Nationalmuseumofkoreavol35 en

NATIONAL MUSEUM of KOREA Q UARTERLY MAGAZINE

VOL.35 SPRING 2016

EARTH, FIRE, AND SPIRIT: MASTERPIECES OF KOREAN CERAMICS april 27 – june 20, 2016 grand palais, paris To mark the 130th anniversary of diplomatic relations between Korea and France, the two countries have organized a diverse range of events under the banner of Years 2015–2016 Korea-France Bilateral Exchanges. One of these events is the exhibition Earth, Fire, and Spirit: Masterpieces of Korean Ceramics (La Terre, le Feu et l'Esprit: Chefs-d'œuvre de la Céramique Coréenne) held at the Grand Palais, located on the Champs Elysees in Paris.

The exhibition features a selection of quintessentially Korean works that exemplify Korean ceramic art and culture. Items from the Three Kingdoms period through the Goryeo and Joseon Dynasties and modern times are spread before the eyes. Masterpieces such as the Celadon Dragon-shaped Ewer (National Treasure No. 96) and Large White Porcelain Jar (Treasure No. 1437) represent the height of Korea's ceramic art and convey the spirit of the people. The display is enriched with a number of creative modern works by Lee Ufan and Park Youngsook as well as a video work by Kim Sooja that offers a new perspective on the four elements of nature—earth, water, fire, and air.

After the Grand Palais show, the exhibition will open at the State Hermitage Museum in Saint Petersburg, Russia, from July 29 to November 6.

ISSN: 2005-1123

Special Feature Korean Traditional Color: Blue Curator’s Talk Envisioning Blue: Blue-and-white Porcelain of the Joseon Dynasty Special Exhibition Conservation Science, Saving Cultural Properties Exhibition The Reorganized Goryeo Gallery: A Glimpse into Life in the Goryeo Dynasty Behind the Exhibit Conservation of Ceramic Heritage

NATIONAL MUSEUM of KOREA S PRING 2016

D I R E C T O R G E N E R A L’ S M E S S AG E

This year marks the 40th anniversary since the National Museum of Korea established the Conservation Science Division. Launched in 1976, the Conservation Science Division has rapidly grown both qualitatively and quantitatively in the last 40 years. Over this time, the Division has accomplished a great deal, including its discovery of a rough sketch of a portrait nobody knew existed as well as its restoration of a Phoenix Headshaped Glass Bottle which had been broken into 180 pieces and brought back nearly identical to its original form. To commemorate the Division’s achievements, first special exhibition in 2016 is titled Conservation Science, Saving Cultural Properties. The exhibition will provide an opportunity for visitors to learn about the amazing journey these works have taken on their way to being meticulously restored by the Division.

The volumes of this year will deal with Korean traditional colors more in-depth through sections of “Special Feature” and “Curator’s Talk.” Korean traditional colors—represented by blue, red, yellow, black, and white—express human emotions and reflect a profound philosophy that embodies the principles of nature. The spring volume covers blue, which means the creation of all things and life. The Special Feature column handles the various shades of Korean blue, such as azurite and indigo, which have been developed differently over the centuries from those of the West, while the Curator’s Talk column looks at the clear blue of blue-and-white porcelain.

The detailed description of the reorganized Goryeo 918–1392 Gallery had to be included here. With a total of 720 works from the Goryeo Dynasty, including 200 that are being shown to the public for the very first time, this gallery was redone with a focus on helping visitors gain a greater understanding of the Goryeo Dynasty. In addition, the museum completed its reorganization of the Balhae 698–926 Gallery, which is located side by side with the Goryeo Gallery, in order to show how this independent kingdom inherited from Goguryeo 37 BCE–668 CE. Instead of simply relishing these curatorial achievements, the NMK is constantly changing because it recognizes that all museums should be places where people can understand today and prepare for the future by witnessing stories from the past. On a brilliant spring day, I hope you will create your own stories of today and tomorrow at a museum that is as mysterious and beautiful as this time of year, which is best represented by growth, renewal, and new life.

KOREAN HERITAGE

FROM THE GALLERY

ACTIVITIES

special feature Korean Traditional Color: Blue 02

special exhibition Conservation Science, Saving Cultural Properties 16

behind the exhibit Conservation of Ceramic Heritage 30

Yi Young-Hoon

Cover of the Current Issue Blue–and–white Porcelain Bottle with Lingzhi Scroll Design Joseon, 19th century H. 31.3 cm

Director General National Museum of Korea Spring 2016

curator’s talk Envisioning Blue: Blue-and-white Porcelain of the Joseon Dynasty 10 zoom in Buddhist Drum Stand 14

visitor Into the World of Conservation Science 22 exhibition The Reorganized Goryeo Gallery: A Glimpse into Life in the Goryeo Dynasty 24

the view Balancing Research on Ancient Korean Cultures 32 miscellaneous 38 new & hidden space Special Places to Rest among the Exhibition Halls 40

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, Korea

Printed in Korea Copyright © 2016 National Museum of Korea.

ISSN: 2005–1123

Editorial Direction Design Team of National Museum of Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr

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.

Design and Production Sobook Inc. Publication Date April 20, 2016

NATIONAL MUSEUM of KOREA S PRING 2016

D I R E C T O R G E N E R A L’ S M E S S AG E

This year marks the 40th anniversary since the National Museum of Korea established the Conservation Science Division. Launched in 1976, the Conservation Science Division has rapidly grown both qualitatively and quantitatively in the last 40 years. Over this time, the Division has accomplished a great deal, including its discovery of a rough sketch of a portrait nobody knew existed as well as its restoration of a Phoenix Headshaped Glass Bottle which had been broken into 180 pieces and brought back nearly identical to its original form. To commemorate the Division’s achievements, first special exhibition in 2016 is titled Conservation Science, Saving Cultural Properties. The exhibition will provide an opportunity for visitors to learn about the amazing journey these works have taken on their way to being meticulously restored by the Division.

The volumes of this year will deal with Korean traditional colors more in-depth through sections of “Special Feature” and “Curator’s Talk.” Korean traditional colors—represented by blue, red, yellow, black, and white—express human emotions and reflect a profound philosophy that embodies the principles of nature. The spring volume covers blue, which means the creation of all things and life. The Special Feature column handles the various shades of Korean blue, such as azurite and indigo, which have been developed differently over the centuries from those of the West, while the Curator’s Talk column looks at the clear blue of blue-and-white porcelain.

The detailed description of the reorganized Goryeo 918–1392 Gallery had to be included here. With a total of 720 works from the Goryeo Dynasty, including 200 that are being shown to the public for the very first time, this gallery was redone with a focus on helping visitors gain a greater understanding of the Goryeo Dynasty. In addition, the museum completed its reorganization of the Balhae 698–926 Gallery, which is located side by side with the Goryeo Gallery, in order to show how this independent kingdom inherited from Goguryeo 37 BCE–668 CE. Instead of simply relishing these curatorial achievements, the NMK is constantly changing because it recognizes that all museums should be places where people can understand today and prepare for the future by witnessing stories from the past. On a brilliant spring day, I hope you will create your own stories of today and tomorrow at a museum that is as mysterious and beautiful as this time of year, which is best represented by growth, renewal, and new life.

KOREAN HERITAGE

FROM THE GALLERY

ACTIVITIES

special feature Korean Traditional Color: Blue 02

special exhibition Conservation Science, Saving Cultural Properties 16

behind the exhibit Conservation of Ceramic Heritage 30

Yi Young-Hoon

Cover of the Current Issue Blue–and–white Porcelain Bottle with Lingzhi Scroll Design Joseon, 19th century H. 31.3 cm

Director General National Museum of Korea Spring 2016

curator’s talk Envisioning Blue: Blue-and-white Porcelain of the Joseon Dynasty 10 zoom in Buddhist Drum Stand 14

visitor Into the World of Conservation Science 22 exhibition The Reorganized Goryeo Gallery: A Glimpse into Life in the Goryeo Dynasty 24

the view Balancing Research on Ancient Korean Cultures 32 miscellaneous 38 new & hidden space Special Places to Rest among the Exhibition Halls 40

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, Korea

Printed in Korea Copyright © 2016 National Museum of Korea.

ISSN: 2005–1123

Editorial Direction Design Team of National Museum of Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr

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.

Design and Production Sobook Inc. Publication Date April 20, 2016

nmk spring 2016 | korean heritage

special feature Fig. 1 Lobed Bottle Goryeo, 12th century Celadon H. 22.6 cm Excavated from the presumed Royal Tomb of King Injong National Treasure No. 94 bon 4254

Korean Traditional Color: Blue

By Kim Woollim, Curator of the Fine Arts Division

I

SYMBOLISM OF BLUE n the West, the word “blue” is thought to derive from blau in German and azur in Arabic, but the Korean word for blue, pureuda, comes from pul, meaning “grass.” Another word for blue is cheong 靑, and aside from its dictionary definition the word is also a symbol of youth, as seen in the words cheongnyeon 靑 年 and cheongchun 靑春 , both of which mean youth; it is also a symbol for the east, and in the past Korea was called cheonggu 靑邱, meaning “the blue land.” While Koreans imbue the word blue with the symbolism of youth, it is not so in other cultures. In the Hindu faith, blue is the color of the raincoat worn by Indra, the god of rain; in Roman myth it is the symbolic color of Jupiter and his wife, Juno; in Christianity it is the color of the Virgin Mary, mother of Jesus; and in the Islam faith it is the color of the prophet Mohammed.

In the Korean color system, however, the symbolism goes beyond representation of a particular figure or deity to reflect the cosmology, or world view, of the Korean people. This color system is based on the theory of the five elements, a vehicle for understanding the world according to the combination and mutual reaction of the five basic elements. Blue is one of the colors of the five elements, along with red, white, black and yellow; the color representing the east among the colors of the five directions (north, south, east, west and the center); the color for joy among the five emotions (joy, anger, love, desire and hate); the color for the sour taste among the five tastes (sweet, sour, bitter, salty and savory); the color for benevo-

02

lence among the five virtues (benevolence, righteousness, propriety, wisdom and fidelity); and the color for Jupiter among the five planets (Jupiter, Venus, Mars, Mercury and Saturn). In this world view, the connection between the colors and the directions is particularly strong, and the concept of the five colors for the five directions (obang osaek) is a well-established part of everyday life.

The sense of color of the Goryeo Dynasty 918–1392 people comes down to the term “Goryeo bisaek.”高麗翡色 Goryeo celadon covered in a translucent jade-colored (bisaek) glaze, refined in form with complex and fancy designs removed to leave only the beauty of form and a subtle bluish-green color, was an expression of the artistry and inner sensibilities of the Goryeo aristocracy (Fig. 1).

In the following Joseon Dynasty 1392–1897, under the Confucian world view, the use of colors was restricted according to rank and social class with blue, along with white, standing for the lower class.

In order to discourage luxury, wedding robes worn in the late Joseon period were all unified to the color blue and the common people were encouraged to wear cotton clothes dyed blue. This use of blue can be understood as a reflection of the Confucian view of blue as representing the lowest classes of society.

BLUE DYES AND PIGMENTS There are many varied words for blue spanning the spectrum from light blue to dark blue. Blue also went by different names according

03

nmk spring 2016 | korean heritage

special feature Fig. 1 Lobed Bottle Goryeo, 12th century Celadon H. 22.6 cm Excavated from the presumed Royal Tomb of King Injong National Treasure No. 94 bon 4254

Korean Traditional Color: Blue

By Kim Woollim, Curator of the Fine Arts Division

I

SYMBOLISM OF BLUE n the West, the word “blue” is thought to derive from blau in German and azur in Arabic, but the Korean word for blue, pureuda, comes from pul, meaning “grass.” Another word for blue is cheong 靑, and aside from its dictionary definition the word is also a symbol of youth, as seen in the words cheongnyeon 靑 年 and cheongchun 靑春 , both of which mean youth; it is also a symbol for the east, and in the past Korea was called cheonggu 靑邱, meaning “the blue land.” While Koreans imbue the word blue with the symbolism of youth, it is not so in other cultures. In the Hindu faith, blue is the color of the raincoat worn by Indra, the god of rain; in Roman myth it is the symbolic color of Jupiter and his wife, Juno; in Christianity it is the color of the Virgin Mary, mother of Jesus; and in the Islam faith it is the color of the prophet Mohammed.

In the Korean color system, however, the symbolism goes beyond representation of a particular figure or deity to reflect the cosmology, or world view, of the Korean people. This color system is based on the theory of the five elements, a vehicle for understanding the world according to the combination and mutual reaction of the five basic elements. Blue is one of the colors of the five elements, along with red, white, black and yellow; the color representing the east among the colors of the five directions (north, south, east, west and the center); the color for joy among the five emotions (joy, anger, love, desire and hate); the color for the sour taste among the five tastes (sweet, sour, bitter, salty and savory); the color for benevo-

02

lence among the five virtues (benevolence, righteousness, propriety, wisdom and fidelity); and the color for Jupiter among the five planets (Jupiter, Venus, Mars, Mercury and Saturn). In this world view, the connection between the colors and the directions is particularly strong, and the concept of the five colors for the five directions (obang osaek) is a well-established part of everyday life.

The sense of color of the Goryeo Dynasty 918–1392 people comes down to the term “Goryeo bisaek.”高麗翡色 Goryeo celadon covered in a translucent jade-colored (bisaek) glaze, refined in form with complex and fancy designs removed to leave only the beauty of form and a subtle bluish-green color, was an expression of the artistry and inner sensibilities of the Goryeo aristocracy (Fig. 1).

In the following Joseon Dynasty 1392–1897, under the Confucian world view, the use of colors was restricted according to rank and social class with blue, along with white, standing for the lower class.

In order to discourage luxury, wedding robes worn in the late Joseon period were all unified to the color blue and the common people were encouraged to wear cotton clothes dyed blue. This use of blue can be understood as a reflection of the Confucian view of blue as representing the lowest classes of society.

BLUE DYES AND PIGMENTS There are many varied words for blue spanning the spectrum from light blue to dark blue. Blue also went by different names according

03

special feature | korean traditional color: blue

nmk spring 2016 | korean heritage

bonate and the pigment was obtained from copper ore deposits in the Guizhou Province and the Yunnan Province in China and Myanmar. Though it turns a dark blackish color under heat and alkaline materials or when used in combination with oil, if mixed with water-soluble glues it is very stable. For this reason it was favored in Asian ink and wash paintings rather than in Western oil painting. Certainly, azurite was the representative blue used in Korean tradition, from ancient tomb murals to Goryeo Buddhist paintings and Joseon documentary paintings (Fig. 2).

In the case of ceramics fired at temperatures of more than 1,400°C the pigment known as smalt was used rather than ultramarine and azurite, which melt in the kiln and turn into colorless glass.

Smalt is a potassium silicate glass colored with cobalt oxide then ground into powder. It could only be obtained in parts of Africa, and the Islamic dynasties kept the production process secret and strictly controlled its trade. As it came from the Islamic world, in Korea it was called Mohammedan blue, hoehoecheong 回回靑. But it was very expensive and the Joseon people made attempts to find a replacement at home. In its natural state, smalt is dark brown in color, but it is a mysterious glassy pigment that turns blue in the process of firing at high temperatures. As it is strong under high temperatures and transparent, it was more effectively used in ceramics or tiles rather than paintings. In Joseon blue-and-white porcelain, white wares painted with underglaze cobalt blue, it was widely used to paint the delicate surface designs in clear, bright blue (Fig. 3).

to the place where certain dyes and pigments originated: Mohammedan blue from Arabia, Chinese blue, Japanese blue, Western blue from the west, and Native blue from Korea. If distinguished according to raw materials the pigments can be divided into mineral pigments, plant-based pigments, and man-made synthetic pigments.

While various synthetic pigments are used today, including ultramarine, cobalt blue, phthalocyanine blue, Prussian blue and cerulean blue, before their development most blue pigments were mineral ones such as azurite, ultramarine, and smalt, or plant-based ones such as indigotin.

Mineral pigments such as ultramarine and azurite are so durable that the blue color lasts thousands of years. Ultramarine was obtained from lapis lazuli in places such as Persia and Afghanistan, and when the method of making ultramarine pigment from the bright blue rock was developed in Europe in the 12th–13th centuries it became a major product in Mediterranean maritime trade, generally imported through Venice. As ultramarine has strong heat and acid resistance and does not fade even when exposed to sunlight, it was considered as precious as gold. Hence, in Renaissance paintings it was used only on the most important figures such as the Virgin Mary. Indeed, there is a well-known story about artists, including Albrecht Dürer, complaining about the high cost of ultramarine pigment.

In East Asia, however, the major mineral-based blue pigment used was not ultramarine but azurite. Azurite is a basic copper car-

Fig. 2 Portrait of King Taejo (1335–1408)

By Jo Jungmuk and others Joseon, 1872 Hanging scroll, ink and colors on silk 218.0 × 150.0 cm Royal Portrait Museum National Treasure No. 317

Fig. 3 Blue–and–white Porcelain Bottle with Plum and Bamboo design Joseon, 18th–19th century H. 8.7 cm Donated by Lee Hong–geun in 1981 don 517

04

05

special feature | korean traditional color: blue

nmk spring 2016 | korean heritage

bonate and the pigment was obtained from copper ore deposits in the Guizhou Province and the Yunnan Province in China and Myanmar. Though it turns a dark blackish color under heat and alkaline materials or when used in combination with oil, if mixed with water-soluble glues it is very stable. For this reason it was favored in Asian ink and wash paintings rather than in Western oil painting. Certainly, azurite was the representative blue used in Korean tradition, from ancient tomb murals to Goryeo Buddhist paintings and Joseon documentary paintings (Fig. 2).

In the case of ceramics fired at temperatures of more than 1,400°C the pigment known as smalt was used rather than ultramarine and azurite, which melt in the kiln and turn into colorless glass.

