Koreana Summer 1998 (English)

Vol. 12 , No. 2 Summer 1998

The smart choice for business travellers

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. BEAUTY OF K08EA

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Ch'aesang

Three-piece ch'aejuk sangja set

In the past, there would be one or two boxes made of tightly woven bamboo in every room in a Korean house. Voluminous items such as clothing were stored in the larger boxes, and valuables and household items such as needles and thread in the smaller ones. Sometimes they were even used as lunch boxes; the mere sight of them was enough to make one's mouth water.

Although smaller and simpler to make than traditional wooden furniture, such boxes are functional enough to use in place of large furniture. They traditionally come in sets of three or five, with the smaller ones fitting inside the larger ones, and were thus known as triple or quintuple boxes depending on the number of boxes in the set.

A popular bamboo box is the ch'aejuk sangja, or colored bamboo box, called ch'aesang for short. It is so named because of the diverse patterns created by weaving together colored strips of bamboo. In ancient

times, ch'aesang were treasured by the royal court and noble women, who used them as bedroom furnishings.

Later, an increasing number' of people began to use ch'aesang, even after wooden furniture became widely used.

The quality of a ch'aesang depends on how uniformly the bamboo strips are cut and prepared. Once the strips are cut, they are soaked in water for about a day and then trimmed to resemble strips of paper. They are then dyed red with safflower, reddish yellow with gardenia seeds, blue with indigo and black with buckthorn.

When the bamboo strips are finally ready, they are woven horizontally and vertically to create boxes of various shapes and sizes. Patterns symbolizing good fortune are usually created during the weaving process. The inside of the box is finished off with a paper lining, with the outer edges and corners being covered with silk for durability and resistance to wear and tear. +

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Cover: As we are now facing

KOREAN ART 8c CULTURE

c

the global age, the Tadohae, or Sea of Many Islands, off the

0

southwest corner of the Korean peninsula, is no longer the

N

end of the continent but the beginning of the ocean and

T

Korea's Archipelago: The Last Blue Dream

by Moon Sun-tae

E N

18 Sea

islands of the Tadohae, which are Korea's gateway to the 21st

4 12 Tadohae: Sea of Many Islands

the future of Korea. This issue of KOREANA focuses on the

Tadohae Korea's Sea of Many Islands

by Kim Chung-ho

by Chong]i-yong

century.

T

20 P'ung-Dje: Tadohae Rites for a Bumper Catch

by Ha Hyo-kil

s

24 The Tadohae Islands and Their Residents

by Han Seung-won

32

Ceramics from Tadohae Shipwrecks

by Yun Yof!g-i

38 ©The Korea Foundation 1998 All rights reserved No part of this publication may he reproduced in any form without the prior permission qf The Korea Foundation.

The opinions expressed by the authors do not necessarily represent those of the editors of KOREAN A or The Korea FoL!ndation.

KOREANA, reg istered as a quarterly magazine with the Ministry of Culture and Tourism (Registration No. Ba1033, dated Aug. 8, 1987), is also published in French, Spanish, japanese and Chinese.

ON THE ROAD

Hidden Treasures of Tadohae: Udo and Kagooo

by Choe Soeng-min

45 FOCUS

Auspicious Dreams: Decorative Paintings of Korea

by Kim Byong-jong

50 A KOREAN NATIONAL TREASURE

The Rock Carvings of Pan-gudae

by Lee Won-bok

52 KOREAN MYTHOLOGY

The Land of the Dead: A Realm of Contradictions

by Kim Yol-kyu

Korea Foundation

54 NATURE OF KOREA

Korean Caves

by Hong Sy-h wan

59 INTERVIEW

Photographer Limb Eung-sik

by Kim Young-uk

64 TRADITIONAL ARTISAN

A Lifetime with the Song of the Loom: Kim Cham-sun

by Lee Hyoung-kwon

70 DISCOVERING KOREA

Sapsaree: Guardians of the East Sea

by Ha ji-hong

74

KOREAN A Published quarterly by The Korea Foundation 526 Namdaemunno 5-ga, Chung-gu, Seoul 100-095, Korea PUBLISHER

Lee j oung-binn EDITORIAL DIRECTOR

Chung Jong-moon EDITOR-IN-CHIEF

Kim Su-doc ART DIRECTOR

Park Seung-u ASSOCIATE EDITOR

Kim Young-uk EDITORIAL BOARD

Han Myung-hee, Kim Hyung-kook, Kim Kwang-on, Kim Moon-hwan, Lee Chong-suk, Lee Ku-yeol, Shim Jae-ryong

MARKETS OF KOREA

Tamyang Bamboo Ware Market

by Chung Seung-mo

78 ARTISTS OF KOREA

Stage Director Yun Ho-jin

by Koo Hee-sue

82 CURRENTS

Namsan Hanok Village: A Unique Cultural Space in Central Seoul

by Chang Se-jeong

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1998 Korean Photographic Image Exhibition

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92 Events & Exhibits

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Korea's Archipelago The

Blue

Moon Sun-tae Novelist Professor of Korean Literature, Kwangju University

sea of islands, pearls in the broad expanse of sea. Sandy beaches lining the shore, pine forests, boats a rid) ishermen.

Islands with their own unique culture, indigenous trees, grasses, butte rflies, birds and fi sh. This is the Korea n archipelago. Korea ns ca ll it their last blue drea m, th eir national pearl, because it offers a dream of the future.

Korea is surrounded by water on three sid es. Some 3,153 islaqd s a re

A

strew n along an indented coastline of 15,042 kilometers; they are particularly plentiful along th e south west coast. .¡ The term "Korean archipelago" refers to a long swath of sea w here islands dot the landscape like stars in the sky.

There are about 2,000 islands between the islands of Hongdo and Hansando, of w hich 300 are inh abited, w ith a combined population of some 300,000.

Until 1973 there were some 480,000 islanders, but their numbers have been dwindling at a rate of 4 percent each

yea r. Education is the single biggest reason islanders depart for the mainland. More than 50 of .the inhabited islands have no school at all. In fact, all told th e isla nds h ave onl y 15 high schools. Thus, only 12.3 percent of the islanders have more than a secondary school education, quite a low figure in national term s. Medical facilities are rudimentary, as are transportation and communications services. As life on the islands becomes increasingly more difficult, more and more islanders are

being forced to relocate to cities in search of work. The larger islands have relatively adequate educational and medical facilities capable of supporting a resident population of more than 10,000. Some of the major islands such as Chin do and Wando are even connected by bridge to the mainland so that they are no longer technically islands.

The mountain ranges that form the backbone of Korea tail out into the sea to form clusters of islands. Two of

these mountain ranges, Sobaeksan and T'aebaeksan, create islands with prominent mountain peaks: The 368-meterhigh Whale Peak on Hongdo and the 644-meter-high Sanghwansan on Wando are two examples.

The archipelago enjoys relatively warm moist coastal weather. The southwest coast experiences only light precipitation, whereas the islands along the south coast are subject to Korea's heaviest rainfall, 1,400 to 1,600 millimeters annually. The low-pressure weath¡

er patterns that form over the East China Sea are responsible for much precipitation in the winter, while the typhoon season from late summer to early autumn can cause serious damage. Fishing boat accidents occur frequently during the typhoon season.

Indeed, until 1970, large and small fer¡ ries capsized in stormy conditions from time to time. The result was a considerable incidence of widows among island communities. Sometimes graves were made by stripping off a

section of pine bark for the symbolic burial of a fisherman who had died at sea and whose body could not be recovered.

Nature in the archipelago offers a wealth of treasures. Subtropical forests thrive on the warm coastal breezes that prevail throughout the year, providing a fertile environment for numerous rare species of plants, insects and birds.

Natural monuments are too plentiful to list. The government has extended protection to the subtropical forest within the Hongdo preserve, the evergreens of Pogildo, the magnolia groves of Chiodo, the milsach'o groves of Ch'ilbaldo, and the black pigeons of Kuguldo. Unique plant species flourish on Hongdo, while Huksando features several rare vari-

eties of orchids and sea birds. Indeed, the entire archipelago is home to a diversity of exotic flora and fauna.

The average depth of the continental shelf along the archipelago is 50 meters. Mild ocean currents all through the year ensure an abundance of fish and marine resources. Various kinds of seaweed and laver thrive in the area.

Huksando and Hongdo are noted for sea slugs, abalone, and skate; Uido, blue crab; Haenam Bay, octopus; and Karnak Bay in Yoch 'on County, oysters, abalone, and various shellfish.

Huksando, Komundo and Narodo were once well known for yellow corvina. At night, amid brightly shining lights, with women vendors selling liquor and crowds of fishermen milling

Komundo, a gem of an island at the southern end of the Tadohae Sea

about, the harbor towns bustled like mainland cities. As the fishing industry modernized, Huksando, Komundo and Narodo were designated as special areas. Facilities were developed not only for processing marine products but also for boat building, repair and maintenance. As long as laver was exported in large quantities to Japan, the islands involved in laver production enjoyed a comfortable standard of living. However, in the 1990s the price of laver declined, while fish catches dwindled. Needless to say, the quality of life for the islanders deteriorated considerably. After 1970, advancement in the technical aspects of fish raising contributed to greatly increased production levels. However, household income has

not grown accordingly.

Until the 1980s, large quantities of skate were caught in the Huksando area. Skate fishermen enjoyed the good life then. There are still rows of skate stalls in Mokp'o market, but with ever fewer skate being caught in the Huksando waters, Chilean skate is now being imported with increasing frequency. The people of Chollado very much enjoy skate; in particular, raw skate is a favorite for festive occasions.

There is still an amount of skate being caught off Huksando, but a large fish is so expensive, as much as 600,000 won, that most people cannot even dream of such an extravagance.

About half the people in the archipelago rely on fishing or harvesting

marine products for their livelihood.

However, most boats and fishing equipment are so decrepit that fishermen cannot venture far out to sea; the majority of them confine themselves to waters along the coasts of their villages.

There are about 20,000 fishing boats in the area, most being lighter than 2 tons.

They catch eel, anchovy, shrimp and flounder.

In the old days when boats were scarce, it was very difficult to get around the archipelago. A typhoon in the Huksando waters meant impassable conditions for several days.

Nowadays more than 60 transport lines operate out of Mokp'o, Yosu and other ports so that getting around . has become much easier. All major ports

are connected with the islands-Mokp'o, Yosu, Narodo, Komundo, Wando and Chindo. In particular, Wando, Nokdong and Yaeri harbors constantly bustle with fishing boats and other sea vessels.

Many islands are outside the 50-kilometer county administrative system.

Smaller islands with sparse communities still encounter considerable difficulty. In particular, ferry service is infrequent. The well-known tourist islands, however, experience no major communications or transportation problems.

There are five departures a day to Pogildo from Kalturi, which is at the very tip of Haenam, while five daily services reach Wando. Until the 1960s, one risked life and limb to get to Huksando, but one can get there now

from Mokp'o in two hours in boats with a capacity of 300 passengers.

The archipelago's greatest attraction is its natural beauty and the distinct cultural life of its residents. The natives of the archipelago by nature lived precariously. Throughout history, many have been lost at sea in violent storms. Also, Japanese pirates and invaders from neighboring lands posed a constant threat. At times the area served as a naval battlefield. It is a repository of remains from Mongol and Japanese invasions. Both the area's natural environment and historical background contributed to steeling the people's natural vitality. Their hearts are like nature itself: expansive, clear and blue as the sea.

In 1981, the archipelago was designated Tadohae Maritime National Park.

Together with Hallyo Maritime National Park, which stretches from Yosu in Chollanam-do province to Hansando in Kyongsangnam-do province, and which was designated a national park in 1968, it forms a vast maritime preserve. These two parks, stretching from Hongdo to Hansando, include some 2,000 islands, each with its own unique mystery and charm. The hand of God is evident everywhere.

Each island has its own beauty; all are worth seeing. Soaring cliffs with exotic rock formations rise majestically above churning waves, which combine with green pine forests, white sandy beaches and scores of rare plant species to create a scene like a painted canvas. They are distinctively islands, but they have features normally associated with the mainland such as valleys, lakes, caves and waterfalls.

Hongdo is among the most popular tourist islands in Korea. Said to be the most beautiful destination on the southern seaboard, Hongdo enchants all visitors with the spell of its extraordinary splendor. The island is small, only 6.87 kilometers across. It is shaped like a silkworm, surrounded by strange reddish-brown quartz cliffs, which have been carved over time by the forces of

erosion. The oxidized quartz turns a dark red-black color, and when the setting sun shines on the rocks, the whole island appears to be engulfed by a raging fire. The red colors of the island and the rich cobalt of the sea in the evening light give the island an air of mystery. Hongdo is sometimes called Red Island. Everything on the island from its rocks to its grasses is so precious that all of Hongdo has been designated a natural monument. Dolphin Rock , Rainbow Rock, Pillar Rock, Swallow Island, Knife Rock and Screen Rock are just some of the coastal features that make this island a veritable sculpted garden. The Hongdo beach waters are so clean that one hesitates before going in, for fear of contaminating them with pollutants from the mundane world.

The best time to visit Huksando is when the camellias and orchids are in bloom. In early spring, when the red lips of the camellias burst into flower, the mysterious fragrance of the orchids enwraps the islanders, furtively intoxicating everyone. Through the four seasons, the 11 inhabited and 89 uninhabited islands that comprise Huksan all have their own distinct charms. If Hongdo boasts a lovely feminine elegance, Huksando exudes a rough masculine character. Chilli and Yaeri harbor's are the on! y safe havens on Huksando, and in typhoons more than 2,000 boats from China, Japan and Taiwan will seek refuge there, generating all the bustle of an international port. Huksando lies on the way from Mokp'o to Hongdo and is certainly worth a visit. Pigumdo is another gem of an island, also on the way from Mokp'o to Huksando. It gets its name from the fact that the island is shaped like a bird in flight. With white sandy beaches and green pine forests , the island has lovely features.

Huksando has its historical connections as well. It was here that Ch'oe Ikhyon was sent into exile. He had been arrested for organizing a "righteous army" subsequent to the conclusion of

the Protectorate Treaty in 1905, which ceded Korea's sovereignty to Japan. On Palm Rock he carved the following lines: "Our land has existed since time immemorial. It is an independent land."

ChOng Yak-yang's brother Yak-chOn also spent time in exile on Huksando.

He studied fish varieties and their habitat, which were recorded in his Chasan

Obo (Register of Huksan Fish).

The area around Chindo boasts 42 inhabited and 189 uninhabited islands.

In 1981, Chindo was connected to the mainland by a bridge 295 meters long.

Chindo is noted for its unique breed of dogs, as well as for the annual parting of the sea phenomenon reminiscent of the miracle of Moses, the song Chindo Arirang, and the shaman ritual Chindo sshitkim kut. Chindo is also associated with the distinguished literati painter Ho So-ch'i. The other less well-known islands such as Kwanmaedo, Tolmokdo and Paekyado are all places well worth visiting. Kim Shin-yun, a scholar-bureaucrat during the reign of King Myongjong (r. 1170-1197) of the Koryo Dynasty, sang of the beauty of Chindo:

My heart is irresolute: a small craft bobbing in the water plying back and forth.

Rain begins to fall; clouds screen tht; island.

The wind picks up; waves leap to the sky.

I am ashamed of my failure to become an Immortal who lives like the mist.

I have become an Immortal who curses Kyonu's star.

What land, what village lies yonder?

Blue smoke flowers in the offing.

The islands that comprise Wando County are highlighted by verdant evergreen forests, broad expanses of

white sand, and glossy blue-black pebbles. Wan do is steeped in history as well. In A.D. 828, the third year of the reign of the Shilla King Hungdok, Chang Po-go built fortifications there to protect the people from pirates and to facilitate the operation of a trading outpost. The beach at nearby ChOngdori wears a carpet of glossy multicolored stones. Three miles of white sand beach, excellent for swimming, stretch out on the other side of the docks from Wando town.

Yun Son-do often visited Pogildo over a period of 20 years, and it is there where he composed "The Fisherman's Calendar," which exalts the beauty of the scenery and the mot (refinement) of the idealized life of the fisherman.

Pogildo boasts the finest landscape scenery on the southern seaboard. Near Puyongdong, there are exquisite woods, rock formations and valleys.

Those who breathe in the air of the evergreen forest in Yaesongri will find themselves cleansed by the mystery of nature. Yun Son-do built lovely pavilions here, composing poems as he walked through the landscape savoring the refined pleasures of life. The elegance remains there to this day.

The Confucian scholar Song Shi-yol, on his way to exile in Cheju, sat out a storm in Pogildo and carved the following Chinese poem on a rock in Paektori:

From top: The Palm Rock on.

Hiiksando, with an inscription written and carved by Ch'oe Ikhyon; the inscription, which reads: "'ur land has existed since time immemorial. It is an independent land"; scenery on Hiiksando, where Yun SOn-do enjoyed a leisurely life, sometimes composing poetry at Seyon}Ong Pavmon

Eighty-three years old I'm crossing blue waters on this long journey because of a curse tossed at barbarians: eyes, ears, and nose are blocked.

No hope of going north, suspicious of the wind south, I leave my home and take to the sea, sad, lonely.

If you wind southward along the coast from Wando, you will eventually come upon Komundo. The British 9

Navy occupied the island from April 1885 to March 1887, bu~lding military facilities including barra~ks and batteries on the island and anchoring six battleships and two trading vessels in its waters. The naval commander's name was Hamilton, and thus the island is sometimes called Hamilton Island. The graves of British servicemen are there to this day.

Some 20 miles south of K6mundo lies Paekdo, known as the last mystery on the southern seaboard. On clear days, from K6mundo you can just make out Lower and Upper Paekdo.

Uninhabited, consigned to oblivion for years on end, Paekdo boasts natural landscape that is so beautiful it is often called a fantasy world. There is a legend about every one of its 99 rocky peaks. For example, Hawk Peak is a guardian that reputedly protects fishermen. It is difficult to visit the island because it is so remote that no boats ply this route.

Going from K6mundo toward Hally6sudo, one crosses the Kohung peninsula, which skirts Narodo. In 1996, Narodo was connected by bridge to the mainland. The KohUng peninsula leads to the camellia island, Odongdo, and Hyangilam. Odongdo, at the entrance of Hally6 Maritime Park, is blanketed

with camellias in March. It becomes a floral island resembling a pink parasol.

Crossing the Tolsan Bridge from Y6su and following the asphalt road to the end of the island, one will find Hyangilam, a tiny hermitage sitting precariously like a magpie's nest on a 100meter-high cliff, popular for spectacular sunrises, as its name (Face the Sun Hermitage) indicates. Equally known for its mysterious moonrises, it is also called W 6lch'ulam (Moonrise Hermitage). Notable sights in the area include Turtle Rock, Madang Rock and Moving Rock. Tourists flock here during the vacation season, when there are rows of vendors selling all kinds of marine products.

The archipelago is no longer a forgotten sea far from the mainland. Its blue waters constantly surge in our hearts. It is our last shining treasure, a rich garden of natural resources, no longer to be feared by seafaring people.

The island people have their own unique culture. The time has come for all Koreans to pay serious attention to the beauty of these islands, to strive to understand and love the culture that the islanders have established here through the ages. The archipelago is a blue dream of the future. It must be carefully preserved. +

Seagulls resting on rocks off Hongdo Island (above); intriguing rock formations at Paekdo Island (right) 10

utting out from the northeast corner of Asia, the Korean peninsula is much like a pier for seafarers . ] sailing to and from the Pacific beyond the breakwater formed by the islands of japan. To protect this pier from wind and waves, God strewed some 2,500 islands to its south in the sea that Koreans have come to call Tadohae, the Sea of Many Islands.

Because this land pier linked the continent of Asia with other regions, Korea was subjected to countless in vasipns by mainlanders from the north and islanders from the Pacific. In more recent history, the peninsula has been an arena for compet ition between major world powers.

South Korea includes 3,153 islands; 2,437 of them are clustered in the southern region, with 1,969 situated in the southwest sea off the coast of Chollanam-do province and 468 in the southeast sea off Pusan and Kyongsangnam-do province.

Traces of Early Habitation Ancient shell mounds have been found on some of the Tadohae islands. Stone Age artifacts such as stone axes, fishing net sinkers and comb-pattern pottery have been excavated on Kagodo, the Chollanam-do island closest to China. Tools and vessels of the same period have also been found on Chindo, Wando, Kohung and other islands. Some of the larger islands such as Chindo and Kojedo are strewn with countless dolmens, a burial monument dating from the Bronze Age. These relics are evidence that the islands in Tadohae were inhabited from ancient times by islanders who navigated back and forth to China and japan. The islands must have been more livable than the mainland, which was covered with dense forests filled with ferocious beasts.

Free of wild anima ls, rich in fruits and vegetables and blessed with an abundance of shellfish, seaweed and fish, these islands must have indeed been

like a paradise on earth for ancient Koreans.

The Chinese must have thought so too, for there is a legend about Xufu, a man in the time of Emperor Chin who left China in search of Sanshenshan (Three Sacred Mountain Islands), the utopia of the Taoist hermits known as the Immortals. He believed that it was located somewhere in the sea east of China. The Chinese like to say that Xufu came upon Taishando Island in Zhejiang province, where he renounced the war and killing then prevalent on 14

the mainland; he called the island "Penglai," although there is another region known as Penglai in northern Shantung. The Japanese believe that it was on one of their islands that Xufu finally settled after his search.

Imaginative Koreans have spun many yarns about Xufu wandering about through their southern islands.

Narodo Island in Kohung-gun, ChOllanam-do, is also called "Pongnaedo " because Xufu is said to have regarded it as a good place to live. The name of the county to which this

island belongs is Pongnae-m yon .

Ancient Koreans liked to call Mt. Chirisan, on the border of ChOllanamdo and Kyongsangnam-do, "Pangchangsan" after the name of one of the three Taoist mountain islands, because they believed that Xufu resided there. A stream in Kurye near Chirisan is named "S6shich6n" after Xufu, who was also known as Xushi.

On Mt. Kumsan on Namhaedo is a rock with an inscription noting that Xufu passed by there. A similar inscription has been found in

Sunrise at Changdo Island (left); excavations at the site of Ch'onghaejin Garrison on Wandos Changdo Island (above); Bronze Age dolmens excavated in the Haenam area (below)

Sogwip'o, a port on the southern coast of Cheju Island.

Home of Hermits Hauido, one of the Tadohae islands, is so named because of a fervent desire for an ideal land, the Taoist utopia.

Koreans associated the word haiii, designating a robe worn by Hexiangu, one of the eight legendary Taoist Immortals, with hermits and Taoism and thus named the island Hauido, Hermit Isl and. During the Choson Dynasty 0392-1910), yearning for a

land of paradise inspired a number of popular novels including Hong Kiltong chon (The Story of Hong Kiltong) by Ho Kyun (1569-1618), Ho Saengwon chon (The Story of Mr. Ho)

by Pak Chi-won (1737-1805) and Pyonsan kundo (Bandits of Pyonsan)

by an unknown author. All these novels end with the protagonist departing for an island paradise out at sea, abandoning the mainland where commoners were oppressed and exploited.

