NATIONAL MUSEUM OF KOREA
DATE
September 3-October 20, 2013
Gyeongju National Museum, Special Exhibition Hall
Gyeongju has been widely known as the millennium-old capital of Silla. But even during the Goryeo and Joseon periods, the thousand
SUMMER 2013
A city filled with the heritage of a resplendent ancient culture,
VOL. 24
VENUE
QUARTERLY MAGAZINE
GYEONGJU, THE EASTERN CAPITAL OF JOSEON
QUARTERLY MAGAZINE
years following the fall of Silla, Gyeongju maintained its status as a historical city and its culture continued to flourish. Despite the city’s importance in a more modern context, Gyeongju of the Joseon period has received much less attention compared to Gyeongju as the capital of Silla. Hence the Gyeongju National Museum is planning an exhibi-
VOL.24 PUBLISHED BY NATIONAL MUSEUM OF KOREA SUMMER 2013
tion that gives a more balanced view of the city. The exhibition will focus on the status of Gyeongju in the Joseon period and other aspects such as academic progress, the efforts of the people during the Japanese invasions (1592-1598) and other
FEATURE GORYEO’S SELECTIVE ACCEPTANCE OF OUTSIDE
crises, and development of Buddhist culture. It will feature some 120
CULTURAL INFLUENCES
items including related documents and diverse materials that shed light on way of life, philosophy, and faiths of the people of that time. This special exhibition is expected to enhance understanding of the Gyeongju people’s perception of the cultural legacies of Silla and their
SPECIAL EXHIBITION CURATOR TALK
ART FROM THE ISLAMIC
THE UIGWE OF
CIVILIZATION
THE OUTER GYUJANGGAK
FROM THE AL-SABAH
AND THE EORAM UIGWE
COLLECTION, KUWAIT
inheritance of tradition. NMK EXHIBITION 300TH ANNIVERSARY OF THE BIRTH OF KANG SEHWANG A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY
RNM EXHIBITION SOBAN, SMALL DINING TABLES OF THE JOSEON DYNASTY
ISSN: 2005-1123
NATIONAL MUSEUM OF KOREA
DATE
September 3-October 20, 2013
Gyeongju National Museum, Special Exhibition Hall
Gyeongju has been widely known as the millennium-old capital of Silla. But even during the Goryeo and Joseon periods, the thousand years following the fall of Silla, Gyeongju maintained its status as a historical city and its culture continued to flourish. Despite the city’s importance in a more modern context, Gyeongju of the Joseon period has received much less attention compared to Gyeongju as the capital of Silla. Hence the Gyeongju National Museum is planning an exhibition that gives a more balanced view of the city. The exhibition will focus on the status of Gyeongju in the Joseon period and other aspects such as academic progress, the efforts of the people during the Japanese invasions (1592-1598) and other crises, and development of Buddhist culture. It will feature some 120 items including related documents and diverse materials that shed light on way of life, philosophy, and faiths of the people of that time. This special exhibition is expected to enhance understanding of the Gyeongju people’s perception of the cultural legacies of Silla and their inheritance of tradition.
ISSN: 2005-1123
SUMMER 2013
A city filled with the heritage of a resplendent ancient culture,
VOL. 24
VENUE
QUARTERLY MAGAZINE
GYEONGJU, THE EASTERN CAPITAL OF JOSEON
NATIONAL MUSEUM OF KOREA
QUARTERLY MAGAZINE
QUARTERLY MAGAZINE VOL. 24 SUMMER 2013
VOL.24 PUBLISHED BY NATIONAL MUSEUM OF KOREA SUMMER 2013
FEATURE GORYEO’S SELECTIVE ACCEPTANCE OF OUTSIDE CULTURAL INFLUENCES SPECIAL EXHIBITION CURATOR TALK
ART FROM THE ISLAMIC
THE UIGWE OF
CIVILIZATION
THE OUTER GYUJANGGAK
FROM THE AL-SABAH
AND THE EORAM UIGWE
COLLECTION, KUWAIT
NMK EXHIBITION 300TH ANNIVERSARY OF THE BIRTH OF KANG SEHWANG A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY
RNM EXHIBITION SOBAN, SMALL DINING TABLES OF THE JOSEON DYNASTY
ISSN: 2005-1123
CONTENTS
DIRECTOR'S MESSAGE
DI DISCOVERING LEGACY LE
02 FEATURE
Goryeo’s Selective Acceptance of outside Cultural Influences
10 CURATOR TALK
The Uigwe of the Outer Gyujanggak and the Eoram Uigwe In and around the grounds of the National Museum of Korea the sweet scent of summer is already in the air. Like the leaves on the trees which grow greener as time
VIEWING NOW
14 SPECIAL EXHIBITION
goes, the NMK’s international relations are becoming more substantial, and our efforts
Art from the Islamic Civilization from The al-Sabah Collection, Kuwait
to make the museum a friendly and comfortable place to visit are beginning to show results. Varied exhibitions and cultural programs are being prepared to turn the
20
museum into a refreshing haven in the middle of the city.
NMK EXHIBITION
First, convenience facilities have been added in time for the summer holidays so
300th Anniversary of the Birth of Kang Sehwang A Painter’s Life: Kang Sehwang and Literati Culture in the 18th Century
that children can enjoy learning in a pleasant environment. At the entrance of the
24
Children’s Museum, a new place where children with their teachers or parents can
THEME EXHIBITION
sit down and rest has been created. Moreover, we have improved accessibility for
Buddhist Guardian Deities of Late Joseon
those with physical difficulties. For example, six special exhibition spaces have been established in the Permanent Exhibition Hall on the first floor to provide various
26
activities for the blind and visually impaired.
Soban, Small Dining Table of the Joseon Dynasty
RNM EXHIBITION
Indeed, summer promises to be lively thanks to diverse exhibitions which are
TELLING MORE
30 PEOPLE
scheduled to continue through late autumn. Art from the Islamic Civilization, organized
Beyond Museum
as part of the NMK’s World Civilizations exhibition series, takes on greater meaning as
32
it marks the 30th anniversary of a cultural agreement between Korea and Kuwait. In
SERIAL LECTURE
addition, the museum will highlight the life and work of the late Joseon literati artist
Classics that Everyone Should Know: In Search of Emotional Resonance
Kang Sehwang to mark the 300th anniversary of his birth in the special exhibition A Painter's Life: Kang Sehwang and Literati Culture in the 18th century, which features 100 works. Besides, the contents of an open lecture series for 2013 titled “Saturday
DIGESTING NEWS
36 NEWS
Afternoon, Garden of the Humanities” are also introduced in the pages of this magazine.
38
These lectures, which take an easy and interesting approach to the humanities, are an
EXHIBITIONS & PUBLICATIONS
enjoyable way to learn about Korea’s literary classics.
40 HIDDEN PLACE
In the future, the NMK will focus its energies on improving service for the general
National Museum of Korea Library
public and promoting active international relations. Through continued high-quality exhibitions the museum will be a place where history lives, breathes and the power of culture can be felt.
Thank you.
Kim Youngna Director-General The National Museums of Korea Summer, 2013
QUARTERLY MAGAZINE VOL.24 SUMMER 2013
Publisher: National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-026, Korea Tel: (82 2) 2077-9251 Fax: (82 2) 2077-9936 E-mail: polagu47@korea.kr Editorial Direction: National Museum of Korea Publishing Team Design and Production: Ahn Graphics Inc., Editorial Team Translation / Revision: Timothy V. Atkinson / Cho Yoonjung / Lee Mi-jin / Hwang Chi-young
National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher. Printed in Korea Copyright © 2013 National Museum of Korea. All rights reserved. ISSN: 2005-1123
CONTENTS
DIRECTOR'S MESSAGE
DI DISCOVERING LEGACY LE
02 FEATURE
Goryeo’s Selective Acceptance of outside Cultural Influences
10 CURATOR TALK
The Uigwe of the Outer Gyujanggak and the Eoram Uigwe In and around the grounds of the National Museum of Korea the sweet scent of summer is already in the air. Like the leaves on the trees which grow greener as time
VIEWING NOW
14 SPECIAL EXHIBITION
goes, the NMK’s international relations are becoming more substantial, and our efforts
Art from the Islamic Civilization from The al-Sabah Collection, Kuwait
to make the museum a friendly and comfortable place to visit are beginning to show results. Varied exhibitions and cultural programs are being prepared to turn the
20
museum into a refreshing haven in the middle of the city.
NMK EXHIBITION
First, convenience facilities have been added in time for the summer holidays so
300th Anniversary of the Birth of Kang Sehwang A Painter’s Life: Kang Sehwang and Literati Culture in the 18th Century
that children can enjoy learning in a pleasant environment. At the entrance of the
24
Children’s Museum, a new place where children with their teachers or parents can
THEME EXHIBITION
sit down and rest has been created. Moreover, we have improved accessibility for
Buddhist Guardian Deities of Late Joseon
those with physical difficulties. For example, six special exhibition spaces have been established in the Permanent Exhibition Hall on the first floor to provide various
26
activities for the blind and visually impaired.
Soban, Small Dining Table of the Joseon Dynasty
RNM EXHIBITION
Indeed, summer promises to be lively thanks to diverse exhibitions which are
TELLING MORE
30 PEOPLE
scheduled to continue through late autumn. Art from the Islamic Civilization, organized
Beyond Museum
as part of the NMK’s World Civilizations exhibition series, takes on greater meaning as
32
it marks the 30th anniversary of a cultural agreement between Korea and Kuwait. In
SERIAL LECTURE
addition, the museum will highlight the life and work of the late Joseon literati artist
Classics that Everyone Should Know: In Search of Emotional Resonance
Kang Sehwang to mark the 300th anniversary of his birth in the special exhibition A Painter's Life: Kang Sehwang and Literati Culture in the 18th century, which features 100 works. Besides, the contents of an open lecture series for 2013 titled “Saturday
DIGESTING NEWS
36 NEWS
Afternoon, Garden of the Humanities” are also introduced in the pages of this magazine.
38
These lectures, which take an easy and interesting approach to the humanities, are an
EXHIBITIONS & PUBLICATIONS
enjoyable way to learn about Korea’s literary classics.
40 HIDDEN PLACE
In the future, the NMK will focus its energies on improving service for the general
National Museum of Korea Library
public and promoting active international relations. Through continued high-quality exhibitions the museum will be a place where history lives, breathes and the power of culture can be felt.
Thank you.
Kim Youngna Director-General The National Museums of Korea Summer, 2013
QUARTERLY MAGAZINE VOL.24 SUMMER 2013
Publisher: National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 140-026, Korea Tel: (82 2) 2077-9251 Fax: (82 2) 2077-9936 E-mail: polagu47@korea.kr Editorial Direction: National Museum of Korea Publishing Team Design and Production: Ahn Graphics Inc., Editorial Team Translation / Revision: Timothy V. Atkinson / Cho Yoonjung / Lee Mi-jin / Hwang Chi-young
National Museum of Korea, a quarterly magazine, abides by the principles set forth by the Korean Committee for Ethics in Book and Magazine Publication. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher. Printed in Korea Copyright © 2013 National Museum of Korea. All rights reserved. ISSN: 2005-1123
DISCOVERING LEGACY
FEATURE
GORYEO’S SELECTIVE ACCEPTANCE
THE HISTORICAL RELATIONSHIP BETWEEN GORYEO AND CHINA
OF
A
OUTSIDE CULTURAL INFLUENCES
look back at history reveals that most countries have interacted continuously with their neighboring states, developing their own cultures in the process.
We who live in the modern age may have difficulty in imagining how such exchanges took place when modes of transportation were still undeveloped. However, the nomads who lived on the steppes rode horses, and countries that border the sea had
BY CH A E H A EJ EONG,
ships. Moreover, the people who lived in the regions in between
A SSOCI AT E CU R ATOR OF J EONJ U NAT IONA L MUSEUM
got around on camels, trading their specialty goods with other regions and conveying aspects of their culture at the same time. Traces of foreign cultural influences, transferred in this way, can also be found on Korean cultural properties. Let’s examine some items in the National Museum of Korea collection and see how such outside cultural influences left their mark on the people of Goryeo. 高麗 918-1392 Goryeo’s foreign exchanges were mostly with China, which has maintained a profound relationship with Korea since ancient times. China’s historical circumstances were very complex between the tenth and fourteenth centuries. The north of China was ruled by the Liao, 遼 916-1125 followed by the Jin. 金 1115-1234 To the south, were the Northern Song, 北宋 960-1127 after which came the Southern Song. 南宋 1127-1279 Then, the Mongol hordes invaded from the steppes to overrun the Jin and Southern Song, and once again China was unified under the Yuan. 元 1260-1368 The nomadic tribes brought with their traditions that were much different from those of the sedentary Han people whom they conquered, and something new was created through their contact. The changed ways of life that resulted would affect national cultures. Over time, distinguishing the indigenous cultural elements from those that were imported became very difficult. The situation in China was thus complicated, and Goryeo historically and culturally had exchanges with all these various Reliquary Set Offered by
states. Therefore, it is also indeed difficult to identify exactly
Yi Seonggye
those elements of Goryeo culture that originated outside the
李成桂發願舍利具
Goryeo, ca 1390-91
country. However, some pieces from the period may help to
H. 15.5 cm
shed light on this issue.
Excavated at Geumgangsan Mountain
02
03
DISCOVERING LEGACY
FEATURE
GORYEO’S SELECTIVE ACCEPTANCE
THE HISTORICAL RELATIONSHIP BETWEEN GORYEO AND CHINA
OF
A
OUTSIDE CULTURAL INFLUENCES
look back at history reveals that most countries have interacted continuously with their neighboring states, developing their own cultures in the process.
We who live in the modern age may have difficulty in imagining how such exchanges took place when modes of transportation were still undeveloped. However, the nomads who lived on the steppes rode horses, and countries that border the sea had
BY CH A E H A EJ EONG,
ships. Moreover, the people who lived in the regions in between
A SSOCI AT E CU R ATOR OF J EONJ U NAT IONA L MUSEUM
got around on camels, trading their specialty goods with other regions and conveying aspects of their culture at the same time. Traces of foreign cultural influences, transferred in this way, can also be found on Korean cultural properties. Let’s examine some items in the National Museum of Korea collection and see how such outside cultural influences left their mark on the people of Goryeo. 高麗 918-1392 Goryeo’s foreign exchanges were mostly with China, which has maintained a profound relationship with Korea since ancient times. China’s historical circumstances were very complex between the tenth and fourteenth centuries. The north of China was ruled by the Liao, 遼 916-1125 followed by the Jin. 金 1115-1234 To the south, were the Northern Song, 北宋 960-1127 after which came the Southern Song. 南宋 1127-1279 Then, the Mongol hordes invaded from the steppes to overrun the Jin and Southern Song, and once again China was unified under the Yuan. 元 1260-1368 The nomadic tribes brought with their traditions that were much different from those of the sedentary Han people whom they conquered, and something new was created through their contact. The changed ways of life that resulted would affect national cultures. Over time, distinguishing the indigenous cultural elements from those that were imported became very difficult. The situation in China was thus complicated, and Goryeo historically and culturally had exchanges with all these various Reliquary Set Offered by
states. Therefore, it is also indeed difficult to identify exactly
Yi Seonggye
those elements of Goryeo culture that originated outside the
李成桂發願舍利具
Goryeo, ca 1390-91
country. However, some pieces from the period may help to
H. 15.5 cm
shed light on this issue.
Excavated at Geumgangsan Mountain
02
03
DISCOVERING LEGACY
FEATURE
Lacquered whisk handle inlaid with mother-of-pearl and turtle shell 螺鈿玳瑁漆菊唐草文拂子
Goryeo, 12th century L. 42.7 cm, C. 1.6 cm
CELADON WARE AND LACQUER WARE WITH MOTHER-OF-PEARL INLAY PRIZED IN CHINA
In 1975, a fisherman was working in the waters off Sinan,
lain ware to the Yuan court in 1297. These were pieces of Goryeo
Jeollanam-do, an area dotted with countless small islands. He
celadon with decorations painted on in gold, and an actual
recovered several pieces of ancient porcelain ware entangled in
inlaid celadon piece decorated in this technique was found at
his fishing net, and the discovery of the centuries-old artifacts
Manwoldae, the site of the Goryeo palace. Flattened celadon jar
led to a series of underwater exploration projects between 1976
with inlaid and gold-painted decoration of a monkey under a
and 1984.
tree has the image of a monkey holding a peach inlaid within
This “Undersea Treasure of Sinan” eventually yielded more
the diamond-shaped section of the surface. Gold powder with-
than 20,000 celadon and white porcelain pieces, mostly from
out an adhesive was laid over the glaze along the inlaid lines
Song and Yuan. Only seven, including a
and the piece was refired at low temperature to make it stick to
maebyeong 梅甁 prunus vase
the slightly melted glaze. The gold coloring on top of the black
and ceramic pillow, were of Goryeo origin. Celadon ware was first made during the Northern Song at the Longquan
kilns, 龍泉窯
in what is now southwestern Zheji-
and white background makes this celadon very ornate. Celadons were not the only craft that Goryeo artisans were
ang. However, Chinese celadon production did not reach its
expert at making. Lacquer ware with mother-of-pearl inlay is
peak until the Southern Song period. Thick layers of glaze were
one for which they were most famous. The records state that
coated onto a thin clay body to product a translucent yet soft
gifts inlaid with mother-of-pearl were sent to the Liao court as
bluish-green. Vase, Celadon with fish-liked dragon handles re-
early as 1049. In addition, ink-stone cases and writing-brush
covered from the sea at Sinan first appeared in Southern Song
boxes so decorated are said to have been bestowed on the Song
but became hugely popular in Yuan. However, pieces produced
court during the reign of Goryeo King Injong r. 1122‒1146 in the 12th
at Longquan kilns were not used in Goryeo. The cargo ship sank
century. Goryeo lacquer ware with mother-of-pearl inlay was
off the coast of the Korean Peninsula, but its destination was
well known in China for its detailed and elaborate decoration
apparently elsewhere. A careful study of the vessel laden with
and sophisticated production techniques. Unfortunately, only
Chinese-made ceramics has found that it was from the Yuan
twenty odd pieces are known to have survived from the Goryeo
period, departed the Chinese port of Qingyuan (in present-day
period. The only entirely intact piece remaining in Korea is
Ningbo, Zhejiang) in 1323, and was en route to the port of Haka-
part of the National Museum of Korea collection. The lacquered
ta in Kyushu, Japan. In other words, the “Undersea Treasure of
whisk handle is decorated with mother-of-pearl and turtle shell.
Sinan” was a 14th century shipment of more than 20,000 ce-
The translucent turtle shell slices were painted red or orange on
ramic pieces made in China and bound for Japan. Considering
the underside before being inlaid into the wooden handle. The
this historical fact, one can easily conclude that the volume and
Chinese were first to produce both celadon ware and lacquer
variety of Chinese items imported by Goryeo were not small,
ware with mother-of-pearl inlay, but the craft genres were rein-
and that these items had direct and indirect influences on
vented in unique styles by Goryeo artisans, who then exported
Goryeo culture.
some of their wares to China. These examples show that one
Conversely, the Chinese were well aware of cultural products
nation’s culture does neither move unilaterally nor is accepted
In-gyu 趙仁規 1227-
wholly by another nation. Rather it is transferred abroad par-
from Goryeo. The historical records state that Jo 1308
of Goryeo presented Yuan Shizu, 世祖 r. 1260-94 Khubilai Khan’s
Vase, Celadon with
Flattened celadon jar with inlaid
fish-liked dragon handles
and gold-painted decoration
靑磁魚龍飾甁
of a monkey under a tree
Yuan, Longquan kilns
靑磁象嵌金彩樹下猿文扁壺
H. 25.6 cm C. (mouth) 9.8 cm, C. (foot) 9.3 cm
Goryeo, late 13th–early 14th century
Excavated at sinan
H. 25.5 cm, C. (foot) 9.3 cm Excavated at Manwoldae, in Gaeseong
tially and then exchanged back again as needed.
title as Chinese emperor, with gold-painted porcelain ware and that Goryeo King Chungnyeol r. 1274‒1308 sent gold-painted porce04
05
DISCOVERING LEGACY
FEATURE
Lacquered whisk handle inlaid with mother-of-pearl and turtle shell 螺鈿玳瑁漆菊唐草文拂子
Goryeo, 12th century L. 42.7 cm, C. 1.6 cm
CELADON WARE AND LACQUER WARE WITH MOTHER-OF-PEARL INLAY PRIZED IN CHINA
In 1975, a fisherman was working in the waters off Sinan,
lain ware to the Yuan court in 1297. These were pieces of Goryeo
Jeollanam-do, an area dotted with countless small islands. He
celadon with decorations painted on in gold, and an actual
recovered several pieces of ancient porcelain ware entangled in
inlaid celadon piece decorated in this technique was found at
his fishing net, and the discovery of the centuries-old artifacts
Manwoldae, the site of the Goryeo palace. Flattened celadon jar
led to a series of underwater exploration projects between 1976
with inlaid and gold-painted decoration of a monkey under a
and 1984.
tree has the image of a monkey holding a peach inlaid within
This “Undersea Treasure of Sinan” eventually yielded more
the diamond-shaped section of the surface. Gold powder with-
than 20,000 celadon and white porcelain pieces, mostly from
out an adhesive was laid over the glaze along the inlaid lines
Song and Yuan. Only seven, including a
and the piece was refired at low temperature to make it stick to
maebyeong 梅甁 prunus vase
the slightly melted glaze. The gold coloring on top of the black
and ceramic pillow, were of Goryeo origin. Celadon ware was first made during the Northern Song at the Longquan
kilns, 龍泉窯
in what is now southwestern Zheji-
and white background makes this celadon very ornate. Celadons were not the only craft that Goryeo artisans were
ang. However, Chinese celadon production did not reach its
expert at making. Lacquer ware with mother-of-pearl inlay is
peak until the Southern Song period. Thick layers of glaze were
one for which they were most famous. The records state that
coated onto a thin clay body to product a translucent yet soft
gifts inlaid with mother-of-pearl were sent to the Liao court as
bluish-green. Vase, Celadon with fish-liked dragon handles re-
early as 1049. In addition, ink-stone cases and writing-brush
covered from the sea at Sinan first appeared in Southern Song
boxes so decorated are said to have been bestowed on the Song
but became hugely popular in Yuan. However, pieces produced
court during the reign of Goryeo King Injong r. 1122‒1146 in the 12th
at Longquan kilns were not used in Goryeo. The cargo ship sank
century. Goryeo lacquer ware with mother-of-pearl inlay was
off the coast of the Korean Peninsula, but its destination was
well known in China for its detailed and elaborate decoration
apparently elsewhere. A careful study of the vessel laden with
and sophisticated production techniques. Unfortunately, only
Chinese-made ceramics has found that it was from the Yuan
twenty odd pieces are known to have survived from the Goryeo
period, departed the Chinese port of Qingyuan (in present-day
period. The only entirely intact piece remaining in Korea is
Ningbo, Zhejiang) in 1323, and was en route to the port of Haka-
part of the National Museum of Korea collection. The lacquered
ta in Kyushu, Japan. In other words, the “Undersea Treasure of
whisk handle is decorated with mother-of-pearl and turtle shell.
