Nationalmuseumofkoreavol36 en

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

NATIONAL MUSEUM of KOREA

Q UARTERLY MAGAZINE

VOL.36 SUMMER 2016

Special Exhibition Pensive Bodhisattvas: National Treasures of Korea and Japan Overseas Exhibition Earth, Fire, Soul—Masterpieces of Korean Ceramics

DISCOVERIES FROM THE SINAN SHIPWRECK june 26 – september 4, 2016 special exhibition gallery The National Museum of Korea is holding a special exhibition to celebrate the 40th anniversary of the excavation of the Sinan shipwreck. The excavation of the Sinan shipwreck off the waters of Sinan, Jeollanam-do Province 40 years ago surprised not only Koreans but the whole world. The enormous quantity of cultural heritages excavated at the time became critical materials to understand East Asian culture in the first half of the 14th century. Unfortunately, the general public’s memory of the Sinan shipwreck has gradually faded with time. In this regard, the NMK is holding a special exhibition titled, Discoveries from the Sinan Shipwreck, in order to promote the importance of cultural heritage from the Sinan shipwreck.

This exhibition aims to show vivid records of the excavation of cultural heritage from the Sinan shipwreck and other kinds of salvaged trading goods, while also presenting how these goods were closely related to people’s lives and culture in East Asia at the time.

On top of the excavated objects from the Sinan shipwreck, the museum will introduce related cultural heritage from China and Japan. After the show in Seoul, this exhibition will continue at the Gwangju National Museum from November 22, 2016 to February 19, 2017 as a traveling exhibition.

ISSN: 2005-1123

VOL .36 SUMMER 2016

celebrating the 40th anniversary of the excavation

Special Feature Red, the Color of Power Curator’s Talk The Color Red in Buddhist Paintings

NATIONAL MUSEUM of KOREA

S UMMER 2016

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

The summer volume of National Museum of Korea will first lead to a greater appreciation of different cultures, as our exhibitions bring about the kind of lasting impression that is created when cultural heritage come in contact with one another.

To celebrate the 50th anniversary of the normalization of diplomatic relations between Korea and Japan, Pensive Bodhisattvas: National Treasures of Korea and Japan showed Korea’s Pensive Bodhisattva, the National Treasure No. 78, and Japan’s Pensive Bodhisattva of Chugu-ji Temple, National Treasure together for the first time. The exhibition was meaningful in many ways as it presented a new approach to cultural exchanges. It allowed visitors to compare and consider similar but different cultural objects beyond the existing way of introducing a certain country’s cultural heritage.

In the “Special Exhibition” column, we will examine the content and meaning of this exhibition in detail. This will provide an opportunity to see how Korea and Japan each understood and visualized the universal theme of “contemplation.”

The National Museum of Korea held another exchange exhibition in Paris to celebrate the 2015 – 2016 France-Korea Year. Earth, Fire, Soul—Masterpieces of Korean Ceramics, which is covered in the “Overseas Exhibition” column, was an opportunity to introduce the Korean ceramic art to the world, from Three Kingdoms earthenware and Goryeo Dynasty celadon to Joseon Dynasty white porcelain and contemporary works.

Moreover, we prepared columns that approach our traditional culture from a new perspective. The “Korean Heritage” section, which consists of “Special Feature” and “Curator’s Talk” deals with Korean traditional colors in an in-depth way. We covered blue in our spring volume and now the summer volume explores red. The “Special Feature” explains folk customs related to red and related colors used in various cultural heritages.

In addition, “Curator’s Talk” examines Buddha’s robe to understand how the color red is used in Buddist paintings, allowing readers to take a glimpse into the Buddhistic world that consoled people with images similar to the sun reviving nature.

The National Museum of Korea has numerous exhibitions and programs to add inspiration to your everyday experience. I hope you enjoy this collection, which is sure to invigorate your spirit with the nature of the season.

FROM THE GALLERY

KOREAN HERITAGE

ACTIVITIES

special exhibition Pensive Bodhisattvas: National Treasures of Korea and Japan 02

special feature Red, the Color of Power 18

people Remembering Choi Sunu 30

curator’s talk The Color Red in Buddhist Paintings 24

behind the exhibit The Analysis and Environment 32

zoom in Sutra Box Decorated with Mother-of-pearl 28

children’s museum Silla: The Splendid Golden Kingdom 34

overseas exhibition Earth, Fire, Soul—Masterpieces of Korean Ceramics 06 affiliated national museum 1 Goindol, Dolmens in Korea 12 affiliated national museum 2 Dosan Seowon, Confucian Academy: Sound of Reciting, Heart of Reading 15

exhibition & news 36

Yi Young-Hoon Director General National Museum of Korea Summer 2016

Cover of the Current Issue Pensive Bodhisattva Three Kingdoms Period, Late 6th century Gilt-bronze H. 83.2 cm National Treasure No. 78

Publisher National Museum of Korea Address: 137 Seobinggo-ro, Yongsan-gu, Seoul, Korea Homepage: www.museum.go.kr/ site/eng/home Editorial Direction Design Team of National Museum of Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr Design and Production Sobook Inc. Publication Date July 20, 2016

Printed in Korea Copyright © 2016 National Museum of Korea.

ISSN: 2005–1123 Note to Readers The related information of image is given in the following order: title, period or produced date, artist, material, dimensions, and management number. Items from other institutions are classified by their collection names.

NATIONAL MUSEUM of KOREA

S UMMER 2016

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

The summer volume of National Museum of Korea will first lead to a greater appreciation of different cultures, as our exhibitions bring about the kind of lasting impression that is created when cultural heritage come in contact with one another.

To celebrate the 50th anniversary of the normalization of diplomatic relations between Korea and Japan, Pensive Bodhisattvas: National Treasures of Korea and Japan showed Korea’s Pensive Bodhisattva, the National Treasure No. 78, and Japan’s Pensive Bodhisattva of Chugu-ji Temple, National Treasure together for the first time. The exhibition was meaningful in many ways as it presented a new approach to cultural exchanges. It allowed visitors to compare and consider similar but different cultural objects beyond the existing way of introducing a certain country’s cultural heritage.

In the “Special Exhibition” column, we will examine the content and meaning of this exhibition in detail. This will provide an opportunity to see how Korea and Japan each understood and visualized the universal theme of “contemplation.”

The National Museum of Korea held another exchange exhibition in Paris to celebrate the 2015 – 2016 France-Korea Year. Earth, Fire, Soul—Masterpieces of Korean Ceramics, which is covered in the “Overseas Exhibition” column, was an opportunity to introduce the Korean ceramic art to the world, from Three Kingdoms earthenware and Goryeo Dynasty celadon to Joseon Dynasty white porcelain and contemporary works.

Moreover, we prepared columns that approach our traditional culture from a new perspective. The “Korean Heritage” section, which consists of “Special Feature” and “Curator’s Talk” deals with Korean traditional colors in an in-depth way. We covered blue in our spring volume and now the summer volume explores red. The “Special Feature” explains folk customs related to red and related colors used in various cultural heritages.

In addition, “Curator’s Talk” examines Buddha’s robe to understand how the color red is used in Buddist paintings, allowing readers to take a glimpse into the Buddhistic world that consoled people with images similar to the sun reviving nature.

The National Museum of Korea has numerous exhibitions and programs to add inspiration to your everyday experience. I hope you enjoy this collection, which is sure to invigorate your spirit with the nature of the season.

FROM THE GALLERY

KOREAN HERITAGE

ACTIVITIES

special exhibition Pensive Bodhisattvas: National Treasures of Korea and Japan 02

special feature Red, the Color of Power 18

people Remembering Choi Sunu 30

curator’s talk The Color Red in Buddhist Paintings 24

behind the exhibit The Analysis and Environment 32

zoom in Sutra Box Decorated with Mother-of-pearl 28

children’s museum Silla: The Splendid Golden Kingdom 34

overseas exhibition Earth, Fire, Soul—Masterpieces of Korean Ceramics 06 affiliated national museum 1 Goindol, Dolmens in Korea 12 affiliated national museum 2 Dosan Seowon, Confucian Academy: Sound of Reciting, Heart of Reading 15

exhibition & news 36

Yi Young-Hoon Director General National Museum of Korea Summer 2016

Cover of the Current Issue Pensive Bodhisattva Three Kingdoms Period, Late 6th century Gilt-bronze H. 83.2 cm National Treasure No. 78

Publisher National Museum of Korea Address: 137 Seobinggo-ro, Yongsan-gu, Seoul, Korea Homepage: www.museum.go.kr/ site/eng/home Editorial Direction Design Team of National Museum of Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9258 E-mail: polagu47@korea.kr Design and Production Sobook Inc. Publication Date July 20, 2016

Printed in Korea Copyright © 2016 National Museum of Korea.

ISSN: 2005–1123 Note to Readers The related information of image is given in the following order: title, period or produced date, artist, material, dimensions, and management number. Items from other institutions are classified by their collection names.

SPECIAL EXHIBITION

MAY 24 - JUNE 12, 2016 SPECIAL EXHIBITION GALLERY

Pensive Bodhisattvas: National Treasures of Korea and Japan

By Kwon Kangmi, Associate Curator of the Research and Planning Division

SPECIAL EXHIBITION

MAY 24 - JUNE 12, 2016 SPECIAL EXHIBITION GALLERY

Pensive Bodhisattvas: National Treasures of Korea and Japan

By Kwon Kangmi, Associate Curator of the Research and Planning Division

The National Museum of Korea held a special exhibition titled, Pensive Bodhisattvas: National Treasures of Korea and Japan in commemoration of the year 2015 marking the 50th anniversary of normalization of Korea-Japan relations. The exhibition, which was held for three weeks from May 24 to June 12 in the Special Exhibition Gallery, was the first occasion to display together Korea’s Pensive Bodhisattva, the National Treasure No. 78, and Japan’s Pensive Bodhisattva of Chugu-ji Temple, National Treasure. The two statues are each representative of the ancient Buddhist sculpture of their countries.

The pensive bodhisattva refers to the statue of Bodhisattva in a pose of an ankle placed on top of the knee of the other leg and fingers resting against the cheek, as if in contemplation. This posture was derived from the description of Gautama Buddha as a prince in meditation on the life and death of human beings. Originating in India, the birthplace of Buddhism, pensive bodhisattva was introduced to Korea and Japan by way of Central Asia and China.

Pensive Bodhisattva Three Kingdoms Period, Late 6th century Gilt-bronze H. 83.2 cm National Treasure No. 78 bon 2789 National Museum of Korea

The pensive bodhisattvas from the Three Kingdoms Period 57 BCE – 668 CE show a sophisticated level of artistry. They were made as independent works of art and became important objects of worship in close association with the belief in Maitreya bodhisattva, who is to appear on Earth in the future for the salvation of all people.

These pensive bodhisattvas were passed on to Japan and stimulated the creation of numerous statues of pensive Maitreya bodhisattva. Korea’s National Treasure No. 78 statue and the Japan’s National Treasure Chugu-ji Temple statue are representative works of art of this genre that allow for each country and visitors to compare how the universal subject of “contemplation” was understood and visualized in the two neighboring countries.

The National Treasure No. 78 statue was made in the late 6th century during the Three Kingdoms Period. With a faint smile on his lips and his fingers gently resting on the cheek, the statue shows the infinite tranquility and noble beauty of the bodhisattva. The elaborate ornaments

04

and the train of celestial robes covering the body reveal the dignified and aweinspiring majesty of the bodhisattva. The National Treasure No. 78 statue is more remarkable in that it successfully visualized the combination of two complicated postures of “ban-ga”(half-sitting) and “sayu”(contemplation), which is hardly found together in real life. Also, the elaborate ornaments and the train of celestial robes carved with a consistent thickness in this gilt-bronze statue substantiate a combination of the greatest sculptural sense and the state-of-the-art casting techniques of the time. This is the reason the National Treasure No. 78 statue is considered the national treasure, among many others, that best represents Korea’s cultural heritage.

The Pensive Bodhisattva at Chugu-ji Temple located in Nara Prefecture, Japan is a wooden statue dating to the late Asuka Period late 6th – late 7th centuries in the 7th century.

The head is shaped as if the hair is tied up in two knots, the eyelids are thick without creases, and the lips form a subtle smile, as if in meditation. While the torso is bare, the

train of the robe flows down in layers over a high and wide pedestal, hinting at the influence of the pensive bodhisattva statues from the Three Kingdoms of Korea.

However, the large, round chair and the torso lifted with its chin up shows a unique sculptural sense of Japan’s own. It is also worthy of note that the Chugu-ji Temple statue consists of an assembly of 11 different parts made of camphor wood, the most common material for Japanese wooden Buddhist statues of the time. This classic statue featuring both the influence

from the Three Kingdoms Period and the originality of Japan’s ancient Buddhist sculpture was displayed for the first time outside Japan for this exhibition.

The National Treasure No. 78 statue dating to the 6th century is one of the earliest examples of pensive bodhisattva statues from Korea’s Three Kingdoms Period, and the Chugu-ji Temple statue represents the 7th century Buddhist sculpture of the Asuka Period when pensive bodhisattva statues introduced from the Korean Peninsula were developed into

Japan’s own sculptural tradition.

This exhibition comparing the two pensive bodhisattva statues offered an opportunity to imagine how the transmission of pensive bodhisattva from India to China, Korea, and Japan sparked dynamic cultural exchanges between ancient East Asian countries. Despite differences in material—gilt-bronze versus wood—the two statues allowed to take a glimpse into the creative efforts of their sculptors to express the unique posture of the pensive bodhisattva.

Pensive Bodhisattvas: National Treasures of Korea and Japan

detailed views of the two exhibits. The images of the pensive bodhisattvas in the catalogue are immensely detailed that readers would feel like they are seeing the statues directly without the glass display cases standing in between. The series of close-up photographs allow the readers to admire the bodhisattvas fully, while perusing the meaning behind these statues.

In addition, the catalogue contains essays by renowned experts in Buddhist art from Korea and Japan, including “The Journey of the Pensive Bodhisattvas” and “The Elements of Baekje Style Found in the National Treasure No. 78 Pensive Bodhisattva.”

PUBLICATION

ISBN | 979-11-956456-5-7 93910 Pages | 76 Size | 25.8 × 19.0 cm Language | Korean Publication Date | March 23, 2016 Price | KRW 10,000 (approx. $ 8.40)

This catalogue, published by the National Museum of Korea for the Special Exhibition Pensive Bodhisattvas: National Treasures of Korea and Japan, contains explanation of the aesthetic values of the pensive bodhisattvas as well as photographs offering both full and

05

nmk summer 2016 | from the gallery

special exhibition | pensive bodhisattvas: national treasures of korea and japan

Pensive Bodhisattva Asuka Period, Late 7th century Camphor Wood H. 168 cm National Treasure of Japan Chugu-ji Temple, Nara, Japan

The National Museum of Korea held a special exhibition titled, Pensive Bodhisattvas: National Treasures of Korea and Japan in commemoration of the year 2015 marking the 50th anniversary of normalization of Korea-Japan relations. The exhibition, which was held for three weeks from May 24 to June 12 in the Special Exhibition Gallery, was the first occasion to display together Korea’s Pensive Bodhisattva, the National Treasure No. 78, and Japan’s Pensive Bodhisattva of Chugu-ji Temple, National Treasure. The two statues are each representative of the ancient Buddhist sculpture of their countries.

The pensive bodhisattva refers to the statue of Bodhisattva in a pose of an ankle placed on top of the knee of the other leg and fingers resting against the cheek, as if in contemplation. This posture was derived from the description of Gautama Buddha as a prince in meditation on the life and death of human beings. Originating in India, the birthplace of Buddhism, pensive bodhisattva was introduced to Korea and Japan by way of Central Asia and China.

Pensive Bodhisattva Three Kingdoms Period, Late 6th century Gilt-bronze H. 83.2 cm National Treasure No. 78 bon 2789 National Museum of Korea

The pensive bodhisattvas from the Three Kingdoms Period 57 BCE – 668 CE show a sophisticated level of artistry. They were made as independent works of art and became important objects of worship in close association with the belief in Maitreya bodhisattva, who is to appear on Earth in the future for the salvation of all people.

These pensive bodhisattvas were passed on to Japan and stimulated the creation of numerous statues of pensive Maitreya bodhisattva. Korea’s National Treasure No. 78 statue and the Japan’s National Treasure Chugu-ji Temple statue are representative works of art of this genre that allow for each country and visitors to compare how the universal subject of “contemplation” was understood and visualized in the two neighboring countries.

The National Treasure No. 78 statue was made in the late 6th century during the Three Kingdoms Period. With a faint smile on his lips and his fingers gently resting on the cheek, the statue shows the infinite tranquility and noble beauty of the bodhisattva. The elaborate ornaments

04

and the train of celestial robes covering the body reveal the dignified and aweinspiring majesty of the bodhisattva. The National Treasure No. 78 statue is more remarkable in that it successfully visualized the combination of two complicated postures of “ban-ga”(half-sitting) and “sayu”(contemplation), which is hardly found together in real life. Also, the elaborate ornaments and the train of celestial robes carved with a consistent thickness in this gilt-bronze statue substantiate a combination of the greatest sculptural sense and the state-of-the-art casting techniques of the time. This is the reason the National Treasure No. 78 statue is considered the national treasure, among many others, that best represents Korea’s cultural heritage.

The Pensive Bodhisattva at Chugu-ji Temple located in Nara Prefecture, Japan is a wooden statue dating to the late Asuka Period late 6th – late 7th centuries in the 7th century.

The head is shaped as if the hair is tied up in two knots, the eyelids are thick without creases, and the lips form a subtle smile, as if in meditation. While the torso is bare, the

train of the robe flows down in layers over a high and wide pedestal, hinting at the influence of the pensive bodhisattva statues from the Three Kingdoms of Korea.

However, the large, round chair and the torso lifted with its chin up shows a unique sculptural sense of Japan’s own. It is also worthy of note that the Chugu-ji Temple statue consists of an assembly of 11 different parts made of camphor wood, the most common material for Japanese wooden Buddhist statues of the time. This classic statue featuring both the influence

from the Three Kingdoms Period and the originality of Japan’s ancient Buddhist sculpture was displayed for the first time outside Japan for this exhibition.

The National Treasure No. 78 statue dating to the 6th century is one of the earliest examples of pensive bodhisattva statues from Korea’s Three Kingdoms Period, and the Chugu-ji Temple statue represents the 7th century Buddhist sculpture of the Asuka Period when pensive bodhisattva statues introduced from the Korean Peninsula were developed into

Japan’s own sculptural tradition.

This exhibition comparing the two pensive bodhisattva statues offered an opportunity to imagine how the transmission of pensive bodhisattva from India to China, Korea, and Japan sparked dynamic cultural exchanges between ancient East Asian countries. Despite differences in material—gilt-bronze versus wood—the two statues allowed to take a glimpse into the creative efforts of their sculptors to express the unique posture of the pensive bodhisattva.