Many of the islanders of Tadohae have indeed descended from idealists

who migrated there during the Choson Dynasty. An example is the poet Yun Son-do (1587-1671) of Pogildo Island in Wando. Born to a distinguished family in Haenam, Yun was exiled even before he began his public service career because of a petition he submitted to the king renouncing an abuse of power by Yi I-ch 'om (1560-1623), a high-ranking official at the time. Freed from exile five years later following the coup d'etat of King Injo, he became the tutor of Crown Prince Pongnim.

Seven years later, however, he was 15

again sent into exile, this time over false accusations by his political rivals.

When the prince ascended the throne to become King Hyojong (r. 1649-1659), Yun was reinstated to public service.

But five years later, upon the death of his beloved king, he was again exiled.

Yun spent 17 of his 84 years in exile, the last term of exile ending when he was 81 years old.

Disillusioned by the political strife and power struggles of the mundane world, Yun, better known by his pen name Kosan (Lone Mountain), began to build a dream world of his own on Pogildo in 1637, immediately after the end of the Manchu invasions. He built a schoolhouse, picturesque pavilions, and lotus ponds on the sequestered island and led an idyllic life writing gems of shijo poetry, the best known of which is The Fisherman's Calendar, a cycle of poems eulogizing everyday life in a fishing village. However, Yun was not left in peace; he was sent into exile in Hamgyong-do province in the north when he was 73. Eight years passed before he was able to return to his home in Pogildo, where he died four years later.

Land of Suffering, Prey of Marauders An island is a defined land area blocked by the sea. This means that there are limited resources for selfreliance and few ways to defend against or escape from attackers. Such geographic limitations foster an isolationist mind-set and distrust of outsiders and, though they can unite under a strong sense of community, islanders are often forced to adapt to overpowering forces.

The Tadohae islands were easy prey for marauders from neighboring countries or even from the Korean mainland when the government was not strong enough to protect them.

Attacks by marauders were rampant in the closing days of the Shilla Kingdom (57 B.C.- A.D. 935) and during the Koryo Dynasty (918-1392). During the Choson Dynasty, about 30 years before 16

the 1592-1598 Japanese invasions, Japanese marauders began raiding the islands of Tadohae more frequently than ever, using some of them as hideouts and supply depots. Foreign boats navigated between the islands at will to survey the depth of the sea or even to plunder livestock during the final years of Choson when the court had very little ability to protect Korea's southern border. During the SinoJapanese War, Japan hid soldiers who ambushed Chinese vessels on various islands including Chejudo, Wando, Yaksando and Okto, without the permission of the Choson court. Prior to that, England had occupied Komundo and used it as a supply depot for two years before abandoning it due to protests from the Choson court and China.

At a time when there was no efficient way to communicate with the mainland, the islanders were more or less left on their own by the government to fend for themselves against foreign aggressors. They often had to cooperate with their aggressors to survive and even participated in plundering the mainland. To prevent such a situation, the court sometimes ordered the evacuation of islanders to the mainland, as was done in the last years of Koryo and before the 1592-1598 Japanese invasions, but the islanders were not well-suited to farming.

Home of Skilled Navigators Very little has been recorded about the history and activities of the Tadohae islanders who, in the court's view, were a mutinous breed who hid themselves from the administrative authorities of the central government.

Islanders were thus denied the opportunity to become civil servants in the capital and were assigned the lowest rank when they were mobilized to serve in the navy.

In that they had to rely on boats for fishing and transportation, islanders were naturally expert sailors from ancient times. Shipbuilding and naviga-

tiona! skills were essential to their survival. The Tadohae was and still is a treacherous sea with winds and currents that writhe and curl unpredictably around its innumerable islands. Unless the sailor is a local for whom the sea is his backyard, sailing the Tadohae is tricky, even with the highly developed navigational instruments of today. To take advantage of these geographic characteristics, Chang Po-go of Shilla mustered skilled sailors of the area and built Ch'onghaejin, a formidable garrison, on Wando in the heart of Tadohae in 828. He immortalized the garrison by conducting operations from this base that wiped out Chinese piracy and slave trading and successfully promoted a flourishing three-way trade involving Korea, China and Japan.

It was also thanks to the cooperation of the islanders that Wang Kon, the founder of the Koryo Dynasty, was able to unify the Later Three Kingdoms. An abundance of skilled navigators was one of the major reasons that years later in the 13th century, when Koryo succumbed to Mongol invaders, the elite Sambyolch'o army moved south to Chindo Island to builci their ultimate stronghold to resist the Mongols.

Historic records praise Admiral Yi Sun-si:in for his masterful strategy in engineering a resounding victory at Uldumok (Myongnyang) Strait off Chindo in 1597. Behind his glory, however, were the unsung islanders who helped him with their experience and knowledge of the sea, which they knew so intimately. The local islanders whom Admiral Yi had trained to serve as naval officers and seamen on the nearby islands of Kohado and Kokumdo also contributed to the Korean naval victory at Noryang, where Admiral Yi died in action.

Whenever the country faced a crisis, these islanders, guided by great leaders, contributed much to the defense of the nation with their navigational skills, courage and solidarity. Testifying to the

turbulent history of the area, remnants of lighthouse foundations, lookouts and mountain fortresses can still be seen on more than 20 islands including Huksando, Chindo, Chodo, Ch'ujado and Komundo.

Island of Exploitation, Land of Exile Modeled after the penal code of Tang China, ancient Korean law specified that felons and political prisoners should be exiled 3,000 li away from the royal palace. However, with the entire Korean peninsula extending no more than 3,000 li in length, no location within the country was situated more than 2,000 li away from Kaesong, the capital of Koryo, or Hanyang, today's Seoul, the capital of Chason, both of which were centrally located.

Islands separated from the mainland by the sea were the selected destina· tions of exile because at least they seemed to be more than 3,000 li away to mainlanders, many of whom had never been on the water, much less on a sailing vessel. The most remote and notorious exile destinations at the time were Samsu and Kapsan counties in Hamgyong-do province, near the northern border, and Chejudo, the southernmost island. Less dangerous criminals were sent to the Tadohae islands, especially Chindo and Kojedo, the seats of the local governments, where it was easy to keep an eye on them. According to historical records, more than 100 people were exiled to Chindo during the Chason Dynasty.

Three princes, two courtesans and numerous high-ranking officials died in exile there. The upkeep of the pris· oners including their food was the responsibility of the local government.

It is recorded in the Annals of King Y6ngjo that in 1762 the governor of Ch6lla-do sent a petition to the king requesting him to send prisoners elsewhere because the islanders were close to starvation due to having to feed so many exiled prisoners on Chindo. On the other hand, it is owing to these numerous exiles that today

From top: Inscription written by Song Shi·yol at Pogildo Island on his way to exile in Chejudo; a stone wall on Chindo built to defend against japanese marauders; prehistoric earth· en ware jars retrieved from shell mounds in the Haenam area

the island is regarded as a treasure trove of traditional art and folklore for, removed from the hectic activities of the capital, the exiles spent their unaccustomed leisure time imparting to the locals their outstanding scholarship and knowledge of the fine arts.

Another more plausible reason for Chindo's richness in time-honored traditions and folk customs is the isolation imposed by the sea that serves to protect the island against modern influences. In the past, this isolation provid· ed opportunities for exploitation and oppression by corrupt government officials because the islanders had no practical means to petition their cases to the king in the remote capital. Even when they reclaimed land from the sea on their own, the island farmers often were reduced to tenant farmers because the court and its officials laid claim to most of any newly cultivated land. Islanders were subject to more than 40 separate taxes including taxes imposed on fishing, salt production, boats and fishing nets; the government even levied surcharges for transporting the collected taxes. Islanders also had to pay tribute in the form of dried seaweed, dried fish, abalone and other special produce to the court. In addition, they had to provide tribute for the court, for the head of the county, for the ,p~ovincial governor and for the collecting official. Exploitation continued after the fall of Choson as court properties were taken over by the japanese occupiers, who confiscated half of all harvests and levied various taxes. This resulted in an organized protest by the island farmers, which led to the national independence strug· gle in the aftermath of the March 1st movement in 1919.

A dream world sought by idealists and at the same time a land of · exploitation and foreign aggression for centuries, Tadohae represents a wealth of bountiful resources, a peaceful par· adise free from pollution. Its role in the maritime era of the 21st century will be worth looking forward to. • 17

The channel flaps like a tent now that the whale has crossed.

White water bundling up;paduk stones tumbling, tumbling down.

by Chong}i-yong Translated by Kevin O'Rourke

The sea skylark soars, silver drops its flight, vigilant half the day to claw, to scavenge red flesh.

A shell, azalea hued, takes the sun in a rock crevice thick with seaweed reek, while a sea swallow on wing slide glides in a plate-glass sky.

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Sea see righ~ right down.

Sea green as bamboo leaves.

Spring.

What does it look like?

Little hills, lines of flower bud lanterns lit?

What does it look like?

Thick thickets of pine and bamboo?

What does it look like?

A crouching tiger draped in a blanket spotted yellow and black?

And you, my friend, take some such scene, a white smoke like sea, and voyage far, far away. + Chong}i-yong (1903-?)

Chong was born in Okch'6n, North Ch'ungch'6ng Province; he attended what is now Huimun High School, studied Engiish literature in Kyoto, taught at Ewha Womans University after liberation, and edited the Ky6nghyang Shinmun. ln the forefront of modernist poetry from the 1930s on, Chong helped shape Korea's modern tradition. He was taken north at the outbreak of the Korean War and is presumed to have died there.

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P'ung-6je Tadohae Rites Catch HaHyo-kil Consultant, Office of Cultural Properties

he sea off the intricately indented southern coast of the Korean peninsula is so abundant with islands that it is aptly called Tadohae, Sea of Many Islands. Life here is closely bound with the sea, the islanders having made their livelihood there since the Stone Age. The islanders have known both bumper seasons and times when fishing was lean; they have witnessed storms and deaths at sea. Going to sea is a life-threatening risk for fishermen. A safe return and a bumper catch are the two things they and their families wish for the most, wishes that are beyond the scope of human control.

Of course, life in fishing villages has changed greatly over the years, as have fishing techniques. Fishing is no longer the islanders' only means of livelihood but is one of many choices as fishing has developed into a large-scale industry. Unchanged, however, is the fact that the life of the islanders is linked to the sea, and that the waters are not always peaceful but pulsing with great power that can wreak havoc on their lives at any time. This has led fishing communities since ancient times to resort to the gods for protection and to develop the tradition of honoring their tutelary deities with p'ung-6je, a rite to supplicate for safety at sea and a

T

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bumper catch.

There are various forms of p'ung-6je.

There are private rites called paet kosa or pae kut, which are organized by an individual boat owner for the safety of his boat and crew, and community rites such as tangje and py6lshin kut, which the entire village takes part in.

Held on festive days such as New Year's and Ch'us6k as well as before the first fishing trip of the year, pae kut takes place on a boat; the boat owner and his crew supplicate Paes6nang for the safety of the boat and crew and for good fishing. Paes6nang, a name combining pae (boat) and s6nang (a shaman name for tutelary deity), is the god who resides on the boat. Fishermen venerate the god, asking it to protect them and their boat and for a good catch.

The first paet kosa of the year is held on New Year's Day and is considered to be as important as the ch 'a rye (a Confucian ritual to pay homage to ancestors performed in the morning on certain traditional holidays). Preparations for the rite are made the day before, that is, on the last day of the previous year, and include decorating the boat with colorful banners hung on poles. The banners, made of pieces of cloth of three or five different colors patched together horizontally, resemble the striped sleeves of the traditional

Korean children's costume. A black strip of cloth runs vertically across the edge of the banner and is used for attaching it to a pole. The colors of the banners symbolize the universe and the four cardinal points and their center. The banners are believed to have originated with the desire to make colorful offerings to the gods. The poles to which they are attached function as spirit poles.

The rite is simple and is solemnly undertaken with food offerings, including rice cake, fruit and cooked vegetables spread on the deck of the boat and in the cabin. The boat owner offers sacrificial wine and makes deep bows in front of the offerings. He and his crew then partake of the food and wine on the boat. During this time, women are not allowed aboard the boat. Women can bring the food as near as the dock, but the food is carried aboard and spread out for the rite by men. It is common in all such rituals to ban women from boarding the boat on which the ritual is being held.

Whereas the paet kosa is a p'ung-6je held for the personal interest of the boat owner alone, tangje and py6lshin kut are community p'ung-6je held on behalf of all the villagers and are organized with the participation of the whole village. A community p'ung-6je is

I '

A shaman supplicates for a bumper catch in front of an altar laden with food offerings (left); a shaman bows before the altar to report the start of

the rite to the gods (above).

There are two kinds of shamans in Korea: charismatic ones who are selected or possessed by a spirit and hereditary ones who are born into a shaman family and trained in the family business. The shamans who perform the py6lshin kut of the southern coast are hereditary shamans, with women leading the kut rituals and the men providing the musical accompaniment. led by the influential members of the village, and its rituals reflect community norms.

Although the tangje and pyolshin kut are both community rites, the pyolshin kut tends to be performed more in supplication for a bumper catch than the tangje. Whereas paet kosa and tangje are held in almost all island villages off the southern coast, the pyolshin kut is held only in a few including Kojedo, Kalto, Hansando and T'ong-yong, and not every year but 21

every two or more years depending on the village. The pyolshin kut is also different from the tangje and other rites in that a professional shaman leads it instead of an officiant chosen from among the villagers. Today, only a few shamans remain active along the southern coast, their teacher and the last great shaman for p'ung-oje having died some time ago.

There are two kinds of shamans in Korea: charismatic ones who are selected or possessed by a spirit and hereditary ones who are born into a shaman family and trained in the family business. The shamans who perform the pyolshin kut of the southern coast are hereditary shamans, with women leading the kut rituals and the men providing the musical accompaniment. A female shaman, or mudang, is initiated into the trade after long, hard training in recitation, shaman songs and dances, table settings for food offerings, and all the other things one needs to know for a pyolshin kut. It is common practice for a shaman to marry into another shaman family.

Except for slight variations in the order of the program, the pyolshin kut held today in the villages of Kojedo and other nearby islands are almost the same. This is because they are conducted by the same shamans, there being a scarcity of shamans capable of performing the ritual.

The pyolshin kut is held early in the first lunar month, usually at the community center. Whereas in T'ong-yong a special hall is built by the sea and innumerable food offerings are arranged on a 7-meter-long. table decorated with paper flowers, in the villages of Kojedo the pyolshin kut involves simple food offerings and no flowery decorations.

The shaman and her troupe of musicians arrive at the village in the afternoon while the villagers are busy preparing for the rites. The first step of the pyolshin kut is for the shamans and musicians to report their arrival to the villagers and their guardian deities by parading from house to house through 22

the village playing instruments such as the taegum, a large bamboo flute, and beating the ching, a bronze gong. After a short break, the officiating shaman gets dressed in her colorful shaman attire and ornate hairpiece and heads to the village tutelary tree to hold the tangsan kut, a rite to Tangshin, the village guardian deity, in supplication for a peaceful year. She also addresses the spirits of drowned villagers, who are assumed to return to the village to attend the rites.

After the tangsan kut, the shaman and her team go to the house of the villager who is responsible for the preparation of the food and other sacrificial items to purify his house and family.

This step is sometimes omitted in certain villages where it is not considered a regular part of the program.

After the purification rite at the officiant's house, the kut proper begins in the predesignated building, with rituals taking place in the following order:

Puj6ng kut: to cleanse the ritual site and the altar in order to speed the visitation of various spirits.

Kamang kut: to welcome ancestral spirits.

Ches6k kut: to honor Chesok, who is believed to bring good fortune.

56nang kut: to invite spirits of great mountains from across the country to contribute to the prosperity of the community and each of its families.

Kiln kut: to appease gods and fulfill other functions. Literally meaning "big kut," this is the biggest and most important part of the p'ung-6je because it encompasses most of the shaman songs, music and dance repertoire. Because of its importance, it is led by the most experienced of the shamans. It includes a kut to appease the much-feared smallpox god, a heartrending lamentation on the evanescence of human life, and a kut for ten gods of the netherworld with a chant describing how one should live in order to enter a blessed sphere after death.

Kunung kut: to eulogize the power-

ful warrior gods to enlist their help for a bounteous season. The spirits of deceased pyolshin kut shamans are also invoked.

It is well past midnight by the time the indoor programs are concluded with the kunung kut. The villagers return home and the shaman troupe rests until sunrise, when it heads off for the Grandfather god on the hill to hold a kut to greet the rising sun. This kut is for the welfare of the village and its residents. It is followed by a seaside kut to appease the Dragon King and the lonely spirits of those who died at sea and to ask them to keep the villagers safe when they go to sea. The ¡ shaman troupe then returns to the village. On the way, they stop by the village's changsung, or spirit posts; wells; and other places where the village's tutelary deities reside and hold kolmaegi kut to placate them. Kolmaegi is a variant of koul magi, meaning "one who prevents evil spirits from coming to the village"; thus this refers to a village tutelary deity.

The kolmaegi kut marks the end of the pyolshin kut. The villagers sometimes gather at this time to partake of the food offerings and settle the expenses involved.

Whereas the pyolshin kut of the south coast lacks the witty repartee between the officiating shaman and the musicians characteristic of the pyolshin kut of the east coast and the taedong kut of the west coast, it features talented musicians, especially the changgo (hourglass drum) player who accompanies the songs of the shaman. Another characteristic of the south coast rite is that the clear, calming music of the taegum invites and bids farewell to the deities before and after the ceremonies.

It is quite a contrast to the clamorous music of the soenap (oboe), kkwaenggari (gongs) and chegum (cymbals) of the east coast pyolshin kut, which is intended to excite the participants.

The pyolshin kut of the south coast

does not have the showy, entertaining elements of the east coast pyolshin kut or west coast taedong kut. Routines such as "Thief Catching," "Tiger Mask Game" and "Measure for Measure" featured in the east coast pyolshin kut are laden with satirical humor and robust sexual allusion, which send spectators into fits of laughter. On the other hand, the taedong kut of the west coast fascinates spectators with the mysterious atmosphere generated by the shamans; this rite is held as an excellent example of composite art, with dramatic entertainment and seafaring songs interspersed between the various rituals.

Although it may fall short in terms of dramatic and entertaining elements, the south coast pyolshin kut is musically outstanding because of its clear, soaring melodies, supported by the changgo player's singing, and the solo performances on such traditional instruments as the taegum, soenap and p'iri. The ritual enthralls participants with a religious credibility. This is quite understandable when one considers the treacherousness of the waters of the Tadohae.

Whether a private rite such as the paet kosa or a community rite such as the pyolshin kut, a p'ung-Oje helps the members of fishing communities pursue their trade with the peace of mind that comes from knowing that the gods will watch over them at sea and ensure that they have a bumper catch. It also provides an occasion to promote the solidarity of the community. P'ung-Oje is a festival in which villagers can rid themselves of the anxiety and strain of daily life by enjoying food and wine, by singing and dancing.

Community rites in the islands have always functioned as a lubricant for the drudgery of the daily life of the inhabitants. For people whose way of life is based on the sea, the sea can be a source of suffering and sorrow but not of despair, for the islanders will rise again with the expectation of a bumper catch, which they trust they will reap as surely as the sun rises after a dark night. •

Symbolic banners attached to a pole, which functions as a spirit pole (above); villagers gathered to participate in p'ung-Qje, a co~pmunity rite for a bumper catch involving the entire village (below)

23

o live in the Tadohae region, one must understand the - unique climate of the southern Korean peninsula; the mua flats, critical to the region's ecology; and the waterways and tidal patterns. One should be sensitive to the weather, the wind and the tidal conditions before venturing out to the unpredictable sea; coordinate the gathering of clams and seaweed in the mud flats with the tides;

Kangjin,Chollanam-doprovince

The sea is not dead, but alive. It is a mysterious organism whose actions cannot be easily understood At one moment it can be calm, and the next moment 50 violen( that it overturns boats.

and precisely follow the navigational channels when going out to set fishing nets or other equipment.

In order to live in harmony with the sea on an island that seems afloat, one shou ld not only be conversant with the ways of the sea but also compliant with its will. The ebb and flow of the sea around the Tadohae Islands seems to course through the residents. The wind, the waves and the salt water seem an essential part

of them. By examining the proverbs and expressions they derive from their daily life experiences, one can get an understanding of the sea, the islands, the strong constitution of the islanders and their evocative sensibilities.

"It's the night of the setting of the eighth moon and the day of the twenty-third moon's rising." Seafarers associate the size of the moon and the time it rises with the tide. This expression relates that it is midnight when the moon sets on the eighth lunar day and when it rises on the twenty-third day.

"When seagulls fly low, return from your fishing expedition." The seagull is a smart bird that knows in advance when a storm is approaching.

"Guessing the time the flounder will bite, he ends up sitting on the mud flat."

This proverb is used to describe dull people who think that they are doing something smart when they are actually doing something foolish.

"Trying to catch fish with a net over one's head." This refers to a person rushing into a situation without a clue of what is involved.

"On the Fifth Water, you can see the testicles of the Undersea God." The Fifth Water refers to the 14th and 29th days of the lunar month. On these days, the tide goes out very far, revealing tidelands and rocks that are normally submerged.

"Storms in the ninth and tenth months bring three large bags of wind for each drop of rain" and "Storms in the ninth and tenth months frighten even a tiger." One should be careful going out to sea in the ninth and tenth lunar months because of sudden gusts of wind habitual to these months that are strong enough to overturn boats.

"You become a real seaman only after inhaling three big bags of dust."

As fishermen breathe in great quantities of dust when they work on their nets and rigging, this indicates that it takes much hard work to become accustomed to handling a boat and bringing in the catch.

"Give your servants and your 26

Clockwise from left: Kalturi, a village at the southwest tip of the Korean peninsula; Yeri, both a harbor and a fishing port; the port at Hongdo, one of Korea's most beautiful islands

In order to live in harmony with the sea on an island that seems afloat, one should not only be conversant with the ways of the sea but also compliant with its will. The ebb and flow of the sea around the Tadohae Islands seems to course through the residents. The wind, the waves and the salt water seem an essential part of them.

27

/

28

The sea is the lifeblood of the residents of Tadohae, coursing through their veins like the rushing waves.

anchors plentiful food." just as servants work well only when they are well fed, an anchor works well only when given sufficient line. Thus, this proverb admonishes the boatman to have a long line on his anchor so that when he drops anchor, the boat will be held in place even in a violent wind.

"A clumsy fisherman blam.es the Underwater God." This is the same as a novice shaman blaming his hourglass drum for his own flaws.