Smalt is a potassium silicate glass colored with cobalt oxide then ground into powder. It could only be obtained in parts of Africa, and the Islamic dynasties kept the production process secret and strictly controlled its trade. As it came from the Islamic world, in Korea it was called Mohammedan blue, hoehoecheong 回回靑. But it was very expensive and the Joseon people made attempts to find a replacement at home. In its natural state, smalt is dark brown in color, but it is a mysterious glassy pigment that turns blue in the process of firing at high temperatures. As it is strong under high temperatures and transparent, it was more effectively used in ceramics or tiles rather than paintings. In Joseon blue-and-white porcelain, white wares painted with underglaze cobalt blue, it was widely used to paint the delicate surface designs in clear, bright blue (Fig. 3).

to the place where certain dyes and pigments originated: Mohammedan blue from Arabia, Chinese blue, Japanese blue, Western blue from the west, and Native blue from Korea. If distinguished according to raw materials the pigments can be divided into mineral pigments, plant-based pigments, and man-made synthetic pigments.

While various synthetic pigments are used today, including ultramarine, cobalt blue, phthalocyanine blue, Prussian blue and cerulean blue, before their development most blue pigments were mineral ones such as azurite, ultramarine, and smalt, or plant-based ones such as indigotin.

Mineral pigments such as ultramarine and azurite are so durable that the blue color lasts thousands of years. Ultramarine was obtained from lapis lazuli in places such as Persia and Afghanistan, and when the method of making ultramarine pigment from the bright blue rock was developed in Europe in the 12th–13th centuries it became a major product in Mediterranean maritime trade, generally imported through Venice. As ultramarine has strong heat and acid resistance and does not fade even when exposed to sunlight, it was considered as precious as gold. Hence, in Renaissance paintings it was used only on the most important figures such as the Virgin Mary. Indeed, there is a well-known story about artists, including Albrecht Dürer, complaining about the high cost of ultramarine pigment.

In East Asia, however, the major mineral-based blue pigment used was not ultramarine but azurite. Azurite is a basic copper car-

Fig. 2 Portrait of King Taejo (1335–1408)

By Jo Jungmuk and others Joseon, 1872 Hanging scroll, ink and colors on silk 218.0 × 150.0 cm Royal Portrait Museum National Treasure No. 317

Fig. 3 Blue–and–white Porcelain Bottle with Plum and Bamboo design Joseon, 18th–19th century H. 8.7 cm Donated by Lee Hong–geun in 1981 don 517

04

05

special feature | korean traditional color: blue

nmk spring 2016 | korean heritage

Fig. 4 Illustrated manuscript of the Avatamsaka Sutra Goryeo, 1350 Written and painted in gold on indigo paper Concertina book 28.7 × 11.0 cm National Museum of Korea, Purchased in 1931 bon 12728

Fig. 5 Portrait of a Beauty

By Shin Yunbok (1758–1817?)

Joseon, 18th century Hanging scroll, ink and light colors on paper 114.0 × 45.5 cm © Kansong Art and Culture Foundation

Fig. 6 16-IV-70-#166 (Where, in What Form, Shall We Meet Again)

By Kim Whanki (1913–1974) 1970 Oil on cotton 236.0 × 172.0 cm Private Collection © Whanki Foundation·Whanki Museum

Though plant-based dyes and pigments are weak in humidity and direct sunlight, they were widely used as they were easy to obtain, unlike expensive mineral pigments. Chief among them was indigotin. Of course, the growing of indigo plants and method of extracting indigo dye is known around the world, but few countries have loved and used this pigment for as long as Korea. The Korean expression “indigo sky” has its roots in the pale sky blue color produced in the early stages of indigo dyeing. The pigment comes either from extraction of liquid from the indigo plant leaves or by mixing indigo-steeped water with lime water, which produces a blue sediment that is dried in the sun. Indigo is therefore difficult to make in any season other than summer or autumn. In spite of such drawbacks it was used not only for dyeing but also for painting as the color changes in depth according to how many times the pigment is extracted and mixes well with other colors. If the hand copied Buddhist sutras of the Goryeo Dynasty on beautiful indigodyed paper reflect the infinite faith of the Goryeo people (Fig. 4), the faint, lyrical blue found in the ink and light color paintings of the Joseon Dynasty seem to speak for the sense of color imbedded in the mentality of the Korean people (Fig. 5).

ic in the modern art context. Kim Whanki is famous for his lifelong devotion to the pursuit of “Korean beauty,” collecting and taking pleasure in traditional works including ceramics and pieces of wooden furniture. He engaged in semi-abstract work, sometimes filling the canvas with dots, lines and planes and sometimes with ceramic jars and natural motifs such as plum blossoms, mountains and the moon. He left behind an especially large number of works featuring full round jars called “moon jars” and the color blue, which held a special fascination for him. Kim’s abstract dot paintings of the 1960s and 1970s reveal Korean-style blue tones and their clear, deep resonance. His ode to the color blue from a broadcast interview in France in September 1961 seems to speak for the Korean people’s traditional and yet modern feeling for blue.

“The Korean sky is intensely blue. It is not only the sky. The East Sea is also clear and blue; it seems that if you soaked a white towel in the waves it would come up dripping blue water. Here in Nice I saw the Mediterranean, and yesterday I went out on a boat, but the water was not as clear and blue as the East Sea of Korea. The people of my country value purity. They like things that are clean and simple. Living under blue skies and beside blue waters, we made blue-tinted celadon and beautiful white porcelain.”

AESTHETICS OF BLUE In modern times, with the acceptance of Western culture in which blue is associated with love, depression, and romantic feelings, the Korean people’s understanding of the symbolism of blue became more aesthetically varied. Such modern comprehension of colors is now serving as a catalyst for reinterpretation and rediscovery of blue in the traditional color system.

The traditional regard for blue developed into a special aesthet-

Where, in What Form, Shall We Meet Again (Fig. 6), one of Kim’s works from the 1970s, along with others in the series, form an expanding metaphysical space, an abstract space with the overlapping of dots and lines in watery dark blue. The internalized and mystical sense of color created by the varied shades of blue ranging from

06

07

special feature | korean traditional color: blue

nmk spring 2016 | korean heritage

Fig. 4 Illustrated manuscript of the Avatamsaka Sutra Goryeo, 1350 Written and painted in gold on indigo paper Concertina book 28.7 × 11.0 cm National Museum of Korea, Purchased in 1931 bon 12728

Fig. 5 Portrait of a Beauty

By Shin Yunbok (1758–1817?)

Joseon, 18th century Hanging scroll, ink and light colors on paper 114.0 × 45.5 cm © Kansong Art and Culture Foundation

Fig. 6 16-IV-70-#166 (Where, in What Form, Shall We Meet Again)

By Kim Whanki (1913–1974) 1970 Oil on cotton 236.0 × 172.0 cm Private Collection © Whanki Foundation·Whanki Museum

Though plant-based dyes and pigments are weak in humidity and direct sunlight, they were widely used as they were easy to obtain, unlike expensive mineral pigments. Chief among them was indigotin. Of course, the growing of indigo plants and method of extracting indigo dye is known around the world, but few countries have loved and used this pigment for as long as Korea. The Korean expression “indigo sky” has its roots in the pale sky blue color produced in the early stages of indigo dyeing. The pigment comes either from extraction of liquid from the indigo plant leaves or by mixing indigo-steeped water with lime water, which produces a blue sediment that is dried in the sun. Indigo is therefore difficult to make in any season other than summer or autumn. In spite of such drawbacks it was used not only for dyeing but also for painting as the color changes in depth according to how many times the pigment is extracted and mixes well with other colors. If the hand copied Buddhist sutras of the Goryeo Dynasty on beautiful indigodyed paper reflect the infinite faith of the Goryeo people (Fig. 4), the faint, lyrical blue found in the ink and light color paintings of the Joseon Dynasty seem to speak for the sense of color imbedded in the mentality of the Korean people (Fig. 5).

ic in the modern art context. Kim Whanki is famous for his lifelong devotion to the pursuit of “Korean beauty,” collecting and taking pleasure in traditional works including ceramics and pieces of wooden furniture. He engaged in semi-abstract work, sometimes filling the canvas with dots, lines and planes and sometimes with ceramic jars and natural motifs such as plum blossoms, mountains and the moon. He left behind an especially large number of works featuring full round jars called “moon jars” and the color blue, which held a special fascination for him. Kim’s abstract dot paintings of the 1960s and 1970s reveal Korean-style blue tones and their clear, deep resonance. His ode to the color blue from a broadcast interview in France in September 1961 seems to speak for the Korean people’s traditional and yet modern feeling for blue.

“The Korean sky is intensely blue. It is not only the sky. The East Sea is also clear and blue; it seems that if you soaked a white towel in the waves it would come up dripping blue water. Here in Nice I saw the Mediterranean, and yesterday I went out on a boat, but the water was not as clear and blue as the East Sea of Korea. The people of my country value purity. They like things that are clean and simple. Living under blue skies and beside blue waters, we made blue-tinted celadon and beautiful white porcelain.”

AESTHETICS OF BLUE In modern times, with the acceptance of Western culture in which blue is associated with love, depression, and romantic feelings, the Korean people’s understanding of the symbolism of blue became more aesthetically varied. Such modern comprehension of colors is now serving as a catalyst for reinterpretation and rediscovery of blue in the traditional color system.

The traditional regard for blue developed into a special aesthet-

Where, in What Form, Shall We Meet Again (Fig. 6), one of Kim’s works from the 1970s, along with others in the series, form an expanding metaphysical space, an abstract space with the overlapping of dots and lines in watery dark blue. The internalized and mystical sense of color created by the varied shades of blue ranging from

06

07

special feature | korean traditional color: blue

nmk spring 2016 | korean heritage

Fig. 7 Dish with Dot

By Lee Ufan (1936–) & Park Youngsook (1947–) 1993 White clay with cobalt D. 47.0 cm Private Collection

Fig. 8 Garden Blue

By Kim Sunhyoung (1963– ) 2013 Mixed media on Korean paper 180.0 × 240.0 cm Private Collection

Fig. 9 Light 96-33

By Ha Dongchul (1942–2006) 1996 Acrylic on canvas 150.0 × 150.0 cm Private Collection

restrained contemplation, Kim Sunhyoung’s Garden Blue series is distinguished by the expressiveness of the impulsive and spontaneous brushwork. The varied bird and flower motifs and stubborn adherence to the traditional medium of paper and brush convey the artist’s faith in traditional beauty, and the feast of blue that fills the picture plane when seen from afar brings to mind not only the blueand-white porcelain of the Joseon Dynasty but further, the symphony of color found in Water Lilies from Monet’s later years (Fig. 8).

Ha Dongchul has focused on the light-like spectrums. Throughout his life, in the blue light spectrums it seems he saw “the mystique of day break that penetrated into the darkness of an oriental oak forest, the endlessly weaving reed field of Eulsukdo Island and the evening sunlight glistening on the river, and the dawn of Ulsan Rock howling with the ancient wind (Fig. 9).” Many other modern artists have been caught in the spell of the traditional blue color and the color blue has continued to provide inspiration for artists to this day. The traditional sensitivity to blue has ripened to enrich modern art and continues to be alive and valid in the present day.

greenish-blue to dark blue bring to mind the pure, restrained expression of Joseon white porcelain. Moreover, the subtly changing and moving rhythm that is created by the spreading dots seem to be consistent with the poetic ambience of traditional paintings.

Lee Ufan, under the name of “aesthetics of relationships,” has been working on pieces that explore dots, lines, calligraphic strokes and empty spaces. Through his From Point and From Line series of the 1970s, and the Correspondence series from the 1990s, he has shown the resonance of empty space created by a single line or single dot. Lee considers the canvas to be the combination of the artist’s thoughts and actions, so the materiality of the paints, the energy of the hands, control of breathing, careful planning, and high concentration are important. But regardless of the artist’s intentions the blue or blackish-blue found in so many of his works are evocative of Korean traditional sensibilities (Fig. 7).

Kim Sunhyoung, another modern artist entranced by the traditional color blue, has for many years been working uniformly with blue alone. In place of Kim Whanki’s rich lyricism and Lee Ufan’s 08

09

special feature | korean traditional color: blue

nmk spring 2016 | korean heritage

Fig. 7 Dish with Dot

By Lee Ufan (1936–) & Park Youngsook (1947–) 1993 White clay with cobalt D. 47.0 cm Private Collection

Fig. 8 Garden Blue

By Kim Sunhyoung (1963– ) 2013 Mixed media on Korean paper 180.0 × 240.0 cm Private Collection

Fig. 9 Light 96-33

By Ha Dongchul (1942–2006) 1996 Acrylic on canvas 150.0 × 150.0 cm Private Collection

restrained contemplation, Kim Sunhyoung’s Garden Blue series is distinguished by the expressiveness of the impulsive and spontaneous brushwork. The varied bird and flower motifs and stubborn adherence to the traditional medium of paper and brush convey the artist’s faith in traditional beauty, and the feast of blue that fills the picture plane when seen from afar brings to mind not only the blueand-white porcelain of the Joseon Dynasty but further, the symphony of color found in Water Lilies from Monet’s later years (Fig. 8).

Ha Dongchul has focused on the light-like spectrums. Throughout his life, in the blue light spectrums it seems he saw “the mystique of day break that penetrated into the darkness of an oriental oak forest, the endlessly weaving reed field of Eulsukdo Island and the evening sunlight glistening on the river, and the dawn of Ulsan Rock howling with the ancient wind (Fig. 9).” Many other modern artists have been caught in the spell of the traditional blue color and the color blue has continued to provide inspiration for artists to this day. The traditional sensitivity to blue has ripened to enrich modern art and continues to be alive and valid in the present day.

greenish-blue to dark blue bring to mind the pure, restrained expression of Joseon white porcelain. Moreover, the subtly changing and moving rhythm that is created by the spreading dots seem to be consistent with the poetic ambience of traditional paintings.

Lee Ufan, under the name of “aesthetics of relationships,” has been working on pieces that explore dots, lines, calligraphic strokes and empty spaces. Through his From Point and From Line series of the 1970s, and the Correspondence series from the 1990s, he has shown the resonance of empty space created by a single line or single dot. Lee considers the canvas to be the combination of the artist’s thoughts and actions, so the materiality of the paints, the energy of the hands, control of breathing, careful planning, and high concentration are important. But regardless of the artist’s intentions the blue or blackish-blue found in so many of his works are evocative of Korean traditional sensibilities (Fig. 7).

Kim Sunhyoung, another modern artist entranced by the traditional color blue, has for many years been working uniformly with blue alone. In place of Kim Whanki’s rich lyricism and Lee Ufan’s 08

09

nmk spring 2016 | korean heritage

curator’s talk

Envisioning Blue: Blue-and-white Porcelain of the Joseon Dynasty

By Im Jin A, Associate Curator of the Collections Management Division

Fig. 1 Blue-and-white Porcelain Jar with Plum and Bamboo Design Joseon, 15th century H. 41.0 cm National Treasure No. 219 Leeum, Samsung Museum of Art

B

administrative office responsible for drawing pictures as requested by other administrative offices during the Joseon era, where they painted designs on the post-baked porcelain.

The earliest blue-and-white porcelain made in Joseon seems to have been influenced by artisans from China’s Ming Dynasty 1368–1644 . Soon, though, this same porcelain came to have its own unique Joseon traits. Compared to blue-and-white porcelain from the Ming Dynasty, where major designs and subordinate patterns were layered upon one another, the Joseon variety, whose main subject was pictorially displayed on the front of the ceramics through energetic brushstrokes, contained more empty space. At Leeum, Samsung Museum of Art in Seoul, visitors can see the Blueand-white Porcelain Jar with Plum and Bamboo Design firsthand, an excellent example of Joseon blue-and-white wares that captures the strong, elegant spirit of the Four Gentlemen, or Four Noble Ones (which in Chinese art traditionally referred to the plum blossom, orchid, chrysanthemum, and bamboo) painted by officials at Dohwaseo and which fully reveals the Ming Dynasty’s influence on early Joseon Dynasty ceramics (Fig. 1). The bright blue of the cobalt

efore the advent of blue-and-white porcelain, otherwise known as blue-and-white wares, it was unprecedented to paint designs in blue using a white background. In all likelihood, that is probably why blue-and-white porcelain left people with a first impression of newness, freshness, and nobility.

Although Joseon Dynasty artists only began producing blueand-white porcelain around the mid-15th century, the Chinese had been doing it since the time of the Yuan Dynasty 1271–1368 . To create blue-and-white porcelain, craftsmen would paint designs using a cobalt pigment upon solid porcelain that had been baked at 1,300°c.

Natural cobalt has a dark brown hue, but the mysterious pigment turns to blue at a very high temperature. Initially, Joseon imported cobalt from China, but which had originally been mined in the Middle East. That explains why the pigment was so rare and expensive back then. After China, Joseon was the world’s second country to produce blue-and-white porcelain, the latter of which was produced at the Saongwon branch, the government office in charge of the king’s meals and food supply for the royal court and located in Gwangju, Gyeonggi-do. Painters then worked at Dohwaseo, an

Fig. 2 Blue-and-white Porcelain Jar with Landscape, Plum, Bird, and Bamboo Design Joseon, 18th century H. 38.1 cm soo 285

10

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nmk spring 2016 | korean heritage

curator’s talk

Envisioning Blue: Blue-and-white Porcelain of the Joseon Dynasty

By Im Jin A, Associate Curator of the Collections Management Division

Fig. 1 Blue-and-white Porcelain Jar with Plum and Bamboo Design Joseon, 15th century H. 41.0 cm National Treasure No. 219 Leeum, Samsung Museum of Art

B

administrative office responsible for drawing pictures as requested by other administrative offices during the Joseon era, where they painted designs on the post-baked porcelain.

The earliest blue-and-white porcelain made in Joseon seems to have been influenced by artisans from China’s Ming Dynasty 1368–1644 . Soon, though, this same porcelain came to have its own unique Joseon traits. Compared to blue-and-white porcelain from the Ming Dynasty, where major designs and subordinate patterns were layered upon one another, the Joseon variety, whose main subject was pictorially displayed on the front of the ceramics through energetic brushstrokes, contained more empty space. At Leeum, Samsung Museum of Art in Seoul, visitors can see the Blueand-white Porcelain Jar with Plum and Bamboo Design firsthand, an excellent example of Joseon blue-and-white wares that captures the strong, elegant spirit of the Four Gentlemen, or Four Noble Ones (which in Chinese art traditionally referred to the plum blossom, orchid, chrysanthemum, and bamboo) painted by officials at Dohwaseo and which fully reveals the Ming Dynasty’s influence on early Joseon Dynasty ceramics (Fig. 1). The bright blue of the cobalt

efore the advent of blue-and-white porcelain, otherwise known as blue-and-white wares, it was unprecedented to paint designs in blue using a white background. In all likelihood, that is probably why blue-and-white porcelain left people with a first impression of newness, freshness, and nobility.

