel along the Grand Canal from Hangzhou to Beijing before safely arriv-

ing in Joseon via Liaodong. Choe Bu’s Pyohaerok documents every moment of the 148-day journey. This special exhibition was organized based on his record, which follows Choe Bu and his company’s footsteps. A total of 350 artifacts collected from Korea, China and Japan will be displayed at the Jeju National Museum this year and at the Zhejiang Provincial Museum next year to help expand the horizon of cultural exchanges between the two countries.

28

rnm exhibition. 1

Gold Necklace (upper) Silla, 6th century L. 30.3 cm Noseodong Tomb, Gyeongju Treasure No. 456 bon 13613

Gold Cap Ornament (lower) Silla, 5th century H. 45.0 cm, W. 59.0 cm Cheonmachong Tomb, Gyeongju Treasure No. 617 Gyeongju 2276

nmk 2015 autumn | from the gallery

in Korea, while its exotic shape also implied the same. In addition, there are records that foreigners lived in Silla, so it seems exchanges with foreign countries were common in the Silla era.

The presence of foreigners during this time can also be seen in various sculptures. Military Official Statue set in front of a royal tomb, which further exemplifies active international exchanges during the Unified Silla Period, is being displayed for the first time at the museum.

Focusing on the Royal Capital of Silla, Part 4 introduces people to the beautiful lifestyles and advanced culture throughout Seorabeol, the capital of Silla. With the royal capital revealing aspects of the ideology of the nation in an ancient kingdom, research is still going on to reveal a broader picture of the royal capital. Furthermore, this exhibition features many roof tiles and jeon (earthen flooring pieces) excavated from the Crown Prince’s Palace and Wolji Pond(Anapji). The bronze phoenix decoration and various molded statues were excavated from the site around Hwangnyongsa Temple.

Part 5, Land of Buddha, exhibits Buddhist statues and crafts that clearly reflect Silla’s prosperous Buddhist culture.

Buddhist art is centered on Buddhist pagodas and statues, and the exhibition displays sarira reliquaries excavated from Buddhist pagodas and the body parts of pagodas as well as pensive bodhisattva and various gilt-bronze Buddhist statues. Many materials regarding Seokguram Grotto and Bulguksa Temple are also exhibited, all of which are examples of Silla citizens’ desire for a Buddhist nation.

29

Pyohaerok Joseon, 16th century 24.0 × 17.0 cm Korea University Library

JULY 21 – OCTOBER 4, 2015 JEJU NATIONAL MUSEUM

CHOE BU’S DIARY : AN UNEXPECTED ENCOUNTER WITH CHINA PUBLICATION

This book was specifically created for the special exhibition and provides detailed descriptions on each artifact to help readers understand the culture of Silla. There is a separate English summary of the five-part exhibition and an appendix which contains six articles that examine research results regarding Silla’s gold culture, interconnections, and Buddhist art.

by the editorial team Title Arts of Silla ISBN 978-89-93518-37-5 Pages 268 Size 290.0 × 218.0 cm Published July 16, 2015 Language Korean (partly summarized in English) Price KRW 25,000 (approx. $21)

T

he Jeju National Museum has been holding a special exhibition entitled Choe Bu’s Diary: An Unexpected Encounter with China, which has been organized with Zhejiang Provincial Museum over the past two years. The main character of the exhibition is Choe Bu,崔溥, 1454–1504 who was a government official during the time of King Seongjong r. 1469–1494 of the Joseon Dynasty. He was newly appointed as Gyeongchagwan, Commissioner of Registers, for Jeju in

November 1487, but on his way back to hometown of Naju for his father’s funeral in 1488. On the way home, however, he drifted on the ocean and suffered a great deal, hovering between life and death with his subordinates. Miraculously, he and the others were cast ashore in China, where they continued to suffer. Later, Choe’s position as a government official was verified and everyone in the group had to travel along the Grand Canal from Hangzhou to Beijing before safely arriv-

ing in Joseon via Liaodong. Choe Bu’s Pyohaerok documents every moment of the 148-day journey. This special exhibition was organized based on his record, which follows Choe Bu and his company’s footsteps. A total of 350 artifacts collected from Korea, China and Japan will be displayed at the Jeju National Museum this year and at the Zhejiang Provincial Museum next year to help expand the horizon of cultural exchanges between the two countries.

30

rnm exhibition. 2

Portrait of Nam Yi-ung

By Qin Bangzhen Ming, 1627, China Color on silk 164.0 × 103.0 cm

nmk 2015 autumn | from the gallery

Episode 1, Joseon’s seonbi (scholar), Choe Bu, examines the author of Pyohaerok. It shows Choe Bu’s background including his family line and his career.

He was proudly recognized by the Chinese as a literary man of Joseon. When in Joseon, Choe joined the compiling project of a history book Complete History of Korea (Dongguk tonggam) and a geography book Cultural Geography of Korea (Dongguk yeoji seungnam) as a promising official and scholar. His knowledge of geography and history greatly helped him when cast ashore in China and returning to Joseon. Major artifacts displayed include Royal Edict of Success in the Civil Service Examination Issued to Choe Bu, Choe Bu’s Answers Submitted in the Royal Edict of Success Examination and Village Record of Jeju (Tamnaji).

Episode 2, Choe Bu and the forty-two castaways, deals with the story of 42 people who were shipwrecked in a violent storm and drifted on the wreckage towards China. The exhibits include Record of Traffic Route (Dorogo), World Map (Cheonhado) and an official Joseon uniform (cheollik) worn in the 15th century. The film that reenacts their drifting through sand art represents the conflicts and fear Choe Bu and the others experienced. On top of that, il-

lustrations, films, and screens are on display at the exhibition hall so that visitors can better understand the situation described in Pyohaerok.

Episode 3, Unexpected encounter with China, introduces the official repatriation process of Choe Bu and his company. They were the first people from Joseon who travel and experience both the south and north of China at a period of the great prosperity during the Ming Dynasty moving north via the Grand Canal which stretches 1,800 kilometers. Choe shows an insightful attitude and awareness in accepting cultural diversity and sometimes in criticizing aspects of both countries with sharp observation through the record. The exhibition shows various artifacts such as paintings, sculptures, crafts, and clothing carefully selected jointly with the Zhejiang Provincial Museum so that visitors can feel the culture in the Ming Dynasty’s Jiangnan 江南 which Choe Bu experienced. This is especially revealed through the Painting of the Grand Canal from Hangzhou to Beijing (Gyeonghang dorido) and the Painting of Tide Barrier at Qiantang River (Jeolgang haedangdo), which have both allowed visitors to understand the overwhelming scope of the Grand Canal.