Sinan” was a 14th century shipment of more than 20,000 ce-
The translucent turtle shell slices were painted red or orange on
ramic pieces made in China and bound for Japan. Considering
the underside before being inlaid into the wooden handle. The
this historical fact, one can easily conclude that the volume and
Chinese were first to produce both celadon ware and lacquer
variety of Chinese items imported by Goryeo were not small,
ware with mother-of-pearl inlay, but the craft genres were rein-
and that these items had direct and indirect influences on
vented in unique styles by Goryeo artisans, who then exported
Goryeo culture.
some of their wares to China. These examples show that one
Conversely, the Chinese were well aware of cultural products
nation’s culture does neither move unilaterally nor is accepted
In-gyu 趙仁規 1227-
wholly by another nation. Rather it is transferred abroad par-
from Goryeo. The historical records state that Jo 1308
of Goryeo presented Yuan Shizu, 世祖 r. 1260-94 Khubilai Khan’s
Vase, Celadon with
Flattened celadon jar with inlaid
fish-liked dragon handles
and gold-painted decoration
靑磁魚龍飾甁
of a monkey under a tree
Yuan, Longquan kilns
靑磁象嵌金彩樹下猿文扁壺
H. 25.6 cm C. (mouth) 9.8 cm, C. (foot) 9.3 cm
Goryeo, late 13th–early 14th century
Excavated at sinan
H. 25.5 cm, C. (foot) 9.3 cm Excavated at Manwoldae, in Gaeseong
tially and then exchanged back again as needed.
title as Chinese emperor, with gold-painted porcelain ware and that Goryeo King Chungnyeol r. 1274‒1308 sent gold-painted porce04
05
DISCOVERING LEGACY
FEATURE
Silver ewer with young boys motif 銀製童子文注子
Liao H. 17 cm
ASPECTS OF CULTURAL EXCHANGE IN GORYEO METALCRAFTS
Many people who were displaced after Tang and Balhae col-
handicraft making was influenced by the techniques and design
ing. Natural compositions such as this were frequent nt on
lapsed where absorbed into the Khitan Liao Dynasty, which
patterns of Liao.
handicrafts from the time of the Northern Song on.
ruled Northern China, and Liao craftsmanship advanced fur-
Buddhism was the state-sponsored religion in Goryeo, and
Interestingly, the motif of a young boy and lotus
ther as a result. Tang goldware and silverware traditions were
many small boxes were produced to carry the portable sutras
stems has also been found on silver ewer produced ed in
fused with the special metalworking skills of the Khitans (a
that contained the teachings of the Buddha. The design patterns
Liao. The example shown here was first produced out of
confederation of nomadic tribes from what is now Manchuria
on these boxes deserve special attention. The finely detailed
silver and then the gilt decorations were added on. The
and eastern Mongolia) to produce pieces of exceptional qual-
scene on the front and back sides depict young boys holding
ewer body is adorned with the images of large lotuss leaves,
ity. A similar example can be found in Goryeo, too. The Khitans
onto lotus stems, which densely occupy rest of the surface. The
and six circle designs are arranged around the shoulder. ulder. The
invaded Goryeo three times between 993 and 1018. Some Liao
convex presentation adds depth. The huge lotus leaves and
image of a playful young boys clutching the long lotus stem
prisoners of war captured in Goryeo during these invasions
flowers indicate the presence of a lotus pond, while very thin
appears inside each circle, which are filled with small all beadlike
were highly skilled craftsmen, who were sent to Gagyeong (the
lines have been etched into the surface to enhance realism. Sev-
figures. Virtually no background is to be seen. This motif itself
capital, present-day Gaeseong) to make dishes and other items.
eral duck-like birds are also shown. Handicrafts from the Tang
is ancient, but careful study is needed to ascertain in why the
Having the foreign artisans in one’s country to make the goods
period typically feature strong design elements and patterns
repoussé technique 打出技法 has been found on metal crafts from
with their own hands has a more direct effect on the local cul-
that are presented symmetrically, but the designs on this sutra
both Goryeo and Liao during the same historical period. riod.
ture than simply having the foreign goods flow in. Thus, Goryeo
box are asymmetrical and are in the style of a realistic paint-
Meanwhile, the inside surface of the Jin Dynasty y white porcelain dish is completely covered with the imagess of playful young boys holding onto peony stems. The same motif can be
Small gilt-bronze sutra box
White porcelain dish with stamped design of interlocking
with lotus pond and young boys motif
peonies (peony scroll) and playing young boys
金銅蓮池童子文經匣
白磁印花纏枝牡丹嬰₺文盤
Goryeo
Jin, Dingyao
L. 10.3 cm
H. 3.6 cm, C. (mouth) 19.7 cm, C. (foot) 6.5 cm Excavated at Gaeseong
found on metal craft from Northern and Southern Song. What
al crafts decorated with repoussé were seen in Song because the b th
is important question is how variations of the young boy motif,
production of pottery proliferated while gold and silver were
which was not seen in Tang, came to appear on the handicrafts
in short supply. In Goryeo, on the other hand, pottery-making
made in numerous countries from the time of the Liao onward.
advanced and repoussé technique was applied extensively to
Therefore, more examples need to be brought together and
produce extremely ornate metal crafts.
carefully studied to ascertain the stylistic differences among
then the decorative elements were gold-plated on. Bottles
them. Another issue worthy of examination is the repoussé tech-
shaped to resemble gourds were very popular in Goryeo and
nique of ornamenting or shaping a malleable metal by ham-
many were made with ceramics, in addition the metal ones. The
mering from the reverse side to create a design in low relief.
surface of the small sutra case introduced above is crammed
Its development in East Asia was influenced by the silverware
with decorative elements, which were produced using repoussé.
Empire 226-651
These elements are very ornate. The work patterns were all pro-
and its use originated in Tang and was extended from the Song
duced in relief, providing a sense of depth to the piece. Virtually
through the Liao and Yuan. Goryeo also acquired the technique
no flat background is to be seen. The repoussé work in Goryeo is
from Khitan craftsmen around the 11th century. As such, the
most likely linked to the metalworking techniques employed in
linkage of technical influences from Tang through Liao and
China as well as Liao.
production methods used in the Sassanid Persian
06
The gourd-shaped bottle was first crafted out of silver and
Goryeo need to be considered seriously, too. On the other hand,
Magoksa, a temple in Gongju, Chungcheongnam-do, has
repoussé did not develop in Song to the same extent that it did
a five-story pagoda, which is rarely found in Korea. The over-
in Liao and Goryeo. Other studies have concluded that few met-
all shape resembles that of most other Goryeo pagodas, but 07
DISCOVERING LEGACY
FEATURE
Silver ewer with young boys motif 銀製童子文注子
Liao H. 17 cm
ASPECTS OF CULTURAL EXCHANGE IN GORYEO METALCRAFTS
Many people who were displaced after Tang and Balhae col-
handicraft making was influenced by the techniques and design
ing. Natural compositions such as this were frequent nt on
lapsed where absorbed into the Khitan Liao Dynasty, which
patterns of Liao.
handicrafts from the time of the Northern Song on.
ruled Northern China, and Liao craftsmanship advanced fur-
Buddhism was the state-sponsored religion in Goryeo, and
Interestingly, the motif of a young boy and lotus
ther as a result. Tang goldware and silverware traditions were
many small boxes were produced to carry the portable sutras
stems has also been found on silver ewer produced ed in
fused with the special metalworking skills of the Khitans (a
that contained the teachings of the Buddha. The design patterns
Liao. The example shown here was first produced out of
confederation of nomadic tribes from what is now Manchuria
on these boxes deserve special attention. The finely detailed
silver and then the gilt decorations were added on. The
and eastern Mongolia) to produce pieces of exceptional qual-
scene on the front and back sides depict young boys holding
ewer body is adorned with the images of large lotuss leaves,
ity. A similar example can be found in Goryeo, too. The Khitans
onto lotus stems, which densely occupy rest of the surface. The
and six circle designs are arranged around the shoulder. ulder. The
invaded Goryeo three times between 993 and 1018. Some Liao
convex presentation adds depth. The huge lotus leaves and
image of a playful young boys clutching the long lotus stem
prisoners of war captured in Goryeo during these invasions
flowers indicate the presence of a lotus pond, while very thin
appears inside each circle, which are filled with small all beadlike
were highly skilled craftsmen, who were sent to Gagyeong (the
lines have been etched into the surface to enhance realism. Sev-
figures. Virtually no background is to be seen. This motif itself
capital, present-day Gaeseong) to make dishes and other items.
eral duck-like birds are also shown. Handicrafts from the Tang
is ancient, but careful study is needed to ascertain in why the
Having the foreign artisans in one’s country to make the goods
period typically feature strong design elements and patterns
repoussé technique 打出技法 has been found on metal crafts from
with their own hands has a more direct effect on the local cul-
that are presented symmetrically, but the designs on this sutra
both Goryeo and Liao during the same historical period. riod.
ture than simply having the foreign goods flow in. Thus, Goryeo
box are asymmetrical and are in the style of a realistic paint-
Meanwhile, the inside surface of the Jin Dynasty y white porcelain dish is completely covered with the imagess of playful young boys holding onto peony stems. The same motif can be
Small gilt-bronze sutra box
White porcelain dish with stamped design of interlocking
with lotus pond and young boys motif
peonies (peony scroll) and playing young boys
金銅蓮池童子文經匣
白磁印花纏枝牡丹嬰₺文盤
Goryeo
Jin, Dingyao
L. 10.3 cm
H. 3.6 cm, C. (mouth) 19.7 cm, C. (foot) 6.5 cm Excavated at Gaeseong
found on metal craft from Northern and Southern Song. What
al crafts decorated with repoussé were seen in Song b because th the
is important question is how variations of the young boy motif,
production of pottery proliferated while gold and silver were
which was not seen in Tang, came to appear on the handicrafts
in short supply. In Goryeo, on the other hand, pottery-making
made in numerous countries from the time of the Liao onward.
advanced and repoussé technique was applied extensively to
Therefore, more examples need to be brought together and
produce extremely ornate metal crafts.
carefully studied to ascertain the stylistic differences among
then the decorative elements were gold-plated on. Bottles
them. Another issue worthy of examination is the repoussé tech-
shaped to resemble gourds were very popular in Goryeo and
nique of ornamenting or shaping a malleable metal by ham-
many were made with ceramics, in addition the metal ones. The
mering from the reverse side to create a design in low relief.
surface of the small sutra case introduced above is crammed
Its development in East Asia was influenced by the silverware
with decorative elements, which were produced using repoussé.
Empire 226-651
These elements are very ornate. The work patterns were all pro-
and its use originated in Tang and was extended from the Song
duced in relief, providing a sense of depth to the piece. Virtually
through the Liao and Yuan. Goryeo also acquired the technique
no flat background is to be seen. The repoussé work in Goryeo is
from Khitan craftsmen around the 11th century. As such, the
most likely linked to the metalworking techniques employed in
linkage of technical influences from Tang through Liao and
China as well as Liao.
production methods used in the Sassanid Persian
06
The gourd-shaped bottle was first crafted out of silver and
Goryeo need to be considered seriously, too. On the other hand,
Magoksa, a temple in Gongju, Chungcheongnam-do, has
repoussé did not develop in Song to the same extent that it did
a five-story pagoda, which is rarely found in Korea. The over-
in Liao and Goryeo. Other studies have concluded that few met-
all shape resembles that of most other Goryeo pagodas, but 07
DISCOVERING LEGACY
FEATURE
Repoussé silver gourd-shaped bottle 銀製打出葫蘆甁
Goryeo, 12th-13th century H. 8 cm
the topmost section differs from the traditional Chinese tower
the lotus pedestal on the base is a triangular ornamentation.
look. Instead, the finial is in the so-called “Lama pagoda 喇嘛塔 ”
Meanwhile, the inverted bowl body, normally round, has been
style used in the Lamaistic form of Buddhism, which was
elongated to produce an ovoid figure. The number of discs on
chiefly practices in Tibet, Mongolia and the smaller Himalayan
the finial, which on a Lama pagoda usually totals thirteen, has
States. This style found its way into Goryeo during the Mongol-
been reduced to just four. Lotus figures adorn the shoulders
dominated Yuan, as Lama Buddhism received Chinese imperial
of the inverted bowl, and a figure of the Buddha with hands
support from the second half of the 13th century. The Lama pa-
joined has been engraved between them. The shape of the in-
goda style features pagoda body shaped like an upturned bowl,
verted bowl and the addition of the Buddha image represent
which is placed atop the base stone.
stylistic changes that were made in Goryeo to a Lama pagoda
Lama Buddhism came to Goryeo after the Goryeo royal
that originated in Yuan.
family and Yuan imperial family intermarried, and Goryeo
Extant handicrafts reveal that Goryeo was engaged in vari-
Buddhist art was influenced accordingly. According to extant
ous forms of exchange with foreign peoples. China at the time
records, four monks from Mongolia and Tibet visited Goryeo
of Goryeo (10th through 14th centuries) had a succession of
in 1271, and that Goryeo King Wonjong r. 1259‒1274 came out from
different ruling dynasties, to include the nomadic Liao, Jin and
the palace to meet them. This event appears to mark the time
Yuan as well as the Han (ethnic Chinese) Northern and South-
when Lama Buddhism was formally introduced to Goryeo.
ern Song. Goryeo interacted with all these states, providing
The records also state that Goryeo kings who had spent time
opportunities to come into contact with diverse cultural tradi-
in the Yuan capital (before ascending the throne) and Goryeo
tions, and some of these cultural ways became mixed in with
queens from the Yuan imperial family attended ceremonies led
the Goryeo traditional practices to produce a new Goryeo style.
by Lama monks. Such ceremonies would require certain ritual
Cultural exchange is never a one-way affair, and the Goryeo
instruments, suggesting that Lama-style Buddhist handicrafts
people selectively embraces certain elements from outside as
make their way into Goryeo as well. At the same time, traces of
needed, enriching the indigenous culture along the way.
the Lama Buddhism imparted from Yuan to Goryeo in the late 13th century can still be seen on the finial of the five-story pagoda at Magoksa. The Lama pagodas from Yuan were not entirely reproduced in Goryeo, but some of the reliquaries inside Goryeo pagodas were manufactured in the Lama style, a fact that deserves our attention. The pagoda itself was originally a tomb for enshrining body parts of the historical Buddha. These relics were kept in special containers of various types that were preserved inside the pagoda. Some of these reliquaries were themselves crafted in the shape of a pagoda, and examples can be found from late Goryeo. One of these reliquary set was offered in 1390 to buddha by Yi Seonggye, who founded Joseon in 1392. It is somewhat different from the traditional Lama pagoda style. Beneath 08
09
DISCOVERING LEGACY
FEATURE
Repoussé silver gourd-shaped bottle 銀製打出葫蘆甁
Goryeo, 12th-13th century H. 8 cm
the topmost section differs from the traditional Chinese tower
the lotus pedestal on the base is a triangular ornamentation.
look. Instead, the finial is in the so-called “Lama pagoda 喇嘛塔 ”
Meanwhile, the inverted bowl body, normally round, has been
style used in the Lamaistic form of Buddhism, which was
elongated to produce an ovoid figure. The number of discs on
chiefly practices in Tibet, Mongolia and the smaller Himalayan
the finial, which on a Lama pagoda usually totals thirteen, has
States. This style found its way into Goryeo during the Mongol-
been reduced to just four. Lotus figures adorn the shoulders
dominated Yuan, as Lama Buddhism received Chinese imperial
of the inverted bowl, and a figure of the Buddha with hands
support from the second half of the 13th century. The Lama pa-
joined has been engraved between them. The shape of the in-
goda style features pagoda body shaped like an upturned bowl,
verted bowl and the addition of the Buddha image represent
which is placed atop the base stone.
stylistic changes that were made in Goryeo to a Lama pagoda
Lama Buddhism came to Goryeo after the Goryeo royal
that originated in Yuan.
family and Yuan imperial family intermarried, and Goryeo
Extant handicrafts reveal that Goryeo was engaged in vari-
Buddhist art was influenced accordingly. According to extant
ous forms of exchange with foreign peoples. China at the time
records, four monks from Mongolia and Tibet visited Goryeo
of Goryeo (10th through 14th centuries) had a succession of
in 1271, and that Goryeo King Wonjong r. 1259‒1274 came out from
different ruling dynasties, to include the nomadic Liao, Jin and
the palace to meet them. This event appears to mark the time
Yuan as well as the Han (ethnic Chinese) Northern and South-
when Lama Buddhism was formally introduced to Goryeo.
ern Song. Goryeo interacted with all these states, providing
The records also state that Goryeo kings who had spent time
opportunities to come into contact with diverse cultural tradi-
in the Yuan capital (before ascending the throne) and Goryeo
tions, and some of these cultural ways became mixed in with
queens from the Yuan imperial family attended ceremonies led
the Goryeo traditional practices to produce a new Goryeo style.
by Lama monks. Such ceremonies would require certain ritual
Cultural exchange is never a one-way affair, and the Goryeo
instruments, suggesting that Lama-style Buddhist handicrafts
people selectively embraces certain elements from outside as
make their way into Goryeo as well. At the same time, traces of
needed, enriching the indigenous culture along the way.
the Lama Buddhism imparted from Yuan to Goryeo in the late 13th century can still be seen on the finial of the five-story pagoda at Magoksa. The Lama pagodas from Yuan were not entirely reproduced in Goryeo, but some of the reliquaries inside Goryeo pagodas were manufactured in the Lama style, a fact that deserves our attention. The pagoda itself was originally a tomb for enshrining body parts of the historical Buddha. These relics were kept in special containers of various types that were preserved inside the pagoda. Some of these reliquaries were themselves crafted in the shape of a pagoda, and examples can be found from late Goryeo. One of these reliquary set was offered in 1390 to buddha by Yi Seonggye, who founded Joseon in 1392. It is somewhat different from the traditional Lama pagoda style. Beneath 08
09
DISCOVERING LEGACY
CURATOR TALK
T
he uigwe, 儀軌 which detail specific state-sponsored projects and ceremonies, represent an important record genre unique to Joseon. Even the king would
refer to these texts. To ensure the preservation of the contents, uigwe were produced in multiple copies and stored at multiple locations, including the government office in the capital that oversaw their compilation. These copies were referred to as bunsang, 分上 for distribution, and kept in the hall called sago, 史庫
which also stored other royal family records at the special repositories, built around the kingdom to preserve the Annals of the Joseon Dynasty, 朝鮮王朝實錄 Joseon Wangjo Sillok. Officials would travel periodically to these special repositories, which were located in remote parts of the kingdom, to expose the various texts, to include the annals and the uigwe, to sunlight and air them out. This activity, which was called poswae, 曝曬 helped to prevent their degradation from insects or mold. The process is detailed in a report called Sillok Poswae Hyeongjian. 實錄曝曬形止案
THE UIGWE OF THE OUTER GYUJANGGAK AND THE EORAM UIGWE
In addition to the bunsang uigwe, a special edition called eoram, 御覽 royal perusal, was made for the king’s personal use.
Uigwe for the Construction of King Heonjong's Tomb, Gyeongneung. Version for Kings 1849 (King Cheoljong, Year of Accession) 45.0 x 32.4 cm
The uigwe directorate dogam, 都監 an ad hoc body organized for each uigwe compilation project, would ask the various government offices to provide with the very best materials, to include the finest quality paper and silk coverings, and most skilled artisans to produce these special volumes. Such requests are clearly evident in written orders called gamgyeol, 甘結 willing agreements, issued from high-level offices to subordinate offices. Such details are rarely found in other types of records and the extant uigwe are testimony to them.
BY L EE MOON H Y U N, CU R ATOR OF J EONJ U NAT IONA L MUSEUM
The deluxe eoram uigwe differed from the ordinary bunsang versions in various respects, starting with the cover, which was usually covered in green silk. A strip of white silk bearing the title was attached, and the cover was bordered with strips of red silk. Thus much greater craftsmanship went into the eoram uigwe than into the bunsang uigwe texts, which were simply covered with dyed hemp cloth. In addition, each volume was attached to a brass binding with brass tacks decorated with chrysanthemum petal design, and rings. The paper used for the eoram uigwe is called chojuji, 草注紙 the highest grade known of Korean traditional mulberry paper. It cost for to six times more than the lower grade jeojuji 楮注紙 found in the bunsang editions. Chojuji is heavy and has a glossy surface, therefore the black ink and color pigments appear with great clarity and in most cases have not faded appreciably until
Uigwe for the Construction of King Heonjong's Tomb, Gyeongneung. Version for Distribution 1849 (King Cheoljong, Year of Accession) 44.2 x 31.7 cm © Kyujanggak Institute for Korean Studies
the present day. The lines for the text were had drawn by court artists using a red pigment imported from China called dangjuhong. 唐朱紅 By contrast, the text for the bunsang editions was printed from woodblocks. For the king’s deluxe edition, dedicat10
11
DISCOVERING LEGACY
CURATOR TALK
T
he uigwe, 儀軌 which detail specific state-sponsored projects and ceremonies, represent an important record genre unique to Joseon. Even the king would
refer to these texts. To ensure the preservation of the contents, uigwe were produced in multiple copies and stored at multiple locations, including the government office in the capital that oversaw their compilation. These copies were referred to as bunsang, 分上 for distribution, and kept in the hall called sago, 史庫
which also stored other royal family records at the special repositories, built around the kingdom to preserve the Annals of the Joseon Dynasty, 朝鮮王朝實錄 Joseon Wangjo Sillok. Officials would travel periodically to these special repositories, which were located in remote parts of the kingdom, to expose the various texts, to include the annals and the uigwe, to sunlight and air them out. This activity, which was called poswae, 曝曬 helped to prevent their degradation from insects or mold. The process is detailed in a report called Sillok Poswae Hyeongjian. 實錄曝曬形止案
THE UIGWE OF THE OUTER GYUJANGGAK AND THE EORAM UIGWE
In addition to the bunsang uigwe, a special edition called eoram, 御覽 royal perusal, was made for the king’s personal use.
Uigwe for the Construction of King Heonjong's Tomb, Gyeongneung. Version for Kings 1849 (King Cheoljong, Year of Accession) 45.0 x 32.4 cm
The uigwe directorate dogam, 都監 an ad hoc body organized for each uigwe compilation project, would ask the various government offices to provide with the very best materials, to include the finest quality paper and silk coverings, and most skilled artisans to produce these special volumes. Such requests are clearly evident in written orders called gamgyeol, 甘結 willing agreements, issued from high-level offices to subordinate offices. Such details are rarely found in other types of records and the extant uigwe are testimony to them.
BY L EE MOON H Y U N, CU R ATOR OF J EONJ U NAT IONA L MUSEUM
The deluxe eoram uigwe differed from the ordinary bunsang versions in various respects, starting with the cover, which was usually covered in green silk. A strip of white silk bearing the title was attached, and the cover was bordered with strips of red silk. Thus much greater craftsmanship went into the eoram uigwe than into the bunsang uigwe texts, which were simply covered with dyed hemp cloth. In addition, each volume was attached to a brass binding with brass tacks decorated with chrysanthemum petal design, and rings. The paper used for the eoram uigwe is called chojuji, 草注紙 the highest grade known of Korean traditional mulberry paper. It cost for to six times more than the lower grade jeojuji 楮注紙 found in the bunsang editions. Chojuji is heavy and has a glossy surface, therefore the black ink and color pigments appear with great clarity and in most cases have not faded appreciably until
Uigwe for the Construction of King Heonjong's Tomb, Gyeongneung. Version for Distribution 1849 (King Cheoljong, Year of Accession) 44.2 x 31.7 cm © Kyujanggak Institute for Korean Studies
the present day. The lines for the text were had drawn by court artists using a red pigment imported from China called dangjuhong. 唐朱紅 By contrast, the text for the bunsang editions was printed from woodblocks. For the king’s deluxe edition, dedicat10
11
DISCOVERING LEGACY
CURATOR TALK
ed government copyists meticulously brushed the calligraphy
Gyujanggak 奎章閣 installed on the grounds of Changdeokgung
inside the red lines, usually in the tidy block-style. Thus much
Palace 昌德宮 immediately after ascending the throne in 1776. This
more time and effort went into the production of the eoram
institution served as both a library and research facility. Ini-
uigwe than the rest.
tially the writings and drawings of previous kings, royal gene-
Characters that referred to the king or the royal family in
alogies, and other important documents were kept here, but as
the eoram uigwe were raised one or two spaces above the col-
the research function took on greater importance, another place
umn as a mark of distinction, a practice is known as
daedu, 擡頭
became needed as an archive. Thus, the Oegyujanggak, Outer
raise the head. In the bunsang versions, this deferential gesture
Gyujanggak 外奎章閣 was built on Ganghwado (Island) in 1782, and
was often accomplished simply by leaving one space blank. As
the documents related to the royal family as well as the eoram
a result the total number of paged would differ between the two
uigwe were relocated there. The Oegyujanggak had six bays (kan,
text types; extant requests by the uigwe directorate indicate that
the area between four pillars) and was located east of the tem-
10-20% more paper would be required for the deluxe edition
porary palace on Ganghwado. During the reign of Cheoljong r.
that would be used in the regular one. Differences can also be
1849-63
found in the illustrations. Take, for example, the banchado, 班次圖
treasure trove of records documenting the royal family in late
which show where and how the participants and various kinds
Joseon. A record of the facility’s status called Ganghwa-bu oe-
of equipment were positioned during royal processions and
gyujanggak hyeongjian 江華府外奎章閣形止案 was completed in the ninth
ceremonies. Artists from the Royal Bureau of Painting 圖畫署
lunar month of 1857. It says that most of the uigwe were kept on
would draw and then paint each figure that appears in these il-
tables placed at the north end of the hall.
as many as 6,000 texts were stored there, making this a
lustrations for the king’s version. The same illustration in many
French troops invaded Ganghwado in 1866 in retaliation
bunsang versions have the figures of people and horses stamped
for the Joseon government’s killing of French priests. This inci-
onto the page and then colored. Even the quality of the pigment
dent was officially termed the “Byeong-in Foreign Disturbance”;
used in the eoram uigwe was better, producing clearer colors.