Although Joseon Dynasty artists only began producing blueand-white porcelain around the mid-15th century, the Chinese had been doing it since the time of the Yuan Dynasty 1271–1368 . To create blue-and-white porcelain, craftsmen would paint designs using a cobalt pigment upon solid porcelain that had been baked at 1,300°c.

Natural cobalt has a dark brown hue, but the mysterious pigment turns to blue at a very high temperature. Initially, Joseon imported cobalt from China, but which had originally been mined in the Middle East. That explains why the pigment was so rare and expensive back then. After China, Joseon was the world’s second country to produce blue-and-white porcelain, the latter of which was produced at the Saongwon branch, the government office in charge of the king’s meals and food supply for the royal court and located in Gwangju, Gyeonggi-do. Painters then worked at Dohwaseo, an

Fig. 2 Blue-and-white Porcelain Jar with Landscape, Plum, Bird, and Bamboo Design Joseon, 18th century H. 38.1 cm soo 285

10

11

curator’s talk | envisioning blue: blue-and-white porcelain of the joseon dynasty

pigment especially stands out when comparing it to other ceramics of the time or later works.

From their genesis, Joseon’s blue-and-white wares were made for kings. Although the user base gradually expanded, these unique ceramics were essentially produced relying on an aesthetic sense that embodied Joseon’s royal family. By the 19th century, when China, Japan, and Europe were exchanging artistic motifs from the East and West through ocean-bound trade, producing a range of blueand-white porcelain on top of colored ceramics, Joseon artists still viewed the elegance and dignity of the peninsula’s royal family as the highest ideal and drew on this for inspiration when creating blue-and-white porcelain. At the same time, they embraced people from different walks of life, including literary figures, the intellectual class, and merchants who wielded economic power.

In the late Joseon Dynasty, craftsmen mixed only three decorative methods using underglaze (cobalt, iron, and copper), but they didn’t use low-temperature pigments that would later develop colors after being baked such as pink, yellow, and gold, which at the time were popular worldwide. One can interpret this as a means for ceramic artists to uphold the Joseon royal family’s Confucian values. This is noteworthy because it shows that while other nations eventually veered toward decorative white porcelain featuring different colors, people in Joseon stayed true to blue-and-white porcelain throughout the entire Joseon Dynasty.

Unfortunately, the Japanese Invasion 1592–1598 brought the pro-

duction of blue-and-white porcelain in Joseon to a temporary halt.

After production resumed, Joseon’s blue-and-white porcelain during the reigns of King Yeongjo r. 1724–1776 and King Jeongjo r. 1776–1800 was represented by subjects and expressions favored by literary men as well as the aesthetics of moderation and frugality based on neo-Confucianism. In other words, it was characterized by a seemingly dense volume in the porcelain bodies themselves, a clean glaze color, and the simple expressions of the Four Gentlemen, landscapes, and poems that encapsulated the identity of these same literary people. Blue-and-white wares in this period had a sense of calm about them, an unpretentious aura that was in harmony with the two colors. However, the subjects of literati paintings later became the inspiration for designs of blue-and-white porcelain. As men who were usually austere in their habits and desires, blue-andwhite wares would probably have seemed like a luxury item to them.

The Blue-and-white Porcelain Jar with Landscape, Plum, Bird, and Bamboo Design housed at the NMK features two scenes from Chinese landscapes; Eight Views of Xiaoxiang 瀟湘八景, one scene on each side of the body of the jar (Fig. 2). In between the two scenes, artists painted plum blossoms, birds, and bamboo. This is considered a masterpiece of the time due to the exquisitely plump shape of the jar and the deft brush and Chinese ink method used for the landscape design.

Aside from other traditional painting subjects such as the Four Gentlemen and landscapes, flowers were included as designs on

Fig. 3 (left) Blue-and-white Porcelain Square Case with Cover with Flower and Rock Design Joseon, 19th century H. 10.2 cm nam 60

nmk spring 2016 | korean heritage

Fig. 5 Blue–and–white Porcelain Bottle with Lingzhi Scroll Design Joseon, 19th century H. 31.3 cm ssu 3040

and China’s Qing Dynasty 1644–1911 expressed their wishes for longevity and blessings with Chinese characters and designs. The Blue– and–white Porcelain Bottle with Lingzhi Scroll Design now a part of NMK’s permanent collection, was actually used for functional purposes at the Unhyeongung Palace in the 19th century and has the name Unhyeon 雲峴 written in Chinese characters with cobalt pigment at the bottom (Fig. 5). The head 頭 of ruyi 如意 design which is a swirling cloud-like design was carefully decorated and colored blue around the mouth of the bottle, with a lotus design around the lower part of the bottle. Although the shape and design of the bottle imply a certain amount of influence from the Chinese, the blueand-white porcelain was reinterpreted when produced in Joseon.

The aesthetic sense present in Joseon’s blue-and-white porcelain did not remain stagnant over the 500-plus years of the dynasty.

Sometimes it harmonized proud and powerful expressions through pictorial lyricism. At other times the design appeared quite simple, with a metaphorical sense of moderation. Then there were times the aesthetic sense reflected the international trends of the day, revealing itself as not only splendid but sophisticated. In short, the unique production methods and sense of color, which contrasted a blue design upon a white background, gave the porcelain its own identity throughout the Joseon Dynasty.

blue-and-white porcelain because Joseon’s intelligentsia enjoyed growing and appreciating flowers in the 18th and 19th centuries. The Blue-and-white Porcelain Square Case with Cover with Flower and Rock Design and the Blue-and-white Porcelain Rectangular Bottle with Flower and Rock Design are both housed at the NMK and feature flower designs such as China pinks, chrysanthemums, peonies, and lotuses together with rock on each surface of the squareshaped containers (Figs. 3 & 4). The background has a slight blue tinge to it, while the color formation of the underglaze cobalt was stronger than in the past and seems to be highlighting the gradually increasing decorativeness of Joseon’s blue-and-white porcelain, with flowers also included in the design to appeal to the literati. After seeing such decorative trends starting to take root, King Yeongjo and King Jeongjo repeatedly banned the production of blue-andwhite porcelain from time to time. Still, a new sense of aesthetics for a new era was gradually revealed, with increasingly sensuous and decorative appearances. For example, craftsmen added beautiful colors and embossed designs, bit by bit, upon blue-and-white porcelain, and colored the entire background blue.

In the early and mid-19th century, blue-and-white wares in the Joseon Dynasty featured a gorgeous and sophisticated look while also maintaining a unique elegance. During this time, both Joseon

Fig. 4 (right) Blue-and-white Porcelain Rectangular Bottle with Flower and Rock Design Joseon, 19th century H. 19.5 cm ssu 7201

12

13

curator’s talk | envisioning blue: blue-and-white porcelain of the joseon dynasty

pigment especially stands out when comparing it to other ceramics of the time or later works.

From their genesis, Joseon’s blue-and-white wares were made for kings. Although the user base gradually expanded, these unique ceramics were essentially produced relying on an aesthetic sense that embodied Joseon’s royal family. By the 19th century, when China, Japan, and Europe were exchanging artistic motifs from the East and West through ocean-bound trade, producing a range of blueand-white porcelain on top of colored ceramics, Joseon artists still viewed the elegance and dignity of the peninsula’s royal family as the highest ideal and drew on this for inspiration when creating blue-and-white porcelain. At the same time, they embraced people from different walks of life, including literary figures, the intellectual class, and merchants who wielded economic power.

In the late Joseon Dynasty, craftsmen mixed only three decorative methods using underglaze (cobalt, iron, and copper), but they didn’t use low-temperature pigments that would later develop colors after being baked such as pink, yellow, and gold, which at the time were popular worldwide. One can interpret this as a means for ceramic artists to uphold the Joseon royal family’s Confucian values. This is noteworthy because it shows that while other nations eventually veered toward decorative white porcelain featuring different colors, people in Joseon stayed true to blue-and-white porcelain throughout the entire Joseon Dynasty.

Unfortunately, the Japanese Invasion 1592–1598 brought the pro-

duction of blue-and-white porcelain in Joseon to a temporary halt.

After production resumed, Joseon’s blue-and-white porcelain during the reigns of King Yeongjo r. 1724–1776 and King Jeongjo r. 1776–1800 was represented by subjects and expressions favored by literary men as well as the aesthetics of moderation and frugality based on neo-Confucianism. In other words, it was characterized by a seemingly dense volume in the porcelain bodies themselves, a clean glaze color, and the simple expressions of the Four Gentlemen, landscapes, and poems that encapsulated the identity of these same literary people. Blue-and-white wares in this period had a sense of calm about them, an unpretentious aura that was in harmony with the two colors. However, the subjects of literati paintings later became the inspiration for designs of blue-and-white porcelain. As men who were usually austere in their habits and desires, blue-andwhite wares would probably have seemed like a luxury item to them.

The Blue-and-white Porcelain Jar with Landscape, Plum, Bird, and Bamboo Design housed at the NMK features two scenes from Chinese landscapes; Eight Views of Xiaoxiang 瀟湘八景, one scene on each side of the body of the jar (Fig. 2). In between the two scenes, artists painted plum blossoms, birds, and bamboo. This is considered a masterpiece of the time due to the exquisitely plump shape of the jar and the deft brush and Chinese ink method used for the landscape design.

Aside from other traditional painting subjects such as the Four Gentlemen and landscapes, flowers were included as designs on

Fig. 3 (left) Blue-and-white Porcelain Square Case with Cover with Flower and Rock Design Joseon, 19th century H. 10.2 cm nam 60

nmk spring 2016 | korean heritage

Fig. 5 Blue–and–white Porcelain Bottle with Lingzhi Scroll Design Joseon, 19th century H. 31.3 cm ssu 3040

and China’s Qing Dynasty 1644–1911 expressed their wishes for longevity and blessings with Chinese characters and designs. The Blue– and–white Porcelain Bottle with Lingzhi Scroll Design now a part of NMK’s permanent collection, was actually used for functional purposes at the Unhyeongung Palace in the 19th century and has the name Unhyeon 雲峴 written in Chinese characters with cobalt pigment at the bottom (Fig. 5). The head 頭 of ruyi 如意 design which is a swirling cloud-like design was carefully decorated and colored blue around the mouth of the bottle, with a lotus design around the lower part of the bottle. Although the shape and design of the bottle imply a certain amount of influence from the Chinese, the blueand-white porcelain was reinterpreted when produced in Joseon.

The aesthetic sense present in Joseon’s blue-and-white porcelain did not remain stagnant over the 500-plus years of the dynasty.

Sometimes it harmonized proud and powerful expressions through pictorial lyricism. At other times the design appeared quite simple, with a metaphorical sense of moderation. Then there were times the aesthetic sense reflected the international trends of the day, revealing itself as not only splendid but sophisticated. In short, the unique production methods and sense of color, which contrasted a blue design upon a white background, gave the porcelain its own identity throughout the Joseon Dynasty.

blue-and-white porcelain because Joseon’s intelligentsia enjoyed growing and appreciating flowers in the 18th and 19th centuries. The Blue-and-white Porcelain Square Case with Cover with Flower and Rock Design and the Blue-and-white Porcelain Rectangular Bottle with Flower and Rock Design are both housed at the NMK and feature flower designs such as China pinks, chrysanthemums, peonies, and lotuses together with rock on each surface of the squareshaped containers (Figs. 3 & 4). The background has a slight blue tinge to it, while the color formation of the underglaze cobalt was stronger than in the past and seems to be highlighting the gradually increasing decorativeness of Joseon’s blue-and-white porcelain, with flowers also included in the design to appeal to the literati. After seeing such decorative trends starting to take root, King Yeongjo and King Jeongjo repeatedly banned the production of blue-andwhite porcelain from time to time. Still, a new sense of aesthetics for a new era was gradually revealed, with increasingly sensuous and decorative appearances. For example, craftsmen added beautiful colors and embossed designs, bit by bit, upon blue-and-white porcelain, and colored the entire background blue.

In the early and mid-19th century, blue-and-white wares in the Joseon Dynasty featured a gorgeous and sophisticated look while also maintaining a unique elegance. During this time, both Joseon

Fig. 4 (right) Blue-and-white Porcelain Rectangular Bottle with Flower and Rock Design Joseon, 19th century H. 19.5 cm ssu 7201

12

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nmk spring 2016 | korean heritage

zoom in

Buddhist Drum Stand

By Ryu Kyunghee, Associate Curator of the Fine Arts Division

Right and left side of the Buddhist Drum Stand Late Joseon Wood H. 130.0 cm Purchased in 2014 koo 9709

T

pattern. Finally, on top of the pillar is a lotus leaf-shaped support to place the drum on. The stand comprises individual parts—i.e., the head, body, tail, pillar, and the lotus leaf-shaped support—that were made separately then assembled together. Standing firmly on all four legs and staring straight ahead, the lion looks bold and confident. Its lifted tail brims with energy. The flared nostrils and sharp fangs extending out over the closed lips convey a whimsical sense of candor and mirth. There were originally two crystals inserted in the lion’s face as eyes, but one of them has been lost. The stand was originally painted, but much of the paint has either faded or flaked off, so that only some parts of the stand show the remaining colors of red and green. Although the drum has been lost, one can imagine how it must have sounded from looking at the stand, for the stand must have taken in the vibrations of the drum with its entire body and added to the surrounding sound and resonating beat.

his wooden stand with its lifelike form was used in a Buddhist temple to support a large drum. Buddhist temples often have large drums that are used to sound the morning and evening calls, or as part of other ceremonies. The drum that was once placed on this stand has now been lost. Drums are an important instrument of worship in a Buddhist temple, used to announce the proceedings and contents of the rites. The sound of the drums symbolizes the wide reach of Buddhism, as it spreads throughout the world. The drum stand, also, connotes the dignified nature of the Buddhist instrument of worship. The drums are usually stored in a pavilion called goru. They are played either hung from the ceiling with a strap or placed on a stand.

The stand is in the shape of a lion with a rectangular saddle carved on the lion’s back. There is a lotus flower pattern carved in the middle of the saddle with the pillar rising from the center of the Detail of the Buddhist Drum Stand

14

15

nmk spring 2016 | korean heritage

zoom in

Buddhist Drum Stand

By Ryu Kyunghee, Associate Curator of the Fine Arts Division

Right and left side of the Buddhist Drum Stand Late Joseon Wood H. 130.0 cm Purchased in 2014 koo 9709

T

pattern. Finally, on top of the pillar is a lotus leaf-shaped support to place the drum on. The stand comprises individual parts—i.e., the head, body, tail, pillar, and the lotus leaf-shaped support—that were made separately then assembled together. Standing firmly on all four legs and staring straight ahead, the lion looks bold and confident. Its lifted tail brims with energy. The flared nostrils and sharp fangs extending out over the closed lips convey a whimsical sense of candor and mirth. There were originally two crystals inserted in the lion’s face as eyes, but one of them has been lost. The stand was originally painted, but much of the paint has either faded or flaked off, so that only some parts of the stand show the remaining colors of red and green. Although the drum has been lost, one can imagine how it must have sounded from looking at the stand, for the stand must have taken in the vibrations of the drum with its entire body and added to the surrounding sound and resonating beat.

his wooden stand with its lifelike form was used in a Buddhist temple to support a large drum. Buddhist temples often have large drums that are used to sound the morning and evening calls, or as part of other ceremonies. The drum that was once placed on this stand has now been lost. Drums are an important instrument of worship in a Buddhist temple, used to announce the proceedings and contents of the rites. The sound of the drums symbolizes the wide reach of Buddhism, as it spreads throughout the world. The drum stand, also, connotes the dignified nature of the Buddhist instrument of worship. The drums are usually stored in a pavilion called goru. They are played either hung from the ceiling with a strap or placed on a stand.

The stand is in the shape of a lion with a rectangular saddle carved on the lion’s back. There is a lotus flower pattern carved in the middle of the saddle with the pillar rising from the center of the Detail of the Buddhist Drum Stand

14

15

MARCH 8 – MAY 8, 2016 SPECIAL EXHIBITION GALLERY

Conservation Science, Saving Cultural Properties

By Cheon Juhyun, Conservator of the Conservation Science Division

16

2016 marks the 40th year since conservation science took root in the National Museum of Korea. In order to commemorate this history, highlighting the role and function of conservation science, the museum will hold a special exhibition titled Conservation Science, Saving Cultural Properties. Conservation science is a field harnessing both technologies derived from natural science and traditional methods to conserve and restore cultural properties based on thorough research of when, where, how and what regarding the origins of the properties and why they were damaged. In short, the aim of conservation science is discovering the safest method

to restore existing cultural properties and conserving them for future generations, by means of applying modern science and technology to inspect and analyze the information inherent in the cultural property.

In the 1960s and 1970s, large archaeological sites were uncovered in Gyeongju and Buyeo. With the sudden influx of works unearthed from these sites, museums had a greater demand for professional conservation science experts.

Coincidentally, in 1968, Korea joined the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) as an official mem-

17

ber. Following this, the National Museum of Korea sent personnel to Taiwan and Japan in 1975 to receive professional training as experts and the museum’s Conservation Office was established in 1976. At the time, even the name ‘conservation science’ was unfamiliar to most. The ‘office’ consisted of a single desk moved to the corner of the museum’s main office quarters. The only tools available to the office at the time were toothpicks, a magnifier and a sample adhesive that someone had brought back from an overseas training program.

Although starting from such humble beginnings, for the past 40 years, conservation science in Korea has shown remarkable

nmk spring 2016 | from the gallery

SPECIAL EXHIBITION

MARCH 8 – MAY 8, 2016 SPECIAL EXHIBITION GALLERY

Conservation Science, Saving Cultural Properties

By Cheon Juhyun, Conservator of the Conservation Science Division

16

2016 marks the 40th year since conservation science took root in the National Museum of Korea. In order to commemorate this history, highlighting the role and function of conservation science, the museum will hold a special exhibition titled Conservation Science, Saving Cultural Properties. Conservation science is a field harnessing both technologies derived from natural science and traditional methods to conserve and restore cultural properties based on thorough research of when, where, how and what regarding the origins of the properties and why they were damaged. In short, the aim of conservation science is discovering the safest method

to restore existing cultural properties and conserving them for future generations, by means of applying modern science and technology to inspect and analyze the information inherent in the cultural property.

