Koreana Winter 2004 (English) by The Korea Foundation

Our dream is to help theirs soar even higher. At POSCO, we believe that the louder and heattier children laugh, the higher their dreams can soatÂˇ. And just as good teachers atÂˇe always there to cheer on their students, we're quietly helping to make all their dreams come true.

pasco We move the world in silence

POSCO is nurturing tommorrow's dreams and fulu(e by supporting education

www.posco.co.kr

www.lottehotel.com

Good dealings, good fortune! Business enjoyed is business success. Achieve your own business style.

in style

good friend Someone is always quietly there to lend ahelping hand When you have a good friend on the long, uneven path of life, everything is easier. You want to be with them, even though you don't always see eye-to-eye. And whenever they see a need, they're always quietly there to reach out and help. That's the kind of friend we want to be to you.

posco We move the world in silence www.posco.co.kr

BEAUTY OF KOREA

Seodang Kim Seung-hee Curator, Gyeongju National Museum

This small-size

expressions: for exam-

painting, with a blank

ple, one attempts to

background, depicts a

conceal laughter by

group of students sit-

covering his mouth

ting

their

with his hand; another

teacher. It is a scene

shows a book to his

from a seodang, a

classmate; and another

local Confucian school

seems to be mumbling

that could be found in

to himself, practicing

around

village communities throughout the country during

for his tum to answer.

the Joseon Dynasty (1392-1910). The preeminent

The various facial ex"pressions displayed by

educational institution of its day, the seodang was

the students are pmtrayed in a straightforward man-

the first stepping-stone along the path to becoming

ner, while the diverse range of emotions of the indi-

a member of the government's civil service system.

viduals in this painting is clearly evident. In addi-

The painting features a group of boys, with

tion, although the painting reflects the sllict educa-

their hair in traditional pigtails, sitting around their

tional environment that prevailed then, it also con-

teacher, who is wearing a tanggeon, a traditional

veys the teacher's compassionate approach to

horsehair headgear worn indoors. The instructor,

instruction. This painting provides us with an

with a bemused expression, shrugs his shoulders

opportunity to glimpse the purity of Joseon's com-

after having reprimanded the student sitting directly

mon people. Kim Hong-do (17 45-1806) was a tmly

in front of him, in all likelihood for not knowing his

masterful artist whose genre paintings included

lessons . The other students show a variety of

scenes of daily life during the Joseon era.

Ink and watercolor on paper, 27cm x 22.7cm, Treasure No. 527, National Museum of Korea

F 0 C U S Opening of Leeum Samsung Museum of Art:

Convergence of Archetypal Korean Beauty and Modern Art I Paek Seaung-won I NT E R VI E W KNCU Secretary-General, Kim Yer-su

Enhancing Korea's Standing in the International Community

Lee Seon-min

A R T I SA N Silver Inlay Master Hong Jung-sil

Silver Inlay Master and Creator of Heartfelt Artwork

R yu Min

0 N THE R 0 AD Taebaek

Home of Korea's Rivers and Snow-capped Mountains I Kim Woo-sun

Koreana INTERNET WEBSITE http:/ /www.koreana.or.kr ÂŠ Th e Korea Foundation 2004

C U I 5 I N E Dongchimi

Radish Kimchi in Water I Yoon Sook-j a

All ri ghts rese rve d. No part o f thi s publication may be reproduce d in any form without the prio r permissi on of th e Ko rea Foundation .

LIVING

Ki Training for Physical and Mental Development I Kim Geun

The opinions expressed by th e authors do not necessarily represen t those of th e editors of Ko rean a or th e Korea Foundation. Koreana, reg iste red as a q uarte rl y 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: The Nearest Air by Waltercio Caldas and Leopold Nosek, one of the artworks created by teams of artists and non-artists exhibited at the Gwangju Biennale 2004 Photo : Wolganmisoo/

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 Choi Seong-su ASSOCIATE EDITOR Chung Bo-young, Park Ok-soon EDITORIAL BOARD Han Myung-hee, Han Kyung-koo, Kim Hwa-young, Kim Moon-hwan, Lee Chong-suk, Yu Hong-june

D I S C 0 V E R I N G K 0 R E A Ondol

Korea's Unique Home Heating System I Joo Nam-chull M AS T E R P I E C E 5 Bronze Incense Container with Silver Inlaid Pattern

Brilliance of the Goryeo People Reflected in their Art and Piety I Kim Seung-hee ART REVIEW

Revisiting the Art of Lee Ungno on the Centennial of his 8irth I Park Soo-jin

Kitn I )ong-ni 84

Exploring a Mystical World I Lee Hye-ja

Picture of a Shaman Sorceress I Translated by Chung Chong-wha

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 Subs,c ription/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 WINTER 2004 Samsung Moonwha Printing Co. 274-34, Seongsu-dong 2-ga, Seongdong-gu, Seoul Tel: (02) 468-0361/5

A Gra in of Oust A Drop of Water

Gwangju

iennale 004

For the modern art of Korea, the significance and symbolism of the Gwangju Biennale cannot be overemphasized. Not only was it the first biennale of its kind to be organized in Korea, it has since become a benchmark of Asia's contemporary art scene. In the ten years since its inaugural event, the Gwangju Biennale has promoted contemporary culture by presenting the most recent currents in modern art and enabling visitors to get up close and personal with innovative artworks and their creators. Today, the Gwangju Biennale is no longer just a Korean arts festival, but a truly international must-see attraction. More than 200 artists from 42 different countries exhibited their works at the Gwangju Biennale 2004. The theme "A Grain of Dust, A Drop of Water" reflects an exploration of ecological phenomena from an East Asian perspective. Of note, this year's event was the first-ever to adopt a "viewer-participant" system, under which teams of artists and nonartists created unique artworks through collaborative efforts.

Beyond the CounterpoÂˇnt of Dust and Wate The fifth Gwangju Biennale, held from October 8 to November 13, 2004 under the theme A Grain of Dust, A Drop of Water, focused on the presentation of creative artworks that expressed cultural -environmental concepts. Of particular note, the organization of this event included an innovative public participation process. 11

Kim Hyun-do Exhibition Director, 2004 Gwangju Biennale Choi Hang-young Photographer

uring the organization of the fifth Gwangju

artists whose works conformed to a designated theme and

Biennale much attention was paid to coming

the display of these works along appropriate lines. This

up with ways to strengthen interaction with

time around, however, the planning committee adopted an

the exhibition visitors. The fundamental pur-

entirely new approach, under which the general public

pose of this kind of an exhibition is to create an artistic

would be allowed to actively participate in all the organi-

environment in which all types of audiences can share a

zational process.

common vision. Previously, the typical planning process

So then, how should the public participants be select-

for a Gwangju Biennale event involved a selection of

ed and what criteria should be used for their selection?

Koreana I Winter 2004

Would it be better to have a limited number of specialized

The viewer-participants were divided into three

individuals or a broad spectrum of participants from all

groups: ordinary citizens including farmers, mechanics,

segments of society, so that a wider range of views could

office workers, housewives, and students; cultural special-

be considered? Under such an innovative approach, would

ists such as poets, professors, artists, and performers; and

it be possible to satisfy the expectations of visitors to a

cultural activists involved with the environmental, educa-

modem art biennale and also attract prominent artists and

tional, political, and business sectors. These individuals

high-quality artistic works? Above all, the inability of

included, for example, Deborah McNeill, a homemaker

modem art to strike a resonant chord with the general pub-

(Canada); Kwon Ho-sang, a pear farmer (Naju, Korea);

lic is known to be a sociocultural reality. Consequently,

Miuccia Prada, president of the high-fashion Prada firm;

this situation cannot be overcome with a conventional par-

Ko Un, a poet (Korea); Harold Manala, a mine worker

adigm in which a distinguished curator stlives to impose

(South Africa); the Reverend Moon Kyu-hyun, an envi-

his personal vision onto the exhibition visitors. It was thus

ronmental activist (Buan, Korea); Antonio Negri, a

believed that public input during the organizational process

philosopher (Italy); and Tala Abu Taha, a journalist

would help to enhance the appeal of the displayed works

(Jordan).

among the viewing audiences.

Each of the viewer-participants was directly involved, to varying degrees, in the creative process of the artist with

View er-Participant Process Against this backdrop, the planning committee of the

collaborated with the artist Jheon Soo-cheon, Miuccia

Gwangju Biennale 2004 adopted a "viewer-participant"

Prada with Lee Kyoung-ho, Moon Kyu-hyun with "Buan

model for the first time ever. Such a viewer-participant

People," and Antonio Negri with Kendell Geers, with each

approach to organizing an international art biennale was

team contributing a work of mt for the exhibition.

whom they were teamed up. For example, Kwon Ho-sang

indeed an unprecedented endeavor. Of course, this was not about the adoption of a new approach in a superficial manner. Indeed, the planning committee was seeking to trans-

Eco logical Cycle The exhibition space was a high-energy venue where

form the conventional exhibition format through an all-

artists and visitors explored the theme "A Grain of Dust, A

new viewer-participant process.

Drop of Water." The main hall was divided into five gal-

The planning process included the following activi-

leties by sub-theme: "Dust" (Gallery 1), "Water" (Gallery

ties. The theme exhibits displayed at the Biennale Hall

2), "Dust+Water" (Galleries 3 and 4), and "The Club"

(Galleries 1 to 5) were presented under the names of each

(Gallery 5).

viewer-participant and the related artist. As such, this was

Dust and water mÂˇe ubiquitous matetials that mÂˇe natu-

a truly unique system under which viewer-participants

rally encountered in our everyday life. However, as soon

from a diverse range of backgrounds collaborated in the

as we think in tenns of "a drop of water" or "a grain of

creation of the artworks on display. As an initial step, 60

dust," these otherwise insignificant elements become

viewer-participants from 39 countries who had agreed to

vibrant symbols of life. Here, dust and water mÂˇe thought of

take part in this effort were invited to a viewer-pmticipant

as ecological symbols of opposite extremes, with dust rep-

workshop held in Gwangju in January 2004. Then, 60

resenting negative consequences, such as noise, pollution,

artists were selected to team up with the viewer-partici-

and destruction, while water is associated with life-giving

pants. Over the next six months, these teams discussed

symbols like creation, harmony, and sustenance. If dust

ideas that were then incorporated into the works created by

stands for narrow-minded prejudice and intransigent

the artists. As a result, the fifth Gwangju Biennale featured

exclusivity, water symbolizes a flowing openness that

works that were developed and created through the collab-

facilitates interaction and coexistence.

orative efforts of the 60 viewer-participant and mtist teams.

But the intent behind this theme was not simply to Winter 2004 I Koreana

In contemporary art, a so-called viewer-participant approach has emerged as an effort to address a growing isolation of modern art from the general public, which has been attributed to the opposing influences of specialization and popularization. The emergence of this practical, hands-on approach is related to a desire to establish a common ground upon which modern art can be further developed.

The main exhibition hall of the Gwangju Biennale 2004 might have the same exterior appearance but its interior is another story, with the display of truly innovative works of art based on an all-new collaborative process.

juxtapose expressions of creation and extinction as binary

counterpoint of dust and water produces an ecological har-

opposites. Rather, it was meant to convey the principles of

mony of interaction between each cultural entity.

ecological relationships based on interactive processes. Annihilation presages creation, while dust can also reprecal because of its obvious insignificance in the universal

Art and Everyday Life To complement the main exhibition, four sites presented separate displaysÂˇ that reflected the daily life of

order.

Gwangju residents: "Biennale Theme Park" (Site 1);

sent a seed. The expression, "a grain of dust," is paradoxi-

Simply curtailing environmental pollution cannot

"Korea Express" (Site 2 and Education/PR Center); "And

automatically restore our ecosystems. A truly vibrant envi-

Others/May 18 Liberty Park" (Site 3); and "Biennale

ronment can only be assured if we are able to eradicate

EcoMetro/Gwangju City Subway" (Site 4). In particular,

social discord and the suppression of people. As Felix

these presentations served as an interface between the for-

Guattari has pointed out, improving the physical environ-

mal Gwangju Biennale exhibition and the everyday life of

ment is a matter that also calls for resolving the problems

the local residents.

of our social and spiritual systems. In the end, aesthetic

At these sites, the primary direction and theme of the

endeavors are only able to effectuate a physical improve-

Gwangju Biennale, as well as the layout of the display

ment in the quality of our ecological environment. Thus,

spaces, were linked together in a coherent manner. Here,

"A Grain of Dust, A Drop of Water" strives to function as

the "viewer-participant" process played a key role as a

a kind of icon that manifests concepts encompassing social

mediator between the opposing influences of specializa-

relations as well. Hence, moving beyond the visual

tion and popularization that define today's modem art and

Koreana I Winter 2004

conttibute to a sense of isolation from the public. Thanks

cal views might have been helpful in coming up with a

to the direct dialogue between artist and viewer-partici-

more efficient process. And more effort was needed to

pant, the sociocultural role of modem art was broadened in

gather feedback and consider possible adjustments along

terms of its accessibility and popular appeal. The Gwangju

the way.

Biennale was thereby transformed from a closed system,

Nevertheless, despite these problem areas, the raison

which operates within the art world, into a wide-open format connected with the ecological environment. The viewer-participants functioned as catalysts in this process of transformation, which harmonized with the exhibition theme and was highlighted by the microscopic ecological relationships between dust and water, and their coexistence within an urban environment.

Ecolog ical -cu ltural Activities Of course, the adoption of the new viewer-participant approach alone could not guarantee that the exhibition would achieve its hoped-for goals. A greater than expected number of difficulties had to be dealt with during the firstever implementation of this viewer-participant system. This was no doubt related to the fact that every step of the way was a new experience, which was evident in the problems that arose in regard to estimating manpower needs and maintaining schedules. The process of selecting the

The "viewer-participant" system demonstrated that "non-artist" individuals can work closely with artists during the creative process to produce works that help to overcome the barriers that separate today's modern art from the general public.

viewer-participants and artists, setting up the individual

d'etre for adopting this system was validated. Above all,

teams, monitoring the progress of the teams, and organiz-

the viewer-participant system demonstrated that ordinary

ing the artworks into the exhibition format required two to

persons, outside the art and culture circles, are able to con-

three times more effort than that of the previous exhibi-

tribute much to the creation and direction of modem art.

tions. Of note, if more attention had been paid to vmious

Outstanding examples of this included Jerry Mander's

details during the emÂˇly phases of the planning process, it

insightful ecological commentary, Leyla Dakhli's refresh-

would have been possible to better fulfill the objectives of

ing critique of modem art, and Peter Moszynski's account

this innovative undertaking.

of the influence of behaviorist participation in Africa's

Moreover, the viewer-participant system was not

social reality.

without certain controversy of its own. In particular, this

In the end, the viewer-participants learned much

system can be criticized for suppressing or interfering with

about the inner workings of the modem art world, while

the creativity of individual artists and the basic freedoms

the artists benefited as well from their close interaction

of mtistic expression. From the outset, there was consider-

with ordinmy people. Moreover, for the 500,000 or so visi-

able skepticism among various participants about how well

tors to the Gwangju Biennale 2004, who were introduced

everything would tum out. In fact, those with the most spe-

to the viewer-participant system, some have come away

cialized experience, such as prominent viewer-participants,

with an interest in taking part in this way in future exhibi-

renowned mtists, and knowledgeable cultural specialists,

tion events. 111

expressed the most serious reservations about the new approach. In retrospect, more consideration of these critiWinter 2004 I Koreana 11

Gvvangju Biennale •• A Grain of Dust. A

The works in this gallery delved deeply into a variety of phenomena, including efforts to rectify cultural clashes, and the contradictions of our industrial society that have contributed to so much hardship for countless numbers of powerless

Dust

individuals around the world . In this context, dust is a metaphor for man's struggle to realize the advancement of civilization rather than succumbing to regression and destruction.

