Koreana Summer 2000 (English) by The Korea Foundation

Simply thebe-all and end-a ll. Samsung Digital!. We spell it differently because

everyone 's inv i ted"'

we do it differently. Introducing a new language of advanced products, all

designed to make your life easier, richer and more enjoyable every day. Watch the best TV picture. High definition . High style. Download the newest music from your computer and take it with you . Receive web data and e-mail on a wireless phone. Connect and create on an ultra-thin flat screen monitor. All-enabling. All-connecting.AII-inviting. Come in to Samsung. www.samsung.com. Everyone's invited.

MP3 PLAYER

TFT FLAT SCREEN

WIRELESS PHONES

HDTV

l eading-edge internet music

MONITOR

Voice-activated, data

the ultimate picture and

download ing techno logy

Ultra-light, ultra -reso lu tion

access, web capabil ity

sound experien ce

BEAUTY OF KOREA

Palanquin

Window Blinds

In essence, palanquins were like mobile dwellings with their roof, windows and walls created like those of a house, while being decorated with bamboo blinds, colorful strings and beads, or tassels. The walls were demarcated as if built of bricks engraved with flowers and plants, or the ten symbols of longevity. Sa-in-gyo refers to a type of palanquin transported by four carriers, two in the front and two in the back Originally, they were reserved only for highranking government ministers, but later used widely by both court and military officials. Palanquins were also used to carry brides to the site of their wedding ceremony and make their first post-nuptial visit to their in-laws. The palanquins for brides were adorned with

embroidered tassels of resplendent colors hanging from the edges of the roof,Âˇ hile the windows were decorated with flowers. Ifl: summer, bamboo blinds were hung from the windows so that the bride, suffering from sweltering heat and nervousness, could get some fresh air. The blinds also enabled her to enjoy the outside view while shielding her from prying eyes. The blinds were trimmed with colorful cloth at the edges and embellished with pieces of fabric in simple patterns. Even today, the blinds shown above, known to have been used during the Koryo Dynasty (918-1392), seem to pulsate with the pounding heartbeat of an excited bride. +

KOREAN ART & CULTURE Cover: Popular contemporary

Korean actors and actresses. After suffering a setback

Korean Cinema Today

throughout the 1970s and 1980s,

the movie industry has experi-

Renaissance of Korean Movies

Vitality of Korean Films: New Directors of the 1990s

enced a remarkable resurgence since the mid-1990s. In this issue, KOREANA takes an in-depth look at Korea's motion picture industry.

With the inauguration of the Korea Foundation's home page on the World Wide Web, on-line access to ffs publications is possible wffh abstracts of KOREANA features along with photographs. Please visit our Internet website at: httpitlw.w.kofo.or.krtkoreanalindex.html

Kim Young-jin

Pusan International Film Festival: Catalyst for Asian Cinema

s KOREAN A Internet Website

Yu Gina

Kim Dong-ho

Korean Short Films and Documentaries in the 1990s

Nam In-young

36 FOCUS

"Media-City Seoul 2000" Festival Song Mi-sook

ÂŠThe Korea Foundation 2000 All rigbts reserved No pm1 of tbis publication may be reproduced in any form witbout tbe prior permission of Tbe Korea Foundation.

Pilgrimage to the Valley of Flowers

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

TRADITIONAL ARTISAN

KOREAN A, registered as a quarterly magazine with the Ministry of Culture and Tourism (Registration No. Ba-1033, dated Aug. 8, 1987), is also published in Chinese

INTERVIEW

Shim ]ae-ryong

46 Lee Ki-dong Elegance and Simplicity of Korea's Fans Lee Hyoung-kwon

52 ON THE ROAD

Journey to Paengnyongdo Island Kimjoo-young

Voll4 , No 2 Summer 2000

KOREAN A

MARKETS

Chang-anp'yong Antiques Market David Lindsay Barch

Published quarterly by The Korea Foundation 1376-1 Seocho 2-dong, Seocho-gu, Seoul 137-072, Korea PUBLISHER

Lee In-ho

CUISINE

Samgyet'ang

EDITORIAL DIRECTOR

Chung Jong-moon

Koo Chun-sur

EDITOR-IN·CHIEF

Pa rk ]eong-yeop

ART DIRECTOR

LIVING

Remarkable Powers of Hwangt'o and Revival of Earthen Houses RheeSinho

Park Seung-u ASSOCIATE EDITOR

Kim Young-uk EDITORIAL BOARD

Han Myung-hee, John Holstein, Kim Hwa-young, Kim Moon-hwan, Lee Chong-suk, Shim Jae-ryong, Yu Hong-june

78 NATIONAL TREASURE

Five-Story Stone Pagoda on the Ch6ngnimsa Temple Site

SUBSCRIPTIONS

Price for annual subscription: Korea Wl8,000, overseas US$30, Asia by air US$37, elsewhere by air US$39. Price per issue in Korea W4,500

Park Sang-kuk

80 ART REVIEW

Rhee Byung-chang Collection at the Museum of Oriental Ceramics, Osaka Chung Yang-mo

The May Bride

Subscription/Circulation Correspondence: Overseas

The Korea Foundation J.'$ 76-1 Seocho 2-dong, Seocho-gu, Seoul 137-072, Korea Tel: (02) 3463-5684 Fax: (02) 3463-6086 Domestic

Kim Moon-h wan

Myung-Hwa Sa C.P.O. Box 7852, Seoul Tel: (02) 2274-5443 Fax: (02) 2274-7822 ADVERTISING

UII:RA\URI: '

Inquiries should be made to AD SEOUL Room # 602 Lions Bldg 50-6, Ch'ungmuro 2 ga, Chung-gu, Seoul Tel: (02) 2269-5088 Fax: (02) 2269-5089 LAYOUT & DESIGN

ART SPACE KOREA 31 Shingyo·dong, Chongno-gu, Seoul Tel: (02) 734-7184 Fax: (02) 737-9377 Printed in June 2000 by Samsung Moonwha Printing Co. 167-29, Hwayang-dong, Songdong-gu, Seoul Tel: (02) 468-0361!5

Scenes from 1m Kwon-taek's Chunbyangwhich was invited to.he shown in the competitive section of the Cannes Film Festival.

he Korean film industry is currently enjoying a second renaissance. Asia week stated in an article in its April 21 issue that Korean movies have become the greatest influence in Asia, attracting more international interest than ever before. Other international magazines have also published articles on the dynamic performance of Korea's film industry, which since the second half of the 1990s has produced many movies that have generated domestic as well as international interest. In Korea, the phrase "Renaissance of Korean movies" is now frequently used to describe the film industry's newfound vitality and success. Korean movies enjoyed a golden age at the end of the 1950s and during the early 1960s, before the popularization of TV. After suffering a setback throughout the 1970s and 1980s, the movie industry has experienced a remarkable resurgence since the mid-1990s. As proof of this, the domestic market share of Korean movies, which had hovered around the 20 percent mark in the 1990s,

rose to 24 percent in 1998 despite a decline in the total number of films produced, and to 38 percent in 1999; the average number of moviegoers for local films has been rising noticeably, despite the continuing popularity that foreign movies command in the domestic market; Korean-made blockbustersÂˇ such as Swiri, which broke all box-office records, continue to repeat their commercial success in foreign markets; moreover, an unprecedented number of Korean films have been invited to international film Âˇ festivals, reflecting the growing global interest; and in a departure from a previous focus on features, the movies also span diverse genres, from documentaries to short films. This boom is also leading to the creation of a thriving film culture. Of particular note, about 40 film departments in universities, two largescale international film festivals, and dozens of other film festivals have come into being in short order, riding on the crest of this wave. Of course, such vitality and success could turn out to be short-lived, and the problems hidden behind a successful

Scenes from Hong Sang-soo's second film, The P(TU)er ofKangwiin Province (top left, top right); scenes from Lee Chang-dong's Peppermint Candy, which was included in the Directors' Fortnight section at this year's Cannes Film Festival (left, above)

"' exterior could eventually emerge. Thus some have questioned whether the Korean film industry has popped the champagne cork prematurely. To my knowledge, this question was first raised in 1997, which saw the production of a particularly high number of movies that offered almost n0thing but motel love scenes. Fortunately, the voices of doubt have been virtually silenced with the continuing production of movies winning favorable reviews from audiences and critics alike. Thus it would not be imprudent to take the entry of several Korean movies-more than any other year-in this year's Cannes Film Festival as proof of their greatly improved quality. Four Korean films were invited to Cannes: Chunhyang was shown in the competitive section, and Peppe1mint Candy in the Directors' Fortnight section, in addition to another feature and a short film.

This article seeks to describe .the background of the renaissance of the Korean film industry, and discuss the conditions that initiated changes as well as underlying problems. Such an effort may help to further enhance the industry's extraordinary performance so that it can create a flourishing film culture in the 2000s while laying to rest concerns about its likely decline.

Youthful Energy and Noteworthy Achievements of New Directors Since the mid-1990s, the Korean film industry has often been referred to as having the youngest filmmakers in the world. Most of the producers are young, as are the technicians and actors. The industry is dominated by people in their twenties and thirties, and a handful in their forties. The audience for Korean movies is even younger, with the largest group of moviegoers being in their late teens and twenties. Younger people began to participate in the film industry since the 1980s, a trend that

-Âˇ

became more apparent in the 1990s. Among 50 features produced in Korea in the late 1990s, more than half of these were produced byâ&#x20AC;˘young firsttime directors, testifying to the youthful energy and vitality characterizing the

In Korea, the phrase "Renaissance of tine, was the debut work of director Hur Jin-ho. Spring in my Hometown, which Korean movies" is now frequently won several awards at international film

festivals for its vivid portrayal of the hardships that followed the Korean War, was newfound vitality and success. the first movie by director Lee Kwang-mo. Korean movie business. In the 1980s, Korean movies enjoyed a golden age In Memento Mori, the sequel to director Park Kwang-soo, a former stuWhispering Corridors, a horror movie codiat the end of the 19 5Os and during rected and written by Kim Tae-yong and dent activist, Jang Sun-woo, and Lee Myeong-se, who majored in film in colMin Kyu-dong, the two directors discarded the early 1960s, before the lege, represented the so-called Korean the conventional form of narration in populaÂˇr ization ofTV. After favor of an entirely new narrative style. New Wave. The 1990s were led by a new group of directors with experience Swi1i, an action thriller offering both the suffering a setback throughout the in the production of short films, who rapid-fire action of a spy thriller and the majored in film in college, studied 1970s and 1980s, the movie indus- tragic sentimentality of a melodrama, was movie-making overseas (mainly in the the second movie by Kang Je-gyu, followtry has experienced a remarkable United States), or graduated from the ing his first movie The Gingko Bed, which state-funded Korean Film Academy. was also a commercial success. Director 1'esurgence since the 1nitl-1990s. This new group of directors were difHong Sang-soo, who is noted for his highly ferent from earlier generations in that original style, continued to produce unique movies that starkly revealed the dismal aspects of ~aily they became directors following formal educati<;in in film, or life, of their age, beginning with his debut movie The Day a Pig Fell into the by producing their own short films with peo~ Well and his second movie The Power of Kangw6n Province rather than through the conventional way of working first as an assistant director. The first or second movies produced by Lee Min-yong's A Hot Roof, which comically depicted the trathe new directors in the 1990s were superior to those produced vails of ordinary women rebelling against the repressiveness of Korea's deeply rooted patriarchy, has earned critical acclaim by more experienced directors, both in artistic quality and marketability. both in the domestic and overseas markets. Lee Jeong-hyang's first movie Art Museum by the Zoo, which resembles a landWedding Story, the debut movie of director Kim Yui-seok, became a hit as a result of its witty dialogue and psychological scape painting with feminine touches, was also favorably portrayal, along with contemporary settings which appealed to received for presenting an unusual style of romantic comedy. Kim Sung-soo came to be known for producing popular young moviegoers. It also spawned the production of further which elegantly recon"buddy movies" through his successful second movie Beat, romantic comedies. Ch1istmas in Augs~ structed the conventions of melodramas through an introspecwhich focuses on the defiance of youth, and his third movie tion of daily rouCity of the Rising Sun. Meanwhile, The Contac~ which initiated a rush of melodramatic film production in the late 1990s, was Jang Yun-hyeon's first movie.DirectorJangJin produced highly satirical movies The Happenings and The Spy, while Kim Jiwoon helped to revive the popularity of comedies with The Quiet Famil; ~ which introduced a new kind of cult comedy, and Foul King, a comical presentation of the aberrations of an ordinary urbanite, with both movies attaining a high level of artistic merit. Peppe1mint Candy, a painful retrospective of Korea's contemporary history through the life of an individual, is the second movie by Lee Chang-dong who debuted with the critically acclaimed Green Fish. Many other first-time directors also contributed

used to describe the film industry's

Scenes from Lee Chang-dong's Green Fish, which hannonizes the destiny and reality of Korean society (top left, above, right). Scenes from KangJe-gyu's Swiri, which is regarded as a model fihn that introduced the concept of blockbusters to the history of Korean movies (top right, middle left, middle right)

to creating an entirely new film landscape in the 1990s by producing highly regarded movies of new styles. This trend has continued into the new millennium, leading to a generation of filmmakers who are more talented and focused than ever before.

Production Capital and Emergence of Concept Movies and Blockbusters The generation shift in filmmaking, primarily centered on directors, is directly linked with changes in the availability of production capital and the emergence of concept movies. Until the 1980s, the production of films was mainly funded from the meager capital resources of Ch'ungmuro, a street in Seoul that is

synonymous with Korea's film industry because of the high concentration of film production companies there. Previously, the funding for production came mostly from the sales of local distribution rights and video rights. Then came two major changes in the 1990s that significantly affected the availability of production capital. For the first time, conglomerates, or chaebol as they are known in Korea, were allowed to enter the film industry. Key chaebol groups (Samsung, Daewoo, SK and Hyundai) began to invest in moviemaking. Due to their preference for concept movies with likely potential for becoming box-office hits, they helped to create an environment for professional film planners to take root and produce new styles of

movies centered on various themes. However, when Korea experienced a financial crisis in â&#x20AC;˘ late 1997, the conglomeratesforced to consolidate their numerous business lines into selected core sectors- rapidly began to pull out of the fi lm industry. Investment companies, however, soon filled the void created by the departure of the chaebOL Of note, the investment companies introduced a new concept of providing investment funds for the development of ideas at the earliest stages of film production. This led to the production of movies with greater artistic merit as well as marketability. It has also enabled film planners to pursue the production of movies of diverse genres, while at the same time turning film marketing and promotion into a specialized business area.

As a result, the producers and film production companies currently enjoying the greatest success are those with a history of less than 10 years, founded after production capital became more readily available in the 1990s. These include UNO Film, Myung Film, Cine 2000, Shin Cine, Age of Planning, and East Film. Many directors have also established their own independent film production companies, including Kang Je-gyu, Park Chul-soo and Bae Chang-ho. Meanwhile, film promotion and

'â&#x20AC;˘

to prefer' firsttime directors over more experienced directors as they were more receptive to the advice of professional planners and zealous in their pursuit of breaking new ground. Such changes in the investment environment ultimately brought about the marketing emerged as a specialized business, which led to the creation of dozens of film promotion companies. Miro Vision, which engages exclusively in the export of Korean movies, is among those founded since the mid-1990s. Such circumstances contributed to an environment in which it was relatively easy for someone with exceptional concepts, skills, and marketing potential to attract investors, particularly for directors who happen to be newcomers. Investors tended

From the far left: J ang Yun-hyeon, the director of The Contact, which initiated a rush of melodramatic film production in the late 1990s; a scene from KimJi-woon's The Quiet Family, which introduced a new kind of cult comedy and helped to revive the popularity of comedies; a scene from Lee Jeong-hyang's Art Museum by the Zoo, which resembles a landscape painting with feminine touches and presents an unusual style of romantic comedy.

Clockwise from above left: Park Kwang-chun's The Soul Guardians is considered a blockbuster hit; Yonggary; Art Museum by the Zoo

downfall of traditional producers operating in Ch'ungmuro who, at the same time, are blamed for having mass-produced superficial movies solely for commercial gain. And while it is true that the non-transparency of Ch'ungmuro capital, irrational management, and changes in the investment environment led to an excessive preoccupation with boxoffice figures, it cannot be denied that this helped to attract new talent who injected dynamism into the industry and created highquality movies, which induced moviegoers to see local films once more. Another major achievement was the establishment of a nationwide distribution network for Korean movies, which in the past were "squeezed in" with foreign films. The development of an independent

distribution network for local movies was the natural result of the rationalization of the domestic film industry, from production to distribution and to public screening. Meanwhile, the screen quota system, which requires local theaters to show domestic movies at least 146 days each year, also helped Korean films-far outnumbered b foreign movies-to build their own distribution network Of note, the expanded distribution network enabled local movies to become blockbuster hits, previously possible only for foreign movies. The Soul Guardians, Swili, Yonggary, Ghost in Love, and Lies are among the recent domestic films which enjoyed blockbuster success. The Soul Guardians and Swiii, .in particular, are regarded as model films that introduced the concept of blockbuster hits to the history of Korean movies.

Thriving F"dm Culture and Freedom of Expression One of the noteworthy developments of the 1990s was the creation of a rich film culture, which had been stifled by a narrow focus on features geared for theaters. In particular, the proliferation of independent film festivals, short film festivals, and the many programs on short films aired by nationwide EBS TV and cable networks fueled a production frenzy of short films

Clockwise from the top left: Two Cops is a comedy that exposes police corruption; with their newfound freedom of expression, directors have expanded the bounds of on-screen sexuality in movies such as Yellow Hair and Lies; The Murmuring, an independendy produced documentary providing in-depth coverage of issues related to history, the nation and the lives of the "comfort women" conscripted as sex slaves by the Japanese army, is among the most significant achievements of the 1990s; A Single Spark denounces the military regime of the 1970s and highlights the domestic labor movement.

by young people. Toward the end of the 1990s, the Korean Motion Picture Promotion Corporation also began to extend financial assistance for the production of short films. This departure from the past policy centered on features helped to lay a foundation for Korea's film culture embracing short films. Korea's independent and short films produced during the 1990s were more highly acclaimed than its feature films at film festivals abroad, ushering in a bright future for the Korean film industry overall. Song li-gon's The Picnic, the recipient of the grand prize in the short film category at the 52nd Cannes International Film Festival in 1999, as well as Ginger, Refrigerato1; and Making Sun-d1ied Red Peppers contributed much to elevating the status of Korean short films. The active production of short films reinforces the basic infrastructure of the overall film industry in that their producers often go on to produce features. The vitalization of independent and short films-whose merit involves offering a sharply critical perspective of society and the conventional practices of film production-was largely propelled by a reduction of censorship when the democratization of Korean society advanced in earnest during the 1990s, which enabled greater freedom of expression. During the days of Korea's struggle for democracy against authoritarian rule, independent and short

films were mostly produced to promote the democracy moven~ and were thus subject to harsh censorship and repression. Since the early 1990s, however, the makers of independent and short films have begun to explore diverse themes and subjects while utilizing their films for artistic fulfillment, rather- than using them as a means for promoting democracy. The current rating system, which provides for greater freedom of expression as compared to the past, has contributed to the increased diversity of. Korean movies by allowing previously prohibited forms of expression. Still, it does not guarantee complete freedom of expression as certain movies deemed inappropriate for public viewing may be denied a rating. Nevertheless, this relatively greater freedom of expression enabled Two Cops to expose police corruption, A Single Spark to denounce the military regime of the 1970s and highlight the domestic labor movement, and Extra to ridicule government power. In reality, however, the newfound freedom of expression has been mainly used to expand the bounds of on-screen sexuality. Movies such as Yellow Hair and Lies, which generated widespread controversy for failing to receive a rating initial13

Clockwise from the top left:JangJin's The Happenings takes a cynical look at society; Fin de Sieck; Art Museum by the Zoo; members of the film industry shaved their heads in a show of protest against revising the screen quota system; a theater complex in Seoul's Chongno area; Tell Me Something; There is no Sun; KimJi-woon introduced a new kind of cult comedy with the Foul King, a comical presentation of the aberrations of an ordinary urbanite that attained a high level of artistic merit.

ly, were only allowed to be shown after explicit sex scenes were deleted. Still, it would have been impossible to even imagine the screening of such movies before the 1990s. I The Murmuring, a documentary trilogy on the "comfort women" conscripted as sex slavesÂˇ by the Japanese army, is among the most significant achievements of the 1990s. The independently produced documentary provides in-depth coverage of issues related to history, the nation and the lives of these women. As such, the value of its contribution to further expanding the spectrum of Korean movies should not be overlooked. The abundant diversity of films produced in the 1990s contributed to fertile debates on movies, in addition to attracting global interest. In line with this, daily newspapers have expanded their space allocated to film, and several TV programs relat14

ed to Korean films, such as quizzes and parodies of famous lines and scenes from past movies, are gaining popularity. Moreover, a number of Internet and online film â&#x20AC;˘ sites boasting high membership are in operation, while one cannot begin .to discuss movies without having seen Swiii. One of the most notable accomplishments of the film industry in the 1990s was that it became part of the national culture such that Im Kwon-taek came to be called the "national directOI0 ' and Ahn Sung-ki, the "national actor."