In the 1960s and 1970s, large archaeological sites were uncovered in Gyeongju and Buyeo. With the sudden influx of works unearthed from these sites, museums had a greater demand for professional conservation science experts.

Coincidentally, in 1968, Korea joined the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) as an official mem-

17

ber. Following this, the National Museum of Korea sent personnel to Taiwan and Japan in 1975 to receive professional training as experts and the museum’s Conservation Office was established in 1976. At the time, even the name ‘conservation science’ was unfamiliar to most. The ‘office’ consisted of a single desk moved to the corner of the museum’s main office quarters. The only tools available to the office at the time were toothpicks, a magnifier and a sample adhesive that someone had brought back from an overseas training program.

Although starting from such humble beginnings, for the past 40 years, conservation science in Korea has shown remarkable

nmk spring 2016 | from the gallery

SPECIAL EXHIBITION

nmk spring 2016 | from the gallery

special exhibition | conservation science, saving cultural properties

A display of materials and tools used in conservation

Part 2 of the exhibition, which compares works before and after conservation

(bottom) Horse Rider-Shaped Vessel (Servant) before and after restoration

progress and achievements. The museum’s Conservation Science Division plays a crucial role in the field of conservation science in Korea having conducted scientific research and conservation work on numerous important cultural properties including: the Royal Tomb of King Muryeong in Gongju, the Cheonmachong and Hwangnamdaechong Tombs in Gyeongju, the Baekje Gilt-bronze Incense Burner uncovered from the Neungsan-ri site in Buyeo, the Sinchang-dong site in Gwangju, the site of ancient tombs in Daho-ri, Changwon of Gyeongsangnamdo, and the cultural properties discovered inside the Seokgatap Pagoda (Three-story stone Pagoda of Bulguksa Temple). This special exhibition will highlight the NMK’s efforts for conserving our cultural proper-

18

ties organized into categories of scientific research methods, restoration work and management of the museum environment.

Actual cases will be displayed to help the visitors’ understanding of how the field has developed.

A COMPILATION OF THE ACHIEVEMENTS MADE IN CONSERVATION SCIENCE This exhibition comprises a prologue, Parts 1 to 3, and an epilogue. The prologue focuses on the early days of the museum’s conservation science efforts in the 1970s and 1980s, displaying important cultural properties restored at the time such as the Horse Rider-Shaped Vessel (Servant) (National Treasure No. 91). During this time, conservation science in Korea was in its

(bottom) White Porcelain Pitcher before and after restoration by using 3D printing

infancy and rather than relying on science and technology, the individual skills of the conservationists were the determinant factor, as work centered on simple tasks such as pasting and eliminating contaminants.

The prologue serves to show how much effort was put into establishing the field despite the less than favorable conditions at the time.

In Part 1, the achievements of conservation science research using modern science and technology are showcased.

The principles of light, such as the x-ray and the infrared spectrum, which are often used in inspecting cultural properties, are explained. Displaying how these principles were used in actual cases will tell the story of the materials and techniques used in crafting our cultural properties. All

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cultural properties are the result of the original materials and the master craftsman’s skills working together to create the final form. Some skills, however, are not visible to the naked eye while others are. The use of light in inspecting and analyzing cultural properties allows us to verify even the aspects that are not visible to the unaided eye. Rough sketches that were once invisible were revealed through x-ray and infrared inspection, giving new information about the cultural properties. For example, before applying x-ray technology to the Portrait of Jeong Gonsu, it had been considered a portrait drawn by a contemporary of the man who lived from 1538 to 1602. However, the rough sketch which was revealed through x-ray inspection, held costumes from the

Qing Dynasty 1644–1911 and the question of who, when, where and why still remains a mystery to be solved. As such, Part 1 focuses on how conservation science research has revealed ancient techniques as well as new mysteries pertaining to our cultural properties.

FROM DIGITAL TECHNOLOGY TO PREVENTIVE CONSERVATION : THE EXPANSION OF CONSERVATION SCIENCE Part 2 covers the actual conservation process, comparing the before and after of conservation works, focusing on cultural properties restored by the museum’s Conservation Science Division since the 2000s.

Visitors will be able to better understand conservation efforts applying a mixture

of traditional techniques and science.

Through a replication of an actual conservation process, visitors would be able to witness how conservation works are done by the museum’s Conservation Science Division. Unlike in the past, the outcome of conservation efforts today depends on creatively grafting the skilled techniques of conservation scientists and modern science and technology. New developments of 3D digital technology are being applied to restoring the original forms of ceramic and metal cultural properties that have been managed. Before 3D scanning technology, conservation scientists had to make a cast or mold for restoration and discrepancy in the skill level of individuals led to greater differences in outcomes, not to mention the conservation process tak-

ing far longer than it does today. However, with the application of 3D digital technology, there has been an increasing parity in the quality of restoration work done on damaged ceramic and metal cultural properties and the time required in the process has also been greatly shortened.

Conservation science is often compared to medical science. If the latter pursues the extension of human life, the former aims to extend the existence of cultural properties in a safer state for posterity. As doctors tasked with treating human lives were historically required to take the Hippocratic Oath, conservation scientists have a philosophy and ethical obligations to uphold. They must consistently ask themselves what, how and why they should be restoring and draw the

nmk spring 2016 | from the gallery

special exhibition | conservation science, saving cultural properties

Recreation of an Open Lab, where actual conservation work takes place

most rational and objective conclusion.

Part 3 shows the expanded category of modern conservation science. Going beyond merely restoring damaged cultural properties, much research is now being done by preventive conservation, that is, how to prevent damage in the first place.

Cultural properties are constantly exposed to the risk of damage. The temperature and humidity conditions surrounding the cultural properties are sometimes at fault while other times the harm is inflicted unknowingly through the form of contaminants, lighting, dust, packaging materials and the materials used in exhibition. Also, the interaction between two or more environments could possibly accelerate the aging process of the cultural properties. Part 3 covers the unseen harms inherent in the environment as well as how visitors could involuntarily cause harm to cultural properties. In addition, it showcases the efforts and achievements of the National Museum of Korea in environment management for conservation in face of such factors.

Finally, the epilogue compiles an archive of the research achievements by the NMK’s Conservation Science Division over the past 40 years. During these years, the museum has accumulated much research and experience and now stands at the forefront of conservation science in Korea. This exhibition serves as an opportunity to look back on the efforts of the museum in the conservation of our cultural properties for the past 40 years and to examine the direction it would take in the future for further progress.

Portrait of Jeong Gonsu Qing Dynasty, 17th century Ink and colors on silk 174.5 × 98.0 cm bon 6503

An x-ray inspection led to the discovery of a hidden underlying sketch in the Portrait of Jeong Gonsu.

Conservation Science, Saving Cultural Properties

life in them. The process combines traditional techniques and modern science technology and the research has led to the new uncovering of until-now hidden historical facts. The field has the additional function of prolonging the lifespan of the cultural properties and conserving them under optimal conditions for posterity.

This catalogue contains detailed material on the process of conservation science, for the better understanding of the general public. The National Museum of Korea hopes that this exhibition catalogue serves to introduce and explain the field of conservation science to the general readers.

PUBLICATION

ISBN | 979-11-956456-2-6 93910 Pages | 232 Size | 28.5 × 24.0 cm Language | Korean Publication Date | March 7, 2016 Price | KRW 25,000 (approx. $22)

Microscope used for scientific conservation work

Explanation of conservation work carried out on a Buncheong ware

20

This exhibition catalogue was published in conjunction with the special exhibition on the achievements of conservation science over the past 40 years. Conservation science is the science of conserving and restoring cultural properties. It is the field of restoring damaged cultural properties to its previous state and to breathe new

21

nmk spring 2016 | from the gallery

special exhibition | conservation science, saving cultural properties

A display of materials and tools used in conservation

Part 2 of the exhibition, which compares works before and after conservation

(bottom) Horse Rider-Shaped Vessel (Servant) before and after restoration

progress and achievements. The museum’s Conservation Science Division plays a crucial role in the field of conservation science in Korea having conducted scientific research and conservation work on numerous important cultural properties including: the Royal Tomb of King Muryeong in Gongju, the Cheonmachong and Hwangnamdaechong Tombs in Gyeongju, the Baekje Gilt-bronze Incense Burner uncovered from the Neungsan-ri site in Buyeo, the Sinchang-dong site in Gwangju, the site of ancient tombs in Daho-ri, Changwon of Gyeongsangnamdo, and the cultural properties discovered inside the Seokgatap Pagoda (Three-story stone Pagoda of Bulguksa Temple). This special exhibition will highlight the NMK’s efforts for conserving our cultural proper-

18

ties organized into categories of scientific research methods, restoration work and management of the museum environment.

Actual cases will be displayed to help the visitors’ understanding of how the field has developed.

A COMPILATION OF THE ACHIEVEMENTS MADE IN CONSERVATION SCIENCE This exhibition comprises a prologue, Parts 1 to 3, and an epilogue. The prologue focuses on the early days of the museum’s conservation science efforts in the 1970s and 1980s, displaying important cultural properties restored at the time such as the Horse Rider-Shaped Vessel (Servant) (National Treasure No. 91). During this time, conservation science in Korea was in its

(bottom) White Porcelain Pitcher before and after restoration by using 3D printing

infancy and rather than relying on science and technology, the individual skills of the conservationists were the determinant factor, as work centered on simple tasks such as pasting and eliminating contaminants.

The prologue serves to show how much effort was put into establishing the field despite the less than favorable conditions at the time.

In Part 1, the achievements of conservation science research using modern science and technology are showcased.

The principles of light, such as the x-ray and the infrared spectrum, which are often used in inspecting cultural properties, are explained. Displaying how these principles were used in actual cases will tell the story of the materials and techniques used in crafting our cultural properties. All

19

cultural properties are the result of the original materials and the master craftsman’s skills working together to create the final form. Some skills, however, are not visible to the naked eye while others are. The use of light in inspecting and analyzing cultural properties allows us to verify even the aspects that are not visible to the unaided eye. Rough sketches that were once invisible were revealed through x-ray and infrared inspection, giving new information about the cultural properties. For example, before applying x-ray technology to the Portrait of Jeong Gonsu, it had been considered a portrait drawn by a contemporary of the man who lived from 1538 to 1602. However, the rough sketch which was revealed through x-ray inspection, held costumes from the

Qing Dynasty 1644–1911 and the question of who, when, where and why still remains a mystery to be solved. As such, Part 1 focuses on how conservation science research has revealed ancient techniques as well as new mysteries pertaining to our cultural properties.

FROM DIGITAL TECHNOLOGY TO PREVENTIVE CONSERVATION : THE EXPANSION OF CONSERVATION SCIENCE Part 2 covers the actual conservation process, comparing the before and after of conservation works, focusing on cultural properties restored by the museum’s Conservation Science Division since the 2000s.

Visitors will be able to better understand conservation efforts applying a mixture

of traditional techniques and science.

Through a replication of an actual conservation process, visitors would be able to witness how conservation works are done by the museum’s Conservation Science Division. Unlike in the past, the outcome of conservation efforts today depends on creatively grafting the skilled techniques of conservation scientists and modern science and technology. New developments of 3D digital technology are being applied to restoring the original forms of ceramic and metal cultural properties that have been managed. Before 3D scanning technology, conservation scientists had to make a cast or mold for restoration and discrepancy in the skill level of individuals led to greater differences in outcomes, not to mention the conservation process tak-

ing far longer than it does today. However, with the application of 3D digital technology, there has been an increasing parity in the quality of restoration work done on damaged ceramic and metal cultural properties and the time required in the process has also been greatly shortened.

Conservation science is often compared to medical science. If the latter pursues the extension of human life, the former aims to extend the existence of cultural properties in a safer state for posterity. As doctors tasked with treating human lives were historically required to take the Hippocratic Oath, conservation scientists have a philosophy and ethical obligations to uphold. They must consistently ask themselves what, how and why they should be restoring and draw the

nmk spring 2016 | from the gallery

special exhibition | conservation science, saving cultural properties

Recreation of an Open Lab, where actual conservation work takes place

most rational and objective conclusion.

Part 3 shows the expanded category of modern conservation science. Going beyond merely restoring damaged cultural properties, much research is now being done by preventive conservation, that is, how to prevent damage in the first place.

Cultural properties are constantly exposed to the risk of damage. The temperature and humidity conditions surrounding the cultural properties are sometimes at fault while other times the harm is inflicted unknowingly through the form of contaminants, lighting, dust, packaging materials and the materials used in exhibition. Also, the interaction between two or more environments could possibly accelerate the aging process of the cultural properties. Part 3 covers the unseen harms inherent in the environment as well as how visitors could involuntarily cause harm to cultural properties. In addition, it showcases the efforts and achievements of the National Museum of Korea in environment management for conservation in face of such factors.

Finally, the epilogue compiles an archive of the research achievements by the NMK’s Conservation Science Division over the past 40 years. During these years, the museum has accumulated much research and experience and now stands at the forefront of conservation science in Korea. This exhibition serves as an opportunity to look back on the efforts of the museum in the conservation of our cultural properties for the past 40 years and to examine the direction it would take in the future for further progress.

Portrait of Jeong Gonsu Qing Dynasty, 17th century Ink and colors on silk 174.5 × 98.0 cm bon 6503

An x-ray inspection led to the discovery of a hidden underlying sketch in the Portrait of Jeong Gonsu.

Conservation Science, Saving Cultural Properties

life in them. The process combines traditional techniques and modern science technology and the research has led to the new uncovering of until-now hidden historical facts. The field has the additional function of prolonging the lifespan of the cultural properties and conserving them under optimal conditions for posterity.

This catalogue contains detailed material on the process of conservation science, for the better understanding of the general public. The National Museum of Korea hopes that this exhibition catalogue serves to introduce and explain the field of conservation science to the general readers.

PUBLICATION

ISBN | 979-11-956456-2-6 93910 Pages | 232 Size | 28.5 × 24.0 cm Language | Korean Publication Date | March 7, 2016 Price | KRW 25,000 (approx. $22)

Microscope used for scientific conservation work

Explanation of conservation work carried out on a Buncheong ware

20

This exhibition catalogue was published in conjunction with the special exhibition on the achievements of conservation science over the past 40 years. Conservation science is the science of conserving and restoring cultural properties. It is the field of restoring damaged cultural properties to its previous state and to breathe new

21

BTN TV news reporter

Into the world of Conservation Science

By Kim Jinmyung, Editor of the Design Team Kim Jeongeun, Editor of Sobook

1.

How did you learn about the Special Exhibition on Conservation Science and what made you visit it?

Most people are not familiar with the field of conservation. What 2. were your overall impressions of the exhibition?

Was there any particular work or conservation process that you 3. found interesting?

Kim Yoonkyung

University student

1. It actually hadn’t been my own idea to visit the museum. I came because of an assignment given by the professor of the ‘Museums and Cultural Heritage’ course I take. The professor told us that history was to be learned through experience not books. Our assignment was to go see works that have survived to this day, to see living history. So I came today to see the National Museum of Korea’s permanent exhibition.

When I saw the exhibition on conservation science, I got curious and decided to check it out as well.

2. I don’t know anything about conservation science but the exhibition was arranged in a way that even a novice such as I could understand the subject easily. The exhibition display included tools that are actually used for conservation such as microscopes and ultraviolet lamps and that made it easier to understand the science behind it.

3. The most memorable work for me was the Celadon Bottle with Inlaid Chrysanthemum Design. When you press

22

remarkable works as well including the Gujangbok, which is a king’s ceremonial Robe with Nine Symbol. As is the case with many works that are fabric, the robe was quite disintegrated. However, adding a layer of reinforcing cloth and straightening the grain of the fabric restored the robe to its stately and beautiful form.

2. The Special Exhibition on Conservation Science was presented in a well-knit manner and it was an experience of learning the story behind the work in the exhibition room, what process it had to go through to be placed where it is today. It was intriguing seeing this special process shown in the form of an exhibition.

4. Personally, I think the highlight of the exhibition is the Open Lab. Part of the conservation lab was replicated and shown exactly as it is so that the general audience—who would not have access to the conservation lab usually—was able to see the restoration process of works with their own eyes. I would recommend to anyone interested in cultural properties that they not miss this exhibition.

3. It was simply fascinating witnessing the restoration process of the Shakyamuni Preaching the Law and the Water-Moon Avalokiteshvara. There were other

How would you describe and recommend this exhibition to those 4. who haven’t seen it yet?

Kim Jaehyun

1. As a reporter covering cultural properties for a news media company, naturally I am quite interested in works. I heard the news that visitors could witness the process of Korean conservation experts restoring our cultural properties that currently belong to foreign museums. I came because I didn’t want to miss this rare opportunity.

Japanese language translator

the button at the display, an ultraviolet ray is shone on the chrysanthemum pattern for 10 seconds. The fluorescent UV ray shows which parts of the pattern were found that way and which parts were restored. It’s a pity seeing how much was damaged but it was amazing seeing how the vase found its original form through restoration.

1. I’m a big fan of museums so I come here often. Even when I travel to Japan because of my job, I make sure to visit the museums there. When I heard there was a Special Exhibition on Conservation Science at the National Museum of Korea, I became curious because conservation science was an unfamiliar field to me.

through the analysis, it was found that the plaque was actually silver with the gold gilding. It’s amazing how such a sophisticated technique could have existed so far back in the past. What is equally amazing is the conservation science technology today that discovered the truth behind this plaque.

4. I don’t think I’ve heard of many exhibitions on conservation science in museums.

I thought the exhibit was a great experience. If your timing is right, you can see conservation science experts working on actual works. I saw how a huge jar that was shattered into 660 pieces was painstakingly put together by experts much like a jigsaw puzzle. I thought it would be a great lesson on patience and endurance to young people.

2. I found the exhibition even more fascinating and informative than I’d expected. It was a great experience for an avid museumgoer such as myself. The exhibition itself was engrossing as it is but the docent-guided tour made the visit even more insightful.

I believe this is the first time visitors got to see just how works are restored and processed. I had the opportunity to go on a backstage tour of a theatrical stage recently and today’s visit felt like taking a peek at the backstage of the museum.