31

Gyeonghang dorido Qing, China Color on silk 78.5 × 2032.0 cm Zhejiang Provincial Museum

Episode 4, Cultural exchange between Joseon and China, introduces artifacts related to the travels of the envoys. The route that Choe Bu started from Beijing on April 24 until he crossed the Amnokgang River to reach Joseon’s Uiju (in presentday Pyeonganbuk-do, North Korea), on June 4 was also the envoys’ route between Joseon and Ming China. Exhibits include Bongsa Joseon changhwa sigwon displays an elegant exchange between intellectuals of Joseon and China, while Nogajae yeon-

haeng ilgi was written by Kim Yuk, who had been an envoy to China three times.

Episode 5, Joseon scholar’s China travel diary Pyohaerok, captures Choe Bu’s life after the experience and how it was written in Pyohaerok. Choe wrote the Diary of China Travel (Jungjomungyeon ilgi) for eight days at King Seongjong’s command.

This diary was kept in Seungmunwon (Bureau of Diplomatic Correspondence) before it was finally published under the title Pyohaerok at the order of King Jungjong,

30 years after Choe Bu’s death.

Most of Pyohaerok versions published so far, ranging from the two extant woodblock printed editions are presented at the exhibition along with the Korea University Library and the Oriental Library in Japan, the first time these have been shown to the public.

r. 1506–1544

PUBLICATION

This catalogue for the special exhibition contains many photographs of items that were shown in the exhibition as well as items that were not. The prologue is especially interesting for thoughts of curators from the Jeju National Museum and Zhejiang Provincial Museum. Moreover, there are special essays in which Park Wonho (professor emeritus at Korea University) and Ge Zhenjia (Vice-director of the Beijing University Center for Korean Studies) discuss the value of Pyohaerok from different perspectives.

Title Choe Bu’s Diary: An Unexpected Encounter with China ISBN 978-89-92788-78-6 Pages 432 Size 290.0 × 230.0 cm Language Korean (partly in English) Published July 20, 2015 Price KRW 40,000 (approx. $35)

30

rnm exhibition. 2

Portrait of Nam Yi-ung

By Qin Bangzhen Ming, 1627, China Color on silk 164.0 × 103.0 cm

nmk 2015 autumn | from the gallery

Episode 1, Joseon’s seonbi (scholar), Choe Bu, examines the author of Pyohaerok. It shows Choe Bu’s background including his family line and his career.

He was proudly recognized by the Chinese as a literary man of Joseon. When in Joseon, Choe joined the compiling project of a history book Complete History of Korea (Dongguk tonggam) and a geography book Cultural Geography of Korea (Dongguk yeoji seungnam) as a promising official and scholar. His knowledge of geography and history greatly helped him when cast ashore in China and returning to Joseon. Major artifacts displayed include Royal Edict of Success in the Civil Service Examination Issued to Choe Bu, Choe Bu’s Answers Submitted in the Royal Edict of Success Examination and Village Record of Jeju (Tamnaji).

Episode 2, Choe Bu and the forty-two castaways, deals with the story of 42 people who were shipwrecked in a violent storm and drifted on the wreckage towards China. The exhibits include Record of Traffic Route (Dorogo), World Map (Cheonhado) and an official Joseon uniform (cheollik) worn in the 15th century. The film that reenacts their drifting through sand art represents the conflicts and fear Choe Bu and the others experienced. On top of that, il-

lustrations, films, and screens are on display at the exhibition hall so that visitors can better understand the situation described in Pyohaerok.

Episode 3, Unexpected encounter with China, introduces the official repatriation process of Choe Bu and his company. They were the first people from Joseon who travel and experience both the south and north of China at a period of the great prosperity during the Ming Dynasty moving north via the Grand Canal which stretches 1,800 kilometers. Choe shows an insightful attitude and awareness in accepting cultural diversity and sometimes in criticizing aspects of both countries with sharp observation through the record. The exhibition shows various artifacts such as paintings, sculptures, crafts, and clothing carefully selected jointly with the Zhejiang Provincial Museum so that visitors can feel the culture in the Ming Dynasty’s Jiangnan 江南 which Choe Bu experienced. This is especially revealed through the Painting of the Grand Canal from Hangzhou to Beijing (Gyeonghang dorido) and the Painting of Tide Barrier at Qiantang River (Jeolgang haedangdo), which have both allowed visitors to understand the overwhelming scope of the Grand Canal.

31

Gyeonghang dorido Qing, China Color on silk 78.5 × 2032.0 cm Zhejiang Provincial Museum

Episode 4, Cultural exchange between Joseon and China, introduces artifacts related to the travels of the envoys. The route that Choe Bu started from Beijing on April 24 until he crossed the Amnokgang River to reach Joseon’s Uiju (in presentday Pyeonganbuk-do, North Korea), on June 4 was also the envoys’ route between Joseon and Ming China. Exhibits include Bongsa Joseon changhwa sigwon displays an elegant exchange between intellectuals of Joseon and China, while Nogajae yeon-

haeng ilgi was written by Kim Yuk, who had been an envoy to China three times.

Episode 5, Joseon scholar’s China travel diary Pyohaerok, captures Choe Bu’s life after the experience and how it was written in Pyohaerok. Choe wrote the Diary of China Travel (Jungjomungyeon ilgi) for eight days at King Seongjong’s command.

This diary was kept in Seungmunwon (Bureau of Diplomatic Correspondence) before it was finally published under the title Pyohaerok at the order of King Jungjong,

30 years after Choe Bu’s death.

Most of Pyohaerok versions published so far, ranging from the two extant woodblock printed editions are presented at the exhibition along with the Korea University Library and the Oriental Library in Japan, the first time these have been shown to the public.

r. 1506–1544

PUBLICATION

This catalogue for the special exhibition contains many photographs of items that were shown in the exhibition as well as items that were not. The prologue is especially interesting for thoughts of curators from the Jeju National Museum and Zhejiang Provincial Museum. Moreover, there are special essays in which Park Wonho (professor emeritus at Korea University) and Ge Zhenjia (Vice-director of the Beijing University Center for Korean Studies) discuss the value of Pyohaerok from different perspectives.

Title Choe Bu’s Diary: An Unexpected Encounter with China ISBN 978-89-92788-78-6 Pages 432 Size 290.0 × 230.0 cm Language Korean (partly in English) Published July 20, 2015 Price KRW 40,000 (approx. $35)

32

behind the exhibit

nmk 2015 autumn | the latest

A Conservation Scientist treats slivers of wooden artifact.

