Koreana Spring 2004 (English)

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Dongjaseok, Stone Statues of Young Children Kim Jeong-ok Theater Producer

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Korean stone statues are

the stonemason as well as

diverse. Stone figures of

the passage of time. The

government officials, mili-

statues can convey the

tary officers, women who

warmth and liveliness of

died while awaiting the

an actual person.

return of their husbands ,

Dongja usually stand in

and young children are

pairs in front of a grave to

often found among grave

watch over the soul of the

sites, whereas spirit poles,

dead. They are stone

known as jangseung or beoksu, stand as

transformed by the hands of stonemasons into

guardians at village entrances. These stone

round-faced figures of short stature. They are the

statues, which reveal noticeable differences in

very image of endearing innocent children with

craftsmanship according to region, are all unique.

hands placed modestly at their chest or midsec-

In Asian art, dongja are young boy or girl

tion, and pure smiles on their faces. The inno-

attendants to Taoist immortals or distinguished

cence that is associated with young children

scholars. Most dongja are shown holding

combines with the simplicity of natural stone to

flowers , a liquor bottle, fan or some other object

create figures that can arouse a surge of deep

of offering for their masters, with a gentle smile

emotion. They speak to us of the dreams of the

on their face. The shape and appearance of these

past and the passage of time, smiling a smile of

figures reveal the artistic skill and sensibilities of

all eternity. ~

Bukhansan Revered Mountain of Seoul 4

The Feng Shui (Pungsu) of Mt. Bukhansan Zho In-choul

10

Bukhansan Keeps Alive Shaman Traditions KimDuk-muk

12

Bukhansanseong Fortress

18

Mt. Bukhansan's Charm and Inspiration

Nah Kag-soon

Um Hong-gil, Kwak Won-joo, Lee Sung-boo

26

People Who Climb Mt. Bukhansan

Kim Woo-sun

FOCUS

32

2003 World Life-Culture Forum I Kim Moon-hwan INTERVIEW

36

Yun Suk-nam: Creator of Installation Art and Advocate of Feminist Issues I YiJoo-heon ON THE GLOBAL STAGE

44

Maestro Chung Myung-whun Envisions a World United by Music I Annas. Roh

Koreana

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ARTISAN

48

Han Sang-soo: Using Needle and Thread to Create Exquisite Embroidery I Lee Seong-soo

All rights reserved . No part of this publication may be reproduced in any form without the prior permission of the Korea Foundation.

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

ON THE ROAD

54

Korea's Southern Islands I Kang Woon-gu

the editors of Koreana or the Korea Foundation.

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Ganjang and Doenjang I Koo Chun-sur

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dated Aug. 8, 1987), is also published

Cover: Overlooking the capital like a folding screen, to

Seoulites, Mt. Bukhansan is a source of relaxation, inspiration and recreation. It is also the mecca of Korean al pin ism, a training ground for world-renowned mountain climbers.

Photo: Son Jae-sik

Published quarterly by The Korea Foundation 1376-1 Seocho 2-dong, Seocho-gu, Seoul 137-072, Korea PUBLISHER Kwon ln-hyuk EDITORIAL DIRECTOR Kim Hyeh-won EDITOR-IN-CHIEF Park Jeong-yeop ART DIRECTOR Lee Duk-lim ASSOCIATE EDITOR Kim Sam, Park Ok-soon EDITORIAL BOARD Han Myung-hee, Han Kyung-koo, Kim Hwa-young, Kim Moon-hwan, Lee Chong-suk, Shim Jae-ryong, Yu Hong-june SUBSCRIPTION Price for annual subscription: Korea W 18,000, Asia by air US$33, elsewhere by air US$37 Price per issue in Korea W 4,500

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Toegyero's Pet Street

Kim Geun

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Cheongdo Bullfighting Festival I

Kim Kwang-on

MASTERPIECES

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Mother Dog and Puppies I

Kim Seung-hee

ART REVIEW

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Real-Scape Revisited I

Lim Dae-geun

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Multifaceted Perspective for Exposing the Dark Side of Life KimMi-hyun

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My Wife's Boxes Translated by Choi Jin-young

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Energizes the Mountains of Seoul Zho ln-choul Professor of History, Daegu Haany University Ahn Seung-ii Photographer

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Mt. Bukhans~_.. _- ~ - - -

The Mt. Baekdusan segment of Daedongyeojido, a detailed map that depicts the lineage of Korea's mountain ranges. A mountain range connected to Baekdusan by the Hanbukjeongmaek Ridge is said to generate energy for the Seoul area (below).

nder Feng Shui, or Pungsu in Korean , in

representative of these references is Sangyeongpyo

which a mountain is characterized as a dragon, it is important to know where and how

which was written by Yeoam Sin Gyeong-jun (17121781). In addition, there is Daedongyeojido, a detailed

this dragon originated. After determining the

map that depicts Korea's mountain ranges, created by

direction of a mountain range, the dragon's direction of movement can be identified as well as the location of its

Gosanja Kim Jeong-ho (180?-186?). In order to properly

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head and tail. Just as genealogy studies are used to trace

understand¡the mountain ranges of Korea, an understanding of these reference materials is required.

the origins of people, mountains have their own genealogical references for identifying their origin . The most

Mountain Ranges of the Korean Peninsula

The mountain ranges of the Korean peninsula are generally regarded as originating from Mt. Baekdusan.

Moreover, there are those who assert that this range actually originates from Mt. Everest in the far away Himalayas, which connects to the Kunlun Mountains in Western China, then extends across Mongolia, and finally reaches Baekdusan. Choe Chang-jo, a Feng Shui scholar, explains it this way: "The range that begins with

------.__'---

the Kunlun Mountains can be said to be the founding father while Baekdusan on the Korean peninsula is his eldest son. Since it has been sufficiently demonstrated that Baekdusan is connected with the Kunlun Mountains, Baekdusan is recognized as the ancestral mountain of Korea under Feng Shui principles."

The term "ancestral mountain" means that not only is Baekdusan considered to be the progenitor of all mountains on the Korean peninsula, but also no matter which mountain you might scale on the Korean peninsula, you can ultimately make your way to Baekdusan . This is indicated in Sangyeongpyo and Daedongyeojido

as well. A notable feature of both these references is that they depict the 6 Koreana I Spring 2004

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Doseongdo, a map of the nation's capital, shows that the mountains surrounding Seoul are all rooted in Mt. Bukhansan. The peaks of Bukhansan appear in the top center. Mid-18th century, hand colored, 75.4 x 98 cm

mountains not as an independent mass or points, but as

the names of mountain ranges are based on nearby

linearly connected elements of a system.

rivers.

The mountain ranges of the Korean peninsula are cat-

Interpreting the system of mountains and streams on

egorized into one daegan (from Baekdusan to Mt.

the Korean peninsula as an independent mass or points

Jirisan), one jeonggan (which crosses Hamgyeong-do province from east to west), and 13 jeongmaek (all

involves a kind of geological concept that might be applied to such mountain ranges as Charyeong,

remaining ranges). The mountain range north of the

Noryeong, and Taebaek. This particular concept emerged

Hangang River is called Hanbukjeongmaek (North Han Jeongmaek), while the range south of the river is named

during the period of Japan's occupation of the Korean

Hannamjeongmaek (South Han Jeongmaek). The ranges north and south of the Geumgang River are known as Geumbukjeongmaek and Geumnamjeongmaek, while

peninsula (1910-1945), from the Japanese geographer Koto Bunjiro, and mapmaker Yasu Shoei, who systematized this approach.

those east and south of the Nakdonggang River are

According to Koto Bunjiro's concept of mountain ranges, mountain ranges and waterways were considered

called Nakdongjeongmaek and Nangnamjeongmaek.

Under Feng Shui, mountain ranges are yin in charac-

to be separate features, in contrast to traditional Korean geography. As such, Yasu Shoei's maps of mountain

ter, whereas streams are yang. And of course, all matters

ranges were based more on geological features than the

can be explained through a harmony of yin and yang.

Accordingly, it is worthy of note, as well as natural, that

topography. In Koto Bunjiro's concept of mountain ranges, the fundamental theory of Feng Shui-that Spring 2004 I Koreana 7

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From much of downtown Seoul the presence of Mt. Bukhansan is readily visible (left).

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Mt. Bukhansan and connecting ridges virtually encircle the northern area of Seoul (opposite page).

"water cannot cross mountains,

positioned to receive the life

and mountains cannot cross water"-was not adhered to.

force emanating from the

Consequently, in Koto Bunjiro's maps of mountain ranges,

Baekdusan to Hanbukjeongmaek. And because of this

not only is no reciprocal yin-

propitious setting, Yi Seong-

yang relationship reflected

gye, the founder of the Joseon

between the mountains and waterways, they are expressed

Dynasty (1392-1910), selected

as separate elements. Mountains and waterways in Koto Bunjiro's maps of mountain

mountain range that runs from

Seoul as the site of his new capital.

The primary Baekdudaegan

ranges are depicted as mineral and aquatic resources to be exploited.

range (from Baekdusan to Jirisan), which starts from Baekdusan, extends to Bunsuryeong Ridge and forms a branch of

The difference between a concept in which mountains

Hanbukjeongmaek. According to Sangyeongpyo,

and waterways are regarded as being part of an intercon-

Hanbukjeongmaek extends from Bunsuryeong Ridge to

nected system and a system that interprets mountains and

Mt. Cheonsan, where the range splits to form Mt.

waterways as independent elements will significantly influence an understanding of environmental protection.

Jangeomsan and Mt. Jangmangsan. At Jangmangsan, the range divides again, forming Mt. Yuljisan, Mt.

Under traditional geography, mountain ranges are per-

Mareungsan, Mt. Baegunsan, Mt. Mangguksan, Mt.

ceived to be connected together like the parts of a human

Unaksan, and Mt. Juyeopsan. At Chukseokhyeon Hill, it

body, whereas Koto Bunjiro thought of them as separately packaged consumable elements.

intersects the crescent-shaped Cheonbo Mountain Range

Bukhansan and the Mountains of Seoul In the early Joseon period, Seoul was developed in

accordance with the principles of Feng Shui. From the perspective of Seoul, the most critical mountains are Bugaksan and Bukhansan. These are part of the main Hanbukjeongmaek range, which extends all the way to Baekdusan. In Feng Shui, it is important to have hyeol (points where the energy of the land converge) in the front, but it is even more essential to have a primary mountain supp01ting the site from the rear. Seoul is thus 8

Koreana I Spring 2004

and crosses Saemnae Hill. From Mt. Bulgoksan and Mt. Hongboksan it reaches Uldae Hill and then connects to Mt. Dobongsan and Mt. Samgaksan (Mt. Bukhansan).

Here, it again splits to form such branches as Mt. Munsusan and Mt. Baegak (modem-day Mt. Bugaksan).

The mountain range that surrounds Seoul comprises Mt. Bugaksan to the north (behind Gyeongbokgung Palace), Mt. Inwangsan in the west, Mt. Namsan in the south, and Mt. Naksan in the east; but actually these are all primarily related to Bukhansan and part of the main range that extends out from either side of Bugaksan. In Feng Shui, this is known as bonsinyongho.

Bukhansan functions as a "power plant" that supplies

extensive alteration of the mountains around the city. This

an energetic life force to the mountains around Seoul.

has included boring through the northern mountain of

According to Feng Shui, the mountains surrounding

Bugaksan (Black Tortoise) for the Bugak, Hongjimun,

Seoul on all sides create an especially propitious site.

and Jeongneung tunnels, and excavating the western

During Japan's colonial period, this natural topography

mountain of Inwangsan (White Tiger) for the Jahamun

was defaced by the Japanese authorities. Moreover, due

and Sajik tunnels and the southern mountain of Namsan

to the wave of modernization that followed Korea's

(Red Phoenix) for the Nos. 1, 2, and 3 tunnels, while the

liberation, roadways and tunnels were constructed in

eastern mountain of Naksan (Blue Dragon) has been

various locations, which considerably marred Seoul's

defaced by residential development. In terms of Feng

primary mountain and surrounding mountains.

Shui, the recent restoration projects to revive Mt. Naksan

Ever more roads have been built to relieve the traffic congestion in and around Seoul, all of which has involved

and Cheonggyecheon Stream will be helpful in healing the wounds inflicted on the Feng Shui of Seoul. L..t

Spring 2004 I Koreana 9

Bukhansan Keeps Alive Shaman Traditions To the shaman practitioners of Seoul, Bukhansan is revered as the most sacred of mountains. As such, Bukhan_san serves as a place of solace for the residents of Seoul and a wellspring of shaman belief.

