Koreana Autumn 2004 (English) by The Korea Foundation

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BEAUTY OF KOREA

Rock-carving of Buddha Triad in Seosan Kim Seung-hee Curator, Gyeongju National Museum

@ V,

This Buddha triad con-

the

Baekje

Kingdom,

sists of a standing Amitabha

Buddhism flourished, becom-

Buddha, smiling contentedly

ing the spiritual foundation of

in the center, a meditative

the kingdom. Although

Maitreya with a childlike

Buddhism originated in

smile to the left, and a stand-

India, it developed an ideo-

ing Bodhisattva with beads

logical and cultural universal-

in his hands to the right.

ity as it spread through Central Asia and China.

The triad sculpture features a symmetrical tri-

The influence of Chinese Buddhism (especial-

angular composition carved onto the surface of a

ly that of the Northern and Eastern Wei variants) is

natural rock cliff that had been smoothed over. The

evident in the faces and clothing of the figures in

smile seen in the rock carving of this Buddha triad

the triad. However, the round faces and large-size

in Seosan is representative of the so-called smile

hands and feet are clear evidence of the characteris-

of Baekje. The ancient Baekje Kingdom (18 B.C.-

tics of the Mathura school of Buddhism, which

A.D. 660) reigned over the southwestern region of

originated in India.

the Korean peninsula.

Nevertheless, the compassionate facial expres-

The triad was created during a golden age of

sion, gentle round eyes, and lower part of the nose,

Buddhist culture, which was first introduced to the

along with the well-balanced clothing, all reflect

Baekje Kingdom around the fourth century. During

the aesthetic sentiments of the Baekje people.

Baekje, early 7th century, Height: 280 cm, Seosan, Chungcheongnam-do, National Treasure No. 84

F O C U S ICOM Meets in Seoul

Preserving the Intangible Cultural Heritage of Humankind I Choe Seok-yeong C U R R E N TS Korea's Growing Interest in Latin American Culture

Korea Awakens to Latino Culture I Kim Geun 0 N T H E G LO BA L S TAG E Golfer Pak Se Ri

Ambition, Her Lifelong Companion I Bae Jay-song A R T I SA N Mother-of-Pearl Master Lee Hyung-man

Even More Beautiful with the Passage of Time I Ryu Min

Koreana INTERNET WEBSITE http:/ /www.koreana.or.kr

0 N T H E R O A D Chungju

Where the Water and Mountains Complement Each Other

I Kim Woo-sun

CU I S I N E Pumpkin Porridge

Nutritious and Tasty Health Food I Yoon Sook-ja

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

L I V I N G Returning Home for Chuseok

Long-standing Traditions Complicated by Modern-day Realities

I Lim Jae-hae

Koreana, 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, French, and Spanish.

.•

Cover: Goguryeo (Koguryo) tomb murals, w hich we re created during the mid fourth century through the seventh century, have been designated a World Cultural Heritage by UNESCO. Featured on the cover is "hunting scene" mural of the Muyong Tomb.

Published quarterly by The Korea Foundation 1376-1 Seocho 2-dong, Seocho-gu, Seoul 137-863, Korea PUBLISHER Kwon In Hyuk EDITORIAL DIRECTOR Kim Hyeh-won EDITOR-IN-CHIEF Park Jeong-yeop ART DIRECTOR Kim Byung-ho ASSOCIATE EDITOR Chung Bo-young EDITORIAL BOARD Han Myung-hee, Han Kyung-koo, Kim Hwa-young, Kim Moon-hwan, Lee Chong-suk, Shim Jae-ryong, Yu Hong-june

D I SC O VE R I N G KO R EA Changdeokgung Palace Complex ··?-,

Changdeokgung Palace Embraces its Natural Surroundings I Hong Soon-min M AS T E R P I E C E S Baekje Incense Burner

Appreciating the Brilliance of Baekje Art I Kim Seung-hee ART REVIEW Tongyeong International Music Festival

Sounds of Music Linger over Maestro's Hometown I Kim Moon-hwan

Kim Young-ha 83

Narratives of a Nomad I Kim Dong-shik

Moving I Translated by Kim Chi-Young

SUBSCRIPTION Price for annual subscription: Korea W 18,000, Asia by air US$33, elsewhere by air US$37 Price per issue in Korea W 4,500 Subscription/circulation correspondence: THE U.S. AND CANADA Yeong & Yeong Book Company 1368 Michelle Drive St. Paul, MN 55123-1459 Tel: 1-651-454-1358 Fax: 1-651-454-3519 OTHER AREAS INCLUDING KOREA The Korea Foundation 1376-1 Seocho 2-dong, Seocho-gu, Seoul 137-863, Korea Tel: 82-2-3463-5684 Fax: 82-2°3463-6086 ADVERTISING AD-Front 1588-8 Seocho-dong, Seocho-gu, Seoul Tel: (02) 588-6016 Fax: (02) 2057-0509 LAYOUT & DESIGN Kim's Communication Associates 118 Jangchung-dong 1-ga, Jung-gu, Seoul Tel : (02) 2278-0202 Fax: (02) 2278-2384 PRINTED IN AUTUMN 2004 Samsung Moonwha Printing Co. 274-34, Seongsu-dong 2-ga, Seongdong-gu, Seoul Tel: (02) 468-0361/5

Historic Remains Recognized by UNESCO Designated by UN ESCO as World Cultural Heritage treasures, the Goguryeo tomb murals are recognized as invaluable resources for the study of the culture of the Goguryeo Kingdom as well as the flow of cultural influences throughout the East Asian region in ancient times. Choe Kwang-sik Professor of Korean History, Korea University

he tomb murals of the Goguryeo (Koguryo)

World Cultural Heritage List. Goguryeo played an instru-

Kingdom, which encompassed a territory that

mental role in international exchange within East Asia,

included portions of today's North Korea and

while its close proximity to China and other East Asian

northeast China, had already attracted world-

countries led not only to frequent disputes, but also the

wide attention prior to their inclusion on UNESCO's

adoption of external cultural elements, which were then

developed in Goguryeo's own unique ways. The most sig-

of the paintings include portraits of the tomb occupant,

nificant extant evidence of this brilliant culture is the mural

everyday life activities, customs, supernatural creatures,

paintings found in ancient Goguryeo tombs.

decorative designs such as lotus flowers and images of heaven including the sun and moon, constellations of stars,

Manifestation of Goguryeo Culture

and mythical beings.

Most Goguryeo tomb murals are produced with

As such, these murals provide a window into diverse

Chinese ink and pigments painted onto the plastered interi-

aspects of Goguryeo culture including the characteristics

or walls of burial chambers, which were constructed from

and sentiments of the Goguryeo people; their appreciation

stone formed into large-size bricks. In some instances, the

of beauty and color; their aitistic style and refinement in

murals were painted directly onto walls made of flat stone

the depiction of people, animals, plants, landscapes, and

slabs, which did not involve plastering, as in the case of

other subjects; their daily life and customs as reflected in

walls built from stone bricks.

clothing and aiÂˇchitecture; and even their philosophy, reli-

In general, the tombs with murals are concentrated

gion, and cosmology.

around the ancient capital of Jian and the Pyeongyang

The motivation for painting these murals was perhaps

area. They can be classified according to historical era and

to emphasize the existence of the soul, while regarding the

stylistic features into three basic types: scenes of everyday

interior of the tomb as the world in which the deceased

life, decorative designs, and the four deities. The subjects

would live for eternity. Based on their belief that death was

, . .. .. . .,.,,. , , . . â&#x20AC;˘

scene of Muyong To .1he lifestYle , ijuofri'the9 deceased. Tomb murat the

are n invaluable resource for unde . Âˇ and everyday life of Gogu

A number of Goguryeo tomb murals have yet to be thoroughly surveyed and researched. As these research efforts proceed, the findings will enhance our understanding and appreciation of the Goguryeo culture and people.

not the end of life but the beginning of a new existence, the

main currents of ancient East Asian culture and to assess

Goguryeo people built large-size, well-constructed tombs,

the state of cultural exchange between East and West. In

which were decorated with murals and furnished with bur-

these murals, one can see the uniqueness and cosmopoli-

ial items so that the world thereafter would be vibrant and

tanism of Goguryeo culture in its reception and re-creation

luxurious. The tomb murals are tangible evidence of their

of diverse cultural elements introduced from abroad. The

belief in life after death, while the variation of subject mat-

extraordinary value of the Goguryeo tombs in all these

ter, including scenes of everyday life, decorative designs,

respects provided the basis for their recognition as World

and the four deities, reflected changes over time of the

Cultural Heritage by UNESCO.

Goguryeo people's approach to life and death.

Inspiration for the Future Evidence of Cultural Exchange

Numerous aspects of the Goguryeo tomb murals are

Most Goguryeo tombs were looted long before they

of much value for understanding the past, from which we

could be excavated, with few of the burial items being

can benefit today and in the future as well. In looking over

recovered. As a result, the tomb murals, in addition to their

the elegant and dynamic designs and characters, along

being magnificent works of art, are the primary source of

with the elaborate clothing depicted in these murals, we

information for understanding the lifestyle and customs of

can appreciate that the murals are not only artifacts of the

the Goguryeo people and their cultural context. The murals

past, but also a source of inspiration for myriad applica-

are the best-preserved artifacts of Goguryeo remaining

tions for contemporary life and commercial business.

today, while the vivid iconographic renderings of the dif-

Through these ancient murals we can learn about the past

ferent eras are invaluable as a resource for historical

as well as discover new cultural opportunities for the

research.

future.

Considering Goguryeo's long history, relatively few

Thus far, about 100 Goguryeo tomb murals have been

relics have survived, aside from ceramics and roof tiles,

identified, but the related details of no more than half of

making the tomb murals even more indispensable for

these have been made available to the academic world. As

research efforts. Goguryeo tomb murals are also an impor-

such, many murals have yet to be thoroughly researched and

tant resource for studying the relationships and influences

documented. Hereafter, as additional murals undergo schol-

between Goguryeo and other nations, based on compara-

arly scrutiny, the cumulative findings will help to enhance

tive studies of the tomb murals of contemporary Chinese

our understanding of Goguryeo culture and history.

dynasties such as the Han, the stone grotto murals of the

Indeed, such diligent efforts have been put forth by

Silk Road region, the Afrasiab murals of Central Asia

scholars and cultural specialists from North Korea and

where Goguryeo envoys visited, the murals from the cen-

China, where the Goguryeo tombs are situated, as well as

tral region of the Korean peninsula including the Eumnae-

those from South Korea and Japan, to ensure that the tomb

ri Tomb at Sunheung, and the murals of the Takamatsu

murals would be officially registered by UNESCO, so that

Tomb in Japan.

they can be properly protected and appreciated by people

Indeed, the Goguryeo tomb murals are a most precious historical resource for enabling us to examine the 10

Koreana I Autumn 2004

the world over.

Offering a Glimpse into the Ancient World of Goguryeo The Goguryeo tomb murals enable us to speculate about the life and thought of the people of Goguryeo, while changes in the subject matter of the paintings reveal the shifting trends of Goguryeo culture and society. Indeed, these extraordinary tomb murals provide an invaluable glimpse into the ancient world of Goguryeo. Lee Tae-ho Professor of Art History, Myongji University

uring the 300 years from the fourth century

was unique to Goguryeo, with no other examples being

to the seventh century, at least 90 Goguryeo

found in contemporary China or anywhere else in the

tombs were built with mural paintings. These

world. Of note, the pigments are so ideally suited to the

tomb murals are the cultural legacy of the

stone surface that the murals appear to have been freshly

golden age of Goguryeo, when it reigned over an expan-

painted only a few days ago. The murals are thus effective

sive empire in East Asia.

in conveying a sense of grandeur to the interior of the

tomb. The stone-surface painting method became popular

Painting on Lime and Stone

later than the lime-surface painting technique.

Goguryeo tomb murals include two primary types,

The Anak Tomb No. 3, built around the middle of the

lime and stone, depending on the surface onto which the

fourth century, features stone-surface painted murals.

paint was applied. The most common technique was the

Aside from this, the stone-surface technique was only

lime-surface painting. When bricks or individual stones

found in the mural paintings of the four deities in tombs

were fitted together to build the burial chamber, lime was

constructed from the late sixth century to the mid seventh

applied to the wall face to create a surface upon which the

century, such as the Honam-ri Four Deities Tomb, the

mural would be painted. A type of fresco technique, it was

Great Tomb and Middle Tomb of Gangseo, the Tonggou

the method most commonly used for the painting of por-

Four Deities Tomb and the No. 4 and No. 5 tombs of the

traits and geme themes during the fourth to the sixth centu-

Ohoe (Five Helmet-shaped) Tombs. There are also cases in

ry. The people of Goguryeo were highly skilled at using

which images of the guardian deities or vines were carved

lime. Recent analyses of Goguryeo lime murals have

in slight relief and then painted to create a more elaborate

found lower levels of impurities than the lime from the

appearance, such as in the Great Tomb of Gangseo. This

later Joseon period. Thus, with the exception of areas

technique reflected the heightened economic prosperity

where the lime has fallen away from the surface, the

and cultural refinement of the late Goguryeo period.

Goguryeo tomb murals show little discoloration and remain in a remarkable state of preservation.

Tomb murals feature various similarities, but from the subject matter to the method of depiction they are all

Another technique involved painting directly onto the

unique and individualistic works. Even among the murals

stone surface. This method was used when broad, flat

in tombs of people of the same social class, there are varia-

stone slabs or evenly cut stones were used to build the bur-

tions in appearance and attire, and even those that deal

ial chamber, such that the paint could be directly applied

with similar themes differ in the style of depiction. The

onto the stone surface. This technique, which was only

clear individuality of the murals is evidence that the

possible in areas where high quality granite was available,

painters carefully considered the deceased's status and life-

Koreana I Autumn 2004

This mural in Muyong Tomb shows singers and dancers seeing off the deceased who is departing on a horse. This lifestyle genre painting was created in the late fourth century or early fifth century.

time achievements when deciding on the subjects and

image of Vimalakrti at Dansoksa Temple in Jinju, and a

method of painting. It is apparent from the renderings of

portrait of Dangun, the legendary founder of the Korean

the sun and moon, portraits of tomb occupants , genre

nation. Considering the fact that the Silla bell-makers who

scenes, the Taoist immortals, the four deities, sacred ani-

cast Buddhist bells at the time were assigned a head-rank

mals and plants, and decorative patterns that the Goguryeo

of five, the social status of Solgeo, and the tomb mural

painters were influenced by Chinese paintings and motifs

painters who were his contemporaiies, were likely consid-

from the Han, Northern and Southern Dynasties, Sui, and

erable as well.

Tang periods. However, we have no knowledge about how or where

Mural Characteristics by Period

this style of mural painting originated, or information

The 90 or so Goguryeo tomb murals that are known

about the names or status of the painters. Who were these

today can be divided into three time periods based on the

mural painters? Since tomb murals were a privilege

tomb structure and the subjects and method of depiction of

reserved for royalty and high-ranking government offi-

the paintings. The first period includes the mid fourth cen-

cials, the painters would have been of proper social stand-

tury to the early fifth century, the second period from the

ing. If they could be compared to the court-retained

mid fifth century to the mid sixth century, and the third

painters of the Joseon period, it is likely that the mural

period from the second half of the sixth century to the first

painters were officials who were responsible for the paint-

half of the seventh century. Portraits and genre paintings

ing of palace and temple buildings, murals, banners,

were popular during the first and second periods, whereas

Buddhist paintings, and portraits.

murals created in the third period featured only images of

Silla's Solgeo comes to mind as a painter who would

the four deities.

be similar to the Goguryeo mural painters . His works

The tomb murals from the first period in Anak,

included realistic images of old pine trees on the walls of

Hwanghae-do province and the Pyeongyang region, such

Hwangnyongsa Temple in Gyeongju, an image of the

as Anak Tomb No. 3 (mid fourth century), Deokheung-1i

Bodhisattva Avalokitsvara at Bunhwangsa Temple, an

Mural Tomb (408), and Taeseong-ri Tomb No. 1, primarily Autumn 2004 I Koreana

Items such as clothing, body armor, and handcarts are noticeably distinguishable from their Chinese counterparts, while more closely resembling artifacts excavated from the tombs of Baekje, Silla, and Gaya, thus indicating that a kind of cultural homogeneity existed on the Korean peninsula during the Three Kingdoms period. feature deified portraits of the deceased, while the individ-

the comers and sloped inward so that the flat edges would

ual's standing is expressed through the depiction of

create a symmetrical diamond shape. This process was

Chinese-style clothing and vessels. The subject matter of

repeated until the ceiling narrowed to a point toward the

these paintings also included large-scale processions and

center. If you look carefully at the ceiling of one of these

palace or court events, as well as scenes of everyday life

tombs, you would undoubtedly be amazed at its symmetry.

related to the kitchen, meat storehouse, stable, barn, and

This ceiling style, which was used in most tombs built

carriage shed. There are also genre paintings that portray

from the fourth to the seventh century, appears to have been

public and private episodes of the tomb occupant's life. In

adapted from Western cultural influences. Its origin can be

addition, the ceilings were painted with images of the sun

found in Roman structures, Indian and Central Asian cave

and moon, constellations, vine patterns, lotus flowers, heav-

temples, and the dwellings of nomads who roamed the

enly beings, musicians, immortals, and sacred animals,

steppes of Sibe1ia. This indicates that Goguryeo was confi-

evincing the heavenly worship of the early Goguryeo peo-

dent and open-minded enough to accept the techniques of

ple. The most notew01thy aspect of the tomb structure was

outsiders and incorporate these elements into their own cul-

the method of construction used for the ceiling. In this

ture. As such, this ceiling method reflects Goguryeo's

method, known as "triangular reduction," triangular-shaped

receptiveness to external influences. Examples of this ceil-

stones were fitted together with the point downward from

ing style can be found in the stone chamber tombs of Later

Koreana I Autumn 2004

During the late Goguryeo period, tomb murals featured the "Four Deities," symbolic guardians of the deceased. This blue dragon on the east wall of the Great Tomb of Gangseo is regarded as a masterpiece for its elaborate style and vibrant color (left). Black tortoise painting on the north wall of the Great Tomb of Gangseo is notable for the elegant curved lines of a snake that encircles the tortoise, reflecting the refined aesthetics of mural painters (right).