For Another Monument, 2004,

installation by Jeon JoonÂˇho & Choi Wan-wook

Immortality: From Pneumoconiosis to Green Air Bath, 2004,

installation by Park BulÂˇdong & Koun

Koreana I Winter 2004

Romanticism and Realism Study, Part. 2003, painting by Vue Minjun & Liu Dejiang

Spermatozoids, 2004, installation by Leonid Sokov & Saparov Khakim

The Split, 2004, installation by Francis Ng & Lim Siok Peng

Winter 2004 I Korean a

This gallery presented works that featured concepts related to a drop of water, including the potential of water to serve as a catalyst for the interaction of inorganic elements, and a source of life vital to cleansing, restoration and rebirth, as

Water

well as a facilitator of transformation, reconciliation, and reconstitution.

The Process, 2004, installation by Asa Elzen & Mikael Dedijer

Desires in Motion, 2004, performance/installation by Raquel Schwartz & David Rey

16 Koreana I Winter 2004

Garden of Wishing Trees, 2004, installation by Barbara Edelstein & Zhang Jianjun

Chamber of Memories, 2003, installation by Kim Seung-young & Noh Sung-tae

These innovative works sought to redefine the boundaries of mainstream aesthetic principles, while offering critical assessments of the influences of globalization and the disregard of today's industrial society for the preservation of our natural envi-

Dust

Water

ronment. In calling for a restoration of the natural ecological order, the clear uniqueness of these works revealed the effects of the viewer-participant system.

... Moonlight Sonata, 2004, installation by Lee Kyoung-ho & Miuccia Prada

1.1 I Love Barbie, 2004, paintings by Sun Xiaofeng & Chen Jixuan

Koreana I Winter 2004

Court, 2004,

installation by Brian Jungen & Kit Grauer

Refuge Wear Intervention, 2004, installation by Le"1la Dakhli & Lucy Orta

â&#x20AC;˘

The Club

Of note, this venue provided the Gwangju Biennale visitors with an opportunity to participate in the development of their own artistic and cultural creations. A diverse variety of activities brought together the familiar and unfamiliar in conjunction with a harmonization of specialization and popularization . All of this enabled a process of cultural catharsis that appealed to the full range of sensory perceptions. Thus, event and exhibition were merged to overcome viewers' isolation, while various genres of artistic expression came together in harmony.

Give me for lies, 2004, video installation by Pai Dong-hwan

Hahaga, 2004, performance by Gerry Hemingway (drummer/percussionist), Hong Sin-cha (dancer/vocalist), & Kang Eun-il (haegeum)

The sites of the Gwangju Biennale 2004 enabled visitors to be creators and participants of the exhibitions.

Winter 2004 I Koreana 21

Crea Cola

oug forts

The Gwangju Biennale 2004 was the first international art exhibition of its kind to adopt a Viewer-participantll system, in conjunction with this year's theme: "A Grain of Dust, A Drop of Water." The following is a summary of the reactions of a few of the participant teams in regard to the event's innovative organizational process. 11

Kim Hyung-sook Professor of Oriental Painting, Seoul National University Choi Hang-young Photographer

Korean a I Winter 2004

Artists: Jennifer Allora and Guillermo Calzadilla Viewer-participant: Fernando Perez Jennifer Allora and Guillermo Calzadilla have developed a creative relationship based on a principle that "Art is freedom." This artistic duo and the viewer-participant, Fernando Perez, agreed on the need to respect everyone's opinion, which served as a cornerstone for the creation of their thought-provoking work Returning A Sound. In addition to assuring freedom of artistic expression, this team also reflected upon the type of people who were expected to visit the Gwangju Biennale and their likely perceptions of art. The artists and the viewer-participant exchanged thoughts about the exhibition event, which included extensive discussion of the overall theme, in regard to the cyclical relationships of "a grain of dust, a drop of water," and the underlying contradictions therein. During this process, it was agreed that video would be the most effective medium for expressing the message of their work. However, there was a difference of opinion over how closely the video work needed to conform to the Gwangju Biennale theme. "Honestly speaking, I did not give much thought to the theme of the exhibition. My works address a variety of subjects, and thus most of them would be applicable to any broad theme. Since I consider this particular work to be rather wide-ranging in terms of its conceptual theme, I didn't anticipate any problems. You can find various metaphors when it comes 'to the themes of my work. Therefore, I pay more attention to the relationship between my work and the display space, the site of the exhibition venue, and sometimes political factors, and also the audiences. Thus, I am not that comfortable talking about a specific theme, since I am a rather introverted person, as you can see." It should be noted that the Returning A Sound work of this team was the winner of the Korea

Foundation Award at the Gwangju Biennale 2004.

Returning A Sound, 2004, video work by Jennifer Allora/Guillermo Calzadilla & Fernando Perez Winter 2004 I Koreana

I J

Artist: Kim Byung-jong View er-participant: Ahn Kyong-whan

sketches that he had drawn of his children. The mtist Kim incorporated these images into his own works. By leaving

At this Gwangju Biennale, Kim Byung-jong's entire

a space between his paintings and the images from the

body of art works, from Foolish Jesus to Song of Life, was

viewer-participant Ahn, Kim was able to reveal the differ-

exhibited for the first time in one place. A notable theme

ences between the two in regard to their perceptions of

of Kim's works was his portrayal of how the blood of

life.

Jesus helped to create new life. The viewer-participant

In an essay entitled "My son, I am sorry," Ahn wrote:

paired with Kim Byung-jong was Ahn Kyong-whan. Both

"If one's spirit along with one's blood are genetically

Kim and Ahn are professors at Seoul National University,

obtained, then you will have inherited the dmÂˇk history of

of art and of law, respectively. These two faculty associ-

your imperfect ancestors. However, your life may be dif-

ates, though they get together from time to time, had never

ferent. No! It shall be different." Professor Ahn also wrote

seriously discussed each other's field of study or art in

about his concerns and the identity of an intellectual living

general. The Gwangju Biennale thus provided an opportu-

in today's modern era' in "Love, Ideology, and the

nity for them to do so.

Actuality of Life." In "Way to Bodhgaya," Ahn delved

Viewer-participant Ahn Kyong-whan made available

into the significance of a flower that managed to bloom

various photographs, including some of himself wearing a

after having overcome all manner of difficulty. Based on

middle-school uniform and of his young son and daughter,

these essays, Kim posed the question: "What kind of life

to the artist, Kim Byung-jong. He also provided some

force is needed so that a flower can bloom?"

Above all, the "viewer participant" system has boldly discarded the typical format of a conventionc1l art festival, in which viewers are simply passive observers of exhibited works of drt As such, the credtive process and resultant artworks cdn be regdrded as truly unique products based on collaborative efforts. 24 Korean a I Winter 2004

Artist Viewer-participant: ~

the Gwangju Biennale, Meyer and Rabanus exchanged passionate ideas and thoughts through e-mails and long-

Stefan Rabanus, the viewer-participant who teamed

distance telephone calls. As such, the attist and the viewer-

up with the artist Ilka Meyer, emphasized the freedom of

participant developed an especially mutually supportive

artistic expression, which falls somewhere between the

relationship. The artist Meyer is an exceptionally creative

spiritual and the practical. The Western concept of art is

and sensitive individual. And while she used technical and

more closely related to the philosophical and theoretical

mechanical tools to bring her ideas to life, the viewer-par-

notions of "adiaphora," which refers to a general indiffer-

ticipant interpreted the artistic creations based on his own

ence toward morality and religion. Art needs no practical

analytical and scientific views. Therefore, the fruitfulness

purpose, nor is it necessarily undertaken for moral, reli-

of their collaborative efforts is clemÂˇly evident in the fin-

gious, or political reasons. Therefore, att can be interpret-

ished attwork.

ed in myriad ways. In addition, the aesthetic aspects of art, which form the essence of artistic expression, were emphasized as well. For Rabanus , it is thus noteworthy that these two characteristics, aesthetic aspects and the possibility of multiple interpretations, are well represented in Ilka Meyer's work. In her works, Meyer does not loudly broadcast her message to viewers; instead, she quietly suggests a new

llka Meyer (left), Stefan Rabanus (right)

perspective or insight for our daily lives. Meyer's works thus can leave a strong impression on those who are able to relate to her underlying themes. And since the senses of

Hanging Gardens, 2004, installation by llka Meyer & Stefan Rabanus

smell and touch are also required to expetience her works, in this case "viewing" is hardly sufficient. During their discussions on the creation of works for

Winter 2004 I Korean a

Artist: Muyiwa Osifuye Viewer-participant: Jahman Anikulapo The works of Muyiwa Osifuye are critical of the growing disparity and inequity of our modem society. In particular, the works highlight the dark underside of globalization trends and the various hardships being imposed on marginalized segments of society. As such, Osifuye questions the role of decision makers for their inability to address the increasing injustices now afflicting the masses, while calling attention to the need for more equal distribution of resources, equal protection and application of the rule of law, and respect for human dignity. To Osifuye, oppressive countries, the powerless individuals who live in slums, and the povertystricken ghetto areas are like the "dust of the earth." He thus demands that the authorities provide those who are not blessed with even "the tiniest drop of water," with the basic necessities needed for human survival. In addition, through his works, he calls for human dignity to be recognized as a "fundamental consciousness," and not simply a political term. Both the viewer-participant Jahman Anikulapo and the artist Muyiwa Osifuye have worked at art clubs with other Nigerian artists. The two thus worked closely together thanks to their common language and shared artistic sentiments. Osifuye noted: "I allowed Anikulapo to freely express his opinions of my project work, although this was a very sensitive process for me. As a result of our exchange of views, I believe we came up with some meaningful pieces." The viewer-participants engaged the artists and interpreted the works based on their personal background and "non-artistic" experiences. In the end, this process proved that the thoughts of the artist and the non-artist could converge at some point along their respective paths. J..1.t

Jahman Anikulapo (left), Muyiwa Osifuye (right) 26 Koreana I Winter 2004

The Nurtured Disequilibrium, 2004, photography by Muyiwa Osifuye & Jahman Anikulapo

Winter 2004 I Koreana

Gvvangju iennale: Rising Star of lnternatio al Art Festivals

Lee Sae-kil Art Critic

hen the Gwangju Biennale was first

event's intent to foster a cultural

air so that people, whose everyday

community that was capable of tran-

life is being increasingly dictated by

organized in 1995,

scending ideological, national, reli-

urgency and complexity, could con-

it was ostensibly

gious, racial, and cultural borders,

template the primities that should be

intended to mark the 50th anniver-

while drawing people into a world of

valued.

sary of Korea ' s liberation from

creativity that presented a bird's-eye

The theme of this year's

Japanese colonial rule (1910-45) as

view of contemporary society and

Gwangju Biennale,"A Grain of Dust,

well as the "Year of Culture" in

culture.

A Drop of Water," is a symbolic Gwangju

expression of the event ' s primary

objectives also included the promotion

Biennale, "Unmapping the Earth"

focus on a discourse of Eastern think-

and invigoration of regional artistic

was the main theme. In response to

ing. In particular, the event seeks to

traditions, commemoration of the

the revitalization and fresh changes

offer an ecological explanation for

Gwangju democracy uprising of 1980,

of the global village, it transposed an

basic natural phenomena and their

and enhancement of the competitive-

Oriental perspective onto modern

related order, based on the concepts

ness of regional governments under

culture and society for the purpose of

of creation and extinction.

the new era of autonomous rule.

creating a living space that was dedi-

Korea. However, the government's

As explained in its publicity

For

the

second

cated to artistic creation.

Highlights

materials , the Gwangju Biennale

The third Gwangju Biennale

expresses an intense desire to devel-

adopted a theme of "Man + Space,"

The 1995 Gwangju Biennale,

op Gwangju, the cradle of Korea's

the fundamental elements of every-

which opened in the autumn, was a

democratization movement, into a

day life and artistic pursuits. The

huge success, attracting 1.63 million

high-profile member of the global

event sought to reflect upon the

visitors. Moreover, it also confirmed

community and a center of cultural

underlying situation and conditions

that" this event could live up to the

creativity. In line with the cultural era

that people encountered amid the tur-

potential of emerging as a cultural

of the 21st century, it harbors ambi-

bulent upheaval of the new century,

focal point, and within the frame-

tions of harmoniously bringing

while taking a fresh look at the val-

work of prevailing artistic cmTents,

together different peoples, nations,

ues of Asia's spiritual culture.

which arÂˇe still dominated by Western

generations, and cultural spheres

The theme of the fourth Gwang-

influences , it could also help to

through the expressive medium of

ju Biennale was "P_A_U_S_E." In

expand artistic exchanges with Asia

modern art.

the context of our contemporary soci-

and the third world.

ety that emphasizes development,

The second Gwangju Biennale

speed, and progress, the point of this

(1997) attracted 910,000 visitors. The

theme was to encourage people to

theme of this exhibition was designed

"Beyond the Borders" was des-

take the time to pause and reflect

to engage visitors in a discourse

ignated the theme of the first

upon themselves. As such, the event

about traditional Eastern philosophy

Gwangju Biennale to reflect the

attempted to provide a breath of fresh

and modern Western aesthetics,

Themes

Koreana I Winter 2004

20~1:J'Eli!

Gwangju Biennate 2002 03 29 - 06 29

1995

1997

2000

Âˇ

P_A_ U_S_E. _.d:_

2002

2004

Posters of the Gwangju Biennales held during the ten years of its operation (1995-2004)

thereby prompting introspection of

inviting artists and organizing

Gwangju Biennale is using these

their own cultural background. This

exhibits, the event revealed an innov-

trends as a foothold to establish itself

approach was well received and

ative and dynamic face of culture.

as a preeminent international cultural

effective in introducing the traditions

A central focus of the fifth

festival that can broaden the scope of

and depth of Asia's spiritual culture,

Gwangju Biennale, which marked a

cultural exchanges between Asia and

including that of Korea, to the peo-

full decade since its founding, is the

the world.

ples of our global village.

active participation of the public. By

In this respect, the Gwangju

At the cusp of the new millenni-

allowing the public to participate

Biennale has contributed much to

um, 610,000 people visited the third

directly in the planning of exhibits

promoting the untapped potential of

Gwangju Biennale (2000), which

and related activities, it adopted an

local culture and art, along with fur-

provided an opportunity to directly

alternative, non-discriminatory

ther expanding the cultural infrastruc-

experience the latest developments of

process to organize the event. With

ture. With diverse programs and

the cultural and artistic spheres at the

the cooperation of Korean and for-

activities, each event has helped to

turn of the century. Serving as a win-

eign artists, a space was established

facilitate the interaction and dialogue

dow to expose Asian culture to the

for the creation and participation in

between history and reality, culture

world, the program was designed to

culture, which featured a diverse

and venue, and daily life and art.

make known the characteristics

spectrum of art and culture.

changing cultural scene, the Gwangju

underlying the true identity of Koreans and to commemorate the

In addition, amid a rapidly

Looking Ahead

Biennale has added to our quality of life by providing a venue where

20th anniversary of the June 18, 1980 In moving away from its past,

everyone can participate in cultural

which had been marred by alienation

exchange . In order to meet the

Gwangju

and stagnation, Gwangju is now

demands for popular cultural and

Biennale (2002). The public, educa-

emerging as a center for culture and a

artistic appreciation that will sustain

tional, and integrative nature of art

symbol of democracy and human

this age of cultural consumption,

was emphasized through a public-

rights. Another significant factor is

aspiring to create a Korean-style

participation initiative that took into

Korea's desire to take the lead in

melting pot of cultural events, which

account a wide range of people's sug-

defining a new cultural mainstream

can harmoniously integrate exhibi-

gestions and opinions. Boldly dis-

that is capable of integrating Asian

tions and festivals, would be a good

carding the conventional ways of

culture with popular culture. The

way to move forward.