"You can't trust a smooth-faced woman or a smooth sea." Both are whimsical and changeable.

"In the flood tides of the fifth month, a duck's legs are broken." In the fifth lunar month, the currents of the flood tides are particularly strong. There are two flood tides each month, around the 1st and the 15th, and two neap tides, around the 8th and the 23rd; they occur alternately according to the moon 's gravitational pull.

"You do mullet and perch at high tide, but crabs and clams at ebb tide."

This is the same as the saying "In the earl y evening, the tiger catches fat female dogs, but in the morning it eats rats and frogs." It is a satirical remark about the influence the environment has on people's attitudes.

"On the other side of one and a half chi lies the Other World." As the thickness of a boat bottom is about one and a half chi (approximately five centimeters), this proverb admonishes fiQhermen to be always careful lest they drown. Because the thin boat bottom is all that separates them from death, fish29

ermen acquire a sense of life's fragility earlier than do farmers.

"When the evening sky glows, you send your only son to sea." In other words, when there is an evening glow, the weather will invariably be favorable.

"When azaleas bloom, the herring boat sails." This saying is an easy way to remember when the herring season is.

"When gobies jump, crabs follow suit." Some say, "When mullets jump, so do gobies." In other words, one follows others blindly.

In the olden days, the Ch'ongsando islanders had an unusual way of selecting men to marry their daughters.

Potential bridegrooms were asked to row a wooden boat using an oar whose handle was tied to the boat with two lengths of string that would become taut during the rowing. When the strings became taut, an egg was placed between them, and the suitor had to continue to row without letting the egg fall, which required keeping the strings taut. As one would expect, it was not easy to keep the strings taut, even without the complication of the egg. Moreover, the sea off Ch'ongsando is very rough, causing the boat to rock 30

back and forth, to rise and dip, making even just holding onto the oar a difficult task Therefore, a suitor had to be a skilled boat handler to win his bride. In other words, he would have had to have inhaled "three big bags of dust."

The sea is not dead, but very much alive. It is a mysterious organism whose actions cannot be easily understood. At one moment it can be calm, and the next moment so violent that it overturns boats. How many boats, nets and fishermen have been lost because of the malicious temperament of the sea?

The sea is to be feared. Fishermen hope to establish a soothing, amicable relationship with it. In other words, they wish to reconcile themselves with the sea. To do so, they make offerings through the rite called the "Festival for the Sea God," which some refer to as the "Tide Flat Festival" or the "Festival for the Underwater God." This rite is an offer of reconciliation made by humble human beings, not an agreement between equals. Full of flattery and adulation, the rite is a confidence-building gesture. Seafarers believe that by making such an offer of reconciliation, they will earn the sea's assistance with their work

Although humans are as feeble as reeds, as powerless as a minuscule drop of water, they know how to put up resistance. The islanders of this region try to reach agreement with the sea when they find themselves caught in the middle of a roaring storm. But if the sea does not accept their plea, they resist. They row their boats, cursing and screaming at the sea, daring it to show them what it can do. They sometimes turn their engines and proceed against waves that may be as tall as buildings.

Lik.e sweetbrier, the women of Tadohae are gorgeous and desirable, persevering and hard working. Groves of sweetbrier grow on the beaches of these islands. Their stalks, leaves and petals are covered with tiny sharp thorns, like dense white bristle or the transparent bones of a porcupine fish.

These thorns make picking sweetbrier flowers difficult because their prick hurts more than being pricked by a needle. If you open a sweetbrier fruit, you will find black seeds surrounded by fuzz like that of a pine caterpillar. If this fuzz, which is thicker and longer than peach fuzz, gets on your skin, you will hurt as if stung by a bee.

Fishermen lop off the sweetbrier

branches with a hoe or a spade so they can lean their nets and poles against the stalks. However, the plants do not dry up and die. They keep living, enduring the lashing of fierce winter winds and the relentless pounding of mountainous waves during summer storms.

Their petals and buds are large and gorgeous like the Bengal rose. Some are pale pink and some deep red; all are glorious. Each sweetbrier bush produces dozens of blossoms. When they drop, fruits as big as small apples grow on the branches.

"Sweetbriers on the fine, silky, vast sand beach! Don't be sad if your flowers fall." This line from the "Song of Bier" expresses the perseverance of the Taedohae islanders. It symbolizes permanent prosperity and reveals the patient hope to live after overcoming despair.

The islands of Tadohae are like the stars in the sky . Some islands are shaped like a lotus leaf, a lotus bud, a blooming lotus flower, a seal with its head turned, a lion, a tiger, a fox and a rabbit. Others are in the shape of a mud snail, a cow, a calf, a crane, a battleship, a wooden boat, a mermaid; there are uninhabited islands that look like cit-

rons and conch shells, and hidden rocks that look like ink drops on a brush painting.

The beaches on the shoreline of Chollanam-do and the coasts around the islands and near the ports are vast gray mud flats. On these mud flats, mounded like fleshy protrusions, clams can be found everywhere. There are octopuses, gobies, crabs and worms galore. Countless microbes inhabit these flats, inviting fish to come feed.

Tungnyang Bay is surrounded by ChanghUng county, Posong county, the Kohung county peninsula, Wando county and Kangjin county. The mud of this bay is more precious than gold.

It is soft and deep, and home to innumerable microscopic organisms, which in turn give rise to abundant sea squirts, quahogs, clams and mussels. Small fish flock to the area in search of microscopic organisms and clams, and bigger fish from the deep sea approach to feed on small fish and to lay eggs.

The sea ebbs and flows around the islands, which are as numerous as stars in the sky. It flows through channels in which fishermen lay their nets to catch fish.

I have a friend, Yun Kil-ha, who

lives in my hometown on Tokdo Island. His father was a well-known seaman. It goes without saying that Kilha is also a fisherman. After his father had retired from fishing as an old man, he would explain in detail about the islands and the channels between them to young people. "When you cast a net . into such and such a sea, you should wait for a certain tide and spread the net out toward a certain island." "An ebb retreats around a certain island, and if you let your boat go along with it, you will be blocked by hidden rocks."

He carried a current chart in his head and on it were recorded the types of fish and their movements. Along with it he carried a weather map of the different fishing areas. This was because fishermen maneuver their boats in accordance with the movement of fish. They must think like fish.

Kil-ha's father never fumbled in the darkness when he baited his fishhook Yun Kil-ha cultivates laver and edible seaweed in the sea his father left behind; he also catches fan shells. His son will become a fisherman in Tadohae, keeping a close eye on the sea. • 31

Ceramics from Tadohae Shipwrecks YunYong-i Director, Wonkwa ng University Museum

32

ue to their country's geographical position, surrounded on three sides by water, Koreans from long ago engaged in seafaring, not only around Korea but also to China and Japan and as far away as Southeast Asia.

In ancient times, Koreans traded widely with China and Japan by way of the sea. Toward the end of the Unified Shilla Kingdom (668-935), Chang Po-go initiated three-way trade

D

among Korea, Tang China and Japan, greatly influencing commerce in Northeast Asia. During Korea's Kory6 Dynasty (918-1392), navigation developed, and tributes were delivered via coastal transport. During the Chos6n Dynasty (1392-1910), Koreans continued to journey by sea, resulting in the further development of their navigational skills.

Accordingly, Koreans developed a unique sea-oriented culture over the centuries, and related cultural remains

From long ago, Koreans engaged in seafaring, not only around Korea but also to China and japan and as far away as Southeast Asia.

White porcelain bowls found stacked in wooden boxes in setsof10and20.

33

Clockwise from above: Celadon prunus vase retrieved from the wreckage with iron painted peony design, height 21.0 em; wide-mouthed celadon vase, also retrieved, with engraved lotus petal design, height Z7.5 em; the sea off the coast of Shinan, where navy divers salvaged the sunken ship

34

can be found in numerous sites both on land and in the sea.

From 1975 to 1984, the wreckage of a Yuan Chinese trading ship situated in the sea off Shinan, Chollanam-do province, dubbed the "Shinan," was excavated along with various relics, most notably ceramic items. Among the recovered ceramics were items not only from Korea, China and Japan but also from Southeast Asian countries; these ceramics have been invaluable in the study of Asian art history. Another shipwreck found near Wando Island, presumed to be a Koryo ship transporting ceramics, was excavated in 1983-1984. A large number of relics, including ceramic wares for everyday use, were recovered.

By examining the ceramics from these two wrecks, much can be learned about life and seafaring during the Koryo Dynasty.

Undersea Relics of Wando Island A total of 30,701 intact ceramics were recovered from the seabed off Wando Island after a fisherman from

Yosu reported finding some unusual ceramic pots while gathering fan shells near an islet across from 6duri, Yaksan-myon, Wando-gun on December 8, 1983. A preliminary undersea investigation of the area was conducted by a team organized by the Office of Cultural Properties from December 19 to 30 of the same year. The final

excavation work was undertaken from March 15 to May 23, 1984.

Most of the relics recovered during this underwater excavation project included ceramics, mainly celadon wares and a small number of dark brown and gray-black earthenware steamers and jars. Except for a handful of iron-glazed prunus vases and hourglass drum-shaped pieces, most of the celadon ware is quite plain, either bluish-green, greenish-brown or dark green. The glazes are thin and crackled, the glaze on some pieces discolored because of the extended exposure to seawater. Many of the pieces have rough surfaces because they were made from a coarse, sandy gray-white clay, while the clay on some is exposed and looks like metal.

Most of the celadon pieces have thin walls, a thick base and make a dull sound when tapped. Many appear to have been fired in stacks of four or five or in saggers. Their bases are mostly bamboo-shaped, having been formed by cutting off the top and bottom of a clay cylinder and then carving it to look like a bamboo stalk The fashioning of the bases differs from one piece to another, with the inside cut differently, resulting in various circumferences. The relatively thin bases of the narrow-mouthed prunus vases and the wide-mouthed vases and jars indicate that the vessels were placed on a layer of fine white sand for firing.

The plates have both glazed and unglazed bases.

More than 30,000 of the 30,701 ceramic pieces that were recovered intact are celadon bowls and plates of various sizes. If broken bowls and plates were counted, the count would approach 32,000. Other than the bowls and plates, the pieces include 103 widemouthed jars and vases, 11 prunus vases, 3 hourglass drums and oil bottles, and an assortment of oddly shaped jars, bowls and cups.

These ceramics are significant to Koryo ceramic history due to the facts that they number more than 30,000

and that, with the exception of a few glazed earthenware pieces, most are celadon. In addition, until their discovery, most of the extant Kory6 celadon was from excavated tombs, having been produced for burial with the dead, whereas the pieces recovered from the shipwrecks were for everyday use, mostly wide-rimmed bowls and other tableware.

An analysis of the ceramics determined that celadon wares, initially thought to have been made between the ninth and tenth centuries, were actually produced in the early twelfth century. It also revealed that the coarse celadon made with low-quality clay and glazes was produced in coastal areas, most notably the Ky6ngs6-dong pottery of Inch'on and the Chinsal-ri pottery of Haenam.

Almost all of the celadon bowls and plates discovered off Wan do have wide rims that curve outward and curved bodies with thin walls; they are covered with a celadon glaze with a greenish-brown tint. Their bases are of a thin fire clay. These low-quality clay pieces with considerable impurities appear to have been ¡ produced at a kiln near the coast of Chinsan-ri, Sani-myon, Haenam-gun, Ch6llanamdo. The sunken boat is presumed to have been traveling from Haenam toward the southern sea when it struck a hidden rock and was lost off Wando.

Among the celadon pieces, bowls number 20,000 and plates 10,000 indicating that there were two bowls and one plate to a dining set; in other words, a bowl for rice, a bowl for soup and a plate for side dishes.

Smaller bowls, numbering about 1,000,

appear to have been specially produced for serving tea. The wares provide a valuable insight into how ceramics were used for dining and what composed a table setting.

The wooden boat was a small vessel used for coastal transport. Its construction resembled that of a wooden boat excavated from the bottom of Anapji, a pond at a royal pavilion in Kyongju, in 1975. It provided significant evidence related to the history of boat development in Korea: It appears that the boats used during the Shilla period evolved into a larger-scale version, which was later developed into the smaller boats of the Choson Dynasty.

Evidence of Seafaring Activities The underwater excavation of the Shinan shipwreck resulted from a fisherman pulling up six relics in his fishnet near Pangch'uk-ri, Chungdo-myon, Shinan-gun, Ch6llanam-do. Several preliminary surveys were made to determine whether there was cause to undertake an underwater excavation.

With the active cooperation of the navy, more than 10 excavations were conducted between October 1976 and September 1984 by a research team organized by the Office of Cultural Properties.

The Shinan is 28.4 meters long and 6.6 meters wide. Various structures 35

There were three routes that connected China and japan: a northern route through the Yellow Sea; a southern island route by way of Okinawa; and another southern route passing through the East China and Yellow Seas, which was the most commonly used. Starting from the lower Yangtze River, it proceeded along the Zhoushan archipelago and south of Korea's Cheju Island, and headed for the Koto archipelago and finally Kyushu.

Clockwise from top left: Lung-quan eeladon vase with two handles in the shape of a dragon-headed fish, height 25.7 em; blue-and-white botde aing-te-zhen type) on a stand, height 14.1 em; Lung-quan eeladon wine jar with ridges, height30.4em 36

above its deck are missing due to deterioration. However, the 720 pieces that were recovered have been assembled so that the overall appearance of the original ship can be discerned.

A total of 22,007 relics were recovered from the hold of the ship, which was divided into sections by seven walls. The 200-ton ship could carry a substantial volume of cargo.

Chinese ceramics, coins and rosewood timber from Southeast Asia made up the bulk of the relics. In addition, Chinese herbal medicinal items and numerous common metal, stone, wood and lacquered articles were recovered along with the belongings of crew members.

A total of 20,661 Chinese ceramics were recovered, 12,359 of which were celadon and 5,303 of which were white or blue-and-white (Ch'ing-pai) pieces.

Most of the celadon pieces were of the Lung-quan variety, whereas most of the white and the blue-and-white pieces were of the jing-te-zhen type. In addition, there were 694 ceramics of the Chienmu and jun varieties. A total of 2,305 jars were recovered. As most of them have four handles, they were probably used for storing daily necessities. In fact, black pepper, fruit seeds and ink were found in some of them.

The 792 metal articles found accou_nt for the bulk of the general items that were recovered. Most of them are items of daily use such as silver tableware, bronze mirrors, kettles, cups, weights and kitchen utensils.

Many of the bronze weights are engraved with the word "quingtianlu," the Yuan name for the port now called Ningbo. The wooden products include crates for transporting trade items and burial figures. In addition, various spices, including black pepper and Chinese juniper chips, were found.

The stone items, 43 in number, include ink stones and small hand mills for grinding tea. The rosewood pieces and Chinese coins, recovered from the lower section of the boat, weigh over 28 tons altogether. The coins com prise

more than 40 denominations, including wuzhujian, kaiyuantongbao and zhidatongbao of the Yuan Dynasty.

The relics tell much about the scale of sea transportation of that era and are evidence of economic exchanges.

Except for seven Koryo ce ladon ceramics and 20 Japanese products such as clogs and knife sheaths, most of the relics are Yuan Chinese. This provides evidence that the three countries traded with each other.

The Shinan is believed to have been a Chinese ship, dragon-spine shaped with acutely angled edges, with separate walls installed below. It was obviously a trading ship carrying the excavated relics, including the ceramics, as its cargo. Many ceramics of the same design were found stacked together in sets of 10 or 20 in wooden boxes bound with cord.

Many wooden tags with inscriptions were found, for bunches of coins, for example. Written in brush ink on the tags were a description of the object, the name of its owner, the amount and the date. Judging from the tags, most of the goods were Japanese-owned.

The ship is thought to have embarked from the Chinese port of Ningbo bound for Japan. There were three routes that connected China and Japan: a northern route through the

Yellow Sea; a southern island route by way of Okinawa; and another southern route passing through the East China and Yellow Seas, which was the most common ly used. Starting from the lower Yangtze River, it proceeded along the Zhoushan archipelago and south of Korea's Cheju Island, then headed for the Koto archipelago and finally Kyushu. The trade route between Sung China and Koryo Korea was similar, extending to Huksando Island from the Zhoushan archipelago and then heading up to the coastal Yellow Sea, as confirmed in the ancient Chinese record,

route between Sung China and Koryo started in Mingzhou or Quanzhou, passed by Huksando Island, headed north along the coast of the Yell ow Sea, and arrived at the mouth of the Yesong River. The Shinan findings indicate that there was active commercial maritime trade between China and Koryo in the early 14th century. •

Xuanhefengshi gaolitujing.

The Shinan is believed to have been a Chinese trading ship headed for Japan, but there is no evidence that it stopped in Korea. Some scholars contend that the ship had a port of call in Korea judging from the seven Koryo celadons made between the 13th and the 14th centuries found among the Chinese ceramics, and also by the sea route of the late Koryo period. .The recovery of such a large number of ceramics from one site is unprecedented. The ship was a veritable museum of Chinese ceramics of the early 14th century, carrying all varieties and shapes of wares, notably blue-and-white pieces.

From the late 11th century, the sea

Researchers and divers discussing work on theShinan project (above); the sea in front of 6duri, Wando Island, where the Wando shipwreck was recovered (below)

37

ON THE ROAD

Hidden Treasures ol Tadohae

lU~@ m~ JK~~@~@ Choe Soeng-min Reporter, The Hankyoreh

uch like the "unknown world" that adolescent girls write about in their diaries, an island has always been an object of mysterious wonder for mainlanders. Because of their remoteness, one tends to imagine that things out of the ordinary must take place on islands. Such thoughts can help one escape the boring routine

M 38

of daily life.

Seeing an island barely visible on the faraway horizon peaks one's desire to visit it. Such an island is usually filled with the exotic. The evergreen trees gracing an island sometimes echo with loudly chattering birds. Creating a harmonious melody with the lapping of the waves, the chatter of birds reaches the ears of those living on land as the

sweet sounds of a natural symphony.

The air filtered by green trees and drifting over the vast stretches of emerald sea is refreshing enough to wash away the black soot accumulated in the minds of urbanites. A lighthouse with its foghorn calling out in a resonant blare to ships wandering along the foggy horizon makes for an evocative scene only possible on an island.

Island cultures are quite different from mainland cultures. Separation and solitude are their most prominent features. Isolated from the mainland, people living on islands warmly welcome visitors. This is also why island residents are so generous. Living harmoniously with nature and instilled with basic human ideals, they welcome visitors with sumptuous dishes fresh from

the sea. Visitors can enjoy absolute freedom on such islands.

A passenger boat traveling between Inch'on and Qingdao, China, passing

by KagOdo Island; the coastline of KagOdo (insert), a popular destination for tourists

Udo: An Island amid Islands Let's visit an island where nature, scenery and human hospitality are at their best. Udo is such a place. Located northea st o f Korea 's southernmost resort island of Chejudo, about 40 m~n­ utes by boat from Songsan Waterfall 39

Island cultures are quite different from mainland cultures. Separation and solitude are their most prominent fea tures. Isolated from the mainland, people living on islands warmly welcome visitors.

This is also why island residents are so generous.

Above, from top: roasted turban shells, a special dish of Udo Island; conch and sea urchin soup, a delicacy one can taste only at Udo; the white beach of SObin on Udo. Below:thelighthouseon Udo

40

on Chejudo, Udo is an "island amid islands." The largest of six islets off Chejudo, Udo is known for its abundance of marine products. Abalone, turban shells, laver and other seaweed, along with countless fish, are harvested from the waters of Udo. The seafood offered at restaurants and private lodgings on the island are all naturally fresh and harvested directly from the sea.

There is no room for cultured varieties, as naturally grown species are so plentiful that the majority of the catch has to be shipped to other destinations. In this age of artificial seasonings and fast food, a trip to Udo offers visitors an opportunity to sample a wide variety of indigenous marine products fresh from the sea.

Some exotic dishes unique to Udo include roasted turban shells and a soup made with conch and sea urchin.

The turban shells, after being gathered from nearby waters by women divers, are placed on a tray, covered with another tray and then roasted over a fire. Chopsticks are used to pick out the meat, which is then dipped in salt before eating. The dark liquid that remains inside the shell can be consumed as well and is soothing to one's stomach, according to the locals.

To prepare conch and sea urchin soup, sea urchin eggs and conch eggs are bqiled together in a seaweed soup.

This soup is especially refreshing and savory, all the more so as only fresh ingredients directly from the sea are used.

Udo is known to be so scenic and exotic that there is saying, "You haven't seen Chejudo if you haven ' t seen Udo." As such , this island should always be included on the itinerary of a sightseeing tour of Chejudo. This tiny, beautiful island boasts no less than eight renowned scenic sites.

Among Udo's scenic sites is Ch'6njingwansan. Its name, meaning "looking at the mountain from Ch'6njin," refers to viewing the magnificent beauty of Hallasan, the imposing mountain on Chejudo, from Ch6njin Village. ¡

Certainly, one can better appreciate the picturesque Hallasan enveloped in mysterious clouds from a distance, such as on Udo, than on Chejudo itself.

Another sites is a "growing beach," the only one of its kind in Korea. This is sandy stretch of ground-up coral that has accumulated on the beach between S6ch'6njin-dong and Sangwumok-dong; the sand is said to be getting thicker as if the coral were still growing. This attraction is known as Sobin Paeksa ("Western Beach with White Sand").

Other popular scenic sites on Udo include Chukan My6ngw61 ("Bright Moon in Daytime"), Tong-an Ky6nggul ("Grotto with Whale on Eastern Shore"), Yahang 6b6m ("Fishing Ships Sailing at Night"), Chidu Ch'6ngsa ("Blue Sands of Chidu"), Ch6np'o Mangdo ("Looking at the Island from a Riverbank") and Huhaes6kby6k_ ("Stone and Cliff in the Sea"). Chukan My6ngw61 is a grotto near East Ch'6njin Harbor on the island's southern shore where a large bright moon can be seen even during the daytime.

Tong-an Ky6nggul is a grotto resembling human nostrils located in Y6ngildong, Cho-il-ri, Udo-my6n, that is big enough to accommodate a whale.

Yahang 6b6m presents a ubiquitous sight of Udo-lighted fishing boats at sea during the night. Brightly lit anchovy fishing boats viewed at night from Hagosu Beach during the months of June and July is one of the most noted sights. Chidu Ch'6ngsa offers a panoramic view of the Udo landscape from the vantage point of the 132meter-high Udobong Peak in Udomy6n. Chidu is also renowned for its pristine blue-sand beaches. Ch6np'o Mangdo refers to the beautiful island vista as viewed from the sea in front of S6kwang-ri. At Huhaes6kby6k, a cliff drops into the sea next to a large boulder pounded by the surf.