Conservation of Wooden Relics and Lacquered Artifacts by the editorial team

DISTINCTION BETWEEN WOODEN AND LACQUERED ARTIFACTS For conservation purposes, wooden relics are distinguished from lacquered relics according to the condition in which they have been handed down. Wooden relics are those that have been submerged for one to two thousand years in coastal or swampy areas. They are also called waterlogged archaeological wood. The environment in which wooden artifacts are submerged is similar to that inside a tin can. Cut off from all air, the artifact is filled with water and as the major constituents of the wood are eaten away by bacteria the cavities are filled with moisture. If left at the excavation site, the wood may retain its solid form. But without proper conservation treatment, when the moisture evaporates the wood changes as it dries to stick-like form.

On the other hand, lacquered artifacts are sensitive to heat and humidity and in many cases the lacquer coating and external decorative designs are damaged. By nature wood expands when it absorbs moisture and shrinks when it dries. In Korea, when the weather is dry humidity can drop to 10 percent, and when the weather is humid it can rise above 80 percent. Because of this high humidity range, artifacts made of wood are prone to damage.

33

Before the conservation of the Painting of Heavenly Horse on a Saddle Flap

After the conservation of the Painting of Heavenly Horse on a Saddle Flap

CONSERVATION OF WATERLOGGED ARCHAEOLOGICAL WOOD Waterlogged archaeological wood is organic matter that constantly breathes and hence changes in nature according to the environment in which it is buried. Though methods of treatment may differ depending on the situation, basically all waterlogged wood items go through the following processes: strengthening, vacuum freeze drying, humidity controlled drying, surface reinforcement and joining. Wood that has been corroded by bacteria is as brittle as sponge, so the focus is placed on reinforcing the state of the material. To replace the moisture that had been absorbed by the wood, the wooden object is impregnated with chemicals.

Wooden artifacts are rarely made from just one kind of wood, which makes it difficult to carry out conservation work using a single species of wood throughout. When treating waterlogged wooden items, some species of wood absorb the chemicals better than others. To analyze the species of wood used, a microtome is used to gain a thin section of the surface which is then examined under a biological microscope. Treatment details such as chemicals and conservation techniques to be used are then decided according to the analysis results. When the level of damage, species of wood, and burial conditions have been grasped the artifact is placed in a tank to enable a chemical solution, which is gradually increased in concentration, to be distributed through the item.

Conservation of wooden artifacts can take a very long time as the chemicals must be left to disperse through the object naturally.

The wooden coffin from Daho-ri in Changwon, measuring 2.4m in length, took some 20 years to fully restore. The waterlogged wooden artifacts recovered from the Sinan shipwreck several years ago are even larger in scale and are estimated to require 30-40 years for complete restoration. When the wood reaches a stable condition after chemical treatment, excess moisture is removed in a vacuum freeze-drying system, and any cracks are repaired to restore the artifact to a state suitable for exhibition.

CONSERVATION OF LACQUERED ARTIFACTS Though lacquered works are very strong, the surface lacquer layer and decorative elements are liable to flake off as the wood expands and contracts. Hence the first priority in treating lacquered craft works is to preserve the decorative surface and prevent further damage.

When an artifact has been examined to determine its condition, any foreign matter on the surface is first removed. If fragments of the coating have been retrieved they are reattached to the surface, and otherwise missing spots are restored. The materials used to decorate lacquered works are diverse ranging from bronze and iron to mother-of-pearl, painted ox-horn, dried shark leather and tortoiseshell. If the lacquered artifact has become deformed, the cracks or spaces left by warping or twisting are filled with a small sliver of wood. To minimize influence on the original form, a wood type weaker than the original is used.

The conservation of lacquered artifacts generally entails much craftwork and takes anywhere from three months to a year to complete. On average, some 50-60 lacquered items are treated per year. The Painting of Heavenly Horse on a Saddle Flap featuring found in Cheonmachong Tomb took one and a half years to restore.

Buddhist sculptures also require a relatively long period of time.

As wood is a material comprised of cells, deformation leads to change in the nature of the cells and this in turn makes wood very difficult to restore. If artifacts on display show any signs of change or cracking they are immediately removed to optimal heat and humidity conditions for the item concerned. The most important factor in the conservation of wooden artifacts is to disperse stress and prevent damage through constant monitoring.

32

behind the exhibit

nmk 2015 autumn | the latest

A Conservation Scientist treats slivers of wooden artifact.

Conservation of Wooden Relics and Lacquered Artifacts by the editorial team

DISTINCTION BETWEEN WOODEN AND LACQUERED ARTIFACTS For conservation purposes, wooden relics are distinguished from lacquered relics according to the condition in which they have been handed down. Wooden relics are those that have been submerged for one to two thousand years in coastal or swampy areas. They are also called waterlogged archaeological wood. The environment in which wooden artifacts are submerged is similar to that inside a tin can. Cut off from all air, the artifact is filled with water and as the major constituents of the wood are eaten away by bacteria the cavities are filled with moisture. If left at the excavation site, the wood may retain its solid form. But without proper conservation treatment, when the moisture evaporates the wood changes as it dries to stick-like form.

On the other hand, lacquered artifacts are sensitive to heat and humidity and in many cases the lacquer coating and external decorative designs are damaged. By nature wood expands when it absorbs moisture and shrinks when it dries. In Korea, when the weather is dry humidity can drop to 10 percent, and when the weather is humid it can rise above 80 percent. Because of this high humidity range, artifacts made of wood are prone to damage.

33

Before the conservation of the Painting of Heavenly Horse on a Saddle Flap

After the conservation of the Painting of Heavenly Horse on a Saddle Flap

CONSERVATION OF WATERLOGGED ARCHAEOLOGICAL WOOD Waterlogged archaeological wood is organic matter that constantly breathes and hence changes in nature according to the environment in which it is buried. Though methods of treatment may differ depending on the situation, basically all waterlogged wood items go through the following processes: strengthening, vacuum freeze drying, humidity controlled drying, surface reinforcement and joining. Wood that has been corroded by bacteria is as brittle as sponge, so the focus is placed on reinforcing the state of the material. To replace the moisture that had been absorbed by the wood, the wooden object is impregnated with chemicals.

