Koreana Winter 2005 (English) by The Korea Foundation

-~ZQ.

BEAUTY OF KOREA

Hwaro

rior to Korea 's modernization, a hwaro [brazier] was like having your own sun inside your home. It was not only handy to start a fire, like a match or lighter, but also an everyday implement that was used to provide warmth inside homes. As recently as the 1960s, the brazier was a ubiquitous sight of rural households, and a daily necessity that was capable of making the home cozier and reinforcing the bonds of family relationships. In the early morning, mothers would gather the embers remaining in the fireplace and mix them with the red-hot charcoal and ashes of the brazier so that when family members would take a break from their work outdoors they could go indoors to warm themselves by the

brazier. Grandfathers would use it to light a cigarette, while mothers ironed collars or wrinkled clothing with a small iron that had been heated by being placed on the brazier's hot coals. On snowy winter nights, grandmothers would tell their beloved grandchildren old stories while roasting chestnuts or sweet potatoes in the brazier, not taking notice of how late it had become. However, the brazier fell into disuse with the arrival of electric heaters and modernday heating systems from the early 1970s. But not without leaving behind memories to be cherished about the satisfying warmth and closeness it provided on many a winter night. L.1

Korean a

Korean Art & Culture Vol. 19, No. 4 Winter 2005

Nationa Museum of Korea 8

National Museum System of Korea I Hwang Pyeong-woo

New Features of the National Museum of Korea I Yang Hee-kyung

Striving for the Essence of Korean Architecture I

J.S. Jahn

Korea's New National Museum Opens its Doors I Kim Young-Won

Koreana Internet Website http://www.koreana.or.kr ÂŠ The Korea Foundat ion 2005 All rights reserved . No part of this publication may be reproduced in any form without the prior perm ission of the Korea Foundation The opinions expressed by the authors do not

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FOCUS

End of the Line for Royal Funerals in Korea I Lee Kwang-pyo

INTERVIEW Bae Bien-u

Photographer Bae Bien-u Reveals Korean Sentiments I

The National Museum of Korea opened its

Jin Dong-sun

doors to the public on October 28, 2005. After ten years of planning and construction.

as a premier cultural venue and insightful

Making Heavenly Clothing, One Stitch at a Time

history classroom, where th e past can be linked with the present and future.

I 46

the new museum complex is prepared to serve

ARTISAN Jung Jeong-whan

Photo: Ahn Hong-beam

Choi Tae-won

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ART REVIEW

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Korea's national museum system includes the operation

the packing up and safely transpo rting of irreplaceable

of 12 museums that are located throughout the country.

works of culture and art.

This museum system , with the National Museum of

In the past, the Korean government has been not totally

Korea in Seoul at its center, is at the forefront of

lacking of a policy for developing and maintaining a national

preserving Korea's cultural heritage and promoting

museum. It is often said that the entire Korean peninsula is

related policy measures.

like a huge treasure trove of cultural artifacts, with valuable

Hwang Pyeong-woo Director, Korea Cultural Heritage Policy Research Institute

relics of the country's 5,000-year history being distributed throughout all geographic areas. Accordingly, the government sought to develop individual museums in each major

ompared to other Asian countries, the culture and

region. Currently, Korea's nationwide system includes the

history of Korea have not been as well introduced

National Museum of Korea, and 11 regional national muse-

and made known through world history. This is because

ums, each dedicated to the preservation and exhibition of

Korea's history had been distorted due to frequent invasions

the cultural artifacts excavated from its respective region . In

by neighboring countries, including China, Mongolia, and

addition, the Cultural Heritage Adm inistration, a govern-

Japan, from ancient times to modern-day periods. In

ment organization, operates a national museum for the

addition, the government authorities have for long adopted a

storage and display of royal palace relics and another

passive attitude in this regard . More recently, Koreans

national museum for maritime-related works.

developed a keener awareness of their own history, as the

The names of the regional national museums include

country suffered extensive damage from Japan's

the name of the region and the term "national museum,"

imperialism , with the pillage of cultural resources being

which has the effect of imparting the authority of a national

especially pervasive. And even after Korea was liberated

museum facility and boosting regional pride. The museum

from 36 years of Japanese colonial rule in 1945, the Korean

buildings were all newly built employing the latest construc-

War [1950-1953] followed soon thereafter, with three years

tion techniques of the time and emphasizing the cultural

of fierce fighting again exposing the country's cultural

characteristics of the particular region . The -buildings of

heritage to great peril of physical damage and irrecoverable

these museums thus present a general overview of Korean

loss.

architectural history. Although efforts were continuously undertaken to pre-

serve Korea 's precious cultural treasures despite these

Cent ralized Ad ministration

considerable difficulties, it was not until 1997 that the gov-

Although belonging to a national museum system, the

ernment began to plan for the development of a proper

regional museums are diverse in character with distinctive

museum building. Following liberation from Japan's colo-

cultural and historical themes. At the same time, however,

nial rule, the National Museum of Korea in Seoul, or the

there can be criticism that the 11 regional museums are all

central museum, was never permanently established, with

administered under a centralized management system

its collections being moved about as many as six times.

overseen by the Nat ional Museum of Korea in Seoul.

Indeed, it is unlikely that any other national museum in the

Centralized management is advantageous in terms of

world has been relocated so often . Hopefully, Korea 's

enabling more active exchange and exhibition of relics at the

museum staff has accumulated world-class experience in

regional museums, and timely dissemination of information.

8 Koreana I Winter 2005

In addition, specialists in the fields of archaeology or art history, who continuously need new challenges to advance their professional career, are able to take advantage of the central system's staff exchange and rotational assignment programs. Such personnel interaction is also effective for sharing technical expertise related to the field of conservation science. Furthermore, in terms of exhibitions and educational programs, a popular exhibition or educational program of one regional museum can be efficiently adopted by other museums. In terms of operating funds, each national museum is allocated an overall budget amount. However, under the centralized system, additional funding can be provided to extend considerable support to an event for which supplemental funding or human resources are required. In particular, the mostÂˇ noteworthy aspect of Korea's management of cultural resources is the government's comprehensive oversight of the excavation and protection of buried relics, which includes procedures for the entire process from the time of excavation to the transport to a designated museum for classification, preservation, research, and exhibition. Recently, there have been incidents in which world-renowned museums have come under criticism The opening ceremony of the National Museum of Korea held at Rotunda lobby on October 28, 2005.

for focusing on the acquisition of Winter 2005 I Koreana 9

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The new National Museum of Korea serves as a cultural

Yongsan is centrally located within Seoul, nearby the

and educational center for all the artifacts and relics of

Hangang River and green areas around Mt. Namsan. To the

Korea's history and culture. A notable advantage of the

north are the five major palaces of the Joseon Dynasty and

new museum is the functional separation of its exhibition

the War Memorial, and to the south across the Hangang

venues and educational facilities.

River are the National Library and Seoul Arts Center. And when the country is unified, it will serve as a true cultural

donated works and fundraising efforts at the expense of

center of all the Korean people. In add ition, the Yongsan

their fundamental purpose of carefully safeguarding and

Family Park, where the museum is situated, can be easily

exhibiting cultural and artistic works. Fortunately, in Korea,

reached by subway or bus, while adjacent areas will be

the central government assumes responsibility for the

returned to the Korean government when the U.S. troops

entire budget of the national museum system in recognition

move out under the recently approved relocation plan.

of its unique significance. In particular, this enables the

Therefore, the Yongsan site will be an ideal location for the

museums and their staff to fully concentrate on their prima-

new museum.

ry endeavors related to the organ ization of exhibitions and

The new National Museum of Korea, which sits on a

undertaking relevant research.

307,227-square-meter site, includes a total floor space of

New Cultural Center

museum in the world. The functional separation of exhibi-

137,089 square meters , representing the sixth-largest The new National Museum of Korea that officially

tion venues and public education facilities is a notable

opened on October 28, 2005, is the sixth-largest museum in

advantage of the new museum . Although the museum com-

the world. Of note, it will serve as a cultural center where

plex is huge, it is easy to get around with the eastern side

thousands of years of history and the roots of the Korean

being devoted to exhibition space and the western side to

people are preserved, amid anticipation of the peninsula 's

administrative offices and public facilities [library, childrenÂˇs

eventual unification.

museum, educational facilities, and perform ing arts the-

The National Museum will also utilize new exhibition

ater].

methods that make it easier for visitors to understand the

In 2004, Korea became the first Asian country to host

displays, along with providing diverse educational programs

the International Council of Museums [ICOM). With the

for the general public and maintaining staff for in-depth

opening of the new museum in Yongsan, Korea now has a

research activities. As such, the National Museum of Korea

national museum befitting its unique cultural status and that

is being reborn as a cultural and educational complex that

it can proudly show off to all the world. t.t

offers visitors a firsthand experience of Korean history and culture, transcending time and space, in addition to stimulating self-development and personal inspiration. The Yongsan area, where the new museum is located, has long been a source of indignation for Koreans as the site where foreign powers, such as China, Japan, and most recently the United States, have maintained their military command base. Winter 2005 I Koreana 11

New Features of the National Museum of Korea

he new National Museum of Korea is located adjacent

activities specifically designed to engage the disadvantaged

to Yongsan Family Park. Unlike its previous home

individuals of society, in order to become a mainstay cultural

within the former building of Japan's colonial regime, this

resou rce of Korea .

complex was Korean-designed and -built. In addition, it

In addition , the museum comple x includes four gift

introduces new exhibition methods and serves as a cultural

shops offering for sale a number of special cultural items,

center where the public can enjoy not only a great variety of

which have been developed to bring the museum 's historical

exhibitions but cultural performances as well.

artifacts and traditional images to life. Last year, the

Reborn as a Cultural Center

established as a separate organization to oversee the vari-

Cultural Foundation of National Museum of Korea was The function of the new museum extends well beyond the storage and exhibition of cultural relics, its primary

ous consumer facilities, including the theaters, museum gift shops, and restaurants.

focus of the past. It is now a place where visitors can come to learn through hands-on experiences. In addition to newly

State-of-the-art IT Museum

organized exhibitions, various educational facilities, includ -

To complement its huge physical scale, the new

ing a seminar room, theater, and library, are also available

museum features cutting-edge information technology

to present diverse educational programs and learning activi-

systems, befitting Korea 's status as a global IT power. The

ties. There is also an 870-seat theater so that visitors can

corridor that leads from the Rotunda lobby to the gallery

enjoy not only the exhibits but also a variety of performing

area, wh ich is called the Path of History, includes glass-

arts presentations.

enclosed walls and ceiling equipped with the most

For example, at the Theater Yong (Dragon). the muse-

advanced natural lighting system. The high-tech control

um will strive to stage first-class performances from Korea

system automatically determines the alignment of the sun,

and abroad in the fields of ballet, classical music, contempo-

according to the time of day and season, so that the maxi-

rary dance, traditional Korean music, jazz, and pop music.

mum amount of sunlight is reflected to illuminate the inte-

These performances, targeted at audiences of all ages and

rior with natural lighting .

tastes, will establish the museum's reputation as a preeminent concert and performance venue . There is also a 400-seat theater equipped with facilities

Moreover, the museum structure is architecturally designed to be the most earthquake-resistant building in Korea (to withstand 6.0 Richter scale]. In addition, the foun-

for simultaneous interpretation in four languages, which can

dation system is specially designed to absorb the shock of

accommodate international seminars and events. Additional

earthquake tremors and adjust to any shifts in the terrain,

facilities include a smaller 200-seat theater, three lecture

thereby ensuring the safety of the museum's collections. To

rooms, ceramic studio with mechanized wheels, dyeing

maintain a comfortable interior, an extensive air-circulation

room, and calligraphy studio with a high ceiling for hanging

system has been installed that includes air purifier units and

full-length works, in which a wide range of educational pro-

devices for monitoring air quality. For the blind, all signs

grams will be conducted. In line with the museum's empha-

include Braille text, while for the hearing impaired the fire

sis on serving as an institute of lifelong education, the

alarm system (strobo] uses flashing lights to alert people of

administrative staff has developed a diverse variety of events

the need to evacuate . Everywhere within the museum is

for families and children, public education programs, and

wheelchair accessible and special care has been taken to

14 Korea na I Wi nte r 2005

Nowadays, a museum has come to increasingly function as an institute for lifelong Learning. In Line with this, the new National Museum of Korea will be offering a wide variety of events for families and children, along with public education programs and activities specifically designed to engage the disadvantaged individuals of society.

Wireless Exhibition Information System Korea's advanced IT tech nology is being showcased at the museu m, in the form of an innovat ive exh ib ition info rmati on system and hi gh-tech displays.

Theater Yong The 870-seat Theater Yong will present a variety of performances in the fields of ballet, classica l music, contemporary dance, traditi onal Korea n music, and Korean popular music.

assure that the disabled and elderly can easily move about. Another notable feature of the new museum is that the

Museum Gift Shops Museum gift shops have on sa le a wide range of cultu ral produ cts that are based on rel ics of the Nat ional Museum's col lection and images related to Korea's tradi tional culture.

system is among the first of its kind in the world. The permanent exhibitions are grouped into six cate-

storerooms are located above ground . In the past, it was

gories : archaeological relics, historical materials, donated

thought that underground storage was safer, and the deeper

artifacts, art works I and 11 , and Asian relics. Some 11,000

the better. But underground storage creates air circulation

items, including a number of works being publicly exhibited

problems and flooding is a constant threat, so storage areas

for the first time, will be on permanent display. An especially

are now situated above ground. Moreover, the ground level

noteworthy addition is the creation of a separate exhibition

for the museum has been built up another four meters so

space for ch ildren . The Children 's Museum comprises an

that the museum will not be at risk of flooding even if the

exhibition area of 1,123 square meters and three related

Hangang River should overflow its embankments.

facilities. Here, children can touch and handle objects that are shown in school textbooks, such as comb-Âˇpatterned

Hands-on Experience Through its Internet site, the museum provides online access to a wealth of information and academic materials

pottery and half moon-shaped stone kn ives, and thus come away with a hands-on experience and better understanding of these artifacts.

on the relics in its collection , while viewing the exhibits has

The museum's special exhibition gallery will present a

been made more convenient and enjoyable for visitors

variety of unique exhibits and events. For this year, the initial

thanks to the museum's state-of-the-art display cases and

event will be a "Sixty Yea rs of the National Museum" exhibi-

wireless exhibition guide system. Under this system, with a

tion, while next year will feature an exchange exhibition with

PDA or MP3 player, which can be rented from the muse-

the Louvre and Guimet Museum of France, as part of the

um, visitors can receive detailed audio/video content about

celebrations for the 120th anniversary of Korea-France

an exhibition by positioning themselves in front of a partic-

diplomatic relations. In this way, the new national museum

ular exhibit where the information is received via wireless

will strive to introduce diverse cultures from abroad to the

infrared transmission from a device on top of the display

people of Korea and promote Korean culture in foreign

case. Indeed, the museum's high -tech exhibition guide

countries through overseas exhibitions. 1.1 Winte r 2005 I Koreana

--J

Striving for the Essence of Korean Architecture

1 ~c_Âˇ

he appearance of a new public facility naturally arouses expectations about the kind of spatial

experience it will offer and the technology that has been applied . In this respect, what does the new National Museum of Korea complex have to offer? Time will tell if it is able to provide a momentum for further development of Korea 's contemporary architecture.

