Koreana Summer 2005 (English) by The Korea Foundation

KOREAN ART

CULTURE

Vol. 19, No. 2 Summer 2005

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.

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

in style

BEAUTY OF KOREA

Jukbuin

uring the summer months, people find it difficult to

being named after a woman . In Northeast Asia , including

get a good night's sleep because of the oppressive

Korea , since times long past the virtue and chastity of a

heat and humidity . In the olden days, people used a

woman have often been compared to a bamboo tree . There

jukbuin, or "bamboo wife, " to help them sleep . A woven

is even the story "Jukbuinjeon, " in which a jukbuin is depict-

bamboo tube, about 110 centimeters long and 65 centime-

ed as a woman who manages to preserve her chastity. The

ters round, the jukbuin is made from well-dried strips of

jukbuin also has deep roots in China, where it was referred

bamboo that are bent into shape over the heat of an oak-

to as jukhee (Chinese: zhuj,J during the Song Dynasty [960-

charcoal fire. Because it is woven and hollow, air can easily

1279]. The jukbuin is indeed an ingenious sleep aid, invent-

pass through, thus aiding in ventilation. Moreover, the sur-

ed in ancient times, to offset the heat of summer. Although

face of the bamboo frame is cool and absorbent, such that

its use has been disappearing since the emergence of elec-

contact with your arms and legs produces a feeling of

tric fans and air conditioners, for generations of Koreans,

comfort, which helps people to fall asleep.

the jukbuin was an ideal means of assuring a restful sleep

A unique characteristic of this bamboo sleep aid is its

during the sweltering summer months. t..t

Korean a

Korean Art & Culture Vol. 19 , No . 2 Summer 2005

World Ceramic Biennale 2005 8

Gwangju: Home of Korea's Brilliant Ceramic Culture I Kang Kyung-sook

World Ceramic Biennale 2005: Cultural, Sensual and Educational Experience I Kang Jae-young Korea na Internet Website http://www.koreana.o r.kr

Korean Ceramics Seek to Capture the Essence of Nature

I Jeon Seung-chang

of the Korea Foundation.

reproduced in any form without the prior permission

Contemporary Trends of Korea's Ceramic Arts I Park Mi-hwa

The opinions expressed by the authors do not necessarily represent those of the editors of Koreana

or the Korea Foundation. Koreana, registered as a quarterly magazine with the Ministry of Culture and Tourism (Registration No.

Ba-1033, dated Aug. 8, 19871. is also published In Chinese. French , Spanish. and Arabic.

FOCUS Korean Wave Sweeps through Japan

Korea's TV Dramas Enjoy Unprecedented Popularity I Kim Ka-hee 36

INTERVIEW Ahn Kyu-chul

Mediator of Language-like Objects and Object-like Language Cover: World Ceramic Biennale 2005 presents various exhibi tions that highlight the diversi ly of

I Lee Ken-shu

ce ramic culture and the role of cera mics in improving our quali ty of life. Arable Landscape

ARTISAN Kim Hwa n-kyung

by Sara Moorhouse, Britain, 2004

-Adapting the Traditional to the Contemporary 48

JiGeun-hwa

MASTERPIECES Gold Headpiece from Cheonmachong Tom b

Epitome of Silla Metal Craftsmanship 52

Photo : Seo Heun-kang

KimSeung-hee

ART REVI EW Museum, Modern Dance Korea

Retrospective of Modern Dance in Korea

I Kim Moon-hwan Published quarterly by

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DISCOVERING KOREA Science of Natural Dyes

Ideal Dyes Come Straight from Nature

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Gwangju: Home of Korea's Brilliant Ceramic Culture The World Ceramic Biennale 2005 is being held in Gwangju, Gyeonggi-do province, where government-operated kilns supplied the ceramic wares for the Joseon Dynasty's royal court. To appreciate the true magnificence of Korea's ceramic culture, it is necessary to understand the history and characteristics of the Gwangju area. Kang Kyung-sook Former Professor of Art History, Chungbu k National University Seo Heun-kang Photographer

Ceramic fragments excavated from the area around GwangJu, the cent er of ceramic production during the Joseon Dynasty. offer a glimpse of the brilliance of KoreaÂˇ s ceramic culture

8 Koreana I Summer 2005

ince 2001, Gyeonggi-do province

operations were centered around

has

World

Gwangju , Gyeonggi-do province. China

Ceramic Biennale at Gwangju, lcheon,

maintained a similar system, with gov-

and Yeoju. Gwangju [of Gyeonggi-do

ernment kilns located at Yuezhou and

presented

the

province, not the city of the same

Longquan in Zhejiang province, as

name in Jeollanam-do province] is

well as Yaozhou, Shaanxi province, Ru,

particularly noteworthy as the site of

Henan province, and Jingdezhen,

the government kilns that supplied

Jiangxi province.

ceramic wares to the royal court

When the Joseon Dynasty was

during the 500 years of the Joseon

founded in 1392, it initially carried on

Dynasty [1392-1910]. and where

the traditions of Goryeo, in regard to

Joseon porcelain reached the peak of

politics, society, and culture. In

its

refinement.

ceramics, too , Joseon maintained the

Accordingly, Gwangju has long been

transcendent

14th-century Goryeo traditions, but

recognized as the home of Korea's

also began to develop its own innova-

rich ceramic culture. To understand

tions, such as buncheongsagi, pale

the royal court-supervised Joseon

blue-green works with white slip. In

porcelain, it is necessary to be familiar

1419, the year after the ascension of

with

the

King_Sejong [r. 1418-1450]. the true

government's establishment of kiln

brilliance of buncheongsagi had not

the

background

sites in Gwangju in the 15th century as

yet been perfected, while the influ-

well as the characteristics of this area

ence of Goryeo cheongja [celadonl

and the ceramics produced here over

remained strong, despite a noticeable

the past 500 years.

deterioration of its artistic quality.

Supplier of Royal Porcelain

Board of Public Works, an agency of

A report prepared in 1421 by the Government kilns were a critical

the government bureaucracy respon-

element of a system under which

sible for manufacturing, construction,

ceramic production was overseen by

ceramics, and metallurgy, declared:

the government authorities. During

"All the vessels provided for the royal

the Goryeo Dynasty [918-1392]. gov-

family and ministers are fragile and

ernment kilns were operated at

soon break. From now on, the arti-

Gangjin, Jeollanam-do province,

san's name must be written on the

whereas in the Joseon Dynasty, kiln

bottom of the vessel, so that he can be

held responsible for the quality of his

directly oversee the production of

ri No. 2 and 3; Songjeong-dong No. 5

work. If any products are found to be

ceramics . But even before 1469 ,

and 6; and Bunwon-ri No. 2.

of shoddy quality, they will be returned

porcelain wares had been produced at

At Usan-ri kilns No. 2 and No. 17,

to the maker." It is not clear whether

kilns in Gwangju and supplied to the

ceramic fragments have been found

"the bottom of the vessel" meant at

government. An example is the 210

engraved with characters ind icating

the bottom of the interior or the

pieces of porcelain that King Sejong

"internal use" [within the royal court]

underside of the base , though the

sent to Ren Zong (r. 1424-1425].

and "government office," confirming

remains of various vessels excavated

emperor of Ming Dynasty China , in

that these kilns had supplied the gov-

from buncheongsagi kiln sites in the

1425. In addition, the scholar Seong

ernment authorities even before the

Toechon-myeon district of Gwangju

Hyeon.[1439-1504] wrote in his Essays

official establishment of government

and the Uidang-myeon district of

of Yongjae that the dishes used by

kilns. Doma-ri kiln No. 1 has yielded

Gongju were found with engraved

King Sejong were always fine porce-

shards of sophisticated blue-and-

characters, which are thought to be

lain, which shows that ceramic wares

white porcelain, fragments engraved

surnames, at the bottom of the interi-

were produced in Gwangju for the

with the date "Eulchuk eighth month"

or. The wares were engraved with the

royal court from an early date.

(thought to be 1445 or 1505] and an

Kiln Sites of Gwangju

:i1i [yellow]" [the first four characters of

inscription .. ~

artisan 's name, as a quality-control measure, because at that time ceram-

[sky] :l:tfJ. (earth] ~

[dark]

ic items were often presented as trib-

Government kilns were estab-

the Chinese Thousand Character

ute offerings. Throughout the country,

lished throughout Gwangju, Gyeonggi-

Text]. a~d a blue-and-white _porcelain

some 324 sites produced ceramics as

do province. A field survey of six dis-

dish painted with a scene of the Great

local tribute goods: 135 for porcelain

tricts of the Gwangju area, published

Bear constellation seen through the

and 189 for earthenware.

by the Gyeonggi Provincial Museum in

branches of a pine tree. This evidence

Government kilns were officially

1998-2000, identifies about 300 kiln

reflects its operation as a government

established in Gwangju in September

sites. These kilns were in operation

kiln .

1469, when the authorities decreed

from before the official establishment

At Usan-ri kiln No. 9, fragments

manufacturing regulations that were

of the government kilns in 1469 until

of a blue-and-white porcelain vase

applicable to ceramic artisans .

the privatization of their management

painted with an elaborate dragon

Although the regulations did not

in 1884. An overall sense of the history

design were found, along with a

specifically mention the task of mak-

of these kilns can be acquired from

ceramic shard engraved with writing

ing ceramics, the fact that the

the seven kiln sites that have been

that likely indicates when it was pro-

Saongwon (the office responsible for

excavated thus far. The excavated

duced. This would suggest that it was

procuring food for the royal court]

kilns include Usan-ri No. 2, 9, and 17;

operated as a government kiln during

employed 380 ceramic artisans is evi-

Doma-ri No . 1; Geoneop-ri No. 2;

the reign of King Seongjong (r. 1469-

dence of the government's efforts to

Beoncheon-ri No. 5 and 9; Seondong-

1494]. A blue-and-white porcelain jar Summer 2005 I Koreana 9

The porcelain created in the Gwangju area has been at the forefront of Korean ceramic arts for some 500 years. Though the former government kilns may no longer be fired up, modern -day successors are diligently striving to restore the past glory of this area by combining the traditional with the contemporary in their ceramic art works. displayed at Dongguk University

tional colors [yellow, blue, white, red,

Managing the Nation], completed in

Museum, produced in 1489, depicts

and black) blue symbolized the east,

1555, it is stated as law that white

pine tree and bamboo designs that

and since the crown prince's palace

porcelain is reserved for serving the

reflect influences of the Ma-Xia school

was always built to the east of the

king, celadon for the crown prince,

of painting of China's Southern Song

king's residence, his dishes were also

and glazed ceramic wares for guests.

Dynasty [1127-1279]. with which the

associated with the east and consisted

When Beoncheon-ri kilns No. 5

most prominent landscape artists of

of celadon wares to distinguish them

and No. 9 were excavated, archaeolo-

the Southern Song court, Ma Yuan

from the porcelain vessels reserved

gists found fragments of earthenware

[active 1190-1224) and Xia Gui [active

for the king.

pottery engraved with the dates when

1180-1224). are associated . This

In 1464, King Sejo [r. 1455-1468)

they were produced, revealing that

would be consistent with the likeli-

summoned the Yejopanseo [head of

these kilns were both active in the

hood that the artists who painted the

the government office responsible for

mid-16th century. The two kilns were

images on ceramic works were

foreign affairs and cultural matters) to

located about 200 meters apart, with

retained by Dohwaseo, a government

reprimand him for the Saongwon's

No. 9 being larger and used to pro-

office that regulated painting subject

oversight in allowing the crown

duce higher quality porcelain.

matter during the Joseon Dynasty,

prince 's dishes to be intermingled

Demise of Government Kilns

under the supervision of Saongwon

with those of the king when his meal

officials. In fact, these matters are

was served the previous day. Thus, the

At the Seondong-ri kiln, operated

confirmed by Sinjeungdonggung-

royal court rules were rigidly

for t~n years [1640-1649]. excavations

nyeojiseungnam {Newly Augmented

enforced, such that failure to segre-

have unearthed shards of cheol-

gate the dishes of the crown prince

hwabaekja, white porcelain painted

The aforementioned examples

from those of the king constituted a

with an iron-based underglaze. The

reflect the state of Korea's porcelain

grave error. To King Sejo, the etiquette

Songjeong-dong kiln served as a

art in the 15th century. These kilns

between father and son, or that

replacement for the Seongdong-ri

also produced a small amount of the

between ruler and subject, must be

kiln, and was also operated for about

Joseon Dynasty celadon wares known

strictly observed; otherwise, what

ten years from 1648 to produce earth-

as baektaecheongyu, in which the

would be the difference between civi-

enware. This situation reflected

body of a vessel was made from top-

lized and

peoples?

Korea's serious financial difficulties in

quality porcelain, or an equivalent, and

Although there is no specific mention

the 17th century, in the aftermath of

Survey of the Geography of Korea].

uncivilized

decorated with only a uniform blue

of porcelain and celadon at that time,

the Japanese invasions of 1592-1598

glaze. Baektaecheongyu celadon was

it can be reasonably assumed that the

and the Mongol invasions of 1636-

used in the Eastern Palace, where the

crown prince's dishes were celadon.

1637. Instead of refined blue-and-

crown prince resided. According to

In the book Gyeonggukdaejeonjuhae

white porcelain, the kilns began to

Nee-Confucianism, of the five direc-

{Annotations of the Grand Code of

produce mostly cheolhwabaekja

10 Korea na I Summe r 2005

painted with a red iron pigment, which was widely distributed in Korea . The government kilns in the Gwangju area had to be relocated about every ten years to another site where an ample supply of firewood could be secured. But after 300 years of ceramic production, the sources of firewood in the six districts of the Gwangju area were eventually depleted, which led to suggestions that the government kilns should be established in a permanent location, to which firewood would be transported by river from Gangwon-do province. Thus, in 1752, a permanent location was selected, which today is the site of Bunwon Elementary School. For 130 years thereafter, porcelain wares were produced at this location. In 2001, the site was partially excavated, revealing much about ceramic production in the 19th century. In 1884, the government kilns in Gwangju were turned over to private management, and shortly thereafter

until the time of the Korean War

now being sought. Gwangju thus faces

brought an end to the ceramic pro-

[1950-1953].

the daunting challenge of somehow

duction system of the Joseon Dynasty.

Today, efforts are underway in

modernizing its ceramic culture yet

Subsequently, porcelain wares came

Gwangju to restore the past glory of

still retaining the roots of long-stand-

under the sway of Japanese influ-

the extraordinary ceramic wares

ing traditions. Accordingly, it is hoped

ences, which led to Japanese-style

turned out by the government kilns.

that the World Ceramic Biennale can

blue-and-white porcelain being pro-

But the lifestyle of Koreans has

help to build positive momentum for

duced all over the country. Blue-and-

become ever more westernized, such

this most worthy endeavor. L..11

white porcelain was commonly used

that a diverse variety of ceramics is Summer 2005 I Koreana 11

center of Korea's ceramic culture. This biennale seeks to present the latest trends of the world of ceramics and highlight Korea's status as a leading producer of fine ceramic art works. Kang Jae-young International Exhibition Team Leader, World Ceramic Exposition Foundation Seo Heun-kang Photographer

he World Ceramic Biennale, held

present and future. The significance of

in Gyeonggi-do province that

the ceramic biennale can be better

offers the best of ceramic-related fine

understood by examining the history

art, popular art, international art, and

and characteristics of the three host

commercial art , is known as the

cities as well as their instrumental

world's only international exhibition of

role in reinforcing Korea 's status as a

a comprehensive ceramic culture.

producer of exceptional ceramics.

When it was first held in 2001 , it attracted 6 million visitors, while the

Ceramics: The Vehicle of Culture

second biennale in 2003 was attended

The main theme of the third

by some 4 million. The ceramic

World Ceramic Biennale is "Ceramics:

biennale has since gained popularity

The Vehicle of Culture." Ceramics are

among Koreans nat i onwi de and

not only an important vehicle of cul-

recognition as an international event

ture but also a representative cultural

that features the participation of

medium of today. As different cultures

well-known artists from around the

make contact and interact, new forms

world. The three host cities of lcheon,

of ceramics are produced along with a

Gwangju and Yeoju boast a rich

broadening of its artistic realm. This

tradition and history of ceramic

event th_us seeks to explore the ideas

production and remain the artistic,

and richness of the international

cultural and business centers of

ceramic culture as well as the trends

Korean ceramics today, with over 900

and ways in which newly developing

[about 60 percent] of the country's

ceramic innovations are unfolding . In

pottery kilns.

this way, the theme of this year's bien-

The Gwangju area is renowned

nale expresses the unlimited possibili-

as the center of the brilliant ceramic

ties of ceramics as a vehicle of culture

culture of the Joseon Dynasty. lcheon

and a modern art form .

is known as the home of the modern

The biennale features main exhi-

revival of Korea's ceramic industry,

bitions, special exhibitions, and out-

while Yeoju serves as a distribution

door exhibitions, which delve into the

center for ceramic art works and

phenomena of modern ceramics and

commercial wares. Together these

reinterpret existing concepts to pre-

three cities form Korea's so-called

sent a new paradigm for the future.