Korean F'dm Industry Should Not Become Intoxicated with Current Success There are also potential downsides to the Korean film industry, despite the golden age it is currently enjoying. The frequent calls for retrenchment or abolishment of the screen quota system, in line with the new international order that

'Âˇ

calls for market liberalization, poses a constant threat to the production and distribution of Korean movies. But this can be overcome if the film i11dustry consolidates its strength, as it has in the past, to rally the support of the Korean

and core moviegoers. The current golden age of Korean movies will be significant for democracy against authoritarian only if the twenty-something viewers of the movies created by thirty-something rule, independent and short films directors continue to watch the movies were mostly produced to pr01note the produced by these same directors for the people and foster international under- democracy movement, and were thus next 10 to 20 years. standing. Another problem is the narrow scope to harsh censorship and subject of movie content. Although it is true However, a more significant problem involves a lack of continuity in the film that Korean movies have expanded repression. Since the early 1990s, industry. First of all, the concentration of their content as compared to the preso many young people in the film busi- however, the makers of independent 1990s, they are still excessively focused ness is cause for much concern, notwithon unconventional love stories involvand shm7: films began to exploÂˇre standing the positive factors of introducing young people. The current atmosdiverse themes and subjects while ing vitality and innovation. Still, it now phere that neglects dramas through a disproportionate preoccupation with young seems almost impossible for directors to utilizing their films for at7:istic love, be it in action films, melodramas, or repeat the success of their first or second movies. Perhaps the overriding prefer- fulfillment, rather than using them movies such as Lies, serves to restrict the ence for new and refreshing movies realm of Korean movies. If a wider as a means for promoting scope encompassing the diverse lives of over more "profound" efforts has led to people of varying ages and professions an apparent lack of freedom for direcdemocracy. could be reflected in Korean movies; this tors to produce subsequent films after would naturally create a film culture their first success. For example, Im that embraces children's movies and family films as well as Kwon-taek is currently the only producer over the age of 60 who remains active in film production. Park Cheol-su, who those for adult viewing only. If the Korean film industry, in engaged in dynamic experiments until the early 1990s, and its golden age, fails to release movies appropriate for family Jung Ji-young, who has failed to produce a significant movie viewing during summer vacation or at other .times, the cursinceÂˇ White Badge, are in effect the only directors of the prerent boom could end up as a short-lived festival only for the vious generation who still remain active along with the nextyoung. To further penetrate the global market, it is necessary to produce movies with universal appeal from the initial plangeneration of directors. Among the ensuing generation of ning stage. This should be achieved by portraying issues directors, Jang Sun-woo and Park Kwang-su are still carrying through global sensibilities, instead of adhering to a narcissistic on, but Park is constantly being challenged in regard to his view focused on national originality, based on a belief that ability to adapt to today's popular movies. The generation of "what is more Korean is directors who debuted at the end of the 1980s has scornfully called themselves "Olympic Directors," for their difficulty in more global." + producing one movie in four years. They almost never get a chance to produce a second movie, particularly if their first effort ended in commercial failure. The generation break in the film industry itself, with virtually no company with accumulated experience either in production or planning, creates an obvious concern for continuity. Moreover, this phenomenon serves to raise a question of whether current filmmakers will really last more than a decade. It is common to see a lack of accumulated experience and generational breach during periods of radical innovation or revolution. When a society goes through such radical changes at intervals of 10 to 20 years, however, any success is likely to be regarded as unstable or short-lived. Accordingly, the vitality of Korean movies, seen mainly by the younger generation, could end up as a fleeting phenomenon, unless the industry continues to mature together with its producers

During the days of Korea's struggle

hen Hong Sang-soo made his debut in 1996 with a film with the unusual title, The

Day a Pig Fell into the Well,

film critics hailed him as a talented young director. As indicated by the title, Hong depicted without any exaggeration just how trivial and mundane ordinary daily life can be. Contrary to the title, it is basically a love story involving a third-rate fiction writer and two women who love him-a married woman and a girl who works at the box office of a movie theater. Subplots are built around the married woman's husband and a man who is in love with the box-office worker. The director shows the same situations from the respective viewpoint of the different characters, embellished with bits and pieces of experiences anyone might have in the big city of Seoul. The film may seem to be about blind passion and immorality, but the story depicts remarkably well the boring routines, tragedy and fortuity of our lives.

The Day a Pig Fell into the Well was not a successful movie in terms of boxoffice receipts, but its detailed depiction of the mundane attracted much attention to Hong. He then directed The Power of Kangw6n Province which was invited to the Cannes International Film Festival. His third work Virgin St1ipped Bare by Her Bachelors was the opening film of the 1st Ch'6nju International Film Festival, and was also shown at Cannes. Hong Sang-soo says that France's Eric Romer and Japan's Ozu Yasujiro have greatly influenced him. He is said to be talented in arousing viewers' emotions by portraying people's everyday lives, rather than with dramatic stories. His films convey similar messages though their content is different. In his movies, unexceptional, hypocritical men and women meet and become involved in mundane love stories. However, Hong changes his style somewhat in each of his films. In The Day a Pig Fell into the Well, the same story is presented from different people's points of view, whereas The Power of Kangw6n Province is divided into two episodes presented from the points of view of two different people. In Part 1, the leading female character Chi-suk travels through Kangw6n-do province, while in Part 2, her married lover, Sang-gw6n, travels along the same road. As the story advances toward its finale the two characters undergo similar experiences. Chi-suk sleeps with a stranger in Part 1 and Sang-gw6n has sex 17

with a prostitute in Part 2. They are both disillusioned that France's Eric by these experiences. Sanggw6n almost makes friends Romer and Japan's Ozu w ith a woman in Part 2, Vasujiro have greatly w h o Chi-suk h appens to pass in Part 1. In Part 1, Chiinfluenced him. He is suk hears from a policeman said to be talented in that the woman was killed by a man on the mountain, arousing viewers' Hong Sang-soo and in Pa rt 2, Sang-gw6n emotions by reads about the incident in a newspaper and anonymously reports the portraying people's killer's description to the police. At the everyday lives, rather end of Part 1, Chi-suk wails on a bus, while at the beginning of Part 2, Sangthan with dramatic stories. gw6n wipes the sleep from his eye as he rides the bus Chi-suk had taken. Chi-suk His fi.lms convey buries a dead fish on the mountain in similar messages though Part 1, and Sang-gw6n brings home a fish that the workers of the next building left their content is different. behind w hen they moved out. Hong

Hong Sang-soo says

Sang-soo's film is like a jigsaw puzzle. His films create movie jargons in order to cautiously delve into the reality of the cycles of life, avoiding a melodramatic approach. Hong's third work, Virgin Stripped Bare by Her Bachelors reveals a more radical style. It is divided into five parts w hich are repeated several times. The film looks at various situations based on the recollectio ns of the charac te rs. However, the same situations can seem very different depending on a character's recoll ec tio n. Even the enviro nment changes. Hong looks into the minds of the people who recall things for the sake of their own convenience.

Vilgin Stripped Bare by Her Bachelors is about the love between a scriptwriter, Su-j6ng, and an art curator, Chae-hun. It dep icts the life of a human being through a man who is engulfed by his

sexual turmoil, wild fancy, illusion, and a woman who wants to seduce him. Unlike Hong's previous works, Virgin Stripped Bare by Her Bachelors ends , happily. It is a comedy about the mundane lives of its characters, showing us that our lives are not really very different from theirs. In this movie, Su-jong is trapped in a cable car that breaks down. Like the cable car, the lives of Hong's characters are trivial, happy for a brief time, and basically cruel. We can often see reflections of ourselves in Hong's films. Whereas Hong Sang-sao's movies are built around people's daily routines, Lee Kwang-mo, who made his directing debut in 1998, adds a historical dimension to daily routines. Before becoming a director, he was the president of a film company that imported and distributed

Western art films. He produced his first work, Spring in My Hometown, while teaching film at a college. Spring in My Hometown is a beautiful film about a boy who lives in a small rural village in the 1950s during the Korean War. The father of the main character Song-min works for the U.S. army, while his sister is the lover of an American soldier. Songmin's best friend Ch'ang-hee lives with his mother who has been barely able to make ends meet since Chang-hee's father was called up by the North Korean army two years ago. Song-min's father helps Ch'ang-hee's mother to get work doing laundry at a U.S. military camp, but she gets in trouble when someone steals a soldier's clothing from the clothes line. Meanwhile, the village people are experiencing ideological conflicts as the war rages on. Spring in My Hometown presents its

Scenes from Hong Sang-soo's The Power of Kangwon Province, which was invited to the Cannes Film Festival (opposite), and his Vrrgin Stripped Bare by Her Bachelors, which opened the first Ch'onju International Film Festival (above).

Scenes from Spring in My Hometown, Lee Kwang-mo's :fihn about a boy who lives in a small rural village in the 1950s during the Korean War. <,

various characters from Song-min's point of view. However, it is not a simple melodrama. Lee Kwang-mo uses long-distance shots instead of close-ups when filming the characters and scenes, and jumps from scene to scene. The long-distance filming of this movie creates a detachment from the stories being told. Explanations of details are noticeably lacking. The story is mainly based on the memories of Song-min who is now grown-up and since his memories are not very clear, the story depends on his dim recollections. In response to audience complaints that the movie did not explain enough, Lee notes: "I think this is the way we know about life. Information about life is always presented in pieces and intermittently. I wanted to show this in my film." Although Spring in My Hometown features beautiful cinematography, it was

not the director's intention for it to come out like that. During a conversation with me, Lee commented: "I don't want to be praised for the visual beauty of this film. I wanted to show the characters' state of mind and suffering through the film. For example, when Ch'ang-hee's mother weeps bitterly in front of her son's grave, I hoped for the natural environment surrounding her to give depth to the . immense tragedy she had endured." However, his directing style of "leaving the discovery of hidden details to the audience," creates too many blanks in and after scenes, creating room for poetic imagination.Just as the worlds of the children and the adults are so markedly different in the film, there is a wide gap between what the camera captures and the actual storyline. This kind of lack of connection makes it difficult for the audience to get closely involved with the movie.

,. ~

The characters in this film, regardless of their beliefs or lifestyle, are traveling along a path of certain destruction. The children do not understand the adults and the adults do not care about their children. No one can be happy in this world. At the end of the story, Song-min forgives his father and wonders if his friend Ch'ang-hee might still be alive somewhere. According to Lee Kwangrna's expression, "His acquired positive thinking inspires hope." Spring in My Hometown ends with SOng-min's family traveling along a meandering path. This film touches on the issues of suffering in life and the will to survive. The director wants viewers to create their own dramas. Spzing in My Hometown, which stimulates the minds of viewers rather than their senses, received the Award for Best Director at the 1998 Tokyo International Film Festival.

Unlike Hong Sang-soo and Lee Kwangmo, Lee Chang-dong is a former novelist. When he first announced his plans to direct a film, many people wondered why a reputable writer of novels would want to become a film director, as there was no precedent of a writer becoming a successful filmmaker in Korea. However, his first work, Green Fish, was a masterpiece with vivid characterization and plot. Green Fisb harmonizes the destiny and reality of Korean society. In the first scene, the main character Mak-dong meets a woman Miae on his way home after his discharge from military service. While sticking his face out a train window for a breath of fresh air, a gust of wind blows Mi-ae's scarf onto his face. Following this incident, Mak-

Whereas Hong Sang-soo' s movies are built around people' s daily routines, Lee Kwang-mo, who made his directing debut in 1998, adds a historical dimension to daily routines.

Lee Kwang-mo 21

.. ~

dong visits the nightclub in Yongdungp'o where Mi-ae second work works. Yongdungp'o was redeveloped in the 1970s Peppermint Candy, while Mak-dong's hometown which deals with of llsan was built in the 1990s. These two towns play Korean history through important roles in this film. In personal experience, Yongdungp'o, Mak-dong meets Tae-gon who is Mi-ae's swept the major Lee Chang-dong lover and also a gangster awards at the Grand boss. Having lived a deprived life as an orphan, Tae-gon is now a selfBell Film Awards, Korea's made businessman dreaming of becoming equivalent of the Academy the president of a legitimate firm. Tae-gon shows Mak-dong an old building site that Awards. It portrays 20 years is due to be rebuilt soon. He tells a story of how he once got caught there eating of a man's life in reverse stolen rice balls and was put in jail order from 1999 to 1979. because of his petty crime. Tae-gon later acquires the building site by irregular means. Mak-dong learns from Tae-gon

Lee Chang-dong's

about what he has to do to succeed in life. However, unlike Tae-gon, Mak-dong has a pure dream. Mi-ae also has a dream: to travel by train whenever she feels her life is tiresome. Green Fish has a carefully structured story line. It contrasts Ilsan with Yongdungp'o, Korean society in the 1970s with the 1990s, and Tae-gon, a man who becomes rich and successful through cor. ruption, with Mak-dong, a poor, young man about to enter a corrupted society, and Mi-ae, who cannot belong to any segment of society while slowly destroying herself. Mak-dong, especially, is typical of Korean men in the 1970s. He cannot overlook injustice but chooses to be defeated. The film conveys a kind of nostalgia about the purity that Koreans lost during the process of industrialization by depicting Mak-dong's tragic death due to his refusal to become a gangster.

â&#x20AC;˘

Âˇ~

.,_

Lee Chang-dong's second w o rk Peppermint Candy, which deals with Korean history through personal experience, swept the major awards at the Grand Bell Film Awards, Korea's equivalent of the Academy Awards. It portrays 20 years of a man's life in reverse order from 1999 to 1979. It is composed of seven parts. Y6ng-ho, the main character, used to have a pure mind but is now degraded and discontent. In 1980, he is a soldier in the Korean army who is dispatched to Kwangju to suppress the demonstrations there when he accidentally kills a civilian. After being discharged from the military, he becomes a policeman, although he once wanted to be a photographer. As a policeman, he is notorious for cruelly torturing suspects. After his retirement, he loses his entire fortune due to unsuccessful stock investment. He gets divorced and

eventually decides to commit suicide. Then he hears from Sun-im, his first love, that she is dying. He reflects on his past while watching over the dying Sun-im. As the scenes are presented in reverse order, toward the end of the movie, the audience cannot believe that this corrupt, disgruntled middle-aged man was once such a naive, gentlehearted young man. Though the director intends to shock viewers in each segment, he is neither sentimental nor pedantic while keeping the audience wondering what led to the young man's destruction over the years. Through Y6ng-ho's tragic life in his film, Lee Chang-dong has succeeded in presenting a historical testimony of Korea's irreversible modern history, something which no other Korean filmmaker has ever achieved. +

Scenes from Lee Chang-dong's second movie, Peppermint Candy

ne of the most remarkable changes in Korean cinema is the recent growth of short films and documentaries. In 1999 alone, more than 300 short films were produced and introduced at local and overseas film festivals. During the 1980s, annual short film production amounted to less than 50 titles, with most being produced by a handful of film enthusiasts such as film dilettante or student groups. The 1990s, however, were marked by a rapid increase in the number of works along with a diverse range of filmmakers, including women and teenagers, who brought a new vitality to domestic short films and

documentaries. Such unparalleled attention to Korean short films and documentaries reached well beyond the nation's borders. Today, it is not uncommon for Korean short films to be presented and awarded at the Cannes, Clermont Ferrand Short Film Festival, and other acclaimed international film festivals. This article attempts to discuss the social and cultural environment that fueled the development of Korean short films and documentaries in the 1990s, with a particular emphasis on the emergence of new subject matter and modes of expression which challenge the mainstream film industry.

Korean Short Films and Documentaries in the 1990s Nam In-young Lecturer, Chung-Ang University

Korean short films and documentaries share a common historical ground: the formation of independent film circles. Korea's commercial film industry enjoyed its heyday in the 1960s, producing more than 100 movies a year. However, in the 1970s, this number declined dramatically. The number of moviegoers likewise diminished, while there was no genuine diversity or innovation in local films. Indeed the prevalence of strict censorship, including the pre-censorship of 30

scripts, and commercialism combined to stifle creativity. Aspiring directors had to serve over 10 years as assistant directors before having a chance to direct on their own. This kind of extended apprenticeship contributed to the entrenchment of conventional filmmaking and conformist attitudes.