Han China and the cave temples of the Wei and Jin dynas-

area, such as Changchuan Tomb No. 1, Muyong Tomb,

ties as well as the Northern and Southern dynasties, though

Gakjeo Tomb, and Samsil Tomb, Chinese-style clothing is

only in a limited number, whereas for Gorguryeo, the trian-

rarely featured. The tomb occupant is depicted going about

gular reduction construction became the norm, along with a

everyday activities, including singing and dancing, greeting

popular belief in heavenly worship , which combined

guests, family outings, viewing performances, attending

Taoism and Buddhism.

Buddhist gatherings, hunting, and wrestling. Taoist-related subject matter with Buddhist elements, such as lotus flower

Golden Age of Tomb Murals

patterns, is featured on the ceilings.

In the second period, after the mid fifth century,

In addition to pmtraits and genre scenes, paintings of

solemn po1traits of the deceased were replaced with a vari-

the four deities began to appear on the walls and ceilings

ety of scenes from everyday life that depicted the tomb

of tombs during the second period, as can be found in

occupants as ordinary people wearing Goguryeo-style coat

tombs in the Tonggou area, such as Changchuan Tomb No.

and trouser garments. There are a few tombs in the

1, Muyong Tomb, and Samsil Tomb, as well as tombs in

Pyeongyang area, such as the Ssangyeong Tomb and the

the Pyeongyang area , including Yaksu-ri Tomb ,

Susan-ri Tomb, in which the deceased is portrayed in

Ssangyeong Tomb, and Maesan-ri Four Deities Tomb (also

Chinese-style formal attire, but in the tombs in the Tonggou

known as Suryeop Tomb). In some tombs, the walls are Autumn 2004 I Koreana 17

This genre painting in the Gakjeo Tomb portrays a wrestling match between a Goguryeo man and perhaps someone from Western Central Asia, reflecting Goguryeo's interaction with the Asian region during the fourth century.

Vibrancy of Four-Deity Murals The tomb murals of the third period, from the second half of the sixth century to the first half of the seventh century, abandoned the earlier genre-style scenes, and instead focused on the four deities. Whereas tombs of earlier periods included stone burial chambers with a variety of formations, such as single-chamber and multiple-chamber, the tombs of the third period featured only a single chamber, with the four walls being decorated with the appropriate guardian deities: blue dragon on the east wall, white tiger on the west wall, red phoenix on the south wall, and black tortoise on the north wall. The Tonggou Four Deities Tomb and the No. 4 and No. 5 tombs of the Ohoe Tombs in Jianxian, Jilinsheng, China, and the No. 1 and No. 4 adorned with images of lotus flowers, tortoise shells, and

tombs of Jinpa-ri, the Great Tomb and the Middle Tomb of

round, circular patterns. Just as the subject matter became

Gangseo, and the Honam-ri Four Deity Tomb in the

more diverse, the quality of the painting was also

Pyeongyang area are among the ten or so tombs that are

improved. The colors were more brilliant, along with the

representative of the late four-deity style. The four-deity

lines of images being bolder and more detailed, depending

paintings of these tombs are colorful and vibrant, reflecting

on the subject matter.

the spiritual beliefs of the people of Goguryeo and repre-

The fact that a large number of mural tombs were

sentative of the art of East Asia at that time.

built in the Pyeongyang area from the mid fifth century to

The prevalence of the four-deity murals is evidence of

the mid sixth century is mainly att1ibuted to the stability

new cultural sentiments and developments of the social

attained during the rein of King Jangsu (r. 413-491), upon

environment. That is, the four-deity paintings are a mani-

the relocation of the capital to Pyeongyang in 427. In fact,

festation of the spirit and thought of the late Goguryeo

only about 10 tombs were built in this area from the fourth

period. From the mid sixth century, the Goguryeo, Baekje,

century to the early fifth century, and another 10 or so

and Silla kingdoms battled for hegemony of the Korean

four-deities tombs from the second half of the sixth centu-

peninsula, while Goguryeo was engaged in a number of

ry and thereafter; however, there were about 60 to 70

conflicts as a result of changes in China during the process

tombs built from the mid fifth century to the mid sixth cen-

of the unification of Sui and Tang China. The Goguryeo

tury. From the realistic depictions of daily life in the tomb

Kingdom celebrated its victories right up until the time of

murals, it seems that the elite class enjoyed considerable

its downfall. As part of this process, as can be seen in the

leisure and comfort thanks to Goguryeo's flourishing pros-

rise to power of the government of Yeongae Somun, which

perity during this golden age of its society. In addition, the

advocated Taoism, Goguryeo underwent various changes

tomb murals are also thought to reflect the heightened

as well, including a conversion of its centralized power

pride that Goguryeo took in its unique national culture.

strncture to an aristocratic coalition system after the mid

18 Koreana I Autumn 2004

This painting on the ceiling of the Ssangyeong Tomb features a lotus flower and decorative designs and symbols such as the three-legged crow of the sun and the toad of the moon. The ceiling ofthis tomb was built with the triangular-reduction method.

The people of Goguryeo painstakingly recorded their lives in vivid detail in the tomb murals. And if not for this, the Chinese might have attempted to Sinocize all of Goguryeo based on their own historical records. Indeed, the Korean people owe much to the Goguryeo tomb mural painters who so realistically recorded the everyday lives of the people of their kingdom. The Goguryeo tomb murals and Chinese art of the same period share some similarities, but they cannot be compared in terms of subject matter or artistic quality. Nor can they be compared in terms of quantity. There are about 90 Goguryeo tombs with painted murals that were created over a 300-year period from the fourth century to the seventh century, but only about half that number of Chinese sixth century. Under these circumstances, the four deities,

tombs that were completed during the 500 or so years of

which were symbols of protection and safety from evil

the Han and Tang dynasties. The engraved and relief stone

spirits, became objects of everyday veneration and a belief

carvings of China's Han period and Northern and Southern

in the afterlife. It was also this environment that made pos-

Dynasties period are more widely known than its tomb

sible such a spirited and dynamic form of expression.

murals. The subject matter featured in the portraits and genre

Records of Goguryeo History

paintings of Goguryeo tomb murals created from the

It is no easy matter to acquire a comprehensive under-

fourth to the sixth century, including renderings of

standing of Goguryeo laws, institutions, and society. The

Goguryeo people and their clothing, court dance and

disappearance of Goguryeo historical documents, such as

music, wrestling, warriors arrayed in body armor, and

the 100-volume Historical Records and the five-volume

handcarts, are noticeably distinguishable from their

New Compilation, makes it all the more difficult, but fortu-

Chinese counterparts. In particular, the clothing, body

nately the Goguryeo tomb murals and inscriptions such as

armor, and handcarts more closely resemble artifacts exca-

those on the monument in honor of King Gwanggaeto

vated from the tombs of Baekje, Silla, and Gaya, thus indi-

remain as sources of information. Among Korean refer-

cating that a kind of cultural homogeneity existed on the

ences, Samguksagi (History of the Three Kingdoms) and

Korean peninsula during the Three Kingdoms period.

Samgukyusa (Memorabilia of the Three Kingdoms) contain

Moreover, given the fact that the rice-cake steamers in

some aspects of the history of Goguryeo and Chinese his-

kitchens, people dancing, and the form of wrestling and

torical records, such as Historical Records, Records of the

animal husbandry depicted in the murals are still a part of

Three Kingdoms, History of the North and History of the

Korean folk culture today or have only recently disap-

South, and the Old History of Tang and New History of

peared, it is clear that the Koreans of today are descendents

Tang, contain various accounts of Goguryeo society.

of Goguryeo, both of whom are Koreans. L.t Autumn 2004 I Koreana 1 g

The Secret of their Centuries-old Preservation The Goguryeo tomb murals were created more than 1,300 years ago, yet their original imagery and color remain vivid and brilliant even today. This is attributed to the expertise of Goguryeo painters, who developed pigments and painting techniques that were ideally suited to the environmental conditions. Lee Jong-sang Emeritus Professor of Oriental Painting, Seoul National University

t is difficult to properly appreciate modem painting

how differing environmental factors help to distinguish

if you do not understand the murals of ancient

Goguryeo murals from Chinese or Central Asian murals.

tombs. Fortunately, for Korea, the Goguryeo tomb

Though belonging to the same cultural sphere, Korea,

murals are available for assessing the influences of

China and Japan have all developed distinctive characteris-

Goguryeo art on later generations of artists. The heritage

tics due to their differing environmental factors and cultur-

of Goguryeo tomb murals, situated mainly in the Tonggou

al autonomy.

region of today's Jianxian county, China (including the

For the Goguryeo painters, each tomb mural involved

renowned Muyong Tomb), where the ancient capital of

a multifaceted process that required proficiency in science,

Gungnaeseong was located, as well as the vicinity of

philosophy, and architecture. In addition to featuring high

Pyeongyang, is indeed a treasure trove of Korean art and a

artistic standards, the murals also had to be compatible

source of pride. Because of the division of the country into

with the environment in order to ensure their durability. As

North and South Korea, until recently, access to the

such, tomb murals required careful consideration of paint-

Goguryeo tomb murals was not readily available .

ing techniques and materials, including pigments, quality

Furthermore, the study of Korean art history has focused

of the painting surface, adhesives and solvents, as well as

almost exclusively on stylistic elements, with not enough

an extensive scientific evaluation to assure conformity

attention being paid to the history of mate1ials and tech-

with environmental conditions.

niques and the evolutionary process from Neolithic rock

The history of mural painting starts with the painting

painting and Goguryeo tomb murals to Goryeo Buddhist

of images directly onto an untreated stone surface. Another

painting, Joseon ink painting, and modem art.

representative technique is that of foundation-surface murals, in which an uneven wall made of bricks or stones

The Roots of Modern Art

fitted together was coated with clay or limestone to create

The techniques of Korean painting are in large part

a surface onto which the paint would be applied. If the

rooted in the Goguryeo tomb paintings. Just as it is diffi-

paint was applied before the foundation was completely

cult to appreciate Chinese art without an awareness of the

dry, this would be a fresco style, which was the most wide-

Dunhuang cave paintings, Goryeo Buddhist painting,

ly practiced technique. In contrast, if the paint was applied

Joseon color painting, and ancestral portraits cannot be

to a dried out foundation-surface, this was a tempera style.

properly understood without knowledge about the

As for fresco painting, there is a distinction between buon-

Goguryeo tomb murals. Only when Korean art history

fresco and secco-fresco. And other painting types are pos-

takes into account the history of style and techniques as

sible, based on the use of various adhesives.

complementary elements will it be possible to ascertain 22

Koreana I Autumn 2004

In general, the Goguryeo mural techniques are consis-

tent with traditional Korean painting methods. For such a

ox-hide or fish adhesive, which has a low viscosity, or pine-

painting, the emphasis is on the drawing of the lines rather

soot carbon was likely used. Hematite (Fe203), made by

than the application of colors. There is a fundamental dif-

burning Goethite and lirnonite (Fe203(nH20), both found

ference between the application technique used in tempera

in the Amnok region, was a basic pigment used mainly for

murals of the Mediterranean, which greatly influenced

outlines, pillars and tree branches.

Western oil painting, and the Goguryeo murals painted

In Central Asia and Dunhuang, pigments based on

directly onto a natural stone surface, that influenced East

oxidized copper that produce bluish-green or white-green

Asian painting techniques, or the line drawings of fresco

hues are commonly found, but farther east the colors take

works. Based on these different approaches, because of a

on a brown tone, resulting in the yellowish-brown or red-

preference for shading techniques, Western painters devel-

dish-brown of the Goguryeo murals . This shows how

oped oil painting, in which objects could be depicted real-

mural paintings were influenced by the eaith and pigments

istically by using oil as a solvent. Oriental painting, on the

found in individual regions. Techniques were developed in

other hand, relied on the conceptual line, while developing

accordance with the materials available, while also being

a watercolor technique that portrayed objects in an intu-

influenced by local aesthetics and thought. Consequently,

itive manner.

the colors used for Goguryeo tomb murals were not organic pigments with a high degree of receptiveness, but non-

Using M oisture as a Preservative

receptive pigments of inorganic and oxidized material. The

Goguryeo murals do not use any adhesive method

fact that the murals have survived for more than 1,300

other than applying the paint directly to the stone surface

years despite their exposure to moisture is due to the use of

or the fresco technique. Therefore, the secret of their

oxidized inorganic pigments that created an absorbent lime

preservation lies in the fact that they can naturally create a

coating upon contact with moisture.

protective lime coating. Although the pigments have acertain durability of their own, if the adhesive that keeps the

Specialized Pigments

pigment particles bound together should weaken, the

The deterioration seen in various murals is not so

mural surface will start to flake. The adhesives that are tra-

much the result of fading colors but rather some kind of

ditionally used in painting, such as ox-hide, fish, deer, and

damage to the painted smface or flaking due to a weaken-

!aver extract, are all organic in nature and therefore cannot

ing of the bonding agents. In Oriental painting, Bleigotte, a

ensure extended durability.

lead oxide, is often used to produce pigment colors, since

Dunhuahg murals, which use the dry-surface tempera

the oxidized lead particles have an extremely stable struc-

technique, are found in caves where a regular humidity can

ture . If the lead oxide is heated at 500Â° Celsius, this

be maintained because they have been carved out below

process will yield a reddish, delicate and heavy compound

dunes consisting of gravel and sand. Whereas Dunhuang

known as red lead (Pb304). This red lead is often used as

murals are protected because of the caves' natural regulation

an anti-con-osive coating to protect metal surfaces. If red

of the humidity, Goguryeo murals use moisture as a catalyst

lead is heated to a temperature of more than 1,200Â°

to produce a protective lime (calcium carbonate) coating.

Celsius, it turns into a transparent glaze that is used as the

For Goguryeo frescoes, a mixture of slaked lime (calcium

raw mate1ial for a variety of synthetic enamels and mineral

hydroxide) and seaweed extract with high surface tension

pigments. Although mural pigments can be found in

was applied to create a foundation surface, to which, before

nature, development of alchemy applications has led to the

the moisture evaporated, charcoal was burned to produce

creation of numerous synthetic, permanent colors.

carbon monoxide to set the finish of the painting smface.

A scientific analysis of this process can reveal the his-

Based on the speed of the brushstrokes and the degree of

tory of materials and techniques in addition to the already

penetration, oil-soot carbon produced by burning oil with

known history of stylistic elements . In the Goguryeo A u t u mn 2004 I Koreana

While the murals in the Dunhuang caves are protected from moisture deep inside the caves, in Goguryeo murals moisture is used as a catalyst to form a film of lime.

murals, the absorbent and complementary colors are pro-

As such, if paint adheres firmly to a paper surface this is

duced from oxidized inorganic materials. These pigments,

said to be a good spread, which means that the surface free

including vermilion, cinnabar, malachite, orpiment, and

energy of the paper and the surface tension of the paint are

gamboges that belong to the mineral family, are derived

compatible or well matched (RS>RL).

from light metals with a low resistance to decomposition

That the painters of Goguryeo tomb murals had a

and a specific gravity of less than 5, or heavy metals that

good understanding of these principles is evident in several

are oxidized and pulverized.

regards. The reason the Goryeo Buddhist paintings created

A loss of brilliance of mural images is caused by car-

with the "thick paint" technique (nongchae) are so highly

bonization of organic adhesives. Therefore, the murals that

durable is that the painters applied the technique of over-

do not use adhesives, including the Ohoe Tomb murals,

lapping layers used for the Goguryeo murals, in which pig-

most ceiling murals, and the Gangseo Great Tomb murals,

ments were painted directly onto stone surfaces. This

in which the paint was directly applied to the stone surface,

developed into the jangji gibeop technique that utilized

have all managed to retain their vivid colors without any

reinforced paper (jangji) and repeated layers of paint.

surface flaking.

Moreover, the bukchae technique used in Goryeo Buddhist

Thus, the materials on the wall faces each have their

paintings, which involved applying paint to the backside of

own surface free energy (RS dyne/cm) while the adhesives

the painting smface, is also somewhat related to the lime-

maintain their own specific surface tension (RL dyne/cm).

coating technique of the tomb murals of Goguryeo.

Transmission of Goguryeo Mural Techniques

ty, either buon fresco or secco fresco techniques were used,

For the Goguryeo murals, an ideal adhesive was one

in the case of fresco-style works, while the formation of a

with a low viscosity and high transparency, which was

protective lime coating was facilitated in the case of murals

effective at absorbing moisture due to a high hydration

painted directly onto natural stone surfaces. In terms of

level. This phenomenon, which originated on the Korean

more recent painting techniques, this phenomenon can be

peninsula and is evident throughout Korean art history,

explained by the fact that for an environment subjected to

eventually developed into the mounted paintings using ox-

extreme fluctuations in humidity, the application of multi-

hide or fish adhesive, and can be seen in the Buddhist

ple layers enhances the resiliency and translucence.

paintings of Goryeo as well as the folk paintings on rein-

Few people realize how the use of this simple adhe-

forced paper of Joseon. The adhesives used in Goguryeo

sive in ancient Goguryeo murals has had such a far-reach-

murals were mainly seaweed extract or ox-hide glue, but

ing impact on subsequent artistic culture and other sectors

in the Deokheung-ri tomb in Gangseo, dated to A.D. 408,

of society. What made possible the printing of the world's

there is evidence of a vegetable adhesive made from

oldest extant book printed with movable type, the

ground beans, though more extensive research is required

Jikjisimcheyojeol, was the use of reinforced Korean paper

on this subject. If this can be confirmed, then it would

featuring a superior texture and a high-quality adhesive. In

show that Goryeo and Joseon paintings on paper, and even

addition, the unique artistic brilliance and material tech-

the Korean custom of using bean oil to wax heated floors

niques of Goryeo Buddhist painting were developed

are all derived from Goguryeo mural techniques.

through adaptation of the permanent pigments and high-

In the majority of Korean murals, the surface tension

absorbent adhesives of the Goguryeo tomb murals. L.t

value of the pigments is lower than the surface free energy of the underlying foundation, indicating that adhesives with a relatively low viscosity were used. This can be explained by the fact that for an environment exposed to high humidi-

Mural of heavenly figures depicted among the sun and moon of Ohoe Tomb No. 5. Although painted in the 6th century, the vivid colors and details of this painting remain remarkably intact, due to the fact that Goguryeo painters had developed pigments which would adhere permanently to the wall surface.