Gwangju democracy uprising. A total of 550,000 visitors attended the fourth

Winter 2004 I Koreana

I ternational Art Festivals Held in Korea Thanks to the steadily growing success of the Gwangju Biennale, Korea now actively hosts a diverse range of international art festivals. The following provides an overview of the variety of art events being held around the country, featuring all manner of artistic expression and experimentation. Lee Jun-hee Editor, Wolganmisoo/ Photographs: Wo/ganmisool

30 Koreana I Winter 2004

ing with each other to develop cultur-

n international art festival that is held once

al attractions and events that would

every two years is

highlight their regional characteristics

often called a biennale.

and resources. As such, the Gwangju

Today, with as many as 10 art and

Biennale has come to play an instru-

cultural biennales being held in

mental role in upgrading the status of

Korea, most Koreans are now quite

Korean art and culture. At the same

familiar with this term.

time, it has provided residents of the

The first international art bien-

provinces, who were often ignored

nale presented in Korea was the

under past policies that kept cultural

Gwangju Biennale in 1995, which

activities centered in Seoul, with the

was hosted in Gwangju. The fact that

opportunity to more conveniently

an international biennale could be

experience high-quality culture.

held in the provinces , outside of

The major art events that have

Seoul, was in large part due to the

been undertaken since the Gwangju

commencement of a local govern-

Biennale include Media_City Seoul

ment autonomy system that year.

in Seoul, Busan Biennale in Busan,

Before then, under a central govern-

Cheongju

ment-led political environment, it

Biennale in Cheongju, Chung-

was extremely difficult for local

cheongbuk-do province , and the

administrative authorities to indepen-

World Ceramic Biennale held at sites

dently carry out their political and

in Icheon, Yeoju and Gwangju,

cultural endeavors.

Gyeonggi-do province. The Korea

International

Craft

But upon the launch of local

International Art Fair, the major

government autonomy, provincial

event for promoting Korea's art trade,

and city governments began compet-

deserves mention as well.

Unlike conventional art exhibitions, the Media_City Seoul art festival focuses on media art. A light installation was displayed on the exterior of the Seoul Museum of Art as part of the second Media_City Seoul event.

The Busan Biennale featured three major events: the Contemporary Art Exhibition, Sea Art Festival, and Busan Sculpture Project. The Bus an Biennale exhibition hall and Korean Tiger by Shimabuku.

The Korea International Art Fair (KIAF), which today is the largest art trade fair in Asia, was first held at the Susan Exhibition and Convention Center (BEXCO).

The installation Reality & Virtual Reality by Kang Ae-ran, contemplating the future of books in the cyber era, was exhibited at Media_City Seoul in 2000.

From Asia to the World Along

with

the Gwangju

Biennale, the Busan Biennale held in

and the Busan International Open Air

from Korea and overseas. Organized

Sculpture Symposium since 1991. In

by the Gallery Association of Korea,

2000, all of these events were com-

it was held at the Busan Exhibition

bined into a joint exhibition, which

and Convention Center (BEXCO)

was called the Busan International

and included the patticipation of 97

Contemporary Art Festival. Then in

galleries from 8 countries, resulting

January 2001, while maintaining the

in the sale of some 2,500 works of

tradition of the Busan Youth

art. In February 2003, the venue for

Biennale, the event was restructured

this event was the Convention and

and renamed the Busan Biennale, in

Exhibition Center (COEX) in Seoul,

an effort to develop it into a biennial

while the third KIAF was held in

international art event. Hence ,

spring 2004. Indeed, this event has

September 15, 2002 marked the

quickly established itself as Asia's

opening of the first Busan Biennale.

leading art trade fair. Held in Seoul, a

Under a theme of "C ulture

fast-developing business center of

Meets Culture ," the first Busan

Asia, KIAF is not only contributing

Biennale was presented from

to invigorating the domestic art mar-

September 15 to November 17, 2002.

ket and making mt more accessible to

The event featured a Contemporary

the general public, it also provides art

Art Exhibition, Sea Att Festival, and

lovers with a rare chance to view

Busan Sculpture Project, along with a

renowned artworks. Whereas major

number of accompanying activities.

art biennales around the world have

The 2004 Busan Biennale, held from

come to be dominated by video and

August 21 through October 31, fol-

installation works in recent years,

lowed a similar format. The

KIAF remains centered on two-

Contemporary Art Exhibition, the

dimensional works, the foundation of

highlight of the three events, was

art, as a strategy to maximize its

staged at the Busan Metropolitan

function as a venue for the sale and

Museum. The main theme was

acqu"isition of art works. The fourth

"Chasm" and the sub-theme was

KIAF is slated for May 24-29, 2005,

" N.E.T," an acro nym for Nexus,

in Seoul at the COEX (Indian Hall).

Encounter, and Travel, as well as Negotiation, Environment, and Transit.

Media_City Seoul within Seoul In contrast to conventional art

Korea's second-largest city, has

The Korea International Art Fair

exhibitions, Media_City Seoul

helped to boost the presence of

(KIAF) is the largest-scale interna-

focused on media art. Held for the

Korean contemporary art on the

tional art trade event in Asia.

first time in 2000 to celebrate the

world stage. The port city of Busan

Inaugurated in Busan in 2002, it

new millennium, it was presented at

has hosted numerous art events over

serves as a forum for the purchase

and around Gyeonghuigung Palace,

the years, including the Busan Youth

and sale of the works of prominent

where the Seoul Museum of History

Biennale since 1981, Sea Art

artists from Korea and abroad, with

is located. It was held on the theme

Festival, held nine times since 1987,

the pmticipation of leading galleries

"Between 0 and 1," the two numbers

32 Korean a I Winter 2004

A series of experiments in Korean art are being conducted through international art exhibitions. Unique cultural festivals that combine two-dimensional art, installations, video, and media art are helping to make art more accessible to the general public. that form the basis of today's digital

event will be from December 15,

since developed into a cultural and

era, and featured a grand spectacle on

2004 to February 6, 2005, on the

arts festival where visitors can see

the concept of digital aesthetics. Of

theme "Game." The theme was

how traditional and modern crafts

note, this represented the first

selected based on a need to explore

can be artfully integrated. The fourth

international biennale of media art

just how much the world has been

Cheongju

and was highly acclaimed by critics

impacted by the development of

Biennale is scheduled to be held in

in and out of Korea.

games and forms of entertainment

the autumn of 2005 at the Cheongju

related to digital technology, such as

A1ts Center.

The 2002 Media_City Seoul was held at the newly reopened Seoul

online computer games.

Museum of Art, and included the participation of 25 Korean and 42 for-

International

Craft

The World Ceramic Biennale 2001, first held as part of the World

Craft and Ceramics Festivals .

Ceramic Exposition 200 I that was

eign artists who sought to creatively

Korea hosts several art festivals

presented at sites in Icheon,

integrate digital technology with art

centered specifically on handicrafts

Gwangju , and Yeoju of Gyeonggi-do

and to express aesthetic interaction

and ceramics, rather than contempo-

province, consisted of a wide varÂˇiety

between art and the urban environ-

rary art , such as the Cheongju

of noteworthy ceramics-related activ-

ment. The theme of the 2002 event

International Craft Biennale held in

ities , including the International

was "Luna's Flow," as a reinterpreta-

Cheongju, Chungcheongbuk-do

Competition that attracted more than

tion of the images of the moon, the

province, and the World Ceramic

400 entries from 69 countries,

age-old media and reflector of sun-

Biennale held in lcheon, Gyeonggi-

International Ceramics Workshop ,

light. As such, the participating artists

do province.

and World Contemporary Ceramics

reinterpreted ancient perceptions and

The Cheongju International

Exhibition. The third World Ceramic

beliefs about the moon through the

Craft Biennale was inaugurated in

Biennale will be held from April 23

creation of cyberspace works and

1999 to promote a wareness of

to June 19, 2005 , based on the theme

expression of intellectual discovery.

Korea's 5,000-year tradition of cul-

" Ceramics:

ture and handicrafts. This event has

Culture." L;t

The third presentation of this

Cheongju International Craft Biennale features the handicraft arts of Korea that integrate the traditional with the modern. Exterior and interior exhibition hall

The

Vehicle

www.galaxy.co.kr

he essential character of Leeum Samsung

name of the founder, "Lee," with the last syllable of muse-

Museum of Art is visually expressed in the

um, "urn." Lee Byung Chull (pen name Ho-Am), the late

exceptional architecture of its buildings.

founder and chairman of the Samsung Group who collect-

Museum 1, which exhibits ancient art, express-

ed Korean cultural relics and art objects with much person-

es the enduring values of tradition and ancient artistic arti-

al dedication and attention to detail, laid the foundation for

facts. On the other hand, Museum 2 displays modem mt,

Leeum's collection. Lee Kun-Hee, cunent chairman of the

highlighted by sensory images related to today's technolo-

Samsung Group, and Hong Ra-Hee, museum director,

gy age and contemporary mt.

have continued to expand the collection in recent years. In

The Samsung Foundation of Culture opened the

keeping with the spirit of Lee Byung Chull, they have

Leeum Samsung Museum of Art on October 13, 2004, in

acquired important works that document the history of

Hannam-dong, central Seoul. Leeum is an exhibition

Korean art, in addition to being strongly committed to col-

venue that displays representative examples of traditional

lecting works of art from all over the world that exemplify

Korean art as well as the works of leading Korean and for-

the main cunents of modern art. As such, Leeum Samsung

eign modem artists in one place. It is destined to become a

Museum of Art boasts a collection that encompasses

preeminent mts center, where you can appreciate the finest

Korean mtworks from ancient times to the modern era, as

works of Korean art and also observe at a glance the

well as contemporary mt from Korea and other parts of the

notable trends of the world's modern and contemporary

world.

art, and even get a peek at future developments. The museum complex consists of three components,

Museum 1: Traditional Korean Art

each designed by a world-renowned m路chitect. Mario Botta

Including 36 pieces designated National Treasures

and Jean Nouvel designed Museum I and Museum 2,

and 96 pieces designated Treasures, Leeum's ancient mt

respectively, while Rem Koolhaas designed the Samsung

collection spans all of Korean history, from the Stone Age

Children's Education & Culture Center. The harmonious

to the Joseon Dynasty (1392-1910), with representative

integration of the three buildings, each reflecting the indi-

items from each major period. All the critical works neces-

vidual personalities of the designers, is itself a masterful

sm路y to appreciate the essence of Korean mt are on display:

work of mt. As such, visitors can expe1ience an exquisite

the world -renowned Korean ceramics , from Goryeo

architectural artwork that brings together not just the past

celadon to J oseon buncheong and white porcelain ;

and the present, but the future as well.

Buddhist mt, in pa1ticular Goryeo Buddhist sculpture and painting, which reveal the sublimation of Korean artistic

Exhibits and Displays Since its founding in 1965, the Samsung Foundation of Culture has played a pivotal role in the development of

sensibilities through religion; vm路ious types of metal work, featuring consummate craftsmanship; and representative examples of Joseon painting and calligraphy.

Korea's art and culture. As evidenced by the opening of

The stately, castle-like appearance of Museum 1,

the Ho-Am Art Museum in 1982, followed by the Ho-Am

whose exterior is covered with terra-cotta brick, as a

Art Gallery in 1984, and the Rodin Gallery in 1999, no

metaphor for Korean pottery, was designed by Mario Botta

efforts have been spm路ed in its commitment to make mt and

to complement the collection of ancient mt housed therein.

culture more accessible to the Korean people through

The 120 items on pe1manent display include such master-

high-quality exhibitions and educational programs. The

pieces of Korean art as National Treasure No. 133, a

foundation also plays an instrumental role in the preserva-

celadon wine pot in the shape of a gourd with lotus design

tion of Korean cultural prope1ties through its Conservation

in inlaid copper, National Treasure No. 219, a blue and

Institute of Cultural Properties.

white porcelain jar with plum and bamboo designs, and

The name Leeum was coined by combining the sur38

Korean a I Winter 2004

National Treasure No. 213, a gilt-bronze pagoda.

Architect Mario Botta used terra-cotta brick for the exterior of Museum 1 to create a stately structure, in which the museum's ancient artifacts are exhibited. 2 Rusted stainless steel, a newly developed material, was utilized by architect Jean Nouvel for the exterior of Museum 2 to symbolize the influences of modern technology on contemporary art. 3 Architect Rem Koolhaas used black concrete for the Samsung Children's Education & Culture Center to create a futuristic architectural space that seems to be suspended in the air.

Winter 2004 I Koreana

1 The distinctive lobby of Museum 1 is connected to all the exhibition spaces of the leeum. 2 The rotunda, which is gently tapered like a funnel, distributes a soothing, natural light throughout the building, reaching even the basement-levellobby entrance. 3 Museum 1 exhibits representative relics and artifacts that capture the entire history of Korean art at a glance. 4 To accommodate the display of a diverse variety of modern art of all shapes and sizes, the exhibition space of Museum 2 is completely open, without structural columns.

Museum 2: The World of Modern Art

porated modern techniques; Lee Joong-sup, who adopted

Leeum's collection of modern Korean art features

Western painting techniques but was beloved for express-

representative works from every period since the onset of

ing deep-rooted Korean sentiments; Park Soo-Keun; and

modernization around 1910. The collection is centered

Chang Uc-chin. It also includes characteristic works by

around the works of Lee Sang-beom and Byun Kwan-sik,

artists who spearheaded the globalization of Korean art,

who maintained traditional painting styles but also incor-

such as Kim Whanld, Paik Nam June, and Lee Ufan, as

Koreana I Winter 2004

well as younger artists such as Suh Do-ho and Lee Bul, who have more recently made their mark on the global art scene.

Leeum's Exceptional Architectural Design Through collaborative eff01ts, the project's three highly reputed architects were able to express the mtistic diver-

Leeum's collection of international modem mt, which

sity that Leeum seeks to embrace. From the architecture of

is focused mainly on post-1945 creations, includes repre-

Rem Koolhaas, which is responsive to Seoul's unique

sentative works of celebrated figures of the abstract art

urban environment and seeks to integrate the museum into

movement, such as Mark Rothko, Frank Stella, Donald

the urban fabric, to the architectural emphasis of Jean

Judd, and David Smith, along with the works of notable

Nouvel that strives to create visual interaction between the

trailblazers of modern Western art, such as Joseph Beuys

surrounding landscape and the mtifacts on display, and the

and Andy Warhol. Moreover, by acquiring the most recent

design elements of Mario Botta, which transfonn internal

creations of pace-setting contemporary artists, such as

space into the focal point and icon of the entire complex,

Matthew Barney and Damien Hirst, Leeum is clearly com-

the three distinct roles of the architects are harmoniously

mitted to having the latest artistic trends on display for its

integrated into a greater whole.

visitors.

The ancient art exhibition space of Museum 1,

In Jean Nouvel's design of Museum 2, box-shaped

exhibition spaces made of steel and glass are freely laid

art exhibition m·ea of Museum 2, designed by the French

out for the display of about 60 works that will be rotated

architect Jean Nouvel, occupy a combined floor area of

on a six-month basis. In the future, the museum plans to

15,000 square meters, situated on a site of 4,000 square

exhibit various modern Korean works that preserve

meters. The Samsung Children's Education & Culture

Korea's artistic traditions while also being attuned to glob-

Center, designed by the Dutch architect Rem Koolhaas,

al influences, together with representative pieces by mod-

which includes another 15,000 square meters of floor

em Western mtists.

space on five levels, houses facilities for culture-related education programs and activities for children.