Architectural Koreanness Today, at a time when Korea's contemporary architecture is experiencing a textbook-type crisis, the construction of the new museum complex is all the more meaningful. First, the fact that such a large-scale construction project as this, including a design competition phase, could be undertaken in a ten-year period is worthy of note. In these ten years, there have been three presidential administrations. In spite of this, the project did not become mired in politics and the construction process proceeded fairly smoothly, which is a vast improvement from the past. In addition, a local architectural firm presided over the project from beginning to end, during which time the name of the lead architect, Park Seung-hong, came to be associated with this project. In Korea's unique architectural culture, in which the names of individual architects are usually over-

Th e design of the National Museum of Korea incorporates aspects of Korea's traditional architecture that are ex pressed in co ntemporary styles.

shadowed by the names of prominent architectural firms, this development should be seen as a noteworthy change. The construction of the National Museum of Korea involved a total project cost of some 410 billion won [about

of Koreanness was readily apparent in the design proposals submitted by the Korean and foreign architects who participated in the international design competition.

$390 million]. In particular, the growing scale of projects commissioned by public organizations and private business-

Project Architect Park Seung-hong

es over the past ten years indicates that cities of various

Traditionally, Korean architecture has developed on the

sizes in Korea have attained relative financial stability.

basis of mountainous terrain rather than flat land . From

However, the most relevant point about the national muse-

long ago, villages and cities have maintained a close harmo-

um project is that the debate over "Koreanness," which had

ny between buildings and the natural surroundings .

in large part been shelved since the early 1990s, has resur-

Therefore, Koreans have come to acquire a practice of first

faced, but in a much more mature manner. That the muse-

identifying the nature and spirit of a site and then seeking to

um project would inevitably involve architectural realization

express these characteristics in the architecture for the site.

18 Koreana I Winter 2005

The new National Museum of Korea will become the central urban space for enhancing the cultural level of Korea. With the physical construction having been completed, attention must now be paid to following through on the related details.

Indeed, there are myriad examples in Korea that demon-

dynamism of Korea through tangible elements. Park says:

strate that such an approach has been passed down

"Architecture awakens our sense of existence through sub-

through the ages. Park Seung-hong , project architect of the

lime beauty that transcends time and culture." In defining

new National Museum of Korea complex, in explaining the

architecture this way, he believes that to achieve this it is

basic theme of his design, compares it to a bold brushstroke

necessary to pursue architectural truth on the basis of a

or a fortress wall: "In the simplicity and forthrightness found

rational and realistic attitude. This involves an approach of

in a single brushstroke, I sought to express the dynamism of

gleaning universal elements from Korean characteristics

Korea ."

that can become contemporary when viewed from a per-

Built on a relatively flat site, the new museum forms a

spective of world architecture.

straight line with a fac;:ade extending 400 meters in length.

The historian and critic, Christian Norberg-Schulz, has

The design of space leading to the main entrance of the

for long used the terms "genus loci " or "spirit of place, "

building is similar to that used for a traditional Korean

which have awakened a new consciousness among archi-

Buddhist temple. That is, the entry to the museum can be

tects. The mission of architecture is to discover the spirit

compared to the oblique entrance path from the bell tower

that originally existed at the site before starting construction

to Anyangnu Pavilion of Buseoksa Temple, one of Korea's

on the basis of its historical and environmental characteris-

oldest Buddhist temples. Moreover, as if re-creating the

tics. As such, the process that Park Seung-hong adopts to

view of the temple 's Muryangsujeon Hall from the open

give shape to the typological characteristics and material-

space at the lower level of Anyangnu Pavilion, the open

ism of his architecture is consistent with this principle.

courtyard of the museum, known as Yeollin Plaza, has been designed so that the picturesque scenery of Mt. NamsanÂˇs

Future Challenges

graceful slopes and Seoul Tower is at its back. This is

Yeollin Plaza leads to the core of the museum complex,

arguably the most marvelous visual experience for visitors

the Rotunda lobby, and the Path of History, a corridor-type

entering a world-class museum.

space that features a city-street theme. The electronically

As such, Yeollin Plaza brings to life the traditional con-

controlled lighting system creates an interior Âˇexhibition

cept of leading up to the entrance through a series of gates.

space with the atmosphere of an urban setting amid a fes-

The gate, in terms of its form, space, and function, is not

tive ambience.

insufficient to be an icon of Korean architecture. The gate is

"The Path of History includes prismatic glass panels

an architectural structure that defines a boundary, while

and an automated lighting system, which continuously mon-

gates have different meanings based on their relationship

itors the position of the sun throughout the day to reflect as

with the walls. In this regard, placing a large open area in

much sunlight as possible into the corridor, resulting in a

front of the long straight building serves to create a kind of

pleasant, natural lighting for the interior. As visitors enter

doorway, which reflects the architect's desire to express

the Rotunda and then proceed along the Path of History, the

Koreanness. In addition, the museum brings to mind

light intensity is reduced by 10 percent at various intervals,

Korea ' s fortress architecture based on an innovative

enabling the eyes to naturally adjust to the interior environ-

approach intended to convey an imposing character of the

ment, .. notes Park. Such attention to detail reflects the over-

exterior walls. From the building's substantive structure,

all excellence of the museum.

you can see the architect's conscious effort to symbolize the

â&#x20AC;˘

Although the exterior theme seems to be based on traWinter 2005 I Ko reana 19

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Park Seung-hong Park Seung-hong, the lead architect of the National Museum project, constantly wrestled with ways to balance the "Koreanness" of the building's design with contemporary and universal characteristics.

/1 .....

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1 Yeollin Plaza, the entryway to the museum, is designed to symbolize the covered wooden floor area of a Korean traditional residence. 2 The Rotunda lobby conveys a sense of grandeur to visitors upon their entry into the museum complex. 3 From the lobby, the Path of History corridor leads to the main gallery areas.

ditional Korean architecture, the interior image is considerably different. The city street concept that leads directly to the exhibition gallery area is comprised of large walls of Turkish stone but the character of the space is rather ambiguous. This departure from Koreanness, which can be seen in the Path of History, is thus subject to question, creating an anomaly in the project design. Ranking as the world's sixth-largest museum, in terms of floor area, the new National Museum of Korea's collections and exhibitions will be rated in accordance with how much attention is paid to the smaller, but still important, details. If the previous effort has been focused on completing the big picture, it is now time to pay careful attention to the details and fixing any problems. For example, the sound produced by crowds of people walking across the floor will have to be addressed if this poses a problem. The new National Museum of Korea will become the central urban space for enhancing the cultural level of Korea. At this point, it is too early to assess the extent to which the architect has succeeded in his quest to attain authentic sublimity of Korean architecture. This judgment will be forthcoming from the responses of museum visitors and the commentaries rendered by various sources. Thereafter, the architectural achievements of this museum can be further discussed and reflected upon. 1.1

Winter 2005 I Koreana 21

Korea's New National Museum Opens its Doors

allowing completion of the building's construction in

influences and traditional Korean style, represents the only

2004, and the installation of the individual galleries,

stone pagoda modeled after a wooden Goryeo structure.

the new National Museum of Korea was officially opened on

The Buddha images carved onto the pagoda are character-

October 28, 2005. The galleries encompass a total floor area

istic of the late Goryeo period. The ten-story pagoda, which

of 27,091 square meters, about three times larger than the

is gracefully proportioned and delicately engraved, is an

exhibition space of the museum's former home at

invaluable research subject for such areas as architectural

Gyeongbokgung Palace.

history, art history, and Buddhist culture.

The newly opened National Museum of Korea includes separate areas for special exhibitions and a children's

Archaeological Gallery and Historical Gallery

museum, along with galleries for permanent exhibitions

The Archaeological Gallery, which covers some 3,300

categorized into four major groups: archaeology, history,

square meters, features artifacts from the Paleolithic Age

fine arts, and donations . The first floor includes the

to the Unified Silla period [668-935] and the Balhae era

Archaeological Gallery, to the south, and the Historical

[698-926]. The galleries for the Unified Silla and Balhae

Gallery, to the north, while the Donation Gallery and the Fine

periods are situated side by side sci that visitors can com-

Arts Gallery I are found on the second floor. The Asian Arts

pare the respective relics . The Balhae artifacts, which have

Gallery and the Fine Arts Gallery II occupy the third floor. In

been borrowed from Tokyo University, will be on display

particular, the attention of visitors will invariably be drawn to

through May 2007.

the stone artifacts inside. In addition, the stone works of the outside garden area create an open-air gallery.

The decorative brick tiles of temple and royal palace buildings are especially worthy of note. These brick tiles,

Compared to its previous facility, the museum's new

excavated from the Buyeo area, are elaborately engraved

additions include the Historical Gallery, Asian Arts Gallery,

with images of landscape scenes, rounded mountains,

Donation Gallery, and Children 's Museum, together with the

unusual rock formations and trees, clouds adrift in the sky,

new Calligraphy Hall, Buddhist Paintings Hall, Wooden and

and people and homes on mountainsides. The elegant

Lacquer Arts Hall, Chinese Art Hall, Japanese Art Hall,

engravings of these unique brick tiles are highly mÂˇeaningful

Central Asian Art Hall, Balhae Hall, and Nangnang Hall.

as examples of ancient Korean landscape painting styles.

Indeed, the new museum has been totally restructured.

There is also a gold crown and belt [Geumgwanmit-

Upon entering the gallery area, visitors will encounter the

suhasik, National Treasure No. 191] that was excavated from

ten-story pagoda from the monastic site of Gyeongcheonsa

Hwangnamdaechong Tomb, a royal tomb of the ancient Silla

[Gyeongcheonsasipcheungseoktap, National Treasure No.

capital of Gyeongju, as well as a pair of horse rider-shaped

861, standing tall at the end of a broad corridor. This work,

vessels [Dojegimainmulsang, National Treasure No. 91] exca-

which was plundered and taken to Japan and later returned,

vated from Geumnyeongchong Tomb, another Silla royal tomb

is noteworthy for its cultural as well as historical signifi-

located in Gyeongju. Whereas the aforementioned bricks with

cance. According to the characters engraved on the face of

design reflect the simple and lyrical artistry of Baekje [18 B.C.-

the pagoda's first level and the references included in

A.D . 660], the crown and earthenware figures reveal the

Veritable Records of King Sejong [Sejongsillokjirijil, this

resplendent and refined aesthetics of Silla [57 B.C.-A.D. 935].

pagoda was built by a Yuan Chinese artisan [1271-1368]. But

The new Historical Gallery, with a floor space of almost

the pagoda's design, which is a fusion of Yuan Chinese Lama

3,000 square meters, is of special significance as the first Winte r 2005

I Koreana 25

The National Museum of Korea has been reborn as an important museum of Northeast Asia, where visitors can view diverse artifacts not only from Korea but other Asian countries as well in 43 permanent galleries on such themes as history, antiquities, fine arts, and donations.

large-scale exhibition hall of Korean history since the found-

and Lacquer Arts Hall, and Buddhist Paintings Hall feature

ing of the nation. Accordingly, most of the artifacts are being

numerous artifacts that the museum had never exhibited.

exhibited for the first time . These artifacts, which are of

The Calligraphy Hall displays representative Korean

greater historical value rather than subjects of archaeolo-

calligraphy works, including those of famed calligraphers

gaical or art history research, include works that use the

such as Kim Saeng [711-791] of the Unified Silla period, and

Korean alphabet Hangeul, ancient prints, texts engraved in

Han Ho [1543-1605] and Kim Jeong-hui [1786-1856; pen

stone or metal, historic documents, and ancient maps.

name: Chusa] of the Joseon era. Album of Poems on Eight

For example, visitors can see the stele built to honor the

Views of the Xiao and Xiang Rivers [Bihaedangsosangpal-

expedition of Silla King Jinheung [534-576] on Mt.

gyeongsicheop : 1442, Treasure No. 1405] is a valuable cul-

Samgaksan [Bukhansansillajinheungwangsunsubi, National

tural resource that contains paintings by Prince Anpyeong

Treasure No. 3]. Also on display is the well-known pure light

[1418-1453], who was the son of the fourth ruler of Joseon,

dharani sutra [Mugujeonggwangdaedaranigyeong: National

King Sejong, and a distinguished artist, as well as poetry

Treasure No. 126-6]. Printed in 751, this scroll-type sutra is a

works by Kim Jong-seo, Jeong ln-ji, Bak Paeng-nyeon, and

true cultural treasure, representing the world 's oldest wood-

Seong Sam-mun.

block print. It was discovered in October 1966 within the

The Paintings Hall is designed to introduce the tech-

Three-story Stone Pagoda at Bulguksa Temple in Gyeongju,

niques, processes, and materials of Korean painting.

when the pagoda was dismantled for restoration work.

Paintings are displayed according to genre, including land-

Also on display are gold and jade books from the Great

scape, portrait, figure, folk, bird and flower, bird and beast,

Han Empire [1897-191 OJ, which are helpful for a broadened

and "four gentlemen" [plum, orchid, chrysanthemum , and

understanding of Korea's history and culture. Indeed, visi-

bamboo]. The portraits include a painting of Kang Se-hwang

tors can learn much about Korean history as they view the

[ 1713-1791], a Joseon period writer and government official

artifacts and gain an understanding of Korea 's rich back-

known for his outstanding calligraphy and painting . There is

ground. In the Historical Gallery, the halls are arranged by

also Rivers and Mountains Without End, an 8.5-meter-long

theme, such as "King and His Reign" and "Socioeconomic

landscape painting that vividly depicts the picturesque nat-

Life." The former explains through related artifacts how the

ural scenery of Korea.

king and nation have shaped Korean history. The latter pro-

The genre paintings of Kim Hong-do [1745- ?] are per-

vides a glimpse into the everyday life of Koreans, from the

haps the most representative works of Korea's bygone days.

ancient past to modern times, through various exhibits such

His genre paintings [Treasure No. 527] masterfully capture

as Joseon period identification tags and documents related

the everyday life of the Joseon period with exceptionally bold

to agriculture and taxes.

brush strokes and creative compositions.

Antique Art Works

floor up to the third floor for the display of large hanging

The Buddhist Paintings Hall extends from the ground There are approximately 1,400 artifacts on display in

Buddhist paintings that reach a height of 10 meters. From

the Fine Arts Hall, which encompasses an area of 5,600

the stairs leading up to the Buddhist Sculpture Hall on the

square meters. This abundance of Korea's finest antique art

third floor, visitors can view the upper areas of the hanging

works is valuable not only historically but also academically

Buddhist paintings that are too high to be seen clearly from

and artistically. The newly created Calligraphy Hall, Wooden

the lower levels. Three of the walls of the Buddh ist

Ko reana I Winter 2005

Pensive Bodhisattva is displayed in a sepa rate are a to allow visitors to quietly meditate on the tranqu ility of this maste rful work. 2 Gold crown is a masterpiece representative of refind arts of the Silla Kingdom. 3 Lobed dish, w hite porcelain with leaf design, the only one of its kind in the world, is on display in the Si nan Hall. 4 This Buddha is a representative Buddhist statue. Based on its inscription that refers to the seventh year of the Yeonga era, it is believed to have been created in 539.