Wooden artifacts are rarely made from just one kind of wood, which makes it difficult to carry out conservation work using a single species of wood throughout. When treating waterlogged wooden items, some species of wood absorb the chemicals better than others. To analyze the species of wood used, a microtome is used to gain a thin section of the surface which is then examined under a biological microscope. Treatment details such as chemicals and conservation techniques to be used are then decided according to the analysis results. When the level of damage, species of wood, and burial conditions have been grasped the artifact is placed in a tank to enable a chemical solution, which is gradually increased in concentration, to be distributed through the item.

Conservation of wooden artifacts can take a very long time as the chemicals must be left to disperse through the object naturally.

The wooden coffin from Daho-ri in Changwon, measuring 2.4m in length, took some 20 years to fully restore. The waterlogged wooden artifacts recovered from the Sinan shipwreck several years ago are even larger in scale and are estimated to require 30-40 years for complete restoration. When the wood reaches a stable condition after chemical treatment, excess moisture is removed in a vacuum freeze-drying system, and any cracks are repaired to restore the artifact to a state suitable for exhibition.

CONSERVATION OF LACQUERED ARTIFACTS Though lacquered works are very strong, the surface lacquer layer and decorative elements are liable to flake off as the wood expands and contracts. Hence the first priority in treating lacquered craft works is to preserve the decorative surface and prevent further damage.

When an artifact has been examined to determine its condition, any foreign matter on the surface is first removed. If fragments of the coating have been retrieved they are reattached to the surface, and otherwise missing spots are restored. The materials used to decorate lacquered works are diverse ranging from bronze and iron to mother-of-pearl, painted ox-horn, dried shark leather and tortoiseshell. If the lacquered artifact has become deformed, the cracks or spaces left by warping or twisting are filled with a small sliver of wood. To minimize influence on the original form, a wood type weaker than the original is used.

The conservation of lacquered artifacts generally entails much craftwork and takes anywhere from three months to a year to complete. On average, some 50-60 lacquered items are treated per year. The Painting of Heavenly Horse on a Saddle Flap featuring found in Cheonmachong Tomb took one and a half years to restore.

Buddhist sculptures also require a relatively long period of time.

As wood is a material comprised of cells, deformation leads to change in the nature of the cells and this in turn makes wood very difficult to restore. If artifacts on display show any signs of change or cracking they are immediately removed to optimal heat and humidity conditions for the item concerned. The most important factor in the conservation of wooden artifacts is to disperse stress and prevent damage through constant monitoring.

34

education

nmk 2015 autumn | the latest

The students in the group move onto the Permanent Exhibition Hall and then look at the exhibit which they choose.

Travel through History with Relics of the Past by the editorial team

“Travel through History with Relics of the Past” is the title of the summer youth program at the National Museum of Korea, held for the second time this year. The program gave students the opportunity to better understand the exhibits in the museum with the use of scientific analysis. The one-day program was held twice during this summer, once on July 18 and once on August 1, for thirty students each time who had been selected on a firstcome first-served basis. The program consisted of a theory lecture, viewing of the exhibits, and various experience and activity programs. The first day was devoted to metal crafts and bronze works and the second day to pottery and ceramics. Participants were free to attend just one day or both. Last year’s summer program ran over four consecutive weeks and was targeted to fifth and sixth grade elementary school students. This year the program was enhanced to cater to middle and high school students.

As indicated by the subtitle—Museum Science Camp: Discover Science Hidden in the Exhibits—this program encompassed many aspects of conservation science. This is a clear departure from regular education programs that focus on the history and

stories behind the museum’s exhibits and hence closely related to art history and archaeology. Adopting the STEAM theory, this program integrated the fields of Science, Technology, Engineering, Art and Math. By encouraging students to think in a more systematic way about the exhibits, not only in terms of beauty but from various perspectives the program was designed to help develop their creativity. Application of the STEAM theory, based on the idea of integration, is gradually being expanded and is being used in various ways in Korean schools.

As program participants come and go between the lecture room and the exhibition halls and complete their worksheets and other tasks, they form a clear idea of the relics that they are studying. The students are divided first into groups of five or six and each group is given a “mystery box.” Each box contains the replica of a different artifact, selected according to theme, so that students can touch the items and learn about them through tactile experience. This is followed by a lecture investigating the exhibits from the perspective of conservation science. In their groups, the students then move onto the Permanent Exhibition Hall where they fill out worksheets based on what they have learnt from looking at the exhibits first-hand. Then they returned to the classroom for an activity designed to help them understand the characteristics of different materials. In every part of the program, active discussion took place in the groups. Divided into morning and afternoon sessions, each lasting two and a half hours, the program proceeded in the order of mystery box activity, lecture on conservation science, exhibition tour, and craft activity. To make things more interesting for the students, each group was given a different theme to work with.

The liveliest part of the program was the hands-on activity. The students given the theme of metal, for example, made models of fish marked with patterns and then inspected their work under a microscope. After students guess how the combed pattern was made on an ancient bronze mirror incised with fine lines, they replicated the design in plaster and made a rubbing of it using the frottage technique. Later, students apply clay into the plaster in order to understand how the mirror-casting mould was made in the past. The finished plasters with combed pattern were framed for the students to keep.

Of the various fields of conservation science, the four areas—bronze, metals, earthenware and ceramics—were chosen for the program because so many of the relics introduced in school textbooks fall under one of these four categories. These relics are familiar to students and indeed account for a large proportion of the NMK’s collection. The paintings on display are changed around frequently, which makes it difficult to use

35

them continuously throughout the year. On the other hand, stone and metal artifacts can be used in the long term module since those are not being replaced often. Starting next year, however, to expand the range of themes plans have been made to include paper and stone works. The museum’s education division continues to develop programs in areas that can only be experienced at the NMK. One of those areas is conservation science, and for next year a regular program linked with the special exhibitions is being considered. As a field with endless possibilities, conservation science will likely be used in further education programs.

There is no better education than seeing something with your own eyes and making it yourself. The greatest advantage of the NMK’s education programs is that participants can see the actual relics and artworks concerned. Only at the museum the students hear lectures that stimulate their curiosity and answer any questions they may have about the exhibits and then go and see the actual items for themselves. The education division will concentrate efforts on developing programs that integrate various fields to promote the idea that of the NMK as an attractive place to visit.

A student makes models of fish ornament marked with patterns.

Another student inspects her work under a microscope.

34

education

nmk 2015 autumn | the latest

The students in the group move onto the Permanent Exhibition Hall and then look at the exhibit which they choose.

