Koreana Summer 2006 (English)

J '

KOREAN ART

&

CULTURE

Vol. 20, No. 2 Summer 2006

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t

BEAUTY OF KOREA

Tteoksal

T

teak [rice cake] is an integral element of

Korean cuisine. The attractive designs and patterns

For example, a fish and banana-plant pattern would decorate the tteok for an infant's 100-day

imprinted onto tteok are a reflection of the Korean sense of

celebration, whereas a design depicting two lovebirds, to

aesthetics. The implement used to decorate the surface of

symbolize marital bliss, or a couple of bats, a symbol of

tteok is commonly known as tteoksa/, which was first used

good fortune, was applied to the tteok for a wedding cere-

during the Goryeo Dynasty [918-1392). It works like a stamp

mony. Animal forms, such as a carp or turtle, symbols of

or seal to press designs on the pliable surface of tteok.

longevity, were used on the tteok for a 60th birthday cele-

Although it may appear to be nothing more than a simple kitchen utensil, the tteoksal embodies a deeper

bration. Tteok for Buddhist events featured designs of lotus, man[~], and other Buddhist symbols.

significance. In particular, for Koreans of long ago, a brief

Along with taking heed of the saying, "a piece of tteok

glance at a tteoksal was enough to give them an impres-

should not only taste good but look good as well," Koreans

sion of its household and family. As such, the designs of

also took the time and effort to give special meaning to

tteoksal served as a kind of family symbol. Particular

each serving of tteok. Accordingly, tteoksal is another

tteoksal designs would be used for various family events

example of the refined elegance of Korea's traditional food

and occasions.

culture.

L;t

Korean a

Korean Art & Culture Vol. 20, No. 2 Summer 2006

The Seas of l(orea The Ocean's Influence on the Korean People

8

I Na Gyung-soo

12

Korea's Sphere of Maritime Influence I Youn Myung-chul

2

°

26

Korean Waters Abound with Marine Life I Kim Woong-seo

Koreana Internet Website http://www.koreana.or.kr

Mining the Ocean Depths for Energy Resources

All rights reserved . No part of this publication may be

I Kim Hyun-tae

Š The Korea Foundati on 2006

reproduced in any form without the prior permission of the Korea Foundation.

The opinions expressed by the authors do not

28

The Vibrant Sea and Its Coastal Residents I Nam Sung-suk

necessarily represent those of the editors of Koreana

or the Korea Foundation.

Koreana , registered as a quarterly magazine with the Ministry of Culture and Tourism !Registration No.

Ba -1 033, dated Aug. 8, 1987], is also published in Chinese. French, Spanish, Arabic, Russian. Japanese, and German.

36

FOCUS

Technology as Art: The Legacy of Video Artist Paik Nam June I Lee Yongwoo 40

INTERVIEW Kim Duk Soo

Boosting Korea's Image through SamulNori

I Hyun Kyung- chae

Cover: Korea's southern coastline nearby a

fishing village adjacent to Oolsando Island, Jeo!lanam-do province.

46

The vibrant seas surroundin g the Korean

ARTISAN Min Hong-gyu

Keeping Alive the Tradition of Royal Seals

I

peninsula have long influe nced the lives and culture of Korea 's people. Altho ugh a n indomitable force capa ble of im pe ri li ng life

ChoiTae-won

and limb at any moment . the seas are also a generous provider of bountiful resources,

52

Symbol of Enlightenment 56

including natural gas reserves .

Photo: Time Space

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8 Koreana I Summer 2006

The Ocean's Influence on the l(orean People The ocean, which is central to numerous mythical tales and the inspiration for myriad artistic creations, is also the life-giving source of all living things. Moreover, from the earliest of times, the ocean has constantly exerted its influence on the Korean people.

Na Gyung-soo Professor of Korean Language Education, Chonnam National University

ageodo is the island located the farthest away from the south-

manifestation of Korean sentiments toward the ocean. As such,

ernmost coast of the western region of the Korean peninsula.

an understanding of the character of the dragon king can provide

Also known as Soheuksando, Gageodo is a magnificent sight, with

an insightful glimpse into related aspects of the Korean psyche.

G

cliffs of intriguing shapes creating a unique complement to a sea so

Due to this intimate relationship between the Korean people and

dark it looks black.

the ocean, the influences of the dragon king can be readily seen

First-time visitors to the island are often mesmerized with

in Korea·s traditional thought and culture.

its enchanting beauty. But in reality, the local residents have

The dragon king has long been believed to be the wellspring

struggled for one generation after another barely eking out a

of life in fishing and farming villages, but he has also appeared in

subsistence livelihood from the sea . As they haul in their nets,

other cultural forms throughout Korean history. There are plenti-

they sing a traditional fisherman·s song of Gageodo, which

ful examples of the dragon king being transformed into and

includes the line: "You will die and I will live:· These lyrics reveal

revered as the symbol of a social ideal or particular virtue.

the constant life-and-death struggle being played out by the fishermen and the fish.

But this contest is by no means heavily tilted in favor of the

Perhaps the best-known literary example is the folk tale "'The Story of Sim Cheong."' The pious daughter Sim Cheong agrees to sell herself to the crew of a merchant vessel in order to

fishermen. Just as farmers will pray for an abundant harvest

procure 300 sacks of rice so that an offering can be made to the

while working in the fields, so do the fishermen appeal for a

Buddha, in an effort to restore her blind father's sight. At sea, she

bountiful catch as they head out to sea. But the fishermen·s place

is thrown into the waters of lndangsu Sea as a sacrifice to assure

of work, the ocean, is fraught with deadly peril. At times, the

the safety of the vessel"s crew. There have long been many sto-

dragon king, who rules over the wind and the waves, will claim

ries of virgins being sacrificed to the dragon king, but by far the

the lives of fishermen, perhaps as a sacrifice for all the bounty

most representative of these Korean tales is 'The Story of Sim

that have been hauled off.

Cheong." In this legendary tale, the dragon king is not simply an

Sacred Realm of the Dragon King

an ultimate act of filial piety. After Sim Cheong is thrown into the

incarnation of lust for a woman; he shows compassion for such The dragon king reigns over the ocean realm from his drag-

sea and sinks to the bottom, the dragon king comes to her aid,

on palace at the bottom of the sea. The dragon king features

protecting her in a lotus flower that returns her safely to the

prominently in a number of traditional Korean ceremonies as

ocean surface. There is an old saying that ··even the heavens can

well as a multitude of stories that have been handed down

be moved by profound devotion."' But in this story it was the drag-

through the ages. Those whose survival depended on the ocean

on king, not the heavens, that was moved by Sim Cheong·s self-

created these various ceremonies and myths related to the drag-

less devotion to her father. The dragon king is thus elevated to

on king. Those who lived in coastal areas believed that the dragon

the level of the god of heaven as a result of his compassion for

king determined not only their livelihood but their existence as

her plight and his desire for Sim Cheong·s filial piety to be justly

well, so they put forth painstaking efforts to assure his veneration

rewarded.

and appeasement. Fishermen worship him in their home, on their boat, and at the village shrines, with prayers for their safety and an abundant catch, in addition to regularly arranging for shamans to perform highly elaborate rituals in his honor.

The dragon king is the archetypical deity who represents a

From the Sea to the Land The dragon king plays a lead role in several mythical tales, like Sim Cheong , that serve to reinforce the para.mount importance of filial devotion to one's parents, which Koreans have long

tance of filial devotion to one's parents, which Koreans have long

Passageway to the Faraway World

respected as a foremost virtue. Yet the dragon king's role is not

The ocean is a vast passageway that connects the nearby

necessarily limited to such virtuous ideals. The most beautiful

world with the faraway world . In ancient Korean myths, deities

woman in Korea was said to be Lady Suro, the wife of Lord

who arrived in Korea from across the ocean were carriers of new

Sunjeong, who lived during the reign of King Seongdeok of Silla

cultural influences. Talhae Ir. 57-80). who came from across the

Ir. 702-737). At that time, the dragon king coveted Lady Suro, for

ocean and became the king of Silla, introduced ironworking cul-

her irresistible beauty, and eventually abducted her to his dragon

ture, while Heo Hwang-ok, who became the queen of King Suro

palace. He later returned her, when threatened by the Silla peo-

Ir. 42-199). the founder of the Gaya Kingdom 142-562). brought

ple, but these actions of the dragon king, in his desire to possess

Buddhism to Korea from India. Also, the three goddess-brides of

a gorgeous woman, is so humanistic and secular in nature. But in

the three founders of Tamna IJejudo Island) brought grain with

this case, it seems that the dragon king's involvement was mainly

them and introduced agriculture to the region.

for the purpose of embellishing Lady Suro路s beauty to legendary

The ocean was thus a vital conduit for the introduction of agriculture, ironworking, and religion, reflecting the ways in

status.

which the ocean has played a role in shaping

In Korea 's various foundation myths, the kings who founded states were generally the descendants of the god of heaven.

However, in addition to the offspring of heaven, the children of dragon kings were also the founders of nations on land. Gyeon Hwon 1867-936). the founder of Latter Baekje 1892936). was the son of a dragon king, while the grandmother of Wang Gean Ir. 918-943). the founder of Goryeo, was the daughter of a

The dragon king is the archetypical deity that represents a manifestation of Ko1路ean sentiments towa1路d the ocean. As such, an understanding of the character of the dragon king can provide an insightful glimpse into related aspects of the Korean psyche.

the history and culture of Korea. Yet the ocean was not only a passageway for facilitating exchange with the outside world; at times it was also an entryway for external forces to intrude upon Korea.

With his dying breath, Silla's King Munmu Ir. 661-681) ordered that he be laid to rest at sea . This was because of his desire to become a dragon after he died so that he could protect Silla territory from any ene-

dragon king. It is worthy of note that the foundation myths that feature children of the dragon king have all

mies who attempted to invade by sea . King Munmu 路s ardent

originated from the southwest region of the Korean peninsula.

desire to defend his nation was rooted in a common Silla belief

Undoubtedly, this is related to the fact that this region engaged in

that dragons were defenders of the people. Cheoyong, who came

active maritime trade with China and Southeast Asia since pre-

to the aid of Silla King Heongang Ir. 875-886). the youngest son of a dragon king, ultimately assumed the role of a deity who was

historic times.

In addition, archaeological research has found that the regions where dragon king myths prevail featured a more variety

called upon to ward off evil spirits. Dragons were revered as protectors of the nation as well as the common people.

of ancient tomb styles than that existing in other regions. Unlike

In this way, the ocean has long provided a bounty of physi-

other cultural characteristics, the style of tombs tends to show

cal resources for Koreans, in addition to exerting far-reaching

little change without a significant inflow of new people. Evidence

influence on Korea 's national destiny and sociocultural develop-

of people movement in this region includes the clear changes in

ment. t.t

tomb styles and the emergence of a variety of ocean-related mythical tales.

1 The dragon king is an archetype deity that represents a manifestation of Korean sentiments toward the seas. In this scene of a Jeju Yeongdeung Ritual, the presence of the dragon king is being welcomed.

2 The folk ta le "The Story of Sim Cheong" was born again by Universa l Ballet.

3 In the Ulsan region, a Cheoyong Cultural Festiva l is held in honor of Cheoyong, who was said to be the son of a dragon.

4 Wida Isla nd residents tow a ritual straw boat out to sea, which is cast adrift in hopes of carrying away misfortune.

l(orea's Sphere of Maritime Influence The ocean serves as a network that can link together countries and peoples, along with facilitating cultural exchange between faraway civilizations.

Youn Myung-chul Professor of History, Dongguk University Ahn Hong-beorn Photographer Photography in cooperation with the National Maritime Museum

Summer 2006 I Koreana 13

K

oreans tend to think of Korean history, as well as the histo-

and Chinese records, such as Sanguo Zhi [Record of the Three

ry of East Asia, primarily in terms of territorial land. Yet it is

Kingdoms] and The Book of Later Han, the people of these Han

clear that, alongside and between the continental land occupied

nations were notably active in maritime exchange . The nations

by China and the northern nations, the Korean peninsula, and the

developed city-states at strategic locations along the coast, such

Japanese archipelago, the East Asian region also includes the

as at the outlets of major rivers, where they conducted exchanges

vast East Sea, narrow South Sea, enclosed Yellow Sea, and East

with Japan and China, including trade of ironware.

China Sea. These seas form what is known as the "East Asian

The Yayoi culture of Japan, which developed between the

Mediterranean Ocean:¡ With the Korean peninsula, and the por-

third century B.C. and the third century A.O., was primarily creat-

tions of Manchuria where Koreans had established a historic

ed by former residents of the southern Korean peninsula, who

presence, being centrally located within the East Asian

relocated in large groups to areas of Japan . These immigrants

Mediterranean Ocean, it has been natural for Korea to develop an

used the sea routes that connected the southeastern coast of

extensive maritime culture.

Korea with northern Kyushu and southern Honshu.

Ocean-faring Nations

Controlling the Seas for Global Influence

The seas surrounding Korea, which are neither especially

From early on, the Goguryeo Kingdom [37 B.C.-A.D . 668]

expansive nor narrow, have bustled with maritime activity since

engaged in inland naval activities on large rivers in areas of

prehistoric times. Busan and Ulsan, of the southern coastal

Manchuria . Goguryeo eventually gained control of the

region, engaged in exchanges with Japan 's Tsushima Island and

Amnokgang River basin and established a presence in the Yellow

other areas some 6,000 to 7,000 years ago. Maritime artifacts

Sea . In 233, they ventured into the southern regions of the Yellow

from this period have been discovered along the northern regions

Sea and made contact with the state of Wu [222-280] at the

of the East Sea, at the Amnokgang River basin at the Yellow Sea,

Yangtze River basin, which included the exchange of emissaries

and on Liaodong peninsula. In addition , early settlers around the

and commodity trade, such as horses. At the end of the fourth

Yellow Sea built various dolmen structures along coastal areas.

century, during the rule of King Gwanggaeto [r. 391 - 413).

The first nation founded on the Korean peninsula, Old

Goguryeo launched an assault of Gyeonggiman Bay, by land and

Joseon [2333-108 B.C.l. established its capital near the coastline,

sea. Thereafter, at the time of the reign of King Jangsu [r. 413-

where it developed an active maritime culture along the northern

491). Goguryeo controlled the northern region of the Yellow Sea

areas of the Yellow Sea, including the Liaodong peninsula,

and the northern areas of the East Sea, from where it conducted

Seohanman Bay, and the mouth of Daedonggang River. At this

diplomacy and trade with the Northern and Southern Dynasties of

t ime, the Han Dynasty of China [206 B.C.-A.D. 220] sought to

Ch ina.

expand its economic influence by making inroads into eastern

The Baekje Kingdom [18 B.C.-A.D . 660] developed a mar-

territory, but this foray was met with resistance from an expan-

itime culture from the outset, when its founder Onjo [r. 18 B.C.-

sion-oriented Wiman Joseon. This resulted in lengthy clashes

A.D. 28] moved south and established the early Baekje capital of

between Han and Joseon, on land and at sea, for maritime con-

Wiryeseong at Hanam, as a riverport city. In the early fourth cen-

trol of the northern Yellow Sea .

tury Baekje attacked the southern territory of Goguryeo and

Around this time, the southern areas of the Korean peninsula were occupied by the small-scale nations of the Three Hans. Based on archaeological findings

14 Ko rea na I Summer 2006

secured a sea route to China . It also used various islands in the south of the Yellow Sea as steppingstones to access the Japanese archipelago. Baekje"s maritime

sphere was constrained when Goguryeo seized Gyeonggiman

Phoenicia and Greece sailed east and west along the

Bay, but later it was able to recover and exert considerable influ-

Mediterranean Sea, where they engaged in cultural interaction

ence over the South Sea as well as southern areas of the Yellow

with people of faraway lands.

Sea. Baekje enjoyed active exchange with the Southern Dynasties of China, enabling a golden age of culture to flourish, while its access to Japan played a decisive role in the emergence of the ancient states of Japan and the advancement of Buddhism.

Jang Bo-go and Cheonghaejin During the early Unified Silla era (668-935). active trade was carried out with Tang China through the city of Dengzhou, on the

The Gaya Kingdom [42-562). which was the first nation to

Shandong peninsula. High-quality textile, gold, and silverware

establish a foothold on the Japanese archipelago, also developed

were exported, while Southeast Asian goods, such as sea turtles,

a maritime culture from the time of its onset. Until its demise,

red sandalwood, peacock tails, and gemstones, were imported

Gaya maintained especially active exchange with Japan, as evi-

from Tang China. Silla also dominated trade with Japan, serving

denced by the fact that numerous Gaya-related artifacts have

as an intermediary for commodities from places such as

been uncovered in Japan, along with various elements of Gaya

Southeast Asia, China, and Arabia .

culture having made their way into ancient Japanese myths.

Silla settlements were established in Tang China along the

The Silla Kingdom [57 B.C.-A.D. 935). existed in relative iso-

Grand Canal and nearby coastline, at places such as Shandong,

lation in a southeastern portion of the Korean peninsula, where

Jiangsu, and Zhejiang. The Silla people living in Tang China main-

harsh winds and perilous currents, and a lack of natural harbor

ly engaged in commerce, along with serving as diplomatic emis-

areas, served to discourage its development of maritime activity.

saries, which enabled them to dominate the seas of East Asia .

