Koreana Autumn 2008 (English) by The Korea Foundation

Korean art & Culture

V o l . 22, No . 3 A u t u mn 2008

Vol. 22, No. 3 Autumn 2008

Joseonwangjosillok Annals of the Joseon Dynasty ISSN 1016-0744

BEAUTY OF KOREA

Jangdo

he jangdo is a small knife that comes with a case. Although its primary use was for a person’s self-defense, it was likewise useful for various everyday tasks, such as peeling fruit. In addition to its practical uses, the jangdo also served as a clothing accessory, to which ornaments would be appended. In the olden days, all men and women, upon reaching adulthood, would carry a jangdo. Men would hang the jangdo from their belt or coat tie string (goreum ), while women attached it to a belt inside their skirt (chima ) or a norigae (ornamental tassel). The practice of carrying a jangdo, as a weapon for self-defense or simply as a clothing accessory, dates back to the Goryeo Dynasty (918-1392). However, it was during the Joseon Dynasty (1392-1910) that it became a widespread custom. A jangdo, which would often be given as a gift on the occasion of a coming-of-age ceremony or wedding, was meant to

symbolize the giver’s hope that the recipient would be protected from an unfortunate mishap. Ironically, however, there were numerous instances in which a woman would use her jangdo to commit suicide in order to preserve her chastity. Therefore, the jangdo came to reflect the Joseon woman’s perception of morality and to serve as a symbol of chastity. For making the knife hilt and case, silver and cooper would ordinarily be used, along with such materials as gold, copper, jade, amber, ox bone, ivory, coral, and bamboo. A variety of decorative ornaments were also developed to complement the jangdo. In particular, a jangdo adorned with norigae was thought to be especially fashionable. The jangdo blade surface was often elaborately decorated with various characters and patterns. There was even a jangdo that included chopsticks made from silver, which would be used to determine whether food had been tampered with.

Korean Art & Culture

Vol.22, No.3 Autumn 2008

The Annals of the Joseon Dynasty , which include 1,893 volumes of 133,968 pages, record the history of the kings and the everyday life of the general populace of the Joseon Dynasty (1392-1910), over a period of 472 consecutive years. Indeed, since 1997, this extraordinary compilation of documents has been included on the registry of UNESCOâ&#x20AC;&#x2122;s Memory of the World Register. Photo by Seo Heun-kang

Joseonwangjosillok

Annals of the Joseon Dynasty 8

Masterpiece of Historical Records Park Hong Gab

16 Dedicated Efforts to Preserve the Annals of the Joseon Dynasty

Shin Byung Ju

22 Annals of the Joseon Dynasty Brought to Life by the Digital Era Shin Myung-ho

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Joseonwangjosillok Annals of the Joseon Dynasty The Joseon Dynasty (1392-1910) has been aptly referred to as the dynasty of records. In particular, this is centered around the Annals of the Joseon Dynasty (Joseonwangjosillok ), a comprehensive compilation of the dynasty’s history. The Joseon Dynasty sought to maintain an independent and organized system of records for the documentation and preservation of history without distortion. The Annals recorded Korea’s history over a period of 472 years, from 1392 to 1863, which included 25 rulers, from King Taejo (r. 1392-1398) to King Cheoljong (r. 1849-1863). Even today, these records continue to provide valuable insight into the contemporary affairs of the Korean Peninsula.

The cover and a page of the Annals of King Sejong , which documents the reign of King Sejong (r. 1418-1450), the fourth ruler of the Joseon Dynasty. The records include the king’s every word and action throughout his entire reign. King Sejong the Great is best known for his instrumental role in the creation of Hangeul, the Korean alphabet. © Gyujanggak Institute for Korean Studies

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Masterpiece of Historical Records The Annals of the Joseon Dynasty , which recorded an almost 500-year period of Koreaâ&#x20AC;&#x2122;s history in painstaking detail, served as a reference guide for the proper leadership of kings and encouraged their self-reflection, in regard to the judgment of future generations. Park Hong Gab Chief of Research and Compilation Division, National Institute of Korean History

The Annals of the Joseon Dynasty are a true masterpiece of historical records that documented the rule of 25 kings over a period of 472 years, which have been maintained in their original form. ÂŠ Seo Heun-kang

he Annals of the Joseon Dynasty were compiled to document: “the political achievements and all other matters during the reign of a ruler.” Moreover, it was intended to be a “record of things as they were,” to the extent possible. Although annals are today often regarded as the chronicles of an organization or individual, in the past, they mainly referred to the records of individual rulers and the history of countries. History of the Annals In East Asia, annals originated in China, during the Southern and Northern Dynasties period (420-581), when Zhou Xingsi compiled two volumes of annals to record the reigns of emperors of the Liang Dynasty (502-557). Thereafter, annals were compiled for each ruler of the Sui Dynasty (581-618) and the Tang Dynasty (618-906). The compilation of annals became a tradition of successive Chinese dynasties, and also served as a model for Korea, which maintained annals of its rulers from the time of the Goryeo period (918-1392). Unfortunately, the annals of Goryeo are forever lost, due to a whirlwind of national crises caused by foreign invarions. The Joseon Dynasty era included 27 rulers, starting with King Taejo (r. 1392-1398) and ending with King Sunjong (r. 1907-1910), for which the annals of each king’s reign were published after his death. In large part, the Annals were consistently prepared in accordance with formal procedures, except

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for the reigns of Gojong, the 26th ruler, and his successor Sunjong, the final Joseon king. This was because the previous Office of Records (Chunchugwan ) had not been maintained during the period of Japan’s colonial rule (1910-1945), so the annals for Gojong and Sunjong could not be properly prepared in accordance with established practices. Moreover, the Japanese authorities seriously distorted the facts of relevant matters, thereby undermining their value as historical records. As such, the Annals of the Joseon Dynasty often refers to the annals of the 472-year period, from Taejo to Cheoljong, the 25th ruler, while excluding the reigns of Gojong and Sunjong. UNESCO’s Memory of the World Register The Annals has been designated as Korea’s National Treasure No. 151 and a world documentary heritage by UNESCO. To supplement its designation of cultural sites and attractions, in 1997, UNESCO initiated a “Memory of the World” Program to recognize documentary treasures, such as archive holdings and library collections. Of note, the Annals , along with the Hunminjeongeum manuscript, the document that promulgated Korea’s Hangeul writing system, were among the first documentary treasures to be registered by UNESCO under this program. There are numerous reasons for the Annals to have been designated as one of the first Memory of the World heritages by UNESCO. Above all, the

Annals are noteworthy for covering the history of the world’s longest continuous dynasty (472 years), providing objective accounts of the political affairs and everyday life during the time of each ruler, having the original content fully preserved, and there being four copies produced with movable metal type, in addition to serving as an invaluable reference resource for research of the history and relationships of the various nations of East Asia. All Confucian nations compiled annals. However, there are several factors that distinguish the Annals of the Joseon Dynasty from those of other countries. Although the annals of China’s Ming and Qing dynasties have been preserved, comprising some 2,909 volumes and 3,000 volumes, respectively, in terms of the length of their historical coverage they are not even half as long as the 472 years of the Annals of the Joseon Dynasty . In addition, the Ming and Qing annals only recorded matters related to political affairs, while the Annals , along with the coverage of political matters, included a wealth of information on Joseon’s society, culture, the economy, military affairs, and diplomacy. As for Japan, it compiled Veritable Records of Emperor Montoku and Veritable Records of Three Reigns of Japan during the late ninth century and early tenth century. And although these records are notable in terms of volume and content, the original copies have been lost. Meanwhile, Vietnam is also known to have compiled annals in the 18th

A Draft of the Record of the Royal Secretariat , in which a staff of historiographers was on hand to record the every word and action of the king. Upon the king’s death, these records and related materials would be incorporated into the texts of the Annals of the Joseon Dynasty .

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The 1,893 volumes of the 888 books of the Annals of the Joseon Dynasty record the reigns of Joseon kings from the dynasty’s first ruler, King Taejo, to its twenty-fifth, King Cheoljong. Along with documenting political affairs, the records also provide an abundance of information about the political circumstances, diplomacy, society, culture, and economy of Korea’s past. 1

1~2 A historiographer would always be at the king’s side, so as to record in detail his words and actions, including any time when the king left the palace, for official business or pleasure. © Gimm-Young Publishers, Inc.

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century. The most prominent is the Veritable Records of Dai Nam , which includes 85 volumes of biographies of individuals from each historical period. But the contents are rather brief, since they primarily focus on the political affairs of the royal court. The details and volumes of the Annals of the Joseon Dynasty are truly extraordinary, which even include commentary on a variety of events and individuals by the historiographers. The Annals well deserve to be placed on the UNESCO’s Memory of the World Register, as a documentary treasure, in recognition of its social, cultural, and philosophical value. Why Were the Annals Compiled? Humankind has sought to keep records even before the invention of paper and writing systems, as is evident in the efforts of early man to record basic patterns and images of animal creatures in ancient cave paintings and rock carvings. It is clear that people developed a keen interest in maintaining records that were depicted through symbolic expressions. Korea’s culture of record keeping also developed at a very early date. Moreover, interest in history was especially high among nations that promoted Confucian principles, since it was believed that the past served as a mirror of the present and future. In fact, early historical records would often include references to mirror in the titles of writings. The practice of maintaining objec-

tive records that detailed the achievements of a king, without embellishment or deletion, served as a means to check the absolute power of a monarchial ruler. In China and Korea, historiographers and royal advisors were responsible for curbing any excesses of royal authority. Whereas advisors sought to monitor royal power during a monarch’s reign, historiographers evaluated a king after his death and determined his legacy; failing to pass the latter test was often a far more fearsome prospect. Even Yeonsangun (r. 1494-1506), the infamous tyrant of the Joseon Dynasty, was known to say: “The thing I fear most is the judgment of history.” The historical consciousness of East Asia was dominated by Confucianism. With this Confucian appreciation of history, rulers were ever sensitive to the fact that their actions would be judged by future generations. Thus, even though Confucianism lacked a deity figure, the piety of this historical consciousness served to constrain the ruler’s absolute authority, along with being a primary motivation behind the compilation of annals. In addition, the Confucian respect for precedence over ideological principle was another reason for the compilation of comprehensive annals based on objective accounts. The Annals were not planned and compiled by a specified group of persons at a certain time; instead, they involved an accumulation of the records compiled from the time that a new king took the throne. Despite this lengthy period of 472 years, the Annals included

records of the events of every single day, without exception, because of the aforementioned Confucian consciousness of history. And it was this same attitude that motivated the historiographers to stake their lives on assuring the objectivity and accuracy of the various records. Compilation Procedures In 1409, the year after Joseon Dynasty founder King Taejo died, his successor, King Taejong (r. 1400-1418), instructed his court officials to compile Taejo’s annals. Various officials called for a delay in the compilation process, since King Taejo had not been dead for long and all the key figures of his reign were still alive. However, at Taejong’s insistence, the annals of Taejo were compiled and finalized, thereby establishing the Joseon Dynasty’s tradition of maintaining annals. The basic materials of the compilation efforts included the daily accounts recorded by court historiographers about any and all matters related to the king. During the Joseon period, the court retained eight full-time historiographers who would be alternately assigned to record in detail the comings and goings of the king. Upon the death of a king, the daily accounts were submitted to the Archives Office (Sillokcheong ). In addition, the journals maintained by various government offices were used as reference materials during the compilation process. The Office for Annals Compilation, which would be established upon a

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tary of historio-graphers on particular events and individuals. In accordance with the regulations, the office’s organizational structure included a chief compiler who supervised various departments and working-level staff. Each department prepared a draft of the annals content for a specified period of the king’s reign, which would be reviewed and revised before being finalized. This three-step process was helpful for minimizing clerical errors and omissions; however, it was primarily intended to assure the objectivity of the annals content. Of note, the activities of the Office for Annals Compilation were carefully recorded and maintained in the Manuals of the Office for Annals Compilation . At the conclusion of the compilation process, the draft documents and

revisions would be erased by rinsing the papers in water. In doing so, hard evidence of the compilation process was eliminated, while the paper would be reusable as well. The Annals of the Joseon Dynasty generally adhere to the following structure and form: • One volume generally consisted of a year’s worth of content, but at times the content was organized into volumes covering a period of one or two months or six months. For the Annals of King Seongjong , each volume included one month’s worth of content, without regard to length. • The annals of each ruler began with biographical information about the king, including his name, names of his parents, date of birth, details about his early years and education, process

king’s death for the sole purpose of overseeing the compilation of his annals, was staffed by senior-ranking officials along with various support personnel. Formal regulations were established in regard to the format and content of the annals as well as operational procedures. The regulations provided guidelines on such matters as the scope of reference materials to be used for compiling the relevant content, recording the royal orders and administrative documents issued during the king’s reign, information about notable retainers who had died in the interval, dates and weather, information about court personnel, reports and proposals submitted to the king, tributes from the provinces, and private affairs, including controversial matters. Of note, the content included the subjective commen-

1 An original copy of the Annals of the Joseon Dynasty experienced the misfortune of being hauled off to Japan in 1913, during the Japanese colonial period. As a result of numerous calls for their return, a significant number of the expropriated materials were returned to Korea in 2006, after a 93-year absence. Here, history scholars carefully inspect the returned texts.

by which he was installed as Crown Prince, and, in the case of adopted sons, the names of his birth parents and information about his adoption. Appendices are often included at the end of the annals, which would customarily provide information about the king as a private individual. • The annals are primarily compiled in chronological order, but at times the limitation of this format required supplements. The Annals of King Sejong and the Annals of King Sejo included supplements, while the Annals of King Danjong contains an appendix with details about the restoration of his reign. • Dates were written in the order of the year of the king’s reign, the

at Woljeongsa Temple on Mt. Odaesan, in Pyeongchang-gun, Gangwon-do Province (August 11, 2006), to commemorate the return of a copy of the Annals of the Joseon Dynasty from Japan.

2~3 A formal ritual was conducted

season, the month, and the day. Citations in early annals included the season and the month, but later records omitted the season. • A “○” mark was inserted into the text to indicate that the records related to a different day or subject. A majority of the content was written without spacing, but a space would be placed before the name of the king or previous kings. For sections that required special explanation, notes were included in smaller characters. As compared to the early years of the Joseon period, as time went on, the annals content showed a lack of diversity, while increasingly emphasizing political matters, thus limiting the scope of the information.

Although it has been said that this resulted from efforts to ensure the objectivity of the content or a narrow focus on the ruling class, this development was the product of a dynastic society of a particular period and does not necessarily detract from the overall value of the Annals . Above all, the significant point is that the compilation of annals reflects a 1,000-year tradition, from the Goryeo period through the Joseon period, and the Annals of the Joseon Dynasty have been preserved intact. Indeed, the Annals of the Joseon Dynasty are unprecedented among documentary treasures, in terms of breadth and detail, and without a doubt a most precious cultural heritage.

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Dedicated Efforts to Preserve the Annals of the Joseon Dynasty The centuries-old Annals of the Joseon Dynasty have been well preserved as a result of the systematic efforts of dedicated archival caretakers to improve the durability of the texts, including protective measures to prevent damage from moisture and bug infestation. Shin Byung Ju Professor, Department of Korean History, Konkuk University

This map, produced in 1872, depicts the archives facilities located on the slopes of Mt. Jeoksang, in Muju-gun, Jeollabuk-do, which housed an entire original set of the Annals of the Joseon Dynasty . ÂŠ Shin Byung Ju

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1 The Mt. Jeongjoksan archives are found along the western area of the island of Ganghwado, which is situated within today’s Incheon metropolitan district. Following a king’s death, a new edition of his reign would be compiled and stored at each of the archives facilities.

2 The Mt. Odaesan archives, which were built in 1606, preserved a set of the Annals through the final days of the Joseon Dynasty in 1910. In 1913, the Japanese authorities expropriated the Annals copy of the Mt. Odaesan archives to Japan. The existing archives facilities have been reconstructed, based on the site’s historical records.

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lthough the Annals of the Joseon Dynasty (Joseonwangjosillok ) have been duly recognized as an incomparable documentary treasure, this would not have been possible without its elaborate and scientific system of maintenance and preservation. This included the building of archives in remote mountainous regions, where the Annals could be safely stored for future generations, along with the development of nearby guardian temples to protect the archives during times of crisis. The Annals would be stored in special boxes, together with medicinal herbs to ward off insects and absorb moisture. Also, the Annals were aired out once every two years as part of a continuous maintenance and preservation process. As such, it was the rigid adherence to these painstaking procedures that enabled the Annals of the Joseon Dynasty to be maintained in their original form after all these centuries.