Where the Ancient Past Intersects with Modern Times Goguryeo tomb murals have inspired numerous works of art, proving to be a rich vein for music, dance and even fashion to mine. This is a perfect illustration of the saying "the past is fertilizer for creating the future." Lee Young-hee Reporter, The Munhwa Daily Newspaper

he Goguryeo tomb murals are no longer rest-

numerous artists, who strive to express this dynamic

ing quietly in eternal tranquility. Thanks to

Goguryeo spirit through creations of music and fine art,

people who are committed to reviving the pro-

including musical and opera productions.

gressive and sublime sensibilities of the

When the Korean-born composer Yun I-sang had a

Goguryeo people, the Goguryeo men and women depicted

chance to view the tomb murals during a visit to North

in the murals have been injected with new life so that they

Korea in 1963, he was awestruck beyond words. He

might laugh and cry alongside the Korean people of today.

sought to express the sense of overwhelming awe that he

In particular, the grand scale of events and resplendent

had felt while observing the murals in his composition

attire of the Goguryeo people portrayed in the murals have

"Images." To represent the four guardian spirits of the

been applied to endless variations of modern art works.

tombs, he used the flute for the black totorise of the 1101th,

Indeed, the mural images have provided inspiration to

oboe for the blue dragon of the east, violin for the red

phoenix of the south, and cello for the white tiger of the

stage props and even minor accessories with the greatest of

west. According to Yun's interpretation, the black tortoise

accuracy and detail, based on the mural images.

slowly and heavily infuses the earth with energy, while the

Last year, the Geumgang musical troupe created the

agile white tiger reigns over the creation of all living crea-

musical work "Sucheon, Lady of the Continent," which

tures. The all-powerful dragon embodies the forces of cre-

presented an account of King Gwanggaeto's conquest of

ation and destruction, while along with its aloofness and

the Khitan in the form of a mythic song about Goguryeo's

splendor the red phoenix exudes the element of fire.

vast territorial empire. The heroes of this work are the war-

Yun I-sang's composition "Images" has come to be

rior Jang Ha-dok, King Gwanggaeto's bodyguard, and his

widely used as theme music for Goguryeo-related pe1for-

wife Sucheon. Across the frontiers of time, the characters

mances and exhibitions. In late 2003, the Korean dancer

come back to life to disseminate the Goguryeo spirit.

Chung Seung-hee, a professor at the Korean National

According to a Goguryeo mural, the protagonist Jang Ha-

University of Arts, gained wide recognition for her ere-

dok was also known as "the guardian of the land." The

. ative dance pe1formance "Images-The Dance of The Four

director Kim Jeong-hwan explained: "The objective of this

Flying Gods in The Sky," which uses the four guardian

production was to make known the vast expanse of territo-

spirits of the Goguryeo tombs as a motif and Yun I-sang's

ry over which Goguryeo reigned, and to retell a Korean

composition as accompanying music. To create her dance

folk legend that everyone on the peninsula, North and

work, Chung Seong-hee traveled throughout northeast

South, could enjoy."

China for two years to conduct research on the Goguryeo

In the fashion world and elsewhere, efforts are contin-

tomb murals that are scattered about the area. To Yun I-

uing to revive the elegance of the clothing, hairstyles, and

sang's musical interpretation she added the images and

ornaments depicted in the murals for the women of today.

symbols of wood for the white tiger, iron for the black tor-

In fact, in 1994, fashion designer Icinoo peaked the interest

toise, water for the blue dragon, and fire for the red

of the global fashion world by presenting Goguryeo-style

phoenix, to highlight their individual characteristics. This

creations as part of her Paris collection. She explained that

dance creation, which started with Chung's expedition to

the Goguryeo people preferred "bold lines and natural yet

the ancient tomb sites, ended up garnering critical acclaim

vibrant colors, and basic designs that nevertheless revealed

for portraying the unique characteristics of the four

their refined sense of beauty."

guardian spi1its and being a performance spectacle with a sumptuous yet magnificent manner.

In the exposition, "History and Consciousness, the Breath of Goguryeo," held at the Seoul National

As for operas and musicals as well, the tomb murals

University Museum in 2000; modernized and commercial-

are a constant source of inspiration for contemporary rein-

ized versions of Goguryeo-period traditional clothing and

terpretation and re-creation. In 2002, the National Opera

ornaments, based on the mural depictions, were presented

staged a highly creative opera production "Goguryeo's

to the public. A team of 33 fashion designers, including

Light-Hallowed King Dongmyeong," about the life of

Kim Min-ja and Choi Hyeon-suk, and 20 accessory cre-

King Dongmyeong (r. 37-19 B.C.), the founder of the

ators, such as Kang Chan-kyun, Yoo Lizzy, and Seo Do-

Goguryeo Kingdom. Since this was a historical work

sik, participated in the exhibition, re-creating the attire

about Goguryeo, extensive research was conducted on the

worn by an aristocratic couple portrayed in the Susan-ri

historical background, while no expense was spared on the

mural and the military outfits seen in the renderings of

production of stage items, including costumes, props, and

Anak Tomb No. 3. This exhibition, organized for the pur-

accessories. The stage, which seemed to bring the

pose of subliminating and developing Goguryeo-style

Goguryeo murals to life, and the basic yet elegant

clothing and accessories according to today's cultural val-

Goguryeo-era attire were a spectacle to behold. The pro-

ues, was a huge success that invariably left audiences

duction was noted for its careful efforts to re-create the

abuzz with excitement. 1...1 Autumn 2004 I Koreana

www.ga laxy.co.kr

FOCUS ICOM Meets in Seoul

Preserving the Intangible Cultural Heritage of Humankind Representatives of the world's foremost museums will be gathering in Seoul in October. The upcoming Seoul General Conference and General Assembly of the ICOM, which has been dubbed a "cultural expo," will be the first-ever session held in Asia. As the get-together will highlight recent efforts to preserve mankind's intangible cultural heritage, it marks a significant milestone for world culture. Choe Seok-yeong Researcher, National Folk Museum of Korea

he 20th General Conference and 21st General

headquarters, on the theme: "Preservation and Exchange of

Assembly of the International Council of

Written Documents." In 1950, the second General

Museums (ICOM) will be held at Seoul's

Conference was convened in London, and thereafter was

COEX facilities from October 2-8, 2004.

held regularly once every three years, mainly in Western

ICOM is the successor of the International Museums

European countties (Italy, Âˇswitzerland, Sweden, Germany,

Office, formed under the auspices of the League of Nations

DenrnaiÂˇk, the Netherlands, Norway, Spain) as well as the

but then dissolved following the outbreak of World War II.

Americas (United States, Canada, Mexico, Argentina) and

Upon the conclusion of World War II, the United Nations

Oceania (Australia).

Educational, Scientific and Cultural Organization (UNESCO) was formed in November 1945 to advance the intellectual aspirations of mankind and promote interna-

First-ever ICOM General Conference in Asia The upcoming ICOM 20th General Conference is the

tional understanding. In 1946, Chauncy J. Hamlin, a mem-

first-ever such session to be held in Asia. Given the domi-

ber of the Ame1ican Association of Museums and director

nance of Europe and the Americas in hosting this affair,

of the Buffalo Museum (state of New York), was appointed

the fact that it is being held in Asia is enough to ensure that

the first president of ICOM, a nongovernmental organiza-

this year's conference will generate added attention. More

tion (NGO) that served as an official advisor to and paitner

importantly, the upcoming conference is significant for its

of UNESCO. Later that year, the ICOM's first General

theme: "Museums and Intangible Cultural Heritage." And

Conference was held in Paris, where it maintains its current

because it is being hosted by Korea, which together with

32 Koreana I Autumn 2004

Korea's Intangible Cultural Property No. 56, Jongmyo Jerye, the ancestral rites performed at Jongmyo (the shrine where the spirit tablets of Joseon-era kings are preserved), has been selected a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO, along with Jongmyo Jeryeak, the music performed during the rites.

Japan maintains a 1ich tradition of managing a system of

cially meaningful materials and artifacts for preservation.

intangible cultural heritage, long-standing debate on the

However, intangible cultural heritage is endowed with a

methods of preserving intangible heritage will finally

life force of its own while being intimately associated with

come to the forefront, making the proceedings all the more

the history and identity of a region 's people (or races),

relevant to the promotion of world culture. The event will

such that when it became clear that globalization posed a

help to underscore the fact that the protection and dissemi-

serious threat to its survival, countries from all over the

nation of intangible cultural heritage is not just the concern

world raised their voices about the urgent need to preserve,

of an individual people or nation, but a matter that war-

nurture and transmit intangible cultural heritage. During

rants the attention of all humankind.

the 1990s, these efforts started to bear tangible fruit.

The designation of the conference theme - "Museums

During the 142nd session of the UNESCO Executive

and Intangible Cultural Heritage" - was certainly not a

Board held in 1993, there was discussion of Korea's

casual selection. In fact, the ICOM has been moving in this

Intangible Human Treasures system, in regard to which all

direction for some time now, but this particular theme also

member states were encouraged to implement a similar

comes in response to the demands by people all over the

system for recognizing intangible cultural resources. In

world to preserve not only tangible cultural heritage but

1997, the 29th session of the UNESCO General

the intangible as well.

Conference went one step fmther from a general recom-

During the 1970s, UNESCO sought to protect the

mendation when it agreed to adopt a selection system for

world's natural and cultural heritage by designating espe-

designating masterpieces of oral literature. At the 155th Autumn 2004 I Koreana

Pansori, Korea's unique musical form in which a sole performer acts out all roles, narrates the story, and sings to the accompaniment of a single drummer, has also been designated a Masterpiece of the Oral and Intangible Heritage of Humanity.

tion of relevant specialists in these sessions. It also includes a pledge that the ASPAC of ICOM will assist the UNESCO in its efforts to promote and preserve intangible heritage through various initiatives. A number of related proposals have since been presented in regard to the role of museums in protecting intansession of the UNESCO Executive Board in 1998, rules

gible cultural heritage. Specifically, the proposals focused

were adopted for the designation of Masterpieces of the

on the need to develop a viable museum policy related to

Oral and Intangible Heritage of Humanity, which defined

this subject. After surveying and compiling data on the

the scope of oral and intangible heritage as "spoken litera-

social and historical networks of intangible heritage, muse-

ture, music, dance, games, myths, rituals, customs, crafts,

ums should strive to transform intangible cultural heritage

architecture, and other arts (including traditional conversa-

into tangible resources through documentation, interpreta-

tion and information)."

tion, and transcription of the underlying data. Also, to preserve these historical and cultural traditions so that they can

Intangible Heritage: Lifeblood of Culture Initiatives for the protection of intangible heritage

be displayed to the public or used for educational purposes,

were undertaken not only by UNESCO, but also by a vari-

appropriate documentation methods and media resources.

museums should create support infrastructure and develop

ety of regional organizations affiliated with ICOM. For

All these efforts contributed to the Convention for the

example, the 7th General Conference of the Asia-Pacific

Safeguarding of Intangible Cultural Heritage, which was

Regional Organization (ASPAC) of ICOM was convened

ratified at the 32nd session of the UNESCO General

in Shanghai in October 2002 under the theme: "Museums,

Conference, held in Paris in October 2003. This marked

Intangible Heritage and Globalization." During this con-

the first formal step toward redressing the imbalance that

ference, the definition and related concepts of intangible

existed between the recognition of tangible and intangible

heritage were discussed along with specific issues, such as

cultural heritage.

the documentation of intangible heritage, preservation

The Convention for the Safeguarding of Intangible

methods, interpretation of intangible heritage, and cooper-

Cultural Heritage defines intangible heritage not only as

ative assistance among cultural specialists, the general

the representations, practices, knowledge and skills that

public and government and public agencies.

were created and transmitted as part of the cultural and

This conference also adopted guidelines for museums

natural environment of a people or group, but also includes

dealing with intangible cultural heritage. Referred to as the

any related materials, such as instruments, objects, and

Shanghai Charter, these guidelines included criteria and

artifacts, as well as cultural sites. It states that since intan-

methods for the integration of tangible and intangible her-

gible heritage is closely associated with the identity and

itage in museums and other cultural preservation institu-

formation of a communal consciousness of a relevant peo-

tions. Of note, the Shanghai Charter emphasizes the

ple or group, it is ultimately a manifestation of the diversi-

importance of organizing international meetings on the

ty and creativity of human culture.

preservation of intangible heritage and the active participa34 Koreana I Autumn 2004

In November 2003, two months after the adoption of

ICOM participants will have a number of opportunities to personally experience the tangible and intangible cultural heritage of Korea, including the Suwon Hwaseong Fortress, which has been designated a World Cultural Heritage by UNESCO.

of Korea's intangible cultural heritage between the discussion sessions, including performances of the gayageum (12-string zither) accompanied by singing, creative adaptations of traditional Korean music and dance, and haegeum (2-string spike fiddle) and seoljanggo (hourglass-shaped drum). Âˇ the Convention for the Safeguarding of Intangible Cultural

On October 4-6, there will be concurrent sessions on a

Heritage, Korea's pansori performing art was selected as a

variety of topics as well as a diversity of cultural events.

masterpiece of world intangible cultural he1itage. Earlier, in

The discussion topics of the concurrent sessions include

May 2001, UNESCO designated Jongmyo Jerye, the sacred

"Museums and Intangible Heritage," "Protection of

court rituals performed at Jongmyo, the royal shrine of

Intangible Heritage," and "Digital Heritage and the

Korea's Joseon Dynasty, as well as the accompanying

Museum of the Future." During the performance events,

music, as masterpieces of world intangible cultural heritage.

Korea's intangible cultural heritage will take center stage. On October 7, post-conference tours will enable con-

Expo of Korea's Intangible Cultural Heritage

ference participants to view such attractions as

The conference will get underway on October 3 with

Panmunjeom, a true village; Hwaseong Fortress, recently

opening addresses by Korea's first lady Kwon Yang-suk

designated a World Cultural Heritage site; highlights of

and Her Royal Highness Princess Maha Chakri Silindhom

Silla culture at Bulguksa Temple and Seokguram grotto;

of Thailand, followed by keynote speeches. First, Dr. Lee

and King Muryong's tomb, an example of Baekje culture.

0-young, former minister of culture of Korea, and Jose

Other performances slated to be staged during the

Ramos Horta, senior minister for external affairs and infor-

conference include a traditional Korean wedding, fan

mation of East Timor and recipient of the 1996 Nobel

dance, folk songs of Gyeonggi-do province, hwagwan

Peace Prize, will discuss "Museums and Intangible

dance, salpuri dance, mask dance of Gangneung, and the

Heritage, Yesterday and Today." Then, Dr. Kim Hong-

Korean martial arts form taekgyeon, as well as demonstra-

nam, director of the National Folk Museum of Korea, and

tions of kimchi-making and traditional papermaking, mak-

Dr. Makio Matsuzono, director of the National Museum of

ing this a firsthand "expo" of Korea's intangible cultural

Ethnology, Japan, will address matters related to "Muse-

heritage.

ums and the Future of Intangible Heritage." A panel-type

During the ICOM Conference and Assembly in

discussion will follow with presentations on "Intangible

Seoul, there will be varied and comprehensive discussions

Heritage as Materialization of the Spirit" by Dr. Yim

on intangible cultural heritage and the role of museums

Dawn-bee, professor of Dongguk University, Korea, and

that could result in the adoption of a "Seoul Charter." The

Dr. Richard Kurin, director of the Center for Folklife and

sessions will also provide ample opportunity for compara-

Cultural Heritage at the Smithsonian Institution in

tive research on intangible cultural heritage, which no

Washington, D.C.

doubt will result in the formation of personal relationships

A special feature of this conference, included to further underscore the conference theme, is the presentation

and exchange networks that can further promote related efforts. L..t Autumn 2004 I Koreana

CURRENTS Korea's Growing Interest in Latin American Culture

Korea Awakens to Latino Culture Ever more Koreans are acquiring an interest in Latin American culture. As such, Latin American literary works are being increasingly translated into Korean versions, while in the fields of music and movies as well, this growing interest has gone well beyond simple curiosity to become a popular craze. And at the heart of this Latino trend is the Latin American Cultural Center. Kim Geun Poet

orea's publishing world has recently been astir over Brazilian-born author Paulo Coelho's novel The Alchemist. Coelho's novels have earned best-seller status all over the world, but there is something peculiar about what has happened in Korea.

When a Korean version of The Alchemist was first published in Korea by

Goryeowon in 1990, there was virtually no response from readers. But when it was republished without any expectations by Munhakdongne in 2001, its sudden popularity was a huge surprise for Munhakdongne. The success of The Alchemist led to the reissuance of other novels by Coelho, including Veronika Decides to Die and By the River Piedra I Sat Down and Wept. These proved popular as well, while a detailed critique of Coelho's works, The Secret of Paulo Coelho 's Alchemist by Pedro Palao Pons, was also published. Most recently, another Coelho novel, Eleven Minutes, has become the latest to join the parade of best-sellers, following in the footsteps of The Alchemist. Various explanations have been offered for this phenomenon, but the most persuasive argument seems to be that Korean readers have been captivated by the mysticism and intrigue of Latin American fiction, along with the mythology of the self that serves as a central theme of Coelho's novels. 36

Koreana I Autumn 2004

Latin American Literature Paulo Coelho is not the only Latin American writer who has become known to Korean readers. Jose Mauro de Vasconcelos's novel My Sweet Orange Tree gained considerable popularity when it was first introduced to Korean audiences in the 1980s. Then, upon its selection as a recommended book by a radio station's reading program not long ago, it again received a favorable reception from readers. Another book that has achieved lasting popularity is The Old Man Who Read Love Stories by Recently in Korea, there has been a surge in interest in Latin American culture, including Latino dancing. In fact, several Latin dance clubs have gained a loyal following among Seoul's late-night crowd.