In spite of these obstacles, figures in Japanese mythology, such

Jang Bo-go [?-846) of Silla, who lived in Tang China, developed a

as Susanoo and Cheonilchang, appear to have been related to the

naval and commercial base at Cheonghaejin, with support from

people of Silla, along with Silla relics having been found in areas

the Silla authorities, from which he controlled major sea routes

such as lzumo, in central Honshu, directly across the sea from

and coordinated the activities of merchants and coastal residents.

Silla territory. In the mid sixth century, Silla took advantage of its

He also systematically linked together various stronghold cities

control of the Hangang River basin and Gyeonggiman Bay to deal

with Cheonghaejin, while presiding over Silla people living in Tang

extensively with China. Thereafter, it successfully used sea

China, Japan, and the mainland, to exert Silla's influence across

routes to engage in secret diplomatic negotiations for the forma-

the East Asian Mediterranean Sea .

tion of an alliance with Tang China to counter Baekje and Goguryeo.

Early on, Balhae launched a concerted attack on the Tang China city of Dengzhou, and managed to capture the city; but they

In fact, an accurate depiction of the situation in East Asia,

later actively engaged in trade with Tang China. After the collapse

during the Three Kingdoms period [1st century B.C .-A.D . 7th cen-

of the Balhae leadership, a successor group handled the dealings

tury) requires a proper understanding of territorial land and mar-

with the Song and other Chinese dynasties on behalf of Liao, who

itime influence. The relations between Korea and Japan have been shaped by the Koreans who used sea routes to contact and settle in Japan, where they eventually exerted political influence on Japan's early national development. This was similar to the way that

were not seafaring people, and made their

The impact of maritime capability has often been ovedooked by history, but it is a critical factor for assessing a nation's overall strength. As such, an understanding of both land and sea is required to properly evaluate the extent of a nation's sphere of influence during a particular period in history.

way as far south as the Yangtze River basin .

They dispatched 33 official delegations of emissaries to Japan, and then in the ninth century sent additional delega_tions, at times comprising over 1DD emissaries. At one time,

Known as the "Sea God," Jang Bo-go pioneered maritime routes between China and Japan from his home base at Cheonghaejin. Re-creations of ships from the time of Jang Bo-go were used in the filming of the historical drama "Sea God" on Wando Island !formerly Cheonghaejin] !right]. A portrait of Jang Bo-go !far right]

16

Korea na I Summer 2006

Maritime Routes During the Time of Jang Bo-go

CHINA

Range of travel of Jang Bo-go's fleet Central Yellow Sea route [Cheonghaejin to Shidao, used by the Japanese monk Yennin] Central Yellow Sea route [Cheonghaejin to Yanyun] East China Sea diagonal route [Cheonghaejin to Zhoushanqundao/Jejudo to Dazaifu] East China Sea diagonal route [Zhoushanqundao to Dazaifu, used by citizens of Silla residing in Tang China]

I

Summer 2006 I Koreana 17

a civilian fleet carrying 1,100 people was received by Japan. Due

In 1274, in preparation for a joint Goryeo-Mongol expedition

to the geopolitical situation, Balhae was wary of Silla"s intentions,

to Japan, Goryeo built an armada of 900 ships in only four and a

so it sought to maintain cooperative relations with Japan through

half months. Later on, when Goryeo was invaded by Japan, it did

maritime diplomacy. However, when the terms of trade became

not hesitate to exhibit its naval strength by driving off the

unfavorable for Japan, the Japanese authorities imposed limits

Japanese raiders and subjugating the island of Tsushima.

on the number and scale of Balhae missions that would be

With the advent of the Joseon Dynasty [1392-1910). Korea's maritime influence began to falter. Joseon authorities restricted

received .

access to sea routes, while relying solely on overland routes and promoting exchange with only China . Ultimately, maritime cul-

Overland Routes, Sea Routes Wang Gean Ir. 918-943). who founded the Goryeo Dynasty [918-1392). also served as admiral of the navy because of his

ture was abandoned, naval activities ignored, and external mar-

maritime prowess. In order to contain Liao, which was founded by

Joseon was relegated to a peripheral nation overshadowed by

Khitan people, Goryeo and Song actively engaged in maritime

China. It was under these circumstances that Joseon had to

diplomacy and trade. Over a 160-year period, Goryeo dispatched

defend itself against a large-scale Japanese military offensive, on

itime trade by civilians prohibited by the government. As a result,

57 diplomatic vessels to Song, which was reciprocated by Song·s

land and sea, from 1592 to 1598. During this invasion, Joseon was

30 diplomatic vessels sent to Goryeo. These diplomatic vessels,

able to repel the invaders thanks to the heroics of legendary

which generally carried between 100 and 300 emissaries, were

Admiral Yi Sun-sin [1545-1598) and his vaunted "turtle ship,"

recognized as official delegations. Private merchants were also

whose stunning 23 victories in 23 naval battles gave rise to his

active in trade, while Chinese merchants from today's Fujian,

legend of invincibility. But Joseon failed to maintain its maritime

Guangdong, and Zhejiang, China, dealt with Goryeo as well as

prowess after the war, and eventually was forced to yield to

Arabian traders.

Japan 's naval power and open its ports.

Relics recovered along with the Sinan Vessel included contemporary trade commodities. The ship"s cargo included some 20,000 items from China, Korea, and Japan, like this Japanese gray-glazed vase from the Kamakura period.

2 Eared bronze flower vase from the Yuan period 3 Goryeo celadon work, likely from the 12th or 13th century ©

National Museum of Korea

4 Fish-shaped celadon water dropper from the Yuan period 5 Wooden markers inscribed with the cargo's owner, weight, and date, from China's Yuan period, which have provided considerable information about the trade activities at that time. ©

18 Koreana I Summer 2006

National Museum of Korea

In modern times, maritime capability has played a critical role in shaping the power relationships of East Asia. With the end of World War II, the sea routes that linked together East Asia were shut down, preventing the East Asian Mediterranean Sea from playing its intermediary role. Over time, the structure of East Asia was realigned. Today, Korea maintains a maritime network that is connected to all regions and nations of East Asia, in

terms of trade and cultural exchange. Based on this foundation, and with assured access to key international sea lanes, Korea is well positioned to reap tremendous gains, economically, diplomatically, and culturally, from its maritime capability. L;1

Busan New Port, Maritime Hub of Northeast Asia

Global Leader in Shipbuilding Korea has laid claim to being the world's No. 1 shipbuilder.

According to industry data compiled by Clarkson, a market research firm that specializes in shipbuilding and commercial shipping, Korea's shipbuilding industry was the largest producer in the world in 2005, with an output of 14.5 million CGT (compensated gross tons) of vessels, compared to 7 million CGT by China, and 6.2 million CGT by Japan. Of the total shipbuilding orders worldwide, Korea garnered a dominant 37 .8 percent share. Moreover, in regard to LNG (liquid natural gas) carriers, Korea has captured some 76 p ercent of the world market, a clear indication of its leading shipbuilding technology in this sector. In terms of shipbuilding capacity, four of the top five shipyards in the world are located in Korea. Also, seven of the ten

Industries Co., Ltd.; Samsung Heavy Industries Co., Ltd.; Daewoo Shipbuilding & Marine Engineering Co. Ltd.; Hyundai Samho Heavy Industries Co., Ltd.; Hyundai Mipo Dockyard Co., Ltd.; STX Shipbuilding Co., Ltd.; and Hanjin Heavy Industries & Construction Co., Ltd.

Busan New Port, which seeks to establish itself as the maritime huh of Northeast Asia , commenced operations on January 19, 2006.

This new Busan port facility can acconnnodate three 50,000-ton ships at the same time and handle 900,000 containers annually. It also operates 172 varieties of cutting-edge cargo-handling equipment, including cranes that can load/unload 12,000-unit container ships. Although its 600-meter-wide stacking area is not as large as that of the Yangshan port in Shanghai, it is equipped with an on-dock system that provides all necessary services, thereby optimizing its

operational efficiency and cost competitiveness.

The Ministry of Maritime Affairs and Fisheries plans to promote this new port, which is blessed with natural geographical advantages, as a central distribution hub of Northeast Asia. In addition, plans call for the development of a fully integrated distribution system, centered on the port's operations, that includes grom1d, rail, sea, and air transport services, which will eventually encompass a 21st century Sill< Road, connecting the Korean peninsula to the entire Pacific Rim and beyond through the Trans-Siberian Railway and Trans-China Railway.

largest shipyards in the world are fom1d in Korea: Hyundai Heavy

Summer 2006 I Koreana 19

(orean Waters Abound with Marine Life The waters off the Korean peninsula are tee1ning with all manner of marine life, plant and aninial.

Moreover, the western, southern, and eas~ern seas of Korea each feature distinctive characteristics that are conducive to a variety of marine species.

Kim Woong-seo Director, Marine Resources Research Department, Korea Ocean Research and Development Institute Lee Sun-myeong Photographer

T

he sea is the crad le of life for all living things on earth.

North Sea coastline, and at the mouth of the Amazon River in

Waters formed in early desert areas where few forms of life

Brazi l. Because the tidal flats provide an ideal breeding ground

remain. Li ke a mother·s womb, the sea nurtured all life forms,

and habitat for marine creatures, they are teeming with life. The

allowing the earth to gradua lly evolve into a vibrant planet where

mud flats are a parad ise for those seeking to gather a variety of

an abundance of plant and anima l life flourished. The Korean

clams and shellfish, wh ile the waters are plentiful in octopus, yel-

pen insu la, surrou nded on three sides by the nurturing sea, is

low croaker, hair-tail, anchovy, and blue crab .

blessed by nature. As such , the Korean people have long ma in-

The South Sea waters are somewhat deeper than the Yellow

ta ined a close relationship with the sea, which was revered as a

Sea, but at 200 meters at its deepest point, it is not even close to

bountiful food source. As can be seen from ancient shell mounds,

the depths of the East Sea. The southern coastli ne·s rugged

the Koreans who settled nea r coastal areas ate the shellfish that

topography and the countless islands and islets scattered about the offshore waters create a gorgeous

was read ily ava ilab le along t he shoreline.

Moreover, t he pre hi storic rock carv ings fo un d at Bangudae in Daegok-ri, Ulsan, depict whales and other marine creatures, i nd icating the plentifulness of f ishery resou rces.

Western Tidal Flats and South Sea The Korean pen insula is surrounded by water on three sides, to t he south, and along

The Yellow Sea is shallow in depth with vast expanses of tidal flats along the coastline , while the seas off the scenic southern coast are home to tropical fish and other warm-wate1· marine species .

The East Sea wate1·s are deep and where migrating whales can sometimes be spotted.

the east and west. The western sea between Korea and China has shallow waters, with an average depth of

seascape. The southern coast features a combination of tida l flats, sandy beac hes, and rocky cliffs, providing diverse habitats for various ma ri ne life. Under the influence of the Kuroshio Current, the water is warm with a hig h sa li nity, providing a suitable environment for numerous species of brightly colored warm - current f ish that thrive in t rop ica l or sub-tropica l waters . The major fish species in the South Sea waters include

mackere l, Spanish mackerel, jack mackerel, amberjack, and

on ly 40 meters. This is where the major rivers of Chi na and Korea

anchovy. A variety of marine life, whi ch favors warm, tropica l

deposit their silt, mostly yellow sand, giving the water a yellowish

waters, can be found here. In addition, the clean flowi ng waters

tinge, from wh ich its Yellow Sea name is derived. Because of the

are suitable for the cu ltivation of oysters, sea squi rts, and laver.

extreme tida l variations along the western coast, there are vast

The most breathtaking underwater environ ment in the

str etches of tida l fla ts. In fact, the tida l bas ins in Korea rank

South Sea is fo und at Jejudo, Korea·s largest island with a coast-

among the five largest in the world, along with those of the east-

line of some 254 kilometers. While the isla nd is well known for its

ern coast of Canada , the eastern coast of the United States, the

abunda nce of rocks, its waters abound with lush seaweed groves

Korea's Most Authoritative Books on Ichthyology Korea 's most authoritative books on ichthyology include Jeong Yak-jeon 's (1760-1816) ]asaneobo (Fish in the Waters of ]asando) and Kim Ryeo's (1766-1821) Uhaeieobo (Fish in the ]inhae Bay). Uhaeieobo was published in 1803, 11 years earlier than ]asaneobo, but today, ]asaneobo is the better known of the two. The au tho r s were scholars and contemp oraries. They also both lived in exile, J eong on Heuksando Island, J eollanam-do province, and Kim a t Jinhae, Gyeongsangnam-do province.

With nowhere to venture about,

24 Koreana I Summe r 2006

they wonld spend much of their time gazing out at the sea, such that they developed a keen interest in marine life and ended up compiling their extensive findings into reference books.

J eollanam-do and Gyeongsangnam-do , both along the southern coast, are known for h aving a variety of marine life.

Jeong identified various species at Heuksando, but people knew them by several different names.

Because of this, he started to write his book to help clarify this situ ation, as explained in its preface. ]asaneobo provides descriptions of some 200 species , organized into categories of fish, sh ellfish , and seaweed. J asan is another name for Heuksan , and since the ''ja" in the name means

"black," there are those who claim that it should be prononnced "hyeon" (black), in which case the n ame of the book should be Hyeonsaneobo.

As for Uhaeieobo , it describes in detail the shapes and ch aracteristics of 70 species of fish , shellfish , and crab. The entry for each species is followed b y a

poem, which adds literary value to th e b ook 's biological information.

The " nhae" in the title is an old name for the city of Jinhae . Even though these books\ vere written 200 years ago, the descriptions ar e so vividly detailed that it seems as if the sea creatures could somehow come to life b efore your eyes.

Uhaeieobo IYonsei University Ce ntral Library)

Fin whales frolicking in the waters of the East Sea, which is home to a number of whale species.

and benthic creatures such as sea urchin, sea cucumber, sea

as well. For sometime, whales had not been a common sight in

anemone, crab, and shrimp . Munseom Island, off the coast of

the area; however, their numbers have been on the rise following

Seogwipo, Jejudo, is a favorite spot among scuba divers for its

the enforcement of a whaling ban in 1985. When traversing the

exquisite underwater scenery. The vividly colored blue and red

East Sea in a boat, you might come across playful dolphins who

fish swimming about the clusters of coral, which look like

seem as if they would like to provide an escort.

flowerbeds, are of a sublime magnificence beyond description.

The East Sea is home to the Dokdo islets, which mark the easternmost point of Korean territory. Dokdo consists of an east-

East Sea: Home ofDokdo

ern islet, Dongdo, and a western islet, Seodo, as well as several

The East Sea contains the deepest waters surrounding

rocky outcroppings. Dokdo's natural scenery includes sea caves

Korea, reaching 4,000 meters in depth. Here, warm and cold cur-

carved out by ceaseless wave action, along with a variety of spec-

rents converge, forming a "golden fishing ground." In fall, when

tacular sights underwater. The marine ecology of Do~do, which

the North Korean Cold Current flows strongly, cold-water fish ,

has been well preserved thanks to the area ·s lack of human con-

like walleye pollack and Pacific cod, gather in this area to lay their

tact, is inhabited by more than 100 species of fish in the waters

eggs. Also, the cold waters enable seaweed, such as sea mustard

around the islets, including rock fish, black rockfish, bulge-head-

and kelp, to flourish. In summer, when the East Korean Warm

ed wrasse, and rock bream . Dokdo is also known for its plentiful

Current arrives from the south, warm-water species such as

supply of abalone and sea cucumber. Although it is located 37°

squid, mackerel, and saury abound.

14 'north latitude, because of the Tsushima Warm Current, its

Several types of whales reside in the East Sea. Species that

environment is suitable for fish that are usually found in sub-

have been caught there or are known to pass through include the

tropical waters. For example, the neon damsel, which thrives in

blue whale, fin whale, sei whale, Bryde·s whale, Minke whale,

tropical and subtropical waters, like that around Jejudo, will

humpback whale, gray whale, sperm whale, and killer whale .

make its way north to Dokdo in the summer.

1...111

Risso·s dolphin and the Pacific white-sided dolphin can be seen

Summer 2006 I Koreana

25

Mining the Ocean Depths for Energy Resources In 2004, following decades of efforts to develop its offshore energy resources, Korea became the 95th country in the world to produce oil with the development of its Donghae-1 gas field in the East Sea. Kim Hyun-tae Director, Petroleum Resources Technology and Information Center, Korea Institute of Geoscience and Mineral Resources Photography: Korea National Oil Corporation

J

ust 50 years after the onset of its industrialization process,

assume the lead role in Korea's offshore oil exploration activities

Korea has vaulted into the ranks of the world 's top ten

in 1983.

nations, in terms of industrial competitiveness. But despite the

At that time, foreign contractors primarily performed oil

extensive research efforts to develop alternative energy sources,

exploration and drilling work, with the assistance of Korean tech-

Korea remains about 50 percent dependent on petroleum for its

nicians who sought to acquire the related technology. In 1989,

energy needs. In order to support the scale of its industrial activi-

after an oil development team was created within the Korea

ty, Korea imports an average of 800 million barrels of crude oil

Institute of Geoscience and Mineral Resources [KIGAM). Korea

each year. Only four percent of this crude oil is secured with

commenced independent research initiatives. In 1996, KIGAM

Korean technology and capital; the remaining 96 percent must be

built a specialized 2,000-ton vessel for geophysical petroleum

purchased from various supplier countries. With the purchase

exploration, enabling Korea to rapidly expand its oil exploration

price of oil being more than double the production cost, if today"s

efforts and accumulate core technology.

high oil prices persist, buying oil will impose an increasingly

In addition, Korea developed technology in the areas of petroleum geology and oil/gas development and production in

heavy burden on the Korean economy.