Finally, there is the Udo sunrise, the most famous of the island's noted sights. It is often said that a sunrise viewed from Ilch'ul-bong Peak of Mt.

The beautiful shoreline of KagOdo-ri 1-gu (top); the village of KagOdo-ri 1-gu (above) 41

Songsan on Chejudo is more beautiful but this may be due to the exquisite surroundings of Ilch'ul-bong rather than the sunrise itself. Photographers invariably claim that no other sunrise can compare with that viewed from Udobong. I can only suggest that you visit and see for yourself.

Hiiksan Kagodo: "Habitable Island" An unknown world beyond the horizon, Kagodo is an island that Koreans used to say took longer to reach than the moon. It has, however, become much more accessible in recent times. People sometimes lost their lives trying to reach this island, but those who managed to arrive safely found it so accommodating that it

An unknown world beyond the horizon, Kag6do is an island that Koreans used to say took longer to reach than the moon.

A place of exile in the past, it is fast becoming a popular island retreat as a jetfoil service has been operating between the island and the mainland since summer 1997

Clockwise from top: Komiinyo, a rocky islet near Kag6do Island, a paradise for cormorants and seagulls; sea bass caught near Kag6do Island; a high-speed ferry that travels between Mokp'o and the Hiiksan Sea; the bridge between Pigiim and Toch'o, beyond which lies the turbulent Hiiksan Sea 42

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came to be called Kagodo, literally meaning "habitable island." A place of exile in the past, it is fast becoming a popular island retreat as a jetfoil service has been operating between the island and the mainland since summer 1997.

Located 145 kilometers southwest of Mokp'o, Kagodo can be reached by regular ferry from Mokp'o in four or five hours. Traveling to Kagodo is a unique experience. As the jetfoil passes through two separate regions, the "inner sea" and the "outer sea," the latter otherwise known as the Huksan Sea, visitors can enjoy a wide diversity of scenery. The jetfoil that sets sails in the morning from Mokp'o Harbor reaches Pigumdo and Toch'odo within about 30 minutes; these islands are known for the sea bridge that connects them. The stretch of sea from Mokp'o Harbor to this sea bridge is knQwn as the "inner sea." Numerous islets are scattered across this area of the Tadohae; the white lighthouse that is visible from many vantage points can be a heartwarming sight.

Once the speedboat passes the sea bridge, there is an announcement to the passengers: "Anyone suffering from seasickness, please remain below deck as we are now entering the Huksan Sea." Lying at the junction of the West and South Seas, the Huksan Sea is where the winds and waves of the two seas clash. For this reason, the Huksan Sea was long regarded as the roughest of the sea routes to Korea's many islands.

But that was during the Choson Dynasty (1392-1910), when people sent into exile had to travel to the isolated islands by sailboat. These days, when riding a jetfoil that can speed along at 70 kilometers per hour, the untamed sea adds excitement and tension to the journey. People who don't succumb to seasickness will enjoy an exhilarating experience comparable to racing through green fields on horseback.

The sight of the green, majestic Huksan Sea merging with the horizon is a refreshing sight to behold. It is a magnificent panorama, offering respite 43

to urbanites who do not often have the opportunity to appreciate such distant views. Gem-like islands sometimes appear as dots on the green horizon.

Ch'ilp'aldo, appearing on the faraway horizon about 20 minutes past Pigumdo, has a white lighthouse that seems to beckon to passersby. Fishing boats and slowly moving cargo ships that sometimes appear at the edges of the green canvas create a tranquil and placid setting.

On passing Huksando, the main island in the Huksan Sea, and the smaller island of Hongdo, one enters the "unknown world" of the Upper, Middle and Lower T'aedo Archipelago.

Kagodo and Manjaedo islands are located to the southwest, about 30 minutes apart by speedboat. As the only way to travel to these islands in the past was by fishing boat or a passenger boat th at set sail from Huksando every other day, ordinary people could visit the islands only in their dreams. Ch'oi

The shoreline of KagOdo-ri 2-gu

44

¡ During the Chason Dynasty, people sent into exile had to travel to the isolated islands across rough seas by sailboat.

These days when riding a jetfoil that can speed along at 70 kilometers per hour, the untamed sea adds excitement and tension to the journey.

Ik-hyon (pen name Myon-am), a renowned scholar during the late Choson Dynasty, first set foot on Kagodo and Huksando when he was exiled to the islands for protesting the signing of the annexation treaty with Japan in 1905.

Being so isolated, these islands are still relatively primitive. T'aedo earned its name due to its abundance of sea laver. Mackerel pike is also so plentiful that seasonal fish markets are held on the island. At the tip of the archipelago is Manjaedo (Island of Many Treasures), which boasts abundant marine products that are fresh and pollution free. It is the least accessible of all of Korea's inhabited islands. Kagodo, between the T'aedo Archipelago and Manjaedo, plays a central role in the day-to-day life on these three islands.

Today many mainlanders, i~cluding tourists and fishermen who are weary of their polluted towns and cities, visit the island to enjoy its clean air. •

FOCUS

Auspicious Dreams W~ÂŽroollilw~

IPmilmlllilm1~~ ÂŽil I[ÂŽrr~m Kim Byong-jong Painter Professor of Art, Seoul National University

orean painting can be broadly divided into two categories: the calligraphic works principally enjoyed by the literati and aristocrats, and the colorful decorative paintings enjoyed by commoners. Although the decorative paintings embodied many of the ideals of the ruling class and were used to decorate the court and to embellish royal processions, commoners more often displayed them.

Compared to the conceptual calligraphic works of the literati, who considered poems to be the same as paintings, the colorful decorative paintings were less difficult to understand and were thus more approachable to commoners. The most representative of these paintings is called minhwa.

The term "minhwa," folk art, was first coined by Muneyoshi Yanagi (1889-1961), a Japanese art historian, critic and writer. The term is usually used to denote paintings created by anonymous artists for use by com-

Mt. Kumgang, ink and color on paper,

126.2 x 56.0 em

moners. Of course, folk painting is not a genre unique to Korea; folk paintings created by amateur artists can be found in every country. It is rare, however, to find folk paintings of such diverse formats and high level of artistry as those of Korea. In Korea, minhw.a were created for more than decorative purposes; for exam pie, many were created on commission for a specific reason. Today, these works attract the keen interest of experts as well as the general public for their superiority in formative beauty and artistry, even compared to "conventional" paintings.

A rare exhibition of folk paintings titled "Auspicious Dreams: Decorative Paintings of Korea" opened on April 3 at the Ho-Am Art Gallery, the largest collection of folk paintings ever assembled in Korea; the exhibition will continue to June 30. The gallery held a similar exhibition of folk paintings in 1983, which contributed greatly toward raising public interest in traditional 45

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Tiger and Magpies, Shin Chae-hyon, color on paper, 96.8 x 56.9 em (top); exhibit

room at the Ho-Am Gallery (above) 46

Korean folk art.

The current exhibition includes a great number of folk paintings belonging to individual collectors. Actually, ever since Muneyoshi Yanagi lauded the superiority of the folk paintings of Korea's Choson Dynasty (1392-1910), many Japanese have collected them, such that countless Korean folk paintings are in Japan. A Japanese publishing firm even published two thick books of paintings titled Folk Paintings of the Yi Dynasty. The books were sold worldwide and were popular among art communities during the 1970s.

I have a personal bitter memory related to those books. In the summer of 1989, I had an opportunity to deliver a lecture under the sponsorship of the Berlin Municipal Art Museum in Germany, titled "Formative Characteristics Manifested in Korean Art from Koguryo Wall Paintings to Chason Folk Paintings." During the lecture, I explained that the distinguishing characteristics of Korean art lay in their optimism , simplicity and sense of humor, and then I showed about 300 slides, particularly emphasizing the formative excellence of Choson folk paintings. After the lecture, however, a gray-haired scholar, an art historian who had studied Oriental art all his life, raised some objections. He said: 'japan and Korea are geographically so close to each other that they can perhaps be considered virtually the same country, and so it is understandable for Professor Kim to introduce Japanese art as that of Korea." He went on to argue that the works of art I had just introduced were Japanese, not Korean, accusing me of committing a serious faux pas by introducing Japan's art as Korea's. He then cited Folk Paintings of the Yi Dynasty as proof of his claims, pointing out that the book had been published by a well-known Japanese publisher and included explanations and footnotes by Japanese scholars. He had thought that the Yi Dynasty

referred to a Japanese royal family. I found it difficult to voice a rebuttal, but managed to say: "One cannot claim that the ancient Egyptian art works displayed in British museums are British art. The folk paintings I have just shown you are those that Japan stole during its annexation of Korea." I emphasized that they were clearly works by Korean painters, but I am not sure I succeeded in fully convincing him.

Whenever foreigners mistake the outstanding folk paintings of the Choson Dynasty, which embody the very essence of Korean art, as Japanese works, I invariably feel regret for Korea's failure to preserve its artistic heritage and to promote a proper understanding of it. When I was a col-

lege student, even Koreans considered folk paintings as nothing more than "funny pictures"; no regular art history lectures considered them. Instead, the lectures always focused on calligraphy, landscapes and conventional paintings created by the ruling class. Of course, it is possible to discern a unique, profound flow of Korean artistic sensibility in ¡conventional paintings, but the superior quality of Choson folk paintings, which developed and blossomed independently without being subjected to the Chinese influences that tinged the work of the upper class, should never be overlooked.

The distinct sentiments of the Korean people are revealed by these folk paintings. The paintings satisfy ¡the dual aspects of "aesthetic appreciation

and practicality." In particular, they are quite well preserved, having been painted on highly durable canvas.

Most of all, as a person who formally studied painting, I cannot help but be astounded by the diversity of painting techniques they exhibit.

Whereas some of the folk paintings are primitive, simple and straightforward, others are extremely intricate and brightly colored, such as paintings of books and various paraphernalia used by scholars and of longevity symbols including the sun, clouds, rocks, water, bamboo, deer, cranes, pine trees and turtles. There are also landscapes and whimsical caricatures of flowers ¡and birds. Paintings of animals such as turtles, cranes, tigers, magpies and dogs often reveal uniquely

Two paintings depicting books and scholars' utensils, color on paper,522 x 31.0 em 47

Korean sentiments. Folk paintings of tigers, for instance, can illustrate the sense of humor and warm sentiments that are characteristic of Korean art.

The tigers, usually baring sharp teeth, somehow emanate friendliness rather than aggressiveness, and it is hard to detect the awesome dignity befitting the king of beasts in their protruding eyes and ungraceful posture. The popular paintings depicting a fierce-looking tiger conversing with a magpie are serene and humorous, without any trace of aggression or savage intent.

The paintings of Korean landscapes included in the Ho-Am exhibition, such as Painting of Mt. Kumgangsan, ~ight Renowned Scenic Places under the Sky and Ducks by the Pond, are so minimalist in their representation that one 48

could mistake them for modern paintings .. This modernism is unique to Korea in that the paintings did not derive from any external influence.

Nevertheless, they exhibit various trends of modern Western painting, from surrealism, ultra-realism, expressionism, abstractionism and primitivism to the techniques of graphic design.

Many paintings in the Ho-Am exhibition reveal these modern aspectspaintings of flowers and birds, landscapes, animals, people and mountain gods as well as paintings of books and the various paraphernalia used by scholars. As for technical aspects, some of the works employ bold omission and juxtapositional arrangements. In particular, Tiger and Magpie, depicting a tiger and her cub together with a

Sun, Moon, and Five Peaks, color on paper, 90.5 x 270.5 em (above); illustrated

Chinese characters, color on paper, 55.0 x 44.0cm (lower left and right)

magpie and a pine tree, reveals a high standard of formative excellence.

Another characteristic of Choson folk paintings is that their sense of aesthetics is based strictly on real life. The paintings of a carp swimming up a waterfall symbolize a desire for government position; and those expressing patriotism and filial piety, those illustrating a desire for wealth and longevity, conjugal love and luck, all deal with the most basic desires of human beings. They are the products of a warm and generous people, embodying the ideals and sentiments of all Koreans. The paintings simultaneously aspire for artistic accomplishment and realism.

Still, it is hard to properly evaluate the folk paintings from the perspective

of art history because a large number of them depict the same themes and many of the artists are anonymous.

That many of them were commissioned pieces rather than works of genuine creative inspiration also tends to denigrate them. Nevertheless, the tremendous imaginative power and remarkable degree of artistic maturity found in the folk paintings of the Choson Dynasty cannot be overemphasized.

It is my hope that the Ho-Am exhibition will provide a welcome opportunity to reevaluate traditional folk paintings from the perspective of art history. I also hope that their arti~tic value is no longer overlooked by formal art historians and that they are fully appreciated by the public. • 49

A KOREAN NATIONAL TREASURE

The Rock Carvings of Pan-gudae LeeWon-bok Curator, National Museum of Korea

n both the East and the West, prehistoric art represents to weary, jaded, "polluted" modern society a certain freshness and vitality. It can be said that magic, or the development of consciousness, was the origin of art, but what we perceive most of all about prehistoric art is a sense of mystery as well as an incredible strength, the very power of life.

That feeling is not unlike the wonder one feels when recalling the fanciful dreams of youth or the vigor of a new day.

Unfortunately for Korea, the many invasions, occupations, and migrations throughout the country's long history have destroyed most of its artistic legacies. Compared to its neighbor Japan, Korea has very few surviving artifacts.

In fact, so few historical wooden structures, much less paintings and works of calligraphy, have survived to this day that it is difficult to determine whether each of Korea's historical periods can be represented by existing works.

Archeology itself is subject to preva iling trends and fashions. On December 25, 1971, the year that the tomb of King Muryong (r. 501-523), the 25th ruler of the Paekche Kingdom (18 B.C.-A.D. 660), was excavated, the Pangudae rock carvings were discovered.

Two years later in Japan, the tomb of Takamatsu, a monarch during the Nara period, contemporaneous with Korea's Shilla Kingdom (57 B.C.-A.D. 935) and China's Tang Dynasty, was discovered.

In 1976, the Tokhung-ri tomb paintings

I

50

were discovered in North Korea, with a written inscription indicating that they had been finished in A.D.408. That same year, celadon implements specifically made for rituals to honor the dead, with an inscription of the manufactured year A.D. 992, were discovered

in the Pongch'on region of the village of Wonsan in North Korea. Shortly thereafter, the royal kilns that produced those celadon items were found in the Ch 'unghyo-dong area of Kwangju, in South Korea.

Two prehistoric rock carvings are

•

".4

J

located in the southeastern province of Kyongsangnam-do, in the 6nyang district of Ulsan city: one in Ch'onchOn-ri and the other in Taegok-ri. They were discovered in the fall of 1968 by a team of excavators from the Dongkuk University museum. The team was in the midst of a three-year excavation project searching for Buddhist relics in the Ulchu region when it came across the carvings of the Ch'onchon-ri site on December 25, 1970. These carvings were later designated National Treasure No. 147. Exactly one year later to the day, the rock carvings of Taegok-ri were discovered. Scholars did four rounds of tests and examinations on the Taegok-ri carvings from 1972 to 1977, and the site was designated National Treasure No. 285 in 1995. In 1984, a remarkable¡ book, Pan-gudae

~... ~~:...:,¡ "~~.~

:-\~-;¡..~~

Petroglyphs, was published, dealing with the two sites. Original rubbings made from the carvings of these two sites, referred to as the Pan-gudae petroglyphs, were shown overseas for the first time in early 1976 in three cities in Japan as part of a traveling exhibition, "5,000 Years of Korean Art." In Korea, the rubbings have been exhibited at the National Museum; at the museums of Yonsei , Seoul National and Ch'ungbuk National Universities; and elsewhere.

The Pan-gudae petroglyphs can be considered the very first chapter in the history of painting in Korea; they are analogous to the world-famous Lascaux and Altamira cave paintings.

Fortunately, the petroglyphs at Taegokri are fairly well protected from natural erosion because the rock on which

they are carved slants inward. They are also protected from human contact because the rock is partly submerged in water. Scholars differ on the dating of the Pan-gudae petroglyphs: Some believe they date from the end of the Neolithic period, based on similar sites in Siberia, but other opinions place them anywhere from the Bronze Age to the Iron Age. In any case, it is definite that the carvings have been around for many millennia, as was confirmed through an analysis of the techniques used to make the images.

As for the drawings themselves, looking at them straight on, one can see on the left what appears to be a whale, tortoises and other forms of marine life. These images were incised with a sh arp tool. On the right are incised drawings of deer, tigers, boars and other land animals. On tbe left side, it is apparent that successive generations created the images. Toward the top, the perspective shifts from nearby bodies of water to distant oceans; here, metal tools evidently produced the images. Among the 190 or so images are some of humans. At the very top is a man standing in profile, his hands close to his face, his genitals prominently displayed. Below the figure are more people, dancing, naked except for masks.

Char.acteristic of prehistoric art is the convention of portraying the internal organs and even fetuses as if they were X-ray images. Just like the European and Siberian cave paintings that show cows and deer, the Pan-gudae petroglyphs include a slaughtered whale set apart in a frame. Both the content and the form of such scenes appear to be universal. However, in the Pan-gudae petroglyphs, one can see the food sources of the early inhabitants of the Korean peninsula. The drawings incised on the rock surfaces are a window into the fishing and hunting cultures of prehistoric Koreans. They suggest rituals to the gods to confer luck and prosperity and to ensure a steady supply of food. + 51

KOREAN MYTHOLOGY

The Land of the Dead & lli~mllmnl ®if

([;®WlllrOOWl~Uil®Wl~ Kim Yol-kyu Professor of Korean Literature, Inje University

This is the first in a series of articles to be published in forthcoming issues of KOREANA. Future articles will be entitled "The Land of the Dead: Kings Who Died Twice'; "The Cosmology of Koreans: Creation of the W arid'; and "The Cosmology of Koreans: The Structure of the Universe."

Life on This Side of the World Myths are sacred tales created by people of ancient times to explain the existence of humankind and the natural phenomena of the world around them. Naturally, myths delve into life and death.

Myths deal not only with the origin of human existence and the different

races but also with death and why and how it occurs. Myths recount solemn tales about how humans came to exist, how they live, why they must die, and the nature and meaning of death.

The world of the dead as portrayed in the shaman myths of Cheju Island is an especially bleak place. There are no visions of the future and no repose for the souls of this world.

The world of the dead is found deep underground, so remote from the surface that it seems to lie beyond the reach of any nurturing influence of Mother Earth. Although no specific physical description is provided, one gets the impression that it is a world of darkness. The world of the dead portrayed in the

Cheju myths as well as the myth of Paritegi, a castaway princess, is a land of ghastly carnage and heartless cruelty.

In the story of the heavenly emperor's retribution, the principal myth among the shaman mythology of Cheju, there exists a deep hatred between those of the land of the living and of the land of the dead, and there is no possibility of reconciliation.

In this myth, the heavenly emperor decides to divide his kingdom between his two sons and leaves it to them to work out the details. The broth~rs agree to compete in contests of riddles and horticulture to determine who would get the land of the living, leaving the land of the dead for the loser. The younger

brother wins the competitiOn by cheating. However, the older brother, upset with the outcome, puts a curse on the land of the living, making it a place of injustice, corruption and sickness.

A Land of Contradictions Because each brother tried his best to win the land of the living, one can surmise that the land of the dead was a place to be avoided at all costs, even though the living had no way of knowing what it was really like. Hence the proverb, "To be alive on a dunghill is better than to be dead in a palace."

It does not follow, however, that the myth. idealizes the land of the living. It is in this world that condemned souls commit the sins for which they will be punished in the netherworld for all eternity.

The Cheju myth states unequivocally that the reason people go to hell, a part of the netherworld, is that the world of the living is a place of sin and corruption.

That the younger brother resorts to trickery to inherit the land of the living in spite of its rampant sin and corruption reflects the strong this-worldly orientation of Koreans' religious nature.

Likewise, Koreans did not regard the land of the dead as a place of unmitigated, relentless darkness. just as the land of the living is full of contradictions, so too is the land of the dead. For example, Princess Paritegi, th e castaway who serves as the guide for the newly deceased, manages to acquire the water of life from the land of the

dead, with which she successfully brings her dead father back to life.

That this water can restore dead persons to life indicates that Koreans regarded the netherworld as the source of life. Therefore, one can infer that ancient Koreans thought that life originated in the land of the dead and that at the end of life in this world their souls returned to the netherworld.

The Cycle of Life One can go a step further and say

in the Ky6ngju area dating back to the Three Kingdoms period (1st century B.C.-A.D. 7th century), a corpse was buried with its head pointing in the direction of the sunrise, the symbolism being obvious. The rising of the sun is never associated with demise or destruction. Therefore, death, to ancient Koreans, was a process leading to a new beginning, a new life. In other words, they did not associate death with destruction or annihilation. It was only much later that death came to be

that in Korean myths the land of the dead is the source of life, where life originates and to where it then returns.

Life, thus, is a cycle, rising out of the land of the dead and later returning there. Needless to say, this cycle is endlessly repetitious. Life, in other words, is a ceaseless shuttling between the two worlds. The netherworld has both a fountain of death and a fountain of life. This is why in some of the tombs

equated with the end of life.

A similar inference can be drawn from the fact that in some prehistoric tombs in Korea, the corpse was laid parallel with a nearby river, with the head pointing upstream. It is not difficult to associate a river with the source of life. Clearly, the souls of the dead were meant to go to the source of the river-which also represented the source of life. • 53

Clockwise from top left: a stalactite wall in Kosudonggul; stalagmites nicknamed "the Twelve Immortals" in Kosshidonggul; a tunnel passage in Kimnyongsa; a lake in SOngnyugul

56

500 meters. Though they are lava caves, the three have some features generally associated with limestone caves, such as stalactites and stalagmites. These secondary geological formations are the result of calcareous substances, produced through the seepage of sand from the ground above the caves, which gradually permeated the cave ceilings. Hwanggumgul, which is yet to be opened to the general public, is regarded as one of the most splendid caves in Korea.

The first limestone cave in Korea to be developed for tourism, S6ngnyugul is a natural monument located at the foot of S6nyusan Mountain, which towers over the Wangpich'6n River in Ulchin, Ky6ngsangbuk-do province.

The cave has nine chambers and a ZOOsquare-meter lake and is rich in gigantic stalactites, stalagmites, and pillf!rs that make for magnificent scenery. Its high humidity and the eerie dark color of its walls, characteristic of limestone created during the Archeozoic Era, are its only drawbacks in terms of tourist potential.

The Tanyang area of Ch'ungch'ongbuk-do province is well known for its many caves. including Kosudonggul, Ondalgul, Nodonggul and Ch6ndongdonggul. A natural monument , Kosudonggul is the best sightseeing cave i!l Korea. A limestone cave, it has three levels and an overall length of 1 kilometer. It offers a wide variety of cave topographies resulting from water erosion such as potholes, eroded plateaus, ceiling channel and gigantic flowstone walls, stalactites, stalagmites, and shield stalactites. In fact, it can be regarded as an exhibition hall of geological form ations typical of limestone caves. Inside the entrance to the cave are some paleolithic stoneware relics, which indicate that the area was inhabited by people during prehistoric times. As some neighboring caves have also been developed for tourism , this region is excellent for natural study.