Kim Duk-muk Director, Korea Folklore Archives

o the Korean people, who believe strongly in

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Rock, within Bukhansanseong Fortress, are well-known

the significance of mountains for their wellbeing, their respect for mountains is manifested

prayer sites. Mubeopdae prayer site, beneath Nojeokbong Peak, is known as a kind of altar to the heavens

in sacrificial and prayer rituals. In the past, the

built by Kim Gu-yeon in 1905. Every year, sansinje is

authorities performed gukhaengje (official rites per-

performed at Mubeopdae to pray for the safety of hikers

formed to honor mountains), while villages conducted sansinje (rites performed for mountain deities).

throughout the year.

In Korea, where traditional beliefs in mountain deities

Moreover, ¡individuals regarded mountains as guardian

remain strong, those who live nearby mountains have for

deities and dutifully prayed to them in supplication and

long built shrines and conducted ancestral or shaman

to receive the life force that emanated from mountains.

1ites. And of course, this is true of the residents around

Sansinje was also performed whenever a gravesite was selected, a mature tree on a mountain was cut down, or

Bukhansan. Bukhan-dong Sansindang Shrine in Bukhansanseong Fortress and Bohyeonsansingak Shrine

medicinal herbs were gathered from the mountains. At

beneath Bohyeonbong Peak are good examples of such shrines.

temples as well, longstanding traditional beliefs in mountain deities were accepted, as evidenced by the

Bukhansan is also home to Buwangsaji, where it is

shrines built in honor to these deities.

said that Yi Seong-gye, the founder of the Joseon

At popular "prayer sites," shaman believers would often erect ceremonial altars, while at other sites people

Dynasty, prayed for 100 days before becoming the first Joseon king. A hundred meters or so in front of

even built sod huts so that they could settle there. A number of such prayer sites can be found on Bukhansan,

Buwangsaji is Bukhan-dong Sansindang Shrine, a one-

no doubt related to the magnificence of its majestic

deity, and Grandmother Bak are enshrined. On the first day of the eighth lunar month every year, the residents of

peaks and graceful features. Donjingul Cave and Cave 10 Koreana I Spring 2004

room building where portraits of Sansin, the mountain

Mt. Bukhansan is home to Seoul's highest concentration of gutdang, facilities that can be rented for the performance of shaman rites (gut).

the Grandmother Mountain Deity. It is interesting to note that meat is included as a ceremonial offering at Namsansingak, but not Yeosansingak. On the first of March each year, nearby residents gather here to perform daedongsansinje, a prayer ritual that appeals for the village's wellbeing.

Not surprisingly, Bukhansan offers the most gutdang (facilities that are rented to conduct shaman rituals) in Seoul. There are about 25 gutdang located on the slopes of Bukhansan, including those at Jeongneung-dong, Pyeongchang-dong, Gugi-dong, Bulgwang-dong, Miari, and Ui-dong. The type of gutdang seen on Bukhansan nowadays began to appear only Bukhan-dong sacrifice a cow as part of the village dongje rite, while on the first day of the tenth lunar month,

some 30 years or so ago, but their number has increased steadily with each passing year.

they sacrifice a pig on Nojeokbong Peak. Once every three years, on the first day of the fourth lunar month,

Long ago, individual families would conduct shaman rituals. Whenever such a shaman ritual was held, the

they perform dodanggut, a shaman ritual, to bless the village and its residents.

neighbors would participate as well, often resulting in a boisterous get-together with much dance and revelry. At

Bohyeonsansingak Shrine, in Pyeongchang-dong, is a square, one-room building with a sloping tiled roof.

some point, however, gutdang eventually made their way to outlying areas, well removed from residential neigh-

About 500 meters to the west of this shrine is Yeosansingak, a shrine for the female mountain deity.

borhoods. This was especially true as Korean society became immersed in a rapid industrialization process and the density of residential communities made it necessary

Bohyeonsansingak, which is also called Namsansingak (Shrine for the Male Mountain Deity), is for the

for shaman rituals to move out of urban areas. This trend

Grandfather Mountain Deity, who is said to wear blue

has also been a major factor behind the growing number

clothing and ride a tiger, whereas Yeosansingak honors

of gutdang at the foot of Bukhansan. l..t Spring 2004 I Koreana 11

Bukhanseongdo, a map of Bukhansanseong Fortress created in the early 19th century. This map accurately portrays the walls of the fortress and its principal facilities. Hand colored, 47 x 66 cm

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-~ Quring the Jo~eon Dynasty, the Bukhansanseong -,.,~ Fortress was built on Mt. Bukhansan to defend the capital against foreign intruders, after Korea

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had suffered the Ja~ese invasions of 1592-1598 and the j'anchu invasion of 1636. ¡

ukhansan, which features intriguingly shaped

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cliff formations and precipitous peaks, has

always been a strategic area for the defense of the capital city of Seoul. Not surprisingly, peo-

ple say that there has been a fortress in the mountains for as long as anyone can remember. The current

Bukhansanseong was built in 1711 by King Sukjong, based on the recommendation of his court and military advisors. The fortress, built in a manner to take full advantage of the mountain's rugged topography, was

stone arch and a wooden pavilion. There are also nine secret gates, including the Small East Gate, built to blend into the terrain, and water gates.

The inner castle was constructed at the entrance to a¡ ravine. It was intended to serve as a second line of defense, such that even if an enemy managed to penetrate the Large West Gate, which was situated on level ground and thus could be overrun, this natural bottleneck could be sealed off, providing protection for the contingency palace and other facilities as well as the people inside. In addition to the inner castle and related struc-

designed to defend the capital against invasions from the north.

tures, a contingency palace, military facilities including a

The Last Line of Defense

general's command post and barracks, supply depots, and temples, which served both as lodging for the army

The fortress walls, which form a perimeter that extends for some 8 kilometers, were built to include

of monks and places of worship, were constructed within the fortress walls.

three areas for the Military Training Command, Capital

In 1712, King Sukjong had a contingency palace built,

Garrison, and Royal Brigade Command-the three army divisions assigned to defend the capital. In addition to

with an overall area of 130 kan (a traditional unit of measure based on the space between two columns), to pro-

the troops of these three military camps, the residents of

vide a safe haven for the royal family during emergency situations. It is located below and to the southeast of the

Seoul as well as an army of monks under the leadership of Monk Seongneung of Hwaeomsa Temple would be mobilized in an emergency.

up from Taegosa Temple to Sangwonbong Valley. The

Along the fortress walls there are 14 gates. Five of these-Bungmun (North Gate), Daedongmun (Large

contingency palace was well equipped so that the king could take refuge there in times of crisis. Also within the

East Gate), Daeseomun (Large West Gate), Daeseongmun (Great Achievement Gate) and

palace compound was Bukhansan Mungo, an archives where the official journals of each king's reign and other valuable documents were stored.

Jungseongmun (Middle Fortress Gate )-consist of a 14 Koreana I Spring 2004

south command post, on the right side of the path leading

Dongjangdae, the headquarters of Bukhansanseong Fortress, was restored in 1996 (opposite page left).

Doseonsa Temple on the slopes of Mt. Bukhansan. Countless lanterns are hung to commemorate Buddha's birthday (opposite page right).

National Treasure No. 657, Samcheonsaji Maaeyeoraeipsang, a standing Buddha on a rock face at the site of the former Samcheonsa Temple. This early Goryeo-era figure is carved on a massive boulder at the entrance to the temple (right).

There were three command posts from where generals could direct their troops: the eastern command post on

tions provided defensive advantages. It is still possible to discern the remains of some 30 towers.

Sidanbong peak, which served as the overall command

To provide water for the troops and residents, 99 wells

post, the southern command post northeast of

and 26 reservoirs were developed. Large wells were built

Nahanbong peak, and the northern command post situat-

in such places as the camps of the three armies, while

ed northwest of the Middle Fortress Gate. The year after

smaller wells are found at temples, many of which are

the fo1tress was completed, King Sukjong climbed up to

still in use today.

the eastern command post, where he composed a poem,

In the fourth month of 1712, the Accounting Bureau

which has been preserved to this day. Today, the overall

started work on four storehouses to house food, arms and

layout and remains of these structures can still be seen.

munitions, and other essential items, which were com-

The eastern command post was reconstructed in 1996.

pleted within a year. Additional storehouses for provi-

To oversee the fortress and manage the daily affairs,

sions and rice were constructed within the three army

the Fortress Administration Post was established in con-

camps. In 1747, the Accounting Bureau was abolished,

junction with the three army camps. The camp of the

and its duties taken over by Chongyungcheong (a mili-

Military Training Command was located right below the

tary camp that guarded the outskirts of Seoul and

imposing rock cliff of Nojeokbong peak. The camp of

Gyeonggi-do province), which assumed overall authority

the Capital Garrison was originally situated below

for the fortress.

Bogwangsa Temple, nearby the Small East Gate, but was later relocated to a site below Boguksa Temple. The

Cultural Resources of Bukhansan

camp of the Royal Brigade Command was just inside the

Taegosa Temple and the site of a former temple called

Great Achievement Gate, where Daeseongam Hermitage

Jungheungsa can be found in the heart of Bukhan-

now stands.

sanseong Fortress. Jungheungsa was located in the shad-

To facilitate the troops who were assigned to guard the

ow of Deunganbong peak, south of where Jungheung-

fortress perimeter, 143 fortress towers were constructed

sanseong Fortress used to stand. Reconstructed at the end

alongside the walls at various intervals. These towers

of the Goryeo period by Monk Bou, it was a main temple

were located nearby gates, high up on mountain ridges or

situated in the center of Bukhansanseong.

where the walls protruded, at locations that called for

On the peak to the left of the Jungheungsa site stands

added protection and at positions where natural condi-

Taegosa, where you can find the stupa of Monk Bou Spring 2004 I Koreana

15

Mt. Bukhansan, Seoul's guardian mountain, boasts not only outstanding natural scenery but also several notable temples, Buddhist sculptures and memorial steles. Among these, the Inspection Tour Monument erected by King Jinheung provides evidence that the Bukhansan area's strategic significance was recognized since the Three Kingdoms period (1st century B.C.-A.D. 7th century).

(Treasure No. 749) and its inscribed stele (Treasure No.

Seunggadaesa (Treasure No. 1000). The 5.94-meter-

611), both dating from the late Goryeo period. Monk

high, 5.04-meter-wide carving of Buddha on a granite

Bou, posthumously awarded the title of State Preceptor

rock surface behind the temple was completed during the

Wonjeung guksa, died in 1382 and was cremated the fol-

early Goryeo period.

lowing year. In 1385, King U ordered the erection of a

Samcheonsa is a temple located on the western edge

memorial stele in honor of Monk Bou. Of particular

of Bukhansan, at Jingwanoe-dong, Eunpyeong-gu.

note, the related inscription indicates that the individuals

During the Silla period, the original temple was built

involved with erecting this stele incuded Yi Seong-gye,

much higher up the mountain slope than the temple's

the founder of the Joseon Dynasty, who at that time was

current site. Here, on a vertical, folding screen-like rock

a Goryeo subject.

face is Treasure No. 657, the carved image of a standing

The cave temple Seunggasa, located on Bibong peak,

Buddha. This Buddha is representative of early Goryeo

Gugi-dong san No. 1, Jongno-gu, was originally estab-

rock-carved Buddhas, and was probably produced some-

lished to venerate the Central Asian monk Seungga-

time in the 11th century.

daesa, who was revered as a living Buddha and regarded

If you walk down from the Jungheungsa site toward

as an incarnation of the Bodhisattva Gwaneum

the Large West Gate, you will come to a narrow pathway

(Avalokitesvara). An inscription on the halo of a stone

in front of Yonghaksa Temple that is lined with a number

statue of Seungga found inside the cave indicates that it

of inscribed steles, and is therefore known as "stele

was created in 1024.

road." These steles, most of which were erected in the

In the autumn of 1099, King Sukjong, along with the

1800s, extol the achievements of the officers who served

queen and crown prince, visited Seunggasa and let his

in Chongyungcheong, which was responsible for over-

younger brother, Monk Uicheon (posthumously known

seeing Bukhansanseong.

as State Preceptor Daegakguksa), restore a temple hall.

Alongside the stele road, on a broad, slanting rock sur-

During the Joseon period, the royal court continued to

face stands the "Charter of the Bukhan Monks" stele, dated

extend support to the temple, which until recently regu-

1885. The inscription, comprising 319 characters, is a

larly conducted large-scale Buddhist activities. Two trea-

pledge made during the replacement of Paldodochongseop,

sures further enhance the noteworthiness of this temple:

the country's head monk of the eight provinces, in which

the Bukhansan Gugi-ri rock carving of a seated Buddha

the resident monks confirmed their commitment to exert

(Treasure No. 215) and the stone statue of Great Master

their utmost efforts to defend the fortress.