In the 1980s, chalfenges to the government restrictions and the rigidity of the filmmaking system started to emerge. Within the existing system, new directors such as Park Kwang-su and Jang Sunwoo presented exquisite observations of the social reality and sharp criticism of the system's oppressiveness while attempting to produce films outside the established film system. They refused to submit their films for censorship and sought to establish an alternative system

for film production and distribution. The Seoul Film Cooperative was founded in 1982, foll ow ed by Hank yoreh Film Production and Labor News Production in the late 1980s. With support from activist groups, progressive labor unions, and college student councils, they produced films dealing with the contradictions of society, and distributed their works through these support groups. These film activists preferred the documentary fo rm over fi ctional films to highlight the marginalized segments of the society for whom they sought to bring about change. Their activities continued into the 1990s, when such indepe nd ent documentary produ cers as Documentary Production P.R.U.N. and Film Factory VISTA joined this rapidly expanding film genre. The Jangsangotmae, which was estab-

Opposite: scenes from Lim Chang-jae's nonnarrative experimental film Lacfuymal. Top left: a scene from Lacfuymal. Top right (clockwise from top left): in Making Sundried Red Peppers, Director Jang Hee-sun takes a look at the relationships between women of different generations within her own :fiunily and incorporates interviews and reenactments in which the characters play themselves; Making Sun-dried Red Peppers; Lacluymal; The Night Before the Strike, a feature film about Korea's labor movement. Above left (cl~kwise from top left): Sanggyedong Olympics; Another World We Are Making; Another World We Are Making; Park Ki-bok's Leave Us Alone is an inspirational film depicting the experiences of young runaways who have been neglected both by the government and social activists. Above right: a scene from Lacluymal

lished by young independent filmmakers in the late 1980s, attempted to release one of their feature films about Korea's labor movement, The Night Before the Strike, through non-commercial venues nationwide, without it being censored. The go vernme nt banned any attempt to screen the film in public and mobilized police forces to block the entrances of venues where it was scheduled to be shown. The outcome was remarkable: Acclaimed as a breakthrough for Korean cinema of the 1990s, the film was a huge success, surpassing average turnstile counts for Korean commercial films. Whether amid intense struggle or ordinary daily routine, the life of the working class and other marginalized segments of society still seems to represent a powerful creative source fo r Korea's independent filmmakers. A Bit 31

Bitel ~ depicts a day of a wife as she awaits the return of her husband from a trip for his labor union activities. The director JungJi-woo focuses-on the wife's anxiety and travails in her evetyday life, instead of highlighting the union leadetJs activities. This short film received the grand prize at the Seoul Short Film Festival in 1996 and was invited to several international film festivals as well. It is a collaborative work of the members of Independent Films Chung-Nyun, one of the leading short-film production groups in Korea. Park Chan-ok, another member of this group, received an award at the Women's Film Festival in Seoul in 1997 for her film To Be, which focused on the sexual harrassment of women on the subway and the underlying desires of lesbians. She also won an award at the Pusan International Film Festival with Heavy, which dealt with a teenage boy who was searching for an imaginary exit from the depression of his everyday life. In 1997, the Association of Korean Independent Film & Video (KIFV) was founded by independent film groups Âˇand individuals involved with the production of short films, animation, and documentaries. Its members include independent filmmakers, alternative film education groups, local non-profit cinematheques and archives, independent movie distributor Indiestory, and the non-competitive independent film festival Indie Forum. As for documentary productions, a majority of the works still remain in the same vein as the protest films of the 1980s. The independent documentaries of the 1980s, which mainly focused on neglected classes such as laborers or the urban poor, assumed the role of a counter media. As such, these filmmakers believed that their filmmaking ought to be a part of a broader movement that sought to transform society. Such acknowledgment resulted in a kind of homogeneity not only in their thoughts of a transformed society but also in their way of addressing its problems. Public, universal values and moral causes were

favored over personal, individual interests and concerns. Propaganda and education were more heavily utilized than description and reflection in conveying their thoughts to the audience. Consequently, experimentation with diversified modes of expression was restrained or neglected under such circumstances. @ However, it is fortunate to see works ~ made in the late 1990s that incorporate ~ diverse innovation in terms of both subject matter and method of approach. The Mwmuring Trilogy (1994-1999) by Byun Young-joo of Docu-Factory VISTA, explores the relationship between sexual violence and colonialism through the testimonies of women who were forced to serve as "comfort women" for Japanese soldiers during World War II. Reclaiming Our Names (1998) by Hong Hyung-sook of Seoul Visual Collective, deals with the diaspora of Korean-Japanese, while Mindullae (1999) by Lee Kyeong-soon and Choi Ha Dong-ha, focuses on the grief and fortitude of parents who lost their children in the often violent struggle for democracy that occurred during the 1980s. In Making Sun-dried Red Peppers (1999), director Jang Hee-sun takes a look at the relationships between women of different generations within her own family. The film incorporates interviews and reenactments in which the characters play themselves. Another inspirational film, Leave Us Alone (1999) depicts the experiences of young runaways who have been neglected both by the government and social activists. The film shows the instances in which From the top: a scene from Deep or Quiet; a director Park Ki-bok is not Very successscene from YewnJeong-seok's Amanita Muscaria, which is notable for its use of omis. ful in making films as he has intended sion and ,complex perspectives and for offerand his search for the blurred boundaries ing a unique visual pleasure by stressing between truth and manipulation in docuimages rather than story lines; a scene from mentary filmmaking. Park Heung-sik's A Day, which deals with Director Kim Dong-won, one of how problems brought about by unemployKorea's pioneers of independent document can lead to the collapse of a fiunily. mentaries, has consistently shown an interest in the lives of people whose homes have been demolished in the process of urban redevelopment. Such works have been included Sanggye-dong Olympics (1988), Haengdang-dong People

(1995), and A n oth er W orld We A re Making (1999). He also focuses on the development of communal effo rts by d isplaced residents. In the sequel, Another World We Are Making, he highlights incidents related to the people's attempt to block their relocation. The residents of Haengdang-dong earn the right to receive a replacement apartment as a result of their protest activities, but they do not stop there. They go on to experiment with a communal type of neighborhood that includes cooperatives and credit unions. In this movie, the focus is on the everyday politics of the working class rather than the ideology of the privileged elite. There is no desperate goal such as gaining the right to a replacement apartment in this film. It is about ways to live together more cooperatively, for which the film presents two-way communication and respect for others as

Top left: a scene from KwonJong-kwan's black comedy 28th October 1979, A Swmy Srmday. Top right: a scene from Deep or Quiet. Above: a scene from Kim Seongsoog's Simultaneity, which is about a homosexual love affiUr between a man who is disabled due to a work accident and a man who sells illegal pornographic videotapes.

essential factors. The first-person viewpoint of this film stresses such a philosophy. In pa rticular, sho rt films exa mine details of daily life and the ways they relate to social issues. A Chicago Film Festival prizewinner, Hom o Videocus (1990), by Lee Jae-yong and Byun Hyuk, deals with the absence of communication involving a boy who is addicted to TV experiences. Simultaneity (1998), by Kim Seong-soog, is about a homosexual love affair between a man w ho is disabled due to a work accident and a man who sells illegal pornographic videotapes. Meanwhile, Jung Ji-woo's 1996 film A Bit Bitter delicately portrays the everyday routine of a wife in support of her labor activist husband. Both The Picnic (1998) by Song Il-gon, and A Day (1999), by Park Heung-sik, deal with how problems bro ught about by unemployment can 33

lead to the collapse of a famil y. Such social problems are depicted in these films through individual experiences to highlight the powerlessness and feeling of loss that can befall ordinary people, and the potential for an uncaring society to destroy families. Park Heung-sik's A Day integrates documentary and fictional elements by showing scenes of crowds of the unemployed in Seoul, w hereas The Picnic expresses bold impressions through abrupt and condensed narrative. Rather than telling the whole story, The Picnic attempts to portray the fickleness of fate by filming the facial expressions of those committing suicide. On a Rain y Da y (1998) b y Kim Kyung-ran, A Child Who Cuts Sunshine (1999) by Kim ]in-han, and Amanita Muscaria (1999) by Yeum Jeong-seok, are also distinguished works in their use of 34

Scenes from A Day (top, above left); a scene from Simultaneity(above right)

Such unparalleled attention to Korean short films and documentaries reached well beyond the nation's borders. Today, it is not uncommon for Korean shm7 films to be presented and awarded at the Cannes, Clermont Ferrand Short Film Festival, and other acclaimed international film festivals.

o missio n and complex perspectives, offering a unique visual pleasure by stressing images rather than story lines. Furthermore, non-narrative experimental films alo ng the lines of W et Dream s (1992) by Kim Yun-tae, Lachrym al (1998) by Lim Chang-jae, and Deep or Quiet (1998) by Kang Mi-ja, are continuously being produced. In the Korean short films of the 1990s, important political changes are projected tlu-ough personal memories. Kwon Jongkwan's 1999 black comedy 28th October 1979, A Sunn y Sunday is about a day four young brothers and sisters spend together, which happens to be the day of the state fune ral for Pres id e nt Park Chung-hee, w ho was assassinated. While their parents are away, a new relationship based on power emerges as the brothers expelience both feelings of sur-

render and resistance against power in the course of their day together. Kim Dong-wan's black and white film 81, Haejeok Become the Disco King depicts the depressive social reality of the early 1980s through a meeting between young Âˇ people and gangsters. The documentary The Murmuring Trilogy is the result of efforts to portray the truth of modern history by presenting the memories of actual people. This trilogy has been well received in Korea and abroad as it critically delves into such issues as gender discrimination and abuses against women. My Own Breathing, the final part of the trilogy produced in 1999, shows victims of sexual assault under Japanese imperialism beginning to speak out, breaking the silence and darkness caused by social prejudice. The film consists mainly of interviews with women who were forced to be sex slaves for Japanese soldiers, talking about their personal experiences and pain while also portraying major and minor events in their lives and visits between them. The director raised the funds to finance the film through the "100 Feet Member Movement," and converted the original 16mm film to 35mm film so that it could be screened in commercial theaters. This kind of film is noteworthy for its efforts to explore production and distribution methods that are outside the commercial film system. The main distribution channel for independent films in Korea is centered around film festivals. The Indie Forum, Korean Independent Short Film Festival, Pusan Asian Short Film Festival and Human Rights Film Festival are among those that feature short films and documentaries for local audiences. In addition, the Pusan International Film Festival, Puch'on International Fantastic Film Festival, and Women's Film in Seoul include documentary sections in their programs. However, it is still rare to see alternative films at commercial theaters or on network TV. Recently, a number of Internet film channels dedicated to documen-

From the top: A scene from Lee Kyeongsoon and Choi Ha Dong-ha's Mindullae, which focuses on the grief and fortitude of parents who lost their children in the often violent struggle for democracy that occurred during the 19~0s; a scene fromJung Jeewoo's prize-winning film A Bit Bitter, which delicately portrays the everyday routine of a wife in support of her labor activist husband; a scene from Leave Us Alone; a scene from A Child Âť1lo Cuts Sunshine

taries and short films such as inditv, nscreen, and webcinema have been established. Nevertheless, such distribution channels are far from adequate to accommodate the rapidly increasing number of alternative films as well as burgeoning public interest in viewing them. However, existing distributors point out that the most important reason for this situation is that these films do not yet offer sufficient commercial value. In spite of this, short film and documentary filmmakers have prevented the mainstream film scene from getting stale, while providing a breath of inspirational fresh air. Among independent filmmakers, Jang Yoon-hyun, Jung Jiwoo, Lee Jae-yong, and Byun Hyuk have successfully debuted with commercial films, earning outstanding marks at the box office as well as from critics. Korean documentaries and short films have created new visual aesthetics that stimulate the mainstream cinema by taking daring challenges in the areas of subject and expression, which commercial films can rarely consider due to economic factors. Unfortunately, due to the fact that short films and documentaries lack commercial value, they receive little assistance from the government and public support. Some say that the problem is the prevailing notion that it is okay to sacrifice cultural value for commercial value. There is a saying: "Being an independent filmmaker in Korea is as difficult as being a fighter for national independence." This may apply to other countries as well. Short films and documentari~s have played an important role in expanding and invigorating the world of artistic film expression. If independent production and distribution should lose the ground just recently gained, deterioration in the quality of commercial films may well emerge. If so, the diverse and abundant cultural potential of Korean film will likewise wither. How can artistic development be expected if there is no challenge? + 35

FOCUS

"Media-C~

Seoul2000" Festival Song Mi-sook General Artistic Director, Media-City Seoul 2000

he Seoul Metropolitan Government will present the inaugural session of a biennial international festival of art and culture, with a focus on multimedia applications, for two months from September 2 until the end of October. Various exhibitions will be staged at Seoul's major museums and cultural cen-

T 36

ters, including the Seoul Metropolitan Museum of Art and the Seoul 6th Centennial Hall, both located on the grounds of Ky6nghuigung Palace, as well as in selected subway stations. The festival will also make use of 37 large electronic billboards located throughout the city. This year's inaugural festival, "MediaCity Seoul 2000," is centered around

"media," with an ambitious goal of integrating art, science and technology and industry-more often regarded as independent and distinct realms. The biennale will be held simultaneously with the Asia-Europe Meeting (ASEM), being hosted by Seoul this year, and also in conjunction with the World Cup in 2002. The theme of this year ~ s festival will be

"City: Between 0 and 1." "0 and 1" refers to the binary system of the computer vyorld, as well as conflicting concepts including fiction and reality, not1lingness and existence. "Between" denotes the two-way relationship existing in contradictory concepts, and moreover, the interactivity and interaction, in addition to continuity, integration, and harmony between such concepts. It also symbolizes the infinite potential for development and change of a dynamic environment, as well as the limitless possibilities existing between even apparently conflicting concepts. Although seemingly confusing, such characteristics can be viewed as representing the unique aspects of Seoul, a city of highly advanced technology undergoing radical change and rapid development. Moreover, with revolutionary advances in computer communication technology turning Seoulites into rabid Netizens, media is no long~r merely a means of communication. Rather, media now provides the impetus for changes of even greater significance. Believing it necessary to respond more actively to such changes, the Seoul Metropolitan Government decided to promote the city as a communications hub of the global village. This festival is thus in part an attempt to encourage exchange and connectivity among art, science and industry " in order to create a visual image of Seoul in which "media" and "city" literally interact to create synergy effects. Here, "media" refers to communications. As in the words of Marshall MacLuhan, who observed that "Media is the message," media is the means for delivering messages, while in this age of digitalization it facilitates a two-way process. A city is a medium of life as well and a vivid scene of communications, which means that it integrates all forms of media. The twoway characteristics of digitalization allow continuity or links between conflicting concepts symbolized by the binary system of 0 and 1, such as fiction and reality, nothingness and existence, non-material and material, subject and object.

Ultimately, such capability enables the pursuit of integration between analog and digital, and between individuals and society. It is this all-encompassing integration that Seoul is hoping to achieve, as the ground zero of a digital revolution taking root at a pace faster than anywhere else in the world. The Organizing Committee of "MediaCity Seoul 2000" decided that the success of this festival would depend on its ability to differentiate itself from existing biennales, which typically focus on pure art genres, for example, the Kwangju Biennale, Venice Biennale, Kassel Documenta, and Sao Paolo Biennale. Accordingly, the festival will feature a variety of events intended to accommodate diverse classes, age groups and venues, as well as science and technology and industry, while maintaining a proper focus on the exhibitions. The highlight of the festival will be art as the driving force behind the promotion of creativity, which is the key to the development of industries-or the hardwareas well as technology and science-or the software-that are becoming increasingly critical in today's digital age. One of the main events, "Media Art 2000: Retrospection and Prospects," will feature works by some 45 world-renowned Korean and overseas media artists. The works will explore the past and future of media art, beginning from the late 1960s to the present, including works on single-channel videotapes and computerbased installations. The show will be in the form of a typical art exhibition, presented on the first floor and lobby of the Seoul Metropolitan Museum of Art in a cubic space ,surrounded by white walls on all sides. The festival will feature site-specific works by means of a map of Seoul produced by the globally acclaimed video artist Paik Nam-june, also honorary chairman of the "Media-City Seoul 2000" Organizing Committee. This festival will invite such internationally recognized artists as Vito Acconci, Laurie Anderson, Gary Hill, Bill Viola, and Tony Oursler,

This festival is thus in part an attempt to encourage exchange and connectivity among art, science and industry in order to create a visual image of Seoul in which "media" and "city" literally interact to create synergy effects. Here, "media" refers to communications.

Cathartic User Interface, Perry Hoberman (opposite); Life Species II, Christa Sommerer and Laurent Mignonneau (top); The Un-ending Un-ique Melody ofChords, Valie Export, 1988 (above)

The highlight of the festival will be art as the driving force behind the p""romotion of creativity, which is the key to the development of industries-or the hardware~s

well as technology and science-or the software-that are becoming increasingly critical in today's digital age.

II '

A model of a 360Â° screen to be featured at

"Media-City Seoul2000"

as well as Steve McQueen, the winner of last year's Turner Prize, relative newcomer Valie Export, and Janet Cardiff. The Korean artists participating in the media art show include Kim Young-jin, Park Chan-kyong, Park Hyun-ki, Lee Bul,' and Michael Chu. As the inaugural festival, the artists were selected mainly on the basis of works corresponding to the key themes, rather than on nationality. The main theme of the media art show will be ''Escape," derived from the ''Esc'' key on the upper left corner of computer keyboards and the Return key, or escape and return. It can also be regarded as "eScape," or electronic landscape. The sub-themes will be material/nonmaterial, fiction / reality, virtual social simulation, space/ time/ speed, and utopia/ distopia. The advancement of information and communications technology has not only broken down the time and space boundaries between subjects and objects, and production and supply, but has also created a more urgent need for interactivity between people. The trend of two-way relationships in art is also evident in the form of emphasis being placed on the public-service nature of art being delivered to viewers, rather than on viewers coming to appreciate art. There has been little effort to accommodate this shift in focus, however, save for sporadically planned minor and insignificant activities. To address this situation, the "Media-City Seoul 2000" festival will feature public art programs aimed at promoting the role of a city as a digital media and the publicservice functions of art. Public art programs will be categorized into two events according to venue. One is the "Subway Gallery," introducing the concept of "functioning art" with presentations at Kwanghwamun Station in the heart of Seoul, and Subway Line No. 2, which includes the largest number of transit stations. Due to budget limitations, the majority of works shown in "Subway Gallery'' will be by local artists. About 25 artists and teams will be invited to produce works to be displayed long-term at

subway stations. The key premise behind these works will be functionality, whether ornamental or practical in nature. The works will be based on the festival's "escape" theme since subway stations offer a perfect model of the cycles of life as the scene of routine repetitive acts: the endless stream of people getting on and off the subway. To complement the art show taking place underground, another will be held in the "sky." Large electronic billboards (about 70 in Seoul alone), referred to as "city visions" in Korean which are usually used for commercial or public advertisements, will be employed to promote art to enhance their metamedia or postmedia capability. Edited versions of either 1-minute or 20-second works by 20 artists will be shown on the electronic billboards. As such, 37 of the 70 or so billboards scattered throughout Seoul will be part of this effort. The "City Vision" program will be subtitled ''Pars Pro Toto, Part for All." Artists specializing in the production of images, movie directors, civil engineers, and architects will be invited to participate in this program. The selection of artists is currently in the final stage, as is the case with other programs. Among the participants will be Rem Koolhaas, an architect from the Netherlands and this year's recipient of the prestigious Pritzker Prize, Matthew Barney, who will also participate in Media Art 2000, video artist Douglas Gordon from Glasgow, and Korean film directors Song li-gon and Lee Kwang-mo. One of the key distinctions of "MediaCity Seoul 2000" will be its heavy . emphasis on programs for young people, and children, to embrace a diversity of people in terms of social groups and ages. "Digital Alice" is among the youthoriented activities aimed at preschool and elementary school children as well as the entire family. The program is designed to promote public understanding of the digital world through interactive experiences featuring easy-to-understand and fun games, including a replacement of traditional textbook edu-