Ondalgul, a natural monument, was recently developed and opened to the

public. Legend has it that Ondal, a famous general of the Koguryo Kingdom (37 B.C.-A.D. 668), trained himself here for his future career.

Nearby is Ondalsong, a mountain fortress, which attracts visitors to the area. The dark color of the formations, which tourists might find peculiar, is the cave's only shortcoming. Being located along the Namhan-gang River, the cave will flood in parts when the river overflows its banks.

To get to the spacious chamber inside the limestone Nodong Cave, a natural monument, one has to enter through a passage at the top of Mt. W olch'ulsan. The cave features beautiful stalactites and stalagmites. Near the entrance, one can see the fossilized bones of animals that fell into the cave.

Even though it is a relatively short cave, 320 meters in length, the Ch'ondonggul Cave, Ch'ungch'ongbukdo Provincial Monument No. 19, provides such a diverse variety of secondary geological formations that speleologists have dubbed it a cave laboratory. The tray-shaped deposits of floating calcite, in particular, are formations rarely found in other caves.

Kosshidonggul in Yongwol and Hwaamgul in ChOngson are the bestknown caves in Kangwon-do. Located at the foot of a cliff along the Namhan-gang River, the entrance to Kosshi-donggul can only be reached by boat, making it the most exciting cave to explore. According to legend, the cave was named Kosshidonggul, or Ko's Cave, because a family named Ko took refuge there during the Japanese invasion of 1592. It is also said that the cave was used as a site for Kory6jang, the ancient custom of burying old people alive that was practiced during the Koryo Dynasty (918-1392). Over 2 kilometers in total length, it is a relatively level cave with numerous stalagmites and other secondary geological formations. In addition, the cave includes a set of stalactites and stalagmites known as the Twelve Wizards, and a rock shelf

called Ojakgyo (Bridge of Crows and Magpies).

Hwaamgul Cave, a Kangwon-do provincial monument located in ChOngson, was discovered during the digging of a gold mine at the end of the 18th century. It has two major chambers. The area first developed is centered around a circular chamber with a height of 30 to 40 meters and a diameter of over 100 meters. Inside the chamber is a spectacular flowstone wall, which, at 22 meters, is the tallest in Korea. Also inside the cave are a huge stalagmite and pillar, which are nicknamed the guardians of the cave

because of their shape.

Other famous caves for sightseeing in Kangwon-do include ChOn-gokdonggul, Yongyondonggul and Hwansongul along the east coast. The interior of ChOn-gokdonggul, a cave located in central Tonghae, is covered with muddy water due to the high concentration of dolinne on the soil layer above the cave. However, there is an abundance of secondary geological formations, including such rare features as channels and pendants.

Hwanson-gul, a natural monument located in the city of Samch'ok, has a huge chamber of over 2,000 square

The caves on Cheju are internationally renowned for their huge size and sci-

entific value. By contrast, the caves on the mainland are not as big, but their unique shapes and forma tions still attract the attention of international speleologists.

A stalactite in Nodonggul shaped like the Emilie Bell (top); the Lion Rock, regarded as the tutelary deity of Kosudonggul (above) 57

~

meters located just 150 meters from the "' entrance. Though lacking in magnifi~ cent geological formations, the calming sounds of its waterfalls and streams create a solemn atmosphere.

Yongyondonggul, a provincial monument in T'aebaek City, is another chamber cave. Because of its relatively high elevation, it has served as a refuge for centuries. Inside the cave is an altar to the Mountain Spirit, a shaman god.

There is also a lake inside the cave where freshwater shrimp live.

Various formations inhabit the interiors of caves. From the top are pictured "General's Rock" in Hwaamgul; undersea coral in Ch'ondonggul; and a throne in Hwans6n-guL 58

Other Distinctive Caves In addition to the already mentioned caves, there are many more outstanding caves in Korea with unique and distinctive features.

The Pillemot Cave on Cheju Island, Natural monument No. 342, is 11,749 meters long, making it the lo~gest single lava cave in the country. Pillemot is also known as the Labyrinth Cave because of its complicated passageways. With a total length of 4,674 meters, Susan-gul is the world's seventh longest cave; it features a 230-meterlong lava bridge. The 2,980-meter-long Soch'on-gul is world-renowned for its 240-meter-long tube-within-a-tube and the peculiar cofin phenomenon, which occurs inside the cave.

Kwanumgul and Ch'odanggul, both in Samch'ok, Kangwon-do, are also notable. Kwanumgul, a nationally designated natural monument, is considered the most beautiful limestone cave in Korea; it includes four waterfalls and several streams. Because many secondary geological formations are produced by the waterfalls and streams, the cave is closed to the public to protect its natural environment.

Ch'odanggul is estimated to be about 4 kilometers long. Not only is the entrance to the cave located 15 meters vertically down from a mountain crest, but the passageway is very precipitous. The cave has been designated a scientific preservation area because a variety of sea weed flourishes in its stream. +

Kim Young-uk Associate Editor, KOREANA

f the historian's interest lies in the results of a given set of circumstances, the photographer's interest lies in the circumstances themselves. For the photographer, true art lies in seeing things as they really are, not as one would like them to be.

Limb Eung-sik is a photographer who firmly believes that realism is the only true apiJroach to the art of photography. He seeks the essence of humanity through realistic portrayals.

In terms of the art of recording, which is the basic nature of photography, Limb is known as the "godfather of Korean photography," renowned for recording history and the face of humanity as it is.

Limb serves as a personification of the history of Korean photography. A pioneer in a field that has often been neglected in Korea, he sowed his seeds and reaped the fruits. A recorder of the face of humanity, Limb has had a camera in his hand for the past 70 years. He is a born optimist and , though 86, has a youthful innocence about him. His eyes twinkle behind his thick, black framed glasses, and his moustache gives him the air of a true master artist.

"Photographs that record the daily life and history of the Korean people, moment to moment, are priceless, irreplaceable cultural assets," says Limb.

The head of the organizing committee for the "Year of the Photographic Image," Limb is determined to do

I

Limb Eung-sik is a photographer who firmly believes that realism is the only true approach

to

the art of photog-

raphy. He seeks the essence of humanit;v' through realistic portrayals. In terms of the art of recording, which is the basic nature ofphotography, Limb is known as the "godfather of Korean photography,'' renowned for recording history and the face of humanity as it is.

whatever it takes to ensure the establishment of a museum of photography, where Korea's precious photographs can be preserved.

"Photography is the best medium for documenting real conditions, and it is also an art form that can express the human spirit. Photographs are the most effective means of conveying information in every field, from advertising to science. Indeed, it is hard to imagine life without photographs. But over the years we have lost many photos that were valuable as both documents and art. They were lost because of a lack of interest in photography as well as a lack of awareness ¡ of the importance of photography.

Late as it may be, we must start now to collect and preserve photographs to pass on to future generations, just as we do' with other cultural assets," admonishes Limb.

It is not only Limb's wish but also the fervent desire of all Korean photographers to have a photography museum that can preserve the history of Korean photography and promote its future development as both a recording medium and an art.

"There is no such thing as a people without history," explains Limb. "All advanced countries have photography museums in which to preserve and promote their cultural assets. We must establish our own as quickly as possible if we are to develop into a truly civilized nation along with the rest of the world."

59

WorkWanted,1953,Myong-dong

The photography museum is all Limb can think about these days. At an estimated cost of 10 billion won, the challenge of building the museum is daunting. However, the government has indicated that it is willing to pay half the cost, and Limb is hoping that at least a site for the museum can be decided before the year is out.

Limb is known for his stubbornness, which comes from a firm faith in himself and his work. He is a liberal as well as a romantic.

Born in 1912, the youngest son of a 60

wealthy Pusan family , Limb was exposed to art from a very early age and grew up in an artistic atmosphere.

His father had a scholarly disposition and was always reading and practicing calligraphy. All Limb's siblings loved art and music, and in his family's home could be found a wide range of musical instruments from the k6mungo (6-string zither) and taegum (transverse bamooo flute) to the violin and piano.

As a child, Limb liked to draw, and he dreamed of becoming an artist. He

had the talent to match his dream; he won every art contest he entered.

However, his older brother, who also loved drawing, became so jealous of his artistic talent that Limb felt obliged to give up art altogether. This consideration of his brother's feelings exemplifies Limb's generous nature. He was able to give up art but not his artistic nature. He thus took up the violin and dreamed a new dream of becoming an accomplished musician.

Limb's musical skill had just begun to ripen when he got married. Once again he was forced to give up his dream. In those days, musicians were not accorded the social respect they now command, so his wife was unhappy with his career choice.

Limb's introduction to photography was hardly a chance occurrence. His first contact with photography came when he was 14; his oldest brother, on returning from a trip to Manchuria, brought him a German-made camera as a gift, which he thought would help Limb with his art studies. No one would have ever imagined the influence that gift would have on Limb's life.

Limb began to regard photography as a career when his photographs were selected for the Chason Photographers' Association exhibition in 1930. He has since become known as the. "godfather of Korean photography," and is renowned for pictures steeped in humanity such as the photograph of a destitute young man wearing a "Work Wanted" sign on his chest taken in the days after the Korean War, and the photograph Two Girls, which captures two young girls combing a Cheju beach with mesh bags slung around their necks. Over the years Limb has left his mark on many facets of Korean photography, not only in terms of artistic achievement hut also in regard to photography education and promotion.

In the early 1950s, he established the Korean Photographers' Association with Hyun Il-young, who helped set

the trend toward realism. Limb served as its president for 10 years. The association, together with the Korean Photo Artists' Association, which was established by Lee Hae-sun shortly after liberation from Japanese colonial rule, worked to change the perception of photography from an amateur pastime to an art and a profession.

"At first, photography did not have a good reputation in Korea.

Photographers were viewed as people who took snapshots or commemorative photos. We were not given the same respect shown writers and other artists," Limb recalls. "But we rode out the lack of understanding of our profession and managed to join the Federation of Korean Cultural Associations in 1953."

At the time, photography was not regarded as an art in its own right but as peripheral to painting. Limb himself resorted to taking a few picturesque photographs that fit the salon photography that prevailed at the time.

What converted him from a photographer of beauty to a photographer of realism was the Korean War. With the help of a friend who worked for the U.S. Army, he got a job as a war correspondent and was sent to the scene of General Douglas MacArthur's famous Inch'on landing, which turned the tide of the war. However, when Limb saw bloody corpses, soldiers screaming in pain, and bodies mangled by enemy mortars, he could barely bring himself to photograph such gruesome scenes. He went from taking pictures of beautiful things to having to photograph the atrocities of war.

Limb himself was eventually wounded and had to spend several days in a field hospital. While recovering, he had ample time to think about photogra phy and its fundamental nature. He began to ask himself: What is photography? Why was photography invented? What is the purpose of taking pictures?

"I thought I had made a mistake by becoming a war photographer.

Though I realized that the war scenes had to be recorded, I did not have the courage for it. This made me think over some very basic issues and I finally came to the conclusion that the ultimate purpose of photography is to record life. It was from that time that my belief in photography began to grow."

In short, the war made Limb realize that photography is a tool for keeping records and that it was his job to record history and the people who make it. He abandoned the creation of beautiful pictures for the recording of real life. Limb realized that this subject demanded stricter attention to artistry, and from that time, a sense of historical consciousness became evident in all his work.

The photograph that is regarded as the finest example of modern Korean photography is Limb's Work Wanted, from which the country's dire situation at the time can be poignantly understood. The photo is of a young man wearing a sign on his chest on which the words ku jik ("work wanted") are brushwritten with eye-catching, thick black ink strokes. From the picture, one perceives the desperation that forced the man out into the streets in search of a way to feed his family . Photographed in Seoul's Myong-dong area in 1953, the picture of the young job seeker dressed in fatigues and wearing a hat drawn down over his forehead captures the destitution that was prevalent in Korean society in the days following

It is not only Limb's wish but also the fervent desire of all Korean photographers

to

have a photography museum that can

preserve the history of Korean photography and promote its future development as both a recording medium and an art.

Two Girls, 1947, Chejudo 61

Early Summer, 1956, Myong-dong

the Korean War. Having learned firsthand the answer to the question "What is photography?" Limb stands out as a pioneer, a figurehead and witness to the history of Korean photography. His name is always associated with being "the first": the first Korean photographer to participate in an international exhibition, the first to have his work published in an established foreign photography journal, the first to lecture about photography in schools, and the first photographer to be awarded the National Order of Merit for Culture. One could say that Limb's history is synonymous with the history of Korean photography.

There is one event in Limb's life 62

that stands out from all the others: He arranged to bring the "Family of Man" exhibition to Korea in 1957. In an effort to attract that international exhibition commemorating the 25th anniversary of the New York Museum of Modern Art, Limb visited the American embassy to persuade them to lend a hand.

"As the head of the Korean Photographers' Association, I think I must have visited the embassy more than nine times that year. Perhaps owing to the general confusion following the war, the embassy 's response was lukewarm at best, so I sent letters directly to the U.S. State Department. There's a saying that faith will move heaven and earth. Well, one

day I. received a letter from the State Department informing me that they would arrange to send the exhibition to Korea. At the time, more than 70 trucks had to be mobilized to transport the works," recalls Limb.

The exhibition was held at an art gallery inside Kyongbokkung Palace.

The exhibition was so large, however, that the gallery was insufficient, and a special display coordinator had to be brought in for the show. Nonetheless, the exhibition was a great success, attracting over 300,000 viewers during its 25-day run.

Limb's first solo exhibition of documentary war photos was held in Pusan in 1950. However, he was only acknowledged as an artist in 1982,

when the National Museum of Contemporary Art honored him with a full-scale invitational exhibition. The 420 works that were displayed in the exhibition are now part of the museurn's permanent collection.

Although Limb taught himself to take pictures, he is a firm believer in a proper education in photography at the university level. That is why he set up the first university course in photography in the College of Art of Seoul National University and lectured there for over 20 years. Later, when Ewha Womans University established a photography curriculum, he taught there for seven years. He later headed the photography department of Chungang University and even today is keen to develop new talent.

Even now, Limb only takes black-

and-white photographs and insists on developing his prints himself. He feels that only by developing and printing his film himself can he really call a picture his own.

To younger photographers, Limb is a formidable mentor. As a teacher, he is a true educator, and as an artist, he has produced many important works.

In recognition of his contributions to the art of photography, the Seoul municipal government nominated him for a cultural award, but Limb said that he did not want an award of merit, preferring to receive an award for artistry. Because of his principled mentality, Limb is often criticized as a stubborn man who does not know the meaning of compromise.

Although he has never made any money from his photographs, Limb

Racket, 1993,

Myong-dong

says that it would be harder for him to give up his dream to be a photography artist than it was to give up the violin. He says that if he had become a painter, he might have made some money, but that he has never once regretted his chosen path.

Limb is still active as a photographer, and historical consciousness remains one of the most important aspects of his work. His philosophy is that one must look for history in everyday life, and thus his photographs capture images of life.

Writing his own chapter in the history of Korean photography, Limb believes that photography is about simply recording the truth. The photographs he took in the aftermath of the Korean War documented the impoverished human spirit and the dark social atmosphere of that time. One of his most famous works, Forest, shows a hillside with trees whose limbs have been burned away, leaving only the trunks standing.

Following the Korean War, Limb began to create a niche for himself in the world of art photography with images of diverse subjects ranging from bombed-out cityscapes, the suffering of the impoverished, Buddhist tern pies and traditional architecture to portraits of artists such as composer Ick-tay Ahn, painter Chang Uk-chin and writer Chung Pi-sok as well as scenes of everyday life in Seoul's Myong-dong district. Because a photographer must be always on the scene to get the best pictures, Limb still travels back and forth from his home in Kuri, Kyonggi-do province, to Myong-dong three or four times a week.

"Myong-dong is still where things happen. It is in the heart of the city and the place that best reflects social changes. I will continue to record the life of the Myong-dong area until the day I die," Limb says.

Despite his age, Limb's movements as he packs his camera bag to head off to Myong-dong are swift and light. • 63

ALifetime with the Song of the Loom

Kim ChOm-sun Lee Hyoung-kwon Poet Director, Cultural Heritage Research Institute

ut the hemp in the sky.

Grab the clouds and hang it up on the heddle shaft With a spindle made of nutmeg wood With a reed made of jujube wood.

Whirring, purring I weave.

Mama, mama, my mama What will you do with that fabric When my brother gets married?

We will make blue and green cloth.

Clunk, plunk Patter-clunk, plunk.

Weaving was an essential task in every household in the days when communities were for the most part self-sufficient, but it is practiced in only a few places nowadays, which are identified by the products:

A person falls asleep contentedly while listening to this melancholy melody sung to the whirring of a loom. Although weaving is a legacy that evidences the bone-tired, weary lives that our mothers used to endure, the mother who weaves in our memory remains a noble person, almost sacred, whom we hold dear in our hearts.

If we think of all the tireless efforts our mothers put into weaving cotton or hemp cloth, from the gathering of raw materials in the fields to ensuring that the woof and weft closely interlace with each other, it no doubt evokes a feeling of lament much like what one feels when reminiscing about straw shoes made with one's own hair, clipped with a silversheathed knife.

But today the music of the loom to which mothers used to sing has long disappeared. The years into which our 64

Andong fabric, Hansan ramie, Koks6ng fabric, Naju fabric.

m

~.

0

~

mothers poured their hard labor, regrets and longings have become as distant as the Milky Way, which has disappeared from the skies over today's polluted cities. At a time when we miss all-but-forgotten customs, allow me to embark on a journey in search of the song of the loom.

Weaving was an essential task in every Korean household in the days when communities were for the most part self-sufficient, but it is practiced in only a few places nowadays, which are identified by the products: Andong fabric, Hansan ramie, Koksong fabric, Naju fabric.

Today, only a thin thread of tradition is being carried on by those who have been designated by the government. as human cultural assets. This is true of Koksong fabric, which was once included in the tribute presented to the king as a top-of-the-line summer fabric.

The village of Sokkok-m yon , Koksong-gun, Chollanam-do province is referred to as "Tolshil" in the regional dialect, meaning a village in a stonestrewn valley. The fabric woven here is called tolshilnai, meaning__:'fabric produced in Tolshil." Nai is derived from an old expression meaning "to weave."

Similarly, saetgolnai refers to cotton textile produced in Saetgol.

Tolshil residents have long been known for their fine textured hemp cloth. Hemp cloth woven in Tolshil is as delicate as ramie, which is why the

The dried hemp stalks are pounded with a stone to make them soft (left). Then comes the whitening process, which involves repeatedly soaking the hemp stalks in ash water, rinsing it in clean water and stepping on it to squeeze the water out (right).

villagers' products earned a reputation for their exceptionally high quality.

The techniques used to produce an item of tribute for the royal court have been handed down from generation to generation, with this expertise being designated an intangible cultural asset by the Korean government.

Kim Cham-sun, a 79-year-old woman living in the village of Chuksan-ri, nestled among bamboo groves, is Tolshil's best weaver. Though nearing 80, she is still energetic and continues to work at her loom. Her voice is as pure and precise as the finely textured fabrics she weaves.

Nevertheless, she lives in poverty.

Her tiny house, whose thatched roof was recently replaced with slate, looks as though it might be blown over by

the wind at any moment. A dirt wall protects its central veranda. Her kitchen does not even include such basic appliances as a gas stove. Instead, a huge caldron sits. Kim seems ashamed of her miserable living conditions; her smile is empty when she says that her only companions are lice and rats.

Kim has lived her entire life without owning so much as a patch of tillable land, making a living doing needlework and weaving. She has lived in this hut since she married at the age of 20. Her husband was lazy and a gambler to boot. Still, she never resented him or fought with him because she was so grateful for his allowing her mother, who had nowhere else to go, to live with them. She did not even

complain when once, in a reckless moment, he gambled away the deeds to a few acres of paddies that she had managed to acquire with the money she earned from weaving day and night. Having no one to confide in, she would sit at her loom and sing the "Song of the Loom," as the tedious work helped her concerns and worries and her heart to achieve serenity and order, like the texture of her weaving.

As she recalled her past, her eyes reddened.

Kim has two sons and a daughter.

With her earnings from weaving, she managed to take care of her mother as well as put one son through middle school, another through high school and a daughter through college. In those days, her mother advised her to 65

After the whitening process, the ends of the hemp stalks are pounded to separate the filaments (upper left).

Kim uses her fingernails to shred the hemp into strands (upper right). The strands are hung over a pole in preparation for making them into thread (above). Kim rubs the strands over her lap in order to connect their ends (left).

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weave coarse-textured fabrics, because they could be completed more easily and quickly. But for some reason, Kim stuck to making high-quality fabrics, saying that she would rather earn more for the same size of fabric. She never dreamed that by doing so she would maintain the tradition of this region and that one day she would end up being designated a human cultural asset. She says she is not her old self now because she is getting on in years. When she was young, she could easily weave a bolt of cloth in two days, but now it is hard for her to weave ten bolts of cloth in a year. She woul.d like to open a small museum before she dies, so that all aspects of the type of weaving she practices could be kept alive.

Koks6ng tolshilnai, like other fabrics, is categorized as farmers' fabric, medium fabric or delicate fabric, depending on the number of strands between the warp.

Farmers' fabric, which has four or five strands between the warp, was used for making farmers' work clothing and mourning garments. The medium fabric, which has six or seven strands between the warp, was used for ordinary shirts and coats for scholars. The delicate fabric, with nine to twelve strands between the warp, was reserved for royalty or senior govern-

The strands are then made into strong threads by spinning them on a wheel (above).

Finished thread is the result (right). The thread is then wound onto the pukpaniil (lower right).

ment officials.

Kim Chom-sun has woven all three types, and she has spun and woven all materials, from cotton to silk As for the delicate weaving of fabric for which every strand requires extrem e attention and care, no one can do it better than Kim. Kim learned how to weave from her grandmother at a very young age, and she began to work on the loom when she was 11. From the time she married and came to live in Chuksan, a village renowned for its royal tribute items, her main occupation has been weaving. She has been weaving for almost 70 years now.

Kim strokes the back of her hand as she talks about how she used to stay up for several nights to finish a bolt of fabric to sell at the Tolshil temporary

market, while describing her labor as harder than giving birth. Considering the amount of effort involved in weaving a bolt of cloth, one can understand why she describes weaving this way.

Kim begins the preparations for weaving around the time of the lunar calendar's Soso ("small heat"), which falls on July 7 or 8. She begins by harvesting fully grown hemp, removing the leaves and steaming the stalks in a cave reserved for that purpose.