16

Korea n a I Spri n g 2 004

The walls of Bukhansanseong Fortress, which extend over a length of about 8 kilometers, were constructed to take advantage of Bukhansan's rugged terrain.

Atop Bibong peak, which rises above Seunggasa to a height of 556 meters, in the southwestern corner of Bukhansan (Gugi-dong san 3, Jongno-gu), is the site of the Inspection Tour Monument of King Jinheung (National Treasure No. 3). Although an inscribed plaque there reads "Historic Remains No. 228, King Jinheung's Inspection Tour Monument," the original monument, which is considerably weatherworn, has been housed at the National Museum of Korea since 1972. The monument was erected in 553 in the course of an inspection tour by Silla King Jinheung (r. 540-576) that sought to

consolidate his control of the area of the lower Hangang River. If you climb Bibong peak (which literally means "stele peak") to take in the view, to the north and east are the precipitous mountain passes and ridges of Bukhansan. To the south, the Hangang River flows from east to west, while to the west, the Hangang River delta and the broad Gimpo plains stretch out. After viewing these geographical features, the strategic importance of the Hangang River area and Bukhansan during the Silla era becomes readily apparent. ~

Spring 2004 I Koreana 17

Mt. Bukhansan at sunrise can produce a truly awe-inspiring sight.

Capturing the Essence of Bukhansan on Canvas Kwak Won-joo Painter

s a full-time painter weighed down by every-

rendered with an eerie foreboding like that of a ghost.

day routines and work responsibilities, it is no

The wide diversity of Bukhansan's landscape settings

easy matter for me to prepare a backpack and

enables the full repertoire of these techniques to be put to

venture out on a sketching trip in search of the picturesque scenery of notable mountains and rivers.

good use. The rugged and majestic peaks of Bukhansan create a vivid contrast with its graceful valleys and rock

It is thus an immense blessing that I am able to conve-

formations, with the mountain's distinctive natural fea-

niently reach Bukhansan by bus or subway, and with rel-

tures changing dramatically with the seasons. In spring,

ative ease set up my easel, surrounded by its verdant

delightful azaleas bloom among the rocks, resembling

valleys and precipitous peaks.

I recall once hiking up to the peak of Munsubong by

the forlorn smile of a lover while awakening the slopes with bursts of scarlet. And in summer, the small water-

way of Bibong. There, the craggy rock faces of the mountain seemed to be set ablaze by the rays of the set-

falls and serenity of endless valleys clothed in refreshing

A

ting sun. So enthralled was I with this breathtaking sight that I remained there spellbound long after the horizon

green shades soothe the weary mind of daily worries and present ideal scenes for landscape paintings. In fall, the

had extinguished the sunlight. It could be on account of

autumnal tints blanketing the Kalbawi Ridgeline glow radiantly in the fading afternoon sun, while the fresh fall-

the awe-inspiring beauty of Bukhansan's natural land-

en snow viewed from atop Uisangbong in the depth of

scapes that I became a convert to Oriental painting, after

winter can leave you in a state of speechless rapture.

having long enjoyed oil painting as a hobby since my

Ancient pine trees, silently standing guard on a bluff,

school days. If Western painting tends to focus on light and planes, Oriental painting can be characterized by its

with a historic Buddhist temple in the foreground, create a truly stunning Korean-style scene.

emphasis on space and lines, which I believe are more appropriate for portraying Korea's mountains and rivers.

You cannot, however, create a noteworthy landscape painting simply by rendering what you see with your

In Oriental painting, the techniques applicable to rendering the mass and texture of mountains and boulders

eyes. After studying countless mountain scenes, you

are collectively known as junbeop. The more than 20

mind's eye and apply your personal techniques with a passion from the heart. Koreans of old used to say: "You

variations of these techniques include bubyeokjun (axecut technique) for depicting rocks with sharply shorn surfaces, as if chopped by an axe; jeoldaejun (folded-belt technique) in which a long horizontal line suddenly drops down vertically; hayeopjun (lotus-flower leaf technique) for portraying veined networks, like that of lotusflower leaves; maajun (horse-teeth technique) in which the shapes resemble the teeth of a horse; and gwimyeonjun (ghost-face technique) when mountain outlines are

have to reconstruct the individual elements within your

can produce a masterful landscape painting only after reading 10,000 books and traveling over a distance of 10,000 ri." Although Korea is home to numerous mountains of exceptional beauty, Bukhansan remains my favorite due to the incredible diversity of its picturesque scenery and natural settings. Indeed, I am heading out to Bukhansan again today, as soon as I get everything into my backpack. ~ Sprin g 2004 I Koreana

23

The Prose Inspired by Samgaksan (Bukhansan) Lee Sung-boo Poet

B

ukhansan is also known as Samgaksan, or "Three-horns Mountains," because the profile of its three main peaks, Baegundae, Insubong, and Mangyeongdae, resembles three horns

Wearing just straw sandals, I walk all day long, relying on nothing but my legs, As I pass over one peak, another verdant mountain looms ahead.

from a distance. As for the citizens of the Seoul metro-

My mind has already become empty of thought,

politan area, they are indeed blessed that this wondrous

So what need is there to use the spirit for the body

mountain is located so nearby. To truly enjoy this blessing, however, it is necessary to expend the effort to climb

The Tao is said to be nameless, so what need is there to laboriously fabricate one ?

up this majestic mountain's granite cliffs.

Everyone becomes a poet upon entering the realm of

This is a poem that Kim Si-seup (1435-1493 , pen name Maewoldang), a Joseon Dynasty (1392-1910) poet

Samgaksan. Like those who say that the mind of a poet is like that of a child, the people climbing a mountain

and scholar, recited as he walked along the trails of

find themselves returning to the innocence of a child's world. A mountain like Bukhansan causes all the worries

Samgaksan, where he studied during his youth.

Unlike the long-ago time of the Joseon Dynasty, it is

and conflicts of society and the weariness of urban life to

now possible to reach the entrance to Samgaksan in about an hour from anywhere in Seoul, by bus or sub-

dissipate into thin air. The mind is freed from clutter, returning to a clean state that can marvel at the wonder

way. This convenient proximity means that in Seoul, it is

of an ordinary stone or blade of grass. In this way, moun-

possible to cross over from the mundane world to a

tains are capable of inspiring prose and lyrics. All peo-

divine realm of the gods in a mere 60 minutes.

ple, without regard to their wealth and rank, soon

Since the 1980s, when I began to hike Samgaksan, this mountain has been the source of inspiration for sev-

succumb to the mountain's pure-heartedness.

eral verses that I have created. The serial poems Granite and Rock Climbing are among the verses I have composed in the course of climbing the granite rocks of Wonhyo Ridgeline, Mangyeongdae Ridgeline, Hidden Wall Ridgeline, and Insubong.

Unlike the time when I used to create poems By reining in my youthful wandering I create loneliness of my own accord By lowering myself and hiding the hems of my clothing Cutting off my shadow, I intend to present it to the foot of Insubong, Collecting the sounds of my footsteps, I intend to plant Nojeokbong Peak seen from Baegundae amid the brilliance of autumn

24 Koreana I Spring 2004

them at the roots of a rock afar

When I begin to long for people

rock-climbing enthusiasts to practice their mountaineer-

By flashing blinding sorrow on my brow

ing skills. Every time I climb this ridgeline, I cannot inhale enough of its "exhilaration of a lonely mountain."

I will call out to you, To you only will I beckon

It radiates with such an invigorating life force, probably because of its scarcity of visitors. And in fact, access

This is the text of "Hidden Wall," which I wrote in

to this area, including the Hexagonal Pavilion Valley to the northeast, and Sagimak Valley to the north, has long

1990. Hidden Wall refers to the rocky ridgeline between Baegundae and Insubong of Samgaksan. This ridgeline extends northward, seemingly holding its breath at the

been restricted. Moreover, the obscure pathway behind

splendor of Baegundae and Insubong. Obscured by

down from the peak of the Hidden Wall are not easily negotiated.

rugged crags, it is not easily detected, as though it is purposefully concealing itself. If you climb along this ridgeline on a clear autumn day, you will see the rocks glisten

Insubong,_and the short but rugged rocky trail leading

To enter Samgaksan, you should not come with your

like huge jewels under the bright sunlight. The rock faces

mind full of the burdens of the secular world. This mountain will reject those who come with their back-

on both sides of the ridgeline are especially popular for

packs filled with traces of city life. ~

Spring 2004 I Koreana

25

lnsubong Peak is known far and wide among rock climbers for its challenging cliffs. On weekends, hundreds of climbers enjoy its diverse routes (left and above).

Baegundae Peak on a weekend. The parade of people scaling the peaks of Bukhansan is indicative of the Korean passion for mountain climbing (opposite page).

B

y 10 a.m. on a weekday, the trails of Mt.

Bukhansan National Park, which encompasses Mt.

Bukhansan are already teeming with hikers.

Bukhansan and Mt. Dobongsan, attracts some 5 million

This was certainly not the case 20 years ago.

Back then, visitors to Bukhansan during the

visitors each year who pay an admission fee of 1,600

week were few and far between, such that hikers could

won to enter the park grounds. This is the highest visitor count for the 20 national parks in Korea, beating out

trek about the mountain in peace and quiet. Another

even Mt. Seoraksan and Mt. Jirisan. Those who enjoy

noticeable change in recent years is that the majority of

climbing the slopes of Bukhansan include former presi-

hikers on weekdays are now housewives in their forties and fifties.

dents as well as politicians, scholars, writers, and painters.

Among politicians, a popular hiking course is from

Five Million Visitors Annually

Pyeongchang-dong or Gugi-dong up to Daenammun.

In late 1997 and 1998, Korea suffered a serious financial crisis that required emergency loan assistance from

Former presidents Chun Doo Hwan and Roh Tae-Woo

the International Monetaiy Fund (IMF). The related economic consequences included a considerable number of male employees in their forties and fifties being pressured or forced to retire. These individuals, who had suddenly found themselves out of work, formed one of the major groups that would visit Bukhansan on weekdays.

Another large group includes retirees over the age of 60.

These people are free to visit the mountain any day of the week for exercise and camaraderie.

28 Koreana I Spring 2004

would regularly climb this course on Wednesdays and Thursdays, with their associates. During his term as Seoul Mayor, Cho Soon climbed this course every Saturday afternoon with City Hall employees. Because of Cho's bushy white eyebrows, he was known among fellow hikers as "Sansillyeong" (Mountain Spirit).

Cho Myun-goo , a government employee at the Dongdaemun-gu Office, wrote a much talked-about book, Bukhansanseong Fortress, which was based on his vast experiences of venturing about the mountain. Of

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note, this book is credited with being a decisive factor

select the site for the new Joseon capital along the

behind the Seoul Metropolitan Government's decision to undertake extensive restoration work of Bukhansan-

Hangang River at the base of Bukhansan (the area of

seong, including its major gates and pavilions.

In addition, Min Gyung-gil, a professor at the Korea

Seoul today), are among the historical figures who have climbed Bukhansan. Yi Seong-gye, who thought of Muhak daesa as his mentor, had climbed up the moun-

Military Academy and contributor to Man and Mountain

tain to Baegundae, during the final days of the Goryeo

magazine over the past year, has produced a voluminous

Dynasty, after which he wrote a poem titled "Climbing Baegunbong."

work, titled Study of Old Place Names of Samgaksan, that highlights the various historical incidents which have occurred at Bukhansan and Bukhansanseong

The people who first roamed Bukhansan were no doubt the hunters and gatherers of medicinal herbs who

Fortress.

settled nearby. Up until the Joseon Dynasty, Bukhansan was home to a wide diversity of animals, including tigers

Notable Figures Who Have Climbed Bukhansan

According to the principles of geomancy, under which mountains, rivers and other natural features are

that were often spotted roaming the slopes of Mt. Inwangsan, the southernmost point of Bukhansan, in the

regarded as the elements of a living organism, the

vicinity of Gyeongbokgung Palace. Moreover, as recently as ten years ago, such an abundance of plant life flour-

Bukhansan area was a propitious site since it directly

ished on the mountain that people would occasionally

received the energy from the Taebaeksan Mountain Range that extended as far north as Mt. Baekdusan and south to Mt. Jirisan. Yi Seong-gye (r. 1392-1398), the

stumble upon wild ginseng there.