Travel through History with Relics of the Past by the editorial team

“Travel through History with Relics of the Past” is the title of the summer youth program at the National Museum of Korea, held for the second time this year. The program gave students the opportunity to better understand the exhibits in the museum with the use of scientific analysis. The one-day program was held twice during this summer, once on July 18 and once on August 1, for thirty students each time who had been selected on a firstcome first-served basis. The program consisted of a theory lecture, viewing of the exhibits, and various experience and activity programs. The first day was devoted to metal crafts and bronze works and the second day to pottery and ceramics. Participants were free to attend just one day or both. Last year’s summer program ran over four consecutive weeks and was targeted to fifth and sixth grade elementary school students. This year the program was enhanced to cater to middle and high school students.

As indicated by the subtitle—Museum Science Camp: Discover Science Hidden in the Exhibits—this program encompassed many aspects of conservation science. This is a clear departure from regular education programs that focus on the history and

stories behind the museum’s exhibits and hence closely related to art history and archaeology. Adopting the STEAM theory, this program integrated the fields of Science, Technology, Engineering, Art and Math. By encouraging students to think in a more systematic way about the exhibits, not only in terms of beauty but from various perspectives the program was designed to help develop their creativity. Application of the STEAM theory, based on the idea of integration, is gradually being expanded and is being used in various ways in Korean schools.

As program participants come and go between the lecture room and the exhibition halls and complete their worksheets and other tasks, they form a clear idea of the relics that they are studying. The students are divided first into groups of five or six and each group is given a “mystery box.” Each box contains the replica of a different artifact, selected according to theme, so that students can touch the items and learn about them through tactile experience. This is followed by a lecture investigating the exhibits from the perspective of conservation science. In their groups, the students then move onto the Permanent Exhibition Hall where they fill out worksheets based on what they have learnt from looking at the exhibits first-hand. Then they returned to the classroom for an activity designed to help them understand the characteristics of different materials. In every part of the program, active discussion took place in the groups. Divided into morning and afternoon sessions, each lasting two and a half hours, the program proceeded in the order of mystery box activity, lecture on conservation science, exhibition tour, and craft activity. To make things more interesting for the students, each group was given a different theme to work with.

The liveliest part of the program was the hands-on activity. The students given the theme of metal, for example, made models of fish marked with patterns and then inspected their work under a microscope. After students guess how the combed pattern was made on an ancient bronze mirror incised with fine lines, they replicated the design in plaster and made a rubbing of it using the frottage technique. Later, students apply clay into the plaster in order to understand how the mirror-casting mould was made in the past. The finished plasters with combed pattern were framed for the students to keep.

Of the various fields of conservation science, the four areas—bronze, metals, earthenware and ceramics—were chosen for the program because so many of the relics introduced in school textbooks fall under one of these four categories. These relics are familiar to students and indeed account for a large proportion of the NMK’s collection. The paintings on display are changed around frequently, which makes it difficult to use

35

them continuously throughout the year. On the other hand, stone and metal artifacts can be used in the long term module since those are not being replaced often. Starting next year, however, to expand the range of themes plans have been made to include paper and stone works. The museum’s education division continues to develop programs in areas that can only be experienced at the NMK. One of those areas is conservation science, and for next year a regular program linked with the special exhibitions is being considered. As a field with endless possibilities, conservation science will likely be used in further education programs.

There is no better education than seeing something with your own eyes and making it yourself. The greatest advantage of the NMK’s education programs is that participants can see the actual relics and artworks concerned. Only at the museum the students hear lectures that stimulate their curiosity and answer any questions they may have about the exhibits and then go and see the actual items for themselves. The education division will concentrate efforts on developing programs that integrate various fields to promote the idea that of the NMK as an attractive place to visit.

A student makes models of fish ornament marked with patterns.

Another student inspects her work under a microscope.

36

news

nmk 2015 autumn | the latest

37

ACTIVITY RESULTS OF THE OFFICIAL EXCAVATION & RESEARCH ON GEUMGWANCHONG TOMB

EXHIBITION OF THE 40TH DRAWING FESTIVAL

The National Museum of Korea and the Gyeongju National Museum verified new facts in the final stage of the official excavation of Geumgwanchong Tomb. The most important grave goods include engravings on a decoration at the end of a sheath: “King Isaji’s sword” 尒斯智王刀 and “Ten.” 十 Many people say that the “Ten” may have had a shamanistic meaning, and in 2013 another engraving, “King Isaji,” was found on a large sword excavated from the Geumgwanchong Tomb.

Later, suggestions were made about the relationship between Geumgwanchong Tomb’s owner and King Isaji as well as the owner of the sword and King Isaji. Consequently, this excavation provided evidence to support the fact that the owner of the sword was indeed King Isaji. On top of all this, a number of grave goods were additionally verified, especially two pieces of thin hoop earrings which have unique shapes that have never been found in other Silla tombs to date. The joint research group verified the specific location of the buried person. The original report, published in the Japanese colonial era, specifies the wooden coffin was inside a wooden outer coffin. However, this excavation shows that the wooden outer coffin of Geumgwanchong Tomb was built in a double structure of an inside outer coffin and an outside outer coffin. The structure that divided space for a stone mound and a space for the buried person through a large wooden column has not yet been verified at this stage of research on Silla’s wooden chamber tomb with a stone mound. Thus, it will become an important task in the future for research on Silla’s ancient tombs.

The NMK exhibited the winners of the 40th Drawing Festival from August 4 to 30. Children and teenagers participated in the competition, appreciated the NMK’s exhibits, and reinterpreted the works in creative ways. After evaluating participants’ works, the head of the judging panel, Professor Ahn Kyuchul in the visual arts department of Korea National University of Arts, gave a general review by saying, “Time spent at a museum is special for everyone. It’s a time to journey to the far-away past and escape the chaos of everyday life, a time for a direct encounter with one unique article that contains someone’s memory. The NMK’s Drawing Festival, which is in its 40th year now, is very meaningful as an opportunity for elementary, middle and high school students to experience such a special time.”

This year, 529 students participated in the competition under the theme of “Exhibits I Like,” and a total of 220 pieces of work won prizes.

Among them, the NMK brought together 66 pieces that reveal children’s imagination and cre-

1

ativity to display at the corridor to the Children’s Museum. Additionally, a book was produced with the descriptions of paintings written by participants that helped viewers’ understanding in a thoughtful way. On one corner, vivid scenes from the event day, including participants painting pictures, were played on a screen and offered a pleasant experience for viewers.