After the stalks are steamed, the outer layers are peeled off and then bound together and allowed to dry.

What is crucial is the degree of dryness.

If the hemp stalks become too dry, it is difficult to make thread from them, and if they are too moist, they rot.

The dried hemp stalks are segregat67

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When the threads are ready, the warp is set up depending on the intended width of the cloth and the desired ply.

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ed by quality into top, medium and low. Then it is decided how each will be used; for example, as fabric for a man's long coat, a regular set of clothing or a mourning shroud. Then comes the whitening process, which involves soaking the hemp stalks in ash water made from burned rice stalks. This process is one of the secrets of tolshilnai. The color of hemp cloth from other regions that is not put through this type of whitening process cannot compare with tolshilnai.

After the whitening process, Kim uses her fingernails to shred the hemp stalks into strands, which she then makes into threads by rubbing them over her lap. In the rubbing process, the ends of the threads are connected, and they are placed in a basket in a neat pile to keep them from becoming tangled. They are then made into strong threads by spinning them with a wheel.

When the threads are ready, the warp is set up depending on the intended width of the cloth and the number of strands. Then the warp is wound; it goes through the reed, one end fixed on the warp beam and the other end tied to the shaft. It is then pulled taut, and starch is applied with a brush to the warp's beam side before the warp is wound on the beam , underneath which a low-heat chaff fire pot sits to facilitate the even application of starch.

When the warp is wound, the beam filled with the warp is set on the loom and then a stretcher beam is placed between the warp with two different courses of threads. The warp under the stretcher beam is hung on the heddle.

This warp is called the heddle thread, while the other is called the controlling thread.

Only after all these preliminary processes have been completed can Kim sit at the loom and begin weaving.

She pulls and pushes the treadle with her right foot, so the heddle thread alternates with the controlling thread, from top to bottom and then from bot-

Kim weaves on her loom (above). Tolshilnai is finely woven and very white as a result of the special whitening process (right).

Tolshil residents have long been known for their fine textured hemp cloth Hemp cloth woven in Tolshil is as delicate as ramie, which is why the villagers' products earned the reputa tion for exceptionally high quality. The techniques used to produce an item of tribute for the royal court have been handed down from generation to generation. tom to top. With one hand she moves the shuttle filled with the weft from left to right to feed the filling, and with the other hand she beats the reed to ensure tight interlacing with the warp.

This is how the fabric is made, one strand at a time.

But after all her efforts, the hemp produced by Kim hardly commands a favorable price. Only rarely do people with a discerning eye appreciate hand-

made hemp, and the number of people with an interest in buying it has dwindled over the years.

Kim says that she has heard about people in Seoul who spend millions of won for a suit or a dress. She sometimes feels offended that they do not appreciate her work, in which each strand is interlocked with the greatest care. As a result, she often feels disheartened sitting at her loom today,

although in the old days she never felt that way.

She accompanies me to the edge of the village to see me off, standing there waving her hand. This traveler's heart is darkened like the night road.

Behind that darkness, the bamboo groves to the rear of Kim's house seem to rustle and moan, and my ears seem to hear the plaintive clamping of her loom. + 69

DISCOVERING KOREA

Sapsaree Guardians of the East Sea Haji-hong Professor of Genetic Engineering, Kyongbuk National University Vice Chairman, Korea Sapsaree Preservation Society

nee a Sapsaree dog forms a bond with its owner, that bond can never be broken.

So loyal are these dogs that they have been known to wait outside the village gate at sunset for their master to return home. The Sapsaree's rather comical appearance belies the depth of its loyalty and resolute character. No wonder people used to say that no ghost would dare enter a yard guarded by a Sapsaree.

The Sapsaree is a small dog, but its mental toughness is formidable and legendary.

An inveterate dog lover, I first came across the Sapsaree 30 years ago, when I was in middle school. At the time, I remember thinking that the dog looked peculiar, especially compared to a German shepherd or a Chiodo, the latter indigenous to Chiodo island off the southwestern coast of Korea. The Sapsaree's face was hidden behind coal-black, shaggy fur.

In Buddhist tradition, long-haired dogs have always been treasured. In Tibet, long-haired terriers were bred at Lama temples to chase away ghosts, and in Tang China, the Pekingese was the dog of emperors, raised only in palaces. In Japan, the Komainu guarded the ruling and aristocratic classes.

The Sapsaree is a noble and devout breed. A descendant of Shilla royalty, the monk Kim Kyo-kak-who in China was revered as the incarnation

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The Sapsaree's rather comical appearance belies the depth of its loyalty and resolute character. No wonder people used to say that no ghost would dare enter a yard guarded by a Sapsaree. The Sapsaree is a small dog, but its mental toughness is formidable and legendary.

This picture of a Sapsaree dog is believed to have been painted by a court artist some 200 years ago.

of the deity of wisdom-took his Sapsaree along with him wherever he went. In Tibet, China, Japan and Korea, these "lion" dogs were truly a breed apart.

Occasional references to the Sapsaree can be found in records dating back as far as the Shilla Kingdom (57 B.C.-A.D. 935). Yu Ch'6n-mae, an army commander during the Kory6 Dynasty (918-1392), wrote in a poem that a chorus of barking Sapsarees from the south could counter wild horses from the north. The dog is also mentioned in the legends of Ch'unhyang and Sukhyang, as well as in many folk tales and proverbs.

Truly, the Sapsaree was a favorite with Korea's ancestors, as well as the dog of choice among royals.

Compact size and long hair characterize the Sapsaree. The breed can be roughly divided into two kinds: the yellow Sapsaree and the blue Sapsaree, the latter so named because of its blue-black fur. Although it may also have some light gray fur, the blue Sapsaree projects a midnight-blue or black appearance. In the moonlight, its color is said to be a true blue. In contrast, the coat of the yellow Sapsaree is a mixture of yellow, gray and black, making it appear blond.

What the two varieties have in common is the long fur that covers the dog's entire body and creates a lion-maned face. Its floppy ears and eyes, which are covered by the long

Adult blue (left) and brown Sapsaree

hair give the Sapsaree a comical appearance. Its head and body are evenly balanced. Male dogs have large heads, while the rest of its body is well developed. Except for its nose, th e entire face is covered with fur, even its mouth. When first born, a Sapsaree is completely black, but after six months it sheds this coat, and light gray fur grows in with the black.

Even the yellow Sapsaree is born with mostly black fur, but after shedding it changes to blond.

Thus, the Sapsaree is unique, even among Asian breeds. Scant information exists as to where the Sapsaree originated or how it came to the Korean peninsula. In the Kyongju area , oral tradition has it that just before the co llapse of the Un ifi ed Shilla Kingdom, commoners began to breed Sapsaree-previously reserved for kings-and they soon became a

fixture in the so uth ern part of the peninsula. As for the dog's origin, it seems reasonable to speculate that the Sapsaree came from India, the Middle East, China or some other distant land.

After all, Shilla was a naval power with trade routes a ll over Asia. No matter where it came from, there is no doubt that the Sapsaree's home is Korea. According to the Hunmongjahoe, a textbook for commoners written during the mid-Choson Dynasty (1392-1910), the Chinese character for dog, "kyon, " was used interchangeably with the native Korean word "sapsaree." The fact that the two words were used interchangeably suggests that the Sapsaree was a very common breed.

"Sapsaree" is a n original Korean word used from long ago. The first sy llable, "sap," means to dig out, and the seco nd , "sa l," means ghost.

Therefore, "Sapsaree" literally means "dog that roots out evil spirits". Even those who don't know the origin of the name do know that wherever the Sapsaree watches, there are no evil spirits. So the Sapsaree is preceded by its reputation.

The Sapsaree is an unusually hardy dog. It can survive all winter outdoors if need be. Despite rain and snow, the Sapsaree never gets ill. It is truly amazing that it can endure freezing rain all night long, and still emerge the next morning none the worse for the wear.

The shaggy fur that protects the Sapsaree in winter can become a furnace in the summer months of July and August, and yet the Sa psaree never seems to suffer. Over the centuries, the Sapsaree has ideally adapted itself to the extremes of the terrain and climate of the Korean peninsula.

As for its personality, the Sapsaree 71

An adult Sapsaree has droopy ears and bushy hair that hides its eyes (top);Sapsaree puppies frolic in the snow (above).

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is unswervingly loyal to its master.

The bonds of loyalty go beyond mere memory-it is more akin to devotion.

Several years ago, my younger brother and I gave a Sapsaree puppy to a friend. When I visited that friend's house recently, the dog-known for its valor and fierce temper-still remembered me, remarkably enough. We were all amazed at how friendly and playful it was toward its former master. Certainly, I had played with it as a puppy, but we were all surprised by how it wagged its tail at me as if out of habit, while it all but ignored my friend, who had fed and sheltered it all this while. For this reason, it is not easy to earn the trust of a Sapsaree.

But underlying this apparent indifference is a warmth and fealty not found elsewhere.

This devotion is depicted in artworks as well as popular culture. In a 10-panel landscape painting, Chang Sung-op (pen name Owon, 1843-1897) portrays a Sapsaree with huge eyes gazing at a treetop. A painting of a farm by Kim Hong-do (1745-1806?) shows a black Sapsaree loping along behind its master. As further evidence of the popularity of the Sapsaree, the dog is often mentioned in folk songs and reminiscences of older Koreans.

If the Sapsaree has been so beloved over ~he ages, why is it suddenly facing the danger of extinction? There are various reasons, but the most significant appears to be the Japanese policy of systematically eliminating all forms of indigenous Korean culture during its occupation of the Korean peninsula. In the 1930s, the Japanese were spurred by a zeal to preserve their own native species such as the Akita, Shiba, Kishu and Hokkaido. A preservation society was founded, and the government designated these species as "living monuments."

Related to this policy, Korean dogs were rounded up in a quest to identify the breeds most similar to Japanese dogs, with the Chindo being so designated. The Japanese tried to mold the

Chindo into something of their own.

They tended to keep only those Chindo dogs that conformed to their own standards, killing those that did not. The Choson Fur Company, established by the Japanese, slaughtered all other dogs, which were considered "mutts." This extermination of dogs is unprecedented in history. According to records, 300,000 to 500,000 dogs were slaughtered every year during World War II. The leather was shipped to Manchuria, where it was used to make winter uniforms for Japanese troops.

Not only were dogs that did not conform to Japanese standards exterminated, but those breeds that were considered pugnacious and natural fighters were butchered as well. The Sapsaree-so similar in temperament to the Korean people-was a natural target. Even after liberation, the Sapsaree seemed doomed to extinction as Western culture flooded onto the peninsula. Anything foreign was considered novel and exciting, and it was not long before Western dogs were being imported as pets, hastening the disappearance of the Sapsaree.

Yet the Sapsaree have not completely died out. There are currently 300 purebred Sapsaree dogs still alive on the Korean peninsula.

Two professors at Kyongbuk National University, T'ak Yon-bin and myself, founded a society to preserve the species in 1992. The government has since designated the Sapsaree as Natural Monument No. 368 and is sponsoring new studies and research projects to encourage the preservation of the breed.

It is hoped that through the Sapsaree, Koreans will be able to rediscover their long-standing tradition of caring for pets, and to view native breeds in a new light.

Today, a Sapsaree stands guard at the lighthouse on Tokdo Island in the East Sea. Watching over Korea's terri¡ torial waters is just one of the Sapsaree's many duties. •

Professor HaJi¡hong, who has successfully revived the Sapsaree breed from the verge of extinction, cuddling a Sapsaree (above); a brown Sapsaree puppy (below)

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rom long ago, Tamyang in Chollanam-do province has been noted for its bamboo products. This tradition has endured until today, as the bamboo ware of Tamyang is revered throughout Korea; in fact, the town's name has become synonymous with bamboo.

There is a story about an old lady from Ch6nju who, 400 years ago, succeeded in creating a fine-tooth bamboo comb after three years of tinkering with pieces of bamboo during the off-peak seasons. This legend is a reflection of the keen interest that Koreans have had in the making of bamboo ware, which first began in the Tamyang area.

In 1916, an organization called Chinsokye (the Fine-Tooth Bamboo Comb Mutual Loan Club) was founded in Tamyang. It grew over time and in 1959 was reorganized as the Tamyang Bamboo Ware Cooperativ~.

During the 1980s, the number of households engaged in the production of bamboo products grew to about 7,000, or 30 percent of the residents of Tam yang.

The town's bamboo market was first called "Satkat ch6mm6ri," because it was the main distribution center for satkat, a woven bamboo hat worn by men during the Chos6n Dynasty (1392-1910). The market is located in Mansong-ri, Tamyang-up, along a broad riverbank of the y ongsan-gang facing Kaeksa-ri. It was opened here because a wide-open area was needed to accommodate the generally bulky bamboo products and because the ground is covered with pebbles, allowing for easy drainage during the rainy season. Due to the market's large scale, products from other areas also came to be traded here, transforming the riverbank into a regional distribution center.

The market opens every five days on the 2nd, 7th, 12th, 17th, 22nd and 27th of each month. On these days, producers from throughout the area

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come to the market to sell their products. The market opens at 5:00 a.m., reaches a peak around 8:00 a.m., and closes at noon. Local farmers, the actual producers of the bamboo goods, supply the items, which are bought by brokers from across the country.

The Tam yang Bamboo Ware Promotion Complex, established to uphold the tradition of bamboo crafts and to increase the competitiveness of bamboo goods by providing a one-stop service from production to sales (above); the approach to the famed Tam yang bamboo market (below); bamboo mats (far right)

Because of bamboo's flexibility, it can be used to create products with a wide diversity of shapes. Bamboo is particularly suitable for making summer products, due to its cool feel to the skin.

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History of the Tam yang Market Unlike today, the bamboo market of the Choson era apparently shared the same space with the traditional market held in Tamyang-up.

According to Yimw6n Ky6ngjeji, a document from the 1830s, bamboo products including men's hats, kitchen utensils, fans, colored mats and boxes were traded in the market as well as grains such as rice and barley, hemp and cotton clothing and boxes made of willow. At the time, bamboo wares were also produced in large q).lantities in Namwon, Naju and Chong-up, all in Cholla-do, where they were traded locally. Naju was a production center for all types of bamboo wares, Namwon for crafted tobacco pipes and Ch6nju for fans.

According to reports by the Japanese colonial government in the 1920s, Kwangju and Naju were the principal trading centers for bamboo products in Cholla-do. The goods were transported to Kwangju and then distributed to other areas within the provi.n ce as well as to Ky6ngs6ng, Kunsan and Inch'on. Tamyang's bamboo products appear to have been distributed throughout the nation after having been sent to Kwangju, the region's central transportation hub at the time.

Accordingly, it was only after the late Japanese colonial period that Tamyang emerged as the center of the production and distribution of bamboo products such as combs and hats, and later evolved into a specialized market, thanks to the development of transportation networks.

Production of Bamboo Wares Bamboo stalks are usually harvested

when they are three or four years old during the period from October to March. The stalks are cut into 1-meter lengths and bundled together in units of 100 and 500 pieces for sale to producers for the making of various products. Because of bamboo's flexibility, it can be used to create products with a wide diversity of shapes. Bamboo is particularly suitable for making summer products, due to. its cool feel against the skin. During summer, Koreans used to hang woven bamboo blinds in their open halls or from the frames of open doors to serve as a screen and facilitate ventilation. The chukbu-in, or "bamboo wife," is a woven bamboo tube about 110 centimeters in length and 20 centimeters in diameter used as a sleeping aid. It is generally held close to the body with one leg slung over it. Because the tube is empty, air easily passes through it, helping to keep the sleeper cool. Most bamboo products including fans are mainly used to help people endure Korea's sultry summers.

The satkat, a pointed hat traditionally worn by men for protection against the elements and to convey dignity, is made from thin bamboo strands whose ends are woven together to form a pointed top, which gradually broadens toward the brim. A round frame called misari is placed inside the hat so that it can be worn securely on the wearer's head.

Other everyday items made from bamboo include pillows, pipes, ashtrays, boxes, canes, lunch boxes, winnows, quivers, farming implements, and musical instruments such as the p'iri (a cylindrical double-reed instrument similar to an oboe), taegum (a large transverse bamboo flute) and saenghwang (a mouth organ).

All of these items were once handcrafted by farming households.

However, production has been declining steadily since the 1960s due to shrinking demand amid growing preferences for more decorative items such as flower baskets and accessories.

Nevertheless, Tamyang has consolidated its foundation as Korea's main production center of bamboo products, thanks to local government efforts inCluding measures to mechanize production processes. Such efforts also include the establishment of the Tamyang Bamboo Ware Art Center in Chij6m-ri, Tamyang-up. Equipped with mechanized facilities, the center was

fans, winnows, screens, mats and chukbu-in. Today, however, less than half of the items offered for sale are daily commodities. During the Japanese colonial period, about 30,000 satkat were sold on market days, with some even being exported to China and Japan, but they are rarely seen today.

Combs were also traded in large quantities, leading to the formation of bamboo comb mutual loan clubs. Today, a fine-tooth bamboo comb is no longer a ~¡ daily necessity but a relic. In the 1960s, e: bamboo jewel boxes, flower baskets, toys, chairs and pillows were commercialized, resulting in brisk exports to the United States, Britain and Japan.

The export boom was short-lived, however. With the emergence of plastic goods and inexpensive Chinesemade bamboo products, the price competitiveness of Korean items declined.

Moreover, production fell due to a rapidly decreasing farming population.

These days, women merchants selling a small assortment of baskets, winnows, trays and car seat covers, which they personally make by hand at home are a common sight in the market. There are also merchants from other regions who import bamboo products from China and Vietnam for sale to brokers who then sell them at retail prices elsewhere. Consequently, the ba~boo market is gradually turning into a wholesale market where the prices can differ on each market day.

Permanent shops, open every day, have also opened in downtown Tamyang, luring customers who visit to see the famed Tamyang bamboo market.

The Tamyang Bamboo Ware Museum, located in downtown built with financial assistance from the Tamyang, displays a wide variety of provincial and county governments. bamboo artifacts. Opened in 1981, the museum occupies a building with one Current Status basement floor and two floors above The change in the types of wares ground, with plans for expansion in offered at the bamboo market are the near future. A 10-day bamboo festiindicative of Korea's industrialization. val is held annually beginnning May 10 In the past, the main items of trade to promote the production of tradiwere baskets, satkat, fine-tooth combs, tional bamboo wares. •

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ARTISTS OF KOREA

Stage Director

Yun Ho-jin Koo Hee-sue Drama Critic

tage director Yun Ho-jin is currently enjoying extensive TV and press coverage for his recent production of the hugely successful musical The Last Empress, which premiered at the New York State Theater of the Lincoln Center and was later staged in Seoul. His name alone is enough to attract theatergoers as they know they can count on a memorable and enjoyable theater experience. He is a highly competent director who can pack the Opera House at the Seoul Arts Center, one of the largest performance halls of its kind in Korea. He is also a persuasive activist who can get Korean businesses, known to be tight-fisted in their support of cultural activities, to loosen their purse strings.

Yun touches his audiences through the works he stages. He is skillful at ensuring that all the elements associated with a production, from its title and subject to its sets and promotion, are outstanding in every detail. He is particularly adept at exploring contemporary themes and producing avantgarde works. The actors and actresses who work with him invariably become much better performers, while the members of his production staff become first-rate professionals. As such, he is an exceptional director capable of adding significant value to all aspects of the stage.

Although the performers and stage people with whom he works are already talented, they step up their per-

formance and dedication from the moment they set foot on his stage. The same applies to playwrights, composers and musicians. Even before Yun begins to talk, his subject matter assumes a heightened sense of importance.

Such talent perhaps originat.es from Yun's personal character rather than his competence as a stage director. He is a Gemini, born on june 7, 1948. Geminis are said to be so persuasive that they could sell refrigerators to Eskimos. Most of the people who meet Yun find him to have a good sense of humor with a serious, diligent, easygoing and extremely captivating manner: These personal traits are manifested to the fullest on the stage. As a director, he is able to earn the trust of both the peopl~ he works with and his audience.

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Yun Ho-jin touches his audience through the works he stages. He is skillful in ensuring that all the elements associated with a production, from its title and subject to its sets and promotion, are outstanding in every detail. He is particularly adept at exploring contemporary themes and producing avant-garde

work!:>~

The ShilhOm Theater Company Yun's mother was appalled when her only son, who majored in precision machinery at Hongik University, decided to radically alter his life by taking up theater. Nonetheless, Yun managed to persuade her to let him have his way. His mother came to believe in his determination and talent, and later personally called on Kim Tong-hun, then head of the Shilh6m Theater Company, to ask him to keep ¡ an eye on her son's future.

This is how Yun began his now illustrious career with the Shilh6m Theater Company. At that time in the

1970s, this drama group, a coterie selection of the cast to the interpreta- praise and sympathy from his audition of the original work and the di- ences, who recognized his noteworthy troupe founded by influential university theater figures in 1961, was poised recting. talents. for a major change as its key performIn 1975, the Shilh6m company reloHe spent his thirties on that small ers began seeking new careers in TV. cated its small theater to Unni-dong in stage in Unni-dong, save for a short peThis enabled Yun to train with one of Chongno-gu. This marked the beginriod in the mid-1980s when he went to ning of an era of small experimental the most renowned theater troupes in the United States to study. He turned Korea. stage productions as well as Yun's perthat period of his life into a fruitful exAt the time, the Shilh6m company's sonal success. perience. It also provided him with the influence was declining as a result of Yun directed many successful ex- starting point for his second takeoff. the sudden departure of prominent perimental works at the Unni-dong He worked diligently while directing performers. The troupe was just start- Shilh6m Small Theater, earning him and planning many successful perforing to experiment with new types of considerable fame. The first was Green mances at the theater and also directed productions and recruit new perform- julia in 1976, which received critical ac- a number of significant plays for larger ers in an effort to stages. overcome its diffiAnother monuculties when Yun mentally successful decided to join the play he presented at company. the Shilh6m compaAmong the comny's small theater was Agnes of God, which pany's projects was the establishment he staged in 19~3 after of its own small seeing the original on Broadway. theater in front of the Secret Garden The production in downtown Seoul. ran for a lengthy periAlthough the theod of time, bringing ater could only acYun much acclaim commodate about and public respect.

Agnes of God has 50 people on benches, having an exclubeen staged several sive stage available times since then and year-round in itself remains a favorite enabled the troupe with experimental A scene from the New York production of The Last Empress theater groups, enjoyto greatly enhance ing a successful run its possibilities.

Yun, who was emerging as one of claim as an impressive stage produc- each time it is performed with a differtion that demonstrated his unique tal- ent cast. the new powerhouses in experimental ent as a director.