One means of addressing this problem would be to inde-

1997, as a result of KNOC's experiences from its own projects

pendently develop oil fields at home and abroad . However, oil

and its participation in foreign exploration projects along the off-

exploration requires specialized technology and substantial

shore continental shelf. In 1998, the KNOC exploration team dis-

investment funds. Through the development of domestic petrole-

covered Korea's largest gas field at the Ulleung Basin in the East

um reserves, various countries have acquired relevant technolo-

Sea. This field, with reserves of an estimated 5 million tons of

gy, based on which they have been able to pursue the exploration

LNG, was designated Donghae-1 Gas Field in 2000. Production

of oil reserves abroad . However, with so little opportunity to accu-

facilities were installed in October 2004, which enabled Korea to

mulate and develop oil technology due to a relative lack of petro-

produce natural gas and super-light crude oil, entirely with

leum resources, Korea's oil-field development technology has lagged well behind that of its other industries.

Oil-producing Country Korea¡s interest in offshore petroleum exploration and development dates back to the early 1960s. As industrialization rapidly advanced, there was much anxiety about satisfying the economy"s seemingly insatiable

domestic technology and capital.

Recently, countries around the world have shown growing interest in gas hydrate as a valuable energy resource. With the discovery of gas hydrate reserves in the East Sea, Korea is stepping up its research on the commercialization of this potential source of environment-friendly energy.

appetite for crude oil. In 1970, the government made preparations to explore the offshore continental shelf

Korea has thus attained technological independence in all phases of petroleum development, from oil exploration to production. Development of the Dqnghae-1 Gas Field is particularly significant since several leading foreign firms failed to discover gas resources along Korea¡s continental shelf; but Korea did succeed in finding economically viable reserves with its own technology, thereby becoming the 95th country in the

world to produce crude oil.

by delineating seven sectors and identifying mining areas. In 1972, a foreign enterprise launched Korea's first offshore oil exploration project.

Environment-friendly Energy Recently, there has been growing domestic interest in this

In response to the oil shocks of the 1970s, petroleum explo-

new energy source because of the tremendous potential for the

ration efforts were accelerated, which included establishment of

gas hydrate reserves lying below the Ulleung Basin. A compound

the Ministry of Energy and Resources in 1978, and the Korea

of natural gas and water in a solid state of ice, gas hydrate is a

National Oil Corporation [KNOC) in 1979. An assessment of petro-

new type of natural gas that is formed under high-pressure and

leum resources was undertaken at a joint Korea-Japan develop-

low-temperature conditions. As compared to petroleum, gas

ment zone along the continental shelf, while the KNOC came to

hydrate produces lower carbon-dioxide emissions and is there-

26 Koreana I Summer 2006

The Donghae-1 gas field is especially significant because it means that Korea has succeeded in developing economically viable gas reserves along the Korean continental shelf with its own capital and technology. even tho ugh a number of leading foreign firms have tried and failed .

fore more environment-friendly. As such, it is being touted as the new energy resource of the 21st century.

With Korea being the only divided nation in the world , the development of gas hydrate reserves in Korean territory takes

Advanced countries, such as Canada, Japan, and the United

on added significance. In particular, the South 's accumulated

States, which have already discovered gas hydrate reserves, on

technology can be utilized in future joint efforts to de~elop ener-

land and offshore, are now conducting research on its commer-

gy resources in North Korean waters, as a substantive form of

cial feasibility. Korea began a general search for gas hydrate in

inter-Korean economic cooperation, which will help to acceler-

its territorial waters in 1996, and then in 2001 launched an

ate the unification process. This specialized technology can also

exploratory project at Mine 6-1 of the East Sea continental shelf.

be used for the promotion of new energy-resource projects

As a result, significant gas hydrate reserves have been detected

abroad, such as the development of gas fields in the Sea of

at the Ulleung Basin, at a depth of 1,000 meters.

Okhotsk and exploration of the offshore waters of Russia's

In 2005, the government established the Gas Hydrate R&D

Kamchatka peninsula.

Organization . Based on coordinated exploration and ocean-floor

Korea is currently participating in 57 oil and gas develop-

drilling of potential areas, this institute is surveying the state and

ment projects in 24 countries. But this is only the beginning.

volume of natural resources, in accordance with national R&D

Efforts must be continued so that Korea can achieve true energy

efforts aimed at attaining core technology for commercial applica-

independence, which means that more than 50 percent of its

tions. If successful, this endeavor will be of substantial benefit for

crude-oil need should be satisfied by self-developed crude oil.

Korea, making it one of only a handful of nations with gas hydrate

The dream of becoming an oil-producing country, which is being

production expertise. Moreover, if the Ulleung reserves can yield

realized offshore, when fulfilled, will do much to bring us closer

significant volumes of natural gas, this will enable Korea to take a

to unification of the Korean peninsula and provide another takeoff

huge step forward in attaining energy self-sufficiency.

for Korea. 1..11 Summe r 2006 I Koreana

27

The Vibrant Sea and Its Coastal Residents At one moment, the sea can be as comforting and reassuring as a mother's open arms, and in the next instance turn cruel and unforgiving. For those whose livelihood is intertwined with the sea, like Korea's fishermen, it is necessary to adopt a lifestyle based on tenacity and resiliency in order to survive its tempestuous nature.

Nam Sung-suk Chief Editor, Kwangju Daily News Photography: Kwon Tae-kyun, Ahn Hong-beam

T

he seas surrounding the Korean peninsula to the south, east, and west each have distinctive characteristics. Hence,

the everyday life and livelihood of the fishermen on each coast are somewhat different as well. On the east coast, where the roads are generally in better condition, their life is simple and monotonous. On the other hand, the rugged coastlines, rocky roads, and expansive tidal flats, which characterize the western and southern coasts, are reflected in the endless ups and downs of local residents.

Seaside Culture Anyone who builds a house and lives by the sea must be willing to experience life's ups and downs. The currents are relentless and the threat of a tidal wave ever present, but at any moment the sea can change, offering hope instead of despair.

The image of the sea that we maintain in our hearts is not of a fearsome threat but of a gentle and generous life-source that nurtures life and dreams. For city and highland residents, the sea is always beautiful, romantic, and heart-rending . But for those whose livelihood depends on the sea, it is necessary for them to adopt a lifestyle based on tenacity and resiliency.

The traditional ways of life of Korea's fishermen are reflected in their religion, customs, and recreation, which can still be seen today in fishing villages . The culture of fishing villages reveals what Korean fishermen have strived for, how they have lived, and their attitude toward life. A good example is the fishermen's rite to the god of the sea that has been developed into a unique cultural practice, which has been influenced by geographical conditions and regional customs.

Every fishing village conducts a Byeolsingut (village shaman rite]. during which residents pray for a plentiful catch as well as the peace and well-being of the village community . In a Byeolsingut ('gut" is a suffix that denotes a shaman rite]. the shaman appeals to the dragon god of the sea , in addition to the mountain god, village tutelary god, and minor spirits, to whom the villagers present various offerings.

For coastal residents, the sea makes its presence known as an enduring life force.

2 Gentle waters off the southern coast are suitable for the cultivation of laver [seaweed] and oysters.

3, 4 Anchovy and pollack are naturally dried in the sun and salt-laden air.

30 Koreana I Summ er 2006

r-

Among the village rites performed on the southern coast, Yongwanggut is a rite intended to appease and honor the dragon

dragon king tor calm seas and a bountiful catch of fish.

These fishing village rites reveal not only the Korean peo-

king, the god of the sea. For the Ttibaennori rite, villagers use

ple"s sentiments but also the uniqueness of their cultural sensi-

straw to make a boat, into which a human figure and bamboo

bilities. With the characteristics of certain regions and periods of

props are placed, and then set the boat adrift on the sea so that it

history deeply ingrained in these traditions, they also otter insight

might carry away any misfortune and bad luck of the village. In

into the Korean thought and outlook on lite. Shaman rites, rooted

the past, these rites were conducted to appease the dragon king,

in a primeval and indigenous culture, have now become cultural

who was thought to reign over the seas . In particular, an east

performances that are acclaimed by people around the world tor

coast village rite would feature a shaman with a rattle and tan

their richness and diversity.

who danced frenetically while spinning round and round; along the southern coast, a shaman calls upon and appeases the spirit of a dead fisherman and minor spirits, along with praying to the 32 Koreana I Summer 2006

At a Crossroads Korea¡s coastal lands, where tragedy and romance, and

Saemangeum Tideland Reclamation Project, one of the world's largest of its kind 140,100 hectares of reclaimed land]. has been under way for the last 15 years. The site work had long been delayed due to the legal challenges of environmental groups.

2 Tidal flats provide a fertile habitat for a diversity of marine life, including clams, along with serving as a natural filter that extracts pollutants from seawater.

3 Boryeong City, Chungcheongnam-do province, is known for its unique skin-care and grooming products made with mud gathered from nearby tidal flats.

Summer 2006 I Koreana

33

The women divers of Jejudo, haenyeo, are no doubt the most colorful and best-known of Korea's seaside residents. Though many are aged 60 and older, they will regularly dive on 15 days per month, weather conditions permitting. The extraordinary lung capacity of these divers enables them to dive to depths of 20 meters and remain underwater for about 2 minutes gathering shellfish, without the aid of any breathing apparatus.

34 Koreana I Summer 2006

pain and exhilaration all coexist, are going through the throes of

the hardiness of Korean women . The Jejudo haenyeo are the

modernization. This evolution is the center of a contentious

most well known for their extraordinary ability to remain out at

debate, as developers seeking to challenge the forces of nature

sea for five hours and longer. Pushing the limits of physical

clash head-on with activists who advocate preservation of the

endurance, they would continue diving even when getting so nau-

natural environment. The most controversial issue is the

seous from turbulent currents that motion-sickness medicine

destruction of tidal flats, an invaluable natural resource of Korea

provides no relief. Unlike growing tangerines or other land crops,

that warrants legal protection.

the ocean's bounty can be gathered and sold for cash on a daily

The tidal flats have always been indispensable as a fertile

basis.

habitat for a diversity of marine life and as a natural filter that

The lung capacity of a haenyeo is directly related to her

cleanses seawater. By filtering out pollutants brought in by the

income-generation: the longer she can remain underwater the

tidal currents, and contaminants carried by river waters, the tidal

more money she can earn. It takes 10-15 seconds to reach the

flats purify the ocean's waters, for which they are known as the

sea floor, more than 30 seconds to locate the targeted abalone

"kidneys of the earth ... The valuable benefits that tidal flats pro-

and top shell, and 20 seconds to pry them off the rocks and

vide are numerous, including serving as a habitat for a variety of

secure them in the mesh bags. As such, a diver's time underwa-

maritime species, purifying incoming and outgoing waters, main-

ter is limited to about one minute or so. Staying under water too

taining an ecological balance, stabilizing the weather, and being

long can mean respiratory complications and drowning.

utilized as a tourist attraction. Indeed, the role played by tidal flats

For their extraordinary lung capacity and aversion to risk, the Jejudo women divers are enigmatic indi-

is essential for our survival.

But from the latter half of the 1980s, various areas of tidal flats have been reclaimed for the sake of commercial development. While ignoring the fundamental value and function of the tidal flats, vast tracts of reclaimed land have been created.

However, without due precautions, this kind of large-scale development will invariably result in negative consequences. Above all,

Jejudo's women divers, who gather the ocean's bounty at depths of up to 20 meters, go about their demanding work without the aid of any mechanical breathing apparatus . This ability to dive into icy cold waters during the winter caught the eye of foreign medical researchers .

when river water flows into the sea without

viduals who are widely known in Korea and abroad. Their remarkable lung capacity enables them to dive to depths of 20 meters and remain underwater for about 2 minutes, without the aid of any breathing apparatus.

This ability to dive into icy cold waters during the winter caught the eye of foreign medical researchers. Indeed, in the 1960s, the U.S. State Department conducted studies on the women divers of Korea and Japan in an

being properly filtered, the pollutants pose a serious threat to the

effort to bolster the efficiency of its underwater projects and the

marine ecology and the livelihood of fishermen.

capability of its naval personnel.

Thus far, some 620 square kilometers of land have been

The Jejudo haenyeo are known to dive on 15 or so days per

reclaimed, an area about the size of Seoul city. The development

month. The frequency varies according to ocean and seasonal

of tidal flats, which began in the 1960s and 1970s and reached a

conditions, but from a physiological perspective it is truly aston-

peak in the 1980s, includes completion of the Sihwa Lake

ishing that they can dive on practically every other day. They can

Embankment Project in the 1990s. Due to these land reclamation

be seen gathering abalone just before giving birth and returning

projects, over the past ten years Korea's tidal flats have been

to the blue seas just three or four days after childbirth._This work

reduced by about 30-40 percent. But with the economic value of

ethic is not simply related to their physical capability but their

tidal flats being as much as 100 times greater than that of farm-

tenacious mindset as well, which enables them to accept the per-

land, and 40 times that of coastal areas, it is now more important

ils of the sea every time they plunge into its waters.

than ever to preserve the remaining tidal flats and promote coexistence between people and our natural environment.

Village rites, women divers, tidal flats, and stout-hearted fishermen are among the prominent characteristics of Korea's fishing villages. In these villages, people have experienced plea-

Tenacity and Resiliency Korea 's women divers, or haenyeo [literally "sea woman"].

sure and sorrow, for generation after generation, in their pursuit of coexistence with the indomitable and tumultuous sea. l.t

are no doubt the most colorful of the peninsula's seaside residents. The haenyeo, who will dive repeatedly into the ocean's perilous depths to support her family, is a representative example of

Summer 2006 I Koreana 35

FOCUS

Technology as Art The Legacy of Video Artist Pa¡k Nam June Paik Nam June, who passed away in January of this year, was a pioneer of video art and founding member of the Fluxus Group. It is thus timely to reflect upon the brilliance of Paik's artistic career, during which he sought to create wholly new forms of art through radical experimentation.

Lee Yongwoo New- media Art Cri tic Photography: Lee Yo ngwoo, Wolganmisool

36

Korea na I Summer 2006

Two Teachers, 1991. Paik Nam Jun e sought to express his appreciat ion for two of his teachers : Sin Jaedeok , his piano teacher in middle school , and John Cage, who pr ovided inspiration for the spiritual and conceptual foundation of his artist ic career.

T

he leading artists who gave shape to the world of con-

complexity of Paik Nam June's body of art and the multi-

temporary art in the mid-to-late 20th century are at

dimensional nature of his work . Nowadays, an artist who

or near their final act. These notable figures include Mario

moves freely across different genres of visual art, includ-

Merz, master of arte povera [a movement that uses every-

ing painting and sculpture, installation art, electronic tech-

day materials, such as earth, wood, metal, cement, and

nology art, and performance art, is known as an interdisci-

rags, to create images evocative of history, nature, and

plinary artist. Indeed, Paik Nam June was all of this, well

everyday life] ; Arman and Mimmo Rotella, artists of nou-

before this term entered the mainstream.

veau realisme [a "new realism" artistic movement centered on Parisian painters and sculptors]; Pierre Restany, nouveau rea/isme ¡s theoretical formulator; and Paik Nam June

cially when combining scientific technology with art works,

[1932-2006]. the father of video art and founding member of

forms rather than products of science or technology. As a

the Fluxus Group. What these ground-breaking artists all

consequence, the titles he chose for his works avoided the

Like most artists who have created new media, espePaik spent much time explaining why his works were art

have in common is that they began their careers during the

lack of humanity of machinery, while favoring literal and

1960s upsurge, which stands out so prominently in 20th-

whimsical expressions, to which audiences could easily relate. For example, when he laid out a large garden area in an exhibition hall and placed dozens of TV sets therein, he called it TV Plant. And when he removed the insides of a television set and filled it with plants rooted in earth, the work was titled

TV Plant.