...l it

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111

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Self-portrait by Yun Du-seo [Yundoseosang, National Treasure No. 2401

2 Kim Hong-do's genre paintings are distinguished by bold brush strokes and creative composition.

3 A poem from the Album of Poems on Eight Views of the Xiao and Xiang Rivers, a collection of paintings by Prince Anpyeong and poems by prominent literati.

t f ti ,,_

4 Octagonal water dropper, w hite porcelain with eight views of the Xiao and Xiang

Rivers in underglaze cobalt-blue. Each side of this exquisite piece is decorated with popular themes of the literati. 5 Baekje-era brick tile with relief carving of landscape scene from Oe-ri, Buyeo [Munyangjeon, Treasure No. 343).

** , J!aff ~! J~ /--- fl. #l-fr. ~

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Koreana I Winter 2005

\II..

1{,

Sculpture Hall are full-length glass, allowing visitors to

Asian Arts Gallery is expected to serve as a venue for facili-

view the Buddhist statues in an environment that maxi-

tating active foreign cultural exchange .

mizes natural lighting . The Pensive Bodhisattva (Geum-

The Sinan Hall mainly displays Chinese pottery that

dongmireukbosalbangasang: National Treasure No. 83) is

was salvaged from the seabed nearby Sinan-gun,

situated in an area conducive to quiet meditation, so that

Jeollanam-do, Korea in 1976. Among these items is a lobed

people can fully appreciate the peace of mind attained by

dish, white porcelain with leaf design, the only one of its kind

the Buddha.

in the world. The relief decorations are painted in red and

The display cases in the new National Museum of

green, along with a poem written on the dish surface. The

Korea feature non-reflective glass that blocks out infrared

Chinese Art Hall contains a variety of artifacts, including

light and heat, thereby enabling visitors to observe the

bronze ware, pottery, and paintings, highlighted by the

enclosed items as clearly as if they were being viewed

three-colored pottery that was popular during the Tang

directly. Also exhibited here is a Buddha [Yeongachilnyeon-

Dynasty. The other halls include a Central Asian painting of

myeonggeumdongyeoraeipsang: National Treasure No.

the male and female deities who created the heavens and

119). a representative Goryeo Buddhist statue, which is

earth, painted lmari pottery and lacquerware marriage cer-

believed to date back to 539.

emony items on loan from the Tokyo National Museum in

A traditional men's quarters has been replicated in the

Japan, and a statue of Ganesa, the Hindu deity of wisdom,

Wooden and Lacquer Arts Hall, allowing visitors to experi-

learning, and happiness, on loan from the National Museum

ence the refined residential lifestyle of Joseon-era literati

of Jakarta, Indonesia.

and their practical wooden furniture . A notable attraction of this gallery is that visitors can sit on the rear veranda of the men's quarters and look out onto the park area outside the window. Celadon, buncheong, and white porcelain, adored by

Donation Gallery The 3,000-square-meter Donation Gallery displays the works that have been donated by private collectors. Each of its galleries is named after the donor of the artifacts housed

Korean as well as foreign pottery enthusiasts, are presented

therein. It is noteworthy that Japanese donors have con-

in separate halls. Of note, on display for the first time is an

tributed their collections as well. In the Donation Gallery,

octagonal water-dropper, white porcelain with eight views of

visitors can see displays related to Korea and Southeast

the Xiao and Xiang Rivers design in underglaze cobalt-blue

Asia . The bronze headpiece awarded to marathon gold

(Baekjacheonghwasosangpalgyeongmunpalgakyeonjeok:

medalist Sohn Kee-chung during the 1936 Berlin Olympics,

Treasure No. 1329). a favorite setting among Joseon-period

exquisite mother-of-pearl lacquerware works of the

writers. It is large work for a water-dropper, standing 12.6

Joseon period, and various pottery works designated trea-

centimeters high.

sures and national treasures are also on display.

Asian Arts Gallery

new things to see and enjoy. Even a leisurely walk through

The new National Museum of Korea offers myriad The Asian Arts Gallery is a brand new exhibition space

the delightful garden, with a small pond and waterfall, to

that covers some 2,300 square meters. With six halls for

view the stone artworks scattered about, can be the first

Indonesia, Central Asia, China, Nangnang, Sinan, and

step of an insightful journey along the winding path of

Japan, it exhibits some 1,200 artifacts. In particular, the

Korean history. 1.11 Winte r 2005 I Koreana

End of the Line for Royal Funerals in Korea On July 24, Lee Ku, the last imperial grandson of the Great Han Empire was laid to rest. As the last royal funeral in Korea, this historic event prompted people to reflect upon Korea's modern history. Lee Kwang-pyo Reporter, The Dong-A /Ibo Seo Heun-kang Photographer

he funeral service for Lee [Yi] Ku [1931-

in the evening of July 18. Two days earlier, on

2005]. the last direct descendant of the

July 16, he had been found dead in Akasaka

Great Han Empire [Korea's official name in the

Prince Hotel in Tokyo . On the morning of July

final years of the Joseon Dynasty, from October

19, several members of the Jeonju Lee [Yi] Royal

12, 1897 to August 29, 1910] was conducted at

Family Members Foundation, including its pres-

Changdeokgung Palace in Seoul, on July 24,

ident Lee Hwanui, hurriedly made their way to

2005.

Japan. On the afternoon of July 20, they accompanied Lee Ku's body to Seoul and had it placed

Heir to a Fallen Dynasty

in Nakseonjae of Changdeokgung Palace, which

Lee Ku, the second son of Lee Eun [royal

had been the residence of Lee Ku's parents,

title Yeongchinwang, 1897-1970] and his

Yeongchinwang and Lee Bangja. When Lee

Japanese wife Lee Bangja [1901-1989], was the

Bangja died in 1989, her funeral service was

grandson of Gojong, the 26th king of the Joseon

held at Nakseonjae, with Lee Ku presiding as

Dynasty [r. 1863-1907]. His death and funeral

chief mourner.

attracted the attention of many people in Korea

The Jeonju Lee Royal Family Members

and beyond, as he was the imperial grandson of

Foundation

and

the

Cultural

Heritage

a fallen royal dynasty who had lived an ambigu-

Administration, which decided to conduct the

ous life, somewhere between a royal and a

funeral on the ninth day after Lee Ku's death,

commoner, in large part away from his home

formed a funeral committee. On July 20, a coffin

country. Moreover, his funeral would be the last

room was set up within Nakseonjae, and it was

to be performed in accordance with Joseon

agreed that the funeral service would combine

royal court protocol.

selected procedures prescribed for the funeral of

The news of Lee Ku's death reached Seoul

a Joseon crown prince with certain proceedings

A funeral of such grandeur had not been seen for many years, but there was much to regret about the proceedings, as it marked the effective end of Korea's royal funeral culture.

from the funeral of Lee Ku's mother Lee Bangja. The follow-

the royal ancestral shrine where the memorial tablets of

ing day, members of the government, the Jeonju Lee family,

Joseon Dynasty kings and queens are enshrined.

and the general public came by to pay their respects.

At the head of the procession was a Large Korean flag ,

Then, on July 22, Jeonju Lee Royal Family Members

an infantry unit for firing a gun-salute for the deceased,

Foundation registered Lee [Yi) Won, a nephew of the

and chwitadae [royal court musicians). followed by the

deceased and a grandson of King Gojong·s son Uichinwang

great bier, the chief mourner Lee Won, relatives of the

[1877-1955). as an adopted son . This was undertaken in

deceased, members of the Jeonju Lee Royal Family

accordance with Lee Ku's will. Since Lee Ku had no chil-

Members Foundation, and manjang, banners bearing a

dren, his death meant the end of the Great Han Empire's

memorial text. The procession consisted of about 600 peo-

Legitimate Line of descent, albeit for a deposed dynasty. As

ple and was about 100 meters in Length. Around noon, the

such, the registration of an adopted son meant that the

procession arrived in front of Jongmyo, where a noje, or

Great Han Empire's Line would be extended, if only sym-

"street rite," was performed. This represented a formal

bolically. To acknowledge Lee Won·s succession to the

greeting of the past kings memorialized in the shrine.

position of imperial grandson, the Jeonju Lee Royal Family

Despite sweltering summer temperatures of over 33°C,

Members Foundation bestowed upon him the royal title

about 3,000 people Lined the roadway between

Sahwangson. Thus, he assumed the role of chief mourner

Donhwamun and Jongmyo to observe the funeral proces-

for the funeral.

sion. People came out as a tribute to the deceased as well

On July 24, after the coffin was brought to

as a rare chance to view the final funeral of the Joseon

Huijeongdang from the coffin room in Nakseonjae at 9:30

Dynasty. Everywhere, people could be seen busily taking

a.m., the funeral proceedings were commenced at 10 a.m.

photographs.

in front of the Huijeongdang building of Changdeokgung

When the noje rite was completed, the body was

Palace. Those attending the funeral included Prime

placed in a black hearse decorated to Look Like an eoga [a

Minister Lee Hae-chan, Jeonju Lee Royal Family Members

carriage used by the emperor) and then taken to the

Foundation president Lee Hwanui, Cultural Heritage

gravesite Located at Yeongwon in Geumgok-dong,

Administration Administrator You Hong-june, members of

Namyangju, Gyeonggi-do province, the site of Yeongchin-

the National Assembly, representatives of the Japanese

wang 's tomb. Nearby is Hongneung, the tomb of King

Embassy in Korea and Japan 's imperial family, clansmen

Gojong and Queen Myeongseong [1858-1895). The term

of the Jeonju Lee family, and about 1,000 residents of

neung denotes the tomb of a king or queen, a·nd won the

Seoul. The Japanese presence was due to the fact that Lee

tomb of a prince. After his burdensome Life as the imperial

Ku 's mother Lee Bangja was a descendant of Japan's

grandson of a fallen dynasty, Lee Ku was finally Laid to rest

imperial family. The Japanese colonial authorities had

in peace beside his father and grandfather.

forced Yeongchinwang to marry a Japanese woman in order to sever the bloodline of the Great Han Empire.

The burial ceremony began at 2:30 p.m. and continued for 45 minutes. The Jeon ju Lee Royal Family Members Foundation performed the Jaeu, the second memorial ser-

Final Resting Place

vice following the funeral, on July 26, and the Samujae, the

At the conclusion of the funeral service, ceremonial

third memorial service, on July 27. In conjunction with this,

units from the three branches of the armed forces Lifted

they arranged a place of mourning in Nakseonjae at

the coffin onto the great bier, a modified truck used for

Changdeokgung Palace and began a three-year period of

state funerals. Around 11 a.m., a procession of the great

mourning [counting the year of death as the first year) that

bier made its way from Donhwamun, the main gate of

will continue through July 2007 . During this period of

Changdeokgung Palace, along Jongno 3-ga to Jongmyo,

mourning, kinsmen and members of the Jeonju Lee Royal

32 Koreana I Winte r 2005

·-

~~'.-~:~:." -~

Family Members Foundation will observe the traditional

With_Le_e Ku _bejn~ t~e fin-'.' l • desce ndant.of the J oseon r : -· oynas ty.'t~~ fun e raU, ringi an -- --.. . _ 'encl tD"Kor ea·s traditienal \ .£ funera l 4i ~u; e based ,Pn - ·" p!:f>!ocol of ttl'e Lmpe rial court. ' ._.,.-,,.._ Right: ~ uri ~ his ~~ti ~ e. Lee _, Ku~pr~ defover of irlohi~~~ -- --=-~ _cereJi onies. - ----¥

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changing times, such that there seemed to be little sense

funeral custom Sangmangjeon, a ceremony in which food

of obligation to perform a royal funeral for a descendant of

and liquor is offered to the deceased on the first day [sak)

a dynasty that had fallen sometime ago. People had con-

and full moon [mang) of each month, according to the

flicting opinions, wanting to have a kind of royal funeral yet

lunar calendar, that will be open to the public. Sangsik, a

regarding it as a proceeding mainly for the Jeonju Lee

rite of offering rice, soup, and fruit each morning and

family.

evening, will continue for three months after the Samujae ceremony, until October 27.

The use of a jaegung [Joseon royal coffin) for the funeral was a topic of extensive discussion. Such a coffin was maintained by the Cultural Heritage Administration at

Loss of Traditional Culture

Changdeokgung Palace. It was made of yellow pine

Although the funeral was based on traditional Joseon

hwangjangmok and japanned with dozens of coats of black

royal funeral rites, in various regards it was simplified for

lacquer. The Cultural Heritage Administration had main-

modern-day convenience and incorporated contemporary

tained two of these coffins, of which one was used for the

elements. For example, a military band and military cere-

funeral of Lee Ku's mother Lee Bangja in 1989. This time,

monial units participated in the funeral procession, and a

however, the remaining jaegung was not used. Because of

vehicle was used to transport the bier instead of pallbear-

its significance as the last Joseon jaegung , it was agreed

ers. In the conduct of the funeral procession and street rite

through discussions with the Jeonju Lee Royal Family

there were several errors, while overall it was rather mud-

Members Foundation that this coffin would be permanent-

dled and imprecise. It was unfortunate that the funeral

ly housed at the National Palace Museum of Korea.

could not have been conducted on the basis of more

Lee Ku was born in Japan in 1931, and it was there

detailed research by specialists of royal culture and tradi-

that he died . As an architect and businessperson, he split

tional funeral practices.

his time between Japan, Korea, and the United States. He

Of course, because of Lee Ku's sudden death, the

married an American woman, but they had no children and

funeral had to be prepared for in a short timeframe, and

divorced after 24 years. With his passing and funeral, there

there was no one individual who was well versed in the

will never be another royal funeral in the tradition of the

details of a royal funeral. But a more telling factor was our

Joseon imperial court. 1.t Winter 2005 I Koreana

Bae Bien-u is a photographer who reveals a world of Korean sentiments in his distinctive, pure images. Throughout his career, his Lens have remained focused on nature and its transparent reality. Jin Dong-sun Photography Critic

f you drive along the California coast beyond the town of Carmel, you will come to Point Lobos, where fantastic rock formations combine with majestic pines to create a scene of overwhelming grandeur. The local Native Americans of old are said to have regarded this landscape as being so sacred that they would not disturb a tree or rock, or obstruct the natural flow of seawater or passage of the wind. It seems that this is why Point Lobos has managed to

Bae Bien-u expresses himself through lines. He presents a world of lines in harmony with light, which extends beyond traditional beauty to a realm of the soul and spirit. Ultimately, he highlights the beauty of Korean lines through his images of pine trees.

On Jejudo Island, Bae Bien-u was intrigued by parasite volcanoes, which can appear to some as gentle hills and a mother's breast to others !"Parasite Cones" series). 2 To Bae , the images of pine trees best reflect the fundamental character of the Korean people !"Pines" series). 3 Throughout his career, Bae has sought to depict the tra nsparency of natui-e with his black-and-white landscape photography !"Hyangiram Cliff" series).