For their religious activities, Buddhist monks and

founder of the Joseon Dynasty known by the dynastic

Bukhansan. During the Joseon Dynasty, Buddhist monks, who served as military troop reservists, played

title Taejo, and Monk Muhakdaesa, who helped Yi

shamans were also among those who frequently visited

Spring 2004 I Koreana

29

an instrumental role in the reconstruction of Bukhansanseong Fortress. But, since the time of Bukhansan's designation as a national park, the presence of shamans has noticeably declined.

Mountain Climbing Mecca of Korea

Nowadays, the areas at the base of Bukhansan and Dobongsan have undergone a dramatic transformation.

Shops specializing in hiking gear, like those which were previously concentrated at the Namdaemun and Dongdaemun markets, began opening in this area.

Thanks to the steady stream of visitors attracted to the mountain, on any day of the week and especially weekends, retailers enjoy brisk sales. Convenience stores, ATMs, and bathhouses can all be found at the foot of the

30

Ko rea na I Sp ri ng 2004

mountain, as well as a variety of restaurants serving food to satisfy the palates of all hikers. By far, the shops that ring up the most robust sales are those offering hiking gear. The best-selling items of these 30 or so stores are mountain-climbing wear, shoes and backpacks. This includes vests and pants for 20,000 won at the low end, and top-of-the-line Gore-Tex parkas priced at hundreds of thousands of won, with both Korean-made and import brands available.

A visit to Bukhansan is an opportunity to view the latest mountaineering brands and styles from all over the world. When visiting Korea a few years ago, the vice president of the Indian Alpine Federation, Harish Kafadia, was so impressed with the quality of the clothing and gear of the hordes of Bukhansan climbers, that

Mt. Bukhansan offers more than 50 hiking trails.

It can be enjoyed by everyone from serious rock climbers to families out for a leisurely stroll (opposite page).

""""~'

Mountain trekkers take a break at Daedongmun, the East Gate of Bukhansanseong Fortress (right).

he asked the Korean hikers accompanying him: "Are all these people preparing for an expedition to the Himalayas?"

In fact, Korea is the only country in the world that has produced three climbers who have conquered all 14 peaks of the Himalayas of over 8,000 meters in height: Um Hong-gil, Park Young-seok, and Han Wang-ryong.

Center of Korean Alpinism

Bukhansan is also known as Samgaksan, or "Threehoms Mountain," because of its three peaks: Baegundae, the highest, Insubong, and Mangyeongdae. Insubong, though its peak is 33 meters lower than that of Baegundae, is the most popular site for rock climbing and the center of alpinism in Korea. Korean climbers, prior to setting out on an expedition to the Himalayas, have invariably practiced at Bukhansan, where on weekends hundreds of rock climbers can be seen making their way along various routes of the mountain cliffs.

The first person credited with successfully scaling Insubong was Clement Hugh Archer, a Briton. Archer, while serving as a consular representative in Japan and a member of the Alpine Club, climbed to the peak of Insubong in May 1929, with his friend Pacey. At the peak, they left behind a bottle with a note inside. The next year, Iiyama Tatsuo, a Japanese climber, scaled Insubong and left behind a note indicating that he had found the bottle left by Archer.

Archer not only climbed Insubong but Dobongsan and Geumgangsan as well, by various rock-climbing routes, and wrote about these mountain climbs in the Alpine Journal. He also compiled a type-written document entitled Some Climbs in Japan and Korea, which contained

photos and maps bound together with a thick cover. I found this volume in the old books room of the Alpine Club library in London in April 1995, and introduced its contents to Korean readers.

Thanks to Archer's writings, Insubong is known to prominent climbers in the Western world. Those who came to Korea to scale its rock walls included Peter Habeler, who succeeded in climbing Mt. Everest without the aid of oxygen with Rheinhold Messner; Wanda Lutkievich , a woman climber from Poland ; and Hasegawa Tsuneo, the first Japanese climber to scale the northern face of the three Alpine peaks-Eiger, Matterhorn, and Grandes Jorasses-in winter.

A few years ago, Ian McNaught-Davis, chairman of the UIAA (Union Internationale des Associations d'alpinisme), who had visited Korea to attend the general meeting of the General Association of International Sports Federation (GAISF), exclaimed "Incredible! " upon leaving the Sheraton Grand Walker Hill Hotel and seeing Bukhansan rising high above Dongbu Road. A sight that would have required a 13-hour drive in England was right there in front of him. Davis was envious that in a populous city of over 10 million people such a marvelous rock-climbing site like Insubong was within a 30- to 40-minute drive from downtown. This was enticement enough for Davis to forget about attending the scheduled GAISF session and accompany me on a rock-climbing outing on a crisp autumn afternoon. ~ Spring 2004 I Koreana

31

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A

n international forum on the theme of "The Transformation of the 21st Century and LifeCulture Sallim" was held in Suwon from December 18 to 21, 2003, under the auspices

of the Kyonggi Cultural Foundation and the World Life-

Culture Institute. In explaining the significance of the forum, poet Kim Ji-ha, one of the co-chairs of the gathering, said: "We now face the wrath of nature, and even our own right to life may be in danger. Although there have been many efforts,and activities to save our natural environment, greenhouse gases and yellow dust con-

appropriate measures and actions. They chose to take an extensive approach to the cultural issues related to life, and to examine the diverse theories and practices of East and West. They sought to shed new light on the still buried thought and wisdom of old Asia, and to present theoretical and practical examples of life-culture from around the world. On this basis, they have promoted a comprehensive cultural reform to overcome the great cri-

To diagnose the crisis that the global village now faces and explore the possibility of a new life-culture, the World Life-Culture Forum was held from December 18 to 21, 2003 in Suwon, Gyeonggi-do province.

tinue to cause pollution and global warming. And then

sis, and taken a step toward the creation of a cultural the-

there is the nuclear issue. We are facing a dilemma that

ory embracing literature, history, and philosophy.

could mean life or death. We all gathered here today to discuss how all the people of East Asia can work togeth-

Accordingly, the opening ceremony was not limited to the customary fo1malities, but included the recitation of

er in pursuit of happiness and a bright future."

poems and songs of life. Particularly impressive was the

Reconciliation and Harmony

children's chorus. Professor Kim Myung-ja, former Minister of the Environment, then chaired a series of

This statement is directly related to the current situation in which, despite the remarkable progress of human

keynote speeches: "Life, Peace, and Coexistence: The Profound Basis of Life Philosophy in East Asia" (Ryu

civilization during the 20th century, conflicts of region,

Seung-guk, Former President, the Academy of Korean

class, race, and religion remain, and the ecological dam-

Studies, Korea), "Life and Environment in the Era of

age caused by indiscriminate development continues.

Globalization" (Ricardo Navaro, Chair, Friends of the

These perpetual conflicts between people, and people and nature, cannot be overcome by short-term measures.

Earth International, El Salvador), "The Modernity of Civilizations and the Civilization of Modernity" (Edward

To enable the continued development and coexistence of

A. Tiryakian, Professor, Department of Sociology, Duke

humanity and nature in the 21st century, we must urgently examine the civilization and lifestyle we have enjoyed

University, U.S.A.), "Nature as Providence" (Mizoguchi

up to now, achieve a rational synthesis of the sound values of East and West, and create a new "global village life-culture" founded on a spirit of reconciliation and co-

Yuzo, Honorary Professor, University of Tokyo, Japan), "Ecological Local Culture in Asia" (Vandana Shiva, Founder, Research Foundation for Science Technology

prosperity, harmony and coexistence.

and Ecology, India), and "Life-Culture, the New Cultural Transformation of East Asia" (Kim Ji-ha, Poet, Korea).

The gathering was possible because of the determination to launch a global campaign that has already been

Toward Peaceful Coexistence

partially accomplished in Korea. The Sallim Campaign derives its name from the conviction that a new harmonious, advanced civilized lifestyle in which we all live and let live (sallida) must be created. It was the organizers' hope that participants from many countries would diagnose and reflect on the current situation and seek out

On the first day, the participants visited Hwaseong, an environmentally friendly fortress built near Suwon by the enlightened King Jeongjo (r. 1776-1800) of the Joseon Dynasty. On the second day, the main theme was discussed under four separate sub-themes: "Ecological Thoughts and Life-Culture," "Cultural Channels to LifeSpring 2004 I Koreana

33

sion. Among the presenters was Maria Elena Foronda Farro of Peru, President of the Sociedad Nacional del Ambiente and recipient of the 2003 Goldman Environmental Prize.

The session on "Cultural Channels to Life-Culture" focused on the possibilities for human beings, as a species within an ecosystem, to cultivate lives that are as beautiful as an ait work by practicing abstinence in their own lives and reflecting on themselves. The following papers were presented: "Life Under Non-being: Life's Meaning in the Globalization Age" (Zhang Fa, Professor, Renmin University of China, Beijing, China), "Aesthetic Expression of Life-Culture" (Ryu Joong-ha, Professor of Chinese Literature, Yonsei University, Korea; Ahn Sang-soo, Professor, Department of Visual Communication and Design, Hongik University, Korea; Kim Bong-jun, Artist, Korea), "Building Civic Life: The World Life-Culture Forum included a wide range of discussions and practical measures on how people can live in peace with nature.

Culture," "Living Together and Applying Life-Culture to Economy," and "The History of East Asia and Coexistence."

Engaged Buddhism and Contemporary Art" (Suzanne Lacy, Professor, Otis College of Art and Design, U.S.A.), and "What the West has Learned from the East in the Twentieth Century" (Andrzej Flis, Professor, Krakow Jagiellonia University, Poland). The 12 presenters

The session on "Ecological Thoughts and Life-

included Jaffar Mirghani, President of the Civilization Study Center, Sudan. The paiticipation of many people

Culture" aimed to fuse the Western ecological movement

active in arts, as well as scholars, made the discussion

with the Eastern thought and wisdom to create a nature-

especially lively, and participants continued the heated

friendly culture that lets the eaith, nature, and humanity live in harmony. To that end, the following papers were

debate long into the evening, even missing the dinner to which they had been invited.

presented: "Evolution and the Concept of Life in the 21st

The session on "Living Together and Applying Life-

Century" (Choe Jae-chun, Professor, School of Biological Sciences, Seoul National University, Korea),

Culture to Economy" focused on alternative ways of life

"Ecofeminist Analysis and the Culture of Ecological

that views nature and life-culture as merely commercial commodities and an object of exploitation. On this

Denial" (Val Plumwood, Research School of Social Sciences and Centre for Resource and Environmental Studies, Australian National University, Australia), "Environmental or Ecological Citizenship Through Culture-Specific Environmental Value Education"

achieved by resisting the dominant culture of the present

premise, the session surveyed examples from around the world of attempts to establish a cultural alternative to the dominant culture of today. The following papers were

(Eugene Hargrove, Professor, North Texas University,

presented: "The Importance of Life-Culture as a Composition of Alternative Life" (Cho Kyoung-mann,

U.S.A.), and "East Asian Chi-ecological Culture and Respect of Life" (Han Myun-hee, President, Citizens'

Professor, Division of History and Culture, Mokpo National University, Korea), "The Clayoquot Sound

Movement for Environmental Justice, Korea). Thi.rteen

Testing Ground" (Valerie Langer, Campaigns Director,

presenters, including this writer, commented on these

Friends of Clayoquot Sound, Canada), "Urban

papers before the floor was opened up for general discus-

Restructure in Accordance with Principles of Life"

34

Koreana I Spring 2004

(Marc A. Weiss, Vice President, Prague Institute for Global Urban Development, the Czech Republic), and "War About Oil or Peace Through the Sun" (Franz Alt, T.V. Journalist, Germany), followed by 12 presenters.

T.V. journalist, Franz Alt drew considerable attention with the visual images he used to illustrate his presentation on the problems of oil and alternative energy policies.

The final session, "The History of East Asia and Coexistence," sought ways to break away from a history full of strife and conflict between nations, regions, and peoples, to preserve life within the world order and forestall the end of the world. Papers presented and discussed were "East Asian Mediterranean Sea Model" (Youn Myung-chul , Professor of Sociology, Dongkuk University, Korea), "Thoughts about Knowledge Society Situation in East Asia: Contraction to SARS in Terms of

Ideological Perspective" (Sun Ge, Professor, Department of Philosophy, Peking University, China), and "Thoughts about Life, Uniquely Developed in East Asia: Centering on Shinto" (Zumara Takahaishi, Environmental Activist, Japan).