2

1 Children playing on the Celadon Incense Burner with Openwork Decoration / Hwang Gyudong 2 Spring / Choi Yunjeong

AN ENGLISH EXHIBITION BOOK PUBLISHED AS AN E-BOOK

On July 8, the NMK published an English exhibition e-book titled Sculptures of Unified Silla. The museum published this in order to promote the excellence and originality of Korean culture overseas in the form of an e-book. This is part of the English exhibition book project that the museum has conducted since 2009, and the NMK is now planning to release the e-books of all seven titles that it has published so far.

The additional e-books to be published this year include Korea Celadon, Blue and White Porcelain, Buddhist Paintings, Banquets and Rituals, Portraits, and Korean Lacquerware Inlaid with Mother-of-Pearl. All are about the NMK’s exhibits of cultural heritage that

represent Korean culture.

Today, e-books have become available at lower prices for those who are interested in Korean cultural contents. By releasing English e-books via Amazon and Kyobo Book Centre, the NMK is responding to the increased interest in Korean culture in foreign countries and helping create a greater demand for our culture.

36

news

nmk 2015 autumn | the latest

37

ACTIVITY RESULTS OF THE OFFICIAL EXCAVATION & RESEARCH ON GEUMGWANCHONG TOMB

EXHIBITION OF THE 40TH DRAWING FESTIVAL

The National Museum of Korea and the Gyeongju National Museum verified new facts in the final stage of the official excavation of Geumgwanchong Tomb. The most important grave goods include engravings on a decoration at the end of a sheath: “King Isaji’s sword” 尒斯智王刀 and “Ten.” 十 Many people say that the “Ten” may have had a shamanistic meaning, and in 2013 another engraving, “King Isaji,” was found on a large sword excavated from the Geumgwanchong Tomb.

Later, suggestions were made about the relationship between Geumgwanchong Tomb’s owner and King Isaji as well as the owner of the sword and King Isaji. Consequently, this excavation provided evidence to support the fact that the owner of the sword was indeed King Isaji. On top of all this, a number of grave goods were additionally verified, especially two pieces of thin hoop earrings which have unique shapes that have never been found in other Silla tombs to date. The joint research group verified the specific location of the buried person. The original report, published in the Japanese colonial era, specifies the wooden coffin was inside a wooden outer coffin. However, this excavation shows that the wooden outer coffin of Geumgwanchong Tomb was built in a double structure of an inside outer coffin and an outside outer coffin. The structure that divided space for a stone mound and a space for the buried person through a large wooden column has not yet been verified at this stage of research on Silla’s wooden chamber tomb with a stone mound. Thus, it will become an important task in the future for research on Silla’s ancient tombs.

The NMK exhibited the winners of the 40th Drawing Festival from August 4 to 30. Children and teenagers participated in the competition, appreciated the NMK’s exhibits, and reinterpreted the works in creative ways. After evaluating participants’ works, the head of the judging panel, Professor Ahn Kyuchul in the visual arts department of Korea National University of Arts, gave a general review by saying, “Time spent at a museum is special for everyone. It’s a time to journey to the far-away past and escape the chaos of everyday life, a time for a direct encounter with one unique article that contains someone’s memory. The NMK’s Drawing Festival, which is in its 40th year now, is very meaningful as an opportunity for elementary, middle and high school students to experience such a special time.”

This year, 529 students participated in the competition under the theme of “Exhibits I Like,” and a total of 220 pieces of work won prizes.

Among them, the NMK brought together 66 pieces that reveal children’s imagination and cre-

1

ativity to display at the corridor to the Children’s Museum. Additionally, a book was produced with the descriptions of paintings written by participants that helped viewers’ understanding in a thoughtful way. On one corner, vivid scenes from the event day, including participants painting pictures, were played on a screen and offered a pleasant experience for viewers.

2

1 Children playing on the Celadon Incense Burner with Openwork Decoration / Hwang Gyudong 2 Spring / Choi Yunjeong

AN ENGLISH EXHIBITION BOOK PUBLISHED AS AN E-BOOK

On July 8, the NMK published an English exhibition e-book titled Sculptures of Unified Silla. The museum published this in order to promote the excellence and originality of Korean culture overseas in the form of an e-book. This is part of the English exhibition book project that the museum has conducted since 2009, and the NMK is now planning to release the e-books of all seven titles that it has published so far.

The additional e-books to be published this year include Korea Celadon, Blue and White Porcelain, Buddhist Paintings, Banquets and Rituals, Portraits, and Korean Lacquerware Inlaid with Mother-of-Pearl. All are about the NMK’s exhibits of cultural heritage that

represent Korean culture.

Today, e-books have become available at lower prices for those who are interested in Korean cultural contents. By releasing English e-books via Amazon and Kyobo Book Centre, the NMK is responding to the increased interest in Korean culture in foreign countries and helping create a greater demand for our culture.

38

news

nmk 2015 autumn | the latest

39

EXHIBITION THE STORY OF OUR CULTURAL PROPERTIES IN UCC Date | September 8–October 11, 2015 Venue | Rest area at the Medieval and Early Modern History

REPLACEMENT OF THE JOSEON EXHIBITION ROOM Date | From August 4, 2015 Venue | Joseon Dynasty I–V

THE KOREAN EMPIRE, DREAMING OF A MODERN STATE Date | July 21–September 13, 2015 Venue | Thematic Exhibition Gallery

The Korean Empire, Dreaming of a Modern State is a thematic exhibition to commemorate the Korean Empire’s efforts to establish a modern state and the spirit of independence of those who sacrificed themselves in order to realize the goal of independence, which Japan had taken away.

At the gate of the exhibition hall, visitors are greeted by the oldest extant Korean national flag and a message that the patriotic martyr Ahn Jung-geun wrote while in prison. The exhibition consists of three parts. Part 1 introduces artifacts that highlight aspects of an emperor’s nation under the theme of “Declaration of the Emperor’s Nation: The Korean Empire.” Various items, such as Daerye uigwe which recorded the procedures

of the coronation of Emperor Gojong, a Portrait of Emperor Gojong, and Patterns for the queen consort’s ceremonial robe and front cloth panel are also on exhibit.

Part 2, Independence and Efforts for Modernization, shows the Korean Empire’s efforts for independence and modernization, including the State Seal, official government seals, a ritual sword engraved with a pear flower pattern, Emperor Sunjong’s rescript for the opening of the Daehan Clinic, and currency used at the time.

Part 3, The Frustrated Dream of a Modern State, displays the process of how the Korean Empire’s reform for modernization was stymied by Japanese imperialism and the role that the Japan-Korea Annexation Treaty of

1910 played in this. It includes an appointment letter for special envoys to The Hague by Emperor Gojong, a Portrait of Emperor Sunjong, a commemorative medal for Korea’s annexation, and a certificate.