Mountain Archives Following the compilation of an edition of the Annals of the Joseon Dynasty , the Annals Compilation Office (Chunchugwan ) would preside over an enshrinement ceremony. Thereafter, one copy of the Annals would be stored at the Office of Records in Seoul, along with one copy at each of the archives in the provinces. In the early years of the Joseon Dynasty (1392-1910), the Annals were stored in the Office of Records and at the provincial centers of Chungju, Jeonju, and Seongju. However, there were concerns about the risk of the Annals being damaged by fire or looted from the provincial centers. And in fact, during the reign of King Jungjong (r. 1506-1544), the 11th Joseon ruler, a fire did occur at the Seongju archives, when someone there supposedly tried to scare off some pigeons. The 1592-1598 Japanese invasions of Korea showed just how difficult it was to protect archives that were situated in city areas, which could be easily accessed. The Office of Records in Seoul, and the archives in Chungju and Seongju, which were readily accessible to the invaders, ended up being destroyed by fire, along with the Annals stored therein. Fortunately, the materials at the Jeonju archives had been relocated to Mt. Naejangsan, thanks to the dedicated efforts of Confucian scholars, such as Song Hong-rok and An Ui, which contributed to their safe preservation. Although the Japanese intruders were eventually fended off, it was apparent that having archives in city areas was highly problematic, in terms of the threats of loss due to foreign invasion, as well as fire and theft. Therefore, it was decided that, for their better protection,

Regular Maintenance The Annals have been well acknowledged as the representative example of the extraordinary record-keeping culture of the Joseon Dynasty era, but the Records of Annals Status (Sillok hyeongjian ) are worthy of note as well. These records were maintained to document the condition of the Annals whenever the archives had to be opened for such matters as the enshrinement of a

new edition of the Annals , airing out of the volumes, review of documents, and maintenance of the archives building. The Records thus represented a compilation of the inspection details of the archive holdings. Whenever the archives were opened, the types and number of volumes stored in the archives and in each individual box, along with a list of the names of historiographers and staff in attendance, would be noted in the Records of Annals Status . These documents provide evidence that the Annals documents at the archives had been regularly inspected and maintained. The periodic airing out of the volumes, a time-consuming effort, reflects the conscientious attention paid to the

proper maintenance of the Annals . The airing out was necessary to prevent the accumulation of moisture, which could cause rotting, and bug infestation, so as to assure the long-term preservation of the documents. Ordinarily, the airingout process was undertaken on clear days during spring or autumn, with a senior-ranking historiographer having been dispatched by royal order to oversee the proceedings. The detailed formalities and procedures for this process are outlined in the Hanwongosa . The Annals at each archives shall be aired out once every two years. The historiographer dispatched by order of the king shall open the doors to the archives. While wearing an official black robe, he shall bow four times in front of

ÂŠ Euro Photo

the archives would be relocated to remote mountainous areas, despite the logistical complications that resulted from the limited access. Accordingly, in addition to the Office of Records in Seoul, archives were developed at Mt. Manisan on Ganghwado Island; Mt. Myohyangsan in Yeongbyeon, Pyeongan-do Province; Mt. Taebaeksan in Bonghwa, Gyeongsang-do Province; and Mt. Odaesan in Pyeongchang, Gangwon-do Province. The Mt. Myohyangsan archives were later relocated to a better fortified area on Mt. Jeoksangsan, in Muju, Jeollado Province, in preparation for a possible invasion by the Later Jin Dynasty (1616-1636, which became the Qing Dynasty). The Mt. Manisan archives on Ganghwado Island was seriously damaged during the Manchu Invasion of 1636, and then by a fire in 1653, which led to its relocation to the nearby Mt. Jeongjoksan in 1660. During the later Joseon period, four provincial archives were maintained at Mt. Jeongjoksan, Mt. Jeoksangsan, Mt. Taebaeksan, and Mt. Odaesan. With guardian temples erected nearby for the defense of the archives, this archival system was continuously maintained until the demise of the Joseon Dynasty.

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Details of the Annals Archives Buildings and Storage Boxes

Storage Boxes

Oilpaper - Layer of oilpaper was placed on top a stack of Annals volumes for protection from water seepage.

Paper - High-quality paper was placed between individual volumes to keep them separated.

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Red wrapping cloth - The Annals volumes would be bound with a red wrapping cloth for added protection. Red was said to drive away evil spirits. -Young Pu

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Herbal medicine pouch - Medicinal herbs, including cnidium officinale and acorus calamus, were placed in each storage box to prevent bug infestation.

Archives Buildings

Windows - Large-size windows assured adequate ventilation, while window shades and screens provided protection against direct sunlight and precipitation.

Roofs - Roofs were built with a sharp pitch and ample overhang to protect against rain and reduce snow accumulation.

Flooring - The flooring of archives buildings would be built above ground level, in order to prevent moisture seepage from the ground and to allow additional air circulation.

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20 Koreana | Autumn 2008

, Inc. hers

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After the Japanese Invasions of Korea (1592-1598), for the safety of the Annals documents, the storage archives were built in mountainous areas surrounded by precipitous terrain, where access was extremely difficult. Nevertheless, historiographers would be greatly honored to make this arduous journey to carry out orders issued by the king.

the archives. After he opens the doors and inspects the archives, he shall open the individual boxes and air out the volumes therein. Shin Jeong-ha (1681-1716), a civil servant official and scholar during the late Joseon period, was dispatched to air out the Annals stored at the Mt. Taebaeksan archives in the fall of 1709. He recorded his experiences in a travelogue and in the form of poetry. His travelogue entries included the following details about his assignment. “The archives building is surrounded by a wall. To the east of the wall is the building for the historiographer’s use during the airing out process. The archives staff and the monks who are responsible for the protection of the archives always remain in the archives building. When I reached the archives building, I bowed four times, then I unlocked the door and looked around inside. The volumes were aired out over three days, and during that time the weather was clear. I aired out a total of 36 boxes of volumes during that period. When the airing was completed, I placed the volumes back in their boxes, sealed them, and returned them to the second floor of the archives building, just as they had been before.” Even though the archives were located in remote mountain areas,

which often required a physically demanding trek, the historiographers considered it a high honor to be dispatched for archival assignments. Moreover, they regarded the proper maintenance and preservation of the Annals as a solemn obligation, without regard to any personal sacrifice or hardship. Provincial officials would extend generous hospitality to historiographers from the royal palace. Indeed, for everyone involved, the preservation of the Annals was a matter of paramount importance. Today, some 500 volumes of the Records of Annals Status are stored in Seoul National University’s Gyujanggak. The contents of these documents focus primarily on the periodic airing out and inspections of the Annals , without which the preservation of this documentary treasure, in its original state, would likely not have been possible. Restricted Access The Annals were stored in specially prepared boxes to help maximize their long-term preservation. Each box contained from 15 to 20 volumes. Sheets of paper would be placed between each volume, and then the entire stack was covered with a piece of red fabric, which served to protect the contents from water and to ward off negative energy.

To protect the documents from moisture and bug infestation, pouches of ground-up cnidium officinale and acorus calamus were placed in each box. Cnidium officinale is a medicinal plant whose roots and stems are used to relieve anxiety or pain, and to promote good health. Acorus calamus, or sweet flag, is also a popular ingredient of herbal medicine applications. These herbal supplements are said to have played a vital role in preventing damage to the Annals , which includes early editions created more than 500 years ago. The storage boxes were made with various lightweight woods, such as willow, paulownia, and linden. The exterior surfaces of the boxes were lacquered to provide a sealed interior that prevented the entry of moisture. The boxes included handles and four legs, and their surfaces were decorated with iron, brass and pine resin. After the Annals were placed within the storage boxes, the boxes were carefully sealed and locked. Even the staff responsible for the maintenance of the Annals could not open the boxes; only a historiographer dispatched by royal order was authorized to open the boxes. This is another example of how preciously the Annals were treated. In spite of the passage of several centuries, the Annals of the Joseon Dynasty remain in their original form because the storage archives were built in safe locations during the late Joseon period, and thanks to the dedicated efforts of those responsible for the maintenance and preservation of the Annals , as documented in the Records of Annals Status . Autumn 2008 | Koreana 21

Annals of the Joseon Dynasty

Brought to Life by the Digital Era The Annals of the Joseon Dynasty (Joseonwangjosillok ) is enjoying a renaissance. With the digitalization of information and ready availability of Internet service, scholars and the general public can now easily access the Annals content. Moreover, the Annals has served as a wellspring of inspiration for a wide array of creative endeavors, including movies, TV dramas, and publications. Shin Myung-ho Professor, Department of Korean History, Pukyung National University

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With the digitalization of the Annals content, and its translation into Korean from classic Chinese, even young students can easily research any particular reference or subject area. ÂŠ Imageclick

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additional research on Jang Geum, which eventually led to his creation of the historical drama. As such, the genesis of “Daejanggeum” can be traced to the chance discovery of a single line in the Annals about Seo Jang Geum, a nurse from a commoner family.

Source of Creative Content The most convenient process to access information about Heo Jun, the protagonist of the historical drama of the same name, would be to look up references about the palace pharmacy, where the court physicians were assigned, by searching the CD-ROM edition or the online version of the Annals of the Joseon Dynasty (Korean Translation ). If you enter “palace pharmacy” into the search text function, a total of 689 references are listed, in a matter of mere seconds. That is, within a few seconds, you can review a listing of all the information about the palace pharmacy, such as its history, organization, and

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members, throughout the 500 years of the Joseon Dynasty. Moreover, a search of “palace pharmacy,” and other terms, will undoubtedly yield unexpected gems, along with the relevant match results. For example, the single line—“No one knows my illnesses as well as Jang Geum”—was included among the list of 689 references. It is possible to access practically all available information concerning the palace pharmacy during the 500-year history of the Joseon Dynasty, as well as unexpected findings, because the digital format of the Annals of the Joseon Dynasty includes a complete Korean translation. In this regard, it could be said that digitalization of the Annals of the Joseon Dynasty helped to spawn the creation of the “Daejanggeum” historical drama. In addition, the beloved drama, “The King and I,” about the life of Kim Cheo-seon (?-1505), an eunuch who served under six kings, from the fifth Joseon monarch Munjong to the tenth

he popular TV historical drama “Daejanggeum” (Jewel in the Palace) has been one of the primary forces behind the remarkable spread of the “Korean Wave” phenomenon to nearly all corners of the world. Yet this drama evolved from a happenstance event. When the producer Lee Byung Hoon was working on the historical drama “Heo Jun,” he came across a noteworthy passage while searching the Annals of the Joseon Dynasty for information about Heo Jun (1539-1615), a Joseon court physician who attended the royal family. It was a statement by King Jungjong (r. 1506-1544) who declared: “No one knows my illnesses as well as Jang Geum.” During the Joseon Dynasty era, since the king’s physicians were all male, it is curious that Jang Geum, a woman who would ordinarily assume the role of a nurse, would be the person most familiar with the king’s physical condition. Due to this incongruity, Lee conducted

1 The TV historical drama “Daejanggeum” (Jewel in the Palace), which was inspired by a single reference found in the Annals of the Joseon Dynasty , “No one knows my illnesses as well as Jang Geum,” has contributed much to the global spread of the Hallyu (Korean Wave) phenomenon. 2 The historical drama “Heo Jun” is based on the real-life story of Heo Jun (1539-1615), a legendary physician of the Joseon Dynasty. While serving as the palace physician of the king and royal family, several accounts of Heo Jun’s experiences have been recorded in the Annals of the Joseon Dynasty . 3 The film The King and the Clown was inspired by the life of the clown Gonggil, who, according to the Annals of the Joseon Dynasty , had been punished due to his disrespectable remarks to the king. 4 The film Singijeon , whose storyline is centered on the development of a Joseon-period rocket launcher, known as singijeon, has been created from an abundance of historical details contained in the Annals of the Joseon Dynasty .

5 The Comic Book Annals of the Joseon Dynasty offers easy-to-understand stories based on the Annals content, which has proven popular among students as well as adults.

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Yeonsangun (r. 1494-1506), is another prime example of applying dramatic creativity to breathe life into a variety of the characters and accounts recorded in the Annals . Its lead characters, as well as Eoeuludong, who was featured to add a human dimension to the history-based storyline and enhance its romantic elements, were all derived from the Annals texts. Eoeuludong was a notorious seductress during the time of King Seongjong. The daughter of a yangban (aristocratic) family, named Bak, she married into a family related to the royal line, but

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ÂŠ Newsbankimage

In 2008, the National Institute of Korean History completed an automation project of epic scale: The entire contents of the Annals of the Joseon Dynasty , based on the original copy stored at the Mt. Taebaeksan archives, have been recorded in digital format. The Annals have thus been permanently preserved, along with the provision of a full Korean translation of the original Chinese characters.

later divorced, thereby losing her elite social standing. She then descended into a downward spiral, engaging in scandalous affairs until her tragic death. Eoeuludong became synonymous with unrestrained sexuality among Joseon society, while the Annals include some 100 accounts about her illustrious lifestyle. Through these accounts you can acquire a detailed overview of societyâ&#x20AC;&#x2122;s attitude toward Eoeuludong, a symbol of personal freedom and individuality during an era when the activities of women were rigidly constrained, along with unearthing a wealth of notable incidents

about her life that can be used to create dramatic stories. With the Annals of the Joseon Dynasty now being readily accessible on the Internet, viewers no longer have to accept the portrayals of historical dramas at face value, since they can compare the dramatic depictions with the actual accounts of the Annals , making it possible to independently assess historical episodes from a variety of viewpoints. Blurring of Fact and Fiction Along with providing background

information for historical dramas, the Annals are also being used as “total contents” and a “multipurpose source” of materials by every segment of Korea’s cultural industry. In this way, specific elements found in the Annals are being adapted and expanded in conjunction with other aspects, through a synergy process. The representative example of this process is the highly successful play You , which was based on the life of Gonggil, a clown (court entertainer) mentioned in the Annals . The play You features distinctive characters and a heartfelt story line, which was derived from the Annals detailed accounts about the goings-on of the Joseon royal court. After its opening in 2000, You went on to become the most successful original play in Korea. At the awards ceremony of the National Theater Association of Korea, it scored a clean sweep, capturing the awards for best play, best drama, and best actor. This stage success was then taken to the silver screen, in the form of The

King and the Clown film. Following its release in 2005, it became the No. 1 box office attraction in the history of Korean cinema, with more than 12.3 million viewers. Moreover, the You story line was then adapted into a book, of the same title in that same year, which again enjoyed success as a bestseller. The extraordinary success of You , in the fields of theater, film, and publishing, has been attributed to the intriguing character of Gonggil, whose life story had been documented in the Annals of the Joseon Dynasty . Just as with Jang Geum of “Daejanggeum,” the clown Gonggil was discovered by accident. Playwright Kim Taeung, who wrote the script for You , learned about an aspect of Korea’s traditional entertainment referred to as “amusing witticisms.” While searching the Annals for information on “amusing witticisms,” he came across references to the clown Gonggil. In this case, “clown” was a term used during the Joseon period to refer

to a performer or entertainer, including those who recited “amusing witticisms” before an audience of the king and court officials at the palace. Thus, to access information on “amusing witticisms” in the Annals , you simply have to enter keywords such as “clown” or “performer” into the search function. The search results would include an account of the clown named Gonggil, which reads: “Gonggil quoted the Analects and stated: ‘The king must act as is becoming of a king, a vassal must act as is becoming of a vassal, a father must act as is becoming of a father, and a son must act as is becoming of a son. If the king does not act as is becoming of a king and his vassals do not act as is becoming of vassals, how can I eat, no matter how much grain there might be?’ Hearing this, the king thought Gonggil was disrespectful, and had him beaten and then exiled to a far away place.” After reading this account, the playwright could only wonder: “What was the motivation for this clown to make

1 Visitors look over original volumes of the Annals of the Joseon Dynasty at a special exhibition.

2 Volumes of the Annals of the Joseon Dynasty stored at Seoul National University’s Gyujanggak Institute for Korean Studies.

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such critical remarks in the presence of the king?” He was perplexed about the relationship between the king, the all-powerful ruler, and the clown, who occupied one of the lowest rungs of the social order. This scenario provided the spark for Kim’s creation of the storyline for You , which was subsequently adapted to The King and the Clown film and the You publication. Indeed, we can only marvel at playwright Kim’s creative mind that so vividly brought to life the Gonggil clown, along with the personalities and incidents, based on the historical accounts of the Annals . Ultimately, You is the foremost example of how the various historical references of the Annals , combined with the convenience of advanced data-processing technology, have contributed to the creation of such rich cultural content for the theater, film, and publishing sectors. The film Singijeon , which is scheduled for release in September 2008, is rooted in the development of the singijeon , a military weapon that was first cited in the Annals of King Sejong , in 1448. The singijeon is a Joseonperiod rocket launcher that was based on a prototype designed by Choe Mu-seon during the Goryeo period (918-1392). In the film, King Sejong orders the singijeon’s development as a means to bolster the country’s defenses against intrusions by the Ming Dynasty (1368-1644) of China. The film’s depiction of historical events and the political situation, involving the personal relationships of vivid characters, have been drawn from the texts of the Annals . The Annals contents have been published in a wide variety of book forms as well, including a popular

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comic book version. After the initial volume of the Comic Book Annals of the Joseon Dynasty was introduced in 2003, its success led to the development of the series, of which a final volume is scheduled for release in 2011. Targeted for young readers, it offers easy-tounderstand stories based on the Annals content. Moreover, as a result of its sales of 200,000 copies, parents have been clamoring for the publication of an adult version for their own enjoyment. Of note, this comic book version has managed to overcome a commonly held notion that historical materials are difficult to understand, along with proving that the diverse content of the Annals can appeal to readers of all ages and generations. Nowadays, in the history section of a bookstore, you can find a growing number of books that deal with such matters as the educational system of the Joseon royal court, the intimate lives and loves of Joseon royal women, and the intrigue of behind-the-scenes power struggles and palace conspiracies. Along with confirming that reality can be stranger than fiction, the Annals serve as an endless wellspring of inspiration for the creation of content for all cultural fields. Digital Age Revival However, it would not have been possible to take even one step along this path without the monumental projects of having the Annals of the Joseon Dynasty translated into Korean and converted into digital format. For example, what would have happened when the producers looked for background information for the “Heo Jun” and “Daejanggeum” dramas?

The original Annals is of a massive scale: 1,893 volumes in 888 books; 133,968 pages; and 189,867,695 characters. Moreover, this voluminous content is written entirely in classical Chinese; therefore, unless you are highly proficient in classical Chinese, your understanding of the texts will be extremely superficial. Plus, experts of classical Chinese are capable of reading only about 50 pages per day, which means that it would require a period of about 7 years to read all 133,968 pages of the complete Annals . Although an expert of classical Chinese would need seven years to find all references to the “palace pharmacy” in the original Annals , with the CD-ROM or online versions, in Korean, anyone who can read Korean could find all of the references in a matter of seconds. Indeed, the digitalization process can be thought of as a miracle and godsend, in regard to data-processing speed and user convenience. The original Annals texts cover a wide variety of subjects over the course of the entire Joseon Dynasty era, including matters related to politics, military affairs, diplomacy, the economy, society, history, prominent figures, and institutions, as well as astronomy, science, medicine, technology, geography, cosmic philosophy, divination, literature, folklore, music, art, religion, thought, ethics, morals, customs, popular sentiments, and everyday social conditions. The content is particularly noteworthy for the minute detail of the accounts of the whole of society, including the words and actions of the king, his political successes and failures, and the private lives of individuals, not

ÂŠ National Institute of Korean History

Thanks to the dedicated efforts of the late Dr. Lee Woong-geun, the entire contents of the Annals of the Joseon Dynasty are now available in CD format. This colossal endeavor, which was completed in 1995, required an investment of some 5 billion won and an estimated 100,000 man-days of a team of research specialists. In addition, the National Institute of Korean History operates a website where any Internet user can conveniently access the entire Annals contents.

unlike the newspapers of today. With so many aspects of the 500 years of the Joseon Dynasty having been recorded in the Annals , they are truly worthy of being called a treasure trove of historical and cultural information, without precedent the world over. Yet, before the Annals were translated into Korean and digitalized, the extensive content was wholly unwieldy and cumbersome. As already noted, the Annals contained so much information that much time and effort would be required to find a particular reference.