There was also a special meeting devoted to "LifeCulture and Regional Development Planning: Making Gyeonggi a Livable Place." This provided an opportunity to evaluate possibilities of the practical application of life-culture through the plans and ideas of Gyeonggi-do province. To breathe life into their hearts and souls as they started their day, the participants were offered a practical training session in Korea's unique Seon (Zen) meditation. At the end of the final session, the 800 participants from .17 countries adopted a declaration and expressed a desire that the forum would become a regular event. L.t

Suwon World Life-Culture Declaration 1. The participants, guided by the Life-Culture principles and based on reports in the plenary session, declare the following: 1-1 The participants recognize that the 2003 World Life-Culture Forum intends to launch a new beginning to examine critical problems of life and culture and to seek viable solutions in contemporary societies.

1-2 The concept of Life-Culture must bring a concern for the susta inability of the natural and social ecosystems of the cosmic life at the forefront with an emphasis on nurturing human cultures and societies in accordance with nature wh ile seeking empowerment of smal l communities.

1-3 People should recognize the human and environmental consequences of both the positive and negative aspects of economic globalization. It brings some benefits; but also damages Life-Culture in many countries. (section 2.omitted) 3. Participants recommend the following future activities: 3-1 Gather "Sal lim" (Life-Culture) workers and intellectuals from the world for the creation of the "ancient East Asian Renaissance."

3-2 Practice step by step with the cultures in the world to create a new epoch of "Sallim" (Life-Culture).

3-3 Create new various ideologies to jump start a cultural revolution, including ethics, philosophy, new sciences and aesthetics.

3-4 Remember always that all matter and all life forms share common subjectivities as well as human beings.

3-5 Expand the World Life-Culture Forum network.

3-6 Enhance global cooperation to promote Life-Culture.

3-7 Organize regularly scheduled meetings of the World Life-Cu lture Forum .

The World Life-Culture Forum participants authorize the Forum Secretariat to widely disseminate this declaration on behalf of the Steering, Planning, and Organizing Committees.

December 20, 2003

Spring 2004 I Koreana

35

eminist art in Korea is generally considered to have arrived on the scene in 1986, with the group exhibition "From Half into One," featuring the works of

F

Kim In-sun, Kim Jin-suk, and Yun Suk-nam. Of these three artists, Yun Suk-

nam, who has long been active in the women's movement-for example, she

is the publisher of the IF feminist magazine-is the best known for advancing the fem-

inist perspective through her works. What has enabled Yun to distinguish herself as such a dedicated feminist artist is the fact that her mindset and works have evolved naturally from her personal life experiences.

"When I began painting in 1979, the term 'feminism ' was very unfamiliar in Korea.

Early on, the first thing that I painted was my mother, and the mothers I saw at the marketplace. In doing so, my heart felt at ease. Specifically, I was interested in under. standing why these women had to live such frantic lives, and why I had to live the way that I did."

In Korea, "mother" is synonymous with "sacrifice." This means that, regardless of whether the concept of motherhood is a social product fabricated by a patriarchal ideology, the thought of "mother" as an eternal sanctuary that is always there to embrace you affectionately, like a warm spot nearby the fire, is indelibly engraved in the hearts and minds of all Koreans.

Yet, why is it that while various genres of art feature numerous works that depict the relationship between mother and son, there are so few that portray the mother-daughter relationship? Yun's Western-style painting

Creator of Installation Art and Advocate of Feminist Issues

Yun Suk-nam Yun Suk-nam is an installation artist who has sought to portray the life and identity of women in Korea. The intense desire of Yun Suk-nam to focus attention on women-related issues is a constant feature of the art WOrkS Of th iS feminine artist.

Yi Joo-heon Art Critic Choi Hang-young Photographer Spring 2004 I Koreana

37

Yun Suk- nam's works challenge the male-centered social system.

Genealogy, mixed media, 250 x 270

x 150 cm, 1993 {left).

This work eloquently portrays the uneasy and precarious life of today's Korean middle-class women. Pink Room 3, mixed media, 1996 {bottom).

In her "Mother" series, Yun Suknam sought a friendly relationship between mother and daughter.

Mother 5-For the Family, acrylic on wood, 160 x 80 x 7 cm, 1993 (opposite page).

series, "Mother," is a meaningful effort that seeks to demonstrate that the apparent distance between mother and daughter in Korean art is closely related to the structural contradictions of our society, in regard to the status of women. Thanks to Yun's wholly committed artistic approach, greater attention is being focused on such issues as the mother seen through a daughter 's eyes and the kindred relationship between mother and daughter.

"In reality, if I didn't talk about my mother I couldn't have talked about myself. Like going through a rite of passage, I could not help but talk about my mother."

To Yun, the mother's sacrifice deserves far more than a discussion of the sublime. Evidence of the patriarchal ideology that demanded sacrifice and overlooked abuse can be seen in her works. As such, the mother 's sacrifice depicted in her works is characterized by a multifaceted complexity. At every corner of society there exists an excess of inhuman oppression and tragedy, such that it is not possible to rely on the concept of love and recognize sacrifice as an absolute symbol of motherhood.

The titles of the works in her "Mother" series, such as 38 Koreana I Spring 2004

Vun's creations, which began as two-dimensional paintings, have become sculptural installation works made of wood.

Moreover, the themes of her works have also broadened from . the suffering and resentment of women to an acknowledgement of women's place in society.

Spring 2004 I Koreana

39

Works from Yun's "To Be Lengthened" series, watercolor pencil on paper, 45.5 x 30.5 cm, 2001

19 Years Old, Daughter and Son, For the Family, and

ness, but rather their perseverance." Yun's art career,

From Within the Gate to Without, are all intended to expound on this relationship. And in each of her works,

which started out with the subject of mothers, continued on with such series as "Pink Room," "The Seeding of

though it may appear somewhat antiquated today, her

Lights," and "To Be Lengthened." In terms of style and

utilization of the patterns found in colorful, traditional

media, her initial "Mother" series was comprised of two-

fabric reveal that there was a lilting poem alive in the

dimensional paintings, but she later created installation

hearts of the mothers, even when bent with age, like

art works made from wood, which has since become

gnarled trees, from the weighty burdens of maintaining

her trademark medium. As for Yun's love for working

a family household. In particular, such a sentiment is a

with wood, is this somehow related to her feminist

reflection of the inner side of mother, which could only be perceived by a daughter.

advocacy?

"In the early 1990s, I visited the birthplace of

After reaching the age of motherhood, a daughter

Heo Nanseolheon (a woman poet during the

who reflects upon her mother comes to better under-

Joseon period) in Gangneung, where there was

stand the depth of her trials and bitter life experi-

a grove filled with persimmon trees. I picked up

ences. Of course, these mothers were neverthe-

a fallen branch and carved Heo Nanseolheon's

less high-spirited and in good health in order to

name onto it. As I handled the wood, it felt like

dutifully look after their family.

the skin of a woman. The wood was warm,

"I like going to the traditional market, where

with a soothing and wrinkled grain-just like

the coarse and boisterous voices, laughter, and

the skin of an old woman. If you drew a face

bantering were brimming with vitality. What

on that wood it would become a woman."

I feel from these mothers is not so much sad-

Born in Shenyang (formerly Fengtian) ,

Installations of wood have become Yu n's trademark.

To Be Lengthened-Water, mixed media, 117 x 60 x 232 cm, 2002 Spring 2004 I Koreana

41

The extended arms symbolize women's desire to reach out to each othe r. Blue Bell, mixed media, 187 cm high, 2002

Manchuria, in 1939, Yun was introduced to painting dur-

about the series: "When I finished working on 'Mother,'

ing her days at Seoul National University Middle School.

I felt as if I had just completed a lengthy shaman ritual.

At the age of 40, in 1979, she launched her career as a

Then I gained the courage to talk about myself. ' Pink

painter. In 1983, she went to the United States for a year

Room' is about me. It could be called the story of the

to study woodblock art. Her diligent work ethic allowed

mothers ai¡ound me. I wanted to portray my place, and

her not only to overcome her handicap as a latecomer,

the place of mothers. Actually, I have only recently had

but to attain notable success, leading to her first solo

my own room. When describing my place in life, I

exhibition in 1982. She has also actively participated in

instinctively talk about 'Pink Room. ' What I present in

exhibitions that dealt with women-related themes and

'Pink Room' is a Western-style chair, onto which I place

issues, including "Women and Reality," "Women, Their

Korean clothing, creating an awkward juxtaposition of

Differences and Strengths," and the "Women's Art

two cultures. It was as if this symbolized the uneasy

Festival: Patjwis on Parade."

place of women, who cannot be in either the kitchen or

Despite the late stait in her art career, in just a brief

their room."

time Yun emerged as a talented artist, worthy of atten-

Her "Pink Room" series is an installation work that

tion. This indicates that just as her feminist perspective is

comprises such items as Western furniture, a large nail,

rooted in some innate quality, the same is true of her pro-

and pink beads. It depicts the reality of the unease and

found love for and devotion to art. As was the case with

unce1tainty imposed upon middle-class women in Korea

Van Gogh and Gaugin, it seemed to be part of Yun's des-

today, beleaguered by the omnipotence of materialism,

tiny to ultimately engage in artistic pursuits at some

dissolution of the family, and a loss of identity. Yun

point in her life. In the rnid- l 990s, she was able to move

yearns for women to overcome this age of crisis through

beyond talking about her mother and to talk about herself

their resolute solidarity. This desire is expressed in her

through her "Pink Room" series. She had this to say

"The Seeding of Light" series, which features 999 trees,

42

Koreana I Spring 2004

and her recent "To Be Lengthened" series. "I want to

somehow be reconnected with her wrist, rather than

touch someone, to reach out and place my arm around

wondering about if her hand will reach whatever it is try-

another's shoulder. Yet in real life, a woman cannot

ing to touch. The task for this woman is to first regain

reach out to other women. This may also be related to

her hand. It is also meaningful to note that the work

the inherent loneliness of people. Women in particular

leaves the viewer with an impression that this situation

want to reach out to each other, and after having made

does not involve any specific woman, but instead sym-

such contact to then realize some accomplishment. Is

bolizes the reality that all women encounter. In this way,

there not much that we cannot accomplish?"

the woman who seeks to reach out her hand can find her-

Yun strives to reach out to others in part because she

self faced with seemingly insurmountable obstacles from

hopes to overcome the basic loneliness of humanity, and

the very start. But in the end, this is no more than a cata-

also because she desires to have women, as opposed to

lyst for the eventual advancement of modem society.

being outsiders on the fringes, move toward the center

If women can take that step toward genuine love and

based on a kindred spirit. The woman in her 2003 work,

solidarity, we can move toward a world of greater com-

To Be Lengthened, extends her hand as an expression of this spirit. By reaching out her hand she is extending herself.

What makes this work so memorable is that the hand this woman is extending is separated from her wrist.

Consequently, a viewer's attention is naturally focused on the matter of whether her hand can

passion, peace and fulfillment. Until that time, the installation art of Yun will continue along its path of boundless expansion.

In this regard, the poet Kim Hye-sun has

eloquently observed: "In the works of Yun Suk-nam, the road ahead flows from the eyes and hands." ~

In Yun Suk-nam's works we can sense a desire to integrate sculpture with the medium of painting. Mother 2-Daughter and Son, acrylic on wood, 1992

Spring 2004 I Koreana 43

ON THE GLOBAL STAGE

. ~

·r I

Chung Myung-whun Envisions a World United by Music 44

Koreana I Spring 2004

Chung Myung-whun is one of the first generation of Korean performers of classical music who have made a name for themselves on the world stage. After distinguishing himself as an accomplished pianist, he is among the elite of today's world-class conductors.

Anna S. Roh Senior Editor, Auditorium

T

Lee Eun-joo Photographer

he success of Korean performers on the world stage of classical music is truly extraordinary. Korean wunder-

kinder, such as Sarah Chang, Chang Hanna and Daniel Lee, for example, are far more motivated and established

than their counterparts from neighboring Japan. As such, prominent classical music recording multinationals such as EMI and Deutsche

Grammophon make annual trips to Korea to scout the latest Korean performers.

Conductor Chung Myung-whun is one of the first generation of Korean musicians to succeed overseas. He and his sisters, violinist Chung Kyung-wha and cellist Chung Myung-wha, were the first performers to make Korea known in the international world of classical music. At the same time, they were the pioneers who blazed the way for the new generation of Korean performers to successfully debut on the world stage.

Known as the "Chung Trio," their noteworthy success has brought honor to the Chung family name. Their mother, who immigrated to the United States and operated a Korean cold-noodle restaurant in order to support her children's education, raised three world-class musicians in one generation. She later published this remarkable story in her autobiography, which was a best seller in Korea.

Unlike Chung Kyung-wha, who is active in New York, and Chung Myung-wha, who has settled in Korea as a professor at the Korean National University of Alts, Chung Myung-whun has been active as a conductor in Europe. Born in 1953, Chung began playing the piano at age five, and by age seven he had already played with the Seoul ŠCM I Korea

Chung Myung-whun, Korea's best-known conductor, carries on his musical career overseas as conductor of the world's finest orchestras.