At the exhibition hall, visitors can see clear pictures of the Korean Empire period through thematically edited photographic materials.

They can also listen to the Korean Empire’s national anthem, which was composed by the German musician Franz von Eckert. This exhibition provides an opportunity to see many different aspects of the Korean Empire which have been forgotten due to Japanese colonialism. At the same time, it is a venue for commemorating the 70th anniversary of liberation from Japan.

The Joseon Room, which is located on the 1st floor of the Permanent Exhibition Hall, features new exhibits through exhibit replacement. The new exhibition includes recently purchased artifacts to be shown to the public for the first time and newly excavated important materials.

The most noteworthy is Geumnanbanwolmun, 金蘭半月會文 which records the background, rules of meetings, and the names of members regarding Korea’s oldest local gatherings organized 550 years ago. Although related materials have been released several times to date, new materials have been introduced through this exhibition and required production year verification through comparative research.

Gabeul donggyejido, a painting that depicts a gathering of people who were born in the years of Gabin or Eulmyo, will also draw the attention of visitors. A total of 16 literary figures from Gangneung who were born in 1614 (Gabin) or 1615 (Eulmyo) had a meeting in the Gyeongpodae, part of Gangneung, and produced this painting to commemorate the event. The work is rare in that it was made by literary figures of the same age group in the countryside. In addition, the painting

has great value in that it was produced in the 17th century, a relatively early period in Korean art, and a time when there were not many paintings of such gatherings from the mid-Joseon Dynasty.

Furthermore, there is an exam paper written

by Yi Seogu,1754–1825 one of four masters of Chinese poetry in the Joseon era, and which came by command of King Jeongjo, who personally marked the paper. This exam paper was written on October 24, 1785 under the title “Chewing the Japanese Apricot Flower.” 嚼梅蘂 There is a mark in red (indicating the second grade out of four grade levels) and many parts of the poem were underlined in red with pieces of specially attached paper, proof that King Jeongjo wrote on it. On top of this, over 20 artifacts—such as Yu Seongryong’s record of the Japanese invasion of Korea in 1592 (Jingbirok), a record of asset distribution written by Jeong Hyeokseon 1666–1733 in 1731, and a letter written in Hangeul by Queen Consort Hyojeong—are on display for the first time.

The NMK’s Education Division ran a program titled “Finding New Possibilities Inside Me” for high school students during the summer vacation. The program was designed to expand participants’ creative thinking.

Students this year were divided into groups under four topics: buncheong ware, the world of a Taoist hermit, a Confucian scholar looking at a waterfall, and white porcelain moon jar. They created UCC(user created contents) from a teenager’s perspective in different formats, such as mini-documentaries, advertisements, and dramas. Students participated in making UCC by playing the role of a writer, a director of photography, an actor/actress, or a sound engineer after choosing a topic and exploring the exhibits.

The exhibition is the result of these activities and allows viewers to see contents regarding the appearance of the museum and exhibits as seen from the perspective of high school students. The exhibition also introduces a documentary film containing the production process during the six days this took place, participating students, and the five films produced by the participants from the 2014 program.

38

news

nmk 2015 autumn | the latest

39

EXHIBITION THE STORY OF OUR CULTURAL PROPERTIES IN UCC Date | September 8–October 11, 2015 Venue | Rest area at the Medieval and Early Modern History

REPLACEMENT OF THE JOSEON EXHIBITION ROOM Date | From August 4, 2015 Venue | Joseon Dynasty I–V

THE KOREAN EMPIRE, DREAMING OF A MODERN STATE Date | July 21–September 13, 2015 Venue | Thematic Exhibition Gallery

The Korean Empire, Dreaming of a Modern State is a thematic exhibition to commemorate the Korean Empire’s efforts to establish a modern state and the spirit of independence of those who sacrificed themselves in order to realize the goal of independence, which Japan had taken away.

At the gate of the exhibition hall, visitors are greeted by the oldest extant Korean national flag and a message that the patriotic martyr Ahn Jung-geun wrote while in prison. The exhibition consists of three parts. Part 1 introduces artifacts that highlight aspects of an emperor’s nation under the theme of “Declaration of the Emperor’s Nation: The Korean Empire.” Various items, such as Daerye uigwe which recorded the procedures

of the coronation of Emperor Gojong, a Portrait of Emperor Gojong, and Patterns for the queen consort’s ceremonial robe and front cloth panel are also on exhibit.

Part 2, Independence and Efforts for Modernization, shows the Korean Empire’s efforts for independence and modernization, including the State Seal, official government seals, a ritual sword engraved with a pear flower pattern, Emperor Sunjong’s rescript for the opening of the Daehan Clinic, and currency used at the time.

Part 3, The Frustrated Dream of a Modern State, displays the process of how the Korean Empire’s reform for modernization was stymied by Japanese imperialism and the role that the Japan-Korea Annexation Treaty of

1910 played in this. It includes an appointment letter for special envoys to The Hague by Emperor Gojong, a Portrait of Emperor Sunjong, a commemorative medal for Korea’s annexation, and a certificate.

At the exhibition hall, visitors can see clear pictures of the Korean Empire period through thematically edited photographic materials.

They can also listen to the Korean Empire’s national anthem, which was composed by the German musician Franz von Eckert. This exhibition provides an opportunity to see many different aspects of the Korean Empire which have been forgotten due to Japanese colonialism. At the same time, it is a venue for commemorating the 70th anniversary of liberation from Japan.

The Joseon Room, which is located on the 1st floor of the Permanent Exhibition Hall, features new exhibits through exhibit replacement. The new exhibition includes recently purchased artifacts to be shown to the public for the first time and newly excavated important materials.

The most noteworthy is Geumnanbanwolmun, 金蘭半月會文 which records the background, rules of meetings, and the names of members regarding Korea’s oldest local gatherings organized 550 years ago. Although related materials have been released several times to date, new materials have been introduced through this exhibition and required production year verification through comparative research.

Gabeul donggyejido, a painting that depicts a gathering of people who were born in the years of Gabin or Eulmyo, will also draw the attention of visitors. A total of 16 literary figures from Gangneung who were born in 1614 (Gabin) or 1615 (Eulmyo) had a meeting in the Gyeongpodae, part of Gangneung, and produced this painting to commemorate the event. The work is rare in that it was made by literary figures of the same age group in the countryside. In addition, the painting

has great value in that it was produced in the 17th century, a relatively early period in Korean art, and a time when there were not many paintings of such gatherings from the mid-Joseon Dynasty.