丙寅洋擾
Great effort was also taken in the preservation and maintenance of the uigwe for the king. King Jeongjo
r. 1776-1800
had
the year byeong-in according to the traditional calendar
is equivalent to 1866 on the Western calendar. The invaders set fire to the government buildings on the island as well as to Drawing of Palace in Ganghwa-bu Prefecture Late 19th century 25.7 x 36.8 cm © National Library of Korea
Uigwe for Crown Prince Hyojang's Investiture Ceremony. Version for Kings 1725 (King Yeongjo, 1st Year of His Reign) 48.1 x 34.8 cm
Uigwe for Crown Prince Hyojang's Investiture Ceremony. Version for Distribution 1725 (King Yeongjo, 1st Year of His Reign) 46.3 x 33.6 cm
and Oegyujanggak, and all were destroyed. Most of the archives
deluxe editions, made especially for the king. As such, both
were lost at that time, but the French did take away more than
their artistic value and quality are great, and they demonstrate
340 books and other documents in 189 types back home with
the very essence of this recordkeeping genre. Importantly, thirty
them. Those materials were finally repatriated to Korea after 145
of the volumes that were returned to Korea are the sole extant
years.
copies of this precious legacy.
Korean historian Park Byeongseon first went to France as an exchange student in the 1950s and began working as a librarian at the National Library in the 1970s. She located the lost uigwe texts in 1975 and informed the Embassy of the Republic of Korea to the French Republic of her discovery. Thereafter, talks on sending back 297 volumes to Korea including the uigwe, began between the two governments. The first item, Volume 1 the record of the project to relocate the tomb of a royal concubine, Hyeonmok subin. 顯穆綏嬪 In 2011, the remaining 296 volumes finally arrived on Korean soil once again. Most of the uigwe that were kept at the Oegyujanggak were 12
13
DISCOVERING LEGACY
CURATOR TALK
ed government copyists meticulously brushed the calligraphy
Gyujanggak 奎章閣 installed on the grounds of Changdeokgung
inside the red lines, usually in the tidy block-style. Thus much
Palace 昌德宮 immediately after ascending the throne in 1776. This
more time and effort went into the production of the eoram
institution served as both a library and research facility. Ini-
uigwe than the rest.
tially the writings and drawings of previous kings, royal gene-
Characters that referred to the king or the royal family in
alogies, and other important documents were kept here, but as
the eoram uigwe were raised one or two spaces above the col-
the research function took on greater importance, another place
umn as a mark of distinction, a practice is known as
daedu, 擡頭
became needed as an archive. Thus, the Oegyujanggak, Outer
raise the head. In the bunsang versions, this deferential gesture
Gyujanggak 外奎章閣 was built on Ganghwado (Island) in 1782, and
was often accomplished simply by leaving one space blank. As
the documents related to the royal family as well as the eoram
a result the total number of paged would differ between the two
uigwe were relocated there. The Oegyujanggak had six bays (kan,
text types; extant requests by the uigwe directorate indicate that
the area between four pillars) and was located east of the tem-
10-20% more paper would be required for the deluxe edition
porary palace on Ganghwado. During the reign of Cheoljong r.
that would be used in the regular one. Differences can also be
1849-63
found in the illustrations. Take, for example, the banchado, 班次圖
treasure trove of records documenting the royal family in late
which show where and how the participants and various kinds
Joseon. A record of the facility’s status called Ganghwa-bu oe-
of equipment were positioned during royal processions and
gyujanggak hyeongjian 江華府外奎章閣形止案 was completed in the ninth
ceremonies. Artists from the Royal Bureau of Painting 圖畫署
lunar month of 1857. It says that most of the uigwe were kept on
would draw and then paint each figure that appears in these il-
tables placed at the north end of the hall.
as many as 6,000 texts were stored there, making this a
lustrations for the king’s version. The same illustration in many
French troops invaded Ganghwado in 1866 in retaliation
bunsang versions have the figures of people and horses stamped
for the Joseon government’s killing of French priests. This inci-
onto the page and then colored. Even the quality of the pigment
dent was officially termed the “Byeong-in Foreign Disturbance”;
used in the eoram uigwe was better, producing clearer colors.
丙寅洋擾
Great effort was also taken in the preservation and maintenance of the uigwe for the king. King Jeongjo
r. 1776-1800
had
the year byeong-in according to the traditional calendar
is equivalent to 1866 on the Western calendar. The invaders set fire to the government buildings on the island as well as to Drawing of Palace in Ganghwa-bu Prefecture Late 19th century 25.7 x 36.8 cm © National Library of Korea
Uigwe for Crown Prince Hyojang's Investiture Ceremony. Version for Kings 1725 (King Yeongjo, 1st Year of His Reign) 48.1 x 34.8 cm
Uigwe for Crown Prince Hyojang's Investiture Ceremony. Version for Distribution 1725 (King Yeongjo, 1st Year of His Reign) 46.3 x 33.6 cm
and Oegyujanggak, and all were destroyed. Most of the archives
deluxe editions, made especially for the king. As such, both
were lost at that time, but the French did take away more than
their artistic value and quality are great, and they demonstrate
340 books and other documents in 189 types back home with
the very essence of this recordkeeping genre. Importantly, thirty
them. Those materials were finally repatriated to Korea after 145
of the volumes that were returned to Korea are the sole extant
years.
copies of this precious legacy.
Korean historian Park Byeongseon first went to France as an exchange student in the 1950s and began working as a librarian at the National Library in the 1970s. She located the lost uigwe texts in 1975 and informed the Embassy of the Republic of Korea to the French Republic of her discovery. Thereafter, talks on sending back 297 volumes to Korea including the uigwe, began between the two governments. The first item, Volume 1 the record of the project to relocate the tomb of a royal concubine, Hyeonmok subin. 顯穆綏嬪 In 2011, the remaining 296 volumes finally arrived on Korean soil once again. Most of the uigwe that were kept at the Oegyujanggak were 12
13
VIEWING NOW
SPECIAL EXHIBITION
JULY 2 - OCTOBER 20, 2013 SPECIAL EXHIBITION GALLERY
ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT BY K WON K A NGM I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION
I
n 2013, the National Museum of Korea will host Art from the Islamic Civilization as part of the World Civilization series. The pieces on display are part of the al-Sabah Collection of
Islamic art, one of the most beautiful and comprehensive collecIs tions of its kind. It was begun in the 1970s when Sheikh Nasser Satio bah al-Ahmed al-Sabah of the Kuwaiti royal family started buying ba art objects as a hobby that he shared with his wife, Sheikha Husar sah Sabah al-Salem al-Sabah. These items have been on long-term sa loan to the Kuwait National Museum since 1983, when they were lo relocated to one of the museum’s four buildings, Dar al-Athar alre Islamiyyah (DAI). Is This exhibition is divided into two main sections. The first features Islamic art items that are arranged in chronological order, tu from the 8th through 18th centuries, while second organizes the fr displays by theme, thereby highlighting key characteristics of Isdi lamic art. Therefore, visitors can grasp the features of Islamic art la as explained through Arabic calligraphy, geometry, and arabesque patterns. In addition, they can see how Islamic art is expressed figpa uratively and view the elegantly crafted jewellery that is the pride ur of the al-Sabah Collection.
14
15
VIEWING NOW
SPECIAL EXHIBITION
JULY 2 - OCTOBER 20, 2013 SPECIAL EXHIBITION GALLERY
ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT BY K WON K A NGM I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION
I
n 2013, the National Museum of Korea will host Art from the Islamic Civilization as part of the World Civilization series. The pieces on display are part of the al-Sabah Collection of
Islamic art, one of the most beautiful and comprehensive collecIs tions of its kind. It was begun in the 1970s when Sheikh Nasser Satio bah al-Ahmed al-Sabah of the Kuwaiti royal family started buying ba art objects as a hobby that he shared with his wife, Sheikha Husar sah Sabah al-Salem al-Sabah. These items have been on long-term sa loan to the Kuwait National Museum since 1983, when they were lo relocated to one of the museum’s four buildings, Dar al-Athar alre Islamiyyah (DAI). Is This exhibition is divided into two main sections. The first features Islamic art items that are arranged in chronological order, tu from the 8th through 18th centuries, while second organizes the fr displays by theme, thereby highlighting key characteristics of Isdi lamic art. Therefore, visitors can grasp the features of Islamic art la as explained through Arabic calligraphy, geometry, and arabesque patterns. In addition, they can see how Islamic art is expressed figpa uratively and view the elegantly crafted jewellery that is the pride ur of the al-Sabah Collection.
14
15
VIEWING NOW
SPECIAL EXHIBITION
JULY 2 - OCTOBER 20, 2013 SPECIAL EXHIBITION GALLERY
ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT BY K WON K A NGM I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION
I
n 2013, the National Museum of Korea will host Art from the Islamic Civilization as part of the World Civilization series. The pieces on display are part of the al-Sabah Collection of
Islamic art, one of the most beautiful and comprehensive collecIs tions of its kind. It was begun in the 1970s when Sheikh Nasser Satio bah al-Ahmed al-Sabah of the Kuwaiti royal family started buying ba art objects as a hobby that he shared with his wife, Sheikha Husar sah Sabah al-Salem al-Sabah. These items have been on long-term sa loan to the Kuwait National Museum since 1983, when they were lo relocated to one of the museum’s four buildings, Dar al-Athar alre Islamiyyah (DAI). Is This exhibition is divided into two main sections. The first features Islamic art items that are arranged in chronological order, tu from the 8th through 18th centuries, while second organizes the fr displays by theme, thereby highlighting key characteristics of Isdi lamic art. Therefore, visitors can grasp the features of Islamic art la as explained through Arabic calligraphy, geometry, and arabesque patterns. In addition, they can see how Islamic art is expressed figpa uratively and view the elegantly crafted jewellery that is the pride ur of the al-Sabah Collection.
16
17
VIEWING NOW
SPECIAL EXHIBITION
JULY 2 - OCTOBER 20, 2013 SPECIAL EXHIBITION GALLERY
ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT BY K WON K A NGM I, ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF T H E EX H I BI T ION
I
n 2013, the National Museum of Korea will host Art from the Islamic Civilization as part of the World Civilization series. The pieces on display are part of the al-Sabah Collection of
Islamic art, one of the most beautiful and comprehensive collecIs tions of its kind. It was begun in the 1970s when Sheikh Nasser Satio bah al-Ahmed al-Sabah of the Kuwaiti royal family started buying ba art objects as a hobby that he shared with his wife, Sheikha Husar sah Sabah al-Salem al-Sabah. These items have been on long-term sa loan to the Kuwait National Museum since 1983, when they were lo relocated to one of the museum’s four buildings, Dar al-Athar alre Islamiyyah (DAI). Is This exhibition is divided into two main sections. The first features Islamic art items that are arranged in chronological order, tu from the 8th through 18th centuries, while second organizes the fr displays by theme, thereby highlighting key characteristics of Isdi lamic art. Therefore, visitors can grasp the features of Islamic art la as explained through Arabic calligraphy, geometry, and arabesque patterns. In addition, they can see how Islamic art is expressed figpa uratively and view the elegantly crafted jewellery that is the pride ur of the al-Sabah Collection.
16
17
THE ORIGINS OF ISLAMIC ART: 8th-10th C TH
al-S al-Sabah Collection
Islam was established in Mecca during the 7th century and subIsl
LNSS 1218M
sequently neighboring regions. These were primarily seq quently spread to ne the th e Byzantine Empire, a continuation of the Roman Empire, to the Sassanid Persian Empire to the east, and so th e west and the Sass Islamic early period reflects elements from these Isl lamic art from the e
SPECIAL EXHIBITION
Bro Bronze Incense Burner Eas East Iran, 11-12th Century
continued to bring people from varied regions together, and co
during this period. In addition, Arabic calligraphers adopted du
the established artistic sensibilities of diverse cultures were ab-
vibrant scripts such as sulus font, produced elegant glass pieces vib
sorbed to create the main repertoire of Islamic art. Furthermore, sor
decorated with precious stones, and metal ware with delicate de
regional centers for metal ware formed; for example, Khorasan, reg
inlays. Carpets decorated with geometric designs from the in
which in what is now eastern Iran, became famous for brass wh
Mamluk Sultanate period were exported to Europe and reproMa
candlestick production. can
duced in craft studios there by Renaissance artists. Meanwhile, du
external ex xternal cultures. For example, the blocks of decorative stone
The surfaces of metal crafts made during this period were
the Nasrid Dynasty 1231-1492 in Spain, with its undecorated woodth
glass handicrafts made during the Umayyad forr structures and glas
decorated entirely; no part was left empty. Ceramic and glass de
en structures and ivory carving, brought Western-inspired ele-
Caliphate, Ca aliphate, 661‒750
were influenced by the Byzantines, while the
artworks maintained figurative purity while abstract expression art
ments into Islamic art. me
metal that period of time clearly show Sassanian me etal crafts made in th
was added, a fundamental feature of Islamic art. The creativwa
influence. infl fluence.
ity of this art is well expressed in the calligraphic tiraz (Persian
THE APOGEE OF THE GREAT EMPIRES: 16th-18th C TH
Also, the spread of the Qur'an furthered the use of Arabic
for embroidery) inscriptions on the fringes of woven textiles as
The 15th century Timur (or Tamerlane), in a bid to resurrect Th
calligraphy, ca lligraphy, which is a fundamental feature of Islamic art. The
well as in the carvings of wood and ivory. Meanwhile Islamic we
Mongol dominance, led his “Golden Horde” in invasions of Mo
abstract mode of expression in early ceramics can be
potters, in their competition with the Chinese, developed new po
Delhi, Moscow, Ankara, Isfahan and Damascus. He ordered that De
production methods such as fritware. pr
artisans and prominent members of society in his conquered art
said to be a product of the Islamic culture. With the
lands be seized and taken back to Samarkand in Central Asia. lan
start of the Abbasid Caliphate, 750-1258 the political center of the th Middle East moved east from Damascus
EXPRESSIVE MATURITY: 14th - 15th C EX
Cultural links were thereby established between Central and Cu
to Baghdad and an the artistic styles of both regions were
This section highlights the art pieces produced during the Th
West Asia, and a cosmopolitan Islamic art emerged that was We
fused. This can be seen in the beveled style of wooden
Mamluk Sultanate, 1250‒1517 a system of ruler outside the royal Ma
both mature and refined. bo
structures and the influx of crystal chess-pieces from
line of Turkish descent. The Mamluks played an important role lin
Islamic art and culture enjoyed a golden age from the 16th
India. In addition, geometric patterns and arabesque addit
in Mediterranean history until its defeat at the hands of the Ot-
through 18th centuries, led by the Iranian Safavid Dynasty, Inthr
patterns were developed and graphic design became
toman Empire in 1517. The regions that are comprise Egypt and tom
dian Mughul Empire, and Turkish Ottoman Empire. The Turkdia
steadily more sophisticated. s
Syria were the center of Mamluk Sultanate art. Meanwhile, after Sy
ish Ottomans had the strongest systems of dominance, lasted
the Mongols took Baghdad in 1258, Mamluk warriors engaged th
the longest among these three, and was powerful enough to th
VARIETY ART: 11th-13th C VARIETY IN ISLAMIC ISLA
them in battle. This process of military conflict brought exotic the
keep the Europeans in check. Great Ottoman sultans such as ke
The became broken up after the middle T e Abbasid Caliphate Th Calip
artistic motifs from the Far East such as lotuses, spiral clouds, art
Mehmed II r. 1444-1446 and 1451-1481 and Suleiman the Magnificent r. Me
of the 10th centuries, while Islam gained new strength in centu
peonies, and dragons to Islamic art pieces as well. pe
1520-1566 152
built one of the world’s foremost empires. The Safavid
Spain, Central Asia and India. The pilgrimSpain, Northern Africa, A
As Asia’s artistic influences were felt, the tendency toward
1588-1628 sought to bring back the former glory of Persia Dynasty Dy
age ag ge to Mecca (known as the Haji), as specified in the Qur'an,
abstract decoration became more pronounced in Islamic art ab
and served as a bridge between East and West once more. The an
Manuscript of the Qur’an Ma
Composite-bodied Com
Ena Enamelled Glass Vase
Com Composite-bodied Ceramic Ewer
Par Parchment folio from a manuscript of the Qur’an
Cer Ceramic Crenellation Element
Syr Syria or Egypt, early 14th century
Tur Turkey, 1560-1570
Tun Tunisia, probably Qayrawan 9th century
Pro Probably India, late 16th century
Iran Iran, 12th century
al-S al-Sabah Collection
al-S al S al-Sabah Collection
al-S al-Sabah Collection
al-S al-Sabah Collection
al-S al-Sabah Collection
LNS 69G
LNS 99C
LNS 2CAa
LNS 277MS
LNS 189C
18
19
THE ORIGINS OF ISLAMIC ART: 8th-10th C TH
al-S al-Sabah Collection
Islam was established in Mecca during the 7th century and subIsl
LNSS 1218M
sequently neighboring regions. These were primarily seq quently spread to ne the th e Byzantine Empire, a continuation of the Roman Empire, to the Sassanid Persian Empire to the east, and so th e west and the Sass Islamic early period reflects elements from these Isl lamic art from the e
SPECIAL EXHIBITION
Bro Bronze Incense Burner Eas East Iran, 11-12th Century
continued to bring people from varied regions together, and co
during this period. In addition, Arabic calligraphers adopted du
the established artistic sensibilities of diverse cultures were ab-
vibrant scripts such as sulus font, produced elegant glass pieces vib
sorbed to create the main repertoire of Islamic art. Furthermore, sor
decorated with precious stones, and metal ware with delicate de
regional centers for metal ware formed; for example, Khorasan, reg
inlays. Carpets decorated with geometric designs from the in
which in what is now eastern Iran, became famous for brass wh
Mamluk Sultanate period were exported to Europe and reproMa
candlestick production. can
duced in craft studios there by Renaissance artists. Meanwhile, du
external ex xternal cultures. For example, the blocks of decorative stone
The surfaces of metal crafts made during this period were
the Nasrid Dynasty 1231-1492 in Spain, with its undecorated woodth
glass handicrafts made during the Umayyad forr structures and glas
decorated entirely; no part was left empty. Ceramic and glass de
en structures and ivory carving, brought Western-inspired ele-
Caliphate, Ca aliphate, 661‒750
were influenced by the Byzantines, while the
artworks maintained figurative purity while abstract expression art
ments into Islamic art. me
metal that period of time clearly show Sassanian me etal crafts made in th
was added, a fundamental feature of Islamic art. The creativwa
influence. infl fluence.
ity of this art is well expressed in the calligraphic tiraz (Persian
THE APOGEE OF THE GREAT EMPIRES: 16th-18th C TH
Also, the spread of the Qur'an furthered the use of Arabic
for embroidery) inscriptions on the fringes of woven textiles as
The 15th century Timur (or Tamerlane), in a bid to resurrect Th
calligraphy, ca lligraphy, which is a fundamental feature of Islamic art. The
well as in the carvings of wood and ivory. Meanwhile Islamic we
Mongol dominance, led his “Golden Horde” in invasions of Mo
abstract mode of expression in early ceramics can be
potters, in their competition with the Chinese, developed new po
Delhi, Moscow, Ankara, Isfahan and Damascus. He ordered that De
production methods such as fritware. pr
artisans and prominent members of society in his conquered art
said to be a product of the Islamic culture. With the
lands be seized and taken back to Samarkand in Central Asia. lan
start of the Abbasid Caliphate, 750-1258 the political center of the th Middle East moved east from Damascus
EXPRESSIVE MATURITY: 14th - 15th C EX
Cultural links were thereby established between Central and Cu
to Baghdad and an the artistic styles of both regions were
This section highlights the art pieces produced during the Th
West Asia, and a cosmopolitan Islamic art emerged that was We
fused. This can be seen in the beveled style of wooden
Mamluk Sultanate, 1250‒1517 a system of ruler outside the royal Ma
both mature and refined. bo
structures and the influx of crystal chess-pieces from
line of Turkish descent. The Mamluks played an important role lin
Islamic art and culture enjoyed a golden age from the 16th
India. In addition, geometric patterns and arabesque addit
in Mediterranean history until its defeat at the hands of the Ot-
through 18th centuries, led by the Iranian Safavid Dynasty, Inthr
patterns were developed and graphic design became
toman Empire in 1517. The regions that are comprise Egypt and tom
dian Mughul Empire, and Turkish Ottoman Empire. The Turkdia
steadily more sophisticated. s
Syria were the center of Mamluk Sultanate art. Meanwhile, after Sy
ish Ottomans had the strongest systems of dominance, lasted
the Mongols took Baghdad in 1258, Mamluk warriors engaged th
the longest among these three, and was powerful enough to th
VARIETY ART: 11th-13th C VARIETY IN ISLAMIC ISLA
them in battle. This process of military conflict brought exotic the
keep the Europeans in check. Great Ottoman sultans such as ke
The became broken up after the middle T e Abbasid Caliphate Th Calip
artistic motifs from the Far East such as lotuses, spiral clouds, art
Mehmed II r. 1444-1446 and 1451-1481 and Suleiman the Magnificent r. Me
of the 10th centuries, while Islam gained new strength in centu
peonies, and dragons to Islamic art pieces as well. pe
1520-1566 152
built one of the world’s foremost empires. The Safavid
Spain, Central Asia and India. The pilgrimSpain, Northern Africa, A
As Asia’s artistic influences were felt, the tendency toward
1588-1628 sought to bring back the former glory of Persia Dynasty Dy
age ag ge to Mecca (known as the Haji), as specified in the Qur'an,
abstract decoration became more pronounced in Islamic art ab
and served as a bridge between East and West once more. The an
Manuscript of the Qur’an Ma
Composite-bodied Com
Ena Enamelled Glass Vase
Com Composite-bodied Ceramic Ewer
Par Parchment folio from a manuscript of the Qur’an
Cer Ceramic Crenellation Element
Syr Syria or Egypt, early 14th century
Tur Turkey, 1560-1570
Tun Tunisia, probably Qayrawan 9th century
Pro Probably India, late 16th century
Iran Iran, 12th century
al-S al-Sabah Collection
al-S al S al-Sabah Collection
al-S al-Sabah Collection
al-S al-Sabah Collection
al-S al-Sabah Collection
LNS 69G
LNS 99C
LNS 2CAa
LNS 277MS
LNS 189C
18
19
and contact with diverse cultures, also an
cursive, triangle and a combination of the cu two. tw
Medieval Islamic society, and they enMe joyed joy high social standing. Indeed, those
SPECIAL EXHIBITION
Mughul Empire, with its vast resources Mu
Dagger and Scabbard
in the way of geometric patterns. Climbing plants are shown
Turkey, 16th century al-Sabah Collection
branching out or leaves are curved, but individual design elebr
LNS 216J
ments never stand alone. Instead the pattern is repetitive and me
The most popular calligraphic styles
who wh worked on transcribing the Qur'an
are the simplified rectangular Kufic script
and an their patrons were objects of great
CALLIGRAPHY IN ISLAMIC ART CA
and an the simple, cursive Naskhi script. The
envy. In addition, the craftsmen’s names en
Arabic calligraphy is another fundamenAr
former is widely used for stelae inscripfor
were we normally not put on pieces of Is-
tal aspect of Islamic art. Reading and
tions and Qur'an transcriptions, while tio
lamic lam art, but calligraphers virtually al-
Above, we have seen how the fundamental elements of Islamic Ab
writing the Arabic script spread fast with wr
the th latter has been in widespread use
ways wa signed and dated their works. Thus
art are found in calligraphy, geometry and arabesque patterns.
the dissemination of the Qur'an, which th
since sin the 12th century. In addition, thu-
the historical period for individual pieces
Islam’s law against idol worship is generally considered the Isl
is only written in Arabic. The importance
luth lut script (“one-third” in Arabic), with
of calligraphy can easily be identified.
reason that depictions of human or animals are taboo. Most rea
given to literacy in Arabic can be seen in giv
its verticals elongated three times its hor-
Chapter 96, Verses 4 and 5 of the Qur'an, Ch
izontals, is a style loved by calligraphers izo
GEOMETRY IN ISLAMIC ART GE
to reproduce people and animals and so the act of drawing or
with references to “a God that teaches wi
throughout the Islamic world. thr
Among the most salient motifs found Am
sculpting such figures is blasphemous. Thus the religion does scu
produced artworks of exceptional quality. pr
organically fit together. org
FIGURATIVE IN ISLAMIC ART FI
Islamic theologians contend that only God has the authority Isl
(use of) the pen” and “a God that teaches (u
Arabic calligraphy is particularly
on Islamic art are elegant and complex
not allow depictions of the Prophet Muhammad or other huno
people things they do not know.” Arabic pe
prominent on buildings and commemopr
geometric patterns that are made up of ge
man beings, animals, God, or angels; however, this prohibition ma
reads horizontally from right to left, and rea
rative monuments. Calligraphers were rat
circles, triangles, quadrangles, pentagons, cir
must be understood as being applied only to religious sites such mu
Arabic calligraphy has three basic styles: Ar
highly respected for their occupation in hig
hexagons, astral shapes, straight lines, he
as mosques. Figurative expression is found in handicrafts used in everyday life. Many of the items on display in this section were produced in the Iranian region and show the influence from the traditions of the Sassanid Persians. Depictions of bent-tailed animals was joined with stylized scroll patterns, and many fantastic beasts joi such as griffins, simurghs and dragons appear. Miniature paintsu ings are characteristic of the artworks created in Islamic culture, ing but realism is not the objective. For example, perspective and bu depth are not applied, and human subjects are not shown castde ing a shadow.