Black Box Gallery: Temporary Exhibitions

Through the use of diverse materials and innovative

Leeum intends to stage three to four temporary exhi-

techniques, each building bears the unmistakable imprint

bitions annually, including exhibitions that offer new

of the designer's personality. The terra-cotta tiles used by

interpretations and perspectives of traditional and modem

Mario Botta symbolize earth and fire, the basic elements

Korean art and international contemporary art, special

of Korea's world-renowned ceramic art, while also high-

exhibitions of anc ient and modern art, various theme

lighting the stateliness of the Museum of Traditional Art

exhibitions, and exchange exhibitions with foreign muse-

(Museum 1). As for Museum 2, Jean Nouvel selected

ums.

rusted stainless steel, a newly developed material used As part of the museum's opening, the first exhibition

here for the first time ever, to express the influences of

to be held at the Black Box, which is situated within the

modern technology on contemporary art. Through a

Samsung Children's Education & Culture Center designed

spontaneous distribution of visitors, his floor layout cre-

by Rem Koolhaas, presents the architectural language and

ates a new way for viewers to experience the museum

mtistic realm of the three architects who designed Leeum.

exhibition area. Rem Koolhaas also used a new material,

Entitled "Muse-Um?: Companionship of Plurality," this

called black concrete, to form a futuristic architectural

exhibition runs from October 15, 2004 through April 9,

space that seems to be suspended in the air. His architec-

2005. In 2005, individual exhibitions are slated to feature

tural aesthetics are manifested without self-expression

the works of Lee Joong-sup, a favorite mtist of Koreans,

but rather sublimation that suggests the ideals of a har-

and Matthew Barney, who has sparked considerable debate

monious urban setting through a unique internal flow of

m·mmd the world.

visitors. L;.t Winter 2004 I Koreana

INTERVIEW

50th Anniversary of Korea's UNESCO Commission Enhancing Korea's Standing in the International Community

â&#x20AC;˘ KI m

e r su _

Secretary-General, Korean National Commission for UNESCO

The Korean National Commission for UNESCO (KNCU), which has played an instrumental role in helping Korea secure its place as a member of international society, is celebrating its 50th anniversary. As a reflection of the impressive development of Korean society, the activities of the Commission have also changed much over the years. By looking back at the road it has traveled, we can also look ahead to see where it is heading. Lee Seon-min Assistant Editor, The Chosun 1/bo his year, the Korean National Commission

KNCU until January 30, 1954.

for UNESCO is celebrat-

KNCU. As a government-affiliated

Koreana: You must have been

ing the 50th anniversary

organization, Korea's minister of

especially busy with various activi-

of its founding. When UNESCO

education serves as the commission's

ties to commemorate the 50th

(United

Educational,

chairman, in accordance with KNCU

anniversary of KNCU. Could you

Scientific, and Cultural Commission)

administrative procedures. However,

please describe some of the high-

was established in November 1945,

the KNCU Secretary-General, who

lights?

its members were primarily North

oversees the day-to-day operations of

Kim: First, we held a commem-

American and European countries. In

the organization, is selected by pri-

orative ceremony in late January.

the aftermath of the immense devas-

vate sector representatives, not

Furthermore, we published a book on

tation of two consecutive world wars,

appointed by the government. Kim

the 50-year history of KNCU as well

UNESCO was founded for the pur-

Yer-su, a longtime professor and phi-

as the Anthology of Korean Studies, a

pose of maintaining global peace

losophy scholar, was appointed as

compilation book series of articles

through the promotion of mutual

Director of Philosophy and Ethics at

that were originally featured in our

understanding and cooperation

the UNESCO headquarters in 1995,

Korea Journal, the academic journal

between countries. Although Korea

and then was designated Secretary-

published by KNCU. Then in July,

became the 55th member of

General of KNCU in November

UNESCO

UNESCO in June 1950, the outbreak

2000. On the occasion of KNCU's

Matsuura Koichiro, together with the

of the Korean War later that month

50th anniversary, we recently sat

Secretary-Generals of the UNESCO

delayed the formal establishment of

down with Professor Kim on October

Commissions of other northeast

Nations

42 Korean a I Winter 20 04

A secretary -general heads

6, who concludes his tenn in office in October 2004.

Secretary-General

Winte r 2004 I Korean a

The remarkable development of the Korean economy in the latter half of the 1970s enabled the Korean National Commission for UNESCO to emerge as a global player, with the means to reach out to other countries. Moreover, with the Cold War confrontation preventing Korea from playing a normal role on the international stage, KNCU served as a vital intermediary, helping Korea to be recognized as a forthright member of the global community.

Asian countries, visited Korea, and

tiona} activities, we often played an

creation of a regional community.

the Children's Performing Arts

intermediary role to help Korea par-

Finally, with internal and external

Festival of East Asia was also staged.

ticipate in the global arena. From the

conditions having undergone such

In early August, in conjunction with

1990s, we devoted ourselves more

tremendous change, I have also

the UNESCO headquarters, we host-

fully to our fundamental goals of

focused on streamlining our manage-

ed a session of the "2 1st Century

facilitating international exchange in

ment operations, in order to improve

Talks" on the theme "Building

the fields of culture, education, and

overall efficiency.

Knowledge Societies," which

in~ludÂ

science, while also promoting the

Koreana: Being that Korean

ed the participation of prominent

introduction of Korean culture to the

society has evolved dramatically over

scholars from all over the world.

world.

the past 50 years, both in qualitative

Koreana: KNCU has made

Koreana: As the first secretary-

considerable contributions to Korean

general of the 21st century, you must

society over the past 50 years. Could

have been faced with diverse

you comment briefly on how your

demands and competing interests. So

major activities have evolved during

what priorities did you strive to

this period?

emphasize during your tenure?

Kim: The period from our

Kim: When I first took office,

founding to the 1970s was dominated

the question of how the KNCU's role

by reconstruction efforts following

should be adjusted in the post-Cold

the Korean War and the country's

War era amid increasing globaliza-

modernization, so we actively partic-

tion was my biggest concern. Many

ipated in these national endeavors.

countries were faced with the ques-

Our primary task involved effmts to

tion of how to reconcile modern cul-

distribute the various assistance and

tural influences with their own

advanced knowledge we received

national identity, and I sought to find

from the UNESCO headquarters to

an answer to this problem within the

Korean society, while also focusing

context of Korean society. In other

on the education of our youth. From

words, it was a matter of searching

the second half of the 1970s, thanks

for universal human values within

to Korea's rapid economic growth,

cultural diversity. And, at a time

we gradually built up our organiza-

when Asian civilization is gaining

tion to a level from which we could

momentum, I dedicated my energy to

now help out other countries. Also,

breaking the cycle of lingering dis-

during the Cold War era, when it was

trust and conflict among Northeast

difficult to engage in normal intema-

Asian countries by pushing for the

44 Koreana I Winter 2004

The Anthology of Korean Studies is a compilation of articles originally featured in Korea Journal, an English-language academic journal published by KNCU(top). Published to commemorate the KNCU's 50th anniversary, this volume chronicles the history and activities ofthe Commission since 1950, when Korea became a member of UNESCO (bottom).

and quantitative terms, it seems that KNCU too is now faced with the need to be more focused and selective in its activities. What are some of the areas that KNCU will be emphasizing in the future? Kim: The first thing that I

would single out is lifelong education. With so many developments in knowledge and the rapid aging of our population, education has to continue after your school years, but in this regard our country is lagging far

The 50th Anniversary Ceremony of KNCU, held on January 29, 2004

behind. Second, our cultural heritage

have been brewing between Korea,

programs need to be strengthened.

China, and

are casting doubt

Korea and Korean culture to the

Until now, we put all our efforts into

over the feasibility of this endeavor.

world. In the future, what can we

getting Korean cultural heritage

How do you think the UNESCO

expect to see in this regard?

included on the UNESCO world her-

commissions of these regional coun-

itage list, which have yielded impres-

tries can help to further this goal?

Jap~,

ing an active role in introducing

Kim: Recently, Haeinsa Temple,

which houses the Tripitaka Koreana

sive results. Now, it is time to help

Kim: In the past half century,

woodblocks, one of our world cultur-

North Korea preserve and make

Europe, that until the end of World

al heritage treasures, and Lorsch

known its cultural heritage to the

War II was rife with nationalism, has

Abbey of Germany, another world

world. Third, I think that in the devel-

been committed to a unification

cultural heritage site, have signed a

opment of theories on cultural diver-

process in which the authority of

pmtnership agreement. Also, by orga-

sity and the search for common

individual states has been ceded and

nizing a comparative exhibition in

human values, Korea has a unique

a pan-national region has emerged. In

Germany of the world's oldest book

voice in that it occupies an "interme-

Northeast Asia too, as China devel-

printed

diary" position, in between devel-

ops further and the regional

Jikjisimcheyojeol, and the Gutenberg

oped and developing nations. Finally,

with

movable

type,

economies reach a similar level, I

Bible, UNESCO has been highly

we are also involved with defining

expect that the raw nationalism that is

successful in heightening awareness

the parameters for scientific fields

evident now will be noticeably miti-

and knowledge about Korea. And

that are now the subject of keen

gated. Because the UNESCO com-

with Korea being designated a guest

attention, such as the environment

missions of China and Japan are gov-

of honor at next year's Frankfurt

and biotechnology ethics. In this

ernment institutions, it will be diffi-

Book Fair, we are working with rele-

regard, we are disseminating in

cult for them to take part in the joint

vant institutions to take this opportu-

Korea the latest information on these

compilation of history textbooks.

nity to upgrade the profile of Korean

subjects from advanced countries.

However, steady expasion of educa-

culture. Instead of being obsessed

Koreana: Of course, everyone

tional and cultural exchanges

with "introducing Korean culture to

can agree on the importance of creat-

between these countries will con-

the world," we now should strive to

ing a Northeast Asian community.

tribute much to boosting mutual

organize diverse programs that can

However, the recent controversies

understanding and reducing tension.

satisfy the heigthened expectations

over ancient history issues, which

Koreana: KNCU is now play-

for Korea's cultural heritage.

Winter 2004 I Koreana

ARTISAN

Hong Jung-sil Silver Inlay Master and Creator of Heartfelt Artwork Metal inlay is a traditional handicraft technique used to embellish metalware items with decorative patterns. To learn about the detailed process and artistic dedication required for the creation of these graceful designs, there is no better source than Hong Jung-sil, a true master of the craft of traditional metal inlay. Ryu Min Freelance Writer Oh Jong-eun Photographer

Jewelry Box

Gold, silver, jade, steel, and wood

Koreana I Winter 2004

eta! is cold but attractive, straightforward but unyield-

ucts. It is like embroidering with

under weeping willows), were crafted

metal. It is a delicate process that

onto incense burners, braziers, tobac-

pro~uces

a beautiful finish," says

co cases, clasps, and stationery items,

Hong. To Hong, metal inlay is the

which were always kept close at hand

times, metal items have been highly

true essence of metal handicraft.

and appreciated for their refined

valued and thus decorated with beau-

With fine threads of gold, silver, or

appearance.

tiful and meaningful designs. As a

copper, elegant designs are "embroi-

"Another unique feature of

result of this inclination to decorate

dered" onto implements made of iron

Korean metal inlay is that silver was

metalworks, the art of silver inlay

or bronze, creating special works of

the most common material. Though

was developed. Hong Jung-sil, desig-

art.

gold was rarer, silver was the pre-

ing. From ancient

ferred choice. To borrow the words

nated Important Intangible Cultural Property No. 78, is a master of metal inlay who is carrying on the tradition

Crafting Graceful Lines

Japanese

scholar,

Yanagi

Examples of metal inlay can be

Muneyoshi, who specialized in folk

found in artifacts dating back to the

craft, 'It is the beauty of concealing

"Metal inlay is the art of embed-

Iron Age. During the Goryeo

the light inside."'

ding fine threads of silver or other

Dynasty (918-1392) and the Joseon

Silver is rather plain by itself but

metal onto the surface of metal prod-

Dynasty (1392-1910), it was devel-

radiates brilliance when combined

oped into a brilliant art form, repre-

with other materials. It has a subtle

senting the epitome of metal craft. Of

elegance that endures over time ,

course, metal decoration is not

rather than something fancy that can

unique to Korea as similar metal-

quickly fade. These qualities of silver

inlay techniques can be found

appeal to the inherent nature of the

throughout the world. Still,

Korean people, which is why silver

Korean metal inlay is unique

was most commonly used for metal

for its emphasis on the "att of

inlay work. Therefore, metal inlay, or

lines." The designs made with

ipsa in Korean, is generally under-

lines of a consistent width are

stood to mean silver inlay.

of this ancient craft.

simple yet artistic, basic yet whimsical. Designs expressing wishes for good fortune and

The age-old tradition of metal

prosperity, health and longevi-

inlay was in danger of being forever

ty, abundance and fertility, or

lost in modern times. In the turmoil

images of the ten symbols of

that ensued as the old was replaced

longevity (including birds and

by the new, this art was essentially

flowers, grass and insects, and land-

forgotten. And even though Hong

scape scenes with ducks in a stream

majored in metal craft, she would not

Traces of Time

Gold, silver, bronze, and lacquer

48 Koreana I Winter 2004

Preserving the Tradition

have become an inlay artist if not for

only metal inlay techniques but also

the fickle finger of fate.

the unwavering spirit and pride

One fateful incident was her dis-

~ ~

required of an artist.

covery of a traditional metal inlay

"I learned that metal inlay could

work in the antique district of Insa-

not be done if the hands did not fol-

dong in the early 1970s. "It was love

low the heart. I also realized that

at first sight," Hong recalls. "The sil-

although I was learning a traditional

ver thread embroidery of the old

art I would have to develop it to fit

metal artifact seemed to reveal the

modem times," Hong notes.

purity of the artist's heart and spirit. I

For Hong, it is important to clar-

was spellbound by the beauty and

ify the definition of ipsa. There are

started to ask around about learning

two main ipsa techniques. The first,

metal inlay. But I was surprised to

called kkium-ipsa, involves incising a

find that it was a disappearing art. In

decorative design onto the surface of

a book, Human Cultural Treasures,

a metal object using a burin, apd

that I had come across by chance, it

inlaying the threads of silver into the

said that 'traditional metal inlay is no

incisions. This technique was widely

longer practiced,' which bothered me

used during the Goryeo Dynasty.

so much I couldn't sleep that night."

Because Goryeo had adopted

Then some five years later she

Buddhism as its official religion and

met Lee Hak-eung, the last surviving

ideology, the metalworks that were

certified craftsman of the royal

produced primarily included bronze

Perfume Container

Gold, silver, jade, steel, and lacquer

palace. Lee, who was 78 at the time, had given up making metal inlay works ten years earlier. So when a young woman bowed deeply before him and asked to be accepted as his apprentice, he could not take her seriously. "Why do you want to learn this? It is a difficult road paved with poverty," Lee had said. But eventually he relented and took Hong on as his student. Lee would be up early and started work at 8 o'clock every morning, without fail. From her elderly teacher, Hong learned not Pitcher with Plum and Bamboo Design

Gold, silver, bronze, steel, and lacquer

Winter 2004 I Korean a

Buddhist implements, such as

mered into the incisions. This is the

Those parts of the surface not

incense burners, incense cases, and

technique that Hong learned and

inlaid with silver thread are colored

kundikas. During the subsequent

applies in her works today. The sur-

black, using traditional techniques, or

Joseon Dynasty, Buddhism was sup-

face has to be engraved four times,

left unfinished to emphasize the nat-

pressed

each time in a different direction,

ural color and texture of the metal.

Confucianism. The production of

which calls for painstaking patience

The black background surface con-

bronze Buddhist implements thus

and perseverance.

trasts with the sheen of the silver

and

supplanted

diminished, while large quantities of

"The design is made by ham-

thread and highlights its brilliance.

ironware items were supplied to the

mering silver thread of 0.25 millime-

In the past, the soot of burnt pine was

royal palace and the homes of the

ters in width onto the engraved sur-

mixed with vegetable oil to make the

elite class. Since the major material

face. Sometimes the design follows a

black coloring, but these days pow-

for metalworks was now iron instead

base drawing and other times the pat-

dered graphite is used. After applying

of bronze, it was necessary for the

tern is improvised, wherever the hand

the black coloring, the surface is

metal inlay techniques to be adjusted

leads. Sometimes much of the sur-

rubbed with vegetable oil and then

accordingly.

face is left unadorned to create a sub-

polished to a lustrous finish.

This led to a second technique,

lime finish, or the entire surface can

"It is beauty created with a sin-

jjoum-ipsa, in which the entire sur-

be filled with inscriptions and images

gle thin line. If you look at old metal

face of a metal item is uniformly

of cranes, deer, flowers , and other

inlaid works you can feel the spitit of

incised and then silver thread ham-

objects," explained Hong.

the artists who made them. I sometimes feel like I can communicate with them."

Artworks from the Heart Hong's greatest concern is the maintenance of the traditions of this mt that requires the dedication of all

the heart and soul of artists. For the mt of metal inlay, which embarked in

a new direction due to the transition from GmÂˇyeo to Joseon, it is now time to consider how it can be developed and canied on in modern times. In line with this, Hong has established the Gilgeum Handicraft Gold and silver thread, the primary materials used for metal inlay, and the specialized implements for performing the intricately detailed work.