Pensive Bodhisattvas: National Treasures of Korea and Japan

detailed views of the two exhibits. The images of the pensive bodhisattvas in the catalogue are immensely detailed that readers would feel like they are seeing the statues directly without the glass display cases standing in between. The series of close-up photographs allow the readers to admire the bodhisattvas fully, while perusing the meaning behind these statues.

In addition, the catalogue contains essays by renowned experts in Buddhist art from Korea and Japan, including “The Journey of the Pensive Bodhisattvas” and “The Elements of Baekje Style Found in the National Treasure No. 78 Pensive Bodhisattva.”

PUBLICATION

ISBN | 979-11-956456-5-7 93910 Pages | 76 Size | 25.8 × 19.0 cm Language | Korean Publication Date | March 23, 2016 Price | KRW 10,000 (approx. $ 8.40)

This catalogue, published by the National Museum of Korea for the Special Exhibition Pensive Bodhisattvas: National Treasures of Korea and Japan, contains explanation of the aesthetic values of the pensive bodhisattvas as well as photographs offering both full and

05

nmk summer 2016 | from the gallery

special exhibition | pensive bodhisattvas: national treasures of korea and japan

Pensive Bodhisattva Asuka Period, Late 7th century Camphor Wood H. 168 cm National Treasure of Japan Chugu-ji Temple, Nara, Japan

OVERSEAS EXHIBITION

Earth, Fire, Soul—Masterpieces of Korean Ceramics

By Park Hyewon, Associate Curator of the Exhibition Division

BEAUTY OF KOREAN CERAMICS AT THE GRAND PALAIS, PARIS

The exhibition Earth, Fire, Soul—Masterpieces of Korean Ceramics, jointly organized by the National Museum of Korea and the Grand Palais in Paris, opened in April 27 through June 20. A review of Korean ceramics’ past and present, the exhibition was held in the Salon d’honneur

at the Grand Palais and featured a total of 344 items, including some 300 traditional works along with over 30 contemporary works inspired by the old masterpieces.

The traditional works include 11 Treasures and National Treasures, such as Celadon Dragon-turtle-shaped Ewer (National Treasure No. 96) and White Porcelain Jar (Treasure No. 1437).

nmk summer 2016 | from the gallery

APRIL 27 – JUNE 20, 2016 GRAND PALAIS, PARIS

OVERSEAS EXHIBITION

Earth, Fire, Soul—Masterpieces of Korean Ceramics

By Park Hyewon, Associate Curator of the Exhibition Division

BEAUTY OF KOREAN CERAMICS AT THE GRAND PALAIS, PARIS

The exhibition Earth, Fire, Soul—Masterpieces of Korean Ceramics, jointly organized by the National Museum of Korea and the Grand Palais in Paris, opened in April 27 through June 20. A review of Korean ceramics’ past and present, the exhibition was held in the Salon d’honneur

at the Grand Palais and featured a total of 344 items, including some 300 traditional works along with over 30 contemporary works inspired by the old masterpieces.

The traditional works include 11 Treasures and National Treasures, such as Celadon Dragon-turtle-shaped Ewer (National Treasure No. 96) and White Porcelain Jar (Treasure No. 1437).

nmk summer 2016 | from the gallery

APRIL 27 – JUNE 20, 2016 GRAND PALAIS, PARIS

The exhibition was organized as one of the cultural events between Korea and France which began last year under the name of the 2015 – 2016 France-Korea Year to celebrate the year 2016 marking the 130th anniversary of diplomatic ties between the two nations. It is significant as the first exhibition on Korean traditional culture to be held in France in almost fifty years.

The Grand Palais is an important landmark of Paris, originally built for the 1900 Exposition Universelle in Paris along with the Eiffel Tower and the Pont Alexandre III, a bridge over the Seine. As a major cultural organization affiliated with the Réunion des musées nationaux under the Ministry of Culture and Information, the Grand Palais has hosted a wide range of exhibitions and events that have attracted the attention of Paris citizens and tourists alike. The recently opened exhibition of Korean ceramic masterpieces was seen as a wonderful opportunity for Parisians and indeed people from around the world to experience the beauty of Korean culture, which remains somewhat unknown.

The choice of ceramics for a special exhibition on Korean culture in France is meaningful in itself. Molding clay and

Celadon Taoist-immortal-shaped Ewer Goryeo, 12th century H. 28.0 cm National Treasure No. 167 ssu 3325

firing it in high temperature to create beautiful ceramic vessels is a practice common to the East and the West, past and present. Indeed, from a long way back in the past, making ceramics has been a concern shared by the East and the West.

Ceramics is a representative field of art and craft that crosses back and forth between everyday life and art. Being in the realm of the universal, ceramics is a subject that people around the world can take an interest in, yet the way ceramic art and culture is enjoyed and developed differs from one region to the next. Korean ceramic art has a clear individuality and is credited with carving out a distinct world of its own. The Paris exhibition was designed to show the best of Korean ceramics through a selection of masterpieces and enabled visitors to feel the spirit of the Korean people embodied in the works.

PANORAMA OF KOREAN CERAMICS FROM ANCIENT TO MODERN TIMES

The exhibition presented a panorama of Korean ceramics through the ages, from the earthenware of the Three Kingdoms Period 57 BCE–668 CE that laid the foundation for Korean ceramics to Goryeo celadon, Joseon white porcelain and buncheong ware,

Horse Rider-shaped Pottery Silla, 5th century Stoneware H. 26.8 cm National Treasure No. 91 bon 9705

and contemporary works. The elaborated earthenware figurines originally buried in graves to guide the spirit of the dead reflect people’s view of the afterlife in ancient times. Horse Rider-shaped Pottery (National Treasure No. 91) discovered inside a tomb of the Silla Kingdom 57 BCE–676 CE gives a good idea of the horse trappings used at the time. Along with the Duckshaped Pottery also on the show, this burial figurine reflects wishes of the living to guide the dead comfortably to heaven.

In the Goryeo Dynasty 918–1392 section, vessels with elegant shapes and a lovely jade-green luster spoke for the sophisticated tastes of the nobility of the Goryeo Dynasty, when an aristocratic culture flourished. The Celadon Dragonturtle-shaped Ewer has a dragon’s head on the body of a turtle. The dragon’s whiskers, mane, teeth, and horns are gently yet powerfully expressed and with its refined color, subtle glaze, and elaborate carving, it constitutes a masterpiece of Korean celadon ware.

In the Joseon Dynasty 1392–1897 section, the free and creative buncheong ware epitomized the lively mood of the new state, and the restrained beauty of white porcelain embodied the Confucian ideals

nmk summer 2016 | from the gallery

overseas exhibition | earth, fire, soul—masterpieces of korean ceramics

The exhibition presented a panorama of Korean ceramics through the ages, from the earthenware of the Three Kingdoms Period that laid the foundation for Korean ceramics to Goryeo celadon, Joseon white porcelain and buncheong ware, and contemporary works.

(from top) Display of earthenware and stoneware Display of buncheong ware at the Joseon Dynasty section

White Porcelain Jar with Grapevine and Monkey Design in Underglaze Iron-brown Joseon, 17-18th century H. 30.8 cm National Treasure No. 93 bon 2029 Celadon Bottle with Willow Design in Underglaze Iron-brown Goryeo, 13th century H. 31.4 cm National Treasure No. 113 bon 12419

08

09

The exhibition was organized as one of the cultural events between Korea and France which began last year under the name of the 2015 – 2016 France-Korea Year to celebrate the year 2016 marking the 130th anniversary of diplomatic ties between the two nations. It is significant as the first exhibition on Korean traditional culture to be held in France in almost fifty years.

The Grand Palais is an important landmark of Paris, originally built for the 1900 Exposition Universelle in Paris along with the Eiffel Tower and the Pont Alexandre III, a bridge over the Seine. As a major cultural organization affiliated with the Réunion des musées nationaux under the Ministry of Culture and Information, the Grand Palais has hosted a wide range of exhibitions and events that have attracted the attention of Paris citizens and tourists alike. The recently opened exhibition of Korean ceramic masterpieces was seen as a wonderful opportunity for Parisians and indeed people from around the world to experience the beauty of Korean culture, which remains somewhat unknown.

The choice of ceramics for a special exhibition on Korean culture in France is meaningful in itself. Molding clay and

Celadon Taoist-immortal-shaped Ewer Goryeo, 12th century H. 28.0 cm National Treasure No. 167 ssu 3325

firing it in high temperature to create beautiful ceramic vessels is a practice common to the East and the West, past and present. Indeed, from a long way back in the past, making ceramics has been a concern shared by the East and the West.

Ceramics is a representative field of art and craft that crosses back and forth between everyday life and art. Being in the realm of the universal, ceramics is a subject that people around the world can take an interest in, yet the way ceramic art and culture is enjoyed and developed differs from one region to the next. Korean ceramic art has a clear individuality and is credited with carving out a distinct world of its own. The Paris exhibition was designed to show the best of Korean ceramics through a selection of masterpieces and enabled visitors to feel the spirit of the Korean people embodied in the works.

PANORAMA OF KOREAN CERAMICS FROM ANCIENT TO MODERN TIMES

The exhibition presented a panorama of Korean ceramics through the ages, from the earthenware of the Three Kingdoms Period 57 BCE–668 CE that laid the foundation for Korean ceramics to Goryeo celadon, Joseon white porcelain and buncheong ware,

Horse Rider-shaped Pottery Silla, 5th century Stoneware H. 26.8 cm National Treasure No. 91 bon 9705

and contemporary works. The elaborated earthenware figurines originally buried in graves to guide the spirit of the dead reflect people’s view of the afterlife in ancient times. Horse Rider-shaped Pottery (National Treasure No. 91) discovered inside a tomb of the Silla Kingdom 57 BCE–676 CE gives a good idea of the horse trappings used at the time. Along with the Duckshaped Pottery also on the show, this burial figurine reflects wishes of the living to guide the dead comfortably to heaven.

In the Goryeo Dynasty 918–1392 section, vessels with elegant shapes and a lovely jade-green luster spoke for the sophisticated tastes of the nobility of the Goryeo Dynasty, when an aristocratic culture flourished. The Celadon Dragonturtle-shaped Ewer has a dragon’s head on the body of a turtle. The dragon’s whiskers, mane, teeth, and horns are gently yet powerfully expressed and with its refined color, subtle glaze, and elaborate carving, it constitutes a masterpiece of Korean celadon ware.

In the Joseon Dynasty 1392–1897 section, the free and creative buncheong ware epitomized the lively mood of the new state, and the restrained beauty of white porcelain embodied the Confucian ideals

nmk summer 2016 | from the gallery

overseas exhibition | earth, fire, soul—masterpieces of korean ceramics

The exhibition presented a panorama of Korean ceramics through the ages, from the earthenware of the Three Kingdoms Period that laid the foundation for Korean ceramics to Goryeo celadon, Joseon white porcelain and buncheong ware, and contemporary works.

(from top) Display of earthenware and stoneware Display of buncheong ware at the Joseon Dynasty section

White Porcelain Jar with Grapevine and Monkey Design in Underglaze Iron-brown Joseon, 17-18th century H. 30.8 cm National Treasure No. 93 bon 2029 Celadon Bottle with Willow Design in Underglaze Iron-brown Goryeo, 13th century H. 31.4 cm National Treasure No. 113 bon 12419

08

09

White Porcelain Bottle with Rope Design in Underglaze Iron-brown Joseon, 16th century H. 31.4 cm Treasure No. 1060 ssu 12074

State Hermitage Museum in St. Petersburg, Russia (photographed by Демидов П.С - Demidov P.S.)

ceramic masterpieces, is found in making the beauty and originality of Korean ceramic art more widely known. As the first major exhibition showcasing Korean traditional cultural objects in Paris, one of the cultural capitals of the world, this exhibition explored the potential to extend the scope of the Korean Wave, now led by K-pop and other forms of popular culture, to traditional culture as well.

EXCHANGES WITH RUSSIA

After Paris, the exhibition moves on to the State Hermitage Museum in St. Petersburg, Russia, where it will be on show from July 29 to November 6. Korea and Russia have engaged in exchanges of major exhibitions, with The Scythian Gold from the Hermit-

Display of moon jars and contemporary ceramic artworks

to which the nation aspired. White Porcelain Bottle with Rope Design in Underglaze Iron-brown (Treasure No. 1060) is a unique work that exhibits the simple, restrained lines of early Joseon bottles. The rope design that starts at the neck, painted with iron pigment, hints at the ease and humor of the artisan.

Besides, elegant tableware sets of celadon and white porcelain, cosmetics cases used by noblewomen, and stationery items used by scholars offered a pleasure of peeking into the everyday lives of the past.

The highlights of the exhibition were two large white porcelain jars, which are called “moon jars” due to their round full-moon shape. Considered the best representation of Korean aesthetic, the moon jars have a

special charm, being white but not pure white, round but not perfectly round. In this exhibition, they served as a connecting link between the traditional and modern ceramic works.

Embodying a different aesthetic in every period, Korean ceramics have served as a source of inspiration for contemporary artists. Along with masterpieces from the past, the Paris exhibition also presented the works of Korean contemporary artists who are active on the international scene.

Featuring the creations of 11 artists from various fields of art (including ceramics, video, painting, photography, and sculpture) the exhibition gave visitors an opportunity to explore the way Korea’s beautiful, highly original ceramic culture

10

has inspired the creative activities of artists today. The exhibits work included works by Lee Ufan and Park Youngsook, all inspired by blue-and-white porcelain, and Kim Sooja’s video piece “Earth, Water, Fire, Air,” which gives a new perspective on the four elements. Also on show was “A Molded Moon, Life within a Vase,” a video installation newly created for this exhibition after a year-long preparation by the artist duo Moon Kyungwon and Jeon Joonho, who participated in the Korean Pavilion at the 2015 Venice Biennale. Noting the imperfect beauty of the moon jar, the artists raised fundamental questions regarding human aspirations for perfection.

The significance of the exhibition at the Grand Palais, featuring a rich collection of

age at the National Museum of Korea in 1991 and Wind in the Pines, 5000 Years of Korean Art at the Hermitage in 2010. The ceramics exhibition also takes place under this exchange program between the two countries and is expected to widely promote Korean culture among the Russian public and give Korean residents of Russia a good opportunity to rediscover and gain a deeper understanding of Korean ceramic art. In exchange, the National Museum of Korea plans to hold an exhibition of some of the finest works from the Hermitage collection for the benefit of the Korean public.

PUBLICATION Earth, Fire, Soul— Masterpieces of Korean Ceramics (La Terre, le Feu, l’Esprit: Chefs-d’oeuvre de la Céramique Coréenne) ISBN | 978-2-7118-6355-8 Pages | 232 Size | 29.0 × 25.0 cm Language | French Publication Date | March 2016 Price | 39 €

This catalogue was published to accompany the exhibition of Korean ceramics held at the Grand Palais in Paris.

It gives an overview of Korean ceramics through the ages from the earthenware of the Three Kingdoms Period, Goryeo celadon, Joseon white porcelain and

11

buncheong ware to works by contemporary artists. Each chapter starts with an explanation of the characteristics of the ceramics of the given period. The whole catalogue covers a total of 191 entries.

Its methodic organization according to period will enhance understanding of the changes in Korea’s ceramics technology and culture from one period to the next and also improve awareness of the beauty and originality of Korean ceramic art.

nmk summer 2016 | from the gallery

overseas exhibition | earth, fire, soul—masterpieces of korean ceramics

Embodying a different aesthetic in every period, Korean ceramics have served as a source of inspiration for contemporary artists. Along with masterpieces from the past, the Paris exhibition also presented the works of Korean contemporary artists who are active on the international scene.

White Porcelain Bottle with Rope Design in Underglaze Iron-brown Joseon, 16th century H. 31.4 cm Treasure No. 1060 ssu 12074

State Hermitage Museum in St. Petersburg, Russia (photographed by Демидов П.С - Demidov P.S.)

ceramic masterpieces, is found in making the beauty and originality of Korean ceramic art more widely known. As the first major exhibition showcasing Korean traditional cultural objects in Paris, one of the cultural capitals of the world, this exhibition explored the potential to extend the scope of the Korean Wave, now led by K-pop and other forms of popular culture, to traditional culture as well.

EXCHANGES WITH RUSSIA

After Paris, the exhibition moves on to the State Hermitage Museum in St. Petersburg, Russia, where it will be on show from July 29 to November 6. Korea and Russia have engaged in exchanges of major exhibitions, with The Scythian Gold from the Hermit-

Display of moon jars and contemporary ceramic artworks

to which the nation aspired. White Porcelain Bottle with Rope Design in Underglaze Iron-brown (Treasure No. 1060) is a unique work that exhibits the simple, restrained lines of early Joseon bottles. The rope design that starts at the neck, painted with iron pigment, hints at the ease and humor of the artisan.

Besides, elegant tableware sets of celadon and white porcelain, cosmetics cases used by noblewomen, and stationery items used by scholars offered a pleasure of peeking into the everyday lives of the past.

The highlights of the exhibition were two large white porcelain jars, which are called “moon jars” due to their round full-moon shape. Considered the best representation of Korean aesthetic, the moon jars have a

special charm, being white but not pure white, round but not perfectly round. In this exhibition, they served as a connecting link between the traditional and modern ceramic works.

Embodying a different aesthetic in every period, Korean ceramics have served as a source of inspiration for contemporary artists. Along with masterpieces from the past, the Paris exhibition also presented the works of Korean contemporary artists who are active on the international scene.

Featuring the creations of 11 artists from various fields of art (including ceramics, video, painting, photography, and sculpture) the exhibition gave visitors an opportunity to explore the way Korea’s beautiful, highly original ceramic culture

10

has inspired the creative activities of artists today. The exhibits work included works by Lee Ufan and Park Youngsook, all inspired by blue-and-white porcelain, and Kim Sooja’s video piece “Earth, Water, Fire, Air,” which gives a new perspective on the four elements. Also on show was “A Molded Moon, Life within a Vase,” a video installation newly created for this exhibition after a year-long preparation by the artist duo Moon Kyungwon and Jeon Joonho, who participated in the Korean Pavilion at the 2015 Venice Biennale. Noting the imperfect beauty of the moon jar, the artists raised fundamental questions regarding human aspirations for perfection.

The significance of the exhibition at the Grand Palais, featuring a rich collection of

age at the National Museum of Korea in 1991 and Wind in the Pines, 5000 Years of Korean Art at the Hermitage in 2010. The ceramics exhibition also takes place under this exchange program between the two countries and is expected to widely promote Korean culture among the Russian public and give Korean residents of Russia a good opportunity to rediscover and gain a deeper understanding of Korean ceramic art. In exchange, the National Museum of Korea plans to hold an exhibition of some of the finest works from the Hermitage collection for the benefit of the Korean public.