THE JEWELLED ARTS TH Fine Spinel (‘Balas Ruby’) Bead
The final section of the exhibition introduces Islamic jewellery, Th
India, late 16th century - early 17th century
and the al-Sabah Collection has an unparalleled assemblage of an
al-Sabah Collection
these pieces, many of which are from the Mughul Empire 1526th
LNS 2787J
curves, and other such elements. Geocu
part pa of Islamic architectural structures.
A rhythm is created through the repeti-
185 1857
metric patterns are preferred for their me
Their superb artistry and complexity Th
tion tio of these design elements. The term
palaces spurred craftsmen to produce exquisite jewellery for pa
great complexity. Ever since Islam was gre
can ca be seen on the ceiling of the Hall of
is French and derived from arabesque ar
members of the Mughul royal family and nobility. me
founded, its uncompromising monothefou
the th Abencerrajes at Alhambra Palace in
the Renaissance Italian arabesco, which th
ism demanded the destruction of all
Granada, Spain in the 14th century as Gr
means “very leafy” or “with stems.” m
forms of idolatry in Mecca. Thus, Islamic for
well we as at the Sultan Qaytbay Funerary
The arabesque pattern in Islamic cul-
its mount) as well as Persian decorative methods, champleve
artists shunned the depiction of people art
Complex in Cairo, Egypt. Carefully calcuCo
ture most likely advanced for the same tu
Enamel for precious stones. Emeralds, rubies, sapphires, diaEn
and animals and sought to express the an
lated geometric patterns also adorn the lat
reason the geometric pattern did. That re
monds and jade were all popular adornments for turbans, earmo
“intrinsic oneness of the world’s infinite “in
(mosque pulpit), mihrab (semiminbar mi
is, prohibition against the worship of is
rings, necklaces, and bracelets, and sometimes sword hilts were rin
diversity” instead. That is to say, geometdiv
circular niche in the mosque wall), latcir
animate creations forced painters’ and an
elegantly decorated with stones to show off the wearer’s high ele
ric connections can successfully convey
ticework, and doors of Islamic structures tic
sculptors’ to create vegetal decorative sc
social status. so
the character of an infinite God. The th
as well as everyday utensils.
schemes. The floral pattern may be one sc
Meanwhile, the miniature paintings produced during this
type or flower or multiple varieties inty
period are important for understanding how the jewellery was pe worn at the time of its manufacture. wo
development of geometric patterns is de also connected to Islamic science, which als
THE TH ARABESQUE IN ISLAMIC ART
tertwined, and the decorated surface is te
included advanced mathematics and geinc
Another important motif on Islamic art An
densely covered. Sometimes, showy flowde
ometry at that time. om
pieces is arabesque, scrolling decorapi
ers are depicted filling a vase. At other er
tions tio of vines or flowers on leafy stems.
times, the flowers are stylized and linked tim
Geometric patterns are an essential 20
in the 17th and 18th centuries. The tradition of extravagant
These pieces were made using India’s indigenous Kundan technique (gems set with gold foil between the stones and tec
21
and contact with diverse cultures, also an
cursive, triangle and a combination of the cu two. tw
Medieval Islamic society, and they enMe joyed high social standing. Indeed, those joy
SPECIAL EXHIBITION
Mughul Empire, with its vast resources Mu
Dagger and Scabbard
in the way of geometric patterns. Climbing plants are shown
Turkey, 16th century al-Sabah Collection
branching out or leaves are curved, but individual design elebr
LNS 216J
ments never stand alone. Instead the pattern is repetitive and me
The most popular calligraphic styles
who worked on transcribing the Qur'an wh
are the simplified rectangular Kufic script
and their patrons were objects of great an
CALLIGRAPHY IN ISLAMIC ART CA
and the simple, cursive Naskhi script. The an
envy. In addition, the craftsmen’s names en
Arabic calligraphy is another fundamenAr
former is widely used for stelae inscripfor
were normally not put on pieces of Iswe
tal aspect of Islamic art. Reading and
tions and Qur'an transcriptions, while tio
lamic art, but calligraphers virtually allam
Above, we have seen how the fundamental elements of Islamic Ab
writing the Arabic script spread fast with wr
the latter has been in widespread use th
ways signed and dated their works. Thus wa
art are found in calligraphy, geometry and arabesque patterns.
the dissemination of the Qur'an, which th
since the 12th century. In addition, thusin
the historical period for individual pieces
Islam’s law against idol worship is generally considered the Isl
is only written in Arabic. The importance
luth script (“one-third” in Arabic), with lut
of calligraphy can easily be identified.
reason that depictions of human or animals are taboo. Most rea
given to literacy in Arabic can be seen in giv
its verticals elongated three times its hor-
Chapter 96, Verses 4 and 5 of the Qur'an, Ch
izontals, is a style loved by calligraphers izo
GEOMETRY IN ISLAMIC ART GE
to reproduce people and animals and so the act of drawing or
with references to “a God that teaches wi
throughout the Islamic world. thr
Among the most salient motifs found Am
sculpting such figures is blasphemous. Thus the religion does scu
produced artworks of exceptional quality. pr
organically fit together. org
FIGURATIVE IN ISLAMIC ART FI
Islamic theologians contend that only God has the authority Isl
(use of) the pen” and “a God that teaches (u
Arabic calligraphy is particularly
on Islamic art are elegant and complex
not allow depictions of the Prophet Muhammad or other huno
people things they do not know.” Arabic pe
prominent on buildings and commemopr
geometric patterns that are made up of ge
man beings, animals, God, or angels; however, this prohibition ma
reads horizontally from right to left, and rea
rative monuments. Calligraphers were rat
circles, triangles, quadrangles, pentagons, cir
must be understood as being applied only to religious sites such mu
Arabic calligraphy has three basic styles: Ar
highly respected for their occupation in hig
hexagons, astral shapes, straight lines, he
as mosques. Figurative expression is found in handicrafts used in everyday life. Many of the items on display in this section were produced in the Iranian region and show the influence from the traditions of the Sassanid Persians. Depictions of bent-tailed animals was joined with stylized scroll patterns, and many fantastic beasts joi such as griffins, simurghs and dragons appear. Miniature paintsu ings are characteristic of the artworks created in Islamic culture, ing but realism is not the objective. For example, perspective and bu depth are not applied, and human subjects are not shown castde ing a shadow.
THE JEWELLED ARTS TH Fine Spinel (‘Balas Ruby’) Bead
The final section of the exhibition introduces Islamic jewellery, Th
India, late 16th century - early 17th century
and the al-Sabah Collection has an unparalleled assemblage of an
al-Sabah Collection
these pieces, many of which are from the Mughul Empire 1526th
LNS 2787J
curves, and other such elements. Geocu
part pa of Islamic architectural structures.
A rhythm is created through the repeti-
1857 185
metric patterns are preferred for their me
Their superb artistry and complexity Th
tion tio of these design elements. The term
palaces spurred craftsmen to produce exquisite jewellery for pa
great complexity. Ever since Islam was gre
can ca be seen on the ceiling of the Hall of
is French and derived from arabesque ar
members of the Mughul royal family and nobility. me
founded, its uncompromising monothefou
the th Abencerrajes at Alhambra Palace in
the th Renaissance Italian arabesco, which
ism demanded the destruction of all
Granada, Spain in the 14th century as Gr
means “very leafy” or “with stems.” m
forms of idolatry in Mecca. Thus, Islamic for
well we as at the Sultan Qaytbay Funerary
The arabesque pattern in Islamic cul-
its mount) as well as Persian decorative methods, champleve
artists shunned the depiction of people art
Complex in Cairo, Egypt. Carefully calcuCo
ture tu most likely advanced for the same
Enamel for precious stones. Emeralds, rubies, sapphires, diaEn
and animals and sought to express the an
lated geometric patterns also adorn the lat
reason the geometric pattern did. That re
monds and jade were all popular adornments for turbans, earmo
“intrinsic oneness of the world’s infinite “in
(mosque pulpit), mihrab (semiminbar mi
is, is prohibition against the worship of
rings, necklaces, and bracelets, and sometimes sword hilts were rin
diversity” instead. That is to say, geometdiv
circular niche in the mosque wall), latcir
animate creations forced painters’ and an
elegantly decorated with stones to show off the wearer’s high ele
ric connections can successfully convey
ticework, and doors of Islamic structures tic
sculptors’ to create vegetal decorative sc
social status. so
the character of an infinite God. The th
as well as everyday utensils.
schemes. The floral pattern may be one sc
Meanwhile, the miniature paintings produced during this
type or flower or multiple varieties inty
period are important for understanding how the jewellery was pe worn at the time of its manufacture. wo
development of geometric patterns is de also connected to Islamic science, which als
THE TH ARABESQUE IN ISLAMIC ART
tertwined, and the decorated surface is te
included advanced mathematics and geinc
Another important motif on Islamic art An
densely covered. Sometimes, showy flowde
ometry at that time. om
pieces is arabesque, scrolling decorapi
ers er are depicted filling a vase. At other
tions tio of vines or flowers on leafy stems.
times, the flowers are stylized and linked tim
Geometric patterns are an essential 20
in the 17th and 18th centuries. The tradition of extravagant
These pieces were made using India’s indigenous Kundan technique (gems set with gold foil between the stones and tec
21
KANG SEHWANG’S DRAMATIC LIFE Kang Sehwang lived a dramatic life. His family is famed for having produced three generations who were members of Giroso. His grandfather, Kang Baeknyeon 1603-1681, his father, Kang Hyeon, 1650-1733 and Kang Sehwang himself all entered Giroso, the office of senior statesmen past the age of 70 who had reached the position of senior first rank. Only five families throughout the Joseon Dynasty achieved the same honor. Though hailing from such an illustrious family, Kang Sehwang initially gave up on the idea of entering government, and at the age of 32 went Cooling off under Paulownia Trees
to live near his wife’s family in Ansan. There he lived for 30
(Byeogo cheongseodo)
years before he started his official career and moved back to the
Light colors on paper 30.5 × 35.8 cm
capital. During this time in the provinces, Kang associated with
Leeum Samsung Museum of Art
a wide range of people and expanded the scope of his artistic activities. With his brother-in-law Yu Gyeongjong 1714-1784 he developed his critical eye for art; with the artist Heo Pil 1709-1768 he produced an album of calligraphy and paintings; and with the so-called “15 scholars of Ansan” he exchanged works of poetry. An autobiographical work written at the age of 54 shows that
VIEWING NOW
NMK EXHIBITION
JUNE 25 - AUGUST 25, 2013 SPECIAL EXHIBITION ROOM II, PERMANENT EXHIBITION HALL, 1F
300TH ANNIVERSARY OF THE BIRTH OF KANG SEHWANG
Kang lived on limited means in Ansan, and is filled with melancholy thoughts of his work remaining unrecognized. But it can be said that the friendships formed and the artistic capabilities
A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY
developed in the Ansan years laid the foundation for Kang’s art, which was later praised by King Jeongjo as “the art of elegance and the three perfections.” Kang Sehwang was called back to court in 1773. When his son Kang In took part in the annual Royal Feast for Elders as a record-keeping official, King Yeongjo, remembering Kang In grandfather, Kang Hyeon, then recalled that Kang Sehwang was
BY M I N K I L HONG,
still living in retirement in the country and soon after gave him
ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF FI N E A RT
an official appointment. So at the age of 61, Kang Sehwang began his government career in the low position of chambong (junior ninth rank) but quickly rose to as high as chief magistrate of Hanseong-bu, the Office of the Capital. Indeed, in his final years his career was as illustrious as he might have wished, be-
K
ang Sehwang (1713-1791, penname Pyoam) was a re-
came into contact with Western civilization and exposed them-
ing admitted to Giroso, and taking part in a mission to China as
nowned literati painter of the Joseon Dynasty, famous
selves to other new knowledge and experiences, and highly
vice-envoy and meeting Emperor Qianlong. Kang’s talents in
both as the teacher of genre painter Kim Hongdo and
creative literary and artistic works were also produced. Armed
for his Album of Journey to Songdo (Songdo gihaengcheop), the
with artistic passion and talent Kang forged a very individual
1782 (aged 70)
his grandsons Kang Ioh, 1788-? Kang Icheon ?-1801 and Kang Jin, 1807-
outcome of his travels around the Gaeseong region. The Na-
art world encompassing poetry, calligraphy and painting.
Colors on silk
1858
tional Museum of Korea has organized a special exhibition to
Thanks to his discernment and profound knowledge of art, he
Owned by the Jinju Kang clan
commemorate the 300th anniversary of his birth.
was also a prominent critic. Kang’s acumen and wide scope of
PORTRAITS OF KANG SEHWANG,
activity resulted in the formation of a large network of people
REFLECTIONS OF OFFICIALDOM AND RETIREMENT
Kang Sehwang lived in the 18th century Joseon Dynasty,
of all ranks and classes tied together by art, including the king,
Kang Sehwang’s dramatic life can be read in his portrait. The
a time that came to be called the “Joseon Renaissance” for its
ordinary court artists, and Confucian scholars. This network not
small self-portrait produced when living in the country, simple
flowering of art and culture. It was a time when the capital
only promoted friendship among the individuals but formed an
and sketch-like, is accompanied by an inscription that conveys
flourished under the peace and stability of the reign of King
undercurrent of shared artistic aspirations. Hence, Kang is an
his desire to mark out his own place in history for posterity,
Yeongjo, and a time of great vitality owing to changes in the
essential figure in understanding the dynamism of the Korean
driven by the fear of remaining unrecognized. In the portrait
people’s outlook on the world and ways of living. Intellectuals
art scene of the 18th century.
from his government days, Kang is not dressed in uniform but is
22
Self-Portrait (of Kang Sehwang)
88.7 × 51.0 cm
poetry, calligraphy and painting were passed on to his son and
who were all artists.
23
KANG SEHWANG’S DRAMATIC LIFE Kang Sehwang lived a dramatic life. His family is famed for having produced three generations who were members of Giroso. His grandfather, Kang Baeknyeon 1603-1681, his father, Kang Hyeon, 1650-1733 and Kang Sehwang himself all entered Giroso, the office of senior statesmen past the age of 70 who had reached the position of senior first rank. Only five families throughout the Joseon Dynasty achieved the same honor. Though hailing from such an illustrious family, Kang Sehwang initially gave up on the idea of entering government, and at the age of 32 went Cooling off under Paulownia Trees
to live near his wife’s family in Ansan. There he lived for 30
(Byeogo cheongseodo)
years before he started his official career and moved back to the
Light colors on paper 30.5 × 35.8 cm
capital. During this time in the provinces, Kang associated with
Leeum Samsung Museum of Art
a wide range of people and expanded the scope of his artistic activities. With his brother-in-law Yu Gyeongjong 1714-1784 he developed his critical eye for art; with the artist Heo Pil 1709-1768 he produced an album of calligraphy and paintings; and with the so-called “15 scholars of Ansan” he exchanged works of poetry. An autobiographical work written at the age of 54 shows that
VIEWING NOW
NMK EXHIBITION
JUNE 25 - AUGUST 25, 2013 SPECIAL EXHIBITION ROOM II, PERMANENT EXHIBITION HALL, 1F
300TH ANNIVERSARY OF THE BIRTH OF KANG SEHWANG
Kang lived on limited means in Ansan, and is filled with melancholy thoughts of his work remaining unrecognized. But it can be said that the friendships formed and the artistic capabilities
A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY
developed in the Ansan years laid the foundation for Kang’s art, which was later praised by King Jeongjo as “the art of elegance and the three perfections.” Kang Sehwang was called back to court in 1773. When his son Kang In took part in the annual Royal Feast for Elders as a record-keeping official, King Yeongjo, remembering Kang In grandfather, Kang Hyeon, then recalled that Kang Sehwang was
BY M I N K I L HONG,
still living in retirement in the country and soon after gave him
ASSOCI AT E CU R ATOR OF T H E DEPA RTM EN T OF FI N E A RT
an official appointment. So at the age of 61, Kang Sehwang began his government career in the low position of chambong (junior ninth rank) but quickly rose to as high as chief magistrate of Hanseong-bu, the Office of the Capital. Indeed, in his final years his career was as illustrious as he might have wished, be-
K
ang Sehwang (1713-1791, penname Pyoam) was a re-
came into contact with Western civilization and exposed them-
ing admitted to Giroso, and taking part in a mission to China as
nowned literati painter of the Joseon Dynasty, famous
selves to other new knowledge and experiences, and highly
vice-envoy and meeting Emperor Qianlong. Kang’s talents in
both as the teacher of genre painter Kim Hongdo and
creative literary and artistic works were also produced. Armed
for his Album of Journey to Songdo (Songdo gihaengcheop), the
with artistic passion and talent Kang forged a very individual
1782 (aged 70)
his grandsons Kang Ioh, 1788-? Kang Icheon ?-1801 and Kang Jin, 1807-
outcome of his travels around the Gaeseong region. The Na-
art world encompassing poetry, calligraphy and painting.
Colors on silk
1858
tional Museum of Korea has organized a special exhibition to
Thanks to his discernment and profound knowledge of art, he
Owned by the Jinju Kang clan
commemorate the 300th anniversary of his birth.
was also a prominent critic. Kang’s acumen and wide scope of
PORTRAITS OF KANG SEHWANG,
activity resulted in the formation of a large network of people
REFLECTIONS OF OFFICIALDOM AND RETIREMENT
Kang Sehwang lived in the 18th century Joseon Dynasty,
of all ranks and classes tied together by art, including the king,
Kang Sehwang’s dramatic life can be read in his portrait. The
a time that came to be called the “Joseon Renaissance” for its
ordinary court artists, and Confucian scholars. This network not
small self-portrait produced when living in the country, simple
flowering of art and culture. It was a time when the capital
only promoted friendship among the individuals but formed an
and sketch-like, is accompanied by an inscription that conveys
flourished under the peace and stability of the reign of King
undercurrent of shared artistic aspirations. Hence, Kang is an
his desire to mark out his own place in history for posterity,
Yeongjo, and a time of great vitality owing to changes in the
essential figure in understanding the dynamism of the Korean
driven by the fear of remaining unrecognized. In the portrait
people’s outlook on the world and ways of living. Intellectuals
art scene of the 18th century.
from his government days, Kang is not dressed in uniform but is
22
Self-Portrait (of Kang Sehwang)
88.7 × 51.0 cm
poetry, calligraphy and painting were passed on to his son and
who were all artists.
23
NMK EXHIBITION
wearing his official’s hat. The inscription
feel as if they are in the middle of the
no other yellow object readily comes to
reads, “I may be serving in government,
scenery.” In this sense, he believed travel-
mind. But by adding the yellow, it seems
but I have not forgotten my desire for a
ogues were better than poetry and paint-
Kang was trying to throw the radish into
private life.” As this indicates, the portrait
ings better than travelogues. His criticism
relief and give a sunny feel to the whole
is a visual depiction of the identity of the
of Jeong Seon for uniformly using the
painting, a touch that is indicative of
18th century literati who aspired to enter
same kind of texture strokes when paint-
Kang’s smart sense of color.
officialdom and live in seclusion at the
ing Geumgangsan Mountain came from
same time. The painting is assumed to be
his conviction that one should paint a
THE FOUR GRACIOUS PLANTS:
a self-portrait judging from the content
scene just as one sees it, without being
TRANSFORMATION OF A CLICHÉD
GREATEST CRITIC OF HIS TIME
of the inscription.
tied to any particular technique. That
SUBJECT
The final part of the exhibition features Joseon Dynasty paint-
Kang partially adopted Western tech-
As a symbol of the virtues of the literati,
ings that were critiqued by Kang, who was considered be the
TRAVEL AND PAINTING FROM LIFE:
niques can be seen in Entryway to Yeong-
the four noble plants (chrysanthemums,
greatest art critic of his time. Kang developed his eye for art in
ON THE ROAD TO SEEK THE NEW
tongdong, while Scenes in Buan Prefecture
bamboo, plum blossoms, and orchids)
company with a wide range of literary men, going back and
Five "True view landscapes of Kang Se-
with its free composition and method of
had from early times been a favorite sub-
forth between Seoul and Ansan. Later, when he stopped paint-
hwang's paintings, which were painted
depiction best shows that Kang was un-
ject for scholars to paint. It was a subject
ing for a time under the advice of King Yeongjo, he started to
from real life observation, flourished in
fettered by traditional techniques.
where the brushwork was a clear indica-
demonstrate his artistic talent through another channel, by cri-
proach to art, continued to ask questions and try new things to improve his work. Orchid and Bamboo in the collection of the National Museum of Korea, from the later years of Kang’s life, is marked by its clean open composition and rich, mellow brushwork, and can be called the artist’s major painting of the four gracious plants.
tor of the artist’s abilities and one area
the 18th century. These include land-
paintings. Kang, who had no match in the seriousness of his ap-
Radish (from the Painting Album by Pyoam)
tiquing the works of other artists.
scapes of Songdo (present-day Gaeseong),
EXPERIMENTALISM AND A NEW FEEL
in which the literati artists outshone the
Ink and light colors on silk
Buan in Jeollabuk-do, and the Geum-
Kang was an artist who constantly tried
court artists. Kang Sehwang’s paintings of
28.5 × 22.3 cm
gangsan Mountain area, and a landscape
new things and his use of color and sub-
the four gracious plants are particularly
other. In the case of Jeong Seon, for example, all things con-
painted on the road as part of the mission
ject matter was highly individual. While
prized for Kang was the first Joseon artist
sidered, there is no possibility that the two had any association
to China to attend the “Thousand Elders
painting all the subjects that any other
to paint all four of the plants as a set.
with each other. It is most likely that someone took the paint-
Banquet” hosted by Emperor Qianlong.
Joseon artist captured on paper, Kang
Moreover, Kang Sehwang was an art-
ing to Kang to look at. From this we can see that Kang’s works
These paintings of beautiful scenery are
also painted more unusual objects such
ist who thought deeply on every subject
in art criticism are not the result of his personal contacts but
the consequence of Kang Sehwang as-
as peaches and sweet briar, which were
and technique and left behind many
the result of his discerning eye for art. That is, because of his
sociation with the people who led him
not easily tackled by other artists.