Ceramic Triangle, linking the past,

The exhibitions also reveal ways to Summer 2005 I Koreana 13

This year's event features an international exhibition and a variety of special exhibitions that reveal a whole new world of ceramics. These exhibitions highlight not only the conventional functions of ceramics but also its diverse applications in the fields of architecture, landscaping, and public displays.

expand the scope of ceramics and

artists who push the envelope in

ceramics as well as those that

integrate various media. To assure the

terms of creative expression. Based

explored the diverse potential of con-

sensual enjoyment of visitors, the dis-

on re interpretation of tradition and

temporary formative arts. Thanks to

plays offer hands-on experiences

cultural experimentation, it explores

the exceptional quality of the compet-

together with easy-to - understand

the content and form of today's con-

ing works, the World Ceramic

explanations and presentation tech-

temporary ceramic art that tran-

Biennale International Competition

niques that take full advantage of

scends the boundaries of time and

has earned a reputation as one of the

high-tech digital technology.

space and between genre categories.

most prestigious ceramic art competi-

"The 3rd International Competi-

tions in the world, along with the

tion," presented on the first floor of the

International Ceramic Art Competition

Âˇworld Contemporary Ceramics:

lcheon World Ceramic Center, is

in Faenza, Italy, and the International

Trans-Ceramics-Art, " held on the sec-

aimed at discovering promising new

Ceramics Festival in Mino, Japan.

ond floor of the lcheon World Ceramic

artists so that their creativity can be

"Celadon of the World: The Colar

Center, provides an overview of the

supported . This is an international

and Shape of Celadon" is staged on

diverse and creative developments of

forum that encourages experimenta-

the second floor ofthe Joseon Royal

the world of ceramics since the 1990s,

tion, in which artists from around the

Kiln Museum. Indeed, this is a land-

in order to shed light on the future. On

world compete for recognition . It also

mark exhibition that brings together

display are the works of 30 artists,

serves as a springboard for Korean

for the first time the finest celadon

from Europe, Asia, the Americas, and

artists to make a splash on the

works of China and Korea, the two

Korea, who have sought to expand the

international scene, which had often

most noteworthy producers of

horizons of ceramic art, including

seemed unrealistic in the past, and to

celadon ware, so the two can be com-

Antony Gormley, Piet Stockmans, and

perhaps go on to global acclaim and

pared side by side. Celadon was first

Main Exhibitions

success. The exhibition features 190

produced in China after porcela in

In contemporary ceramics,

works that passed an initial screening

ware was finally perfected after 2,000

diverse styles and techniques are

of the works presented by 2,019

years of trial-and-error endeavors. It

being blended, along with diverse gen-

artists. Philippe Barde of Switzerland

is truly a unique art form and product

Liu Jianhua .

res crossed and integrated. The con-

was the recipient of this year's grand

of science and industry. Korea began

ventional boundaries of ceramic art

prize for his work Human Bowl Faces.

to produce celadon ware in the ninth

are becoming ever more blurred ,

In addition, a total of 27 artists from 12

and tenth centuries, following the

while the regional and historical con-

countries were awarded prizes.

introduction of techniques from China ,

te xts of ceram ics are expanded to

The exhibition 's two categories,

where celadon art was at a peak .

everyday life and culture in general.

"Ceramics for Use" and "Ceramics as

Rapid development was achieved in

The "Trans-Ceramic-Art"" exhibition

Expression, " showcased works that

Korea over the next 200 years, which

features the works of contemporary

focus on the conventional functions of

enabled the Goryeo Dynasty [918-

14 Koreana I Summer 2005

lnstallat,on 788, a work of alum1num, clay, and sand gathered from 188 countries, by Neil Tetkowski, United States. 2005 2 Bowl with Light, an 1nstallat1on by Miwa Ka zuhiko, Japan, 2005 3 McDonald's - China by Li Lihong, China, 2004 4 Holly Seed-Firepoker. an installation by Michael Sherrill. United States. 2005

Summer 2005 I Koreana

2 3 4 5 6 7 8 9

10 11 12 13 14 15

16 17 18 19 20

Tension by Kim Ha-yoon. Korea. 2003 Vase Soldenng with Variety and Colorful Kaolin by Watarai Yasuhiro. Japan. 2004 Demi Tasse by Arman Fernandez. France Snow Flower by Anna Sofia Maag. Sweden Light and Shade by Ito Shinichi. Japan. 2004 Prisoner by John Albert Murphy, United States, 2004 Untitled by Kato Tomonari. Japan. 2004 Still Life by Lau Kwaiy1ng. China. 2004 Teapot by Ricky Maldonado, Un,ted States. 2004-05 Wall Installation by P1et Stockmans. Belgium. 2005 Polychrome Ceramic Series - Obsessive Memories by Liu J1anhua. China. 2005 Tanam, Traces Series 11-0Jby Pippin Drysdale. Australia . 2003 21 Torsos by Elise Siegel. United States Outdoor ceramic displays at the lcheon World Ceramic Center Summer at Long Beach by Yuh Sun-koo. Korea . 2004 Hummer with Blue Head by Annette Corcoran, United States Complex 2 by Eva Hild. Sweden. 2004 Fossils 2005 AD by Claus Domine Hansen. Denmark Sole by ldo Masanobu . Japan. 2004 The Bed by Lee Kyong -Ju . Korea

1392] to produce celadon of such

Research Center within the lcheon

extraordinary quality that even the

Toya Pavilion, features the diverse

Chinese lauded Goryeo celadon ware

applications of ceramics in architec-

as being the best in the world. The

ture, from tiles that have been used

exhibition features representative

for more than 8,000 years, to its versa-

celadon works from China and Korea

til ity as a building material today.

as well as scientific analyses of the

Exhibits include tiles, bricks, and other

clays and glazes . The works are

kiln-fired products, in addition to

arranged for comparison according to

examples of how ceramics are used in

period, reg ion, and type.

buildings and audio-visual presenta-

"Ceramic House II" features an

tions on the history of ceramics as an

all-ceramic house that illustrates how

architectural material. The Ceramic

new uses of ceramics can be applied

Research Center has created displays

to everyday life. The ceramic house,

to demonstrate practical applications

which takes up the entire exhibition

of ceramics in construction along with

space, is an example of a new con-

highlighting the special characteristics

temporary lifestyle that can be created

and advantages of ceramics in mod-

through ceramics. Based on a "fusion"

ern architectural uses.

theme, all the living spaces, from the

"Traditional Korean Ceramics:

bedroom to the home theater, ar e

Ceramics in Nature" is presented on

filled with ceramic-related art works

the first floor of the Joseon Royal Kiln

as well as furniture and accessories,

Museum . With respect for nature

representing an intersection of the

being a fundamental theme of tradi-

traditional and the contemporary, and

tional Korean handcrafts, this exhibi-

the east and the west. This futuristic

tion explores the elegant refinement

exhibition introduces a concept of "neo

of KoreaÂˇs traditional ceramic arts. It

well-being" based on ceramics, a nat-

showcases the works of contempo-

ural and non-toxic material that elimi-

rary artists who have continued the

nates the problems associated with

traditions of Korean celadon, white

synthetic products.

porcelain , and buncheong, but with various modification and adaptation to

Special Exhibitions

reflect contemporary expression. The

The "Ceramics and Architecture"

exhibition offers a unique viewing

exhib ition, held at the Ceramic

experience by linking ceramic art with Summer 2005 I Koreana 17

3 4

Human Bowl Faces by Ph 1l1ppe Barde. winner of the grand prize of the 2005 International Competition. was acclaimed for its ph1losoph1cal metaphor while maintaining the .hape and function of a bowl. 'Teapots of the WorldÂˇÂˇ exh1bit1on featured fanciful and ingenious creations. revealing a little seen world of teapots and tea-drinking culture. Depending on Circumstance by L11ona Romule Life size Ceramic House exh1b1t1on demonstrated the diverse and versatile applications of ceramics in our everyday lives. Dishes in the Ceramic House kitchen are JUSt one example of how form and function can be integrated in ceram ic works. "Celadon of the World" display provided a truly rare opportunity to compare the celadon wares of China and Korea, the two most prominent producers of celadon porcelain. Vanous hands on activ1t1es. which enabled visitors to make their own ceram ic works. were offered at the World Ceramic 81ennale sites.

other handcraft genres, such as hand-

Korean artists under the theme

made paper, wooden furniture, dyeing,

"Sound and Colar," representing

and painting, enabling visitors to enjoy

earth, water, and fire, the basic ele-

a sense of comfort and leisure that

ments of all ceramic works.

emanates from nature and to appreci-

"Roads of Ceramics," at the out-

ate the richness of Korea's traditional

door sculpture park behind the Joseon

culture.

Royal Kiln Museum, features roads

''Tea pots of the World: Delightful

made from ceramic shards, bricks,

Teapots," held on the first floor of the

and tiles, together with pathways along

Yeoju World Livingware Gallery, is a

which ceramic characters have been

special exhibition that displays the art

installed . The ceramic-decorated

of the teapot, which features both

roads and pathways amid the natural

function and exquisite detail. The

landscape create an environment-

result of fine handwork and creativity,

friendly space. Along the pathways ,

the teapot and tea etiquette comprise

there are small ceramic pieces

a cultural sphere all its own, in the

inscribed with poems singing the

east and the west. On exhibit are a

praises of Korean traditional ceramics.

diverse variety of ceramic teapots of

The " Environmental Ceramics

all shape and form, including notably

and Hangeul" exhibition, held in the

stylish works by contemporary artists

open area in front of the Yeoju World

who successfully infuse consumer

Livingware Gallery, presents environ-

products with their artistic creativity.

mental works featuring the Korean alphabet, Hangeul, one of the greatest

Outdoor Exhibitions

cultural legacies of Korea, including

The "Landscape and Ceramics"

large ceramic works in the form of

exhibition explores the possibilities of

Hangeul vowels and consonants. The

displaying ceramic sculpture in a nat-

exhibition is an educational forum that

ural environment as a kind of public

can help visitors to gain further insight

art. In the form of a sculpture park,

into Korean tradition, the history and

the exhibition presents large-scale

significance of Hangeul, and our envi-

outdoor works by ten artists from

ronment.

1.;t

around the world, which were created on-site in Korea . The sculptures are situated among characters created by Summer 2005 I Koreana 19

Korean Ceramics Seek to Capture the Essence of Nature Korea has created its own innovative ceramics since the ninth and tenth centuries. Representative Korean ceramics include the exquisite celadon of the Goryeo Dynasty, as well as the whimsical buncheong ware and the simple and restrained white porcelain of the Joseon Dynasty. Jeon Seung-chang Chief Curator, Leeum Samsung Museum of Art

fter going through preliminary stages of celadon production, China perfected porcelain-quality celadon around the seventh or eighth century, which led to a rapid development of ceramics. Korea began producing fine-quality celadon ware in the ninth and tenth centuries during the days of Silla [57 B.C.-A.D. 935) and the Goryeo Dynasty [918-1392). The reafter, during the Joseon Dynasty [1392-1910), Korea mastered the art of white porcelain production, resulting in the creation of extraordinary works . Neighboring Japan, following the introduction of techniques from Korea , began to produce its own ceramic wares in the 17th century . In Europe , white porcelain production was perfected in the early 18th century, in Meissen, Germany, thereby opening a new chapter in ceramic culture. In the history of ceramics, the production of white porcelain has followed that of celadon, but countries with a late start in the making of pottery skipped over celadon production and instead proceeded from stoneware to the development of white porcelain. Mystic Aura of Goryeo Celadon

Up through the 14th century, celadon ware was the most prevalent 20 Koreana I Summer 2005

type of ceramics produced around the world. Countries neighboring China that did not have the skills to produce celadon , imported the finished goods. Among these countries, Korea was the only one that developed the capability to produce its own celadon. By the ninth or tenth century, several areas of southwestern Korea were already engaged in large-scale production of celadon that reflected the characteristics of the porcelain wares produced at the Yuezhou kilns of Zhejiang province, China . From this time, there was continued development in the type of vessels produced, production techniques, decorative motifs, and glaze colors. Through such efforts, in the 12th century, the Goryeo potters developed jade-green celadon, which epitomizes the unique color and exceptional beauty that can only be found in Goryeo celadon. Goryeo celadon is distinguished by its translucent blue-green glaze , which exudes a gem-like aura, and elegantly curved forms, in contrast to the celadon ware of China whose glazes by this time had become opaque. The mystical glaze of Goryeo celadon was so exquisite that it was praised as the most beautiful color on earth by no less an authority than the Song Dynasty [960-1279) of China, during

Celadon maebyeong with inlaid cloud, crane, peony. and chrysanthemum design. This maebyeong, or plum vase, is a masterpiece of Korean celadon renowned for its graceful form and sublime color. Goryeo Dynasty, 13th century. Height: 31 .2cm . Treasure No. 558. Leeum Samsung Museum of Art.

whose time China's celadon produc-

along with white

tion reached its peak.

porcelain, but dif-

Goryeo celadon reached new

fered from both

heights in the 13th century with the

celadon

development of celadon with inlaid

white porcelain

decoration [sanggamcheongja). Sang-

gam inlay, a decorative technique

regards . After

and

several

unique to Goryeo celadon, involves

the clay form

inlaying two different colored clays on

was

the surface of a vessel and then apply-

the surface was

ing a clear glaze. This type of inlaid

covered in white

shaped,

celadon, which typically featured such

slip and a design

designs as flying cranes and clouds,

etched or carved

are truly transcendent works of a

onto the surface. The

standard not found elsewhe r e.

subject matter and

Another decorative innovation was the

composition are clearly

application of oxidized copper as a

whimsical and lyrical,

reddish pigment. These innovations

with many pieces that bring

enabled the development of an incom-

to mind modern abstract

parable celadon culture, which clearly

works.

distinguished Goryeo celadon from Chinese celadon.

In terms of decorative techniques and subject matter, distinctive regional differences devel-

Free-spirited Buncheong Ware

oped. In Gyeongsang -do province

One of the most unique types of

the mainstream technique involved

Korean ceramics is buncheong ware,

stamping [inhwa]. with designs

a pale blue-green ceramic covered in

being stamped onto the surface and

white slip. Buncheong ware was

the stamped areas covered with

developed in the 15th century, during

white slip; in Chungcheong-do

the Joseon Dynasty, as Goryeo

province, there was a preference for

celadon underwent various changes,

applying designs with an iron-brown

in terms of decorative technique and

underglaze [cheolhwa] to vessels

subject matter. Buncheong was pro-

that were coated with white slip;

duced in the 15th and 16th centuries,

and in Jeolla-do province, where

Although Korea, China and Japan exchanged influences on the production of ceramics, each country maintained a separate sense of aesthetics. In contrast to the works of China and Japan, which tend to be ornately decorative, Korea's ceramics seek to capture the essence of nature and the inner spirit of humankind. the favored technique was sgraffito

blue-and-white porcelain [cheonghwa-

[johwa). in which a vessel is first covered in white slip and then designs

baekjal, white porcelain with ironbrown underglaze lcheolhwabaekjal.

incised onto the surface, most often

and white porcelain with copper-red

simplified floral motifs. The regional

underglaze [donghwabaekjal. The dif-

specialization of these varied tech-

ferences between these Korean vari-

niques contributed much to the rich-

eties and the white porcelain pro-

ness and diversity of Korea 's

duced in other countries are related

ceramic culture. Buncheong

less to technique than the underlying

ware, which is associated with the daily life of the common

sentiments and aesthetics. In Korea, celadon and white

people of the Joseon Dynasty,

porcelain were produced simultane-

has been highly praised by

ously from the 9th or 10th century,

people from all over the

while in the 15th century a more

world . It features an uncon-

advanced type of white porcelain was

ventional beauty that surpass-

developed . Blue-and-white porcelain

es the elegance of Go ryeo

was already being produced by the

celadon and the restrained sim-

1450s, at the time when the royal

plicity of white porcelain, making

cour:t of Joseon decided to use only

buncheong ware a special form of

white porcelain. In an effort to improve

ceramics unique to Korea .

production techniques and rationalize operations, the Joseon authorities

Simplicity of White Porcelain

established a kiln in Gwangju,

Korea's white porcelain, a bril-

Gyeonggi-do province to produce

liant cultural product of the Joseon

white porcelain ware for the royal

Dynasty, is clearly distinguishable

court. The operation of this kiln led to

from the white porcelain of China,

a diversification of white porcelain

Japan and Europe, in terms of its

forms and decorative techniques amid

form, decoration, and significance.

rapid development of artistic quality

Porcelain painted with different col-

and production methods. At this time,

ored pigments can be found through-

the form and designs of blue-and-

out the world; however, Korean

white porcelain reflected the charac-

ceramics generally feature only one

teristics of Ming Dynasty [1368-1644]

primary pigment. Examples include

white porcelain. But such influences

1 Blue-and-white porcelain jar with plum and bamboo design. This kind of porcelain ja r was commonly depicted in Joseon Dynasty paint ings. Joseon Dynasty, 15th century. He ight : 41cm. Nat iona l Treasure No. 219. Leeum Samsung Museum of Art. 2 Baekjacheolhwapodomunho {Wh ite porcelain Jar with grape design in underglaze iron). Joseon Dynasty, Height: 30.8cm, National Treasures No. 93, National Museum of Korea.

were soon surpassed with detailed

culture that created exquisite

changes in form and development of a

white porcelain, which reflected

new type of white porcelain, featuring

these virtues through sparse

decorative motifs that were popular in

form and minimal decoration .