Chilean novelist Luis Sepulveda. Since the 1990s, Korean interest in Latin American literature has been on a sharp rise. Prior to this, Korean versions of books such as Gabriel Garcia Marquez's One Hundred Years of Solitude had been published, but it was only in the 1990s that Latin American literature began to be introduced in earnest. It was then that Korean readers became acquainted with the poetry of Pablo Neruda and Octavio Paz, while the novels of Garcia Marquez and Jorge Luis Borges also began to attract keen attention. This newfound interest was related to the state of Korean literature at that time. In the 1990s, Korean literature was being weighed down by the restrictiveness of 1980s-style realism. In being free of these restraints, the "magical realism" of Latin American literature provided a welcome alternative. At the same time, Korean readers, who were uninspired by the ethos of Anglo-American literature, developed a sense of affinity with Third World literature. In particular, it was Latin American literature that caught their eye first. This growing interest has not been a passing fad, but rather has developed into various forms of literary exchange. When the director of Mexico's National Council for Culture and the Arts, Sari Bermudez, visited Korea in 2001, she proposed the promotion of literary exchange between the two countries, which led to the signing of a Korea-Mexico Culture, Literature, and Sports Agreement in 2003. Building on this agreement, a Korea-Mexico-Cuba writers exchange program was conducted in June of this year in Havana, Mexico City, and Merida, on Mexico's Yucatan Peninsula.

"Che Guevara" Phenomenon The interest in Latin American culture has spread to other areas in addition to literature. Korea's adoption of a five-day workweek has created a leisure-time Autumn 2004 I Koreana

boom that has enabled Latino dancing to flourish. Clubs have sprung up where people can learn and enjoy the tango, rumba, cha-cha, and salsa. As the enticing vibrancy of Latin dances can help to restore the energy of worn-out office employees, this craze is not likely to fade away so easily. The popularity of Latin dance has also stimulated enthusiasm for Latin music, which was formerly lumped together into the catchall non-Anglophone category known as "world music." The influence of Che Guevara, which rippled through the Korean cultural scene in 2000, contributed much to exposing Latin American culture and history to Koreans. Jon Lee Anderson's biography Che Guevara: A Revolutionary Life, first introduced in 1997 and published in hardback in 2000, ignited the flames of a so-called Che Guevara phenomenon. Not just in book form, but through posters, T-shirts, and miscellaneous items, Che Guevara won the hearts of Korean youth, whose interest was not limited to his life and passions as a fiery revolutionary, but also his status as a cultural code that was part of a worldwide trend. Whatever the case, this situation helped to introduce Koreans to the previously unfamiliar world of Che Guevara and Cuba. Around the same time, this interest was further stimulated by the release of Wim Wenders's documentary film Buena Vista Social Club. Thanks to this film, which was a big hit, Koreans became enamored with the people and music of Cuba, with which they had practically no direct contact thus far. An album of the original sound track album, introduced in response to the film's popularity, also sold well. Based on this momentum, a member of the Buena Vista Social Club, Omara Portuondo, released a solo album and had a successful concert performance in Korea. Meanwhile, singers from Latin America, such as Julio Iglesias, his son Enrique Iglesias, and Ricky Martin, were well known in Korea, but that was simply because of their success as pop music stars. As such, Wim Wenders's film played a key role in elevating the Korean fervor for Latin American music to a whole new level.

Latin American Cultural Center Except for literature, the routes by which Latin American culture has entered Korea have in large part been fragmented, thus making it difficult to find opportunities to experience the culture in a more structured and intimate manner. And in this regard, the Latin American Cultural Center provides a rare opportunity. The Latin American Cultural Center is the manifestation of one man's love of Latin America that has attracted considerable public attention. The center's founder, Lee Bok-hyung, served as a member of Korea's diplomatic corps for 38

Koreana I Autumn 2004

The Latin American Cultural Center is a manifestation of Lee Bok-hyung's lifelong dedication to the promotion of Latin American culture (upper right). A display of traditional masks of Latin American countries is one of the most popular attractions at the Latin American Cultural Center (above).

33 years, including assignments as the Korean ambassador to four Latin American countries. Up through his retirement in 1993, as Korean Ambassador to Mexico, he spent a good number of years in Latin Ame1ica. While serving in Costa Rica, the Dominican Republic, Argentina, and Mexico, he developed a passion for the local culture and way of life. In fact, when Lee Bok-hyung was dispatched to an overseas assignment some 31 years ago, he used the proceeds from the sale of his home to purchase an undeveloped site in the Goyang-dong district of Goyang City, Gyeonggi-do province, where he would later establish his

The Latin American Cultural Center, situated in Goyang, Gyeonggi-do province, is the only site in Asia where visitors can experience all aspects of Latin American culture at a multipurpose facility that features a museum, art gallery, and sculpture garden.

Latin American Cultural Center. Beginning with a museum opened in 1994, followed by an art gallery in 1997, and a sculpture garden last year, this center has become Asia's most comprehensive art space devoted to the Latin American region. Offering an overview of ancient Latin American cultures, including Inca, Aztec, and Maya artifacts, the center receives an average of 5,000 to 6,000 visitors each month. This June, the center introduced Korean audiences to a different aspect of Latin American culture with an exhibition of traditional Mexican masks. In addition to its permanent displays, the center has held a variety of special exhibitions featuring sculpture, textile, and painting, which have earned notable acclaim. The latest exhibition has been enthusiastically received as well. Sponsored by the Mexican Embassy in Korea, the exhibition provided a rare opportunity to view some 210 Mexican masks of national-treasure quality, including the legendary Mask of the King of Time. The masks were gathered from 13 states in Mexico, including Guerrero and Michoacan, where the tradition of mask-making is especially well entrenched. The indigenous mask culture was influenced by the spread of Catholicism in the 16th century, such that the resulting masks provide a unique glimpse into the inner world of the Latin American people and their struggle with the vicissitudes of life and death. The exhibition was originally scheduled to end on June 14, but it proved so popular with visitors that it was extended to the end of the month. This reflects just how deeply the interest in Latin American culture has penetrated into Korean society. The Korean interest in Latin American culture is still not readily apparent to many, but the momentum that has steadily developed from this cultural base is beginning to build an upward trend. This shows that Korean society is now extending its hand to not only the culture of the Western world but the Third World as well. The increasing cultural diversity of Korean society will also facilitate this trend. Together with economic interest in the markets of Latin America, the interest in Latin American culture is on course to further intensify and deepen.

Autumn 2004 I Koreana

ON THE GLOBAL STAGE

Pak Se Ri Ambition, Her Lifelong Companion Pak Se Ri has opened the door for the parade of Korean golfers who have followed in her footsteps and are now making their own mark on the international professional golf tour. Her golf career may have had its share of highs and lows, but one thing has always been with her: relentless ambition. Bae Jay-song Sports News Reporter, KBS

o become the best in the world is the dream of

minutes of instruction of how to hold the club and strike

countless people. As for Pak Se Ri, who now

the ball, she was handed a No. 7 iron, with which she drove

stands at the pinnacle of the professional golf-

the ball a distance of more than 100 yards. Recognizing her

ing world, she has been driven by such a

remarkable natural talent, her father began to teach her the

dream and desire as well. What is so incredible is that it

finer points of golf in earnest. Thus began a rigorous pro-

took only 14 years for her to fulfil this dream. This is all

gram of training that few would be able to endure. Never

the more remarkable since becoming a professional golfer

missing a day, Pak Se Ri hit more than 1,000 golf balls

was not her original dream.

every day as part of her arduous training routine.

Born in Daejeon, Korea, in 1977, Pak Se Ri first hoped to become a track and field athlete. She began train-

Rigorous Training Pays Off

ing at the age of 11 on the advice of her elementary school

In Korea, golfers hoping to play a round on a regular

teacher, who thought that Pak's well-developed lower body

golf course are faced with several difficulties. First of all,

would enable her to realize much success in track and field.

booking a tee time is no easy matter. There are too few

But after two years of training, her father introduced her to

golf courses in Korea and too many golfers eager to play a

golf. A true golf fanatic, in his mind he believed that an

round. Naturally, the costly expense is another factor.

East Asian like his daughter would only have a remote

Because of these circumstances, Pak Se Ri would more

chance of becoming a world-class track and field athlete.

often practice at indoor driving ranges than playing on

Instead, he envisioned Se Ri becoming a great golfer. And

actual golf courses. Moreover, she would be prepared to

since he knew the game well, he also believed in his ability

play a round at times when regular golfers found the

to provide his daughter with a solid foundation in golf.

course conditions to be unsuitable, especially on days when the weather was extremely cold, rainy or sweltering.

Natural Talent for Golf So the young Pak Se Ri was practically dragged to the

Her physical conditioning and powerful lower body, devel-

golf practice range, holding her father's hand. After a few

stead for enduring her gruelling practice regimen amid

40 Koreana I Autumn 2004

oped through track and field training, stood her in good

With victories at four Major tour events, including the LPGA Championship and the U.S. Women's Open, and being named LPGA Rookie of the Year, Pak Se Ri now ranks among the elite of the world's women professional golfers.

these difficult conditions. But all this training paid off, as her skills improved steadily. After a year of basic training, Pak Se Ri was formally registered as a middle school athlete at the age of 14. The next year, 1992, when she was only 15, she participated in the Lyle and Scott Open, a regular tour event of the Korean Ladies Professional Golfers Association, in which she shocked everyone by outplaying established professional golfers to capture the victory cup. Thereafter, she dominated amateur golf tournaments with a string of 15 victories, and in 1996, at the age of 19, she achieved the best score in the KLPGA qualifying competition and became a member of the professional tour. After winning six KLPGA contests in 1996 and 1997, in October 1997, Pak Se Ri set her sights on the U.S. golf tour. Achieving first place in the preliminary and final rounds of the LPGA qualifying competition, she earned her membership card on the LPGA tour. She then made her LPGA debut in January 1998, when she pulled off another miracle. That year, she garnered an almost unbelievable four tour victories, including two major tournaments - the LPGA Championship and the U.S. LPGA Open - as well as the Jamie Farr Kroger Classic and the Giant Eagle Âˇclassic. Of course, Pak was a lock for the Louise Suggs Rolex Rookie of the Year award. This stunning success, which was enough to amaze the LPGA circles, had an even more substantial impact in Korea. The Korean economy was then suffering from the foreign exchange crisis, with people throughout country being demoralized, but Pak Se Ri's victories inspired Koreans to believe in a "can do spirit." In 1999, Pak Se Ri again captured four victories, including the Shop Rite Classic. But like anyone else in professional sports, Pak Se Ri was prone to a slump in her performance. At the start of the new millennium, she hit an especially rough patch, with her best finish being third place in the Jamie Farr Kroger Classic. She says the only Autumn 2004 I Koreana

With her victory in the Michelob Ultra Open in May 2004, Pak Se Ri qualified for admission into the LPGA Tour Hall of Fame. At the same time, she set a record by achieving her tenth come-back win out of 22 LPGA victories.

way to describe her situation at that time was "weary." The

Korean fans that she was a person who would never give

constant pressure to live up to high expectations and main-

up. By transforming her mental outlook and attitude, she

tain her top ranking had exacted a heavy toll.

was able to fully recover from the painful consequences of

At this time of crisis, Pak Se Ri took a cold, hard look

her slump, and to be as powerful a force as ever. She made

at herself. And she determined that the problem was her

an impressive comeback in 2001 with five victories,

self-indulgence. Resolving to adopt a more humble

including the British Open, followed by another five victo-

approach, she stepped up her practice routine. She drove

ries in 2002, and three more wins in 2003. She had

herself harder than ever to strengthen her mental as well as

bounced back with the resiliency of a gymnast. Early on,

physical condition. Whenever she felt mentally or physi-

some people thought that her winning was perhaps a fluke,

cally depleted, she would rejuvenate herself by singing or

but her sustained success has proven beyond any doubt

listening to Korean songs. The expectations of others were

that her victories had little to do with luck.

no longer a source of pressure, but of motivation. Through this process of self-examination , she

Relentless Ambition to Be the Best

regained her confidence. She came to develop a sense of

In 2004, Pak Se Ri took aim at another goal: to gain

obligation to prove to her parents, her family, and her

entry into the LPGA Tour Hall of Fame. And in the month

Koreana I Autumn 2004

Pak Se Ri garnered another win at the 2004 Michelob Ultra Open {left).

of May, this personal quest was fulfilled. With her victory at

States. In 1999, she won the Shop Rite Classic on Fathers'

the Michelob Ultra Open, her total number of victories stood

Day in the United States with her father in the gallery, and

at 22, for which she earned the 27 points required for induc-

in 2004 she won the Michelob Ultra Open on Mothers'

tion into the Hall of Fame. In this contest, she also set anoth-

Day with her mother in attendance. This, too, must be

er notable record. She had won by turning the tables in the

some kind of record. "I'm usually too busy practicing to

last round after falling four strokes behind the leader. Of her

do much for my mother and father," Pak noted. "But by

22 LPGA victories, ten wins have been of the come-from-

winning on Mothers' Day and Fathers' Day I wanted to

behind variety, making Pak the master of the comeback.

repay the love of my parents who brought me into the

"I was too overjoyed for words," says Pak. "Even

world and raised me." Her sincere devotion to her parents

now, when I recall that moment, my heart leaps up into my

has been a tremendous driving force, while providing her

throat. Last year, I lost several events by just one stroke,

with a sense of calm and confidence that has helped her to

and I was still feeling the pressure from that at the begin-

secure victory after victory.

ning of this year. If it had been three or four strokes, I

Pak Se Ri has now set her sights on another goal: to

would have been more relaxed, but a lead of just one

top the only woman who stands above her in the LPGA,

stroke creates a lot of pressure. Looking back over all my

Annika Sorenstam. Pak hopes to break the record of the

memories of LPGA contests in one great panorama, I wept

world's leading player, Sorenstam, who has amassed a

tears of both gratitude and lament."

total of 50 victories in 10 years on the LPGA tour. She

American audiences might wonder about the source

believes that Sorenstam's advantage lies in the fact that she

of Pak Se Ri's determination to succeed. The answer can

is married and therefore can enjoy a more relaxed lifestyle

be found in her innate character and belief that nothing in

and mental state. In this regard, what Pak now seeks from

this world is impossible if you are willing to work hard

herself and her fans is the opportunity to relax.

enough. Such unwavering confidence and a positive attitude serves as a source of great inner strength.

"More than other any sport, golf demands a relaxed mental state in order for youÂˇ to play well. As for my fans,

Another factor is the endless sacrifice of devoted par-

please don't be impatient but see me through with steady

ents. The love and support of parents who do everything

support and understanding to the end. I will repay you by

possible for their offspring inspires these children with a

always putting forth my best efforts."

resolve to succeed, along with developing an indomitable

No one can know at this time whether Pak Se Ri's

mental approach. Moreover, an intense desire to fulfill

ambition to be the world's No. 1 player can be realized.

their obligation to their parents is a powerful mental asset

But whatever the outcome, she has earned the admiration

during a competition. Korea's emergence as a dominant

and respect of countless people thanks to her relentless and

golf country, sending a slew of some 20 players to the

boundless ambition. In just 14 years since she first started

LPGA tour and achieving a top-10 ranking in every tour-

playing golf, and in just 7 years since her LPGA debut,

nament, is rooted in this cultural background.

Pak Se Ri has risen from an unknown player to No. 2 on

The day when Pak Se Ri qualified for induction into

the LPGA tour. The indomitable can-do spirit and personal

the LPGA Tour Hall of Fame was also special to her for

triumph over adversity that she has demonstrated during

another reason. It was on Mothers' Day in the United

this period are truly phenomenal and praiseworthy.

Autumn 2004 I Koreana

Even More Beautiful with the Passage of Time

Autumn 2004 I Koreana

here are those items that

Cultural Property No. 10), who works

which developed a technique of

become more beautiful as

in Wonju, Gangwon-do province, spe-

repeatedly applying lacquer to a sur-

the years go by. This is

cializes in the second method.

face decorated with a carved pattern.

true of the wardrobes,

Lee Hyung -man notes: "For

Meanwhile, after learning the lac-

stationery chests, and dressing tables

mother-of-pearl lacquerware, the

querware techniques of Korea, Japan

handed down from generation to gen-

quality of the mother-of-pearl and

ventured out in yet another direction,

eration. But perhaps the best example

lacquer is essential. Mother-of-pearl

developing application techniques

of items that are capable of turning

from the Namhae Sea (southern coast)

that used lacquer powder.

the passage of time into sublime

or Jejudo Island is the finest. That's

The process of creating mother-

beauty is mother-of-pearl lacquer-

why the mother-of-pearl lacquerware

of-pearl lacquerware is a sequence of

ware. Mother-of-pearl lacquerware

of Tongyeong was able to flourish. On

repetition and waiting. Forty-five sepa-

involves a meticulous process of

the other hand, the lacquer of Wonju,

rate steps are required to complete a

arranging or inlaying carved oyster or

Gangwon-do province, is known to be

single item, which can involve a period

abalone shell into a design or pattern

the best. There are about 80 species

of six months or more. The first step

on the surface of a lacquered item.

of lacquer trees around the world, but

calls for applying raw lacquer to the

Mother-of-pearl lacquerware furni-

out of all of these the lacquer trees of

wooden framework surfaces to mini-

ture and other articles were common-

Wonju produce a lacquer that is the

mize any changes in the wood. Raw

ly found in the women's rooms and

most durable and has the most supe-

lacquer is made from the sap of lac-

men's studies of traditional Korean

rior preservation qualities."

quer trees that has been refined until it

homes. The most treasured of these

Thanks to its durability and nat-

is clear. Then, hemp or ramie fabric is

items were family heirlooms valued

ural appearance, lacquer is used

applied to the wood to prevent warping

for their exquisite appearance and

throughout the world. For example,

and to increase absorption of the lac-

expression of refinement.

the lacquerware dishes of Vietnam

quer. Next, lacquer mixed with rice

and the lacquer-coated paintings of

starch and charcoal powder is applied

Myanmar are highly regarded. As for

to the fabric. The charcoal serves as a

The term "mother-of-pearl"

lacquerware artistry, however, the

natural preservative that protects the

refers to finely carved pieces of oyster

works of Korea, China, and Japan are

wood from moisture and pest infesta-

or abalone shells. There are two meth-

said to be of unsurpassed quality.

tion. Then, lacquer mixed with loess

ods of applying mother-of-pearl:

According to conventional theory,

(yellow earth) is applied and the wood

inlaying thread-like slivers of the

Korea's mother-of-pearl lacquerware

surface is polished with a whetstone.

mother-of-pearl into straight or diago-

techniques were introduced from

Finally, the item is washed clean and

nal lines to form a pattern, or using a

China during the Three Kingdoms

another coat of lacquer applied. After

jigsaw to cut the mother-of-pearl shell

period (1st century B.C.-A.D. 7th

being polished as smooth as a

into a desired shape. In Korea today

century). However, Korea has since

woman's skin, it is ready for applica-

there is one master of each technique.

followed its own path of develop-

tion of the mother-of-pearl.