PUBLICATION Earth, Fire, Soul— Masterpieces of Korean Ceramics (La Terre, le Feu, l’Esprit: Chefs-d’oeuvre de la Céramique Coréenne) ISBN | 978-2-7118-6355-8 Pages | 232 Size | 29.0 × 25.0 cm Language | French Publication Date | March 2016 Price | 39 €

This catalogue was published to accompany the exhibition of Korean ceramics held at the Grand Palais in Paris.

It gives an overview of Korean ceramics through the ages from the earthenware of the Three Kingdoms Period, Goryeo celadon, Joseon white porcelain and

11

buncheong ware to works by contemporary artists. Each chapter starts with an explanation of the characteristics of the ceramics of the given period. The whole catalogue covers a total of 191 entries.

Its methodic organization according to period will enhance understanding of the changes in Korea’s ceramics technology and culture from one period to the next and also improve awareness of the beauty and originality of Korean ceramic art.

nmk summer 2016 | from the gallery

overseas exhibition | earth, fire, soul—masterpieces of korean ceramics

Embodying a different aesthetic in every period, Korean ceramics have served as a source of inspiration for contemporary artists. Along with masterpieces from the past, the Paris exhibition also presented the works of Korean contemporary artists who are active on the international scene.

Polished Stone Daggers and Stone Arrowheads Bronze Age Stone L. 32.6 cm

Polished Stone Daggers Bronze Age Stone L. 36.5 cm

After the Prologue, which takes a look at what significance and characteristics goindol has among the diverse megalithic cultures in the world, the story of goindol begins in earnest. In Part 1, visitors can learn the basics about goindol—its significance, different styles, and geographical distribution. A goindol largely comprises a capstone, supporting stones, and a burial chamber. It is the capstone, the large stone exposed above the ground, that determines the structural style of a goindol. The role of the supporting stones was not only to hold up the capstone but also to protect burial chamber where the body was laid to rest, sometimes with accompanying burial goods. Goindol can be divided into three

main types—the table type, the badukboard type, and the unsupported capstone type—and can also be classified according to the geographical distribution. Part 1 also retraces the steps of how goindol was built, based on clues found from goindol and documentary records. The exhibition also delves into the scientific principles and the ceremonial aspect of the goindol construction. Visitors are expected to see the advanced technology of the Bronze Age and the way the goindol construction contributed to developing and enhancing a sense of community among the builders.

Most often, objects were buried alongside the body inside a goindol, as a symbol of mourning and a sign of respect

for the dead. The objects to be used by the dead in the afterworld and the symbols of power and authority the dead person had held while living were placed alongside the bodies or buried around the goindol sites.

For example, bronze blades, stone blades and arrowheads, and jade ornaments were buried in the chamber, with some intentionally broken to pieces as part of a ritual to be buried or scattered around the tomb.

Part 2 helps to understand the meaning of goindol by presentation of burial goods, petroglyphs, and human remains found in goindol sites. Through case studies on ancient village sites, Part 2 also aims to offer a glimpse into the everyday life of people during the Bronze Age.

Different types of stone daggers

AFFILIATED NATIONAL MUSEUM 1

APRIL 26 – JULY 31, 2016 GWANGJU NATIONAL MUSEUM

Goindol, Dolmens in Korea

By Choi Jungah, Associate Curator of Gwangju National Museum

Stones are hard and heavy materials that can be easily found around us. Stones have taken an important part of human life, probably from the very beginning of humankind, as practical tools of life as well as sacred objects of worship. With their strong and unchanging nature, stones were revered as sacred being, with the ability to communicate with the sky and hold the spirit of the sun. Stones were also where the souls of the dead rested. That is why stones were often featured in stories about birth and new beginnings. They were also figured prominently in many stories about death, such as the story of mangbuseok, the story of a woman who turned to a stone

while waiting in one spot for her husband to return.

The megalithic culture of the prehistoric times most likely originated from such context. Megaliths, or larges stones, were used to construct a structure or monument, and in many cases held religious or sacred significance. Different megalithic structures, such as menhir, stone alignments, and stone circles can be found in places around the world, including Europe, India, Asia, and South America.

Dolmens, one of the representative structures of megalithic culture, were built in Western Europe, India, Indonesia, Northeast Asia, and many other parts of

12

the world. Korea, in particular, has the highest concentration of dolmens in the world, with over 40,000 dolmen sites found. Dolmens are known as “goindol” in Korea, literally meaning “supported with a large stone.” Goindol is of various types and contains an abundance of burial goods, thus holding a great academic value.

The goindol sites are invaluable source of information, in that they are like a window through which we can catch a glimpse of society in the Bronze Age. The stones used for a goindol weighed at least several tons, suggesting that a massive labor force must have been mobilized for the construction. Such mobilization would have only been possible in a structured society with a dominant ruling class.

Therefore, while the architectural structure and construction method of goindol is important in itself, goindol holds a greater importance as cultural objects demonstrating major cultural shifts in the prehistoric age. Due to such reasons, certain goindol sites in Korea were designated as UNESCO World Heritage sites in 2000. This exhibition showcases research and findings on goindol to this day through the following five sections—Prologue “Goindol and the World’s Megalithic Culture,” Part 1 “Introduction to Goindol,” Part 2 “Excavated Objects from Goindol,” Part 3 “Goindol through the Eyes of People in the Past,” and Epilogue “Preservation and Study of Goindol.”

Red Burnished Pottery Bronze Age Clay H. 15.5 cm

Goindol in the garden of the Gwangju National Museum

13

nmk summer 2016 | from the gallery

Mandolin-shaped Bronze Daggers Bronze Age Bronze L. 43.2 cm

Polished Stone Daggers and Stone Arrowheads Bronze Age Stone L. 32.6 cm

Polished Stone Daggers Bronze Age Stone L. 36.5 cm

After the Prologue, which takes a look at what significance and characteristics goindol has among the diverse megalithic cultures in the world, the story of goindol begins in earnest. In Part 1, visitors can learn the basics about goindol—its significance, different styles, and geographical distribution. A goindol largely comprises a capstone, supporting stones, and a burial chamber. It is the capstone, the large stone exposed above the ground, that determines the structural style of a goindol. The role of the supporting stones was not only to hold up the capstone but also to protect burial chamber where the body was laid to rest, sometimes with accompanying burial goods. Goindol can be divided into three

main types—the table type, the badukboard type, and the unsupported capstone type—and can also be classified according to the geographical distribution. Part 1 also retraces the steps of how goindol was built, based on clues found from goindol and documentary records. The exhibition also delves into the scientific principles and the ceremonial aspect of the goindol construction. Visitors are expected to see the advanced technology of the Bronze Age and the way the goindol construction contributed to developing and enhancing a sense of community among the builders.

Most often, objects were buried alongside the body inside a goindol, as a symbol of mourning and a sign of respect

for the dead. The objects to be used by the dead in the afterworld and the symbols of power and authority the dead person had held while living were placed alongside the bodies or buried around the goindol sites.

For example, bronze blades, stone blades and arrowheads, and jade ornaments were buried in the chamber, with some intentionally broken to pieces as part of a ritual to be buried or scattered around the tomb.

Part 2 helps to understand the meaning of goindol by presentation of burial goods, petroglyphs, and human remains found in goindol sites. Through case studies on ancient village sites, Part 2 also aims to offer a glimpse into the everyday life of people during the Bronze Age.

Different types of stone daggers

AFFILIATED NATIONAL MUSEUM 1

APRIL 26 – JULY 31, 2016 GWANGJU NATIONAL MUSEUM

Goindol, Dolmens in Korea

By Choi Jungah, Associate Curator of Gwangju National Museum

Stones are hard and heavy materials that can be easily found around us. Stones have taken an important part of human life, probably from the very beginning of humankind, as practical tools of life as well as sacred objects of worship. With their strong and unchanging nature, stones were revered as sacred being, with the ability to communicate with the sky and hold the spirit of the sun. Stones were also where the souls of the dead rested. That is why stones were often featured in stories about birth and new beginnings. They were also figured prominently in many stories about death, such as the story of mangbuseok, the story of a woman who turned to a stone

while waiting in one spot for her husband to return.

The megalithic culture of the prehistoric times most likely originated from such context. Megaliths, or larges stones, were used to construct a structure or monument, and in many cases held religious or sacred significance. Different megalithic structures, such as menhir, stone alignments, and stone circles can be found in places around the world, including Europe, India, Asia, and South America.

Dolmens, one of the representative structures of megalithic culture, were built in Western Europe, India, Indonesia, Northeast Asia, and many other parts of

12

the world. Korea, in particular, has the highest concentration of dolmens in the world, with over 40,000 dolmen sites found. Dolmens are known as “goindol” in Korea, literally meaning “supported with a large stone.” Goindol is of various types and contains an abundance of burial goods, thus holding a great academic value.

The goindol sites are invaluable source of information, in that they are like a window through which we can catch a glimpse of society in the Bronze Age. The stones used for a goindol weighed at least several tons, suggesting that a massive labor force must have been mobilized for the construction. Such mobilization would have only been possible in a structured society with a dominant ruling class.

Therefore, while the architectural structure and construction method of goindol is important in itself, goindol holds a greater importance as cultural objects demonstrating major cultural shifts in the prehistoric age. Due to such reasons, certain goindol sites in Korea were designated as UNESCO World Heritage sites in 2000. This exhibition showcases research and findings on goindol to this day through the following five sections—Prologue “Goindol and the World’s Megalithic Culture,” Part 1 “Introduction to Goindol,” Part 2 “Excavated Objects from Goindol,” Part 3 “Goindol through the Eyes of People in the Past,” and Epilogue “Preservation and Study of Goindol.”

Red Burnished Pottery Bronze Age Clay H. 15.5 cm

Goindol in the garden of the Gwangju National Museum

13

nmk summer 2016 | from the gallery

Mandolin-shaped Bronze Daggers Bronze Age Bronze L. 43.2 cm

Display of the excavated objects from goindol and documentary records

Even after the Bronze Age was over and the builders of goindol was long gone, goindol was still considered a mysterious and fascinating monument by people in the past. It was the spirit to whom villagers could pray and who watched over the village, and became the inspiration for many fables and legends. Part 3 shows how people in the early historical ages viewed goindol. The oldest written account on goindol in Korea can be found in “Namhaengwol-ilgi” in Volume 23 of Dongguk yisanggukjip 東國李相國集, or the Collection of Yi Gyubo’s Writings from the Goryeo Dynasty 918–1392. In this account, the writer describes his visit to a goindol site and explains that this site was built by ancestors of the old. Goindol also caught the attention of Western visitor in the late 19th century as a gigantic structure featur-

ing a distinctive local architectural style.

Excavation and research on goindol sites in Korea began under the Japanese colonial rule and research in various directions continued after Korea restored national independence in 1945.

Finally, the Epilogue wraps up the exhibition by explaining the current developments around goindol, including the designation of three goindol sites as UNESCO World Heritage, and presenting various efforts to develop the potential of goindol as a cultural icon, such as plans for making cartoons, movies, and games on goindol.

Goindol came into being against the backdrop of an agricultural culture where wealth and authority could become accumulated, social classes were divided, and a sense of community was formed and

strengthened among the members of the villages and settlements. Therefore, the building of a goindol can be understood as the culmination of social stratification, occurring at the crossing from primitive society to a state society. This exhibition will be an invaluable opportunity to better understand the technology, society, and culture of the Bronze Age as well as the meaning goindol has held in human lives, from the past to present day.

AFFILIATED NATIONAL MUSEUM 2

MAY 3 – JULY 31, 2016 DAEGU NATIONAL MUSEUM

PUBLICATION Goindol, Dolmens in Korea ISBN | 979-11-954263-6-2 93910 Pages | 176 Size | 30.0 × 22.7 cm Language | Korean Publication Date | April 25, 2016 Price | KRW 22,000 (approx. $ 19.10)

The catalogue, published by the Gwangju National Museum for this exhibition, contains detailed illustrations and explanations on over 100 exhibits. The various types and structures, the construction process and ceremonies, as well as the

14

functions of goindol are described in detail.

It also shows the items found from the goindol sites, including bronze items, stone blades and arrowheads, clay pots, and jade items. At the back of the catalogue are two informative articles that will further deepen the readers’ understanding of goindol: “The World’s Megalithic Culture and Asia’s Dolmens” by Cho Hyunjong, Director at the Gwangju National Museum and “Korea’s Dolmens” by Lee Yeongmun, Director of Research Center of Dolmens in Northeast Asia.

Dosan Seowon, Confucian Academy: Sound of Reciting, Heart of Reading

By Kim Doyoon, Assistant Curator of Daegu National Museum

15

Daegu National Museum is currently holding an exhibition on Dosan Seowon 陶 山書院 , a private Confucian academy, where the breath of Yi Hwang 李滉, 1501–1570 (pen name Toegye 退溪) and his disciples can still be felt. Most Koreans are familiar with both Dosan Seowon and Yi Hwang, whose picture is now printed on the 1,000 won bill of Korea. However, up until now, there have been few opportunities to learn more about Yi Hwang’s life and the reason Yi established Dosan Seodang, a village school for teaching basic Confucian classics, as well as the role played by Dosan Seowon, which was established by Yi’s disciples after his death. This exhibition tries to explore these matters that are yet to be widely known. Centering around Dosan Seowon, the exhibition deals with the life of Yi Hwang, who was a teacher to over 260 disciples, as well as how Confucian scholars in the Yeongnam region (the southeastern part of Korea), who were excluded from mainstream politics of the day, exchanged with one another and pursued learning around Dosan Seowon.

nmk summer 2016 | from the gallery

affiliated national museum 1 | goindol, dolmens in korea

Dosan Seodang, a simple and neat place

Display of the excavated objects from goindol and documentary records

Even after the Bronze Age was over and the builders of goindol was long gone, goindol was still considered a mysterious and fascinating monument by people in the past. It was the spirit to whom villagers could pray and who watched over the village, and became the inspiration for many fables and legends. Part 3 shows how people in the early historical ages viewed goindol. The oldest written account on goindol in Korea can be found in “Namhaengwol-ilgi” in Volume 23 of Dongguk yisanggukjip 東國李相國集, or the Collection of Yi Gyubo’s Writings from the Goryeo Dynasty 918–1392. In this account, the writer describes his visit to a goindol site and explains that this site was built by ancestors of the old. Goindol also caught the attention of Western visitor in the late 19th century as a gigantic structure featur-

ing a distinctive local architectural style.

Excavation and research on goindol sites in Korea began under the Japanese colonial rule and research in various directions continued after Korea restored national independence in 1945.

Finally, the Epilogue wraps up the exhibition by explaining the current developments around goindol, including the designation of three goindol sites as UNESCO World Heritage, and presenting various efforts to develop the potential of goindol as a cultural icon, such as plans for making cartoons, movies, and games on goindol.

Goindol came into being against the backdrop of an agricultural culture where wealth and authority could become accumulated, social classes were divided, and a sense of community was formed and

strengthened among the members of the villages and settlements. Therefore, the building of a goindol can be understood as the culmination of social stratification, occurring at the crossing from primitive society to a state society. This exhibition will be an invaluable opportunity to better understand the technology, society, and culture of the Bronze Age as well as the meaning goindol has held in human lives, from the past to present day.

AFFILIATED NATIONAL MUSEUM 2

MAY 3 – JULY 31, 2016 DAEGU NATIONAL MUSEUM

PUBLICATION Goindol, Dolmens in Korea ISBN | 979-11-954263-6-2 93910 Pages | 176 Size | 30.0 × 22.7 cm Language | Korean Publication Date | April 25, 2016 Price | KRW 22,000 (approx. $ 19.10)

The catalogue, published by the Gwangju National Museum for this exhibition, contains detailed illustrations and explanations on over 100 exhibits. The various types and structures, the construction process and ceremonies, as well as the

14

functions of goindol are described in detail.

It also shows the items found from the goindol sites, including bronze items, stone blades and arrowheads, clay pots, and jade items. At the back of the catalogue are two informative articles that will further deepen the readers’ understanding of goindol: “The World’s Megalithic Culture and Asia’s Dolmens” by Cho Hyunjong, Director at the Gwangju National Museum and “Korea’s Dolmens” by Lee Yeongmun, Director of Research Center of Dolmens in Northeast Asia.

Dosan Seowon, Confucian Academy: Sound of Reciting, Heart of Reading

By Kim Doyoon, Assistant Curator of Daegu National Museum

15

Daegu National Museum is currently holding an exhibition on Dosan Seowon 陶 山書院 , a private Confucian academy, where the breath of Yi Hwang 李滉, 1501–1570 (pen name Toegye 退溪) and his disciples can still be felt. Most Koreans are familiar with both Dosan Seowon and Yi Hwang, whose picture is now printed on the 1,000 won bill of Korea. However, up until now, there have been few opportunities to learn more about Yi Hwang’s life and the reason Yi established Dosan Seodang, a village school for teaching basic Confucian classics, as well as the role played by Dosan Seowon, which was established by Yi’s disciples after his death. This exhibition tries to explore these matters that are yet to be widely known. Centering around Dosan Seowon, the exhibition deals with the life of Yi Hwang, who was a teacher to over 260 disciples, as well as how Confucian scholars in the Yeongnam region (the southeastern part of Korea), who were excluded from mainstream politics of the day, exchanged with one another and pursued learning around Dosan Seowon.

nmk summer 2016 | from the gallery

affiliated national museum 1 | goindol, dolmens in korea

Dosan Seodang, a simple and neat place

nmk summer 2016 | from the gallery

affiliated national museum 2 | dosan seowon, confucian academy: sound of reciting, heart of reading

Display of Part 2, Birth of Dosan Seowon

Display of the Collected Writing of Master Hakbong (Hakbongseonsaeng Munjip)

Part 1 of the exhibition shows how Yi Hwang set up Dosan Seodang under the theme of “Dosan Seodang and Toegye Yi Hwang”. To begin, it introduces his father’s younger brother, Yi U 李堣, 1469–1517 and Yi Hyeonbo 李賢輔, 1467–1555 (pen name Nongam 聾巖), both of whom were Yi Hwang’s scholarly and spiritual anchors. Yi Hwang learned from these two men about the scholar’s way of living a righteous life, one not limited to knowledge. In 1534, Yi Hwang won first place in a state recruitment examination at the age of 34, and served in many governmental posts.

However, against political backgrounds where scholars from the Yeongnam region were shunned from actual politics, he eventually left the government and returned to his hometown, with a determi-

nation to study harder and foster talented students.

In 1560, Yi Hwang established Dosan Seodang, and did his utmost to cultivate disciples while residing at the school. The establishment of Dosan Seodang was the realization of his life-long dream to build a place like Wuyi Jingshe 武夷精舍 of Zhu Xi 朱 熹, 1130–1200 that he had so long yearned for, and was also the result of a decade-long effort to find somewhere to devote himself to his studies.