Furthermore, the learning of classical Chinese declined rapidly from 1910, while by the 1960s there were ever fewer persons who could read and understand the original Annals . As a result, the Annals had become extremely difficult for even scholars of Korean history to use as a reference. To remedy this situation, a project to translate the Annals into Korean was launched in 1968, and finished in 1993, representing 26 years of concerted efforts. About 3,000 Korean scholars participated in this endeavor, which

marked the most substantial project in the field of Korean history in modern times. Equally important was the undertaking of a digitalization project to make the Annals easier to use. The Annals of the Joseon Dynasty (Korean Translation ) comprises 413 books. Still, if someone read 100 pages per day, it would take some four years and three months to read through everything. Moreover, upon completion, without a detailed index, it would be difficult to remember and locate specific references.

Autumn 2008 | Koreana 29

In order for the Annals of the Joseon Dynasty (Korean Translation ) to serve as an effective resource for research, it was necessary to digitalize the contents. For this, an Annals of the Joseon Dynasty CD-ROM Publishing Committee was formed in April 1994, which led to production of a CD-ROM version of the Annals of the Joseon Dynasty (Korean Translation ) in March 1995, which contains all of the 413 books. The cutting-edge CD-ROM (threedisc set) includes text information as well as audio and video features. Over 300 million characters can be stored on a single disc with a compact 12-centimeter diameter. And since the basic CDROM format conforms to the standards of the International Organization for Standardization (ISO), it can be readily used anywhere in the world. The CD-ROM is a far more convenient form for accessing information than a regular book. The specific information in an ordinary book must be located from a table of contents or an index of subjects. But with a CD-ROM, you can directly search for the desired contents. The search function is very quick, and you can jump to the relevant location in an instant, enabling easy access to any particular reference. The user-friendly functionality of the CDROM is ideal for sorting through the diverse and extensive information of the Annals . Because the Annals were written in chronological order, the articles are listed by year, month, and day. The CD-ROM version of the Annals of the Joseon Dynasty (Korean Translation ) includes an index function, based on the dated table of contents, to coincide with the originalâ&#x20AC;&#x2122;s chronological system. Thus, any user with basic computer

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Nowadays, a wide variety of books has been published about the stories and information contained in the Annals . In fact, the diverse and extensive content of the Annals of the Joseon Dynasty is credited with inspiring a broad array of publications, including history books, novels and educational texts.

knowledge can easily access specific information with a few mouse clicks. In light of the almost 1,900 volumes of the original Annals , in less time than it would take to even identify the desired volume, a CD-ROM user can access the specific information. User-friendly Annals In December 2007, the National Institute of Korean History completed a two-year initiative, “Annals of the Joseon Dynasty National Online Service Project,” which can be accessed at the website (http://sillok.history. go.kr). This online service allows users to view the translated Korean text, the original text in classic Chinese, and images of the original documents. And new features have recently been added. Of particular significance is the fact that the copy of the Annals stored at the Mt. Taebaeksan archives has been recorded in digital images, thereby permanently preserving the original content, in its entirety. There is also a Genealogical Table of the Joseon Royal Clan , which lists the social standing, family origin, and career highlights of the various individuals that are covered in the Annals , allowing convenient access to an abundance of information on historical figures. The digital format and online access of the Annals has generated a wide variety of benefits. Most notably,

the Annals are no longer an exclusive resource of experts of classical Chinese, but are instead available to the general public as well. As a result, the general public’s interest in the Joseon period has steadily swelled, while Korea’s knowledge and cultural-content industry has received an injection of dynamic energy. This was all made possible by combining the Annals of the Joseon Dynasty (Korean Translation ) with cutting-edge data-processing technology. In order to sustain this positive momentum, it is necessary to develop a glossary of the words and terminology, which are difficult for even history scholars to understand. Moreover, along with the application of advanced data-processing technology, there is a need to conduct further research to supplement the contents in the Annals . In addition, with the Annals now being accessible online to all Koreans and everyone else in the world, there should be serious consideration of efforts to translate the Annals into foreign languages. If the interests of people in Korea and abroad can be served by revealing the historical and cultural contents of the Annals of the Joseon Dynasty , it might be reasonable to expect that another miracle, even more remarkable than the digitalization, will be seen in the creative content industry, as well as the academic and cultural sectors.

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FOCUS

Seoul’s Emergence as a City of World-class Design

Mayor of Seoul Oh Se-hoon seeks to transform the “hard city” of Seoul, which has long pursued a development paradigm based on construction and commercial enterprise, as well as functionality and efficiency, into a “soft city” that is shaped by the influences of design and culture. Seoul Design Headquarters | Photographs Seoul Design Headquarters

The City Gallery Project strives to broaden the general public’s exposure to the arts and culture by installing artistic works throughout the city. This installation work at the Oksu subway station reveals a diversity of colors and textures to passersby.

ndeed, we now live in a “brand” era. Nowadays, people are constantly exposed to ubiquitous brand images that are intended to stimulate consumption. But today’s consumers do not simply purchase products; they are often enticed by the images and values of various brands. Nowadays, the use of branding extends well beyond the products manufactured by commercial enterprises. Countries and cites also promote their own branding, which can be maximized through the application of advanced design. And futurists have long predicted that national competitiveness will be determined by a country’s design capability. Accordingly, while the 19th century has been known as the age of industrialization, and the 20th century as the era of information, the 21st century, characterized by the onset of borderless global competition, is destined to be an era of design.

Keyword for Change: Design In today’s modern era, in which design has the potential to create value and influence culture, leading cities are eagerly

attracting tourists and visitors from the world over through branding efforts that have been implemented in accordance with initiatives which highlight the unique characteristics of their cities. Well aware of the onset of an era in which the competitive standing of cities represents a core factor in the determination of national competitiveness, city of Seoul has aggressively pursued diverse efforts to upgrade Seoul’s brand to the level of worldleading cities. The concept of “culturenomics,” which recognizes the potential of culture to create added value, is a cornerstone of Seoul’s new development strategy. All the policy measures that the Seoul Metropolitan City Government has established to this end can be summarized by the keyword “design.” More specifically, the Seoul Metropolitan City Government has embarked on a course of action that revolves around the application of design to bolster the value of the city’s brand, along with using this enhanced brand recognition as a growth engine to sustain Seoul’s economic development.

The various initiatives, which have been formulated and implemented since the 2006 inauguration of Mayor of Seoul Oh Se-hoon, have been centered on the promotion of innovative design. Mayor Oh Se-hoon thus seeks to transform the “hard city” of Seoul, which has long pursued a development paradigm based on construction and commercial enterprise, as well as functionality and efficiency, into a “soft city” that is shaped by the influences of design and culture. These efforts include four Design Seoul visions: (1) eco-friendly city with an exceptional natural environment, (2) cultural city of refinement and dignity that is spiritually rooted in Korea’s rich history and traditions, (3) dynamic city powered by its world-class IT infrastructure, and (4) knowledge-based city with a highly educated citizenry.

World Design Capital

The Design Seoul Project seeks to improve the stylishness of Seoul’s appearance and to enhance the quality of life of its citizenry by providing a safer and more convenient environment. All matters overseen by the city of Seoul, including renovation of the urban landscape, upgrading of the administrative systems and service network, and improvement of transportation systems, will be carefully evaluated by the Design Seoul Project.

During the General Assembly of the International Council of Societies of Industrial Design (ICSID), held in San Francisco (October 21, 2007), Seoul was selected as the winner of the 2010 World Design Capital competition. A new World Design Capital is selected every two years from among candidate cities that have realized outstanding results in the promotion of design-centered development and have best optimized the competitive advantages of design. As such, this endeavor seeks to broaden the influence of design on urban spaces, economic activity, and local residents. The selection of Seoul, as the first World Design Capital since the designation of the Italian city of Torino as the model city, is especially significant and meaningful. In this way, the curtain has been officially raised on the “Design Seoul” era. To move forward expeditiously with the 2010 World Design Capital project, the Seoul Metropolitan City Government concluded a memorandum of agreement (MOA) with the ICSID on March 17. This comprehensive agreement, which outlines the specific rights, responsibilities, and interests of the Seoul Metropolitan City Government and the ICSID, marks the starting point of the Seoul Metropolitan City Government’s campaign to develop Seoul into a true World Design Capital by 2010. The 2008 Seoul Design Olympiad, which opens in October 2008, is a comprehensive global design festival organized by the Seoul Metropolitan City Government, in conjunction with its efforts to transform Seoul into a city of world-class design. It includes a Design Seoul conference, exhibitions, design contests, and design festival. The 2008 Seoul Design Olympiad will serve as an opportunity to publicize the image of

1 Efforts are underway to create an all-new and pedestrian-oriented Gwanghwamun Plaza in the heart of downtown Seoul by June 2009.

2 The Dongdaemun Design Plaza & Park, being constructed on the former Dongdaemun Stadium site, is intended to reinforce Seoul’s status as a World Design Capital, upon its completion in 2010.

3 The Hangang Renaissance Project will feature a dramatic lighting and 1

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fountain system along the entire length of Banpo Bridge, together with a variety of leisure facilities and cultural spaces at adjacent park areas.

Seoul as a world design capital, attract tourists, and induce prestigious design enterprises and design professionals to establish a presence in Seoul, in order to introduce the latest design trends, advanced techniques and know-how, and reinforce the competitiveness of Korea’s design sector. The theme of the 2008 Seoul Design Olympiad is “Design is AIR.” The theme is meant to suggest the similarities of design and air, in regard to their presence everywhere and life-giving essence and energy.

New Symbol, Color and Typeface Although Seoul has been a global metropolis with a population of 10 million people for some time now, until recently no symbols had been established to promote the city’s identity. As a result of extensive research and polling of Seoul residents, as well as the input from numerous specialists, the city government announced the selection of a new symbol, color, and calligraphic style, which will be used to publicize the uniqueness of Seoul and its brand value. The haechi (commonly known as haetae ) has been designated as the symbol of the City of Seoul. Haechi is a mythical creature associated with good fortune and happiness. According to legend, it featured a horn atop its head, a bell around its neck, feathers under its arms, and a covering of scales. It is believed to live nearby the water in summer and favor the pine forests in winter.

Much like Singapore’s merlion and Berlin’s bear, the city of Seoul has adopted the haechi as the city’s symbol. Accordingly, the haechi will be the focal point of a global publicity campaign, which includes such efforts as the establishment of a haechi culture street and presentation of a haechi festival in the Hangang River and Mt. Namsan areas. In addition, “Dancheong Red,” which has been designated as Seoul’s “city color,” is rooted in dancheong , the brightly colored patterns that adorn traditional Korean buildings. Along with being one of the five colors of Korea’s traditional color scheme, obangsaek , red is a longstanding symbol of vitality and vibrant energy. Moreover, red was the color around which Korean soccer enthusiasts (Red Devils) rallied during the 2002 FIFA World Cup KoreaJapan competition. A majority of world-class cities have adopted colors or color schemes that are intended to project their individual identity or characteristics. For example, Berlin selected a city color after Germany’s reunification, which has been credited with helping to regain its status as a world-famous city. Similarly, Sydney and Yokohama have designated their own colors in an effort to upgrade the competitiveness of their cities. Seoul’s failure, until now, to establish a city color has contributed to the arbitrary use of various colors, along with disjointed color schemes and a hodge-podge cityscape.

3 Autumn 2008 | Koreana 35

The city of Seoul plans to integrate the “city color” designation into its urban design initiative that seeks to promote the identity of Seoul as the 600-year-old capital of Korea, along with helping to create a more harmonized and unified urban theme. The new city color will also be utilized for public facilities, signboards, the Hangang River waterfront, and public transport, including subways, buses, and taxies. The new Seoul typeface includes the Seoul Hangang style and the Seoul Namsan style, which reflect a blending of the traditional and contemporary cultural aspects of Seoul. The inspiration for the “Seoul typeface” can be found in the traditional Korean aes-

thetics of the dignified seonbi (literati), who intentionally left blank spaces in ink paintings, as well as the open-ended structure of hanok (Korean traditional house), and graceful lines of giwa (ceramic roof tiles). There are numerous examples of world-class cities that adopt a unique writing style to foster a civic identity and promote the city’s branding. This includes the British city of Bristol that developed a writing style known as “Bristol Transit,” as part of the city’s “Bristol Legible City” campaign. In conjunction with its renovation efforts, Yokohama, Japan also adopted a particular writing style. In addition, London is implementing a “New Johnston”

1 The City Gallery Project seeks to integrate artistic and cultural pursuits into the everyday lives of Seoulites, such as this exhibition of the creative works by students of the Seoul National School for the Hearing Impaired.

2~3 The Seoul Hangang and Seoul Namsan typefaces have been adopted as standard

lettering styles for public signage, including government buildings, information boards, and outdoor signboards.

4 Haechi , Seoul’s new symbol, is based on a mythical creature that is associated with good fortune and happiness.

5 Korea’s aesthetic sensibility is rooted in such colors and motifs as doldam (stone wall), pine trees, giwa (ceramic roof tiles), gingko leaves, deep blue waters of the Hangang River, and the dancheong decorative pattern of traditional Korean buildings.

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“Dancheong Red” (bottom, center) has been designated as Seoul’s “city color.”

style, while Paris applies a “Parisine” style to its subway system. The Seoul typeface is being featured on billboards and bulletin boards as well as at civic centers throughout the city. It will eventually be applied to all signage of public buildings, passenger information boards, employee uniforms of public institutions and agencies, subway information boards, and outdoor signboards. Anyone can download and use the Seoul typeface from the city of Seoul homepage (http://www.seoul.go.kr). City of Seoul plans to promote the Seoul typeface, in conjunction with the 2008 Seoul Design Olympiad opening on October 9, and then, after reviewing public feedback and making technical refinements, launch the official Seoul typeface in January 2009.

Design Seoul Project The Design Seoul Project seeks to improve the stylishness of Seoul’s appearance and enhance the quality of life of its citizenry by providing a safer and more convenient environment. All matters overseen by the city of Seoul, including renovation of the urban landscape, upgrading of the administrative systems and service network, and improvement of transportation systems, will be carefully evaluated by the Design Seoul Project. To this end, the government of Seoul launched the Design Seoul Headquarters in May 2007, and finalized the Design Seoul Guidelines, which outline the implementation details for the Design Seoul Project, in May 2008. The “hardware” aspects of the Design Seoul Project are focused on renovating the city’s landscape. In this regard, they will emphasize a neater cityscape with less street clutter and the design of buildings with more distinctive characteristics. These measures are intended to spruce up the city’s physical appearance, in addition to providing a safer, more convenient, and more attractive environment, which exudes vitality and aesthetic refinement. Notable endeavors include the Namsan and Hangang Renaissance Projects, designed to restore the user-friendly character of the Namsan and Hangang River areas, which have long served as a central corridor for Seoul residents; the Street Renaissance Project that includes the improvement of public facilities and streets; and the City Gallery Project focused on expanding the general public’s access to the arts and culture by installing artistic works throughout the city. Based on a master plan, drafted over the past two years, tangible results should be apparent by the latter half of 2009. In addition, new street furniture, based on publicly submitted designs, have already been installed in numerous areas throughout the city. In September 2008, 10 “Design Seoul” streets, situated in locales throughout the city, will be announced. Moreover, one-third of the districts in Seoul have agreed to participate in a campaign to restrict the operations of peddlers and vendors along city streets. Of note, subway stations, which have been designed by prominent designers, are slated for completion by 2008 yearend. And walkways along the fortresses in Seoul will be renovat-

The Seoul Design Olympiad, which opens on October 10, 2008, represents a comprehensive global design festival being presented by the Seoul city government to highlight the capital’s transformation into a city of world-class design.

ed, while new lighting systems are being installed on the Hangang River bridges. All of these improvements will allow Seoul residents to fully enjoy the city’s diverse landscape. The plans of the Design Seoul Project also call for the development of a new Mecca of design on the former Dongdaemun Stadium site. This landmark, tentatively named “Dongdaemun Design Plaza & Park,” will further reinforce Seoul’s reputation as a World Design Capital, upon its completion in 2010. Like the Sydney Opera House and Guggenheim Museum in Bilbao, this landmark will serve as an architectural symbol to promote Seoul’s identity worldwide. There are also plans to annually organize a Seoul Design Olympiad, in an effort to complement the Design Seoul Project initiatives. As for the “software” aspects of the Design Seoul Project, efforts will be centered on the development of means to apply design principles to the city’s administrative systems. In this instance, design improvements would be aimed at enabling civil servants to provide the highest quality services possible and in the most effective manner. Thus, the scope of this design project includes measures that encompass all spheres of the city: external and internal. To earn world-class status, a city must possess a culture and infrastructure that are attractive to people the world over. Moreover, a world-class city needs to be safe and convenient, while having a notable culture and environment that make visitors yearn for more. The efforts of the recent years have borne fruit in the form of positive momentum for the advancement of Seoul’s urban design. Now, the city of Seoul is poised to leap forward and emerge as a global metropolis based on world-class design. Autumn 2008 | Koreana 37

INTERVIEW

38 Koreana | Autumn 2008

Kim Keum Hwa Korea’s Foremost Shaman Korea’s preeminent mudang , or shaman, is Kim Keum Hwa, who for the past 60 years has been dedicated to her oft-misunderstood craft, performing shaman rituals to exorcise the anguish of people burdened by hardship, along with dispensing a sense of contentment for those who need to have their spirits uplifted. Cho Yong-ho Chief, Cultural Section, The Segye Times Photographs Ahn Hong-beom, Geumhwadang

hese days, Korea’s premier shaman, Kim Keum Hwa (77, Important Intangible Cultural Property No. 82) performs shaman and exorcism rituals mainly at her Geumhwadang institute, on the picturesque island of Ganghwado. From the second floor of the building, a glassenclosed southern side offers a breathtaking view of the panoramic scenery of mountains and seas. To the right of the building, there are tracts of tidal flats, where an endless cycle of high and low tides come and go, while the front of the structure faces a broad vista of rolling hills. The warm sunlight that shines into the room illuminates about half of the floor area. Wearing an elegant hanbok (Korea’s traditional garment), the shaman proceeds to sit in a spot at the edge of the sunlight for our discussion.