What was significant was not so much the artistic originality of making a garden out of TV sets, but the philo-

The first work to bring fame to Paik Nam June, TV Buddha [19741. was enthus iastically accla imed at a 1968 exhibition, and subsequently modified and reworked in various~rmsduringthe 1970sand1980~

century art history, while the roots of their artistic creations

sophical statement that Paik sought to express toward the

lie in the aesthetics of the 1960s that encouraged innovative

television as a political medium . That is, he seemed to be

exploration and avant-garde experimentation.

suggesting that only when the commercial and political character of television is integrated into a natural setting,

An lnterdisiplinary Artist

like a garden , can its organic function emerge. In order to

Paik Nam June, who passed away on January 29 this

fulfill its innate function as a beneficial transmitter of infor-

year, was recognized for being at the forefront of develop-

mation, the TV needs to be placed within an organic envi-

ing a direct rapprochement between scientific technology

ronment. Only then can a path be opened up for redemption

and the artistic realm. In particular, he revealed how com-

of the TV medium . The deliberate act of removing the

plex and yet rewarding it could be to integrate technology

insides of a television set and then using the empty frame to

and art. The artistic achievements that he realized during

grow plants is intended to convey a similar message.

his lifetime are reflected in the wide range of epithets for

In line with this attitude, Paik sought to express a view

which he is known: founder of video art, philosopher of

that although technology itself was not necessarily of sub-

technology, composer, poet, information artist, and behav-

stantive relevance, when combined with elements of the

ioral artist. These diverse acknowledgements express the

natural world, it could be transformed into an organic art Summer 2006 I Koreana

37

Pa ik Nam June setti ng up his video insta llation work at the 1995 Ven ice Biennale. Pa ik played a ce ntral role in ex hibiting the works of Korean artists in a separate section for Ko rea.

form . Today's technology is unbelievable. But due to

Conversely, as a product of technology, the TV set is

its lifeless nature, it must be joined with real-life com-

brought into a fateful encounter with the Buddha who

ponents, through the hands of an artist, in order to

seems to offer a path to emancipation , along which its

become an organic work of art.

mechanical character can be discarded on the way to redemption . Also, by contemplating its own image on

Artistic Inspiration Meets Scientific Technology The work that first brought Paik Nam June to

the TV screen, the Buddha can be sa id to reveal an existential certainty.

prominence was TV Buddha, in which a TV set and a

Paik's video art is founded on a view of technolo-

statue of Buddha are placed, faci ng directly at each

gy as a matter not just of physical science but related

other. A video camera projects an image of the

to humanistic thought as well, as part of a humanitari-

Buddha statue on the TV screen . Technology-wise, it

an outlook that technology exists not just for the sake

is very elementary. But the unexpected effect of the

of itself but also for mankind . The reason that Paik

Buddha, a symbol of Eastern thought and meditation ,

became the founder of video art is rooted in his aes-

seeming to enjoy narcissistic contemplation of his

thetic sentiments, which originated from the use of

own image, captured on th e TV screen through video-

television as a medium even before he started work-

camera technology, is truly thought-provoking .

ing with video cameras.

38

Korea na I Summer 2006

His art began to distinguish itself with an approach that did not seek to extol the medium of power and commerce, which is commonly

The Tiger Lives featu res a wolgeum. a trad itional Ko rean inst r ument , and a Western -style cello.

The ce llo is a symbo li c t ribute to ce lli st Cha rl otte Moorman , who was known as Pa ik's alter ego .

associated with the television, but rather to undermine its standing as a popular idol. He gave artistic form to his determination to topple any and all authoritarian and oppressive systems, by stripping away their conceptual power bases built on deception. Of course, what he did was for the sake of art, first and foremost, and not to advance a political agenda. Nevertheless, the theoretical foundation of his artistic pursuits was inevitably social as well as radical.

Resistance to Power Structures

Paik's video art starts out from this kind of anti-authoritarian artistic stance. Accordingly, he insisted that the video camera was not so much a technological device as a brush for creating images, which could freely be used by anyone in any country. He believed that when technology could be used like an artist's brush, this would humanize technology so it could be applied for the true

matter. Paik searched constantly for contemporary

benefit of mankind. Without grasping this point, the art that

themes that would have widespread appeal among the

Paik has bequeathed to us cannot be properly appreciated.

general public. And in applying this approach to actual

Paik was born in Korea, but from the age of 18 he spent most of his time overseas, in Germany, the United

practice, few artists have been as successful as Paik Nam June.

Paik Nam June said that the role of an artist was to anticipate the future. He believed that when technology could be used like an artist's brush, this would humanize technology so it could be applied for the true benefit of mankind.

States, and Japan. As a

The TV and other technologies that Paik sought to

result, he was able to step

challenge now seem to rule over every aspect of our lives

outside the mindset of artists whose thoughts and actions

and have become integral to everyday life. We have thus

are constrained by their native language. This can help us

entered an age in which information technology has tran-

to understand why he adhered to a philosophy that was

scended its role as a means of communication, which Paik

more democratic in nature than nationalistic, and less

sought to highlight, along with becoming an end in itself.

concerned with being associated with a particular nation

But the need to critically question power structures, that

than with attaining independence through free expression

he doggedly insisted upon in his artistic endeavors, will

of his creative imagination. It would be a mistake to find

remain as a valuable and timeless lesson . 1.:.11

nationalism in his wide-ranging quest for Korean subject Summer 2006 I Koreana

39

INTERVIEW

K

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I

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D u k

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Boosting Korea's Image through SamulNori SamulNori !Kim Duk Soo¡s group), or samulnori, expresses the sounds of thunder, rain, clouds,

and the wind with four Korean percussion instruments: the kkwaenggwari !small gong), janggo !double-headed hourglass drum), buk Ibarrel drum!, and jing !Large gong].

At the forefront of samulnori is Kim Duk Soo, a traditional musician with an irrepressible passion who has helped to boost Korea's global image with his rousing performances the world over.

Hyun Kyung-chae Music Critic, Mem ber of the Arts Co uncil Korea

I

n a fairytale from my childhood, I remember that there

exhilarating sounds of his troupe. His vibrant perfor-

was a dokkaebi [a kind of goblin] who could make gold

mances have helped to heighten awareness of Korea and

and silver as well as other precious items appear out of

its culture among countless countries and peoples of the

thin air by simply tapping his mallet. Although not in the

international community. Indeed, it is impossible for any-

realm of fantasy, Kim Duk Soo, the master of Korean per-

one not to be aroused by the rhythmic clanging, clashing,

cussion music, often says that his life is similar to that of a

and thumping sounds of the four Samulnori instruments :

dokkaebi. Suddenly appearing here and there, like a bolt

the buk [barrel drum]. janggo [double-headed hourglass

of lightening, Kim has fervently performed with his drum

drum]. kkwaenggwari [small gong]. and jing [large gong].

[janggo] for audiences the world over, invariably receiving

In fact, the global media has dubbed Kim Duk Soo as "Mr.

enthusiastic applause at every venue.

Janggo," whose frenetic style of drum playing is helping to spread the dynamic spirit of Korea around the world .

Traditional Korean Rhythm Just like a dokkaebi who simply taps his mallet, Kim

Kim notes : "I play the janggo with the same kind of mindset that drives a 1DO-meter sprinter to seek to

Duk Soo , the maestro of traditional Korean percussion

improve his personal best time, if only by one thousandth

music, has thrilled audiences wherever he has per-

of a second." With some 4,000 performances in 60 coun-

formed . His zealous dedication to SamulNori enables him

tries, he can also be regarded as Korea's foremost cultur-

to establish an instant bond with anyone in earshot of the

al ambassador.

40 Koreana I Summe r 2006

SamulNori performances have been featured at the U.N., ASEM Summit, and numerous cultural festivals around the world. Invariably leaving a memorable impression on audiences worldwide, Samulnori has served as an effective vehicle to heighten awareness of Korea and its culture among the international community.

Kim Duk Sao, who stands at the forefront of the world

scene by storm, Kim Duk Soo¡s SamulNori troupe began

of SamulNori, the name for the harmonized sounds of

to perform in such disparate venues as the U.N ., ASEM

thunder, rain, clouds, and wind produced by the afore-

Summit, the Wailing Wall of Jerusalem, Central Park in

mentioned percussion instruments, is deservedly known

New York City, a munitions warehouse in Munich, Tokyo 's

as a world-class traditional artist. Encouraged by his

Shibuya district, and, most recently, Arbil, Iraq , where

father to play the janggo from a young age, Kim was rec-

Korea's Zaytun division is stationed. All of these perfor-

ognized as a child prodigy from early on. In 1978, he creat-

mances are undertaken in accordance with longstanding

ed a new genre of percussion music that has since come

Korean customs.

to be known as Samulnori which, though rooted in the tra-

"In February, our performance for the Zaytun division

ditional percussion music performed by commoners

was nothing out of the ordinary. We always conduct cer-

[pungmull at outdoor settings, was designed to be pre-

tain rituals before every performance . These include

sented at venues with a formal stage. This proved to be a

preparing a ritual table and lighting candles. The supreme

turning point in the history of Korean music, for which Kim

commander of the allied troops, and the commanders of

was selected by the Chosun /Ibo as one of the 50 most

the U.S., Japanese, and Australian troops each bowed

influential Koreans since Korea's liberation from

respectfully, while even the wife of the commander of the

Japanese colonial rule in 1945.

No other development has been quite as revolutionary as the emergence of Samulnori in 1978, a form of

Zaytun division came up on stage to participate in our ritual. It was not until we concluded this Korean-style ceremony did we commence our Samulnori performance."

music that featured four traditional percussion instruments used for nongak [peasant's music!. Samulnori res-

Worldwide Fan Clubs

urrected the traditional sense of musical rhythm that for

Kim Duk Soo's overseas performances are not limit-

long had been dormant within the Korean people. It also

ed to the onstage performances alone. In addition, they

helped to introduce a form of Korea's traditional music to

include the presentation of informational lectures on

the international community and pave the way for two-way

Samulnori, which have led to the formation of local

exchanges between Korean musicians and their foreign

samulnori groups all over the world . "Samulnorian"

counterparts.

clubs, of fans with a keen interest in samulnori music,

After having taken the domestic performing arts

42 Koreana I Summer 2006

have been formed wherever the troupe has made an

Kim Duk Sao has not only contributed to the introduction of traditional Korean music to the international community. but also paved the way for two-way exchanges between Korean musicians and their foreign counterparts.

2 Joint performance of SamulNori troupe and the Ansan Municipal Korean Orchestra at the Ansan Culture and Arts Center.

3 Samulnori, which features traditional Korean rhythms. is now regarded as a representative form of Korean music.

Summer 2006 I Koreana 43

appearance. This year, Kim Duk Soo's SamulNori troupe

"After having listened to that incredible SamulNori perfor-

conducted a SamulNori workshop in Berlin for ethnic

mance carried out by only four individuals, I realized that I

Koreans residing in Germany, from April 10-17. Moreover,

needed to learn more about Korean culture. I could see

they will soon be return ing to Germany to participate in

why audiences the world over are so captivated by their

the 2006 Germany FIFA World Cup festivities .

sound after only a few minutes have passed ."

"The manner in which we educate the world about

Samulnori, which today is a representative form of

our traditions is of the utmost importance. We thus plan to

Korean music, has been highly acclaimed by domestic as

establish a Korean cultural village in Germany that will be

well as international audiences . Nowadays, samulnori

responsible for hosting performances and festivals so that

troupes are regularly in vited to appear on TV, while

Korean culture can be regularly promoted. Of course, we

samulnori CDs enjoy widespread popularity. It is indeed

will perform Samulnori to help cheer on our national soc-

remarkable that samulnori has become such an integral

cer team at the World Cup matches, which are being

aspect of everyday life in Korea in a brief period of less

played in Germany's major cities. I think this might be the

than 30 years. Indeed, the majority of Korean elementary

most representative example of a Korean-style cheering

schools now maintain a samulnori group or club. There

culture."

are about 300 samulnori troupes that perform on a pro-

The Asia Society, a prominent organization that promotes Asian culture among the American public, has

fessional basis, along with another 2,000 or so amateur groups.

invited Kim Duk Soo路s SamulNori troupe to perform for U.S. audiences on five separate occasions, thus making a

Gl o b alization o f Samulnori

notable exception to its stated policy of not inviting the

Since its inception, Kim Duk Soo路s SamulNori troupe

same group more than once. Beate Gordon, the director

has actively pursued collaboration with artists from other

of performing arts at the Asia Society, once likened

genres . These collaborative efforts with artists of jazz,

SamulNori to a major event. At the heart of any music is

concerto, rock, pop, modern dance, and traditional Korean

its rhythm ; however, the dynamism of Kim Duk Soo 路s

music have helped to establish a globalized form of

SamulNori troupe is so frenzied that it does not lend itself

samulnori. The troupe has shared the stage with numer-

to measurement by a metronome.

ous Korean and foreign performers, presented countless

When asked about his most memorable concert abroad, Kim Duk Soo cites a performance at the

performances abroad, and produced CDs that have been sold in overseas markets.

Percussive Arts Society International Convention [PASIC-

As a musician, Kim Duk Soo maintains an open-

82] held on November 19, 1982. Morris Lang, one of the

mindedness that enables him to appreciate what different

members of the steering committee of PASIC, had the fol-

styles of music can contribute to the creation of his own

lowing to say about Kim Duk Soo路s SamulNori troupe :

musical sensibilities. These interactions, with all kinds of

1 Kkwaenggwari symbolizes the sound of thunder 2 Jing the wind 3 Buk the clouds 4 Janggo the rain

44

Koreana I Summe r 2006

music and musicians from East and West, have enabled Kim to acquire a highly diversified musical style. One of the most meaningful experiences for Kim and his troupe was getting to know the Red Sun jazz group. Red Sun is a multinational jazz group comprised of Wolfgang Puschnig [saxophone, clarinet, flute], Rick Iannacone [electric guitar]. Jamaaladeen Tacuma [base guitar]. and Linda Sharrock [vocals). The collaboration between Kim Duk Soo·s SamulNori troupe and Red Sun not only led to the development of a new genre of music, but has also included joint international performances and the production of three CDs entitled "Red Sun/SamulNori." " In the future, I would like to offer a comprehensive performing art that features not only quartet percussive music but can also integrate traditional performances, such as ta/chum masked dance, as well as marionette shows. I want to be one of the most cutting-edge musical groups of this era in order to showcase the cultural energy of our Korean nation that is overflowing with vibrancy."

Kim is also working on a new cultural program to bring Korea's traditional art forms to the stage. Next year will mark the 50th anniversary of Kim Duk Soo·s debut on the musical scene. To celebrate the occasion, Kim plans to publish a book about his 50-year career as an artist and to present numerous performances, including a largescale tour of Europe, the United States, and South America, where he has already performed extensively.

With such boundless passion for Samulnori, Kim's efforts to popularize the unique sounds of Korea 's musical culture are truly unprecedented . 1.1 Kim Duk Soo·s overseas appearances are not limited to the onstage performances alone, They include the presentation of informational lectures on samulnori, which have led to the formation of local samulnor, groups all over the world.

4

Summer 2006 I Ko reana 45

MIN HONG-GYU l(eeping Alive the Tradition of Royal Seals With Korea no longer being ruled by a Icing, the royal seals, which symbolized his authority, have long lost their official function. Nevertheless, the artisan Min Hong-gyu continues to preserve the esoteric craft of making royal seals based on traditional methods.

Choi Tac-won Freela nce Reporter Seo Hcun-kang Photographer

A

ny task, even a trivial matter, can become burden-

with jade, while those made with gold were known as

some due to constant repetition. But if this diligent

geumbo; however, in general, oksae is used to refer to

attention to detail is essential to carry on the tradition of

both types. The use of such seals can be traced back to

Korea¡s royal seals, a once revered symbol of the state, the

Emperor Qin Shi Huang (r. 247-210 B.C.l. After his reign,

consequent self-satisfaction makes such sacrifice well

emperors used jade seals, whereas feudal lords and rela-

worthwhile. For 40 years, the seal maker Min Hong-gyu (b.

tives of the emperor would use gold seals. So, when did

1954] has dedicated his professional career to re-creating

royal seals make their way into Korea?

the original forms of official state seals, oksae. But, in

In Korea, the earliest reference to oksae, which were

terms of our contemporary society, what might be the sig-

also called gugin, saebo, eobo, or daebo, is the mention of

nificance of these now antiquated artifacts?

a seal of King Ye in the "Dongyi" (Eastern Barbarian] sec-

Oksae: Symbol of the State

tury Chinese text Sanguo Zhi (Record of the Three

tion of the Weishu (History of Weil volume of the third-cenNowadays, handwritten signatures have in large part

Kingdoms!. From this, it appears that, from the time of

replaced traditional seals, but only a few decades ago,

Korea's Three Kingdoms period (1st century B.C.-A.D. 7th

seals were widely used to validate documents. In the past,

century]. state seals were used for the diplomatic docu-

there was an equivalent of the signature, sugyeol, but it

ments exchanged with China. Thereafter, from the Goryeo

was the seal that was used to symbolize royal authority

Dynasty (918-1392] th rough the Gaba Reforms of 1894

and to authenticate diplomatic missives and formal docu-

(when the Progressive Party rose to power and sought to

ments issued by the royal court. For a new king, the royal

modernize Korea's social systems]. the royal seals used

seal signified the legitimacy of his ascension to power. And

for diplomatic documents were received from the incum-

the fact that the royal seal was carried at the head of a

bent Chinese dynasty, along with other royal seals being

royal procession, to make known the king's authority, is

produced in Korea.

indicative of its symbolic value and significance.