Lee Hyung-man (Important Intangible

ment, separate from that of China,

Long-lasting Natural Beauty

Korea n a I Au t umn 2004

Carving the mother-of-pearl to

create the desired design or pattern requires delicate technique and much artistic sensibility. Lee Hyung-man explains: "Of course each step is difficult, but the most demanding work involves sketching the mother-ofpearl design and then cutting the shell into the right shape. I sketch my designs of vines or chrysanthemums with a fine brush, so this calls for a steady hand. My teacher, Kim Bongryong, was the best at this." Kim Bong-ryong, who passed away in 1994, was a distinguished figure in the world of Korean crafts who dedicated himself to carrying on the traditions of the mother-of-pearl masters of the Joseon period. Lee Hyung-man met Kim in his hometown of Tongyeong. Lee enrolled in a free, three-year middle school course offered by the provincial artists' training school, which was overseen by Kim. After three years, Lee graduated from the training school ranked first in his class and began his apprenticeship under Kim. Recognized as a pioneer in adapting vine patterns to mother-of-pearl works, Kim was such a perfectionist that he did not allow his students to make even the slightest flaw or blemish. Lee recalls: "I still have this very vivid memory. I was producing a table with a style like those used in Joseon palaces, for which I had to Not only in the process of carving and attaching the mother-of-pearl, which requires meticulous care, but also in the repetitive process of applying and polishing coats of the lacquer, patience is the artisan's fundamental virtue.

Autumn 2004 I Koreana

apply the mother-of-pearl in a bat

Creating a New Tradition

mountains, water, rocks, clouds, pine

pattern. To apply the mother-of-pearl,

After inlaying the mother-of-

trees, the herb of eternal youth, tur-

you have to first affix a paper back-

pearl, several coats of lacquer are

tles , cranes, and deer-as well as

ing to each piece of mother-of-pearl

applied. After the first, second, and

vines, flowers and birds, peonies, and

and then coat it with glue. Then, a

third coats are applied, the surface is

chrysanthemums.

soldering iron is used to strengthen

ground or sanded. This process reveals

In particular, Lee has developed

the adhesion. In the process of heat-

the secret of lacquer preservation, as

a specialization in adapting Rose of

ing the mother-of-pearl pieces, the

evidenced by the Goguryeo tomb

Sharon patterns. In this way, Lee has

glue must have melted and the bat

murals and the Silla Flying Horse

been carrying on the legacy of his

pattern shifted ever so slightly. If you

Mural, which remain intact even after

teacher, Kim Byong-ryong. When

didn't look closely, though , you

thousands of years. After applying the

Kim heard that mother-of-pearl lac-

would never know the difference."

final coat of lacquer, the final polish-

querware works were gathering dust

Kim, who visited the workshop

ing requires the experienced hand of a

at the Vatican museum in Rome, he

from time to time, did not give the

dedicated craftsman to highlight the

declared: "I can't bear to see mother-

slightest indication that there was any

mother-of-pearl's natural radiance.

of-pearl lacquerware being treated

problem. It was only when the

"When I look back, I think it was

with such indifference. I will create

apprentices presented their finished

the luster of the mother-of-pearl's iri-

the finest work and present it to the

products to Kim for his inspection

descent brilliance that made me devote

Pope." With this, Kim began to work

that the trouble emerged. Kim put on

myself to mother-of-pearl lacquer-

on a document cabinet, but he passed

his glasses and looked over the table

ware," says Lee Hyung-man. "It is a

away before its completion. Lee was

for quite a while, and then without a

natural iridescence that humans can

heartbroken by this and began work

word he pulled out a knife and crude-

never reproduce. If I had to express it

on a new document cabinet. After

ly gouged out the mother-of-pearl.

in words, I suppose I would have to

contemplating the type of mother-of-

describe it as the color of a rainbow."

pearl design to be featured, he came

"I was shocked," exclaims Lee. "It was as if he had held the knife to

The fine st mother-of-pearl is

up with the idea of combining a vine

my face. After that I developed the

made from abalone shell, but Lee

pattern with a Rose of Sharon, the

habit of always checking over my

also uses conch shell or oyster shell

national flower of Korea. He finished

work two or three times so that I

as highlights to enhance the fine

the cabinet in a year and personally

don't ever make that kind of mistake

artistry of his works. Producing a

delivered it to the Pope in 2000.

again. Even now, whenever I finish a

sense of depth for a flat design is

"I was so elated when I saw the

work and sign my name to it, I reflect

another reason for using diversely

Pope receive the cabinet and treat it

carefully about whether I can assume

colored mother-of-pearl shells. Since

like a valuable treasure," says Lee. "I

responsibility for this item-whether I

long ago, a variety of designs and

think I successfully completed the

am confident enough that I have

patterns have been popular for moth-

last assignment from my teacher."

nothing to fear from critics even a

er-of-pearl works, including the ten

However, Lee continues to work

thousand years from now."

symbols of longevity-the sun,

on other assignments. Kim Seong-su,

The elegance of mother-of-pearl lacquerware is derived from its several coats of lacquer, which require a painstaking process of applying and sanding each coat. This ageold coating process has also enabled the Goguryeo tomb murals and the Silla Flying Horse Mural to remain remarkably preserved over thousands of years.

48 Koreana I Autumn 2004

whom he also regards as his teacher, is interested in the modem techniques of lacquerware painting, while Lee seeks to create works that can feature a single, small mother-of-pearl design, without having to cover the entire surface with mother-of-pearl patterns. This might be a departure from the traditional methods of mother-of-pearl lacquerware, but Lee is pursuing such new directions because of a sense of duty to adapt modem sensibilities to this craft, yet still respecting basic traditions. "Training the next generation is another important task I have been charged with," he says. "These days I teach students at Paichai University, where for every session the lecture hall is filled to capacity. To see the sparkling eyes of students who are eager to learn this tradition is a tremendous reward and encouragement for me." Kim Bong-ryong's pen name is Ilsa, which means "one grain of sand." It is an expression of humility, implying that he is an insignificant individual. In taking after his teacher, Lee Hyung-man's pen name is Usa, meaning "yet another grain of sand." By so humbling himself, he becomes a greater person, just as the motherof-pearl shines more brilliantly against the blackness of the surrounding lacquer. 1...1 1. Raw lacquer is applied to preserve and stabilize the wood. 2. A layer of hemp or ramie is applied, and then coated with lacquer mixed with charcoal or rice flour. 3. Desired patterns are drawn. 4. Paper pattern is attached to the mother-of-pearl and the design carved. 5. Jigsaw and file are used to carve out mother-of-pearl designs. 6. Glue is applied to the mother-of-pearl, which is then affixed to the wood surface with a heated iron. 7. After the mother-of-pearl is attached, additional coats of lacquer and polishing are required. 8. After a final coat of lacquer is applied, it is polished to bring out the brilliant iridescence of the mother-of-pearl.

Autumn 2004 I Koreana

At Chungju, the harmonious coexistence of Chungju Lake and the overlooking mountains, including Mt. Woraksan, creates especially picturesque scenery.

50 Koreana I Autumn 2004

Chungju is a scenic area where Chungju Lake and Mt. Woraksan coexist in natural harmony, as well as a city steeped in history that is home to several historical sites. For visitors to the city of Chungju, which is located in the center of the Korean peninsula, learning about this area is simply a matter of listening to the many stories that people can tell about its past. Kim Woo-sun Poet, Editor-in-Chief, Monthly Man & Mountain Kim Nam-gon Photographer

Autumn 2004 I Koreana

he car zips alongside the

Jangmi Fortress, Mogkye Pier, and

King Jangsu (r. 413-491) of the

lake tinted gold by the

the Gaheungchang site, where a gra-

Goguryeo Kingdom. The inscriptions

evening sunset. Route 36,

nary once stored rice paid in lieu of

reveal that a war was fought between

which is lined with hand-

taxes.

the kingdoms of Goguryeo and Silla, during which Silla formed an alliance

some cherry trees, leads to an area

surrounding Chungju, Danyang, and

with the Baekje Kingdom to defend

Preserving History

Jecheon , which is known for its

Seondol Village, which is locat-

waterscape scenery and elegant

ed nearby the Jungwon Goguryeo

atmosphere . The villages located

Monument that was erected some

Jungwon area, which was known as

around Chungju Lake, which are said

1,500 years ago, did not arouse any

Gukwon province during the

to be of fresh wind and bright moon

particular interest until February 25,

Goguryeo Kingdom, King Jinheung

(Cheongpung Myeongwol) , are popu-

1979. The significance of this monu-

(r. 540-576) sought to develop

lar year-round destinations for visi-

ment, which had long been regarded

Jungwon as one of Silla's five sec-

tors. To visit these waterside areas, all

as just a huge stone, was uncovered

ondary capitals and the administra-

you have to do is follow the Jungbu

by members of the Yeseong Club,

tive center for the central provinces.

Inland Expressway and exit at the

who were interested in researching

It began to be referred to as Jungwon

North Chungju Interchange, and then

the history of their hometown. As a

during the reign of King Gyeongdeok

head toward Nadeulmok. After dri-

result of the discovery of various

(r. 742-765).

ving some 5.5 kilometers along

itself against Goguryeo. After

Silla

captured

the

inscriptions carved onto the stone, a

According to legend , two

Route 520, the reason for not getting

research team led by Dongguk

monks, who were from the extreme

off at the Chungju Interchange,

University professors Hwang Su-

northern and southern points of the

which heads toward downtown

Young and Jung Young-Ho was dis-

country, met by the riverside and

Chungju, becomes evident. Here you

patched to the village in April 1979.

engaged in conversation. They soon

can see the Jungwon Goguryeo

After the research team removed

realized that they had left their

Monument, National Treasure No .

moss from the surface of the 135-

respective areas at exactly the same

205, which stands off the side of the

centimeter-high stone, they found

time and they must therefore have

road as you head toward Seondol

several inscriptions. However, read-

met at the center of the country. As

Village, just before a three-way inter-

ing these inscriptions proved difficult

such, this discovery was commemo-

section. In addition, the natural

since much of the writing had been

rated by the erection of what has

scenery of the Tappyeong-ri ,

obliterated

elements.

become known as Jungangtap

Gaheung, and Mokgye areas along

Nevertheless, interpretation of 430

Pagoda, or the Tappyeong-ri seven-

the path of the Namhangang River

Chinese characters engraved onto the

story pagoda . The Jungangtap

can be enjoyed as well. Visitors to the

stone indicated that the monument

Pagoda is a representative symbol of

area can also look over Jungangtap

had been erected during the reign of

Jungwon culture, which enabled the

Pagoda (National Treasure No. 6),

King Munja (r. 491-519), the son of

Jungwon area to become known as

the

One thousand years after Prince Maui departed from this area, the expansive waters of Chungju Lake have reached the base of Mt. Woraksan, such that the reflection of Guksabong Peak can now be seen on the lake's surface. Has the ancient prophecy of Prince Maui been fulfilled?

52 Koreana I Autumn 2004

one of the country's major cultural

Kingdoms period (1st century B.C.-

on the eighth day of her journey,

spheres. Right in front of the

A.D. 7th century).

eventually arrived at Jungangtap

Jungangtap Pagoda, there is an octag-

The distance from Jungangtap

Pagoda. Bishop provided the follow-

onal lotus-shaped stone that is

Pagoda to Gaheung is about 5 .5 kilo-

ing description of the seven-story

believed to be the base of a Buddhist

meters. A documented account of

pagoda in Tappyeong-ri:

pagoda, which would seem to indi-

Gaheung and Mokgye Pier is found

cate that this area was the site of a

in Korea and Her Neighbors, written

"While traveling upstream along

former temple. The Jungwon

by Isabella Bird Bishop, a member of

the Hangang River for eight days

Folklore Materials Exhibition Hall,

the Royal Geographical Society who

after having departed from Seoul, I

which opened in 1994, is also located

traveled to these areas by boat at the

saw the ruins of a pagoda made of

near the Jungangtap Pagoda.

end of the Daehan Empire.

huge stones to the left of the river,

Heading north along Route 599

On April 14, 1894, Bishop

which stood alone in the middle of

past Jungangtap Pagoda, the 336.9-

began her journey from Dumopo

the plain, come into being as we nav-

meter-high Mt. Jangmisan, where

(near today's Itaewon), heading

igated one of the many curves of the

Jangmi fortress is found, suddenly

upstream along the Hangang River

Hangang River. I asked my fellow

emerges to the left of the Chungju

accompanied by two oarsmen in a

travelers what this was, but they told

reclamation levee. In and around the

wooden boat that was 8.51 meters in

me that nobody knew exactly when

Namhangang River area you can still

length and 1.35 meters wide. Bishop

this pagoda had been established

find remnants of fortresses where

then proceeded to the N amhangang

because it had been such a long time

fierce battles were fought for control

River from Mahyeon, and after hav-

since the Korean peninsula had been

of the Jungwon area during the Three

ing passed Silleuksa Temple in Yeoju

surveyed. They called this area the

The recently opened Cheongpung Cultural Asset Complex houses cultural properties from the Cheongpung region, which was submerged upon the completion of Chungju Dam (left). Mt. Woraksan, the most prominent peak ofthe Chungju area, is steeped in the legend of Crown Prince Maui and Princess Deokju (right).

Koreana I Autumn 2004

â&#x20AC;˘

Halfway Place. Evidence that this

Sites along Chungju Lake

The Cheongpung Cultural Asset

place was a historical site could be

From Chungju there are two

Complex, where cultural properties

garnered by the foundation and stone

ways to travel up the Namhangang

from Cheongpung Village have been

graves visible between the trees.

River: one is to take a boat like

preserved, was recently opened. The

Given the shape of these ruins, this

Bishop did 100 years ago, and the

people of Jecheon refer to this area as

must at one time have been the site of

other is by driving past Mt. Woraksan

Cheongpung Lake, and boast much

a temple."

along Route 36 in the direction of

about the fame of Cheongpung

Danyang and Yeongwol. It took five

Myeongwol village. Cheongpung,

days for Bishop to reach Danyang

which has been used as the setting for

from Chungju by boat.

KBS and SBS TV dramas, has

Two days later, after having passed through Chungju, Bishop

become a popular tourist attraction in

reached Cheongpung. She then proceeded to travel upstream along the

"Ten days after starting out from

recent years. Cheongpung is also

Namhangang River for a few days,

Seoul, we arrived at a village called

known for its cherry blossom festival

through Danyang in the direction of

Cheongpung whose people were very

in the spring. The scenery around

Yeongchun, before heading back

proud. Here I saw a temple that

Cheongpung, where the Geumsusan,

downstream toward Seoul on May 3.

belonged to the Joseon government

Dongsan and Woraksan mountains

Drive another 6 kilometers from

where tall white-colored chairs had

coexist in natural harmony, is truly

Gaheung on Route 38, and turn onto

been laid toward the altar, as well as

breathtaking. Moreover, Cheongpung

Route 19, which is connected with

candleholders. Although this temple

also offers a number of noteworthy

downtown Chungju and heads toward

had been regularly used to dedicate

attractions, such as Cheongpung

Tangeumdae along the cliffs of the

prayers and to hold sacrificial rites

Land, which features a variety of

Namhangang River. Tangeumdae,

for the kings of the Joseon Dynasty,

recreational facilities including a

which is situated at the point where

one could see tons of dirt on the

floating aerodrome, bungee jumping,

the Narnhangang River and Dalcheon

floor, altar, and chairs."

and rock climbing, in addition to the Sugyeong Fountain that spews water

Stream merge, is a well-known battleground. During the 1592 Japanese

From Chungju Pier, which is

to a height of 162 meters. Even

invasions of Korea, General Sin Lip

one kilometer from Chungju Dam, it

today, the residents of Cheongpung

and his troops fought the Japanese

takes only an hour and ten minutes to

exhibit a noticeable pride, which

invaders to the death at Tangeumdae.

reach Cheongpung Pier by ferry, a

Bishop observed as well.

As such, Tangeumdae is one of the

route that also passes Woraksan Pier.

Chungju Lake reaches an esti-

most renowned sites in Chungju.

From Chungju Pier to J anghoe Pier,

mated depth of about 100 meters. If

However, it rose to prominence some

which is located in the Danyang area

you ride the ferry from Chungju Pier

1,000 years before General Sin Lip

of Chungju Lake, the second-largest

to Cheongpung and then on to

appeared on the scene due to a man

lake in Korea after Soyang Lake in

Janghoe Pier in Danyang, you can

known as Ureuk, who lived in Gaya,

Gangwon-do province, the distance is

see the

a small tribal kingdom that existed at

only some 130 ri (51 kilometers).

described by Bishop.

the time of the reign of King Jinheung

Unfortunately, after the completion

(r. 540-576) of Silla. Here, Ureuk

of Chungju Dam in 1985, the village

"On the day after we left

made a name for himself teaching

of Cheongpung was in large part sub-

Danyang, we reached the most beauti-

people how to play the gayageum

merged, which resulted in the reloca-

ful point on the river. Here breathtak-

(12-string zither), hence the name

tion of about 85 percent of its resi-

ing scenery and the curvaceous lines of

Tangeumdae.

dents.

huge limestone cliffs stretched out

breathtaking

scenery

Autumn 2004 I Koreana

before my eyes. It was as if I was pass-

Before Chungju Lake was

through this area especially perilous.

ing through the valleys, mountains,

developed, the area north of Janghoe-

In fact, if oarsmen took their hands

and peaks of a fantasy world. And then

ri,

called

off the oars even for a second, the

it faded away behind the sweet blue

Janghoetan because of the treacher-

boat would careen down the rapids,

veil of a far-off dream-like country."

ous currents that made navigating

placing boat and crew at serious risk

Cliff-face carving of a Buddha image at Deokjusa Temple was created at the behest of Princess Deokju, Prince Maui's sister (left). The standing Maitreya at Miruksa Temple that was erected by Prince Maui faces the Buddha at Deakjusa Temple (right).