4. I will be telling my friends about the exhibition but above all, I kept on thinking throughout my visit that it would be a great experience for school-age children.

This is very much a “hands-on” exhibition that allows visitors to touch the exhibits so children would be sure to enjoy it. It’s almost a pity that the exhibition is not being held during school holiday season.

3. The Diamond Sutra Plaque was particularly impressive. Before a component analysis was conducted in 2006, people had believed it was made of pure gold. However,

23

nmk spring 2016 | from the gallery

Lee Lina

visitor

BTN TV news reporter

Into the world of Conservation Science

By Kim Jinmyung, Editor of the Design Team Kim Jeongeun, Editor of Sobook

1.

How did you learn about the Special Exhibition on Conservation Science and what made you visit it?

Most people are not familiar with the field of conservation. What 2. were your overall impressions of the exhibition?

Was there any particular work or conservation process that you 3. found interesting?

Kim Yoonkyung

University student

1. It actually hadn’t been my own idea to visit the museum. I came because of an assignment given by the professor of the ‘Museums and Cultural Heritage’ course I take. The professor told us that history was to be learned through experience not books. Our assignment was to go see works that have survived to this day, to see living history. So I came today to see the National Museum of Korea’s permanent exhibition.

When I saw the exhibition on conservation science, I got curious and decided to check it out as well.

2. I don’t know anything about conservation science but the exhibition was arranged in a way that even a novice such as I could understand the subject easily. The exhibition display included tools that are actually used for conservation such as microscopes and ultraviolet lamps and that made it easier to understand the science behind it.

3. The most memorable work for me was the Celadon Bottle with Inlaid Chrysanthemum Design. When you press

22

remarkable works as well including the Gujangbok, which is a king’s ceremonial Robe with Nine Symbol. As is the case with many works that are fabric, the robe was quite disintegrated. However, adding a layer of reinforcing cloth and straightening the grain of the fabric restored the robe to its stately and beautiful form.

2. The Special Exhibition on Conservation Science was presented in a well-knit manner and it was an experience of learning the story behind the work in the exhibition room, what process it had to go through to be placed where it is today. It was intriguing seeing this special process shown in the form of an exhibition.

4. Personally, I think the highlight of the exhibition is the Open Lab. Part of the conservation lab was replicated and shown exactly as it is so that the general audience—who would not have access to the conservation lab usually—was able to see the restoration process of works with their own eyes. I would recommend to anyone interested in cultural properties that they not miss this exhibition.

3. It was simply fascinating witnessing the restoration process of the Shakyamuni Preaching the Law and the Water-Moon Avalokiteshvara. There were other

How would you describe and recommend this exhibition to those 4. who haven’t seen it yet?

Kim Jaehyun

1. As a reporter covering cultural properties for a news media company, naturally I am quite interested in works. I heard the news that visitors could witness the process of Korean conservation experts restoring our cultural properties that currently belong to foreign museums. I came because I didn’t want to miss this rare opportunity.

Japanese language translator

the button at the display, an ultraviolet ray is shone on the chrysanthemum pattern for 10 seconds. The fluorescent UV ray shows which parts of the pattern were found that way and which parts were restored. It’s a pity seeing how much was damaged but it was amazing seeing how the vase found its original form through restoration.

1. I’m a big fan of museums so I come here often. Even when I travel to Japan because of my job, I make sure to visit the museums there. When I heard there was a Special Exhibition on Conservation Science at the National Museum of Korea, I became curious because conservation science was an unfamiliar field to me.

through the analysis, it was found that the plaque was actually silver with the gold gilding. It’s amazing how such a sophisticated technique could have existed so far back in the past. What is equally amazing is the conservation science technology today that discovered the truth behind this plaque.

4. I don’t think I’ve heard of many exhibitions on conservation science in museums.

I thought the exhibit was a great experience. If your timing is right, you can see conservation science experts working on actual works. I saw how a huge jar that was shattered into 660 pieces was painstakingly put together by experts much like a jigsaw puzzle. I thought it would be a great lesson on patience and endurance to young people.

2. I found the exhibition even more fascinating and informative than I’d expected. It was a great experience for an avid museumgoer such as myself. The exhibition itself was engrossing as it is but the docent-guided tour made the visit even more insightful.

I believe this is the first time visitors got to see just how works are restored and processed. I had the opportunity to go on a backstage tour of a theatrical stage recently and today’s visit felt like taking a peek at the backstage of the museum.

4. I will be telling my friends about the exhibition but above all, I kept on thinking throughout my visit that it would be a great experience for school-age children.

This is very much a “hands-on” exhibition that allows visitors to touch the exhibits so children would be sure to enjoy it. It’s almost a pity that the exhibition is not being held during school holiday season.

3. The Diamond Sutra Plaque was particularly impressive. Before a component analysis was conducted in 2006, people had believed it was made of pure gold. However,

23

nmk spring 2016 | from the gallery

Lee Lina

visitor

The Reorganized Goryeo Gallery: A Glimpse into Life in the Goryeo Dynasty

The gallery focuses on helping visitors gain an overall understanding and image of the period by shedding light on the lives of people during the Goryeo Dynasty rather than highlighting certain historic events or figures.

nmk spring 2016 | from the gallery

EXHIBITION

By Seo Yunhee, Associate Curator of the Archaeology and History Division

(left) Vairocana Buddha Goryeo Bronze H. 22.5 cm, W. 14.7 cm

(bottom) Miniature Pagoda Goryeo Bronze H. 21.9 cm, W. 14.7 cm koo 959

24

How did people live during the Goryeo Dynasty 918–1392? What did they wear?

What did they eat? What were their houses like? Did they eat rice and soup, or did they prefer noodles? Did they use spoons and chopsticks? Did they enjoy a wide variety of food just as people do today? What consumed their thoughts and what did they hope for? What impressed citizens of the Goryeo Dynasty and what did they believe in? The Goryeo Dynasty goes back a long, long way—more than a millennium. In what context are modernday Koreans connected with people from a kingdom all those centuries ago?

In 2016, the National Museum of Korea reorganized its Goryeo Gallery. The gallery focuses on helping visitors gain an overall understanding and image of the period by shedding light on the lives of people during the Goryeo Dynasty rather than highlighting certain historic events or figures. To carry this out, the gallery is displaying roughly 720 works from the Goryeo Dynasty, including objects discovered from the latest excavations and research results. In fact, over 200 of the exhibits have only recently been released.

Established in 918, Goryeo was the second unified dynasty on the Korean Peninsula. Wang Geon 王建 877–943, who hailed from Songak (later named Gaegyeong and then renamed Gaeseong), founded Goryeo after bringing together a group of powerful local families. In many ways Goryeo was a true Middle Ages nation, as opposed to an ancient nation, in that it created a program to distribute land to government officials, continuously dispatched officials to local regions, and adopted a state examination system. Goryeo allowed people to practice 25

a variety of religions, such as Buddhism, Confucianism and Taoism, as well as letting people believe in prophets. The kingdom was also open-minded with respect to foreign peoples. In addition, the aristocratic culture of distinguished families in Gaegyeong and the unique culture of local areas in different regions peacefully coexisted. Initiatives such as these made Goryeo a truly pluralistic society.

The reorganized Goryeo Gallery is divided into Gallery I and Gallery II in order to highlight the previously mentioned characteristics of the Goryeo Dynasty based on different time periods.

Goryeo Gallery I displays the cultural characteristics of Goryeo that Wang Geon established in 918, while Goryeo Gallery II gives visitors an inside look at Goryeo’s culture after military rule was established in the 12th century.

Gallery I introduces the everyday culture of the Goryeo Dynasty by comparing Gaegyeong’s culture with local culture in a comprehensive manner. Through works excavated from areas around Gaegyeong, such as celadon, metal crafts and jade accessories, visitors are given a rare firsthand look into the day-to-day culture of kings, officials, and aristocrats from distinguished families who were at the heart of political and artistic activities in Gaegyeong. As one might expect, local culture was not nearly as luxurious as the culture of aristocrats in Gaegyeong (Gaeseong). Still, the culture of everyday people had a unique charm all its own while being folksy at the same time.

The Amitābha Buddha is especially notable in that it captures the overall feel of the Goryeo culture. This Buddhist statue’s friendly image makes it seem

The Reorganized Goryeo Gallery: A Glimpse into Life in the Goryeo Dynasty

The gallery focuses on helping visitors gain an overall understanding and image of the period by shedding light on the lives of people during the Goryeo Dynasty rather than highlighting certain historic events or figures.

nmk spring 2016 | from the gallery

EXHIBITION

By Seo Yunhee, Associate Curator of the Archaeology and History Division

(left) Vairocana Buddha Goryeo Bronze H. 22.5 cm, W. 14.7 cm

(bottom) Miniature Pagoda Goryeo Bronze H. 21.9 cm, W. 14.7 cm koo 959

24

How did people live during the Goryeo Dynasty 918–1392? What did they wear?

What did they eat? What were their houses like? Did they eat rice and soup, or did they prefer noodles? Did they use spoons and chopsticks? Did they enjoy a wide variety of food just as people do today? What consumed their thoughts and what did they hope for? What impressed citizens of the Goryeo Dynasty and what did they believe in? The Goryeo Dynasty goes back a long, long way—more than a millennium. In what context are modernday Koreans connected with people from a kingdom all those centuries ago?

In 2016, the National Museum of Korea reorganized its Goryeo Gallery. The gallery focuses on helping visitors gain an overall understanding and image of the period by shedding light on the lives of people during the Goryeo Dynasty rather than highlighting certain historic events or figures. To carry this out, the gallery is displaying roughly 720 works from the Goryeo Dynasty, including objects discovered from the latest excavations and research results. In fact, over 200 of the exhibits have only recently been released.

Established in 918, Goryeo was the second unified dynasty on the Korean Peninsula. Wang Geon 王建 877–943, who hailed from Songak (later named Gaegyeong and then renamed Gaeseong), founded Goryeo after bringing together a group of powerful local families. In many ways Goryeo was a true Middle Ages nation, as opposed to an ancient nation, in that it created a program to distribute land to government officials, continuously dispatched officials to local regions, and adopted a state examination system. Goryeo allowed people to practice 25

a variety of religions, such as Buddhism, Confucianism and Taoism, as well as letting people believe in prophets. The kingdom was also open-minded with respect to foreign peoples. In addition, the aristocratic culture of distinguished families in Gaegyeong and the unique culture of local areas in different regions peacefully coexisted. Initiatives such as these made Goryeo a truly pluralistic society.

The reorganized Goryeo Gallery is divided into Gallery I and Gallery II in order to highlight the previously mentioned characteristics of the Goryeo Dynasty based on different time periods.

Goryeo Gallery I displays the cultural characteristics of Goryeo that Wang Geon established in 918, while Goryeo Gallery II gives visitors an inside look at Goryeo’s culture after military rule was established in the 12th century.

Gallery I introduces the everyday culture of the Goryeo Dynasty by comparing Gaegyeong’s culture with local culture in a comprehensive manner. Through works excavated from areas around Gaegyeong, such as celadon, metal crafts and jade accessories, visitors are given a rare firsthand look into the day-to-day culture of kings, officials, and aristocrats from distinguished families who were at the heart of political and artistic activities in Gaegyeong. As one might expect, local culture was not nearly as luxurious as the culture of aristocrats in Gaegyeong (Gaeseong). Still, the culture of everyday people had a unique charm all its own while being folksy at the same time.

The Amitābha Buddha is especially notable in that it captures the overall feel of the Goryeo culture. This Buddhist statue’s friendly image makes it seem

nmk spring 2016 | from the gallery

exhibition | the reorganized goryeo gallery: a glimpse into life in the goryeo dynasty

The familiar figure of Amitābha Buddha

almost like a neighbor, clearly distinguishing it from the Maitreya at the Seokguram Grotto, which dates from the earlier Unified Silla Period. After a thorough cleaning and conservation process, the Amitābha Buddha is now on public display for the very first time. The museum is trying to shed light on the everyday lives of people from the Goryeo Dynasty. This includes the lives of women and dietary customs as revealed through common items at the time such as bronze mirrors, bowls, pottery, spoons, and chopsticks. Kundikas (Buddhist water sprinklers), prunus (plum) vases, and kettles are sure to grab the attention of visitors because the same shapes are made of different materials like pottery, celadon, and bronze.

The Goryeo Gallery I featuring diverse celadon vessels and lacquered pieces inlaid with mother-of-pearl

Buddhist Bell with Inscription of the 4th Cheongnyeong Year (淸寧四年) Goryeo Bronze H. 83.2 cm Treasure No. 1166 ssu 1755

(bottom left) Covered Box with Inlaid Peony and Scroll Design Goryeo Celadon D. 10.0 cm, H. 3.7 cm ssu 6563 (bottom middle) Ewer in the Shape of a Human Figure Goryeo Celadon H. 28.0 cm National Treasure No. 167 ssu 3325 (bottom right) Sutra Box Decorated with Mother-of-pearl H. 22.6 cm, L. 41.9 cm, W. 20.0 cm Gift of Friends of the National Museum of Korea 2014 jng 9291

from the time through exhibits related to Buddhist beliefs and art. This includes Buddhist Bell with Inscription of the 4th Cheongnyeong Year 淸寧四年 (Treasure No. 1166), a set of works excavated from the Unbongsa Temple, the Woohak Cultural Foundation’s Painting of Water-Moon Avalokiteshvara (Treasure No. 1286) and Painting of Amitabha (Treasure No. 1238).

Jeong Mongju 鄭夢周 and Jeong Dojeon 鄭道傳 , two noblemen of the day whose neoConfucian beliefs formed their ideological base and who stood at a critical juncture of Korean history, are both introduced in the final part of the exhibition. The Reliquary Set Offered by Yi Seonggye 李成桂, founder

A THOUGHT-PROVOKING EXHIBITION WITH NEW WORKS AND NUMEROUS VIDEOS Goryeo Gallery II was organized under the themes of social changes that came about as a result of Mongolian and Yuan Dynasty 1271–1368 influence, Buddhism and Buddhist art, as well as the dawn of a new dynasty at the end of Goryeo. On display at the gallery are works excavated from the Yongjangsanseong Fortress and the Hangpaduriseong Fortress, both of which were major bases for Sambyeolcho, a part of the Goryeo military that formed an important part of the resistance against the Mongolian invasion of the 13th century.

Gallery II also allows visitors an intimate look into aspects of people’s religious lives 26

27

of the Joseon Dynasty, which captures Yi’s sincere desire to establish a new dynasty called Joseon, is also on display in Gallery II. An important characteristic of this reorganized exhibition is that the museum has set out to explain important themes in better understanding the Goryeo Dynasty by focusing on real materials. For example, the exhibition examines special Goryeo administrative districts called so 所, areas of the Dynasty where they produced tribute items for Goryeo’s royal family such as celadon from Sadang-ri, ceramics for Goryeo’s royal family from Gangjin, iron products from Dain, and iron objects from Chungju. In addition, visitors can

nmk spring 2016 | from the gallery

exhibition | the reorganized goryeo gallery: a glimpse into life in the goryeo dynasty

The familiar figure of Amitābha Buddha

almost like a neighbor, clearly distinguishing it from the Maitreya at the Seokguram Grotto, which dates from the earlier Unified Silla Period. After a thorough cleaning and conservation process, the Amitābha Buddha is now on public display for the very first time. The museum is trying to shed light on the everyday lives of people from the Goryeo Dynasty. This includes the lives of women and dietary customs as revealed through common items at the time such as bronze mirrors, bowls, pottery, spoons, and chopsticks. Kundikas (Buddhist water sprinklers), prunus (plum) vases, and kettles are sure to grab the attention of visitors because the same shapes are made of different materials like pottery, celadon, and bronze.

The Goryeo Gallery I featuring diverse celadon vessels and lacquered pieces inlaid with mother-of-pearl

Buddhist Bell with Inscription of the 4th Cheongnyeong Year (淸寧四年) Goryeo Bronze H. 83.2 cm Treasure No. 1166 ssu 1755

(bottom left) Covered Box with Inlaid Peony and Scroll Design Goryeo Celadon D. 10.0 cm, H. 3.7 cm ssu 6563 (bottom middle) Ewer in the Shape of a Human Figure Goryeo Celadon H. 28.0 cm National Treasure No. 167 ssu 3325 (bottom right) Sutra Box Decorated with Mother-of-pearl H. 22.6 cm, L. 41.9 cm, W. 20.0 cm Gift of Friends of the National Museum of Korea 2014 jng 9291

from the time through exhibits related to Buddhist beliefs and art. This includes Buddhist Bell with Inscription of the 4th Cheongnyeong Year 淸寧四年 (Treasure No. 1166), a set of works excavated from the Unbongsa Temple, the Woohak Cultural Foundation’s Painting of Water-Moon Avalokiteshvara (Treasure No. 1286) and Painting of Amitabha (Treasure No. 1238).

Jeong Mongju 鄭夢周 and Jeong Dojeon 鄭道傳 , two noblemen of the day whose neoConfucian beliefs formed their ideological base and who stood at a critical juncture of Korean history, are both introduced in the final part of the exhibition. The Reliquary Set Offered by Yi Seonggye 李成桂, founder

A THOUGHT-PROVOKING EXHIBITION WITH NEW WORKS AND NUMEROUS VIDEOS Goryeo Gallery II was organized under the themes of social changes that came about as a result of Mongolian and Yuan Dynasty 1271–1368 influence, Buddhism and Buddhist art, as well as the dawn of a new dynasty at the end of Goryeo. On display at the gallery are works excavated from the Yongjangsanseong Fortress and the Hangpaduriseong Fortress, both of which were major bases for Sambyeolcho, a part of the Goryeo military that formed an important part of the resistance against the Mongolian invasion of the 13th century.

Gallery II also allows visitors an intimate look into aspects of people’s religious lives 26

27

of the Joseon Dynasty, which captures Yi’s sincere desire to establish a new dynasty called Joseon, is also on display in Gallery II. An important characteristic of this reorganized exhibition is that the museum has set out to explain important themes in better understanding the Goryeo Dynasty by focusing on real materials. For example, the exhibition examines special Goryeo administrative districts called so 所, areas of the Dynasty where they produced tribute items for Goryeo’s royal family such as celadon from Sadang-ri, ceramics for Goryeo’s royal family from Gangjin, iron products from Dain, and iron objects from Chungju. In addition, visitors can

nmk spring 2016 | from the gallery

exhibition | the reorganized goryeo gallery: a glimpse into life in the goryeo dynasty

The section featuring bronze and iron works

Buddhist images that give a glimpse in the religious life of the Goryeo people

view aspects of Goryeo ancestral rites and national ceremonies through tools that were related to incense, such as celadon and bronze incense burners.