Research Institute and presents lectures at universities. Her works,

Korean a I Winter 2004

a to r 1ft twlicdte ~ I'> " rk tor over 30 years, ) drt Âˇs crf'ated with the

which can be found at the British Museum, Vienna Folk Museum in Austria, and National Museum of History in Taiwan, combine the traditional and the contemporary in natural ways. Hong is also striving to promote awareness about Korean metal inlay to the rest of the world. To confirm the unique characteristics of this Korean art form, Hong has visited the United States, China, India, Spain and other countries, to contemplate the issue of Korean-style aesthetics. "I want to make Korean-style beauty known to the world. I want people to exclaim: 'So this is what Korea is about. This is the beauty of Korean silver inlay."' Hong's career as a metal inlay artist now extends over more than 30 years. Like the ups and downs of one's journey of life, Hong has at times been so physically and mentally exhausted that she has regretted her occupational choice. But at these times she finds solace in the words of her old teacher: "Works of art are made with the hemt, not with th e hands." This thought never fails to inspire and re-energize her. For Hong, she believes it is the artist's job to create works that can strike a chord in the hearts and minds of others. L;t

1 Sandpaper is used to smooth the surface of the item to be decorated

2 3 4 5 6 7 8

The surface is evenly textured with a rod-shaped burin The outline of a pattern is laid on the surface and the design engraved Metal thread is hammered into the engraved surface to highlight the design The inlaid design is secured in place with a bone The surface and inlaid design are heat-treated Charcoal is rubbed over the surface The design is scraped with a sharp-edged burin to bring out its luster

Winter 2004 I Koreana

he city of Taebaek was established in 1981 upon

from Mt. Baekdusan in the north to

able to vividly experience the sensa-

Mt. Jirisan in the south, produces an

tions of being deep inside a coal

the merger of the two

offshoot branch known as Nakdong-

mine. The memorial tower was erect-

coal mining towns of

jeongmaek. The Pijae area of Mae-

ed in 1975 in memory of the 1,703

Jangseong-eup and Hwangji-eup in

bongsan is the watershed for three

mineworkers who died in mining

Samcheok-gun. The city's name

major streams: Namhangang, Nak-

accidents in Taebaek over the years.

means "great brightness," while its

donggang, and Osipcheon. Though

landmark symbol is the majestic Mt.

level land is scarce, there are some

Taebaeksan. In this high-altitude city,

rolling rully areas that are suitable for

where children in school used to

farming .

Keeping Alive Ancient Rites In ancient times, Taebaek was a tribal state affiliated with Jinhan dur-

paint pictures of streams with dark-

Commercial coal mining in

ing the Three Han States petiod, and

colored water due to the pollution of

Taebaek got underway in 1933. At

part of Samcheok during the Siljik

the mining operations, summer is

one time, Taebaek was the country's

period. In the 23rd year of the reign

cool and winter arrives early. The

No. 1 coal producer, accounting for

of King Pasa of the Silla Kingdom, it

temperature averages about 11.2 oc

some 30 percent of Korea's overall

became part of Silla tetritory, and in

year-round, with temperatures rang-

coal production, thus playing a key

469 it was within the territory of

ing from -3.1 Â°C in January to l8Â°C in

role in national development. But as

Goguryeo , ruled by King Jangsu.

August, making the area a delightful

a result of the coal industry's ratio-

Silla regained this area in 505, in the

respite from the summer heat. The

nalization efforts that were imple-

sixth year of the reign of King

average annual rainfall amounts to

mented in 1989, a majority of the

Jijeung.

1,019 millimeters, while the climate

mines, which numbered about 50 at

Traditionally, the Taebaeksan

is a combination of the weather of

their peak, were closed down, with

region has been considered the home

cool, elevated inland areas and that of

only a handful remaining in opera-

of Korea's indigenous religion. On

mountainous areas.

tion. This led to a drastic decline in

the slopes of Yeongbong peak, there

the resident population, along with

is Cheonjedan altar, where memorial

seriously depressing the local econo-

rites in honor of Dangun, the leg-

Taebaek, known as Korea's pre-

my. But with government support,

endary founder of Korea, have been

mier alpine city, is a mountain-climb-

since 1996 Taebaek has been hard at

conducted since the time of Old

ing paradise with a number of peaks

work developing itself into a tourism,

Jose'o n , the nation that Dangun

reaching over 1,000 meters in height

recreation, and leisure resort, cen-

founded, as well as five caves that are

in the nearby vicinity. These peaks

tered around its natural resources.

sacred to shamans. The first rite to

Alpine Resort

include Baekbyeongsan (1 ,259m)

Vestiges of Taebaek' s mining

heaven during the reign of King

and Yeonhwabong (1 ,053m) to the

town rustory can be seen at the Coal

Ilseong of Silla was performed at

east, Hambaeksan (I ,57 3m) to the

Museum and the memorial tower

Cheonjedan in 138, some 230 years

west, Taebaeksan (1 ,567m) and

dedicated to those who died in min-

before the introduction of Buddhism

Janggunbong (1,56lm) to the south,

ing accidents. The Coal Museum,

to Korea in 372. During the Goryeo

Daedeoksan (1 ,307m) and Maebong-

which opened in 1997, displays a col-

and Joseon periods, the rite was per-

san (I ,303m) to the north, and the

lection of some 8,000 items, includ-

formed by area residents and the

centrally located

Yeonhwasan

ing rock and mineral specimens, fos-

local governor, while in the late

(1 ,17lm). At Maebongsan, Baekdu-

sils, and mining equipment, in four

Joseon Dynasty, according to legend,

daegan mountain ridge, wruch forms

floors of exhibitions. With a special-

the General Sin Dol-seok offered a

the backbone of Korea that extends

effects simulation system, visitors are

white horse as a ritual sacrifice. Tills

Korean a I Winter 2004

Aerial view of the city of Taebaek, Korea's best-known alpine city

Now deserted stores and houses belie its past, when Cheoram was the country's largest mining community at the peak of Korea's coal mining industry (left). Until the late 1980s, Taebaek was the country's leading mining area, accounting for some 30 percent of the coal production nationwide. Exhibits of Taebaek's mining history are on display at the Coal Museum (right). Âˇ

Winter 2004 I Korean a

Taebaek can be rightfully called the source of Korea's rivers. The Hangang River, which for tong has served as the lifeline of Seoul, as well as the Nakdonggang River, the primary water source for the Gyeongsang-do provinces, originate at Taebaeksan.

Gumuso, whose name means "a rock face with an opening over water," is an arch-shaped limestone cavern about 20m high, 30m wide, and 20m long (left). Hwangji, in the center of Taebaek, is the origin of the Nakdonggang River, one of the four longest rivers in Korea (right).

ancient rite, which has been passed

sites devoted to shamanic worship.

Danjong may have been a king, but

down through the years, is enacted

As such, no suitable location could

still no commemorative monument

annually on October 3, National

be found for a Buddhist temple to be

could be built at the summit of

Foundation Day, in all its past glory.

built. As for Taebaeksan, Buddhism

Taebaeksan, which was reserved for

was an imported religion of sec-

heavenly rites. Accordingly, the

ondary significance.

pavilion is situated some 100 meters

Compared to other mountains in Korea, Taebaeksan is unique for its not having a major temple. During

Half way up to Cheonjedan is

Sill a, theÂˇ renowned monk Jajang-

Danjongbigak, a pavilion erected to

yulsa, after failing to find a propitious

commemorate Danjong, the sixth

site on Mt. Taebaeksan to build a

king of the Joseon Dynasty who

Taebaeksan has long been

temple to enshrine some of the

ascended to the throne when he was

known for its magnificent yew trees

remains of the Buddha, selected an

only 12. Danjong was later ousted by

(Taxis cuspidate) and snowy winter

area at the foot of Mt. Hambaeksan

his uncle Suyang-daegun (King Sejo)

scenery. From ancient times, it has

in Jeongseon. There was good reason

and exiled to Yeongwol in 1455,

been believed that, due to its vibrant

for this. At Janggunbong, the highest

where he was executed two years

reddish color, wood of the yew tree

point on Taebaeksan, there is the

later at the age of 17. It is said that

could scare off minor demons, and

Janggundan shrine to Dangun, while

Danjong appears as a mountain god

thus was a popular lumber for build-

Yeongbong, another peak, is the site

in the dreams of the people of

ing structures and various other pur-

of Cheonjedan altar. Moreover,

Yeongwol, Samcheok, and Bonghwa.

poses. Today, only some 3 ,900

throughout the surrounding valleys,

A memorial stone in honor of

mature yew trees remain, which are

there are caves , shrines and other

Danjong was erected in 1955.

each assigned a registration number

Korean a I Winter 2004

below the peak.

Source of Major Rivers

and carefully protected. The yew

scenes that are especially popular

Hangang ,

trees around Janggunbong, many of

with photographers and artists.

Osipcheon originate, it truly deserves

Nakdonggang,

and

which are hundreds of years old, cre-

With Taebaek being the area

to be called "the origin of rivers ."

ate breathtaking winter wonderland

where such major rivers as the

The water flowing from Hyeolli

Jagaemun, a manmade limestone cave, is a major entryway to the city ofTaebaek (left). Though as many as 50 coal mines were in operation in the Taebaek area in the past, most of them are now shut down. But the Cheoram area remains the home of the largest coal reserves in the country (right).

Cave is one of the four sources of the

water." The Chinese characters for

the nation, which was popular among

Nakdonggang River. Hyeom Cave is

"Gumuso" actually read "Gumunso."

the common people during the

a limestone cavern about I kilometer

Along side Gumuso is a manmade

Joseon Dynasty, it notes: "If you fol-

in length with an opening 3 meters

limestone cavern about 6 meters in

low the Nakdonggang upstream to its

high and 4 meters wide. Thousands

height, 4 meters in width, and 5

uppermost point, your way will be

of tons of fresh water flow out of the

meters in depth. Called Jagaemun,

blocked off and you can go no fur-

cave daily, which supplies the drink-

this cave, which serves as one of the

ther." This point is Gumuso.

ing water for the town of Taebaek.

major entryways to Taebaek city, was

Hwangjicheon, which originates in

Like a typical limestone cave, stalac-

excavated by the Japanese colonial

Hwangji, Taebaek, flows through

tites and stalagmites are found in

authorities when a coal mine was

Jagaemun

Hyeolli Cave.

being developed in J angseong in

Cheoramcheon before joining the

In Dongjeom-dong, Taebaek,

1937. The limestone in this area

Nakdonggang. Hwangjicheon valley

there is Gumuso, one of the "eight

appears to have been formed at least

narrows and steepens sharply at this

sights of Gumun." It is an arch-type

150 million years ago. Just above the

point, causing the currents to flow

limestone cave, about 20 meters high,

water level, "Gumunso Jagaemun" is

rapidly. But when the water reaches

30 meters wide, and 20 meters deep.

carved onto the rock face with large

Gumuso, its gentle flow is barely per-

"Gumu" is an old word meaning

lette1ing.

ceptible.

and

merges

with

"hole" or "cave," while "Gumuso"

In Jeonggamnok, an ancient

Gumunso was so named by

means a "rock face with a hole above

book used to foretell the fortunes of

believers in the prophecies of

Koreana I Winter 2004

limestone caves are found throughout the Taebaek area, including Yongyeon Cave that features a variety of intriguing stalactites (left). In recent years, much effort has gone into the development of Taebaek into an alpine resort (right).

Jeon ggamnok, who followed the

Taebaek, as the origin of the

Nakdonggang River. Originally called

water upstream in search of Utopia

Hangang River.

Haneulmot (heavenly pond), it is situ-

but were unable to proceed any fur-

Geomnyongso, situated at an

ated in the middle of the city of

ther because no passageway could be

altitude of 950 meters on the north-

Taebaek and the sunounding Hwangji

found (Gumun literally means that a

eastern slope of Geumdaebong, is a

village and township. Hwangji

door or opening is needed).

quintessential pool about 20 meters

includes an upper pool (circumfer-

in circumference, with an undeter-

ence: lOOm), middle pool (circumfer-

mined depth. About 5,000 tons of

ence: 50m) and lower pool (circum-

Geomnyongso, the source of the

underground water gushes through

ference : 30m), and produces about

Hangang River, is located at the foot

the limestone rock bed each day and

5,000 tons of water daily, which is

of Geumdaebong in Changjuk-dong,

then flows over a gradual 20-meter

used to supply Taebaek city. Hwangji

some 14 kilometers from the city of

waterfall. The constant flow of water

is recor ded as the source of the

Taebaek. This is where the Hangang

over the ages has carved out a chan-

Nakdonggang in several ancient texts,

starts its long 514-kilometer journey

nel in the rock bed of 1-1.5 meters in

including Donggukyeojiseungnam

to the sea. Previously, Utongsu on

depth, 1-2 meters in width, and some

(Augmented Survey of the Geography

Mt. Odaesan was believed to be the

20 meters in length, with twists and

of Korea) , Taengniji, and Cheokjuji.

origin of the Han gang, but a field sur-

turns like a writhing dragon . The

In times of drought, rites to pray for

vey conducted at Najeon-ri, where

water here is about 9Â°C all year-

rain were performed at Hwangji,

the Odaecheon and Changjukcheon

round, while the surrounding rocks

which was considered to be a sacred

merge, found an additional 32-kilo-

are blanketed in moss, creating a kind

pool of water. It was believed that

meter

of mystical aura. It was said that a

there would be rain and wind if

Changjukcheon. As a result, the

geomnyong, or spilitual dragon, lived

stones were cast into the water. t.;t

National Geographic Information

in this pool , hence the name

Institute has designated the base of

Geomnyongso.

Geomnyongso and Hwangji

upstream

segment

Geumdaebong, in Changjuk-dong,

Hwangji is the source of the Winter 2004 I Koreana

CUISINE

Dongchimi Radish Kimchi in Water

Dongchimi is said to taste best and enjoyed the most during winter. Not only is this watery type of kimchi especially refreshing, its preparation involves scientifically proven fermentation methods that enhance its savory taste and nutritional value. Yoon Sook-ja Director, Institute ofTraditional Korean Food Bae jae-hyung Photographer Lee Kyung Cuisine Consultant

ongchimi is a water-based kimchi that is a favorite among Koreans during winter. The origin of dongchimi is not very different from that of other kimchi, the salted and fermented vegetables that have been a part of the Korean diet since ancient times.

References to kimchi, or jeo (zu in Chinese) as it was once known, are found in the "Xiaoya" section of the Shijing, a collection of Chinese poems that was written some 3,000 years ago. The termjeo is not found in Korean literature predat-

ing the Three Kingdoms (1st century B.C.-A.D. 7th century) or United Silla (668-935) eras. However, in the Samguksagi (History of the Three Kingdoms) (1145), there are references to pickled vegetables being part of the diet of the people of Goguryeo (37 B.C.-A.D. 668). In addition, one of the items that King Sinmun (r. 681-692) of the Silla Kingdom sent as a wedding gift to his in-laws was hae. Since hae was used to mean pickled or fermented, as in eo/we (pickled fish), or jeohae (fermented vegetables), this reference to a gift of hae suggests that it was used as a general term for salted food items, or kimchi. Therefore, it can be inferred that fermented fish and vegetables have long been a basic Korean food, along with rice, wine, and soybean paste.