Yi Hwang’s aspirations and dedication to study continued even after his death, as his disciples founded Dosan Seowon, consisting of an ancestral shrine, Sangdeoksa 尙德祠 and a lecture hall, Jeongyodang 典敎 堂. Visitors can see the vestiges of the past through objects displayed at Part 2, Birth

Pitch-pot Joseon Wood Dosan seowon

Woodblock for the Collection of Writings by Toegye Joseon, 1600 Advanced Center for Korean Studies Treasure No. 1895

of Dosan Seowon. Some of these objects include a framed calligraphy by Hanho 韓濩, 1543–1605 (pen name Seokbong 石峯), which had been hung on the gate of Dosan Seowon as well as a painting of Dosan Seowon and the nearby area by the literati painter Kang Sehwang 姜世晃, 1713–1791. Part 3, Members of Dosan Seowon and Their Lives, allows visitors to view the lives of Confucian scholars from that time, besides the aspects of the Confucian academy itself. It is widely known that Yi Hwang and his disciples paid great attention to astronomy while studying Confucian scriptures, since this field of study was related to the realization of the political ideal that “heaven and humans are one.”

Part 4, Status and Role of Dosan Seowon, shows social functions of Dosan

Seowon, which represented the voice of Confucian scholars and collected public opinion in the Yeongnam region, through appeals known as Maninso萬人疏 (meaning “appeal of 10,000 people”). The highlight of this section is the Maninso appeal for honoring Crown Prince Sado 思悼世子, 1735–1762 as king. Father of King Jeongjo r. 1776–1800 , Crown Prince Sado was executed by order of his own father King Yeongjo r. 1724–1776 . This collective appeal, measuring over 100 meters in length when unrolled, is proof that Dosan Seowon played a crucial role in collecting public opinion. Maninso represented the collective appeal by noblemen of the Yeongnam region, where Dosan Seowon served as the center. Countless scholars voiced their opinions at academic meet-

ings and exercised their influence by presenting an official appeal to the royal court despite the lack of convenient means of transportation.

This part of the exhibition also introduces well-known figures who studied under Yi Hwang. Visitors can learn about diverse aspects about Yi’s disciples, including Yu Seongryong 柳成龍, 1542–1607 (pen name Seoae 西厓) and Kim Seong-il 金誠一, 1538–1593 (pen name Hakbong 鶴峰), both of whom were famous government officials, as well as Jo Mok 趙穆, 1524–1606 (pen name Wolcheon 月川), who dedicated all his life to the scholarship. This section finally describes the detail of Dosan byeolgwa, a state recruitment examination specially held for the region, which attracted as many as 7,228 candidates in 1792.

PUBLICATION Dosan Seowon, Confucian Academy: Sound of Reciting, Heart of Reading ISBN | 978-89-98234-28-7 93650 Pages | 200 Size | 29.0 × 22.7 cm Language | Korean Publication Date | April 29, 2016 Price | KRW 25,000 (approx. $ 21.70)

Daegu National Museum published an catalogue to help readers better understand the exhibition on Dosan Seowon. With detailed information on

16

The exhibition finalizes the story of Dosan Seowon with Part 5, Modern Meaning of Dosan Seowon, which shows the activities taking place at today’s Dosan Seowon and people’s awareness about Dosan Seowon. The academy was not only a place of study by classical scholars, but also a venue for gathering public opinion and storing knowledge. As a teacher, Yi Hwang humbled himself to casually communicate with his disciples as an equal.

Although Dosan Seowon was in a sense a place for seclusion, its ideals and philosophy were known to the world to make it firmly established as a core of Confucian scholars’ culture. It is hoped that Dosan Seowon will remain a spiritual anchor for people regardless of the time.

17

134 objects, the catalogue elaborates on Yi Hwang’s personality and his distinctive aspects, the meaning of Dosan Seowon itself, and academic achievements by his disciples. It also contains articles “The Lasting Impression of Dosan Seowon’s Architecture” by Kim Donguk, honorary professor at Kyonggi University, and “Two Perspectives to See Dosan Seowon, with a Focus on Paintings of Dosan Seowon by Kang Sehwang and Jeong Seon”

by Yu Jaebin, lecturer of Seoul National University to help more in-depth understanding of Dosan Seowon.

nmk summer 2016 | from the gallery

affiliated national museum 2 | dosan seowon, confucian academy: sound of reciting, heart of reading

Display of Part 2, Birth of Dosan Seowon

Display of the Collected Writing of Master Hakbong (Hakbongseonsaeng Munjip)

Part 1 of the exhibition shows how Yi Hwang set up Dosan Seodang under the theme of “Dosan Seodang and Toegye Yi Hwang”. To begin, it introduces his father’s younger brother, Yi U 李堣, 1469–1517 and Yi Hyeonbo 李賢輔, 1467–1555 (pen name Nongam 聾巖), both of whom were Yi Hwang’s scholarly and spiritual anchors. Yi Hwang learned from these two men about the scholar’s way of living a righteous life, one not limited to knowledge. In 1534, Yi Hwang won first place in a state recruitment examination at the age of 34, and served in many governmental posts.

However, against political backgrounds where scholars from the Yeongnam region were shunned from actual politics, he eventually left the government and returned to his hometown, with a determi-

nation to study harder and foster talented students.

In 1560, Yi Hwang established Dosan Seodang, and did his utmost to cultivate disciples while residing at the school. The establishment of Dosan Seodang was the realization of his life-long dream to build a place like Wuyi Jingshe 武夷精舍 of Zhu Xi 朱 熹, 1130–1200 that he had so long yearned for, and was also the result of a decade-long effort to find somewhere to devote himself to his studies.

Yi Hwang’s aspirations and dedication to study continued even after his death, as his disciples founded Dosan Seowon, consisting of an ancestral shrine, Sangdeoksa 尙德祠 and a lecture hall, Jeongyodang 典敎 堂. Visitors can see the vestiges of the past through objects displayed at Part 2, Birth

Pitch-pot Joseon Wood Dosan seowon

Woodblock for the Collection of Writings by Toegye Joseon, 1600 Advanced Center for Korean Studies Treasure No. 1895

of Dosan Seowon. Some of these objects include a framed calligraphy by Hanho 韓濩, 1543–1605 (pen name Seokbong 石峯), which had been hung on the gate of Dosan Seowon as well as a painting of Dosan Seowon and the nearby area by the literati painter Kang Sehwang 姜世晃, 1713–1791. Part 3, Members of Dosan Seowon and Their Lives, allows visitors to view the lives of Confucian scholars from that time, besides the aspects of the Confucian academy itself. It is widely known that Yi Hwang and his disciples paid great attention to astronomy while studying Confucian scriptures, since this field of study was related to the realization of the political ideal that “heaven and humans are one.”

Part 4, Status and Role of Dosan Seowon, shows social functions of Dosan

Seowon, which represented the voice of Confucian scholars and collected public opinion in the Yeongnam region, through appeals known as Maninso萬人疏 (meaning “appeal of 10,000 people”). The highlight of this section is the Maninso appeal for honoring Crown Prince Sado 思悼世子, 1735–1762 as king. Father of King Jeongjo r. 1776–1800 , Crown Prince Sado was executed by order of his own father King Yeongjo r. 1724–1776 . This collective appeal, measuring over 100 meters in length when unrolled, is proof that Dosan Seowon played a crucial role in collecting public opinion. Maninso represented the collective appeal by noblemen of the Yeongnam region, where Dosan Seowon served as the center. Countless scholars voiced their opinions at academic meet-

ings and exercised their influence by presenting an official appeal to the royal court despite the lack of convenient means of transportation.

This part of the exhibition also introduces well-known figures who studied under Yi Hwang. Visitors can learn about diverse aspects about Yi’s disciples, including Yu Seongryong 柳成龍, 1542–1607 (pen name Seoae 西厓) and Kim Seong-il 金誠一, 1538–1593 (pen name Hakbong 鶴峰), both of whom were famous government officials, as well as Jo Mok 趙穆, 1524–1606 (pen name Wolcheon 月川), who dedicated all his life to the scholarship. This section finally describes the detail of Dosan byeolgwa, a state recruitment examination specially held for the region, which attracted as many as 7,228 candidates in 1792.

PUBLICATION Dosan Seowon, Confucian Academy: Sound of Reciting, Heart of Reading ISBN | 978-89-98234-28-7 93650 Pages | 200 Size | 29.0 × 22.7 cm Language | Korean Publication Date | April 29, 2016 Price | KRW 25,000 (approx. $ 21.70)

Daegu National Museum published an catalogue to help readers better understand the exhibition on Dosan Seowon. With detailed information on

16

The exhibition finalizes the story of Dosan Seowon with Part 5, Modern Meaning of Dosan Seowon, which shows the activities taking place at today’s Dosan Seowon and people’s awareness about Dosan Seowon. The academy was not only a place of study by classical scholars, but also a venue for gathering public opinion and storing knowledge. As a teacher, Yi Hwang humbled himself to casually communicate with his disciples as an equal.

Although Dosan Seowon was in a sense a place for seclusion, its ideals and philosophy were known to the world to make it firmly established as a core of Confucian scholars’ culture. It is hoped that Dosan Seowon will remain a spiritual anchor for people regardless of the time.

17

134 objects, the catalogue elaborates on Yi Hwang’s personality and his distinctive aspects, the meaning of Dosan Seowon itself, and academic achievements by his disciples. It also contains articles “The Lasting Impression of Dosan Seowon’s Architecture” by Kim Donguk, honorary professor at Kyonggi University, and “Two Perspectives to See Dosan Seowon, with a Focus on Paintings of Dosan Seowon by Kang Sehwang and Jeong Seon”

by Yu Jaebin, lecturer of Seoul National University to help more in-depth understanding of Dosan Seowon.

special feature

Fig. 1 Woodblock Plate Joseon wood 28.3 × 21.9 × 1.4 cm sin 15775

Red, the Color of Power

By Moon Eunbae, Professor of Chungwoon University

I

CHASING AWAY EVIL AND WISHING FOR GOOD LUCK

or Dongguk sesigi 東國歲時記 , written by the Confucian scholar Hong Seokmo 洪錫謨 during the reign of King Sunjo r. 1800–1834 reads “People made red-bean porridge and splashed it on the door posts to drive away any misfortune.”

At the start of spring, Gwansanggam 觀象監, or the royal office of astronomy would write phrases warding off misfortune using cinnabar pigment and offer them up to the king’s office, which would then have them pasted on the door posts of the palace buildings.

On Dano, fifth day of the fifth lunar month, an early spring day full of positive energy, Gwansanggam would draw up talismans (bujeok) using cinnabar for presentation to the king. In the homes of the ruling class across the country, such talismans were attached on the ceiling, walls, and gates. The abovementioned Seasonal Customs of Korea records the detail of a talisman as follows: “On Dano (Cheonjungjeol 天中節), on the fifth day of the fifth lunar month, pray bestow on us the good fortune of heaven from above and of the ground below. May the copper head, iron forehead, red mouth, and red tongue of the God Chiu 蚩尤 chase away all the gods of disease with the greatest speed according to the strictness of the law.”

In addition, people used talismans to prevent the three disasters or misfortunes that everyone was said to face once every nine years

f asked to pick the most powerful and most vivid of all colors, many would say “red.” Even among the primary colors, red is particularly strong. Though not necessarily taught that red is the first or the best, we tend to regard the color red as the strongest of all colors and have used it in various aspects of everyday life.

Traditionally, red has been imbued with great importance. It is the color that represents summer, the hottest and most humid of all the seasons, and in terms of age it represents the 20s to 30s, the stage of life when men and women are the strongest and the most vital. In the diagram of yin and yang and the five elements, red stands at the very top. In terms of direction it symbolizes the south.

Of the four directional deities that guard tombs, red is embodied in jujak, the guardian deity of the south. Red also symbolizes fire, the source of all energy.

The foundation myth of the ancient Garak State 42–562 mentions “a red cloth that came down from the sky,” red in this case symbolizing the clarity of heaven and the birth of a nation. In the following medieval times, red was a talisman against evil and misfortune.

It was therefore widely used by shamans and ordinary people alike, and the Joseon Dynasty 1392–1897 classic Seasonal Customs of Korea,

18

19

special feature

Fig. 1 Woodblock Plate Joseon wood 28.3 × 21.9 × 1.4 cm sin 15775

Red, the Color of Power

By Moon Eunbae, Professor of Chungwoon University

I

CHASING AWAY EVIL AND WISHING FOR GOOD LUCK

or Dongguk sesigi 東國歲時記 , written by the Confucian scholar Hong Seokmo 洪錫謨 during the reign of King Sunjo r. 1800–1834 reads “People made red-bean porridge and splashed it on the door posts to drive away any misfortune.”

At the start of spring, Gwansanggam 觀象監, or the royal office of astronomy would write phrases warding off misfortune using cinnabar pigment and offer them up to the king’s office, which would then have them pasted on the door posts of the palace buildings.

On Dano, fifth day of the fifth lunar month, an early spring day full of positive energy, Gwansanggam would draw up talismans (bujeok) using cinnabar for presentation to the king. In the homes of the ruling class across the country, such talismans were attached on the ceiling, walls, and gates. The abovementioned Seasonal Customs of Korea records the detail of a talisman as follows: “On Dano (Cheonjungjeol 天中節), on the fifth day of the fifth lunar month, pray bestow on us the good fortune of heaven from above and of the ground below. May the copper head, iron forehead, red mouth, and red tongue of the God Chiu 蚩尤 chase away all the gods of disease with the greatest speed according to the strictness of the law.”

In addition, people used talismans to prevent the three disasters or misfortunes that everyone was said to face once every nine years

f asked to pick the most powerful and most vivid of all colors, many would say “red.” Even among the primary colors, red is particularly strong. Though not necessarily taught that red is the first or the best, we tend to regard the color red as the strongest of all colors and have used it in various aspects of everyday life.

Traditionally, red has been imbued with great importance. It is the color that represents summer, the hottest and most humid of all the seasons, and in terms of age it represents the 20s to 30s, the stage of life when men and women are the strongest and the most vital. In the diagram of yin and yang and the five elements, red stands at the very top. In terms of direction it symbolizes the south.

Of the four directional deities that guard tombs, red is embodied in jujak, the guardian deity of the south. Red also symbolizes fire, the source of all energy.

The foundation myth of the ancient Garak State 42–562 mentions “a red cloth that came down from the sky,” red in this case symbolizing the clarity of heaven and the birth of a nation. In the following medieval times, red was a talisman against evil and misfortune.

It was therefore widely used by shamans and ordinary people alike, and the Joseon Dynasty 1392–1897 classic Seasonal Customs of Korea,

18

19

special feature | red, the color of power

nmk summer 2016 | korean heritage

(from left) Fig. 2 Portrait of King Yeongjo (r. 1724–1776) Korean Empire, 1900

By Jo Seokjin and Chae Yongsin Color on silk 110.0 × 68.0 cm Treasure No. 932 National Place Museum of Korea Fig. 3 Red Certificate of Jo Giyeong’s Successful Completion of the State-administered Civil Examination Joseon, 1814 Paper 90.0 × 62.0 cm sin 14948

Fig. 5 Ju color applied in the wall of a wooden building in Gyeongbokgung Palace.

Fig. 6 Seokganju color applied in the wooden columns in Gyeongbokgung Palace.

Fig. 4 White Porcelain Jar with Ten Longevity Symbols in Underglaze Cobalt Blue and Copper Joseon, 19th century H. 37.3 cm duk 4801

RED, THE FAVORITE OF THE KOREAN ANCESTORS

crocks storing newly made soy sauce, red pepper paste (gochujang), or soybean paste (doenjang) or placed inside the crocks to protect the condiments against any sundry spirits that might alter their flavor. Most Koreans know that brides traditionally wore a red spot in the middle of the forehead during the wedding, but it is not so well known that newborn babies also wore a spot of red cinnabar on the crown of the head when taken outside the family home for the first time. While the bride’s red spot symbolized youth, the baby’s red spot was a form of protection. At birth, babies were also protected by placing red earth in front of the gate to block the entrance of harmful people or spirits and to sanctify the home with the earth’s fiery energy. In the same vein, the blankets are colored blue with the corners colored red to protect the sleeper from harm.

Today it is considered bad luck to write one’s name in red. But this belief was spread in the Japanese colonial period, and in the preceding Joseon period, writing one’s name in red or on red paper was rather considered good luck. Indeed, those who passed the civil service exams were given a certificate made of red paper recording the successful candidate’s name, exam scores, and rank. Known as hongpae 紅牌 , which literally means “red tablet,” the certificate was a symbol of success in the exams (Fig. 3).

of their lives (Fig. 1). Talismans for this purpose often featured an eagle with three heads but one body and leg. In such three-headed, one-legged pictures, the eagle heads are often depicted facing different directions in order to look out for the direction in which the disasters arise and take immediate actions against it.

In the New Year, a rite was held in villages and in the royal palace to drive away the sundry spirits of the old year with the participation of 48 child monks dressed in red and 20 musicians wearing red headscarves and red clothing. Red is the color of yang (positive) energy and was considered effective in chasing away yin (negative) spirits. Notably, the king’s official robe, gollyongpo, was made of red silk with the purpose of guarding against misfortune and inviting good fortune (Fig. 2). In the same vein, red beans, cinnabar pigment, and red paper were all used in the palace and among the people.

Red was not used only on special occasions. Perceived as a symbol of the sun and a charm against evil spirits, red was widely used in everyday life. Such customs as dyeing girls’ fingertips red with balsam petals and hanging up a rope strung with red peppers at the front gate to let visitors be aware of the birth of a baby boy all came from the wish to guard against misfortune. Likewise, a rope strung with red peppers and charcoal was hung around the earthenware

20

The color red went by various names according to saturation, density, and pigment, with each variety of red imbued with special meaning and used accordingly. Some major examples are as follows.

First, ju 朱 refers to the reddish color of the bark. It is the color of the bark of red pines and the branches of yew trees (Fig. 4). Palaces painted in a reddish color are called jugwol 朱闕 (red palace), while buildings decorated with traditional colored-paintwork are called juran hwagak 朱欄畫閣 (pavilion with red pillars) (Fig. 5). The color symbolizes summer, which is also called juha 朱夏 or jumyeong 朱明, and a handsome young man or beautiful young girl is described as jusun baekchi 朱脣白齒 (red lips with white teeth). Ju can be seen as a broad term for red, symbolic of blood and the royal palace, and was also used to describe people. It is equivalent to jeok 赤, meaning “red” when talking about the five colors of the five elements and the five directions (blue, red, yellow, black, and white).