Strictly speaking, oksae refers to royal seals made

The types of royal seal produced in Korea included simyeongjibo, used mainly for official declarations and forSummer 2006 I Korean a

47

}oseon Royal Seal 122x l 22mm , bron ze , re-cr eated in 2000. A symbol of the king' s authority, the roy al seal was used for a wide var iety of cer emonial and administra tive purposes .

mal orders from the king to his

"Even with high-tech equipment,

senior officials; yuseojibo, forcer-

it's not easy to make a flawless

ti f i ca tes that confirmed the appointment of officials to highr anking positions such as governor; gwageojibo, affixed to formal notices related to the gwageo civil service examination; and sosinjibo, for diplomatic documents, especially those related to Japan .

royal seal. Seals are like handmade Korean ceramics : only w hen you use the tradit ional techniques, like casting, will its true character come to life."

Min 's lifelong relationship with royal seals began w hen his grandfather, a calligrapher, took him to meet

All royal seals were procured and overseen by a spe-

Jeong Gi-ho [1899-1989], who would become his teacher

cial administrative office, Sangseowon. Under the Gaba

and mentor. At first, Min , who was still a middle-school

Reforms, Korea's age-old relationship of subservience to

student, was not all that enthused about maki'ng seals, but

China was terminated, along with the existing seals being

when he came to understand their significance, he soon

replaced with new ones, bearing the inscription "State Seal

developed a deep attachment. Seal making is not simply

of Great Joseon " or " Seal of the Great King of Great

about learning how to in scribe chara cters onto the fa ce of

Joseon ." In 1897, the establishment of the Great Han

a seal. It requires comprehensive knowledge of such areas

Empire, Korea's formal name from October 12, 1897 to

as Chinese literature and Oriental astrology, so as to pre-

August 29, 1910, led to the adoption of the "State Seal of

vent the inclusion of any inauspicious elements related to

Great Han ."

the user¡s astrological characteristics.

Artful Craftsmanship

plines related to seal ma ki ng w hile still a teenager, in

Min immersed him self in learning the diverse di sciIn line with their status as prominent symbols of the

accordance with the guidance of Jeong Gi-ho, who advised

state, royal seals have always been crafted with painstak-

him to concentrate on such study and to not get a job until

ing care, and as a result it is extremely difficult to produ ce

he reached the age of 40. Jeong might have been empha-

an authentic re-creation. According to Min Hong-gyu,

sizing the fundamental valu e of being dedicated to the tra-

48 Koreana I Summe r 2006

In the past, the royal seal was the centerpiece of palace culture. The making of royal seals is a composite craft that requires detailed knowledge of seven disciplines: calligraphy, sculpture, painting, seal engraving, metallurgy, ceramics, and casting.

Samjogo Natio nal Seal 112x l 45mm , silver, copper, tin , zinc, titanium , r e-cr ea ted in 2006.

Samj ogo was a mythical three-legged bird roo ted in ancient sun-worship practices of North east Asia.

dition, but he was likely also concerned

one-half of the 72 royal seals that were

that Min would encounter difficulty

used through the end of the Joseon

while making his way along this ardu-

Dynasty. He has also written a book to

ous path. His always considerate

explain the techniques of royal-seal

teacher Jeong bestowed upon Min the

making that he has inherited, due to

professional name of Sebul and left him a

his concern that without a successor,

document that stated he had transmitted his person-

the trad ition of seal making, which has survived for cen-

al expertise to Min alone. Interestingly, the Chinese char-

turies, would be forever lost. In fact, he laments: "'There

acters of the name Sebul can be interpreted as "'a man not

are too many aspects of royal-seal making that can 't be

of this world ."'

communicated in speech or writing. Things like the tem-

Min says he now understands what Jeong Gi-ho meant when he worried that Min might experience an early

perature of the cauldron can only be sensed and learned by years of experience."'

demise if he showed his skills too early. He still recalls the

In the course of his work, Min has suffered much from

irrepressible energy that emanated from Jeong ¡s works

overexposure to mercury, which has altered the shape of

when he first laid eyes on them as a teenager at Jeong's

his nose. Yet he remains steadfast in his dream of "becom-

house in Busan . He marvels at the artistic heights that

ing an artisan who finds a way to appeal to a wider audi-

Jeong had attained: "' He didn't flaunt his technique, yet his

ence by adopting a modern sensibility without being preoc-

works overflowed with technique, with so much power and

cupied with showing off technique ."' In the future, he

energy."' As such, Min is always mindful of the fact that:

intends to diversify his subject matter and adapt his work

"You can't achieve anything by mere technique or pride."'

to international tastes, while continuing to re-create royal seals based on traditional techniques. When I visited his

Arduous Path of a True Artisan Min Hong -gyu has re-created historic seals, such as

studio to interview him, Min was busily preparing for exhibitions in Jeonju and Seoul.

@I

Joseongugwangjiin and Myeongdeokjibo, and more than Su mmer 2006 I Koreana 51

MASTERPIECES

SASAJA SAMCHEUNG SEOl(TAP Symbol of Enlightenment The stone pagoda of Hwaeomsa Temple is supported by four sculpted lions, which surround a statue of a monk. You can also see a sculpture of a kneeling figure ensconced in the stone lantern standing in front of this three-story stone pagoda, a prominent symbol of the realm of Buddhism.

Shin Yong-chul Chief Curator, Tongdosa Museum Seo Heun-kang Photographer

A

quick way to learn about a Korean temple is to

pagoda. According to temple lore, the stone lantern fig-

understand the meaning of its name. As suggested

urine represents Yeongijosa , the founder of Hwaeomsa

by its name, Hwaeomsa Temple is related to

Temple, while the figure found within the pagoda is his

Hwaeomgyeong [Huayanjing Avatamsaka Sutral. which is

mother. Yeongijosa, who was known to be a devoted son, is

regarded as one of the most influential texts of Korean

portrayed conducting a memorial service in honor of his

Buddhism, in terms of its vivid depiction of the magnificent

mother, with a tea offering . The name of this site, hyodae

world of the Buddha.

[filial mound]. was derived from this account.

Structural Elegance

Universal Oneness

The Hwaeomsa Temple stone pagoda features a

In general, a particular historical era can be charac-

unique structural elegance. Moreover, it is situated on a

terized by a predominant ideology. In Korea, Hwaeom

mound, away from the main hall, rather than in a central

[Huayan, or Flower Garland, Avatamsaka]. or Mahayana

area of the temple grounds, another distinctive character-

Buddhist philosophy, was recognized as the prevailing ide-

istic. The three-story body, topped with a stone roof, is

ology from the eighth century. Among China, Japan, and

positioned above a two-level pedestal. Three heavenly

Korea, which are widely perceived as belonging to a simi-

maidens, shown dancing, playing musical instruments, or

lar cultural sphere, only Korea developed an interest in the

holding flowers, are engraved in detail on each face of the

Hwaeom belief. In addition, from the eig.hth century,

lower level of the pedestal. In addition, a statue of a monk

Unified Silla [668-935] boasted a more advanced under-

sitting on a lotus blossom is at the center of the lower

standing of the Hwaeom philosophy than China, along with

pedestal, surrounded by four lions. However, because the

having the requisite artistic skills to express it in sublime

statue of the monk does not extend all the way to the upper

art forms.

level of the pedestal, it is the four lions that support the

The Hwaeomgyeong is a Buddhist text that contains

pagoda body. The first level of the pagoda's three stories

the teachings of Prince Siddhartha, after he reached a

features images of a door in the middle, the divinity

state of enlightenment. Upon attaining enlightenment,

Vajrapani on the western side, the Four Guardian Kings on

Prince Siddhartha became the Vairocana Buddha.

the southern and northern faces, and the deities Indra and

However, Buddha did not present sermons on how he had

Brahma on the eastern side.

managed to achieve enlightenment to the masses, who

Even more distinctive is the stone lantern for memori-

yearned to follow in his footsteps . Rather, he preached that

al services located in front of the pagoda. This stone

the truth could not be adequately explained by words

lantern is positioned atop a figurine kneeling toward the

alone, and that enlightenment could only be realized by

52 Koreana I Summe r 2006

This stone pagoda brings to life the world of Mahayana Buddhism, through which it is possible for all living things to achieve enlightenment. Therefore, those who visit Hwaeomsa Temple can be said to have taken an initial step into the enlightened world of the Buddha.

achieving a perfect state of spiritual concentration [sam -

mae, samadhil. As a result, rather than the Vairocana Buddha, it was the Samantabhadra, who had attained enlightenment through sammae, who presented teachings on Yeongi Sasang [PratTtyasamutpada, the principle of interdependency). or the universal oneness of all things.

Sammae refers to the state of one's spiritual concen tration. According to the Gandavyuha section of Hwaeomgyeong, an enlightened state can only be achieved through sajabinsin sammae. Sajabinsin sammae is the Korean rendering of the Sanskrit phrase simha-vijrmbhitahita-samadhi . In this regard, simha means a lion,

vijrmbhitahita, an expression of dignity achieved by opening one 's mouth, and samadhi refers to sammae. As such, the intrepidness of a lion is compared to reaching a state of sammae. One can only properly view the world of Buddha when in a state of sammae, since enlightenm ent cannot be explained or learned through words and forms alone .

Enlightenment can thus only be attained through a disciplined regimen of training and meditation.

In Gandavyuha Sutra, a lion is a reference to the place where the Buddha resides, while the concerted effort needed to achieve a sammae state is compared to the intrepidness of a lion. By positioning the four lions on the corners of the pedestal to support the body of the pagoda, this form serves as a symbol of the Buddha who has attained a state of sajabinsin sammae. Since the preaching of the truth emanates from the body of Buddha, the pagoda thus symbolizes the teachings of Buddha. Accordingly, the extraordinary Hwaeomgyeong has its origins in this stone

1 The statue of a monk found within the stone pagoda, surrounded by four lions, is said to be one of the 53 Kalyamitra whom Seonjaedongja sought out.

2 A stone lantern in front of the pagoda is positioned above a kneeling figure, which is regarded as Seonjaedongja.

pagoda supported by four sculpted-lion pillars. Indeed, this

sajabinsin sammae serves to transform the human world

creative notion is unique to the Buddhism of Korea. The

into a Hwaeom world. Because of this, the pagoda has

exquisite craftsmanship and artistic spirit that went into

been placed on a site from which the entire temple can be

the creation of this pagoda are exceptional as well.

viewed. Boju refers to the light of hope for the human world . As a result, Hwaeomsa Temple becomes the main

Path to Enlightenment The pagoda of Hwaeomsa Temple gives life to the

stage of the Gandavyuha, where all Buddhas, bodhisattvas, disciples, and followers can coexist with each other.

Hwaeom world, as described in the Gandavyuha of

The instance that the human Siddhartha became the

Hwaeomgyeong. The Gandavyuha recounts the story of a

Vairocana Buddha, he attained a state of enlightenment

seeker of the truth named Seonjaedongja [Sudhanal to

that could never be destroyed because of its absence of

explain how a vow of enlightenment is initiated, how this vow is confirmed, and how a enlightened state is realized.

physical form. This is also regarded as a state that all

The section of the depicting how Seonjaedongja met 53

of light that shines everywhere, like the sun, this light can

Kalyamitra to listen to the principles of Buddhism and

be thought of as a reference to the onset and the conclu-

eventually entered the enlightened world provides an

sion of the Hwaeom world. The spreading of this light so

opportunity to broaden understanding of a Hwaeom world

that the masses can see their way and enter the world of

that is often difficult for many to comprehend. Based on an

Buddha represents the ultimate goal of Mahayana

understanding of the Hwaeom world, the monk of the

Buddhism. To achieve an enlightened state, Buddha advo-

human beings can achieve. With Vairocana being a symbol

pagoda can be regarded as one of the 53 Kalyamitra whom

cated the attainment of sajabinsin sammae. As the light of

Seonjaedongja sought out. The stone lantern 's kneeling

sajabinsin sammae represents the teachings of Buddha as

figure can thus be regarded as Seonjaedongja . In this way,

well as the Hwaeom world, anyone who enters Hwaeomsa

the pagoda embodies the fundamental principles of the

Temple can be said to have taken an initial step into the

Gandavyuha, in particular regard to the belief that enlight-

enlightened world of the Buddha. 1.1

enment can only be achieved through one's convictions, meditation, and self-discipline.

The symbolism of the stone pagoda is expressed by its location as well. The pagoda, which is not situated in front of a Buddhist hall, sits atop a mound from where all of Hwaeomsa Temple can be observed. In the Gandavyuha, Buddha is portrayed spreading the light of hope, while

Correction The Portrait of King Taejo, featured in this column in the Spring 2006 issue, was incorrectly referred to as a portrait painted in 1872. It is actually a re-creation, produced in 1999, of the 1872 portrait.

Summer 2006 I Koreana 55

ART REVIEW

Daegu International Musical Festival The Daegu International Musical Festival concluded its two-month run on March 31, 2006. The impressive turnout for this year's event is evidence of the public's fast-growing interest in and expectations for musicals, which has recently emerged as one of the newest sectors of Korea 's culture and arts industry.

Kim Moon-hwan Professor of Aesthetics, Seoul National University, Drama Critic Photography: Executive Office of the Daegu Musical Festival

D

aegu, long known as Korea 's city of fashion, has declared itself to be a "science and technology center" as well as a "center for culture and arts." To this end, in 2006, the city has moved forward with the designation of "special theater zones," in an effort to develop Daegu into a theate r center. Through private-sector participation, the city has secured a 115,000-square-meter land parcel, on which it plans to build a cutting-edge theater complex for musicals, which will include three musical theaters, a mus ical training center, and prop production facility, by 2012. Mo reover, plans call for this complex to be linked with large-scale theater facilities, such as the Daegu Opera House, Daegu Civic Center, and the theaters of Daegu ¡s regional universities, to maximize the opportunities for Daegu audiences to enjoy popular foreign and domestic performances year round.

Center of Culture and Arts

Behind this ambitious vision is the hugely successful staging of the musical Mamma Mia! in 2004. While such provincial shows were rarely presented for more than ten days, Mamma Mia! enjoyed a run of over two months, making it an unprecedented success. Indeed, it attracted some 64,000 theatergoers to its 57 performances, a record for a provincial staging. It also set a record for selling the 56 Koreana I Summe r 2006

most tickets for a domestic performance over a six-week period. In addition, Daegu was the only other city beside Seoul to present Chicago [London cast and crew) in 2002, along with selling over 85 pe rcent of the seating capacity over the course of eight performances. In 2003, Cats drew a total audience of 38,000 to its 31 performances, including encore performances, far exceeding the audience numbers in other regions. For the Broadway cast production of Cabaret in 2004, a higher percentage of seats were sold in Daegu than in Seoul.

The residents of Daegu have rapidly acquired an interest in not only musicals, but other types of theater performances as well, such as stage plays. According to the online ticket sales site, Ticketlink, the number of theater performances staged in Daegu increased from 124 in 2003 to 314 in 2005, while ticket sales more than tripled , from 1.97 billion won to 6.69 billion won [about $6.6 million). over the same time period. At Daegu ¡s representative theater venue, the Daegu Opera House, the share of musical performances surged to 67.1 percent in 2005, from 13.9 percent in the previous year.

These notable results are related to the fact that a large percentage of the theater audiences in Daegu come from areas outside of the city. For example, 45 percent of the Mamma Mia! aud ience resided in neighboring regions.

(

Daegu maintains six large-size theaters, each with seating

a variety of music, such as rock, tango, ballad, and gospel.

of over 1,000, and is the only city, outside of Seoul, with a

Also, Hong Kong's star singer-actor, Karen Mok, who is

consumer base that does not seem to be deterred by high

serving as goodwill ambassador for the Asian tour of Rent,

ticket prices, in addition to having a number of businesses

was on hand to meet fans from Daegu. Jekyll & Hyde,

who are willing to provide corporate sponsorship in return

which was also presented in Daegu in 2004, offered those

for VIP tickets.

who missed the previous performance a chance to appre-

Of note, as pointed out by the festival's joint representative, Seol Do-yun, over 60 percent of the production costs

ciate the talents of Jo Seungu, one of Korea 's most outstanding actors, in the role of Jekyll.

of the theater industry involve manpower costs, making it

The Producers, an American work that recounts the

an effective job-creator. The city of Daegu considered this

goings-on of two musical producers, continues to set new

kind of economic impact when it decided to organize this

Broadway records. It has been recognized as the most

year¡s Daegu International Musical Festival, and to further

popular show in Broadway history, as evid enced by its

commit to its staging on an annual basis hereafter. The

receipt of 12 Tony Awards in 2001, the most-ever for a

ultimate goal is to develop this festival into an event com-

musical work. Thanks to its huge popularity and refined

parable to the level of the Pusan International Film Festival

artistry, its staging was greatly anticipated by Korean the-

and distinguish Daegu as "Asia 's center of musicals. "

ater-goers. The staging of this kind of world-class musical

Daegu International Musical Festival

crew, required a large-scale production budget, amount-

in Korea, which included the original Broadway cast and Held from February 2 to March 31, 2006, the Daegu

ing to some 10 billion won [about $10 million).