Pickled Vegetables around the World The first direct reference to kimchi can be found in the poem "Gapoyugyeong" of Donggugisanggukjip written by Yi Gyu-bo (1168-1241) during the middle period of the Goryeo Dynasty (918-1392). It reads: "Kimchi soaked in soy sauce should be eaten during the summer season, and salted kimchi is a great side dish during winter. The roots continue to grow underground. Cut the frosted roots and put them in your mouth. They taste like pear." In addition, there are also references to kimchi made with cucumber, eggplant, radish, green Winter 2004 I Koreana

Pickled vegetables are, of course, popular not only in Korea, but also in countries around the world. These pickled or fermented items can be grouped into brineand vinegar-based types. However, dongchimi is enjoyed for its full-flavored taste as well as the nutritious liquid that results from the fermentation process.

onion, mallow, and squash. In Eumsikjimibang, published in 1670, the methods for preparing different kinds of kimchi are introduced. Vegetables pickled with brine and vinegar can be found in other countries as well. China has paocai, vegetables such as cabbage and cucumbers pickled in brine or vinegar. In Japan, the general term used to refer to pickled vegetables is

tsukemono, which includes umeboshi, pickled plum, and takuan, salted yellow radish. The pickled foods found in the West usually consist of cucumbers or other vegetables and fruits steeped in vinegar. Sauerkraut, which is popular in Germany, consists of chopped cabbage in brine. Acar is the term used in Indonesia for a variety of fruits and vegetables, such as cucumber, onion, papaya, or pineapple, which are pickled in a mixture of water, vinegar, sugar, and salt. The Philippines also has a food of the same name, but it involves chopped papaya, onion, and garlic pickled in vinegar. Pickled vegetables can be separated into those pickled in brine and those fermented in vinegar. Dongchimi is considered to be a unique dish because not only do you eat the radish, but you also drink the nutritious liquid that is created during the fermentation process.

Scientific Fermentation Methods Dongchimi involves lactic acid fermentation and a maturing process. Potentially harmful microbes are neutralized as the concentration of lactic acid bacteria increases. The lactic acid bacteria converts the saccharine contained in vegetables into lactic acid, which produces the refreshing and sharp taste of the dongchimi liquid. Dongchimi is low in calories, high in dietary fiber, and helps to lower blood sugar and cholesterol. Therefore, dongchimi can help prevent and even treat common ailments such as diabetes, heart disease, and obesity. As dongchimi ferments, the liquid thickens and the radish acquires a zesty taste. When dongchimi is served, the radishes are cut into half-moon pieces or julienned. Like other types of kimchi, dongchimi tastes best when it is allowed to gradually mature at a cool temperature; thisÂˇ also helps to ensure that the liquid will remain clear. Dongchimi stored in crocks bmied in the ground can be eaten for a month. However, it should be eaten in ten days when stored at room temperature. Dongchimi goes well with spicy or salty dishes, and steamed sweet potato. Its zestfulness cleanses your palate, while the savory liquid makes dry foods easier to swallow. Back when homes were heated with coal briquettes, dongchimi was always kept on hand in case anyone experienced carbon monoxide poisoning from the gas emissions. Carbon monoxide, which was discharged as the coal briquettes burned, can readily absorb oxygen. Therefore, if someone should be overcome by carbon monoxide, his oxygen supply would be quickly depleted. Because of dongchimi's ability to replenish oxygen, it was administered to a person suffering from carbon monoxide poisoning to help them regain consciousness. 62

Koreana I Winter 2004

Preparing Dongchimi Ingredients - 10 Korean white radishes -240 grams of coarse salt - 5 Iiters of water - 140 grams of salt - 1 Korean pear - Half a pomegranate - 50 grams of small green onions - 500 gramsof leaf mustard - 25 grams of glue plant - 11 0 grams of garlic - 60 grams of ginger -50 grams of Korean green peppers - 5 red pappers Preparations 1. Select firm medium-size radishes . Remove the fine roots. Wash and drain. 2. Rub salt on the surface of the radishes . Place radishes in a crock and leave to sit for a day. 3. Wash the pear and make several holes into its flesh. 4. Salt the green onions, leave for a while, and then bundle together in twos or threes. 5. Wash the leaf-mustard and bundle in twos or threes. 6. Wash and cut the glue plant into pieces. 7. Soak the green peppers in brine for a few days. 8. Wrap the sliced garlic, ginger and scallion roots in a cloth sack. 9. Prepare the salt water for the dongchimi one day in advance. Allow the coarse salt to dissolve in the water. Process 1. Dry the salted green peppers thoroughly, otherwise a film can appear in the dongchimi liquid. 2. Place the radishes, pear, bundled green onions, and salted peppers in an earthenware crock with the sack of seasonings at the bottom. Weigh down everything with stones. 3. Pour the prepared salt water into the crock. Winter 2004 I Koreana

LIVING

Ki Training for Physical and Mental Development The traditional Korean discipline of ki (qi in Chinese) involves exercises related to movement, breathing, mental concentration, and the flow of ki (life energy) to reinforce the body's muscles, bones, and joints. In line with widespread interest in "well-being" trends, ki training has received renewed attention from many Koreans. Kim Geun Poet Jang June-ki Photographer

oga and "ki exercises" are no longer unfamil-

1960s. After its introduction by the

developed and popularized by Lee

Seon(Zen in Japanese)

monk

Seung-heun in 1997, has proven so

iar concepts in Korea.

Cheongsan, intellectuals and social

popular that it was named a "hit

Nowadays, the "well-

leaders led the way in continuously

product" by The Kyunghyang

being" craze that is sweeping through

spreading the word about kouksundo.

Shinmun and The Hankook Ilbo

Korea has led ever more Koreans to

The general public people began to

newspapers in 2002. Brain respira-

focus their attention on ki training as

undergo kouksundo training in the

tion, which has recently attracted

well as yoga. Yoga has become espe-

mid 1980s. Korea's Grand National

keen interest in Korea and abroad, is

cially popular among women, who

Party Chairperson Park Geun-hye,

a brain-exercising method of medita-

are increasingly concerned about

Dr. Hwang Woo-suk (renowned for

tion that uses concentration and men-

their physique and appearance.

his ground-breaking research in

tal imaging to infuse the brain with

However, it is true that many Korean

cloning human embryo stem cells),

clear, fresh ki, along with invigorat-

women think of yoga training, which

and novelist Song Ki-won are among

ing the circulation of energy within

seeks to achieve spiritual enlighten-

those who have long practiced kouk-

the brain.

ment through physical discipline,

sundo principles. In 2003, a

The dahnhak practices promoted

mainly as a means of developing an

Kouksundo Department was estab-

by Dahn World are rooted in tradi-

attractive figure.

lished at Youngdong University. A

tional Korean training methods that

traditional Korean discipline for

originate from the time of Dangun

training the body and mind, kouksun-

(2333-108 B.C.). Its essential princi-

Koreans have shown a keen

do was practiced by the Hwarang, a

ples are similar to kouksundo, differ-

interest in ki exercises since 2000.

storied group of youth warriors dur-

ing mostly in name.

Amid fast-growing interest in the

ing the Silla period (57 B.C.-A.D.

In addition to kouksundo and

mind, spirituality, and alternative

935), as well as Confucian scholars

dahnhak centers, other meditative

lifestyles, books like those by the

throughout the ages.

training groups are also gaining pop-

Surge of 'Well-being' Trends

ularity in Korea today. These include

Dalai Lama, Helen and Scott Nearing, and Thich Nhat Hanh have

Discipline for Body and Mind

Soosunjae, which strives to be a

carved out a notable niche in Korea's

Dahn World, which started out

"meditation specialty school that

publishing sector. Meanwhile, an

as Dahnhak Seonwon, was founded

offers not only courses in popular

increasing number of meditation

in 1985 by Lee Seung-heun, the cur-

meditation for physical and spiritual

groups have been formed, along with

rent director of the Korea Institute of

well-being, but also advanced cours-

heightened interest in ki training.

Brain Science. It has recently been

es for enlightenment within everyday

The first groups to promote ki

incorporated and changed its name to

life"; Kichunmun, that promotes

training were kouksundo and dahn-

Dahn World. Initially, it provided

dahnhak along with Dahn World;

hak. Kouksundo is promoted by such

dahnhak instruction to the Ministry

Taiji Qigung and transcendental med-

organizations as the International

of Defense and private businesses,

itation from China; and various for-

Kouksundo Federation, Kouksundo

and then in the 1990s it began to

eign groups, such as Avatar, Osho,

International Federation, and Korean

offer training to the general public as

Ananda Marga, and Raja Yoga.

Kouksundo, while dahnhak is a train-

well. Over 2 million people in some

ing method advocated by Dahn

400 areas around the world now

Exercises for Mental Development

World and Kichunmun.

practice the dahnhak methods taught

Ki is said to be the fundamental

The general public was first introduced to kouksundo in the late

by Dahn World. "Brain respiration," which was

element that makes up the entire universe. Those who practice ki exercisWinter 2004 I Korean a

Ki exercises are not just for physical conditioning, but a practice that contributes to mental development as well. The ultimate goal of l<i training is transformation of the mind and spirit so that enlightenment can be attained based on a sound physical state. es say that this training enables them

him to kouksundo and hypo-gastric

had learned. Thus, she says, she

to interact harmoniously with the

breathing, which at first he found to

experienced no real pain and was

laws of nature and become one with

be strange methods.

able to give birth to a beautiful baby.

the universe. That is, they believe

"For the first week or so, I just

Web designer Mun Kyeong-suk

that the true goal of ki training is to

tried to imitate the motions. As time

visits the Dahn World center in

improve your health and bolster your

went by, though, my body became

Samseong-dong, Seoul, everyday at

inner energy through proper bodily

more agile and supple. I felt stronger

lunchtime . "I've been training for

movement, transformation of the

as well. After kouksundo training,

three years, every day for 50 minutes.

mind and spirit based on a sound

my mind is clear and I feel refreshed

My body has become healthier and

physical condition, and attainment of

all day long."

my mind has opened up, but most

enlightenment. There are many

Lee Si-jeong, who gave birth in

impmtantly, I have developed a posi-

beginners who take up ki training to

1998, says that she did not stop kouk-

tive attitude and healthier lifestyle,"

develop a healthy and attractive body.

sundo training even after she got preg-

she says, while wiping perspiration

But as they continue to practice ki

nant. "At first, I was worried . I

from her forehead.

exercises, they come to realize that

couldn't strain my belly, you know. At

good health and looks are not to be

the training center, as I followed the

found in their external appearance

instructions, concentrating on my

With the explosive growth of

alone.

breathing and meditating, it occurred to

"well-being" indurstries, ki training

me: 'I am not raising this child alone;

and meditation in Korea have gone

heavenly forces are helping me."'

beyond popular trends, emerging as a

Office worker Kwon 0-jun first started kouksundo training during

Personal Dedication Required

college . His objectives were to

Lee Si-jeong says that during

commercial industry. Dahn World,

strengthen his body and increase his

delivery she concentrated on the

which strives to be known as a

concentration. A friend introduced

kouksundo breathing methods she

"health culture education enterprise," is rapidly opening up overseas

To accommodate the busy schedules of working people, one-hour training sessions are offered during noon-time and after-work hours.

branches and also seeking to attract foreign investment. Meanwhile, Soosunjae has launched its "Meditation Convenience Store," in an effmt to enable the general public to more easily take up meditation. Local governments are also moving rapidly to attract meditation centers and ki culture training facilities to their regions. However, there are also others who are rather skeptical of the optimistic outlook of those who claim that meditation can be developed into

a "cultural and spiritual industry. "

ty of "well-being" trends have con-

Introducing the World to Ki Training

Moreover, there is criticism that the

ttibuted to the recent growing interest

commercialization of ki training and

in ki training in Korea. They thus

meditation will lead to an abandon-

advise interested people to take care

ment of the original goals of these

and not be deceived by commercial

Kouksundo Training Centers Abroad Seattle, Washington (U.S.): 425-775-7882 New Jersey (U.S.): 201-346-4608 Los Angeles, Calif. (U.S.): 323-93 5-5590 Vancouver, Canada: 604-525-1130 Eindhoven, Netherlands: 40-262-0536

disciplines, while deceiving con-

promoters of ki training or meditative

sumers. They are also critical of the

yoga, but to seek out a group that

absurd and irrational arguments being

focuses in earnest on your physical

put forth in the pursuit of commercial

and mental development through

interests.

proper training methods.

Dahn World Meditation Centers Abroad Manhattan, New York (U.S.): 212-725-3262 Washington, D.C. (U.S.): 202-393-2440 Chicago, Illinois (U.S.): 773-539-4467 Vancouver, Canada: 604-988-7499 Tokyo, Japan: 81 -3-3358-2753 Sao Paulo, Brazil: 55-11-223-6460

Experts note that a desire for alternative lifestyles and the populari-

Basic Ki Exercises r t , ~ t H?lvw

lmprovrng Card1op<.~lmny While lying face down, grasp your shou lder area w ith both hands. First lift your head, then your throat, and each segment of your spinal column. Do not lift your abdomen off the floor. Slowly twist your upper body to the left and right, then bend your head backward and return to the original prone position.

Âˇp

Relax your shoulders and rise up on tiptoes, then kneel down with your toes still touching the ground, resting your body weight on your heels. .... Clasp you r hands together with fingers crossed, and push your hands downward, forward, and upward, and then bend your body to the left and right with your hands still raised. Push your clasped hands forward again, then twist your body to the left and right.

Rehevrng High Blood I o ean Extend your right leg in front of your body and raise your toes, then place your left foot above your right knee. .1 Take hold of your left ankle with your right hand, and make a fist with your left hand then strike the sole of your left foot about ten times. Repe?t this process for the right leg.

Winter 2004 I Korean a 67

...

ndol, also known as gudeul, is an innovative Korean heating system that integrates a

building's floor and heating structures. Korea's four distinct seasons include the

extremes of bitter-cold winters and sweltering summers. Consequently, Korean architecture has long included two types of rooms: ondol heated rooms and unheated wooden-floor rooms. For ondol rooms, a heating system is installed beneath the floor, which heats the entire room through a convection process. That is, the heated air from the floor rises up toward the ceiling, pushing the cool air there down toward

In the past, a furnace in the kitchen was used for cooking as well as the heated air that warmed the home through the system of flues.

the floor, where it is heated and then rises (convection cycle), thus warming the room. Moreover, the floor heats

also bumed. There are two types of fumaces: a direct fur-

the lower pmt of the body, yet the cooler air away from the

nace and a kitchen furnace. Since a direct furnace is

floor keeps the head cool, thereby creating a healthier inte-

intended to provide heat for a room, it was situated outside

rior for sleeping and living. In addition to its efficient oper-

the house at the center of the base of the shorter wall of the

ation, the floor heating system does not produce any emis-

room, for maximum efficiency.

sions in the room, a comfmtable humidity is maintained, and there is no risk of fire or health concems.

A kitchen furnace generates heat that is used for cooking and heating a room, thus serving two functions. A ledge was built over the furnace, from which cooking pots

Ondol System

would be suspended, such that the furnace generated heat

The ondol system consists of three major compo-

for cooking as well as heating air that was passed through

nents: a fumace where fuel is burnt to generate heat, flues

flues to heat the room adjoining the kitchen. It was typical

for the transmission of heated air and smoke, and a cllim-

for two or three furnaces to be installed in a kitchen so that

ney for the emission of smoke to the outside. For a tradi-

more than one cooking vessel could be accommodated.

tional ondol system, firewood was burned in the fumace.

Both the direct furnace and the kitchen furnace were

In fmÂˇming households, tree branches and grain stalks mÂˇe

generally made of mud and stone. For the houses of the

Traditional Ondol System

70 Korean a I Winter 2004

gentry, they were sometimes built with brick, whereas only

conduit is generally built underground. In addition to being

brick furnaces were found in the palaces. The fire in the

built with a variety of materials, such as wood, mud and

furnace is lit through an opening known as a "fire hole," to

stone, and brick (red and black), chimneys are also attrac-

which the flues are attached. Grooves are built in the foun-

tively designed and play an important role in the physical

dation, which serve as flues or conduits for the passage of

composition of the external space, or garden area, of tradi-

heated air and smoke. Flue covers and the flooring seal off

tional Korean architecture. The chimney was topped with a

the flues so that radiant heat is transmitted without any

house-shaped earthenware cover that allows the smoke to

emissions in the room.

escape through side vents. The thatched-roof homes of commoners used red earthenware chimney covers that

Function and Beauty

vented smoke through the sides of the chimney.