cation with alternative paradigms for the education of the future. The character "-t\.lice" was taken from the Alice in Wonde1land book since her eJeperience can be compared to today's digital age. Alice in Wondeiiand portrays a world of fiction and imagination that is entirely different from Alice's daily routine. However, the fictional world begins with the objects that Alice is familiar with in her ordinary life. The story unfolds with Alice talking to a rabbit, a tree turning into a person, and the king and queen of playing cards actually coming to life. This also means that Alice is led by familiar objects into a world of fantasy. Her experiences are similar to today's digital world where we can transcend the previous bounds of reality (time and space) thanks to recent advances in communications. The program "Digital Alice" will invite people to a new world of fantasy through interactive concepts. The program title, "Digital and I: Touching, Feeling and Becoming One," refers to a digital world experienced through the five senses. This concept is grouped into four separate realms: reality and virtuality, the world of images, images and texts, and interactivity. The program will be presented in five exhibition rooms at the Seoul Metropolitan Museum of Art"Alice's Room," "Play Park," "Exciting " Journey of Paintings," "Digital Library" and "My Workroom"-according to function. Functional works by domestic and foreign artists will be used to create the overall environment, but since the fundamental purpose involves education, the program will be centered around an "open concept" to enable children to personally plan and organize the different realms. Another event, "Media Entertainment," will be staged at the Seoul 6th Centennial Hall. Targeting teenagers, the event will focus on .the changes in our quality of life initiated by scientific discoveries that ultimately lead to yet another media industry revolution. "Media Entertainment" will feature programs for teen-

link the deluge of information transcending the boundaries of time and space; ~ "ePeople," a variety of media entertainE. 25 ment; and "eCommunication," comprising 8 community events such as contests, lectures, and screenings with the participation of media professionals and ordinary citizens. Each of the festival's programs has invited curators or coordinators working actively in Korea and abroad. Barbara London, video curator of the New York MOMA, and Jeremy Millar, the internationally acclaimed program planner and curator at London's Photographer's Gallery which has featured the exhibitions "Speed" and "Airport," will curate "Media Art 2000." In addition, Hans Ulrich Obrist, a Swiss who curates exhibitions for young artists at the Musee d'Art Modern de Ia Ville de Paris and has gained fame for such exhibitions as "Manifesta 1" and "Cities on the Move," has been commissioned for overseeing the curation of "City Vision." Yoo Byonghak, who is currently working in CybeRoberta, Lynn Hershman, 1996-1999 (top); Life Species II, Christa Sommerer and Germany and received critical acclaim Laurent Mignonneau (above) for his cutting-edge exhibition "Frames are Better than Paintings" last year, will curate "Subway Gallery." Meanwhile, Park Shin-ui has been named curator of agers, who are known to react most sen"Digital Alice," and Chang Chang-ik for sitively to such changes, and will also "Media Entertainment." The secretariat of present the current status of the media "Media-City Seoul 2000" is also making a industry, which continues to attract great deal of effort in planning workincreasingly greater interest. Whereas the shops which include the participation of media art program requires a relatively foreign curators, whose role in Korea passive atmosphere to allow retrospechas assumed increasing importance in tion, "Media Entertainment" will focus on the 21st century. These workshops, active participation to demonstrate how while based on an overall goal of prothe digital media industry calls for new moting Korean art and its personnel experiences in human sentiments and resources, is also intended to create a netsensibilities. Titled "eMotion," the program work for active international exchange will be classified into "eEye," a forum of among curatorial specialists. visual experience in multimedia and A press conference will be held in hyper-senses; "eFace," featuring cyber June in New York City to promote the characters and digital animation; "eBody," festival as a genuine international fete. for experiencing state-of-the-art digital The festival will be held from broadcasting and allowing participants to September 2 until the end of October vitalize the power of life inherent in this year, and then again from May to themselves and their imagination; June in 2002 to coincide with the World "eBrain," offering state-of-the-art electronCup finals. + ic games; "eHair," providing the means to ~

INTERVIEW

ShimJae-ryong Professor, Department of Philosophy, Seoul National University

wagyesa is a Buddhist temple nestled among the breathtaking peaks of Pukhansan, a national park situated to the north of Seoul city. Founded in the 16th century and restored in the 1800s, Hwagyesa has a relatively brief history in a country where temples of over

1,000 years old are not uncommon, and it is relatively small as well. Nevertheless, this elegant and tranquil temple has become a touchstone for modern Korean Buddhism while receiving considerable attention both in Korea and from abroad. This is due to the Hwagyesa International Zen Center which is emerging as a sue-

cessful example of the international mission of Korean Buddhism. At the center of this development is Monk Seung Sahn, the founder and first patriarch of the Kwan Urn Zen School, an international missionary headquarters. He is recognized as a living Buddha along with the Dalai Lama, Thich Nhat

Flowers Hanh, and Maha Ghosananda. Since his 1966 visit to Japan, he has sparked an interest in Zen Buddhism among tens of thousands of students in dozens of countries around the world. As an elder of Korean Zen, he has gained greater acclaim overseas than in his native Korea. His almost 40-year commitment to the

The Hwagyesa International Zen Center at Hwagyesa Temple promotes Korean Buddhism throughout the world (above). Monk Ojin praying in the center's prayer hall (below).

Founded in the 16th century and restored in the 1800s, Hwagyesa has a relatively brief history in a country

where temples over 1,000 years old are not uncommon,

I --<.

and it is relatively small as well. Nevertheless, this elegant and tranquil temple has become a touchstone for modern Korean Buddhism

while receiving considerable

attention both in Korea and from abroad.

Hwagyesa International Zen Center has begun to bear fruit. Hwagyesa, which means "valley of flowers," is a place where people of diverse languages and cultures gather, like flowers blooming in spring. The name of the temple seems to imply that it can lead its followers to blossom with the beauty of Buddhism. One day in April, when I was filled with the vitality that comes w ith spring, I passed through the gate to the Zen center and came upon a large five-story building on my left. The center is housed in a modern concrete structure built to accommodate the growing number of people who come to practice Zen. Currently, there are about 10 foreign monks living there along with some 40 Koreans from abroad participating in the services. Perhaps to meet growing demand in Korea for native speakers, foreigners often leave for language institutes, while ever more Koreans attend the center's English services to improve their language skills as well. I had the chance to interview Ojin, one of the foreign monks who delivers the English sermons. I found Ojin waiting for me in a room beside the temple's four-story main hall. Although 40, he appears much younger and has the gentle features of a monk. In addition to his native Polish, he speaks Russian and English. Because he is still unfamiliar with Korean, we conducted the interview in English. Ojin was born in Poland and is almost 100 percent Polish except for a little German blood on his mother's side. He grew up in a relatively affluent family, and studied architecture in college. When he was born, the Polish government was dominated by Moscow, and upward of 90 percent of the po pulation was Catholic. I was curious about his life and background. Growing up in a communist country with a Catholic upbringing, how on earth did he come to know Buddhism, and why did he decide to become a monk?

Shim: What is your motivation for devoting yourself to Buddhism? Ojin: Suffering. I was interested in this response. In Buddhism, the term "suffering" is used often, but experiencing suffering is not an experience common to many. And even those who actually suffer don't usually decide to leave their ho mes behind and "go forth." Shim: When did you come to realize life's suffering? Ojin: As I am not awakened yet, suf-

fering is continuous. Shim: Although life is based on suffering, wasn't there a certain moment when you realized this? Ojin: Polish history is a history of

ordeals. Poland used to be governed by a puppet administration of Moscow and since birth I grew up under its control and constant surveillance. As I got olde1; slowly the wind of freedom began to blow across Eastern Europe, but basic human 1ights were still restJicted and living there became a more and more harsh punishment.

42 .,

.. ~

Shlm I understand that you grew up in a Catholic family. In the midst of P9land's political and' social difficulties, could religion provide you a Âˇ kind of internal peace? Ojin: I had no belief in God. For me, although Catholicism is very different from communism, both are just repressive ideologies. I know about the consequences when religion loses its dynamism and becomes a rigid ideology, and I didn't want him to recall the bitterness of this. The conditions of one's life can be seen as that which triggers an awakening to the restrictions and lack of freedom inherent in human existence. So why was Buddhism, especially Korean Zen Buddhism, the road chosen by a young East European in search of freedom, and how did this search lead him to the Hwagyesa International Zen Center? Ten Thousand Practices-From Harvard to Hwagyesa, a book written by Ojin's senior, Monk Hyun-gak, presents a literary analogy. In Ojin's case, how did he get from Gdansk to Hwagyesa? Life is a continuous series of choices and each choice presents many different opportu-

nities. According to Buddhist principle, karma accumulated in the course of past lives determines the greater part of one's present life. Changing the course of this life, especially leaving one's home behind, can only be rooted in exceptional commitment. Shlm You left Poland as a monk, and, of course, as a student of the Buddha, and from a certain perspective, you left as a student of Monk Seung Sahn. How did you first come to meet Monk Seung Sahn? Ojin: Monk Seung Sahn first came to Poland in 1978 at the invitation of a Polish student in the United States. I first met him when he came to Gdansk in eaiiy 1981. I became his student about two years late1; in 1982, and while working at an architectural fi1m I pursued Zen practice at a Zen center in the area. I came to Korea in 1988 and was ordained, and in my mind I became a monk. And so here I am. Shim: As I understand it, at Monk Seung Sahn's Kwan Urn Zen School, lay people and monks live and practice together. In terms of the international mission, the relative importance and role of lay people seems to have been expanded. If there is a place where lay people can practice in earnest, what is the reason for "going forth?" Ojin: According to Buddhism, there cannot be a difference between Jay people and those who go forth to become monks. Howeve1; each way of practicing Buddhism has its own role and place. Those who go forth devote their whole lives to the transmission of the teaching of the Buddha. This is crucial work. Furthermore, practicing Zen while living in society has many limitations. I simply wanted to devote more time to practicing true Zen.

Life is a continuous series of choices and each choice presents many different opportunities. According to Buddhist principle, karma accumulated in the course of past lives determines the greater part of one's present life. Changing the course of this life, especially leaving one's home behind, can only be rooted in exceptional commitment.

Shlm Do you have any regrets about leaving your home behind? Ojin: None. I am supremely content 43

Shim Did you know anything about

Shim I see Suzuki as more a scholar

Buddhism before you met Monk Seung Sahn? Ojin: I had read the w1itings of Daisetz Suzuki.

than an experienced practicing Zen master. But the power that truly moves people is not logic or theory but emotion and feeling. What is the attraction of Monk Seung Sahn that causes people to abandon a worldly life and pursue the way of a Zen practitioner? Ojin: His smile. He has a smile that soothes people's wounds and puts their minds at rest.

Shim I did some introductory work translating his book into Korean. Suzuki played a large part in the introduction of Japanese Zen to the West, and heavily influenced the Western intellectual community. What do you see as the similarities and differences between the Buddhism of Suzuki and the Buddhism of Monk Seung Sahn? I mean, can you see the characteristics of Korean Zen as the beginning, or the source? Ojin: I think that the essential teachings of Suzuki and Monk Seung Sahn are not different. Howeve1; Suzuki seems very theoretical in his approach. Monk Seung Sahn's Buddhism comes more from his personal experience, and this wisdom and strength gives it clarity and conciseness. 44

Shim Could we call that charisma? Ojin: Well. .. I don 't know Feeling the . eneigy,given forth by an awakened being is just an undeniable thing Maybe because of their past lives, Monk Seung Sahn 's students all say that they are drawn to his smile and his energy. More than anything, it's his wisdom as a Zen master that is truly amazing When he looks at a question, for example, he doesn't "explain" about ultimate truth or Buddha-nature. He shows it. He has always taught me that I have to

approach my questioning in an unusual way. Shim What kind of questions?

Ojin: One is "who am I?" He has taught me what I have to look fo1; and how I must look for it. Asking "who am I" is not looking for an intellectual answer. Looking for "I" through explanation or analysis cannot help me find myself Such a thing is only an abstraction or a conception of me, it can never be me myself I cannot think of myself as an '1," . because it is the "I" asking directly of itself, just as the eye cannot see itself and the knife cannot cut itself So, this questioning is reconsidering the perception pointed toward Sllch an object and instead trying to perceive the basis of perception, and its root. This is action before the thought action. Monk Seung Sahn's teachings are pointing to this "don't know mind." Shim How can we "find ourselves?"

Can you explain the basics of Monk Seung Sahn's teachings? . Ojin: It's very simple. In any situation, or in any activity, don't think about it or ask why just do it. Shim: You're saying not to think, from

the start? Ojin: Don't be attached to thinking or to trying not to think. Do without thinking or not thinking, with the "don't know mind." Shim: So, concentrate? Is this concentrating on one object to collect the scattered thoughts of your mind? Ojin: "Concentration" is divided between the object of concentration and the subject of concentration. Shun: If we speak of concentration in Buddhist terms, subject and object aren't divided into separate states. Maybe you mean a "concentrating perception" as a mediate state. Anyway, what is the Buddhist meaning of "doing?" Ojin: Life is lived as a relation between situation and action. All existence must only establish the 1ight action for the right situation, and the right relationship. In other words, this means accommodating yourself to the Jaws of the universe. Opposing these universal laws brings about suffe1ing. Shim: You're saying that all living things have a role, a place in the midst of the universe. How should we function and establish relationships in all these different situations? In other words, how can

the life we live be in line with truth? Ojin: Live with the ''don't know mind." In any situation, the "don't know mind" before thought is the same for everyone. This moment of slapping the floor [he struck the table with his palm], the absolute state which language cannot enter, denotes the "don't know mind." Shim: Can we say that this is the union of subject and object, being in line with truth? Ojin: You could say that. The moment of slapping the floor reveals the reality of the oneness of all things. The matter of all living things is one, and that is the true self Realizing this true self is awakening, it is freedom. This moen~ as the moment before thought, cannot be expressed in language. The "don't know mind" is Buddha-nature, Buddha, and reality Zen Masters use shouts or sticks to awaken their students to this. Shim: ÂˇI want to thank you for taking time out of your busy schedule to have this interview with me. I hope you succeed in your path to awakening. Ojin: Thank you.

If we speak of the concept of universality and enlightenment in Buddhism as one and the same, the Dharma of Ojin's teacher Monk Seung Sahn is closely related to China's Imje, and ultimately, all the way back to the founder of Buddhism, Sakyamuni. However, in Monk Seung Sahn's own particular style and tools of Zen, which come from his own experience, we can see certain characteristics of

A foreign monk ironing his robes (opposite); Monk Seung Sahn, who is recognized as a living Buddha along with the Dalai Lama, Thi.ch Nhat Hanh, and Maha Ghosananda, lecturing (above); the names of foreign monks displayed on a wall in the main hall of the Zen center (below)

modern Korean Buddhism. Within Korea, Monk Seung Sahn inherits the line of Kobong, Man-gong, and Kyongho. I'd like to close with a story from Monk Seung Sahn that shows us the world as a single flower. One day, when winding up a retreat, a first-time student asked Monk Seung Sahn: ''When may I see you again?' Monk Seung Sahn immediately hit the student's legs with his staff. The student was bewildered Then Monk Seung Sahn leaned toward the student and said in a soft voice: '1f you only keep the 'don't know mind,' nothing can part us." No matter how many years pass, that student will never forget those words. +

TRADITIONAL ARTISAN

..J.:E legance and Simplicity ofKorea's Fans

LeeKi-dong Human Cultural Asset as l\Iaker of Bamboo Fans Lee Hyoung-kwon Head, Cultural Properties Research Institute

A 200-year-old bamboo fan with newly attached paper (left) and fan maker Lee Ki-dong at work (opposite)

ans are one of Korea's most representative cultural artifacts. As such, t'aeguk fans are invariably carried by Korean competitors participating in the opening ceremony of athletic games and fans are often given as gifts to foreigners. Even Queen Elizabeth II was presented a bamboo fan when she visited Korea in 1999. There is an old saying, "A fan for

Tano (fifth day of the fifth lunar month) and an almanac for Tongji (winter solstice)." In the past fans were exchanged as gifts as a gesture of friendship just before the approach of summer. But they have long since lost their original function, having been pushed aside by electric fans and air conditioners. Still, of all the objects that have been handed down from the past, there is probably nothing quite as elegant and stylish as

the fan, which still is an indispensable summer accessory. In times past, people's image of an ideal person was a scholar sitting on a cool wooden floor, dressed in ramie clothing and leisurely cooling himself with a fan, or an elderly man sitting under a pine tree with a fan in his hand. Scholars never left home without a fan. It was used as a cooling device in warm weather; when it rained, it provid-

ed protection. Under the hot sun, it served as a sunshade. At embarrassing moments, it was used to hide one's face. Because the fan was said to have eight virtues it was also called paldoks6n, "the fan of eight virtues." The poems and pictures painted on fans have been an example of the grace and refinement which enrich Korean arts and culture. It is not known exactly when Korean people first began to use fans. However, as fans are depicted in the wall paintings of Kogury6 tombs, it is estimated that they came into use in Korea some time before the Three Kingdoms period (1st century B.C.-A.D. 7th century). In general, there are two major types of fans: non-folding fans, usually circular and covered with paper or silk, and folding f ~ ms that can be opened and closed. These two basic types include a wide variety of different kinds, some with names that are rarely heard. But in terms of refinement and style, nothing can beat the folding bamboo fan, hapchuks6n. Bamboo fans make a delicate and lively sound whenever they are opened or closed Adding to their elegance, they are usually painted with landscapes or the "four gentlemen"-plum, orchid, chrysanthemum and bamboo. Pansori (a narrative, epic, dramatic vocal art form) singers perform with a fan in one hand which is used to accentuate the beat, adding to the charm of the music. The home of the bamboo fan is Ch6nju, Ch6llabuk-do province, a town revered for its culture and arts. During the Chason Dynasty (13921910), there was in Ch6nju a government bureau called S6njach'6ng whose job was to examine the fans being sent as

gifts to the king. Today, Ch6nju boasts the country's only fan workshop, where the fan-making tradition is still kept alive. The workshop of Lee Ki-dong, a human cultural asset in the art of fan making, is located in Taes6ng-dong, just outside Ch6nju on the road to Namw6n. Lee has been making fans for almost 50 years. Until quite recently, he lived in Kajamigol valley in Ch6nju, at the foot of Kirinbong peak, with other fan-making artisans. But a few years ago, the city of Ch6nju provided Lee and other traditional handicraft artists with their own individual workshops and exhibition space. However, Lee's workshop, called Y6ngjin Handicraft Co., does not have the appearance of belonging to a highly regarded craftsman and designated human cultural asset In fact, it looks little different from an ordinary home. Realizing that visitors are typically disappointed with the appearance of his workshop, Lee calmly tells them: "Good fans are not made by an impressive workshop. The workshop may be uninspiring, but it is the state of mind that is important." Born in Changs6ng, Ch6llanam-do province, Lee's first encounter with fans goes back to 1947 during his impoverished youth. Lee, who lost his parents at age 11, had been working as a farm hand when he became a believer in the new indigenous religion called ChUngsando, which was gaining a powerful influence in the Honam region. One of the church people suggested that Lee learn the skill of making fans rather than continuing to work on a farm since lie had little . chance of owning land. This person then got Lee a job at a fan workshop run by a relative in Ch6nju. The making of fans, however, did not prove to be any easier than farming work Lee found no satisfaction in spending the whole day bent over bits of bamboo by the light of a small kerosene lamp in a broken down workshop. He ran away from the workshop five times, wanting to give up making fans. "Imagine making little bamboo ribs all

day long and well into the night in a back room lit with a coal fire. And at the a.ge of 20 when the blood is racing in your veins. I ran away five times but in the end I made up my mind to stick with it," Lee explained. Lee made a decision to devote himself to the craft of fan making under the influence of his teacher Pae Kwi-nam, who had been keeping alive the art of making bamboo folding fans in Ch6nju. The teacher sat Lee down when he was feeling most lost and said: "If you want to make money, give up this work right now. But if you want to make something that is a work of art, stay with me." Daunted by these words, Lee decided to stay and as a result of his lifelong dedication has become a master in the tradition of fan making. In explaining the beauty of the fan, Lee says it is like a woman dressed in hanbok (traditional dress) with a piny6 (ornamental hairpin) in her hair. The handle of the fan is like the piny6 while the bamboo ribs of the fan gathered together are like the woman's skirt. Each rib of the fan is divided into a narrow part at the top and a wide part at the bottom, which symbolize male and female, respectively. Most often, the folded fan is compared to the body of a woman. Consequently, fans are frequently decorated with chrysanthemums, the symbol of a woman's chastity, and bats, which symbolize a woman going to meet her lover at night. The Korean name for bamboo fan, hapchuks6n, literally means "a fan made by joining stalks of bamboo together." The fans are divided into three types according to the number of ribs-large with 50 ribs, medium with 40 and small with 30. The production process i:S usually divided into three stages. In the past, production started around Paekchung (the 15th day of the seventh lunar month)

Bamboo frames for folding fans drying (opposite); a few of the many steps involved in making a hapchukson (right, top to bottom)

when bamboo was harvested in Ch6nju, Hadong, and Kurye in Ch6llanam-do. The first stage called chojo involves selecting smooth bamboo stalks, boiling them in lye, and then drying them in the sun. The bamboo is then soaked for three to four days and fired in an oven at over 200' Celsius. Thereafter, the wood is cut into thin strips. Most important is the selection of the best bamboo. Only bamboo that is cut around the 15th day of the seventh lunar month, or from the end of the ninth lunar month to the second lunar month, will be free of bugs and thus of good quality. In the second stage called ch6ngny6n, literally meaning refinement process, SO thin pieces of bamboo are glued and joined together with connectors and dried for a day and then finished with pieces of bone to make the bamboo handle. The secret here is to use very high quality glue, with the best glue being made from the ground bladder of croaker fish.