International Musical Festival, with the Daegu Opera

Family-oriented shows, such as The Nutcracker, CA TS

House as its primary venue, staged productions of Rent,

Forever, Fan Yang's Bubble Show, and Bundegi [Chrysalis)

Jekyll & Hyde, and The Producers. The foreign production

were also performed. Bundegi was undertaken as a joint

of Rent featured the original Br oadway cast. As a modern

performance by the Daegu professional performing arts

adaptation of Puccini's opera La Boheme, this work strives

groups of the local drama association , music association,

to portray the face of American youth in the 1990s, through

and dance association, thereby helping to enhance the per-

58 Koreana I Summer 2006

forming arts capability of Daegu and to display the potential

production 's promoter, Seol & Company, predicted that

for promoting the performing arts industry. With a profes-

the show would easily attain a 70-percent level of seats

sionalism that set it apart from other musicals that have

sold by the final performance on March 31. This stands in

been produced in Daegu, this work offered musical enter-

stark contrast to the outcome in Daejeon, prior to the

tainment as well as poignancy in depicting the frustration,

Daegu presentations, where only 50 percent of seating

struggle, and resolute will of disabled persons, who are in

capacity was achieved. Moreover, Daegu maintains a

large part shunned by society. Its receipt of the Korea

greater number of musical-related university depart-

Musical Award is indeed well-deserved.

The festival's stage performances were supplemented by a variety of events, including musical seminars and

ments, thereby brightening its future potential as a region capable of nurturing the manpower resources that are needed for the musical industry's sustained development.

workshops, screening of musical films, an exhibition of musical-related materials, an informational lecture on

Burgeoning Musical Market

musicals, and various opportunities for the public to meet

Theater culture thrives best in megalopolis cities,

with popular musical performers. At the closing ceremony

such as New York and London. New York's Broadway and

there was an awards presentation that was attended by

London 's West End attract hordes of tourists to their the-

Korea's representative actors and professionals of the

ater districts, which generate billions of dollars of annual

musical industry.

sales. At the same time, other nations in Europe, which

In terms of audience interest, the fourth performance

have not been known for having a notable tradition in the-

of The Producers, on the evening of March 15, drew the

ater, are now developing a keen interest. Nowadays, the

largest turnout, with 1,400 of the 1,500 seats being occu-

far-reaching impact of the musical industry is well recog-

pied. This kind of avid fan support confirms a saying often

nized. For example, some 100 million theatergoers have

heard in the theater business that: "Daegu is the hope of

viewed The Phantom of the Opera, contributing to $5 bil-

our theater industry." Eight of the performances of The

lion in ticket sales. In addition, its British producers, RUG,

Producers were sold out in advance. With an average of 65

have further boosted their profits through a horizontal

percent of available seating being sold as of March 15, the

diversification process, which includes the operation of six Summer 2006 I Koreana 59

Culture is capable of exerting far-reaching influence through its diversity. Although it might not yet be fully up to speed, the Daegu International Musical Festival was a meaningful undertaking that demonstrated the potential for regional culture to be melded with global cultural trends.

subsidiaries, such as a theater company, recording enter-

have been a few grand Korean works, such as The Last

prise, and film company, along w ith the marketing of

Empress, but the majority of performances are imported,

licensed products and souvenirs at performance venues.

Korea's theater market, which was valued at about 80 billion won ($80 million] in 2001, enjoyed a boom when The Phantom of the Opera attracted an audience of some

due to the relative lack of competitiveness of Korean-produced musicals. New Korean musicals are criticized for being cumbersome and tedious or trite and unpolished.

Fortunately, CJ Entertainment and the LG Arts

240,000. It is only a matter of time before the number of

Center, along with Kyyk Musicals, have conducted a sec-

musical theate r goers surpasses the 1-million mark in

ond "Musical Showcase" in Korea . Showcases provide a

2006, which is expected to boost the theater industry's

forum for presenting prospective works in an effort to

market scale to about 200 billion won next year. Thanks to

attract the investment backing needed for producing and

this phenomenal growth, the musical market is fast

staging actual performances. Similarly, for a high-profile

emerging as another viable entertainment industry, along-

show such as The Phantom of the Opera, which involves

side the Korean movie industry. In the case of a large-

such substantial production costs , this kind of event is held

scale production, about 200 people participate directly in

to assess the interest of investors and the project's finan-

the show, including performers, musicians, producers,

cial feasibility.

technicians, coordinators, and marketing personnel. When

The first "Musical Showcase 2005 " was held under

you include the outsourced work as well, there could well

the theme: "Let's Invest in Musicals. " Following a screen-

be as many as 1,000 individuals working together over a

ing of 24 applicant performing groups, 5 finalists were

period of several months, making the musical industry a

selected . These 5 groups each performed 20 minutes of

significant source of employment.

highlights from their works for members of the performing industry and academics, as well as producers and

Existing Problem Areas

potential investors. Works with strong consumer appeal

The domestic musical market may have grown by

then have a chance to proceed into commercial production

leaps and bounds in recent years; however, theater is still

with the backing of investors. Recently, a number of new

not recognized as a legitimate cultural industry. There

musicals with market potential have been developed for

60 Korea na I Summer 2006

smaller stages, due in part to the influences of these showcase endeavors.

However, long-run performances are especially vital to the musical genre, so it is indeed a problem that Seoul does not maintain even a single large theater dedicated to musicals. Since the successful showing of Mamma Mia! last year, the Seoul Arts Center Opera Theater has agreed to accommodate three-month-long runs of shows, thereby offering an attractive alternative to the problem of finding suitable musical venues. In addition, it takes two to three years for a production company to plan and produce a major show, but most theaters accept applications for rental only one year in advance, so shows are often hastily brought to the stage in order to fit into the rental schedules mandated by theater officials. Accordingly, it is necessary for the rental system to include greater flexibility so that productions can be properly prepared for a more professional staging .

Although Korea 's theater industry is still itself a work in progress, it is moving in the right direction. The Uijeongbu Arts Center also stages a successful musical festival on an annual basis . And wh ile Daegu¡s festival might not yet have reached full speed, in terms of scale and ambition, it has shown the potential to contribute much to the further development of musicals in Korea. t..t Summer 2006 I Ko reana 61

DISCOVERING KOREA

Traditional Locks Rely on Ingenuity to Thwart Thievery They may be thought of as antiques when compared to today's high-tech security systems, but traditional locks relied on ingenuity to thwart potential thieves. In fact, the secrets of a traditional lock can be so tricky that it is no easy matter to open one even with the application of modern technology.

Chong Tong-chan Chief Curator, Science and Technology History Exhibits, National Science Museum of Korea Seo Heun-kang Photographer

A

lock is a device that can only be opened with its key.

saucer-like locks, animal-shaped locks, and built-in locks.

Traditional locks were used on various items of furni-

The materials used for making locks changed with the

ture, such as a wardrobe, rice chest, or storage box, for the

times as well. Ancient locks, such as those from the Baekje

safekeeping of valuables. Korean locks boast a lengthy his-

Kingdom (18 B.C-A.D. 660] excavated at Busosanseong

tory stretching back to the Three Kingdoms period (1st

Fortress in Buyeo, were typically made of steel. Thereafter,

Century B.C.-7th Century A.DJ Nowadays, advanced lock-

up until the late Joseon Dynasty (1392-191 OJ, locks were

ing devices incorporate cutting-edge technology, like fin-

mainly made of brass (an alloy of copper and zinc]. but near

gerprint recognition, voice recognit ion, and body-heat

the end of the Joseon period, locks of cupronickel (an alloy

detection, which have only been developed quite recently.

of copper and nickel] also emerged. Because of their need

On the other hand, a traditional lock was painstakingly con-

to be "break-proof" to assure security, alloys with high

structed to function not only as a security device but also as

durability were developed continuously. Brass and cupron-

a decorative accessory of a handcrafted furniture piece.

ickel are comparable to modern-day alloys in terms of their exceptional durability and workab ility.

Integration of Form and Function

Traditional locks consist of three components : case,

The Korean word for lock, jamulsoe, combines the

carriage, and key. The case is the body of the lock, with the

verb jamul, to lock, with the noun soe, metal. Thus, jamul-

carriage being the moving part that secures the object to

soe emphasizes the function of a metal lock, with connota-

be locked. The case and carriage combine to perform the

tions of securing, preserving, and safeguarding. Locks

locking function. Attached to a bar within the carriage is a

have evolved continuously, taking on a variety of forms,

resilient V-shaped spring that secures the lock w hen the

structures, and materials in response to changes in usage

carriage is inserted into the case. The spring attached to

overtime.

the bar enables the key to be engaged within the case

For example, as furniture items, such as wardrobes

when inserted through the keyhole. It is designed so that

and rice chests, developed in form and function based on

only when the key is a match for the size and shape of the

new designs, more suitable locks were devised according-

spring can the lock be opened.

ly. Different kinds of locks were produced with myriad

Above all, the V- spring must be highly resilient. In

shapes and decorations, including C-shaped locks,

fact, the spring must be as resilient as a diving board so

62 Ko reana I Summer 2006

that it can retain its original shape after being repeatedly

In an experiment, a variety of traditional locks were

locked and unlocked with the key . For this, a strip of

handed out to 100 test subjects. The participants received

cupronickel must be hammered repeatedly so as to opti-

both the lock and the key. With a three-step lock, 50 partic-

mize its density, durability, and resilience. Moreover, a

ipants succeeded in opening the lock, taking an average of

specially designed strip is attached to the bottom of the

five minutes. But with a six-step lock, only 10 participants

spring, with a slight depression at its center, which func-

were able to unlock it, and they needed an average of 20

tions like a modern-day leaf spring . This strip adds to the

minutes. An eight-step lock could be opened by only one

durability of the V-spring and helps to maintain its proper

participant. This means that a complex traditional lock can

alignment.

be more secure than a modern lock, which can be opened by anyone with a duplicate key.

Tricky as a Complex Maze

The making of a traditional lock is the product of arti-

Among the varieties of traditional locks, there are

sans, tools, equipment, materials, and metalworking tech-

basic locks, in the shape of a straight line that can be

niques. The construction method involves either a casting

opened in a single step, but other locks are designed with

or sheet metalwork process. Casting requires a woodwork

considerable technical ingenuity, which like a maze can

master who creates a wood form and sand mould, into

only be opened by performing a series of operations in a

which molten metal ore is poured . Generally, a casting

specified order. These locks can only be opened with an

process was used for making animal-shaped locks from

intricate process of pushing, turning, and pulling . Indeed,

steel or brass. A sheet metalwork process, under which

they are like a complex puzzle game played with lock and

metal sheets are shaped and attached together, was a typ-

key. The number of steps in the unlocking process can

ical method for basic locks.

range from two to eight. To open a basic lock, by inserting

A contemporary artisan dedicated to the making of

a key into the keyhole, little intuition is needed; but when

traditiona l locks, Pak Munyeol [b. 1950) has been designat-

the keyhole is concealed and must first be identified, and

ed an Important Intangible Cultural Property for his tradi-

even when the key can be inserted and removed, this kind

tional metalcraft works. From the age of 15, Pak learned

of complicated lock can be opened only by applying

about furniture ha r dware [the decorative metal fi xtures

counter-intuitive spatial reasoning.

attached to wooden furniture) and metal handicrafts. He is

64 Koreana I Summer 2006

1, 2 Pak Munyeol, an artisan who is dedicated to the making of traditional locks, re-created a Joseon Dynasty eight-step lock in 2002, in consultation with the National Science Museum.

3 Method for opening an eight-step traditional lock: (1) Lower the button on the left-hand side of the case. (2) Partially pull the cartridge forward . (3) Adjust the button on the upper surface of the case. (4) Turn the rotating plate on the right-hand side so that the first keyhole appears. (5) Push the clamp on the bottom to the left for the second keyhole to appear. (6) Place the front of the key into the keyhole at a 45-degree angle. (7) Turn the key 90 degrees to the right so that the lock is horizontal. (8) Insert the key all the way in to release the cartridge and open the lock.

3

Components of an Eight-step Traditional Lock

Cartridge

Body (Case)

Summer 2006 I Koreana

65

Traditional locks are often like a maze, and can only be opened by performing a series of operations in a prescribed order. The intricate opening process, of pushing and pulling and turning, is a kind of puzzle game played with lock and key.

Exa mples of Pak M un yeol's handcrafted locks. From the left: Dragon lock, fis h lock, and half-sphere lock.

a truly dedicated artisan of consummate skill in the mak-

It takes at least one week to make an elaborate lock.

ing and using of tools, design engraving, and soldering.

A lock may not have an especially impressive appearance,

Former colleagues, who had previously worked with him

but it is exceedingly complex to make, since the artisan's

have since moved on to commercial production of furniture

mental blueprint must be incorporated into the lock's

hardware using mechanical processes; however, for Pak,

inner workings, all within a form than can fit into the palm

his artisanal satisfaction can only be realized through the

of your hand. The craftsmanship is incredibly precise, often

crafting of handmade works based on traditional methods

with such an ingenious design that simply finding the key-

and materials.

hole can baffle an average person .

"Profit is important too, " concedes Pak, ¡¡but you

When you closely inspect a traditional lock, the tech-

have to learn the traditional techniques properly before

nical innovation and skilled craftsmanship of these long

making things. You have to be faithful to the basic princi-

ago lock-makers are readily apparent in the way that they

ples. It takes a lot of failures and hardships to produce a

devised unique locks for a variety of uses. Accordingly, it

real work of art." Over the years, Pak has developed the

can be easily understood that these artisans to¡ok much

utmost appreciation for the technical ingenuity of his pre-

pride in their craft, as evidenced by the artistic engraving of

decessors. As such, by selectively integrating contempo-

their name onto the carriage of the masterful works.

rary elements with time-honored craftsmanship, Pak has distinguished himself as a master locksmith of all time.

The scientific know-how of our ancestors remains relevant even today. If the skills and techniques of traditional lock making can be combined with modern technol-

Modernization of Tradition

ogy, this could lead to a new concept in lock design . In par-

Above all, lock making is a high-precision endeavor

ticular, the decorative nature of traditional locks could be

that calls for careful coordination of the manual and men-

adapted to modern locks for a more secure and attractive

tal processes, as even a tiny slip or lapse of concentration

merger of function and form . In fact, this is just one of

can result in a useless piece of scrap metal. Indeed, a

many ways in which traditional Korean elements can be

number of intricate procedures must be undertaken with

modernized for contemporary applications. i.t

painstaking care to handcraft raw metal into a masterful lock, bearing the secrets of more than a thousand years.

Summer 2006 I Koreana

67

eCha ared to a stage upon which huma it was not likely that a baduk com titor could attain the status of a master player before reachi

the age of 40 or so. But this was b ore Lee Chang-ho burst

onto the scene, a true prodigy w o turned the staid world of baduk o Park Chi-moon Baduk Reporter, JoongAng II

Choi Hang-young Photographer

Lee Chang-ho faced China's Luo Xihe in the finals of the Samsung Cup World Open Baduk Championship.

B

aduk, or go, the ancient board

fessional tournaments with huge

nine years old, he had already

game of the East, originated in

prize money at stake. In Korea, baduk

entered the professional ranks , and

China some 5,000 years ago. On a

was long regarded as little more than

could retain three entire baduk

game board with 19 vertical and 19

an enjoyable pastime for the gentry,

games in his memory; but Lee could

horizontal lines that form 361 inter-

while its level of competitive play

not accurately replay a baduk game

sections, black battles white in a con-

lagged well behind that of Japan.

that he had just completed. Never-

test of wits and guile. The possible

Koreans learned baduk from Japan

theless, it soon enough became clear

moves are practically infinite and the

and used Japanese baduk publica-

that Lee was a diamond in the rough,

strategy so abstruse that the game is

tions as their textbooks. But with the

and that beneath his apparent slowness lay a vast hidden potential.

often thought of as a kind of mystical

emergence of Lee Chang-ho, the

art. In chess, super-computers have

previous competitive ranking has

In 1986, Lee Chang-ho passed

already beaten the world's master

been suddenly reversed, with Korea

the test to compete as a professional.

players, but in baduk, no computer

now sitting atop the world of baduk.

By 1988, he had recorded an extraor-

can come close to beating a champi-

Lee Chang-ho was born in 1975,

dinary 75 wins and only 10 defeats, a

on-level player. As such, baduk is

the son of an affluent family in

winning rate of 88 percent, the best

known as "the world's most intellec-

Jeonju, Jeollabuk-do province. After

won-loss record for the year. In 1989,

tual game" in the Western sphere

learning baduk from his grandfather

his teacher Cho Hun-hyun won the

as a child, he became deeply ab-

World Championships in Singapore,

sorbed in the game, like the Alice of

which included $400,000 of prize

Baduk is played in 65 countries

story who had passed through a look-

money. That year, Lee won a small-

worldwide, with the continent of

ing glass into Wonderland . At that

scale professional competition in

Europe having the largest number of

time, the foremost baduk master in

Korea at the age of 14, which is not

baduk-playing countries at 30. But, of

Korea was Cho Hun-hyun. Known for

likely to be duplicated in the immedi-

course, baduk is played most actively

his masterful play in Japan as well,

ate future.

in three northeast Asian countries:

when Cho returned to Korea after

Diamond in the Rough

Korea, China, and Japan. In Japan, in

studying in Japan, he proceeded to

particular, since the days of its

effortlessly dominate the Korean

shogunate [1192-186 7l. the govern-

baduk scene.