56 Koreana I Autumn 2004

Danyang-eup,

was

of harm. Nevertheless, the pic-

Legend of Silla Prince Maui

pier where ferries traveling between

turesque beauty of the Gudambong

After our journey through the

Danyang and Chungju could stop

and Oksunbong peaks rising above

waterside villages, we head for the

over. Indeed, the legend of Prince

the river is spectacular indeed. This

area's mountainous villages. Coming

Maui is filled with intrigue.

area became even more popular after

back from Danyang on Route 36

Despite the despair that he felt

Lee Hwang wrote poems about the

along the Namhangang River, you

over the downfall of his kingdom,

scenery during the Joseon Dynasty as

soon arrive at Mt. Woraksan. The last

Prince Maui, together with his sister,

he navigated through the rapids fol-

100 meters up the mountain is a sheer

Princess Deokju, left their mark on

lowing his appointment as the gover-

rock cliff. Despite the iron steps that

future generations. During his stay at

nor of Danyang, at the start of the

have been installed by the Korea

Mireuksa Temple, that lies beyond

reign of King Myeongjong.

National Parks Authority, climbing

Hanuljae of the Baekdudaegan

The journey up the Namhangang

this rock cliff is still difficult. The

mountain range, which at that time

River cannot be completed simply by

uppermost peak of Mt. Woraksan,

served as the border between

riding the ferries that make their way

which is said to be the setting for the

Mungyeong and Jungwon, Maui had

along Chungju Lake, since it is not

legend of Prince Maui and Princess

erected a 10.6-meter-high sculpture

possible for ferries

to reach

Deokju, is known as Yeongbong.

of a standing Maitreya (Treasure No.

Sindanyang, which is located

From any direction, Yeongbong is a

96) and a 5-story pagoda (Treasure

upstream of Janghoe Pier, during the

majestic sight.

No. 95), as an expression of his fer-

dry season. The waters of Chungju

Upon the demise of the Silla

vent dream to recover his nation. For

Lake, which swallowed up the former

Kingdom, Prince Maui, grieving over

her part, Princess Deokju established

area of Danyang whole, appear

the ruin of his nation, decided to stop

Deokjusa Temple in Woraksan val-

delighted to greet visitors even as they

over at Mt. Woraksan before finally

ley, and commissioned a Buddha

prepare

Dodam

making his way to Mt. Geumgangsan.

carving (Treasure No. 406) in her

Sambong. The last place in this area

When he departed Mt. Woraksan,

own likeness that was sculpted on a

where Bishop visited was Yeongchun.

Maui gazed out at Guksabong (today's

cliff located next to the temple. In

Yeongbong) and stated: "When

addition, this royal duo is also linked

"The beauty of the Hangang

Guksabong is reflected in the water

to Bodeoksa Temple, which is locat-

River reached its zenith as we arrived

and boats pass by Baetjae [a hillside

ed in Susan-ri along the slopes of the

at the beautiful village of Dodam ... .

area where King Gyeongsun (r. 927-

northern edge of Mt. Woraksan,

Despite our efforts for two days, we

935), the last king of Silla, resided] ,

where Maui is known to have stayed.

could not go upstream anymore. The

this will be the time to restore our

While it is rare to see a Buddha fac-

rapids were horrible. When we met

nation." Prince Maui left Seorabeol,

ing north in Korea, the standing

dangerous rapids before we entered

the capital of the Silla Kingdom,

Maitreya at Mireuksa does just that,

Yeongchun, Mr. Kim attempted to go

which is now known as Gyeongju, in

facing the rock-sculpture Buddha at

farther upstream a few times, but

935. As such, after one thousand

Deokjusa Temple, which faces south.

then eventually told me that he could

years, the reflection of Guksabong can

According to legend, whenever

not go any farther. During the other

now be seen in the waters of Chungju

events of nationwide concern arise,

seasons, boats could easily reach as

Lake at the foot of Mt. Woraksan. Has

the brilliance of a rainbow can be

far as Yeongwol, which was located

the ancient prophecy of Prince Maui

seen spanning between these two

some 20 ri farther north ... . In

thus been fulfilled? Further reinforc-

Buddha sculptures, even at night. L..t

Yeongchun, we were 64.4 kilometers

ing the staying power of this legend,

away from the East Sea."

the Baetjae area eventually became a

submerge

Autumn 2004 I Koreana 57

Since long ago, in Korea, the pumpkin has been extensively used in cooking because of its high nutrition and ease of preparation. Nowadays, it is enjoying a notable surge in popularity as an ideal health food. Yoon Sook-ja Director, Institute of Korean Traditional Food Bae Jae-hyung Photographer Lee Kyung Cuisine Consultant

he pumpkin is the fruit of a trailing vine that belongs to the gourd family. Originally from the Andes region of Peru, it was introduced to Korea in the 16th century, during the period of Japan's invasions of the Korean peninsula. Early on, pumpkin was widely cultivated at

Buddhist temples, where it became a basic food of monks, then later emerged as a regular food of the common people of the Joseon Dynasty (1392-1910). With its sweet and pleasant taste, ripe yellow pumpkin has been a mealtime favorite for as long as anyone can remember. Pumpkin is rich in carotene, which aids in the absorption of Vitamin A, and also contains a diuretic that is effective

for reducing the swelling of pregnant women and for treating people with kidney ailments. According to an old saying, to protect against stroke, pumpkin should be eaten on the winter solstice. Indeed, pumpkin is enjoying a surge in popularity as a health food and nutritious vegetable that can help to treat diabetes and obesity. Moreover, since the sugar in pumpkin is easily digested, pumpkin-based snack foods are ideal for weight-conscious people or those with a sensitive stomach. And for people recovering from illness, pumpkin is a perfect food to help them regain their vitality. Since pumpkin can be kept for lengthy periods, from long ago it has been stored so that it could be consumed throughout the winter, as a valuable source of Vitamin A, which was not readily available from other foods during the wintertime. Because vitamin A can help to improve people's resistance to respiratory afflictions, those who are susceptible to colds should regularly eat pumpkin in the winter to strengthen their respiratory system. In addition, pumpkin seeds have a high content of lecithin and essential amino acids which are vital for normal brain functions, and also contains a protease that inhibits the growth of cancerous cells.

Diversity of Applications Pumpkin seeds are shelled and roasted, then mixed with maltose syrup and sugar syrup to make traditional candies, and also to decorate rice cakes and traditional cookies and confections. Pumpkin leaves can be added to stew and soup dishes, or steamed and eaten wrapped around rice. Foods cooked with pumpkin include a diversity of items such as rice cake, Autumn 2004 I Koreana

The pumpkin is highly sought as a diet food thanks to the fact that it is a rich source of vitamins and carbohydrates, which enhance its sweetness, but with only half the calories of ordinary grains and potatoes.

taffy, pan-fried foods, dough added to soup, seasoned greens, steamed food, rice porridge, and sweet rice drink. The rice cake varieties featuring pumpkin include pumpkin rice cake, glutinous pumpkin rice cake, steamed pumpkin rice cake, and pumpkin half-moon rice cakes, or pumpkin songpyeon (stuffed half moon-shaped rice cakes). To prepare pumpkin songpyeon, an autumn pumpkin is sliced and dried, then pulverized into powder, which is mixed with rice flour and kneaded into dough. The dough is shaped and filled with chestnuts or roasted and sweetened sesame seeds, then steamed over a layer of pine needles. Besides being sweet and great tasting, because of the pumpkin's color, the rice cakes are a visual delight as well. The gold-colored pumpkin songpyeon are attractive in appearance and just as nutritious as songpyeon made with potato, arrowroot or mugwort. Pumpkin-flavored sikhye (sweet rice drink), which is made from pumpkin, barley malt soaked in water, and ginger, is said to be helpful for relieving asthma symptoms. Wolgwachae is a dish made with baby zucchini, beef, mushrooms and slices of pan-fried rice cakes, which are mixed together and stir-fried. Pumpkin kimchi is made from pumpkin, cabbage leaves, and radish leaves that are salted and combined with red pepper powder and salted fish. Other common pumpkin dishes include pumpkin porridge and steamed pumpkin.

Favorite Pumpkin Dishes Ingredients

- 500 grams pumpkin - 1 cup (90g) glutinous rice powder - 7 cups water - 2 tablespoons (30g) salt - 6 tablespoons (90g) sugar

k"11 Â°o Âˇr" 'ge This recipe can be made with either pumpkin or oriental squash. When using pumpkin, red beans and other ingredients are often added. Generally, oriental squash is used in summer and pumpkin in winter. Yellow pumpkin gruel stimulates the appetite and it is easy on the stomach. It is best eaten hot.

Method

1. Wipe pumpkin with a clean cloth and cut into quarters. Peel and remove seeds with a spoon. 2. Cut pumpkin into small pieces. 3. Boil pumpkin with water, crushing pieces with a ladle. When cooked through, pass mixture through a sieve. 4. Mix glutinous rice powder with water and stir to a thick consistency, removing all lumps.

Koreana I Autumn 2004

Ingredients . - 1 oriental squash (500g) - pine nut powder Method 1. Wash squash, remove seeds and cut into eighths. 2. Place pieces in a steamer with rind facing up and steam for 15-20 minutes. 3. When cooked, allow steam to cool off and sprinkle pumpkin with pine nut powder.

d O Âˇe1

For this recipe, an ideal squash should be smooth and unblemished, firm and glossy, and rather heavy relative to its size. The best squash are moist when cut and have a rich golden flesh . Steamed oriental squash is a favorite of people of all ages because of its soft texture and sweet taste, but it is especially popular as a snack for children or as a diet food . It is a highly sought diet food among young women these days because of the fact it is a rich source of vitamins and carbohydrates, which enhance its sweetness, but with only half the calories of ordinary grains and potatoes. It is also rich in carotene, which aids in the absorption of Vitamin A, and provides nominal amounts of Vitamin C and B. Vitamin B is needed to build muscle tissue and is also helpful for prevention of anemia. As interest in personal health continues to expand, people are increasingly making efforts to have healthy foods on their dining table. In this respect, what could be more perfect than a pumpkin dish for dinner tonight? L.t Autumn 2004 I Koreana

During the Chuseok (Harvest Moon Festival) holidays, the vast majority of Koreans head for their hometown. This leads to horrendous traffic congestion, causing the travel time to be several times longer than on an ordinary day. Yet every year, without fail, people will embark on this arduous Âˇjourney.So then, the question is: Why? Lim Jae-hae Professor of Korean Studies, Andong University

as people return to their hometowns

huseok, one of the most important holidays in

to perform memorial services for

Korea, falls on the 15th

their ancestors and to visit family

day (the full moon) of

gravesites . Since the homeward

the 8th month of the lunar calendar,

bound roads are invariably clogged

when rice and other autumn crops are

with vehicles, this situation has come

harvested. Because this is the time

to be called "traffic hell." That has

when the autumn season's grains and

given rise to a recent saying of "noth-

fruits ripen, people are naturally

ing more and nothing less than a nor-

eager to enjoy the freshly harvested

mal day," which is meant to point out

crops. However, it is not possible to

that the normal traffic on a regular

ignore one's ancestors and indulge in

day can be a kind of blessing

the fresh crops, even if you happened

There are three factors behind

to plant and tend the crops yourself.

the endless gridlock on Chuseok.

After all, the essence of Chuseok

First of all, everybody pays a visit to

calls for first offering the harvested

the graves of their ancestors for

crops to the spirits of your ancestors

memorial rites and maintaining the

in a memorial rite. Accordingly, on

gravesites . Although the memorial

Chuseok, Koreans visit the graves of

services can be performed anywhere,

their ancestors and present a bounti-

visiting ancestral graves requires a

ful offering table filled with rice cake

journey to your hometown since the

and rice wine, made from the new

family's burial grounds are always

rice, as well as other freshly harvest-

located in or around their hometown.

ed fruits. An old saying that hopes

If all families travel to their ancestral

every day will be "nothing more and

graves on the same day, serious traf-

nothing less than Chuseok" is meant

fic congestion is inevitable.

to reflect the bountiful abundance associated with Chuseok.

Secondly, as a result of industrialization, the majority of Koreans now reside in urban areas rather than

With so many people on the move, seemingly endless gridlock is inevitable, creating the dreaded "traffic hell."

the countryside. Since practically

Endless Gridlock Nowadays, the situation has

everyone has relocated to the cities,

changed dramatically. Not only is

when they travel to their original

food plentiful and rice always avail-

rural communities to perform ances-

able, the crops that used to ripen only

tral rites during the lunar New Year

once a year, around the time of

or Chuseok holidays, there is fierce

Chuseok, are now harvested and

competition for every centimeter of

available for consumption year-

roadway.

round. As a result, Chuseok is no

A third factor is the sharp surge

longer meaningful in regard to an

in auto ownership as a result of

abundance of food. Nevertheless,

Korea's remarkable economic devel-

when the holiday arrives, the entire

opment. In the early phases of indus-

country undergoes a massive exodus

trialization, people utilized public Autumn 2004 I Koreana

With Chuseok being a national holiday, the maintenance of ancestors' gravesites, performance of memorial rites, and graveside rituals are now all conducted during this extended holiday. As such, returning home for Chuseok has become an obligatory annual pilgrimage for most Koreans. transportation, mainly bus or train, to

While the tradition of ancestor

return to their hometown, but now

veneration is long-standing, up

town pilgrimage an obligatory ritual

that every household seems to have

through the 1970s the share of people

for all Koreans. In particular, the

at least one car, and the auto has

who relied on farming for their liveli-

need to visit the ancestral graves is

become the preferred mode of trans-

hood was relatively high, such that

the real problem, rather than perfor-

port, the expressway capacity is far

most families resided in rural com-

mance of the ancestral rites. The

from adequate to accommodate this

munities. Consequently, few people

ancestral rites are conducted at home

flood of vehicles hitting the road at

needed to actually return to their

among family members, but the visit

the same time.

hometown. Moreover, in those days,

to the family graves, typically in

maintaining and visiting family

mountainous areas, results in serious

graves were not centered around the

traffic congestion on seemingly every

As an indigenous folk custom

Chuseok holidays. The activities

known country road and byway.

with a history of 2,000 years,

related to ancestral veneration were

Since most family gravesites in

Koreans can take pride in the fact

undertaken over an extended period

Korea are thought to be auspicious

that Chuseok is among the longest

of time: generally, gravesites were

settings based on geomantic con-

standing traditions in East Asia .

tidied up in the seventh lunar month,

cepts, they are scattered about on

Because Koreans continue to be

ancestral rites were performed on

mountain slopes all over the country-

influenced by deep-rooted Confucian

Chuseok, and memorial services

side, which thus requires that they be

traditions, which heavily emphasize

were held at the grave in the tenth

reached by car. So after suffering

ancestor veneration, the memorial

lunar month. Also, in some parts of

through an agonizing journey to their

services for Chuseok are duly

the country the ancestral rites were

hometown, Korean families have to

respected even today. Furthermore,

performed on Junggu, the ninth day

endure another grueling trip to the

the unique burial culture and customs

of the ninth lunar month, rather than

gravesite. As the vehicles from the

of tending and visiting family graves

Chuseok. So naturally, the movement

cities overcrowd rural roads, the

are age-old traditions in Korea. Not

of people during Chuseok was much

result is traffic gridlock that makes

only is the designation of an auspi-

more limited at that time.

those in the cities pale in compari-

Korea's Unique Burial Culture

Chuseok holidays, making the home-

cious burial site extremely important

The late 1960s then heralded the

son: on the narrow village lanes

according to geomantic principles this

onset of urbanization, along with the

there is often no room for two cars to

site affects the spirit of the deceased

adoption of the Julian (solar-based)

pass each other, while finding a park-

and hence their descendants' special

calendar around the same time and

ing space can be next to impossible.

care is also given to proper mainte-

designation of Chuseok as a national

This has produced a new country

nance of the gravesite. Since neigh-

holiday. Now, with everyone in the

scene of cars with visitors from far

country celebrating Chuseok, people

away seeking to visit their ancestral

who show neglect in tending to or

began to undertake the gravesite

graves forming endless lines of

visiting ancestral graves, such peer

maintenance, ancestral rites, and

bumper-to-bumper traffic into moun-

pressure calls for faithful adherence.

graveside memorial rituals during the

tain valleys.

bors are wont to point out families

Koreana I Autumn 2004

In other countries, cemeteries are

affect the descendents' fate, while

located within reasonable driving dis-

graves are still marked with a sizable

tance, while people can visit the

earthen mound, which is planted with

graves of their relatives at any time

grass; thereby requiring periodic trim-

using public transportation started to

during the year, without having to

ming and weeding, hence the annual

decline, and with ever more people

wait for a public holiday. Thus, it

ordeal of returning home.

driving their own car, the traffic

During Chuseok, tradition calls for Korean families to gather together to visit and tend to the gravesites of their ancestors.

seems that this annual traffic chaos is

The massive tidal wave of

paralysis on the highways continues

a phenomenon unique to Korea. In

homeward travelers of recent times is

to worsen. During this year's

Japan, for instance, most people are

a phenomenon that took off in the

Chuseok holiday as well, Korea will

cremated with the remains being

1980s, as a result of the country's

suffer through the chronic chaos

interred in public cemeteries nearby

modernization, with the ever-increas-

caused by a massive exodus. Even

village communities. The graves are

ing number of private cars being the

so, Koreans are fortunate to observe

marked with a simple headstone, so

primary culprit behind this nightmar-

this tradition, because they are able to

there is no need for extensive mainte-

ish traffic. Moreover, with cars being

welcome familiar faces, while shar-

nance, as is the case in Korea. Korea's

regarded as a status symbol, it may

ing with family and neighbors the

burial culture continues to be influ-

be essential to return home in your

incomparable pleasure of home cook-

enced by a traditional belief that the

own car. As a result, from the 1990s

ing and a personal warmth that is

geomantic features of a gravesite can

and thereafter, the number of people

sorely lacking in the city.