Tools used for making funs

In the final stage, the ribs are smoothed out and finished by burning into them decorative patterns such as bats and chrysanthemums with a sharp pyrography iron. Then the paper is attached to the framework There are many steps in the making of a folding bamboo fan. It is said that a fan that has been worked on only 10 times will be different from a fan that has been worked on 11 times, referring to the tremendous amount of detailed hand work involved. But most critical of all perhaps is the proper boiling of the bamboo. If the bamboo is boiled for too short or too long a period of time it becomes more susceptible to cracking. Peeling the skin off the ribs and gluing the two ends together is also a very difficult step of the fan-making process. There is no part of the fan that is not touched by the hand of the master. Thus, no mass manufacturing by machine is possible and no more than 2,000 fans can be made per year. A fan created with

Of all the objects that have been handed down from the past, there is probably nothing quite as elegant and stylish as the fan, which still is an indispensable summer accessory.

A fan made by Lee Ki-dong with a painting of Rose of Sharon, Korea's national flower.

; ;,

o•

"'\'\

....;..-

"'\·.\

.,~

-"'y ~

"- ...

' '·...

,:. ~

•/. ~\

....,

.. ,.

"'"-"

. ~

ql ~

:...-

o•• ·~

,.,

;#;:

01:

itt

J0 I

't .;;

0 \• (.

o·\'

J::i

•

o·1 0,!1

til

·I

§g

'-,

:--, o,

,,, .,.,

,,o,

1\,

"·

A fun made by Lee Ki-dong with Korean calligraphy

....

great patience by a master who has walked but one path all his life is a genuine masterpiece that cannot be duplicated. If you closely examine a fan made by Lee, the ribs do not look like they are made out of two pieces of bamboo joined together, but rather a single piece. This reveals the delicacy of his touch that cannot be matched by even the most sophisticated machinery. Lee has devoted half a century to working with bamboo in order to produce a perfect fan. In Ch6nju, there are now quite a few people, including Lee's students, who are striving to inherit the fan-making craft. However, because of today's countless modern conveniences, Lee cannot help worrying about whether fans will survive into the fu ture. Therefore, he has taught his skills to his two sons and his son-in law and is now counting on them to carry on the

tradition. Lee says that when his sons were young, neither showed an interest in making fans, but now they are happy to be involved with this craft. Passing his skills onto his sons and observing as they progress toward becoming master craftsmen themselves gives Lee more satisfaction than the pride he fe lt when he earned the title "master," the highest

Prizes and awards decorate the walls ofl~e's living room.

honor for those who make fans. Lee, who is always busy keeping up with orders for fans, says that for him making fans is a vocation and he has no regrets about the path he chose to take. He says that he will continue making fans until the day he dies. The bamboo fans made by Lee Kidong are considered the city of Ch6nju's finest handicraft works. Lee's fans decorated with ink paintings are considered to be of such high artistic value that they are often framed and can be bought at the cooperative handicraft workshop situated in Taes6ng-dong, Ch6nju. In Seoul, Lee's fans can be purchased at the Human Cultural Asset Exhibition Hall, which the Korea National Tourism Organization operates in an effort to promote traditional handicrafts as souvenirs. • 51

.. ~

â&#x20AC;¢ Indangsu

remember taking a 14-hour boat ride to Paengny6ngdo Island about 8 years ago when I suffered such a serious bout of seasickness that it seemed like my belly was tied up in knots. I can also vividly recall the proprietor of the inn where I stayed who angrily shook her fist in the direction of the mainland as she rebuked -mainlanders for thinking that a soccer ball thrown out the front door of any home on the island would land in the ocean. Needless to say, many mainlanders have a misperception that the island is, above all else, very small. But contrary to such misguided notions, Paengny6ngdo is not as small as one might think. It used to be Korea's 14th

biggest island before several of the islands scattered about in the southwestern area of Korea, such as K6jedo and Chindo, were linked to the mainland by bridges, making Paengny6ngdo Korea's 8th biggest island. Moreover, getting there by boat, which used take more than 14 hours, has been reduced to four and a half hours with the introduction of speedboats. To get to Paengny6ngdo from Seoul, you take the expressway to the Inch'6n pier. There you can take a speedboat that makes two trips daily to Paengny6ngdo. I was paranoid about getting seasick again as I recalled how much I suffered eight years ago, but this time, ironically, I got sick from an overdose of seasickness pills.

Chinch'on-ri, a town at the center of the island (top left); a seagull on a seaside cliff (top right); nesting seagulls (above); Seagull Island at the south end ofPaengnyongdo (below); and cormorants resting on a cliff (opposite)

' â&#x20AC;˘

Paengny6ngdo is a remote island off the northernmost point of the west coas~ some 193 kilometers from Inch'6n and 17 kilometers from Changsan-got, Hwanghae-do province, North Korea. With white sandy beaches, waters so clear that you can see a meter deep, intriguing rock formations that make it seem as if Haegtlffigang (the East Sea Diamond Mountains) had been somehow transplanted there, and rare animal species which have made their home along the pristine shores, Paengny6ngdo has more things to see and do than most islands. But in spite of this, few tourists have sought out this unique destination. Until recently, it was rather difficult to reach by boat and due to its close proximity to

Bean-shaped pebbles like these cover several ofPaengnyongdo's beaches (below). They have been shaped by the waves (bottom). Sparkling in the snn, the pebbles look like jewels sttewn on the beach (right).

North Korea, people could not freely travel to the island because of military restrictions. But today many of these restrictions have been eased and there are few difficulties for the adventurous tourist. The most distinctive feature of the island is its spectacular natural scenery. Because it has not been frequented by many people, the scenery has been spared from human harm while being preserved in its natural state. As soon as I reached Chinch'on-ri, at the center of the island, and unpacked my gear, I headed straight for the Tumujin estuary in the northwest of the island. The Tumujin estuary is a beautiful natural harbor that looks like two arms stretching out to embrace the sea. If you go up to the observatory on the left side

of the estuary, Changsan-got, which is 12 kilometers away in North Korea, appears so close that it seems as if you could reach out and touch it. Beyond Changsan-got are such places as Changyon, Y6nbaek and Haeju, names which are not unfamiliar to us and from where most of the Paengny6ngdo islanders originally came. The currents from the west and the north intersect at Changsan-got, crashing violently and forming dangerous eddies, such that from long ago, this channel of water has been infamous as an especially perilous area for boats. In the historical records of the Kory6 Dynasty (918-1392), there are a number of references to boats getting caught in the whirlpools in this channel, capsizing and sinking. At Tumujin there are always fishing

boats lying in wait for tourists. The tourist boats that depart from the estuary follow the left coast from the northern part of the island taking in some quite unforgettable maritime scenery along the way. A scene of extraordinarily unique rock formations that could easily be called the Haegt:1mgang of the west coast, spreads out proudly as you pass by. Depending on one's imagination, the rocks can look like any number of different things. Someone with a birthday approaching could see the rocks as a great big birthday cake with layer upon layer set in the middle of a table. Another might see various animals of the kind that can only be seen on safari in far off Africa. On the other hand, if you go to the eastern end of the island and climb about the rocks along the coast, 57

you can observe sea lions and walruses sunning themselves. In the Tumujin maritime tourist area and around Yongtl:Irim rock in the south of the island, if you follow along the cliffs which are so steep that they are too treacherous to climb, you can see cormorants and seagu lls â&#x20AC;˘ making their nests and sitting on their eggs, while from nearby observing the dazzling display of yellow-billed w hite herons flapping their wings and their peculiar method of breeding. The rocks A van driving on the beach at Sagot (left). The sand here is so compact and finn that aircraft can take off and land on the beach (above). 58

.. .. ~

are painted whitish gray from the droppings of these birds. Paengny6ngdo's scenery was created through a divine providence which seems to defy logic. Pebbled beaches can be found in three places along the southern coast. Most of the island's beaches are sandy but there is no sand to be found at these pebble beaches. Instead of sand there are bean-shaped pebbles which interestingly are all about the same size. The waves have been bringing these rounded pebbles up to the shore for thousands of years. As the waves wash up onto the shore, the rubbing together of the pebbles creates a refreshing and

mysterious sound, like that of silk passing over one's palm. Once, when rumors spread that these stones were effective for treating skin diseases people from the mainland came and carried away sackfuls of the pebbles. Fearing irreparable damage to the natural environment, the local government now prohibits people from taking these pebbles. I have only touched on a few of the things that Paengny6ngdo has to offer. But the island in fact includes a rare airfield of international consequence. It is the natural airfield at Sagot, which spreads out along the southeast coast. The sand on the shore here is so fine

that the entire coastal area has been hardened through compaction by the constant wave action. This has created one of only two natural airfields in the world. The other is in Napoli, Italy. Here light planes can take off and land. About 3 kilometers off the southern coast in the direction of Taech'6ngdo island there is a solitary rocky islet sit1Jated in the middle of the ocean. If you look down at this islet from a helicopter, you will see that it is shaped like a lotus flower, a symbol of Buddhism. This islet is the lotus rock mentioned in the tale of Shim Ch'6ng, a legendary story that has long served to soothe the Korean psyche. 59

According to the legend, Shim Ch'6ng, a girl from the mountains, was driven by a sense of filial piety to do everything possible to restore her blind fal'her0S sight. In the midst of these efforts, Shim Ch'6ng heard from a temple priest that if she made an offering of 300 sacks of rice her father would regain his sight. Coincidentally, some sailors preparing for a daunting journey were looking for a young girl to sacrifice to the god of the sea. Shim Ch'6ng decided to offer herself as their sacrifice for which she received 300 sacks of rice that she gave to the temple as an offering to the Buddha. Then she went to sea with the sailors and threw herself into the waters known as Indangsu in front of Paengny6ngdo. As previously mentioned, the channel between the island and Changsan-got in the North is extremely dangerous and there have been many shipwrecks there over the years. The idea that sailors would sacrifice a virgin girl as a ritual to ensure their ship's safety is believable enough. To continue the story, Shim Ch'6ng was rescued by a tortoise who

A miniature display in the exhibition hall at the Shimch'onggak Pavilion shows Shim Ch'ong throwing herself into the water of the Indangsu (above); a statue of Shim Ch'ong at the Shimch'onggak Pavilion Plaza that looks out over Changsan-got (below); a fishing boat returning to Tmnujin port (opposite)

carried her on his back and took her to the sea palace. Touched by her filial piety, the god of the sea placed her in a big lotus flower and sent her back to Indangsu, where she had thrown herself into the sea. Washed along by the current, Shim Ch'6ng reached the lotus rock where she was rescued by a passing ship. A king, impressed by her profound filial piety, marries her. A feast is held for all the blind people in the land and Shim Ch'6ng is reunited with her father. In this way, Shim Ch'6ng succeeds in restoring her father's sight. The story's reference to the lotus rock is lent credence by the fact that the Indangsu current flows in the direction of the rock. Among Paengnyongdo residents, there are numerous stories and songs based on the tale of Shim Ch'6ng. Up the mountain behind Chinch'on-ri at the center of the island, there is a pavilion built in honor of Shim Ch'ong. Called Shimch'6nggak, it has a clear view of Indangsu and the lotus rock. Half of the island residents originally came from Y6nbaek, Hwanghae-do.

They came to the island after the outbreak of the Korean War to take refuge. When the war ended, they prepared to return to Yonbaek. But while the fighting had ended, their hometown had fallen under Communist rule and so they decided to take up residence on the island. It is said the forests were once so thick and luxuriant that if you stood on the top of the mountain and rolled a rice cake down, you could gather it at the bottom without a bit of dust on it. But the forests were extensively damaged during the Korean War. These days the local islanders enjoy a peaceful existence, gathering the resources from the sea and the land for their daily livelihood. Because of military restrictions against the establishment of breeding operations, there is no' cultivated seafood on the island. Sea cucumber, abalone, scallops, seaweed, sea bass, Northern sand-lance

and other sea products are all naturally available in abundance but without a doubt the specialty of the island is a fish sauce made from Amodytes personatus, resembling anchovies. They are used as fish bait or cooked, but most often they are used to make a fish sauce that is used as a seasoning instead of soy sauce. A commercial production facility has been established on the island such that the sauce is now sold on the mainland and has become a main revenue source for the islanders. The island's black goats are also well-known. However, it is said that whenever a black goat goes from Paengnyongdo to nearby Taech'ongdo, its price rises noticeably. This is because the wild grass that the goats like to eat is in greater supply on Taech'ongdo. Anyone planning to travel to Paengnyongdo should first check the weather forecast. If the sea is expected to

be even a little choppy, the boats will not run. The speedboat that operates between Inch'on and Paengny6ngdo twice a day is stopped immediately if the waves come up. As such, your travel itinerary should allow for a day or two leeway at both ends of your trip. And even if you find yourself with time to spare, Paengnyongdo will not disappoint. It is a god-given spot for fishing. Rock fishing or seafishing is always good. The kinds of fish easily caught here include sea bass, labride, flounder, and flatfish. The fishing season starts in mid-May and continues through October. For about 30 days from mid-June, it is especially good for catching sea bass. The combination of clean, clear waters, the chance to enjoy beautiful natural scenery to your heart's content and the joy of fishing will make a trip to Paengnyongdo a truly unforgettable experience. + 61

.. ~

Chang-anp'yOng Antiques Market David Lindsay Barch Private Collector

he lament is as old as it is unoriginal, and one hears it just as often from old-timers as from new arrivals: that in the rush . to modernize and develop to join the ranks of other advanced urban areas, somehow the city has lost much of its charm, its picturesque old neighborhoods torn down to make way for new

·-~

unja Bridge

Hana Bank •

I 1• Exchange Bank

--J

\~os

MyongMun Wecfclmg • Hall

• Green Golf Practice 1-L1ll

I!',."""""' ~ ire"' un g Building

Rotation

liTapshimni Station •

~ Sub•way

r-I

..-----J

buildings, its narrow side streets forced to carry the burden of increasingly heavy traffic for which th ey were neve r

designed, and favorite watering holes refurbished into chic cafes where one still cannot get a decent cup of coffee. But this article is about Seoul, not my hometown of San Francisco, and fortunately for longtime residents and tourists alike there are still a few out-of-the-way places where one can go to get a feel for traditional Korea.

62 ••

Such as? Well, for a sense of what life might have been like in the royal court of the Chason Dynasty (1392-1910), one might avoid the crowds at Ky6ngbokkung and T6ksugung palaces and instead head to the more tranquil and . _ uncongested Piw6n Secret Garden and the Ch'angd 6kkung and Ch'anggy6nggung palaces. Or, for a feel of some of the older, more colorful neighborhoods of Seoul, with streets still lined with traditional Korean houses with their tiled roofs and wooden gates, one might give a pass to the Folk Village and instead head into Kahoe-dong, in Chongno-gu. But for shopping, especially antique shopping, especially antique furniture shopping, there is really only one place to go. After gasping at the high prices for Korean antiques and even reproductions in Insa-dong, and deciding not to bu y after all that cheap knock-off in ltaewon, the intrepid antique hunters must shed their inhibitions, don their Indiana Jones

hat, leather jacket, and bullwhip, and head, map in hand, into eastern Seoul, to one of the city's least known and even less frequented art and antique markets. Not 20 minutes by subway from downtown Seoul, in five nond escript buildings spread out over a few blocks along a small street running parallel to the bustling Ch6nhodaero thoroughfare in the Tongdaemun-gu section of Seoul, is one of Korea's best-kept secrets for Korean art and antique lovers and collectors. The Samhih Antique Shopping Complex, mo re commonly known as Chang-anp'y6ng Antiques Market and actually located nearby Tapshimni subway station (stop No. 543) on the Purple Subway Line No. 5, is a treasure-trove of Korean antique furniture, ceramics, Buddhist sculpture, old books, and miscellaneous curios. Located in what both looks and feels like a solidly working-class neighborhood, Chang-anp'y6ng has none of the

For antique shopping, especially antique furniture shopping, Chang-anp'yong is the place to go (opposite, top). A latticed door and various stonewares are displayed for sale alongside the roadside (above left). Various brass and iron Buddhist images (above right).

self-conscious "modernity meets trad ition" preciousness of the increasingly carnival-like lnsa-d o ng, or the dubiou s authenticity and fast-paced shadiness of ltaewon. To be sure, Chang-anp'y6ng is a bit off the beaten track, but because of this it is a much more emotionally and aesthetica lly rewa rding afternoon's excursion, and very much worth the effort. The history of Seoul's numerous markets is as old as the city itself, but whereas standing neighborhood markets in the West have all but gone the way of the buggy whip, in Korea they are still very 63

Chang-anp'yong is a bit off the beaten track, but because of this it is a much more emotionally and aesthetically rewarding afternoon's excursion, and very much worth the effort.

Clockwise from above: a moon vase; a display of high-quality pottery; a white porcelain brush holder with an openwork Buddhist symbol; a white porcelain incense burner

much a part of the country's shopping culture. Thus, rich and middle class alike are more likely than not to head to Tongdaemun Market for fashion, Noryangjin Market for fresh seafood, Ky6ngdong Market for Korean traditional medicine, and Namdaemun Market for just about anything. Until the early 1980s, the place to go for antiques and secondhand goods was Chung-ang Market, at Ch'6ng-gyech'6n 8ga, near Tongmyo Shrine. At that time, the concept of actually valuing old pieces

of furniture because they were old had not yet really caught on, and oft-told stories of families replacing antique wooden chests with plywood dressers and breaking them up to use as firewood are enough to bring a tear to one's eye. The antique market at Changanp'y6ng is something of a misnomer, the name dating back to the early 1980s when the government moved the Chung-ang Market to its new location. At that time, the neighborhood around Chang-anp'y6ng was still relatively undeveloped, and was primarily known for its used car market of the same name, which still exists. In fact , however, Chang-anp'y6ng Antiques Market is actually located next door at Tapshimni, and it is here that one should begin one's

.. ~

I "

adventure. Chang-anp'y6ng Antiques Market is actually divided into two locations-a western section (s6bu) made up of three orange brick buildings just one block north of Tapshimni subway station, and an eastern section (tongbu) made up of two red brick buildings a few blocks down along the same back street. Unlike other markets in Seoul, however, this unusual arrangement is not the product of natural development. It is artificial, the result of government fiat, and thus a bit confusing. Yet fear not. The best way to approach Chang-anp'y6ng is from its farthest eastern end, and the place to begin is at Donginbang and in the very capable hands of its proprietor, Mr. Chung

Daeyoung. (To get there, if coming by subway, get off at Tapshimni station, ignore the signs and leave tluÂˇough exit No. 1. Turn right at the SK Telecom building, then left at the sign that reads "Samhee Antiques Center." The first building on the right is Samhl!i sangga 2-dong, and Donginbang is the second to last shop on the left at the end of the corridor. Et voila.)