Unbeatable Boy Wonder Lee Chang-ho's baduk play is especially slow moving. Baduk is a

ment authorities have continuously

At the age of nine, Lee Chang-ho

game modeled on warfare strategy,

promoted baduk and systematically

was accepted by Cho Hun-hyun as a

in which speed is a key factor.

trained champion players, whose

live-in student, so he moved in with

Movements should be swift and deci-

abilities have been further upgraded

the master. But at first, Cho was dis-

sive. But Lee was characterized by

since the 1940s, when major newspa-

appointed by Lee's seemingly slow

his slowness of speech, movement,

progress. By the time that Cho was

and the pace of his baduk play. Lee's

pers took the lead in sponsoring pro-

Summer 2006 I Koreana 69

The best winning record in a year 188 percent) at the age of 13; the longest consecutive winning streak 141-0) at 15; the youngest-ever world champion at 17; the most wins in a year 190) at 18-these are among the remarkable feats that are part of the growing legend of Lee Chang-ho, the Unbeatable Boy Wonder of baduk.

ety of contrasting elements that are

into it. Or if an opponent is on the

which Western baduk players might

encountered in daily life: struggle and

defensive, he will not hurriedly press

interpret as "density" or "'thickness."

compromise, advantage and power,

his advantage. He seems willing to

But duteoum is not related to density

intensity and moderation. You must

wait endlessly with inordinate

in the Western or English-language

use bold initiative and imagination

patience. In this way, the young Lee

sense . Duteoum is an abstract con-

while maintaining your cool and not

plays like a longtime veteran that

cept that refers to something that

grasping for too much too soon.

belies his actual age. Most baduk

cannot be easily broken down or an

Since there is no substitute for expe-

masters strive to win with an elabo-

ability to expand, like rising dough.

rience, it has been widely accepted in

rate or dramatic stratagem . But for

style was referred to as duteoum,

Above all, Lee Chang-ho's keen

Japan that a master baduk player

Lee, though only in his twenties, he is

analytical ability is his forte. He has

would normally have to be at least 40

content to tread a long, hard path of

no equal in his ability to assess the

or older. But the baduk prodigy Lee

rather simple, basic maneuvers. The

state of play, determine the relative

Chang-ho has proven the fallacy of

strengths or weaknesses of an oppo-

advantage of each side, and antici-

such a notion. In fact , Lee is also

nent make no difference to Lee, who

pate how a situation is likely to devel-

known as the "'Reincarnated Master,"'

is like a winding river with waters that

op. It was because of this capability

in light of his game knowledge well

flow inexorably.

that he could get away with his slow

beyond his young age.

baduk that Lee has been able to

pace, all the while making steady progress with his duteoum approach .

It was by playing his own style of

Pinnacle of the Baduk World

dominate competitors in Korea .

In 1990, when he was 15 years

Lee rarely deals a decisive blow

Together with another talented play-

old, Lee Chang-ho recorded an

to his opponent. As a result, it is often

er, his teacher Cho Hun-h.yun, Lee

amazing winning streak of 41 con-

difficult for his opponents to under-

has reached the pinnacle of the

secutive victories. After this unprece-

stand how they had been defeated.

baduk world, placing Korea ahead of

dented performance, he began to be

And for this, he is also called the

China and Japan. As the birthplace of

known as the Unbeatable Boy

"Cotton Cudgel." But his key strength

baduk, China extends generous gov-

Wonder. Then, in 1992, at the age of

is his imperturbable mindset. He

ernment support to develop its most

17, he defeated Japan's champion,

rarely shows any visible reaction to

talented baduk players, but they have

Rin Kaiho, to capture the World

an opponent's aggressive foray or

yet to match the genius of Lee

Championship. The following year, he

unexpected gambit. He is like a bal-

Chang-ho's consummate games-

recorded 90 victories, the most ever

ance scale that always regains its

manship . Already the world's best

in a one-year period.

equilibrium or a serene monk in a

baduk player, with his unique

meditative state.

duteoum style, this living legend, with

In East Asia, baduk has long been thought of as a microcosm of

Even when he comes up with a

human life. Baduk embodies the vari-

brilliant move, Lee will never rush

continued success, could become the greatest-ever baduk master.

1.;11

Summe r 2006 I Koreana 71

ON THE ROAD

Poch eon

Land of Korea's Most Luxuriant Forests

When everyday life becomes tedious and burdensome, you should take a walk in a dense forest and listen to the whispering trees. For this, the lush and magnificent forests of Pocheon are like a magical elixir that can rejuvenate your mind, body, and spirit.

Yi Gyeom Travel Writer !text and photographs]

S

urrounded by a range of formidable mountains,

rarity to come across someone who would hug a tree to

Pocheon has existed in relative isolation, in large part

appreciate its warmth. I believe a tree would be pleased if

shielded from the maelstrom of modern-day development.

you embraced it lovingly. Perhaps, in doing so, such a car-

Consequently, this has enabled its diverse natural environ-

ing person might enjoy a wonderful sense of delight by

ment to survive intact amid a straightforward yet rugged

stirring up pleasant memories of long-forgotten experi-

local population, which in a number of ways takes after the

ences.

naturalness of their setting. As such, this is a land that has

Seeing the green leaves, made translucent by the

deviated little from its original character. And while

sunlight, I recall the autumn leaves of my childhood . On

Pocheon¡s remoteness has served to constrain the area's

occasion, I have heard there are individuals who incorpo-

modernization, its bountiful riches can be found in the

rate the cycle of nature into their everyday life to such an

secluded valleys of its mountains.

extent that they become like leaves, which are returned to the earth after their passing . I can never forget my youthful

Wonders of the Forest

Dawn is a totally different experience in a mountainous area like Pocheon . Perhaps this is a product of our

days when I adored Scott and Hellen Nearing. The next time you encounter a forest, pause for a moment to reflect upon the youthful days of the trees around you .

preconceived notions of these kinds of woodsy areas.

The waters flowing through the valleys of Mt.

However, in the crisp mountain air, you unconsciously and

Jugyeopsan [601 meters] are of a crystal-clear purity. Even

instinctively take deeper breaths as the body eagerly

during the dry season, water continues to flow steadily

absorbs natural elements. Is there anything more funda-

within these gorgeous valleys . The water is deep enough

mental than breathing to us humans who inhale 19,000

for me to soak my feet, so I decide to sit on a rock and dan-

liters of air on a daily basis, including some 4,000 liters of

gle my feet in the gently flowing water. While looking out at

oxygen? Oxygen, which is absorbed through the lung's

the picturesque scenery of the surrounding mountains, I

alveoli, is the essence of life.

engage in casual conversation with my companion about

Forests create a natural harmony and balance. Even

mundane goings-on. Beneath my feet, I not ice that the

in the case of forests with extremely dense growth, a prop-

stream waters have accumulated a pile of leaves . The

er balance is maintained through the interaction of multi-

leaves are so decomposed that only their veins remain,

ple layers, which add to its luxuriant character. A forest is

which creates a certain sense of loneliness. But, the dete-

comprised of four layers: a grass layer [growth of less than

riorating leaves provide nutrients to the marine species of

0.4 meters in height), shrub layer [0.4-2 meters). sub-tree

the stream waters. The endless cycle of nature is truly

layer [2-8 meters], and tree layer [extending above 8

amazing to behold.

meters]. Each of these layers supports a variety of plants

Pocheon ¡s graceful forests and valleys have for long

and wildlife that maintain their own balance and space

been beloved by poets, calligraphers, and painters. With a

through a natural process of competition.

decomposed leaf, I begin to write a poem on the surface of

Forests instill in us a sense of tranquility and peace-

the water. Hasn't it been said that poets are the greatest

fulness . However, most people will casually glance at

artists? And if the truth be told, anybody can be a poet. Just

forests without ever taking the time to touch or smell the

as master poets cannot write a masterpiece every time, so

tender and fragrant leaves of a fir tree. It is even more of a

it is that an ordinary person can produce a masterful work

74 Ko reana I Summer 2006

Sanjeong Lake, a popular weekend destination for families, is one of Pocheon¡s best known attractions.

2 Dew droplets cling to young leaves of a ab1es holophy/la sapling, which form the backbone of a lush forest in the future.

3 Oictyophora indus1ata, an unusual biological species that thrives amidst the dense forest growth. seems to be covered with a frilly yellow lace.

4 In April, a blooming Magnolia ste/lata signals the impending arrival of green buds on fo r est trees.

1 Along with its marvelous scenery, Sanjeong Lake also offers a variety of recreational activities.

2 /dong Ga/bi, a popular specialty of Pocheon . The number of galbi !marinated and grilled beef short ribsl restaurants in the city has grown steadily since Neutinamu Galbijip first opened its doors in the early 1960s.

3 A local brewery produces one of Pocheon¡s regional specialties: /dong makgeolli, a traditional Korean rice wine that is well known for its full-bodied flavor.

on a particular occasion. Anyone can gain self-satisfaction

Root of Korea's Forests

from the simple process of writing a poem as long as you

The pride of Pocheon 1s the Korea National

are unconcerned about receiving recogn ition. A poem that

Arboretum . Encompassing an area of some 1,118 hectares

you write yourself provides a greater sense of fulfillment

of primeval forest, the Korea National Arboretum is home

than a poem written by someone else. I begin to write my

to the Gwangneung forest, where King Sejo [r. 1455-1468]

poem, while contemplating the leaf with only its veins

and Queen Jeonghui were laid to rest. The arboretum fea-

remaining. While it will eventually disappear altogether, I

tures specialized gardens over an area of 100 hectares and

sincerely hope that my poem does not muddy up the

natural gardens that extend over an expansive 1,018

wate rs while it flows downstream. The poem flowing on

hectares. In all, the gardens include 1,863 woody plants

the surface of the water resembles a spool of thread that

and 1,481 species of herbaceous plants. Based on the

has been unraveled.

characteristics, uses, and functions of the trees and

76

Koreana I Summer 2006

Forests create a natural harmony and balance. Even in the case of forests with extremely dense growth, a proper balance is maintained through the interaction of multiple layers, which adds to their luxuriant character.

shrubs, the specialized gardens are arranged into 15 cate-

including loosestrife [Lythrum ancepsl, butterbur, and blue

gories.

flag. A bog is an integrated ecosystem in which a perfect

The Aroma and Touch Garden, which has been

balance is maintained between production and consump-

designed for blind people, is especially noteworthy. In the

tion as a result of the existence of various biological

middle of the arboretum, you can find the Forest Museum,

species, which results from various water conditions,

with displays that showcase the history and current status

including circulation and stagnation. Bogs serve as the

of Korea's forests and forestry industry, as well as exhibi-

habitat for myriad biological species, which help to main-

tions that provide an overview of future forestry projects.

tain ecological stability. In addition, bogs function as water-

The Korea National Herbarium, which is adjacent to the

shed areas that enable water to accumulate and seep into

museum, includes 110,000 exhibits of the wildlife, plants,

the ground . Moreover, bog areas also provide a receptive

and non-biological resources found in Korean forests. The

habitat for various biological species because their tem-

Aquatic Garden, in the shape of the Korean peninsula, is

perature and water level remain relatively constant, even

home to 204 species, such as water lilies [Nymphaea].

in dry seasons, thereby contributing much to the promo-

Typha orientalis and Trapa japonica.

tion of natural biodiversity. 1.1

The Bog Garden features 212 varieties of plants,

G U a rd i a n Of t h e f O re St

Kwon Eun-oh Director General, Korea National Arboretum

What might be on the mind of

look at these things from the standpoint of our visitors. I use

those people who help to protect

this time to come up with various work-related ideas while also

our valuable

forests? The

relieving any fatigue or stress. There are so many things-that

arboretum Director General,

can be learned from trees. I am of a mindset that we should

Kwon Eun-oh greets us with an

learn the virtues of trees, which after all give everything they

expression of delight. The out-

have to the world around them before being returned to the

stretched hand that grasps mine

earth . The economic value of forests in Korea has been estimat-

is firm and reassuring. As might

ed at about 58 trillion won ($60 billion!.

be expected of a PhD degree-

"However, of even greater importance are the lessons of

holder of agricultural science,

nature. Much more thought needs to be given to the harmony

Kwon Eun-oh possesses an in-depth knowledge of botany and

that exists between trees and forests, and between wildlife and

horticulture. Don't they say it is natural to fall in love with some-

humans. Have you ever seen a bad tree? Although playing vari-

one or something once you become well acquainted? Even now,

ous roles, they are all parts of the overall forest."

when he just glances at nearby trees and plants, his attachment to the forest is readily evident.

"I tend to observe the earth, trees, and flowers carefully while I take my daily 90-minute walk through the forest area. I try to

The vain attempts of humans, to distort and exploit nature, are fraught with serious misfortune. A human cannot survive as long as a tree or stream. It is thus extreme arrogance for them to think of taking advantage of nature for their personal gain.

Summ er 2006 I Korea na 77

CUISINE

IMJASUTANG Refreshing Summer Dish of Chicken and White Sesame A lack of vitality, which people often experience due to the sweltering heat of a Korean summer, can also mean a loss of appetite. In this case, a perfect remedy for such physical discomfort might well be imjasutang, a popular summer dish that is refreshing, nutritious, and great tasting.

Chun Hui-jung Professor, Korean Food Institute, Sookmyung Women's University Bae Jae-hyung Photographer

I

mjasutang is a kind of soup dish served cold that consists of boiled chicken, meatballs, egg, cucumbers, and shitake mushrooms in a chicken broth, which

has been prepared with ground white sesame. lmja refers to white sesame, while sutang means a soup with sesame, but usually refers to a sesame broth, kkaeguktang. However, unlike kkaeguktang, which was popular among the common people,

imjasutang has long been a special summer dish enjoyed by members of the royal family and the yangban [gentry) class. Whereas kkaeguktang consisted of noodles in a broth of ground white sesame and water, the key ingredient in imjasutang was chicken, which was garnished with various decorative ingredients. Although both dishes were prepared with sesame, imjasutang was more highly regarded for being more nutritious, flavorful, and visually appealing .

The Wonders of Sesame Sesame probably made its way to the Korean peninsula sometime prior to the fourth century. This belief is based on evidence that Korean cooking practices, which made use of sesame and sesame oil, had already taken root around this time.

Although sesame originated from the savannah areas of the Africa, researchers believe that it has been cultivated from as early as 3,000 B.C. by ancient Asian states, where it was highly valued as a seasoning for cooking and for its medicinal properties.

The Chinese pharmaceutical text Bencao gangmu [Compendium of Materia Medical includes a reference to sesame, which was originally called huma, that in all

likelihood was related to Zhang Qian [?-113 B.C.J, who was said to have introduced sesame from the West. However, based on the discovery of sesame-related artifacts and evidence that sesame was used during the very early stages of Asian food culture, the history of sesame in Asia seems to date back to a much earlier time.

Temperate-zone plants introduced into China by way of the Silk Road were cultivated extensively in the Huabei and Manchurian areas . The widespread popularity of sesame, thanks to its distinctive flavor and aroma, soon made it a fundamental aspect of Chinese cooking . Marco Polo, who wandered about China and Asia for some 17 years, mentioned in his The Travels of Marco Polo that he first encountered and acquired a taste for sesame in Asia.

Upon its introduction from China, sesame quickly became widely used on the Korean peninsula. In particular, Koreans used sesame to make an oil known as chamgireum [sesame oil]. Xuanhe Fengshi Gaoli Tujing [A Journey to Korea) and Hyangyakgugeupbang [Indigenous Herbs for Emergency Prescriptions) noted that

Koreans used sesame and sesame oil in a variety of ways . According to Singnyochanyo [1460), a reference volume on dietetic practices compiled during the

early years of the Joseon Dynasty [1392-191 OJ, black sesame was used to treat

Summe r 2006 I Ko reana 79

introduced from China during the spread of agricultural culture to the Korean peninsula. However, certain scholars point out that the mention of a chicken in the foundation myth of Silla, the Silla people's development of chickenrelated rituals, and the Gaya legend about King Suro ¡s queen having arrived in Korea from India, seem to indicate that chickens, unlike other forms of livestock, may have been introduced from South Asia.