Yun received the top director award theater, decided to use this stage to introduce his first work and as a venue The Island, which debuted in 1977, and also the grand prize in the Dong-A broke the record for the longest-runfor accumulating valuable experience Theater Awards in 1978 and 1981 for The Island and Agnes of God. These on his way to becoming a distinning play in Korea, previously held by guished director. Most of the time, he Equus; the record remains intact today. two plays were instrumental in distinwas able to virtually monopolize the One of the best-known works of Athol guishing him as a leading stage director. small theater, thereby allowing him to Fugard, The Island can be likened to Other significant works that Yun earn a reputation as a gifted young dithe voice of conscience of South staged at the Shilh6m company's small Africa, then notorious for its apartheid theater include Master Harold and rector with the talent to shape the fuBlood Knots by Athol Fugard , Dr. ture of experimental theater. policy. The play was staged at a time Cook's Garden by Ira Leven, Man's Son His earliest productions, such as Euwhen Korean society was also haunted

by Yi Mun-y61, One for the Road by gene O'Neill's one-act play The Arson- by the imprisonment and torture of ists and Max Frisch's The Queen and political dissidents. Despite the political Harold Pinter and Extolling Death by Yun Tae-s6ng. Yi Mun-y61, a promithe Prostitute, were exceptional in their difficulties the play created, Yun sucnent author of numerous best-sellers, level of detail and perception, from the ceeded in staging it and earned much 79

The actors and actresses who work with Yun in variably become much better performers, while the members of his production staff become first-rate professionals.

As such, he is an exceptional director capable of adding significant value to all aspects of the stage.

Yun Ho-jin directing The Last Empress, slated for a return performance in New YorkinJune

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worked directly with Yun on the adaptation of his novel Man's Son into a play, and he continues to write plays for Yun today. Their most recent work, The Last Empress, is the result of a joint collaboration over an extended period of time. As for Extolling Death and One for the Road, Yun directed these after returning from his study in the United States.

Yun's Return from the United States Yun first studied theater through experimental workshops and actual performances. However, seeking to augment his field experience with academic studies, he received a master's degree

in theater and film from Dongguk University in 1980. He also earned a degree in performing arts from New York University in 1987. In 1988, when hereturned to Korea following his study in the United States and his attendance at a training session subsidized by the Korean Culture and Art Foundation, his career as a stage director took off in a new direction. The plays that he has produced since that time are clearly distinguishable from his previous works.

First of all, the scale of his produc-

tions changed, manifested in the difference in the size of the stage and also in the method, dimension and depth of his interaction with the audience. His selection of works underwent transformation as well. Previously, he mainly staged Western plays that he regarded as outstanding, but after 1988, he began to develop a passion for promoting the works of Korean writers. Whereas his earlier works were centered on dialogue, his more recent projects incorporate music, dance and art and are oriented more toward musicals and composite productions.

The first sign of such changes was revealed in P'algokby6ngp'ung, which was written by playwright Oh T'ae-s6k and performed by the National Theater Troupe. It premiered as part of a cultural festival held in conjunction w ith the 1988 Seoul Olympi.cs. Yun sought to demonstrate the beauty of Korea's traditional dance and music in directing Oh's play, which dramatized a legend from the Shilla Kingdom (57 B.C-A.D. 935).

Yun also presented Shilbimy6ng, an experimental work written by ChOng Pok-kun, at the annual Seoul Theater Festival. He highlighted the visual as~ pects of the stage and the movements of the actors. It was about this time that he reworked Extolling Death, turnin~ it into a musical for small theaters.

Yun then began to exert conscious efforts to overcome the limitations of the Shilh6m Theater Company's rigid production system. He tried to introduce changes to the troupe in areas where he had ¡gained expertise. His efforts led to the production of Anthony and Cleopatra in 1991. He invited a London stage artist to design the set in order to enhance the elegance of his work. This was also an effort to breathe new life into the Shilh6m Theater Company's small theater, which had fallen into a slump while he was away in the United States. He again concentrated on securing sponsors, persuading them to subsidize the costs of

a total interior makeover, and on rekindling the interest of theatergoers with a new repertoire of plays. He also presented an encore performance of Agnes of God, a favorite standby for rescuing the small theater whenever it was on the brink of decline.

The Shilhom Theater Company, however, was no longer large enough to accommodate Yun, who thus decided to work as an indepepdent in order to produce plays suitable for larger stages. This led to the creation of Arts Communication (A-Com), a troupe that specializes exclusively in musicals.

New Focus on Musicals A-Com started out with a system somewhat different from those of other domestic troupes, most of which are coterie groups or revolve around a particular individual. Although Yun sets the direction for A-Com, a management committee assists him in its financial administration and operations. He has also received support from a number of theater and business people eager to assist him with his new endeavor.

Upon its founding, A-Com decided that Yi Mun-yol's The Last Empress would be its first major production. Before staging it, however, A-Com auditioned performers and trained a troupe to stage Guys and Dolls, a production that demonstrated the capabilities of the new troupe. The play, produced in concert with Chong Chin-su, stage director of the Minjung Theater Company, enjoyed commercial success.

Guys and Dolls was produced as a means of preparing for The Last Empress, the curtain for which was finally raised in December 1995. Yun poured all his experience and talent as a stage director into this musical, a work that can be regarded as the culmination of all the relationships he had nurtured through the years. It was unprecedented in the scale of its production.

The Last Empress fully exhibited the grand ambition and aspirations of Yun, who will not tolerate anything but the

best in all his projects. The play was exceptional in every regard. The first pr<r duction received accolades on many points, verifying the debut of a musical in the genuine sense, the founding goal of A-Com. A-Com staged an encore run of The Last Empress and then began to pursue the possibility of its performance overseas. Meanwhile, it also produced another musical based on popular novelist Choi In-ho's The Winter Vagabond, which had been also adapted into a movie. A-Com is currently discussing the production of yet another ambitious work, Mongyudow6ndo, with novelist Choi, which is indicative of

lavish production necessitating such a large budget that it caused concern in the local theater community. But thanks to Yun's efforts the performance was a success, receiving high marks from the New York Times.

The Last Empress is the product of Yun's resolute commitment, his refusal to accept failure or frustration, his strong desire for the greatest and the best, and his immense pride in producing a "cultural product representative of Korea."

He is currently preparing for an encore performance of the The Last Empress in New York as well as performances in Los Angeles, London and

The success of The Last Empress provided a great impetus to the development of cultural performances representative of Korea.

Yun's relentless drive and big plans for the future.

Yun received the Korea Musical Award's grand prize for three consecutive years from the first year of its creation, consolidating his leadership standing in the field of musicals.

The Last Empress Overseas The Last Empress finally premiered at the New York State Theater of the Lincoln Center in August 1997. The musical, which had newly recruited an opera singer for the main role, was a

Paris. He is also planning to follow up on the overseas success of The Last Empress with Mongyudow6ndo, which he intends to present as another cultural product representative of Korea.

Yun Ho-jin has more than fulfilled the expectations of Koreans in regard to the globalization of Korean theater as a stage director with persuasive powers who inspires trust and boundless optimism. He possesses an unwavering determination and an intense passion and knowledge of the stage. â&#x20AC;˘ 81

Namsan Hanok Village: A Unique Cultural Space in Central Seoul Chang Se-jeong Reporter, ]oongAng Ilbo

A

new tourist attraction opened on Mt. Namsan in central Seoul on April 18, 1998. It is a village of restored hanok, Korean traditional houses.

The three-year-long municipal undertaking to commemorate the 600th anniversary of Seoul's selection as Korea's capital city, has been completed, and the village is open to the public.

Namsan village is expected to attract 200,000 tourists, both Koreans and foreigners.

The village is located on a site that encompasses about 8,000 square meters of land in Pil-dong, Chung-gu. The site, which used to be part of the Capital Garrison Command, was purchased by the city in 1989. According to historical municipal records, the site had been used by the national military training corps or by educational and publishing agencies since the reign of King Y ongjo (r.

1724-1776) of the Choson Dynasty (1392-1910). A military post since it was occupied by Japanese troops during the Tonghak farmers' rebellion in 1894 and most recently by municipal defense forces, it is now a space for Korean traditional culture.

One of the attractions of the village is its accessibility. The village's 82

traditional houses have a much different air about them than Seoul's royal palaces such as Kyongbokkung and Toksugung. Whereas at the palaces one can get a feel for Korea's traditional royal culture, the hanok village is where one can get a feel for how the yangban (aristocrats) and commoners lived. The village, however, has one disappointing feature: It includes only kiwajip (tiled-roof hous-

es); there is not one ch'ogajip (thatched-roof house), more commonly used by the lower classes.

A five-minute walk toward Namsam from the Chungmuro subway station is a traditional lofty gate. This is the main entrance to the village. Walking through the gate, one is overwhelmed by the view of the dense forests and rock formations on the mountainside, with Namsan Tower as a backdrop . .

Positioned peacefully on the left is a large pavilion with an artificial pond. Water is pumped into the pond via a 200-meter-long excavated gully west of the Capital Garrison Command. The pond seems a perfect place to while away an afternoon sailing a paper boat with one's children.

The five kiwa houses to the east of the pond are the village's main buildings. These houses were moved from various locations in Seoul and restored. They are furnished in such a way as to match the status of the owner, showing the lifestyle of the people of the Choson Dynasty and thus making the village a living museum of cultural history.

The first building one comes to is the house of Yi Sung-op, who was a Tobyonsu, or head carpenter, during

the late Choson period. Built in 1860, the house was originally located in Samgak-dong, Chung-gu. Of its original buildings, only the anch'ae, or women 's quarters, and the sarangch'ae, or men's quarters, were moved to the village and restored.

One can savor Korean tea and traditional confectioneries while enjoying the elegant lines and natural beauty of the house.

Facing Namsan is the house of Kim Ch'un-yong, who was an owijang, a junior military officer.

Originally built at Samch'ong-dong, Chongno-gu, in 1890, the house has single-layered eaves, a style typical of commoner homes. Inside, one can watch exhibitions performed by spe-

cialists in such handicrafts as kilssam, a traditional dyeing technique; the making of hanbok, the Korean traditional dress; and maedup, the creation of ornamental knots.

Once known as one of the eight prominent houses of Seoul, the house of Pak Yong-ho originally comprised five separate buildings. Three buildings, however, were destroyed, and only the sarangch'ae and py6ldang (annex) have been restored. With its kitchen and anbang facing in the same direction, the house is laid out in a style more common in the Kaesong area of P'yongan-do than in Seoul. The largest of the five restored homes, the Pak Yong-ho residence hosts two or three traditional wed-

These houses were moved from various locations in Seoul and restored. They are furnished in such a way as to match the status of the owner, showing the lifestyle of the people of the Chos6n Dynasty and thus making the village a living museum of cultural history.

The Namsan Hanok Village on the northern slope of Mt. Namsan

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In the large courtyard in front of the souvenir shop, vario us live performances of court music, sam ulnori (percussion music), traditional martial arts~ and traditional drama are held.

The Namsan Hanok Village has quickly become a popular site for photographing traditional Korean scenes.

84

ding ceremonies each week On the weekend one can watch a traditional wedding here and enjoy music played on the kayagum (long 12string zither) and k6mun-go (6-string zither).

At one house, the shrine and main complex form the shape of the Chinese character :lG; this was the house of Yun T'aek-yong, the fatherin-law of King Sunjong (r. 1907-1910), the 27th and last king of Chason.

Originally located at Chegi-dong, Tongdaemun-gu, this residence was destroyed by fire in the turmoil of the nationwide civilian uprising on April 19, 1960. The house was designed to function as a place for performing ancestral rites. Lessons in traditional customs, the tea ceremony, and the etiquette of courteous conversation can be learned in the house.

Located near the pond is a house in the shape of a square. This was the childhood home of Queen Yunbi, Sunjonghyohwanghu, the queen consort of King Sunjong; she lived in the house until she was 13. After she was selected to be crown princess, the house w as remodeled elaborately and is thus regarded as a house of the highest class. Originally located in Okin-dong, Chongno-gu, it will be used as a classroom for calligraphy and painting lessons and as a s6dang, a traditional educational facility.

There is also a souvenir shop where one can buy various traditional handicrafts made by artisans. In the large courtyard in front of the shop, various live performances of court music, samulnori (percussion music), traditional martial arts, and traditional drama are held.

The nearby "time capsule plaza" was built in 1994 to commemorate the 600th anniversary of Seoul's selection as Korea's capita l city. The plaza is located up the hill that leads from the

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village toward Namsan. There, a statue shaped like a volcanic crater marks where the time capsule is buried. The time capsule, which holds 600 items of Seoul memorabilia, will be opened in the year 2394, when Seoul will celebrate its lOOOth anniversary.

The 6,600-square-meter traditional garden that surrounds the village is another attraction. One can enjoy several pavilions and ponds as well as trees, flowers and grasses native to Korea. There are some 30,000 trees altogether, including apricot trees, flowering peach trees, wild pear trees and Chinese quince trees, which are endemic to Korea.

After spending an hour or two in the village, the traditional garden and the time capsule plaza, one will be imbued with the "fragrance of tradition." +

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The interior of a house complete with traditional furnishings(top); the house's study area (above)

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1998 Korean Photographic Image Exhibition Ahn Hai-ri Reporter, joongAng Ilbo

cholars differ when it comes to pinpointing the exact date photography was first practiced in Korea, but they all agree that it was introduced to Korea about 120 years ago. Some say that the birth of Korean photography should be dated back to 1872, the year that Korea's oldest surviving photograph, a portrait of 0 Kyong-sok , was made.

Others say that the real beginning was when Koreans could take pictures without the help of foreigners; in other words, when Chi Un-yong returned to Korea after studying photography in Japan and opened a studio in 1884, making him the first Korean to bear the title photographer.

Whatever the real date, it is clear that the history of Korean photography is substantial and encompasses a broad range of photographic research and activity. Nonetheless, the development of photography in Korea lags behind that of other art forms. This is evidenced by the fact that there is no photography museum in Korea that can serve to promote the basic function of photography as a recording medium.

As such, the designation of 1998 as The Year of the Photographic Image is all the more meaningful to photographers. The purpose of the designation is to raise the profile of the country's more than 50,000 photographers.

One of the goals for this year is the establishm ent of the long-awaited photography museum. The designa-

S

86

THf YEAR Of PHOTOGRAPHIC IMAGE

The history of Korean photography is substantial and encompasses a broad range of photographic research and activity. Nonetheless, the development of photography in Korea Jags behind that of other art forms. This is evidenced by the

f~1ct

that there

is no photography museum in Korea that can serve to promote the basic function of photography as a recording medium.

tion is meant to celebrate an art medium that is familiar to most Koreans as it is a part of their everyday lives.

The year's most important celebratory event is the '98 Korean Photographic Image Exhibition, held from May 21 to 27 at the Techno Mart

in Kuui-dong, southeastern Seoul. This exhibition revealed the current status of Korean photography and served as an opportunity for the general public to rediscover photography as a popular everyday art form .

The exhibition consisted of four parts: a display of works by various photo societies and associations in Korea; a series of events aimed at encouraging public interest in photography; the Photo Gallery, highlighting the potential of photography as a popular art; and a showcase of photographic equipment.

In other words, the exhibition introduced the general public to profes- . sional photographers from around the country and demonstrated the value of photography as a pure art form, the potential of photography as a popular art form, and the current status of the domestic photo industry.

The first part of the exhibition consisted of two galleries. The first, One Thousand Photographers, featured the works of members of various specialist associations such as the Photo Artist Society of Korea, the Korean Professional Photographers Association, the Korea Press Photojournalist Association , the Korean Advertising Photographers Association, the Korean Photographers Federation and the Society of Korean Photography. The photos were arranged in categories such as photojournalism, commercial photography and art, highlighting the unique

CURRENTS . characteristics of each genre.

Whereas the first part of the exhibition introduced general trends in photography in Korea, the second part shed light on the status of international photography by displaying the works of famous photographers from around the world.

The main exhibition was accompanied by a n event that could be enjoyed by all: the Nude Body Painting Photography Contest The participants had double the fun of watching the nude body painting and capturing it on film Another event was the Wedding Photo Memories Contest Couples who had not had wedding pictures made when they got married could apply to MBC radio to have simulated wedding pictures taken free of charge. The couples who were chosen from among the many applicants were taken to Dreamland on May 10 for a photo shoot, and the photographs were then put on display.

Along with these two events aimed at involving ordinary people in photography, the exhibition featured the Super Slide Show, a three-dimensional show that went beyond the usual static exhibition and emphasized potential new directions for the photographic medium. The show was organized in two parts: Reliving Memorable Moments-Photo 120, a history of the 120 years of Korean photography, and Love of the Earth, a presentation highlighting different cultures around the world.

The Photo Gallery exhibition was developed around pictures whose topics are familiar to most Koreans to emphasize the role of photography as a popular art. The gallery was divided into five sections: '98 France World Cup: Prayer of Victory; Battle of the Stars; Photo Clubs Exhibition; Korean Movie Stills and Poster Exhibition; and UFO Exhibition.

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-¡- _- :¡ , ,,_ - -

Ancient Pine with Moon, Pak Man-chae (top);Dance, SOJin-kil (above)

87

Clockwise from top left: Seal engraver, Pae Pyong-ju; Cooperation, Yi Chong-hwan; Fish Feeding, Ryu Ch'ang-ok

The section devoted to pictures from the World Cup featured scenes from past World Cup matches and from this year's preliminary matches.

Various side events included a World Cup concert and cheering session.

Battle of the Stars was a display of pictures of celebrities, some of which had already been publicly released 88

and some that were being shown for the first time. Visitors were asked to place a star over the picture of their favorite celebrity; at the end of the exhibition, the most popular celebrity was selected on the basis of the number of accumulated stars.

For the Photo Clubs Exhibition, free gallery space was provided for ama-

teur photographers to show their work to the public.

The photographic equipment exhibition presented the growth and development of photography in Korea and shed light on the current status of Korea's photo industry with the aim of promoting a better understanding of the photographic arts. â&#x20AC;˘

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New York Collection by the Seoul Fashion Artists' Association Lee Sung-bee Reporter, The Daily Sports

n March 31, n fall and winter collec~ Phot I V1deo Check -In 8 0 tions. The opening the entrance to The Galstage belonged to Park lery, located Youn-soo, the only on 40th Street near male designer in the Bryant Park in Manshow. A designer who hattan, glowed with pursues sensual and the gentle illumination strong feminine aesof chongsachorong, thetics through sharp lines, he presented fortraditional Korean lanterns. As it neared 9 mal, masculine suits o'clock in the morning, for women in black the inside of The and white featuring strong contrasts.

Gallery began to fill The next stage feawith excitement; the Fromlefttoright,ParkYoun-soo,SulYun-hyoung,MargaretHayes,Gee tured creations by first day of the New Choon-hee, Haneza and show organizer Chong Ki-ja at The Gallery York Collection by the Gee Choon-hee, who Seoul Fashion Artists' designs casual ensemFrom the futuristic designs bles without sacrificing elegant femiAssociation (SF AA) , Korea's best ninity. She presented a futuristic halfknown group of designers, was about of Park Youn -soo to coat and a hooded jacket in gray and to begin. Just before the opening of ivory. Haneza, the president of the the fashion show, Sul Yun-hyoung, the ethnic look of Haneza, Kim Dong-soon, Park YounSF AA, introduced a new Oriental aesSui Yun -hyoung, soo and Gee Choon-hee, the five thetic through such varied materials as wool and velvet. Her see-through designers who were presenting their the show was like a jacket and a long coat with embroicreations, gathered backstage to offer dialogue between the East dered lining were highly praised for a prayer together as this was their having eliminated the distinction first opportunity to test whether their and the West, between the "inside" and "outside" of Korean fashions would sell in internamaking a big impression a garment. tional markets. Then the curtain was Kim Dong-soon presented designs raised and the show began. on the American audience. harmonizing roughness and softness, The show was presented gala masculinity and femininity, the old style; each of the five designers preand the new. Sui Yun-hyoung exhibsented 25 works from their 1998-1999

0

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Fashion show (clockwise from upper left): presentations by Park Youn-soo, Haneza and Kim Dong-soon

ited designs for evening wear such as slim dresses. She also experimented with accessories incorporating the spirit of the Korean women, such as p6s6n (traditional Korean socks), a pokjum6ni (traditional Korean purse) and a thimble.

From the futuristic designs of Park Youn-soo to the ethnic look of Sui Yun-hyoung, the show was like a dialogue between the East and the West, making a big impression on the 90

American audience.

As the lighting went out briefly and then came back on to illuminate the entire room, indicating the end of the show, the five designers waiting backstage let out a collective sigh of relief. Their experiences of the past few days, from the moment they left Kimpo Airport on March 25 until the end of the show, flashed quickly through their minds.

In fact, the designers had every

reason to feel relieved. As soon as they arrived in New York on March 26, they held auditions to select 15 models. The next day they attended a seminar held by Fashion Group International Inc., which was instrumental in coordinating the SF AA designers ' New York debut. On March 28, they visited The Gallery to finalize the lighting arrangements for the show and the order in which the fashions would be presented. They

spent March 29 and 30 on the final fittings of the costumes on the models. It was a big challenge to present their works using models they had only just met and with whom they could barely communicate because of the language barrier. It was not an easy task either to persuade the press and buyers from around the world to take an interest in a fashion show

by Korean designers, who have yet to make a mark in the international fashion community. After all, the show was being held during the "New York Fashion Week," when some 50 shows by such superstars as Calvin Klein, Anna Sui and Ralph Lauren were also being held. The designers, however, had no regrets about the efforts they had made over the preceding months to proudly present Korean fashion to New York, the center of international fashion.

The SF AA designers' decision to hold the New York Collection has much to do with the recent currency crisis and ensuing economic setback in Korea. Since December 1997, when the International Monetary Fund provided financial relief to Korea, the Korean fashion industry has been facing a life-and-death crisis. Such major fashion enterprises as ]indo, Shinwon and Nasan have gone bankrupt one after another. Rapidly decreasing consumer spending on clothing has had a tremendously adverse impact not only on clothing manufacturers but also on the fabric and textile industries. It is estimated that by the end of 1997, more than 100 small and medium-sized fashionrelated enterprises had gone bankrupt. The SF AA designers, however, remembered the maxim, "a crisis is an opportunity in disguise." Realizing the limits of the domesti'c market, especially in an all-encompassing economic crisis, they concluded that it

was time to target the global market and that as a first step, they had to introduce Korean fashion to the world by putting on an international show.

It was decided that the SFAA, which since its 1990 establishment, has led the advancement of Korean fashion, should be the forerunner.

"Foreign fashion shows function as trade shows to set fashion trends and to promote sales by wholesale buyers, but fashion shows in Korea are nothing more than a 'show for show,' where current trends are presented.

We thought that, in order to stim ulate the domestic fashion market where no full-scale sales deals are made during shows, it is about time we, the major designers, change the custom by entering the foreign market," SFAA President Haneza explained.