Another word that means red is dan丹. Shaped after a well surrounded by stones, originally dan referred the reddish stones deep at the bottom of a well, and was hence used to express a true and sincere heart. Dan was the color used by the king when bestowing rewards or meting out the highest punishment. It was the color symbolizing the sun and the reddishness of the earth. Dan is also found in the ex-

21

special feature | red, the color of power

nmk summer 2016 | korean heritage

(from left) Fig. 2 Portrait of King Yeongjo (r. 1724–1776) Korean Empire, 1900

By Jo Seokjin and Chae Yongsin Color on silk 110.0 × 68.0 cm Treasure No. 932 National Place Museum of Korea Fig. 3 Red Certificate of Jo Giyeong’s Successful Completion of the State-administered Civil Examination Joseon, 1814 Paper 90.0 × 62.0 cm sin 14948

Fig. 5 Ju color applied in the wall of a wooden building in Gyeongbokgung Palace.

Fig. 6 Seokganju color applied in the wooden columns in Gyeongbokgung Palace.

Fig. 4 White Porcelain Jar with Ten Longevity Symbols in Underglaze Cobalt Blue and Copper Joseon, 19th century H. 37.3 cm duk 4801

RED, THE FAVORITE OF THE KOREAN ANCESTORS

crocks storing newly made soy sauce, red pepper paste (gochujang), or soybean paste (doenjang) or placed inside the crocks to protect the condiments against any sundry spirits that might alter their flavor. Most Koreans know that brides traditionally wore a red spot in the middle of the forehead during the wedding, but it is not so well known that newborn babies also wore a spot of red cinnabar on the crown of the head when taken outside the family home for the first time. While the bride’s red spot symbolized youth, the baby’s red spot was a form of protection. At birth, babies were also protected by placing red earth in front of the gate to block the entrance of harmful people or spirits and to sanctify the home with the earth’s fiery energy. In the same vein, the blankets are colored blue with the corners colored red to protect the sleeper from harm.

Today it is considered bad luck to write one’s name in red. But this belief was spread in the Japanese colonial period, and in the preceding Joseon period, writing one’s name in red or on red paper was rather considered good luck. Indeed, those who passed the civil service exams were given a certificate made of red paper recording the successful candidate’s name, exam scores, and rank. Known as hongpae 紅牌 , which literally means “red tablet,” the certificate was a symbol of success in the exams (Fig. 3).

of their lives (Fig. 1). Talismans for this purpose often featured an eagle with three heads but one body and leg. In such three-headed, one-legged pictures, the eagle heads are often depicted facing different directions in order to look out for the direction in which the disasters arise and take immediate actions against it.

In the New Year, a rite was held in villages and in the royal palace to drive away the sundry spirits of the old year with the participation of 48 child monks dressed in red and 20 musicians wearing red headscarves and red clothing. Red is the color of yang (positive) energy and was considered effective in chasing away yin (negative) spirits. Notably, the king’s official robe, gollyongpo, was made of red silk with the purpose of guarding against misfortune and inviting good fortune (Fig. 2). In the same vein, red beans, cinnabar pigment, and red paper were all used in the palace and among the people.

Red was not used only on special occasions. Perceived as a symbol of the sun and a charm against evil spirits, red was widely used in everyday life. Such customs as dyeing girls’ fingertips red with balsam petals and hanging up a rope strung with red peppers at the front gate to let visitors be aware of the birth of a baby boy all came from the wish to guard against misfortune. Likewise, a rope strung with red peppers and charcoal was hung around the earthenware

20

The color red went by various names according to saturation, density, and pigment, with each variety of red imbued with special meaning and used accordingly. Some major examples are as follows.

First, ju 朱 refers to the reddish color of the bark. It is the color of the bark of red pines and the branches of yew trees (Fig. 4). Palaces painted in a reddish color are called jugwol 朱闕 (red palace), while buildings decorated with traditional colored-paintwork are called juran hwagak 朱欄畫閣 (pavilion with red pillars) (Fig. 5). The color symbolizes summer, which is also called juha 朱夏 or jumyeong 朱明, and a handsome young man or beautiful young girl is described as jusun baekchi 朱脣白齒 (red lips with white teeth). Ju can be seen as a broad term for red, symbolic of blood and the royal palace, and was also used to describe people. It is equivalent to jeok 赤, meaning “red” when talking about the five colors of the five elements and the five directions (blue, red, yellow, black, and white).

Another word that means red is dan丹. Shaped after a well surrounded by stones, originally dan referred the reddish stones deep at the bottom of a well, and was hence used to express a true and sincere heart. Dan was the color used by the king when bestowing rewards or meting out the highest punishment. It was the color symbolizing the sun and the reddishness of the earth. Dan is also found in the ex-

21

special feature | red, the color of power

nmk summer 2016 | korean heritage

The color red can easily be found in Korea’s traditional items. In the Three Kingdoms Period, when the system of five colors for the five directions was established, the meaning invested in colors was stronger than it is today. In the following Goryeo 918–1392 period round roof-end tiles were decorated with animals depicted in red to protect the house from evil spirits. In the Joseon period, small personal dining tables known as soban were covered with lacquer to keep them clean for a long time, and red lacquer was frequently used for such purpose in the palace and upper class homes. The soban tables often had legs shaped after tiger legs, which enhanced the impact of the color red (Fig. 7).

In the palace, the color red was used in various ways. Of the five major rites and ceremonies, weddings featured red as a symbol of congratulations and vibrant energy. Consequently, red featured in all the facilities, clothing, and accessories used to prevent any malevolent energy from even daring to approach the sacred event (Fig. 8).

In Buddhism, the monk’s clothing includes a red kasaya robe, which is worn over the inner robe, draped over the left shoulder and under the right arm. This red robe is a symbol of Buddhahood, transmission of the dharma from master to disciple, and the treasury of the dharma.

In all these ways explored above, the color red has long been an integral part of Korean culture. The symbolism of red was utilized both in times of hardship or difficulty and on happy and sacred occasions. And we will continue to see red in our daily lives and in many aspects of our culture.

pression “dancheong principle,” meaning a balance between the firm resolve of red and the rational logic of blue. Consequently, dan is an important color and the one that best symbolizes the energy of red.

The red pigment named seokganju 石間硃 was used for painting the walls and pillars of royal palaces and temples to block the entry of evil spirits and preserve the positive energy of the site (Fig. 6). All the pillars along the covered walkways were painted red to protect the people from misfortune as they proceeded along the passage.

It was also the most important color in dancheong, the traditional paintwork on wooden buildings, accounting for the largest surface area. When used in this way, seokganju was originally of a higher saturation but it was later toned down to resemble the trunk of a red pine. As equivalent color is rarely found in China or the West, seokganju is regarded to be a version of red unique to Korea.

Hong 紅 is an intermediary color, the mixture of white and red. It is a lighter version of the red variety called jeok. According to the National Code of Joseon titled, Gyeongguk Daejeon 經國大典 , the version of pinkish red known as hong was divided into three kinds: dahong, daehong, and jinhong. Dahong and daehong are in fact two different names for the same color, while jinhong is the darkest in this pinkish red variety. The term hong for red was used to symbolize both women in general or a beautiful woman in particular. In the past, the color was produced with a dye made of safflower petals and when demand increased, imported sappanwood was used as well.

Fig. 8 Royal Banquet in 1848 Joseon, 1848 Color on silk 141.5 × 49.5 cm bon 13243

Fig. 7 Red and Black-lacquered Dining Table with Tiger Leg-shaped Legs Joseon, 19th century wood D. 72.4 cm, H. 37.2 cm sin 12536

22

23

special feature | red, the color of power

nmk summer 2016 | korean heritage

The color red can easily be found in Korea’s traditional items. In the Three Kingdoms Period, when the system of five colors for the five directions was established, the meaning invested in colors was stronger than it is today. In the following Goryeo 918–1392 period round roof-end tiles were decorated with animals depicted in red to protect the house from evil spirits. In the Joseon period, small personal dining tables known as soban were covered with lacquer to keep them clean for a long time, and red lacquer was frequently used for such purpose in the palace and upper class homes. The soban tables often had legs shaped after tiger legs, which enhanced the impact of the color red (Fig. 7).

In the palace, the color red was used in various ways. Of the five major rites and ceremonies, weddings featured red as a symbol of congratulations and vibrant energy. Consequently, red featured in all the facilities, clothing, and accessories used to prevent any malevolent energy from even daring to approach the sacred event (Fig. 8).

In Buddhism, the monk’s clothing includes a red kasaya robe, which is worn over the inner robe, draped over the left shoulder and under the right arm. This red robe is a symbol of Buddhahood, transmission of the dharma from master to disciple, and the treasury of the dharma.

In all these ways explored above, the color red has long been an integral part of Korean culture. The symbolism of red was utilized both in times of hardship or difficulty and on happy and sacred occasions. And we will continue to see red in our daily lives and in many aspects of our culture.

pression “dancheong principle,” meaning a balance between the firm resolve of red and the rational logic of blue. Consequently, dan is an important color and the one that best symbolizes the energy of red.

The red pigment named seokganju 石間硃 was used for painting the walls and pillars of royal palaces and temples to block the entry of evil spirits and preserve the positive energy of the site (Fig. 6). All the pillars along the covered walkways were painted red to protect the people from misfortune as they proceeded along the passage.

It was also the most important color in dancheong, the traditional paintwork on wooden buildings, accounting for the largest surface area. When used in this way, seokganju was originally of a higher saturation but it was later toned down to resemble the trunk of a red pine. As equivalent color is rarely found in China or the West, seokganju is regarded to be a version of red unique to Korea.

Hong 紅 is an intermediary color, the mixture of white and red. It is a lighter version of the red variety called jeok. According to the National Code of Joseon titled, Gyeongguk Daejeon 經國大典 , the version of pinkish red known as hong was divided into three kinds: dahong, daehong, and jinhong. Dahong and daehong are in fact two different names for the same color, while jinhong is the darkest in this pinkish red variety. The term hong for red was used to symbolize both women in general or a beautiful woman in particular. In the past, the color was produced with a dye made of safflower petals and when demand increased, imported sappanwood was used as well.

Fig. 8 Royal Banquet in 1848 Joseon, 1848 Color on silk 141.5 × 49.5 cm bon 13243

Fig. 7 Red and Black-lacquered Dining Table with Tiger Leg-shaped Legs Joseon, 19th century wood D. 72.4 cm, H. 37.2 cm sin 12536

22

23

nmk summer 2016 | korean heritage

curator’s talk

Fig. 1 Detail of Fig. 2 Golden dangcho scroll patterns

The Color Red in Buddhist Paintings

By Jeong Myeonghee, Curator of the Children’s Museum Division

T

THE PRAYER OF THE LIVING FOR THE DEAD

mediate state is called jungeumsin 中陰身 in Buddhism. It is at this state where the prayers of the living can still save a soul at the crossroads between heaven and hell, when there is still time left before the final judgment.

The belief that the living can help the dead by praying to lessen the duration and amount of suffering in the afterworld was one that profoundly affected the human psyche. The living could now stand as intermediaries at judgment before the gods. Many of the Buddhist paintings depict this moment of intermediation; they are an expression of hope that something can be done for those standing in-between the realm of the living and the realm of the dead, that lotus flowers can bloom in the boundary separating these two realms.

When one draws one’s last breath in this life, what comes next through the dark void is a new world to be met with trepidation, a feeling that comes mostly from the anxiety about bidding farewell to the familiar and stepping into the unknown. How would one feel when, upon opening one’s eyes again, there is a light at the end of the darkness? How would one feel when, as one’s eyes gradually get used to the brightness of the light, a throne in the form of a lotus

he patterns embroidered in gold thread on red silk resembles the surface of a lotus pond on a summer day—the flowers in full luscious bloom, their wide leaves fanning over the water with vines almost rhythmically twining their way around them. The red fabric of Buddha’s robe is filled with circular patterns. The folds of the fabric are following the curves and movement of the body, sometimes dispersing the dangcho scroll patterns, the circular patterns formed after vines. Still, the dangcho scroll patterns in gold boldly fill up the entirety of the red silk. These scroll patterns (Fig. 1) are what distinguish Buddhist paintings from the Goryeo Dynasty 918–1392, the medieval times when religion ruled the world, from their contemporary counterparts from China or Japan. The mystery of the Buddha is made all the more dazzling by the golden patterns shining resplendent on the red fabric. The color red in Buddhist paintings relates to the artists who painted the Buddha in red and the dreams they so wanted to see manifest.

Everyone faces the end of life at some point. There is a moment in time when one stands at the threshold dividing this life from the next stage, the realm of death. In this moment, one is not dead yet but already so removed from this life to be called alive. This inter-

24

flower comes into focus? (Fig. 2) The source of the light is the gyeju, or the halfmoon-shaped jewel in the middle of Buddha’s front head. Out of the darkness emerges Buddha, he who rules Sukhavati, or the Pure Land of Ultimate Bliss. If Avalokiteshvara Bodhisattva were to bend at the waist and climb onto the Lotus Flower Throne, one would be born in the pond of the Pure Land where there is no suffering, sickness, or reincarnation. The lotus flower would then take one to the Pure Land where the trees are adorned with seven treasures.

In Buddhist paintings, the Buddha is depicted wearing red clothing. None of the 32 major characteristics and 80 minor characteristics used to describe the general appearance and characteristics of Buddha, the Awakened one, mentions him wearing red clothes. However, red is always the preferred color when depicting Buddha’s world and venerating his deeds. The light emitting from the physical body of the mysterious being is emphasized by the combination of red silk and golden thread. Like the sun that gives new life to all creation, the Buddha in the painting gives off flames. The tradition of depicting Buddha wearing red clothing continued well into the Joseon Dynasty 1392–1897, sometimes with the addition of a glowing red halo.

Fig. 2 Amitabha Triad Goryeo, 14th century Color on Silk 110.7 × 51.0 cm National Treasure No. 218 Leeum, Samsung Museum of Art

25

nmk summer 2016 | korean heritage

curator’s talk

Fig. 1 Detail of Fig. 2 Golden dangcho scroll patterns

The Color Red in Buddhist Paintings

By Jeong Myeonghee, Curator of the Children’s Museum Division

T

THE PRAYER OF THE LIVING FOR THE DEAD

mediate state is called jungeumsin 中陰身 in Buddhism. It is at this state where the prayers of the living can still save a soul at the crossroads between heaven and hell, when there is still time left before the final judgment.

The belief that the living can help the dead by praying to lessen the duration and amount of suffering in the afterworld was one that profoundly affected the human psyche. The living could now stand as intermediaries at judgment before the gods. Many of the Buddhist paintings depict this moment of intermediation; they are an expression of hope that something can be done for those standing in-between the realm of the living and the realm of the dead, that lotus flowers can bloom in the boundary separating these two realms.

When one draws one’s last breath in this life, what comes next through the dark void is a new world to be met with trepidation, a feeling that comes mostly from the anxiety about bidding farewell to the familiar and stepping into the unknown. How would one feel when, upon opening one’s eyes again, there is a light at the end of the darkness? How would one feel when, as one’s eyes gradually get used to the brightness of the light, a throne in the form of a lotus

he patterns embroidered in gold thread on red silk resembles the surface of a lotus pond on a summer day—the flowers in full luscious bloom, their wide leaves fanning over the water with vines almost rhythmically twining their way around them. The red fabric of Buddha’s robe is filled with circular patterns. The folds of the fabric are following the curves and movement of the body, sometimes dispersing the dangcho scroll patterns, the circular patterns formed after vines. Still, the dangcho scroll patterns in gold boldly fill up the entirety of the red silk. These scroll patterns (Fig. 1) are what distinguish Buddhist paintings from the Goryeo Dynasty 918–1392, the medieval times when religion ruled the world, from their contemporary counterparts from China or Japan. The mystery of the Buddha is made all the more dazzling by the golden patterns shining resplendent on the red fabric. The color red in Buddhist paintings relates to the artists who painted the Buddha in red and the dreams they so wanted to see manifest.

Everyone faces the end of life at some point. There is a moment in time when one stands at the threshold dividing this life from the next stage, the realm of death. In this moment, one is not dead yet but already so removed from this life to be called alive. This inter-

24

flower comes into focus? (Fig. 2) The source of the light is the gyeju, or the halfmoon-shaped jewel in the middle of Buddha’s front head. Out of the darkness emerges Buddha, he who rules Sukhavati, or the Pure Land of Ultimate Bliss. If Avalokiteshvara Bodhisattva were to bend at the waist and climb onto the Lotus Flower Throne, one would be born in the pond of the Pure Land where there is no suffering, sickness, or reincarnation. The lotus flower would then take one to the Pure Land where the trees are adorned with seven treasures.

In Buddhist paintings, the Buddha is depicted wearing red clothing. None of the 32 major characteristics and 80 minor characteristics used to describe the general appearance and characteristics of Buddha, the Awakened one, mentions him wearing red clothes. However, red is always the preferred color when depicting Buddha’s world and venerating his deeds. The light emitting from the physical body of the mysterious being is emphasized by the combination of red silk and golden thread. Like the sun that gives new life to all creation, the Buddha in the painting gives off flames. The tradition of depicting Buddha wearing red clothing continued well into the Joseon Dynasty 1392–1897, sometimes with the addition of a glowing red halo.

Fig. 2 Amitabha Triad Goryeo, 14th century Color on Silk 110.7 × 51.0 cm National Treasure No. 218 Leeum, Samsung Museum of Art

25

curator’s talk | the color red in buddhist paintings

nmk summer 2016 | korean heritage

Fig. 3 Assembly of Four Buddhas Joseon, 1562 Color on silk 77.8 × 52.2 cm Treasure No. 1326 ssu 14193

3-2

3-1

Fig. 3-1 Eastern Bhaisajyaguru Buddha Fig. 3-2 Western Amitabha Buddha

3-3

3-4

Fig. 3-3 Southern Shakyamuni Buddha Fig. 3-4 Northern Maitreya Buddha

RED, THE COLOR OF THE AWAKENED ONE

The color red is one of the first colors that humans recognized and gave a name to in the history of mankind. The first red that humans ever encountered must have been the iron oxide found in vast amounts on the surface of the earth. This mineral, which turns red upon exposure to the air, was used from early on to mark sacred spaces and objects—from cave walls in prehistoric ages, tombs in the Neolithic Period to temple and palace walls in the medieval times.

In Buddhist painting, the pigments used for the color red include not only iron oxide but cinnabar and red lead as well. The red hue from cinnabar was more blood red while the red lead was closer to orange. The use of red lead was discontinued in the 19th century because of its toxicity. However, traditionally, finding red pigments, including red lead, cinnabar, and vermilion was as important as finding gold for Buddhist paintings.

Besides red, the five colors of blue, green, white, black, and yellow are used in Buddhist paintings. With the exception of green, these are the five colors of the Korean traditional color spectrum, known as obangsaek. The five colors of obangsaek represent five cardinal directions: north, east, south, west, and center. Obangsaek is also related to o-haeng, the five elements of Korean traditional culture. O-haeng derives from the theory that the forces of yin and yang became the sky and the earth and then produced the elements of wood, fire, metal, water, and earth. As one of obangsaek, red represents the cardinal direction of south, summer, fire, and sometimes the sun. All creation gets life from the sun and only when the sun shines on the world does life begin. Thus, the pond in the Pure Land and the Buddha in red clothing is a manifestation of the production and creation of the next world.