There are two types of chimneys for discharging

The representative freestanding chimney is Amisan

smoke into the air: an attached chimney, which is installed

Chimney, found behind Gyotaejeon Hall on the grounds of

onto the wall of a stmcture, and a freestanding chimney,

Gyeongbokgung Palace. It is hexagonal in shape, built of

which is separated from the structure. There are also

red brick, and decorated with a variety of designs. There

attached chimneys that are built on an outer wall of the

are several covers on top of the chimney, creating an

premises, rather than being connected with the building.

impressive appearance. The chimney behind Jagyeongjeon

The distance over which the smoke is transmitted to a free-

Hall of Gyeongbokgung Palace is built into the building's

standing chimney can be lengthy, such that the exhaust

exterior, and thus functions as both a chimney and wall.

Jagyeongjeon Hall of Gyeongbokgung Palace features a representative freestanding chimney, which is elaborately decorated and topped with a row of unique roof-shaped earthenware chimney covers.

Winter 2004 I Korean a

The surface of this long chimney is decorated with the ten

The design of ondol systems differs from region to

symbols of longevity, with a row of chimney covers sitting

region. In Hamgyeong-do province (in the northeastern

atop the structure, giving it a unique look.

region of present-day North Korea) , there was no wall between the kitchen and the adjoining room, while the cooking pot ledge was at the same level as the floor of the adjoining room, which allowed the use of a large-size furnace. The furnace mouth was also larger than those in other regions. On the other hand, the milder temperatures on Jejudo Island in the far south meant that kitchen furnaces were not built for heating, with the ledge for cooking pots being built on the opposite side from the furnace, so heat from the cooking did not pass into the adjoining room.

Development of Ondol As for the development of ondol, although its specific origin is not known, the oldest remains have been dated to the time of the Iron Age (300 B.C.-A.D. 1). L-shaped flues were found in two of the houses excavated at the Sejuk-ri site in Yeongbyeon-gun, Pyeongan-do province, as well as in the ruins of Seodun-dong, Suwon. The use of L-shaped flues was passed down to the Three Kingdoms period (57 B.C.-A.D. 668). The people of Goguryeo built L-shaped flues that ran along the eastern and northern walls, with the furnace being situated in the room at the southern end of the eastern flue, while the chimney was built outside the room at the western end of the northern flue. The L-shaped flues of Goguryeo are referred to as janggaeng (long tunnel) in China's Old History of Tang, and New History of Tang .

Straight-line flues were unearthed from house sites at Busosanseong Fortress, built during the Baekje period ( 18 B.C.-A.D. 660). This confirms that both L-shaped and straight flues were used during the Three Kingdoms periSmoke is emitted through chimney vents (top). The homes of commoners typically included cylindrical, red earthenware chimney covers (bottom).

Koreana I Winter 2004

od. However, since no flues have been found in the excavated remains of Silla (57 B.C.-A.D. 935), the kingdom

that reigned over the southern region of the Korean peninsula, it seems that ondol heating may not have been utilized in this area. Although no ondol remains have been discovered from the Unified Silla period (668-935), it is believed that the ondol heating system using the L-shaped flues of Goguryeo and Baekje was handed down from generation to generation throughout the Korean peninsula. During the Goryeo period (918-1392), flues covered the entire foundation area for heating the entire room. It is thought that this development occurred at least by the 13th century. The Goryeo-period rooms that had flues under the entire floor area were called uksil (hot rooms), and this term can be found in early Joseon-period records as well. The traditional ondol heating system, which was used during the Joseon era and Japanese colonial period, underwent notable change from the 1960s. In the 1960s, coal was used as fuel for ondol systems and the structure of the furnace was altered. Later, boilers began to be used to heat water that was circulated through pipes beneath the floor, and then electrical heating was also introduced. More

Freestanding chimneys would be ornately decorated and integrated as a visual element of the garden areas of Korean traditional homes.

recently, liquid petroleum gas became readily available for homes, along with large-scale regional heating systems

Korean doors and windows, which could create open or

also commencing operation. All residential housing, not

enclosed spaces, as desired.

only single-family homes, but tenement housing and apart-

The unique Korean method of ondol heating, espe-

ment complexes as well, had heating pipes installed under

cially the L-shaped flue system, had an influence on

the flooring, along with the systems being capable of cir-

Chinese architecture as well, leading to the construction of

culating heated air through a network of pipes.

kang in the Siheyuan (square courtyard houses) of Beijing. In these houses, straight, high flues were built into part of

Floor-oriented Lifestyle Ondol encouraged Koreans to sit on the floors of residential spaces. During ancient times, the L-shaped flue

the floor, which resulted in an elevated area. This smface was used as a sleeping area, with the furnace being located within the room, and the chimney built outside the room.

heating system created warm and cold areas in the room,

Ondol also led to the creation of panel heating (a sys-

so chairs would be placed in the cold spots, but since the

tem of panels containing electrical conductors or heated

mid-G01Âˇyeo period Koreans began to sit on the floor

pipes) by American architect Frank Lloyd Wright (1867-

exclusively. This floor-oriented lifestyle led to a diversifi-

1959). In 1916, Wright designed the Imperial Hotel in

cation of living spaces. That is, the women's room during

Tokyo. Fascinated by the ingenuity of Korean ondol heat-

the Joseon period was both the living space of the wife and

ing, Wright created a panel heating system based on ondol

an eating space, and at night a sleeping space.

principles. Also, although the Japanese like Korean ondol

Ondol rooms needed to be enclosed to maintain the warmth, whereas wooden-floored rooms called for open-

heating, this system could not be installed due to the fire hazard related to the country's frequent earthquakes. 1J.t

ness. This condition was satisfied by the innovative use of Winter 2004 I Koreana

MASTERPIECES

Brilliance of the Goryeo People Reflected in their Art and Piety Bronze Incense Container with Silver Inlaid Pattern

Kim Seung-hee Curator, Gyeongju National Museum Photographs: Leeum Samsung Museum of Art

he use of incense, which originated as pm.t of Indian culture to mask the odors of decomposition, was introduced to Korea along with Buddhism and became an essential element of Buddhist rituals. The dissipating incense smoke was like the disappem.Âˇance of em.thly pas-

sions and wanton thoughts, which Buddhism believed was at the root of all suf-

fering. For Buddhism, that advocates personal enlightenment rather than seeking salvation from an absolute being, or deity, there is no better metaphor for the transient nature of all things material than the smoke of incense, which appears momentarily, swirls about, and then vanishes without leaving a trace. "Buddha" is the common term used for all individuals who have already achieved enlightenment, with the Sakyamuni being the historical Buddha. Thus, ascetics must be respectful to those who have attained enlightenment and adhere to the various ascetic practices that their seniors had mastered. The practice of burning incense is a vital step in the traditional ascetic ritual during which participants worship the Buddha and seek enlightenment. During the Goryeo period (918-1392), most of the incense was imported from abroad, so it had to be stored with great care. Incense containers were thus designed to properly store 74 Korean a I Winter 2004

silver-inlay era. 12th century, at mouth: 18.3cm, 171, Leeum Samsung

The silver-inlay engraving of the sides of the incense container are exquisite and distinctive.

this revered item. The Bronze Incense Container with Silver Inlaid Flower, Vine, and Phoenix Patterns, National Treasure No.l71, vividly demonstrates just how meticulously the people of Goryeo cared for their incense. From the intricate elegance of the designs engraved onto this vessel, it can easily be imagined how much the owner cherished the incense stored within. This container is an example of the Goryeo-developed silver inlay techniques, in which a design was carved onto the surface and then inlaid with silver thread to highlight the image. The people of Goryeo developed unique inlay techniques in which different materials were incorporated into a design engraved onto the surface of a vessel, including metalware as well as ceramic items. Inlay techniques, including inlaid celadon, were a representative characteristic of Goryeo artworks. This incense container is an example of how these inlay techniques were applied to produce decorative designs of unrivaled brilliance and distinctiveness. At the upper center of the lid is a phoenix with wings spread wide, soming amid the clouds, within a border of round fembrake designs. Stylized flower blossoms face both inwmÂˇd and outward, which are connected by symmetrical yet free-flowing vine patterns. With the phoenix, an auspicious mythical crea76

Korean a I Winter 2004

The Goryeo artisans developed onique inlay techniques in which different materials were incorporated into a design engraved onto the surface of a vessel, including metalware as well as ceramic items. Goryeo inlaid celadon is a variation of these inlay techniques, which are a represen tative characteristic of Goryeo artworks.

ture, being a symbol of the king, the container is likely to have been used by the royal household. Encircling the phoenix, the fernbrake designs, propitious symbols that ward off disaster, provide a sharp contrast from the rhythmic flowerand-vine pattern, thus emphasizing the phoenix image in the center. The exquisite beauty of the engraved designs is the result of the special inlay techniques, which epitomize the consummate refinement of Gory eo society. The aesthetic excellence of the incense container is a reflection of the everyday lifestyle and culture of the people of Goryeo, who adhered to Latter Buddhism. With an emphasis on meditative sects and a belief that the performance of pious deeds for Buddha could mean a blessing in this life, Latter Buddhism intimately influenced the religious life of the Goryeo people. The superlative rutworks of the Goryeo period resulted from the effmts of the mling class and monks, who pursued a pious life in accordance with Latter Buddhism. Incense containers would be found next to the incense burners that stood in front of images of the Buddha so tpat incense would be close at hand whenever needed. The incense burner, National Treasure No. 214, Heungwangsa Temple Engraved Bronze Incense Burner with Silver Inlaid Dragon and Phoenix Design, which is said to match this incense container, is housed at the Leeum Srunsung Museum of Art. This incense burner, which was used in 1289 at Heungwangsa Temple in the Goryeo capital of Gaeseong, is very similar to the incense container (National Treasure No. 171), in terms of the design motifs and overall form. Currently, there is no way to confirm the actual relationship of the incense burner of Heungwangsa Temple and this incense container. Nevertheless, the dignified and elegant character of this container, like that of the Heungwangsa Temple incense burner, is thoroughly infused with the cultural sensibility of the people of the ancient Goryeo capital of Gaeseong.

Heungwangsa Temple Incense Burner with Silver Inlaid Dragon and Phoenix Design (1289, Height: 40.1cm, Diameter at mouth: 30cm, National Treasure No. 214, Leeum Samsung Museum of Art) is very similar in design motif and form to National Treasure No.171.

Winter 2004 I Korean a

Lee Ungno's "People" series manifested the development of techniques that he had studied and internalized during his entire art career. People, 1985,217 x 136cm, ink on Korean paper, Gana Art

78 Koreana I Winter 2004

ART REVIEW

Revisiting the Art of Lee Ungno on the Centennial of his Birth Painter Lee Ungno sought to bring together the East and the West as well as the traditional and the modern, while pursuing the modernization of Eastern art. To celebrate the 1ooth anniversary of his birth, the National Museum of Contemporary Art is presenting a retrospective exhibition from November 3, 2004 to February 13, 2005. Park Soo-jin Curator, National Museum of Contemporary Art Photographs: National Museum of Contemporary Art

opening of the UngnoLee Museum in 2000 and its

his exhibition is being held to commemorate the lOOth anniversary of the birth of master

Looking Back at the "Farewell Exhibition" after 42 Years,

painter Lee Ungno (pen name: Go Am; 1904-

which all arranged his works according to time period. Of

1989). Shrouded in political controversy and

note, none of these exhibitions offered an opportunity to

the subject of swirling rumors, Lee had been a difficult

systematically review his works from the earliest to the lat-

individual to approach; thus his body of works has not

est. The Centennial Celebration Exhibition is thus intended

received its proper recognition. Prior to his relocation to

to provide an overview of Lee's career as an artist. As

France in 1958, Lee was active enough to hold 15 private

such, it proclaims his status in the Korean art world and

exhibitions, but upon taking up residence in France (1958-

restores Lee to his rightful place, proving to the world that

1989) he held 50 exhibitions overseas and only 4 in Korea.

his ideological principles did little to diminish the signifi-

After his death, exhibitions of various scale have been

cance of his artistic endeavors.

presented to highlight his works. These have included the Ho-Am Art Museum Exhibition in 1989, the first posthumous exhibition of his works, and the lOth Anniversary

Process of Learning and Searching It is estimated that Lee Ungno created about 10,000

Posthumous Gana Art Exhibition in 1999, along with the

art works. In his final years, he concentrated so much on

Composition, 1968, 10 x 10 x 1.5cm, private collection. Engraving on ink stone was created during Lee's detention in prison.

Winter 2004 I Koreana

After 1935, Lee Ungno adopted a more realistic approach, while making efforts to modernize traditional painting. Chongseokjeong, 1941,76 x 144cm, watercolors on Korean paper, Jinhwarang Gallery, Busan

his art that his fingers became permanently fixed in a posi-

rutistic trends of the time, this was in line with his effmts

tion for holding his paintbrush. This exhibition, thanks to

to promote a new style of Eastern painting. Following

close cooperation between the National Museum of

national liberation, Lee discarded the influences of

Contemporary Art and the UngnoLee Museum, features a

Japanese mt and pursued new rutistic directions in order to

selection of about 150 of his representative works.

reinterpret tradition.

The exhibition is divided into four main sections, by

The second section of the centennial exhibition, with

theme. The first section, with the theme "Learning and

the theme "The Possibilities of the Brushstroke," displays

Searching," includes Lee's works from 1922, when he was

works from the time of Korea's national liberation (1945)

under the tutelage of Kim Gyu-jin, to 1945 when he

until the painter departed for France ( 1958), which are free

returned from his study in Japan around the time of

of realistic characterization, feature simplified forms, and

Korea's liberation from Japanese colonial rule. At the time

make efficient use of space. This new direction in Lee's

when Lee began his formal study of painting, the Korean

style is presumed to have resulted from the influences of

Fine Arts Exhibition, a government-run event held annual-

Abstract Expressionism and Art Informel, which were

ly from 1922 to 1944, greatly influenced the direction of

then in vogue in the West. However, in light of Lee's eru·ly

the Korean art world. To rut students, the Korean Fine Arts

background in literati painting, which was based on the

Exhibition was a key stepping-stone to artistic success,

style of a poet or scholm rather than that of a professional

providing ·a public venue for newcomers to display their

a.Jtist, it can also be seen as a process of internalizing the

talent. From 1924 to 1944, even while he was studying in

modern expressive consciousness of that time. The paint-

Japan, Lee regularly participated in this exhibition, which

ings Ocean Floor (1950), Pulsation ( 1952), and Mountain

served as an important stage for his rutistic development.

Village ( 1956) reveal a process during which his works

From 1922 to 1934, Lee studied the "four gentlemen"

became increasingly more abstract.