Joseon Dynasty paintings. As such,

These characteristics are best

Joseon white porcelain is highly dis-

exemplified in the Geumsari

tinctive in terms of its form, decora-

white porcelain that was pro-

tion, and composition.

duced in Gwangju throughout the 18th century. In particular, the "full

Essence of Nature and Humans

moon jar," so named because of its

The Japanese invasions of the

fully rotund shape, is the epitome of

1590s wrought extensive devastation

Joseon white porcelain that well

to the Joseon economy and society,

expresses the aesthetics of late

including the development of white

Joseon society and the sentiments of

porcelain. The Japanese invaders

the Korean people.

killed or abducted hundreds of Korean

The ceramic trends in Korea thus

ceramic artisans, who taught Japan to

differed noticeably from the highly

Japan were decorated with abstract

produce its own porcelain. In contrast,

ornamental works produced in China

and fanciful designs or elaborate

the Korean ceramic industry was seri-

and Japan. However, due to political

orname.ntation, Korean ceramics fea-

ously damaged, resulting in a simplifi-

and economic conflict with the imperi-

tured a much more subtle means of

cation of the painted designs and a

al powers at the end of the 19th centu-

expression.

decline in the consummate beauty of

ry, the white porcelain culture fell into

The distinctiveness of Korean

the lustrous glazes.

disarray. And with the destruction of

ceramics can be seen in Goryeo

the government kiln in Gwangju,

celadon's mystically sublime glaze; in buncheong ware, which features free-

As antipathy spread toward Qing China, Korean ceramic artists did not

Gyeonggi-do province, where Korea's

adhere to a general trend of colored

porcelain tradition had been sustained

spirited decorative motifs; and in

porcelain but instead returned to the

for 500 years, the foundation of Joseon

Joseon white porcelain's trademark

essence of white porcelain and

white porcelain was shattered.

restraint and simplicity of form and

focused on its further development.

Though Korea, China, and Japan

color, as an extension of Confucian

The Confucian values of modesty and

have all produced ceramic wares

ideology. The intent of Korean ceram-

frugality, which were upheld by the

based on an exchange of influences,

ics, to delve into the essence of nature

ruling class and scholars of the

each country has maintained its own

and the inner spirit of human beings,

Joseon Dynasty, formed a backdrop to

aesthetic sensibilities . Whereas the

is what sets it apart from the ceramics

the establishment of a unique Joseon

mainstream ceramics of China and

of China and Japan.

t.;t

Summer 2005 I Koreana 23

Contemporary Trends of Korea's Ceramic Arts

Korea's ceramic art reached its zenith during the Joseon period, then effectively died out due to Japanese aggression in the early 20th century. Thereafter, it was nurtured back to life in the late 1960s. To gain an understanding of the ceramic trends in Korea today, it is simply a matter of taking a close look at what the leading artists in this field are doing these days. Park Mi-hwa Curator, National Museum of Contemporary Art Photography: National Museum of Contemporary Art, The Korean Culture & Art Foundation

eramic art reflects the economic and cultural level, as well as the national characteristics, of a nation. Furthermore, a ceramic culture can flourish only when a society is stable, its economy is thriving, and cultural refinement has been attained. This was the case with Greek and Chinese pottery, and it can also be seen in the fact that today Germany and Japan

Kwon Soon-hyung expresses his innovative artistry by carving abstract patterns onto traditional-style porcelain . as in th is work .. Group Dance .. [1980).

24 Koreana I Summer 2005

boast world-class ceramic cultures, while the United States is a frontrunner in modern ceramic art. Modern Ceramic Art

Throughout history, Korea's ceramic art has reached a peak whenever a dynasty has flourished. The earthenware of Silla [57 B.C.-A.D . 935]. celadon of Goryeo [918-1392]. and white porcelain of Joseon [1392191 OJ are acclaimed worldwide for their graceful elegance. Yet this pride of the Korean people, its ceramic art, essentially died out in the early 20th century under Japanese colonial rule, and lay dormant until the 1950s due to social, cultural, and political upheaval. Ultin:iately, modern Korean ceramic art showed its first signs of renewed life in the late 1960s, when universities offered courses in ceramics. In the 1960s and 1970s, Korea's ceramic art enjoyed a boom in a wide variety of forms, from traditional pottery with re-creations of Goryeo celadon and Joseon porcelain, to ceramic sculpture that blended pottery with sculpted art, to creative innovations applied to traditional ceramics. The various artists who emerged during this period have formed a mainstream of modern Korean ceramic art and are now cultivating their succes-

sors. Representative ceramic artists

by imposing abstract graphic patterns

ware include jars hangari [round ves-

of Korea include Kwon Soon-hyung ,

on traditional porcelain or celadon,

sels with short necks that stand 30 to

Won Dai-chung, Kim Suk-whan,

Kim Suk-whan modernizes Korea's

50 centimeters high]. cooking vessels,

Whang Chong-koo, Kim Yik-yung,

traditional unglazed earthenware

chimney covers shaped like houses,

Yoon Kwang-cho, Shin Sang-ho and

[onggi]. by seeking out and proclaim-

and oil lamps. In particular, unglazed

Kang Suk-young. The major trends in

ing its intrinsic value. The history of

earthenware used to hold water and

Korea's ceramic art today can be bet-

Korean ceramic culture is often seen

to store food were close companions

ter understood through a comparison

in terms of Silla earthenware, Goryeo

of Korean housewives. This kind of

of the works of these artists. Reinterpretation of Tradition

Kwon Soon-hyung [b. 1929] is a

celadon, and Joseon porcelain; how-

unglazed earthenware was made with

ever, new light has recently been cast

clay with a high sand content, so even

on unglazed earthenware and bun -

when it was fired at about 1,200

cheongsagi [predominant ceramic

degrees Celsius it remained porous,

forerunner of modern Korean ceramic

ware from about 1392 until the 1590s

which was essential to allow the ves-

art. His works convey a heavily

characterized by a pale blue-green

sels to breathe . Unglazed earthen-

Eastern expressiveness, and are

color and an overall white slip finish].

ware, a result of everyday wisdom

much like landscape paintings, which

thereby broadening the scope of this

expressed in a variety of forms in

rely on natural techniques and pat-

ceramic history.

accordance with function, can be

terns. He is constantly dedicated to

appreciated as a Korean cultural trea-

achieving a perfect harmony of form

Unglazed Earthenware:

and color in his pottery. That is, he

Natural Form and Function

sure. Compared to the unglazed earth-

regards the form and colors of ceram-

Unglazed earthenware has been

enware of other potters, Kim Suk-

ics as a unified whole, and thus strives

essential to the Korean lifestyle for

whanÂˇs works exemplify a simplicity

to ensure a proper balance between

thousands of years, as a ubiquitous

that captures the Korean sentiment.

the two elements . His pair of

form of pottery that has long been

Despite the fact that she is a woman,

'Vessels" pieces is a representative

instrumental in everyday life. It is this

there is a masculine strength in her

work of the 1980s that highlights a

unglazed earthenware that Kim Suk-

works, which possess a strong natural

unity of form and color. Even as he

whan has revived today, with a natu-

character like the earth itself. It can be

places the functionality of pottery first,

ralness in which she finds a simple

said that to understand the unglazed

he attains a harmony with color on

beauty that is uniquely Korean. Used

earthenware crocks and jars stored

simple forms. His works bring to mind

as containers for fermented foods,

on platforms in Korean backyards is to

an Eastern landscape painting depict-

unglazed earthenware differs in size

understand Korea itself. Similarly, to

ing the vibrant greenness of summer.

and shape depending on its specific

understand Kim Suk-whanÂˇs unglazed

Whe r eas Kwon Soon-hyung

use, and also exudes a natural char-

earthenware is to understand the his-

expresses his individual sensibilities

acter. The types of unglazed earthen-

tory of Korea 's common people. Summe r 2005 I Ko rea na

Today, Korea's ceramicists pursue functionality as well as artistic beauty. Potters who have revived buncheongsagi and unglazed pottery, the representative forms of Korean ceramic art, are sparing no efforts to assure that ceramics can become a more important part of everyday Life.

Second-generation Potters

Kwon Soon-hyung and Kim Sukwhan are the representative first-generation potters who pioneered modern Korean ceramic art after studying on their own in the 1960s and 1970s. This generation was able to re-create Goryeo celadon and Joseon porcelain as well as preserve traditional methods of throwing [forming a ceramic work on a potterÂˇs wheel). firing, and glazing, while adding their own creative techniques as well. The second generation of artists, including Kim Yik-yung [b. 1935). Yoon Kwang-cho [b. 1946). and Shin Sangho [b. 1947). received a formal university education and were influenced by the _first-generation artists. Yet through daring experimentation and variation in everything from the techniques to the tendencies of their works, these second-generation artists are now carving out their own niche in the ceramic art world. Kim Yik-yung, Yoon Kwang-cho, and Shin Sang-ho are among Korea's representative contemporary ceramic artists. They each adapt traditional forms to modern sensibilities, with Kim Yik-yung basing her work on Joseon porcelain, while Yoon Kwangcho and Shin Sang-ho are most influ26 Koreana I Summ er 2005

Yoon Kwang-cho, who has developed buncheongsagi into a unique form, etches a variety of characters and text onto the surface of his works, as seen in his ··Heart Sutra · [2001 I. 2 To highlight the pure whiteness and project a strong sense of form, the works of Kim Yik-yung feature a simple aesthetic without superfluity, as is evident in the ·vessels· pieces [2004) 3 Kim Suk-whan has modernized and popularized traditional unglazed earthenware, like this work produced in the 1990s.

enced by buncheongsagi. Kim Yikyung studied in the United States in the 1960s, and upon her return to Korea she introduced the modernity of Korean porcelain into her own style of ceramics. Kim says that while in the United States she was greatly impressed by the comments of potter and theorist Bernard Leach who noted: ""Joseon porcelain shows us the aesthetic that we must learn in this modern era ." Kim Yik-yung·s porcelain is characterized by a dynamic form, which is driven by the inspiration she found in African sculpture while visiting museums in the United States. Creating a form and carving patterns may be fundamental to ceramics, but Kim Yik-yung does not engrave her works after creating their form. This maximizes the pure whiteness and also serves to emphasize the form, producing a simple aesthetic without superfluity. Kim Yikyu ng creates a diverse variety of works, including vessels, lidded containers, ritual pedestals, and art objects. The lidded containers symbolically unite the world of reality with that of the ideal. She seeks simplicity through bold omission, with her porcelain expressing a masculine character similar to the unglazed earthenware of Kim Suk-whan.

Summer 2005 I Koreana 27

principles of Zen [Sean) Buddh ism,

before glaze is applied). painted with a

Yoon Kwang-cha, on the othe r

which explains why his buncheongsagi

non-glaze ceramic slip [engobe). glaze

hand , who has developed bun-

works reflect the influences of Zen

fired , and then decorated with impro-

form,

philosophy. For his 2001 Heart Sutra,

vised patterns. This process is repeat-

Tradition of Buncheongsagi

a unique

cheongsagi into

reveals hints of feminine characteris-

which best reflects his Zen back-

ed a number of times , creating the

tics in his delicate forms and the texts

ground, he engraved the contents of

character istic subtlety of bun-

engraved onto his works. In the 1980s,

the Heart Sutra on its four sides. The

cheongsagi . The basic color of Shin 's

he rejected mechanical processes and

engraving of text onto a clay surface

ceramic sculptures is the traditional

abandoned wheel throwing, shaping

does not allow for correction, so the

white of buncheongsagi. On top of this

his pottery forms through such meth -

creation of the work is a kind of medi-

white, opaque primary colors ar e

ods as joining together clay plates and

tative process for the artist. For Yoon,

painted over parts of the surface ,

coiling [rolling clay into strands that

ceramic art is life , and life is

reflecting the artist's desire to inte-

are coiled together to create a form].

expressed in ceramic art. At the same

grate graphic and sculptural ele-

After joining clay plates together into

time, he walks the path of a consum-

ments.

the desired form, he engraves his

mate potter, who does not compro-

works using techniques that he devel-

mise any aspect of the fun ctionality of

oped himself, resulting in humorous

ceramic art.

Tradition and Creativity Ce r am ic art is a necessity of

and care-free expression. Using

Unl i ke the aforement i oned

human l ife . And as such, it canno t

materials found in nature, such as

artists, Shin Sang-ho is known as the

affor~ to ignore functionality. At the

strands of straw or bamboo stems, he

representative artist of ceramic sculp-

same time, the ceramic arts that have

etches extemporaneous patterns or

ture, for which function is ignored.

blossomed as part of the brilliant cul-

scrapes away areas of the surface to

Ceramic sculpture, which highlights

tures that have flourished throughout

depict natural elements, such as

form exclusively, has assumed its

history never cease to amaze us with

mountains and wind. Baramgol

rightful place as a characteristic field

their artistic splendor. Though Korean

(Windy Valley) in Gyeongju, where he

in the spectrum of Korea's ceramic art

ceramic art today encompasses a

lives , pr ovides inspiration for his

today. Since the 1990s , Shin has

diverse variety of aspects, it neverthe-

works.

adapted the techniques of traditional

less pursues form as well as function.

buncheongsag i to create animal and

And while it may have languished in

In the 1990s, Yoon left the urban to

human forms . The human forms

dormancy during the first half of the

Gyeongju 's Baramgol, where he could

resemble anthropoid apes while the

20th century, Korea 's ceramic culture

be closer to nature and enjoy a

animal works are impressionistic

has regained its former glory thanks

leisurely lifestyle in an environment

forms that are like horses or deer.

to the perseverance of the many dedi-

more conducive to his creative pur-

After the forms are created they are

cated and talented artists in Korea .

suits. At one t ime , he followed the

bisque fired [low-temperature firing

bustle

behind

and

28 Korea na I Summer 2005

moved

Beyond re-creating traditional

forms, these artists have developed their own creative innovations, while playing an instrumental role in presenting Korean ceramic arts to the world. Artists like Yoon Kwang - cho and Shin Sang-ho are revealing the intrinsic value of the whimsical and non-conformist buncheongsagi of the Joseon period and bearing new fruit, while Kim Suk-whan is rev iving unglazed earthenware as a representative ceramic art form that expresses a unique Korean flavor. Indeed, artists Kwon Soon-hyung and Kim Yik-yung are finding a new place for Joseon porcelain in our modern-day life.

1...1

Summe r 2005 I Ko rea na

FOCUS

Korean Wave Sweeps through Japa Korea's TV Dramas Enjoy Unprecedented Popularity The Korean pop culture wave, or hallyu (Korean wave). which first began to sweep across Southeast Asia in the late 1990s, has since taken Japan by storm. In the case of Japan, the popularity of Korean TV drama series has been truly phenomenal. Kim Ka-hee Culture Reporter, Yonhap News

he Korean wave [hallyu] began with the efforts by pri-

was broadcast by NHK TV, signaling that the Korean wave

vate groups and the government to promote Korean

had indeed begun to flow through Japan , Asia's leading

culture abroad. When Korean TV drama programming was

economic power. According to a NHK broadcast research

offered to Southeast Asia at low rates, Asian viewers began

and survey prepared by the Public Opinion Research

to develop an interest in Korea's popular culture. The

Division of the NHK Broadcast ing Culture Research

presence and popularity of Korean popular culture

Institute, and recently published in Korea, 38 percent of the

throughout most of the Asian region has done much to

entire Japanese population said they had seen "Winter

boost Korea's reputation as a cultural exporter as well as

Sonata," which has been televised four times since 2003.

an advanced economy.

The popularity of Korean TV dramas has yet to subside among Japanese viewers. According to the March edi-

Crest of the Korean Wave: 'Winter Sonata'

tion of 'World Broadcasting Information, " published by the Korean Broadcasting Institute, there are four Korean TV

As Korean television dramas were increasingly aired

dramas be ing aired regularly by Japanese terrestrial

in Southeast Asian nations, such as Vietnam, Malaysia, and

broadcast networks. Nihon TV broadcasts a regular fea-

Indonesia, Korean actors and actresses became ever more

ture entitled " Dramatic ~orean Wave, " while Fuji TV has

popular. In the second half of the 1990s, Kim Nam-ju, Jang

created "Korean Wave Hour." In addition, there are a total

Dong-gun, and An Jae-wook enjoyed superstar popularity,

of 63 terrestrial broadcast stations that regularly televise

especially among Vietnamese audiences. Yet, the Korean

some 70 different Korean TV drama programs. It seems

wave hardly created a ripple in the world of Korean pop

safe to assume that TV dramas which have proven popular

culture . But as Korean TV dramas gained popularity in

in Korea, such as "Daejanggeum, " "Stairway to Heaven,"

Taiwan, the potential for their commercialization became

"Romance in Paris," and "Stained Glass," are likely to

more apparent. All of Taiwan's major broadcasters,

appeal to audiences in Japan as well.

including GTV, competed fiercely to import and televise TV dramas from Korea, transforming TV drama series into a

Positive Perceptions of Korea

hot Korean export. Thereafter, the world of Korean pop culture was

As a result of the broadcast of "Winter Sonata " in

forced to take notice when the hallyu wave reached and

Japan, the perceptions of the Japanese people toward

took hold in Japan . In 2003, the TV drama "Winter Sonata"

Korea underwent a dramatic transformation. In a survey to

32 Koreana I Summer 2005

Various magazines demonstrate the widespread popularity of th e Korean wave; Korean enterta inm ent sta rs grace the covers of such magazin es and are also featured in monthly periodicals that deal with Korean culture and film information.

assess Japan's national sentiments conducted by the NHK

researcher at Sungkonghoe University's East Asian

Broadcasting Culture Research Institute, 26 percent of the

Research Institute, noted : "The reason Korean popular

respondents said, "My image of Korea has changed," while

culture has been able to achieve so much popularity in

22 percent responded, "I have become more interested in

Japan is because the cultural _affinities between K?rea and

Korea." The growing fascination of Japanese consumers

Japan have increased. Japan thinks of Korean culture as a

with Korean pop culture has also had a remarkable eco-

kind of diverse consumption culture, like Hong Kong

nomic impact. A report dated December 10, 2004 of the

movies.