What is particularly noteworthy at this exhibition are the three Buddhas on display, one of which is the Vairocana Buddha excavated from Pangyo. However, there are also some items on display for the very first time, including a set of works excavated from Buncheon-ri, Hwaseong bronze-covered box, celadon, silver spoons, coins, inkstones, an iron Amitābha Buddha, a celadon go board and go stones, architectural materials excavated from Manwoldae, as well as spoons and chopsticks, accessories, a bronze seal, containers for everyday use, and Buddhist relics.

The section featuring Buddhist works

Ornaments with Fish and Lotus Design Goryeo Gilt-bronze 3.8 × 2.9 cm duk 855

28

Dish with Inscription of Princess Bongnyeong’s Place of Residence (福寧宮房庫) Goryeo Silver D. 11.5 cm, H. 2.4 cm duk 131

To ensure a more enjoyable experience for visitors, the reorganized Goryeo Gallery has a number of different videos they can watch at their leisure. There is also a “line animation” that shows Goryeo’s largely expanded territory by time period (a result of the dynasty’s continuous policy to move north) and a touch screen giving people the chance to directly examine historic sites of the Goryeo Dynasty, such as roads, ponds, wells, and Buddhist temple sites, as well as recent excavation results like human bones. Furthermore, there is a video about the depicting the Japanese battling against a united force of Goryeo and Yuan China 蒙古襲來繪詞 and another video that compares metal-type printing and woodblock printing in an interesting

way, and a multi-monitor that shows images of work designs and shapes from the Goryeo Dynasty. Additionally, new showcases were made using anti-reflective glass, while lighting was reinforced during the refurbishment process. These new design elements have only helped heighten the visitor’s experience.

With this wide range of exhibits that up until now the public has not had access to, the National Museum of Korea’s reorganization of the Goryeo Gallery is expected to give visitors a better understanding of the Goryeo Dynasty. For researchers in related fields, it will also provide unique access to new materials for their studies. It is our sincere hope that Koreans and nonKoreans alike will take advantage of this 29

wonderful opportunity at the new Goryeo Gallery in 2016 and learn more about the lives of everyday people from the Goryeo Dynasty.

nmk spring 2016 | from the gallery

exhibition | the reorganized goryeo gallery: a glimpse into life in the goryeo dynasty

The section featuring bronze and iron works

Buddhist images that give a glimpse in the religious life of the Goryeo people

view aspects of Goryeo ancestral rites and national ceremonies through tools that were related to incense, such as celadon and bronze incense burners.

What is particularly noteworthy at this exhibition are the three Buddhas on display, one of which is the Vairocana Buddha excavated from Pangyo. However, there are also some items on display for the very first time, including a set of works excavated from Buncheon-ri, Hwaseong bronze-covered box, celadon, silver spoons, coins, inkstones, an iron Amitābha Buddha, a celadon go board and go stones, architectural materials excavated from Manwoldae, as well as spoons and chopsticks, accessories, a bronze seal, containers for everyday use, and Buddhist relics.

The section featuring Buddhist works

Ornaments with Fish and Lotus Design Goryeo Gilt-bronze 3.8 × 2.9 cm duk 855

28

Dish with Inscription of Princess Bongnyeong’s Place of Residence (福寧宮房庫) Goryeo Silver D. 11.5 cm, H. 2.4 cm duk 131

To ensure a more enjoyable experience for visitors, the reorganized Goryeo Gallery has a number of different videos they can watch at their leisure. There is also a “line animation” that shows Goryeo’s largely expanded territory by time period (a result of the dynasty’s continuous policy to move north) and a touch screen giving people the chance to directly examine historic sites of the Goryeo Dynasty, such as roads, ponds, wells, and Buddhist temple sites, as well as recent excavation results like human bones. Furthermore, there is a video about the depicting the Japanese battling against a united force of Goryeo and Yuan China 蒙古襲來繪詞 and another video that compares metal-type printing and woodblock printing in an interesting

way, and a multi-monitor that shows images of work designs and shapes from the Goryeo Dynasty. Additionally, new showcases were made using anti-reflective glass, while lighting was reinforced during the refurbishment process. These new design elements have only helped heighten the visitor’s experience.

With this wide range of exhibits that up until now the public has not had access to, the National Museum of Korea’s reorganization of the Goryeo Gallery is expected to give visitors a better understanding of the Goryeo Dynasty. For researchers in related fields, it will also provide unique access to new materials for their studies. It is our sincere hope that Koreans and nonKoreans alike will take advantage of this 29

wonderful opportunity at the new Goryeo Gallery in 2016 and learn more about the lives of everyday people from the Goryeo Dynasty.

nmk spring 2016 | activities

BEHIND THE EXHIBIT

CATEGORIZATION OF CERAMICS Ceramics is the generic term used for vessels made of clay, a plastic material, and fired. Soil, comprised of decomposed rock, contains a large amount of impurities such as organic matter and minerals, and the soil with these impurities removed forms the clay that is the basic material for ceramics. The clay body is covered in a decorative glaze to protect the surface. Although the clay and glaze are fundamentally the same in that they both come from the soil, they take on different functions according to the proportion of ingredients and usage.

Despite the fact that all vessels made with the above materials are commonly called ceramics, they are in fact divided into categories according to the state of sintering, whether they are glazed or unglazed, and level of absorption. Though the method of distinguishing between types differs from one country to the next, in Korea there are four major categories: earthenware, pottery, stoneware and porcelain. Among the varied standards applied to categorization the most important are the firing temperature, level of hardness, and level of transparency. Naturally, conservation and restoration processes differ according to the category. Indeed, the characteristics of each vessel must be considered, such as the fineness of the clay, the texture and color of the clay body and glaze, the surface decoration, and method of production. For example, when restoring the glaze on the surface of porcelain works the characteristics of the surface layer are restored at the same time.

Conservation of Ceramic Heritage

By Kim Jinmyung, Editor of the Design Team Kim Jeongeun, Editor of Sobook

Lee Haesoon, Conservator of the Ceramic Team is removing the shell from the porcelain with a steamer.

STEPS OF CONSERVATION OF CERAMICS The conservation of ceramic works generally involves five steps in the following order: inspection of the state of the vessel → removal of foreign matter, cleaning, strengthening, and desalination →

joining → restoration of missing parts → restoration of color and glaze layer. First, the current state of the vessel is examined and diagnosed in order to establish a concrete plan for treatment and restoration. The actual treatment begins with the removal of any foreign matter. At this stage, the vessel is cleaned, salt is removed, and any weak parts with the potential of further damage are reinforced. Depending on the state and features of each vessel all three processes may be carried out or one type of treatment in particular. The next stage involves joining any broken parts and restoring missing or damaged parts. When missing parts are restored in removable form, the missing piece concerned must be modeled, molded and cast, in that order. The final step is reviving the color of the glaze and the designs.

Most extant ceramic heritage are art and craft works. Conservation treatment therefore focuses on precise restoration of the original texture, form and surface designs to vividly convey the beauty of the original work. But this must be preceded by assessment of the basic nature of the vessel and its distinguishing features. Lee Haesoon from the Ceramic Team of Conservation Science Division says, “Of course, it is important to restore a work beautifully, but in the restoration of ceramics priority is placed on returning works to their original and most natural state.”

Visitors who have always wondered why traces of cracking remain on works that have been restored and put on display should keep the above in mind. It is a policy in line with the values and spirit of conservation science. Ceramic works are treated to aid exhibition and viewing, of course, but the more fundamental purpose is to ensure the stability of the objects in question.

A vessel in more than 100 shards is more safely preserved when joined together rather than in a broken state. Also, the traces of

cracking in themselves are a record and evidence of the history of the vessel. Unless it detracts from the viewing experience, there is no particular need to hide the cracking, and indeed, leaving it in that state helps to prevent further damage.

PERCEPTION OF RESTORED CERAMICS Paper heritage are restored with paper and wooden heritage with wood. Ceramics, which are classified as inorganic matter, are restored with synthetic resins, or what we commonly call plastic.

This is because of the impossibility of obtaining exactly the same natural materials used for the clay and glaze, which change according to time and place. Though plastic initially has a negative image, realistically it is considered to be the most suitable material for restoration from various aspects such as adhesiveness, preservability, and convenience.

The collection of the National Museum of Korea currently includes some 370,000 items, more than half of which are ceramic works. This alone indicates the familiar part such vessels have played in the life of Koreans since ancient times. The two conservation scientists in charge of restoring these relics each take care of some 80 works per year. Having to match exhibition dates, they work to a tight schedule and yet they have only dealt with a small portion of the total requiring treatment. As always, cultural heritage await treatment in their hands and the additional task of re-restoration has emerged. Nonetheless, efforts are being made to further advance conservation science with the application of new restoration technologies based on 3D digital technology.

X-ray investigation (left) and the ewer before restoration (right)

30

After conservation of the Gourd-shaped Ewer with Inlaid Children and Grape Design

31

nmk spring 2016 | activities

BEHIND THE EXHIBIT

CATEGORIZATION OF CERAMICS Ceramics is the generic term used for vessels made of clay, a plastic material, and fired. Soil, comprised of decomposed rock, contains a large amount of impurities such as organic matter and minerals, and the soil with these impurities removed forms the clay that is the basic material for ceramics. The clay body is covered in a decorative glaze to protect the surface. Although the clay and glaze are fundamentally the same in that they both come from the soil, they take on different functions according to the proportion of ingredients and usage.

Despite the fact that all vessels made with the above materials are commonly called ceramics, they are in fact divided into categories according to the state of sintering, whether they are glazed or unglazed, and level of absorption. Though the method of distinguishing between types differs from one country to the next, in Korea there are four major categories: earthenware, pottery, stoneware and porcelain. Among the varied standards applied to categorization the most important are the firing temperature, level of hardness, and level of transparency. Naturally, conservation and restoration processes differ according to the category. Indeed, the characteristics of each vessel must be considered, such as the fineness of the clay, the texture and color of the clay body and glaze, the surface decoration, and method of production. For example, when restoring the glaze on the surface of porcelain works the characteristics of the surface layer are restored at the same time.

Conservation of Ceramic Heritage

By Kim Jinmyung, Editor of the Design Team Kim Jeongeun, Editor of Sobook

Lee Haesoon, Conservator of the Ceramic Team is removing the shell from the porcelain with a steamer.

STEPS OF CONSERVATION OF CERAMICS The conservation of ceramic works generally involves five steps in the following order: inspection of the state of the vessel → removal of foreign matter, cleaning, strengthening, and desalination →

joining → restoration of missing parts → restoration of color and glaze layer. First, the current state of the vessel is examined and diagnosed in order to establish a concrete plan for treatment and restoration. The actual treatment begins with the removal of any foreign matter. At this stage, the vessel is cleaned, salt is removed, and any weak parts with the potential of further damage are reinforced. Depending on the state and features of each vessel all three processes may be carried out or one type of treatment in particular. The next stage involves joining any broken parts and restoring missing or damaged parts. When missing parts are restored in removable form, the missing piece concerned must be modeled, molded and cast, in that order. The final step is reviving the color of the glaze and the designs.

Most extant ceramic heritage are art and craft works. Conservation treatment therefore focuses on precise restoration of the original texture, form and surface designs to vividly convey the beauty of the original work. But this must be preceded by assessment of the basic nature of the vessel and its distinguishing features. Lee Haesoon from the Ceramic Team of Conservation Science Division says, “Of course, it is important to restore a work beautifully, but in the restoration of ceramics priority is placed on returning works to their original and most natural state.”

Visitors who have always wondered why traces of cracking remain on works that have been restored and put on display should keep the above in mind. It is a policy in line with the values and spirit of conservation science. Ceramic works are treated to aid exhibition and viewing, of course, but the more fundamental purpose is to ensure the stability of the objects in question.

A vessel in more than 100 shards is more safely preserved when joined together rather than in a broken state. Also, the traces of

cracking in themselves are a record and evidence of the history of the vessel. Unless it detracts from the viewing experience, there is no particular need to hide the cracking, and indeed, leaving it in that state helps to prevent further damage.

PERCEPTION OF RESTORED CERAMICS Paper heritage are restored with paper and wooden heritage with wood. Ceramics, which are classified as inorganic matter, are restored with synthetic resins, or what we commonly call plastic.

This is because of the impossibility of obtaining exactly the same natural materials used for the clay and glaze, which change according to time and place. Though plastic initially has a negative image, realistically it is considered to be the most suitable material for restoration from various aspects such as adhesiveness, preservability, and convenience.

The collection of the National Museum of Korea currently includes some 370,000 items, more than half of which are ceramic works. This alone indicates the familiar part such vessels have played in the life of Koreans since ancient times. The two conservation scientists in charge of restoring these relics each take care of some 80 works per year. Having to match exhibition dates, they work to a tight schedule and yet they have only dealt with a small portion of the total requiring treatment. As always, cultural heritage await treatment in their hands and the additional task of re-restoration has emerged. Nonetheless, efforts are being made to further advance conservation science with the application of new restoration technologies based on 3D digital technology.

X-ray investigation (left) and the ewer before restoration (right)

30

After conservation of the Gourd-shaped Ewer with Inlaid Children and Grape Design

31

nmk spring 2016 | activities

Goguryeo

Fig. 1 Korean Peninsula, mid-5th century

Pyeongyang

Dokdo

Gongju

Silla

Buyeo

Baekje

Goryeong

Gyeongju

Fig. 2 Silla tombs in Gyeongju

Fig. 2 Gold crown excavated from the Hwangnamdaechong Tomb in Gyeongju H. 27.5 cm

Gaya

THE VIEW

INTRODUCTION For various reasons, some cultures of the past never seem to receive the proper evaluation that they deserve, often because of the political or economic climate in the present. However, at the same time, with changes to the social environment and context, cultures that were once almost forgotten can be revived, reexamined, and newly appreciated. The national museums of every country have a mission and responsibility to properly introduce and evaluate the entire history and culture of their respective nations. Through proactive research and diverse exhibitions, museums seek to uncover and re-evaluate the hidden and concealed aspects of history and culture, and the national museums of Korea have engaged in several such projects over the years. Among these, I would like to discuss one of the most recent examples, which is the renewed interest in restoring the culture of Baekje.

Balancing Research on Ancient Korean Cultures

By Kim Youngna, Former Director General of National Museum of Korea

HISTORY OF THE BAEKJE In ancient times, three kingdoms competed for control of the Korean Peninsula, such that the era from around the first century bce to the seventh century ce is now known as the 32

THE LACK OF RESEARCH ON BAEKJE KINGDOM It is true that Silla persisted for almost a thousand years, developing a rich culture that incorporated elements from the Tang Dynasty and after unification, from West Asia. Given its prolonged duration, it is not surprising that there are more extant works from Silla than from the conquered nations of Goguryeo and Baekje (Fig. 2). However, Baekje had a thriving and advanced culture of its own, nourished in part by increased international trade and communication with both China and Japan. Therefore, contemporary researchers of the Three Kingdoms period have regularly asserted that Baekje culture has been somewhat overlooked in comparison to the Silla. As for Goguryeo, their territory was primarily located in the region that is now North Korea, making it nearly impossible to examine relevant works and resources.

Thus, in this presentation, I will focus only on Baekje and Silla.

The general neglect of Baekje culture can be at least partially explained by the overall lack of extant records and works related to Baekje. On the surface, this situation would not seem to be politically or economically based, but upon closer scrutiny, we can see how political and economic factors have in fact contributed to this paucity.

Three Kingdoms period. The three kingdoms were Goguryeo 37 BCE–668 CE, which occupied the northern region of the peninsula; Baekje 18 BCE–660 CE, in the southwest; and Silla 57 BCE–935 CE, in the southeast (Fig. 1). In the beginning, Goguryeo and Baekje were the two strongest, but it was Silla that eventually prevailed and unified the territories. After forming an alliance with China’s Tang Dynasty 618–907, Silla conquered Baekje in 660, followed by Goguryeo in 668. Silla then fought to expel the Tang, their former allies. They succeeded in doing so in 676. Silla subsequently ruled over the entire Korean Peninsula until 935.

Today, Silla is widely considered to be the representative culture of ancient Korea, being reverently acclaimed as “Korea’s Golden Kingdom” and the “Kingdom of a Thousand Years.” In accordance, the two most important Buddhist landmarks of Silla (the Seokguram Grotto and Bulguksa Temple) were designated as UNESCO World Heritage sites in 1995 and thus, have received much international attention and recognition. In 2000, the city of Gyeongju, former capital of Silla, was also designated as a UNESCO World Heritage site.

33

nmk spring 2016 | activities

Goguryeo

Fig. 1 Korean Peninsula, mid-5th century

Pyeongyang

Dokdo

Gongju

Silla

Buyeo

Baekje

Goryeong

Gyeongju

Fig. 2 Silla tombs in Gyeongju

Fig. 2 Gold crown excavated from the Hwangnamdaechong Tomb in Gyeongju H. 27.5 cm

Gaya

THE VIEW

INTRODUCTION For various reasons, some cultures of the past never seem to receive the proper evaluation that they deserve, often because of the political or economic climate in the present. However, at the same time, with changes to the social environment and context, cultures that were once almost forgotten can be revived, reexamined, and newly appreciated. The national museums of every country have a mission and responsibility to properly introduce and evaluate the entire history and culture of their respective nations. Through proactive research and diverse exhibitions, museums seek to uncover and re-evaluate the hidden and concealed aspects of history and culture, and the national museums of Korea have engaged in several such projects over the years. Among these, I would like to discuss one of the most recent examples, which is the renewed interest in restoring the culture of Baekje.