National Museum of Korea
While a painting may feature a critique by Kang, it does not necessarily mean the artist and Kang had any contact with each
related records. At the age of 72, Kang
renowned discernment, people who owned paintings brought
to visit those regions. The paintings
Of all the Joseon paintings featuring a
took part on a mission to China. During
them to Kang for his appraisal.
in Album of a Journey to Songdo reflect
long white radish, Kang’s is the most out-
the months of long journey he began to
Talented in poetry, calligraphy and painting, Kang Sehwang
the relationship between Kang and Oh
standing. The dry brushstroke used for
wonder whether the quality of the pa-
is the artist most representative of the three perfections. More-
Suchae. 1692-1759
the outline of the radish brings to mind
per used could explain the better results
over, Kang was even a talented critic who left behind critiques
Kang Sehwang explained true-view
Kang’s handwriting. The yellow shading
achieved by Chinese artists when paint-
on many paintings. These works take on even greater signifi-
landscapes as “paintings that can make
on the ground appears to be the shadow
ing bamboo, and began to experiment
cance when we consider that each and every line of his cri-
people who have not been to the place
of the radish but while this is not the case
with Chinese paper for his own bamboo
tiques provides theoretical grounds for study of the history of Joseon Dynasty art today. Orchid and Bamboo Ink on paper 39.3 × 283.7 cm National Museum of Korea
24
25
NMK EXHIBITION
wearing his official’s hat. The inscription
feel as if they are in the middle of the
no other yellow object readily comes to
reads, “I may be serving in government,
scenery.” In this sense, he believed travel-
mind. But by adding the yellow, it seems
but I have not forgotten my desire for a
ogues were better than poetry and paint-
Kang was trying to throw the radish into
private life.” As this indicates, the portrait
ings better than travelogues. His criticism
relief and give a sunny feel to the whole
is a visual depiction of the identity of the
of Jeong Seon for uniformly using the
painting, a touch that is indicative of
18th century literati who aspired to enter
same kind of texture strokes when paint-
Kang’s smart sense of color.
officialdom and live in seclusion at the
ing Geumgangsan Mountain came from
same time. The painting is assumed to be
his conviction that one should paint a
THE FOUR GRACIOUS PLANTS:
a self-portrait judging from the content
scene just as one sees it, without being
TRANSFORMATION OF A CLICHÉD
GREATEST CRITIC OF HIS TIME
of the inscription.
tied to any particular technique. That
SUBJECT
The final part of the exhibition features Joseon Dynasty paint-
Kang partially adopted Western tech-
As a symbol of the virtues of the literati,
ings that were critiqued by Kang, who was considered be the
TRAVEL AND PAINTING FROM LIFE:
niques can be seen in Entryway to Yeong-
the four noble plants (chrysanthemums,
greatest art critic of his time. Kang developed his eye for art in
ON THE ROAD TO SEEK THE NEW
tongdong, while Scenes in Buan Prefecture
bamboo, plum blossoms, and orchids)
company with a wide range of literary men, going back and
Five "True view landscapes of Kang Se-
with its free composition and method of
had from early times been a favorite sub-
forth between Seoul and Ansan. Later, when he stopped paint-
hwang's paintings, which were painted
depiction best shows that Kang was un-
ject for scholars to paint. It was a subject
ing for a time under the advice of King Yeongjo, he started to
from real life observation, flourished in
fettered by traditional techniques.
where the brushwork was a clear indica-
demonstrate his artistic talent through another channel, by cri-
proach to art, continued to ask questions and try new things to improve his work. Orchid and Bamboo in the collection of the National Museum of Korea, from the later years of Kang’s life, is marked by its clean open composition and rich, mellow brushwork, and can be called the artist’s major painting of the four gracious plants.
tor of the artist’s abilities and one area
the 18th century. These include land-
paintings. Kang, who had no match in the seriousness of his ap-
Radish (from the Painting Album by Pyoam)
tiquing the works of other artists.
scapes of Songdo (present-day Gaeseong),
EXPERIMENTALISM AND A NEW FEEL
in which the literati artists outshone the
Ink and light colors on silk
Buan in Jeollabuk-do, and the Geum-
Kang was an artist who constantly tried
court artists. Kang Sehwang’s paintings of
28.5 × 22.3 cm
gangsan Mountain area, and a landscape
new things and his use of color and sub-
the four gracious plants are particularly
other. In the case of Jeong Seon, for example, all things con-
painted on the road as part of the mission
ject matter was highly individual. While
prized for Kang was the first Joseon artist
sidered, there is no possibility that the two had any association
to China to attend the “Thousand Elders
painting all the subjects that any other
to paint all four of the plants as a set.
with each other. It is most likely that someone took the paint-
Banquet” hosted by Emperor Qianlong.
Joseon artist captured on paper, Kang
Moreover, Kang Sehwang was an art-
ing to Kang to look at. From this we can see that Kang’s works
These paintings of beautiful scenery are
also painted more unusual objects such
ist who thought deeply on every subject
in art criticism are not the result of his personal contacts but
the consequence of Kang Sehwang as-
as peaches and sweet briar, which were
and technique and left behind many
the result of his discerning eye for art. That is, because of his
sociation with the people who led him
not easily tackled by other artists.
National Museum of Korea
While a painting may feature a critique by Kang, it does not necessarily mean the artist and Kang had any contact with each
related records. At the age of 72, Kang
renowned discernment, people who owned paintings brought
to visit those regions. The paintings
Of all the Joseon paintings featuring a
took part on a mission to China. During
them to Kang for his appraisal.
in Album of a Journey to Songdo reflect
long white radish, Kang’s is the most out-
the months of long journey he began to
Talented in poetry, calligraphy and painting, Kang Sehwang
the relationship between Kang and Oh
standing. The dry brushstroke used for
wonder whether the quality of the pa-
is the artist most representative of the three perfections. More-
Suchae. 1692-1759
the outline of the radish brings to mind
per used could explain the better results
over, Kang was even a talented critic who left behind critiques
Kang Sehwang explained true-view
Kang’s handwriting. The yellow shading
achieved by Chinese artists when paint-
on many paintings. These works take on even greater signifi-
landscapes as “paintings that can make
on the ground appears to be the shadow
ing bamboo, and began to experiment
cance when we consider that each and every line of his cri-
people who have not been to the place
of the radish but while this is not the case
with Chinese paper for his own bamboo
tiques provides theoretical grounds for study of the history of Joseon Dynasty art today. Orchid and Bamboo Ink on paper 39.3 × 283.7 cm National Museum of Korea
24
25
T
he exhibition Buddhist Guardian Deities of Late Joseon was organized in time with the Day of Buddhas' Coming, which fell on May 17 this year. In the Buddhist
world, these guardian deities are lower in the hierarchy than the Buddhas and bodhisattavas. Originally indigenous Indian deities, they were incorporated into Buddhism as deities charged with guarding the Buddha and his teachings. In the Joseon period, the cult of the guardian deities was so widespread that paintings of guardian deities such as of Indra (Jeseokcheon), Skanda (Witaecheon) and Brahma (Beomcheon) outnumbered paintings of the Buddhas and bodhisattvas.
PART 1: INDRA, THE LORD OF DEVAS Indra (Kr. Jeseokcheon 帝釋天) can be considered the major figure in paintings of the Buddhist guardian deities. Of Indian origin, Indra was the lord of devas who conquered evil spirits with a lightning bolt. In the Joseon period, Indra was generally depicted like a goddess or noblewoman and the giver of good fortune and longevity. Paintings of Indra were sometimes produced on their own and also as a set with a painting of the Eight Divine THEME EXHIBITION
VIEWING NOW
Being. In later times the two were combined in paintings of Indra and the Divine Beings, stimulating active production of paintings of the guardian deities of Buddhism.
Indra and the Divine Beings 帝釋天龍圖
Four Heavenly Kings 四天王圖
Joseon, 1750
Joseon, 19th C
Colors on silk
Colors on silk
173.3 × 204.0 cm
318.0 × 202.5 cm
National Museum of Korea
National Museum of Korea
PART 2: SKANDA, THE PROTECTOR OF BUDDHIST LAW This part of the exhibition focuses on Skanda (Kr. Witaecheon
BUDDHIST GUARDIAN DEITIES OF LATE JOSEON
韋駄天).
Skanda was originally an Indian warrior god who killed
evil spirits and is characterized by the weapon on his forearms
Buddha. His mantra is believed to carry
Kings were commonly installed as guard-
nary people and the religious tolerance
and helmet made of feathers. Skanda was originally depicted as
great power and is therefore often recited
ians at the Gate of the Heavenly Kings,
inherent in Buddhism.
a small figure in paintings of the Divine Beings but was soon el-
in Buddhist rituals. Ucchusma is charac-
the entryway to a Buddhist temple. The
evated in rank to become the leading figure. In paintings of In-
teristically depicted with a fierce facial
exhibition features paintings of these
The theme exhibition Buddhist Guardian
dra and the Divine Beings he is treated as being of almost equal
expression, spiky hair, multiple arms, and
figures as well as sculptures of evil spirits
Deities of Late Joseon has been organized
importance to Indra.
weapons, which impart a strong sense of
to give a lively representation of the Four
in an easy and interesting way to en-
power.
Heavenly Kings treading evil spirits un-
hance the enjoyment of museum visitors,
derfoot.
even those who tend to regard Buddhist
BY PA R K H Y EWON, ASSOCI AT E CU R ATOR OF DEPA RTM EN T OF FI N E A RT
PART 3: ASSEMBLY OF THE THREE GODS
DATE
PART 5: FOUR HEAVENLY KINGS,
Indra and Skanda but also Brahma(Kr. Beomcheon
THE PROTECTORS OF THE FOUR
PART 6: PRAYERS TO GUARDIAN DEITIES
ining the paintings on view, the names
Indian god of creation. Paintings featuring this triad gradually
CARDINAL DIRECTIONS
This part of the exhibition explores the
and identities of the gods, often confusing
came to be established as the typical form of guardian deities
Unlike the other f igures featured in
meaning and content of the cult of Bud-
and hard to distinguish, will come across
paintings, which flourished in the late Joseon period.
paintings of the guardian deities, the
dhist guardian deities. As indicated by
as distinct beings with their own stories
Four Heavenly Kings are often depicted
inscription “Wishing for a long life” in
and unique personalities. Paintings of the
PART 4: MAHESHVARA AND UCCHUSMA
on their own. The Four Heavenly Kings
the corner, of a guardian deities paint-
guardian deities are full of stories that
Other major guardian deity figures include Maheshvara (Kr.
are Dhartarastra (Kr. Jiguk-cheonwang)
ing, they were made to express prayers
inspire the imagination. Through this
Daejajaecheon 大自在天) and Ucchusma (Kr. Yejeok-geumgang 穢跡
in the east, Virupaksha (Kr. Gwangmok-
for longevity, good fortune, fulfillment
exhibition it is hoped that many visitors
金剛).
Shiva, the Indian god of destruction, is usually depicted in
cheonwang) in the west, Virudhaka (Kr.
of one’s wishes, wealth and honor, and
will discover the attraction of paintings
梵天),
the
MAY 14-SEPTEMBER 8, 2013 VENUE BUDDHIST PAINTING GALLERY, PAINTING AND CALLIGRAPHY SECTION
26
painting as a difficult subject. After exam-
Late Joseon guardian deities paintings bring together not only
CONTENT
Joseon paintings with multiple arms and three eyes and riding
Jeungjang-cheonwang) in the south, and
to keep away evil spirits and misfortune.
of Buddhist guardian deities, which tell
27 LATE JOSEON PAINTINGS OF
an ox. Ucchusma, though the last figure to appear in paintings
Vaishravana (Damun-cheonwang) in the
The cult of guardian deities and its art
such interesting stories about the gods
GUARDIAN DEITIES AND RELATED ITEMS
of the guardian deities, makes the strongest impression. Accord-
north. In the Joseon period, sculptures
reveal the intimate place they had in the
and reflect the wishes of the ordinary
ing to the sutras, Ucchusma is the incarnation of Shakyamuni
and paintings of these Four Heavenly
everyday lives and prayers of the ordi-
people. 27
T
he exhibition Buddhist Guardian Deities of Late Joseon was organized in time with the Day of Buddhas' Coming, which fell on May 17 this year. In the Buddhist
world, these guardian deities are lower in the hierarchy than the Buddhas and bodhisattavas. Originally indigenous Indian deities, they were incorporated into Buddhism as deities charged with guarding the Buddha and his teachings. In the Joseon period, the cult of the guardian deities was so widespread that paintings of guardian deities such as of Indra (Jeseokcheon), Skanda (Witaecheon) and Brahma (Beomcheon) outnumbered paintings of the Buddhas and bodhisattvas.
PART 1: INDRA, THE LORD OF DEVAS Indra (Kr. Jeseokcheon 帝釋天) can be considered the major figure in paintings of the Buddhist guardian deities. Of Indian origin, Indra was the lord of devas who conquered evil spirits with a lightning bolt. In the Joseon period, Indra was generally depicted like a goddess or noblewoman and the giver of good fortune and longevity. Paintings of Indra were sometimes produced on their own and also as a set with a painting of the Eight Divine THEME EXHIBITION
VIEWING NOW
Being. In later times the two were combined in paintings of Indra and the Divine Beings, stimulating active production of paintings of the guardian deities of Buddhism.
Indra and the Divine Beings 帝釋天龍圖
Four Heavenly Kings 四天王圖
Joseon, 1750
Joseon, 19th C
Colors on silk
Colors on silk
173.3 × 204.0 cm
318.0 × 202.5 cm
National Museum of Korea
National Museum of Korea
PART 2: SKANDA, THE PROTECTOR OF BUDDHIST LAW This part of the exhibition focuses on Skanda (Kr. Witaecheon
BUDDHIST GUARDIAN DEITIES OF LATE JOSEON
韋駄天).
Skanda was originally an Indian warrior god who killed
evil spirits and is characterized by the weapon on his forearms
Buddha. His mantra is believed to carry
Kings were commonly installed as guard-
nary people and the religious tolerance
and helmet made of feathers. Skanda was originally depicted as
great power and is therefore often recited
ians at the Gate of the Heavenly Kings,
inherent in Buddhism.
a small figure in paintings of the Divine Beings but was soon el-
in Buddhist rituals. Ucchusma is charac-
the entryway to a Buddhist temple. The
evated in rank to become the leading figure. In paintings of In-
teristically depicted with a fierce facial
exhibition features paintings of these
The theme exhibition Buddhist Guardian
dra and the Divine Beings he is treated as being of almost equal
expression, spiky hair, multiple arms, and
figures as well as sculptures of evil spirits
Deities of Late Joseon has been organized
importance to Indra.
weapons, which impart a strong sense of
to give a lively representation of the Four
in an easy and interesting way to en-
power.
Heavenly Kings treading evil spirits un-
hance the enjoyment of museum visitors,
derfoot.
even those who tend to regard Buddhist
BY PA R K H Y EWON, ASSOCI AT E CU R ATOR OF DEPA RTM EN T OF FI N E A RT
PART 3: ASSEMBLY OF THE THREE GODS
DATE
PART 5: FOUR HEAVENLY KINGS,
Indra and Skanda but also Brahma(Kr. Beomcheon
THE PROTECTORS OF THE FOUR
PART 6: PRAYERS TO GUARDIAN DEITIES
ining the paintings on view, the names
Indian god of creation. Paintings featuring this triad gradually
CARDINAL DIRECTIONS
This part of the exhibition explores the
and identities of the gods, often confusing
came to be established as the typical form of guardian deities
Unlike the other f igures featured in
meaning and content of the cult of Bud-
and hard to distinguish, will come across
paintings, which flourished in the late Joseon period.
paintings of the guardian deities, the
dhist guardian deities. As indicated by
as distinct beings with their own stories
Four Heavenly Kings are often depicted
inscription “Wishing for a long life” in
and unique personalities. Paintings of the
PART 4: MAHESHVARA AND UCCHUSMA
on their own. The Four Heavenly Kings
the corner, of a guardian deities paint-
guardian deities are full of stories that
Other major guardian deity figures include Maheshvara (Kr.
are Dhartarastra (Kr. Jiguk-cheonwang)
ing, they were made to express prayers
inspire the imagination. Through this
Daejajaecheon 大自在天) and Ucchusma (Kr. Yejeok-geumgang 穢跡
in the east, Virupaksha (Kr. Gwangmok-
for longevity, good fortune, fulfillment
exhibition it is hoped that many visitors
金剛).
Shiva, the Indian god of destruction, is usually depicted in
cheonwang) in the west, Virudhaka (Kr.
of one’s wishes, wealth and honor, and
will discover the attraction of paintings
梵天),
the
MAY 14-SEPTEMBER 8, 2013 VENUE BUDDHIST PAINTING GALLERY, PAINTING AND CALLIGRAPHY SECTION
26
painting as a difficult subject. After exam-
Late Joseon guardian deities paintings bring together not only
CONTENT
Joseon paintings with multiple arms and three eyes and riding
Jeungjang-cheonwang) in the south, and
to keep away evil spirits and misfortune.
of Buddhist guardian deities, which tell
27 LATE JOSEON PAINTINGS OF
an ox. Ucchusma, though the last figure to appear in paintings
Vaishravana (Damun-cheonwang) in the
The cult of guardian deities and its art
such interesting stories about the gods
GUARDIAN DEITIES AND RELATED ITEMS
of the guardian deities, makes the strongest impression. Accord-
north. In the Joseon period, sculptures
reveal the intimate place they had in the
and reflect the wishes of the ordinary
ing to the sutras, Ucchusma is the incarnation of Shakyamuni
and paintings of these Four Heavenly
everyday lives and prayers of the ordi-
people. 27
Opening Hours
Lacquered Single-legged Small Table Inlaid
(weekdays) 09:00-18:00
with Mother-of-Pearl
(weekends, public holidays) 09:00-19:00
Joseon, 19th century
(extended hours) 09:00-21:00
H. 24.0 cm, D. 36.0 cm
*Every Saturday from March to October
National Museum of Korea
DATE
VENUE
MAY 14 - JUNE 30, 2013
Jeonju National Museum, Special Exhibition Gallery
Closing Days Every Monday (except public holiday Mondays) and January 1 Website http://jeonju.museum.go.kr Address 249 Ssukgogae-ro, Wansan-gu, Jeonju, Jeollabuk-do Province Inquiries 82-63-223-5651/2
A
VIEWING NOW
RNM EXHIBITION
SOBAN, SMALL DINING TABLE OF THE JOSEON DYNASTY BY THE EDITORIAL TEAM OF THE NATIONAL MUSEUM OF KOREA
28
new exhibition as clean and
soban from the early days in the Gogu-
the way soban reflected in their size and
appetizing as a well-laid din-
ryeo and Goryeo periods to Joseon, when
material the social philosophy, living
ner table has opened. The first
pictures of the tables could be found in
environment, food customs and other
special exhibition for 2013 at the Jeonju
documentary paintings and genre paint-
aspects of life in the Joseon era. Also on
National Museum is Soban, Small Dining
ings. It was in the Joseon period that
display are pictures of soban found in Jo-
Table of the Joseon Dynasty. In a simple yet
soban were first produced as both a kind
seon documentary paintings and genre
ingenuous way it tells the story of soban,
of tray for carrying things and a table for
paintings, which makes the subject more
which are indeed much more than just a
dining. Under the influence of Confu-
real for visitors.
piece of wooden furniture. Soban have a
cianism, people of different rank, gender
Part 2 focuses on the uses of soban.
long history, as attested to by Goguryeo
and age did not eat at the same table so
The most basic function of soban was, of
tomb murals. The oldest evidence of this
dining tables were made in a small size
course, a table for dining. But on special
kind may be the pictures of small tables
suitable for individual use. The typical
days, soban played an important role in
that very closely resemble soban found
structure of houses also had an effect on
the rites and ceremonies held to mark the
in the murals of Gakjeochong (Tomb of
soban. In a Joseon traditional home, all
day. That is, soban were used in not only
the Wrestlers) and Muyongchong (Tomb
the furniture was low in height accord-
in official royal ceremonies such as court
of the Dancers) among others. Notably,
ing to the lifestyle of sitting and sleeping
banquets, but also individual rites of pas-
the pictures indicate that, like soban, the
directly on the floor. It also had separate
sage such as coming-of-age ceremonies,
tables were portable and served as din-
quarters for the men and for the women
weddings, funerals and memorial rites. In
ing tables placed on the floor. But soban
of the family, and as no separate space
addition, soban were connected with the
in fact had more diverse functions. Not
was set aside for dining , meals were
Joseon people’s most ardent wishes and
only were the dining tables, in the Joseon
taken in the bedrooms. This means the
dreams. These small tables carried vari-
period they were used in various ways in
meals had to be carried from the kitchen
ous articles needed for practice of faith
traditional rites and religious practices.
to the bedrooms, via the wood-floored
and were placed wherever people prayed
The special exhibition has hence been or-
central hall. The dishes used, however,
for the safety and well-being of their fam-
ganized to enhance understanding of the
were all heavy brass or porcelain. These
ilies and the community. These diverse
changing and varied uses of soban in the
factors considered, soban were designed
functions of soban serve to give us insight
Joseon period over time and according to
to strong but as light as possible, which
into aspects of Joseon traditional culture
region and function.
meant using wood that could be cut thin
and rites.
Part 1 is titled “Soban through History.”
without warping or cracking. The special
An eye-catching feature of the ex-
The exhibition delves into the history of
exhibition gives a detailed overview of
hibition are the more decorative (if less 29
Opening Hours
Lacquered Single-legged Small Table Inlaid
(weekdays) 09:00-18:00
with Mother-of-Pearl
(weekends, public holidays) 09:00-19:00
Joseon, 19th century
(extended hours) 09:00-21:00
H. 24.0 cm, D. 36.0 cm
*Every Saturday from March to October
National Museum of Korea
DATE
VENUE
MAY 14 - JUNE 30, 2013
Jeonju National Museum, Special Exhibition Gallery
Closing Days Every Monday (except public holiday Mondays) and January 1 Website http://jeonju.museum.go.kr Address 249 Ssukgogae-ro, Wansan-gu, Jeonju, Jeollabuk-do Province Inquiries 82-63-223-5651/2
A
VIEWING NOW
RNM EXHIBITION
SOBAN, SMALL DINING TABLE OF THE JOSEON DYNASTY BY THE EDITORIAL TEAM OF THE NATIONAL MUSEUM OF KOREA
28
new exhibition as clean and
soban from the early days in the Gogu-
the way soban reflected in their size and
appetizing as a well-laid din-
ryeo and Goryeo periods to Joseon, when
material the social philosophy, living
ner table has opened. The first
pictures of the tables could be found in
environment, food customs and other
special exhibition for 2013 at the Jeonju
documentary paintings and genre paint-
aspects of life in the Joseon era. Also on
National Museum is Soban, Small Dining
ings. It was in the Joseon period that
display are pictures of soban found in Jo-
Table of the Joseon Dynasty. In a simple yet
soban were first produced as both a kind
seon documentary paintings and genre
ingenuous way it tells the story of soban,
of tray for carrying things and a table for
paintings, which makes the subject more
which are indeed much more than just a
dining. Under the influence of Confu-
real for visitors.
piece of wooden furniture. Soban have a
cianism, people of different rank, gender
Part 2 focuses on the uses of soban.
long history, as attested to by Goguryeo
and age did not eat at the same table so
The most basic function of soban was, of
tomb murals. The oldest evidence of this
dining tables were made in a small size
course, a table for dining. But on special
kind may be the pictures of small tables
suitable for individual use. The typical
days, soban played an important role in
that very closely resemble soban found
structure of houses also had an effect on
the rites and ceremonies held to mark the
in the murals of Gakjeochong (Tomb of
soban. In a Joseon traditional home, all
day. That is, soban were used in not only
the Wrestlers) and Muyongchong (Tomb
the furniture was low in height accord-
in official royal ceremonies such as court
of the Dancers) among others. Notably,
ing to the lifestyle of sitting and sleeping
banquets, but also individual rites of pas-
the pictures indicate that, like soban, the
directly on the floor. It also had separate
sage such as coming-of-age ceremonies,
tables were portable and served as din-
quarters for the men and for the women
weddings, funerals and memorial rites. In
ing tables placed on the floor. But soban
of the family, and as no separate space
addition, soban were connected with the
in fact had more diverse functions. Not
was set aside for dining , meals were
Joseon people’s most ardent wishes and
only were the dining tables, in the Joseon
taken in the bedrooms. This means the
dreams. These small tables carried vari-
period they were used in various ways in
meals had to be carried from the kitchen
ous articles needed for practice of faith
traditional rites and religious practices.
to the bedrooms, via the wood-floored
and were placed wherever people prayed
The special exhibition has hence been or-
central hall. The dishes used, however,
for the safety and well-being of their fam-
ganized to enhance understanding of the
were all heavy brass or porcelain. These
ilies and the community. These diverse
changing and varied uses of soban in the
factors considered, soban were designed
functions of soban serve to give us insight
Joseon period over time and according to
to strong but as light as possible, which
into aspects of Joseon traditional culture
region and function.
meant using wood that could be cut thin
and rites.