Any visit to Chang-anp'y6ng should begin, and could conceivably end, with a visit to this shop and its wonderful owner.

Mr. Chung and his store are something of an institution in the Korean antiques community, and dropping his name at other shops often bestows upon the visitor the mark of a serious buyer. He is also a recognized authority on Korean furniture, having authored two books on the subject, Han-guk ui kwe (Chests of Korea, 1993) and Han-guk ui chang (Chang of Korea, 1998)-with a third on its way-and was recently elected chairman of the western Seoul branch of the Korean Antiques Association. In short, a good man to consult, an even better man from whom to buy. According to Mr. Chung, there are essentially four categories of traditional furniture in Korea: original antiques in their unaltered condition, which constitute no more than 10 percent of the market; repaired originals that have been restored or have had missing or damaged Âˇpieces replaced, representing upward of 60 percent of the market; reassembled pieces, such as original but badly damaged pieces that have been disassembled and remade into new pieces, which make up about 25 percent of the market; and reproductions, about 5 percent of the market and, though based on original designs, are not antiques. This assessment is echoed by John Holstein, a longtime resident of Korea, a professor of English at Sungkyunkwan University, and himself something of an expert on Korean antique furniture. Mr. Holstein notes that while less than 10 percent of the antique chests on the market these days are completely authentic Chos6n Dynasty pieces, many repaired origina ls can still be categorized as antiques because their ornamental fittings and hinges, though not original to the piece, were nonetheless crafted during the Chos6n Dynasty. On the subject of authenticity, Mr. Holstein offers a number of tips. First, he notes that wood that has been stained black should be suspect, as this is unusual in Chos6n period pieces and in fact is often done to disguise new wood. He also notes that the edges of metal fittings should be a little rough, while smooth and 65

Chang-anp'yong is arguably one of the most charming markets in Seoul, and one could easily spend an entire day there wandering through the shops, looking at some exquisite pieces of furniture, and meeting not a few genuinely eccentric shop owners.

Small wooden handicraft items (top); combs, spindles and other items used in the woman's room (bottom left); leather shoes, ornamental knives and other traditional women's accessories (bottom right)

sharp edges suggest modern machine-cutting. Likewise, nails should have a handmade look to them, and that the underside of chest drawers should show evidence of wear. A great deal of information, as well as other hints on judging the authenticity of specific pieces, ca n be found at Mr. Holstein's web site at www.shinbiro.com/ - holstein. It would be a mistake to limit a trip out to Chang-anp'y6ng to any one store or even one building, and though there are

t oo many shops to recommend individually, at least one other stands out. The western section of the antiques market consists of two buildings: the first, S6nghwa, fronts the main street, while the second, Us6ng, actually dominates the site and is probably the most frequently visited building in the market. The shops here offer a more even mix between originals and reprod uctions, but one's first stop should be Jang-An Antiques, owned and operated by Mrs. Hwang In-sun. Here, one

.. .. ~

finds a greater range of furniture than at Donginbang, but like at Donginbang there is .no pressure to make the big sale. Instead, one is more likely to be offered a cup of coffee or green tea than be asked to hurry up and make a purchase. And if offered, take the tea. A quick word on bargaining. As in all markets, bargaini ng is essential and expected. That said, a counteroffer should never be insulting, and a little common sense goes a long way here. In general, 25 percent to 30 percent off the asking price is a fair starting point, and a final discount of from 15 percent to 20 percent should keep everybody happy. Of course, the greater one's purchase the greater one's leverage, but at the same time anyone agreeing to knock 50 percent off an opening price is likely something of a cheat and probably not the best kind of person

with whom one should do business. Those who wind up purchasing a genuinely old piece of art or furniture should also keep in mind that under Korean law, the Cultural Properties Protection Act prohibits exporting or taking Korean cultural properties out of the country. In practice, this applies to only a very few pieces, but those with doubts should pick up the "Information on Taking Antiques and Artifacts Out of Korea" pamphlet pro-

duced by the Cu ltura l Properties Administration and available at both Seoul City Hall and Kimp'o International Airport. Chang-anp'y6ng is arguably one of the most charming markets in Seoul, and one could easily spend an entire day there wandering through the shops, looking at some exquisite pieces of furniture, and meeting not a few genuinely eccentric shop owners. And if anyone has ever doubted Jose Saramago's observation that there are always those who can find a use for truly useless things, they need only make a visit here to put their doubts to rest, and perhaps be tempted themselves. +

Antique pottery from various periods (below left and left); calligraphic scrolls (below right)

r ! -

CUISINE

et'ang Source ofVitality Koo Chun-sur Director, World Food Research Institute

amgyet'ang, a traditional Korean dish, is very popular with foreign visitors to Korea. Much like China's Beijing duck (roasted duck -that originated as Peking duck), it attracts many tourists eager to give it a try. Samgyet'ang can be described as a hot ginseng chicken soup. First, the inside of a chicken is stuffed with Chinese jujubes, ginger, garlic, glutinous rice and ginseng, and is then boiled in water for a long time.

Ginseng: Effective for Boosting Energy and Immunity Levels

That ginseng contributes to higher energy levels is not mere hearsay. European medical references and books on health invariably list ginseng among various ingredients effective for increasing one's vitality. In Chinese and Japanese medical books, ginseng is recorded as a

valuable medicinal herb highly conducive to promoting the r~covey of recuperating patients or preventing cancer by strengthening the immune system. Wild ginseng grown on the Korean peninsula is called "mountain ginseng." The roots of mountain ginseng, often highly sought-after, can command high

prices. It is not uncommon for a mountain ginseng root to be worth more than $lQ,OOO in the Korean market, if it is old and without blemishes. Thisâ&#x20AC;˘ is why there are still people who, like their fathers before them, pursue a livelihood of gathering mountain ginseng. Such people are known as shimmani in Korean. These people still observe the tradition of c~eansig their body and mind along with performing rituals to the gods before embarking on a search for mountain ginseng. Throughout history, there have been many instances in which food or food items, such as pepper, tea, opium and wine, were instrumental in changing the course of world history. For example, there was the introduction of black pepper to Europe by soldiers who accompanied Alexander the Great on an expedition to India. Europeans quickly developed a great liking for this spice, which raised the price of pepper to the equivalent of silver, in terms of weight. This motivated European rulers to resort to war to secure channels for conducting trade in pepper, the result of which led to the Hundred Years War (under the pretext of reclaiming the Holy Land), and even ultimately to the discovery of the New World by

Christopher Columbus. Events of historic dimensions tend to take place when people come to crave the food unavailable in their own regions or countries. Consider the following episode associated with ginseng, currently recognized throughout the world as a valuable health supplement.

Ginseng, one of the main ingredients of samgyet'ang, has long been revered as a source of mysterious power in Asia, particularly Korea and China, known to be effi-

Ginseng that Changed the History of China

cacious against fatigue and

The people of Jurchen, a Manchurian tribe, were nomads noted for their courage. They lived in what is now Heilongjiang province, usually in small groups of several hundred, or a thousand at the most, dispersed over wide expanses of land. From the ancient past,

the infirmities of old age, while providing energy to the weak and helping to stabilize bodily functions.

Samgyet'ang, a soupy chicken dish that Koreans eat to beat the heat of summer (below) and a typical table setting for a siungyet'ang meal (left).

the Chinese feared the Jurchen people, as can be evidenced in the saying: "If a Jurchen tribe exceeds 10,000 in number, do not make them your enemy." The Jurchen farmed and raised livestock. They also engaged in tribute-related trade of ginseng, fur and pearls gathered from around the Heilongjiang and Sungari rivers. The Ming Dynasty (1368-1643) issued Imperial Edicts to Jurchen tribes, thus granting them a monopoly over ginseng, fur and pearls, which were offered to the imperial court in the form of tribute. Only those who demonstrated blind loyalty to the imperial court were able to receive official status 69

" ~

For samgyet'ang, a small, young chicken is used, or sometimes an Ogolgye, a dark-skinned chicken. A young chicken is preferred because of its tender flesh and lesser fat. Besides being leaner, ogolgye has a high protein content. It is also easy for the body to digest and absorb and thus can help a person recover quickly from illness.

The Koryo Samgyet'ang Restaurant, which is located nearby city hall, has been in business since 1960 (top right). The T'osok Samgyet'ang Restaurant, which is located nearby Chong Wa Dae, the presidential office and residence, is popular with tourists as well as locals (opposite).

and be eligible beneficiaries of Imperial Edicts. About 300 Imperial Edicts were bestowed upon the Jurchen. The Ming Dynasty continued to maintain the tribute-related form of trade to procure the highly valued ginseng from the people of Jurchen. Nurhaci, a Jurchen chieftain, showed strong loyalty to the imperial court and received 30 Imperial Edicts. This became the found ation for his expanded power, w hi ch ena bl ed him to ultim atel y become the founding fa ther of the Qing or Ch'ing Dynasty (1644-1911) that toppled the Ming Dynasty. While Nurhaci was an outstanding warrior and ingenio us <'S tra teg ist, he co uld n o t have fo unded a Manchurian state without the Imperial Edicts that g rant ed him a monopoly over ginseng trade. Ginseng, the main ingred ient of samgyet'ang, has long been revered as a source of mysterious power in Asia, particularly Korea and China, known to be efficacious against fatigue and the infirmities of old age, w hile providing energy to the weak and helping to stabilize

bodil y fun ctio ns. For instance, it is believed to lower high blood pressure, and promote the speedy recovery from va ri o us ailments. Ginseng is w id ely regarded as a panacea due to its ability to strengthen the immune system. Today, ginseng is also popular as an aphrodisiac for improving one's sexual vigo r. It is the re fore highl y soug ht among older men in need of some assistance to enhance their sex life. It takes at least four years of cultivation in a field covered with screens to block out direct sunlight for a ginseng root to grow to a length -of at least 10 centimeters. Although ginseng requires moisture, it does not tolerate standing wa ter, w hich means it mu st no t be â&#x20AC;˘ watered excessively. Nor should it be treated with pesticides or chemical fertilizers. Large areas of land are necessary to cultivate ginseng and it does not grow well in fields w here ginseng has been prev io usly culti va ted. Ginseng roots shaped like the human body are particularly prized, bringing a mu ch higher price than other ginseng roots.

For samgyet'ang, a small, young chicken is used, or sometimes an ogolgye, a dark-skinned chicken. A young chicken is preferred because of its tender flesh and lesser fat. Besides being leaner, ogolgye has a high protein content. The inside of the chicken is stuffed with glutinous rice, ginseng, Chinese jujubes, chestnuts, garlic, ginger and other health-inducing ingredients. It is then bound tightly with a silk thread and placed in a pot of water. It should be boiled over high heat with the lid closed. Once the water comes to a boil, it is left to simmer for about two hours over low heat until the flesh becomes tender and the fat is drained. A thick fire-resistant pot should be used to boil the chicken and keep the soup hot while being consumed. Although summer in Korea is not as hot as in India, the temperature often exceeds 30Âˇ Celsius. People tend to lose their appetite in the sweltering heat, so they often turn to samgyet'ang to regain their vitality. Ginseng wine almost ~!ways accom-

panies samgyet'ang. Watching someone drink the strong ginseng wine, which has an alcohol content of almost 40 percent, in a tiny porcelain cup less than one-fifth the size of a coffee cup, then blowing on the stewing samgyet'ang before eating can easily make one's mouth water. Diners always depart from a samgyet'ang restaurant wiping perspiration from their flushed faces, a sight that acts as a magnet to attract other people into the restaurant. Nowadays many signboards in Tokyo, Beijing and Ho Chi Minh City advertise samgyet'ang in the summertime. Although the customers in these count!ries are not particular about the kind of chicken that is used, they are quite picky about the ginseng, preferring those from Korea. People in other Asian countries especially value Korean ginseng for its greater efficacy, confirmed through firsthand experience. People who frequently travel overseas usually have one or two items they always take with them during these trips. Japanese usually carry dried

wasabi (horseradish) powder, dried laver and umeboshi (pickled plums), Indians curry, and French wine and cheese. Vietnamese take along nuoc mam (fish sauce) and rice paper. Koreans are no exception to this. Aside from bean paste and red pepper paste, they visit oriental medicinal herb markets to buy four- or five-year-old ginseng roots dried in a special facility when they are planning a long trip or are going to remote areas. The ginseng roots are then ground into fine powder, and placed in small pouches or in boxes made of paulownia wood. The food items travelers usually carry with them on trips abroad are foods they are long accustomed to, with which they try to recover their energy if they experience a loss of appetite after eating unfamiliar foreign food. Ginseng is not a spice or food. ingredient, however. It is a medicinal herb long believed to possess mysterious powers that can regulate and restore body functions. The roots of this perennial herb cause no harm, even when consumed over an extended period of time, except for certain individuals with special physical conditions. China ruled over vast regions of the Asian continent for a long time, enabling it to produce or procure most of the products it needed or desired. The exception was ginseng. Chinese especially treasured the ginseng from Korea, regarding it as superior to their own. This is why past governments monopolized the ginseng trade. Ginseng is also cultivated in Japan, but "japanese ginseng is of inferior quality compared to Korean ginseng. The potent powers of ginseng are also well known in the United States. In the days of the early pioneers, ginseng growing wild in the mountains of Minnesota provided supplemental income for local residents. As for me, I always take dried ginseng powder with me whenever I am awa y from home for more than 10 days. â&#x20AC;˘ 71

.. .. ~

LIVING

, Remarkable Powers of Hwangt'o and Revival of .Earthen ouses - _ Rhee Sinho Professor, Department of Agricultural Engineering, Chungbuk National University

72 .,

. ~

arthen houses are an excellent .,_ type of dwelling, with interior conditions being similar to those built three to five meters below the earth's surface, which makes it ideal for maintaining the temperature at a constant level. Until 20 years ago, the majority of houses in Korea were built from natural materials such as soil and wood and had straw-thatched or tiled roofs. The earthen houses, inhabited by generation after generation, were built with soil mixed with straw plastered onto a wood frame to form the walls, floor, and ceiling. The roof was finished with grass thatch or tiles of clay or argillite. The walls were made by intertwining bush clover, millet stalks and bam-

boo to form a framework and then covering both sides with a mixture of soil and straw. The ceiling was finished with mud mixed with straw. Flat stones were laid on the floor, which was plastered with mud, and covered with straw mats or slabs of laminated paper. Houses built in this manner remained cool in summer and warm in winter, thanks to their natural ability to moderate the temperature and humidity. When the earthen mixture dries and hardens, countless air holes are created between the straw and soil particles, which help to maintain the interior temperature and humidity at a constant level, in addition to providing ventilation and sound insulation. The soil mixture serves as an excellent thermal insulator as the natural air holes within prevent heat conduction, while helping to regulate the temperature at a constant range. In summer, the indoor temperature of earthen houses is about six to eight degrees cooler than the outside temperature, which can reach 38"C, while the daily temperature range is limited to within 3 degrees. In winter, it is maintained within 5 degrees. Even when the temperature rises, the humidity level

Earthen houses hannonize with the natural surroundings as they were built on the c~nÂ cept of being one and the same with nature (above left). The windows and doors were finished with mulberry paper (above).

remains constant, or drops slightly, thereby keeping the house cool in summer. In winter, the occupants are warmed without feeling stifled: the floor remains warm (when heated to 36 to 40"c with an under-floor heating system) but the air above the floor remains cool. The earthen material helps to maintain a constant level of humidity by absorbing and discharging moisture. The humidity level considered ideal for a pleasant environment is about 64 percent. During the rainy season, the humidity rises from a low of 30 percent to a high of 95 percent in ordinary houses, but is regulated at a 70 percent level in earthen houses with a daily range of about 12 percent. In winter (when heated), the humidity remains at about 50 percent with a daily range of 5 percent. . The minute holes within the soil mixture allow air to pass through constantly, providing a natural circulation 73

.. .. ~

As commonly used in Korea, hwangt' o generally refers to the yellow or yellow-brown soil found on the earth's surface, created by rock matter pulverized into small particles through physical weathering, and carried by wind to accumulate on the ground.

of indoor and outdoor air, amounting to about five cycles per hour in typical earthen houses. Contaminated indoor air can thus be resto red to normal w ithin three hours. As for acoustics, much of the sound of machines within an audible range is absorbed during transmission in earthen houses. In marked contrast, almost all the sounds of nature in the ultrasonic ra ng e a re accentuated. This means that earthen houses help to stabilize the mental state of their residents by highlighting the sounds of nature, w hile filtering out those of machines, or noise. In the past, people usua lly built their earthen houses w ith a sticky soil lightly mixed w ith sand fo und in nearby areas. Of the different types of soil, Koreans held h wangt'o, yellow soil, in the highest regard . In the dictionary, hwangt'o is defined as "yellowish dark soil used for building houses." In technical terms, hwangt'o refers to soil sediment that includes calcium carbonate. It is coarser than clay, but finer than sand. However, as commonly used in Korea hwangt'o generally refers to the yellow or yellow-brow n soil found on the earth's surface, crea ted by rock

matter pulverized into small particles through physical weathering, and carried by wind to accumulate on the ground. A tablespoonful of hwangt'o contains about 200 million living microorganisms. It also co ntains 500 tim es more minerals than other types of soil, w hich is why it is used for a variety of purposes ranging from fo od to the treatment of physical ailments. The myriad air holes among the particles of hwangt'o help to absorb and break down impurities and contaminants. At normal temperatures, the yellow soil revitalizes the functions of living cells, thereby helping to prevent modern ailments. Hwangt'o also emits high levels of infrared rays, w hich stabilize the functions of interna l organs. It has been confirm ed that h wa ngt'o can absorb and sink phosphoric substances (food for algae and aquatic plants causing red tides) w hen spread on seawater suffering from harmful algae proliferation, or red tides are they are commonly called. It is also extremely effective for eliminating heavy metallic substances such as chrome, copper and lead. When hwangt'o is heated to 40'C, it rad iates infrared ra ys (92 percent) with a wavelength range of 5 microns to 20 microns, which is the most desirable wavelength for humans. From a broad perspective, the creation and development of civilizations are closely associated with hwangt'o. Its key areas of distribution are located from 22 degrees to 55 degrees north latitude-h o m e to the Indus River, Yellow River, Mesopotamia, and Egypt w here the world's major civilizations originated. Ancient books such as Sanhaegyong, Ponch'okangmok, H ya ngyak Chipsongbang (Compilation of Natural Korean Prescriptions), Cheminyosul, a nd Sa llim kyongje, in dicate that hwangt'o was used to treat boils and scabies from long ago. The soil that accumulated inside the fireplaces in

traditional Korean houses, turned yellow by the heat, and called pokryong~an in Korean, was used to treat abscesses, swelling, leukorrhea, coughing, hematemesis (vomiting of blood), morning sickness and paralysis. A person suffering from lovesickness would be prescribed round pills of hwangt'o as a cure. A person suffering from swellfish poisoning was treated by spending a night on a floor covered with paulownia, mulberry and peppermint leaves, with the entire body being smeared with hwangt'o. To treat severe burns, patients were buried in the ground up to their chin, and made to drink underground water that had collected on yellow soil sediment. According to historical records, during the reign of King T'aejong (r. 1400-1418) of the Chason Dynasty (1392-1910), when crops failed in Hamgyong-do province, the residents survived by eating cakes of hw-angt'o mud. When a great famine occurred during the rule of King Sonjo (r. 1567-1608), people in Pongsan, Hwanghae-do province, also ate Âˇcakes of soft clay and broken bits of rice, mixed at a 7:3 ratio.