(the four primary subjects of literati painting: plum ,

Lee's Pulsation, whose free-flowing rhythmic lines

orchid, chrysanthemum, and bamboo) under Kim Gyu-jin,

are related to the freedom of the expressionist movement,

then Korea's most renowned calligrapher. When the Four

is compru·able to the works of Jackson Pollock. However,

Gentlemen Division of the Korean Fine Arts Exhibition

it is not mere abstraction, as it reflects the specific subject

was discontinued and integrated into the Eastern Painting

of nature, as seen in the tree vines that fill the canvas. In

Division, Lee went to Japan to study. Thereafter, he began

this way, Lee broadened the horizons of his rutistic realm.

to approach his subjects with added realism, reflecting the influences of Japanese art, which sought to modernize traditional painting. Though he adopted the contemporary 80

Koreana I Winter 2004

People Series: Freedom, Hope, Unification The third section, with the theme "Collages and

Letter Abstracts: Embodiment of Eastern-ism," includes

Korean paper, canvas, blankets, and cotton, along with

his collage works and unique Letter Abstract series begin-

introducing a restrained monochrome. The works convey

ning from 1958. In the early 1960s, Lee would tear up

a formative and decorative sense, but at their foundation is

magazines and Korean paper to create collage works. He

the Eastern concept of the oneness of painting and writing.

sought an overall harmony, sometimes removing pieces of

Based on a theme of "Freedom, Hope, Unification,"

paper already in place, affixing pieces of paper on top of

the fourth section presents his "People" series from the

other pieces, and applying ink and other pigments to color

1980s as well as the paintings he created during his

the papers. Pieces of uncolored paper would be stacked up

imprisonment from 1967 to 1969. Lee Ungno had said that

to produce the shapes of rocks or old trees, which seemed

the Gwangju Democracy Movement was the starting point

to express the passage of time, or the inevitability of natur-

for his "People" series, but this was not so much a themat-

al forces.

ic consciousness of a particular event as it is a longing for

From 1963, the forms on his canvas brought to mind

freedom and the defiance harbored within the anonymous

the strokes of Chinese characters. The images were not

majority. The imagery of people dancing together express-

clearly defined and the shapes obscured, like the vague

es a desire for Korea's unification. Lee abandoned abstract

traces of inscriptions on age-old stone monuments. The

painting and returned to representational painting in order

freely applied strokes of ink and the technique of painting

to express this thematic consciousness. Yet this was not

with a continuous stroke suggested a painter highly skilled

the direct expressionism seen in popular art. He regressed

in calligraphy and literati painting.

to traditional Eastern pen and ink, while implicitly portray-

In the latter half of the 1960s, the forms gradually

ing his theme.

took on added clarity, reflecting a transformation process

His "People" series is infused with such a tremendous

from drawing elements to a more structured depiction. A

power of expression, bold precision, sense of perspective,

diverse variety of characters and symbols, such as Chinese

and dynamism of movement, while the image of each

characters, Korean letters, and Arabic letters, were all dis-

individual figure is clearly discernible. In those works that

mantled and reconstructed to create new images. Lee also

feature ten or less subjects, his later abstract character art

experimented with a wider variety of materials, including

and decorative formality are apparent. The "People" series

Lee Ungno's "People" series is a documentary work that portrays the individuals of society, and highlights the development of new techniques that Lee spent a lifetime studying and internalizing.

Lee Ungno at work at his studio in Paris, where he resided for more than 30 years (1958Âˇ89). Winter 2004 I Koreana

Lee was detained in prison for some 30 months on questionable charges. During this time, Lee created over 300 works of art, including People, 1968,25 x 17 x 17cm, wire, Korean paper, and rice paste, GanaArt

From the 1960s, Lee Ungno focused on collage works, often made from traditional Korean paper. Composition, 1970s, 127 x 67cm, Korean paper collage, watercolor ink, private collection

was an innovative application of the techniques that Lee spent a lifetime mastering and internalizing. This section also displays the paintings that Lee produced during his detainment for the so-called East Berlin Incident. When Lee was told that he would be able to meet his adopted son, who lived in North Korea, he traveled to East Berlin. This rendezvous, though, was misrepresented as a meeting with a North Korean spy, for which Lee was sentenced to life in prison. Artists such as Hans Hattung and Pierre Soulage, as well as foreign associations of att critics, submitted petitions for Lee's release, but he ultimately had to endure two and a half years in prison. Even during this time, he created over 300 works. Using soy sauce for ink, he painted on printed pages, and created collages using pieces of wood from food trays. With grains of rice saved from his meals, he created works of people standing side by side, reflecting the loneliness of prison life. As he got to know his fellow inmates, he realized that works of art were not simply things to hang on a wall, but poignant creations that spoke out against social injustice. Lee Ungno contributed greatly to the modernization of Korean painting, such that no one should hesitate in including him among the masters of Korean painting. The corning together of East and West, of tradition and modernity, and a modernization of Eastern-ism consistently appear in his works. Lee did not discard the essence of Eastern painting, but reflected an Eastern naturalist style even in his abstract works. And for this, his works will live on in perpetuity. L;t 82 Koreana I Winter 2004

JOURNEYS IN KOREAN LITERARTURE

Kim Dong-ni

Winter 2004 I Koreana

CRITIQUE

Exploring a Mystical World In his literature, Kim Dong-ni sought the spiritual salvation of humans through exploration of the realms of mystical life and shamanism. In this respect, his works are deeply rooted in the underlying nature of the Korean people as well as the universal essence of all humankind. Lee Hye-ja Doctor of Literature, Specializing in Comparative Literature

titer Kim Dong-ni (1913-1995) learned how to interpret human life through his

human and divine beings through a painting that portrays a mystical shaman rite and exorcism.

observation of nature and the cosmic

The main character of "Picture of a Shaman

order. He would always listen intently

Sorceress" is a shaman named Mohwa, who has harbored

to stories about people and happenings that exemplified

a "fire within" deep in her heart since birth. Mohwa is

the spirit of Koreans, or anything steeped in legend, while

named after the village where she was born, and her name

for long being intrigued with the notion of fate. For Kim,

becomes her fate, dive1ting her away from the life of reg-

death, linked with eternity and sitting on the cusp of the

ular people to live a primordial existence. For Mohwa,

here and now and the thereafter, was one of the most capti-

whose name means "fur and fire," fire is indicative of her

vating symbols of life. As such, the major themes of Kim's

primitive lifestyle, while fur, which symbolizes primitivi-

works include bi1th, life, death, and rebitth. While delving

ty and immortality, enables her to discard the traces of

into the issues of life and death that are fundamental to all

civilization and proceed with the ontological transition to

people, he sought to awaken the inherent slumber within

a sacred and mystical world.

the reader's soul.

Therefore, burning fur means life for Mohwa and at

The spiritual character of Kim's literary world is

the same time death. With the fusion of the two elements

given shape by the latency and externalization of a "fire

of fur and fire, the more that Mohwa relies on burning fur,

within," which reflects the ontological change, or mystical

the closer she draws to death. The "fire within" burns

nature, of his lead characters. This fire emerges through

strongly every time she peiforms a rite, which is when she

the re-creation of primitive rituals. Kim's major work that

lives most intensely and at the same time draws closer to a

depicts this "fire within" is "Munyeodo" (Picture of a

wretched death. Hence, the name "Mohwa" is a paradoxi-

Shaman Sorceress), which depicts the interaction of

cal symbol that leads her to a fatal outcome.

Korean a I Winter 2004

The threats of the real, outside world force Mohwa to

point, Mohwa looks like a pregnant woman about to give

conceal her unique identity. Mohwa's house, overrun with

birth to a new life. Through the union with water, the eter-

weeds and teeming with amphibious creatures, brings to

nal cosmic cycle of reincarnation is realized.

mind a world of chaos where there is no separation

The setting of Mohwa's final sacrificial rite is Yegiso,

between the water and the land. This house, in a place far

which means "water that one can never escape from after

removed from secular time and space, forms a mystical

falling in" and has long been known as a sacred site where

temporal and spatial background that makes possible con-

death and reincarnation coexist. The realm created through

tinued contact with the spiritual world. But this isolation

imagination assimilates with the cosmic order to embody

from the outside world and her fate, connected to the fire

the transcendental desire of death to attain harmony with

deep within her heart, causes Mohwa to burn out of control

nature. This kind of consciousness is an exploration of the

and results in her ultimate self-destruction.

roots of human beings, and in this respect a passage

Mohwa lives removed from the world of ordinary

toward the world of eternal re-creation.

humans, bound in the mysticism of shamanism, while the

The confrontation between Mohwa and her son Wug-i

crumbling wall of her house symbolizes the fragile barrier

should not be interpreted as a superficial conflict between

between the secular and the spiritual realms. As the outside

shamanism and Christianity, but rather a symbolic clash

world infringes on the spiritual realm, Mohwa's existence

between nature and civilization. Despite his shaman char-

is destroyed, pushing her to the abyss of death. Mohwa,

acter, Kim Dong-ni's story is not limited to that of a

who serves as a gatekeeper between the secular and the

shaman but an attempt to contemplate Korean thought, and

mystical worlds, and her daughter Nang-i, who naturally

by extending this to people in general, he seeks to return to

prepares for the life of a shaman while observing her

the primeval world in which humans harmoniously coex-

mother, are supernatural beings, or initiates, with a

isted with nature.

rareness not found in ordinary people and unique spititual-

By revealing the roots of Korean shamanism and

ity that the mundane world cannot violate. Mohwa's will

grasping the shaman view of god, people, and nature, Kim

to transcend the unnatural world, in the conflict between

has created a literary world for delving deeply into such

her heroic fate and the mundane world, forces her to burn

issues as god and man, the natural and supernatural, and

herself as a sacrificial rite. Here, an inner light, or fire,

science and mysticism. In Kim's work, the mystical world

enables Mohwa to shine brightly with life. It is a celebra-

is well revealed, where there is eternal re-creation of the

tion, not of the physical light that belongs to the natural

symbiotic relationship between man and the universe, tak-

world, but of the light hidden within the heart. Mohwa

ing us ever forward to the primordial world that has long

dances the shaman initiation rite, her death performance,

been lost and forgotten .

with "movements without flesh and bone flickering like

Kim's novels and short stories include "Munyeodo"

burning flames," concluding with her immersion in water,

(Picture of a Shaman Sorceress, 1947), "Yeongma" (The

which symbolizes the birth of a new life.

Post Horse Curse, 1948), "H wangtogi" (Loess Valley,

When conducting a tite to appease the soul of the wife

1949), "Gwihwanjangjeong" (Two Reservists, 1951 ),

of Mr. Kim, a section of Mohwa's skitt wraps around her

"Siljonmu" (Nonexistence, 1955) and "Deungsinbul"

waist while another floats in the air with water in it. At this

(Life-Size Buddha, 1963).

Winter 2004 I Koreana

Support for Korean Studies Programs Abroad

The Korea Foundation Seocho P.O. Box 227 Diplomatic Center Building, 1376-1 Seocho 2-dong, Seocho-gu, Seoul 137-863, Korea

The Korea Foundation offers financial assistance to universities, research institutes and libraries as well as individual scholars abroad in their efforts to promote the study and understanding of subjects related to Korea. Projects submitted for consideration must be in the fields of the humanities, social science or arts. Please refer to the following programs and related Foundation departments: Korean Studies Support Department

Fellowship Program Department

Publication & Media Department

@ Institutional Support for Korean

@ Fellowship for Field Research @ Fellowship for Korean Language Training @ Postdoctoral Fellowship @Advanced Research Grant @ Graduate Studies Fellowship @ Publication Subsidy Program @ Support for Instructional Materials Development

@ Regular Distribution of Reference

Studies Program @ Support for Research Institute Tel: 82-2-3463-5612 FAX: 82-2-3463-6025 e-mail: studies@kf.or.kr

Tel: 82-2-3463-5614 FAX: 82-2-3463-6075 e-mail: fellow@kf.or.kr

Materials @ Distribution by Request Tel: 82-2-3463-5684 FAX: 82-2-3463-6086 e-mail: publication@kf.or.kr

For application forms, program guidelines or further information, please contact the respective departments or visit the Foundation homepage: <www.kf.or.kr>

Grant Application Deadlines Program

Application Deadline

Contact Information

- Institutional Support for Korean Studies Program -Support for Research Institutes

July 31 of the year preceding the calendar year in which the project is to commence September 30 of the year preceding the calendar year in which the project is to commence

Korean Studies Support Dept. TEL (+82-2)3463-5612 FAX (+82-2)3463-6025 E-mail: studies@kf.or.kr

-Fellowship for Korean Language Training -Fellowship for Field Research - Postdoctoral Fellowship -Advanced Research Grant -Graduate Studies Fellowships - Publication Subsidy Program -Support for Instructional Materials Development

July 31 of the year preceding the calendar year in which the fellowship period is to commence January 15 January 31 Varies according to the country and institution March 31, September 30 of the project year March 31, September 30 of the project year

Fellowship Program Dept. TEL (+82-2)3463-5614 FAX (+82-2)3463-6075 E-mail: fellow@kf.or.kr All application forms and guidelines are available on-line. The Publication Subsidy and Instructional Materials programs receive applications twice a year.

-Regular Distribution of Reference Materials July 31 - Distribution By Request All year round

Publication & Media Dept. TEL (+82-2)3463-5684 FAX (+82-2)3463-6086 E-mail: publication@kf.or.kr Applications available on-line

Korea Foundation Publications Subscription/Purchase Information

Korean a Koreana, a full-color quarterly published since 1987, is dedicated to broadening awareness about Korea's cultural heritage and providing information on recent artistic and cultural activities. Each issue of Koreana features in-depth coverage of various aspects of a specific cultural theme, and also introduces Korea's traditional artisans, lifestyles, natural attractions, and other related topics. Subscription rate including airmail delivery 1 year

2 years

3 years

Korea

18,000 won

36,000 won

54,000 won

Japan, Hong Kong, Taiwan, and China

US$33

US$60

US$81

Elsewhere

US$37

US$68

US$93

{Back issues are available at US$7 per copy. Per copy airmai l postage of US$2 for Japan, Hong Kong, Taiwan, and China and US$3 for other areas will be added.)

Korea Focus Korea Focus, a bimonthly journal published by the Korea Foundation since 1993, offers a comprehensive view of contemporary Korea through a wide-ranging selection of articles on Korea's current affairs. The articles featured in Korea Focus are selected from leading publications in Korea, including major daily newspapers, news magazines and academic journals. Subscription rate including airmail delivery 1 year

2 years

3 years

Korea

18,000 won

36,000won

54,000 won

Japan, Hong Kong, Taiwan, and China

US$43

US$80

US$111

Elsewhere

US$46

US$86

US$120

{Back issues are available at US$5 per copy. Per copy airmail postage of US$2 for Japan, Hong Kong, Taiwan, and China and US$3 for other areas will be added.)

Korean Cultural Heritage Korean Cultural Heritage, a unique four-volume book series, is primarily a compilation of articles and photos from previous editions of Koreana. These volumes provide a comprehensive and systematic introduction to Korean culture with insightful articles and a wealth of color photos in four distinctive editions. (Vol. I Fine Arts, Vol. II Thought and Religion, Vol. III Performing Arts, Vol. IV Traditional Lifestyles) Price per volume: US$40.00 plus postage Please refer to the Subscription/Order form overleaf.

Subscription/Order Form For residents in Canada and the U.S. Please complete this form and forward to: Yeong & Yeong Book Company attn: Koreana 1368 Michelle Drive St. Paul, MN 55123-1459 Phone: (651) 454-1358 Fax: (651) 454-3519

E-mail: koreana@yeongandyeong.com

Payment in U.S. dollars only. Name:

Phone: ( ( . Fax:

Address:

E-mail: Comments:

Country: Koreana

D 1 yr ($37) D 2 yr ($68) D Âˇ 3 yr ($93) Korea Focus D 1 yr ($46) D 2 yr ($86) D 3 yr ($120) Korean Cultural Heritage D I D II D Ill D IV ($40 each plus shipping) D Bill me D Payment enclosed (Check payable to "Yeong & Yeong" I Money order) D Credit Card Number Expiration Date If you would like to purchase a back issue(s) of Koreana or Korea Focus, please contact the Korea Foundation directly.

Subscription/Order Form For residents outside Canada and the U.S. including Korea Please complete this form and forward to: The Korea Foundation attn: Publication and Multimedia Department Seocho P. 0. Box 227, Seoul137-072, Korea Phone: (82-2) 3463-5684 Fax: (82-2) 3463-6086 E-mail: publication@kf.or.kr

Payment in U.S. dollars only. Credit card payment not accepted. Name:

Phone: ( Fax: (

Address:

E-mail: Comments:

Country: Koreana Korea Focus

D 1 yr

D 2 yr

D 3 yr

D 1 yr

D 2 yr

D 3 yr

Korean Cultural Heritage D I D II D Ill D IV ($40 each plus shipping) D Payment enclosed (Check payable to "The Korea Foundation" I Money order) D Bill me If you would like to purchase a back issue(s) of Koreana or Korea Focus, please specify the requested volume and issue numbers and number of copies.

Com

you irn~'Yle ~ ~efito to check the he~lt

which rn~keS it poSSible of my e:t.pected b~y?

Samsung Electronics is inspired by the concerns each mother has for the health of her family. The company now envisions a refrigerator where at the touch of the door handle, a sound can alert a nursing mother of an iron deficiency or other health conditions. Such technology can only come from the heart. Samsung continues and will continue to make research developments geared towards improving the well -being of all.

Another technology breakthrough from Samsung is on its way

·:..·. : --:·

.....

: ~

.i;f{? Fe