Balancing Research on Ancient Korean Cultures

By Kim Youngna, Former Director General of National Museum of Korea

HISTORY OF THE BAEKJE In ancient times, three kingdoms competed for control of the Korean Peninsula, such that the era from around the first century bce to the seventh century ce is now known as the 32

THE LACK OF RESEARCH ON BAEKJE KINGDOM It is true that Silla persisted for almost a thousand years, developing a rich culture that incorporated elements from the Tang Dynasty and after unification, from West Asia. Given its prolonged duration, it is not surprising that there are more extant works from Silla than from the conquered nations of Goguryeo and Baekje (Fig. 2). However, Baekje had a thriving and advanced culture of its own, nourished in part by increased international trade and communication with both China and Japan. Therefore, contemporary researchers of the Three Kingdoms period have regularly asserted that Baekje culture has been somewhat overlooked in comparison to the Silla. As for Goguryeo, their territory was primarily located in the region that is now North Korea, making it nearly impossible to examine relevant works and resources.

Thus, in this presentation, I will focus only on Baekje and Silla.

The general neglect of Baekje culture can be at least partially explained by the overall lack of extant records and works related to Baekje. On the surface, this situation would not seem to be politically or economically based, but upon closer scrutiny, we can see how political and economic factors have in fact contributed to this paucity.

Three Kingdoms period. The three kingdoms were Goguryeo 37 BCE–668 CE, which occupied the northern region of the peninsula; Baekje 18 BCE–660 CE, in the southwest; and Silla 57 BCE–935 CE, in the southeast (Fig. 1). In the beginning, Goguryeo and Baekje were the two strongest, but it was Silla that eventually prevailed and unified the territories. After forming an alliance with China’s Tang Dynasty 618–907, Silla conquered Baekje in 660, followed by Goguryeo in 668. Silla then fought to expel the Tang, their former allies. They succeeded in doing so in 676. Silla subsequently ruled over the entire Korean Peninsula until 935.

Today, Silla is widely considered to be the representative culture of ancient Korea, being reverently acclaimed as “Korea’s Golden Kingdom” and the “Kingdom of a Thousand Years.” In accordance, the two most important Buddhist landmarks of Silla (the Seokguram Grotto and Bulguksa Temple) were designated as UNESCO World Heritage sites in 1995 and thus, have received much international attention and recognition. In 2000, the city of Gyeongju, former capital of Silla, was also designated as a UNESCO World Heritage site.

33

the view | balancing research on ancient korean cultures

nmk spring 2016 | activities

Fig. 4 Uprights of gold crowns excavated from the Baekje Royal Tomb of King Muryeong (left) H. 30.7 cm, (right) H. 22.6 cm

Fig. 3 Excavation of the Baekje Royal Tomb of King Muryeong (1971, Gongju, Chungcheongnam-do Province)

phenomena, weather anomalies, or natural disasters, so that the quality of the records is just as insufficient as the quantity.

Given that Samguksagi was the most important historical record published by the government after the disintegration of the Three Kingdoms, the brevity and inadequacy of the Baekje historical records in that volume had a major impact on later studies of the period. Subsequent research on Baekje was quite limited, leading to distortions in the public understanding of the kingdom. In the early twentieth century, most research of ancient Korean history concentrated on Silla or Goguryeo, with research on Baekje tending to focus solely on the kingdom’s cultural exchange with Japan.

There are also several hidden political and economic factors that have contributed to the lack of works and material resources related to Baekje. It has been noted that Silla tombs generally have a more solid and protective structure than Baekje tombs, making the latter more vulnerable to plunder. But this factor alone is not enough to explain the imbalance between the number of extant works of Silla and Baekje. Ancient works are usually discovered through excavations, and in Korea, the majority of excavations were conducted in the twentieth century, during the period of the nation’s rapid industrialization. In particular, much of the industrial development of the 1970s and 1980s was concentrated in the southeast region of the country, which offered obvious geographical advantages for trade with two of Korea’s most important commercial partners of the time, Japan and the United States. Notably, the southeast also happens to be the former territory of Silla. In brief, the increased industrial development

First, let’s consider the lack of written records. The most significant source of historical records about the Three Kingdoms period is Samguksagi 三國史記 (History of the Three Kingdoms) a primary text for the study of ancient Korean history and the oldest extant history book of Korea. Published in 1145, Samguksagi was compiled by order of King Injong r. 1122–1146 of the Goryeo Dynasty 918–1392, which had immediately succeeded Silla. The publication, which was led by Kim Busik, the representative scholar and politician of the time, clearly prioritized the history and culture of Silla over that of Goguryeo and Baekje.

The publishers were motivated to focus on Silla for various political reasons, not least of which was the fact that Kim Busik himself was a descendent of the Silla royal family, and had a strong political base in Gyeongju. However the decision to emphasise Silla went beyond an individual’s bias. In its early stages, Goryeo leaders affirmed the dynasty’s links to Goguryeo, rather than to Silla but by the time that Samguksagi was published, Goryeo’s historical rhetoric had begun to focus more on Silla, reflecting the increasing influence of Buddhism and Confucianism.

Moreover, the Goryeo Dynasty had only been established after brutal warfare with Hubaekje (i.e., Later Baekje 900–936), the proclaimed successors of Baekje. As such, Goryeo society still harbored deep animosity towards Baekje, which was reflected in the prioritization of Silla in Samguksagi.

As a result, in Samguksagi, the history of Silla receives about three times as much textual space as that of Baekje. Furthermore, much of the text dedicated to Baekje focuses on astronomical 34

35

the view | balancing research on ancient korean cultures

nmk spring 2016 | activities

Fig. 4 Uprights of gold crowns excavated from the Baekje Royal Tomb of King Muryeong (left) H. 30.7 cm, (right) H. 22.6 cm

Fig. 3 Excavation of the Baekje Royal Tomb of King Muryeong (1971, Gongju, Chungcheongnam-do Province)

phenomena, weather anomalies, or natural disasters, so that the quality of the records is just as insufficient as the quantity.

Given that Samguksagi was the most important historical record published by the government after the disintegration of the Three Kingdoms, the brevity and inadequacy of the Baekje historical records in that volume had a major impact on later studies of the period. Subsequent research on Baekje was quite limited, leading to distortions in the public understanding of the kingdom. In the early twentieth century, most research of ancient Korean history concentrated on Silla or Goguryeo, with research on Baekje tending to focus solely on the kingdom’s cultural exchange with Japan.

There are also several hidden political and economic factors that have contributed to the lack of works and material resources related to Baekje. It has been noted that Silla tombs generally have a more solid and protective structure than Baekje tombs, making the latter more vulnerable to plunder. But this factor alone is not enough to explain the imbalance between the number of extant works of Silla and Baekje. Ancient works are usually discovered through excavations, and in Korea, the majority of excavations were conducted in the twentieth century, during the period of the nation’s rapid industrialization. In particular, much of the industrial development of the 1970s and 1980s was concentrated in the southeast region of the country, which offered obvious geographical advantages for trade with two of Korea’s most important commercial partners of the time, Japan and the United States. Notably, the southeast also happens to be the former territory of Silla. In brief, the increased industrial development

First, let’s consider the lack of written records. The most significant source of historical records about the Three Kingdoms period is Samguksagi 三國史記 (History of the Three Kingdoms) a primary text for the study of ancient Korean history and the oldest extant history book of Korea. Published in 1145, Samguksagi was compiled by order of King Injong r. 1122–1146 of the Goryeo Dynasty 918–1392, which had immediately succeeded Silla. The publication, which was led by Kim Busik, the representative scholar and politician of the time, clearly prioritized the history and culture of Silla over that of Goguryeo and Baekje.

The publishers were motivated to focus on Silla for various political reasons, not least of which was the fact that Kim Busik himself was a descendent of the Silla royal family, and had a strong political base in Gyeongju. However the decision to emphasise Silla went beyond an individual’s bias. In its early stages, Goryeo leaders affirmed the dynasty’s links to Goguryeo, rather than to Silla but by the time that Samguksagi was published, Goryeo’s historical rhetoric had begun to focus more on Silla, reflecting the increasing influence of Buddhism and Confucianism.

Moreover, the Goryeo Dynasty had only been established after brutal warfare with Hubaekje (i.e., Later Baekje 900–936), the proclaimed successors of Baekje. As such, Goryeo society still harbored deep animosity towards Baekje, which was reflected in the prioritization of Silla in Samguksagi.

As a result, in Samguksagi, the history of Silla receives about three times as much textual space as that of Baekje. Furthermore, much of the text dedicated to Baekje focuses on astronomical 34

35

the view | balancing research on ancient korean cultures

nmk spring 2016 | activities

Baekje, this exhibition featured about 700 archaeological works and artworks, organised by chronology, theme, and region. This exhibition, which was shown in the three cities of Seoul, Buyeo, and Daegu, markedly contributed to establishing a better understanding of Baekje’s proper status in Korea’s ancient history, to creating a new image of Baekje in the minds of the people, and to encouraging further research (Fig. 5).

In addition, over the last thirty years or so, more excavations have been carried out in the southwest region of the Korean Peninsula—the former territory of Baekje—leading to a greater accumulation of Baekje-related materials. Of course, as was the case with the earlier excavations in the former territory of Silla, the more recent excavations in the southwest can also be linked to various political and economic factors. To be specific, since the 1990s, there has been an emphasis on economic and industrial development in western Korea for various reasons, including the increase of economic transactions with China and the decision to establish the city of Sejong as the de facto administrative capital of the nation. Just as significantly, the two consecutive presidential administrations that held office from 1998 to 2008 were each politically based in the western region, as opposed to previous governments that were based primarily in the southeast.

The recent period has also seen significant research projects and exhibitions on Baekje, particularly at the Gongju National Museum and the Buyeo National Museum, both of which are located in former capitals of Baekje. Both of these museums have continuously conducted research on Baekje culture, and each

in the southeast led to more excavations in that region, which naturally led to the discovery of more Silla works.

A NEW DAWN FOR BAEJKE Hence, for many decades, Baekje culture was largely overshadowed by that of Silla. The situation finally began to change in 1971, with the discovery and excavation of the Royal Tomb of King Muryeong 501–523 in Gongju, the second capital of Baekje (Fig. 3). After being accidentally discovered during maintenance of a neighboring tomb, the Royal Tomb of King Muryeong was excavated by the National Museum of Korea. This excavation proved to be of enormous significance, because the tomb was found to contain two epitaph tablets that conveyed a wealth of crucial information, including the identity of the deceased (King Muryeong, Baekje’s twenty-fifth king, and his queen) and details of their deaths and funerary processes. Furthermore, the tomb had never been plundered, and thus yielded numerous superb works related to both the king and queen, including gold crowns and other jewelery (Fig. 4). Indeed, the excavation of King Muryong’s tomb clearly demonstrated that Baekje’s material culture was every bit as advanced and resplendent as that of Silla.

Even so, further research and examination of Baekje culture was slow to progress. The situation only began to improve in 1999, when the National Museum of Korea held a special exhibition entitled Baekje, with the express purpose of rectifying the relative neglect of Baekje history and culture through an in-depth examination.

As the first attempt to provide a comprehensive overview of

Fig. 6 Baekje Gilt-bronze Incense Burner from Buyeo, Chungcheongnam-do Province H. 61.8 cm

year, they have organized a special exhibition presenting the results of that research on specific themes, such as Baekje clothing, letters, measurements, metalcrafts, roof tiles, Buddhist temples, and foreign exchange. The two museums have also carried out in-depth research on the items excavated from the Royal Tomb of King Muryeong, and have joined with museums in both China and Japan to organize international exhibitions about Baekje’s exchange with those countries. Through such efforts, these national museums have led the advancement of research on Baekje, despite the insufficient number of researchers who are focusing on Baekje.

Furthermore, excavations of important Baekje remains have been conducted in Gongju, Buyeo, and Iksan. In particular, domestic and international interest in Baekje has been stirred by the discovery of the Baekje gilt-bronze incense burner at a Buddhist temple site in Neungsan-ri and of sarira reliquaries from stone pagodas at the temple sites of Wangheungsa and Mireuksa (Fig. 6).

Meanwhile, relevant research has been continuously conducted on the vital Baekje culture of the Yeongsangang River Valley, located in the southwest. As a result, in 2013, the National Museum of Korea opened its newest branch in Naju, also located in the former territory of Baekje.

Due in large part to the excellent and diligent work of these national museums, Baekje culture is finally beginning to receive its due attention, such that it has attained a status almost equal to that of Silla. As the culmination of these long-term efforts, in early 2015, the former Baekje capitals of Gongju, Buyeo, and Iksan, collectively recognised as “Baekje Historic Areas,” were officially designated as UNESCO World Heritage sites. And work is now underway to construct the next branch of the National Museum of Korea in Iksan, another major Baekje city.

CONCLUSION In this discussion, I have tried to explain the crucial role that the national museums of Korea have played in shedding new light on the ancient kingdom of Baekje, which was long overdue for a thorough cultural and historical evaluation.

I hope that this case study can help demonstrate how contemporary notions about ancient cultures can be distorted by political and economic circumstances, and more importantly, how such distortions can be addressed and overcome.

With this in mind, I wish to conclude by stressing that our current understanding of Baekje culture could not have been achieved without collaborative research and exhibitions of related materials that are housed in museums in China and Japan. I hope that my sharing of these experiences can benefit other member museums that are now confronting similar problems.

Fig. 5 Items excavated from the Royal Tomb of King Muryeong, Gongju National Museum

36

37

the view | balancing research on ancient korean cultures

nmk spring 2016 | activities

Baekje, this exhibition featured about 700 archaeological works and artworks, organised by chronology, theme, and region. This exhibition, which was shown in the three cities of Seoul, Buyeo, and Daegu, markedly contributed to establishing a better understanding of Baekje’s proper status in Korea’s ancient history, to creating a new image of Baekje in the minds of the people, and to encouraging further research (Fig. 5).

In addition, over the last thirty years or so, more excavations have been carried out in the southwest region of the Korean Peninsula—the former territory of Baekje—leading to a greater accumulation of Baekje-related materials. Of course, as was the case with the earlier excavations in the former territory of Silla, the more recent excavations in the southwest can also be linked to various political and economic factors. To be specific, since the 1990s, there has been an emphasis on economic and industrial development in western Korea for various reasons, including the increase of economic transactions with China and the decision to establish the city of Sejong as the de facto administrative capital of the nation. Just as significantly, the two consecutive presidential administrations that held office from 1998 to 2008 were each politically based in the western region, as opposed to previous governments that were based primarily in the southeast.

The recent period has also seen significant research projects and exhibitions on Baekje, particularly at the Gongju National Museum and the Buyeo National Museum, both of which are located in former capitals of Baekje. Both of these museums have continuously conducted research on Baekje culture, and each

in the southeast led to more excavations in that region, which naturally led to the discovery of more Silla works.

A NEW DAWN FOR BAEJKE Hence, for many decades, Baekje culture was largely overshadowed by that of Silla. The situation finally began to change in 1971, with the discovery and excavation of the Royal Tomb of King Muryeong 501–523 in Gongju, the second capital of Baekje (Fig. 3). After being accidentally discovered during maintenance of a neighboring tomb, the Royal Tomb of King Muryeong was excavated by the National Museum of Korea. This excavation proved to be of enormous significance, because the tomb was found to contain two epitaph tablets that conveyed a wealth of crucial information, including the identity of the deceased (King Muryeong, Baekje’s twenty-fifth king, and his queen) and details of their deaths and funerary processes. Furthermore, the tomb had never been plundered, and thus yielded numerous superb works related to both the king and queen, including gold crowns and other jewelery (Fig. 4). Indeed, the excavation of King Muryong’s tomb clearly demonstrated that Baekje’s material culture was every bit as advanced and resplendent as that of Silla.

Even so, further research and examination of Baekje culture was slow to progress. The situation only began to improve in 1999, when the National Museum of Korea held a special exhibition entitled Baekje, with the express purpose of rectifying the relative neglect of Baekje history and culture through an in-depth examination.

As the first attempt to provide a comprehensive overview of

Fig. 6 Baekje Gilt-bronze Incense Burner from Buyeo, Chungcheongnam-do Province H. 61.8 cm

year, they have organized a special exhibition presenting the results of that research on specific themes, such as Baekje clothing, letters, measurements, metalcrafts, roof tiles, Buddhist temples, and foreign exchange. The two museums have also carried out in-depth research on the items excavated from the Royal Tomb of King Muryeong, and have joined with museums in both China and Japan to organize international exhibitions about Baekje’s exchange with those countries. Through such efforts, these national museums have led the advancement of research on Baekje, despite the insufficient number of researchers who are focusing on Baekje.

Furthermore, excavations of important Baekje remains have been conducted in Gongju, Buyeo, and Iksan. In particular, domestic and international interest in Baekje has been stirred by the discovery of the Baekje gilt-bronze incense burner at a Buddhist temple site in Neungsan-ri and of sarira reliquaries from stone pagodas at the temple sites of Wangheungsa and Mireuksa (Fig. 6).

Meanwhile, relevant research has been continuously conducted on the vital Baekje culture of the Yeongsangang River Valley, located in the southwest. As a result, in 2013, the National Museum of Korea opened its newest branch in Naju, also located in the former territory of Baekje.

Due in large part to the excellent and diligent work of these national museums, Baekje culture is finally beginning to receive its due attention, such that it has attained a status almost equal to that of Silla. As the culmination of these long-term efforts, in early 2015, the former Baekje capitals of Gongju, Buyeo, and Iksan, collectively recognised as “Baekje Historic Areas,” were officially designated as UNESCO World Heritage sites. And work is now underway to construct the next branch of the National Museum of Korea in Iksan, another major Baekje city.

CONCLUSION In this discussion, I have tried to explain the crucial role that the national museums of Korea have played in shedding new light on the ancient kingdom of Baekje, which was long overdue for a thorough cultural and historical evaluation.

I hope that this case study can help demonstrate how contemporary notions about ancient cultures can be distorted by political and economic circumstances, and more importantly, how such distortions can be addressed and overcome.

With this in mind, I wish to conclude by stressing that our current understanding of Baekje culture could not have been achieved without collaborative research and exhibitions of related materials that are housed in museums in China and Japan. I hope that my sharing of these experiences can benefit other member museums that are now confronting similar problems.

Fig. 5 Items excavated from the Royal Tomb of King Muryeong, Gongju National Museum

36

37

miscellaneous

nmk spring 2016 | activities

A 297-Volume Database on Oegyujanggak Uigwe Now Open to the Public

Reorganization of the Balhae Gallery Earlier this year, the National Museum of Korea reorganized its Balhae and Goryeo galleries.