Winte r 2005 I Ko reana

Korean landscapes, he expresses the Korean sentiments

hill, with the sea visible in the background. I seem to have

for everyone to see in his distinctive black- and-white

lived my whole life with this image stuck in my mind . It may

images. Indeed, it could be said that Bae and his works are

even have been this image that influenced my interest in

synonymous with Korea's contemporary photography.

such subjects as the sea, pines, rock formations, and para-

Through Korean landscapes, he has discovered a Korean

site cones. From the time when I attended art college , I

aesthetic, which he has sought to imbue with universal

have wandered around the islands off the south coast with

sensibilities . His photographs feature the purity and

an old Nikon-F and a Mamiya double-lens. Although I can't

integrity of traditional ink paintings. He focuses first and

say that all the photographs I've taken to this day have

foremost on the lyrical essence of a landscape scene .

been images of Korean things and the Korean soul and

Then, he seeks to highlight the soul and spirit therein.

spirit, I have never thought of my photographs as anything

Each of his series has been undertaken from this

different from that picture from my second grade class in

approach : "Marado,"" "Pines," ""Jeju Sea, " " Parasite Cones"

elementary school, which to me was a landscape of Korea

[secondary volcanic cones found scattered about Jejudo

as well as my heart."

Island], and "Hyangiram Cliff." From the time he first developed an interest in photography, Bae has been

Aesthetic of Lines

enchanted by landscapes. To this day, he has never strayed

Bae knows well how to capture the unadorned ele-

from the path of landscapes for even an instance. His

gance of Korean landscapes. Whether in black and white or

attention has thus remained intently focused on nature as

color, he creates wonderful images that express a Korean

he strives to capture nature's unpretentiousness in black

sensibility. In reaching th is point of his career, he has

and white, as if creating a Korean ink painting.

learned much from others. In particular, Bae has gained

"The oldest picture in my memory is a crayon draw-

valuable insight from such masters as Laszlo Moholy-Nagy

ing, which was hung on the back wall of the classroom

and Edward Weston . From Moholy-Nagy, he acquired a

when I was in the second grade of elementary school, that

new concept of light, and from Edward Weston a new

showed a low tiled house crouching under a big tree on a

approach to nature. Adding to this were the pine trees that

To Bae Bien-u. the sea is the origin of all life. from which all things emerge !'Â°The SeaÂˇ series!.

he encountered while trekking along the Taebaeksanmaek

tenacious and robust people. As a result, lines are a recur-

mountain range, which forms the backbone of the Korean

ring motif in his photographs and an aesthetic framework

peninsula. It was through the pines that he eventually dis-

to illuminate the spirit and soul as well as the self.

covered the grandeur of light, the paramount aspect of landscapes, and the transcendence of Korean lines.

At the same time, the aesthetic of lines is of a universal nature as well. No matter what subject he photographs, the

"Suddenly, in the lines of pine trees, I saw an image of

lines of the image reveal his personal aesthetic and a uni-

absolute spirituality and soulfulness. From their distorted

versal character. Through his photographic interpretation,

forms, it dawned on me that this was an ideal symbol of the

Bae can highlight both the Korean and universal sensibility

Korean sentiments. These lines of the soul and spirit

of any subject. A representative example of this is his

expanded to become the horizontal lines of the Jeju Sea,

"Tahiti" series. The landscape scenery of Tahiti is indeed

the curved lines of Jeju parasite cones, and the vertical

exotic, but it takes on a Korean and universal aesthetic. His

lines of Hyangiram Cliff. Neither big nor small, neither

Tahiti photographs demonstrate that place is no longer an

jagged nor smooth, one might call them moderate lines.

issue.As such, based on the view, distance, and attitude

Through the lines of Korean landscapes I wanted to express

adopted toward a subject, the photographs of any country

a uniquely Korean aesthetic."

or landscape can feature the photographer's lines, tones,

Bae expresses himself through lines. He presents a

and sentiments.

world of lines in harmony with light, which extends beyond

Of particular note, BaeÂˇs photographs define his criti-

traditional beauty to a realm of the soul and spirit. The

cal aesthetic and artistic evaluation . His fantasy-like

pines of Gyeongju thus serve as a representative standard

panoramic images are capable of stirring delicate sensa-

of Korean lines. The upright, firm lines reflect the dignified

tions and arresting the eyes and heart, while causing view-

propriety and resoluteness of the Korean people, while the

ers to encounter a soul and spirit beyond conventional

extended, graceful lines symbolize their resilience amid a

beauty through uniquely natural lines, forms, and tones. He

turbulent history. In the lines of pine trees, Bae found the

presents a profound essence of nature, with a universal

epitome of the Korean character and the fateful plight of a

appeal, through his transcendent lines and forms. 1.t

The landscape scenery of Tahiti is indeed exotic. but it takes on a Korean and universal aesthetic.

!.. Tahiti .. series!

ARTISAN

Noui, the everyday attire worn by crown princesses during the Joseon Dynasty, have been re -created/restored by Jung Jeong-whan.

4 0 Koreana I Winter 2005

Jung Jeong-whan Making Heavenly Clothing, One Stitch at a Time

• •• •• .s,.;

Korea's traditional se\Yin~ invokes skills th,1t h;l\e been h,mded dm\·11 from mother to daughter for countltss generations. I )v;pitc the mfluenccs of modernization. Jung Jeong-\, ban and he· d.rnghter-in-Lm·. Koo Hye-Ja. are doing their utmost to preserve ,1ge-old sewing traditions of Korc\1. Choi Tae-won Fr 0 e1Jnce \/'Ir •0 r Seo Heun-kang Photogr·

'1Pr

Jung Jeong-whan is the foundation of efforts to preserve the roots of Korea ·s traditiona l sewing culture.

Wi nte r 2005 I Ko reana 41

ince long ago, sewing has been a fundamental part of

applied to create the elegant hanbok [Korean traditional

the everyday life of Korean women. Prior to the avail-

garment]. have been highly praised by people from around

ability of ready-made garments, housewives were respon-

the world . Various sewing materials and implements are

sible for making all of the family's clothing. Therefore, the

needed to produce a hanbok that can gracefully comple-

Korean tradition of sewing is firmly rooted within the family

ment the wearer's body form. These include bolts of fabric

structure. With protective wear being a basic human need

of vibrant colors, thread, needles, spools, thimbles, scis-

from prehistoric times, chimseon [sewing]. which refers to

sors, irons, and measuring tape. Silk, cotton, ramie, and

the overall process of making clothes, is one of the oldest

hemp are the most common fabrics. As for thread, which

household tasks, aside from food preparation.

depends on the quality, color, and thickness of the fabric, cotton thread is the most popular. For high-quality clothing,

Korea's Age-old Sewing Tradition The long history and traditions associated with Korean

a neat, ironed thread is needed, which has been extracted from the fabric being used for the subject garment.

sewing techniques can be seen in the needle-like metal

The sewing techniques involved with making a hanbok

items found among the artifacts of the Silla Kingdom [57

include: gamchimjil [basic darning]. homjil (tacking],

B.C .-A.D. 935]. Mural paintings and historical documents

bageumjil [back stitching]. sangchimjil [decorative saddle

provide evidence of the existence of advanced sewing tech-

stitching to decorate or reinforce seams]. hwigapchigi

niques since the Three Kingdoms period [1st century B.C.-

[light stitching of edges to prevent fraying]. satteugi [joining

A.D. 7th century]. Korean sewing techniques, which are

pieces of fabric, often for decorative effect or reinforce-

42 Ko reana I Winte r 2005

1 Obang1umeoni, a woman Âˇs purse with a simple but impressive color scheme. 2 Sagyusam , ceremonial garment for the royal prince highlighted by decorative embroidery that symbolizes prosperity and long life 3 Jobawi, winter head covering worn by women during the latter years of the Joseon era 4 Nubi jeogori requires refined sewing skills to conceal the stitching 5 Despite her advanced age, Jung continues to share her knowledge with students and organize exhibitions of her masterpieces.

mentl. and gonggeureugi [finishing stitching for a hem or

Jung Jeong-whan, who has been recognized as the

buttonhole]. Particular sewing techniques were utilized for

premier craftswoman of sewing with her designation as

the different parts of the clothing and depending on its

Intangible Cultural Property No. 89 in 1988, is the founda-

intended use . For example, a single-stitch method along

tion of the nation's efforts to preserve the roots of Korea's

the contours of the seams would be employed for summer

traditional needlecraft. Jung is the eldest daughter of Jung

clothing, whereas double stitching was applied for spring

ln-bo, who was a scholar during the final years of the

and fall wear. Winter clothing was typically made with thick

Joseon Dynasty [ 1392-191 OJ. Married to a descendant of

fabric, often padded with cotton or wool. Above all, the

Gwangpyeong daegun while she was attending Jinmyeong

comfort of the wearer was the primary consideration when

yeohagwon, Jung developed her sewing skills in the course

deciding on the specific techniques to be adopted.

of taking care of her large family.

For long, mothers would religiously teach traditional

She learned sewing techniques that were closely

sewing techniques to their daughters; however, the intro-

associated with the yangban [aristocrat] class. She was

duction of the sewing machine and mass-produced cloth-

designated a master seamstress at the age of 77. Despite

ing brought this sewing culture to an end. Nowadays, with

her advanced age, Jung has tirelessly devoted herself to

so few households making their own clothes at home, the

educating students and exhibiting her masterpieces. At the

future of archetypical Korean-style sewing methods

request of the National Museum of Ethnology in Osaka,

depends on a handful of master craftswomen who are

Japan, she handcrafted a robe of ramie in 1985. In addition,

dedicated to its preservation.

she has displayed a variety of other works, such as marWinter 2005 I Koreana

riage attire and other types of traditional clothing, during her own exhibitions.

For Koo Hye-ja, who has long been Jung's protege, she represents the future of Korea's traditional sewing craft. Koo is Jung's first daughter-in-law as well as her

Sewing Master and Protege As an example of Jung's extraordinary talent, she could make clothing that perfectly fit her father-in-law

heir apparent. Koo admits to having some familiarity with hanbok, since her mother used to make them for her when she was young .

after simply sizing up the needed measurements by eye.

Koo recalled just how demanding her mother-in-

JungÂˇs masterpieces are characterized by highly refined

lawÂˇs instruction could be. I asked her about the differ-

stitching and a distinctive sense of comfort and elegance.

ences between Western and Korean-style sewing tech-

Her works, which emphasize practicality and feature deco-

niques. "Western and Korean-style sewing methods are

rative elements that conform to a traditional framework,

very similar in many regards . However, while Western-

are especially admired for the vibrancy of their color

style sewing is based on exposing the stitching for decora-

schemes. In this way, she reveals her masterful ability to

tive effect, this is never the case with Korean sewing."

create lavish elegance, through the use of only differently

Like the old saying, "not a single stitch is visible on

colored fabric, for jeogori (jacket]. skirt, and pants, as well

heavenly clothing," Korea's traditional clothing shows no

as daenim (ankle bands]. Unfortunately, due to her

stitching, which requires the application of refined and pre-

advanced age, it is no longer possible for her to continue

cise stitching techniques. Thanks to the rigorous training

sewing.

she has received from Jung, a gracious mother-in-law but

It is said that not a single stitch is visible on l1eaven]y clothing. In line \Vith this. Korea's most rcpresentati\Âˇe traditional clothing, the hanbok, is intricately designed and sewn such that none of the stitching is visible.

44 Koreana I Autumn 2005

strict teacher, Koo says that she can now fold marginal

time teaching students than making clothing, points out

seams without the need for any measurement.

that the beauty of Korea Âˇs traditional attire lies in a perva-

In having assumed the role of master seamstress from her mother-in-law, Koo has dedicated her efforts to

sive sense of harmony despite the fact that the contours of the clothing might seem unclear.

educating students at universities and cultural institutes,

"There is clothing which exudes a sense of dignity and

along with busily preparing for her own exhibitions. For

there are those that con vey a frivolous nature. It all

example, she presented a fashion show in the United

depends on the attitude of the clothes maker. The beauty

States on October 1 that introduced 50 types of hanbok.

of the hanbok stems from the fact that despite its neatness

"Although I have been making clothing for a long time , I

and simplicity, it also maintains a feeling of comfort. I will

am still overcome by a sense of fear and anguish whenever

do my best to create clothing that conveys a new, fresh

I start a new work. This is because you must always be

feeling while respecting trad ition. Nevertheless, my cloth-

careful when making clothing for someone else."'

ing will never look like my mother-in-law's, no matter how

Koo says that she is overwhelmed with pride whenev-

hard I might try. "'

er someone wears something that she made . It takes

In Jung Jeong-whan, a master of Korea's traditional

about two weeks to complete a hanbok. Much time and

sewing , and Koo Hye-ja, the daughter-in-law who is fol-

effort are needed for each of her consummate hanbok cre-

lowing in her footsteps , there is a clearly discernible

ations, which have received high praise in Korea and the

essence of genuine artisans who are wholly committed to

world over. Koo, who confessed that she now spends more

the preservation of their traditional craft. t.t

1 Jung Jeong-whan Âˇs works. like this trad itional girl 's jacket. which emphasize practicality and decorative elegance wh ile never go ing beyond the traditional framework , are especially adm ired for the vibrancy of their color schemes. 2 With the use of only contrasting colors, JungÂˇs creat ions can st ill project a sense of lavishness . 3 These pants for ch ildren are designed w ith an opening between the legs for added conven ience.

Winte r 2005 I Ko reana

MASTERPIECES

Celadon Incense Burners

of the Goryeo Period Several centuries have passed since two celadon incense burners caught the eye of a Chinese emissary from the state of Song. But even today, these exquisite incense burners (Treasures No. 1026 and No. 1027) still seem to exude a faint fragrance of days long past. Jeon Seung-chang Chief Curator, Leeum , Samsung Museum of Art

Photography: Leeum , Samsung Museum of Art

n addition to everyday vessels such as dishes and plates, the celadon works created during the Goryeo period [918-1392] include a wide variety of relics related to Buddhism and

Taoism, which were prized by various circles. The celadon works included burial urns, incense burners, water bottles, images of Buddhas, Bodhisattvas, and other figures of the Buddhist pantheon, bells, and other religious articles. Of these items, incense burners were the most common . Celadon incense burners would be found in Buddhist and Taoist temples as well as the residences of regular people. Produced continuously throughout the Goryeo period, over time they underwent change in type, form, and decoration in accordance with prevailing trends. They were influenced by Chinese ceramic styles and various similarities in shape and decoration can be seen. Some ceramic incense burners were clearly patterned after metal incense burners. In their own way, they embody the graceful elegance and incomparable brilliance of Goryeo celadon .