Life of Extreme Hardship Kim Keum Hwa grew up in a home that suffered from abject poverty. Married off at the age of 14, she returned home two years later when she could no longer endure the constant physical assaults and abuse of her mother-in-law. After having been diagnosed as being possessed by spirits, she underwent the naerim-gut (initiation rite) at the young age of 17, marking her official entry into the world of a mudang. During the process of journeying about the country to perform gut, she met a man with whom she wanted to settle down, but she eventually decided this would not work out because of her shaman life. From the time that she first donned the attire of a shaman, Kim has traveled along a

singular life path that has been dedicated to her efforts to exorcise people’s bitterness, or han , and to convey a sense of well-being and contentment. As a result of her performances in the Korea National Folk Arts Contest, during the 1960s, her fame and reputation flourished, which led Hwanghae-do Province to designate Kim as the guardian of the ancient shaman rituals of baeyeonsin-gut and daedong-gut . Today, Kim stands at the forefront of Korea’s shamanism and folk art, in addition to making a name for herself on the international stage as well. In 2007, which marked the 60th anniversary of her illustrious shaman career, during which Kim has reached the pinnacle, she was asked to perform the mansudaetakgut , a shaman ritual that is intended to prevent misfortune and assure good health and peace of mind, along with the safety and harmony of a village. Although only a handful of mudang have had the opportunity to perform this auspicious ceremony, this represented the fifth such performance by Kim. When asked about her thoughts of Korea’s immediate future, she had this to say. “Everything will work out fine. It has to. Although I can see various divisive issues on the horizon, and people’s expectations can never fully be met, we have to believe that everything will be fine. After all, well begun is half done. As generosity begins from the granary, we shamans can live a life that is relatively free of worry as long as the country is peaceful and prosperous. However, that being said, I do not think that the economy will improve dramatically in the Autumn 2008 | Koreana 39

short term. Still, everything will be fine, overall. Everything has to be fine.” The original role of a traditional shaman in Korea was more like that of a chief priest or counselor, who sought to assure the well-being of people and exorcise those suffering from pain or resentment, rather than a fortuneteller. In the past, no village in Korea would be without a mudang, who offered consolation to any villager burdened by hardship, along with encouragement for moving forward with their lives. Whenever the planting season rolled around, mudang would do their part to tend the fields, while living off the grain donated by villagers. During a time of crisis, people will seek a helping hand from real-world sources as well as divine intervention, when necessary. The advice offered by a mudang, in such instances, can be likened to a physician’s diagnosis and prescribed treatment for a patient’s physical ailment. Indeed, the word of a mudang can have a life-changing influence on an individual. Therefore, the mudang must be discreet in her thought and word when consoling someone in despair, along with drawing on her own trials and tribulations to provide forward-looking encouragement and practical suggestions. As for Kim, the severe adversity of her early life had served as an invaluable training that has enabled her to realize such a distinguished shaman career, by instilling her with a keen insight for alleviating the hardship and anguish of people.

coal… One day, my nephew sneered at me with disdain in his eyes and complained, ‘The other kids tease me because I come from a mudang house…’ Suddenly, a fierce rage swelled within me. I remember thinking that a mudang was not a criminal, a patient with a contagious disease, or someone who caused harm to others. I could not understand why the mudang had to be ostracized by society.” (Excerpted from Kim Keum Hwa’s autobiography Bidankkot Neomse ). For Kim, who is originally from Hwanghae-do Province, she had to endure extreme hardship during the Korean War (1950-1953). “The repeated clashes between the Korean and U.N. forces with the North Korean troops devastated my hometown. As the mudang of my village, I had to personally deal with endless tragedy and heartache. For instance, one day, a soldier who was convinced that his recent hardships had resulted from my improper performance of a gut, abducted me to a remote mountain area, where he intended to kill me. In the end, I was rescued by my mother who pleaded with the vengeful soldier that he should kill her instead, since she was responsible for giving birth to a mudang daughter.” Tears welled up in Kim’s eyes as she recalled the harrowing experiences of her earlier years. However, thanks to her fortitude, which enabled her to overcome such daunting challenges, she has become the representative shaman of Korea today.

Gut on the World Stage Whenever a guest visits, I am invariably asked about fortunetelling of some kind. I would be so exhausted from always worrying about how I could make ends meet that my heart began to shrivel up. I’m sure that if someone had opened me up they would have found only a lump of black

In 1982, Kim debuted on the world stage when she visited the United States as a member of a Korean cultural delegation, which had been dispatched to commemorate the 100th anniversary of the establishment of Korea-U.S. diplomatic relations. At that time, working-level U.S. officials

1 Kim Keum Hwa performs daedong-gut as part of the Seohaean Pungeoje (ritual to appeal to the sea god for the safety and bountiful catch of fishermen), which is regularly conducted along the west coast. Along with conducting shaman rituals, Kim Keum Hwa is renowned as a consummate performer, who is capable of eliciting the full range of human emotions.

2 Event poster for a shaman ritual she conducted at the University of Rome, in 2005. During this visit, Kim also performed jinhon-gut for the Pope.

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were concerned about how Kim’s audacious maneuvers would be received by American audiences. The gut performance, which did not appeal to everyone in the audience, was nonetheless greatly appreciated by a large majority of the viewers, who were enthralled by the climax, when Kim walks atop fodder blades. Moreover, the audience enthusiastically participated in the post-ritual ceremony, which is intended to create a sense of harmony and oneness, or daedong . Due to the success of her performances, Kim was asked to stage additional presentations, which required her to extend her stay in the United States by several months. All the while, the audiences came to warmly embrace her performances, joyfully sharing the good fortune of this shaman from a far away land, without any of the discrimination that was too often the case among various segments of Korean society. She attributed this to the more broad-minded

“The shaman ritual [gut ] is intended to teach people the ways of forgiveness and acceptance, instead of seeking revenge. The Korean people are naturally good-hearted. Although they might be hurt by others, they will bury the scars in their heart and assuage their soul until a gut can be conducted. Revenge only results in further revenge.”

approach to culture of the U.S. people, and their generous nature. Nowadays, Kim regularly visits countries all over the world to stage gut performances and interact with local residents. Kim is especially proud of her numerous spiritual sons and daughters (sinttal ), for whom she has conducted the shaman initiation ritual. One of her favorites is a German shaman, Andrea, who refers to Kim as “Mommy, Mommy!” with the voice of a young girl, when calling on the phone. Shamanism is one of Korea’s traditional religions. Although it has been publicly suppressed, first by the Japanese authorities during the colonial era (1910-1945), and then by the progressive Saemaul Movement, during Korea’s industrialization process in the 1970s, these days, a majority of people maintain an open-minded attitude toward shamanism. This acceptance of shamanism has extended to the religious circles as well, including Catholic nuns who have visited Kim and mentioned that the process of exorcising Autumn 2008 | Koreana 41

people’s han, or bitterness, with offerings of wine and tteok (rice cake), features similarities with the Catholic communion. In fact, Kim even conducted the jinhon-gut for the Pope, while visiting the University of Rome in Italy. “When I was asked to perform a gut, I explained that there were various types. A professor at the University of Rome suggested that I conduct a gut to assure that the Pope would enter an ideal place. At the gut’s conclusion, everyone had a sip of wine. Then, the professor scattered the wine in various directions, while making the sign of the cross. A gut is a joyful event, a place to release resentment, and a traditional way to express respect for our ancestors. A gut is a ritual through which good fortune, harmony, and food are shared. The shaman ritual is intended to teach people the ways of forgiveness and 42 Koreana | Autumn 2008

acceptance, instead of seeking revenge. The Korean people are naturally good-hearted. Although they might be hurt by others, they will bury the scars in their heart and assuage their soul until a gut can be conducted. Revenge only results in further revenge, along with an escalation of the related damage.” From her humble roots as a village mudang, Kim has since become the preeminent mudang who listens to the sorrows of the people across this remarkable nation that is Korea. Moreover, she has even earned a reputation as a global shaman, who provides consolation to people the world over. In her autobiography Bidankkot Neomse she writes: “Even though she might pray for the good fortune of others and look out for the welfare of people during her entire life, it is the destiny of a mudang not to gain

recognition for her efforts.” She notes that people only turn to God and the mudang when all else fails. But as soon as things turn around, they will not come around. Still, Kim is committed to whole-heartedly performing her gut to ease the torment of people and provide consolation for anyone in need, in Korea or abroad.

Sense of Contentment

Full-scale performance of Seohaean Pungeoje , which has been designated Important Intangible Cultural Property No. 82-2, by Kim Keum Hwa. Due to the perils that fishermen face at sea, this shaman ritual is known for its grand spectacle and theatrical elements.

One of her most ardent supporters among Korea’s intelligentsia is Kim Yong-ok (penname: Do-ol), a distinguished philosopher and Oriental medicine practitioner. Kim recalls being overwhelmed, breaking down in tears, after participating in one of Kim Keum Hwa’s gut performances, in the early 1980s. Then, as Kim left the stage after her dramatic fodder-blade climax, he instinctively embraced her. But Kim, who was embarrassed by this unexpected gesture, remembers that her reaction was to pull back. Then, after returning from a tour of Western countries, she came to understand that Do-ol had simply intended to express his heartfelt elation of her poignant performance. Thereafter, the two developed a close friendship that included Kim’s presentation of lectures at Korea University, at the invitation of Do-ol, and his provision of an inscribed frame that adorns a wall of her Geumhwadang. He also wrote a poem for the introduction of her autobiography. Meanwhile, after publishing his novel Jang Gil San , novelist Hwang Suk-yong invited Kim to conduct a gut in order to console the spirits of his characters, in his well-known work Jangsangonmae . He also plans to have Kim stage a gut at the Imjingang River to pray for Korea’s unification. As such, the disdain of Kim’s generation has finally receded to a point in which the status of the gut has since been upgraded to that of a ritual ceremony capable of stirring the pot of divinity and promoting a sense of oneness. On the other hand, how is Kim consoled during her own times of need? “I sometimes feel sad and lonely, even disconsolate. However, even though I had to endure much personal hardship and difficulty, I still think that I was fortunate to be at the right place at the right time. A mudang should never set goals or want too much. She should just be thankful that she is healthy enough. I am unconditionally grateful that I could somehow help other people.” Suddenly, an aroma wafts into the room. She sheepishly apologizes for the cheonggukjang (fermented bean paste stew) being prepared in the kitchen downstairs. I was told that Kim insists on serving a hot meal to anyone who visits her. For Kim and her generation, who have managed to survive the ordeal of Korea’s widespread poverty and lack of food, not all that long ago, it is no doubt a profound pleasure to extend such hospitality to a guest. With my stomach full, as I left Geumhwadang, a cool breeze suddenly kicked up, as if to clear my mind of idle thoughts. Autumn 2008 | Koreana 43

ARTISAN

Park Sung Kyu Preserving the Ancient Craft of Lacquered Leather Wares Leather craft works can be found worldwide, but the art of chilpi , a process of coating leather wares with lacquer, is unique to Korea. This unusual craft, which had died off during the mid-Joseon Dynasty, has since been revived through the dedicated efforts of master craftsman Park Sung Kyu. Chae Euibyoung Freelance Writer | Seo Heun-kang Photographer

rom the time that early man began to hunt animal prey for food, he soon learned about the usefulness of leather. Because leather surfaces could be affected by heat and moisture, people eventually learned to apply a protective coating, like lacquer. In Korea, where sap from lacquer trees would be applied to surfaces to protect against moisture, bug infestation, and heat, the use of lacquer dates back to the Bronze Age. Thereafter, a wide variety of lacquer-related techniques and applications have been developed, including the creation of chilpi , a uniquely Korean form of handicrafts.

Revival of a Forgotten Craft Park Sung Kyu, a government-designated master craftsman of chilpi, revived this traditional Korean craft, which had thrived until the mid-period of the Joseon Dynasty (1392-1910), but essentially disappeared thereafter. Park became fascinated with the craft of lacquered leather wares about 30 years ago, and has since taken it up as his passion and lifelong profession, making him Korea’s sole craftsman of chilpi. He emphasizes that while leather crafts are produced worldwide, Korea is the only country with a tradition of applying lacquer to the leather surfaces, 44 Koreana | Autumn 2008

along with adding elaborate decorative elements, including engraved patterns and inlaid mother-ofpearl. Park first made a name for himself in the field of traditional crafts as a master of najeon chilgi , the distinctive lacquer wares of Korea that feature intricately inlaid mother-of-pearl patterns, which he had taken up 40 years ago in his hometown of Iksan in Jeollabuk-do Province. He developed an interest in chilpi after a chance encounter with a display of leather crafts at a museum. “I had been doing najeon chilgi about ten years when one day I happened to come across an interesting display item that caught my eye. It was a small box. Upon close examination I could tell that it had been sewn. From the stitching, I realized that this box was made of leather. At first, I wondered about how this lacquered leather box was made, and then I wanted to reproduce it myself,” recalled Park. “At that time, however, there was no artisan dedicated to the craft of chilpi and I was not able to find any information or records. I didn’t even know how to learn the craft, with no one to teach me and so few artifacts available for me to study. So, I had to learn it on my own. Through trial and error, I have taught myself how

Close up view of lotus and arabesque patterns on a chest (71 Ă&#x2014; 26 Ă&#x2014; 71 cm)

to work with leather and apply the lacquer. And I am still learning.”

New Kind of Leather Craft Park is now acknowledged as the master craftsman of this field, but in his early days he experienced seemingly endless failures. He first attempted to make leather footwear with a lacquer finish, which featured the subdued sheen of a traditional chilpi item. Contrary to his expectations, however, the footwear turned out too stiff, and walking resulted in cracks in the lacquer coating. “I have thrown away so many leather items in the course of my experimentation process. I was pursuing my passion, but my family ended up suffering. But I was too determined to give up. I wanted to revive the authentic chilpi traditions and techniques and pass them on to the next generation. I told myself to work even harder, until I succeeded. If I had thought of chilpi as a means of making a living or realizing a fortune, I would not have been able to continue,” he explained. Park notes that chilpi and najeon chilgi involve similar processes, like lacquering, inlaying, and painting patterns. The key difference is in the materials. “The first thing that you have to do when making a chilpi item, such as a piece of furniture, document container, seal case, or storage box, is to construct a framework. Lacquer is then applied to the wood frame for protection. Then, the wood frame is covered with leather and several layers of lacquer are applied. 1

1 Chest with lotus blossom patterns (71×36×71cm) 2~6 The making of a traditional chilpi work involves a number of time-consuming processes. First, a high-quality piece of leather must be selected and dressed. Then, a wood frame is built, which is covered with the leather. After applying several coats of lacquer, decorative patterns are added. Thereafter, a finish of lacquer is applied to the surface.

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The leather is then painted and decorated, which can include painting patterns on the surface or inlaying mother-of-pearl motifs. When the decoration is in place, a final layer of lacquer is applied as a finish coating.” A work of chilpi is complete only after these final decorative steps. As a result of the numerous coats of lacquer and meticulous craftsmanship, the leather surface takes on such a subtle luster that an ordinary viewer might have a hard time believing this is a work of leather. “Only by applying a sufficient number of layers of lacquer to the leather can you achieve a high-quality work of chilpi that will last for many years. The more layers of lacquer, the better the result,” said Park. As a result of his adherence to these painstaking processes, Park Sung Kyu’s works are notable for their elaborate and dignified refinement, while not needing any ostentatious elements. This is exemplified by his elegant document container in dark brown with gold ornamentation and a clothing trunk decorated with exquisite lotus and arabesque patterns. For decorative motifs, Park favors lotus and arabesque patterns. Due to Buddhist influences, Koreans revere the lotus blossom for its purity and nobility, along with its symbolism of a dignified spirit detached from worldly temptation. Indeed, the lotus flower seems to well reflect the character of Park Sung Kyu, who never loses his composure or cheerfulness, however challenging and demanding his work might be.

Quest for Knowledge Park traveled far and wide in search of traditional chilpi artifacts to examine and broaden his knowledge. “Without a teacher to explain the techniques to me, studying chilpi works has been my most important means of learning. I had to figure out how to lacquer and decorate leather after observing existing works with my own eyes.” Because of its large collection of traditional chilpi works, the Korea Army Museum became the favorite place for Park to visit. The leather armor on display at the Andong Hahoe Folk Village was also a valuable source of information. “Most suits of armor are made of iron, but the armor at Andong is made from bull leather and lacquer. According to ancient records, leather armor was lightweight and enabled the wearer to move about quietly. It was also extremely durable, impenetrable by arrows and even bullets—as solid as iron,” Park noted. His quest for knowledge took him to all corners of the country, where he intently studied chilpi works and sought to discover the details of traditional techniques. In 1992, he gained considerable recognition when his lacquered leather box won the Culture Minister’s Award at the National Traditional Craft Contest. Finally, his many years of dedication and perseverance began to bear fruit. Thereafter, Park has concentrated on reproducing traditional chilpi artifacts and making his own creations as well. Thus far, he has completed the reproduction of the most notable Korean chilpi masterpieces, includ-

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Park Sung Kyu’s works are notable for their elaborate and dignified refinement, while not needing any ostentatious elements. This is exemplified by his elegant document container in dark brown with gold ornamentation and a clothing trunk decorated with exquisite lotus and arabesque patterns.

ing a gold-colored document container, housed in the Hamburg Museum of History in Germany, a leather seal case (Royal Museum at Deoksugung Palace in Seoul), a document container (Museum of Wonkwang University), and a uniform trunk (Korea Army Museum).