Balhae existed from the late 7th century to the early 10th century. Along with Unified Silla, they were the two major nations on the Korean Peninsula during that time. This year’s reorganization focused on introducing Balhae to the general public, Koreans and non-Koreans alike, so that visitors can get a better understanding of what exactly Balhae inherited from the earlier

kingdom of Goguryeo. The new Balhae Gallery is by and large arranged under three themes: 1) The legitimacy of the Balhae Kingdom; 2) The capital city, royal authority, and governance structure of the Balhae Kingdom; and 3) The Flourishing Land in the East 海東盛國, Balhae and the surrounding world. Of particular note is the theme “The legitimacy of the Balhae Kingdom,” as the gallery has numerous works on display from Balhae that prove it was the successor of

Goguryeo. In the newly organized Balhae Gallery, everything was carefully displayed so that the general public can understand the distinct and universal characteristics of the kingdom’s history and culture based on the most recent excavation results.

Conservation of Korean Cultural Properties in Overseas Museums The National Museum of Korea is playing a leading role in handling the conservation of Korean cultural properties at Germany’s Museum of East Asian Art in Cologne and the Hamburg Museum for Ethnology. At present, the NMK is dealing specifically with five cultural works at these two museums: four Buddhist paintings, including the Water-Moon Avalokiteshvara from the Goryeo Dynasty (Cologne’s Museum of East Asian Art) and a Baeknapdo eight-panel folding screen (Hamburg Museum for Ethnology).

Conservation initiatives at Cologne’s Museum of East Asian Art’s collection will be carried out in two stages. First, the NMK will complete conservation treatment work on the Goryeo Dynasty’s Painting of Avalokiteshvara Bodhisattva and the Joseon Dynasty’s Painting of Shakyamuni’s Preaching Assembly by March 2017. Second, conservation treatment work will be completed on the Goryeo Dynasty’s Painting of Vairocana Buddha Triad and the Joseon Dynasty’s Painting of Ten Underworld Kings by October 2018.

38

Last December, the NMK received the Baeknapdo eight-panel folding screen from the Hamburg Museum for Ethnology. Experts at the NMK will finish conservation treatment work on this folding screen by September 2016 before displaying it to the public at a feature exhibition inside the museum later this year called Urban Aesthetics: From the Early Joseon Dynasty to Modern Times. This marks the second time that the NMK has directly supported the conservation of Korean cultural properties at museums in other countries. The first was in 2011, when the NMK worked on conserving two paintings—including a Buddhist painting from the Joseon Dynasty—which are part of the British Museum’s collection.

The National Museum of Korea compiled a comprehensive database on the Oegyujanggak Uigwe from 2013 to 2016. It became accessible to the public through the museum’s website (http://uigwe.museum.go.kr) as of February 1, 2016, though the website is only available in

Korean. The term uigwe refers to a comprehensive report on every important ceremony and event that took place during the Joseon Dynasty concerning the nation and the royal family. In 1782, King Jeongjo 1752–1800 founded a library called Oegyujanggak at the Haenggung

Journal of Korean Art & Archaeology Vol. 9

History Sourcebook Series Vol. 14, Family Registers in the Collection of the National Museum of Korea

ISSN 2005-1115

Palace on Ganghwado Island. The uigwe that was transferred to the library for the king was then officially named Oegyujanggak Uigwe.

It consisted of 297 volumes (113,832 pages) in total. Today, visitors to the NMK’s website can read each and every page. The database also provides original images and electronic text from the uigwe. In addition, there are easy-tounderstand explanations about the pictures included with the uigwe.

ISBN 978-89-81641-51-1

The 9th edition of the Journal of Art and Archaeology is now available to the public.

Published annually every January, this journal serves as a means to share research on Korean traditional culture and art with the international academic community. At the same time, it broadens the scope of research that people are conducting in the field of Korean studies.

Under the theme of “The Art and Culture of Goguryeo,” the latest edition of the journal includes seven papers selected by a 12-member editorial committee. Papers directly related to this theme include “Development of Goguryeo Tomb Murals” by Ahn Hwijoon (a professor at Seoul National University), “The Structure and Characteristics of Goguryeo Fortresses in South Korea” by Yang Sieun (a professor at Chungbuk National University).

In 2016, the NMK published History Sourcebook Series Vol. 14, Family Registers in the Collection of the National Museum of Korea, which contains research results on family registers among old documents, some of which go back centuries. This sourcebook includes 511 documents from family registers dating all the back to the Goryeo Dynasty and stretching to the era of the Korean Empire 1897–1910 as well as three related research papers. This research was especially paramount in revealing family registers related to royal relatives and other important families, such as Documents Including Register of Yi Seonggye’s Slave (National Treasure No. 131). Furthermore, new information came to the surface through these family registers, as they show how life really was at the time and how it changed over the years.

New Director General Yi Young-Hoon emphasizes the NMK’s role as a driving force for creating culture On March 14, Yi Young-Hoon was newly appointed as the head of the National Museum of Korea. Yi is a cultural properties expert who has worked at the NMK for 34 years after majoring in archeology at Seoul National University. Director General Yi Young-Hoon says, “We are at a new starting point based on a brilliant tradition. I will do my utmost to make the NMK grow one step further by pursuing internal stability of the museum for the future.”

The NMK will continue to play a leading role in Korea’s museum culture while providing a driving force for creating new culture.

39

miscellaneous

nmk spring 2016 | activities

A 297-Volume Database on Oegyujanggak Uigwe Now Open to the Public

Reorganization of the Balhae Gallery Earlier this year, the National Museum of Korea reorganized its Balhae and Goryeo galleries.

Balhae existed from the late 7th century to the early 10th century. Along with Unified Silla, they were the two major nations on the Korean Peninsula during that time. This year’s reorganization focused on introducing Balhae to the general public, Koreans and non-Koreans alike, so that visitors can get a better understanding of what exactly Balhae inherited from the earlier

kingdom of Goguryeo. The new Balhae Gallery is by and large arranged under three themes: 1) The legitimacy of the Balhae Kingdom; 2) The capital city, royal authority, and governance structure of the Balhae Kingdom; and 3) The Flourishing Land in the East 海東盛國, Balhae and the surrounding world. Of particular note is the theme “The legitimacy of the Balhae Kingdom,” as the gallery has numerous works on display from Balhae that prove it was the successor of

Goguryeo. In the newly organized Balhae Gallery, everything was carefully displayed so that the general public can understand the distinct and universal characteristics of the kingdom’s history and culture based on the most recent excavation results.

Conservation of Korean Cultural Properties in Overseas Museums The National Museum of Korea is playing a leading role in handling the conservation of Korean cultural properties at Germany’s Museum of East Asian Art in Cologne and the Hamburg Museum for Ethnology. At present, the NMK is dealing specifically with five cultural works at these two museums: four Buddhist paintings, including the Water-Moon Avalokiteshvara from the Goryeo Dynasty (Cologne’s Museum of East Asian Art) and a Baeknapdo eight-panel folding screen (Hamburg Museum for Ethnology).

Conservation initiatives at Cologne’s Museum of East Asian Art’s collection will be carried out in two stages. First, the NMK will complete conservation treatment work on the Goryeo Dynasty’s Painting of Avalokiteshvara Bodhisattva and the Joseon Dynasty’s Painting of Shakyamuni’s Preaching Assembly by March 2017. Second, conservation treatment work will be completed on the Goryeo Dynasty’s Painting of Vairocana Buddha Triad and the Joseon Dynasty’s Painting of Ten Underworld Kings by October 2018.

38

Last December, the NMK received the Baeknapdo eight-panel folding screen from the Hamburg Museum for Ethnology. Experts at the NMK will finish conservation treatment work on this folding screen by September 2016 before displaying it to the public at a feature exhibition inside the museum later this year called Urban Aesthetics: From the Early Joseon Dynasty to Modern Times. This marks the second time that the NMK has directly supported the conservation of Korean cultural properties at museums in other countries. The first was in 2011, when the NMK worked on conserving two paintings—including a Buddhist painting from the Joseon Dynasty—which are part of the British Museum’s collection.

The National Museum of Korea compiled a comprehensive database on the Oegyujanggak Uigwe from 2013 to 2016. It became accessible to the public through the museum’s website (http://uigwe.museum.go.kr) as of February 1, 2016, though the website is only available in

Korean. The term uigwe refers to a comprehensive report on every important ceremony and event that took place during the Joseon Dynasty concerning the nation and the royal family. In 1782, King Jeongjo 1752–1800 founded a library called Oegyujanggak at the Haenggung

Journal of Korean Art & Archaeology Vol. 9

History Sourcebook Series Vol. 14, Family Registers in the Collection of the National Museum of Korea

ISSN 2005-1115

Palace on Ganghwado Island. The uigwe that was transferred to the library for the king was then officially named Oegyujanggak Uigwe.

It consisted of 297 volumes (113,832 pages) in total. Today, visitors to the NMK’s website can read each and every page. The database also provides original images and electronic text from the uigwe. In addition, there are easy-tounderstand explanations about the pictures included with the uigwe.

ISBN 978-89-81641-51-1

The 9th edition of the Journal of Art and Archaeology is now available to the public.

Published annually every January, this journal serves as a means to share research on Korean traditional culture and art with the international academic community. At the same time, it broadens the scope of research that people are conducting in the field of Korean studies.

Under the theme of “The Art and Culture of Goguryeo,” the latest edition of the journal includes seven papers selected by a 12-member editorial committee. Papers directly related to this theme include “Development of Goguryeo Tomb Murals” by Ahn Hwijoon (a professor at Seoul National University), “The Structure and Characteristics of Goguryeo Fortresses in South Korea” by Yang Sieun (a professor at Chungbuk National University).

In 2016, the NMK published History Sourcebook Series Vol. 14, Family Registers in the Collection of the National Museum of Korea, which contains research results on family registers among old documents, some of which go back centuries. This sourcebook includes 511 documents from family registers dating all the back to the Goryeo Dynasty and stretching to the era of the Korean Empire 1897–1910 as well as three related research papers. This research was especially paramount in revealing family registers related to royal relatives and other important families, such as Documents Including Register of Yi Seonggye’s Slave (National Treasure No. 131). Furthermore, new information came to the surface through these family registers, as they show how life really was at the time and how it changed over the years.

New Director General Yi Young-Hoon emphasizes the NMK’s role as a driving force for creating culture On March 14, Yi Young-Hoon was newly appointed as the head of the National Museum of Korea. Yi is a cultural properties expert who has worked at the NMK for 34 years after majoring in archeology at Seoul National University. Director General Yi Young-Hoon says, “We are at a new starting point based on a brilliant tradition. I will do my utmost to make the NMK grow one step further by pursuing internal stability of the museum for the future.”

The NMK will continue to play a leading role in Korea’s museum culture while providing a driving force for creating new culture.

39

new & hidden space

nmk spring 2016 | activities

1

Special Places to Rest among the Exhibition Halls

By Kim Jinmyung, Editor of the Design Team Kim Jeongeun, Editor of Sobook

|

Visiting a museum is an absorbing activity but as it entails a lot of walking and long hours of standing and looking at exhibits, it is also rather physically demanding. So at all the famous museums around the world, places where visitors can stop for a break are interspersed among the exhibition halls. Likewise, diverse lounges can be found at the National Museum of Korea, and here we introduce two spots where visitors can recharge and leisurely ruminate on the things they have seen. | The first visitors lounge is located on the first floor, behind a small corridor on the path from the Goguryeo Gallery to the Baekje Gallery in the central part of the Permanent Exhibition Hall. Shielded from view with diagonally placed bookshelves, this place may be easy to miss but it is in fact a rest area that can be used by anyone. Created in 2012 to mark the Year of Books, the lounge is furnished with books, the shelves containing some 200 volumes including the exhibition catalogs published by the National Museum of Korea and books on topics related to museums and cultural properties. In front of the bookshelves is a large round table inviting visitors to choose a book and sit and browse through it at leisure. It’s the perfect place to read through catalogs hard to find elsewhere, while gazing out through the window to the south and resting one’s feet.

2

1 The second-floor lounge has an open feeling due to the wide windows and the displaying of the Gwan Um created by modern artist Lim Choongsup. (1941–) 2 The first-floor lounge, having the ambience of a library, is a place where museum visitors can rest as they read through exhibition catalogs.

|

If the first-floor lounge is reminiscent of a cozy library, the second-floor visitor’s lounge has an appealing sense of openness. Located in the southeast corner of the Donated Works Gallery, it has large windows running along two sides. In a museum where the exhibits have to be protected from sunlight to prevent damage, this is a rare spot where visitors can look out at the view and enjoy the sunlight coming in through the large windows. Simple desks and chairs like those in a school room are laid out along the windows. Turning your back on the wide room behind, this is the perfect place to sit and enjoy some private time. In the center are a large number of tetrapod-shaped chairs for the free use of family groups. Setting the mood of this space is a work titled Gwan Um exhibited along one wall. This intriguing piece is the work of modern artist Lim Choongsup. While images of Gwaneum, that is, the Bodhisattva Avalokiteshvara, are traditionally made of metal, wood, or stone, this work is entirely different in form and materials. Citing gyeonseong, or “seeing one’s true nature,” as a keyword of Buddhism, the artist said he sought to express the idea that the Buddhist spirit of looking into one’s heart is in line with the spirit of modern art. Subtitled Vegetarian Second, it is an artwork that, in the context of Korean tradition, uses the cabbage as the clue to finding the meaning of nature. While the museum is full of old relics that have been verified through strict study of historical evidence, it is enchanting to find in the visitors lounge a work of modern art that everyone can interpret in their own way.

new & hidden space

nmk spring 2016 | activities

1

Special Places to Rest among the Exhibition Halls

By Kim Jinmyung, Editor of the Design Team Kim Jeongeun, Editor of Sobook

|

Visiting a museum is an absorbing activity but as it entails a lot of walking and long hours of standing and looking at exhibits, it is also rather physically demanding. So at all the famous museums around the world, places where visitors can stop for a break are interspersed among the exhibition halls. Likewise, diverse lounges can be found at the National Museum of Korea, and here we introduce two spots where visitors can recharge and leisurely ruminate on the things they have seen. | The first visitors lounge is located on the first floor, behind a small corridor on the path from the Goguryeo Gallery to the Baekje Gallery in the central part of the Permanent Exhibition Hall. Shielded from view with diagonally placed bookshelves, this place may be easy to miss but it is in fact a rest area that can be used by anyone. Created in 2012 to mark the Year of Books, the lounge is furnished with books, the shelves containing some 200 volumes including the exhibition catalogs published by the National Museum of Korea and books on topics related to museums and cultural properties. In front of the bookshelves is a large round table inviting visitors to choose a book and sit and browse through it at leisure. It’s the perfect place to read through catalogs hard to find elsewhere, while gazing out through the window to the south and resting one’s feet.

2

1 The second-floor lounge has an open feeling due to the wide windows and the displaying of the Gwan Um created by modern artist Lim Choongsup. (1941–) 2 The first-floor lounge, having the ambience of a library, is a place where museum visitors can rest as they read through exhibition catalogs.

|

If the first-floor lounge is reminiscent of a cozy library, the second-floor visitor’s lounge has an appealing sense of openness. Located in the southeast corner of the Donated Works Gallery, it has large windows running along two sides. In a museum where the exhibits have to be protected from sunlight to prevent damage, this is a rare spot where visitors can look out at the view and enjoy the sunlight coming in through the large windows. Simple desks and chairs like those in a school room are laid out along the windows. Turning your back on the wide room behind, this is the perfect place to sit and enjoy some private time. In the center are a large number of tetrapod-shaped chairs for the free use of family groups. Setting the mood of this space is a work titled Gwan Um exhibited along one wall. This intriguing piece is the work of modern artist Lim Choongsup. While images of Gwaneum, that is, the Bodhisattva Avalokiteshvara, are traditionally made of metal, wood, or stone, this work is entirely different in form and materials. Citing gyeonseong, or “seeing one’s true nature,” as a keyword of Buddhism, the artist said he sought to express the idea that the Buddhist spirit of looking into one’s heart is in line with the spirit of modern art. Subtitled Vegetarian Second, it is an artwork that, in the context of Korean tradition, uses the cabbage as the clue to finding the meaning of nature. While the museum is full of old relics that have been verified through strict study of historical evidence, it is enchanting to find in the visitors lounge a work of modern art that everyone can interpret in their own way.

N AT I O N A L M U S E U M O F KO R E A |

MASTERPIECES OF KOREAN CERAMICS

Q UA R T E R LY M AG A Z I N E

EARTH, FIRE, AND SPIRIT:

april 27 – june 20, 2016 grand palais, paris

SPR ING 2016

ISSN: 2005-1123

Q UARTERLY MAGAZINE

VOL.35 SPRING 2016

Special Feature Korean Traditional Color: Blue Curator’s Talk Envisioning Blue: Blue-and-white Porcelain of the Joseon Dynasty

VOL .35

To mark the 130th anniversary of diplomatic relations between Korea and France, the two countries have organized a diverse range of events under the banner of Years 2015–2016 Korea-France Bilateral Exchanges. One of these events is the exhibition Earth, Fire, and Spirit: Masterpieces of Korean Ceramics (La Terre, le Feu et l'Esprit: Chefs-d'œuvre de la Céramique Coréenne) held at the Grand Palais, located on the Champs Elysees in Paris.

The exhibition features a selection of quintessentially Korean works that exemplify Korean ceramic art and culture. Items from the Three Kingdoms period through the Goryeo and Joseon Dynasties and modern times are spread before the eyes. Masterpieces such as the Celadon Dragon-shaped Ewer (National Treasure No. 96) and Large White Porcelain Jar (Treasure No. 1437) represent the height of Korea's ceramic art and convey the spirit of the people. The display is enriched with a number of creative modern works by Lee Ufan and Park Youngsook as well as a video work by Kim Sooja that offers a new perspective on the four elements of nature—earth, water, fire, and air.

After the Grand Palais show, the exhibition will open at the State Hermitage Museum in Saint Petersburg, Russia, from July 29 to November 6.

NATIONAL MUSEUM of KOREA

Special Exhibition Conservation Science, Saving Cultural Properties Exhibition The Reorganized Goryeo Gallery: A Glimpse into Life in the Goryeo Dynasty Behind the Exhibit Conservation of Ceramic Heritage