Hwangt'o is intimately associated with the culture and history of the Korean people as the entire land area was covered with yellow soil. Ancient Koreans used hwangt'o for various purposes-for building houses as well as for food and remedies for various ailments. They farmed the fertile soil as well. In other words, the Korean people well-recognized the scientific benefits of hwangt'o during the course of their 5,000-year-history. When the SaematH (New Village) Movement of the 1970s spread throughout the entire nation, however, earthen houses with straw-thatched roofs came to be associated with poverty. In the subsequent 30 years, the traditional earthen houses were demolished with reckless abandon to make way for modern structures. The earthen houses in Korea featured several distinct characteristics. First of all, they harmonized with nature, as they were built based on an concept of being one and the same with nature. The windows and doors were finished with mulberry paper that filtered the sunlight as well as the

An increasing nwnber ofhwangt'o houses are

being built in Ch'ongju, Ch'ungch'ongbuk-do. A hwangt'o house framed by royal azaleas (opposite), a hwangt'o wall prior to being papered (top), the inside of a modem style hwangt'o house (above), and the exterior of a traditional farmhouse (below).

.o;,

sounds of nature. The backyard was decorated simply to resemble a natural state, thus blending into the surrounding landscape. Second, the structure was designed with an efficient and rational layout, comprising separate quarters and rooms for men and women and also for different purposes, which ensured privacy for the occupants. Third, the houses were so built that they were closed to the outside, but their interior remained open to promote a continuity of space. From an overall view, the houses were closed to the outside, but their interior was based on an open concept, which enabled each quarter to be independent of each other yet linked at the same time. These spatial features reinforced a strong sense of solidarity among family members and the community. Another characteristic was the maru, an open hall with a polished wooden floor, and ondol, under-floor heating. The maru offered a pleasant space both for working and resting in summer, and for storing grain and food in winter, as it was naturally ventilated and kept cool by being open to the front and back yards. The underthe-floor heating system not only heated the interior but also helped to prevent and cure diseases as well. Koreans came to adopt a lifestyle of sitting on the floor because of the ondol heating system, which contributed to the development of hanbok, the Korean national costume, with its generous folds and loose fit. The wooden printing blocks of the Tripitaka Koreana, the most complete collection of Buddhist sutras produced during the Koryo Dynasty (918-1392), are still preserved in essentially original condition today thanks to their repository buildings built with earthen materials. As aforementioned, the yellow soil helps to regulate humidity and provide natural ventilation. Kyujanggak, an administrative office that also func76

tioned as a library which King Chongjo (r. 1776-1800) of the late Chason

Dynasty had built in 1776 within Ch'anggyonggung Palace, was also made of hwangt'o. This helped to preserve the ancient books and documents, which are still used today as reference material. According to historical records, King Sejong the Great (r. 14181450) and Sejo (r. 1455-1468) reportedly built a 10-square-meter earthen room within the palace to be used by the king and princes to recover from fatigue. Hwangt'o also helps to stabilize the mind and body. According to records, King Ch'olchong (r. 1849-1863) recovered from lovesickness by resting in an earthen room when he had been unable to forget his first love. Hwangt'o, h wangt'o baths, and earthen houses are attracting keen interest nowadays because it has been scientifically proven that the yellow soil is capable of eliminating toxic sub-

stances in addition to breaking down and purifying harmful elements. It has also been proven that earthen houses maintain more constant levels of temperature and humidity, providing an ideal living environment. Today, an increasing number of people are building traditional earthen houses in the farming area of Ch'ongwon-gun, Ch'ungch'ongbuk-do province, and in the ecological housing complex in Muju-gun, Chollabuk-do province. In many other parts of the country, including Kyonggi-do province just outside of Seoul, people are using the yellow soil to build country houses and weekend farm buildings. Thanks to its soft texture and natural reddish tint, it is used widely in commercial buildings as well. Moreover, a growing number of people living in conventional houses are using the yellow soil when remodeling one of their rooms. This has created a booming business for companies specializing in the production of hwangt'o building materials and the construction of earthen houses. In an attempt to benefit from the advantages of traditional earthen houses, many apartments nowadays build t'oenmaru, a long, narrow verandah with a polished wood floor, and a sliding door made from mulberry paper, with the enclosing walls being plastered with hwangt'o. Even in the West, earthen houses are not regarded as uncomfortable, dark houses, but as a 21st century type of residence combining the Oriental mysterious powers of soil and scientific ratio.nalism of the West. Today, hwangt'o is used for a truly diverse range of purposes, from building materials such as hypocausts, bricks, ceiling and floor panels, paint, plaster, plastering mortar and powder, to daily necessities, including beds, cushions, pillows, mats, ovens, underwear, cosmetics, hot packs and dishes. It is also used to purify the water at fish farms, combat red tides and as an additive in livestock feed.

It is also used in a variety of therapeutic health treatments. Among these, an underground water treatment, uses the clear water obtained from filtered mud. The water helps to cure eye ailments and soften the skin. Hwangt'o yokb6p or soaking, involves submerging one's body in a 1-meter hole dug out of a low hill and then being covered with soil with only the face exposed above the ground so that toxic substances can be eliminated from the body. For a "hwangt'o bath," a cotton bag containing two big scoops of yellow soil is placed in a tub filled with hot water at about 30 to 40Â°C. Soaking in the yellow water for about 15 minutes helps to eliminate waste from the body and soften the skin. In hwangt'o "hot pack" therapy, a cotton bag filled with yellow soil is placed on a heated floor. When heated, it is applied to the arms, legs, shoulders

and other parts of the body, or used as a pillow. This helps to recover from exhaustion. When one has a cold, it helps to spend the night with a pouch of the yellow soil placed under the back For a hwangt'o "massage," a small gauze bag, about seven centimeters in length, is filled with a paste of chuky6m (salt roasted inside bamboo tubes), yellow soil, and lemon juice, and then applied on various parts of the face until the texture of the soil can be felt The massage is effective for softening the skin. Hwangt'o "heating rooms," beds and blankets that are gaining increasing popularity across the nation were all developed from the principle of the traditional under-floor heating system. In h wangt'o heating rooms, people lie on a heated floor covered with yellow soil. The yellow soil emits infrared rays, which are effective for treating

A pavilion with a tiled roof(opposite) and an attractive restaurant made ofhwangt'o(above).

rheumatism and colds, and various skin ailments. Hwangt'o beds and blankets are installed with electric coils for heating. Hwangt'o beds are actually simple to make; all that is required is filling the wooden bed frame with yellow soil. Hwangt'o is also plastered thickly, up to three centimeters, on the walls of concrete houses, and on the floor to imitate the effects of traditional earthen houses. The concrete walls, however, do not allow air to pass through, which means they can easily become too dry and the ceiling too damp. As such, hwangt'o, so closely associated with the everyday life as well as construction of houses of the Korean people from the ancient past, is still being used quite extensively. â&#x20AC;˘ 77 ..

.. ~

NATIONAL TREASURE

Five-Story Stone Pagoda on the Ch6ngnimsa Temple Site Park Sang-kuk Director of Folkloric Studies Division, National Research Institute of Cultural Properties

he word t'ap, which is usually used to denote a Buddhist pagoda, is the Korean pronunciation of a Chinese word that originates from the Sanskrit term stupa. It means a tomb for the remains of Buddha. In other words, a pagoda is a structure built to enshrine sarira, the calcified remains of Buddha after cremation. Since the introduction of Buddhism to Korea during the Three Kingdoms period (57 B.C.-A.D. 668), Buddhist images and pagodas have served as major objects of Buddhist religious worship. In their early days, Korean pagodas are believed to have been wooden imitations of the pavilion-style pagodas of China, but they gradually developed into multi-story stone structures toward the end of the Three Kingpagodoms period. In fac~ das were erected in such

great numbers that Korea came to be known as the "country of stone pagodas." The five-story stone pagoda on the site of Ch6ngnimsa Temple in Tongnam-ri, Puy6, Ch'ungch'6ngnam-do province was built during the Paekche period (18 B.C.A.D. 660). Believed to date back to the early seventh century, it is among the oldest and most exemplary of the many stone pagodas extant today. It stands 8.33 meters tall upon a square base of 3.75 meters in width. A pagoda is divided into three parts: itsÂˇ foundation, body and finial. The foundation of this pagoda is one-stepped which is narrow and low compared to the body. The base of the foundation and the ground stone on which it stands are each comprised of eight stones. The foundation itself is an assembly of 16 pieces of stone including corner pillars and center

pillars, with surface stones between them. It is topped by a cover of eight plain stone slabs that supports the body of the pagoda. The body of the pagoda includes five stories, each with a roof ' stone and a body stone. The body stone of the first story is tall and wide, creating a sense of stability. It is composed of 12 pieces of stone with 4 corner pillars and 2 pieces of stone between them on each side, which is topped by a two-stepped cornice. The roof stone of the first story is made of eight pieces of stone. The pagoda narrows from the second story up. The body stones of the second and - third stories are each built with four stones, the fourth story with two stones and the fifth with just one. Only the lowest section of the original finial remains. It is called pokpal (inverted bowl). The poryun (treasure discs), the part above the pokpal, which is engraved with a circular lotus design, was discovered at the site of the main worship hall when the temple grounds were excavated in 1979. Wind chimes were likely hung from the roof stones, judging from the holes at the corners of the stones. An inscription commemorating Chinese General Su Ting-fang's contribution to the downfall of Paekche in 660 entitled "Record of Tang's Defeat of the Paekche Kingdom" is inscribed on all four sides of the first story body of the

pagoda. The same inscription can be seen on a stone water trough of Paekche origin in the collection of the Puy6 National Museum. The inscription appears to have been added to the already completed pagoda Âˇand stone trough by the Chinese after a joint Shilla-T'ang army destroyed Paekche.Âˇ: The stone slabs with bracket arms carved on them, capstones with rounded corners placed between the bodies, and the roof stones indicate that the style of this pagoda was clearly inspired by its wooden predecessors. So does the fact that it was built with no less than 149 pieces of stone fitted together like pieces of wood. This is an example of the transition process from wooden pagodas to stone ones. Characterized by simplicity, balance and refined, creative techniques, this is the only known stone pagoda of the Three Kingdoms period with its original shape still intact. Cho~saSite

Ch6ngnimsa, which was located at the very center of Puy6, was not known as Ch6ngnimsa during the Paekche period. It came to be called Ch6ngnimsa after a tile bearing the inscription Ch6ngnimsa and the year 1028 was found at the site in 1917. As Paekche's capital from 538, Puy6 served as the country's political, cultural and military center for 123 years, until the kingdom perished at the hands

The five-story Chongnimsa pagoda (opposite) and the Chongnimsa temple site in Puyo, Ch'ungch'ongnam-do (above).

of Shilla-T'ang allied forces on the thirteenth day of the seventh lunar month in 660. The temple site was excavated by the Ch'ungnam University Museum in 19791980. The excavation revealed that the temple's inner gate, the pagoda, the main worship hall and the lecture hall were built along a central axis, beginning from the south, with the buildings being surrounded by corridors. Such a layout was typical of the "one pagoda-one worship hall" temple style that was prevalent during the Paekche period. There was a manmade pond outside the inner gate. As the corridors in the east and west appear to have been 5 meters wide, the overall temple complex is believed to have been very large. The temple was reduced to ashes at the time Paekche was destroyed, with a new temple called Ch6ngnimsa being constructed on its site in 1028 during the Kory6 period (918-1392). In addition to the five-story pagoda dating from Paekche, there remains a 5.62-meter-tall seated stone Buddha (Treasure No. 108) sculptured during the Kory6 period, an artifact of the Buddhist culture of that time. + 79

Review I

Rhee Byung-chang Collection at the Museum of Oriental Ceramics, Osaka Chung Yang-mo Professor, Kyonggi University

ulture, in addition to globalization, information age, venture company, and digital age, have become popular buzzwords tossed around by Âˇ practically everyone. Moreover, the term "culture" is used so indiscriminately that essentially everything is now "culture." Certainly, culture helps to convey a refined image to anything to which it is affixed. Culture, however, is not achieved through mere association or talk. It must involve a proper perception of its essence. A culture should be analyzed, with its validity, characteristics, and distinctiveness from other cultures being defined so as to establish a direction of its future development But today's society calls for an understanding and development of one's culture as a mandate for standing at the forefront of globalization and for surviving in this age of boundless competition Even that is merely talk, however, and so rarely are any concrete measures actually implemented. More often than no~ all such proclaimed measures end up being superficially extravagant acts of sending glossy invitations to celebrities boasting a number of prestigious titles, and hanging up a banner. I believe that the direction of a culture's

. ......

Maebyong vase, celadon with inlaid peony design, Koryo Dynasty, mid-12th cennuy, heigbt32 em

development should focus on attaining a closer affinity with the entire world. Besides competing with the rest of the world, the people of a country should embrace and learn from the wisdom of other countJ.iesbased on a steadfast confidence in their own culture. If a country's culture is not

rooted in its indigenous tJ.Âˇaditions, it cannot be clearly differentiated from other cultures due to its lack of individuality and uniqtJeness. Then it will be unable to compete adequately in the global cultural arena This is particularly true of art. Too many things Korean have been neglected, disdained, misappropriated, and destroyed. Although belatedly, we should recognize the immense value of our culture and make efforts to preserve its most noteworthy aspects. Only then will we be able to properly appreciate our traditions, and trace their roots to create and re-create a culture for the future. Under such circumstances, the decision by Koreanjapanese Rhee Byung-chang to donate his collection of Korean cultural artifacts that he had accumulated over his entire lifetime to a Japanese museum could perhaps create a controversy of sorts. Certainly, Koreans should be the first to recognize and appreciate the beauty, originality and uniqueness of their traditions, but it is perhaps equally important for other people to have such an awareness as well. Promoting our culture to other people enables an in-depth introduction of our unique traditions and the identity of

.. .. ~

Art Review

Koreans to other people. By promoting om original and magnificent cultural traditions, we can inspire in others an enduring sense of trust and respect Fmthermore, if today's cultu1:e and that of the future are rooted in our unique traditions while the cultures of the entire world are embraced to achieve fmther devlopmn~ people of other countries will be able to associate the formative characteristics of Korean culture with those of various parts of the world, and be captivated by their distinct charm. Large numbers of Korea's cultmal relics were taken out of the countly from the late 19th century through the 20th century, but few of these are preserved in museums to offer a proper introduction to Korea There has only been a handful of instances when the cultural artifacts of Korean origin scattered around the world have been presented for exhibitions, or publications. Beginning in the late 1980s and continuing thereafter, efforts have been undertaken to establish exhibition galleries for Korean cultural relics in prominent museums in the United States and Europe. The Korea Foundation has spared no assistance to this end, while the Samsung Foundation of Culture has contributed generously to this effort as well.

Jar with blue-and-white peach, pomegranate and plum design, Choson Dynasty, first half of 18th century, height 27.9 em (top left); jar with copper red painted lotus design, Choson Dynasty, 18th century, height 29.6 em (top right); celadon bowl with inlaid cranes and clouds design,Koryo Dynasty, mid-12th century, diameter 17 em (above)

Nevertheless, the number and the quality of the exhibition galleries for Korean relics are still a mere fraction of, and much inferior to, those for Chinese and Japanese relics. Of course, China is a huge countiÂˇy, and Japan is also larger than Korea while the number of Chinese and Japanese cultural relics far sur-

passes those of Korea Moreover, the number of researchers specializing in Chinese and Japanese culture far exceeds those studying Korean culture, and the volume of publications of research studies on Chinese and Japanese culture also dwarf those on Korean. Japan provides research funds to literally hundreds of Western researchers so that they can visit Japan for both short- and long-term study of Japanese culture, with almost every one of these researchers being fluent in Japanese. As for China, countless Westerners use their own funds or receive grants to conduct cultural research in China Most of them are fluent in spoken as well as written Chinese. On the rare occasions when Korean research institutions Âˇare able to extend invitations to Western researchers, many of these individuals decline the invitations because they have received grants from Japanese institutions and are already studying there or comll\itted to doing so. Korea must overcome these and many other difficulties related to the promotion of Korean culture so that it can have a chance to establish a firm foothold in the world arena As such, there must be more concrete discussions from longer and broader per81

Review I

spectives to come up with ways for effectively disseminating Korean eulture and for its further development as well. Through extensive discussions, ways must be found to highlight the uniqueness of Korean culture so that it can gain global recognition. Fmthermore, proposed measures need to be put into action in a timely manner, along with concerted efforts to ensure their fruition. Needless to say, substantial investment will also be required. Back in January 1999 when the procedures for donating Rhee Byung-chang's collection of ceramics were being finalized and prior to the opening of an exhibition hall for its display, I wrote an a1ticle on this subject at the request of a daily newspaper. The following is a summary of that article, which is being provided to help readers understand the reasons behind Rhee's decision to donate his collection to a Japanese museum.