Upholding Timeless Tradition There are those who might downplay Park’s efforts to reproduce ancient leather works as a simple replication of past techniques. However, he intends to continue reproducing these masterpieces as a tribute to the consummate craftsmanship of his ancestors, since traditional chilpi had attained a level of sophistication that is difficult for today’s artisans to duplicate, in terms of artistic and technical quality. “As for the art of chilpi, observing and reproducing ancient artifacts is the best way to learn. People may believe that modern technology is much more advanced, but the technology and materials currently available in the field of chilpi lag far behind that of the past. Take veneer layers or medium-density fiber for example. They are more common today than natural wood, but they are easily susceptible to cracking and buckling, quickly ending up useless. Modern glues fare no better: They cause the leather to tatter and come apart, making it impossible to repair. The process of making wooden furniture was so

much more meticulous in the past than today. This is why I adhere to traditional techniques and materials, along with creating more contemporary and innovative designs and color schemes. My fundamental work principle is to reproduce, in all humility, the traditional leather works of our ancestors, before developing a style of my own,” Park declared. Park’s noteworthy creations include the case for former President Roh Moo-hyun’s official seal. In making this case, Park broke new ground by designing a unique cover in the shape of a four-sided pyramid. The patterns inlaid on the leather surface of the case served to highlight its exquisite and modern style. This is a prime example of the way that Park integrates new values and beauty into his leather creations, while also maintaining the tradition and spirit of Korea’s unique leather craft. Chilpi master Park Sung Kyu has quietly gone about dedicating his life to the revival and preservation of this little-known art form. In his hands, coarse and lifeless leather is transformed into elegant and vibrant works of art. Park reveals the essence of Korea’s traditional crafts by carrying on the traditions and spirit of our long-ago ancestors. Even today, he continues to create resplendent leather wares, accentuated with a subdued luster and sense of nobility.

1 Pillow with twin phoenix images (35×35cm) 2 Five-section fruit tray with cover decorated with elaborate phoenix patterns (97×36×35cm)

3 Park Sung Kyu paints decorative patterns on a chilpi work. Park decorates his works with brightly colored patterns or mother-of-pearl inlay.

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MASTERPIECES

Midnight Rendezvous Ardent Love and Heartache of Separation Midnight Rendezvous by Shin Yun-bok (ca.1758-after 1813, penname: Hyewon), a master of genre painting of the Joseon Dynasty (1392-1910), depicts the bittersweet moment when two lovers must bid farewell after a brief rendezvous under the moonlight, capturing the basic human emotions of ardent love and heartache of separation. Cho Insoo Assistant Professor, School of Visual Art, Korean National University of Arts

n the right side of the painting, a man and woman are standing, side by side. To the left, there is a crescent moon suspended in the sky over a house rooftop. The man and woman are having a rendezvous in an alleyway late at night. The man’s clothing—his large hat and full-length white robe—indicates his status as a nobleman. Holding a lantern in his right hand, he seems to be reaching for something in his pocket with his left hand. His feet, in leather footwear with light green decorative elements at the tips and heels, are pointed toward his left as if to leave. However, his face is turned in the opposite direction, gazing longingly at the woman with lingering affection. The woman is an upper-class lady, her head covered with a sky-blue hood, and wearing a jacket with purple bands adorning the collar and sleeve hems. Her small feet in purple leather shoes are visible under her full light-green skirt. Her face, which is partly revealed below the hood, is turned toward the man, her eyes downcast with chagrin. Behind the couple is a stone wall, running from the top right toward the lower left, which turns a corner at the center of the painting. To the far left, there is part of a roof, below which a window can be seen. Green leaves loom over the wall, and there is a crescent moon in the sky. The moon appears to be shining brightly as the result of an outline of dark-ink wash.

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Â© Timespace

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A short poem is written on the wall: “The moon sinks low / it is past three gyeong [from 11 p.m. to 1 a.m.] / What’s in the hearts of the two people / only the two people know.” Hyewon, the painter’s penname, is written below the poem.

Refined Artistry Midnight Rendezvous is included in Shin Yun-bok’s album Transmission of the Spirit of Hyewon (Hyewon jeonsincheop ). This collection of 30 paintings, which has been designated National Treasure No. 135, is housed at the Gansong Art Museum. Though details about the life of Shin are rather sketchy, it is known that he was born into a jungin (middle people) class family. Of note, this family had produced professional artists for one generation after another. His father, Shin Han-pyeong (1735?-after 1809), was an accomplished painter who was retained by the Royal Bureau of Painting (Dohwaseo ) of the royal court. According to one story, Shin Yun-bok was also a royal-court artist but he was expelled for producing a highly offensive painting. However, the accuracy of this account has been questioned, as Shin is known for his depiction of scenes from the everyday life of the upper class, in a refined and elegant style. Many of his works dealt with love, which tended to stir controversy among the conservative-minded Joseon society. During the Joseon Dynasty, Neo-Confucianism held sway as

the prevailing ideology and standard for morality. It emphasized the subservience of the subject to the ruler, as well as the son to the father and the wife to the husband. The elite class, or yangban , was expected to lead a life of virtue, while placing a priority on scholarly learning, personal discipline, and suppression of wayward desire. Therefore, painting served as a means to propagate the virtuous principles of Neo-Confucianism. Against this backdrop, genre paintings that realistically portrayed the extravagance and decadence of society would be severely chastised for being vulgar and obscene. Genre painting thus served as a kind of propaganda tool to boost the ruler’s image by casting a positive light on the contentment of the regular people in their daily life. A representative example would be the paintings of Kim Hong-do (1745-ca.1806), a master of genre painter and contemporary of Shin Yun-bok. In his Rice Threshing , Kim uses simple brushwork to realistically depict farmers cheerfully going about their work in a landlord’s house. Evidence of the extreme hardship endured by the exploited and struggling working class is nonexistent. Instead, able-bodied farmers are shown, smiling with contentment, thereby idealizing and beautifying the value of physical labor. On the contrary, Shin Yun-bok sought to highlight the nobility’s hypocrisy and debauchery, with candid portrayals. In his paintings, he depicted real-life scenes with a sophisticated refine-

1 “Dano Day” by Shin Yun-bok is a representative genre painting of the Joseon era that depicts a scene of the traditional Dano holiday, celebrated on the fifth day of the fifth lunar month. Alongside a mountain stream, women enjoy the activities associated with Dano, such as playing on a swing, washing their hair, and taking a bath, which attracts the curious eyes of young boys, sneaking a peek from an opening in the rocks.

2 “Rice Threshing” (27×22.7cm)

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by Kim Hong-do (1745-?), a contemporary of Shin Yun-bok (1758-?). While Shin would often depict the romantic affairs of noblemen and courtesans, as a social commentary, Kim tended to portray the everyday life of commoners, with scenes of the people’s contentment, enlivened with humorous elements.

ment and detached perspective, which enabled his paintings to gain considerable popularity. He carefully observed the comings and goings of the nobility and accurately captured their behavior in his paintings. The landscape and buildings in the background, various postures of people, dramatic expression of delicate emotions, and bright coloring all contributed to a vivid presentation of real-life situations. Those who viewed Shin’s works must have come away with a sense of ambivalence toward his paintings—publicly critical of the subject matter’s impropriety, while privately being titillated by their sensuality.

1 a.m. In Hanseong (present Seoul), the capital city of Joseon, a public curfew was enforced from 8 p.m. to 4 a.m., which means that the couple scheduled their tryst for a time when everyone should have been off the streets. Furthermore, Confucian principles called for males and females, from the age of seven, to be separated from each other. Consequently, adult members of noble families were not allowed to be alone with a person of the opposite sex, except for family relatives. Even within the home, the men and women of a noble family would be segregated, by inner and outer quarters. When a noble lady left her home, she usually rode in an enclosed palanquin. If she had to walk outside the home, she covered her face with an ample hood that served as a veil, and would be accompanied by a family maid. In light of these restrictions, the man and woman are having an illicit meeting in the dead of night, in violation of the code of conduct. The man’s refined attire and absence of a beard indicate that he is the young son of an upper-class family. Given her stylish dress, the woman must be from a family of wealth. Perhaps they are childhood friends, or she could be his best friend’s younger sister. It is likely that they developed an affection for each other while growing up, and now are willing to risk it all to be together. On the other hand, her overflowing hair, visible beneath the hood, might be a large wig, which was in vogue among married women at that time, suggesting that they may be having an extramarital affair. In any case, the painting indicates that such secret meetings between young men and women actually did occur in Hanseong, as Shin Yun-bok was known for his portrayal of real scenes from everyday life. The lines inscribed on the painting are from a poem that was popular in those days. It is about two lovers who are reluctant to leave each other after spending a night together. But with the dawn approaching, the man is forced to leave, while the woman asks him when they will be able to meet again. These lines also suggest another possible interpretation: the painting is less about a secret rendezvous than a bittersweet moment of yeaning, knowing that they have to part after their blissful togetherness. The woman is reluctant to turn around the corner toward her home, while the man cannot bear to turn away from her.

Painful Farewell As for Midnight Rendezvous , the time noted in the short poem is after three gyeong , the two-hour period from 11 p.m. to

Vivid Depiction Shin Yun-bok was masterful in capturing the complex inner conflict in the minds of two lovers. He applied a variety of artistic techniques to express the elation of meeting as well as the remorse of parting. Although the human figures are sharply outlined, the objects in the background are formed with blurred lines, in lighter colors. As a result, the two figures clearly stand out from the background. The couple on the right and the house and moon on the left create a symmetry, with a space at the lower center, where the poem is written. The flecks of color applied to the clothing and shoes enhance the painting’s delicacy. While the tilt of the crescent moon seems exaggerated, the waning moon reflects the couple’s sentiments. In Midnight Rendezvous , Shin Yun-bok portrays the meeting and parting of lovers, a universal theme that naturally tugs at the heart, regardless of time and place. Saying goodbye to a loved one is painful, but this will never prevent lovers from meeting again, because the torment of yearning is so much more agonizing than the anguish of separation. A fervent desire to be together, if only for a fleeting moment, is all due to the power of love. Although Midnight Rendezvous is a small-size painting, it is a masterful example of Shin’s ability to capture the depth of human emotion, along with offering a commentary on Joseon society. Autumn 2008 | Koreana 53

ART REVIEW

Seoul Spring Festival of Chamber Music Enlivens the Staid Metropolis A small-scale but nonetheless noteworthy music festival was staged in Seoul in May, amid the pleasant seasonal transition from spring to summer. Indeed, the Seoul Spring Festival of Chamber Music injected a much-needed vitality into the otherwise staid metropolis, uplifting spirits with the lithesome vibrancy of classical music. Park Yongwan Senior Editor, Auditorium Photographs Seoul Spring Festival of Chamber Music

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s someone who was born and raised in Seoul, it seems natural for the city to weigh me down at times. As such, I often experience a sense of disenchantment, when I would catch sight of the city from an airport bus after returning home from travel abroad, while being plagued by such questions as: How did the pollution in Seoul get this bad? Why are there so many people everywhere you look? And, above all, does everyday life have to be so tedious and uninspiring? However, by the time the bus passes by Gwanghwamun Gate and approaches the Cheonggyecheon area, I am again fascinated by the city and its denizens. My spirits are lifted by the vitality of endless crowds of people and the energy generated by the incongruous melding of tradition and modernity. Rejuvenated, I can even detect a kind of subtle humor in the seemingly inexpressive faces of passersby. Although Seoul’s exterior might be characterized by impersonal concrete and glass edifices, just under this surface it is teeming with dynamic energy. By late spring, in May, the external and internal worlds of the urban metropolis are fully invigorated. In many countries, May is a favorite month for celebrations. However, in Seoul, where each of the four seasons has a character of its own, May is all the more special. While the delicate cherry blossoms have since been scattered about, every corner of the city takes on a fresh coat of green lushness. Children will frolic in fountains, with or without permission. Couples on dates seem to move about more leisurely, savoring the simple pleasures of late spring. In addition, classic music fans can now also look forward to the Seoul Spring Festival of Chamber Music, which staged its third edition in May 2008.

Chamber Music Extravaganza In the spring of 2006, the Seoul Foundation for Arts & Culture presented the initial edition of what it proclaimed to be a music festival emblematic of the capital city of Korea: the Seoul Spring Festival of Chamber Music. The 2008 edition of this multifaceted event featured a number of performances over a 12-day period (May 2-13). On each day of the festival, one to three musical performances were staged. Furthermore, the diversity of this festival was significantly enhanced by a variety of supplemental activities and special events. Along with the 2008 festival’s primary theme of “Life Story,” its sub-themes included “Youth,” “Twilight,” “Faith,” “Love and Passion,” “Humor,” “Love and Death,” Enchantment,” and “Tutti Fruiti.” “Youth” was the subject of the opening concert event, presented at the Sejong Chamber Hall on May 2. The opening event served as an occasion to showcase the works that well-known composers and musicians had created during their youth, and to provide the audience with an overview of 1 The Seoul Spring Festival of Chamber Music is now staged in conjunction with the Hi Seoul Festival, an annual extravaganza of cultural activities, which included a chamber music concert presented at the Seoul City Hall plaza.

2 The festival’s closing event, entitled “Pinchas Zukerman & Friends,” provided an opportunity for all of the performers to share the stage of the Seoul Arts Center, in celebration of their musical camaraderie.

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the history of music. The performance included Rossini’s “Sonate a Quattro No. 3,” written when the composer was only 12 years old, and Ernö Dohnányi’s “Piano Quintet No. 1, Opus No. 1.” Based on the “Life Story” festival theme and “Youth” sub-theme of the opening event, it would stand to reason that the closing event should be “Twilight.” However, the final concert was on the “Tutti Fruiti” sub-theme. As it turned out, the “Tutti Fruiti” theme for the finale was indeed fitting, with all the performers and musical ensembles sharing the stage to celebrate the joy of music. The final concert of this year’s festival was held at the Seoul Arts Center’s Concert Hall (May 13). Officially titled “Pinchas Zukerman & Friends,” the concert included appearances by all the musicians who had performed during the festival, as a sign of their musical camaraderie. Those who took the Concert Hall stage included the director of the festival Kang Dong-suk, violinist Park Jae-hong, violist Kim Sang-jin, cellist Cho Youngchang, harpist Isabell Moretti, clarinetist Florent Heau, and cellist Yang Sung-won. Virtuoso Pinchas Zukerman, whose presence alone elevated the standing of the 2008 Seoul Spring Festival of Chamber Music, performed the final work, Tchaikovsky’s string sextet in d minor, Op. 70 “Souvenir de Florence,” along with other performers. Zukerman, who previously performed in Korea two years earlier, presented another masterful concert along with his wife Amanda Forsyth and pianist Tatiana Goncharova at the LG Arts Center on May 12. However, for me, the most impressive performance of the festival was the “Love and Death” presentation at the Sejong Chamber Hall. Although this was by far the darkest of the sub-themes of the “Life Story” focus, the performance was held on a gorgeous Saturday afternoon. The impact of this performance was the result of not only the performers’ flawless execution and expression of the

1 The presentation of the Les Bons Becs ensemble was punctuated with the comedic and theatrical antics of the performers.

2 Pinchas Zukerman also staged a special concert that included a performance by cellist Amanda Forsyth, his wife and stage collaborator.

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Although Seoulâ&#x20AC;&#x2122;s exterior might be characterized by impersonal concrete and glass edifices, just under this surface it is teeming with dynamic energy. By late spring, in May, the external and internal worlds of the urban metropolis are fully invigorated, creating an ideal backdrop for a nonstop extravaganza of chamber music.

1 A Family Concert was held on the grounds of Deoksugung Palace, which featured a variety of concerto performances.

2 A concert to celebrate the 100th anniversary of the birth of Olivier Messiaen, a French composer who is known as the â&#x20AC;&#x153;Bach of the 21st century,â&#x20AC;? was presented at the Myeongdong Cathedral.

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heavy nature of the “Love and Death” subject, but also the palpable spring vibrancy that surrounded and permeated the concert hall. Music, and the arts in general, have the ability to transport us, in an instant, into an unknown realm far apart from everyday life, if only temporarily. My heart ached with sorrow in response to Shostakovich’s mournful doloroso. However, upon exiting the concert hall, I found myself suddenly overcome with a sense of bliss that stemmed from the delightful ambiance of a clear spring evening. At one point, cellist Yang Sung-won went on stage to make a few remarks about the musical pieces that would be performed. Wearing a tailcoat, he appeared at ease, with one hand in his pocket, as he offered information about the music program. He began by noting: “I do not like talking about music before it’s performed. Nevertheless, here I am.” This kind of explanation is a meaningful aspect of this festival, which adds much to the enjoyment of the knowledgeable chamber music fan as well as the casual concertgoer.

Appeal of Chamber Music In keeping with its name, the Seoul Spring Festival of Chamber Music is centered on chamber music. With the exception of the Family Concert held at Deoksugung Palace, the performances featured works of chamber music. Chamber music is said to be a genre of music that is more for the performers rather than the audience. This is because it often appears as if the performers are enjoying themselves more than the audience. In fact, numerous “nonverbal signals” can be observed as the performers strive to maximize their harmony with each other. Over time, as the signals become more subtle, the performance takes on a more refined nature. Until quite recently, chamber music did not attract much attention in Korea. And even today, many more people prefer to see the performance of a full orchestra rather than a chamber music group. This is because of a longstanding penchant among Koreans, and Seoulites in particular, of assuming that “the bigger the better.” Overall, too few people will take the time to look beyond the razzle-dazzle of a grand spectacle, and make an effort to appreciate the subtlety and refinement of a lower-profile experience. However, chamber music has steadily forged a niche for itself thanks in large part to endeavors such as the Seoul Spring Festival of Chamber Music. The promotion of this relatively less popular form of music, as the “main course,” has been rooted in a desire of the many musicians who have been associated with this musical feast, such as director Kang Dong-suk, to introduce the public to the unique attractions of chamber music, in which the audience and performers can enjoy the music as if all their own. Another positive aspect of the festival is its accessibility. In addition to performances at major concert facilities, such as the Seoul Arts Center, Sejong Chamber Hall, and LG Arts Center, the festival included performances at other venues around Seoul, including smaller concert halls, palace grounds, and public plazas. Moreover, along with an outdoor concert that has been regularly staged at Deoksugung Palace, a special concert was presented this year at the public plaza adjoining Seoul City Hall, in conjunction with the Hi Seoul Festival, a representative cultural festival in Seoul. The public-minded emphasis of the Seoul Spring Festival of Chamber Music is also evident in the efforts to offer its tickets at relatively moderate prices, which ranged from 10,000 won to 50,000 won. The 2009 Seoul Spring Festival of Chamber Music is slated for its two-week run in early May. If you happen to be in Seoul at that time, it would be well worth your while to immerse yourself in the charms of these chamber music performances. The main performance venue for this festival is the Sejong Chamber Hall (Sejong Center for the Performing Arts), situated nearby Gwanghwamun.