Celadon's Characteristic Sublimity Celadon incense burners can be classified into four types based on their appearance and decoration . The two most prevalent types are those with spherical bodies that are decorated with figures of animals or creatures, such as dragons, ducks, or lions, and those with square or rectangular bodies patterned after metal incense burners. Above all, the jewel-like translucence of the glaze and lifelike decorative figures are characteristic traits of Goryeo celadon works. Typically, incense burners are highlighted by sculpted figures that decorate a spherical 46

Koreana I Winter 2005

Celadon Three-Legged Incense Burner Decorated with a Turtle-Dragon 12th century, height: 10.2 cm, diameter at mouth: 10.2 cm, diameter at base: 13.1 cm, width: 18.3 cm, Treasure No. 1027

With refined sculptural detail and a glaze w ith sublime translucence, these incense burners are representative examples of the brilliance of Goryeo celadon.

body supported by three short legs. At the bottom of the body interior is a flat surface, upon which the incense is burned. Smoke from burning incense drifts upward to the animal figure sitting atop the cover, which is designed so that the smoke can pass through its mouth, as though it was exhaling wisps of fragrance. The representative example of this type of incense burner is the Celadon Three-Legged Incense Burner Decorated with a Turtle-Dragon [Treasure No. 10271. The top of its cover is decorated with a large turtle-dragon figure . The creature's body is engraved with a turtle-shell pattern so that it looks like the body of a turtle, whereas the head is that of a horned dragon with a long flowing beard and its mouth wide open, as it bellows at the sky. Lightning is engraved onto the cover, wh ile the surface of the body is decorated with fluffy clouds. The three legs that support the body are sculpted to resemble the heads of monster-like creatures, which is meant to symbolize the turtle-dragon 's ability to suppress evil spirits. The surface is covered with a clear, luminous glaze that looks much like jade, and is thus known as celadon green. This work, which is dynamic, yet dignified and intriguing, is recognized as a masterpiece of Goryeo celadon for its elaborately sculpted decorative details. The Rectangular Celadon Incense Burner with Mythical Creature in Relief Pattern [Treasure No. 1026] includes two square handles on each side of the upper rim, which is designed with a stepped indentation for the placement of a cover, that unfortunately has been lost. The outer surface of the body of the incense burner is decorated with a repeating pattern of circles with concentric swirls and geometric designs, while the lower area features a mythical creature engraved in relief against a background of lightning. This mythical creature, or docheol, which symbolizes greed, was used to decorate ritual vessels as a warning to people

about the pitfalls of succumbing to greed. This work is decorated with remarkably intricate patterns, which are complex and delicate, that are gracefully complemented by the subtle translucence of the celadon glaze.

Highly Regarded in China The praiseworthy characteristics of celadon incense burners can be verified from Xuanhe Fengshi Gaoli Tujing, which records in detail the culture of Goryeo. The Song Chinese emissary

Xu Jing visited Goryeo in 1123 and then wrote this book upon his return to China, which he presented to Song Emperor Huizong [r. 1100-1125] in 1124. The book includes information on the diverse variety of works that Xu Jing observed during his visit to Goryeo, including various celadon items, metalwork, and lacquerware. The most mentioned of the celadon works are the incense burners with sculpted decoration. In particular, Xu Jing wrote in detail about his appre48 Korean a I Winter 2005

Rectangular Celadon Incense Burn er with Mythical Creature in Relief Pattern 12th century, height: 11.8 cm, mouth: 17.5 cm x 4.9 cm , base : 12.5 cm x 9.4 cm, Treas ure No. 1026

ciation for an incense burner decorated with a lion treading on lotus flowers, lauding its decorative detail and gorgeous glaze. Though Song China was renowned for its own celadon, the exquisite sculpturing and subtle color of the celadon incense burners of Goryeo were a source of fascination for Xu Jing. Indeed, through his written account, he sought to make known the ir consummate beauty. At the time when Goryeo celadon reached its peak in the 12th century, it was characterized by a diversity of form, elaborate decoration, and jewel-like glaze of subtle green. This was the period when Xu Jing visited Goryeo and observed the turtle-dragon incense burner and the rectangular incense burner. The sublime translucence of Goryeo celadon during its golden age so captivated the eyes and hearts of people that Taiping Laoren of Song China described it as the finest in all the world in his book Xiuzhongjin. ~ Winter 2005 I Koreana 49

Th(l~t,~r1ta,!10.~tJ'~i\Q'.,~;t1val for World Peace, held at Korea's Baekdamsa Tempi~ in Gangwon-do province/ included an awards ceremony to honor the 2005 Manhae P.n

World-renowned Literati Gather in Korea for World Peace During 2005, there have been active exchanges between foreign literati and their Korean counterparts. In this regard, it would be worthwhile to take a closer look at the Seoul International Fonun for Literature and the International Poetry Festival for World Peace. Kim Kwang-it Cultural Department, The Chosun /Ibo Jun Key-byong The Chosun /Ibo, Photographer-reporter

any Nobel Peace Prize winners have led unfortunate lives. Their home countries have often been on the brink of descending into the throes of war. In an ironic twist, intellectuals from the world

over chose to gather here on the Korean peninsula, where the dark clouds of war seem to continuously hover, to engage in discussions about global peace. The Nobel Peace Prize is awarded in recognition of the achievements of those who staunchly champion peace, but is also intended to express the committee's ardent desire to see a peaceful world. The DMZ [Demilitarized Zone] is the boundary that divides the Korean peninsula into North and South. Recently, noteworthy gatherings of international literati were held on both sides of the DMZ: the Seoul International Forum for Literature [May 2005] and the Manhae Festival and International Poetry Festival for World Peace [August 2005]. Each of these festivals was meaningful and significant in its own right. In fact, 50 Koreana I Winte r 2005

the events can be said t_o have embraced the yearning of the people of Korea and elsewhere to disperse the ominous clouds and open the way to a brighter future.

Writing for Peace The Seoul International Forum for Literature, under the theme 'Writing for Peace," was held at the Sejong Center for the Performing Arts, in downtown Seoul. The participants included such world-renowned writers as Oe Kenzaburo [Japan], Luis Sepulveda [Chile], Bei Dao [China]. Mo Yan [China], Jean-Marie Gustave Le Clezio [France], Orhan Pamuk [Turkey], Tibor Meray [Hungary], Gary Snyder [U.S.], Robert Hass [U.S.], and Ngugi Wa Thiongo [Kenya). With such a highly respected assembly of international literary talent, it would be no exaggeration to refer to this forum as a kind of "literary Olympics." A number of Korea's most prominent writers also took part in this event, including Kim Uchang, Paik Nak-chung, Yu Jong-ho, Ko Un, Hwang Tong-gyu, 0 Chonghui, Hwang Ji-woo, Choi Yun, Kim Kwang-kyu, and Gong Sun-ok, who participated as presenters. In addition , Kim Byung-ik, Jo Chong - rae, Kim ln-hwan, Lee In-sung, Sung Suk-je, and Gong Ji-young were involved as discussants, while Kim Yun-shik, Kim Hwa-young, Lee Nam-ho and Oh Saeng-keun served as moderators. The Daesan Foundation and the Korean Culture and Arts Foundation [now the Arts Council Korea) jointly organized the forum. The fundamental goal of the forum, of holding a "literary Olympics" on the theme of world peace, was evident from the opening address delivered by the Chairman of the Daesan Foundation Shin Changjae, at the Seoul Plaza Hotel on May 23, 2005. He stated : "As war, terrorism, violence, and conflict continue throughout the world, peace and co-prosperity, understanding and acceptance, reconciliation and dialogue, remain the hope of all mankind . In order to facilitate a dialogue toward a true peace based on a notion of co-prosperity, we have selected Writing for PeaceÂˇ as the theme of this forum ."

ernational Forum for Literature, which was recently held in Seoul, attracted a number of the world's most prominent literary figures

For his part, Hyun Gi-young, former president of the Korean Culture and Arts Foundation, conveyed a more proactive and participation-oriented welcoming message, pointing out: "This forum is a significant one in this era in which politics and literature are increasingly becoming estranged from each other, in that, intellectuals from the world over have gathered to hold discussions on the subject of Âˇwar and peace, and the preservation of a global community.' Although the harshly critical tone of our writing has caused us to be labeled as non-literati or antiliterati, we felt that, for the sake of peace and freedom, we must be critical of those things which should be criticized." Throughout the period from the division of the Korean peninsula until recently, the two Koreas have repeatedly engaged in a never-ending cycle of reconciliation and confrontation as they stare at each other through the barbed wire fencing of the DMZ. Foreign media reporters who have covered the demilitarized area have often used the expression : "a tragic site of confrontation." However, in the present era characterized by an atmosphere of reconciliation between the two Koreas, such expressions no longer seem appropriate. As part of the forum , there was a field trip to the DMZ for the participants. Among the visitors to the DMZ, Tibor Meray, who in 1950 participated in the Korean War as a front-line reporter from the North Korean side, suggested the adoption of a "Seoul Peace Declaration." International Poetry Festival for World Peace

In August 2005, or three months after the Seoul International Forum for Literature, the Manhae Festival and International Poetry Festival for World Peace were simultaneously undertaken at Baekdamsa Temple in Gangwon-do province, South Korea, and in Geumgangsan, North Korea. Han Yong-un [1879-1944, pen name: Manhae]. was a Buddhist monk, and one of Korea 's most distinguished poets, who dedicated his life to the independence of his homeland. Baekdamsa Temple, where Manhae entered the Buddhist priesthood, holds an annual festival to commem orate his notable life and achievements. This year, the temple hosted the International Poetry Festival for World Peace in conjunction with the Manhae Festival. Thirty world-famous poets participated in the festival, while another 30 who could not attend graciously submitted their works, in which they expressed their sin52 Koreana I Winter 2005

shed noets 'ro

copies o,: t eir poerr c; r

""' 3l

nto 1 he Wall of Poe-n fer V

cere desire for world peace. The poets in attendance participated in a ceremony to unveil the "Wall of Poems for World Peace," which featured original copies of poems on the subject of global peace posted onto a wall of the Manhae Foundation, located in Manhae Village nearby Baekdamsa Temple . The part icipants also visited Geumgangsan, North Korea by bus in order to take part in related events, including a poetry r_ecital. Some 30 North Korean poets were originally scheduled to attend the poetry recital but due to unforeseen political circumstances they were unable to do so. As such, the event had to be limited to South Korean and foreign poets. During the recital session, Alain Duault of France so vividly described the tragedy of war: "The smell of blood flowing from the mouth/this is a poem which cries out when it would be better to remain silent/time and space are divided among those who are killing others and those who remain behind in tears/these slow seemingly neverending conflicts/collapse into a broken heap." Agnieszka Zulawska-Umeda of Poland opened the poetry recital with her poem that expressed her longing for peace, "A Dialogue on the Hills of Tepeyac," to which she added the subtitle, "Commemorating Han Yong-un ." "Please come now. Right now. Please stay with me now. The sun has set, and the darkness has come. Without nim, nothing is known to me." Here, nim can be understood as a reference to a phrase found in Han Yong-unÂˇs poetry. It can mean either a lover or the liberation and peace of a nation. Traditional Korean performances, such as gayageum sanjo [melodies on 12-string zither]. and the pansori

Although the Seoul International Forum for Literature and the International Poetry Festival for World Peace were h eld separately, the events both contributed meaningfully to the efforts to promote world peace. In reciting poetry works that lauded peace, the participants expressed th eir sincere desire for an end of h uman conflict.

[Korean opera form) Chunhyangga [Song of Chunhyang). were presented during the breaks of the poetry readings. Although the foreign participants may have been unable to

breath to you . So that it can inspire you to do away with all your lies when you awake." Dream of True Peace

Participants in the Seoul International Forum for Literature included French philosopher Jean Baudrillard.

fully understand the meaning of these traditional performances, they nevertheless enjoyed the rhythm and melodious sounds of the music, along with the passionate emotions flowing from the performers. In addition, Naowarat Pongpaiboon of Thailand performed a piece with a traditional Thai musical instrument. Diana Ferrus of South Africa told the story about how she inspired a French senator to return the ashes of an African woman to her home country. This South African woman, who had to resort to prostitution in order to survive in London, later died in Paris. Diana Ferrus wrote a poem to console her soul. A French senator who heard the poem was so moved by its compassionate message that he agreed to return the ashes of the woman to South Africa. At Geumgangsan, Ferrus recited the poem "A Poem Without Pretence ... For Peace." "Although I will die from either bullets, bombs, or the shrapnel from one of these, I want to die while looking in your eyes. I want to die in peace for peace, giving peace, loving peace ... . I will give my last

A ceremony was held at Baekdamsa Temple to award the Manhae Peace Prize. Wole Soyinka of Nigeria, a 1986 Nobel Prize Laureate in literature, was the recipient of the 2005 Manhae Prize for literature. During his heart-felt acceptance speech he poignantly noted: "I see many miners from the world over before me. These are the poets who have tried to shine some light, and have even managed to dig up a little gold from the dangerous mountains." The Dalai Lama of Tibet was selected as the winner of the Manhae Peace Prize for 2005. Although he was not able to attend the award ceremony due to unresolved diplomatic wrangling between Korea and China, he forwarded a gracious acceptance message: '"To give the Manhae Peace Prize to me, a common Tibetan monk, has filled not only myself but the entire Tibetan people with hope. This means that our nation, Tibet, which has not had recourse to violence, has not been forgotten by the international community." The laudatory remarks of peace by international literati signifies the global community's yearning for world peace. In light of the circumstances surrounding the Korean peninsula at this Kenyan novelist Ngugi Wa Thiong'o time, it can well be regarded as the most appropriate place for such eloquent voices to make known the need for peace and the end of human conflict. The day when it is no longer necessary to wish for world peace cannot arrive soon enough. t.t Win ter 2005 I Korean a 53

DISCOVERING KOREA

Angbuilgwi and Jagyeongnu Innovative Time-keepers of the Joseon Dynasty In the 15th century, Korea produced the only clock in East Asia with a digital-type time- keeping capability. During the early Joseon Dynasty era, Korea stood clearly at the forefront of clock-n1aking technology. Nam Moon-hyon Professor. Konkuk University; President. Jagyeongnu Research Institute

ince ancient times, it has been a mainstay task of East Asian governments to observe

the heavenly bodies with astronomical devices and facilities, and to use this information to develop calendars. By developing their own calendars, nations and dynasties were able to establish their identity and independence. It was in 1395, just three years after founding the Joseon Dynasty [1392-191 OJ, that King Taejo [r. 1392-1398] created his systematic astronomical map Cheonsangnyeo/chabunyajido. The preparation of calendars was a foremost responsibility of the Bureau of Astronomy [Gwansanggaml, the agency that presided over matters related to astronomy, calenaars, fortune telling, and water clocks. The head of the Bureau of Astronomy was the equivalent of today's Prime Minister. A calendar was a fundamental resource for calculating the positions of stars, and was used to produce an almanac for the forthcoming year. An almanac contained information on various dates and times of vital importance for everyday life, in particular agricultural activities. On each winter solstice [the day with the longest nighttime hours, December 22 by the solar calendar]. the Bureau of Astronomy distributed the almanac for the new year to government officials as well as commoners. 54 Koreana I Winter 2005

1 The Jagyeongnu water clock featuring an automatic time-telling device was inve nted by Jang Yeong-sil. !Photograph: National Folk Muse um of Korea] 2 In Chifjeongsan Na epyeon, a reference document compiled in 1444, King Sejong introduced a new time- keeping system . IGyuj anggak Archives]

Seven Stars Constellations Calendar

clock was installed at Borugak Pavilion of Gyeongbokgung

From the Three Kingdoms period [1st century B.C.-

Palace, from the first day of the seventh lunar month of

7th century A.O .]. Koreans adopted Chinese calendars

1434 it became the standard for telling time in Korea. The

because they were unable to develop a calendar of their

time-interval signals of Jagyeongnu were relayed to

own . King Chungseon [r. 1308-1313) of the Goryeo Dynasty

Gwanghwamun Gate in the daytime to announce high noon,

[918-1392) adopted the Shoushi calendar developed by Guo

and to the Jong nu bell pavilion on Jongno Street at dawn and

Shoujing [1231-1316) of China's Yuan Dynasty. This was the

in the early evening to announce the opening and closing of

most advanced calendar of its time, founded on precise

the city gates. To announce the curfew at dusk, the bell was

calculations of the time and position from the starting

rung 28 times, while 33 rings were sounded at dawn to indi-

point, the winter solstice, which specified the length of one

cate the end of curfew and opening of the city gates.