The rulers of the Joseon Dynasty, unlike those of the Goryeo Dynasty, were determined to rule by the ideologies of Confucianism. State funding for Buddhist temples were cancelled and official routes to become a Buddhist monk were also abolished. However, Buddhism was still the traditional religion that influenced the populace’ beliefs and concept of the afterworld. The dynasty’s official ideology policies and the ruling class’ doctrines did little to change that. Many Buddhist paintings were commissioned and drawn as endeavors to accept the death and absence of a beloved one or to build one’s good deeds in preparing for the afterworld.

The Assembly of Four Buddhas commissioned by Pungsanjeong 豐山正 Yi Jongrin 李宗麟, 1536–1611 in 1562 was also such a case (Fig. 3). Yi Jongrin was the eldest son of Deokyanggun 1524–1581, the fifth son of King Jungjong r. 1506–1544 . Yi Jongrin’s father had died earlier so when his maternal grandfather Kwon Chan 權纘, d. 1560 died in 1560, it fell upon him to carry out the filial duty of officially mourning for three years. His social status as a member of the royal family is shown in the fact that the painting used quality material—silk, paint, and gold—in abundance. This painting was commissioned in prayer for his grandfather’s easy passage into eternity and was enshrined at Sangwonsa Temple in Hamchang, his grandfather’s hometown.

In this painting depicting four Buddhas—the Eastern Bhaisajyaguru Buddha, the Western Amitabha Buddha, the Southern Shakyamuni Buddha, and the Northern Maitreya Buddha—the dominant colors are red and gold. The colors red and green are used both in bold and gentle hues. The painting is characterized by the Buddhas in red clothing surrounded by a shimmering world.

26

27

curator’s talk | the color red in buddhist paintings

nmk summer 2016 | korean heritage

Fig. 3 Assembly of Four Buddhas Joseon, 1562 Color on silk 77.8 × 52.2 cm Treasure No. 1326 ssu 14193

3-2

3-1

Fig. 3-1 Eastern Bhaisajyaguru Buddha Fig. 3-2 Western Amitabha Buddha

3-3

3-4

Fig. 3-3 Southern Shakyamuni Buddha Fig. 3-4 Northern Maitreya Buddha

RED, THE COLOR OF THE AWAKENED ONE

The color red is one of the first colors that humans recognized and gave a name to in the history of mankind. The first red that humans ever encountered must have been the iron oxide found in vast amounts on the surface of the earth. This mineral, which turns red upon exposure to the air, was used from early on to mark sacred spaces and objects—from cave walls in prehistoric ages, tombs in the Neolithic Period to temple and palace walls in the medieval times.

In Buddhist painting, the pigments used for the color red include not only iron oxide but cinnabar and red lead as well. The red hue from cinnabar was more blood red while the red lead was closer to orange. The use of red lead was discontinued in the 19th century because of its toxicity. However, traditionally, finding red pigments, including red lead, cinnabar, and vermilion was as important as finding gold for Buddhist paintings.

Besides red, the five colors of blue, green, white, black, and yellow are used in Buddhist paintings. With the exception of green, these are the five colors of the Korean traditional color spectrum, known as obangsaek. The five colors of obangsaek represent five cardinal directions: north, east, south, west, and center. Obangsaek is also related to o-haeng, the five elements of Korean traditional culture. O-haeng derives from the theory that the forces of yin and yang became the sky and the earth and then produced the elements of wood, fire, metal, water, and earth. As one of obangsaek, red represents the cardinal direction of south, summer, fire, and sometimes the sun. All creation gets life from the sun and only when the sun shines on the world does life begin. Thus, the pond in the Pure Land and the Buddha in red clothing is a manifestation of the production and creation of the next world.

The rulers of the Joseon Dynasty, unlike those of the Goryeo Dynasty, were determined to rule by the ideologies of Confucianism. State funding for Buddhist temples were cancelled and official routes to become a Buddhist monk were also abolished. However, Buddhism was still the traditional religion that influenced the populace’ beliefs and concept of the afterworld. The dynasty’s official ideology policies and the ruling class’ doctrines did little to change that. Many Buddhist paintings were commissioned and drawn as endeavors to accept the death and absence of a beloved one or to build one’s good deeds in preparing for the afterworld.

The Assembly of Four Buddhas commissioned by Pungsanjeong 豐山正 Yi Jongrin 李宗麟, 1536–1611 in 1562 was also such a case (Fig. 3). Yi Jongrin was the eldest son of Deokyanggun 1524–1581, the fifth son of King Jungjong r. 1506–1544 . Yi Jongrin’s father had died earlier so when his maternal grandfather Kwon Chan 權纘, d. 1560 died in 1560, it fell upon him to carry out the filial duty of officially mourning for three years. His social status as a member of the royal family is shown in the fact that the painting used quality material—silk, paint, and gold—in abundance. This painting was commissioned in prayer for his grandfather’s easy passage into eternity and was enshrined at Sangwonsa Temple in Hamchang, his grandfather’s hometown.

In this painting depicting four Buddhas—the Eastern Bhaisajyaguru Buddha, the Western Amitabha Buddha, the Southern Shakyamuni Buddha, and the Northern Maitreya Buddha—the dominant colors are red and gold. The colors red and green are used both in bold and gentle hues. The painting is characterized by the Buddhas in red clothing surrounded by a shimmering world.

26

27

nmk summer 2016 | korean heritage

zoom in

Sutra Box Decorated with Mother-of-pearl

By Hwang Jihyun, Curator of National Museum of Korea Detail of the Sutra Box Decorated with Mother-of-pearl Sutra Box Decorated with Mother-of-pearl Goryeo, 13-14th century H. 22.6 cm, L. 41.9 cm, W. 20.0 cm Gift of Friends of the National Museum of Korea 2014 jng 9291

D

uring the Goryeo Dynasty 918–1392, a brilliant culture flourished that reflected the tastes of the aristocracy, the center of political society. This brilliance was most apparent in the field of crafts, and lacquerware inlaid with mother-of-pearl was an artistic medium that revealed the essence of the Goryeo notion of beauty. As an imperial envoy from the Song Dynasty 960–1279 once famously praised as an invaluable treasure, Goryeo lacquerware inlaid with mother-of-pearl is one of the representative forms of Goryeo art and crafts. Along with celadon and Buddhist paintings, it embodies the advanced artistic quality of the period.

This sutra box exemplifies the superior beauty and craftsmanship of Goryeo lacquerware decorated with mother-of-pearl. During the Goryeo Dynasty, Tripitaka (Buddhist scriptures) were produced in abundance, and sutra boxes were made in large numbers accordingly. Today, however, only nine Goryeo sutra boxes decorated with mother-of-pearl have survived throughout the world, with only one existing in Korea. This sutra box has rounded corners that are smooth to touch and is decorated with both mother-of-pearl and metal wires. The mother-of-pearl was thinly shaved and then cut into fine strands or into the shapes of specific designs. These small pieces were then assembled to make the three motifs that cover the box: peony scrolls, connected beads, and turtle shell-shaped (hexagonal) motifs. In particular, the box features about 450 small peony designs, each of which is further delineated with fine line engravings, demonstrating the advanced skill and extreme intricacy of the production. In total, about 25,000 small pieces of mother-ofpearl were used to decorate the box, which epitomizes the beauty of Goryeo crafts.

28

29

nmk summer 2016 | korean heritage

zoom in

Sutra Box Decorated with Mother-of-pearl

By Hwang Jihyun, Curator of National Museum of Korea Detail of the Sutra Box Decorated with Mother-of-pearl Sutra Box Decorated with Mother-of-pearl Goryeo, 13-14th century H. 22.6 cm, L. 41.9 cm, W. 20.0 cm Gift of Friends of the National Museum of Korea 2014 jng 9291

D

uring the Goryeo Dynasty 918–1392, a brilliant culture flourished that reflected the tastes of the aristocracy, the center of political society. This brilliance was most apparent in the field of crafts, and lacquerware inlaid with mother-of-pearl was an artistic medium that revealed the essence of the Goryeo notion of beauty. As an imperial envoy from the Song Dynasty 960–1279 once famously praised as an invaluable treasure, Goryeo lacquerware inlaid with mother-of-pearl is one of the representative forms of Goryeo art and crafts. Along with celadon and Buddhist paintings, it embodies the advanced artistic quality of the period.

This sutra box exemplifies the superior beauty and craftsmanship of Goryeo lacquerware decorated with mother-of-pearl. During the Goryeo Dynasty, Tripitaka (Buddhist scriptures) were produced in abundance, and sutra boxes were made in large numbers accordingly. Today, however, only nine Goryeo sutra boxes decorated with mother-of-pearl have survived throughout the world, with only one existing in Korea. This sutra box has rounded corners that are smooth to touch and is decorated with both mother-of-pearl and metal wires. The mother-of-pearl was thinly shaved and then cut into fine strands or into the shapes of specific designs. These small pieces were then assembled to make the three motifs that cover the box: peony scrolls, connected beads, and turtle shell-shaped (hexagonal) motifs. In particular, the box features about 450 small peony designs, each of which is further delineated with fine line engravings, demonstrating the advanced skill and extreme intricacy of the production. In total, about 25,000 small pieces of mother-ofpearl were used to decorate the box, which epitomizes the beauty of Goryeo crafts.

28

29

people

nmk summer 2016 | activities

Choi Sunu’s Favorite Date April 26 - December 31, 2016 Location Nine different galleries at the Permanent Exhibition Hall, including the Unified Silla Gallery, Paintings Gallery, Buddhist Sculpture Gallery, and White Porcelain Gallery Exhibits A total of 21 pieces, including Kim Duryang’s Black Dog, which is, as Choi Sunu once said, “full of humor,” and white porcelain Moon Jar Choi described as “containing the gentle aspect of a circle looking very obedient.”

Black Dog Joseon, 18th century

By Kim Duryang (1696–1763) Ink on paper Purchased in 1910 duk 2291

Celadon with Jinseng Leave Design Slip-painted in Underglaze Iron Goryeo, 12th century Celadon Treasure No. 340 bon 2074

Remembering Choi Sunu

By Oh Dayeon, Assistant Curator of the Fine Arts Division

Pensive Bodhisattva Three Kingdoms Period, 7th century Gilt-bronze H. 93.5 cm National Treasure No. 83 duk 3312

“The gentle aspect of the circle expressed in the Joseon Dynasty’s white porcelain jars is so humble and so pure-hearted that when taken together with the white background, it feels as if we see the essence of the human heart without any pretense whatsoever. I think white porcelain reflects the fundamental nature of Koreans, with white being a color we are more than happy to use. I would even say that our white clothing and white porcelain sprang from the same mind.”

Choi Sunu 崔淳雨, 1916–1984 , a former director general 1974–1984 of the National Museum of Korea, was an art historian who not only spent his life searching for the inherent beauty of Korea, but promoted this beauty as well. He would look into people’s gentle hearts throughout the country and see them in the shape of irregular circles on white porcelain jars. This is how Choi discovered the uniquely Korean style and elegance of the nation’s cultural works before he so eloquently described them in writing.

Born in Gaeseong, Hwanghae-do Province, Choi Sunu’s original name was Heesun 熙淳 . Jeon Hyeongpil 全鎣弼, 1906–1962 gave Choi a pen name, Sunu 淳雨 , and a nickname, Hyegok 兮谷.

Jeon dedicated all his efforts to collecting Korean cultural objects during the Japanese colonial era (1910 – 1945). Upon the advice of the first generation Korean art historian Ko Yuseop 高 裕燮, 1905–1944 , who served as director of the Gaeseong Municipal Museum, Choi Sunu started working at the museum and gradually

30

Choi Sunu’s life was unquestionably intertwined with Korean culture. He offered easy-to-understand explanations about Korean cultural heritage and custom through essays and short newspaper columns, rather than academic papers. In particular, he described Korean aesthetic by using many pure Korean words that were disappearing in the 1970s, a time when Korean society was rapidly being westernized. Later, his writings were compiled into books, such as Leaning against a Pillar of Muryangsujeon and The Complete Works of Choi Sunu (v. I-V). To this day, Choi Sunu’s love and interpretation of Korean culture—and his life as a whole—still resonates in the hearts of many Korean people. The NMK’s exhibition titled, Choi Sunu’s Favorite in commemoration of the centennial of Choi Sunu’s birth is now on show at the museum’s Permanent Exhibition Hall. Choi Sunu’s favorite works are being introduced along with his writing, allowing visitors to better understand his ideas and affection for Korean cultural heritage. This eight-month exhibition is expected to provide an opportunity for visitors to truly grasp what Choi said about the beauty of Korea, and to feel the style and elegance of Korean culture from a fresh perspective.

expanded his understanding of the country’s cultural heritage through exchanges with Jeon Hyeongpil. Ko and Jeon both had a very significant influence on Choi Sunu and his tendency to put the highest priority on learning, loving, and protecting Korean cultural heritage.

When the Korean War broke out in 1950, Choi Sunu risked his life to move invaluable works of art at the National Museum of Korea safely to Busan. He also directed the transportation of the collection while the museum relocated three times in the aftermath of the war. When the treaty normalizing relations between Korea and Japan was signed in 1965, Choi played a crucial role in investigating many of the nation’s cultural heritage taken to Japan during the colonial era and bringing them back home to Korea. Among the returned objects, a set of funeral urns from the Unified Silla 676–935 , which Choi highly valued was designated as National Treasure No. 125. Furthermore, he held numerous exhibitions in Korea and organized important exhibitions overseas, such as 5,000 Years of Korean Art, so that people both at home and abroad could have a chance to appreciate the beauty of Korean cultural heritage.

31

people

nmk summer 2016 | activities

Choi Sunu’s Favorite Date April 26 - December 31, 2016 Location Nine different galleries at the Permanent Exhibition Hall, including the Unified Silla Gallery, Paintings Gallery, Buddhist Sculpture Gallery, and White Porcelain Gallery Exhibits A total of 21 pieces, including Kim Duryang’s Black Dog, which is, as Choi Sunu once said, “full of humor,” and white porcelain Moon Jar Choi described as “containing the gentle aspect of a circle looking very obedient.”

Black Dog Joseon, 18th century

By Kim Duryang (1696–1763) Ink on paper Purchased in 1910 duk 2291

Celadon with Jinseng Leave Design Slip-painted in Underglaze Iron Goryeo, 12th century Celadon Treasure No. 340 bon 2074

Remembering Choi Sunu

By Oh Dayeon, Assistant Curator of the Fine Arts Division

Pensive Bodhisattva Three Kingdoms Period, 7th century Gilt-bronze H. 93.5 cm National Treasure No. 83 duk 3312

“The gentle aspect of the circle expressed in the Joseon Dynasty’s white porcelain jars is so humble and so pure-hearted that when taken together with the white background, it feels as if we see the essence of the human heart without any pretense whatsoever. I think white porcelain reflects the fundamental nature of Koreans, with white being a color we are more than happy to use. I would even say that our white clothing and white porcelain sprang from the same mind.”

Choi Sunu 崔淳雨, 1916–1984 , a former director general 1974–1984 of the National Museum of Korea, was an art historian who not only spent his life searching for the inherent beauty of Korea, but promoted this beauty as well. He would look into people’s gentle hearts throughout the country and see them in the shape of irregular circles on white porcelain jars. This is how Choi discovered the uniquely Korean style and elegance of the nation’s cultural works before he so eloquently described them in writing.

Born in Gaeseong, Hwanghae-do Province, Choi Sunu’s original name was Heesun 熙淳 . Jeon Hyeongpil 全鎣弼, 1906–1962 gave Choi a pen name, Sunu 淳雨 , and a nickname, Hyegok 兮谷.

Jeon dedicated all his efforts to collecting Korean cultural objects during the Japanese colonial era (1910 – 1945). Upon the advice of the first generation Korean art historian Ko Yuseop 高 裕燮, 1905–1944 , who served as director of the Gaeseong Municipal Museum, Choi Sunu started working at the museum and gradually

30

Choi Sunu’s life was unquestionably intertwined with Korean culture. He offered easy-to-understand explanations about Korean cultural heritage and custom through essays and short newspaper columns, rather than academic papers. In particular, he described Korean aesthetic by using many pure Korean words that were disappearing in the 1970s, a time when Korean society was rapidly being westernized. Later, his writings were compiled into books, such as Leaning against a Pillar of Muryangsujeon and The Complete Works of Choi Sunu (v. I-V). To this day, Choi Sunu’s love and interpretation of Korean culture—and his life as a whole—still resonates in the hearts of many Korean people. The NMK’s exhibition titled, Choi Sunu’s Favorite in commemoration of the centennial of Choi Sunu’s birth is now on show at the museum’s Permanent Exhibition Hall. Choi Sunu’s favorite works are being introduced along with his writing, allowing visitors to better understand his ideas and affection for Korean cultural heritage. This eight-month exhibition is expected to provide an opportunity for visitors to truly grasp what Choi said about the beauty of Korea, and to feel the style and elegance of Korean culture from a fresh perspective.

expanded his understanding of the country’s cultural heritage through exchanges with Jeon Hyeongpil. Ko and Jeon both had a very significant influence on Choi Sunu and his tendency to put the highest priority on learning, loving, and protecting Korean cultural heritage.

When the Korean War broke out in 1950, Choi Sunu risked his life to move invaluable works of art at the National Museum of Korea safely to Busan. He also directed the transportation of the collection while the museum relocated three times in the aftermath of the war. When the treaty normalizing relations between Korea and Japan was signed in 1965, Choi played a crucial role in investigating many of the nation’s cultural heritage taken to Japan during the colonial era and bringing them back home to Korea. Among the returned objects, a set of funeral urns from the Unified Silla 676–935 , which Choi highly valued was designated as National Treasure No. 125. Furthermore, he held numerous exhibitions in Korea and organized important exhibitions overseas, such as 5,000 Years of Korean Art, so that people both at home and abroad could have a chance to appreciate the beauty of Korean cultural heritage.

31

behind the exhibit

nmk summer 2016 | activities

The Analysis and Environment

REVEALING THE IDENTITY OF HISTORICAL OBJECTS

The Conservation Science Department of the National Museum of Korea is subdivided into several teams that carry out the actual work according to the material of the works, such as metal, paper, wood, and ceramics. But there is one team that does not work based on a specific material. The analysis and environment team analyzes works of all materials in order to identify their component ingredients and production techniques and examines the exhibition environment. This team is comprised of analysis specialists and environment specialists.

The analysis specialists confirm production techniques using scientific methods, such as breakdown of the component ingredients of works. As they delve in-depth into the composition of the materials, the level of the production techniques, and the specific function of the works concerned, the analysis specialists bring the imagined past into the present. One by one they put together all the clues that the works reveal to clearly identify them and understand their history and cultural context, including date and place of production and trade situation.