Philharmonic Orchestra. After immigrating to the United States with his family, he attended the Julliard School where he majored in piano, and earned awards at prominent competitions such as Poland's Chopin Competition, Munich's International Music Competition, and Moscow's Tchaikovsky Competition. In doing so, he seemed to be following a path to success like that of his elder sister Kyungwha, who was quickly establishing herself as a world-class violinist.

While having performed primarily as a pianist until the 1980s, Spring 2004 I Koreana

45

management, and was forced to resign as general direc-

Chung also served as an assistant conductor for the L.A. Philharmonic Orchestra in 197 8, which led to his

tor of music and permanent conductor, contrary to his

appointment as music director and principal conductor for Germany's Saarbriicken Radio Symphony Orchestra,

personal desire as well as that of the Bastille musicians.

He still considers this controversy to be the most difficult

thus launching his career as a conductor. Then, after having worked with such highly regarded orchestras as the

period of his life, noting: "Having to part with the Opera and the orchestra members whom I had grown so fond of

Berlin Philharmonic, L.A. Philharmonic, Munich

was more painful than any personal loss of honor."

Philharmonic, and London Philharmonic, Chung was

Five years after his departure from the Opera Bastille,

named to succeed Daniel Barenboim as the general

Chung was able to stage a triumphant return to Paris in

director of music and permanent conductor of the world-

2000, as the permanent conductor for the Radio France Orchestra, one of France's representative orchestras. The

renowned Orchestre de l'Opera Bastille. At the Bastille podium in .Paris, a world center of art and culture, con-

members of the orchesfra and citizens of Paris, who

ductor Chung Myung-whun was now front and center of

knew that he had bowed out in 1994 due to political cir-

the global stage of classical music. As evidence of his musical prowess, Chung received numerous awards,

cumstances, warmly embraced Chung.

including the France Music Prize and Critics' Prize in 1991, the French National Medal in 1992, and the Classical Music Victory Award in 1995. It was also at this time that the name of Chung Myung-whun became known in Japan, which is keenly attuned to the European world of classical music.

Chung was especially active in Europe, even serving as the musical director of Italy's Santa Cecilia Orchestra, when he was invited to Japan. In Japan, where people knew well about his success with L' Opera Bastille, he was offered the position of special artistic advisor for the Tokyo Philharmonic Orchestra. Founded in Nagoya in

After enjoying success after success during the five

1911, the orchestra moved to Tokyo in 1938, and is the oldest orchestra in Japan. In 2001, it merged with the

years since taking over the Opera Bastille, Chung suddenly found himself facing an insurmountable challenge.

Japan Shinsei Symphony Orchestra and became the resident orchestra of the Tokyo National Opera House.

Like his predecessor Barenboim, Chung fell victim to the

Kurematsu Saburo, the head of the Japan Shinsei

political maneuvering of the orchestra's administrative

Symphony Orchestra before the merger, and Norio Oga,

46

Koreana I Sp ri ng 20 04

Chung Myung-whun is the conductor of the Tokyo Philharmonic and the Radio France Orchestra.

Through his passion for music, he is seeking to promote a musical world that transcends national borders.

"From the moment I lifted the baton all of these unique regional characteristics became meaningless. It is the same with the Tokyo Philharmonic. In that moment there are no Japanese, no Koreans. There is only music."

vent passion in the music of Chung Myung-whun that

former chairman of Sony Corporation, made earnest appeals for Chung's acceptance on various occasions.

the Japanese people cannot easily find elsewhere. The

Naomoto Okayama, vice chairman of the Association of Japanese Symphony Orchestras, stated: "Before Chung

Tokyo Philharmonic has performed with some of the most distinguished conductors in the world, but when

Myung-whun accepted this position, the hard-to-please

they perform with Chung even the air feels different. The orchestra members become more confident and they can

Japanese classical music fans were nonchalant about attending performances. But since Chung agreed to lead the Tokyo Philharmonic, there has been such a fervor among concertgoers that every concert he conducted has been sold out. With every performance, his reputation

be quite emotional. The maestro has an exceptional ability to reach deep down inside the orchestra members and draw out the emotions hidden there."

Chung was hesitant to accept because of his busy schedule in Europe, and also due to the delicate relation-

has been enhanced not only among music critics but regular concertgoers as well." The fact that his concerts con-

ship between Korea and Japan, but he is now pleased

tinue to sell out despite the lengthy period of stagnation due to Japan's recent economic slump is considered quite

with his choice. "Since my youth I have traveled to many lands and performed and conducted there. Each time, in

a remarkable feat in the Japanese cultural world.

each country, I could clearly sense the existence of a

Although the Tokyo Philharmonic may have a longer history, within Japan the NHK Philharmonic enjoys a

'local flavor,' of the tastes of the people. But from the

superior standing. Chung, who has conducted both the Tokyo Philharmonic and the NHK Philharmonic, has said objectively: "In terms of musical level, the NHK Philharmonic is a step up." Then why did Chung agree to work with the Tokyo Philharmonic , and why are Japanese audiences now so wildly enthusiastic about the Tokyo Philharmonio?

The manager in charge of interpretation at the Tokyo Philharmonic puts it this way: "There is a direct and fer-

moment I lifted the baton all of these unique regional characteristics became meaningless. It is the same with the Tokyo Philharmonic. In that moment there are no Japanese, no Koreans. There is only music."

In March 2003, in recognition of his services to the Radio France Orchestra, Chung received the Classical Music Victory Award, which is presented each year to the most active musician in France. Chung also earned this award in 1995 , during his time at L'Opera Bastille. L;.11 Spring 2004 I Koreana

47

he first question I asked of embroidery artist

T

Han Sang-soo, who has been designated

Important Intangible Cultural Properties No. 80, was a simple one: "Is the work very diffi-

cult?" I just blurted out this question because, to my

eyes as a contemporary individual with a considerable lack of patience, using a tiny needle to make tens of thousands of stitches to create an embroidery work seemed to be an extremely tedious endeavor. Nevertheless, Han answered: "Yes, it's difficult."

Her back ached and eyes hurt. But she says the pain is nothing in comparison to the pleasure of seeing an object come to life on the cloth, stitch by stitch. Han says it is this personal satisfaction that makes her take up her needle, again and again. Indeed, such a thought could only be expressed by a master artisan. Only an individual who derives such pleasure from his or her work, no matter how much pain or sacrifice might be involved, could have this kind of sentiment.

Embroidery is an art of using a needle and thread, or other decorative material, to make countless stitches in accordance with various techniques onto a cloth or similar surface. It is a handicraft in which the stitches

Han Sang-soo Using Needle and Thread to Create Exquisite Embroidery

Decorative embroidery embodies diverse wishes for a life of good fortune. Han Sang -soo is an artisan who has devoted her whole life to the revival of traditional embroidery (above).

A pouch like this with two embroidered cranes in gold thread would have been used by court officials of the Joseon Dynasty (left).

Spring 2004 I Koreana

49

form objects in relief, highlighted with elaborate details of color and texture. If in the past, the sound imbued in the hearts of Koreans from a young age was that of their mothers rhythmically fulling cloth on a stone block on a summer night, then the visual image was that of their mothers sewing under the light of a kerosene lamp.

Another typically Korean image is that of a young daughter sitting in front of a frame quietly embroidering.

However, like other traditional handicrafts today, embroidery is a dying art. As such, nowadays it is rare to come across embroidery works made with the beautiful colors, patterns and refined techniques handed down from the past. Since the introduction of sewing machines, embroidery has become a forgotten art for most ordinary people, such that an ardent struggle has been required for its preservation. If not for Han Sangsoo, who has spent her entire life in front of an embroidery frame to help sustain the life of traditional Korean embroidery, then the art may well have been lost forever.

In her search for the roots of Korean culture, Han sought the guidance of the late Cho Ja-ryong, director of the Emille Museum, named after the famed Emille Bell.

50 Koreana I Spring 2004

Hwarot, the traditional wedding attire of a bride, lavishly embroidered with peony, chrysanthemum, lotus, and crane motifs

A pendant used by women to adorn their traditional dress (right).

Han Sang -soo's reproductions of a pouch used by a Joseon Dynasty queen {below).

displayed in a Buddhist sanctum or at outdoor services, bean. In 1974, Han published a book, Embroidery of the Joseon Dynasty, that was

based on her personal collection.

This book made a substantial impact in that it introduced to the world the long-forgotten art of Korea's traditional embroidery.

Moreover, Han also busily went about collecting materials from Unhyeongung Palace and Changdeokgung Palace . Not content with simply collecting items, she began to re-create various works, a prime example of which is "Cheonsuguksujang." The origiEmbroidery is a product of intense dedication. It also

nal of this work, produced

calls for discriminating taste for selecting the proper cloth and the arrangement of colors, as well as

around the seventh century and currently housed at Chuguji Temple in

painstaking handiwork for making the countless

Japan, is a representative example of embroi-

stitches and tedious finish ing touches to complete an embroidery work.

dery art of the Three Kingdoms period. Han re-created this work in 1982.

Han also maintains a keen interest in Goryeo Dynasty (918-1392) embroidery. At the 6th Grand Handicraft Exhibition of 1981, she received the President's Award for her embroidered image of Buddha, which incorporated the techniques she uncovered during

techniques of traditional embroidery could be revived.

Thereafter, Han would visit temples around the country to collect cultural artifacts, which included the acquisition of several works of Joseon Dynasty embroidery.

These included an emblem from the king 's official robe that featured the stitching technique used in royal court embroidery, gungsu; an ornament from a palanquin used in Buddhist rites, yeonsusik; and a banner

her research of Goryeo Buddhist embroidery. Having traveled to all comers of the country to study traditional embroidery methods, on the surplice of National Preceptor Uicheon (1055-1101) at Seonamsa Temple, Han discovered a uniquely Korean embroidery method known as jarisu, which she applied to her Spring 2004 I Koreana

51

A silk pouch for holding a spoon and chopsticks embroidered with symbols of a desire for good health and long life (left) With their beaut iful, detailed needlework, folding screens are exquisite works of art (bottom).

image of Buddha. This technique, so named because the stitches are sewn in a manner like

arrangement of the thread, to highlight color and sheen, was particularly exquisite, while

that of a woven mat (dotjari), had not been uti-

the use of gold and silver thread made

lized since the Joseon Dynasty. In reviving this technique, Han did much to promote the

gungsu works the epitome of embroidery handicrafts. In addition, embroi-

uniqueness of Korean embroidery.

"In searching for the archetype of Korean

dery works called suhwa were popular among both the royal court and the aristocracy.

embroidery, I learned that Buddhist embroidery

Anjusu, embroidery depicting the scenes of the

had greatly influenced the development of embroidery in Korea. The majority of embroidery works

everyday life of common people, could be found everywhere in the country.

from the Three Kingdoms period and the Goryeo

While reviving and providing instruction on tradition-

Dynasty are Buddhist in origin. So I began to devote myself to the Buddhist embroidery works in which no

al embroidery, Han developed a specific interest in two aspects. The first was the thread, and the second was the

one else took an interest," Han said.

Joseon Dynasty embroidery can be grouped into three

training of successors to carry on the tradition of Korean

categories. The first and most elaborate is gungsu, which

embroidery.

"Thread is used to create the objects and colors of

was produced for the royal court. It was used for the clothing of royal family members and for robe insignias,

embroidery. Therefore, the color of the thread is allimportant," Han emphasized. "Previously, I had some-

under a system adopted after the 15th century in which robe insignias were used to indicate the ranking of court

one who knew my tastes that provided me with thread of the colors I wanted. Whenever this person brought me thread, he would say: 'These are Han Sang-soo's colors. '

officials and military officers. For the production of the needed embroidered items, the court operated an admin-

But now that he has passed away, I have become more

istrative office, Hwaajang, under its direct control. The gungsu procedures were divided into various parts, with

particular about selecting the right color thread. This is the only way to produce better quality works."

the work being undertaken with painstaking care and

Thus far, Han has instructed some 1,000 students. In

masterful refinement by court-appointed artisans. The

the 1960s and 1970s, doing embroidery work was prof-

52

Koreana I Spring 2004

Stitch by stitch, Han meticulously pours her soul into her elaborate creations.

itable and many people came to her to learn the funda-

stitching. It takes creative ideas and the cloth has to be

mental techniques.