Daiichi Insurance Economic Research Center estimated

In late 2004, in an Associated Press article that

that the economic effect of 'Winter Sonata" in both Korea

described the Korean wave in Japan, a 51-year-old house-

and Japan amounted to 2.3 trillion Korean won (about $2.3

wife said: "I was deeply impressed at how Korean young

billion). In addition, the sites of TV drama film-sets have

people respected their parents in Winter Sonata.' This is

suddenly become popular tourist destinations, which in

especially refreshing since traditional values have been

part is behind an increase of 187,000 Japanese tourists

disappearing in Japan ." There has been considerable

who visited Korea from April to October last year.

analysis within Japan as well, in regard to why middle-

As such, the Korean wave has attained a critical mass

aged Japanese women have come to refer to "Winter

that is capable of generating substantial economic bene-

Sonata" star Bae Yong-joon as "Yonsama" ["sama" being

fits. Now, when Korean pop stars devise marketing strate-

an honorific suffix used to address an elder or respected

gies, they are mindful of the entire Asian region, Japan

person] and are so fanatical about him . The most likely

included. Concerning the Korean wave, Shin Hyun-joon, a

explanation seems to be that they are moved by his charSummer 2005 I Koreana

Without a doubt, the Korean wave is a cultural

threefold increase from 2003. However. volatile changes

phenomenon that fosters positive perceptions

may be ahead in Japanese consumer trends related to the

of Korea and its people, along with generating

Korean wave. Revenue generated by "Winter Sonata"

substantial economic benefits. However, there

declined sharply from 1.2 billion yen [ 12 billion won, or

is now growing concern that heed must be paid

about $12 million] in May to 200 million yen [2 billion won]

to various measures which need to be imple-

in December. In addition, problems related to the adminis-

mented in order to sustain the Korean wave's

tration of Korea·s music copyrights are another negative

long-term success.

factor. Korean music copyrights had been managed solely by the Japanese Society for Rights of Authors, Composers, and Publishers [JASRAC). but recently the Asia Copyright Association [ACA] has taken over the management of the copyrights for 2,800 songs, which has created various diffi-

acter's unconditional love for a woman, which reflects a psychological backlash against the traditional values of

culties. Osawa Tsutomu, head of the Japanese Cultural

Japanese society, where women are forced to suppress

Center in Seoul, said in the March edition of the Cultural

themselves to the dominance of men. As for the popularity

Center's News from Japan: ··1t is very meaningful that mid-

of Choi Ji-woo, the female lead character of ··winter

dle-aged Japanese women who had shown little interest in

Sonata," her former manager observed: ··1 think viewers

Korea have since turned their eyes toward Korea. Yet the

gain a vicarious satisfaction from her character, who might

scenes of thousands of middle-aged Japanese women

appear gentle but was resolute in not compromising her

swarming to the airport whenever a popular Korean actor

values even for her first love."

visits Japan will not last long . This is because not all

The co-stars of "Winter Sonata, " Bae Yong-joon and Choi Ji-woo, enjoy incredible popularity among adoring

Korean pop culture is as big a smash hit in Japan as was the case with Winter Sonata."'

Japanese fans, who refer to them ·· Yonsama" and

A recent edition of Nikkei Business reported that

""Jiwoohime" ["'hime" means princess in Japanese). Chiezo

there were "signs the Korean wave may have reached its

2005, an encyclopedia of current terms published by the

peak in Japan." Also, reporter Yi Su-hyang of Japan's

Asahi Shimbun newspaper, recently selected "Yonsama "

Kyodo News warned: " Now is the time to proceed with a

as Word of the Year. Meanwhile, Bae Yong-joon was also

view on the long term rather than on the profits right

No. 8 on Dentsu Advertising's "2004 Top 10 Hit Products

before our eyes . We must accurately understand the

and Hot Topics List, " along with "Korean wave" ranking

entertainment industry in Japan and undertake effective

eighth on ·a list of top-ten news items in Japan, as selected

measures." A representative for a Japanese event compa-

by readers of the Yomiuri Shimbun newspaper. In addition.

ny commented : "The Japanese press might now attempt

the Japanese are keenly interested not only in actors such

to find fault with the Korean wave stars." In other words,

as Lee Byung-hun, Kwon Sang-woo, Won Bin, Jang Dong-

there are those in Japan who look upon the Korean wave

gun, and Park Yong-ha, but also Korean singers such as

with jealousy and envy.

Rain, Seven, and BoA.

The most critical need for now is to ensure that the Korean wave can remain a continuous cultural phenomenon by not overestimating the potential of the Japanese market and not being too eager to grab quick gains.

The question now on the minds of everyone is how

Entertainment stars and their agencies need to go about

long the Korean wave can be sustained . In particular,

their business with an awareness that they are serving as

much caution is advised in regard to this phenomenon,

cultural representatives , while the government needs to

which suddenly erupted within a matter of one year. Last

focus its efforts on establishing a system that can help

year, Korean film exports to Japan surged to 4.24 billion

promote long-term expansion of the economic benefits of

yen [42.4 billion won, or about $42 million). representing a

Korea 's pop culture. t.t

34 Korean a I Summe r 2005

Actor Bae Yong-joon, who sparked the "Yonsama" rage in Japan through his lead role in the wildly popular TV drama 'Winter Sonata," waves to a horde of Japanese fans who came out to greet him at Narita Airport. 2 The popularity of Bae Yong-joon and 'Winter Sonata" has spawned a variety of feature products like thi s necklace and mouse pad. 3 Korean wave stars Choi Ji-woo and Lee Byung-hun; the econ omic impact of the Korean wave was estimated at 1.4 trillion won [$1.4 billion] last year.

Summer 2005 I Koreana 35

Ahn Kyu~chul Mediator of Language-like Objects and ObJect-like Language Ahn Kyu-chul is an artist whose works thus far have been based on a linkage of objets d'art and language. Though generally regarded as a conceptual artist, his works are so diverse that it would be difficult to place him within one particular category. Lee Ken-shu Senior Editor, Wolganmisool Photography: Choi Hang -young, Rodin Gallery

hn Kyu-chul has led Korea's conceptual art scene

transforms a work of art so that it is not simply an artistic

since the 1980s with works that combine photogra-

creation but also a medium and a language for communi-

phy, drawing, and writing. He has thus built up a unique

cation . If a critical statement is added, art is no longer

body of work that manages to fuse a critical view of reality

about the material but becomes a grammatical system

and the conceptuality of language, two elements that do

that involves oral and written communication.

not seem to readily complement each other. With visual

Sculpture can never be completely free from objects

restraint, Ahn's works stimulate an intellectual association

and language, since it is highly material and lyrical at the

of ideas, which uncover the contradictions of today's soci-

same time. If so, which Korean artist has transformed the

ety with a fusion of objects with minimal illusion and a deli-

prosaic language of objects in everyday life into a poetic

cate language.

spiritual language, and who has managed to go beyond abstraction that simply removes the physical shap~ to

Interpreter of Objects

"I have this habit of constantly doubting art even as I

achieve a truly conceptual language? To this, I would say it is Ahn Kyu-chul, without hesitation.

create it. As the producer of handcraft images, I feel a

Ahn, who is known as a "thinking sculptor" and "inter-

sense of helplessness in the face of the vast power of a

preter of objects," held a large-scale exhibition that ran for

flood of images, and I am skeptical about the role of art in

almost two months last year. A kind of mini-retrospective

the real world that is ruled by money and economics. As I

event, which was presented at the Rodin Gallery [March 5-

work with images, I presage their suspicious nature that

April 25, 2004]. it featured three former installations com-

hides and distorts reality," says Ahn .

bining text and objets d'art, The Man 's Suitcase, Hat, and

For Ahn, this means taking art beyond sensibility and

Man who Disappeared Into the Box, alongside three new

Unshakable Room, 2004, 660 x 570 x 380cm. This work is a pa ra doxica l expression of how ha rd peo ple atte mpt to hold on to things th a t are di s app ea ring by tying t hem down or eve n a ttac hing the m to s t ru ctures.

making it a clear expression of intellect. In other words, art

works, Unshakable Room, Bottomless Room, and Room

is not sensed through sight and touch, but instead is an

with 112 Doors.

object and a language that can be understood through intelligent thought. In a sense, this has become the main-

Objects that Speak Out

stream direction of contemporary art and its way out. The

Those who know about Ahn's debut and how he works

platonic love for immaterialism offered by conceptual art

might have wondered how the artist would deal with such

38 Koreana I Summer 2005

an expansive and formal space as the Rodin Gallery. Ahn

things,' and I began to look at impli-

embarked on his artistic journey in a humble manner with

cation and paradox rather than nar-

papier-mache, a light and cheap material that was said to

rative description of a situation. The

be "of the people, " for the benefit of housewives and chil-

method of utterance in my works

dren who visited cultural centers.

changed from a narrative of 'doing .. .'

"I began in the 1980s with works that were called

to a question of 'why do ... ...

·story sculptures· or 'landscape sculptures.' From 1983 to 1986 I made a series of works that featured finger-sized

Speech Becomes Material

figures in a model-stage setting to satirize a current event

The development of Ahn's work

or political situation. I did this kind of work because I didn 't

can be divided into four phases: nar-

like the way existing sculpture that pursued perfection of

rative illustration-style sculpture;

handiwork was immersed in a discourse of pure art and

exploration of the relationship

shut off from the contradictions of the world outside. With

between speech and objects; stories

my 'story sculptures,' made of papier-mache and plaster, I

that depict a fairy tale or cartoon-like

tried to make 'light' sculpture that minimized the physical

imagination; and his large-scale

labor of the artist and the material substance of standard

room and house series of works . A

sculpture. At the time it fell in with the spirit of minjung art

common thread seen in all his works

(people's art] in some ways, but I could not help distancing

is a characteristic that make his

myself from the moral gravity that was prevalent in the

works a kind of mise en scene, or

minjung art movement and the artist-centered attitude, "

"theater of sculpture" -a rejection of

Ahn noted .

the spectacular element invariably

This distancing from minjung art and the artist-cen-

"I sometimes borrow the form of ready-made articles but I have no interest in modifying them to turn them into precious art objects. By re-creating these items as they are, I seek to divest them of their aura. I don't want to create an aura but rather discard any aura."

found in today's sculpture and result-

tered attitude became more apparent in Ahn's 1992 solo

ing super-realistic utterance of the imagination-with min-

exh ibition, held after he returned home from studying in

imal elements.

Germany. Members of the minjung art fraternity, Reality

"My objets d'art works of the early 1990s were the

and Utterance, and other colleagues criticized his work as

outcome of such changes. The typical motifs in my works

"philosophy of objects" and "German-style work," while to

were doors, jackets, shoes, glasses, hammers, table-

traditional sculptors his work was not "formative art but

cloths, blackboards, and chairs. The hammer as a tool of

the play of conceptual ideas." However, it was worthy of

destruction appears under the name of love, a shoeshine

note that he was lauded and embraced by the younger art

brush becomes a personified . being with a self-conscious-

critics. The exhibition created quite a stir, which served as

ness who repents 'sin,' and the blackboard acquires such a

a catalyst that accelerated Ahn's transformation .

strong sense of self that it abandons its original function . In

"My work changed greatly while I was overseas (1987-

this process, letters are introduced as a part of the objets,

1995]. I was seriously worried that my work did not go

and cartoon elements have been introduced in works such

much further than social cartoons in three - dimensional

as Hat (1994] and The Man ·s Suitcase."

form . I felt I had reached the limit in terms of finding a

A noteworthy aspect of Ahn 's works is the way he

framework for certain sculptural scenes, and how to depict

reverses the ready-made approach of French artist Marcel

th ings in descriptive ways. While contemplating materiality

Ouchamp. Whereas Ouchamp presented ready-made arti-

and three-dimensionality, the fundamental elements of

cles that were made to appear like handcrafts, Ahn pre -

sculpture, my interest moved from the social environment

sents handcrafts that are like ready-made articles.

surrounding people to the objects made by people. A turn-

"People who make art have an obsession with hand

ing point in my work came when I began to focus on the

labor. But the things that I make are not the doors or the

fact that everyday objects reflect the thoughts and rela-

pillars. I make empty space, the void. It disappears when

tions of people. My focus shifted from a macroscopic view

the exhibition ends but it remains inside the minds of the

of 'between people' to a microscopic view of 'between

viewers . I sometimes borrow the form of ready-made Summe r 2005 I Koreana 39

ti ti

â&#x20AC;˘

j ti

'} Ii-

-~ ft. ~ t 'j

t} ~

' JI

t1 ' .

Hat, 1994, 1,200 x 380cm . This work portrays the cruelty of human relationships under which one individual will devour another according to the law of the jungle. The hat is the only remaining trace of someone who has been devoured. 2 Bottomless Room, 2004, 540 x 360 x 122cm. The instability of the lives of people, who seem to drift about aimlessly, never putting down roots, is expressed in this room with no floor. 3 Room with 112 Doors, 2003-2004, 760 x 760 x 230cm. The room cannot be secured as all the doors allow entry by intruders. The doors fail to function as barriers between the inside and outside, while the countless doors provide ready access for all manner of potential threat.

Koreana I Summ er 2005

objects but I have no interest in modifying them to turn

such circumstances, Ahn seeks to focus on: "How can the

them into precious art objects. By re-creating these items

artist restore the pureness of the language?" He has finally

as they are, I try to divest them of their aura. I don't want to

come to realize that suppressing the most material ele-

create an aura but rather discard any aura. You could say I

ment means sublimating the most spiritual essence. The

am aiming not for a simple arrangement of ready-made

sublimation of material art, to transform art into ideology

things but for nothingness. "

and then transcend it, is at the core of conceptual art, and

Thus Ahn strives to dilute the flavo ring of his formative language, or he seems intent to concentrate on cook-

it is this vastness of conceptual art that provides the power and author ity to thwart or satirize the absurdity of reality.

ing with the object itself being the main ingredient. He

The seen and the known , heaviness and lightness,

adapts a neutral style found in the so-called "zero degree"

critical themes and surreal imagination, the native lan-

of Roland Barthes, or the nouveau Roman style of writing.

guage of art and foreign languages-there are few artists

Every sculpture involves an object and a language. It

like Ahn Kyu-chul who endeavor to create a balance

has a physical form that cannot easily overcome its lin-

between all of these aspects. As such, there should be no

guistic structure and context of communication . But the

question about Ahn's stand ing as Korea's foremost con-

language is too often corrupted and overdone. In light of

ceptual artist. ~

Summer 2005 I Koreana 41

ARTISAN

Kim Hwan-kyung Adapting the Traditional to the Contemporary Chaehwachilgi crafts, whi ch involve the use of lacquer and various pigments, have long been a part of Korean life. However, upon th e mass production of these crafts using synthetic varnishes, enabling notably lower prices, chaehwa chi lgi wares practically disappeared altogether. As such, if not for the perseverance of Kim Hwan-kyung, th is t ra dition might have been forever lost. Ji Geun- hwa Freelance Writer Oh Jong-eun Photographer

Jewelry box adorned with magnolia blossoms [red pine, lacquer, black lacquer, chaehwachil)

peony blossom dazzles with its brilliance and splen-

colors and designs were applied, based on their type and

dor, while a chrysanthemum exudes a pristine ele-

function. Uses of chaehwachilgi thus included bowls for

gance . A magnolia shows off its graceful dignity, and

serving food, women 's treasured accessories, and storage

orchid blossoms, with haphazardly arranged leaves, are

cases for ink stones.

delicate in appearance yet resilient in character. Even

Kim Hwan-kyung, who was designated an Intangible

when painted by the same artist and brush, the various flo-

Cultural Property in 2004 by the Seoul Metropolitan

ral images depicted on wooden wares all exhibit individual

Government, notes: "Chaehwachilgi has existed for much

personalities. The exquisite refinement of these floral

longer than najeonchilgi [inlaid mother-of-pearl lacquer-

images never fails to leave a lasting impression on anyone

ware). Chaehwachilgi was made as far back as Gojoseon

who views them.

[2333-108 B.C.J, the first known Korean state. At that time, chaehwachilgi techniques were more commonly used for

More Graceful with Age

various wares than that of najeonchilgi."