With the heightened awareness of the importance of cultural heritage conservation in museums, the importance of analysis is also growing, particularly as a methodology for the research of cultural heritage. The work of the analysis team can be divided into two major branches. The first is primary analysis for identification of materials. The results are used to carry out appropriate conservation treatment according to each material and to provide information for management purposes, such as acquisition and registration. The second is analysis for the purpose of exploring the historical and cultural values of works. Applying

By Yu Heisun, Curator of the Conservation Science Division

Yu Heisun, an analysis specialist, is checking the object in the lab.

methodologies of natural science to determine the historical characteristics of objects, including production techniques and place and date of production, this branch of analysis provides important information in terms of archaeology, history, and art history.

The role of this second branch of analysis is well demonstrated by the Gold Buckle (National Treasure No. 89) and Diamond Sutra Plaque which attracted viewer’s attention in the past exhibition, Conservation Science: Saving Cultural Properties. The analysis team had been systematically accumulating information on metal craftworks and the exhibition provided a perfect opportunity to show some major exhibits in this category. The Gold Buckle is a palm-sized accessory that exhibits the exquisite level of craftsmanship achieved by ancient Koreans. Through microscopic examination, the analysis team confirmed that the gold lines around the edge were made of twisted strands of metal and discovered traces of red pigment in the eyes of the dragon design. The gold granules decorating the buckle ranged in size from 0.3mm to 1.6mm in diameter, attesting to the delicacy of workmanship involved. Traces of mercury and sulfur detected inside the dragon’s eyes indicate that these eyes were once filled with cinnabar pigment. Such attention to detail—meticulously painting the eyes of the tiny dragon in red on the exquisitely made buckle—allows us to guess the original magnificence of the piece.

The Diamond Sutra Plaque, which inspires an urge to touch, has a dramatic story behind it. Consisting of a set of 19 thin metal plates, the sutra plaques were for a long time believed to be made of pure gold. Through material analysis carried out in 2006, however, the analysis team discovered that they had an unusual dual structure, and after a long study it was revealed that they were in fact made of silver and plated with gold.

today, then the time and effort required for conservation work in the future will be substantially reduced. The National Museum of Korea’s emphasis on the storage and exhibition environment follows the principle of proactive and preventative conservation to maintain cultural heritage in the best possible condition.

Closed display cabinets contain all sorts of substances that come into direct contact with the works inside. It is the role of the environment specialists to check and set guidelines for matters ranging from the bottom surface material, glass, and humidity control devices to seemingly trivial elements, such as each fastening pin, piece of fabric, and identification label.

“We are filling in a blank space in history,” says Yu Heisun.

While the responsibility may be burdensome, the results are hugely gratifying. The works which tell us stories from the distant past will continue to live hundreds of times longer than us after we are gone. Through the hands of analysis and environment specialists, the Conservation Science Division at the NMK works to give testimony to the stories of both yesterday and today to the next generation.

Gold Buckle (National Treasure No. 89)

THE MISSION OF TRANSMITTING HISTORY

To ensure that the works are not damaged in any way, the analysis at the museum is carried out by non-destructive methods. If a part of an item is either cut or removed for analysis, more accurate results may be obtained, but this will leave the original work damaged. Therefore efforts are made to obtain the best possible results using non-destructive methods, and this is the major difference from the analyses at scientific labs seen in movies or TV dramas.

As such, a point of crucial importance is the researcher’s discernment, the ability to apply the results of non-destructive analysis to a wider general flow and context. For example, in the case of bells, the researcher must have the ability to discern that a bell with a clear sound is likely to have a metal composition with a low level of lead. Armed with concrete, expert knowledge, the analysis specialist can deduce what kind of ingredients or materials were produced in what region at what time in history.

The environment specialist, to make a slight exaggeration, works in a present field that has the potential to change the future.

Conservation treatment begins with the cultural heritage in an already damaged state. Severely damaged items often require several years of time and effort for conservation and nothing could be worse in terms of efficiency. This is where the environment team comes in. If the damages inflicted on a work is minimized

32

X-ray investigation of Gold Buckle

33

behind the exhibit

nmk summer 2016 | activities

The Analysis and Environment

REVEALING THE IDENTITY OF HISTORICAL OBJECTS

The Conservation Science Department of the National Museum of Korea is subdivided into several teams that carry out the actual work according to the material of the works, such as metal, paper, wood, and ceramics. But there is one team that does not work based on a specific material. The analysis and environment team analyzes works of all materials in order to identify their component ingredients and production techniques and examines the exhibition environment. This team is comprised of analysis specialists and environment specialists.

The analysis specialists confirm production techniques using scientific methods, such as breakdown of the component ingredients of works. As they delve in-depth into the composition of the materials, the level of the production techniques, and the specific function of the works concerned, the analysis specialists bring the imagined past into the present. One by one they put together all the clues that the works reveal to clearly identify them and understand their history and cultural context, including date and place of production and trade situation.

With the heightened awareness of the importance of cultural heritage conservation in museums, the importance of analysis is also growing, particularly as a methodology for the research of cultural heritage. The work of the analysis team can be divided into two major branches. The first is primary analysis for identification of materials. The results are used to carry out appropriate conservation treatment according to each material and to provide information for management purposes, such as acquisition and registration. The second is analysis for the purpose of exploring the historical and cultural values of works. Applying

By Yu Heisun, Curator of the Conservation Science Division

Yu Heisun, an analysis specialist, is checking the object in the lab.

methodologies of natural science to determine the historical characteristics of objects, including production techniques and place and date of production, this branch of analysis provides important information in terms of archaeology, history, and art history.

The role of this second branch of analysis is well demonstrated by the Gold Buckle (National Treasure No. 89) and Diamond Sutra Plaque which attracted viewer’s attention in the past exhibition, Conservation Science: Saving Cultural Properties. The analysis team had been systematically accumulating information on metal craftworks and the exhibition provided a perfect opportunity to show some major exhibits in this category. The Gold Buckle is a palm-sized accessory that exhibits the exquisite level of craftsmanship achieved by ancient Koreans. Through microscopic examination, the analysis team confirmed that the gold lines around the edge were made of twisted strands of metal and discovered traces of red pigment in the eyes of the dragon design. The gold granules decorating the buckle ranged in size from 0.3mm to 1.6mm in diameter, attesting to the delicacy of workmanship involved. Traces of mercury and sulfur detected inside the dragon’s eyes indicate that these eyes were once filled with cinnabar pigment. Such attention to detail—meticulously painting the eyes of the tiny dragon in red on the exquisitely made buckle—allows us to guess the original magnificence of the piece.

The Diamond Sutra Plaque, which inspires an urge to touch, has a dramatic story behind it. Consisting of a set of 19 thin metal plates, the sutra plaques were for a long time believed to be made of pure gold. Through material analysis carried out in 2006, however, the analysis team discovered that they had an unusual dual structure, and after a long study it was revealed that they were in fact made of silver and plated with gold.

today, then the time and effort required for conservation work in the future will be substantially reduced. The National Museum of Korea’s emphasis on the storage and exhibition environment follows the principle of proactive and preventative conservation to maintain cultural heritage in the best possible condition.

Closed display cabinets contain all sorts of substances that come into direct contact with the works inside. It is the role of the environment specialists to check and set guidelines for matters ranging from the bottom surface material, glass, and humidity control devices to seemingly trivial elements, such as each fastening pin, piece of fabric, and identification label.

“We are filling in a blank space in history,” says Yu Heisun.

While the responsibility may be burdensome, the results are hugely gratifying. The works which tell us stories from the distant past will continue to live hundreds of times longer than us after we are gone. Through the hands of analysis and environment specialists, the Conservation Science Division at the NMK works to give testimony to the stories of both yesterday and today to the next generation.

Gold Buckle (National Treasure No. 89)

THE MISSION OF TRANSMITTING HISTORY

To ensure that the works are not damaged in any way, the analysis at the museum is carried out by non-destructive methods. If a part of an item is either cut or removed for analysis, more accurate results may be obtained, but this will leave the original work damaged. Therefore efforts are made to obtain the best possible results using non-destructive methods, and this is the major difference from the analyses at scientific labs seen in movies or TV dramas.

As such, a point of crucial importance is the researcher’s discernment, the ability to apply the results of non-destructive analysis to a wider general flow and context. For example, in the case of bells, the researcher must have the ability to discern that a bell with a clear sound is likely to have a metal composition with a low level of lead. Armed with concrete, expert knowledge, the analysis specialist can deduce what kind of ingredients or materials were produced in what region at what time in history.

The environment specialist, to make a slight exaggeration, works in a present field that has the potential to change the future.

Conservation treatment begins with the cultural heritage in an already damaged state. Severely damaged items often require several years of time and effort for conservation and nothing could be worse in terms of efficiency. This is where the environment team comes in. If the damages inflicted on a work is minimized

32

X-ray investigation of Gold Buckle

33

children ’ s museum

nmk summer 2016 | activities

A section to explain the Silk Road

The Children’s Museum hosts a new and fascinating long-term special exhibition that runs throughout a whole year. Following A seonbi, goes on a trip to Mt. Geumgangsan which closed in February after a very successful run, this year’s special exhibition is titled, Silla: The Splendid Golden Kingdom, which opened on May 5 to mark Children’s Day. Though the Children’s Museum is hugely popular at all times, with no distinction between weekdays and weekends, on the opening day of the exhibition it attracted three times the usual number of visitors. Various events for young visitors were held throughout the museum, but with the lifting of the usual rule on limited access (a fixed number for six sessions a day), the Children’s Museum was especially popular on that day.

Upon entering the special exhibition gallery, the first thing that catches the eyes are the replicas of ancient tombs and the bright sunshine streaming in through the windows. “When you go to Gyeongju, the capital of the ancient Silla Kingdom, the tombs are the first thing you see. The NMK wanted to give the children an indirect experience of the same thing,” said educator Cho Hyejin, who planned the exhibition. Explaining that the tombs are seen in the sunlight between the trees in Gyeongju, Cho said the exhibition space took advantage of the fact that the Children’s Museum does not have any authentic art objects on display to incorporate the external landscape and sunlight outside the windows into the exhibition.

Though the Children’s Museum caters to children of all ages, from toddlers to primary school students, most visitors fall in the six-to-nine age group. At this age, children are able to read but still slow to take in much in-depth information. The question was how to convey the vast history and culture of ancient Silla to these young visitors. So work began on finding ways to tell the story of Silla to

MAY 5, 2016 – MARCH 5, 2017 CHILDREN’S MUSEUM SPECIAL EXHIBITION

Silla: The Splendid Golden Kingdom

By Cho Hyejin, Educator of the Children’s Museum Division

34

A section to explain Cheomseongdae Observatory

the children in an easy and interesting way. Over many months the Children’s Museum educators refined the concept, narrowed it down, and made it as concrete as possible based on a number of keywords, which were played up in the most effective way possible.

The resulting exhibition helps children to imagine the giant ancient tumuli and the splendor of the ancient kingdom from the beautiful golden crowns and other items discovered inside them, and takes them on a journey of discovery through the legend of Silla’s founder, Park Hyeokgeose 69 BCE–4 CE, and the city of Seorabeol (today’s Gyeongju), a stop on the Silk Road in ancient times.

In one corner, children can grope their way through a dark passage that takes them on a journey through time and physical experience of the Silk Road, which led from Istanbul in Ancient Rome to Dunhuang in China and Gyeongju in Korea. Using RFID chips, children can bring up questions about Silla on a screen and see the answers to those questions. Silla-related themes have been applied to all props in the exhibition, including dice games based on the motif of the 14-sided wooden dice found at the ancient Anapji Pond site in Gyeongju and stamps featuring pictures of Silla metal craftworks. Touch screens and videos have been installed in appropriate places to cater the tastes of children today.

Just as much as children need to sit down and exercise their local muscles by moving their fingers, they also need to exercise their global muscles by moving their whole bodies, jumping up and down.

Hence the special exhibition also features slippery slides and globe shapes installed by the model tumuli. And here too the children are exposed to questions about Silla and related exhibits. As they run and roll about, they recite the names of Silla works and their imaginations are fired with images of the ancient kingdom. Parents and guardians can use the QR codes to gain extra information.

Everything from the mascots used to every stamp and every desk in the special exhibition was specially made as an educational toy. For this reason the preparation period was as long as the actual exhibition period. To enable such high-quality contents to be enjoyed by children in other parts of the country, the special exhibition will tour the affiliated national museums after the Seoul run at the NMK ends on March 5, 2017. The first stop on the tour will be the Gyeongju National Museum.

“The children don’t need to memorize the strange and difficult names of the works. All we hope is that they realize there was an ancient kingdom named Silla in the Korean Peninsula and that the people of that time made these beautiful crowns and necklaces,” said Cho Hyejin. “We want the Children’s Museum to be a place that the children love coming to visit.”

At a time when many museums designed for children are opening, the NMK Children’s Museum seeks to be a place where young visitors discover something more than the routine answers.

Rather than being an extension of the classroom, the Children’s Museum is meant to be a place where children can naturally come into contact with history and culture, and be inspired to feel and imagine it. The children who frequent the Children’s Museum today belong to the first generation to access culture in this way from a young age. It will be interesting to see what kind of future will be created by these children who are growing up enjoying the benefits of the museum. The Children’s Museum at the NMK will continue to firmly serve as a place where children can experience culture.

35

children ’ s museum

nmk summer 2016 | activities

A section to explain the Silk Road

The Children’s Museum hosts a new and fascinating long-term special exhibition that runs throughout a whole year. Following A seonbi, goes on a trip to Mt. Geumgangsan which closed in February after a very successful run, this year’s special exhibition is titled, Silla: The Splendid Golden Kingdom, which opened on May 5 to mark Children’s Day. Though the Children’s Museum is hugely popular at all times, with no distinction between weekdays and weekends, on the opening day of the exhibition it attracted three times the usual number of visitors. Various events for young visitors were held throughout the museum, but with the lifting of the usual rule on limited access (a fixed number for six sessions a day), the Children’s Museum was especially popular on that day.

Upon entering the special exhibition gallery, the first thing that catches the eyes are the replicas of ancient tombs and the bright sunshine streaming in through the windows. “When you go to Gyeongju, the capital of the ancient Silla Kingdom, the tombs are the first thing you see. The NMK wanted to give the children an indirect experience of the same thing,” said educator Cho Hyejin, who planned the exhibition. Explaining that the tombs are seen in the sunlight between the trees in Gyeongju, Cho said the exhibition space took advantage of the fact that the Children’s Museum does not have any authentic art objects on display to incorporate the external landscape and sunlight outside the windows into the exhibition.

Though the Children’s Museum caters to children of all ages, from toddlers to primary school students, most visitors fall in the six-to-nine age group. At this age, children are able to read but still slow to take in much in-depth information. The question was how to convey the vast history and culture of ancient Silla to these young visitors. So work began on finding ways to tell the story of Silla to

MAY 5, 2016 – MARCH 5, 2017 CHILDREN’S MUSEUM SPECIAL EXHIBITION

Silla: The Splendid Golden Kingdom

By Cho Hyejin, Educator of the Children’s Museum Division

34

A section to explain Cheomseongdae Observatory

the children in an easy and interesting way. Over many months the Children’s Museum educators refined the concept, narrowed it down, and made it as concrete as possible based on a number of keywords, which were played up in the most effective way possible.

The resulting exhibition helps children to imagine the giant ancient tumuli and the splendor of the ancient kingdom from the beautiful golden crowns and other items discovered inside them, and takes them on a journey of discovery through the legend of Silla’s founder, Park Hyeokgeose 69 BCE–4 CE, and the city of Seorabeol (today’s Gyeongju), a stop on the Silk Road in ancient times.

In one corner, children can grope their way through a dark passage that takes them on a journey through time and physical experience of the Silk Road, which led from Istanbul in Ancient Rome to Dunhuang in China and Gyeongju in Korea. Using RFID chips, children can bring up questions about Silla on a screen and see the answers to those questions. Silla-related themes have been applied to all props in the exhibition, including dice games based on the motif of the 14-sided wooden dice found at the ancient Anapji Pond site in Gyeongju and stamps featuring pictures of Silla metal craftworks. Touch screens and videos have been installed in appropriate places to cater the tastes of children today.

Just as much as children need to sit down and exercise their local muscles by moving their fingers, they also need to exercise their global muscles by moving their whole bodies, jumping up and down.

Hence the special exhibition also features slippery slides and globe shapes installed by the model tumuli. And here too the children are exposed to questions about Silla and related exhibits. As they run and roll about, they recite the names of Silla works and their imaginations are fired with images of the ancient kingdom. Parents and guardians can use the QR codes to gain extra information.

Everything from the mascots used to every stamp and every desk in the special exhibition was specially made as an educational toy. For this reason the preparation period was as long as the actual exhibition period. To enable such high-quality contents to be enjoyed by children in other parts of the country, the special exhibition will tour the affiliated national museums after the Seoul run at the NMK ends on March 5, 2017. The first stop on the tour will be the Gyeongju National Museum.

“The children don’t need to memorize the strange and difficult names of the works. All we hope is that they realize there was an ancient kingdom named Silla in the Korean Peninsula and that the people of that time made these beautiful crowns and necklaces,” said Cho Hyejin. “We want the Children’s Museum to be a place that the children love coming to visit.”

At a time when many museums designed for children are opening, the NMK Children’s Museum seeks to be a place where young visitors discover something more than the routine answers.

Rather than being an extension of the classroom, the Children’s Museum is meant to be a place where children can naturally come into contact with history and culture, and be inspired to feel and imagine it. The children who frequent the Children’s Museum today belong to the first generation to access culture in this way from a young age. It will be interesting to see what kind of future will be created by these children who are growing up enjoying the benefits of the museum. The Children’s Museum at the NMK will continue to firmly serve as a place where children can experience culture.

35

exhibition & news

nmk summer 2016 | activities

Buddhist Hanging Scroll at Bukjangsa Temple May 10 – November 6, 2016 Buddhist Painting Gallery

Joseon: The Movable Type Dynasty June 21 – September 11, 2016 Goryeo Gallery 3

The NMK opened an exhibition exploring the significance of the production and use of movable type in the politics and culture of Joseon, a Confucian nation. Displaying the world’s best and largest collection of metal type from the Joseon Dynasty1392–1897 for the first time to the general public, Joseon: The Movable Type Dynasty introduces the cultural history of movable type along with newly discovered material, providing testimony to the fact that Korea was indeed a pioneer in the field of movable type.

In this exhibition, the whole picture of the National Museum of Korea’s entire collection of movable type from the Joseon period, consisting of over 820,000 pieces, is presented

to the public for the first time.

Over the past few years, thorough study of historical evidence has been carried out to sort and reorganize the movable type characters and accurately identify unconfirmed characters.

As a result, the exhibition features characters never shown before, including the wooden typeface imported for reference when King Jeongjo r. 1776–1800 created Jeongnija type.