"Though I only instruct students on technical skills, it

high-quality, too. Selecting the ideal cloth is therefore a

has been a valuable opportunity to promote traditional embroidery, an art that was headed toward extinction.

particularly challenging task. Then the pattern has to be drawn, the thread prepared and dyed, and the methods of stitching decided, before the actual embroidering gets

That's why I neglected all my household work and

underway. To refine a piece of embroidery into an art-

devoted myself solely to teaching. Nowadays, students

work, when the stitching is completed, the cloth must be

even come from Japan for lessons, making the hardships

dusted off, the thread ends cleaned up, and a coat of paste applied to the underside. When the paste dries, the cloth

of the past all the more worthwhile."

is steam ironed and left to dry overnight in a place away

Han began her training in embroidery at the age of 17 ..

Hearing that an embroidery store was offering lessons on

from direct light. When no traces of moisture remain, the

how to make a purse, Han went along and met the person

embroidered surface is framed or shaped into purses or

who would become her life-long teacher, the late Cho Jeong-ho, embroidery researcher and former professor at

other items, creating a true work of embroidery art.

"When I was a beginner I concentrated only on mak-

Ewha Womans University. Blessed with deft hands and a

ing smooth and attractive stitching. But with time and

sharp eye, Han was a natural, such that within a year of her first lesson she earned a special award at a national

experience, you gain maturity. Then the stitching comes not from the end of the needle but from the mind. At this

handicraft exhibition.

stage it is not the hand t.hat controls the needle; rather the

"My teacher placed much greater emphasis on attitude than technical skills. Perhaps because of my positive

needle naturally goes wherever the mind directs it. And when you reach this stage the work becomes effortless."

mindset, I was able to master all 120 basic stitches," Han

Thus, in the end, Han answered my first question

said.

However, there is much more to embroidery than just

again. It was a thoughtful response to my frivolous question.~ Spring 2004 I Koreana 53

On Namhaedo Island, the azaleas bloom about a month earlier than areas farther north (left).

Fishermen prepare to embark on a morning thick with spring fog at Heuksando Island (opposite page).

for a national park include the following: "A national park must involve a relatively large area; this area must maintain one or more ecosystems (usually 1 to 7) that are physically unaltered by human occupation and development; and the flora and fauna, geographical characteristics, and habitat of this area must possess special scientific, educational, or recreational value as well as beautiful natural surroundings."

the streets bundled in heavy overcoats, flowers in bloom can be readi-

Korea's Natural Parks Law defines a

ly seen on the southern islands. The

national park simply as "a site with

scenes of spring's arrival on TV can

beautiful natural scenery that well represents the landscape of Korea."

instill fresh hope and inspiration in viewers' hearts, which will be posed

As for Korea's national parks,

to blossom into reality within a mat-

which are all blessed with breathtak-

ter of a few weeks.

ing landscape scenery, a primary fac-

Maritime National Parks

tor behind their designation is the desire to protect these natural

Among Korea's 20 national parks, two are maritime parks. Situated

resources from reckless development. Yet, paradoxically, to enable

adjacent to each other, the Hallyeo Maritime National Park and the

visitors to enjoy this wonderful scenery in comfort and safety, the

Dadohae Maritime National Park

government has allowed the devel-

extend along a lengthy stretch of the south and west coasts of Korea.

opment of extensive facilities that invariably impact the natural sur-

According to the International Union for Conservation of Nature and Natural Resources, its criteria 56 Koreana I Spring 2004.

roundings.

The Hallyeo Maritime National Park comprises the coastline and off-

shore waters from Geoje, Gyeongsangnam-do province, to Yeosu,

This area boasts an exceptionally rich natural environment that fea-

Hallyeo was designated Korea's fourth national park.

Jeollanam-do province. Within the park's area of 510.3 square kilome-

tures numerous islands and beaches, clear ocean waters, and a wide diver-

The Dadohae Maritime National

ters (165.5km of land and 344.7km

of water), there are 96 islands (39

sity of subtropical plants and birds.

In particular, from Hyangiram, a

inhabited and 57 uninhabited) as

small Buddhist temple, on the south-

well as the cities of Geoje, Tong-

ern end of Dolsando Island near Yeosu, the true magnificence of the

2

2

yeong, Sacheon, and Yeosu, and the Hadong-gun and Namhae-gun counties.

south coast seascape can be fully appreciated. On December 31, 1968,

Park begins where the Hallyeo Maritime National Park ends, at the coast of Yeosu. With an area of 2,344.9 square kilometers, it is Korea's largest national park.

Among the 1,596 islands it embraces are Heuksando, Hongdo, Geomundo, Wando, Bogildo, Bigeumdo, and

Spring 2004 I Koreana

57

58 Koreana I Spring 2004

I¡ I

Baekdo. Of Korea's 3,000 or so

Most of the major islands within

As I have mentioned in my previ-

islands, more than one-half are found off the southwest coast of the penin-

close proximity to the coastline can now be reached from the mainland

ous writings, Koreans have a deep love for the land, which is no doubt

sula.

by bridge, along with all inhabited islands having regular ferry service

rooted in our long-time agrarian culture.

From a distance, the Hallyeo and Dadohae Maritime National Parks

that makes one or more trips daily to and from the mainland, or from

Beyond their beautiful natural surroundings, the two maritime national

island to island. In spite of this

parks lay claim to relatively few sites

may appear to involve endless

access, it has become increasingly

of notable historical interest, with

scenes of picture-postcard seascapes,

rare: to find young people on the

only a handful of cultural artifacts

but like all places where there are

islands. Members of the younger generation have been steadily mov-

and ancient temples to be found there. In large part, this is the result

ing off the islands to the cities, as

of the limited population of the

has long been the case with residents from outlying rural communities

islands in times past and the difficul-

Korean politics, it should nevertheless be mentioned that Korea's for-

throughout Korea. Like the two for-

In Korea, ancient temples have

mer presidents of Korea, the pursuit

mer president, Kim Dae-jung, was

of their lofty dreams has invariably led them to the big cities. And even

become popular visitor attractions.

When Buddhism was suppressed

Splendor of Natural Seascapes

people, when seen close up, there is always something different than what might be seen at first glance.

Without delving into the specifics of

born on Hauido Island, now part of Dadohae Maritime National Park, while his predecessor, Kim Youngsam, was born on Geojedo Island, at the edge of Hallyeo Maritime National Park.

for those with dreams that are less modest, a convenient and comfortable everyday life can be more easi1y managed in a city than on a remote island.

ty of facilitating interaction.

during the Joseon Dynasty (13921910), the monks retreated to the mountains, where they built temples and carried on with their religious ways. As a result, most of the temples from the Joseon era are found at

Terraced plots on Namhaedo Island ripple with light green waves (opposite page).

Camellias on Odongdo Island brave the cold winter air to open their new buds (above).

Spring 2004 I Koreana 59

Clusters of bright yellow rape flowers blooming along the coast of Geojedo Island (left) In spring, an abundance of anchovies end up in the nets of fishermen (opposite page).

Numerous islands, of varying sizes, scattered about the ocean's deep blue waters-endless scenes of picturesque natural seascapes are the essence of Korea's maritime national parks.

sites surrounded by exquisite natural landscapes, which both local and foreign visitors find irresistible. People

temples, finely crafted wooden structures originally built some 100 to

time National Park is formed from the han ( ~) of Hans an do Island, at the eastern tip of the park, and the

also come by to admire the stone

300 years ago, are well worth the time and effort of a leisurely visit.

pagodas, Buddhist sculptures, and

And while the age and wear of these

its western boundary. Under the prin-

other cultural relics that are found at

temples have required them to be

ciples of Korean phonology, ryeo is

these temples.

Since traditional Korean buildings

reconstructed over the years, their

pronounced as yea when it comes at

original design and architectural fea-

the beginning of a word, and the

tures have been carefully preserved.

consonant cluster in the sequence

As there are very few temples and stone Buddhas on the islands , it

"han-ryeo" is assimilated to form "hallyeo."

seems that Buddhism never took

Within this national park is the

firm root there. But the islanders of old, like their contemporaries on the

site of an epic Joseon-era naval vic-

were made primarily of wood and clay, only a few of these structures remain intact today. Many have been destroyed by fire, while others have simply collapsed due to their advanced age and inadequate maintenance. As a result of industrialization and urbanization, ever more Koreans now reside in Western-style housing and apartment complexes. Meanwhile, large-scale traditional-style buildings with historic or cultural value have been designated as cultural resources and extensively restored. As such, Korea's popular 60 Koreana I Spring 2004

ryeo (~ ) of Yeosu, the coastal city at

mainland, practiced an older form of

tory. It was in these waters and along the adjoining coastline that fierce

nature-related religion from very early times. The relics of this ancient

naval battles were fought during the Hideyoshi Invasions (1592-98) ,

shamanism include stone artifacts

when Japanese forces led by warlord

and shrines for tutelary deities, several of which can still be seen today.

Toyotomi Hideyoshi attempted to

Defeat of Japanese Invaders

exploits of the legendary Admiral Yi Sun-sin, who defeated the vaunted

The "Hallyeo" of Hallyeo Mari-

invade the Korean peninsula. All Koreans are familiar with the heroic

Japanese navy with the innovative armor-covered "turtle ships." Relics of these battles remain scattered about the southern coast and islands mostly in the form of forts, including those built by Korean troops to repel the Japanese intruders as well as others built by the Japanese in an effort to establish a beachhead for their invasion. However, the extensive clashes of this lengthy conflict led to the destruction of many of the major temples that once existed in this area.

Arrival of Spring

Thanks to the warm air currents that flow up from the South Pacific, these southerly islands are never that cold, even in winter. But these warm winds bring more than tidings of spring. At times they can bring powerful typhoons. Typically in late summer or early autumn, about five or six typhoons each year will travel along a course headed for the Korean peninsula, of which a couple will strike, often with devastating consequences. Last year, the powerpacked typhoon Maemi swept across Korea, leaving behind a huge swath of destruction. Most of the time, however, the coastal seas are as calm as a lake.

With grass and trees that are able to remain green throughout winter and blossoms appearing so early in spring, the southern islands are a

vest, here and there flowers begin to

around this time that the mainland city folk, who have shivered through

bloom.

The camellias that bloom in win-

the winter, will venture down to the

ter are already wilted by the time the meadows begin to blossom with vio-

south coast to greet the arrival of spring. As the fragrance of pink aza-

place of beauty and pleasure. The barley planted in fall sprouts during

lets, corydalis, and dandelions. The

lea and brilliant cherry blossoms

rape flowers awake from their winter

winter, forming lush green fields that can lead you to believe that spring is

slumber to put forth bright yellow petals, a perfect complement to the

wafts through the air, spring begins to spread northward over Korea. And

right around the corner. And when

green of new leaves that makes the

before long, the entire peninsula will be blanketed with the fresh hues of

the barley fields are ready for har-

picture of spring complete . It is

another spring. ~

Spring 2004 I Koreana

61

CUISINE

Made from fermented soybeans, doenjang is used as a basic ingredient for soups and stews (left).

Ground soybeans are formed into blocks, wrapped in rice straw and hung in a well-ventilated area for about 40 days (bottom).

Ganjang (soy sauce) and doenjang (soybean paste) are traditional Korean seasonings made from soybeans that undergo a natural fermentation process. Today, fermented and other naturally processed foods are increasingly attracting keen attention the world over for their proven health benefits.

Koo Chun-Sur Director, World Food Culture Research Institute

62 Koreana I Spring 2004

Ahn Hong-beum, Suh Jai-sik Photographers

Traditional Fermented Seasonings

A

lthough countless fermented food items can be found all over the world, Koreans like to believe that they have created more of these than anybody else. Whereas kimchi is the

most representative example of a traditional Korean fer-

mented food, there are other items with even longer histories that have been a part of everyday meals for as long as anyone can remember, such as ganjang and doenjang.

The Chinese typically prepare Jiang (~ ) by fermenting fish (yujiang, i.l ~ ) or meat (roujiang, ~ ~ ). Although these are similar in appearance, the ingredients that go into their preparation are different. Yujiang is widely popular in Southeast Asia.

The Essential Ingredient

Soybeans are one of the most popular natural grains cultivated on the Korean peninsula. Although a variety of grains were introduced into Korea from other countries, it was only natural that soybeans, thanks to their simple cultivation process and extended storage life, would become a staple of Korean food culture. After soybeans have been fermented, they can easily be maintained for several years. In fact, some families have been preparing their own unique form of ganjang for over 200 years, by continually repeating the fermenting process and mixing aged stock with newly produced ganjang.

As recently as 10 years ago, it was not difficult to see hangari (crockery pots) when driving around the country-

side of Korea. They were invariably located in an area that received ample sunlight and was also well ventilated.