Part 1 is titled “Soban through History.”
without warping or cracking. The special
An eye-catching feature of the ex-
The exhibition delves into the history of
exhibition gives a detailed overview of
hibition are the more decorative (if less 29
RNM EXHIBITION
tops are mostly square, multi-sided, circular, or lobed (flowershaped), while the legs are classified as tiger legs, dog legs, legs in the form of carved side boards, and legs made out of solid
Small Dining Table with “S”–shaped Legs Joseon, 19th Century H. 29.0 cm, D. 44.0 cm National Museum of Korea
unsplit wood. The legs also functioned as decorative elements, carved with designs that achieved harmony with the other parts of the table or varied in proportions to lend individuality to the tables. Produced all over the country during the Joseon period, soban exhibited distinct features according to region of origin. Different types of soban therefore carry regional names: Najuban from Naju, Tongyeongban from Tongyeong, Haejuban from Haeju, Gangwonban from Gangwon-do Province, and Chungjuban from Chungju. They are so distinctive in form that it is easily identified different types of tables at a glance. In production method and expression, regional differences are also found in the table top and the legs. Tables from Haeju, however, particularly stand out from the rest. Composed of a table top and two side boards, they are different to other tables in that
sturdy) tables with one leg, called iljuban, which were used not
prevent dishes from falling off the table while the table was be-
the table top and the edge are formed from one piece of wood
for meals but to serve tea, snacks, and fruit. The “Lacquered
ing carried. The tables were not made with sharp edges but with
rather than the edge being separately made and joined. In ad-
Single-legged Small Table Inlaid with Mother-of-pearl,” formed
rounded corners or lobed in the shape of a flower. Most soban
dition, the side boards are decorated with openwork circles
in the shape of a lotus leaf and decorated with an inlaid design
have four legs, except those made in the Haeju region and those
featuring floral scrolls and other designs, or a square window
of lotus leaf veins, tortoises, lotus blossoms, and fish, exhibits
made with one leg. To strengthen the legs, a bar running round
is cut out of the boards to create a clean, simple design. Visitors
the height of beauty achieved in this small item of furniture.
all four sides at mid-height was sometimes attached, a feature
to the exhibition will be surprised at the wealth of stories to be
The exhibition also features the so-called gwolban, or tables
of soban from Tongyeong or Naju. The legs were also connected
discovered in these simple tables.
that were used in the royal palace for the king’s dining table or
at the bottom by a horizontal bar. These two features give the
for court banquets. Most of them are red lacquered or red and
table visual and structural stability.
Since its opening in October 1990, the Jeonju National Museum has held a wide variety of exhibitions, and education and
black lacquered, a sign of the court, for since the beginning of
Just beneath the table top is a skirting board called ungak
activity programs. Various hands-on facilities and education
the Joseon period the use of red lacquer was limited to the royal
that also connects the legs together. Besides being an indispens-
programs are offered at the museum’s Experience Learning
palace.
able structural member that serves to fix the legs in place, it is
Center, while efforts are being made to develop and operate
Part 3 is titled “Soban of Different Shapes.” The major parts of
also a decorative feature, beautifully curved in shape and often
lectures for adults, programs to promote sharing with minority
soban are the table top, the legs, and the skirting board beneath
carved with designs. Soban are divided into categories generally
groups, and education programs to foster professionals from the
the top plate. A raised edge was attached around the table top to
according to the shape of the table top and the legs. The table
local area.
Meal Table for an Official on Duty
Lacquered Single-legged Small Table Inlaid
Red and Black-lacquered Dining Table
Small Dining Table Manufactured
Small Dining Table Manufactured
Joseon, 19th century
with Mother-of-Pearl
with “S”–shaped Legs
in Haeju Area
in Tongyeong Area
in Naju Area
H. 27.6 cm, D. 44.8 cm
Joseon, 19th century
Late of Joseon Dynasty
Joseon, 19th century
Joseon, 19th century
Joseon, 19th century
National Museum of Korea
H. 24.0 cm, D. 36.0 cm
H. 40.0 cm, D. 47.5 cm
46.0 × 36.0 cm, H. 29.0 cm
44.0 × 25.0 cm, H. 27.0 cm
46.0 × 37.0 cm, H. 30.0 cm
National Museum of Korea
National Museum of Korea
National Museum of Korea
National Museum of Korea
National Museum of Korea
30
Small Dining Table Manufactured
31
RNM EXHIBITION
tops are mostly square, multi-sided, circular, or lobed (flowershaped), while the legs are classified as tiger legs, dog legs, legs in the form of carved side boards, and legs made out of solid
Small Dining Table with “S”–shaped Legs Joseon, 19th Century H. 29.0 cm, D. 44.0 cm National Museum of Korea
unsplit wood. The legs also functioned as decorative elements, carved with designs that achieved harmony with the other parts of the table or varied in proportions to lend individuality to the tables. Produced all over the country during the Joseon period, soban exhibited distinct features according to region of origin. Different types of soban therefore carry regional names: Najuban from Naju, Tongyeongban from Tongyeong, Haejuban from Haeju, Gangwonban from Gangwon-do Province, and Chungjuban from Chungju. They are so distinctive in form that it is easily identified different types of tables at a glance. In production method and expression, regional differences are also found in the table top and the legs. Tables from Haeju, however, particularly stand out from the rest. Composed of a table top and two side boards, they are different to other tables in that
sturdy) tables with one leg, called iljuban, which were used not
prevent dishes from falling off the table while the table was be-
the table top and the edge are formed from one piece of wood
for meals but to serve tea, snacks, and fruit. The “Lacquered
ing carried. The tables were not made with sharp edges but with
rather than the edge being separately made and joined. In ad-
Single-legged Small Table Inlaid with Mother-of-pearl,” formed
rounded corners or lobed in the shape of a flower. Most soban
dition, the side boards are decorated with openwork circles
in the shape of a lotus leaf and decorated with an inlaid design
have four legs, except those made in the Haeju region and those
featuring floral scrolls and other designs, or a square window
of lotus leaf veins, tortoises, lotus blossoms, and fish, exhibits
made with one leg. To strengthen the legs, a bar running round
is cut out of the boards to create a clean, simple design. Visitors
the height of beauty achieved in this small item of furniture.
all four sides at mid-height was sometimes attached, a feature
to the exhibition will be surprised at the wealth of stories to be
The exhibition also features the so-called gwolban, or tables
of soban from Tongyeong or Naju. The legs were also connected
discovered in these simple tables.
that were used in the royal palace for the king’s dining table or
at the bottom by a horizontal bar. These two features give the
for court banquets. Most of them are red lacquered or red and
table visual and structural stability.
Since its opening in October 1990, the Jeonju National Museum has held a wide variety of exhibitions, and education and
black lacquered, a sign of the court, for since the beginning of
Just beneath the table top is a skirting board called ungak
activity programs. Various hands-on facilities and education
the Joseon period the use of red lacquer was limited to the royal
that also connects the legs together. Besides being an indispens-
programs are offered at the museum’s Experience Learning
palace.
able structural member that serves to fix the legs in place, it is
Center, while efforts are being made to develop and operate
Part 3 is titled “Soban of Different Shapes.” The major parts of
also a decorative feature, beautifully curved in shape and often
lectures for adults, programs to promote sharing with minority
soban are the table top, the legs, and the skirting board beneath
carved with designs. Soban are divided into categories generally
groups, and education programs to foster professionals from the
the top plate. A raised edge was attached around the table top to
according to the shape of the table top and the legs. The table
local area.
Meal Table for an Official on Duty
Lacquered Single-legged Small Table Inlaid
Red and Black-lacquered Dining Table
Small Dining Table Manufactured
Small Dining Table Manufactured
Joseon, 19th century
with Mother-of-Pearl
with “S”–shaped Legs
in Haeju Area
in Tongyeong Area
in Naju Area
H. 27.6 cm, D. 44.8 cm
Joseon, 19th century
Late of Joseon Dynasty
Joseon, 19th century
Joseon, 19th century
Joseon, 19th century
National Museum of Korea
H. 24.0 cm, D. 36.0 cm
H. 40.0 cm, D. 47.5 cm
46.0 × 36.0 cm, H. 29.0 cm
44.0 × 25.0 cm, H. 27.0 cm
46.0 × 37.0 cm, H. 30.0 cm
National Museum of Korea
National Museum of Korea
National Museum of Korea
National Museum of Korea
National Museum of Korea
30
Small Dining Table Manufactured
31
TELLING MORE
PEOPLE
BEYOND MUSEUM I N T ERV I EW W I T H WOO H Y U NSOO,
and provided financial support for new an
them give lessons on Chinese, Japanese, th
purchases, and promoted the growth and pu
Korean and other Asian art before the Ko
profile of the Korean collection through pr
children visit the museum. We are makch
p u b l i c i t y a n d p a t ro n a g e o f Ko re a n
ing efforts to raise understanding of the
culture in the Philadelphia area. The cu
art of unfamiliar cultures. When there ar
Korean Heritage Weekend was launched Ko
is a planned special exhibition on Asian
in 1996 and held annually for more than
art, we take applications from teachers art
ten years. Over the two-day weekend a
one year ahead for a related education on
variety of programs on Korean art and va
program. By stimulating teachers’ interest pr
culture were organized for the public, cu
in the exhibition, we hope to encourage
including traditional and fusion music, in
teachers to include exhibition-related tea
dance performances, making art works da
subjects or themes in the following year’s su
with the family, and Korean handcraft wi
curriculum. Ultimately, we are providing cu
workshops and demonstrations. Unforwo
the foundations needed to promote active th
tunately, it has not been held for the past tun
use of the special exhibition in education. us
CU R ATOR AT T H E PH I L A DEL PH I A MUSEUM OF A RT
What are your major responsibilities as
was donated to the museum back in 1903, wa
Geese and Reeds and Jeong Hakgyo’s Rocks Ge
curator of the Korean Gallery at the Phila-
and now includes some 450 objects. It an
and an Orchids. Another major acquisition is
delphia Museum of Art?
largely consists of pottery and ceramics, lar
the th White Porcelain Jar with Lid, a typical
It is my responsibility to manage and ex-
paintings, handcrafts, and furniture from pa
example of 15th century white porcelain. ex
pand the Korean collection, carry out and
the 4th century to modern times. The th
publish research on the items, plan the
museum is making continued efforts to mu
What Wh is the Korean Heritage Group at the
permanent and special exhibitions, and
expand the collection through purchase ex
Philadelphia Museum of Art? Also, could Ph
train docents and lecturers of the mu-
and gifts. an
seum’s education programs—not much
you tell us about the annual Korean Heriyo tage Weekend? tag
different to the work of any other art
Is there any one exhibit in the Korean Gal-
In 1997 the museum’s Asian Art Depart-
museum curator. But at the Philadelphia
lery that you would particularly like to tell ler
ment and Education Department came me
Museum of Art, curator of the Korean
us about?
together to form a Korean art support to
Gallery is a very special position. It is a
Th The 12th century Celadon Maebyeong with
Woo Hyunsoo, The Maxine and Howard Lewis Associate Curator of Korean Art Woo served as researcher at the Brooklyn Museum in New York (1997-2001) and Deputy Director at the Japan Society Gallery (20012005) before joining the Philadelphia Museum of Art in 2006, where she has since served as curator of the Korean art. She is now busy preparing for the Joseon Art Exhibition to be held next spring. The exhibition will be held in the museum’s special gallery, which covers one thousand square meters, and will later tour the Los Angeles County Museum of Art and the Museum of Fine Arts Houston.
inc incised Design, which was shown at the
Heritage Group, comprised of Korean He
Philadelphia Museum of Art and is solely
special exhibition Korean Art from the sp
and American individuals from the local an
devoted to Korean art. It is also the only
Un United States held at the National Mu-
community, was launched. Over the past co
endowed position of Korean art curator
seum of Korea last June, is a masterpiece seu
ten years, the Korean Heritage Group
at any US museums. As the position is
among masterpieces. From comparison am
has worked to attract new donations ha
funded by generous supports by the lead-
with excavated relics, it is thought to wi
ing community members in Philadelphia,
have been produced at the Sadang-ri kiln ha
it is financially independent from the
in Gangjin, and its finely executed incised
museum’s operation budget. The Korean
design and beautiful color make it a work de
art curator appointment will remain a
of national treasure level. Since I was
meaningful achievement as long as the
appointed curator in 2006, the Korean ap
museum remains in existence.
collection has been steadily expanded co
1
are planning to launch a more substantial
Do you have any exchange plans with the
event next year in time for The Art of the ev
National Museum of Korea, or other Korean Na
Joseon Dynasty Exhibition. Jos
museums? mu The Art of the Joseon Dynasty Exhibition, Th
Does the Philadelphia Museum of Art run Do
which opens in spring 2014, was orgawh
any education programs on Korean art or an
ni nized in cooperation with the National
other Asian art? If so, what is the content of oth
Mu Museum of Korea with the view of pro-
such programs and how they run? su
mo moting cultural exchange between Korea
Th The education programs sometimes ex-
and the United States. The first outcome an
1. Vase (Maebyeong) 12th century, Goryeo Dynasty (918-1392), Porcellaneous stoneware with incised decoration under celadon glaze, 16 x 9 1/2 inches (40.6 x 24.1 cm) Philadelphia Museum of Art, Purchased with the Fiske Kimball Fund and the Marie Kimball Fund, 1974 Courtesy of the Philadelphia Museum of Art
plore the Asian art collection according to plo
of such cooperation is the exhibition Art
different cultures, and sometimes as part diff
Ac Across America, which is was held at the
of a thematic program along with Euro-
NMK, and The Art of the Joseon Dynasty NM
pean and American art. One example is pe
Exhibition will be the second. It is already Ex
the program where children make their th
attracting a lot of attention as it will mark att
own artworks inspired by works in the ow
the first large-scale exhibition of Korean th
2. Featuring east entrance or rocky steps Courtesy of the Philadelphia Museum of Art
permanent exhibition. In addition, learnpe
art to be held in Philadelphia. It is also
ing materials on Asian art developed by
the first exhibition in the United States to th
the Education Department, based on the th
give an overview of the Joseon Dynasty. giv
group. In May that year the Korean gr
position instituted for the first time at the
two years, but after some amendment we tw
3. Installation view, Celebrate Korea: A Decade of Collecting (2006) Courtesy of the Philadelphia Museum of Art
2
works in the museum’s collection, are wo distributed to school teachers to help di
3
through purchase and gifts, and currently thr Could you tell us about the scale and history
we are focusing on the expansion of the
of the Korean collection at the Philadelphia
painting collection. In addition to major pa
Museum of Art?
folding screens such as One Hundred Boys, fol
The Korean collection has grown steadily
Peonies, and Lotus Blossoms, the painting Pe
since the first object, a buncheong dish,
collection also includes Yang Gihun’s co
32
33
TELLING MORE
PEOPLE
BEYOND MUSEUM I N T ERV I EW W I T H WOO H Y U NSOO,
and provided financial support for new an
them give lessons on Chinese, Japanese, th
purchases, and promoted the growth and pu
Korean and other Asian art before the Ko
profile of the Korean collection through pr
children visit the museum. We are makch
p u b l i c i t y a n d p a t ro n a g e o f Ko re a n
ing efforts to raise understanding of the
culture in the Philadelphia area. The cu
art of unfamiliar cultures. When there ar
Korean Heritage Weekend was launched Ko
is a planned special exhibition on Asian
in 1996 and held annually for more than
art, we take applications from teachers art
ten years. Over the two-day weekend a
one year ahead for a related education on
variety of programs on Korean art and va
program. By stimulating teachers’ interest pr
culture were organized for the public, cu
in the exhibition, we hope to encourage
including traditional and fusion music, in
teachers to include exhibition-related tea
dance performances, making art works da
subjects or themes in the following year’s su
with the family, and Korean handcraft wi
curriculum. Ultimately, we are providing cu
workshops and demonstrations. Unforwo
the foundations needed to promote active th
tunately, it has not been held for the past tun
use of the special exhibition in education. us
CU R ATOR AT T H E PH I L A DEL PH I A MUSEUM OF A RT
What are your major responsibilities as
was donated to the museum back in 1903, wa
Geese and Reeds and Jeong Hakgyo’s Rocks Ge
curator of the Korean Gallery at the Phila-
and now includes some 450 objects. It an
and an Orchids. Another major acquisition is
delphia Museum of Art?
largely consists of pottery and ceramics, lar
the th White Porcelain Jar with Lid, a typical
It is my responsibility to manage and ex-
paintings, handcrafts, and furniture from pa
example of 15th century white porcelain. ex
pand the Korean collection, carry out and
the 4th century to modern times. The th
publish research on the items, plan the
museum is making continued efforts to mu
What Wh is the Korean Heritage Group at the
permanent and special exhibitions, and
expand the collection through purchase ex
Philadelphia Museum of Art? Also, could Ph
train docents and lecturers of the mu-
and gifts. an
seum’s education programs—not much
you tell us about the annual Korean Heriyo tage Weekend? tag
different to the work of any other art
Is there any one exhibit in the Korean Gal-
In 1997 the museum’s Asian Art Depart-
museum curator. But at the Philadelphia
lery that you would particularly like to tell ler
ment and Education Department came me
Museum of Art, curator of the Korean
us about?
together to form a Korean art support to
Gallery is a very special position. It is a
Th The 12th century Celadon Maebyeong with
Woo Hyunsoo, The Maxine and Howard Lewis Associate Curator of Korean Art Woo served as researcher at the Brooklyn Museum in New York (1997-2001) and Deputy Director at the Japan Society Gallery (20012005) before joining the Philadelphia Museum of Art in 2006, where she has since served as curator of the Korean art. She is now busy preparing for the Joseon Art Exhibition to be held next spring. The exhibition will be held in the museum’s special gallery, which covers one thousand square meters, and will later tour the Los Angeles County Museum of Art and the Museum of Fine Arts Houston.
inc incised Design, which was shown at the
Heritage Group, comprised of Korean He
Philadelphia Museum of Art and is solely
special exhibition Korean Art from the sp
and American individuals from the local an
devoted to Korean art. It is also the only
Un United States held at the National Mu-
community, was launched. Over the past co
endowed position of Korean art curator
seum of Korea last June, is a masterpiece seu
ten years, the Korean Heritage Group
at any US museums. As the position is
among masterpieces. From comparison am
has worked to attract new donations ha
funded by generous supports by the lead-
with excavated relics, it is thought to wi
ing community members in Philadelphia,
have been produced at the Sadang-ri kiln ha
it is financially independent from the
in Gangjin, and its finely executed incised
museum’s operation budget. The Korean
design and beautiful color make it a work de
art curator appointment will remain a
of national treasure level. Since I was
meaningful achievement as long as the
appointed curator in 2006, the Korean ap
museum remains in existence.
collection has been steadily expanded co
1
are planning to launch a more substantial
Do you have any exchange plans with the
event next year in time for The Art of the ev
National Museum of Korea, or other Korean Na
Joseon Dynasty Exhibition. Jos
museums? mu The Art of the Joseon Dynasty Exhibition, Th
Does the Philadelphia Museum of Art run Do
which opens in spring 2014, was orgawh
any education programs on Korean art or an
nized in cooperation with the National ni
other Asian art? If so, what is the content of oth
Museum of Korea with the view of proMu
such programs and how they run? su
moting cultural exchange between Korea mo
Th The education programs sometimes ex-
and the United States. The first outcome an
1. Vase (Maebyeong) 12th century, Goryeo Dynasty (918-1392), Porcellaneous stoneware with incised decoration under celadon glaze, 16 x 9 1/2 inches (40.6 x 24.1 cm) Philadelphia Museum of Art, Purchased with the Fiske Kimball Fund and the Marie Kimball Fund, 1974 Courtesy of the Philadelphia Museum of Art
plore the Asian art collection according to plo
of such cooperation is the exhibition Art
different cultures, and sometimes as part diff
Across America, which is was held at the Ac
of a thematic program along with Euro-
NMK, and The Art of the Joseon Dynasty NM
pean and American art. One example is pe
Exhibition will be the second. It is already Ex
the program where children make their th
attracting a lot of attention as it will mark att
own artworks inspired by works in the ow
the first large-scale exhibition of Korean th
2. Featuring east entrance or rocky steps Courtesy of the Philadelphia Museum of Art
permanent exhibition. In addition, learnpe
art to be held in Philadelphia. It is also
ing materials on Asian art developed by
the first exhibition in the United States to th
the Education Department, based on the th
give an overview of the Joseon Dynasty. giv
group. In May that year the Korean gr
position instituted for the first time at the
two years, but after some amendment we tw
3. Installation view, Celebrate Korea: A Decade of Collecting (2006) Courtesy of the Philadelphia Museum of Art
2
works in the museum’s collection, are wo distributed to school teachers to help di
3
through purchase and gifts, and currently thr Could you tell us about the scale and history
we are focusing on the expansion of the
of the Korean collection at the Philadelphia
painting collection. In addition to major pa
Museum of Art?
folding screens such as One Hundred Boys, fol
The Korean collection has grown steadily
Peonies, and Lotus Blossoms, the painting Pe
since the first object, a buncheong dish,
collection also includes Yang Gihun’s co
32
33
TELLING MORE
SERIAL LECTURE
KIM MANJUNG AND GUUNMONG
CLASSICS THAT EVERYONE SHOULD KNOW: IN SEARCH OF EMOTIONAL RESONANCE
As the reader remains uninformed of the fact also, Seongjin and the reader are in
BY YU GWANGSU, PROFESSOR OF YONSEI UNIVERSITY
PROGRAM FOR THE FIRST HALF OF 2013
Kim Manjung (penname Seopo, 1637-
the same position. Hence the reader ac-
1692) wrote Guunmong (The Cloud Dream
companies Seongjin as he goes through
of the Nine) while living in Seoncheon
transmigration of the soul and is reborn
when he was exiled for the second time.
as Yang Soyu, and becomes a great and
Kim wrote the novel for his mother, out
successful man, and is likewise shocked
of the guilt he felt all his life for being
when Seongjin is shocked to find that it
unable to take care of her when he had to
was all a dream. Like Seongjin who ques-
go into exile. In the conservative Joseon
tions the meaning of life and bows before
Dynasty when novels were considered a
Yukgwan in a bid to gain true enlighten-
low form of culture, Kim, a government
ment, the reader also raises the same
official, began writing novels in the first
question and desires true enlightenment.
place because of his mother. Therefore,
With the employment of such strategic
the theme of Guunmong is commonly
deceit, the author urges the reader to gain
said to be “the frailty of human life” or
true insight.
that “life is an empty dream.” But this is
MARCH 23
Detail from Painting of
a mistaken notion. As apparent in the
TRANSMIGRATION:
content of the novel, it is not possible
PUNISHMENT OR REWARD?
the Cloud Dream of the Nine
to appease a mother’s worries with the
Seoul Auction
idea of the frailty of human life. Would
Scolding Seongjin for his sin, Yukgwan
a dutiful son console a lone and elderly
sends him to Pungdo (hell) for trans-
mother with the words “Mother, wealth,
migration of the soul. But instead of
rank and fame are nothing but an empty
being punished, Seongjin is reborn as
Classics that Everyone Should Know:
dream”? Would the mother find solace in
Yang Soyu and enjoys a rich and fruit-
In Search of Emotional Resonance / Yu Gwangsu
these words? Surely her worries would
ful life, achieving everything he desires.
(Yonsei University professor)
multiply. This point considered, it would
Though Seongjin’s sin was coveting hu-
be more correct to say the theme of Gu-
man wealth and fame, Yukgwan, while
unmong is “emptiness.”
admonishing the sin, allows Seongjin
A Happy Museum: The Identity of Korean Culture / Ta Seoksan (philosopher and writer) APRIL 27
MAY 25
to achieve his desires. As he is not con-
Humanities of the Human Body Interpreted through Dongui-bogam / Goh Misuk (classics critic)
2013 NATIONAL MUSEUM OF KOREA
UNDERSTANDING
tinually being reborn, it is difficult to
HUMANITIES LECTURES
THE AUTHOR’S INTENT
see Seongjin’s experience of living the happy life of a man named Yang Soyu in a
The National Museum of Korea hosts
The first chapter in Guunmong shows
dream as punishment. So while Yukgwan
The Hearts of Koreans
“Saturday Afternoon, Garden of the Hu-
Seongjin, favored disciple of the Great
condemns the sin, in reality he forgives
Reflected in Old Poems / Na Taeju
manities,” a series of monthly lectures
Monk Yukgwan, committing sin and
the sin and gives Seongjin what he wants,
(Director of Gongju Cultural Center)
which are open to the general public.
as a result being reincarnated as a man
but in the form of a dream. As such, Yuk-
The overall theme is “Strolling through
named Yang Soyu. Everything Yang does
gwan’s reprimands and censure serve to
the Classics on a Saturday Afternoon.”
is a success. He rises to a high position
trick the reader.