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DISCOVERING KOREA

Brian Barry Fulfilling His Destiny as a Temple Painter Brian Barry first came to Korea as a U.S. Peace Corps volunteer and ended up living here ever since. After becoming a true Korean at heart and being tutored in the skills of Buddhist temple painting, he continues to practice the Buddhist Bodhisattvayana path to personal and collective enlightenment. Shim Eenbo Graphic Designer, Art Director, Brandnine | Photographs Shim Eenbo

n December 1967, during the cold of winter, Brian arrived in Korea for the first time as a public health volunteer. He was assigned to a health sub-center located in Byeonsan, Buan, Jeollabuk-do Province. At that time, Korea was still an underdeveloped country, yet to embark on its modernization process. Furthermore, in the countryside at the time, facilities were minimal. Coming from an industrial society, however, Brian was immediately attracted to Byeonsan’s natural beauty, untouched by modern development, and the genuineness

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and kindness of country people and an agricultural society. His love for Korea continued to deepen as a result of his interaction with local residents while working at both the Byeonsan Health Sub-center and the Buan-gun County Health Center, mainly in tuberculosis control.

Introduction to Buddhism In Byeonsan, Brian stayed in a home of a large farming family (“one of the many great blessings of my life”), where he

came to learn that his landlady was called a “Great Bodhisattva,” an enlightened Buddhist who endeavors to alleviate the suffering of all beings. The elderly woman treated him like her youngest son, providing meals, teaching him the language one word at a time, doing his laundry and everything else she could to make his adjustment as easy as possible. “She was so warmhearted and so caring. She never refused anyone who asked for help. She would bring in hungry people from the road and feed them. She was a real practicing Buddhist. The monks of Wolmyeongam Hermitage, up on the mountain behind the village, often came by to visit, and would call her ‘Great Bodhisattva.’ Of course at first I had no idea what that meant.” His “Korean mother” would have a profound impact on the direction of Brian’s life. Thanks to her, he came to learn about Buddha and Buddhism. Ultimately, his involvement with Buddhism would be a life-changing influence. Brian returned to the United States after completing his two-and-a-half year assignment in Korea, including six months at the North Cheju Health Center. However, at home Korea kept tugging at his heartstrings, and he returned. People often ask him why he decided to return. To this, he responds with a wry smile: “The clanging of kkwaenggwari [small hand-held gong] stuck with me. I couldn’t get away from it. It was that sound in my head that lured me to come back!” Of course, other factors played a part as well, including the close bonds, warm affection, and community-mindedness of the Buan residents, which could not be so readily experienced at home; his passion for Jeollado food; and his love of farmers’ band music, which never failed to uplift his spirits. Indeed, Brian Barry, whether aware of it or not, had become a true Korean at heart. Naturally, the longer that he remained in Korea, the more attached he became to the people and culture. One day he went to a samulnori (traditional percussion quartet) performance. Fascinated by its vibrant spontaneity, he decided to learn how to play farmers’ band music. He joined an Udogut farmers band in Seoul from Jeollabuk-do Province and started to play kkwaenggwari with mirthful delight. He also studied Chinese characters so that he could read Buddhist scriptures, which led him to study calligraphy as well. Over time, he became more knowledgeable about Korea’s culture than even most Koreans, through a kind of natural transformation process, or as he calls it, “osmosis.” In his everyday life, he was constantly on the move. In the morning, he learned and practiced kkwaenggwari with his music teacher, and practiced Chinese characters and calligraphy; in the afternoon, he worked as a corporate international PR consultant and translator “to keep kimchi on the table”; and in the evening, he studied Buddhism. Moreover, as his understanding of Korean culture deepened, he became more

passionate about its introduction to the outside world, and thus spent an increasing amount of time on its global promotion through translations and art work. Eventually, people came to refer to Brian as an “international public relations specialist,” “Buddhist translator,” and “advocate of Korean culture.” Several decades elapsed during the course of his immersion in things Korean. Brian says that a good part of his adult life has passed by without him hardly noticing. He often meets people who ask him why he keeps himself so busy. However, he does not see it as “busy,” just as doing what comes naturally. In Korea, he has met people from various walks of life, learned about Korea, and delved into numerous aspects of Korean culture, but all of this resulted from a natural flow of his life. “The other day it occurred to me that life is like a puzzle. You’re born with all the pieces, but it takes time to put them all together!” To friends who complain about their hectic lives, he says with a bemused expression: “Where’s the fire? Do you think you’re going to live a thousand years, ten thousand years? Take some time to enjoy life!”

Path to Buddhist Painting In 1986, Brian visited Bongwonsa Temple as an interpreter for an American architect who was interested in viewing the eaves of a Buddhist temple painted with dancheong (colorful cosmic design patterns). As it turned out, this proved to be a turning point in Brian’s life. At that time, he was already quite well versed in Buddhism, but he had not paid much attention to dancheong or Buddhist paintings. Nevertheless, upon viewing the dancheong patterns on the eaves and the paintings in the temple, he was so overwhelmed that he felt like his heart had stopped and his entire body was frozen. The decorative patterns were resplendent as a whole, while not a single element stood out to disrupt the balance; the details were extremely intricate but also radiant with a harmonious elegance. Moreover, the Buddhist paintings that he came across in the temple, although somewhat faded due to exposure, further added to the dignified atmosphere. While standing in front of the paintings, he experienced an epiphany that all the time he had spent in Korea was so that he would eventually come to this propitious moment at Bongwonsa Temple. Enthralled, he set out on yet another new journey. Brian sought out Master Manbong (1910-2006), a dancheong specialist who had been designated transmitter of Important Intangible Cultural Property No. 48 of Korea. When he visited the temple again to meet Master Manbong, one of the master’s assistants asked him if he would prostrate himself before the much older monk. Brian immediately lowered himself to the floor and expressed his ardent desire to learn Buddhist painting. Master Manbong was willing to accept this strange blue-eyed foreigner as one of his students since he spoke Korean, had taken the Buddhist Precepts, and was Autumn 2008 | Koreana 61

certified as Jogye Order’s first Western Dharma Instructor. However, there was much doubt about the newcomer among the other students, who believed that a foreigner would never be able to endure the hardships and learn the intricate skills of the training regimen. Indeed, learning Buddhist painting proved to be extremely demanding. Every day, Brian had to sit on the floor and draw out thousands of siwangcho line drawings. Early on, after each session, his entire body would ache and every joint throbbed with pain. Due to these and other study rigors, he almost gave up several times. But as soon as he left the temple, the vivid siwangcho images remained in his mind and he had to return. He thought to himself: “This must be either some kind of an addiction, or my calling.” In the end, Brian stuck it out for more than 20 years. And while many of the students, who had been skeptical about his commitment, would eventually leave the studio, he continued to learn from and serve Master Manbong until his passing in 2006.

Traditional and Modern Paintings Brian produces two types of Buddhist paintings: traditional temple paintings, and modern interpretations of traditional Buddhist themes. He refers to his work not as “paintings” but as “offerings.” The paintings that he does, whether traditional or modern, are his offerings in gratitude to the Buddha and to the Korean people for everything they have taught him. And in the Buddhist tradition, he always offers the merit from such paintings to the wellness and happiness of all beings throughout the universes. Brian has donated his paintings to temples in several other countries as well as in Korea. In 1999, he visited Wat Suthat Thepwararam, a royal temple in Bangkok. While looking over a huge mural of Former Lives of the Buddha that completely absorbed him, the Temple Master approached and asked him about his understanding of Buddhist paintings. Brian then showed the monk photographs of his own paintings. After the monk had gazed at one particular photo, he asked Brian to paint some similar dancheong patterns to the sides of the Buddha in the Preaching Hall. He returned several months later and stayed there in the monastery at Wat Suthat for three months to do the work. “I lived in Paradise for three months,” he says with a wistful smile. The fact that a Westerner had been asked to do Buddhist painting for a traditional royal temple was an unprecedented event in the history of Buddhism in Thailand. Moreover, the project was covered by CNN International and aired worldwide. Says Brian, “When I saw the tape later, there was something strange about it, and then I realized that I had been speaking English with a Jeolla-do accent!” Other paintings outside of Korea include the Main Platform Painting at Haeinsa Temple’s Jakarta Dharma Center and at Gobulsa 1 Temple in California; a rendering of “Bodhisattva Avalokites62 Koreana | Autumn 2008

vara in White” and other paintings at Munsusa Temple, and ink drawings at the Cambridge Zen Center, both in Boston, his hometown; “Bodhidharma” at Dalmasa Temple in Moscow; and recently completed Guardian paintings for Wonmyeongsa Temple in Bangladesh and Buddhanara Temple in St. Louis. Brian donates his traditional Buddhist paintings to temples, while he uses his modern-style paintings for the propagation of Buddhism. He also does many Bodhidharma and Oriental Zodiac ink drawings as gifts for friends and neighbors. Whenever someone offers to make a payment for a painting, Brian usually declines, saying that he cannot place a price on a Buddha-related work. Even for a painting that requires several months of work, he never thinks twice about donating it to a new temple or one in need. Some people have suggested that he reproduce the Buddhist paintings of the Goryeo Dynasty, which are considered to be of higher artistic value and more advanced in technique than those of the Joseon Dynasty. However, Brian believes that while the Goryeo paintings are quite regal and elegant, the latter tradition appeals more to ordinary people and are thus a more effective means for sparking their interest in Buddhism. And in accordance with his mentor’s teaching, small paintings of Buddha are just as important as large-scale works. “Buddhas are buddhas and bodhisattvas are bodhisattvas.”

Grateful for Korean Experiences Migratory birds will undertake lengthy journeys by relying on their instinct alone. Brian says that, for him as well, it must have been some kind of instinct that led him to Korea. Attracted by an unknown force, he came to Korea from the other side of the world, met a bodhisattva, had a life-changing encounter with Buddhism, and eventually became a Buddhist painter. Most people might think of his experience as unusual, but he thinks it has been a natural flow of his life, as part of a journey that he has found to be as enjoyable and rewarding as it has been difficult. He believes that the course of his life, as an international public relations consultant, copywriter, translator of books on Buddhism and Korean culture, founding member of Lotus Lantern International Buddhist Center, and the first certified Western Dharma instructor in Korean Buddhism have all been along a path that led to his calling as a Buddhist painter. So, he is eternally grateful to all the people he has met along the way. His home/studio—“Cave of Avalokitesvara”—is nestled in a little valley in northern Seoul and filled with the scents of incense and paints. His balcony looks out across a forested alley to a Buddhist temple which features a huge panel with the Chinese character 心 (sim ), which means “heart” or “mind”, at the entrance. On the floor again with brushes in his hand, Brian embarks on his daily journey to the Buddhist Land of Happiness. Of his lifelong journey, all he can say is, “Once you open your heart, anything is possible.”

Brian Barry works on a Buddhist painting at his studio in Seoul. As for the rigorous demands of creating Buddhist works, he believes: â&#x20AC;&#x153;Once you open your heart, anything is possible.â&#x20AC;?

ON THE GLOBAL STAGE

Kim Hee-jin Soaring to New Heights of the Contemporary Dance World

Kim Hee-jin stands at the forefront of Koreaâ&#x20AC;&#x2122;s contemporary dancers who have appeared on the international stage. After becoming a premier dancer in Korea, Kim ventured abroad, gaining high acclaim in Japan and France for her dancing talent. More recently, she is pursuing a new role in the world of dance, that of a choreographer of original works. Jang Seung-heon Artistic Director, Management of Culture & Theatre/Adjunct Professor, School of Performing Arts, Kookmin University Photographs Management of Culture & Theatre

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“S

ensual, explosive youth. Beautiful dancer Kim Hee-jin brilliantly captures how lovers compete for love, or seek control over it, in her movements” (Le Figaro ). “Centre Choregraphique National de Grenoble is home to many dancers with exceptional energy, technique, and poetic grace. Even among them, Korean Kim Heejin stands out as an especially dreamy female dancer” (Le Nouvel Observateur ). Words of high praise and acclaim have been lavished upon the 42-year-old dancer Kim Hee-jin by critics, choreographers, and audiences of Japan, France, and other European countries, where over the past decade she has distinguished herself as one of the foremost performers of contemporary dance. The critical acclaim that she has received include glowing descriptions of Kim as a dancer with “a great physique and exceptional techniques that make every movement perfect,” “movements precise and sharp like that of a plane, as if her body is covered with blades,” and a “dominant stage presence with her prominent stature and superb acrobatic agility.”

Kim emerged as a new talent in Korea when she began to land leading roles with the Korean Contemporary Dance Company. She became the only female dancer to perform the role of Judas in the production of Jesus Christ Superstar , choreographed by Yook Wan-soon, who is known as the mother of Korea’s contemporary dance. This role propelled Kim to stardom, which included her receipt of an award from the Dong-A Dance Competition and a newcomer ’s award from the Modern Dance Association of Korea. She was also awarded the grand prize at the second MBC Creative Dance Competition in 1992, confirming her talent as a star performer of contemporary dance. The phases of her dance career are what set Kim apart from other Korean dancers currently performing on the international stage. Whereas most other dancers made their mark after going abroad to study and perform from an early age, Kim first earned recognition and acclaim for her performances in Korea, and then ventured overseas when she was already in her early 30s.

Opportunity Knocks Emergence on the Global Stage

A scene from “The Way Back” (1993), performed and choreographed by Kim Hee-jin, which portrays the traumatic experiences of a woman who regains her long-lost memory.

France is the center of Europe’s dance scene. This includes Paris, as well as Lyon, which features a theater dedicated exclusively to dance, the Maison de la Danse. France is also home to the Montpellier Dance Festival, one of the world’s most noteworthy annual dance events, which each summer attracts performers and audiences from around the world. Of note, it is on the stage of France, which is the ultimate venue for all aspiring dancers, where Kim Hee-jin has made a name for herself as a contemporary dance performer. But what makes Kim’s success even more impressive is that by the time she arrived in France in 2000, she was already in her mid 30s, but still managed to enjoy a meteoric rise to the upper echelon of the dance world.

Kim’s opportunity to make her international debut arose when she met French contemporary dance virtuoso Jean-Claude Gallotta, who currently leads the Centre Chorégraphique National de Grenoble in France. In 1997, after seeing Kim perform in Korea, Gallotta invited her to join the Shizuoka Performing Arts Center in Japan, where he was then serving as its artistic director. There, she was offered a contract with a 30-month term, during which time she had to demonstrate her capability as an international performer or return home. But thanks to her all-around experiences in Korea and highly developed techniques, she was readily offered a contract extension. Thereafter, she followed Gallotta to the Centre Chorégraphique National de Grenoble in France, where she performed as a lead dancer for five years. Autumn 2008 | Koreana 65

Kim’s graceful dance movements, embodying a lyricism and romanticism all her own, have captured the attention of the choreographers as well as the discerning audiences of Europe. However, not satisfied with being known as “a natural-born dancer,” she has developed herself into a mature and accomplished artist, who choreographs dance works infused with her personal sentiments.

During this time, Kim visited Korea twice as a member of the Centre Chorégraphique National de Grenoble to perform in Mammame at the Seoul International Dance Festival. Gallotta’s signature work, Mammame , premiered in 1985 and has since been staged worldwide. Upon seeing Kim perform for the first time, Gallotta told her: “You have a distinctive aura. I cannot articulate it, but it sets you apart from the numerous other dancers on the European stage today. Your movements are definitely enchanting.” It was only much later that Kim came to understand what Gallotta meant. She had learned a deep-breathing technique from practicing traditional Korean dance as a child, and also possessed, along with unique arm movements, a deeply rooted Asian sensibility that clearly radiated during her performances. Her graceful movements, embodying a lyricism and 66 Koreana | Autumn 2008

romanticism all her own, have captured the attention of the choreographers and the discerning audiences of Europe.

New Role as Choreographer Kim Hee-jin thinks of the past decade as “a time when I danced to my heart’s content.” Then in 2005, at the height of her career, and even while her recognition as a dancer remained on an upward track, she decided it was time for her to leave the Centre Chorégraphique National de Grenoble. She was 39. “I took time off for a while to overcome the pain that my body had endured in my eight years as a professional dancer in Japan and France.” B u t i t w a s n o t l o n g b e fo r e s h e returned to the stage. She performed as a freelance dancer with the Centre Chorégraphique National de Grenoble and the Angelin Preljocaj Dance Company, in addi-

tion to being an instructor at the University of Grenoble, after earning her teaching certificate in dance. But her primary challenge was to further broaden her horizons so that she could choreograph and stage original works. In 2007, she founded her own dance company, MOM. “In France, for an individual dancer without an affiliation to an association or a dance troupe, work is quite limited. So, as a means of gaining recognition and acceptance, I established my own dance company, together with my friends based in France. It was a modest beginning, but I wanted to present dance pieces that audiences could relate to.” In November 2007, Kim made her debut as a choreographer on the Korean stage with the presentation of A Journey of Absence , which was choreographed in collaboration with the French dancer Ludovic Galvan. It was comprised of three

1 Kim Hee-jin’s performance of “Fear” (1963), choreographed by Yook Wan-soon, who is regarded by many as the mother of Korea’s contemporary dance.

2 “The Anonymous Society” (1996), performed and choreographed by Kim Hee-jin, depicts the isolation and alienation of our modern world, in which personal communication seems to hardly exist.

3 “Memory Cell” (2006), performed and choreographed by Kim Hee-jin and Ludovic Galvan, has been highly praised by critics for its passionate and poetic expression.

4 “Dream,” performed and choreographed by Kim Hee-jin, premiered in 1992. It tells the story of how man sought to create an automated society and dream world, which led to a nightmarish destruction of humanity.

episodes, each dealing with the imperfections of our lives. “Of the three episodes, ‘Memory Cell’ portrays a man who reminisces about the memories of his past love. When we performed this work in Europe, critics were impressed with the passion and poetic expression of our creative efforts. And I remember a middleaged woman telling me that it was like re-living her own past.”