-<,

Early last year, Rhee Byung-chang, a Korean businessman and economist residing ·in Japan, decided to donate his lifetin1e collection of 351 ceramic pieces (301 from Korea and 50 from China) to the Museum of Oriental Ceramics, Osaka. Such a monumental decision could only have been reached after much soul-searching. I came to know Rhee in the spring of 1975 when professor Kim Won-yong (since deceased) asked researcher Choe Sun-u (also deceased) and me to participate in a project being entirely financed by Rhee Byung-changthe publication of a book on the history of Korean ceramics. We worked together to gather data on all the Korean ceramic masterpieces housed at prestigious museums around the world, took photos of them, and published a book on a selection of the cultural relics. The book was highly academic and original, featuring a unique editing and writing style. Tremendous effort went into ensuring the highest quality of paper, plinting, cover design, and binding while using the most advanced technology available. The book, published by the University of Tokyo Press in 1978 under the title 82

Square bottle, blue-and-white with rocks and flowering plant design, Choson Dynasty, 2nd half of 18th centwy, height 18.6 em (above); bottle, underglaze iron-coated celadon with inlaid inscription of a poem, Kmyo Dynasty, 2nd half of 12th centwy, height 30 em (below)

Maste1pieces of Korean Art, comprises a three-volume series, each being 500 pages. The volumes cover the history of Korean art, Koryo celadon, and Choson ceramics, respectively. The production costs were no doubt exorbitant. This publication will remain as an invaluable reference that provides a profound understanding of Korean ceramics by introducing those works scattered around the world. At the time, I only knew Rhee as a prominent businessman who was highly respected in Japanese society. I did not have the slightest inkling that he had personally collected so many exceptional Korean ceramics. While all of the 301 pieces of Korean ceramics are masterpieces in their own right, some are extremely extraordinary and valuable in that they are vntually the only one of then· kind extant'today. When these Korean relics are exhibited at The Museum of Oriental Ceramics, Osaka, a countless number of museumgoers will be able to appreciate the essence of Korean culture, with indescribable joy and pleasure. When I fn·st heard the news of Rhee's donation, I was initially hlllt at fn·st that he had chosen Japan over Korea Soon, however, I realized that this was an extremely astute decision. The masterpieces donated would provide people from around the world with the opportunity to appreciate and experience delight in the highly complete formative beauty of Korean a1t While it is ilnpo1tant for us to promote our mt works, it is much more effective if ilie people of other countries recognize their immense value and undeitake then· promotion with . as much love and care as we would ourselves. Since opening its doors in 1982, the Museum of Oriental Ceramics, Osaka although small in size, has become renowned throughout the world for its exquisite collection of Oriental ceramics, of which the majority are Korean pieces. The museum also devotes painstaking care to maintaining the highest quality possible while ensuring that iliere is an elegant balance and harmony in terms of its interior,

Review I

e ~ :hibton cases, displays and lighting system. The museum is so designed 2t11d managed to enable the items on display and the viewers to become one, which is one of the reasons it is so beloved by a1t lovers from around the world. Rhee had originally planned to establish a museum of Korean ceramics in Tokyo. However, it was vittually impossible for an individual to open a museum, even a small one, in Tokyo. And even if he had succeeded in opening a private museum, its management would be extremely demanding, making its continued existence doubtful. So in the end, he decided to contribute his collection to Osaka, the city with the largest population of ethnic Korean residents and also his first assignment as a diplomatic envoy from Korea Rhee had always wondered how he could help to inspit路e confidence and pride in the Korean-Japanese who with the passage of time were beginning to forget theit路 roots and lacked a proper awareness of theit路 motherland. In putting his plans into concrete action, Rhee demonstrated his deep love for Korean mt He also published Selections of Korean Art for distribution to research institutions and museums around the world, while offering it for sale to the general public His plans culminated in the donation of his private collection of Korean ceramic masterpieces to the Osaka Museum. The masterpieces will help the Korean community in Japan to realize the awesome power of Korean mt and enable them to take great pride in the fact that a compatriot donated the invaluable assets he had collected over a lifetime to Japanese society, even though Koreans have been subjected to the contempt of the Japanese. I believe Rhee's noble act will help to change the attitude of the Japanese people toward Korean:Japanese. Rhee's endeavors to enhance the national pride and confidence of the Korean community in Japan would not have borne fruit, however, if the museum had not exerted its own strenuous efforts to ensure that the donor's generosity would not be in vain. The Museum of

Jar with iron-painted bird and plum design, Choson Dynasty, 2nd half of 17th century, height 29.9 em (top); white porcelain jar, Choson Dynasty, 2nd half of 17th centmy, height 54.7 em (above); rice-bale-shaped bottle, punch'ong with iron-painted fish design, Choson Dynasty, 1st half of 16th century, height 16.8 em, width 23.9 em (below)

Oriental Ceramics, Osaka has accomplished the almost impossible to promote Rhee's collection and his benevolence. The museum is located in front of the Central Church of Osaka within Nakanoshima Koen, an inner-city park, where there are strict litnitations on building sizes and the construction of additions. Even though it was impossible to enlarge its existing building, the museum officials persuaded the authorities to allow it to build a separate exhibition room where Rhee's collection of ceramics would be permanently displayed and came up with the necessary funding. The new wing opened on March 16, 1999, with congratulatory messages and compliments from the world community. Visitors to the museum invariably proclaim that it is one of the best museums they have ever seen. Prior to the opening of the new wing, the museum had focused its attention on the Ataka Collection of Oriental ceramics, which was collected by Ataka & Co., Ltd., arguably one of the finest private collections of Oriental ceramics that includes a number of Korean ceramics. The addition of Rhee's collection further enhances the value of Korean ceramics exhibited at this museum. Besides donating his collection of art works, Rhee contributed all of his assets to a scholarship fund to support students of Korean ceramics and art history. The museum is making every possible effort to ensure that Rhee's aspit路ations come true. +

" ~

[Art Review

The May Bride Kim Moon-hwan Professor, Seoul National University /Drama Critic

n German, the word hochzeit, which if literally translated means "high time," is used to refer to marriage. No doubt this is meant to suggest that marriage is regarded as the highest point in one's life. Indeed, everyone would be horrified if someone were murdered right after their wedding, Âˇ without the bride and groom even having the chance to spend their first night together as a married couple. People would vilely curse the "evil hands" that dared to destroy a blissful couple about to begin a new life together. In the same vein, the most sorrowful scene in Fiddler on the Roof, made famous through plays, musicals and film, is the unrestrained rowdyism of the Russians that culminates in their raiding and trashing a wedding party. A similar traged y also occurred in May 1980 in Kwangju, Ch6llanam-do province, where the residents rose up to challenge the military government, causing an untold number of people to lose their lives in a bloody suppression of protesters. Renowned poet and playwright Hwang Chi-u and producer Kim Kwang-lim recently portrayed this tragic incident on stage in the form of an epic drama titled The May

B1ide. The play begins with actors, who resemble the Pieta, appearing on stage. 84

OneÂˇ of the characters, Catholic priest John Chang, suffers from a heavy burden of guilt for having fled from the scene of a massacre. A man who has become insane for similar reasons further magnifies his guilt. Twenty years ago, the man had been in charge of planning the Kwangju civilian justice army's resistance against the military regime. However, in an effort to minimize potential casualties, he secretly removed the dynamite detonators from the resistance headquarters where his fellow activists were holed up. Deprived of the detonators and the chance to resist, the young resistance fighters in their prime were slaughtered mercilessly. The man had also put a gun to Priest Chang's head, threatening to pull the trigger if he didn't leave the scene of the killing. When Priest Chang laments about "his soul being trapped within the priest's robe that was as constricting as a prison uniform," the man suggests that he take off all his clothing like he has. The man runs about the stage naked, as if he were Jesus Christ lowered from the cross. Even though he has gone mad, unable to bear the guilt of having caused the death of innocent people, he declares: "People do not die. They only sleep." This makes Priest Chang even more ashamed of himself.

The play proceeds between a prologue and epilogue that are quite similar. The story revolves around group of people who teach at a night school for the underprivileged residents of a slum area nearby a massive urban garbage dump, and another group of seemingly ordinary people who turn brutal to justify the rule of a military regime. The play highlights the conflicts between two men caught in a love triangle involving the beautiful headmistress of the night school, a woman who is in love with one of the two men, and her brother who is a hoodlum. The play also depicts the suffering of the siblings' mother and her intense love for her children. It portrays resistance against all manner of contradictions that make it impossible for people to live as proper human beings, as well as hesitation and betrayal before intimidating fear threatens to coerce them into giving up their precarious hold on life. There is also the fury that makes a Catholic priest curse and swear venomously, "What, you son of a bitch?" and "I would have shot you all if I had a gun." The play also depicts the ruthlessness of the military lying shamelessly that it had never opened fire on innocent civilians, though with tanks and helicopters it had attacked the people to uphold justice.

lA r

Review

A scene from The May Bride

The military instead shifts the blame to "Communist spies who had infiltrated the city." There is also distrust, and an even stronger trust that results when such distrust is overcome. Playwright Hwang says that the play is "based on the historical facts of the Ma y 18 Kwangju uprising." One of the lines used in the play is from the inscription on a tombstone in the Mangwol Cemetery where the victims of the Kwangju massacre are buried: "Honey, you were an angel. Till we meet again in Heaven." One of the characters in the play recites the line as part of a monologue, and the chorus picks up this line in response. The play, however, is a work of "fiction created in accordance with the constraints of drama" by the playwright, an established poet. This is why the play comes across even more

powerfully and truthfully than reality. Hwang's poems always feature elements of rich drama, and thus have been adapted into Even the Birds are Leaving the VV'OJJd and The Diary of a Fat Sofa by ]oo In-sok. The May B1ide is the first play written by Hwang. Many of the lines are written as beautifully as poetry. In one scene, members of the civilian justice army write their citizen registration number on a piec;e of paper and then place it in the back pocket of their pants so that their corpse can be identified. Though the scene is clearly prosaic, the chorus sings the lines as if they were reciting poetry.

Citizen Citizen Citizen Citizen

Number 600321-1551129 Number 571009-1552318 Number 520394-1551325 Number 6305o6-1551527

Putting the numbers in our back pockets, we all Stand and glare at the dmkness in front of us [All pe1formers remove bandages from their faces.] Casting off the mask, casting off the fea1; Calling out your name for the-first time, \'{lashing away doubts and washing away fea1; Ah, having laughed heartily in this wo1ld, we Retum, giving back shining faces. In the play Mephisto, a tribute to the victims of Nazi Germany produced by the Theatre du Solei! of France led by the renowned Ariane Mnouchkine, the names of the victims are also recited in 85

jArt Review 1

A scene from The May Bride

the final scene but not as poetically as in

The May Bride. The May Bride can be called a "verse drama" for having successfully combined poetry and drama. Thanks to this quality, the Kwangju uprising comes to take on an entirely new significance. Although the Kwangju massacre has been used before as the backdrop for artistic works, none of them managed to present such personal, yet universal emotions as The May Bride. The play can even be compared to Jean-Paul Sartre's Dirty Hands and Albert Camus's The just Assassins in terms of its artistic achievement. This notable success is certainly not the work of Hwang Chi-u alone. The production crew included some of the most talented people in the theatrical field , including producer Kim Kwang-lim. Kim first heard about the Kwangju incident fr o m a member of th e Yo nu troupe, the group which performed in Th e May Bride, during a rehearsal for another play back in 1980. At the time, a troupe member, who had managed to esca pe fr o m the killing scen e in 86

Kwangju, recounted the atrocities, barely able to speak about the horrors he had witnessed. Later, Kim went to the United States to study drama. Thereafter, he suffered from enormous guilt after watching a documentary about the Kwangju uprising, but managed to keep his emotions under control to later participate in the production of The May Bride. He says: "It is the duty of artists to transform the lessons of historical events into a universal ex peri ence for every bod y." Viewers will not be able to forget the highly resilient nature of the chorus, and the throng of actors dancing and rejoicing with the May bride on their shoulders, wjth flower petals raining dow n on the heads of the audience. Neither will they be able to forget the ominous mechanical sounds used to indicate the approach of the fearsome military, without anything actu ally appearing. Set designer Yoon Jung-sop also contributed greatly to the play's success. Using props suggestive of a prison, he transformed the stage into a "sanctum" while employing his exceptional and unique formative

skills to create sculptures and concepts perfectly matching the intent of the playwright and producer. Watching the Passion play- and I have no doubt that this is one-performed on the outdoor stage with so much guilt in my heart that I wanted to kneel and ask for forgiveness, I had the illllSion of watching the Passion play of Oberamme1ga u, w hich I saw w hen I was a student in Germany. The Passion play, w hich is staged every 10 years, was first performed by the people to express their gratitude for having survived the black plague that swept through Europe in the 13th century. The play is a so1t of penance that lasts for about six hours. I believe that The May Bride should be dedicated as a Passion â&#x20AC;˘ play for the victims of the Kwangju massacre and performed at the Mangwol Cemetery every year as a way of showing respect, by the people of Korea, or even by all the world's champions of democracy. The music and dance movements should be further refined to this end, but the recent performance showed more than enough promise. +

JOURNEYS IN KOREAN LITERATURE

.,_

SO YingÂ·-..;

" ~

Spiritual Adventurism in Korean Literature

KimJong-hoi Literary Critic/ Professor, Kyunghee Uni versity

All of So's main characters are people who are lonely and alienated. They are peo.-

pie who cannot be reconciled with reality. So delicately captures their internal turmoil and detachment from society, creating a new style of writing that shows the potential of Korean literature. 6 Y6ng-Cm is an extremely special and noteworthy writer in Korean literature. In her works, she is not interested in revealing the drifting surface of reality. Her works delve into the minds of people living in anguish that enable readers to see into their hearts. As such, her

S 88

works are a record of tormented souls. If So's works had been nothing more than mere expressions of pain itself, however, they would not bear the importance that they do. But by vividly depicting the essence of the depths of pain, her writing presents a way to overcome the suffering and find a way out.

The background of So's work is Korea's modern history, a period of constant upheaval marked by the tragic division of the country into SotJ th and North, a tumultuous struggle for democratization, rapid industrialization and a growing gap between rich and poor. Any number of Korean writers have dealt with these historical issues in their work, with many books being published that bring this period of modern history to life. But most of these have failed to strike a chord deep within the souls of readers. This is where the stories of So Yong-i::m are different. So's works express with a unique clarity how pained and saddened, innocent and beautiful are the souls of the wounded in spirit. All of So's main characters are people who are lonely and alienated. They are people who cannot be reconciled with reality. So delicately captures their internal turmoil and detachment from society, creating a new style of writing that shows the potential of Korean literature. As a result of her efforts, So won the seventh Yi Sang Literary Award in 1983 with "Dear Distant Love," and the third Yonam Literary Award in 1990 with "The Window with a Ladder." So's distinctive characteristics and strengths as a writer are best revealed in the short story "Dear Distant Love." Here this work is explored in detail in an effort to enhance understanding of So Yong-un and her works. "Dear Distant Love" is about the pain experienced by Mun-ja, a single woman approaching her 40s who works as a proofreader at a publishing house. The thing that drives Mun-ja is her fervent determination to endure her wretched situation and living conditions. In his Thoughts, Marcus Aurelius said: "The sufferer knows the limits of pain, and with the imagination to bear that terror, there is nothing that cannot be endured and in any case it does not last forever." It is in this spirit that when her pain reaches a peak, Mun-ja internalizes and conceptualizes the pain itself and in

this way keeps a tight reign over herself, through self-restraint and control. Mun-ja harbors "something fulfilling and energetic in her mind that others could not sense." That self is the masked consciousness which is above the emotional games of ordinary beings and it is here that So Yong-un's style of "spiritual adventurism" is evident. In looking at the bulk of So's writing, this state might be rightly referred to as "spiritual adventurism," but when reflecting upon the main characters in the majority of her stories one can see that the professed "spiritual adventurers" do not try to avoid pain but rather wallow in it. As they do, it is as if they crave to be battered while reading their spiritual compass as if constantly searching for but nev ~ 1 ~ finding satisfaction. Mun-ja's fierce resolve is not rooted in overcoming the pain and starting on the road to a realistic and hopeful life, but in throwing herself into the adventure of battling head-on with the pain itself. This message comes across so strongly in the story that, depending on one's perspective, it might seem that Mun-ja actually takes pleasure in her pain. The other characters that appear in So Yong-Dn's stories, for example, "I" in "Festival of Flesh and Bones," the old man in "How to Cross the Desert," the reporter in "Triangular Sail," the husband in "Trip to the Mountain," and Yo Sowun in "Dearest Thing Becoming a Door," are all spiritual adventurers of this kind The issue is how a character like Mun-ja and her psychological state can speak in a fresh way to those of us who live a self-centered urban life. In the end it boils down to the question of what can be gained from a literature of spiritualism in today's high-technology, material-oriented society. Mun-ja's pain is rooted in her relationship with a man named Han-su. He is a character who exists to inflict the severest pain on Mun-ja. What Mun-ja faces in the end is not her discord with Han-su but a raging conflict with herself. Han-su

is fixed in the story while it is Mun-ja's spirit that seems to be living and breathing. Han-su represents the ordeal and adversity inflicted on a person. By treating Han-su in this way, "Dear Distant Love" has the potential to fall to the level of an ordinary love story but avoids this by being enveloped by passionate spiritual adventurism. Today's feminists might criticize Munja's relationship with Han-su as representing the height of anti-feminism. But this is a view that can change depending on one's perspective and way of seeing things. On the surface, it seems that Munja is subservient to Han-su, but on the inside, she is perfecting her own untroubled inner world. And as such, Mun-ja can be seen as a strongly feminist character. Most people would try desperately to escape from a situation of self-tormenting pain. But as Voltaire once said, "Happiness is but a dream and pain is a reality." While Oscar Wilde in his prison diary wrote: "Pain comes as a new revelation." But even so most would rather avoid pain. So Yong-i::m's "Dear Distant Love" offers us a mirror for self-reflection, a mirror which shows that the abyss of pain is a part of all human beings, while timid modern man would just as soon avoid such an abyss altogether. When these separate images are joined together to form an overall picture, Mun-ja's life no longer seems to be imprisoned in the ego's systematic fortress, but she will instead be judged as an individual in relation to other people. So's work may not deal with generational and social issues per se, but it is literature that delves deeply and intensely into the souls of human beings while uniting the characters in the story with readers through common understanding and sympathy. This reveals the strength and substance of the work itself which at the same time reinforces the importance of literary diversity today, as in the past. + 89

.. .. ~

I ,

The Korea.Foundation Fellowship Programs FELLOWSHIP FOR KOREAN STUDIES

The Korea Foundation offers fellowships for Korean studies in the fi elds of human ities, 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 offers 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, Âˇand 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

Korean Studies Support Team 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:

Seocho PO Box 227 Seoul. Korea Tel82-2-3463-5612 Fox 82-2-3463-6075. 6076

Personnel Exchange Team The Korea Foundation Seocho PO Box 227 Seoul. Korea Tel 82-2-3463-5613 Fox 82-2-3463-6075. 6076

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 commenFOCUS~ taries on Korea's politics, economy, society and culture, opinions on world affairs, and a chronology of recent events in Korea. Its articles are selected from leading publications in Korea, including major daily newspapers, newsmagazines and academic journals.

HOAEA

To succeed in global business today, you need to respect power, be flexible to change and stay ahead of the flow. These are principles that SK, previously known as Sunkyong, has been applying to all our business for nearly five decades. Today, Korea's 5th largest conglomerate enjoys revenues exceeding $45 billion and trades more than 2000 products with over 130 countries across six continents. Our SK Corporation(formerly Yukong Limited) is Korea's number one energy and chemical corporation. And Wall Street knows SK Telecom, the world's first telecommunications company to commercialize digital CDMA cellular service. Thanks to our partner companies, we strive to meet the changing needs in many locales

and cultures. If you'd like to learn more about us and our global business opportunities, visit

Come grow with us www.sk.com

our web site or e-mail us at qanda@ocmp.com

Energy & Chemicals. Telecommunications. Finance. Logistics & Services

The Science of Circle CD Encounter between cutting edge technology and circle symbolizing tol erance, harmony and unity. The philosophy of Hankook Tires lies in the 'Science of Circle' which makes a better world with greater safety, happiness and comfortable driving for everyone.

Korea, Let's Run Faster

Step ahead again with the 'Science of Circle,' Stretch out again to the world with Hankook Tire's It's time to go forward again. Sluggishness is a thing of the past. It's meaningless that li ving with disappointments or vague expectations of a better tomorrow. Only one way to overcome the current crisis and revive the economy: Ultimate ability prepares you to be competitive in today 's fierce environment- be it a nation, a corporation or an indi vidual. Join us through the 'Science of Circle' to create a better world with Hankook' s state-of-the-art technology and superb quality unparalleled anywhere.

The Science of Circle

HAN<m K T l RES