Supposedly produced by the imperial court of the Qing Dynasty 1644–1911, this wooden movable type is China’s oldest extant example, aside from the 13th-century Uygur movable type.

Another entirely new exhibit is the storage chests for movable type characters, which have

been passed down along with movable type.

Through restoration works on the chests from last year, the NMK was able to confirm the date of production of these chests as well as the method of classification and storage of movable type characters.

Other attractions in the exhibition include a game on four-letter sayings in Chinese characters using movable type characters from the museum collection. Also, visitors can print and touch replicas of movable type characters created with 3D printers. In the middle of the exhibition hall stands a set of old drawers in which over 50,000 characters are arranged, a clear proof that Joseon was indeed a nation famous for its movable type.

Joseon: The Movable Type Dynasty ISBN 978-89-8164-152-8

The NMK published this catalogue to accompany the exhibition on movable type from the Joseon Dynasty, which is based on methodic classification, organization, and study of historical evidence. From the 17th century to the end of the Joseon Dynasty in the late 19th century, movable type played a crucial role in the publication and distribution of books by government organizations and the royal court. The catalogue gives a thorough historical verification for the names and production dates of various kinds

36

of movable type, such as Gabinja, Jeongnija, Sillokja (used to print Joseon wangjo sillok, or the Annals of the Joseon Dynasty), and Hanguja, and investigates the significance of movable type produced in the Korean script, Hangeul, as well as in Chinese characters.

In addition, it introduces for the first time the unique method of classification and storage of movable type, confirmed through restoration and study of the storage chests that have been handed down together with movable type.

The NMK is holding a thematic exhibition titled, Buddhist Hanging Scroll at Bukjangsa Temple—The Buddha listens to prayer. This painting depicting Shakyamuni’s sermon at the Vulture Peak features the Buddha with a halo in the background in a dominant scale. Also, the Buddha is standing in this painting, contrary to the general trend of paintings of the same theme, the Vulture Peak Assembly, featuring Shakyamuni seated on the pedestal presiding over a Buddhist ceremony. To fit the function of the Buddhist hanging scroll used for outdoor ceremonies, the Buddha, the center of the service was highlighted as standing upon the long canvas. Such a change appeared for the first time in this Buddhist Hanging Scroll at Bukjangsa Temple, and was spread to iconography of Buddhist hanging scrolls depicting the Vulture Peak Assembly in the Gyeongsangbuk-do region.

In association with the hanging scroll exhibition, the Buddhist Painting Gallery exhibits Buddhist paintings revealing wishes of people of old days. The exhibits include a painting of Avalokiteshvara Bodhisattva who bestows charity and rescues people from disasters, a painting expressing wishes for giving birth to a boy, and a painting for longevity. In particular, Avalokiteshvara Bodhisattva (Treasure No. 1204) that the museum purchased last year is first shown to the public, and seven paintings of arhats from the Goryeo Dynasty (newly designated as Treasure No. 1882-2 and No. 1883) greet visitors. Three of them are displayed at the Buddhist Painting Gallery on the second floor and four of them are displayed at the Goryeo Gallery on the first floor.

A talk with a curator introducing this exhibition for the general public was held on May 13 and will be held on August 24 again.

Buddhist Hanging Scroll at Bukjangsa Temple ISBN 978-89-93773-43-9

The NMK published a small-sized catalogue Buddhist Hanging Scroll at Bukjangsa Temple to help visitors’ understanding of this exhibition.

The catalogue consists of three chapters: “History of Bukjangsa Temple,” “Iconography and Style of the Buddhist Hanging Scroll at Bukjangsa Temple,” and “Background of the

37

Production of the Buddhist Hanging Scroll at Buksangsa Temple According to Records.” The catalogue presents in detail the stories hidden in Buddhist paintings that reflect humans’ worries and dearest wishes as well as academic research on the Buddhist Hanging Scroll at Bukjangsa Temple.

exhibition & news

nmk summer 2016 | activities

Buddhist Hanging Scroll at Bukjangsa Temple May 10 – November 6, 2016 Buddhist Painting Gallery

Joseon: The Movable Type Dynasty June 21 – September 11, 2016 Goryeo Gallery 3

The NMK opened an exhibition exploring the significance of the production and use of movable type in the politics and culture of Joseon, a Confucian nation. Displaying the world’s best and largest collection of metal type from the Joseon Dynasty1392–1897 for the first time to the general public, Joseon: The Movable Type Dynasty introduces the cultural history of movable type along with newly discovered material, providing testimony to the fact that Korea was indeed a pioneer in the field of movable type.

In this exhibition, the whole picture of the National Museum of Korea’s entire collection of movable type from the Joseon period, consisting of over 820,000 pieces, is presented

to the public for the first time.

Over the past few years, thorough study of historical evidence has been carried out to sort and reorganize the movable type characters and accurately identify unconfirmed characters.

As a result, the exhibition features characters never shown before, including the wooden typeface imported for reference when King Jeongjo r. 1776–1800 created Jeongnija type.

Supposedly produced by the imperial court of the Qing Dynasty 1644–1911, this wooden movable type is China’s oldest extant example, aside from the 13th-century Uygur movable type.

Another entirely new exhibit is the storage chests for movable type characters, which have

been passed down along with movable type.

Through restoration works on the chests from last year, the NMK was able to confirm the date of production of these chests as well as the method of classification and storage of movable type characters.

Other attractions in the exhibition include a game on four-letter sayings in Chinese characters using movable type characters from the museum collection. Also, visitors can print and touch replicas of movable type characters created with 3D printers. In the middle of the exhibition hall stands a set of old drawers in which over 50,000 characters are arranged, a clear proof that Joseon was indeed a nation famous for its movable type.

Joseon: The Movable Type Dynasty ISBN 978-89-8164-152-8

The NMK published this catalogue to accompany the exhibition on movable type from the Joseon Dynasty, which is based on methodic classification, organization, and study of historical evidence. From the 17th century to the end of the Joseon Dynasty in the late 19th century, movable type played a crucial role in the publication and distribution of books by government organizations and the royal court. The catalogue gives a thorough historical verification for the names and production dates of various kinds

36

of movable type, such as Gabinja, Jeongnija, Sillokja (used to print Joseon wangjo sillok, or the Annals of the Joseon Dynasty), and Hanguja, and investigates the significance of movable type produced in the Korean script, Hangeul, as well as in Chinese characters.

In addition, it introduces for the first time the unique method of classification and storage of movable type, confirmed through restoration and study of the storage chests that have been handed down together with movable type.

The NMK is holding a thematic exhibition titled, Buddhist Hanging Scroll at Bukjangsa Temple—The Buddha listens to prayer. This painting depicting Shakyamuni’s sermon at the Vulture Peak features the Buddha with a halo in the background in a dominant scale. Also, the Buddha is standing in this painting, contrary to the general trend of paintings of the same theme, the Vulture Peak Assembly, featuring Shakyamuni seated on the pedestal presiding over a Buddhist ceremony. To fit the function of the Buddhist hanging scroll used for outdoor ceremonies, the Buddha, the center of the service was highlighted as standing upon the long canvas. Such a change appeared for the first time in this Buddhist Hanging Scroll at Bukjangsa Temple, and was spread to iconography of Buddhist hanging scrolls depicting the Vulture Peak Assembly in the Gyeongsangbuk-do region.

In association with the hanging scroll exhibition, the Buddhist Painting Gallery exhibits Buddhist paintings revealing wishes of people of old days. The exhibits include a painting of Avalokiteshvara Bodhisattva who bestows charity and rescues people from disasters, a painting expressing wishes for giving birth to a boy, and a painting for longevity. In particular, Avalokiteshvara Bodhisattva (Treasure No. 1204) that the museum purchased last year is first shown to the public, and seven paintings of arhats from the Goryeo Dynasty (newly designated as Treasure No. 1882-2 and No. 1883) greet visitors. Three of them are displayed at the Buddhist Painting Gallery on the second floor and four of them are displayed at the Goryeo Gallery on the first floor.

A talk with a curator introducing this exhibition for the general public was held on May 13 and will be held on August 24 again.

Buddhist Hanging Scroll at Bukjangsa Temple ISBN 978-89-93773-43-9

The NMK published a small-sized catalogue Buddhist Hanging Scroll at Bukjangsa Temple to help visitors’ understanding of this exhibition.

The catalogue consists of three chapters: “History of Bukjangsa Temple,” “Iconography and Style of the Buddhist Hanging Scroll at Bukjangsa Temple,” and “Background of the

37

Production of the Buddhist Hanging Scroll at Buksangsa Temple According to Records.” The catalogue presents in detail the stories hidden in Buddhist paintings that reflect humans’ worries and dearest wishes as well as academic research on the Buddhist Hanging Scroll at Bukjangsa Temple.

exhibition & news

nmk summer 2016 | activities

The Re-excavation of the Seobongchong Tomb 90 Years Later

The NMK is re-excavating the Seobongchong Tomb in Gyeongju until November 2 as part of the project for disclosure of data accumulated by the Museum of the Japanese GovernmentGeneral of Korea. The tomb is home to the Gold Crown and Gold Pendants designated as Treasure No. 339. The primary purpose of this research, which started on April 11, 2016, lies in providing the basic materials necessary for establishing an ancient tomb park in the city center of Gyeongju, as part of the joint project by Cultural Heritage Administration and the City of Gyeongju.

Seobongchong Tomb is a double-mound tomb, with the north and south mounds built in the shape of a gourd dipper. The north mound, from which the gold crown was found, was originally excavated under the pretext of collecting earth and sand for expanding the engine house of Gyeongdong Railway’s Gyeongju Station in 1926.

The south mound was excavated with the fund from a British man named Percival David in 1929. It is well known that Swedish Crown Prince Gustav Adolf participated in the excavation of the north mound. However, the Japanese Government-General of Korea Museum did not publish the excavation report after the research, and the precise details of the excavation remained unknown. As a result, the NMK compiled the records of burial goods of the tomb and published Gyeongju Seobongchong I (Objects) in 2014.

On the Thunder-axe April 19 – July 3, 2016 Thematic Exhibition Gallery

The NMK held the thematic exhibition On the Thunder-axe: Traditional Understanding of Prehistoric Stone Tools in Korea from April 19 to July 3 at the Thematic Exhibition Gallery on the first floor of the Permanent Exhibition Hall.

This exhibition was intended to show changes in people’s awareness about the stone axe, the tool which humankind had used for the longest time.

People in the Joseon Dynasty thought that the stone axe was the thunder god’s object and tried to explain it in many ways, for example, based on the five elements theory. The fact that the stone axe was an everyday item during the prehistoric age was revealed after archeology with modern scholarly system was introduced in the 19th century. Such changes in awareness is shown through 149 pieces of exhibits, including various stone axes from the prehistoric age, painting of the thunder god from the Joseon Dynasty, and ancient documents mentioning the stone axe.

38

The exhibition was organized so that visitors can understand the methods of making stone tools and changes of the tools over the Paleolithic Period and the Bronze Age, focusing on the stone axes housed at the NMK, including those from the ancient collection of the Japanese Government-General of Korea Museum and other purchased objects.

This exhibition was held in order to show changes in people’s awareness about the stone axe, an everyday necessity during the prehistoric age, and provided time to connect those people who lived in this land long ago with us today.

Upcoming Special Exhibitions

• The City in Art, Art in the City October 5 – November 23, 2016 • Egyptian Treasures December 20, 2016 – April 9, 2017

Gold Crown & Gold Pendants Silla, 5th century H. 35.0 cm Treasure No. 339

The NMK will complete the report by publishing Gyeongju Seobongchong II (Monument) after verifying the size and structure of the tombs through re-excavation. At this re-excavation, the remaining underground structure will be checked through geophysical exploration and will be compared with photographs and documents left by the Japanese GovernmentGeneral of Korea. The NMK will open the excavation site of Seobongchong Tomb to

citizens at 3 p.m. every Wednesday until October 5. It is expected that this re-excavation and the opening of the site will further increase people’s interest in Korean cultural heritage and history.

Business Agreements for Invigorating Traditional Culture Programs

The NMK develops and operates various programs through business agreements with leading public organizations so that visitors can have a better understanding of Korean history and culture in a more intriguing way. First, the museum signed a business agreement with the Korea Creative Content Agency on May 26 to expand the base for creative activities using traditional culture. Through this agreement, the NMK and the Agency will jointly plan and operate programs, such as workshops to give an opportunity to explore materials for creation to the established artists. Also, the two organizations agreed to maintain continuous cooperative relationship in utilizing human

39

resources and facilities and to actively share necessary materials and information.

In addition, the NMK signed an MOU with the Seoul Metropolitan Office of Education for the stabilization and spread of the free semester system, which was launched this year, and opens classes as a “school outside school.” This agreement provided an opportunity for the museum and the Office of Education to recognize the importance of Seoul-style free semester system that runs all year round. It is expected that this agreement will reinforce the museum’s cooperative network with middle schools in Seoul and further activate the museum’s programs for the free semester system.

exhibition & news

nmk summer 2016 | activities

The Re-excavation of the Seobongchong Tomb 90 Years Later

The NMK is re-excavating the Seobongchong Tomb in Gyeongju until November 2 as part of the project for disclosure of data accumulated by the Museum of the Japanese GovernmentGeneral of Korea. The tomb is home to the Gold Crown and Gold Pendants designated as Treasure No. 339. The primary purpose of this research, which started on April 11, 2016, lies in providing the basic materials necessary for establishing an ancient tomb park in the city center of Gyeongju, as part of the joint project by Cultural Heritage Administration and the City of Gyeongju.

Seobongchong Tomb is a double-mound tomb, with the north and south mounds built in the shape of a gourd dipper. The north mound, from which the gold crown was found, was originally excavated under the pretext of collecting earth and sand for expanding the engine house of Gyeongdong Railway’s Gyeongju Station in 1926.

The south mound was excavated with the fund from a British man named Percival David in 1929. It is well known that Swedish Crown Prince Gustav Adolf participated in the excavation of the north mound. However, the Japanese Government-General of Korea Museum did not publish the excavation report after the research, and the precise details of the excavation remained unknown. As a result, the NMK compiled the records of burial goods of the tomb and published Gyeongju Seobongchong I (Objects) in 2014.

On the Thunder-axe April 19 – July 3, 2016 Thematic Exhibition Gallery

The NMK held the thematic exhibition On the Thunder-axe: Traditional Understanding of Prehistoric Stone Tools in Korea from April 19 to July 3 at the Thematic Exhibition Gallery on the first floor of the Permanent Exhibition Hall.

This exhibition was intended to show changes in people’s awareness about the stone axe, the tool which humankind had used for the longest time.

People in the Joseon Dynasty thought that the stone axe was the thunder god’s object and tried to explain it in many ways, for example, based on the five elements theory. The fact that the stone axe was an everyday item during the prehistoric age was revealed after archeology with modern scholarly system was introduced in the 19th century. Such changes in awareness is shown through 149 pieces of exhibits, including various stone axes from the prehistoric age, painting of the thunder god from the Joseon Dynasty, and ancient documents mentioning the stone axe.

38

The exhibition was organized so that visitors can understand the methods of making stone tools and changes of the tools over the Paleolithic Period and the Bronze Age, focusing on the stone axes housed at the NMK, including those from the ancient collection of the Japanese Government-General of Korea Museum and other purchased objects.

This exhibition was held in order to show changes in people’s awareness about the stone axe, an everyday necessity during the prehistoric age, and provided time to connect those people who lived in this land long ago with us today.

Upcoming Special Exhibitions

• The City in Art, Art in the City October 5 – November 23, 2016 • Egyptian Treasures December 20, 2016 – April 9, 2017

Gold Crown & Gold Pendants Silla, 5th century H. 35.0 cm Treasure No. 339

The NMK will complete the report by publishing Gyeongju Seobongchong II (Monument) after verifying the size and structure of the tombs through re-excavation. At this re-excavation, the remaining underground structure will be checked through geophysical exploration and will be compared with photographs and documents left by the Japanese GovernmentGeneral of Korea. The NMK will open the excavation site of Seobongchong Tomb to

citizens at 3 p.m. every Wednesday until October 5. It is expected that this re-excavation and the opening of the site will further increase people’s interest in Korean cultural heritage and history.

Business Agreements for Invigorating Traditional Culture Programs

The NMK develops and operates various programs through business agreements with leading public organizations so that visitors can have a better understanding of Korean history and culture in a more intriguing way. First, the museum signed a business agreement with the Korea Creative Content Agency on May 26 to expand the base for creative activities using traditional culture. Through this agreement, the NMK and the Agency will jointly plan and operate programs, such as workshops to give an opportunity to explore materials for creation to the established artists. Also, the two organizations agreed to maintain continuous cooperative relationship in utilizing human

39

resources and facilities and to actively share necessary materials and information.

In addition, the NMK signed an MOU with the Seoul Metropolitan Office of Education for the stabilization and spread of the free semester system, which was launched this year, and opens classes as a “school outside school.” This agreement provided an opportunity for the museum and the Office of Education to recognize the importance of Seoul-style free semester system that runs all year round. It is expected that this agreement will reinforce the museum’s cooperative network with middle schools in Seoul and further activate the museum’s programs for the free semester system.

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

NATIONAL MUSEUM of KOREA

Q UARTERLY MAGAZINE

VOL.36 SUMMER 2016

Special Exhibition Pensive Bodhisattvas: National Treasures of Korea and Japan Overseas Exhibition Earth, Fire, Soul—Masterpieces of Korean Ceramics

DISCOVERIES FROM THE SINAN SHIPWRECK june 26 – september 4, 2016 special exhibition gallery The National Museum of Korea is holding a special exhibition to celebrate the 40th anniversary of the excavation of the Sinan shipwreck. The excavation of the Sinan shipwreck off the waters of Sinan, Jeollanam-do Province 40 years ago surprised not only Koreans but the whole world. The enormous quantity of cultural heritages excavated at the time became critical materials to understand East Asian culture in the first half of the 14th century. Unfortunately, the general public’s memory of the Sinan shipwreck has gradually faded with time. In this regard, the NMK is holding a special exhibition titled, Discoveries from the Sinan Shipwreck, in order to promote the importance of cultural heritage from the Sinan shipwreck.

This exhibition aims to show vivid records of the excavation of cultural heritage from the Sinan shipwreck and other kinds of salvaged trading goods, while also presenting how these goods were closely related to people’s lives and culture in East Asia at the time.

On top of the excavated objects from the Sinan shipwreck, the museum will introduce related cultural heritage from China and Japan. After the show in Seoul, this exhibition will continue at the Gwangju National Museum from November 22, 2016 to February 19, 2017 as a traveling exhibition.

ISSN: 2005-1123

VOL .36 SUMMER 2016

celebrating the 40th anniversary of the excavation

Special Feature Red, the Color of Power Curator’s Talk The Color Red in Buddhist Paintings