The colorful designs that are featured on chaehwachil, lacquer painting, do not reveal their true brilliance

Preserver of Chaehwachilgi

at the time of their completion . Since the pigments are

Chaehwachilgi crafts have been a part of the Korean

mixed with lacquer, it requires an aging period of at least

people almost throughout their entire history. The fact that

three years before the real colors appear. This natural

Korea is endowed with an abundance of lacquer trees,

emergence of the colors over time is referred to as

which produce lacquer of exceptional quality, helps to

"blooming of the colors." As time goes by, the appearance

explain the creation of chaehwachilgi. Historical evidence

of a chaehwachil work is ever-changing as the hue and

indicates that chaehwachilgi crafts were being actively

tone of the subtle colors further evolve.

produced during the Three Kingdoms period [1st century

Lacquer, which is made from the resin of lacquer

B.C.-A.D. 7th century], as confirmed by the chaehwachilgi

trees, has long been applied to all manner of metal and

artifacts excavated from the Cheonmachong and

wooden articles. Although lacquer appears to be translu-

Geumgwanchong tombs of the Silla Kingdom [57 B.C.-A.D .

cent in liquid form, it takes on a dark brownish tone when it

935] in Gyeongju, and those found in the tomb of King

is applied to a wood or metal surface. Of particular note,

Muryeong [r. 501-523] of the Baekje Kingdom [18 B.C.-A.D.

the color of lacquer paint does not fade over time. Due to

660) in Gongju . Silla even maintained a government office,

these characteristics, lacquer has been mixed with various

Chiljeon, that was responsible for overseeing the produc-

pigments and applied to a wide assortment of items. A lac-

tion of lacquer crafts by professional artisans.

quer painting is said to be a "living painting " because its colors become more lustrous over time. Koreans preferred wooden articles to which different

"Chaehwachilgi never spread to the general public because of the difficulty associated with securing the necessary materials. During the Three Kingdoms period and Summer 2005 I Koreana 43

the Goryeo period [918-1392]. chaehwachilgi was used for the everyday items of the royal palace and as accessories by the aristocratic class." According to Kim Hwan-kyung, it was during the Goryeo and Joseon [1392-191 OJ periods that chaehwachilgi began to decline in popularity as a result of the emergence of najeonchilgi, which was thought to be more exquisite. Moreover, the Joseon government's strict control over lacquer distribution was another factor behind chaehwachilg i' s lack of popularity among the general public . Thereafter, upon the mass production of these crafts using synthetic varnishes, enabling notably lower prices, chaehwachilgi wares practically disappeared altogether. Kim is a master craftsman who was first introduced to chaehwachilgi in 1976. His handicraft career initially began with the production of baekgol, wooden wares that did not use lacquer paint. _He learned about lacquer painting from Kim Jin-gap, the recognized master of chilgi at that time, whom he came to meet through Kim Jin-gap's son-in-law Paik Tae-won . However, chaehwachilgi did not become a part of Kim's life until he visited Japan in 1979, as a member of a delegation of the Korean Najeonchilgi Promotion Association [now the Korea Crafts Artist Association]. "' Najeonchilgi was not very popular in Japan . Rather, the majority of its traditional crafts were chaehwachilgi that made use of various paints. I remember thinking how odd this was. Historical documents and literary works reveal that chaehwachilgi was originally an indigenous Korean tradition. The lacquer painting culture of Lolang was carried on by Goguryeo [37 B.C.-A.D. 668]. and Baekje, before being transmitted to Japan again . I was shocked to 44 Koreana I Summer 2005

1 Overall and close- up view of a jewelry box Ired pine, lacquer, black lacquer, chaehwachill 2 A chaehwachil work is ever-changing as the hue and tone of the subtle colors evolve over time. Overall and close-up view of a nine-section dish lgujeolpan) Ired pine, lacquer, black lacquer, chaehwachil powder!

realize that Korea, although the originator of lacquer painting, did not even have a proper understanding of chaehwachilgi, while Japan was promoting this technique at the national level. I couldn't help but feel that this was wrong." Motivated by this situation, Kim dedicated himself to the restoration of Korea's chaehwachilgi tradition. He remembers feeling a deep sense of sorrow that Korea was lagging behind countries where chaehwachilgi techniques were being widely practiced, like China and Vietnam, as well as Japan, which had originally learned the chaehwachilgi techniques from Korea and then re-created the art in their own style. After returning to Korea, Kim devoted himself to the study of the history of traditional Korean lacquer painting and the re-creation of traditional Korean chaehwachilgi techniques. The most critical aspect of chaehwachilgi proved to be that of being able to create a rainbow of distinctive colors. To learn how to create a variety of lacquer colors, Kim analyzed ancient documents and materials, then experimented with mixing lacquer with materials found in Korea, such as orpiment, tin, moss, and dried fruits.

Adaptation of Tradition Some 30 years have passed since Kim first dedicated his artistic pursuits to chaehwachilgi. Although his noteworthy achievements in the field speak for themselves, he continues to be regarded as an "outsider" of sorts. "There continues to be a fixed notion that intangible cultural properties or masters should adhere to traditional styles. For this reason , there were problems in getting designated an Intangible Cultural Property. However, I continue to believe that modern influences should be Summe r 2005 I Koreana

1 Chaehwachilgi ceramic works are bisque-fired, coated with lacquer and various decorations, and then re-fired at 400-500Â°C, resulting in a totally new ceramic form. 2 Kim Hwan- kyung's Hyeonmu {:kfft/, a painting that used lacquer, chaehwachil, and chaehwachil powder. Kim's chaehwachil painting style is said to be similar to the pointillist techniques of the French neoimpressionist painter Georges Pierre Seu rat.

incorporated into traditional styles." As such, Kim strives to instill traditional crafts with contE;mporary characteristics. Although he believes that there is something to be said about maintaining tradition without modification, he also feels that it is essential to modernize such traditions in order to broaden their appeal and acceptance among the public. Only through such adaptation can these traditions be kept alive. Based on this philosophy, Kim has set about creating a diverse variety of experimental and innovative chaehwachilgi works. From a conservative standpoint that resists change to traditional styles, Kim might be viewed as a heretic of sorts. Nevertheless, he continues to believe that it is essential to incorporate creative innovations in order for traditions to be preserved over the long term . Kim has extended the horizon of chaehwachilgi to include not only wooden crafts, but paintings and ceramics as well. His chaehwachilgi paintings, which share similarities with the pointillist techniques of the French neoimpressionist painter Georges Pierre Seurat, convey a modern sensibility. In 1992, he held an exhibition of experimental works that combined his chaehwachilgi techniques with the paintings of Korean master painter Kim Ki-chang, which were heartily endorsed by the painter Kim. The works of other distinguished painters, such as Park Sookeun and Park Re-hyun, were also reborn through Kim's chaehwachilgi techniques . Kim has also created chaehwachilgi ceramics, under which ceramic works are bisque fired, coated with lacquer and various decorations, and then re-fired at 400-500Â°C ... , which results in a totally new ceramic form. Kim adapts genre painting, folk painting, geometrical 46 Koreana I Summer 2005

Although he is a tradition-bound craftsman, Kim Hwan-kyung has produced a diverse variety of experimental chaehwachilgi works. Kim believes that it is necessary to renovate traditional handicrafts in order to broaden their public appeal, so as to improve the ability to preserve these aspects of Korean cu lture over the long term.

forms, and characters to his works. His blending of traditional and modern styles means that the objects of his works also go well beyond traditional boundaries. The large-size fresco that adorns the lobby of the Hotel Lotte on Jeju Island is among his most impressive works, which vividly reflects the boldness of his experimental spirit. "One of the requirements of lacquer crafts is that they need to be dried somewhere with a high humidity of between 85 to 90 percent. Therefore, much time is required for them to dry properly. However, as time goes by, lacquer-coated crafts reveal their lustrous and subtle hues:Âˇ Kim refers to the understated colors of chaehwachilgi, whose subdued nature results from the mixing of lacquer with the original pigments, as a "profound and endearing beauty."" Moreover, this subtlety and refinement of chaehwachilgi can be regarded as a manifestation of Koreans' inner serenity. t.t

Creation of a Chaehwachil Work A Prepare wood pieces of the work and smooth the surfaces prior to applying lacquer B Apply first coat of lacquer and allow to dry for about five hours C Mix lacquer and glutinous rice glue at a 3 to 7 ratio and apply to the surfaces with a spatula D Sand the lacquered surfaces E Prepare the pigments F Apply second coat of lacquer G Dry for 24 hours in an area with a humidity of 85-90 percent H Draw designs and adorn with chaehwachil

Summer 2005 I Koreana 47

Gold headpiece from Cheonmachong Tomb. The headpiece is made from several gold plates lavishly decorated with open-work designs. National Treasure No. 189. Height 19cm: length at base 19cm: width at base 5.1cm.

MASTERPIECES

Epitome of Silla Metal Craftsmanship Gold Headpiece from Cheonmachong Tomb The Silla Kingdom's artisans developed unsurpassed expertise in metalcraft. Ample evidence of this is found in the exquisite gold headpiece, crown, and crown ornaments excavated from Cheonmachong, the tomb of a Silla king. Kim Seung-hee Curator, Gyeongju National Museum

Photography: Gyeongju National Museum

yeongju, in the southeast of Korea, was the capital of the Silla Kingdom [57 B.C.-A.D. 935) for about a thousand years. To this day, large burial mounds, which look like round hills, remain within the city, most of which were created in the fifth and sixth centuries. The excavation of these tombs has yielded a wealth of noteworthy artifacts, including gold headpieces, elaborate crowns, and decorative crown ornaments. One of the tombs dating from this period is the huge Cheonmachong, which stands 12. 7 meters in height and with a diameter of 47 meters at its base. To archaeologists, the large-scale tombs developed during this period are referred to as dolmujideonneol mudeom, or "piled-up stone and wooden chamber tombs ... To build such a tomb, the coffin, tomb furnishings, and personal belongings of the deceased were placed within a wooden chamber, which was then covered with large volumes of stone and earth in order to create a substantial mound. Because such massive amounts of stone and earth were used to cover the burial chamber, the contents were rarely pilfered or vandalized. Above all, what

these tombs had in common were the large numbers of burial items interred with the deceased . In fact, some 15,000 separate articles have been excavated from Cheonmachong, including a saddle flap decorated with a cheonma, or flying horse [though some believe it to be a giraffe). which is the origin of the name Cheonmachong, or ""Tomb of the Flying Horse ... Gold Headpiece The structure of a dolmujideonneol

mudeom tomb is similar to those built by the horse-riding nomadic tribes who roamed the northern regions of Siberia, Altai, and Mongolia. Therefore, scholars believe that these tombs reflect interaction with the northern peoples and their cultures around the time when they were developed. One good example of this theory is a gold crown excavated from Cheongmachong . The crown features antler-shaped ornaments that form branches at each side, while the central area is decorated with the Chinese character chul [t:8]. which creates the crownÂˇs focal point. The chul character is shaped like a tree, while the inner part of the crown is in the form of a silSummer 2005 I Koreana

The crown is elaborately shaped, but it is not known whether it was actually intended to be worn. Recently, it has been suggested that the crown may have been specifi ea lly created as a burial item for inclusion within the tomb of the deceased. The gold headpiece, on the other hand, was likely for the deceased's personal use.

Crown ornament shaped like butterfly wings, excavated together with the gold headpiece from Cheonmachong Tomb. The gold headpiece and crown ornaments were worn

as a set. 2 Gold crown excavated from Cheonmachong Tomb. Although the crown is elaborately shaped, it is not known whether it was actually intended to be worn . 3 Crown ornament shaped like bird wings that was worn with the gold headpiece from Cheonmachong Tomb. This crown ornament is thought to have been worn for court events and auspicious occasions.

ver birch tree, which was sacred to the northern peoples. From ancient times, even well before the fifth and sixth century, Koreans revered trees for their ability to connect the heavens , earth, and humans. This was the notion behind ujusu, or "tree of the universe." The ornaments that stand above the rim of the crown are stylized images of ujusu and antlers, which function as antennae. The crown is shaped like an elaborate headpiece, but it is not known whether it was actually worn. Recently, it has been suggested that the crown may have been created as a burial item fo r inclusion within the tomb of the deceased. When the tomb was excavated, the crown was found atop the face of the corpse, which seems to support a theory that the crown was intended as a ritual object rather than serving as a status symbol during his lifetime. The gold headpiece, on the other hand, was likely for the deceased's personal use. The gold headpiece resembles that worn by a Silla envoy, as depicted in a mural painting found in the tomb of Li Xian [Crown Prince Zhanghuai, 654-684) of China's Tang Dynasty [618-9071. Compared to the crown , which is lavishly decorated and fragile in structure though it weighs more than one kilogram, the gold headpiece is smaller and sturdier, with its peaked-top making it more practical for being worn. The headpiece may seem rather small to wear comfortably on the head, but was likely worn with a cord attached to each side and tied under the chin, like that portrayed in the Li Xian tomb painting . The front of the gold headpiece was probably decorated with a crown ornament in the shape of bird wings, or perhaps with a long feather [as in the Li Xian tomb painting). At Cheonmachong, two such well-preserved crown ornaments were found , one shaped like the long wings of a bird and another that looks like a butterfly's wings. The ornament shaped like a bird's wings looks static and was likely to have been used for ceremonial occasions, whereas the one with butterfly wings appears more dynamic and would have been more suitable for everyday use. Like a modern-day man selecting a necktie, the occupant of Cheonmachong tomb may have worn the bird wings or the butterfly wings ornament with the gold headpiece as deemed appropriate for a particular occasion. In this way, the gold headpiece and these ornaments would comprise a set. It can be easily imagined how the gold headpiece, with the wings towering above, would convey the wearer's prominence.

Vestiges of Northern Cultures

The gold headpieces are made from several gold plates joined together, each richly decorated with open work, in which patterns are formed by piercing clear through the surface. The upper area of the Cheongmachong headpiece is round in shape and formed from two plates, with much of the surface of each plate being delicately decorated with small half-ring holes. The borders of the two plates are stamped with dots fo rming open work designs, and joined together by a broad rim. The lower part comprises front and rear plates pierced with round and Tsha ped holes. To these , a n additio nal front plate is attached, which is pierced with lozenges, and a rear plate with fern designs. The headpiece broadens toward the base, while the rim curves downward at each end to fit the shape of a person 's head. The rim is broad and pierced with numerous holes, and would be comfortable enough to wear on the crown of the head when secured by side cords tied under the chin. What segments of Silla's upper crust would have possessed such a magn ificent gold headpiece? Researchers generally agree that these artifacts were from after the time of Naemul Maripgan [356-402). founder of the Kim royal fam ily of Silla. The period when dolmujideonneol mudeom tombs were built, in the fifth and sixth centu ries, is known as the Maripgan era, during which time gan [-=f- I was a title bestowed on the supreme rulers of the savanna regions of the north. It seems that the rulers of the Korean peninsula at that time were considerably influenced by northern cultures. This cult~re of the Steppe Road had connections as far away as ancient Rome, and it is no accident that a number of its cultural traits existed in Silla society at the time. The fact that many pieces of Roman glassware have been excavated from the tombs of this period is evidence of this cultural exchange. The numerous and diverse articles that have been recovered from dolmujideonneol mudeom are all alike in emanating a brilliant and exuberant spirit. It was no doubt this dynamic energy that enabled this culture to travel so far east to Silla. To this day, the dynamism of northern cultures remains as a fundamental element of Korean culture. 1.:.11

Summer 2005 I Koreana

52 Koreana I Summer 2005

â&#x20AC;˘â&#x20AC;˘ M

useum, Modern Dance Korea"

Korea during the Japanese colonial

was presented at the Korean

period [1910-1945]. and was then

Culture and Arts Foundation Ar ts

known as Sinmuyong, or New Dance.

Theater from February 28 to March 9.

Around this time, a prominent

Forty-five Korean modern dance per-

Japanese scholar, Tsubouchi Shoyo

formances, directed by Korea's 45

[ 1859-1935]. advocated use of the

representative choreographers were

term muyo [Korean : muyong).

staged in succession during the

Thereafter, the term Sinmuyong was

event, somewhat like a never-ending

used to refer to any dance exhibiting

relay race . The event also featured

new trends, regardless of whether

academic sympos iums and photo

they were Japanese or Western influ-

ex hibitions, which displayed the

ences. A short while later, this term

nation 's leading dancers, other relat-

was used to refer to the new forms of

ed individuals, and their activities. In

Japanese classical dance that were

addition, Korean Modern Dance, the

emerging, which clearly differed from

People, a book, which introduced

the traditional kabuki culture . In

over 250 individual dancers and 30

Korea, t~e influences of Japan result-

dance companies, was also published

ed in the increased use of such terms

on this occasion.

as yangchum [Western dance]. sin-

sikch um [new-style dance]. and

Roots of Korean Modern Dance "Museum,

Modern

changjakchum [creative dance).

Dance

However, some argue that the cur-

Korea," organized by Professor Yook

rent definition of Sinmuyong is super-

Wan-soon, was intended to review

ficial and was formed without under-

the history of Korean modern dance

taking any in-depth analysis of

and search for a new direction in an

Korea's traditional dance.

effort to assure the continued devel-

However, if Sinmuyong is con-

opment of modern dance in Korea .

sidered to have been introduced to

However, there are differing views

Korea from abroad , the dance perfor-

about what represents the formative

mances of Ishii Baku [1887-1962].

period of Korean modern dance.

held for three days from March 21,

Modern dance was first introduced to

1926, can be regarded as the first Summer 2005 I Koreana 53

The themes of the academic symposiums focused on the "Koreanization" and "de-Koreanization" of modern dance. While the issue of how the dance arts from the West should be adapted to Korean-style dance

instance of Korean modern dance.

husband's falling-out with the politi-

This notion is based on the fact that

cal authorities and was officially

his performances provided Korean

purged in 1967. As seen in her stage

audiences with the opportunity to

performances, which incorporated a

perceive dance as an art, while his

variety of Korean traditional dances,

pupils, Choi Seung-hee (1911-

such as Seungmu (Buddhist monk

1969) and Cho Taek-won (1907-

solo dance), Kalchum (sword dance),

197 6), were recognized as the

Buchaechum (fan dance], and

pioneers of Korean

Gamyeonchum (mask dance), Choi had a penchant for sprinkling her

Sinmuyong . Through her creative stage

modern creative works with tradi-

performances that combined tra-

tional elements. Korea's contempo-

ditional Korean dance with Western-style

dance,

Choi

rary dance was directly and indirectly rooted in her creative performances.