Pursuit of Your Dream When asked if making her international debut in her 30s might have happened too late in her career, or if she ever regrets not going abroad earlier, Kim said that she was able to perform as well as she did because she remained in Korea and acquired diverse experiences, which later provided a foundation for her successful career on the world stage. The notable success of Kim’s dance

career has also served as a model and inspiration for aspiring young dancers in Korea to dream about going abroad to attain international recognition. To those young dancers who hope to someday appear on the world stage, Kim offers this advice: “Going abroad early has its advantages, but it is just as important to evaluate yourself and enhance your skills first. The Korean stage is a good place to train and test your skills before heading overseas. Since your international career will be built upon your experiences at home, I recommend taking part in a wide range of different productions, regardless of scale.” Kim Hee-jin is now recognized not only as “a natural-born dancer” but also a mature and accomplished artist, who choreographs dance works infused with her personal sentiments. These days, she stages performances around the world,

including France and Korea. And Kim has recently been invited to the Dance Triennale Tokyo, which is being held in autumn 2009. As for Kim, who is now past 40, she says it is impossible to imagine her life without dance. “After turning 40, I began to encounter new questions about life. Above all, I would like to create works that reflect the humble stories of our lives, to better engage the audience.” Kim Hee-jin has reached a mature phase of her illustrious career that enables her to convey, with a single movement, a graceful elegance which has been ripened by her years of dedication and perseverance. For Kim, who like a fine wine has improved with age, we eagerly await the staging of more of her creative endeavors, so as to soothe our weariness and uplift our spirits with the intrigue of dance. Autumn 2008 | Koreana 67

ON THE ROAD

Gongju Intersection of the Past and Present, Mountains and Rivers Situated in the heart of Chungcheongnam-do Province, Gongju was the second capital of Baekje (18 B.C.-660 A.D.), where the ancient kingdom’s culture flourished. Historic remnants can be found in and around this notable city, nestled at the foot of Mt. Gyeryongsan and along the banks of Geumgang River. Na Tae-joo Poet | Ahn Hong-beom Photographer

ongju sits snugly in a basin alongside the majestic Gyeryongsan National Park, with its venerable Buddhist temples, and the Geumgang River, the area’s lifeline. Gongju offers a glimpse into a broad array of cultures of various eras, from prehistoric times to the Three Kingdoms period (1st century B.C.-A.D. 7th century) and the present. This includes an abundance of artifacts from the Baekje Kingdom, whose culture reached a peak here in its ancient capital, along with relics from the ancient Silla Kingdom (57 B.C.935 A.D.).

Geumgang’s Legend of Heartbreak The Geumgang River, which traverses Gongju’s city center from east to west, is the third-longest river in Korea, after the Hangang River and the Nakdonggang River. The areas along its upper stream are dominated by mountainous terrain, through which the river meanders, creating a scenery of rugged magnificence. The river also flows along inland basins and well-developed alluvial plains, which helped to nurture Baekje’s ancient culture, with fertile fields and convenient access. Geumgang means “Silk River,” in reference to its 68 Koreana | Autumn 2008

smooth, gentle flow. The river’s waters flow by so quietly and calmly that its direction is not readily discernable. These days, its water level has fallen dramatically due to the recent construction of an upstream dam, but during the summer months of heavy rain it returns to its former level. There is a heartrending legend about the Geumgang River that has long been associated with the origin of the city’s name: Long ago, there was a young man who hunted for his livelihood. One day, while hunting in the mountains, he came across a female bear, who was taking a nap. Just as he was about to shoot the bear with his arrow, the hunter hesitated, out of pity for the animal, during which time the bear suddenly awoke, startled by the hunter’s presence. At first sight, the bear fell in love with the hunter and led him to her cave at the foot of a mountain, along the Geumgang River. The bear blocked the cave entrance with a huge boulder to prevent the hunter from escaping. Two months later, the bear became pregnant and then gave birth to a child. The mother bear felt less concerned after the baby’s arrival

Gongju

The sun descends beyond the horizon of Geumgang River, which flows through the city of Gongju. Known as “Silk River,” its smooth flowing waters helped to nurture the golden age of Baekje’s ancient culture.

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and left the cave entrance open when she went out to find food. The hunter took advantage of this opportunity to escape, and hurriedly made his way to the river and signaled for help from a passing boat. When he had almost reached the opposite bank, he heard the bear’s wailing. Looking back, he saw the bear on the river bank. She was carrying her baby, and crying profusely, while waving frantically for his return. But the hunter could not be deterred and continued on to the opposite bank of the river. At this, the bear jumped into the river with the child, where they both drowned. Following this incident, the area was long plagued by famine, while this stretch of the river became a frequent scene of boating accidents. Finally, the village residents erected a shrine at the tragic site to appease the vengeful spirit and soothe the bear’s soul. This region came to be known as Gomnaru, or “Bear Ferry,” and later Ungjin, whose Chinese characters have the same meaning. The Ungjin name remained in effect until 940, when the Goryeo Kingdom (918-1392) renamed the area Gongju.

Mt. Gyeryongsan Mt. Gyeryongsan, reaching a height of 845 meters, has been shaped by the Geumgang’s flow along its base, while standing at the forefront of a marvelous mountain landscape, along with 20 nearby peaks. In keeping with its name, which means “dragon with a cockscomb on its head,” Mt. Gyeryongsan’s jagged peaks, when viewed from a distance, seem to resemble such a creature. It was revered as one of Korea’s five

sacred peaks of the Three Kingdoms period, while during the Joseon Dynasty (1392-1910), a king sought to establish a new capital here because of the mountain’s location in the center of the land. Following Mt. Jirisan, Mt. Gyeryongsan became the second mountainous area to be designated a national park, thanks to the splendor of its natural scenery and panoramic vistas. It is the home of venerable Buddhist temples, which once included one at each of the four cardinal points. Today, only three remain: Donghaksa in the east, Sinwonsa in the south, and Gapsa in the west. Long ago, a fourth temple, Guryongsa, stood at the northern corner of the mountain, but its buildings have not survived. It is unusual for a mountain in Korea to have temples built in all four directions. Donghaksa is known for maintaining a large monastery for Buddhist nuns and its founding of Donghak Buddhist University. The path leading to the temple offers delightful views of a deep valley and wandering mountain stream. The temple complex includes several buildings dedicated to filial piety, a basic Confucian value, which reflects a natural grafting of Buddhist and Confucian principles. The temple was devastated during the Korean War, but fully reconstructed in 1975. At Sinwonsa, to the south of Cheonhwangbong Peak, the annex building, Jungakdan, is much larger than the temple’s main hall. Although many temples maintain a separate shrine dedicated to the Mountain Spirit, it is typically of a smaller scale and often found in a quiet corner. As for Jungakdan, which includes the architectural features of a palace structure, its construction was sponsored by Empress Myeongseong,

1 Mt. Gyeryongsan has long been regarded as a sacred site due to its auspicious geomantic characteristics. It has thus served as a safe haven for people in times of turmoil, along with being a center of shaman practitioners and non-mainstream religious groups.

2 Magoksa is the foremost temple of Gongju, which houses six National Treasures, including a stone pagoda and Buddhist scripture. Kim Gu (1876-1949), who stood at the forefront of Korea’s efforts to resist Japan’s occupation, sought refuge here during the final years of the Great Han Empire.

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who sought to assure the welfare of the royal court of Emperor Gojong (r. 1863-1907). The Joseon Dynasty might have come to an end, but the tradition of honoring Gyeryongsan’s Mountain Spirit has remained alive. Gapsa, situated at the mountain’s western corner, is a widely known temple as well. The temple houses a shrine dedicated to Grand Preceptor Yeonggyu (?-1592) who led a guerrilla army of Buddhist monks to fend off Japanese intruders, during the Japanese invasions of Korea (1592-1598). In the spring, the temple grounds are blanketed with kerria blossoms of bright yellow, providing visitors with an enchanting sight. As for the Buddhist temples of Gongju, the foremost example is Magoksa, whose grand scale and dignified appearance well exceed that of Gyeryongsan’s Donghaksa, Sinwonsa and Gapsa. Magoksa is found at the foot of Mt. Taehwasan, some distance away from Mt. Gyeryongsan. Taehwasan might not be as stately as Gyeryongsan,

but it exudes a sense of warmth and peacefulness. For people who visit the temple in search of spiritual guidance, they must walk along a winding path of wayward twists and turns, during which it is possible to lose their worldly concerns on the way. Apparently, the building of temples at remote mountain sites was intended in part to emphasize the importance of body, mind, and spirit, in the efforts to attain enlightenment.

Brilliance of Baekje Culture Gongju had been settled by humans from long ago, as evidenced by human remains found in the area that date back to the Paleolithic Age. In the Three Kingdoms period, Gongju enjoyed the golden era of Baekje culture as the capital of the ancient kingdom for 63 years, which included the reign of four kings. Thereafter, Gongju has maintained its standing as a cultural and administrative center, located in the heart of the peninsula. Autumn 2008 | Koreana 71

In 1964, the village of Seokjang-ri was found to possess a wealth of prehistoric relics, when a flood caused the collapse of an embankment. Decades of research of this area laid a foundation for the study of Koreaâ&#x20AC;&#x2122;s Paleolithic Age, along with providing physical evidence that Korean history dates back to Paleolithic times. Artifacts from this site include a variety of stone tools and domestic utensils that indicate how the people lived in the Paleolithic and Mesolithic Ages, which began 550,000 years ago and ended 30,000 years before modern times. The artifacts suggest that Paleolithic man lived in small groups of eight to ten, made primitive shelters, and used fire. The Seokjang-ri Museum offers a well-organized display of artifacts and an overview of the development of prehistoric civilization. 72 Koreana | Autumn 2008

Upon entering Gongju, you should head for the nearby Gongsanseong, a fortress that is thought to have included accommodations for the Baekje royal family. In the Joseon period, this fortress also served as temporary housing for King Injo (r. 1623-1649), who sought refuge from a rebellion. During his stay, Injo is said to have leaned against two trees, while gazing longingly in the direction of Seoul. Later, Ssangsujeong, or Pavilion of Two Trees, was built there to commemorate his stay. The outer walls of Gongsanseong are lined with dense thickets of pine trees, which the Gongju residents value as a natural treasure in the midst of the city. Playing among the pine trees of Gongsanseong is a joyful memory of any child who grows up in Gongju.

Although the fortress had once been vital for defense of the region, the surrounding area has been developed into a wonderful public park, where people come to relax and children can learn about the history and vibrant spirit of the ancient Baekje Kingdom. Another noteworthy destination is the Songsan-ri Ancient Tombs, which were long thought to be nothing more than the tombs of Baekje commoners. In 1971, however, while repairing a drainage system, workers stumbled across the tomb of King Muryeong. It was thus determined that the Songsan-ri tombs were those of Baekje’s royal family. When the tomb of King Muryeong was unearthed, it was found to be a “virgin tomb,” untouched by human hands since the time of the king’s burial. The tomb excavation yielded a significant number of artifacts, amounting to 2,906 items of 108 varieties. The government has since designated 17 of the items as national treasures. The relics are now housed at the Gongju National Museum, where a new building had to be constructed to properly accommodate

1 Gongsanseong Fortress was built to defend Gongju, the capital of Baekje, from foreign intruders. The areas surrounding this 1,500-year-old fortress have been developed into a delightful public park, amidst dense growths of mature trees.

2 Among the various tombs of the Three Kingdoms period, the Tomb of King Muryeong is unique for its evidence that confirms the identity of its occupants, as the king and his queen. Moreover, the tomb’s decorative brick structure and all its burial items were discovered intact.

3 The excavation of the Tomb of King Muryeong yielded

a treasure trove of artifacts, including 2,906 pieces of 108 varieties, of which 17 items have been designated as national treasures.

Autumn 2008 | Koreana 73

and display all the artifacts. A particularly meaningful recovery included the memorial tablets inscribed with the names and information about the tomb’s occupants. It turned out that King Muryeong and his queen were buried together in the same tomb. Baekje’s 25th king, Muryeong (r. 501-523), ruled during a period of extensive nation building.

Noteworthy Attractions Along with the Gongju National Museum and Seokjang-ri Museum, there are several unique museums in and around the city. For example, Chungcheongnam-do Forest Museum, which opened in 1997, exhibits everything about forests. Its exhibition areas are arranged according to forest-related themes, including the benefits and resources of forests, potential damage to forests, and forests of the future. The museum grounds include a forest park area, recreational facilities, and campgrounds. A glass-domed greenhouse features tropical and semitropical plants, while the wildlife zoo includes Asiatic black bears, wild boars, and birds. The museum’s arboretum and wildflower garden are ideal for a leisurely stroll. At Gyeryongsan Natural History Museum, visitors 74 Koreana | Autumn 2008

can view displays of world-class fossils. A Brachiosaurus fossil, on the first floor, is one of only three such fossils of its kind in the world. The gigantic and imposing Brachiosaurus stood 25 meters in height overall, with its head being about 16 meters above the ground, and weighing an estimated 80 tons. Also on display is the skeleton of a massive blue whale. The largest known animal in the 4.6 billion-year history of the earth, the blue whale’s length and weight could reach an estimated 30 meters and 120 tons, respectively. A mammoth unearthed in Siberia and the oldest mummy in Korea can also be seen at this museum. Park Dong-jin (1916-2003) was a master of pansori (Korean form of narrative opera with a solo performer) and the foremost performer from Gongju. In order to promote training of the younger generations, so that they can carry on the legacy of this uniquely Korean performing arts genre, the Park Dong-jin Pansori Training Center was set up to honor this virtuoso, who dedicated his entire life to the art of pansori. The center also stages pansori performances and related activities. Gongju’s unique attractions include the Woongjin Education Museum, which preserves and exhibits a diverse array of educational materials, including textbooks, storybooks, and ancient documents from various

periods, from the Joseon Dynasty up to the present day. At the Museum of Natural History Jidang, there are displays of rare animals, insects, and fossils from countries abroad. As is the case with other provincial cities, Gongju was also a site of Catholic persecution, for which it has since been designated sacred grounds to commemorate the martyrs who had been dealt a tragic fate. At Hwangsaebawi, or Stork Rock, 248 Catholic believers were executed during the latter years of the Joseon Dynasty. After a tour of the solemn Hwangsaebawi site, head downtown to Gongju Jungdong Cathedral. Its construction began in 1934 and was completed in 1936, resulting in a magnificently elegant Gothic structure. The building has been preserved in its original state, which contributes to an atmosphere of awe-inspiring reverence that is palpable to even non-Catholics. This 70-year-old building is a rare example of classic architecture in this area. In contrast to the other historic attractions in Gongju, the Ugeumchi Battlefield has a relatively recent history. In 1894, when Japan’s imperialist aggression started to gain momentum in Korea, the Donghak Peasant Army Movement emerged in the province of Jeolla-do. The peasant army rose up to defy Japanese imperialism and their exploitation by government officials, which quickly gained public sympathy. The peasant forces eventually advanced to Gongju, the seat of the provincial government offices. There was a fierce battle between the peasant army and the Japanese troops and aligned government officials, at Ugeumchi, a gateway to the south of Gongju. The nonstop fighting continued for one week, resulting in a massacre of the peasant forces, which incurred an estimated toll of 100,000 casualties. The Donghak Revolution Army Memorial Tower stands in Ugeumchi in tribute to the peasants who made the

ultimate sacrifice to resist the spread of Japanese influence over the Korean Peninsula.

Regional Center As for Gongju, which was home to a flourishing culture as the capital of Baekje, it has continued to serve as a regional hub in the south of the Korean Peninsula by taking advantage of its central location and geographical features. However, in light of its glorious past, today’s development seems to be relatively less impressive. In addition, Gongju lost its function as an administrative center when the Chungcheongnam-do provincial capital was established in Daejeon. Instead of pursuing growth and development in the modern sense, Gongju has sought to be a city of culture with longpreserved traditions and historical significance, while promoting its attractions to visitors. With tourism being a high value-added industry, Gongju appears poised to make a leap forward, thanks to its wealth of natural resources, such as Mt. Gyeryongsan and Geumgang River, and rich cultural heritage. Even after the relocation of the provincial government, Gongju continues to be recognized as a highly regarded center of higher education. Gongju National University’s distinguished College of Education (formerly Gongju Normal School), which opened in 1938, has attracted outstanding students from all parts of the country, based on a popular belief that “students should be educated in Gongju to truly develop their talents.” As in other sectors, higher education is centered in Seoul, but talented students pursuing a teaching career will still choose to study in Gongju, thanks to its longstanding tradition of cultivating exceptional teachers and educators. When the furious pace of modern life wears on you, or heightens your stress level, a visit to Gongju can reenergize your spirits. Walking about the historic sites from the past, from the foothills of Mt. Gyeryongsan to the banks of Geumgang River, you can see how the different cultures here have been blended together by the flow of time.

1 Exhibits at the Gyeryongsan Natural History Museum include the skeletal frame of a Brachiosaurus.

2 Gongju Jungdong Cathedral, completed in 1936, is a magnificently elegant Gothic structure and rare example of classic architecture in Korea’s provincial areas.

Autumn 2008 | Koreana 75

CUISINE

Pasanjeok Beef Brochette with Scallion Sanjeok is a grilled brochette made with slices of seasoned meat and vegetables. An assortment of ingredients can be used to create a wide variety of sanjeok. In particular, pasanjeok , which features scallions and beef as its main ingredients, has long been a favorite item on the Korean holiday and party tables. It is also enjoyed as a side dish with alcoholic beverages and as a snack. Paik Jae-eun Professor of Food and Nutrition, Bucheon University

anjeok is an essential dish for any holiday, marriage, birthday, or festive occasion in Korea. The term “sanjeok” refers to an array of grilled brochettes made with various kinds of meat, fish, mushrooms, and vegetables, which are sliced into finger-long lengths and seasoned. Although each version is named for its main ingredients, beef is used in most varieties.

Korean Brochettes Jeok (skewered dishes) and gui (grilled dishes), which both involve the grilling of food over an open fire, are likely rooted in the most ancient cooking methods of humankind. Because the food had to be held at a proper distance from the fire’s heat, certain implements were developed, including the skewer. This process can be regarded as the origin of today’s jeok cuisine. The difference between jeok and gui is the use of skewers for jeok items. It is believed that the name jeok was developed in order to differentiate the various dishes and foods that would be included on the table for ancestral rituals. Ancient Korean cookbooks refer to jeok as a method that involves the use of skewers to grill meat. One ancient source described the making of sanjeok as involving the “cutting of beef into 6- to 9-centimeter-long strips that are then seasoned with oil, jang [seasonings], and sesame, before being placed on skewers and grilled over an open fire.”