year as 365.2425 days and one month as 29.530593 days. However, the Shoushi calendar was prepared for Yuan China, and as such was not properly oriented for the

Integrated Time System The Seven Stars Constellations Calenda r defined the

location of Joseon Korea. Recognizing this , King Sejong [r.

length of one day as the period from midnight to midnight

1418-1450) built a royal observatory on the palace grounds

of the next day. This length of time was divided info 12 dou-

so that astronomical observations could be conducted for

ble-hours, which were divided into cha "beginn ing" and

the purpose of developing a calendar that reflected the

Jeong "middle." A double-hour was equal to two of today's

actual latitude of the capital Hanyang [Seoul]. He instruct-

60-minute hours. The 12 double-hours were named after

ed calendrical specialists Yi Sun-ji [?-1465) and Kim Dam

the 12 animals of the Oriental zodiac: rat, ox, tiger, rabbit,

[1416-1464) to develop a calendar that adjusted the

dragon, snake, horse, sheep, monkey, chicken , dog , and

Shoushi calendar so that Hanyang was the central refer-

boar. In conjunction with the 12 double-hour system, the

ence point. Sejong used this calendar, called Chiljeongsan

calendar utilized a 5 night-watch system, under which the

Naepyeon [Seven Stars Constellations Calendar]. to establish

time between sunset and the next day's sunrise was

a new time system. Chiljeong, or Chiryo, refers to seven

defined as the time of night, which was divided into 5 night-

heavenly bodies: the sun, moon, and five stars.

watches [ogyeong]. that were further divided into 5 night-

King Sejong also ordered clockmaker Jang Yeong-sil

watch points [ojeoml. The night-watches were numbered 1

to create Jagyeongnu, an automated water clock that auto-

[first] through 5, while the night-watch points were

matically announced the time at specific intervals. After this

referred to as "first night-watch, initial point," then "first Winte r 2005 I Ko reana

night-watch, second point," and so on up to "fifth nightwatch, fifth point. " Because the length of the night changed throughout the year, it had to be calculated according to the season. Therefore, an operating manual for the water clock, entitled Nujutongui, [Operating Manual of the Clepsydra), was developed on the basis of the Seven Stars Constellations Calendar, applying both the system of "night-watches and night-watch pointsÂˇÂˇ and the system of "12 double-hours and 100 equal intervals. " Meanwhile, at military camps in outlying areas and in rural areas, where the water clock could not be used to tell the time of night, a meridian star observation method was used to calculate the time from the passing of the 28 solar stages along the zodiac, according to season. Clock for Commoners

The background of the creation of the angbuilgwi scaphe sundial is recorded in the Annals of King Sejong on the 19th day of the fourth lunar month of 1437: "From concern that the ignorant common people are slow to know the time:, t~ o sundials have been made with images of the 12

street on the south side of Jongmyo, the royal ancestral shrine." These sundials were the first clocks made and displayed for public use so that people could tell the time of day. 56 Koreana I Winter 2005

1/seongjeongsiuiwas an astronomical device used for measuring the diurnal and nocturnal hours during the Joseon Dynasty. !National Folk Museum of Korea] 2, 3 Two astronomical charts of the Joseon period that divided the sky into 12 areas and identified the position of the stars. IUpper chart: personal collection of Jeon Sang-woon; lower chart: National Folk Museum of Korea]

~iii

.,-z-

. ~. ,;>'(

Angbuilgwi is also known as amok or concave sundial. It is a universal sundial made by cutting off the upper half of a celestial globe at the equator, to form a bowl, and then drawing length and width lines on the inner surface. The hour-circle line is engraved horizontally, and beneath it the 12 zodiac animals are drawn. Six vertical lines are delineated from top to bottom across the equator, along with 24 lines marking seasons in fortnight periods by solar declination. At the South Pole, a pole-pointing gnomon is set up to cast a shadow, so that by observing the position of the shadow cast over the 24 lines, the time can be determined, according to the season. From the 18th century, numerous sundials were produced according to the 24 integral quarter-hour system, based on Western time-reckoning, with HanyangÂˇs latitude of 37 degrees 39 minutes 15 seconds north serving as the standard. As such, in the late 19th century, the family of Gang Yun became known as far away as China for producing a variety of accurate sundials, from portable scaphe sundials to planar versions. Planar sundials were popular among the common people, together with seonchu pendants, which could tell the time and indicate the geographical direction at the same time.

1~t~1~ b

~Jt.

Âˇ,tl.1

Guardian of Standard Time

The most renowned Korean water clock, the Jagyeongnu, was created in 1434 by the master clockmaker, Jang Yeong-sil. This mechanized clock used an analogWinter 2005 I Koreana 57

1 Angbuilgwi, an universal-type sundial that indicates the tim e according to the seaso n based on th e shad ow cast on the grid lin es. 2 A portable su ndial made by Gang Yu n in the late 19th centu ry. !N ational Museum of Ko rea] 3 An armillary clock thought to have been created by So ng 1-yeo ng in 1669. IKo rea Universi ty Mu seum ]

type mechanism, a

urines that announced the watches

float-rod clepsy-

and points struck a drum or a gong

dra, to measu r e

based on the respective watch and

the time, and at the

point. All the audible time-indicators

same time used

relied on the force of a ball that fell in

digital-type timeannunciating mechanisms to announce time intervals according to both the system of 12 double-hours and the system of 5 nigh t -watches and night-watch points.

accordance with the time-telling device of the water clock. This time-telling device could be considered a forerunner of the modern digital counter. During the 15th century, Jagyeongnu was the only clock in East Asia with a digital-type time-telling feature. Because the water clock developed by Jang Yeong-sil

The double-hours, night-watches, and night-watch

was thought to be sim ilar to a palace clock produced by

points were announced by audible time-signal mecha-

Emperor Shundi of China's Yuan Dynasty, King Sejong gave

nisms that used time-annunciating jack work with wooden

it the title of Jagyeonggungnu or "Automa.tic Stri k ing

figurines to strike a bell on each double-hour, a drum on

Palace Clock, " which is the origin of the Jagyeongnu name.

each night-watch, and a gong on each night-watch point.

The distinguished British science historian Joseph

The time-indicators for double-hours included both an

Needham (1900-1995] believed that the idea for using a

audible time- indicator, which sounded a bell 12 times each

falling ball for the time-telling device of Jagyeongnu came

day, and a visible time-indicator that used 12 time-

from the Elephant Clock, the fourth water clock described

period bearing double-hour jacks, inscribed

in the Book of Knowledge of Ingenious

with the names of the 12 double-hours, to

Mechanical Devices that

position 12 wooden figurines (symbolizing the

was written by the Arab

12 zodiac animals] into a window space

scholar al-Jaza r i in 1206,

when the bell sounded.

which had been introduced

The five night-watches and the nightwatch points were announced with digitaltype audible time-indicators in which fig58 Ko reana I Winter 2005

to Korea by way of Yuan Dynasty China. In 1536, an improved

Jagyeongnu represented an epochal innovation in East Asian clock- making technology that highlighted the cumulative brilliance of the Joseon Dynasty's politics, philosophy, science, technology, religion , and art.

version of Jagyeongnu at Borugak Pavilion was revealed, known as the New Borugak Water Clock, which automatically announced the beginning and end of the night curfew period . Borugak Jagyeongnu was destroyed during the Japanese invasions of 1592-1598, while the surviving relic, the Automatic Striking Water Clock of Borugak [National Treasure No. 229]. is a remnant of the original New Borugak Water Clock, consisting only of the clepsydra vessels, with the time-telling device having been lost. Today, this artifact is featured on Korea's 10,000-won bill to commemorate its heritage of world-class scientific technology, which remains a source of pride for the Korean people. In 1438, the 20th year of the reign of King Sejong, Jang Yeong-sil developed another clock, the Automatic Striking Water Clock of Heumgyeonggak, known as a "heavenly clock, " which adopted principles of Jagyeongnu to display astronomical phenomena. Thereafter, the tradition of Jagyeongnu was carried on by Song 1-yeong, an astronomy scholar during the reign of King Hyeonjong [r. 1659-16 74]. who in 1669 created an armillary sphere, the remains of which are now designated National Treasure No. 230, Armillary Clock. Jagyeongnu represented an epochal innovation in the

history of East Asian clock-making technology that highlighted the cumulative brilliance of the Joseon Dynasty's politics, philosophy, science, technology, religion and art. Joseph Needham called it the "Striking Clepsydra ." As such, this time-keeper was a truly extraordinary creation that served as the guardian of the Joseon Dynasty's standard time and demonstrated the ingenuity of the Korean people, who can be said to have opened a new chapter in the field of automation and robotics. Today, Jang Yeongsil's Jagyeongnu, which was developed at the time of King Sejong, is being re-created . Soon enough, Jagyeongnu will be restored to its former glory. t..t Winter 2005 I Ko reana 59

ON THE GLOBAL STAGE

Park Young-seok World's First to Achieve the Grand Slam of Mountaineering

In 2005, the eyes of the mountaineering world have been intently focused on Park Young-seok, as he sought to complete an unprecedented feat. In addition to scaling all 14 Himalayan peaks of over 8,000 meters in height, and conquering the highest peaks on each of the world's seven continents, Park has also trekked on foot to the North and South Poles. Han Peel-seok Staff Writer, Monthly Mountain Photography: Monthly Mountain

60 Koreana I Winter 2005

again." But he clenched his teeth, firm in a belief that the

first person in history to achieve the Grand Slam of

moment you even thin k about quitting, the expedition will

mountaineering . At 7:45 p.m. on April 30, 2005, he finally

end in failure. The notes that Park wrote in his expedition

reached latitude 90 degrees north, the North . Pole. With

log became more extensive by the day, due to the fact that

this, he successfully completed the longest and most diffi-

as his struggles increasingly mounted, he found a need to

ountaineer Park Young-seek (b. 1963) became the

cult expedition of our earth, which included the ascent of

record more details. But in his final entry on April 30 he

all 14 of the 8,000-meter peaks of the Himalayas as well as

wrote only a single line : "At last, I have plucked the final

the highest peaks on each of the world 's seven continents,

star."

and trekking on foot to the North and South Poles. Park was successful in his second attempt to reach

Willing to Risk Everything

the North Pole. His first effort, in 2003, had been undertak-

Park was born in 1963, the first son of a family with

en without proper preparations, while he was flush with

four older sisters. His father, concerned that growing up

confidence from having scaled all 14 of the great

among four sisters might cause him to be less masculine,

Himalayan peaks. Park was accustomed to climbing the

had his son participate in all manner of physical activity. In

world 's highest mountain peaks, when even a slight mis-

the spring of 1980, during his second year of high school,

take can mean instant

•

the North Pole would 1• .

, so he expected that a trek to

h~ 1<perienced a life- changing inspiration outside Seoul

require his abi ~t~ tq_'ew ure

City Hall. A group from t he Dongguk Unive r sity

the extreme cold a, 'wind.

Mountaineering Club, who had just returned from a suc-

But his expectations were proven wrong fr

the very

start. As soon as he set out, he was beset by en lems. His path was blocked by an enor mous ice field, temperatures dropped below -40°C, blizzards blew so hard that he could not stand or walk upright, white-out conditions prevented him from seeing even a few feet ahead, d two huge ice sheets had collided and collapsed , creata formidable ice mountain studded with jagged peaks. , he was forced to abort his attempt in an ice field ilometers from the North Pole.

cessful ascent of the Himalayan pea k Manasl~ 8.163m). honored with a motorcade amid an e'l'l!f.,siastic

r · ·, n

n" of onlookers. While observing this, Par k aid to

•

tai • • ."

"To be a real man, I must become a moun.. - .....,.

Thereafter, Park invested his every resou ~ce into making this dream com e true. After qualifying for a hi; hly .. respected university, he passed up this oppo rtu ~

retake the college entrance exams. He was then admitted to Dongguk University in 1983 where he promptly joined its

re leaving the Northern polar region , Park wept

prestigious Mountaineering Club. With the skill and experi-

bitter tears while vowing that in the future he would never

ence that he gained through serious mountain climbing as

give up as long as there was even a 1 percent chance for

a club member, he made the first winter ascent of the

succeeding . It was with this resolute determination that he

Himalayan peak Langtang Ri (7,205ml in 1989. It was such

embarked on his second attempt, though again, he often

a low-budget expedition that he had to ask his fiancee to

n as he started out, he

pay for his airfare, but this only served to whet his appetite.

felt so weary that he swore: ''I'll be damned if I ever try this

felt he might have to give up. As

In 1991, on his first attempt to climb the world 's highest Wi nter 2005 I Ko reana 61

Park Young -seok , the f.,rs t person to complete f the Grand Slam o Mountaineering, says the most difficult challenge was 路 the struggle overcoming within himself. 2 Park Young路seok and his team on the move . To reach the North Pole, they had to overcome vast Arctic ice fields during a 54-day trek

--~ -~

~ ~~: '----~ .'.'.:~.=~.,.=.~路~;-~;i.;~~~~:: 62

路 t e r 2005 Koreana I Win

Park Young-seok has written a new chapter in the history of mountaineering and world expedition, with his resolute will to reach for the impossible that seems to have no Limits. One can only wonder what additional exploits he might achieve in the future.

peak, Mount Everest [8,848ml. he fell 150 meters down a

Park climbed the last of th e 14 peaks, K2 [8,611 ml. he

cliff at an altitude of 7,000 meters, breaking his cheekbone

placed six memorial tablets on the summit and was over-

and suffering multiple bodily injuries . Nevertheless, in

whelmed with grief. Then on the way down, yet another of

1993, he returned for another attempt, and to this day he

his companions fell over a steep precipice and tragically

remains the only Korean climber to have reached the

died.

summit of Mount Everest without the use of oxygen. The following year he returned to the Himalayas to scale Cho Oyu [8,201ml.

The Adventure Continues After going through this grueling ordeal of scaling the

After this, Park led an inactive life, while failing to dis-

14 giant peaks, most might expect that Park would have no

tinguish himself in either mountaineering or a career, until

need to further pursue the death-defying challenges of

he became dissatisfied with not being a better example for

such expeditions. But instead, his dreams only grew bold-

his two sons. His original dream of proving his manhood by

er. He eventually decided to reach for even greater heights,

becoming a mountaineer and conquering the world's high-

to provide an inspiration for not only his two sons but for all

est peak now changed into a quest to become the world 's

of the younger generation. His goal was to be the first in

greatest-ever mountaineer and a father that his sons could

the world to achieve the Grand Slam of mountaineering.

be proud of.