Seung-hee contributed much to the formation of Korean-style modern dance. She was the first

54 Koreana I Summer 2005

Mother of Korea's Modern Dance

Another

performer

who

to move beyond Korea and Japan

deserves to be known as a forerun -

to become a superstar on the

ner of Korean modern dance, along

world stage, gaining acclaim in

with Choi Seung-hee, is Bak Oe-seon.

Europe, the United States, and Latin

Bak also studied dance in Japan dur-

America . Choi defected to North

ing the colonial era . Following her

Korea with her husband An Mak in

successful staging of a series of

1946, amid the political turmoil

modern dance performances in 1936,

resulting from division of the Korean

she embarked on a tour of Asia that

peninsula into North and South. Her

included performances in Japan,

frequent performances in North

China, Taiwan, and Manchuria. In

Korea and China during the early

1953, she became a professor at

years of the new Pyeongyang regime

Ewha Womans University, where she

earned her the moniker of lnmin-

devoted herself to the establishment

baewoo (People"s Dancer]. However,

of a dance department, which when

she was later exiled following her

realized in 1963 became the first

r 1 Performance of Jesus Christ Superstar, choreograph ed by Yook Wan-soon, who is regarded as the "moth er of Korean modern dance." 2 "Museu m, Modern Dance Korea " was meaningful for its celebration of the 40 years of Yook Wan-soon's nota ble dance career .

such program in Korea. In 1968, she visited the United States to present lectures in North Carolina and learn modern dance at the Martha Graham Center of Contemporary Dance as well as the Merce Cunningham Dance Company. Park 's most outstanding pupil and protege was Yook Wan-soon. Yook Wan-soon learned contemporary dance from Martha Graham and Jose Limon while studying in the United States for two years from 1961. Following the introduction of her performance style to Korea in 1963, which was the first to feature American-style contemporary dance, and her subsequent appointment as a professor at Ewha Womans University, Yook went on to become known as the mother of Korean contemporary dance. "Museum, Modern Dance Korea" was also meaningful for celebrating the 40 years of Yook Wan-soon·s professional dance career. She remains actively involved with the Korea Contemporary Dance Company, while a majority of the professors who are currently teaching dance at Korean universities are her former pupils. The accomplishments of the

Korea Contemporary Dance Company, which Yook formed in 1975, have been truly worthy of note. In a speech commemorating the 15th anniversary of the company in 1990, Yook noted: "The founding of the Korea Contemporary Dance Company was a victory for Korea's creative dance scene and marked a milestone in Korean dance history. In that era when the public was ignorant of dance and beautiful motions were regarded as the most aesthetic value of dance, the proclamation of the Korea Contemporary Dance Company's advanced spirit of dance represented a quiet revolution of Korea 's dance culture." Moreover, the Korean Contemporary Da nee Company· s efforts to upgrade the standing of dance came about amid the realities that prevailed within Korean society during the 1970s. Dance critic Kim Tae-won summarized the significance of Yook Wan-soon·s dance career within the broader history of Korean dance as follows : "While from a historical standpoint, Korean dancers such as Choi Seung-hee, Cho Taek-won, Song Beam, and Bak Oe-seon began to introduce Western dance into

Korea from the 1930s, there were so few who carried out organized activities to promote the values of modern dance." In addition, the dominance of colonial culture, historical experiences of the Korean War (1950-1953]. and a lack of modernization of overall society made it such that Korean contemporary dance faced a steep uphill battle to establish itself as an art genre and institution. The following is an excerpt from Kim Tae-won·s essay: From the 1960s onward, or since the advent of Yook Wan-soon, and especially after 1975 when the Korea Contemporary Dance Company was organized, Korean contemporary dance started to establish itself as a legitimate art genre and institution. Therefore, if we regard the period before the 1960s as the pioneer age of contemporary dance, the period after the 1960s can be perceived as the era when there were attempts, based on contemporary dance techniques, to diversify the elements and themes of contemporary dance and to express Korean sentiments. In th is regard, Yook Wan-soon·s use of music that combined poetry and traditional Korean instruments in perSummer 2005 I Koreana

formances, such as "Chohon"

formed at any venue and not only in

rary dance in the 1980s. Then, in the

[Invocation of the Spirits of the Dead]

theaters; and, a concept that dance

1990s, various events and exchange

in 1963 and 'Woods" [1971). marked

actively engages in reality and is

programs were undertaken with

a significant turning point. Whereas

capable of revealing the inner mean-

other countries, young choreogra-

Choi Seung-hee and Cho Taek-won,

ing of a phenomenon.

phers in their 30s appeared on the

after having learned modern dance

As such, post-modern dancers

techniques, sought to modernize tra-

have extended the range and poten-

ditional Korean elements and dance

tial for dance by advocating a rejec-

styles, Yook Wan-soon focused on the

tion of existing dance techniques, and

scene, and additional dance companies were established. Koreanization & de-Koreanization

more fundamental aspects of mod-

of content and form as being the nec-

ern dance. For Yook Wan-soon, the

essary structural elements of dance;

Korea," which presented perfor-

contemporary dance and techniques

resisting overly emotional and dra-

mances that best represented the

she learned from Martha Graham

matic movements; using various

development of Korean contempo-

were like a kind of religion.

forms of expression and the public

rary dance, was a future-oriented

media; integrating dance choreogra-

spectacle designed to find a spring-

phy with direct interaction between

board from which to vault Korean

dancers; and, further bridging the

dance onto the global stage. During

Post-modern Dance

Although the title of the recent

"Museum,

Modern

Dance

event included "modern dance," in

gap between performers and the

the symposiums, the matter of

reality, the influences of post-modern

audience. These trends were also

Koreanization

dance trends could be seen as far

vividly described during "Museum,

addressed, since it was inevitable to

back as the 1960s . Post-modern

Modern Dance Korea ."

discuss this process in regard to

was

frequently

dance encompasses: a notion of

Korean contemporary dance

Korean modern dance and its

dance as a simple and basic perfor-

became the mainstream of Korea's

advancement onto world stages.

mance art; a belief, based on a per-

dance culture from the 1980s. The

Koreanization was perceived to

ception that any motion created by

artistic shock caused by Hong Sin-

include a national consciousness for

humans can be turned into dance,

cha's performance upon her return

expressing the customs and tradi-

that dance does not possess any

to Korea, Choi Chung-ja's ballet tech-

tions that have been passed down

absolute values in regard to beautiful

niques, Nam Jung-ho's geometrical

through the generations in a specific

movements; a mindset that anybody

dance, and the efforts of Kim Bok-

region, as well as KoreansÂˇ inner

can dance and each individual dancer

hee and Kim Hwa-sook to Koreanize

spirit, based on a dancer's creative

has their own independent character;

contemporary dance contributed to a

interpretation. In addition, it was also

an attitude that dance can be per-

diversification of Korean contempo-

suggested that there is a need for

56 Koreana I Summer 2005

"Korean-style" dance. Due to the fact that modern or contemporary dance originated in Europe and the United States, it is necessary to complete the circle of Korean modern and contemporary dance in accordance with the self-awareness of Koreans today. This has resulted in efforts to: use Korean emotions and traditions, as well as Korean historical figures, poetry, and myths, as the themes of dance performances; integrate traditional Korean dance, taekwondo, and other traditional Korean elements with modern dance; utilize creative music, which combines traditional Korean music with modern music rhythms or instruments; and, feature traditional Korean costumes or combine such influences with more modern styles. Another trend worthy of consideration is "de-Koreanization, " which promotes universal characteristics, rather than national traits. This and other issues were discussed at length during "Museum, Modern Dance Korea," a truly groundbreaking endeavor. t.t

Summer 2005 I Koreana 57

ecause natural dyes use pigments derived from nature, they are pleasing to the eye

Making Natural Dyes

With few exceptions, natural dyes are made

and soothing to the mind . Moreover, these envi-

by boiling plant substances in water. For exam-

ronment-friendly dyes can help to reduce pollu-

ple , producing a yellow dye from gardenia is

tion and promote good health . Consequently,

based on the following process. First, gardenia

enterprises all over the world are now develop-

berries are finely ground and then added to

ing environment-sensitive products that incor-

three parts of water for boiling . When the water

porate natural dyes. Nowadays, with growing

begins to boil, reduce the heat and simmer for

recognition of the seriousness of water pollution

20 minutes. Second, strain the liquid through a

worldwide, natural dyes made from organic

fine sieve. Third, soa k fabric in the strained liq-

ingredients are enjoying a dramatic revival.

uid for 20 minutes, making sure it is evenly applied. Fourth, rinse the fabric in clean water

Sources of Natural Dyes

The natural dyestuffs used in natural dyes 1 Ingredients for natural dyes are obta ined from nature in organic form. Blue dye is made from extract of the indigo plant. 2 Yellow dye ca n be produ ced from dried ga rdenia berries . 3 Sources of mineral dyes include red earth, yellow ochre, a nd violet clay. 4 Red dye is produced from dried coch in eal, a n insect tha t lives on cactus.

six or seven times, then spread it out to dry in a shady, well-ventilated area.

are obtained from organic sources such as

Blue dye is made from indigo . Among the

trees, flowers, grasses, berries, roots, colored

_several methods, the easiest way is to squeeze

earth, stone, and even insects. All natural sub-

out the sap from the thick indigo leaves that

stances contain some amount of pigment, but

appear in June and July, and then cool with ice.

effective dyes can only be made from a limited

Purple can be produced by mashing roots of the

range of materials because natural dye pig-

gromwell plant, adding warm water to the roots,

ments must be of a stable chemical structure so

and then rubbing them with your hands to

that they can withstand such conditions as

extract the pigment. In spring, when swelled

exposure to sunlight, laundering, and wear and

with sap, the inner bark of pine trees can be

tear. Natural dyestuffs can be classified as ani-

boiled to produce a delightful orange dye.

mal, mineral, and plant sources.

These natural dyes, produced by boiling

Animal dyestuffs are obtained from such

plant substances or extracting the sap of plants,

sources as animal blood, shellfish secretions,

are significantly influenced by the water used in

squid ink, remains of insects that live on the

the related processes. This is because the water

sumac plant, and the cochineal bug that lives on

from springs and streams contains metal ions

cactus. Mineral dyestuffs are mainly derived

that play an important role in determining the

from ingredients found in earth, stone, or metal

particular color. The oxygen in the water is

that contain pigments used mainly to make

needed for the dye to develop, while the mineral

paints for artists, including yellow ochre, black

content of the water influences the color tone. A

soil, red earth, white clay, blue clay, violet clay,

high content of iron, copper, or chrome pro-

and copper green. These kinds of pigments

duces a darker shade, whereas aluminum will

were used in Paleolithic cave paintings, and the

brighten the color.

murals of Pompeii, Italy and Dunhuang, Ch ina,

Because the oxygen and the type and con-

as well as the tomb murals of Korea's Goguryeo

tent of minerals of the water will affect natural

Kingdom [37 B.C. -A.D . 668]. Plant dyestuffs are

dyes, the same dyestuff can result in a different

extracted from the leaves, flowers, and berries

tint and brightness depending on the water's

of plants, as well as the bark, heartwood, and

characteristics. Accordingly, from long ago

roots of trees. Readily available in the natural

times, much care has been paid to the water

environment, plant dyestuffs are the most wide-

used for making dyes. The ash water used for

ly used for natural dyes.

dyeing will influence the color as well. Ash water is made by burning plants or wood and

60 Korea na I Summer 2005

then pouring boiling water on the ashes to bring

weddings, along with blue being a part of the

out various metal ions, which can be applied to

bride's garments. Yellow represented light and

produce a variety of tints from the same

the earth, the source of all living things, and was

dyestuff.

thus used for the emperor's clothing. In addition to the five directional colors [blue, white, yellow,

Creating Compound Colors In Korea of old, color played a prominent role in ceremonies, funerals, and shamanic

black, and red]. a diverse variety of compound colors were developed, such as light green, grass green, and orange.

rites . For example, blue was said to have an

The production of these compound colors

ability to ward off evil spirits. Because blue was

involves physical and chemical aspects that are

associated with the east, where the sun rises,

not a part of modern-day synthetic dyes. This is

and the sunlight that imparts vital life-sustain-

because white is not an actual color and can be

ing energy, it was believed to be effective in pro-

readily combined with all colors, whereas black

tecting against evil influences. In line with this,

is a mixture of colors that have lost their tint and

blue-and-red gauze lanterns were obligatory for

does not accept any additional color. Therefore, Summ er 200 5 I Korea na 61

when combining colors, you must begin the dyeing with the color that is closest to white. If you begin with a color that is closer to black, you will not create a compound color, but instead end up with discoloration. For example, it is common knowledge that when red is combined with blue this produces purple. But with natural dyes, if a fabric is dyed first with red and then with blue, this will not result in the desired color. Only by dyeing first with indigo (blue) and then with safflower (red) can an attractive purple be produced. Because indigo dye is alkaline, if it is used to dye fabric that has been dyed red, the alkaline content will discolor the red dye, and the desired purple will not result. Thus, when creating compound colors with natural dyes, it is essential to follow the yin-yang order of the five directional colors : white, blue, yellow, red, and black. Advantages of Natural Dyes Today, environment-friendly products are

in the spotlight the world over. Fabrics dyed with synthetic dyestuffs can contain carcinogenic substances that are harmful to people as well as our environment. As an alternative, researchers have been turning to natural dyes. In doing so, applications for natural dyes now extend far beyond textiles to include such areas of daily life as clothing, food, housing, and medicine . In clothing, natural dyes are ideal for underwear, sleepwear, and bedding items. In food, they can add color to everyday dishes and be safely used as food coloring for cookies, bread, candy, and ice cream . As for housing applications, they can be used for wood, metal, wallpaper, and flooring, while medical uses include bandages and gauze materials. In fact, natural dyes are so versatile that they are now being used for automobiles. Fabrics dyed with natural dyes can also provide medicinal effects. The use of plant sap and simmered liquids, which were part of the process of producing Chinese herbal medicine, often led to the discovery of natural plant dyes. 62 Koreana I Summer 2005

Because most natural dyes are closely related to traditional herbal medicines, they are wellsuited for fabric that comes into direct contact with the skin, like underwear, children's clothing, bedding , and diapers, especially when the dye ingredients are matched with a product's end use . For instance, underwear dyed with mugwort is excellent for women, since mugwort is effective in preventing the spread of germs and providing warmth . On the other hand, the cooling effect of indigo makes it good for men. For children 's clothing , barberry root dye can help to kill germs and repel insects. And for the elderly, blood circulation can be stimulated by safflower or gromwell. Even in the long-ago days when there was no high-tech equipment for scientific analysis, Koreans came to understand the chemical properties of natural substances through everyday experience and scientific insight, which led to practical applications that are still useful today. In the past, the medicinal effects of dyed fabrics were used to treat skin ailments. But with synthetic chemical dyes being indiscriminately adopted for ubiquitous uses in modern times, the subtly colored and non-toxic natural dyes came to be neglected . Traditional dyeing technology was thought to be unscientific and crude, and thus eventually abandoned altogether. But natural dyes yield unique colors that cannot be duplicated by chemical dyestuffs, with the subtle elegance of these colors being beyond compare. They also offer solutions to the problems of pollution, wastewater treatment, and harmful effects on the body that are associated with chemical dyes. Natural dyes may well be a key to promoting environment protection and developing new medicines, natural food coloring and flavoring, and fabric dyes. As such, the further application of natural dyes for commercial uses will contribute much to enhancing our quality of life and curtailing today's ever-increasing pollution. t.t

Fabrics dyed with natural dye 2 Wrapping cloths, pendants, and purses made with natural dyes 3 Vest of ramie fabric dyed with safflower is cool in the summer and helps to promote wellness.

Sum mer 2005 I Koreana 63

Korean-American writer Lee Chang-rae burst upon the literary scene in America, garnering prestigious awards for his de but novel Native Speaker and distinguishing himself as a true rising star. But to appreci ate Lee's creative talent, it is necessary to understand his personal background and experiences. Lee Young -oak Professor of English Language and Literature, Sung l\yun l<wa n Univers ity Photog ra phy: Ch oi Hang- young, The Dae sa n Fo unda ti on

ith its long history and gor-

[1968] by Richard E. Kim [b. 1932].

schools much sought-after by

geous natural scenery, Korea

However, none of these writers

American students-Phillips Exeter

has much to be proud of. But despite

attracted anything like the extraordi-

Academy and Yale University-and

its cultural achievements, Korea is

nary attention that Lee Chang-rae

then like many young graduates, he

still not very well known to the world.

has received from the American liter-

was drawn to the allure of Wall Street.