After the show, on March 31 and April 1, the costumes that were presented were displayed in a showroom of the New York headquarters of Fashion Group International Inc. for viewing by interested buyers. It was a goodwill gesture by the group's President Margaret Hayes.

But the SFAA designers have not forgotten the Korean maxim: "The first spoonful cannot fill one's stomach."

Encouraged by the success of this year's New York Collection, the SF AA is planning to make it a regular practice to enter the New York Collection every spring and autumn. Also, the association plans to open a permanent show room in New York to boost international recognition and to facilitate sales. It has been just barely 50 years since Western garments were introduced to Korea. The lines, colors and forms of Korea are now taking their first steps toward making a small but meaningful contribution to international fashion. +

Clothing ensembles by Gee Choonhee(top)andSul Yun-hyoung (above)

91

EVENTS & EXHIBITS

Culture The Metropolitan Museum ofArt Opens a Kurean Gallery

The Metropolitan Museum of Art in New York, one of the three largest museums in the world, opened an exhibition gallery for Korean relics.

Having a gallery exclusively for Korea in a world-renowned museum with outstanding collections representing the cultural heritage of many nations is highly significant to the Korean cultural and artistic community, as it signals recognition of the uniqueness and excellence of Korea's cultural traditions. The essence of Korea's traditional cultural heritage is now on exhibit to the Metropolitan Museum's six million annual visitors.

The Korean Gallery, on the second floor of the museum's House of Asia, is 158 square meters in area. An inaugural exhibition of about 120 relics opened on June 7 and will run until January 1999. About 80 of the relics are national treasures on loan from the Korea National Museum, the National Kyongju Museum and the 92

Ho-Am Art Museum. They include National Treasure No. 78, a gilt-bronze sculpture of a seated Maitreya Bodhisattva, which is considered a masterpiece among the Buddhist statues of the Three Kingdoms period (1st century B.C.- A.D. 7th century), and Treasure No. 527, an album of genre

paintings by renowned Chason painter Kim Hong-do (pen name Tanwon; 1745-1806?). It marked the first time that such precious cultural relics have been taken out of the country since they were shown in the "5,000 Years of Korean Art" exhibition, which toured the United States and several European countries during the 1980s. It is also the first time that such a large number of designated national treasures have been shown together at a single overseas museum.

The first exhibition galleries in overseas museums exclusively for Korean art were established during the late 1980s. Their number increased greatly after the Korea Foundation began to offer financial support for their establishment in 1992. At present, there are exhibition galleries for Korean relics in the San Francisco Museum of Asian Art, the Seattle Asian Art Museum, the Portland Museum of Art and the

Dayton Art Institute in the United States; the Far Eastern Asian Art Museum in Cologne and the Museum of Arts and Crafts in Hamburg, Germany; the Victoria and Albert Museum in London, Great Britain; the National Museum of Ethnology in Leiden, the Netherlands; and the Nippon Mingeikan Oapan Folk Crafts Museum) in Tokyo, Japan. With financial support from the Korea Foundation, exhibition galleries for Korean relics will also be opened at the Los Angeles County Museum of Art and the Peabody and Essex Museum in the United States, the Royal Ontario Museum in Canada, the British Museum in Great Britain and the Guimet Museum in France from the second half of this year.

Other museums in North America and Europe with a considerable number of Korean objects in their collections are also currently seeking financial assistance from the Korea Foundation to open permanent exhibition galleries for Korean relics.

Korean Festival in Berlin The House of World Culture in Berlin, Germany, held a Korean culture festival titled "In the Year of the Tiger: Korea" from April 2 to June 14.

The festival introduced various aspects of Korean culture, from contemporary art, music, theater and dance to traditional shaman rituals.

Throughout the festival, the House of World Culture, which is subsidized by the German government and the Berlin city government, sought to introduce Korea's unique cultural characteristics to the German people.

The festival began with performances of samulnori (four-man percussion music) by the Kim Duck-soo Samulnori Group and Hanwulrim, and ch'ang (singing) by p'ansori master An

Suk-son. A variety of other performances were also held during the festival including a traditional shaman ritual by Kim Kum-hwa; the plays Ogu: The Ritual of Death by producer Yi Yun-t'aek and journey with Oedipus by producer Kim Ah-ra; and the dance performances Pilgrimage by Hong Shin-ja and Homage to Yun Yi-sang by the Kim Hyon-ok Dance Troupe.

Other events included an exhibition of contemporary Korean art featuring artists in their 30s and 40s, a Korean fashion art exhibition, and an exhibition of calligraphic works from Korea, China and Japan, which provided a forum for comparing the calligraphy of the three Asian countries.

Art Art ofAmitabha Displayed The Ho-Am Art Museum in Yongin, Kyonggi-do province, is holding an exhibition of art works whose themes are based on Amitabha, the Buddha of Infinite Light.

The show, which began on March 3, will run until August 30.

Amitabha is thought to preside over the Pure Land (Paradise) in the West and to bring faithful and virtuous people to the Pure Land when they die. This is why Buddhists chanted the invocation "namuamitabul," meaning "save us, merciful Amitabha Buddha," to be allowed entry into paradise.

The worship of Amitabha Buddha first began in Central Asia during the

process of Buddhism's introduction to China from India, and later took root most widely in Korea.

The show, the first in a series of "theme exhibitions" of art works in the possession of the Ho-Am Art Museum, is composed of 42 Amitabha art pieces including statues, paintings, sutras and Buddhist implements. Among them, three have been designated national treasures and five treasures. In particular, a giltbronze Buddha triad, designated National Treasure No. 85, which was crafted in 571 during the reign of King P'yongwon of Koguryo (37 B.C. - A.D.668), is generally considered the most outstanding statue of Amitabha in Korea. On the back of the halo is an inscription explaining when and why the statue was made, showing that the worship of Amitabha was already practiced in Korea during the Three Kingdoms period. A painting designated National Treasure No. 218 showing a triad of Amitabha Buddhas is also worthy of note as it depicts the benevolence and wisdom of Amitabha through delicately subtle lines and gentle facial expressions in a flawless composition. A written work related to the origin of Amitabha, written in 1363 during the reign of King Kongmin of Koryo (918-1392), was made public for the first time at the show. The names of some 300 people are written in their own handwriting on a piece of paper approximatel y four meters long, together with their professions

of longing for the Western Pure Land.

The exhibition displays a variety of relics spanning a time period of over 1,300 years, from the Three Kingdoms period until the Choson Dynasty. The show provides a glimpse into the worship of Amitabha Buddha, which formed part of the foundation of Korean beliefs and art.

Exhibition of Sculptures The Sun Gallery held an exhibition of small-sized works by 211 sculptors. Held to commemorate the gallery's 21st anniversary, the exhibition ran for one month beginning April 15. The works displayed at the exhibition, all less than 40 centime-

ters in width, were especially created for the exhibition.

Participating artists ranged from veterans in their 70s to newcomers in their 20s. The exhibition displayed diverse works of stone, bronze and wood as well as objet d'art, holograms and image and relief sculptures.

The exhibition highlighted the diverse streams of Korean sculpture, attempting to generate public interest by depicting the unique characteristics and formative worlds of each artist. The show offered new works by renowned artists for sale at low prices, while providing an opportunity for the general public to learn 93

EVENTS & EXHIBITS

about contemporary Korean sculpture. It also raised awareness of the need for art galleries to come up with diverse and creative ideas to attract public interest during times of economic hardship.

So Chimg-t'ae Exhibition An exhibition of works by So Chong-t'ae was held concurrently at the Tongsanbang Gallery (April 15-28) and the Kumho Museum of Art (April 15-May 3). So is an artist who has devoted his energy to producing mainly contemporary paintings. He received good reviews dur-

instead of a brush to apply the colors in order to make them more striking, as though a knife had been used, much like in woodblock prints.

Before the paint dried completely, he used another rag to wipe it off. In so doing, he demonstrated a painting technique that transcends the softness and delicacy of conventional coloring.

So said that he plans to concentrate more specifically on the themes of alienation and loneliness as manifested in real life after the exhibition.

Cuisine Korean Honey Pastries

ing the '95 Kwangju Biennale and the '96 Paris International Contemporary Art Exhibition, and has won Korean art awards including the Young Artist of the Year Award and the Son Art Award.

The Ktimho Museum of Art showed 35 large works and the Tongsanbang Gallery 20 small works.

The theme of the exhibition was "Green Portraits," which showed, through distorted forms of human figures, the ambiguous despair, grief and loneliness humans suffer due to nostalgia . So created most of the paintings using tempera and woodblock printing techniques. He used tempera to highlight the colors and their changes, and then used a rag 94

A unique exhibition of Korean traditional honey pastries and everyday porcelain ware was held at the Gana Art Space in Kwanhun-dong, Seoul, from April 15 to 20. It was sponsored by the Kamasot Korean Food Management Institute to promote the use of porcelain ware and traditional honey pastries in daily life.

The exhibition featured tea tables for each of the four seasons displaying a variety of rice cakes, honey pastries, fruits preserved in honey and cakes made of glutinous rice.

The show illustrated the possibility of replacing Western desserts with Korea 's traditional honey pastries, which embody a unique sense of aesthetics and decorativeness.

Ten members of the Kamasot Korean Food Management Institute made the honey pastries, which were displayed on porcelain dishes made by seven artists. Demonstrations of preparing tea tables were also held during the exhibition.

Music Hong Nanp'a Centenary Musical galas to mark the lOOth birthday of Hong Yong-hu (pen name Nanp'a; 1898-1941), a pioneer of modern music in Korea, were held in both Suwon and Seoul on April 11 and 12.

The Suwon Philharmonic Orchestra and the KBS Symphony Orchestra performed musical pieces composed

by Hong Nanp'a including Collections of Orchestral Music, Instrument Music Piece for Violin and Orchestra and Piano Concerto by the Tunes of Touch-Me-Not in commemoration of

his accomplishments.

Born in 1898 in Suwon, Nanp'a is revered as a national musician and the father of Korean modern music. A violinist, he sought to introduce chamber music to Korea by creating the Nanp'a Trio. His other accomplishments include the publication of Um-akkye, a music magazine, as well as Collection of 100 Chason Children 's Songs and Collection of Chason Popular Songs.

Despite being exalted as a pioneer of modern music, Nanp'a on several

occasions was wrongfully accused of being pro:Japanese. He died at the age of 44 due to the side effects of torture he suffered at the hands of the Japanese. Today's musicians consider him a composer who sowed the seeds for Western music to take root in Korea.

opera performances held in Korea, was also published. A symposium, "The Direction and Tasks of Korea's Opera in the 21st Century," was held at the Sejong Cultural Hall on April 7.

National Classical Music Festival ofKorea

50th Anniversary of Western Opera in Korea Korea's musical community, which celebrates the 50th anniversary of western opera's introduction to Korea this year, held a variety of commemorative events including a large-scale musical festival, a symposium and the publication of a book on operatic history in Korea.

The first in a series of events, the "Opera Gala Concert" was held at the Seoul Arts Center on April 18. The concert, held on a large stage, featured opera pieces that have been frequently performed during the past 50 years. The performers ranged in age from those who participated in the earliest performances to those in their 30s.

Western opera was first introduced to Korea in 1948 when Yi Inson founded the Kukje Opera Company and performed La Traviata in downtown Seoul. Since then, countless opera performances have been given in various corners of the nation, and at least 31 opera groups are currently in operation today.

Some 30 operas have been composed in Korean including The Story of Ch 'unhyang, first performed in 1950.

The organizing committee puts the number of participants in the festival at about 1,500 out of Korea's approximately 5,000 opera singers.

The 50- Year History of Opera in Korea, an abridged history, which includes a chronological table of

Kogun-myon, Chiodo county, when the falling tide allows one towalk through ankle-deep water from the island of Chiodo to the mainland.

The festival is held to celebrate this natural phenomenon, which occurs annually in the third lunar month; it is called a Korean version of the miracle of Moses parting the Red Sea.

Folk Customs Traditimud IUtualfor the Mountain Spirit The National Classical Music Festival of the Republic of Korea, the most prestigious event on the classical music calendar, was held in Chiodo, Chollanam-do province, and in Seoul from April 23 to 25.

Celebrating its 18th anniversary this year, the festival featured performances of various genres including national classical music (Kuk-ak), dance, ch 'angguk (folk opera employing p'ansori performers) and nong-ak (farmers' music and dance) with the participation of 1,500 master performers. The festival was held in conjunction with Yongdungje, a folk festival held in Chiodo, and provided an opportunity for both new and experienced national classical performers to display their talents.

P'ansori, ka yagum (12-string zither) and h was6nm u performances were presented in addition to Kanggang suw6llae (a circle dance performed by women in the southwestern region of Korea), the drum dance of Chiodo, and other diverse folk events.

The Yongdungje Festival was held for three days beginning April 26 in

A traditional memorial ritual venerating the mountain spirit held during the Choson Dynasty (1392-1910) on Mt. Kyeryongsan to supplicate for the well-being of the nation was reenacted at the Kumgang riverside in Kongju for two days beginning Aprilll. The event, sponsored by the city of Kongju and the Ch'ungch'ongnam-do provincial government and organized by the Kongju Folk Theater Museum, began near Shinwon-sa Temple on Kyeryongsan.

On the first day, Confucian memorial rites were performed at the Kongju Hyanggyo (a public institute that functioned as a Confucian shrine during the Koryo and Choson periods) on Kyeryongsan and at the Komnaru Ungjindan. Following the memorial rites; local residents participated in various folk games, and shamans from the Ch'ungch'ong-do provinces performed rituals honoring the mountain spirit. On the second day, a Buddhist ritual to the mountain spirit and folk games took place, after which shamans staged exorcisms traditionally performed in various parts of the nation including rituals from Chiodo ssitkim-kut and 95

Seoul saenam-kut.

The Chason Dynasty offered religious rites to the mountain spirit twice each year, on the 15th of the third lunar month and on the 15th of the eighth lunar month, at Myohyangsan, Kyeryongsan and Chirisan Mountains to supplicate for the well-being of the nation. They were important national events to which the king sent incense, sacrificial offerings and written prayers.

After being forcibly halted by the Japanese at the end of 19th century, the ritual was restored last year thanks to painstaking historical research by the Kongju Folk Theater Museum and its curator, Shim Wusong.

Theater The Works ofPlaywright Yi Kang-baek The Writer of Today series, an art festival that interprets the works of representative Korean writers who have contributed to the development of theater, is a biennial event held since 1994. This year, the festival focused on the works of playwright Yi Kang-baek. .Four of Yi's plays-the early works 96

Naema, People of jurassic and Account of Travel to Y6ngw61 and his most recent work, Feelings, Like Paradise-were performed during the festival, held from April16 to June 14 at the T'ow61 Theater of the Seoul Arts Center.

Yi poses endless questions to the audience through his works, which are characterized by metaphors and paradoxical techniques. He likes to use allegories in his plays, which are strongly critical of society. He has written 30 plays since he debuted in 1974 with Five.

Literature The WorksofYi Ch'ong-jun To Be Published Novelist Yi Ch'ong-jun will reissue all of his literary works, including Your Heaven, in 28 volumes. The works, numbering about 120 written over the course of 33 years, will be

classified by theme. The author plans to thoroughly revise each of the works before publication. Several editors including literary critic U Ch'anche will participate in the project, which is emblematic of the overall scope of contemporary Korean literature.

Hwang Tong-kyu, a Korean poet who is popular with both the literary community and the general public, will celebrate his 60th birthday as well as his 40th anniversary as a published poet this year. In celebration of the two auspicious events, the Munhakkwa Chisongsa publishing firm will issue The Complete Collection of Hwang Tong-kyu's Poems in two volumes and An InDepth Reading of Hwang Tong-kyu, a collection of prose he has written and reviews of his literary works.

Veteran novelist Kim Chu-yong recently published the full-length novel Skate, exactly 10 years after the publication of his last novel, Fishermen Do Not Break Reeds. Kim is the author of many epic novels including Peddler's Inn and Hwach'6k. Skate beautifully portrays the more primitive aspects of Korean life from the perspective of a 13-yearold qoy living in an isolated mountainous region during the 1950s. The novel sold over 50,000 copies in less than a month, bringing new life to Korea's publishing industry, which has been suffering a severe economic slump.

Novelist Dn Hui-kyong's short story "Wife's Box" was chosen as the recipient of the 22nd Yi Sang Literary A ward presented by Munhak Sasangsa. The story attempts to show the "wounds of people alienated for the sole reason that they are different" by describing the process of a woman being driven out of her home by her husband due to her failure to communicate with the world.

EVENTS & EXHIBITS

Dance

Korea Traditional Culture Institute to rave reviews. Yi Ae-ju also made a special appearance to perform SLingmu.

handicapped boy while skating. It was the first Korean film to enter the competitive section of the Cannes Film Festival.

The Power of Kangw6n Province,

Traditional Culture Festival Held on Palace Grounds

Film Director lm Kwon-t'aek Wins Special Award

From April through October, traditional court dances, including Ch'6yongmu (Dance of the Dragon of the Eastern Sea), Posangmu and Ch 'unaengj6n (Dance of the Spring Nightingale), as well as the hourglassshaped drum dance and farmers' music and dance, will be performed on the third Sunday of every month on the grounds of Toksugung Palace under the title "Korea's Traditional Culture and Arts Festival."

Kim Ch'on-hung, touted as a living textbook of Korea's traditional classical music, royal ancestral shrine music and Ch '6yongmu, presided over the first festival held on April 19. In addition to the hourglass-shaped drum dance and farmers' music and dance, Posangmu, Ch'unaengj6n, Ch '6yongmu and the monk's dance, SLingmu, were

performed together with a solo taeglim (large transverse ham boo flute) to demonstrate Korea's court culture. In particular, Ch 'unaengj6n, a dance performance depicting the beauty of a spring nightingale singing on a tree branch in the morning, was performed by In Nam-sun of the

One of Korea 's prominent film directors, Im Kwon-t'aek, received the K uroza wa A ward at the 41st San Francisco International Film Festival held in San Francisco from April 23 to May 7.

The award, named for Japanese director Akira Kurozawa, is given in recognition of a director's lifetime achievements. Previous recipients of the award include Akira Kurozawa, the first recipient, Robert Bresson, Stanley Donnan and Arthur Penn.

Five of Im's most renowned films, Mandara, Ticket, Ssibat-i, S6p 'y6nje and Mt. T'aebaek Range, were shown

at the festival in a special screening.

Director Yi Ch'ang-dong's Green Fish and Pak Ki-yong's Cactus Motel were also invited to the film festival.

Four Korean Films Invited to Cannes Film Festival Four Korean films were invited to the 51st Cannes Film Festival held in France from May 13 to 24. Among them, Skate (35-mm black-and-white, running time 10 minutes) by director Cho Dn-ryong competed in the ShortLength Film Com petition , which selects about 15 films each year. The film uses allegorical techniques to portray the subtle alien feelings experienced by a girl upon meeting a

directed by Hong Sang-su, was invited to a noncompetitive viewing of works by outstanding new directors.

The film follows the separate travels of two lovers having an illicit affair, a college lecturer and his student, through Korea's eastern provinces. It depicts mundane events and feelings in intricate detail in an experimental way, a technique the director has employed consistently since his debut movie, The Day a Pig Fell into the Well.

Spring in My Hometown , Yi

Kwang-mo's debut work, was invited to the Director's Fortnight (Quinzaine des Realisateurs), a nonofficial viewing of films by 15 distinguished directors. Yi's movie was selected for the viewing from about 750 films submitted from around the world. It was the first time a Korean film has been shown in Director's Fortnight, a forum for discovering gifted directors.

The film depicts the suffering of the people during the Korean War as seen from the perspective of young boys. It r.eceived high marks for beautiful camera work, elegant style, and moving yet subtle directing skills. The film was also invited to international film festivals in Montreal and San Sebastian.

Christmas in August, a debut film

by Ho Chin-ho about a terminally ill photographer who falls in love with a traffic warden, was praised at the Cannes Festival for its restrained and realistic manner in dealing with death and romance. It was shown to the public nine times during International Critics Week (Semaine Internationale de Ia Critique), a noncompetitive viewing of works by promising new directors.

97

The Korea Foundation Fellowship Programs FEllOWSHIP FOR KOREAN STUDIES

The Korea Foundation offers fellowships for Korean studies in the fields of humanities, social sciences and arts.

The program is intended to provide scholars and other qualified professionals overseas with an opportunity to carry out in-depth research in Korea for a period of three to twelve months.

Each successful applicant will be provided with round-trip airfare to Korea and a monthly stipend during the grant period.

Applicants should complete the Korea Foundation Fellowship for Korean Studies application form and submit their academic research proposals to the Korea Foundation by May 31. The results of the final selection will be announced by August 31 of the same year.

Support for Korean Studies Programs Abroad The Korea Foundation otters financial assistance to universities, research institutes and libraries abroad in their efforts to promote the study and understanding of subjects related to Korea. Projects submitted for consideration must be in the fields of humanities, social sciences or arts and within the categories listed below: 1) Establishment and expansion of Korea-related courses and faculty positions, 2) Fellowships for graduate students or research grants for faculty members, and 3) Library acquisitions and cataloging.

Applications must be submitted to the Korea Foundation by May 31. The results of the final selection will be announced by November 30 of the same year.

For application forms, program guidelines or further information, please write to:

FELLOWSHIP FOR KOREAN LANGUAGE TRAINING

International Cooperation Department I The Korea Foundation

The Korea Foundation offers grants for Korean language training to graduate students, scholars and other qualified professionals overseas who wish to learn the Korean language at a Korean university language institute for a period of six to twelve months.

Each successful applicant will be assigned to a Korean language course at a major Korean university; and will be provided with tuition and a monthly allowance during the grant period.

Applicants should complete and submit the Korea Foundation Fellowship for Korean Language Training application form to the Korea Foundation by May 31. The results of the final selection will be announced by August 31 of the same year.

For application forms, program guidelines or further information, please write to:

C.P.O. Box 2147 Seoul. Korea

International Cooperation Department II The Korea Foundation C.P.O. Box 2147 Seoul. Korea Tel. 82-2-753-6465 Fox 82-2-757-2047. 2049

Tel82-2-753-3464 Fox. 82-2-757-2047. 2049

KOREA FOCUS A BIMONTHLY ON CURRENT KOREAN AFFAIRS

In addition to KOREANA, the Korea Foundation publishes KOREA FOCUS as part of its effort to inform the world community about Korea and to enhance international understanding in this era of globalization.

KOREA FOCUS offers a comprehensive view of contemporary Korea in a wide-ranging selection of informative articles on Korea's current affairs. In this bimonthly, you will find timely essays and commentaries on Korea's politics, economy; society and culture, opinions FOCUS~~ on world affairs, and a chronology of recent events in Korea.

Published in English and Japanese, its . .................... ..._,,..._h.... articles are selected from leading publications in Korea, including major daily newspapers, newsmagazines and academic journals.

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