Park never speaks to an audience that does not have

From that time, he went about scaling the 14 peaks of

a special connection to mountaineering. He worries that to

the Himalayas standing at least 8,000 meters in height, one

people who know nothing about mountain climbing, he

after another. The specter of death followed in his foot-

might appear to be idly boasting or wildly embellishing his

steps on every expedition . In 1995, he was swept away by a

expeditions. In addition, he strives to avoid falling into a

snowstorm on Mount Everest and fractured a rib, and then

complacent lifestyle if he became accustomed to the

in 1997, while climbing Dhaulagiri [8,167ml, he fell into a

lucrative fees that he could earn from public spÂˇeaking . In

hidden crevasse. With the help of his team members, he

2001, when he completed his ascent of the 14 Himalayan

managed to escape safely, but Park has admitted this was

peaks, he was invited to become a professor at his alma

his most terrifying moment when he thought he had finally

mater, Dongguk University. He politely declined this gener-

met his fate.

ous offer because a desire to embark on adventurous

By the time he had climbed all the 14 giant Himalayan

expeditions continued to burn with in him. Perhaps Park is

peaks, Park had lost seven of his companions. On his 1993

the kind of person who cannot simply settle into a routine

ascent of Everest without oxygen , two of Park's junior col-

way of life. After completing his ascent of the 14 Himalayan

leagues were killed in falls, while during a joint expedition

peaks, he dreamed of the Grand Slam, and now with that in

of Broad Peak [8,047ml in 1999, he lost another team

hand he continues to search for new challenges. Next

member. In a snowstorm on Everest in 1995, a sherpa was

spring, he will lead another expedition that will attempt to

killed , and Makalu [8,463ml claimed the life of another

traverse Mount Everest from north to south. How far and

sherpa, with whom Park had been especially close. The

high his dreams can delve into the majesty of nature

shadow of death dogged him to the end . In 2001, when

remains to be seen. 1.1 Winter 2005 I Koreana 63

,->.}

.. ··· ..

,;!,

ue to its high altitude, at Pyeongchang, Gangwon-do province, winter comes early and stays late. The cold is noticeable in October and can linger on until April. Amid rugged mountains that extend from north to south, the Taebaeksan and Charyeongsan mountain ranges form a break, wherein Pyeongchang is nestled. As such, Pyeongchang-gun includes far more mountainous terrain than flat plains. Overall, the area experiences a continental climate, while the upland region of Hoenggye records an average temperature of only 6.1Â°C during the year. The average altitude of Pyeongchang-gun is over 500 meters, with 78.9 percent of the land area being mountainous and cold terrain , thereby limiting agricultural activity to cattlera ising and highland farm ing. Wonderland for Winter Sports

Yongpyong (Yongpyeong) Resort in Doam-myeon, Pyeongchang-g un, covering an area of 17 square kilometers, has long been known as an ideal venue for enjoying winter sports. Having opened in 1975 as KoreaÂˇs first ski resort, today it is highly rega rded not only in Korea but throughout Asia and the world beyond. Yongpyong Resort successfully hosted the 1999 Winter Asian Games as well as the 1998 and 2000 finals for World Cup Skiing. It has 31 slopes of various standards, all with an ample width of 180 meters, six of them sanctioned by the Federation Internationale de Ski (FIS). The resort operates 15 ski lifts and a 3.7-kilometer-long cable car system . From the twostory Swiss-style chalet on Mt. Barwangsan (1,458ml. the wintry mountain scenery is truly breathtaking. From this vantage point, you can also take in memorable views of the sunrise over Mt. Odaesan and the Gyeongpodae area of Gangneung . In addition, the resort features two 18-hole 66 Ko reana I Winter 2005

golf courses and one 9-hole, a swimming pool, and firstclass hotel accommodations. Phoenix Park boasts 12 slopes approved by the FIS, along with 8 ski lifts for beginners and an 8-passenger gondola system . There is also Snowboard Park, an area reserved exclusively for snowboarding , which has surged in popularity in recent years, as evidenced by an evergrowing number of snowboard enthusiasts these days. Overall, 15 routes have been developed on the slopes of Mt. Taegisan, with a specially designed base area of 500 meters in width that is visible from any point. With all these winter sports resources, Pyeongchanggun officials launched a campaign in 2000 to host the 2010 Winte r Olympics. Now that hosting of the 2010 Olympics has been awarded to Vancouver, Canada , Pyeongchang is busily preparing to submit a bid to host the Winter Games of 2014. Pyeongchang has already been selected as the venue for the 2005 Snowboard World Cup, 2005 competition of the ln,ternational Biathlon Union, 2006 Alpine Ski World Cup, 2006 Disabled World Cup Ski Contest, 2008 Biathlon World Cup, 2009 Snowboard World Championship, and 2009 Biathlon World Championship. As for Pyeongchang, which organizes a variety of winter sport programs for young people, it has already shown what it can do by successfully hosting a number of large-scale international events. If its bid to host the 2014 Winter Olympics should be accepted, this would mark another high point for Korea. Local Festivals and Events

About 65 percent of Pyeongchang is highlands situated over 700 meters above sea level. At this altitude, high pressure converges with low pressure, creating an ideal

Because of its extended cold-weather season, Pyeongchang hosts several winter fe stivals. Particularly noteworthy is the Daegwallyeong Snow Festival. 2 Pyeongc hang is truly a wonderland for winter sports. When the ski slopes open in December, the Pyeongchang resorts are an irresistible magnet for skiing and snowboarding enthusiasts. 3 In Pyeongchang, which receives an average of 250 centimeters of snowfall each year, skiing can be enjoyed from November to April.

1 With more than 65 percent of its land area being at an altitude of 700 meters, Pyeo ng chang promotes its clean and nat ural environment unde r the catchp hrase "Happy 700." 2 Nestled under a covering of snow on the slopes of Mt. Odaesan is Wo ljeo ngsa Temple , a well-known Pyeongchang landma rk.

air pressure for animals, plants, and people. Historically, PyeongchangÂˇs geography served to hinder its access from other areas, enabling its environment to remain natural and unspoiled by pollution . Hence, Pyeongchang continues to preserve its clean environment under the catchphrase "Happy 700 ." Because the cold winter weather lasts so long here, Pyeongchang is perfect for hosting winter festivals. Particularly noteworthy is the Oaegwallyeong Snow Festival. The Daekwallyeong Snow Festival events are held around the middle of January throughout the Ooammyeon area. Initiated and developed by local residents, the festival seeks to display the uniqueness of mountain villages. Held this year for the 13th time, it has grown each year in terms of the number of activities and programs offered, as well as festival participants and visitors. With a variety of activities, including an exhibition of snow and ice sculptures created by ice artists, an ice slide for thrillseekers, traditional sledge riding, Oaegwallyeong Internat ional Topless Marathon, snow trekking, and hands - on ranch experiences, it is a festival to enjoy by doing and seeing . Nearby the Snow Festival is Oaegwallyeong Ski Museum, which is well worth a visit. The two-story museum houses some 300 rare photographs, along with traditional sledges and about 30 pairs of skis dating back to the 1930s, as well as skiing-related medals and trophies. Perhaps most eye-catching are the traditional sledges from more than 100 years ago. From the word "sledge," you might imagine something that children ride on, but it is actually more like a kind of ski. According to Kim Young-gyo, curator of Oaegwallyeong Ski Museum, the Korean word for sledge, sseolmae, Winter 2005 I Koreana

At Pyeongchang, there is much to enjoy for the body as well as the inner self. In addition to the extensive facilities for world-class skiing and snowboarding, several temples in the nearby mountains offer a tranquil environment for quiet self-reflection.

1 The entrance to Woljeo ngsa Tem ple is lined w ith centuries-old fir trees that rise majestically to heights of 30 me te rs. 2 Wi th a n ann ua l average temperat ure of only 6.1Â°C, agric ul tura l activity in the Pyeo ng chang area is in la rge part limited to highland farmin g. 3 Sangwonsa Bronze Bell is KoreaÂˇs oldest Buddhist temple bell. The bell is decorated wit h an exquisite re lief carving of fo ur heavenly maidens playing trad itional instrum ents.

is derived from the Sino-Korean word seolma, or literally "snow horse ." The image of a horse making his way through the snow is quite lyrical. Such a horse would be thoroughly at home among the winter wonderland of Pyeongchang. Traditional sledges were usually made of wood from the painted maple tree , which was highly moisture-resistant. For maneuverability, a pole of resilient ash wood was used . The museum houses ten traditional sledges well over 100 years old. Over time, all kinds of modern conveniences are developed, which come to replace traditional items, but this is not the case with snowshoes of long ago that remain practical even today. Attractions of Mt. Odaesan

Rising to a height of 1,563 meters, Mt. Odaesan stands majestically at the boundary of Pyeongchang-gun, Hongcheon-gun county, and Gangneung City. Its highest peak, Birobong , along with Mt. Seoraksan, are part of the Baekdudaegan Mountain Range. Its major peaks include Sangwangbong, Durobong, Horyeongbong, and Dongdaebong . These peaks form a circle of hills that includes West, South, and North Hill, with Middle Hill [Jungdael at the center. On the slopes of Mt. Odaesan, the Woljeongcheon and Naerincheon streams merge to form Odaecheon Stream, which flows southward into the Namhangang River. Mt. Odaesan is home to several of Korea's most pristine woodland areas . The animal species found there include 17 mammals, 35 birds, 474 insects, and 20 freshwater fish. Of particular note, Geumgangyeon Pond at Woljeongsa Temple, which includes such inhabitants as lenok, catfish, and eel, has been designated a special natural preserve for the protection of its fish. The iris

Odaesanensis, a native Korean plant, was first discovered

Another ancient temple on Mt . Odaesan is

on Mt. Odaesan, where an abundance of blossoming flow-

Sangwonsa, located on Jungdae [Middle Hilll. It was found-

ers thrive, whose descriptive names are enough to evoke

ed in 705 during the reign of King Seongdeok [r. 702- 737)

delightful images, such as oval lily disporum ovale Ohwi,

of Silla. The pride of this temple is Sangwonsa Bronze Bell

diamond bluebell, raddeana anemone, and liverleaf.

[National Treasure No . 36]. The upper part of the bell

Designated a national park in 1975, Odaesan is ranked,

includes a sculpted dragon figure and sound pipe, while

together with Geumgangsan, Jirisan, and Hallasan, as one

the surface of the bell features a relief carving of four

of Korea 's most renowned mountains.

musicians playing instruments. The image of the musi-

Some 800,000 visitors come to Mt. Odaesan each year

cians, as though drifting along a cloud in the sky, is

to enjoy its attractions and natural beauty. Its Manchurian fir

superbly detailed . This bell is the oldest and most charac-

forests are among the most impressive in the country. Over

teristic example of traditional Korean temple bells. Known

a distance of 700 to 800 meters, centuries-old firs extend

as the sound of heaven, a temple bell produces a kind of

their treetops as much as 30 meters into the sky. At

auditory offering from the worldly humans to the heavenly

Woljeongsa Temple, dense fir trees beyond lljumun [the

beings. It is a powerful advocate of Buddhism , disseminat-

temple 's first gate] create a broad pathway leading up to the

ing the Buddhist teachings to all living things on the earth

temple buildings. Walking along this path, amid the crisp,

and in the water and the sky.

fresh mountain air and woodsy fragrance, is like a natural elixir that is guaranteed to rejuvenate passersby.

If you spend some time at Pyeongchang and talk with the local residents, you can expect to hear colorful stories

Woljeongsa Temple was founded in 634. Its main

and legends of the past. If geographical barriers previously

attractions include Woljeongsa Nine-story Octagonal

limited interaction with other areas, this also helped to

Pagoda [National Treasure No . 48) and Woljeongsa Stone

preserve the natural environment and people 's pure

Seated Bodhisattva Statue [Treasure No. 139].

heartedness . The buckwheat flowers that abound in

Interestingly, the Bodhisattva is depicted in an unusual

Bongpyeong-myeon are the inspiration for Lee Hyo-seok's

posture, kneeling toward the pagoda as if making an offer-

[ 1907-1942] short story "When the Buckwheat Flowers

ing. Another sight to see is Woljeongsa Sarira Repository,

Bloom," a local literary masterpiece born of the area 's

built by the monk Jajang [590 -658] to enshrine a relic of

lovely natural scenery. The fragrance of literature and the

Sakyamuni Buddha .

traces of tradition remain intact in Pyeongchang. 1.11 Winte r 2005 I Ko reana 71

apchae is one of the most popular dishes in Korea, and as such should not be left out of a discussion of

traditional Korean food. A dish that is still commonly served at family gatherings, japchae is enjoyed by practically everyone, regardless of regional background or age. The term ""japchae" is a combination of jap, meaning ··mixed," and chae, meaning ··vegetables,'" and thus can be translated as ··various mixed vegetables." More than five kinds of different colored vegetables, beef, egg, and Chinese noodles [dangmyeonl are the basic ingredients used today. Soy sauce, salt, and sesame oil are added to season the ingredients. This nutritious dish, which can include all five food groups, is easy to prepare, while appealing to the eye as well as to the tastebuds.

Evolving Preparation Although japchae is undoubtedly a Korean dish, it has undergone various changes over time, in terms of its ingredients, preparation, and taste. According to Eumsikjimibang, a Korean cookbook published in the 17th

century, japchae was originally made with raw cucumbers, radishes, panus, manna lichen, shiitake and pine mushrooms, green bean sprouts, seasoned balloon-flower roots, shepherd's purse, dropwort, green onions, fatsia shoots, bracken, spinach, and steamed eggplant, which were sliced into strips. It was also mentioned that the sliced vegetables would be seasoned with soy sauce and oil, as well as black pepper, Sichuan pepper, and ginger. However, during the 1600s and 1700s, no meat was included in japchae, which consisted only of sliced vegetables, some of which were prepared and others raw. At this time, a sauce was added when the japchae wa·s served. This was unlike the current style of japchae, which now involves stir-frying or sauteing the ingredients . In the 1600s and 1700s, steamed and raw ingredients were mixed together and topped with a heavy sauce, which produced a different look and taste from the modern version . References to this are found in Eumsikbo, a cookbook written in the 1700s.

Winte r 2005 I Koreana

In Gyugonyodam, a cookbook published in 1896, a new recipe for japchae was introduced, which included bean sprouts, dropwort, and green onions, that called for combining the vegetables with beef intestines, frying them with fried egg yolk and pine nuts, and then adding a mustard seasoning. But still, there is no mention of Chinese noodles. It was not until the early 1900s, when the Chinese introduced Koreans to these noodles that they came to be included in japchae. The first references to using Chinese noodles in japchae can be found in cookbooks published 20 years after the fact. Joseonmussang sinsik yorijebeop, written by Yi Yong-gi in 1924, introduced another version of japchae made with balloon-flower roots, dropwort, ear mushrooms, day lilies, shiitake mushrooms, and green onions; which were boiled and then garnished with egg yolk, pine nuts, and chopped pepper. It was noted that adding dried sea cucumber and boiled abalone would enhance the taste, but it also generally recommended This easy-to-prepare dish is as flavorful as it is visually appealing.

against the inclusion of Chinese noodles. However, Jo Ja-ho, who was born into a yangban family and had

acquired extensive knowledge of cooking, wrote in his Joseonyoribeop [1938] that Chinese noodles should be one of the primary ingredients of japchae. Therefore, the japchae that Koreans enjoy nowadays can be regarded as having a one-century-old history. Variety of Ingredients

Japchae dishes are known by their predominant or featured ingredients, like mushroom japchae or seafood japchae, in which abalone, sea cucumber, or shrimp is the main ingredient. Dishes similar to KoreaÂˇs japchae can be found in China and Southeast Asian countries . These dishes typically consist of vegetables, pork or seafood instead of beef, and rice noodles, of varying thickness. Some are served with a heavy sauce; however, the appearance and taste of these dishes are quite different. Japchae is usually made with shiitake mushrooms, wood ears, carrots, green onions, and beef, but other ingredients can be substituted depending on availability and personal preferences. Common mushrooms can be used in lieu of more expensive shiitake mushrooms, while celery, dropwort, pumpkin, watercress, green beans, or zucchini can be used instead of spinach or cucumber. Balloon-flower roots are optional as well. Moreover, mutton, pork, or chicken can be included instead of beef, while vegetarians can enjoy any number of japchae versions without meat. And instead of sesame oil, any other variety of vegetable oil can be used . Although the ingredients can be mixed together in a big bowl, japchae looks and tastes best when the ingredients are harmoniously arranged by color and then garnished with fried egg yolk and pine nuts.