Autumn 2004 I Koreana

DISCOVERING KOREA Changdeokgung Palace Complex

Changdeokgung Palace Embraces its Natural Surroundings 66 Koreana I Autumn 2004

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Even today, Changdeokgung Palace continues to exist in harmony with its natural surroundings.

The Changdeokgung Palace complex, an exceptional example of Far Eastern palace architecture and design, blends harmoniously with its natural surroundings. As the center of government activity during much of the Joseon Dynasty, the palace reflects the era's history and mindset of its people. Hong Soon-min Professor of Center for Liberal Arts & Instructional Development, Myongji University Seo Jai-sik, Lee Gab-cheol Photographer

hangdeokgung was situated on an open plain

King Taejo (r. 1392-1398), the founder of the dynasty. It

formed by surrounding mountains, while its

became the beopgung upon the completion of

buildings were carefully constructed so as to

Changdeokgung, the igung, which was built during the

not conflict with the natural landscape. If the

reign of King Taejong (r. 1400-1418), the third king of the

palace is compared to a tree, the buildings would be the

Joseon Dynasty. Thereafter, Changgyeonggung was con-

blossoms emerging from the tips of branches.

structed adjacent to Changdeokgung, during the reign of

In light of its geographical location and political sta-

King Seongjong (r. 1469-1494). Over time Changdeokgung

tus, Seoul can be regarded as the center of Korea. With

and Changgyeonggung came to be regarded as one palace,

Seoul being the capital of the Joseon Dynasty, it was natur-

refen-ed to as Donggwol, East Palace. All of these palaces were completely destroyed during

al that the palaces of the Joseon kings would also be located in Seoul. In fact, since the term palace refers to a resi-

the

1592-1598 Japanese

dence of the king, the presence of palaces served to con-

Changdeokgung and Changgyeonggung were rebuilt dur-

firm Seoul's standing as the capital of Joseon. The king of

ing the reign of Gwanghaegun (r. 1608-1623) and collec-

Joseon served as the sovereign and supreme leader of the

tively served as the beopgung. Gyeongdeokgung, which

nation. The expression "the king lives here" was used to

was located at the foot of Mt. Inwangsan, was designated

refer to those places where the king conducted official

as the igung and referred to as Seogwol, West Palace.

business and also where he resided. Thus, while a plethora

Gyeongdeokgung

of eunuchs, maids, palace caretakers, and servants looked

Gyeonghuigung during the reign of King Yeongjo (r.

after the king and his family's personal affairs, an equally

1724-1776). Then, at the start of the reign of King Gojong

large number of government officials assisted the king

(r. 1863-1907), Gyeongbokgung was rebuilt and again des-

with his governance of the state. Therefore, Joseon palaces

ignated as the beopgung. At this time, Donggwol

were by necessity comprised of a large number of build-

(Changdeokgung and Changgyeonggung) became the

ings required to accommodate the activities of the court

igung, while Gyeonghuigung was no longer recognized as

and government officials. During the latter period of the

an official palace.

was

invasions

subsequently

of Korea.

renamed

Joseon Dynasty, palace complexes housed several thou-

Of note, Gyeongungung, which was built in 1897 as a

sand people in 300 or so buildings, each having its own

residence for King Gojong (r. 1863-1907) following his

name. As such, palaces were essentially the functional cen-

temporary refuge at the Russian Legation, played an inte-

ter of the Joseon Dynasty.

gral role in the development of modern Korean history during the Daehan Empire (1897-1905). However, its sta-

Five Joseon Palaces in Seoul

tus as a palace came to an end when Emperor Gojong was

At least two official palaces had to be maintained in

forced to cede his throne by the Japanese colonial authori-

Seoul at all times so that various contingencies could be

ties. The palace became nothing more than a rest home for

dealt with, including a need to undertake renovation due to

the deposed emperor, with its name being changed to

regular maintenance or repair of any damage as a result of

Deoksugung. Emperor Sunjong (r. 1907-1910), who

fire or other cause; an emergency relocation of the royal

ascended to the throne as the successor to Emperor

family because of an outbreak of war, civil strife or epi-

Gojong, resided at Changdeokgung before he was ousted

demic; or a decision by the king to change palaces for per-

in 1910 when Japan annexed Korea.

sonal or political reasons. The two official palaces were called beopgung, or main palace, and igung, or secondary palace.

UNESCO World Heritage Site As a result of these historical developments, there are

Gyeongbokgung was the first palace to be constructed

five Joseon Dynasty palaces in Seoul. Since

during the Joseon Dynasty. It was built during the reign of

Changdeokgung was the palace in which Joseon kings

Koreana I Autumn 2004

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lnjeongjeon, the main hall of Changdeokgung Palace, was used for official events including the reception of foreign emissaries and ceremonies.

resided for the longest time, it harbors the most legacies of

Japanese invasions, no longer functioned as a palace by the

the Joseon Dynasty.

time Gyeongbokgung was rebuilt. Gyeonghuigung's origi-

Most of the buildings of Gyeongbokgung were demol-

nal appearance was completely altered when it was used as

ished during Japan's colonial rnle. When the residency of

a Japanese middle school following Japan's annexation of

the Governor-General of Joseon was built in the palace's

Korea. As for Gyeongungung, some of the original build-

Huwon, or Rear Garden, which was located at the base of

ings still remain to this day. Nonetheless, two-thirds of the

Mt. Baegaksan, this strncture effectively separated the gar-

palace area had been destroyed, thereby stripping the area

den from Gyeongbokgung. In addition, since many of the

of its palace-like stateliness.

palace buildings still standing today were built during the

As for Changdeokgung and Changgyeonggung, more

reign of King Gojong, they are larger and more impressive

than 80 percent of their buildings were tom down during

than those that were completed earlier. Gyeonghuigung,

the colonial period. Moreover, the buildings that remain

which had served as the igung after the 1592-1598

have been altered or fallen into disrepair. In spite of this, Autumn 2004 I Koreana

Doseongdo, an ancient map of Seoul, depicts the five palace complexes built in Seoul during the Joseon Dynasty (left). The Rear Garden of Changdeokgung housed Gyujanggak, which served as the center of a movement intended to revitalize Joseon culture and society (opposite page).

architecture also features various characteristics that are not related to Chinese architecture. Chinese palaces are usually built on an open plain in a square configuration to accentuate the official nature of the palace and the authority of the king. On the other hand, Joseon palaces are always situated on a site with mountains to the rear and a river in the front. As such, Joseon palaces are designed to harmonize with the surrounding environment and natural more buildings of Changdeokgung and Changgyeonggung

features, which is also applied to the establishment of

have survived until today than those of any other palace.

monuments and other structures. This conceptual approach

And in large part, the palace areas have been preserved in

is clearly evident to anyone who visits the Changdeokgung

their original state. The Changdeokgung Palace complex,

complex.

which functioned as the center of government activity during much of the Joseon Dynasty, is also regarded as the most representative example of traditional palace architecture in existence today.

Changdeokgung's Embrace of Nature The largest mountain range on the Korean peninsula is the Baekdudaegan that extends from Mt. Baekdusan in

Due to its historical significance, the Changdeokgung

North Korea all the way down to Mt. Jirisan in South

complex houses numerous legacies of the Joseon Dynasty.

Korea. With Baekdudaegan like the trunk of a tree, the

Beyond this, due to its location and spatial layout, or the

other 13 mountain ranges of the Korean peninsula are its

relationship between its buildings and the natural sur-

branches, or jeongmaek. For example, the Hanbuk jeong-

roundings, this palace can be said to embody the character-

maek stretches from north of the Hangang River to the

istic principles of Korean architecture in general. In recog-

Imjingang River, with Mt. Bukhansan being an end point.

nition of this, the UNESCO World Heritage Committee

Meanwhile, a series of smaller mountain ranges connect

added the Changdeokgung complex to its list of World

Bukhansan with Mt. Baegaksan. Baegaksan stretches

Heritage Sites on December 3, 1997. The major reason for

from Mt. Eungbongsan in the east all the way to Mt.

the inclusion of the palace on this highly selective list was

Taraksan. Moreover, the branch of Baegaksan that

the fact that it represented an exceptional example of Far

extends westward is known as Mt. Inwangsan, while that

Eastern palace architecture and design, as exemplified by

lying to the south is Mt. Mongmyeoksan. If the layout of

its ability to blend so harmoniously with the surrounding

these mountain ranges is compared to a human body,

landscape.

Baegaksan would be the right side of the torso ,

The basic layout of Joseon palace architecture shows

Eungbongsan the left side of the torso, Taraksan the left

certain Chinese influences. For example, the king and

arm, and Inwangsan the right arm. Meanwhile, Mt.

queen's official quarters are located in the center of the

Mongmyeoksan served to block the mountain range's fur-

palace complex, with the area where the king would meet

ther extension so that an open plain area could be formed,

his subjects to the front and the king's private quarters in

where Seoul would eventually be developed. The waters

the back. However, upon closer inspection, Joseon palace

originating from these mountains form Cheonggyecheon

Koreana I Autumn 2004

Changdeokgung was situated on an open plain formed by surrounding mountains, while its buildings were carefully constructed so as to not conflict with the natural landscape. If the palace is compared to a tree, the buildings would be the blossoms emerging from the tips of branches. Stream that flows from west to east.

with a temporary palace. Because the palace is located in

Gyeongbokgung is located at the foot of Mt.

the center of the city, there is less apparent harmony

Baegaksan, an area which according to the aforemen-

between the palace and the surrounding mountains and

tioned comparison would be the right-side torso of Seoul,

flowing water. Moreover, since Gyeongungung was built

with an embrace like that of a mother and child. With a

on one of the few remaining sites available in the area

flat plain lying to the south of Baegaksan, the buildings

after foreign legations were established there in the 1880s,

take on a formal appearance. Gyeonghuigung was situated

it has a more cramped and unconventional layout com-

at the base of Mt. Inwangsan, the right arm of Seoul.

pared to Gyeonghuigung.

However, for a palace complex, it is less than ideally

The Changdeokgung complex gently leans against

located while its buildings are rather narrow and uncon-

Mt. Eungbongsan, or the left-side torso of Seoul. Although

ventional in configuration. Gyeongungung was built dur-

Eungbongsan is only about half the height of Mt.

ing the Japanese invasions on a site that was more in line

Baegaksan, it extends all the way to central Seoul, creating Autumn 2004 I Koreana

a broad forest area along its path. As such,

to the terrain and geographical elements. Although many

Changdeokgung is located to the west of this range, while

of the buildings and monuments no longer exist, the origi-

Changgyeonggung lies to the east. Meanwhile, Jongmyo,

nal layout of Changdeokgung can be seen in the elaborate

the oldest and most genuine example of a Confucian royal

Korean-style map Donggwoldo.

shrine, is situated to the south of Eungbongsan. To the north of Changdeokgung and Changgyeonggung is the large garden area known as Huwon (Rear Garden), or Biwon (Secret Garden).

Beauty of Simplicity Traditional Korean buildings are typically designed with an emphasis on openness, with the interior of the

In particular, the features of Changdeokgung capture

building extending to the garden area, thereby enhancing

the essence of Korean palace architecture, which is

the building's integration with the smrmmding landscape.

designed to not conflict with or alter nature, but rather to

Moreover, Korean palaces were built in a manner to not

embrace and harmonize with the surrounding environ-

only be in harmony with the surrounding environment, but

ment. In addition, Changdeokgung was laid out in a man-

also for easy access. Palaces functioned as both the resi-

ner that enabled all the palace occupants, from the king

dence of the royal family and the administrative center for

down to the lowliest servant, to efficiently go about their

government proceedings and officials. Numerous govern-

everyday activities. The composition and arrangement of

mental buildings, including those that housed the govern-

the palatial structures were designed to conform naturally

ment officials who assisted the king in the management of

72 Koreana I Autumn 2004

Nakseonjae is an example of the nature-friendly design concept of Changdeokgung Palace, in which structures are integrated into the natural surroundings (left). Two pillars of Buyongjeong Pavilion extend into the water (right).

state affairs, can be found on the palace grounds. Thus, the

the king are well expressed in the design of the buildings

palaces should be recognized as the seat of authority of the

found on the palace grounds. For example, the buildings

reigning king.

surrounding Changdeokgung were built in a manner

The Joseon kings were required to make all official

devoid of magnificence and sublimity. As such,

statements available to the historiographers who were

Huijeongdang, the building where the king resided, was

responsible for their documentation for all posterity. On

relatively small in scale and modestly decorated. As such,

the other hand, there were those whose task was to provide

the suffix dang, when affixed to the name of a building,

critical analysis of the king 's administrative affairs and

implies a lower status than the suffix Jeon, which was used

public remarks. Furthermore, Joseon kings, despite their

to indicate a higher status. A sense of frugality, a funda-

supreme authority, were required to uphold Confucian val-

mental principle of Joseon culture, is also well represented

ues and to practice frugality in order to maintain the digni-

in all palace complexes.

ty of the king and royal court. These virtues expected of Autumn 2004 I Koreana 73

Soyoam of the Rear Garden: Waters that originate from Eungbong Peak valley form a small stream that flows over this rock formation {left). Cheonguijeong Pavilion, which is the only building within the palace grounds with a thatched roof, is a symbol of the king's frugality. The king would tend to rice paddies within the palace complex, from which rice stalks were gathered and.used for the thatched roof {right). Yeongyeongdang: Built in 1828 in the Rear Garden of Changdeokgung Palace was based on a literati house ofthe Joseon era. It serves as a valuable resource for the study of a Korean residence from the late Joseon period (opposite page).

Multipurpose Spaces For anyone who visits Huwon, it is readily apparent

in order to appreciate the oneness with nature of this garden area.

that the design of Changdeokgung was based on a concept

The Rear Garden was more than simply a place where

of harmonizing the buildings with the natural environment.

the king or royal family could go to relax or entertain

The palace encompasses some 462,000 square meters,

guests. In reality, it served as a multipurpose space for the

while the Rear Garden spreads out over an area of about

monarchy, which included such uses as archery practice

330,000 square meters. Joseon's unique vegetation and

and administration of civil service examinations.

wildlife, which consisted of some 290,000 varieties of

Moreover, an open area of the garden was utilized for the

trees and animals, including 50 kinds of birds, are well

training and inspection of palace guards, exhibitions, and

preserved in the garden, which functions as a natural

gatherings of government officials. Also, several rice fields

ecosystem. Moreover, this ecological habitat serves as a

were maintained that the king could tend to. Furthermore,

backdrop for a wealth of ancient edifices and monuments

Gyujanggak was located in the garden as well, which

that have been carefully integrated into the natural envi-

emerged as the center of a movement that sought to revi-

ronment.

talize Joseon culture during the reign of King Jeongjo (r.

Thus, while Chinese garden landscaping is known to

1776-1800). The officials assigned to Gyujanggak served

feature mountains and rivers situated behind or alongside

as the staff of the royal library, which functioned as a

palaces, and Japanese-style landscaping seeks to capture

research institute that handled all official publications,

nature in small elegant gardens, Korean garden landscap-

offered advice to the king, and inspected the activities of

ing is intended to incorporate manmade structures with

other administrative departments~ The Gyujanggak build-

nature, almost as if introducing nature into an artificially

ing and the pond in front still exist, symbols of the role that

landscaped garden. To better understand this, it would be

Changdeokgung and the Rear Garden played in the efforts

helpful to visit the Rear Garden of Changdeokgung to not

to advance Joseon culture and its people. L..t

only view the pavilions and surrounding landscape, but to also look out upon the natural scenery from the pavilions, Autumn

2004 I Koreana

MASTERPIECES Baekje Incense Burner

Appreciating the Brilliance of Baekje Art This incense burner is a masterpiece that epitomizes the brilliance of the Baekje Kingdom's arts and crafts, thought, and religion. The phoenix, with its wings spread wide, and the dragon figure that supports the lotus blossom body, are so exquisitely crafted that they appear almost lifelike. Kim Seung-hee Curator, Gyeongju National Museum

he Baekje Incense Burner was recovered in 1993 at a temple site in Neungsan-ri, not far from Buyeo, the last capital of the Baekje Kingdom. At Neungsan-ri, there is a site with at

least seven tombs, which are thought to be for royal family members dating back to the mid-sixth to mid-seventh centu-

ry. One of the tombs is believed to be the grave of King Seong (r. 523-554) who moved the capital of Baekje from Gongju to Buyeo. In 1955, the Stone Sarira Reliquary with Inscription (National Treasure No. 288) was discovered at the site where the central pagoda of the temple was situ76

Koreana I Autumn 2004

National Treasure No. 287 Baekje, first half of 7th century Diameter at widest point: 19cm, Height: 64cm Buyeo National Museum.

ated. It is inscribed with the characters for Chang Wang,

that it seems like the dragon is writhing upward into the

the name of King Wideok (r. 554-598), the son of King

sky.

Seong, who ascended to the throne in 544. The inscription

Overall, the composition of the incense burner reflects

says that the sarira reliquary was created in 567 at the

a balance of yin and yang, as symbolized by the phoenix

behest of King Seong's daughter, that is, Wideok's older

and dragon figures, respectively. But upon closer inspec-

sister. Based on this, it seems that the site of its discovery

tion, it can be seen that the dragon, a symbol of the under-

was where Wideok's sister had erected a temple nearby the

sea world, has a lotus blossom, a symbol of the land, in its

tomb of her dead father. This temple, which would have

mouth, thereby representing its ascension into the heavens

been overseen by the Baekje royal court and linked to the

via the world of the immortals.

Neungsan-ri tombs, was established to offer prayers for the souls of past kings.

The composition vividly represents a combination of Taoist principles and Buddhist thought. According to

The incense burner consists of two main parts: a body

Taoism, whose immortals seek eternal youth, there is a

and a lid. The lid includes a cover and knob, while the

magical paradise known as Boshan in the middle of the

body comprises a main section and stand. These four parts

ocean where the immortals live with sacred creatures.

were all produced separately and then fitted together.