Due in large part to translation-relat-

ary community. Already, his promi-

But his passion was writing, so he

ed difficulties, many people in other

nent awards and honors include the

decided to become a writer. Despite

countries know little about or have

prestigious Hemingway Founda-

the opposition of his parents, he

mistaken ideas of Korea. In light of

tion/PEN Award, QPE New Voices

enrolled in a creative writing program

this, the emergence of writer Lee

Award, Barnes and Noble Discover

at the University of Oregon. This is the

Chang-rae is welcome news indeed,

Great New Writers Award, American

background that led to the literary

as through his works, Korean culture

Book Award from the

debut of his Native Speaker[1995].

and sentiments can be introduced to

Columbus Foundation, Oregon Book

Before

Influenced by his mother, who

readers of American literature. As his

Award, and Notable Book of the Year

insisted on speaking Korean, Lee

Korean birth becomes known to the

selection by the American Literature

Chang-rae developed a keen interest

world, he makes his homeland

Association, an organization of pro-

in language. Through his short story

proud.

fessors and scholars of American lit-

"The Faintest Echo of Our Language,"

erature. In addition, The New Yorker

it can be seen how deeply the differ-

Spotlight on a New Face

has named Lee Chang-rae as one of

ent languages, which were used to

Before Lee Chang-rae, Korean-

the 20 best American writers under

express their thoughts and feelings

American literature had already

the age of 40, while one of his works

to each other, affected the relation-

made some waves in the 1930s and

was recently selected by Time maga-

ship between mother and son . Lee

the 1960s. Even before there was

zine as "one of six great books you

has said that this linguistic relation-

much interest in minority literature, a

may have missed ." Indeed, the cre-

ship was an instrumental factor

foundation of Korean-American liter-

ative genius of Lee's writing has been

behind his becoming a writer, and his

ature had been laid by such works as

widely recognized and appreciated.

works reveal a constant rumination of language.

The Grass Roof [1931] and East Goes West [1937) by Kang Young-hill

[1903-1972]. The Diving Gourd [1962]

View from the Periphery Lee Chang-rae left Korea at the

Native Speaker is a literary

depiction of the difficulties and

by Kim Yong-ik [1920-1995], and The

age of three and grew up as an

doubts that the writer experienced as

Martyred [1964) and The Innocent

American. He was educated at

an immigrant in the United States. At

Summer 2005 I Koreana

What Lee Chang-rae reflects upon in his novels are the problems related to a crisis of identity and cultural assimilation. Native Speaker, his first work, reveals the paradoxical experiences of an immigrant who is forced to adapt to a new culture, society, and language.

the root of these problems is the fact

novel is a Korean-born Japanese

entirely different storyline in that the

that the mental unease and anxiety

American named Hata. During World

lead character is a white man; but

felt by immigrants in American soci-

Wa r 11, Hata witnesses the sexual

this work also deals with the experi-

ety are passed down to burden suc-

slavery of Korean women by the

ences of being an outsider. Its pro-

ceeding generations as well. For

Japanese military, but is unable to do

tagonist Jerry Battle, like Henry in

example, some Asian Americans may

what he feels is right. His failure to

Native Speaker and Hata in A Gesture

not have the slightest connection with

save a young woman from a ·grue-

Life, lives for 60 years as an outsider

their distant ancestral homeland, yet

some death becomes a painful trau-

looking in on life. Like Henry and

when they meet white Americans, the

ma that casts a dark shadow over his

Hata, who as Asian Americans per-

first question that they are invariably

life. Meanwhile, his strong desire to

ceive a gap between themselves and

asked is: "What country do you come

be part of mainstream culture influ-

a society that is mainly dominated by

from?" Until the whole of the United

ences his thoughts and actions and

white people, the scene of Jerry flying

States becomes a multiethnic society,

ultimately determines the course of

over Long Island in a small plane

this problem of being a "permanent

his life.

symbolizes his status as a person

outsider" will always linger in the

After A Gesture Life, another

who watches over reality from a dis-

minds of Asian Americans . The

interval of about four years passed

tance. The difference being that he

book's title Native Speaker refers to

before the appearance of Lee's third

has become an onlooker due to his

the social and cultural realms as well

masterful novel, Aloft (20041. At first

own volition.

as aspects of language. That is, the

glance, Aloft appears to have an

outsider can never function as a "native speaker" in the host culture.

oeci

Gue~t ecture , Chana-r.~e LEE

Four years after his literary debut, Lee again examined the problems of identity crisis and a process of assimilating fundamentally different cultures in his second novel A Gesture Life (1999]. Whereas Native Speaker focused on language and

culture, A Gesture Life is centered on history and how the past can torment an individual. The protagonist of this

66 Koreana I Summer 2005

• ~Al : 2003. 5. 20. 2* 4AI

I May 20. 2003. 4 p.m.

• 2.± : .ii!..!:2.~~~1a (H~~ / Main Auditorium in Kyobo Life Bldg .

1 Lee Chang-rae presented a guest-lecture in Korea at the invitation of the Daesan Foundation. 2 Novels by Lee Chang-rae : [from left) his debut work Native Speaker, his second book A Gesture Life, and his third book, Aloft, which have all earned critical acclaim.

Native Speaker is about a Korean

underlying humanity, thereby dem-

Above all, Lee Chang-rae under-

American; his second novel A

onstrating that his works possess

stands his role as a writer. As such,

Gesture Life is about an American

both the special characteristics of

he uses the novel as a medium to

who changes his nationality twice;

immigrant literature and the founda-

Scrutiny of Human Nature

make known the consequences and

and his third novel Aloft is about an

tion of his status as a world-class

effects that can flow from a tempest

Italian American . The characters he

writer. In recognition of this potential,

of incidents or actions. When we see

is interested in are not necessar-ily

in 2002 after he had published only

people going on with their lives after

Asian Americans, but more impor-

two novels, this young author was

enduring a horrific experience, we

tantly outsiders and those suffering

appointed to the Council of the

come to realize what a callous side

from cultural alienation, who agonize

Humanities and Creative Writing at

there can be to human nature. The

over the extent to which they are will-

Princeton University, which also

examination of human nature is at

ing to adapt to the mainstream cul-

retains Joyce Carol Oates, several

the heart of American literary tradi-

ture and society.

times nominated for the Nobel Prize,

tion. What all three of Lee's novels

The subject matter of Lee's writ-

have in common is that their charac-

ing extends beyond the pursuit of

ters, despite the dark and difficult

personal identity and cultural assimi-

times they undergo, present a posi-

lation to the basic and intrinsic issues

as well as Nobel Prize winner Toni Morrison.~

tive view of human nature. His message is that, however daunting it might be, life is meaningful. That the ending of each of his novels offers a vague gesture of reconciliation to conflict and prejudice, reflects a trait that Lee shares with all distinguished writers. Through his writing, Lee seeks to reveal diverse facets of human character. His first novel

Chang~r~~,,,1,:,:; GES T URE L]FE an a uth or of A

Summ er 2005 I Korea na 67

Â·- _ _.. t"

huncheon, the capital of Gangwon-do province, is a lakeside city. Right alongside the city center is the shoreline of Uiamho Lake, while Soyangho Lake lies to the east and Chuncheonho Lake to the west.

Chuncheon is thus like an island surrounded by a huge lake. For many people, just looking out upon bodies of water, such as lakes, oceans, and rivers, can do wonders for their peace of mind . In this regard, Chuncheon , and its surrounding lakes, make for an ideal destination. The Seoul-Chuncheon national highway and the Seoul-Chuncheon railway line run alongside opposite sides of Bukhangang River, whose gently flowing waters are a prelude to the lakes of Chuncheon.

Romantic Railway For the young and old in need of an escape from the everyday routine, Chuncheon is a near-perfect destination . So.when the hustle and bustle of urban life proves wearisome and their batteries are in need of a recharge, they simply head for Cheongnyangni Station in Seoul and board a train bound for Chuncheon. Even though there might not be anything in particular to see, or anyone special to visit, just being able to leave behind the usual humdrum, if only temporarily, allows their body and spirit to revel in freedom . Then, as they take in the leisurely flowing currents of Bukhangang River or relax nearby the quietly lapping waters of Uiamho Lake, all their stress is easily washed away. To this end, both the older and the younger generations can be found on the train to Chuncheon, one seeking to rekindle fond memories and the other out to create their own unforgettable experiences. The first recommended stop along the Chuncheon tra in route is Namiseom Island. About three kilometers from Gapyeong Station, this island is located in the middle of the Bukhangang River. It offers picturesque scenery with a luxuriant oak forest , and meta-sequoia, fir, and gingko trees lining its paths, which attract endless streams of visitors. Recently, tourists from neighboring countries, such as Japan, China, and Taiwan, have come to outnumber the Korean visitors, ever since this island has been featured in the _incredibly popular TV drama serÂˇies 'Winter Sonata," which by now has been televised throughout Asia. Gangchon-ri Village, located near the Gangchon Staion, is also overflowing with youthful exuberance. This riverside village provides everything that high-spirited and adventurous young people desire: gorgeous scenery, convenient location , and wonderful cafes, lodging, restaurants, and leisure facilities. Gugok Waterfall, which is one of the most popular locations for ice-climbing enthusiasts, lies deep within a valley not far from the village. Thus, even in the dead of winter, Gangchon-ri Village is warmed by the passion of youth. The train arrives at Kimyoujeong Station after about ten minutes from Gangchon Station. This station was originally called Sinnam Station, but was recently renamed Kimyoujeong Station to commemorate the writer Kim You-jeong [1908-1937]. the author of representative Korean short stories of the 1930s, "The Camellias" and "Spring, Spring," who was born in nearby Sille Village. This is the only train station in Korea named after a person. Visitors to Sille Village can stop by the Kim You-jeong House of Literature. It takes another 12 minutes from Kimyoujeong Station to reach Chuncheon Station, the terminus of the Seoul-Chuncheon line. Immediately upon leaving the station, the liveliness and youthful vigor of Chuncheon are readily apparent. Yet Chuncheon is a city with a surprisingly long history, with people living in the area from prehistoric times. A man-made cave that served as shelter during these long-ago times can be seen on the slopes 70 Koreana I Summer 2005

1 At arn pulls into Gangchon Station. ,,ding, tram w Chuncheon adds tc the rorranc 2 A leiâ&#x20AC;˘,urely d~y of f1.,hrng at UiamhG Lake i, nJoyabte, with or without a catch.

rnd plea,,ure of thE travel expenPn< e

of Mt. Bonguisan in Hupyeong-dong. An ancient site dating back to the Iron Age, from which various earthenware relics have been excavated, is situated on Jungdo Island in Uiamho Lake. In addition, Chuncheon was also the capital of Maek, one of the ancient nation-states that once occupied the Korean peninsula. Cheongp eongsa Temple

Chuncheon Âˇs best-known historic attraction is the Cheongpyeongsa Temple. Located in Cheongpyeong-ri, Buksan-myeon, Chuncheon City, this temple was built in 973, during the Goryeo period . Today, however, it is difficult to find anything that resembles this ancient temple with a thousand-year history, since all of the original buildings, with the exception of Hoejeonmun Gate [Treasure No. 164], were destroyed during the Korean War. For sometime thereafter, Hoejeonmun Gate and partial stonewalls were the only remaining structures until var72 Ko reana I Summer 2005

Surrounded by lakes, which are like inla nd seas, Chuncheon city features a vibrant regional culture and seemingly endless panora mas of waterside scenery. Moreover, the specialty dishes of Chuncheon, spicy grilled chicken an d cold buckwheat noodles, are savory delights that w ill make your visit all the more wo rt hw hi le.

ious new buildings were recently constructed. As such, old stories that have been passed along are more impressive than the temple itself.

To get to Cheongpyeongsa, you have to take a boat from Soyanggang Dam. The boat ride whets the anticipation of visitors . But it takes only about 20 minutes by boat from the Soyanggang Dam to the landing at Cheongpyeongsa. Just as you start to appreciate the scenery of Soyangho Lake, with its exqu isite harmony of mountain and water, the boat arrives at the Cheongpyeongsa landing . Then, it is a 30-minute walk to the temple. The narrow path that r uns along a valley at the base of Mt. Obongsan [779 meters] has a subtle charm . Along this trail you will encounter Guseong ["Nine Sounds"] Waterfall, where it is said that you can hear nine different sounds. In the past, this entire valley was a garden area of Cheongpyeongsa . Yi Ja-hyeon [1061-1125]. who rebuilt Cheongpyeongsa Temple during the Goryeo period [918-1392]. developed an expansive garden area that complemented the natural landscape. This Munsuwon Goryeo-style garden is a representative model of gardens from the Goryeo period and the oldest garden in Korea .

1 Hoeieo nmun Gate of Cheongpyeongsa Temple makes for an ,deal subiect or backdrop for photos. 2 Chunc heon 1s a choice destination for the younger generation. Graffit i on the wa lls at Gangc hon Station offers a glimpse in to the culture of the city's youth 3 Pathway lined with meta-sequoias. the tr adema rk symbol of Nam1seom Island. The ,stand has become famo us ever since it was used as a filming location of th e popu lar TV drama 'Winter Sonata:Âˇ whi ch has been televised all across Asia.

The garden was created over a vast area extending some three kilometers from Guseong Waterfall, below the temple, to the summit of Mt. Obongsan. The garden included an aqueduct from the valley to the temple, Yeongji Pond, and a waterwheel. Yeongji Pond [""Reflecting Pond"] was so named because it was created to reflect Mt. ObongsanÂˇs Buyongbong Peak. The original Goryeo-style garden consisted of four sectors: north garden, east garden, west garden, and central garden areas. All that remains today is Yeongji Pond in the central garden area . Jangsusaem Spring lies along a path just outside of the Cheongpyeongsa grounds. According to legend, people who drink water from this spring will have extended their lifespan. Within Cheongpyeongsa is Tujeonji Pond. There, if you can toss a coin into the jar in the middle of the pond on your first try, your wish ~ill be granted.

City of Cultural Festivals No matter how early you depart from Seoul, by the time you get to Cheongpyeongsa the sun will already be setting. If you are spending the night in Chuncheon, you must take the time to enjoy the nighttime scenery of variously colored reflections dancing across the waters. The natural scenery along the shores of Uiamho Lake, which adjoin several park areas and pathways, is truly magnificent at night. The favorite attractions of Chuncheon, such as Jungdo Island, Gongjicheon Stream, and Wido Island, are all located in or around Uiamho Lake, while ChuncheonÂˇs most popular festivals are held mainly around the lake as well. These include the Chuncheon International Mime Festival, Asia's representative mime festival, Chuncheon Puppet Festival, which attracts puppet troupes from around the world, Chuncheon Makguksu Festival, which promotes the regional delicacy of cold buckwheat noodles, and Soyanggang Festival, for melding together the past and present. In addition, the Hyeonam Folk Museum, where Korean folk artifacts are displayed, the Puppet Museum, which is especially enjoyed by children, and Korea's only Animation Museum, are also located on the shores of the graceful Uiamho Lake. Thanks to this diverse variety of cultural events and exhibitions, the Uiamho Lake area abounds with dynamism and excitement. 74 Ko reana I Summer 2005

1 The vas akes s rounding Cr nchen pr~v,de ample OJ) c rt tor a variety nt water ports. 2 Oakgalbi, a Chuncheon specially features 'TI mnated chicken stir-fried with various vegetables. 3 Uiamho Lake and at.1acent mountains create a panoram1t. land ,cape y ,ar round

1ty

Cuisine Specialties Chuncheon is famed for being the home of two food dishes that are favorites among Koreans: dakgalbi, spicy grilled chicken, and makguksu, cold buckwheat noodles. Although these days dakgalbi and makguksu restaurants can be found all over Korea, it is no easy task to find ones that can match the original Chuncheon tastiness. The dakgalbi in Chuncheon is so delectable that people say: "If you haven 't eaten dakgalbi in Chuncheon, then you haven 't really been to Chuncheon." Dakgalbi is marinated, bite-sized pieces of chicken that are stir-fried with various vegetables. It is spicy, with a touch of sweetness. It is a bargain considering the generous amount of an order, so it is a favorite with young and old alike. Also known as "student's galbi" and "commoner's galbi" [galbi means "ribs"], it is believed that people began eating dakgalbi about 1,400 years ago, during the Silla period [57 B.C.-A.D . 935]. However, there is no hard evidence to verify this claim. According to recent research conducted by Chuncheon City, dakgalbi establishments started to appear after a restaurant on the city's Jungangro Street began serving a chicken dish seasoned like pork ribs, in 1960. In the thriving neighborhood of Myeong-dong, located near Chuncheon City Hall, you can find "Dakgalbi Alley," where some 20 or so dakgalbi restaurants are located, making the area a magnet that attracts not only Koreans but foreign tourists as well. The other Chuncheon specialty is makguksu, or buckwheat noodles . Originally a meal eaten during winter evenings, the dish has since become popular for eating in the summertime, since the buckwheat noodles are served cold. Flavorful noodles are of course required for makguksu, but even more critical is the taste of the seasonings and broth. Since buckwheat noodles have a protein content of 12-14 percent, which is considerably higher than that of other grains, your appetite will remain satisfied for quite awhile after enjoying a bowl of makguksu . 1.t

Hwachae, fruit punch, is a traditional Korean cold beverage. This sweet drink typically consists of omija !fruit of the Chinese magnolia vine) punch or honey water , which is garnished with fruit, flower petals, or other toppings. Yoon Sook-ja Directo r, In stitute of Traditional Ko rea n Food Bae Jae-hyung Photogra pher Lee Kyung Cuisi ne Co nsultant

ince ancient times, Koreans have endured the sweltering heat of summer by drinking cool beverages, often consisting of assorted fruit. Indeed, the intensity of a Korean summer can easily

deplete the vitality of people. As such, a cooling beverage produces a burst of pleasure and instant refreshment, while also providing much-needed water to a dehydrated body.