74 Koreana I Winter 2005

The character of japchae is determined by its ingredients. For example, there can be mushroom japchae or seafood japchae, depending on the primary or featured ingredient.

Japchae Ingredients: 3 medium-sized shiitake mushrooms, 10 grams wood ears, 100 grams carrots , 100 grams green onions, 100 grams spinach or cucumber, 80 grams balloon-flower roots, 100 grams beef, 1 egg, 50 -100 grams Chinese noodles

Seasoning for vegetables: 3 teaspoons minced green onions. 1 teaspoon minced garli c. 2 teaspoons sesame oil, da sh of black pepper to taste Seasoning for meat and mushrooms: 2 tablespoons soy sauce. 1 tablespoon sugar, 4 teaspoons minced green onions, 2 teaspoons minced garlic. 2 teaspoons sesame oil, 3 teaspoons sesame salt. dash of black pe ppe r

Seasoning for Chinese noodles: 1 tablespoon soy sauce. 1 tablespoon sugar, 1 tablespoon sesame oil, 1 teaspoon pi ne nuts Preparation Cut beef into strips of 5-6 centimeters • Soak shiitake mushrooms and wood ears in water and then slice. Mix the beef and mushrooms with seasoning, saute in oil, and set aside to cool • Slice carrots into strips of 4 centimeters, saute in oil, and season with salt and black pepper • Slice onions, saute in oil, and season with salt and black pepper. Mince balloon-flower roots, rinse in salty water, and saute together with vegetable seasoning • Slice cooked spinach into strips of 5 centimeters and saute briefly. If cucumbers are included, slice into strips of 4 centimeters, soak in salt water, pat dry, and saute briefly • Separate egg white from yolk, and fry each separately and cut into strips • Boil the noodles until soft. Drain the water and cut the noodles into lengths of 7-8 centimeters and add seasoning. For more transparent and chewy noodles, they can be sauteed briefly • Combine the sauteed vegetables, mushrooms, beef, and noodles in a large serving dish. Garnish with the sliced egg and pine nuts.

{l ~ a~

Winter 2005 I Koreana

Streets of Hongik University Abound vvi th Culture The streets around Hongik University, popularly known as "Hongdae," house an amalgamation of diverse cultural spaces: cafes, clubs, galleries, and publishing firms. The area is an escape from the everyday rout ine for young people and a cultural magnet for up-andcoming artists. Lee Ye on -a Free lance Writer Choi Ha ng -yong Photogra phe r

76 Ko rea na I Wi nte r 2005

eoul accounts for less than 1 percent of Korea's total land area. And with a resident population of more

than 10 million, urban life can become routine and hum-

1 Thanks to bands that prefer to play their own brand of music rather than catering to commercial pursuits. the Hongdae area has long beer,a center of indie music and culture. 2 The Hongik University area is a cultural haven that is synonymous with diversity and freedom of choice.

drum . Yet in the heart of this seemingly monotonous metropolis there is an area worthy of note. On the surface, it appears similar to most other downtown areas, but if you

Friday night of each month, you are likely to soon find your-

spend some time to look around , the dynamism of its

self in front of a club with a crowd of people lined up out-

youthful energy will be readily apparent. Teeming with

side its entrance. Though still on the street, people can be

music and artistic vitality, this lively scene is known as

seen moving to the bass rhythms resonating from within.

Hongdae, an abbreviated form of Hongik University. People get off the subway at the Hongik University

hlusic Spills onto the Streets

stop along the Line 2 and make their way to exit No. 6. As

Once inside the club you will find it packed with a jum-

they reach the top of the stairway, their faces beam with

ble of high-energy people. Most seem so captivated by the

elation, as if some kind of paradise lay ahead. If you let

music and dancing that they appear barely conscious of

yourself flow along with the crowd, particularly on the last

what is going on around them. This is not to say that you Winter 2005 I Ko reana 77

The attraction of clubs in the Hongik University area is the freedom to enjoy yourself in whatever way you are comfortable with. With a countless variety of bands and groups playing the full gamut of music genres. you can always find a club that suits your taste or mood. 2 The Seoul Fringe Festival, which focuses on non-mainstream culture and art. was held for the eighth year in August at some 20 sites around Hongik University. 3 Jaurim is an example of an underground indie band that debuted at Hongdae-area clubs and eventually emerged aboveground, becoming a commercial success.

78 Koreana I Winter 2005

The area surrounding Hong ik Univers ity is teem ing w ith art, music, and youthful vibrancy. This neighborhood , from wh ich new culture and art constantly blossom from its fe rtile so il of divers ity, is an incubator for Korea 's contemporary culture.

must dance at a club like this. Here, it is basically a case of

bands, which freely express themselves through their own

to each his own. Some stand in a corner drinking beer, oth-

music, are a mainstay at the live clubs. A few of these

ers bob their heads as they watch others, some close their

groups have eventually gone mainstream and become

eyes, allowing the music and atmosphere to wash over

commercial successes. For example, Crying Nut, Jaurim,

them. In this way, the attraction of the clubs at the

and No Brain are among those who have emerged from

Hongdae area is the freedom to enjoy yourself in whatever

the underground to reach the aboveground .

way you are comfortable with.

Unfortunately, live music clubs have recently been

The 20 or so dance clubs in the area differ from each

losing ground to dance clubs, where more attention is paid

other in size and atmosphere. Each establishment is asso-

to dancing rather than the playing of live music. These

ciated with a certain genre of music, so you should be able

days, the dance-club format, which offers dancing and

to find something that suits your taste: house, hip hop, reg-

decent music at a reasonable price, seems to be gaining

gae, electronica, and rock. If you are lucky, you might even

popularity at the expense of the live music establishments.

witness the experimental and masterful mixing of celebrity

In addition, Korean students returning from abroad often

DJs.

seem to have acquired a preference for Western-style The entire area comes alive on the last Friday of every

month due to the Club Day promotion, which has been

dance clubs. Yet numerous live bands are still dedicated to keeping alive the underground music scene and culture.

attracting crowds of 10,000 and more since its launch in March 2001. On these nights, a 15,000-won payment will

Incubator 1or Rew Art Trends

grant you admission to ten Hongdae-area clubs. As a

If you need to take a break from the clubs, you can

result, Club Day participants will party hardy, hopping from

step out into the streets for a moment, breathe the night

one club to another throughout the night, never missing a

air, and watch the people milling about. Clothing of all

beat of the music or spilling a drop of libation . For club

sorts will catch your eye. After all, the Hongdae area is

enthusiasts, this end of the month event is the perfect

where there is no need and no reason to keep up with the

means for letting off steam.

latest fashion trends. There is a power here that attracts

For those who enjoy the live music scene, there are ten or so clubs with live performances here . At these

people to bask in the area's unbounded sense of personal freedom and individual choice.

clubs, some 500 bands perform practically every variety of

In large part, this unrestrained atmosphere is due to

the musical spectrum, including the head-banging intensi-

the influence of the College of Fine Arts at Hongik

ty of hard-core rock to the soothing melody of lithesome

University. As recently as 20 or so years ago, this area was

jazz improvisation .

a cradle of Korean art, where young artists worked in stu-

Thanks to the bands who prefer to play their own style

dios that were readily available for affordable rents. They

of music rather than to cater to commercial interests, the

visited each other's studios to discuss and refine their art,

Hongdae area has long been a home for indie music. lndie

giving the neighborhood the character of an art district. In Winter 2005 I Koreana 79

the early 1990s, the street that extended from the main gate of Hongik University was lined with art galleries, art academies, and cafes, earning it the nickname "Picasso Street. " Today, soaring building rents have driven aspiring artists to the outskirts of Seoul and beyond; but the Hongdae area still functions as an experimental platform for new artistic developments. On weekend afternoons, markets infused with the vibrancy of young artists offer distinctive art and craft works for sale at the playground areas across from Hongik University. Every weekend, young artists bring their artworks to the Free Market, which focuses on art items, or the Hope Market that is more like a flea market. The vendors are not your typical street merchants, but artists who are based in the neighborhood or students at the university. Even someone just leisurely browsing about these markets can readily discern the personal effort and dedication that went into the creation of these one-of-a-kind items. In addition, the Hongik University area hosts a variety of art festivals, such as the Fringe Festival, an annual celebration of non-mainstream culture, and street-side art exhibitions. Roadways that are otherwise congested with traffic are temporarily converted into live performance 1 On weekends, young artists offer for sale their one-of-a-kind handmade art and craft works at two open-air markets in the area. 2 The avant-garde sculpture works and murals that enliven the Hongdae area streets offer a glimpse of the artistic talent being nurtured at the Co llege of Fine Arts of Hongik University.

stages, art exhibition areas, and book displays. In particular, these kinds of events encourage artistic experimentation and provide exposure for innovative concepts. Beyond its reputation as a high-energy center for nighttime entertainment, it will be critical for the Hongdae area to keep alive its role as a dynamic wellspring of contemporary Korean art and culture. b1

80 Koreana I Winter 2005

he works of Son Chang-sop [1922- ?) are narrowly

today, none of these matters has been verified. In 1961, it

focused on the state of Korean society immediately

was surprising and curious that he published an autobio-

following the Korean War [1950-1953). His primary charac-

graphical novel, Sinui Hijak [God's Comedy}, which sati-

ters are war refugees who are drifting aimlessly, unable to

rized his life story. According to this autobiographical

settle into any semblance of a normal life. At some point,

account, Son was an illegitimate child . His mother was a

Son becomes subsumed by the doings of these rootless

prostitute, and he was born and raised in a red light dis-

individuals.

trict . As a child, he was a bed wetter. He grew up not

The refugee life can be characterized by a state of

knowing the concept of family, neither being loved nor lov-

deprivation, in particular regard to money and love. These

ing anyone, and developed a phobia of people. This

two aspects are polar extremes of a world marked by wan-

description of his upbringing reveals the roots of his

ton greed . Son's characters eat to live and love because

extreme contempt toward people. He maintains a satirical

they remain alive. For them, there is neither civilization nor

view of himself, an autistic attitude toward others, and a

barbarity. They do not dwell on the good or evil of things.

contemptuous perspective for understanding people and

They survive because they are alive, while subsisting at the

personal relationships.

lowest limit of human existence.

He published his first work, "Gonghyuil" [Holiday), in

From the outset, issues such as human values, ethics,

1952, in the midst of the Korean War. The following year,

or social norms, are outside the scope of the author's

he made his official literary debut with "Sayeongi." With his

interests. Though not irrelevant, these are matters beyond

subsequent works , such as "Saenghwaljeok" [Target of

his concern, which are thus issues not to be dealt with but

Life), " Hyeolseo" [Written in Blood), "Mihaegyeolui jang"

to be scorned. Son's novels are satirical of the post-war

[Unresolved Chapter), "lngandongmulwoncho" [Human

situation, with characters being portrayed as caricatures

Zoo), "Yusilmong" [A Washed Out Dream), "Seoljung-

due to his contemptuous view of humanity.

haeng" [Walking in the Snow), "lngyeo lngan" [Superfluous

Son is an enigmatic figure with only sketchy details

Men), "Nakseojok" [Graffiti Tribe), and "Pomalui uiji" [The

known about his life. It is said that he was born in

Will of Bubbles), Son attracted a growing readership, even-

Pyeongyang in 1922, and according to various accounts, he

tually establishing himself as Korea's most prominent

lived in Manchuria as a boy, went to high school in Japan,

post-war, new-generation literary artist.

and even studied at Nihon University for a while . But even

The common thread running through all of Son's

works involves the satire and caricature of a severely distorted post-war world . In every instance, Son does not deal

the young boy is all the more pathetic and disdainful. Son is inclined to observe things through a prism of

with "possible" human relationships. His works are filled

deprivation. Moreover, when looking through this prism at

with all manner of abnormality. His characters are dis-

the basic desires of human beings, he sees utter abase-

abled, either mentally or physically, with an absence of

ment and vulgarity. For Son, the reality of being alive

normal relationships with each other. The members of a

involves a consciousness of humanity in crisis, which is why

family are not determined by blood ties, while the way that

existence was such a fundamental concern within the deep

they live together is unimaginable. They often live together

despa ir experienced by the post-war generation . Having

in a single room, strangers with strangers, forming a dis-

survived such a senseless war, Son 's characters are those

jointed community, in which individuals pursue harmony

who are alive thanks to their good fortune . Their lives are

amid disharmony. A key theme underlying Son 's works is

not what they have chosen; they are people who have been

that of discord . The members of a family are estranged

chosen to remain alive. They had not understood this during

from each other while complete strangers are strongly

the war, but with the end of hostilities, they have come to

bound together like blood relatives. This situation is a

realize that they are living in a place of refuge.

product of the war, but then again, it also reflects Son's personal view of the basic nature of human beings.

The scenes of disabled persons are dispiriting, but the author's view of such disability is compassionate, which is

The family grouping in "Yusilmong" is a good exam-

another notable characteristic of Son's writing. In any case,

ple. The family consists of a young boy, his older sister and

there are no whole individuals in his works. Everyone is

her husband, which though not a traditional family unit,

deprived or disabled, in economic, mental, or physical

was commonplace among post-war refugees . The sister

terms. Though the picture of people living among such

and her husband are not bound by love but by conflict and

deprivation is perverted, the author boldly seeks to reveal

greed for money. The husband will steal money from his

to readers the broad spectrum of normal humanity. The

wife, while the wife will fight tooth and nail with her hus-

focus of Son 's works reflects the extreme limits that peo-

band to protect her money. Any time aside from this fight-

ple can endure and manage to survive based on bonds that

ing is filled with a lust for sex. Their lives are ultimately

are stronger than blood. In the end, the way that their lives,

about fighting over money or lusting for sex. With money

though seemingly so disparate, come to be intertwined,

and sex being the only concerns of the couple, the life of

and without restraint, is the essence of humanity. ~

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posco We move the wortd in silence www.posco.com

Fireworks Festivals We sponsor one of Korea's largest light and sound extravaganzas each June in Pohang

Campus Concerts

Art Exhibitions

Monthly Concerts

We sponsor concerts by Nanse Gum and the Euro-Asian Philharmonic Orchestra at major universities

We showcase contemporary works at the POSCO Center Museum and Pohang Works Gallery

We invite top artists from all genres to pertorm at POSCO Center in Seoul

,,~ . Korea has realized its long-cherished dream of becoming a petroleum producer!

Forty years of ~.xploration have at last led to Korea achieving oil-producing-country status. By our own efforts, our own technology,and our own investment finally we have succeeded in realizing our dream to join the ranks of the oil producing nations. Now, we launch ourselves boldly towa(ds our next goal to become an energy independent country. ~

Korea National Oil Corporation