With fascinating, in-depth exploration
in government, achieves victory in war,
Yukgwan’s reprimands are seen as strict
of various subjects in the humani-
and lives a happy life with eight beautiful
judgment for breaking the Buddhist
ties, the objective of the lectures is to
wives.
precepts. They stress the seriousness of
stimulate interest in and broader un-
Seong jin’s reincarnation as Yang is a
Seongjin’s sin, for which he cannot avoid
derstanding of Korean culture and give
dream but the novel deals with the story
the punishment of transmigration. But
museum visitors a pleasant learning
as if it were reality. The author deliber-
in his reprimands Yukgwan only points
experience.
ately hides the fact that Yang is dreaming.
out the wrongs committed by Seongjin
JUNE 22
34
35
TELLING MORE
SERIAL LECTURE
KIM MANJUNG AND GUUNMONG
CLASSICS THAT EVERYONE SHOULD KNOW: IN SEARCH OF EMOTIONAL RESONANCE
As the reader remains uninformed of the fact also, Seongjin and the reader are in
BY YU GWANGSU, PROFESSOR OF YONSEI UNIVERSITY
PROGRAM FOR THE FIRST HALF OF 2013
Kim Manjung (penname Seopo, 1637-
the same position. Hence the reader ac-
1692) wrote Guunmong (The Cloud Dream
companies Seongjin as he goes through
of the Nine) while living in Seoncheon
transmigration of the soul and is reborn
when he was exiled for the second time.
as Yang Soyu, and becomes a great and
Kim wrote the novel for his mother, out
successful man, and is likewise shocked
of the guilt he felt all his life for being
when Seongjin is shocked to find that it
unable to take care of her when he had to
was all a dream. Like Seongjin who ques-
go into exile. In the conservative Joseon
tions the meaning of life and bows before
Dynasty when novels were considered a
Yukgwan in a bid to gain true enlighten-
low form of culture, Kim, a government
ment, the reader also raises the same
official, began writing novels in the first
question and desires true enlightenment.
place because of his mother. Therefore,
With the employment of such strategic
the theme of Guunmong is commonly
deceit, the author urges the reader to gain
said to be “the frailty of human life” or
true insight.
that “life is an empty dream.” But this is
MARCH 23
Detail from Painting of
a mistaken notion. As apparent in the
TRANSMIGRATION:
content of the novel, it is not possible
PUNISHMENT OR REWARD?
the Cloud Dream of the Nine
to appease a mother’s worries with the
Seoul Auction
idea of the frailty of human life. Would
Scolding Seongjin for his sin, Yukgwan
a dutiful son console a lone and elderly
sends him to Pungdo (hell) for trans-
mother with the words “Mother, wealth,
migration of the soul. But instead of
rank and fame are nothing but an empty
being punished, Seongjin is reborn as
Classics that Everyone Should Know:
dream”? Would the mother find solace in
Yang Soyu and enjoys a rich and fruit-
In Search of Emotional Resonance / Yu Gwangsu
these words? Surely her worries would
ful life, achieving everything he desires.
(Yonsei University professor)
multiply. This point considered, it would
Though Seongjin’s sin was coveting hu-
be more correct to say the theme of Gu-
man wealth and fame, Yukgwan, while
unmong is “emptiness.”
admonishing the sin, allows Seongjin
A Happy Museum: The Identity of Korean Culture / Ta Seoksan (philosopher and writer) APRIL 27
MAY 25
to achieve his desires. As he is not con-
Humanities of the Human Body Interpreted through Dongui-bogam / Goh Misuk (classics critic)
2013 NATIONAL MUSEUM OF KOREA
UNDERSTANDING
tinually being reborn, it is difficult to
HUMANITIES LECTURES
THE AUTHOR’S INTENT
see Seongjin’s experience of living the happy life of a man named Yang Soyu in a
The National Museum of Korea hosts
The first chapter in Guunmong shows
dream as punishment. So while Yukgwan
The Hearts of Koreans
“Saturday Afternoon, Garden of the Hu-
Seongjin, favored disciple of the Great
condemns the sin, in reality he forgives
Reflected in Old Poems / Na Taeju
manities,” a series of monthly lectures
Monk Yukgwan, committing sin and
the sin and gives Seongjin what he wants,
(Director of Gongju Cultural Center)
which are open to the general public.
as a result being reincarnated as a man
but in the form of a dream. As such, Yuk-
The overall theme is “Strolling through
named Yang Soyu. Everything Yang does
gwan’s reprimands and censure serve to
the Classics on a Saturday Afternoon.”
is a success. He rises to a high position
trick the reader.
With fascinating, in-depth exploration
in government, achieves victory in war,
Yukgwan’s reprimands are seen as strict
of various subjects in the humani-
and lives a happy life with eight beautiful
judgment for breaking the Buddhist
ties, the objective of the lectures is to
wives.
precepts. They stress the seriousness of
stimulate interest in and broader un-
Seong jin’s reincarnation as Yang is a
Seongjin’s sin, for which he cannot avoid
derstanding of Korean culture and give
dream but the novel deals with the story
the punishment of transmigration. But
museum visitors a pleasant learning
as if it were reality. The author deliber-
in his reprimands Yukgwan only points
experience.
ately hides the fact that Yang is dreaming.
out the wrongs committed by Seongjin
JUNE 22
34
35
TELLING MORE
SERIAL LECTURE
and does not go into detail about the
superiority melts away like snow the mo-
cision to seek immortality has been made
punishment he is to receive. But the sin-
ment he is reborn, the moment that he
clear, but he leads Yang not on that road
ner Seongjin, who keeps making feeble
categorizes himself as a newborn baby.
but to his past life. The reason is simple.
excuses, is the first to say that he should
As a newborn baby he remembers that
Though Yang may seek the state of emp-
be banished. This is seen as confession on
he was once the Buddhist male Seongjin
tiness he cannot attain it.
Seongjin’s part that the gravity of his sin
but can no longer exercise any magical
Appearing in the form of the Indian
deserves banishment. This is when Yukg-
powers. Not only that, he is a completely
monk, Yukgwan leads Yang Soyu to the
wan tells him to “go to Pungdo.” Through
powerless being who can consciously ut-
past through conversation, and by this
this series of events and by making
ter nothing but the cry of a baby.
Yang Soyu returns to his original form.
Seongjin decide his own method of pun-
This is the result of limiting himself in-
Under Yukgwan’s guidance, Yang Soyu
ishment, to the reader it seems right and
side a certain framework. He can no lon-
realizes that he is neither the highest of-
inevitable that Seongjin go to hell and be
ger seek after truth or consciously attain
ficial in the land, nor a poor, ordinary
put through the process of transmigra-
enlightenment of his own accord. In this
scholar. That is, he realizes he is not Yang
tion and reincarnation.
way, Seongjin forgets who he was and
Soyu but Seongjin.
In fact, however, Seongjin’s sin is not so
becomes Yang Soyu. Yang Soyu’s world
Yukgwan talks with Yang Soyu and by
great, and because he repented of his own
is one where things grow without effort,
this conversation Yang Soyu is led to
accord it can be said that the punishment
where the seeds of ambition germinate
remember his past. At first, Yang Soyu
of transmigration is rather severe. In the
and achieve fulf illment . That world,
treats Yukgwan like a stranger. But Yukg-
end, Seongjin’s contempt and announce-
however, is one of fundamental delusion
wan keeps repeating the question, “Don’t
ment of his own punishment, and the
where people do not realize when they
you know me?” which in other words
unfolding of the narrative in the order of
are placed in a ridiculous situation.
means “I am your treacher Yukgwan.”
(high official). By doing so the aim is to
Soyu. While these two desires resemble
beings caught in the cycle of transmigra-
But up to the end Yang Soyu fails to rec-
make Yang Soyu realize the basic nature
each other, they nurture each other and
tion of the soul desire something but
ognize Yukgwan in the old monk. He
of his existence. But Yang Soyu is unable
reject each other at the same time.
are not aware of the outcomes. This is
gradually draws closer to realization but
to grasp the nature of any of these identi-
Seongjin becomes Yang Soyu because
because humans are limited beings who
sin, hell, and transmigration, the reader comes to see transmigration as Seongjin’s
BECOMING SEONGJIN AGAIN
unavoidable fate. When everything is
Painting of the Cloud Dream of the Nine Joseon period 120 x 37.0 cm Kyonggi University Museum
revealed to be a dream, the reader is
After a life of fame and success, Yang
never quite breaks the barrier. The reason
ties, because he is neither the highest of-
of his ambition, which is focused on
can only remember the present stage
no longer interested in the question of
Soyu retires to his palace where he lives
is simple. Because of the fundamental
ficial in the land nor a poor scholar, nor is
wealth, rank and fame. This is realized
they are in, as revealed in the narrative
whether Seongjin’s punishment is justi-
in seclusion. A long time passes. When
limitations of the life of transmigration
he even Yang Soyu. He is really Seongjin.
through the life of Yang Soyu, who makes
of Guunmong. Seonjin becomes Yang
fied or not. The fact that it is all a dream
Yang is an old man, an Indian monk ap-
where he is caught in the chain of self-
He simply thinks he is the highest official,
Seongjin’s ambitions concrete.
Soyu and Yang Soyu becomes Seongjin.
completely obscures this argument. For
pears before him. The monk is none other
forgetting and self-memory, Yang Soyu
and remembers being a poor scholar, and
In turn, Yang Soyu becomes Seongjin
Seonjin desires to be Yang Soyu and Yang
inside dreams, not only transmigration
than Yukgwan.
is unable to remember the time when he
has not the slightest doubt that he is Yang
because of his desire to reach the state of
Soyu desires to be Seongjin. Therefore,
but all sorts of absurd and unbelievable
The monk’s appearance comes not after
was Seongjin.
Soyu.
immortality and break free from a sense
the two desires are in vain. When he is
things happen quite naturally.
Yang Soyu begins to feel the frailty of hu-
Finally, Yang Soyu asks how he can get
This reflects life where people are caught
of futility, which is the life that had been
Seongjin he desperately longs to be Yang
man life but after his realization of the
break the barrier. As if this is the moment
up in their own understanding of things
pursued by Seongjin, the Buddhist be-
Soyu and when he is Yang Soyu he des-
CHANGE OF IDENTITY THROUGH
frailty of human life and his decision that
he has been waiting for, Yukgwan awak-
and cannot see the true nature of things.
liever. The young Seongjin tried to sup-
perately longs to be Seongjin, but this is
TRANSMIGRATION
the only way to overcome this state is to
ens Yang Soyu from his dream. Yukgwan
The narrative shows this in a concrete
press his desire for wealth and fame but
all in vain. But like Seongjin and Yang
embrace the Buddhist faith. Or to put it
then leads Yang Soyu little by little back
way through the appearance of the In-
found that was not the way to overcome
Soyu, people do not realize this.
As the result of such change in space,
more clearly, the monk appears as soon
to the past, calling his name, until Yang
dian monk and his dialogue, the change
it. Yukgwan therefore interferes to en-
W h e n Ya n g S oy u awa k e n s f ro m t h e
physical body, and name, Seongjin for-
as Yang Soyu announces the decision he
realizes the limitations of his own life, his
in Yang Soyu’s perceptions, and through
able Seongjin to feed his ambitions in
dream and becomes Seongjin again, Yuk-
gets his original identity and remembers
has already made and gains the approval
memory, and his understanding. His use
his awakening from the dream.
the future, that is, to become Yang Soyu.
gwan says to him, “You have barely wo-
only his other self. Seongjin, a healthy
of those around him. If the monk had not
of various names for Yang is deliberate.
At that point, the young Seongjin could
ken from the dream,” and he could not be
young 20-year-old male, Seongjin who
appeared and awoken Yang Soyu from
A name is an objective marker of a per-
CEASELESS CIRCULATION OF
not identify his desires. He did not know
more correct. By this Yukgwan is saying
had the ability to fly through the sky to
his dream, then the next day, as he had
son’s identity. Yukgwan calls Yang Soyu
THE TWO DESIRES
what his desires were but came to nur-
that desire has to be fundamentally over-
reach the underwater palace of the Sea
announced, Yang would have certainly
various names such as Daeseungsang
ture them. But it was all in vain, as Yang
come, that is, one must reach the state of
God, Seongjin who had a face as white
set out to reach the state of neither birth
(great prime minister), Gwiin (noble
In Guunmong there are two different yet
Soyu the great prime minister comes to
emptiness. To realize that is the greatest
as snow and greater intelligence and
nor death (immortality).
man), Yang Jangwon (Yang, first place
similar desires. Simply put, they are the
realize.
enlightenment.
wisdom than the rest of the crowd—this
The monk appears when Yang Soyu’s de-
winner in the state exams), Sanggong
desires of Seongjin and the desires of Yang
Like Seongjin and Yang Soyu, all human
36
37
TELLING MORE
SERIAL LECTURE
and does not go into detail about the
superiority melts away like snow the mo-
cision to seek immortality has been made
punishment he is to receive. But the sin-
ment he is reborn, the moment that he
clear, but he leads Yang not on that road
ner Seongjin, who keeps making feeble
categorizes himself as a newborn baby.
but to his past life. The reason is simple.
excuses, is the first to say that he should
As a newborn baby he remembers that
Though Yang may seek the state of emp-
be banished. This is seen as confession on
he was once the Buddhist male Seongjin
tiness he cannot attain it.
Seongjin’s part that the gravity of his sin
but can no longer exercise any magical
Appearing in the form of the Indian
deserves banishment. This is when Yukg-
powers. Not only that, he is a completely
monk, Yukgwan leads Yang Soyu to the
wan tells him to “go to Pungdo.” Through
powerless being who can consciously ut-
past through conversation, and by this
this series of events and by making
ter nothing but the cry of a baby.
Yang Soyu returns to his original form.
Seongjin decide his own method of pun-
This is the result of limiting himself in-
Under Yukgwan’s guidance, Yang Soyu
ishment, to the reader it seems right and
side a certain framework. He can no lon-
realizes that he is neither the highest of-
inevitable that Seongjin go to hell and be
ger seek after truth or consciously attain
ficial in the land, nor a poor, ordinary
put through the process of transmigra-
enlightenment of his own accord. In this
scholar. That is, he realizes he is not Yang
tion and reincarnation.
way, Seongjin forgets who he was and
Soyu but Seongjin.
In fact, however, Seongjin’s sin is not so
becomes Yang Soyu. Yang Soyu’s world
Yukgwan talks with Yang Soyu and by
great, and because he repented of his own
is one where things grow without effort,
this conversation Yang Soyu is led to
accord it can be said that the punishment
where the seeds of ambition germinate
remember his past. At first, Yang Soyu
of transmigration is rather severe. In the
and achieve fulf illment . That world,
treats Yukgwan like a stranger. But Yukg-
end, Seongjin’s contempt and announce-
however, is one of fundamental delusion
wan keeps repeating the question, “Don’t
ment of his own punishment, and the
where people do not realize when they
you know me?” which in other words
unfolding of the narrative in the order of
are placed in a ridiculous situation.
means “I am your treacher Yukgwan.”
(high official). By doing so the aim is to
Soyu. While these two desires resemble
beings caught in the cycle of transmigra-
But up to the end Yang Soyu fails to rec-
make Yang Soyu realize the basic nature
each other, they nurture each other and
tion of the soul desire something but
ognize Yukgwan in the old monk. He
of his existence. But Yang Soyu is unable
reject each other at the same time.
are not aware of the outcomes. This is
gradually draws closer to realization but
to grasp the nature of any of these identi-
Seongjin becomes Yang Soyu because
because humans are limited beings who
sin, hell, and transmigration, the reader comes to see transmigration as Seongjin’s
BECOMING SEONGJIN AGAIN
unavoidable fate. When everything is
Painting of the Cloud Dream of the Nine Joseon period 120 x 37.0 cm Kyonggi University Museum
revealed to be a dream, the reader is
After a life of fame and success, Yang
never quite breaks the barrier. The reason
ties, because he is neither the highest of-
of his ambition, which is focused on
can only remember the present stage
no longer interested in the question of
Soyu retires to his palace where he lives
is simple. Because of the fundamental
ficial in the land nor a poor scholar, nor is
wealth, rank and fame. This is realized
they are in, as revealed in the narrative
whether Seongjin’s punishment is justi-
in seclusion. A long time passes. When
limitations of the life of transmigration
he even Yang Soyu. He is really Seongjin.
through the life of Yang Soyu, who makes
of Guunmong. Seonjin becomes Yang
fied or not. The fact that it is all a dream
Yang is an old man, an Indian monk ap-
where he is caught in the chain of self-
He simply thinks he is the highest official,
Seongjin’s ambitions concrete.
Soyu and Yang Soyu becomes Seongjin.
completely obscures this argument. For
pears before him. The monk is none other
forgetting and self-memory, Yang Soyu
and remembers being a poor scholar, and
In turn, Yang Soyu becomes Seongjin
Seonjin desires to be Yang Soyu and Yang
inside dreams, not only transmigration
than Yukgwan.
is unable to remember the time when he
has not the slightest doubt that he is Yang
because of his desire to reach the state of
Soyu desires to be Seongjin. Therefore,
but all sorts of absurd and unbelievable
The monk’s appearance comes not after
was Seongjin.
Soyu.
immortality and break free from a sense
the two desires are in vain. When he is
things happen quite naturally.
Yang Soyu begins to feel the frailty of hu-
Finally, Yang Soyu asks how he can get
This reflects life where people are caught
of futility, which is the life that had been
Seongjin he desperately longs to be Yang
man life but after his realization of the
break the barrier. As if this is the moment
up in their own understanding of things
pursued by Seongjin, the Buddhist be-
Soyu and when he is Yang Soyu he des-
CHANGE OF IDENTITY THROUGH
frailty of human life and his decision that
he has been waiting for, Yukgwan awak-
and cannot see the true nature of things.
liever. The young Seongjin tried to sup-
perately longs to be Seongjin, but this is
TRANSMIGRATION
the only way to overcome this state is to
ens Yang Soyu from his dream. Yukgwan
The narrative shows this in a concrete
press his desire for wealth and fame but
all in vain. But like Seongjin and Yang
embrace the Buddhist faith. Or to put it
then leads Yang Soyu little by little back
way through the appearance of the In-
found that was not the way to overcome
Soyu, people do not realize this.
As the result of such change in space,
more clearly, the monk appears as soon
to the past, calling his name, until Yang
dian monk and his dialogue, the change
it. Yukgwan therefore interferes to en-
W h e n Ya n g S oy u awa k e n s f ro m t h e
physical body, and name, Seongjin for-
as Yang Soyu announces the decision he
realizes the limitations of his own life, his
in Yang Soyu’s perceptions, and through
able Seongjin to feed his ambitions in
dream and becomes Seongjin again, Yuk-
gets his original identity and remembers
has already made and gains the approval
memory, and his understanding. His use
his awakening from the dream.
the future, that is, to become Yang Soyu.
gwan says to him, “You have barely wo-
only his other self. Seongjin, a healthy
of those around him. If the monk had not
of various names for Yang is deliberate.
At that point, the young Seongjin could
ken from the dream,” and he could not be
young 20-year-old male, Seongjin who
appeared and awoken Yang Soyu from
A name is an objective marker of a per-
CEASELESS CIRCULATION OF
not identify his desires. He did not know
more correct. By this Yukgwan is saying
had the ability to fly through the sky to
his dream, then the next day, as he had
son’s identity. Yukgwan calls Yang Soyu
THE TWO DESIRES
what his desires were but came to nur-
that desire has to be fundamentally over-
reach the underwater palace of the Sea
announced, Yang would have certainly
various names such as Daeseungsang
ture them. But it was all in vain, as Yang
come, that is, one must reach the state of
God, Seongjin who had a face as white
set out to reach the state of neither birth
(great prime minister), Gwiin (noble
In Guunmong there are two different yet
Soyu the great prime minister comes to
emptiness. To realize that is the greatest
as snow and greater intelligence and
nor death (immortality).
man), Yang Jangwon (Yang, first place
similar desires. Simply put, they are the
realize.
enlightenment.
wisdom than the rest of the crowd—this
The monk appears when Yang Soyu’s de-
winner in the state exams), Sanggong
desires of Seongjin and the desires of Yang
Like Seongjin and Yang Soyu, all human
36
37
DIGESTING NEWS
ACTIVITIES
NEWS
V VIRTUAL MUSEUM, A AN INTERNATIONAL CULTURE P PROJECT
In cooperation with NHN (CEO Kim Sang-
To carry out the project, the NMK and the
their lunchboxes. To comply with this modest
hun), the National Museum of Korea and hu
National Museum of Ethnology of the Neth-
the National Museum of Ethnology of the
erlands worked together to establish policies,
Netherlands (director Stijn Schoonderwoerd) Ne
create and edit contents including academic
A new n lunch area was opened May 3 for the
have launched the renewed Virtual Collection hav
research, information on the artifacts, and
convenience of school and family groups visitco
M MUSEUM NEWLY OPENED CH CHILDREN’S LUNCH AREA
request, NMK Director-General Kim Youngna set aside space near the entrance to the Children’s Museum for the ease of young visitors 2
EX EXHIBITION SPACE AND PE PERFORMANCE PREVIEWS FO FOR THE VISUALLY IM IMPAIRED
and families.
of Asian Masterpieces (VCM), an international
keep close contact with member museums.
ing the National Museum of Korea. The 82m
The new lunch area, in addition to the exist-
The National Museum of Korea has Th
cul cultural project bringing together the major
NHN, as partner in the project, installed the
spa space is big enough for around 72 people to
ing lunch area (first floor of the museum,
pre prepared exhibition space inside the
mu museums of ASEM (Asia-Europe Meeting)
main server for the VCM website in Korea and
sit down and eat a packed lunch. The project
accommodates about 140 people), means
Per Permanent Exhibition Hall for the blind
co countries.
formed a team of specialists in the fields of
wa was instigated by a letter sent to the mu-
the museum now has room for more than
an and visually impaired. Six special spaces
Th The renewed website is faster overall, and ev-
information technology, design, marketing
seu seum September 10, 2012 by an elementary
200 people to sit down and eat the food they
hav have been established on the first floor to
ery page has been redesigned and the menu
and public relations, and law to look after
sch school child asking that the museum prepare
have brought with them.
pro provide various activities designed to en-
reo reorganized, while other features such as
related issues. Website: http://vcm.asemus.
ap place where children could sit down with
art artifact search, lists and maps of participating
museum Mobile address: http://m.vcm.
vis visually impaired such as touching models
mu museums, SNS links, and multimedia materials
asemus.museum
of exhibition artifacts, listening to easy-to-
ha hance the learning experience for blind and
hav have been reinforced.
op operate audio commentary on the exhibits, an and reading Braille explanations. Starting wit with this project for the blind and visually im impaired, the NMK plans to expand services
MUSEUM WEEK EVENTS FOR THE ENJOYMENT OF ALL
for the disabled. To mark the opening of the special areas inside the Permanent Exhi-
The National Museum of Korea hosted
bit bition Hall, the NMK in conjunction with
Museum Week, a series of events held May
the Korea Blind Union held a preview with
17 through 26. Museum Week was organized
on April 19 at 10:30 am. It is anticipated
in cooperation with the Korean Museum As-
that many more people will now be able tha
sociation and the Ministry of Culture, Sports
to visit the museum in comfort and take
and Tourism to mark World Museum Day,
advantage of the various exhibitions and adv act activities the museum has to offer.
as designated by the International Council of Museums (ICOM), and featured diverse contents designed for the enjoyment of all visitors and employees of the museum. The
FE FESTIVAL OF KOREAN PE PERFORMING ARTS HE HELD IN JUNE
instrumental ensembles, and one-act traditional musical plays (changgeuk). On the second day, members of the Seoul
first day’s event, “A Happy Museum-Photog-
38
band), folk songs of Jeollanam-do, folk dance,
raphy Competition,” garnered great response.