Types of Hwachae Officially, there are said to be 30 types of traditional hwachae. Hwachae typically involves a base of omija punch or honey water. Examples of hwachae made wi t h omija punch include azalea hwachae, which is topped with azalea flower petals ; lotus hwachae, wh ich has a spicy taste and aromatic scent; changmyeon, to which mung bean starch is added ; and borisudan, garnished with barley and pine nuts. Hwachae that use honey or sugar water include wonsobyeong, which is garnished with glutinous rice; citron hwachae, which consists of citron and pomegranate; and peach hwachae, to which peach slices soaked in honey or sugar are added. The fruits in season are ideal as a hwachae ingredient or garnish. But, how did omija become the primary ingredient of hwachae? Omija extract has long been known to be good for your health while its azalea - like color is truly delightful. Omija vines commonly grow along the rocky base of a mountain, and its fruit is harvested and dried in autumn. Well-d r ied omija is sticky with a reddish color. For hwachae, the fruit with a bright red color should be selected because it tends to have a more pleasant taste, and after being soake~ in water produces a punch with a delectable pinkish tint. Honey is sometimes added to omija punch, along with an azalea flower or pieces of pear cut into the shape of a flower being included as a garnish . Omija is also used as an ingredient in Chinese herbal medicine for physical and mental rejuvenation, as well as a remedy for excessive perspiration and diarrhea. In particular, omija is known to be effective as a cough suppressant and thirst quencher.

Flavorful and Nutritious For Koreans of long ago, adapting to seasonal conditions was a natural part of their everyday life. As such, in spring, they would prepare flower hwachae, in which azalea or plum flowers were added to omija punch. Then, as the summer heat and humidity peaked, people would drink fruit hwachae, which was garnished with watermelon, peach, or grapes, for refreshment and r evitalization . In autumn, Koreans enjoyed hwachae with seasonal fruits, such as pear and citron . And in winter, they favored beverages that could provide an energy boost, such as sikhye (fermented rice punch]. made from steamed rice that is fermented with malt water, and sujeonggwa (persimmon punch) to which Summer 2005 I Korean a 77

There are 30 varieties of traditional hwachae, the most common of which are made with omija punch. The omija fruit is nutritious and flavorful, with a somewhat pungent taste that is part sweet, sour, bitter, and astringent. When soaked in water, omija produces a luscious pink punch.

persimmon s are added to a punch made with ginger and cinnamon, along with various hw achae made with nuts and flower petals. Although Koreans have enjoyed hwachae all year-round since ancient .times, it is most often thought of as a summertime beverage. Without a doubt, the most popular type during the summer season is watermelon hwachae. Since watermelon contains high levels of water and sugar, it helps to relieve thirst and serves as a diuretic. Watermelon is also an effective remedy for kidney disorders, overcoming fatigue, and alleviating a fever, in addition to having a soothing effect. When people experience a loss of appetite or depletion of energy due to heavy perspiration during the sweltering and humid summer months, a cool watermelon hwachae can be an ideal source of refreshment and invigoration. Other kinds of hwachae served in summer consist of tangerine, peach, and raspberry. Tangerine hwache is frequently made in the summer months when tangerines are readily Wa te rmelon hwac hae is especially popular durin g s ummer. A cool wa te rme lon hwac hae is a n id ea l source of refreshme nt and invigora ti on.

available. For hwachae, tangerines need to be peeled and sweetened with sugar, then added to omija punch or honey water, with a topping of pine nuts. As tangerine hwachae is a rich source of vitamin C and carotene, it is helpful for overcoming the sluggishness that invariably results when people are exposed to the debilitating summer heat. Peach hwachae was traditionally made with peach slices soaked in sugar or honey water. In modern times, however, peach is usually combined with melon or watermelon . Raspberry hwachae is a traditional beverage made from raspberry juice, sugar, honey, and water, topped with pine nuts. Raspberries, which ripen in July and August, have a vibrant claret color and make an excellent ingredient for hwachae. In addition, with raspberries having a high content of calcium, iron, and organic acid, they can help to stimulate appetite and cleanse the blood . Traditional Korean beverages such as omija hwachae, which is high in organic acid , tangerine hwachae that is rich in vitamin C, raspberry hwachae, which is known as an appetite stimulant, and watermelon hwachae that provides a refreshing source of hydration, are not only perfect as a thirst quencher, but can also contribute to an improved state of emotional disposition . And though it may not be possible to avoid the summer heat altogether, a refreshing hwachae beverage can do wonders in making the conditions more tolerable . 1.t

78 Koreana I Summer 2005

Omija Hwachae Ingredients: 1 cup omija, 12 cups water (boiled and then cooled). 1 cup honey, 2/3 cup syrup, 1 pear, 1 teaspoon pine nuts.

Preparation

Wash the omija. Soak overnight in 12 cups of water, which has been boiled and cooled. Strain liquid through a sieve with a fine cloth after the water develops an azalea-like color. Add honey and syrup to improve the taste and color of the omija punch. Cut a pear into pieces with a flower design and shell pine nuts . Serve the cold omija punch in a bowl garnished with the pear and pine nuts. Seasonal fruits can be added.

Watermelon Hwachae Ingredients: 1 watermelon, 112 cup sugar, ice cubes

Preparation

Cut the rim of the uppe r half of a watermelon with a saw-tooth pattern. Scoop out watermelon balls with a melon-baller. Sweeten the watermelon with sugar Place the watermelon balls in the watermelon shell and add ice cubes. Water can be added if there is not enough watermelon juice. Summer 2005 I Koreana 79

had been attending the weekly meditation sessions and

to the beeping alarm clock I was accustomed to. After a

Dharma talks at the Seoul International Zen Center at

quick wash of the face, the day started with 108 full pros-

Hwagyesa Temple in northern Seoul for about a month

trations. During the first day or two , the bows seemed to

when I came across a brochure for Musangsa Temple. My

take forever, but became enjoyable rather quickly.

vacation from my work was coming up and shortly there-

Morning and evening chants were some of the most

after, I was already booked on my return flight to Canada. I

appreciated periods of the retreat schedule. I am not sure

remember thinking that I found this brochure just in time.

if it was the rare opportunity to use my voice, or the energy

However, when I realized that I had to participate in the

that seemed to be generated during the chanting, which

retreat for a minimum of seven days, I questioned if my

gave me such a positive reaction. The meals were intimi-

creaking knees and back could take it. However, I decided

dating at first: during breakfast and lunch, eating is done in

that a ··now or never" approach was appropriate and I

a formal way with a set of four bowls, each with a specific

signed up soon afterward .

function and significance. After the initial dining room jit-

Musangsa turned out to be just what I had hoped for, a

ters wore off, I started to notice how delicious and fresh

quiet and serene temple perched on the side of Mt.

the food was. Meals were eaten in silence and the effect of

Gyeryongsan overlooking rice paddies and farmers· fields,

this is that you actually pay attention to what you are eating

far away from the noise and bustle of Seoul. After a helpful

instead of munching away while watching TV, read ing a

orientation session, newcomers were given gray robes to

newspaper, or doing something else to occupy your mind.

wear during the duration of our stay. Before I knew it, my

Another rule followed in the dining room is that you must

retreat had begun.

finish all of the food that you take, wasting nothing . This

I must admit the first few 3:00 a.m. wake ups didn 't

action exemplifies the simple relationship of cause and

come so naturally, but after a couple of days I found the

effect very clearly; careless over-indulgence when serving

sound of a monk chanting with a moktak vastly preferable

yourself will inevitably lead to suffering. It is very basic, but

82 Korea na I Sum mer 2005

1 The sounding of a drum marks the start of various act1vit1es of the daily routine. 2 Lasting personal relationships are forged while en1oy1ng tea. The Temple Stay Program allows participants to broaden their outlook and make new friends. 3 Monks and participants start their clay early in the morn ing with 108 full prostrations.

The participants in temple stays have an opportunity to expand their minds by sitting in an upright position and clearing away their worldly thoughts through Zen (Seon) meditation. Temple stays include taking walks in a tranquil forest to escape the rigors of daily life and forging valuable relations while sipping tea. how often in our day do we stumble along in a trance of

that our true self or original self, or whatever you choose to

sorts, oblivious to the outcome of actions we are constantly

call it, is like the clear blue sky. Thinking and desires are

taking?

like clouds floating through, obscuring the sky. Sometimes

Aside from the bowing, chanting, meals, and a one-

there are lots of clouds, and sometimes not so many, but if

hour work period, the days were filled with meditation ses-

you are patient and simply watch the clouds without trying

sions in the Dharma Room. Sitting meditations were usu-

to push them out, then the situation will take care of itself. I

ally done in 2- or 3-hour blocks consisting of 30-40 min-

took those words to heart and devoted the rest of my stay

utes of sitting or standing, alternated with 10 minutes of

at the temple to "cloud watching ."

walking meditation . I soon learned how difficult it was to

Other parts of the Musangsa Temple Stay schedule

slow down the mental multi-tasking I had spent 25 years

included weekly interviews with the abbot, Mushim Sunim

practicing. When sitting on a cushion facing a white wall, I

[sunim means monk], and Sunday Dharma talks . The

was almost forced to observe the frequency and arbitrari-

interviews were a little unnerving at first, but the warm

ness of the various thoughts and urges that popped into

demeanor of Mushim Sunim quickly made me feel com-

my mind. My desires and feelings came and went, involving

fortable. Mushim Sunim is originally from America but

everything from my upcoming travel plans to what I was

relocated to Korea to follow his teacher, Seung Sahn

hoping would be served for dinner. I asked the abbot of the

Sunim. He was more than willing to answer questions con-

temple what I should do when I simply couldn't get away

cerning nearly anything, and did so with consideration and

from my thinking. His answer was simple; he explained

kindness. The Sunday Dharma talks were given by one of Summer 2005 I Koreana

Daegwangbojeon !Ma in Buddha Hall] of Magoksa Tem ple, which was the site of a two-day tem ple stay program. Magoksa Temple operates r egular temple stay programs for fo reign part1c1pants. 2 Zen meditation sessions enable participants to clear their minds of worldly concerns and search for their inner self.

the resident monks and then questions were taken by Mushim Sunim. When you spend most of your day simply

How to Participate in a Temple Stay

sitting in a cross-legged position, a few wise words go a long way. However, the best part of staying at Musangsa

Temple stays began to be organized and offered in conjunction with the

Temple was that the schedule is set, so all you have to do

2002 FIFA World Cup as a means for allowing foreigners to experience

is follow the situation, try, and be patient. Since that crash course in Zen mediation I have

temple culture in a comprehensive manner by providing unique accommodations. Initially, 33 temples participated in the temple stay program during the hosting of.the 2002 FIFA World Cup matches in

returned to Musangsa Temple for three more retreats and

Korea, but this number has since increased to 44 in 2005. Jagwangsa

each time I found the experience rewarding but in different

Temple, Musangsa Temple, Ganghwa International Lotus Lantern

ways. The temple staff and resident monks are friendly and

Meditation Center, Magoksa Temple, Golgulsa Temple and Mihwangsa

eager to help in any way possible, be it with travel arrange-

Temple in particular, offer temple stay programs all year-round.

ments, medical concerns, or simple questions about experiences in the meditation room. I truly appreciate my time at Musangsa Temple and recommend it as a direct way to

Participation fee [two days) For Foreigners, donation of 80,000 won !about $80) Participation fees vary depending on the particular temple and program.

experience both the natural beauty of Korea and also the

Reservation information

time-honored tradition of Korean Buddhism. 1..11

To avoid any language problems, foreign nationals are encouraged to make their reservations through the Temple Stay Office. The Temple Stay Office can provide you with information about any temple of interest. For Koreans, reservations can be made by .referring to the schedule posted on the homepage of the Temple Stay Office and calling the specific temple.

Temple Stay Division, Jogye Order of Korean Buddhism For further information, please contact: Jeong Hyun-jeong Tel:82-2- 732-9925 ts2002@buddhism.or.krIwww.templestaykorea.com

Koreana I Sum mer 2005

JOURNEYS IN KOREAN LITERATURE

â&#x20AC;˘

un-

Yi Mun-gu 's expertise in the local dialects of Korea has contributed much to his renown as the most brilliant stylist in Korean literature. This accomplished storyteller delves into the life of the common people, recounting their joys and sorrows with humor and humanism.

CRITIQUE

Depicting the Lives of Common People Kim Seong-kon Professor of English Language and Literature, Seoul National Unive rsity

i M un-g u [ 1941-2004) was born in Boryeong,

mainstream culture. In this respect, it mattered little

Chungcheongnam-do province. He lost his father and

which particular regional dialect was used. Yi was not

older brother in the Korean War [1950-1953). becoming an

some regional writer whose work was characterized by

orphan at the age of 15. In 1961, Yi entered Seorabeol

strong local color, but the leading Korean author who

University of the Arts where he studied under the novelist

sought to stand firmly against the conventional culture, as

Kim Dong-ni [1913-1995). Then in 1969, after receiving a

symbolized by standard speech, and to uphold the disap-

letter of recommendation from Kim , he embarked on the

pearing fringe culture.

path toward becoming a writer. Greatly impressed by Yi's

As literature that is critical of the conventionality and

stylistic writing, Kim wrote in his recommendation letter:

formality of the mainstream, Yi's works are naturally

"Korean literature has now gained its most unique stylist. "

infused with humor and satire . With his keen sense of

Indeed, Yi's writing is of a truly unique style. A master

humor and satire, Yi chastises the opportunism and offi-

in the use of local dialects, he brings to life the rhythm and

cialdom that oppresses and takes advantage of the weak.

flavor of the Korean language in his works. With colloquial

But Yi's criticism is not limited to the mainstream culture.

speech that accentuates the joys and sorrows of the com-

He sharply rebukes the people 's low-class consciousness,

mon people, Yi's writing arouses strong nostalgia for the

which degrades self-worth and bows down to power, and

past. Though Yi' s family was sacrificed as scapegoats for

society's shallow materialism, but with subtle artistry

the sake of politics and ideology, and he himself had been

rather than forceful aggression .

censored and arrested in the days of the military regimes,

Yi's major works include Gwanchon Diary, fvfy

the magnanimous Yi looked back on the past not with bit-

Neighborhood, and I Stood or Walked Too Long . In

terness and lament, but with a yearning for the simple

Gwanchon Diary, Yi draws a dramatic contrast between the

beauty of bygone days.

joys and sorrows of people who remained strongly

Through his writing , Yi embraced the life of the grass-

attached to their hometowns, which tended to dissipate

roots people who are invariably isolated and marginalized,

during Korea's process of industrialization in the 1960s

but still manage to remain vibrant and resilient like a tree.

and 1970s, with the starkness of their present lives. fvfy

Therefore, the local dialects, which he so artfully applied,

Neighborhood portrays the conflicts and isolation experi-

represent another culture and alternative discourse used

enced by country folk during Korea's industrialization, and

to challenge the standardization and principles of the

I Stood or Walked Too Long compares farmers afflicted by

86 Koreana I Summer 2005

with Humor and Satire

materialism and the desolation of the countryside with dif-

Yi's short story, "The Tale of Kim Takbo," is along this

ferent types of trees, while using colorful local speech to

line as well. Kim Takbo, a good-for-nothing drunkard, and

animate his criticism.

his second wife Yeongmaldaek, are people who endure

The main subject and symbol of I Stood or Walked Too

moral collapse, economic hardship, and natural disaster.

Long is a tree. In this book, which includes eight stories,

Kim Takbo sells off his first wife after she commits adul-

seven of them about trees, the author compares various

tery with Yeom-seobang [in the past "seobang" was a suf-

aspects of human nature with different kinds of trees. But

fix attached to the names of those who held no official gov-

he is not interested in trees that are sturdy, robust, and

ernment post] and then becomes a drunkard who tearfully

upright, like a fir or larch tree; he prefers uninspiring,

yearns for the wife he has given up. Yeongmaldaek is a salt

inconsequential types such as the brier rose, hazel tree, or

vendor, who constantly eludes the taxman , but eventually

bush clover. In this way, Yi seeks to point out that the sup-

gets caught and has to pay up; her drunkard husband,

posedly "downhill" lives of people from rural areas, though

Takbo, takes off with her secret savings. Both are such

they may be alienated, are no less meaningful than the

tragic characters, but with humor and satire Yi can invest

successful "uphill" lives of those in the city. As Yi noted:

their lives with laughter. The delightful folk dialect that

"The value of their existence might not be readily apparent,

these two characters use when their house is destroyed by

but these people, even with no money or power, are like

a landside during a torrential rainstorm imparts a personal

the plants that are essential for survival of the forest."

humor and humanism.

Due to his view of the world as a forest made up of a

If literature is about ?torytelling, Yi M~n-gu is

diverse variety of trees, Yi' s work can be said to have an

undoubtedly a masterful storyteller, who is capable of

underlying ecological theme. In comparing the lives of the

healing the ailing and wounded heart of readers. In this

grassroots people with trees, he explores the possibility of

light, it is indeed fitting that the pitiable trees featured in

restoring the damaged forest. The stories in I Stood or

his stories are a kind of medicine with the power to heal,

Walked Too Long dovetail to form an epic drama about

because Kim Takbo and Yeongmaldaek are injured people

modern folk history. With such a theme and narrative

in need of spiritual restoration. For this reason, Yi Mun-gu

structure, the book is like Sherwood Anderson's

is known as a "literary healer." 1.11

Winesburg, Ohio, in which the lives of rural folk are

recounted from several perspectives.

Summe r 2005 I Ko reana 87

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