Many incense burners portraying this type of theme were

The knob is topped by the figure of a phoenix with a

produced in China after the Period of Warring States.

magic bead tucked under its chin and its wings spread

These mountain-shaped incense burners were called

wide, as if about to take flight. There are two holes in the

boshanlu. Around the fourth century or fifth century a new

chest area of the phoenix through which smoke from the

kind of rite, which included the burning of incense before

burning incense can escape.

an image of Buddha, was adopted, leading to the extensive

The intricately decorated lid includes 33 overlapping

use of incense burners at temples. The boshanlu incense

mountain peaks that encircle 16 human figures and 39 ani-

burners, which depict the world of the immortals, also

mals. The figures include a mounted hunter, a person fish-

reveal Buddhist characteristics, such as the lotus blossom.

ing, and an ascetic deep in meditation, as well as real-life

The foremost masterpiece of this style is the Baekje

animals, such as tigers and deer, and a variety of mythical

Incense Burner.

winged creatures. Atop the mountain peaks is the figure of

The Baekje Incense Burner, the end product of a long

an immortal playing an instrument and a goose with its

tradition of incense burners that combined a variety of ele-

neck fully extended. Out of sight behind the mountains

ments, would likely have been created in the early seventh

there are several roughly made holes, evidently added later

century by the most talented craftsman of that time under a

on so that smoke could arise more freely from the burner.

royal commission. At a time when offerings of incense to

The main body of the burner features three layers of

the Buddha were regarded as sacrosanct, this revered

lotus leaves, with eight in each layer. Arranged in the cen-

incense burner would have been used in memorial cere-

ter of and between the leaves are figures of 2 humans and

monies for past kings. Imagine, while an elaborate and

26 animals, which include fish, cranes and unknown ani-

solemn ceremony was being conducted at a Buddhist altar,

mals. The stand is in the shape of a dragon with head

incense smoke would serenely arise from the chest of the

raised high and a pose depicted in such a lifelike manner

phoenix and from deep in the mountains. L.t . Autumn 2004 I Koreana 77

78 Koreana I Autumn 2004

ART REVIEW Tongyeong International Music Festival

Sounds of Music Linger over Maestro's Hometown The Tongyeong International Music Festival, held in the hometown of modern music giant Yun I-sang, has established itself as a worldclass musical festival. Now a series of seasonal performances presented throughout the year, the festival features a variety of events and programs. Kim Moon-hwan Professor of Aesthetics, Seoul National University

o understand what the Tongyeong International Music Festival is all about, you have to know about the world-famous Korean musician Yun I-sang, whose name validates

the festival's stature and gives added significance to the host city of Tongyeong. Tongyeong is a port city along the southern coast of South Korea. Tongyeong and Chungmu, part of which has been incorporated into Tongyeong, are forever connected to the renowned Admiral Yi Sun-sin, who repelled the

Japanese invaders during the Joseon Dynasty (1392-1910). Indeed, "Tongyeong" is a shortened form of "TongAutumn 2004 I Koreana

jeyeong," the name of the command center that Admiral

coexist based on a desire for world harmony and faith in

Yi set up in this city. The historical monuments erected to

nature and.human beings.

commemorate Admiral Yi's naval victory attract endless

Born in 1917 in Tongyeong, Gyeongsangnam-do

streams of visitors, who still marvel at the ingenuity of his

province, Yun studied cello, music theory and composition

military strategy, while the natural scenery of the area is

in Korea and Japan, and then from 1948 he worked as a

enjoyed by tourists from Korea and abroad.

music teacher in Tongyeong and Busan. After marrying in

This city, which oversees 41 inhabited and 110 unin-

1950, he went to Paris, where he studied at the Paris

habited islands scattered about the Dadohae Sea, more

Conservatoire, and then to West Berlin to continue his stud-

often than not is bathed in sunshine, with little snow in

ies in composition and music theory at Musikhochschule

winter. With a terrain worn down by erosion, Tongyeong

West Berlin.

boasts no major rivers or high mountains, but it does offer

In 1959, he performed his "music for seven instru-

a lovely ria-style coastline and a broad expanse of coastal

ments," which is infused with elements of traditional

islands, perhaps one of the reasons the area has been home

Korean music, at the Darmstadt Music Festival in

to so many distinguished artists. One of the most promi-

Germany, thereby attracting the notice of European music

nent of these is Yun I-sang.

circles. After settling down in Germany, Yun's proliferation of composition works included the opera

Hometown of Yun I-sang

"Simcheong," which was petformed at the opening cere-

"My music is born of the artistic, philosophical and

mony of the Berlin Olympics. In 1985, he received an

aesthetic traditions of my home country, and my home-

honorary doctoral degree from the University of Tubingen

town has been a very precious emotional source for me.

in West Germany, while in 1987 he was awarded the

Stimulated by my country's unfortunate fate and disorder-

Distinguished Service Cross of the Order of Merit by

ly situation, and the tyrannical rule of the authorities, I

German president Richard von Weizsacker. Throughout

have endeavored as much as possible to compose an

his life, Yun was intirrtately involved in Korea's democrat-

expressive language with music." Yun I-sang, the composer who has been regarded as

ic m.ovement but he lived out his final days in Germany without ever making it back home to Korean soil.

"one of the five living giants of modem music," expressed the essence of the East with unique compositions and was

World-class International Music Festival

recognized for having opened new horizons in modern

The history of the Tongyeong International Music

music. In Yun's music, the traditions of East and West can

Festival dates back to 1982. In August 1982, Yun 's

Koreana I Autumn 2004

The Tongyeong International Music Festival is dedicated to the memory of Korean composer Yun I-sang, acclaimed as a master of modern music (left). Conductor Zubin Mehta, Violinist Sarah Chang, and the Vienna Philharmonic Orchestra, performed during the finale of the 2003 Tongyeong International Music Festival (middle). In August 2004, the Chung Trio (Chung Kyung-Hwa, Chung Myung-Hwa, and Chung Myung-whun) performed at a seasonal concert {right).

"Exemplum in Memoriam Gwangju!" was premiered in

Alongside the formal events, the 2002 Tongyeong

North Korea, where an annual Yun I-sang Music Festival

International Music Festival also included a "Fringe

has been held thereafter. Then in September the same year,

Festival" for people of all interests. Another new feature

the "Yun I-sang Music Night" was presented for two days

of the 2002 festival was the Environmental Design

at the seventh Korean Music Festival, a forerunner of the

Project, under which the festival venues and spaces were

Seoul International Music Festival. The Seoul event high-

designed to accentuate the theme of individual events and

lighted the music of Yun I-sang, which due to political cir-

promote Tongyeong's regional characteristics. For the fes-

cumstances or a general lack of familiaiity with modem

tival, practically the entire city of Tongyeong was

music, remained little known to Korean audiences.

rearranged, including the main venue, the Tongyeong Arts

The 1999 Yun I-sang Music Night, organized by the Tongyeong Culture Foundation, was changed into the

Center, the Festival House where the Fringe Festival was held, and Yun I-sang Street in Docheon-dong.

Tongyeong Modem Music Festival, which for three years through 2001 featured the music of composer Yun I-sang, Asian composers as well as the latest development in

Year-long Seasonal Event In 2003, the Vienna Philharmonic Orchestra performed at the festival, marking the first time for such a

Western modem music. Complemented by seminars and

prestigious performance to be held in the provinces, thus

lectures by composers, the festival provided musicians and

confirming the festival's international standing. Of note,

music lovers from Korea and overseas with a valuable

the closing performance featured world-renowned conduc-

opportunity to gain a broadened understanding of the

tor Zubin Mehta and Korean violinist Sarah Chang, while

world of modem music.

the opening performance included Yun's longtime friend,

along with introducing the works of other Korean and

In 2002, the festival was upgraded and renamed the

oboist Heinz Holliger, who conducted the Ensemble

Tongyeong International Music Festival. Some 2,000 per-

Modem from Germany in a performance of Yun's oboe

formers from 14 countries, including the France

concerto. Other notable performances included the 60-

Philharmonic Orchestra led by Chung Myung-whun, were

member St. Petersburg Capella, and the Hugo Wolf

invited to perform modern music as well as a diverse

Quartet, a youth string quartet from Vienna. In addition,

range of musical genres, including classical music and

Yun's opera Dream was staged for the first time in his

jazz. Indeed, with audiences of 30,000 from Korea and

hometown of Tongyeong. There were two presentations

abroad attending the events, this huge success enabled the

that reflected upon the relationship between music and

festival to earn world-class stature.

religion, a court music performance by an ensemble from Autumn 2004 I Koreana

the National Center for Traditional Korean Performing

International City of Music

Arts and a shaman rite, "Namhae byeolsingut." The 2002

With the TIMF as a cornerstone, Tongyeong aspires

festival featured works that focused on social circum-

to become an international city of music where musicians,

stances, whereas the 2003 festival emphasized works, both

tourists and students, from Korea and abroad, can gather

classical and modem, with religious themes.

to experience, enjoy, and study music. By hosting such an

From 2004, the festival has been turned into a year-

international festival Tongyeong is pursuing four primary

long series of seasonal events. In contrast to the previous

goals. First, from an artistic perspective, it strives to fur-

format of a single event held over a ten-day period with a

ther make known the music of world-renowned Korean

limited scope and budget, a series of separate seasonal

composer Yun I-sang and broaden the audience base for

events are now staged throughout the year as part of the

art and culture. Second, from an international perspective,

Tongyeong International Music Festival, or TIMF, includ-

it is seeking to establish itself as a forum for international

ing the major festival, concerts, and an international com-

exchange and cooperation among musicians in Korea and

petition for musicians from around the world. In the

overseas through which traditional Korean music can

future, TIMF will also organize and operate new music

intersect with modern Western music. Third, from a cul-

groups in Tongyeong.

tural viewpoint, the city hopes to enhance the cultural

The Tongyeong International Music Festival

appreciation of its citizenry and boost regional culture by

Foundation intends to build on the festival to develop

capitalizing on the valuable resources of traditional cul-

Tongyeong into an internationally known music city and

ture. Fourth, as for economic considerations, it would like

breathe new life into the domestic concert sector, currently

to steadily attract more Korean and foreign tourists, as a

mired in a slump. To progress beyond the domestic con-

means of contributing to the local economy and broaden-

cert sector's limited role of simply arranging for perfor-

ing recognition of Tongyeong.

mances by overseas artists, the foundation endeavors to

Though the Tongyeong International Music Festival

become a driving force of th~ Asian concert scene by

has only a brief history, the first three years (1999-2001)

paving the way for the global advance of rising Korean

as a local modem music festival and the following three

and foreign artists by showcasing them at the festival and

years (2002-2004) as an international music festival, it has

its international competition. In this way, the festival's cur-

developed rapidly to rank favorably with any music festi-

rent seasonal format can be seen as a transitional phase

val in the world, in terms of scale, budget, participants,

toward the TIMF's ultimate goal. This year's Opening

musicians, and quality and quantity of programs. Fast

Festival, held March 22-27, featured 15 separate perfor-

becoming the Mecca of modem music in Asia, the festival

mances, including the opera Gisterliebe; cello concerts by

expects to attract 50,000 visitors annually.

Natalie Clein, Matt Haimovitz and Baek Na-young; the

Cities around the world organize events to commem-

State Symphony Capella of Russia; Tan Dun's "Water

orate their homegrown composers. The hometowns of

Passion"; Tosiya Suzuki's recorder recital; and the Ahn

composers, in particular, regularly stage music festivals

Trio. This was followed by seasonal concerts that were

and related events that become popular cultural attractions

held between April and August, headlined by such notable

capable of drawing large numbers of participants and visi-

performances as the Changwon Philharmonic Orchestra's

tors. The city of Tongyeong, the birthplace of the interna-

rendition of "Gurre-Lieder" in April, a duo concert by

tionally acclaimed composer Yun I-sang and host of the

Mischa Maisky and Paik Hae-sun in June, and a Chung

International Music Festival, is carefully studying promi-

Trio concert in August. But this year's highlight will be an

nent musical centers around the world for the purpose of

appearance by the Berlin Philharmonic Orchestra, which

vaulting Tongyeong into their ranks. 1...1

will be staged in Seoul as the "Tongyeong International Music Festival in Seoul." 82 Korea n a I A u tu mn 2 004

Autumn 2004 I Ko r eana

Narratives ofa Nomad Writer Kim Young-ha aspires to transcend the "Korean-ness" of Korean literature by writing novels that can appeal to readers the world over. In this regard, Kim's constant literary experimentation and innovation demonstrate his commitment to this endeavor. Kim Dong-shik Literary Critic, Lecturer, Seoul National University

ince his debut in 1995 with "Meditations on a

and a few pictures. To put it more callously, they are mem-

Mirror," writer Kim Young-ha has contributed

ories that have been abstracted from the accounts of oth-

much to the advancement of Korean literature.

ers."

Kim's works include short-story collections

The fact that Kim has no memory of his hometown or

Beeper (1997), Whatever Happened to the Guy Stuck in

childhood is of course unfortunate on a personal level, but

the Elevator? (1999), and Elder Brother Has Returned

this offers a valuable insight for understanding his literary

(2004), as well as the novels I Have the Right to Destroy

approach. Many people associate Korean literature with

Myself (1996), Why Did Arang Do It? (2001), and Black

romanticized sentiments related to a longing for one's

Flowers (2003). He has also demonstrated his talent as an

hometown or a psychological trauma experienced during

essayist in his prose collections Yellow Corvina Fishing

childhood. Kim's writing, however, is free from this com-

(2000) and Post-its (2002). In Movie Stories, a collabora-

mon trait of Korean literature due to the absence of person-

tive effort with the cartoonist Lee Woo-il, he integrates the

al images of his hometown and memories of his childhood.

worlds of literature, animation, and cin~ma in a unique

For Kim, who majored in business administration in col-

harmony.

lege, prose fiction is a narrative that embarks without any

Kim Young-ha was born in ÂˇHwacheon in 1968. Of particular note, Kim has no personal recollection of his

memories of long ago, the story of a nomad with no hometown to which he can return.

hometown. Since his father was a career soldier, his family

His short story "Moving" well reveals his distinctive

would relocate from one area to another every year or so.

nomadic worldview. In this work, an earthen vessel from

Of this, Kim notes: "I have no hometown." Moreover, at

the Gaya period, of 1,500 years ago, symbolizes a home-

the age of ten, he lost all memory of his childhood due to

town to which there can be no return. Gaya was an ancient

an accident. During an interview in 1999, he explained:

kingdom of the Korean peninsula that suddenly collapsed

"My childhood memories are mostly reconstructions based

and disappeared. As such, the yellow dust in this work

on the accounts of my family members. The memories are

alludes to an uncertainty of origin, similar to the situation

vague, based on the recollections of my mother and father,

in which the yellow dust that periodically sweeps across

Koreana I Autumn 2004

Korea from China is generally believed to originate from

the tribulations of this conflicted body's encounters with

the Taklamakan Desert, but could also be from elsewhere.

reality.

Thus, moving involves an "absolutely unknown" experi-

The notion of a changing body is not merely a theme

ence that can stir up subconscious notions related to the

in his works, but is expanded to encompass a changing of

absence of a hometown. In this way, what is clear to the

the structure of prose fiction as well. His novel Why Did

protagonist Jin-su is "only that he fell asleep in a com-

Arang Do It ? breaks down the barriers between history

. pletely different place from where he had the day before."

and fiction through a revisionist version of the legend of

In other words, his fate as a nomad is confirmed through

Arang, a folk tale familiar to all Koreans. In this work, the

the metonymy of moving. If fiction can be compared to a

ancient legend of Arang is recast as a modem-day myste1y

journey, the fiction of Kim Young-ha is a journey that is

novel and then further transformed into a futuristic fantasy.

not concerned with hometowns or origins, or a journey in

In addition, it is complemented by metafiction and interac-

search of memories that might or might not have occurred.

tive techniques.

Kim's debut short story, "Meditations on a Mirror,"

His novel Black Flowers tells the story of a group of

and his first novel, I Have the Right to Destroy Myself,

Koreans who emigrated to Mexico in 1905. In the after-

exhibit his critical thought. Most often, mirrors are used as

math of Korea's loss of sovereignty due to Japan's forced

a reflection of identity or a metaphor for reality. "Medita-

annexation, these Koreans try to establish their own coun-

tions on a Mirror," however, reveals that the identity and

try in the tropical forests of Guatemala. Black Flowers

reality offered by a mirror are based on fiction and illusion.

does not portray an individual as the story's protagonist,

In I Have the Right to Destroy Myself, the narrator, who

but instead focuses on the overall group, while departing

has the right to destroy himself, also has the right to create

from the traditional structure of a historical novel. The first

a new self. Kim sees in the realism-centered metaphor of

part of the book depicts the emergence of the modem indi-

the mirror not reality but fiction, while he desires to create

vidual, while the second part details the personal experi-

a new self through the dissolution of his existing self.

ences of these individuals.

These works vividly display his subversive creativity.

Kim Young-ha worries much about the future direc-

So, what is this new identity that he desires to gain

tion of Korean literature, which is at risk of becoming mar-

through his self-destruction? This new identity involves a

ginalized. In a recent interview he stated: "My dream is

flesh that is sheltered by illusion and desire. As a more

not to win a literary prize in Korea. My dream is clear. It is

specific image, it is a body in a constant state of flux, capa-

to become a writer who writes books that can be readily

ble of transforming or disguising itself at will. These

found in the leading bookstores of New York or Paris." Is

aspects are best revealed in his short story "Lizard," in

this an expression of his desire to become a world-class

which an illusory lizard enters the body, where it stirs up

writer? Perhaps, but there is more to it than that. He is

suppressed desires. It also whispers: "You must change

expressing his ardent dream to overcome the "Korean-

your body." In the works of Kim, the body is not a single,

ness" of Korean literature. Kim dreams of a vast new

unified entity, but rather an entity in conflict, wherein

world for Korean literature. For anyone wondering about

desire and restraint, illusion and reality, and order and

where Korean literature might be headed, the likely direc-

chaos are able to coexist. His short stories keenly depict

tion can be found in the works of Kim Young-ha. 1...1 Autumn 2004 I Koreana

Support for Korean Studies Programs Abroad

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