Furthermore, there is an exam paper written

by Yi Seogu,1754–1825 one of four masters of Chinese poetry in the Joseon era, and which came by command of King Jeongjo, who personally marked the paper. This exam paper was written on October 24, 1785 under the title “Chewing the Japanese Apricot Flower.” 嚼梅蘂 There is a mark in red (indicating the second grade out of four grade levels) and many parts of the poem were underlined in red with pieces of specially attached paper, proof that King Jeongjo wrote on it. On top of this, over 20 artifacts—such as Yu Seongryong’s record of the Japanese invasion of Korea in 1592 (Jingbirok), a record of asset distribution written by Jeong Hyeokseon 1666–1733 in 1731, and a letter written in Hangeul by Queen Consort Hyojeong—are on display for the first time.

The NMK’s Education Division ran a program titled “Finding New Possibilities Inside Me” for high school students during the summer vacation. The program was designed to expand participants’ creative thinking.

Students this year were divided into groups under four topics: buncheong ware, the world of a Taoist hermit, a Confucian scholar looking at a waterfall, and white porcelain moon jar. They created UCC(user created contents) from a teenager’s perspective in different formats, such as mini-documentaries, advertisements, and dramas. Students participated in making UCC by playing the role of a writer, a director of photography, an actor/actress, or a sound engineer after choosing a topic and exploring the exhibits.

The exhibition is the result of these activities and allows viewers to see contents regarding the appearance of the museum and exhibits as seen from the perspective of high school students. The exhibition also introduces a documentary film containing the production process during the six days this took place, participating students, and the five films produced by the participants from the 2014 program.

40

new & hidden space

nmk 2015 autumn | the latest

1

lights were installed, enabling various different moods to be created. The interior features simple finishes and is in harmony with the calm and quiet ambience of the Permanent Exhibition Hall.

The Children’s Museum plans to make active use of the new room for programs linked with exhibitions. On the last Wednesday of every month (government designated Culture Day), it plans to put on monthly performances that can be enjoyed with family. A shadow play is held for the opening ceremony of the room on Oct. 28. The addition of education designed to train the sensibilities takes the creative transformation of the experience-based Children’s Museum one step further.

Opening of ON 温 The audiovisual room on the second floor of the Permanent Exhibition Hall has recently been renovated. With its reopening, the name has been changed to ON 温 and the utility of the space boosted to cater to education programs, performances, lectures and visitor orientations. The National Museum of Korea plans to run various programs where visitors can talk to specialists in this room, located close to the exhibition space, after looking at the exhibits, increasing synergy between the two areas. The renewal of the room is in line with moves by overseas museums to devote more space to multimedia presentations designed to enhance visitors’ deeper understanding of the exhibits.

The NMK holds a diverse range of performances at its 200-seat small theater and Open Plaza with outdoor seating area. The renewed ON 温 can accommodate about 40 seats and is suitable for performances for children, young students and group visitors. Indeed, the greatest change is the lighting, which enhances the small theater atmosphere of the space.

With the support of ERCO, which specializes in exhibition lighting, wall lights and pin

2

1 ON (温) , newly renovated room, can accommodate up to 40 people.

2 The Huge screen will be used in various ways.

3 It’s a suitable place to lead to positive participation and response.

3

40

new & hidden space

nmk 2015 autumn | the latest

1

lights were installed, enabling various different moods to be created. The interior features simple finishes and is in harmony with the calm and quiet ambience of the Permanent Exhibition Hall.

The Children’s Museum plans to make active use of the new room for programs linked with exhibitions. On the last Wednesday of every month (government designated Culture Day), it plans to put on monthly performances that can be enjoyed with family. A shadow play is held for the opening ceremony of the room on Oct. 28. The addition of education designed to train the sensibilities takes the creative transformation of the experience-based Children’s Museum one step further.

Opening of ON 温 The audiovisual room on the second floor of the Permanent Exhibition Hall has recently been renovated. With its reopening, the name has been changed to ON 温 and the utility of the space boosted to cater to education programs, performances, lectures and visitor orientations. The National Museum of Korea plans to run various programs where visitors can talk to specialists in this room, located close to the exhibition space, after looking at the exhibits, increasing synergy between the two areas. The renewal of the room is in line with moves by overseas museums to devote more space to multimedia presentations designed to enhance visitors’ deeper understanding of the exhibits.

The NMK holds a diverse range of performances at its 200-seat small theater and Open Plaza with outdoor seating area. The renewed ON 温 can accommodate about 40 seats and is suitable for performances for children, young students and group visitors. Indeed, the greatest change is the lighting, which enhances the small theater atmosphere of the space.

With the support of ERCO, which specializes in exhibition lighting, wall lights and pin

2

1 ON (温) , newly renovated room, can accommodate up to 40 people.

2 The Huge screen will be used in various ways.

3 It’s a suitable place to lead to positive participation and response.

3

ISSN: 2005-1123

• curator’s talk Goryeo Celadon, the Epitome of Elegance

• feature exhibition Masterpieces of Early Buddhist Sculpture, 100BCE–700CE • rnm

exhibition. 1 Arts of Silla • rnm

exhibition. 2 Choe Bu’s Diary: An Unexpected Encounter with China

published by the nmk autumn 2015

The National Museum of Korea is staging a special exhibition for the Flemish Baroque Art. The exhibition will present the masterpieces by Peter Paul Rubens, Anthony Van Dyck, Pieter/Jan Brueghel and other great artists from the Collections of the Prince of Liechtenstein, Vaduz-Vienna.

A key aspect of this ambitious exhibition is to explore Rubens and other Flemish-Dutch Artists in depth and to illuminate their influence on artists of subsequent generations. Over 120 selected works will be displayed from the Liechtenstein Collections which is one of the most significant private collections in the world encompassing a number of magnificent Flemish and Dutch Art works as well as the Baroque master Peter Paul Rubens’s bestloved works, Portrait of Clara Serena Rubens and The Discovery of the Infant Erichthonius. With these famous paintings, the exhibition features remarkable sculptures, tapestries, engravings and applied art covering Renaissance, Baroque and Dutch Golden Age. This will provide a unique opportunity to encounter precious masterpieces of European art.

VOL .33 AUTUMN 2015

december 12, 2015 – april 10, 2016 special exhibition gallery i, ii

National Museum of Korea

Goryeo Buddhist Paintings: Translation of Elegance into Art

VOL.33

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

RUBENS AND THE MASTERS OF THE CENTURY

quarterly magazine • special essay