The National Museum of Korea hosted a Th
Performing Arts Company, known for its cre-
Under the theme of “A Happy Museum,” 335
special free concert of Korean traditional spe
ative musical performances based on Korean
photos were entered in the competition.
music (gugak) for all museum visitors in the mu
traditional subject matter, staged a show
In addition, those visiting the museum on
Open Plaza on Saturday June 8 and Sunday Op
featuring a “heavenly drum” performance,
Sunday May 19 were able to see the per-
June 9 at 3 p.m. On the first day, members Jun
the hourglass drum dance, traditional rural
manent exhibition for free and receive a 50
of the Namwon National Gugak Center, who
percussion music and rural musical parade.
percent discount on the special exhibition Art
have worked constantly over a long period of hav
The month of June was a memorable one
Across America. Gyeongju National Museum
time to preserve Korean folk music and dance tim
for visitors to the National Museum of Korea
and other regional museums also held various
and to develop them for future generations, an
thanks to the array of things to see includ-
exhibitions, concerts and hands-on activity
gave a fine performance of different genres gav
ing the permanent exhibition and outdoor
programs tailored to the local region.
including Samullori (traditional percussion inc
sculpture garden. 39
DIGESTING NEWS
ACTIVITIES
NEWS
V VIRTUAL MUSEUM, A AN INTERNATIONAL CULTURE P PROJECT
In cooperation with NHN (CEO Kim Sang-
To carry out the project, the NMK and the
their lunchboxes. To comply with this modest
hun), the National Museum of Korea and hu
National Museum of Ethnology of the Neth-
the National Museum of Ethnology of the
erlands worked together to establish policies,
Netherlands (director Stijn Schoonderwoerd) Ne
create and edit contents including academic
A new n lunch area was opened May 3 for the
have launched the renewed Virtual Collection hav
research, information on the artifacts, and
convenience of school and family groups visitco
M MUSEUM NEWLY OPENED CH CHILDREN’S LUNCH AREA
request, NMK Director-General Kim Youngna set aside space near the entrance to the Children’s Museum for the ease of young visitors 2
EX EXHIBITION SPACE AND PE PERFORMANCE PREVIEWS FO FOR THE VISUALLY IM IMPAIRED
and families.
of Asian Masterpieces (VCM), an international
keep close contact with member museums.
ing the National Museum of Korea. The 82m
The new lunch area, in addition to the exist-
The National Museum of Korea has Th
cul cultural project bringing together the major
NHN, as partner in the project, installed the
spa space is big enough for around 72 people to
ing lunch area (first floor of the museum,
pre prepared exhibition space inside the
mu museums of ASEM (Asia-Europe Meeting)
main server for the VCM website in Korea and
sit down and eat a packed lunch. The project
accommodates about 140 people), means
Per Permanent Exhibition Hall for the blind
co countries.
formed a team of specialists in the fields of
wa was instigated by a letter sent to the mu-
the museum now has room for more than
an and visually impaired. Six special spaces
Th The renewed website is faster overall, and ev-
information technology, design, marketing
seu seum September 10, 2012 by an elementary
200 people to sit down and eat the food they
hav have been established on the first floor to
ery page has been redesigned and the menu
and public relations, and law to look after
sch school child asking that the museum prepare
have brought with them.
pro provide various activities designed to en-
reo reorganized, while other features such as
related issues. Website: http://vcm.asemus.
ap place where children could sit down with
art artifact search, lists and maps of participating
museum Mobile address: http://m.vcm.
vis visually impaired such as touching models
mu museums, SNS links, and multimedia materials
asemus.museum
of exhibition artifacts, listening to easy-to-
ha hance the learning experience for blind and
hav have been reinforced.
op operate audio commentary on the exhibits, an and reading Braille explanations. Starting wit with this project for the blind and visually im impaired, the NMK plans to expand services
MUSEUM WEEK EVENTS FOR THE ENJOYMENT OF ALL
for the disabled. To mark the opening of the special areas inside the Permanent Exhi-
The National Museum of Korea hosted
bit bition Hall, the NMK in conjunction with
Museum Week, a series of events held May
the Korea Blind Union held a preview with
17 through 26. Museum Week was organized
on April 19 at 10:30 am. It is anticipated
in cooperation with the Korean Museum As-
that many more people will now be able tha
sociation and the Ministry of Culture, Sports
to visit the museum in comfort and take
and Tourism to mark World Museum Day,
advantage of the various exhibitions and adv act activities the museum has to offer.
as designated by the International Council of Museums (ICOM), and featured diverse contents designed for the enjoyment of all visitors and employees of the museum. The
FE FESTIVAL OF KOREAN PE PERFORMING ARTS HE HELD IN JUNE
instrumental ensembles, and one-act traditional musical plays (changgeuk). On the second day, members of the Seoul
first day’s event, “A Happy Museum-Photog-
38
band), folk songs of Jeollanam-do, folk dance,
raphy Competition,” garnered great response.
The National Museum of Korea hosted a Th
Performing Arts Company, known for its cre-
Under the theme of “A Happy Museum,” 335
special free concert of Korean traditional spe
ative musical performances based on Korean
photos were entered in the competition.
music (gugak) for all museum visitors in the mu
traditional subject matter, staged a show
In addition, those visiting the museum on
Open Plaza on Saturday June 8 and Sunday Op
featuring a “heavenly drum” performance,
Sunday May 19 were able to see the per-
June 9 at 3 p.m. On the first day, members Jun
the hourglass drum dance, traditional rural
manent exhibition for free and receive a 50
of the Namwon National Gugak Center, who
percussion music and rural musical parade.
percent discount on the special exhibition Art
have worked constantly over a long period of hav
The month of June was a memorable one
Across America. Gyeongju National Museum
time to preserve Korean folk music and dance tim
for visitors to the National Museum of Korea
and other regional museums also held various
and to develop them for future generations, an
thanks to the array of things to see includ-
exhibitions, concerts and hands-on activity
gave a fine performance of different genres gav
ing the permanent exhibition and outdoor
programs tailored to the local region.
including Samullori (traditional percussion inc
sculpture garden. 39
DIGESTING NEWS
EXHIBITIONS & PUBLICATIONS
ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT ISBN
EXHIBITIONS & PUBLICATIONS
K KOREAN ART DIGITAL CONTENTS D DEVELOPED BY THE FREER G GALLERY OF ART AND ARTHUR M M. SACKLER GALLERY
978-89-93518-27-6
The National Museum of Korea has published a catalog introducing relics from the Islamic culture discovered across a vast continent covering East and West, dating from the 8th century to the 18th century. The contents are organized to show the historical development of Islamic art from its origins through its growth and glory days. The catalog also highlights distinctive aspects of Islamic art such as the geometric patterns and artistic Islamic script.
NE DISPLAYS IN INDIAN, NEW SOUTHEAST ASIAN SO AND JAPANESE GALLERIES AN DATE DAT VEN VENUE
APRIL 23, 2013 NATIONAL MUSEUM OF KOREA
A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY ISBN
978-89-92788-59-5
This catalog brings together the relics of Kang Sehwang, the leading figure in the art circle of the 18th century, handed down in the family from generation to generation as well as the artist’s major works. The life and work of the artist is explored in various
The Freer Gallery of Art and Arthur M. SackTh
the path of Freer, the gallery’s founder, and
Sixteen new exhibits have been out on Six
chapters titled “The Literati Artist Ideal,” “Family and the Times,”
display in the India and Southeast Asia dis
“Dreams and Ideals of the Literati,” “Travel and Sketches,” and “The
on the works but also six articles written by
an and Japan galleries. Of the five new Indian
Greatest Critic of the Age.” The contents of the catalog will give a fascinating glimpse into the art and culture of the 18th century, the time known as the Joseon Renaissance.
ler Gallery has recently launched an ipad
how he came to own a large collection of
Korean scholars in both Korean and English.
paintings, four are miniatures that are being pa
application on Korean art, an online cataap
Korean art. Some of the items in the col-
Korean Art in the Freer and Sackler Gal-
exhibited for the first time since they were exh
log, and a guidebook under the National log
lection are shown in 3D and can be rotated
leries is a comprehensive guidebook first
acquired by the National Museum of Korea acq
Museum of Korea’s support project for the Mu
360 degrees.
published by the museum in 2010 and now
in 2011. They dated to the 17th and 18th
CATALOG OF CENTRAL ASIAN COLLECTION PUBLISHED
American gallery’s Korean art collection. Am
The online catalog Korean Ceramics in the
in its second print run. Like the ipad ap-
centuries and were produced in the Bengal cen
The ipad application titled Charles Lang Th
Freer Gallery of Art can be found at http://
plication, the guidebook follows the history
and North Deccan regions of India. Prince an
Freer: Collecting Korea is the first applicaFre
korean-ceramics.asia.si.edu. It features 300
of the Korean collection and includes color
Sit Sitting on the Terrace and Nawar Albadi
ISBN
tion developed by the Freer Gallery and can tio
ceramics from the gallery’s Korean collec-
photographs and detailed explanations of
Khan and His Nephew Saulat Jang feature Kh
The National Museum of Korea has published its first catalog of
selected works.
detailed depiction of the individual characdet
its Central Asian art collection, titled Religious Paintings of Central
ter teristics of the subjects and reveal traces of
Asia. The focus was placed on two aspects. First, for systematic
the tradition of Mughul portraits set against
introduction of the collection and publication of new related re-
a lyrical ly scenic background.
search, a large number of good quality photographs of each item
New exhibits in the Japanese gallery include Ne
were included, forty of the color photographs being published
eig eight ukiyo-e woodblock prints showing
for the first time ever. The second point of focus was scientific
scenes of the 53 Stations of the Tokaido. sce
investigation of collection. The catalog includes a detailed report
Among the modern art works, an important Am
on conservation work carried out on 30 of the items.
currently be downloaded for free. It follows cur
ED FOLDING SCREENS EDO AND OTHER NEW AN ACQUISITIONS ON DISPLAY AC IN THE JAPANESE GALLERY
tion and provides not only basic information
were popular motifs in Edo period paintings as they were considered auspicious symbols of fecundity and good fortune. In the century a large number of highly individual artists emerged in Kyoto, Rosetsu being one of
DATE DAT VEN VENUE
JUNE 11, 2013 NATIONAL MUSEUM OF KOREA
them. The folding screen shows 41 children forming a long train and the composition, the expressions of the children, innocent yet
From June 11, the National Museum of Korea Fro
naughty, highlight Rosetsu’s originality.
will be exhibiting in the Japanese Gallery its wil
In the future another folding screen titled
newly acquired Japanese art works in stages. new
Recreation at Home, featuring genre paint-
The first to be revealed are a collection of Th
ings of various recreational activities set
Edo period (1603-1867) folding screens Ed
inside a large house such as a circle dance,
dealing with various themes. The best among de
looking at flowers, and the board game go,
them is the folding screen Chinese Children the
will also be exhibited. Both of these folding
Pla Playing by Kyoto-based artist Nagasawa
screens, dating to the mid-17th century, are
Rosetsu Ro (1754-1799). The children in the
wonderful works that show varied scenes of
picture pic are called karako, which refers specif-
daily life from the early Edo period.
ically ica to Chinese children, as indicated by the Chinese Ch style hair and dress. These children
40
978-89-98234-05-8
pa part of the NMK’s Japanese collection, the works of three Japanese artists from the wo Kyoto region have been chosen for display. Kyo Yam Yamakawa Shuho’s Dance, showing a
THE WRITINGS OF GREAT KOREAN MONKS—HANAM AND TANHEO OF WEOLJEONGSA TEMPLE
woman dancing in a black kimono, is exhibwo ited beside Nakamura Daizaburo’s Spring, ite
ISBN
978-89-91331-00-6
fea featuring the figure of modern girl wearing
The National Museum of Korea has published a catalog of callig-
ah hat trimmed with lace caught from behind,
raphy by the two great monks Hanam and Tanheo of Woljeongsa
thereby the giving a glimpse of Japanese art
Temple. The catalog includes portraits, writings, and the relics of
tre trends in the transition from tradition to the
the two monks, which give a glimpse into their hearts as they seek
new in the late 1930s. The folding screen
the truth. The three parts of the catalog—“Hanam’s Life and Writ-
Quiet Morning Sea by Matsumoto Ichiyo, Qu
ings,” “Hanam and Tanheo,” and “Tanheo’s Life and Writings”—
wh who studied Japanese traditional yamato-e,
and other essays will give readers a sense of the monks’ academic
ref reflects the quiet, delicate Japanese sense of
maturity, reflections on life, high ideals and firm faith.
aes aesthetics.
41
DIGESTING NEWS
EXHIBITIONS & PUBLICATIONS
ART FROM THE ISLAMIC CIVILIZATION FROM THE AL-SABAH COLLECTION, KUWAIT ISBN
EXHIBITIONS & PUBLICATIONS
K KOREAN ART DIGITAL CONTENTS D DEVELOPED BY THE FREER G GALLERY OF ART AND ARTHUR M M. SACKLER GALLERY
978-89-93518-27-6
The National Museum of Korea has published a catalog introducing relics from the Islamic culture discovered across a vast continent covering East and West, dating from the 8th century to the 18th century. The contents are organized to show the historical development of Islamic art from its origins through its growth and glory days. The catalog also highlights distinctive aspects of Islamic art such as the geometric patterns and artistic Islamic script.
NE DISPLAYS IN INDIAN, NEW SOUTHEAST ASIAN SO AND JAPANESE GALLERIES AN DATE DAT VEN VENUE
APRIL 23, 2013 NATIONAL MUSEUM OF KOREA
A PAINTER’S LIFE: KANG SEHWANG AND LITERATI CULTURE IN THE 18TH CENTURY ISBN
978-89-92788-59-5
This catalog brings together the relics of Kang Sehwang, the leading figure in the art circle of the 18th century, handed down in the family from generation to generation as well as the artist’s major works. The life and work of the artist is explored in various
The Freer Gallery of Art and Arthur M. SackTh
the path of Freer, the gallery’s founder, and
Sixteen new exhibits have been out on Six
chapters titled “The Literati Artist Ideal,” “Family and the Times,”
display in the India and Southeast Asia dis
“Dreams and Ideals of the Literati,” “Travel and Sketches,” and “The
on the works but also six articles written by
an and Japan galleries. Of the five new Indian
Greatest Critic of the Age.” The contents of the catalog will give a fascinating glimpse into the art and culture of the 18th century, the time known as the Joseon Renaissance.
ler Gallery has recently launched an ipad
how he came to own a large collection of
Korean scholars in both Korean and English.
paintings, four are miniatures that are being pa
application on Korean art, an online cataap
Korean art. Some of the items in the col-
Korean Art in the Freer and Sackler Gal-
exhibited for the first time since they were exh
log, and a guidebook under the National log
lection are shown in 3D and can be rotated
leries is a comprehensive guidebook first
acquired by the National Museum of Korea acq
Museum of Korea’s support project for the Mu
360 degrees.
published by the museum in 2010 and now
in 2011. They dated to the 17th and 18th
CATALOG OF CENTRAL ASIAN COLLECTION PUBLISHED
American gallery’s Korean art collection. Am
The online catalog Korean Ceramics in the
in its second print run. Like the ipad ap-
centuries and were produced in the Bengal cen
The ipad application titled Charles Lang Th
Freer Gallery of Art can be found at http://
plication, the guidebook follows the history
and North Deccan regions of India. Prince an
Freer: Collecting Korea is the first applicaFre
korean-ceramics.asia.si.edu. It features 300
of the Korean collection and includes color
Sit Sitting on the Terrace and Nawar Albadi
ISBN
tion developed by the Freer Gallery and can tio
ceramics from the gallery’s Korean collec-
photographs and detailed explanations of
Khan and His Nephew Saulat Jang feature Kh
The National Museum of Korea has published its first catalog of
selected works.
detailed depiction of the individual characdet
its Central Asian art collection, titled Religious Paintings of Central
ter teristics of the subjects and reveal traces of
Asia. The focus was placed on two aspects. First, for systematic
the tradition of Mughul portraits set against
introduction of the collection and publication of new related re-
a lyrical ly scenic background.
search, a large number of good quality photographs of each item
New exhibits in the Japanese gallery include Ne
were included, forty of the color photographs being published
eig eight ukiyo-e woodblock prints showing
for the first time ever. The second point of focus was scientific
scenes of the 53 Stations of the Tokaido. sce
investigation of collection. The catalog includes a detailed report
Among the modern art works, an important Am
on conservation work carried out on 30 of the items.
currently be downloaded for free. It follows cur
ED FOLDING SCREENS EDO AND OTHER NEW AN ACQUISITIONS ON DISPLAY AC IN THE JAPANESE GALLERY
tion and provides not only basic information
were popular motifs in Edo period paintings as they were considered auspicious symbols of fecundity and good fortune. In the century a large number of highly individual artists emerged in Kyoto, Rosetsu being one of
DATE DAT VEN VENUE
JUNE 11, 2013 NATIONAL MUSEUM OF KOREA
them. The folding screen shows 41 children forming a long train and the composition, the expressions of the children, innocent yet
From June 11, the National Museum of Korea Fro
naughty, highlight Rosetsu’s originality.
will be exhibiting in the Japanese Gallery its wil
In the future another folding screen titled
newly acquired Japanese art works in stages. new
Recreation at Home, featuring genre paint-
The first to be revealed are a collection of Th
ings of various recreational activities set
Edo period (1603-1867) folding screens Ed
inside a large house such as a circle dance,
dealing with various themes. The best among de
looking at flowers, and the board game go,
them is the folding screen Chinese Children the
will also be exhibited. Both of these folding
Pla Playing by Kyoto-based artist Nagasawa
screens, dating to the mid-17th century, are
Rosetsu Ro (1754-1799). The children in the
wonderful works that show varied scenes of
picture pic are called karako, which refers specif-
daily life from the early Edo period.
ically ica to Chinese children, as indicated by the Chinese Ch style hair and dress. These children
40
978-89-98234-05-8
pa part of the NMK’s Japanese collection, the works of three Japanese artists from the wo Kyoto region have been chosen for display. Kyo Yam Yamakawa Shuho’s Dance, showing a
THE WRITINGS OF GREAT KOREAN MONKS—HANAM AND TANHEO OF WEOLJEONGSA TEMPLE
woman dancing in a black kimono, is exhibwo ited beside Nakamura Daizaburo’s Spring, ite
ISBN
978-89-91331-00-6
fea featuring the figure of modern girl wearing
The National Museum of Korea has published a catalog of callig-
ah hat trimmed with lace caught from behind,
raphy by the two great monks Hanam and Tanheo of Woljeongsa
thereby the giving a glimpse of Japanese art
Temple. The catalog includes portraits, writings, and the relics of
tre trends in the transition from tradition to the
the two monks, which give a glimpse into their hearts as they seek
new in the late 1930s. The folding screen
the truth. The three parts of the catalog—“Hanam’s Life and Writ-
Quiet Morning Sea by Matsumoto Ichiyo, Qu
ings,” “Hanam and Tanheo,” and “Tanheo’s Life and Writings”—
wh who studied Japanese traditional yamato-e,
and other essays will give readers a sense of the monks’ academic
ref reflects the quiet, delicate Japanese sense of
maturity, reflections on life, high ideals and firm faith.
aes aesthetics.
41
DIGESTING NEWS
HIDDEN PLACE
NATIONAL MUSEUM OF KOREA LIBRARY
Opening hours 09:00 – 18:00 Closing days Every Monday and public holidays (and other days designated by the NMK Director-General) Homepage http://library.museum.go.kr
In addition, there is a collection of historical records, which are however unavailable to the general public. They include records of major archaeological excavations from the Japanese colonial period as well as materials relating to the museum established by the Japanese Government-General, which have been preserved at the library since 1973 when it was located on the site occupied by the National Folk Museum today. A separate library is devoted to donated books including those given by the late Kim Chaewon, first NMK director, and by scholars inside and outside the country. Visitors to the library can also access materials that are not distributed to the public such as the Museum News, the newsletter of the Cultural Foundation of the National Museum of Korea, and the Children’s Museum newspaper.
The Recommended Books section under “Book Information” on the
NMK library homepage features books selected by the librarians. Every week five books are chosen from among newly arrived additions to the library, each introduced with a photo of the cover and brief run-down of the contents. The books can be searched by month. Priority is given to books published by the NMK and regional national museums as well as catalogs and books on current exhibitions. Among the 20 books that were introduced in this fashion in April are the catalogs for the special exhibition The Peranakan World: Cross-cultural Art from
Singapore and the Straits and theme exhibition in the calligraphy gallery titled Calligraphy of Korean Seon Masters: Hanam and Tanheo of Woljeongsa Temple.
Through active collection of materials published by
the world’s major museums and books in the fields of history, cultural heritage, archaeology, art, anthropology and conservation science, the NMK Library aims to fulfill its role as an archive of specialized academic materials.
At the top of the central stairway at the National Museum of Korea, the entranceway to the left leads to the museum’s hidden archives, the National Museum of Korea Library. The library is a light-filled place with the sunlight coming through the plate glass windows. The quiet reading room with its large windows endows the library with an air of dignity and grace. The white toned walls and wooden furniture create a pleasant interior and a non-distracting environment where you can concentrate on your work. The wide open space covering some 1,300 square meters has the atmosphere of a library inside a gallery. The bookcases covering a whole wall take command of the reading room with the charisma of an art installation.
This quiet and pleasant
library is mostly frequented by employees of the NMK or those studying art or history related subjects. In that sense it can be rightly regarded as a specialized library, and the collection of museum-related materials in the fields of research, exhibition, conservation and education is growing. Moreover, all systems have been designed to provide users with efficient and methodical information service. The library has a total of some 142,000 volumes including more than 100,000 books, 37,000 periodicals, 3,400 multimedia materials, and 784 old and rare books.
DIGESTING NEWS
HIDDEN PLACE
NATIONAL MUSEUM OF KOREA LIBRARY
Opening hours 09:00 – 18:00 Closing days Every Monday and public holidays (and other days designated by the NMK Director-General) Homepage http://library.museum.go.kr
In addition, there is a collection of historical records, which are however unavailable to the general public. They include records of major archaeological excavations from the Japanese colonial period as well as materials relating to the museum established by the Japanese Government-General, which have been preserved at the library since 1973 when it was located on the site occupied by the National Folk Museum today. A separate library is devoted to donated books including those given by the late Kim Chaewon, first NMK director, and by scholars inside and outside the country. Visitors to the library can also access materials that are not distributed to the public such as the Museum News, the newsletter of the Cultural Foundation of the National Museum of Korea, and the Children’s Museum newspaper.
The Recommended Books section under “Book Information” on the
NMK library homepage features books selected by the librarians. Every week five books are chosen from among newly arrived additions to the library, each introduced with a photo of the cover and brief run-down of the contents. The books can be searched by month. Priority is given to books published by the NMK and regional national museums as well as catalogs and books on current exhibitions. Among the 20 books that were introduced in this fashion in April are the catalogs for the special exhibition The Peranakan World: Cross-cultural Art from
Singapore and the Straits and theme exhibition in the calligraphy gallery titled Calligraphy of Korean Seon Masters: Hanam and Tanheo of Woljeongsa Temple.
Through active collection of materials published by
the world’s major museums and books in the fields of history, cultural heritage, archaeology, art, anthropology and conservation science, the NMK Library aims to fulfill its role as an archive of specialized academic materials.
At the top of the central stairway at the National Museum of Korea, the entranceway to the left leads to the museum’s hidden archives, the National Museum of Korea Library. The library is a light-filled place with the sunlight coming through the plate glass windows. The quiet reading room with its large windows endows the library with an air of dignity and grace. The white toned walls and wooden furniture create a pleasant interior and a non-distracting environment where you can concentrate on your work. The wide open space covering some 1,300 square meters has the atmosphere of a library inside a gallery. The bookcases covering a whole wall take command of the reading room with the charisma of an art installation.
This quiet and pleasant
library is mostly frequented by employees of the NMK or those studying art or history related subjects. In that sense it can be rightly regarded as a specialized library, and the collection of museum-related materials in the fields of research, exhibition, conservation and education is growing. Moreover, all systems have been designed to provide users with efficient and methodical information service. The library has a total of some 142,000 volumes including more than 100,000 books, 37,000 periodicals, 3,400 multimedia materials, and 784 old and rare books.
NATIONAL MUSEUM OF KOREA
DATE
September 3-October 20, 2013
Gyeongju National Museum, Special Exhibition Hall
Gyeongju has been widely known as the millennium-old capital of Silla. But even during the Goryeo and Joseon periods, the thousand years following the fall of Silla, Gyeongju maintained its status as a historical city and its culture continued to flourish. Despite the city’s importance in a more modern context, Gyeongju of the Joseon period has received much less attention compared to Gyeongju as the capital of Silla. Hence the Gyeongju National Museum is planning an exhibition that gives a more balanced view of the city. The exhibition will focus on the status of Gyeongju in the Joseon period and other aspects such as academic progress, the efforts of the people during the Japanese invasions (1592-1598) and other crises, and development of Buddhist culture. It will feature some 120 items including related documents and diverse materials that shed light on way of life, philosophy, and faiths of the people of that time. This special exhibition is expected to enhance understanding of the Gyeongju people’s perception of the cultural legacies of Silla and their inheritance of tradition.
ISSN: 2005-1123
SUMMER 2013
A city filled with the heritage of a resplendent ancient culture,
VOL. 24
VENUE
QUARTERLY MAGAZINE
GYEONGJU, THE EASTERN CAPITAL OF JOSEON