Even though the chicken was not native to Korea, Koreans did help to improve on its taste, appearance, and remedial effects before its reexport to China. Ancient documents, such as Gaeboboncho and Oogyeongboncho include references to the medicinal efficacy of Joseon chickens. Unlike China, which also bred ducks and geese, the chicken population of Korea was so abundant that it came to be known as Gyerim (Chicken Forest]. Although superstitions and sayings related to chickens varied from region to region, a pair of chickens was always a part of a traditional wedding ceremony. stroke and paralysis. Eumsikjimibang [16 70] , a recipe

Oongguksesigi (1849]. an introduction to the annual

book from the Joseon era, includes a recipe for kkaejuk,

customs and traditions of Joseon, includes an entry about

(sesame porridge] and kkaeguk (sesame soup with noo-

baengmajatang, a summer dish consisting of zucchini and

dles]. which is described as a summer dish. In addition, the

chicken boiled in kkaeguktang. Thereafter, descriptions of

agricultural manual, Jeungbosallimgyeongje (1765]. noted

kkaeguktang and imjasutang were included in the encyclo-

that sesame soup can assuage the spiciness of mustard

pedia Gyuhapchongseo and the cookbook Siuijeonseo. In

soup, along with provid ing detailed rec ipes for snacks

addition, various documents contained detailed accounts of

made with sesame as well as methods for extracting

how Koreans enjoyed a dish of chicken and sesame soup

sesame oil.

during the hot summer months. Therefore, it is likely that imjasutang has been around for at least 200 years or so.

History of 200 Years As for chickens, it is not known when they first

Spicy dishes such as yukgaejang (spicy meat and vegetable soup] and baeksuk (boiled chicken with rice and gin-

appeared on the Korean peninsula, but a chicken is men-

seng] should also be mentioned as popular ¡choices that

tioned in the foundation myth of Silla (57 B.C.-A.D . 935].

are consumed during the summer months for temporary

Samgungnyusa (Memorabilia of the Three Kingdoms]

relief from the sultry heat and humid ity. Although fat can-

includes several accounts about chickens as well as

not be readily extracted from the meat of a hot dish or

details of the use of chicken feathers as decorative materi-

soup, it is a simple matter for excess fat to be skimmed off

als. Most people assume that since chicken is a livestock

the surface of a soup served cold, such as imjasutang ,

animal integral to agrarian societies, it must have been

thereby assuring its refreshing taste.

80 Koreana I Summer 2006

t;t

hnjasutang consists of strips of shredded chicken and sliced vegetables in a cold chicken broth seasoned "ith growul sesame. Of particular note, the broth is refreshingly light because much of the chicken fat has been removed.

lmjasutang Ingredients: [serves four]. 1/2 chicken, 1 piece ginger root, 1/2 cup of white sesame, 6 cups of chicken broth, 1 cucumber, 3 shitake mushrooms, 3 eggs, manna lichen, Italian parsley [100 grams]. 1/2 carrot. beef [100 grams]. dubu [tofu] [30 grams] Seasonings: 1/2 teaspoon soy sauce, salt, 1/2 teaspoon chopped green onion, 1/4 teaspoon crushed garlic, 1/2 teaspoon sesame oil, sugar. sesame salt.

Preparation

1 Clean the chicken and boil in chicken broth with ginger. After the chicken is boiled, remove the skin and bones, and shred the meat into thin strips. 2 Allow the chicken broth to cool and remove fat. 3 Wash the sesame, pan fry, and grind coarsely. Blend the ground sesame and chicken broth and add salt to taste. 4 Cut the carrot into strips 2 centimeters wide, 4 centimeters long, and 0.3 centimeters thick, and parboil. Pee l the cucumber and remove seeds.

Cut the cucumber into strips the same size as the carrot, add starch, and parboil. 5 Soak the shitake mushrooms in warm water and cut into slices of the same size. Fry the mushroom strips with salt or soy sauce. 6 String the stems of the Italian parsley onto skewers, coat with flour and beaten egg, and then fry. 7 Soak the manna lichen in warm water, chop into pieces, combine with egg wh ite, and fry. Cut into strips the same size as the other garnishes. [Note: Manna lichen can be omitted if not readily available.] 8 Separate the egg white and yolk, and fry separately in thin layers, and cut into strips 2 centimeters wide and 4 centimeters long. 8 Mince the beef and dubu and combine with meatball seasoning. Shape into balls, 1.5 centimeters around. Coat the meatballs in flour and the beaten egg and fry.

9 Place chicken strips in a bowl, add the colorful garnishes, and top with meatballs.

10 Pour cold chicken broth into the bowl and serve.

Su mmer 2006 I Koreana 81

LIVING

Era of Mobile TV Underway in Korea With the launch of digital multimedia broadcasting (0MB) services in Korea, you can now watch TV in the palm of your hand. On the subway, you can observe the digital culture of the young people of Korea, known as the world's earliest adaptors of the latest technology.

Park Keon-hyung Reporter, Digital Times Choi Hang-young Photographer

p through the 1990s, passengers on Korea's subways

things. Yet the engine behind the creation of today's per-

would typically be seen nodding off or reading news-

sonal entertainment culture, like in the subway, where

papers or paperbacks. But with the introduction of the MP3

everyone seems to be hunched over while peering intently

player in early 2000, a new trend emerged. Unlike radio,

at a handheld device of some kind, is the mobile phone.

U

whereby people simply listen to whatever is being broad-

Short message service (SMS) transmissions and playing

cast, or CD players, that require the purchase of CDs, MP3

video games with mobile phones are already common-

players enable users to easily record the music of their

place, along with the number of DMB subscribers being on

choice, as a kind of "personal entertainment" device.

the sharp rise . There is a clear consensus among IT industry experts that digital devices are moving along a path of

Mobile Phone: Heart of the Digital Culture

Personal entertainment products such as the digital

convergence into a single, multifunctional device, with the mobile phone at its center.

camera, personal digital assistant (PDAl. and digital multi-

The mobile phone has undergone endless evolution ,

media player [DMP] are enjoying explosive popularity

in line with its reputation as the heart of cutti ng-edge com-

among young people, from teenagers to thirty-some-

munication technology. Since the advent of the world's first

I

82

Koreana I Summer 2006

Mobile TV services, which enables the viewing of live TV programming at anytime and from anywhere, is a natural outgrowth of Korea's cutt ing-edge IT infrastructure.

----- ....

-----Summer 2006 I Koreana

83

According to analysts, the "DMB Fever" sweeping through the country these days is due to Korea's superior mobile television technology, which is well suited to the inclinations of Koreans, who are eager to embrace technological advancement.

DMB mob ile phone models of LG Electro ni cs and Samsung Electro nics. Thi s is ju st anot her example of the enthu siasm of Korean consumers for th e latest in comm unicat ion techno logy.

Wh ile on the road , people can watch TV and get updated info on t raffic cond it ions !left ) Korea¡s IT industry is moving stead ily alo ng a convergence path, which is expected to resu lt in the emergence of a single, mu ltifunct ional device, centered on the mobi le phone [r ight).

84

Koreana I Summe r 2006

digital-mode wireless communication system in Korea in

Yet such technological competition is of little concern

1996, the mobile phone has realized far more advance-

to the ordinary consumer, since both of these competing

ment in just the past ten years than any development in

systems enable users to view broadcasts through mobile

telephony over the previous century. With the introduction

phones or other terminal devices. In Korea, where T-DMB

of SMS, wireless text transmission, in addition to voice

and S-DMB are both available, these services are rapidly

communication, became possible, while the mobile

gaining popularity with consumers, especially among

phone's integration with the digital camera, MP3 player,

teenagers and people in their early thirties. S-DMB has

video game player, and other devices has made it a truly

secured over 300,000 subscribers in just one month, who

multimedia device.

pay a monthly fee of 13,000 won [about $13], while it is esti-

DMB services , which were launched last year in Korea, are seen as another driving force behind the fast-

mated that T-DMB has attracted over 200,000 users in only two months.

Analysts note that the DMB fever sweeping through

growing ubiquity of the mobile phone. Specific standards for mobile TV have not yet been established, but "television

Korea is related to the fact that the advanced services are

in the palm of your hand" services that allow consumers to

well suited to the tendencies of Korean consumers.

watch whatever they want, whenever and wherever they

Korean mobile phone manufacturers such as Samsung

want, is itself an epochal lifestyle change .

Electronics and LG Electronics have been able to compete favorably in the world market against more established

Era of Mobile TV

makers such as Nokia and Motorola , despite their late

Four types of mobile TV technology have been devel-

start, because of the advantages of the Korean market.

oped: Digital Video Broadcasting-Handheld [DVB-HJ, led by

Korean consumers readily accept features that are only a

Nokia, the world 's No. 1 mobile phone manufacturer;

slight improvement over existing services, along with

Terrestrial DMB [T-DMB] and Satellite DMB [S-DMB], led

demanding that even the most minor problem be fully rec-

by Korea; and Media Forward Link Only [Media FLO], of

tified

QualComm. Industry experts expect that DVB-H, which will

As compared to mobile phone users in the United

be launched in 20 countries in the first half of this year, and

States or Europe, who use their devices mainly for voice

T-DMB, which was introduced in Korea last year and is

communication, Korean users are readily receptive to

now being actively exported to Europe and China, will com-

mobile TV, thanks to the active use of video transmission

pete for leadership of the mobile TV market.

services on their mobile phones for the past few years.

Summer 2006 I Koreana 85

Korean consumers are known to buy a new mobile phone,

broadcasts available through DMB services are not simply

at a price of several 100,000 won, as frequently as every

sources of entertainment. Students preparing for exami-

three to six months, along with posting their opin ions on

nations can view lectu re sessions of educational broad-

various products on Internet message boards. University

casts, while auto drivers can access real-time traffic infor-

students, who might be somewhat limited in purchasing

mation through data channels that is more accurate and

power, rely on auction sites such as E-Bay or G-Market,

timely than a basic Global Positioning System.

where " eager adaptors路路 seek to sell off their existing

It is also being predicted that the 2006 Germany FIFA

devices in order to subsidize the purchase of new models.

World Cup, which kicks off in June, will provide a dramatic

Korea 's high-speed Internet services, which boast th e

boost to the popularity of mobile television. Indeed, when-

highest percentage of users in the world, have long served

ever a FIFA World Cup is held, the event can generate a

as a medium for consumers to make known th eir

tidal wave of momentum for new broadcast services and

demands and complaints, which businesses utilize for the

electronics products. The 2002 Korea/Japan FIFA World

improvement of their products and services.

Cup, for example, is said to have created a boom for the sales of LCD and PDP TVs.

Lifestyle Change

It is already being seen in the Korean market that

Korean mobile phone manufacturers have recently revealed the ir advertising campaigns and marketing pro-

mobile TV can markedly change people 's lifestyle patterns.

motions for the Germany World Cup in June, together with

Passengers on the subway no longer need to tote newspa-

actively promoting mobile TV services and devices. A simi-

pers or books to occupy their commuting time. It is enough

lar situation is occurring worldwide. Countries that ar e

to have a mobile phone, which is indispensable for so many

known to be fanatical about soccer, such as Germany and

Koreans. The various video channels and dozens of radio

Italy, have recently launched mobile TV services in preparation for World Cup broadcasts. Mobile television, which enables users to view broadcasts at anytime and from anywhere, and then submit their feedback, is no longer within the realm of science fiction . It is thus only a matter of time until the subways all over the world, like the Korean subway of today, are filled with commuters enjoying mobile TV broadcasts. 1.t

A diversity of 路路persona l entertainment" devices provides remote access to audio, video, and text content. as well as 0MB services.

86 Ko rea na I Summe r 2006

YUN DAE-NYEONG

Yun Dae-nyeong is the author whose writing best exemplifies the spirit of the 1990s, when Korea's literary world sought to regain its influence based on an enhancement of quality.

With unique composition and exceptional style, Yun delves into the extreme depths of the void of existence.

CRITIQUE

Sensory Journey to Examine the Void of Ex·stence Chung Hyc-kyung Literary CritJL, Prokssor, Soond1m hY 1ng Uni\Trsit~

Y

un Dae-nyeong (b. 1962] is said to be the represen-

bustling urban environment. Along with graphically painting

tative Korean author of the 1990s. In the 1980s,

a picture of big city life in the 1990s, his works reveal the

Korean literature marched forward, hopefully toward a day

intense loneliness of individuals. The narrator, a member of

when no person or group in society would be alienated and

the petty bourgeois, is living a seemingly uneventful life

everyone could live in harmony. But amid monumental

when, through a chance encounter, he is unexpectedly

historical turmoil in the 1990s, the literary world fell into a

drawn into a wholly different world. The pursuit of an

state of confusion. For a fresh start, people needed some-

"unidentified woman " includes the elements of a mystery

thing to replace their faith in institutional systems, but

novel, making it a good read . But Yun·s novels are not about

scant relief was readily available. Around that time, Yun ·s

worlds that can be explained with rational thought.

first volume of short stories, Silverfish Memorandum

Following the woman is like passing through a mirror to the

(1995]. was published, which captivated readers with sen-

other side, a path that leads to the narrator's subconscious.

sory language that conveyed the innermost travails of wounded souls.

On the road one day, the narrator discovers that his everyday life has been an "addiction to wounds." Through

After making his literary debut in 1990, Yun released

the woman he encounters, he becomes aware of the

several anthologies, including Silverfish Memorandum,

wounds that he has kept buried and forgotten as well as

Look at the Southern Stairs, Many Stars Went the Same

his discarded ambitions. It can be said that the woman

Way and Someone is Walking Away, along with such novels

represents another version of the narrator's self. Inured by

as I Went to See an Old Movie, Far, Far Away in Memory,

the repetition and falsehood of everyday life, the narrator

The Moon's Horizon, Traveler in the Snow, Why the Tiger

finds that breaking through the hardened surface of his life

Went to the Sea, and Miran. By incorporating poetic ele-

and gazing at the void beneath is painful as well as exhila-

ments, Yun broadened the depth of Korean novels, which

rating. By depicting this entire process, Yun broke new

led to growing recognition of his noteworthy literary talent,

ground in Korean literature with his innovative approach to

as evidenced by the receipt of several prominent awards:

first-person narrative in Korean literature.

the Young Artist of the Year Award (1994]. Yisang Literary

The notable originality of Yun ·s writing can be found in

Award [1996]. Contemporary Literature Prize [1998]. and

the fluidity and refinement of his poetic expressions. The

Lee Hyo-seok Literature Prize (2003].

sensory imagery, especially of color-related images, which

A common theme of Yun ·s works is centered on the life

are sometimes gloomy and at other times bright, causes

of a character who lives alone in a small apartment amid a

the narrator's personal journey to be both dreamlike and

88 Koreana I Summer 2006

insightful. For readers, many find this intriguing world of literary expression to be highly entrancing, such that Yun has attracted a cult-like following .

despite their wounds, they do not cry out in distress.

In this story, the author distinguishes time not with a watch but by the movement of light. The light penetrates

The color white is a deeply ingrained image that

the tragedy on the surface of life to illuminate the truth

appears in his debut work, and Yun's more recent works

within . Noon is expressed this way: "A few straw-Like

as well, in motifs such as silverfish and flowers. White is a

strands of shadow hang amidst a riot of colors, all

momentary light that shines brightly at the boundary

sparkling like broken pastel crayons scattered around the

between life and death. "The Walk of Light," which gar-

yard ." With this kind of sensory expression , Yun strives to

nered the 1998 Contemporary Literature Award, is a short

vividly depict the human condition .

story that delves into the void of existence by transforming the color white into a movement of Light.

Giving tension to the work is the monologue of the narrator's younger sister: "Oh, and your red lipsl " She is

The story, set in early summer, describes a day in the

like a caterpillar trapped in a cocoon. This image of the

life of a family living in a south-facing house. In the master

younger sister is transferred to the Longed-for Suzanne at

bedroom, the ailing mother, just out of the hospital, is rest-

Bali Summer Hotel in Kuta . The younger sister thus sym-

ing in bed; in the eastern room, the younger sister is recu-

bolizes the narrator's dreams. From the moment that the

perating from childbirth; in the western room is the

narrator refers to her as "you," in the second person, her

divorced older sister, who takes care of the sick mother;

connection with reality is severed and she is transformed

and in the garden, the father paces to and fro.

into a realm of fantasy.

Even while describing this family in a straightforward

The mother's death is foretold when the "old maid"

manner, Yun reveals their Loneliness hidden within . The

plucks a poppy. The focus is not on death itself, but rather

sunflower room, the poppy blossoms of blood-red, a

the way in which people view the mother's death . The

dream of hundreds of coal briquettes being burned into

mythical imagination that turns the passage of time into

ashes, Claude Monet's "Impression: Sunrise," Bali

"The Walk of Light" does not make life painful or portray

Summer Hotel, bean cu rd, white sneakers, and white rub-

death as mournful heartbreak. The white rubber shoes

ber shoes-these are literary references designed to cast

placed before the mother's dead body gives a kind of bril-

light on life and death simultaneously. Here, the painful

liance to death . This is made possible by the intent of

lives of the family members are being played out on a

someone, who has come to accept the inherent meaning of

"micro-cosmos and desolate planet." Consequently,

life and death, to profoundly convey human pain. 1..1 Summer 2006 I Ko reana 89

Support for Korean Studies Programs Abroad

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The Korea Foundation offers financial assistance to universities, research institutes and libraries as well as individual scholars abroad for their efforts to promote the study and understanding of subjects related to Korea.

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Application Deadline

Contact Information

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

Korean Studies Dept.

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

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

Fellowship Program Dept.

TEL (+82-2)3463-5614 FAX (+82-2)3463-6075 E-mail: fellow@kf.or.kr All application forms and guidelines are available on-line.

The Publication Subsidy and Instructional Materials programs receive applications twice a year.

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

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