76 Koreana | Autumn 2008

Jeok includes sanjeok, nureumjeok , and jijim nureumjeok . As for sanjeok, its varieties include pasanjeok, made with scallions and beef; tteok sanjeok , which combines pieces of rice cake with beef; songi sanjeok , made of pine mushrooms and beef; and, saseul jeok , which features white fish fillets and ground beef. For nureumjeok, the ingredients are cooked before being attached to skewers, while for jijim nureumjeok, the ingredients are placed on skewers, covered with a coating of flour and egg, and then grilled. The preparation of meat and vegetables, which are skewered and grilled, can be found in countries in all corners of the world. Popular versions include the satay of Southeast Asian countries and the kebab of Turkey and surrounding areas.

Pasanjeok: Easy and Versatile Pa (scallions) has long been an essential ingredient in various East Asian dishes, including Korean cuisine. Scallions contain calcium, salt, and several vitamins, and because of its zesty taste, it is used to enhance the flavor and appeal of numerous dishes. People eat scallions raw as well. In addition, as a result of its antimicrobial properties, a mixture of scallion roots and ginger can be boiled in water to produce a remedy for the common cold. The roots and stems can be used also as an insect repellent and as a diuretic.

Â© Timespace

Autumn 2008 | Koreana 77

ÂŠ Timespace

Pasanjeok, which is pleasing to the eye as well as the palate, is made with readily available scallions. The rich-flavored taste of this grilled brochette can be optimized by using the yellowish scallions grown during the spring. As an easy-to-eat finger food, pasanjeok is ideally suited for a reception or buffet event.

78 Koreana | Autumn 2008

Pasanjeok Ingredients Scallions: 100 grams, beef sirloin: 200 grams, seasoning for beef (2 tablespoons soy sauce, 1 tablespoon sugar, 4 teaspoons chopped scallions, 2 teaspoons minced garlic, 2 teaspoons sesame salt, 2 teaspoons sesame oil, pinch of pepper)

Preparation 1 Trim scallions and cut into 5-centimeter-long strips. 2 Slice the beef into 0.7-centimeter-thick pieces, and score the surface with diagonal cuts. Cut the beef into strips 6 centimeters long and 1.2 centimeters wide. Marinate the beef in the seasoning. 3 Alternately attach the beef and scallions on a skewer and marinate before cooking. Beef should be placed at both ends of the skewer so as to ensure that its form is maintained during the grilling.

4 Grill over a charcoal fire or gridiron, or broil in a pan with oil.

Umpa refers to yellowish scallions that have been grown in a shaded area during the spring. Pasanjeok, which is pleasing to the eye as well as the palate, is made with readily available scallions. The rich-flavored taste of this grilled brochette can be optimized by using umpa, instead of regular scallions. As an easy-to-eat finger food, pasanjeok is ideally suited for a reception or buffet event. New varieties of colorful and tasty pasanjeok can be created by simply adding other ingredients to the basic scallions and beef. One example is tteok sanjeok , which is made with garaetteok (rope-shaped white rice cake, or tteok ), together with the beef and scallions. A favorite with children, this dish combines the crunchiness of scallions and the chewy texture of tteok to create a delectable taste and mouth feel. Another popular variety, songi sanjeok features the unique flavor and aroma of the pine mushroom, which can be found in pine forests in autumn. Pine mushrooms have long been regarded as the ultimate flavor of autumn, while its relative scarcity in the wild these days has made it a

highly prized commodity. Pine mushrooms are known to prevent high blood pressure and heart disease by reducing your cholesterol level. Together with the fact that it also helps to revive the body’s energy and maintain mental acuity, the pine mushroom is valued for its well-being characteristics. Recent studies have also found that pine mushrooms contain anti-carcinogenic elements. For mushroom sanjeok, the main ingredient is shiitake or oyster mushrooms. Careful attention must be paid while making sanjeok to ensure that the meat has been properly cooked. The ingredients used in sanjeok should be lightly seasoned, in order to retain the natural flavors. Since the individual ingredients can be easily eaten from the skewers, sanjeok assures a savory and enjoyable eating experience. Nowadays, with Koreans’ consumption of meat on the sharp rise, raising considerable concern about an increase in various adult afflictions, sanjeok is being highlighted as a kind of good-health food, which encourages the consumption of additional vegetables.

Autumn 2008 | Koreana 79

LIVING

Mountain Biking and BMX at

the Forefront of Korean Bicyclists Since their arrival in the late 1980s, mountain biking and BMX biking have been at the center of Korea’s bicycling scene, as popular forms of sport and recreation. More recently, ever more racing bikes and minivelos are now seen on the streets and byways, adding to the variety of biking alternatives for the fast-growing ranks of bicycle riders. Han Dong-Ok Chief Editor, Bicyclelife Magazine

t seems ironic that the popularity of bicycling is skewed toward the most underdeveloped and developed nations at opposite ends of the spectrum. In poorer countries, where passenger cars are rare and public transportation is inadequate, bicycles serve as a primary means of transportation. As for more advanced nations, people are increasingly taking up biking for recreation or as an alternative transportation mode, in response to traffic congestion and environmental concerns. In Korea, bicycles represented a form of low-cost and convenient transportation up through the 1980s, when Korea’s economic development and rising personal incomes enabled consumers to afford personal automobiles. Nowadays, the popularity of bicycling, as a recreational activity, has steadily trended upward.

Part of Everyday Life in Korea Since about 1990, interest in recreational biking began to gain momentum in Korea, which included bikers who formed riding groups related to their residential area and workplace. Thereafter, the widespread availability of Internet service in the late 1990s facilitated the formation of online bicycling communities. In the 2000s, sales of bicycles, including new varieties, have surged sharply. According to the Korea Customs Service, the domestic bicycle market has expanded by more than 100 percent in only five years, from 1.0 million sales in 2002, to 2.3 million units in 2007. In recent years, the increase in the number of recreational bikers in Korea has accelerated due in part 80 Koreana | Autumn 2008

to the public’s efforts to practice energy conservation, in response to soaring fuel prices. This trend has been a boon for bicycle industries, helping to boost the share prices of bike businesses and to spawn biking competitions. The widespread appeal of bicycling has also been bolstered by the bicycle-friendly initiatives of the central and local governments. Indeed, until recently, Korea’s roadways had been designed for the exclusive use of vehicles, with the safety of pedestrians and bicyclers being a secondary consideration. Pedestrians would be diverted to overhead or underground walkways, so as to maximize traffic flow, while few, if any, measures were taken to accommodate bicyclists, who rode along major streets at their own risk. But today, the central and local governments are adopting future-minded provisions to promote bicycling, as part of the concerted efforts to address energy and environmental issues. For example, it is now mandatory for new urban development projects to incorporate bicycle pathways, while ever more bikeways are being installed in parks and recreational areas, as well as along the waterways of major cities, such as the Han River in Seoul. Additional bike-parking facilities are also being constructed. The personal benefits and convenience of bicycling have served to motivate the public to use the bike as a practical form of transportation. In fact, it has been reported that the public bike-rental centers, operated by the local government in Seoul’s Songpagu district, are enjoying a steady flow of customers.

ÂŠ Choi Jun-keun

Koreaâ&#x20AC;&#x2122;s mountainous terrain is ideal for the sport of mountain biking, in which bikers navigate their way along rugged downhill courses.

Mountain Biking The introduction of mountain bikes paved the way for the spread of recreational biking in Korea. Interest in mountain biking, which expanded in line with the increase of biking clubs in the 1980s, remains stronger than ever in Korea today. Cross-country cycling is the most popular activity of mountain biking. With mountains covering 70 percent of Korea’s land area, the natural terrain is ideal for the sport. On weekends, cross-country enthusiasts will make their way to nearby mountains and even trek to outlying areas such as Gangwon-do. Downhill cycling, which involves riding down a course of rugged terrain, is also very popular. However, its current popularity has involved a gradual process because of the difficulty in getting your bike to the start of the downhill course, and the extravagant price of topperformance bikes, which provide riders with optimal speed and safety. But the thrill of this competitive activity appeals strongly to the adventurous nature of those Koreans who thrive on extreme sports. Nowadays, with people having sufficient confidence in purchasing various products via online transactions, there has been a surge in consumers who order bicycles from overseas distributors, along with a growing number of local outlets that offer popular import models. Accordingly, a wide variety of mountain bikes is now available at more competitive prices, including the favorite models of world-class mountain bikers. In addi-

tion, ski resorts now convert areas of their slopes into downhill courses for bikers, during the off-season. A 29-year-old Canadian, who has lived in Seoul for two years, works as an English instructor; but what he really came to Korea for is mountain biking. While considering job opportunities in several countries, he decided on Korea because of its perfect terrain for mountain biking. “Korea is a paradise for mountain bikers. Seoul is a huge metropolis, but it is surrounded by mountains, so I can head right up the slopes without having to rely on any other means of transportation. For cyclists, a city where you can go mountain biking straight from work, without much preparation, has great appeal.” On the weekends, he visits nearby mountains with a group of Korean bikers. While getting up a rugged mountain slope is no easy matter, even in an SUV, once you start down the mountain course, whizzing along the ridges, any built-up stress instantly vanishes, like the wind whipping by. A majority of the cycling competitions in Korea focuses on mountain biking, with about 20 regular events. The most popular is the Nationwide Mountain Bike Tournament, sponsored by Samchuly Bicycle Co. Ltd, which is held annually in May. The Gangchon Challenge, held at Gangchon Recreation Park, is a largescale biking festival that attracts some 2,000 bicyclists each summer. The Gangwon-do and Jeju-do provinces each host hill-climbing races, in which bikers compete to be the first to make their way up a steep mountain

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Autumn 2008 | Koreana 83

slope. A large number of mountain bikers participate in this arduous race, which can extend over a distance of 20 kilometers, relishing the exhilaration of this competitive challenge.

BMX, the Ultimate Thrill Whereas the extreme sport of mountain biking requires mountainous terrain, BMX (Bicycle Motorcross) is a form of daredevil biking intended for the urban environment, especially designated areas of public parks. BMX is said to combine the speed of a motorbike with the agility of rollerblades. A BMX bike is more compact and lighter than a regular bike, with wide reinforced wheels, about 20 inches in diameter. A BMX bike is built to be much more durable than a regular bicycle, while its handlebars can be rotated a full 360 degrees. It is often called a circus bicycle because it enables a rider to execute jumps, radical turns, and spinning

bicycle makers organized BMX biking teams, which were featured in their promotional campaigns. The BMX segment, despite competition from a slew of new forms of extreme sports, has maintained a steady presence in Korea’s bicycling scene, as a result of several active BMX clubs and the establishment of specialty outlets around the country.

Racing Bikes and Minivelos

Racing bikes have long been popular in Korea and worldwide. With an emphasis on speed, racing bikes feature large-diameter wheels with narrow tires, along with drop handlebars. Racing bikes are ideal for riding on streets, but until recently in Korea, very few people rode them, with the exception of professional cyclists. Bicyclists in Korea would ride mountain bikes on the street because the roadways had not been designed to be bicycle-friendly. The popularity of mountain biking also contributed to a decline of racing bike riders. This resulted in the organization of “Korea is a paradise for mountain bikers. Seoul is a huge metropolis, racing bike tournaments that but it is surrounded by mountains, so I can head right up the slopes without were open only to professional having to rely on any other means of transportation. For cyclists, cyclists, while not allowing a city where you can go mountain biking straight from work, the participation of amateur without much preparation, has great appeal.” enthusiasts. However, in 2005, with a resurgence of racing bike ridmaneuvers. BMX enthusiasts will practice endlessly to ers and the availability of additional courses, a racing perfect high-flying routines, which can leave viewers bike competition was organized for amateur riders. The gasping in disbelief. Although both can result in serious Tour de Korea, the country’s No. 1 racing bike competibodily injury, BMX involves hours of practice to execute tion, began accepting amateur competitors in 2007. This the more spectacular maneuvers, while mountain biking competition was also expanded to include Japan, and calls for greater physical exertion and quick reflexes. has since been renamed the Tour de Korea-Japan. BMX biking includes racing and freestyle forms. For Another notable development of the bicycling scene BMX racing, competitors race around a dirt course that is the 2003 debut of minivelo bicycles, with wheels less includes a series of sharp twists and turns, along with than 20 inches in diameter, which have been especially mounds that cause them to become airborne. Freestyle popular among the younger generation. In particular, BMX features vert and street categories, based on the the minivelo’s compact size and fold-up frame make it performance venue. Vert requires a half-pipe ramp, a easier for this bike to be combined with other means of large platform with curved sides, from which a rider transportation, like the bus or subway. It is also convelaunches himself into the air. Street bikers demonstrate nient and practical for short-distance trips. their acrobatic ability by negotiating urban fixtures, such Today, bicycles are fast becoming a fundamental as steps, railings, and even windowsills. aspect of everyday life and recreation in Korea. MoreIn Korea, following the introduction of BMX bikover, their popularity will continue to trend upward ing in the late 1980s, the young thrill-seekers of this as a result of the government’s proactive initiatives to sport began to congregate at Yeouido Plaza in Seoul. In encourage this efficient form of transportation and benresponse to the growing ranks of BMX riders, Korean eficial source of recreation. 84 Koreana | Autumn 2008

Journeys in Korean Literature

ÂŠ Park Jae-hong

Kim Aeran

When Kim Aeran was awarded the 38th Hankook Ilbo Literary Prize, in 2005, this created a considerable stir among Koreaâ&#x20AC;&#x2122;s literary circles. Along with being only 25, making her the youngest-ever award winner, she beat out a deep field of more experienced writers. Nevertheless, Kim immediately struck a chord within the heart of readers with her boundless imagination and witty expression, while becoming a symbol of change in Korean literature.

CRITIQUE

Plumbing the Imagination to Elude the Anguish of Trauma Kim Dong Shik Literary Critic and Professor, Department of Korean Language and Literature, Inha University

n the fall of 2005, word spread quickly when a young 25-year-old writer had been awarded the Hankook Ilbo Literary Prize, one of Korea’s most prestigious literary honors, only 2 years after her literary debut. It was unprecedented in Korea for a writer, who had not yet published a collection of stories, to earn such a highly regarded literary award. The Korean literary world was abuzz with the fact that Kim Aeran had been awarded the Hankook prize for her “Run, Dad” work. A collection of short stories bearing the same title, which was published after she had received this award, won over legions of literary-minded readers in Korea. What was it about Kim Aeran’s writing that so intrigued the sentiments of literary critics as well as general readers? Of course, several factors are involved, but the foremost reason is no doubt related to the way in which she describes the relationship between the individual and the family—a fundamental theme in Korean literature—from an innovative perspective.

86 Koreana | Autumn 2008

In large part, modern Korean literature has been characterized by such personal hardships as being “severely wounded,” and suffering from “painful torment” or “melancholy.” This is derived from the extreme hardship and tumult of Korea’s modern history: in the first half of the 20th century Korea suffered from Japan’s colonial rule, and the middle of the century was punctuated by the division of the nation into North and South, and the devastation of the three-year Korean War, while the second half of the century was highlighted by Korea’s modernization and democratization. As such, tragic hardship and painful suffering have played a central role in Korea’s modern history as well as its modern literature, in particular regard to the relationship between a family and its individual members. In particular, the father has often played a lead role in the numerous works that have dealt with the intricacies of family relations. The father will often assume a

dual identity, at once a victim, wounded by the ruthlessness of society, and an aggressor, who is capable of lashing out at his family members. Many works of this kind depict the intense conflict between a father and his children, and a subsequent reconciliation upon the father’s death. So, what kind of father figure is portrayed in Kim Aeran’s works? “Greetings of Love,” one of the short stories in her Run, Dad collection, tells the story of a girl who is abandoned by her father in a park, when she was a child, and then she later sees him again, after some ten years, through an aquarium tank. What must have gone through the mind of this girl, after her father, who told her to wait for him, never returned? A typical person would no doubt have been traumatized, thinking, “I have been abandoned,” but this girl instead is worried, “My father has gone missing.” This is why, even while staying at a facility for abandoned children, she would believe: “I think my father must be lost.” This scene reveals the girl’s strength of character, steadfastly refusing to be overcome by trauma or obsessed with resentment. Here, “resentment” refers to the heartfelt sentiments of someone who seeks consolation through an act of vengeance for a painful tragedy that cannot be readily soothed. Yet the protagonists in Kim Aeran’s works never give up and allow themselves to be traumatized or to develop resentment toward their father. In this way, Kim Aeran’s works, though having the appearance of a “family romance,” are clearly distinctive. “Run, Dad” is the story of a girl who can only imagine a father that she has never seen. A man moves to Seoul from the countryside and finds a place in a hillside slum. With him lives a woman, who after having fought with her father, abruptly leaves home and moves to Seoul. After days of pleading, the woman finally agrees that she will sleep with the man. But there is one condition: he must first buy contraceptives. So the man runs off in a frenzy to find contraceptives. When he later learns that the woman is pregnant, his face turns white and he runs out again. But this time he does not return. The daughter born out of wedlock always imagines

her father as running to somewhere or another. “Run, Dad” incorporates the basic structure of a family romance, in which the children reject their parents as they are growing up and instead imagine that their real parents are royalty or aristocracy. This can be seen as an imaginary compensation of (or a revenge fantasy toward) the parents, and also understood as a kind of psychological drama based on self-pity. The key point is that the parents in a family romance are a source of the children’s trauma. As such, in a family romance, the children protect and comfort themselves by using their imagination to transform the source of family-related trauma. As for “Run, Dad,” it is unique for adopting only a partial framework of a typical family romance. The daughter’s imaginings of her biological father is based on the format of a family romance, but the underlying element of a family romance—the fantasy of revenge based on self-pity—is nowhere to be found. It is the story of an illegitimate child, whose birth itself is a traumatic experience; but the author does not allow the father’s absence to become a source of trauma. The father is merely half of the daughter’s biological origin, who has been absent from the start, and an entity that is not part of her conscious thought. The father is not simply a biological contributor that made the protagonist possible, but a sort of nagging symptom existing in her repressed subconscious. This approach represents an entirely new way of conceptualizing the father. In “Run, Dad,” the father is affirmed from the beginning to the end. It also reveals the self who affirms the father. These affirmations of the father are clearly evident in the staunch rejection of trauma, and the protagonist’s appreciation of her imaginary realm. The unique imagination that transforms the father, a potential source of trauma, into an elusive shadow, is an innovative perspective that Kim Aeran brings to modern Korean literature. Kim Aeran thus seeks to deconstruct the traditional framework of the novel, from the inside, even as she adopts the outward appearance of a traditional literary work.

Autumn 2008 | Koreana 87

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