If a house had a big enough yard, the hangari were often placed along the rear wall. In such case, the hangari Spring 2004 I Koreana

63

64 Koreana I Spring 2004

To start with, well-ripened soybeans are soaked in water for about 24 hours (opposite page).

After the soybeans are boiled, they are mashed into a paste (left).

Salt water is added to the fermented soybeans to produce ganjang (soy sauce) (right).

would sit on an elevated base, made from stones and

mented meju and salt water would gradually mix togeth-

earth, so that they could receive more direct sunlight.

This elevated base was commonly known as jangdok-

er over an extended period of time. When the salt water takes on a dark brown color, it is ganjang. Once the soak-

dae, or crockery jar terrace.

ing and mixing process is completed, the meju is

Since ganjang is a liquid and doenjang a paste, the two

removed. The removed meju is doenjang, while the dark

can be easily distinguished. However, they both share a common origin. Tradition calls for Koreans to prepare

brown salt water is ganjang. Ganjang is then boiled and stored in a large hangari on the jangdokdae.

the mejubap needed to make doenjang in the tenth lunar

Doenjang, which is also made from the fermented

month, by boiling and grinding soybeans. The ground soybeans are formed into a block (20 x 15 cm) or round

meju, has the consistency of a thick paste. Charcoal and

shape, and left to dry for a week in a cool place. Then,

red peppers are placed in a ganjang pot. Charcoal is added because it is effective in absorbing impurities,

the meju is bound with rice straw and hung to dry from the eaves of their homes for about 40 days. When the

while red peppers are included for their sterilizing capability. These ancient methods of preparing jang have

meju is thoroughly dried, it is stored in a warm place so

been scientifically proven to produce fermented foods

that it can ferment. The rice straw is not removed since it serves to facilitate the fermentation process.

with impressive health benefits.

When the fermentation process is complete, the meju is placed in salt water. The water's salt content is proper

Great Taste, Good Health

when the meju will float toward the surface. The fer-

Wei and Dongyi Tribes, Sanguozhi, a Chinese document

Mention of Korean jang can be found in the Book of

Spring 2004 I Koreana

65

compiled by Chen Shou in A.D. 290. This would seem to confirm that jang-making methods were developed a

lished in 739, the Japanese referred to maljang as miso.

Touga by Arai Hakuseki in 1717 stated: "Maljang, which

long time ago, indeed. Doenjang, which is neither hard

originated from Goryeo, made its way to Japan, where it

nor soft, was also called tojang in the past. In the days of old, the Chinese used to refer to doenjang as the smell of

was pronounced as miso, in accordance with the local dialect."

Korea; thus indicating their acknowledgement of the fact

In the olden days, doenjang was said to possess five virtues. The first of these is dansim, meaning that doen-

that doenjang originated on the Korean peninsula. The technique of preparing meju was eventually introduced to Japan, such that the mention of jang, si, and maljang is

jang will maintain its own taste and aroma even when

included in the Japanese Daihoritsuryo, or Daiho Code

combined with other tastes. The second is hangsim, that doenjang would never go bad. If stored properly, doen-

published in 701. Maljang was introduced to Japan as

jang actually develops a more intense taste over time.

well. However, according to a Shosoin document pub-

Third is bulsim, that doenjang can eliminate the unpleas-

One of the more noticeable signs of our changing times is that ever more Korean households now purchase their ganjang and doenjang from stores rather than making them at home. Nevertheless, no matter where they might live, Koreans can never forget the unique taste of these traditional foods.

66

Koreana I Spring 2004

ant odor of fish and meat. Fourth is seonsim, in which doenjang is said to make spicy food more savory. And fifth is hwasim, meaning that doenjang can be used to complement any type of food.

A recent report revealed that doenjang has the most significant anti-carcinogenic efficacy of all Korean fermented foods, followed by gochujang (red-pepper paste) and ganjang. In the case of doenjang and gochujang, homemade items were found to have greater anti-carcinogenic effectiveness than the commercial products sold in stores. Moreover, traditional doenjang is also known to be effective for restoring liver damage.

~

Along with doenjang, soy sauce is a basic seasoning integral to Korean cooking (opposite page).

The ground-up soybeans are formed into various shapes, like rectangular blocks (right}.

Fermented soybeans are stored in an earthenware crock, to which hot charcoal and red chili peppers are added {bottom).

Spring 2004 I Koreana 67

MARKETS

f you walk along Toegyero in

the pet shops. Here you can find

Seoul, you will eventually encounter a heart-tugging scene

diverse breeds of puppies of all

In this area, all types of pet-related stores are available, including pet

of cuddly creatures with ador-

shapes and sizes looking out at passersby with affectionate eyes.

able eyes staring at you from the dis-

Anyone who comes across the kind

shops, stores selling pet supplies, pet groomers, and veterinary clinics. The

play windows of shops lining the

of puppy that they may have dream-

stores form an economic center situ-

street. Of course, as you may have guessed, the eyes belong to the mul-

ed of owning will inevitably pause and gaze at the adorable face staring

ated around the Seoaegil area of Toegyero that stretches from the

titude of puppies that are for sale in

back through the window.

Jinyang Arcade to the cluster of

I

All-in-One Pet Center

Where Everything for Your Pet Is Available

68

Koreana I Spring 2004

With the number of families with pets on a sharp rise, the scale of the pet market in Korea has reached annual sales of some 1.2 trillion won ($1 billion). To see firsthand the pet market's remarkable development in recent years, all you have to do is visit the stretch of Toegyero that has come to be known as Pet Street.

Kim Geun Poet

Seo Heun-kang Photographer

Toegyero's Pet Street provides for everything a pet could ever need. From top: veterinary clinic, pet auction center, and dog grooming institute.

motorbike shops, and from the Daehan Multiplex to the post office at Toegyero 5-ga. The 35 pet shops, 6 veterinary clinics, and 5 pet groomers found in this area have in effect formed a one-stop pet center.

It is here that you can visit to take

care of anything related to the raising of pets. Moreover, with a majority of the country's pets and pet supplies originating from this area, it has come to play an instrumental role in the development of Korea's pet market. Toegyero first became a petrelated area in the early 1960s with the opening of the Jeil Veterinary Clinic. However, it was not until 1969 that the first pet shop opened its doors at the Daehan Animal Clinic. Thereafter, the number of pet shops steadily increased to around 30 by the time Seoul hosted the 1988 Summer Olympics.

The pet boom in Korea began in earnest in the late 1980s. Thanks to the rapid economic development, Koreans could afford to take up various hobbies and leisure-time activi-

.

ties. In particular, pet ownership quickly became one of the most popular of these pursuits. However, the pet market was hit especially hard by the financial crisis that devastated the Korean economy in late 1997 and 1998. As a result of this sudden 70 Koreana I Spring 2004

I.

I

and drastic economic downturn,

Of note, the Internet has also

pets, including large, medium, and

many people gave up pets during this

played a vital role in the pet market

small-sized dogs. Currently, the most

period. However, as the overall eco-

boom. Nowadays, Internet-based

popular choices of Korean pet own-

nomic situation gradually recovered,

chat groups for pet lovers are among

ers are small-sized dogs, such as

pets again have become popular.

the most popular sites in operation.

poodles, Chihuahuas, Shih Tzus,

According to the Korea Kennel

People post images of their pets,

Pomeranians, and Yorkshire Terriers.

Club, the number of people who

exchange information about pets,

This preference for small dogs is in

have pets today is about 7 to 8 mil-

advertise breeding services, and offer

large part related to the fact that most

lion, of which some 80 percent are

pets for sale online. Due to these

of these pet owners live in apartment

As a result of the significant increase in single persons and nuclear families, ever more people are turning to pets in an effort to overcome their loneliness and solitude. Pets are thus increasingly being treated as a member of the family or a faithful companion.

dog owners. Currently, there are

Internet-based activities, Toegyero's

buildings with no private yards. On

about 50 to 60 different kinds of pets

Pet Street has recently enjoyed an

the other hand, according to pet shop

in Korea, with some 3.5 million pets

upsurge in business. The pet market,

owners, medium-sized dogs, such as

being raised by families.

which contracted noticeably due to

Cocker Spaniels, White Terriers, and

the financial crisis, has recorded dra-

Scottish Terriers are becoming

matic growth of late. The annual

increasingly popular as well. In addi-

In particular, TV networks have

sales of the pet market currently

tion, Jindo and Sapsal dogs, which

broadcast animal-related program-

totals around 1.2 trillion won (about

are both regarded as Korean natural

ming as part of an effort to introduce

$1 billion). Although this is only 2

monuments, are also sold in large

the joys of pet ownership. Until the

percent of the scale of Japan's pet

volumes. The price of these dogs

early 1990s, family pets were pre-

market, specialists contend that

varies from about 200,000-300,000

dominantly dogs, cats, and rabbits,

Korea's pet market has since estab-

won ($160-250) for a Shih Tzu, to

but since 1998 many different kinds

lished a solid foundation, upon

150,000-300,000 won ($120-250)

of animals, such as hamsters, guinea

which sustained growth can be real-

for a poodle, and 300,000-400,000

pigs, and iguanas, have also become

ized in the future.

won ($250-330) for a Chihuahua.

Preference for Dogs and Cats

beloved members of many a house-

The pets available at Toegyero are

The chance to purchase a pet at a

hold. Moreover, an increasingly

primarily dogs and cats, with the

reasonable price is a key factor that

large number of snakes are being

majority being dogs. Pet stores in

attracts visitors to the Pet Street area.

imported into Korea.

this area sell a diverse variety of

However, there are those who say Spr ing 2004 I Ko rea n a

71

cal ailments. " As such, pet owner-

from the Toegyero area is much

of a new companion. In many ways, Korea's passion for pets reflects a

higher than that of other areas . As such, buyers should take extra care

breakdown of traditional society. In this ¡regard, in line with the increas-

supplementing existing human relationships. James Serpell's insightful

to select a pet in good health.

ing number of single persons and nuclear families in Korea, the num-

analysis thus seems applicable to the

that the fatality rate of dogs bought

ship is recognized as a means of

Pets as Family Members

ber of pet owners has likewise

pet boom currently rippling through Korean society. Some have suggest-

Of the visitors to the Pet Street area these days, a growing number

increased as ever more people have

ed that the recent popularity of pet

come to value the companionship of pets. Accordingly, pets are now treat-

ownership has its origins in the instability afflicting Korean society.

With Korea's political circles and

are women, in particular those who are single or housewives with only one child. In the case of single

ed as a regular member of the family or a faithful companion.

women, their interest in purchasing a pet is related to a desire to overcome

James Serpell, the writer of Companion Animals and Us, has

foundation for future stability, a sense of uncertainty and unease is

their loneliness. Young housewives, on the other hand, often buy pets as a

noted: "Just like marriage, friend-

uppermost in the minds of people.

As a result, the pet market has

gift for their child, as a kind of substitute sibling. In addition, many older people visit Toegyero in search 72 Koreana I Spring 2004

ship, or the relationship between parents and children, pets can help people overcome the suffering caused by physical and psychologi-

the economy yet to develop a solid

boomed as people have increasingly sought consolation from affectionate pets.

Recent years have seen the advent of such specialized businesses as pet photo studios, pet cafes and pet shopping malls (opposite page and above).

er outfits, accessories, and perfumes for pets in conjunction with its THERE'S product line. In addition,

posium. By attending this festival,

SUH YANG CO., LTD., a manufac-

These days, a growing number of

you can experience firsthand the

turer of children's clothing, pro-

new businesses related to pets are being launched in Korea. In recent

impressive depth and breadth of the Korean pet culture as well as recent

duces a Blue Dog line that includes clothing, bags , beds , accessories,

years, new businesses such as veteri-

trends in Korea's pet market.

nary clinics that make house calls

Korea's pet market is expected to increase steadily in the years ahead.

and leashes for pets, which can be coordinated with the children's

Launch of New Businesses

and specialized breeding services have set up shop in the Pet Street

A number of fashion-related busi-

fashions. According to industry specialists, Korea's pet market has just entered an initial phase, such that the

area. Moreover, specialty services, including pet hotels, pet cafes, funer-

nesses and major shopping malls are increasingly focusing on the pet

al services, photo shops, and fashion

market as a means of surmounting

malls, are now available. The Korea Kennel Club holds an annual Toe-

of Japan. Nevertheless, as ever more Koreans acquire a passion for pets,

gyero Pet Street Festival in May that features such events as a beauty con-

the economic difficulties of recent years. For example, DECO, a maker of women's clothing, which primarily targets women in their twenties

grow continuously.

test, dog show, and pet-related sym-

and thirties, currently offers design-

current conditions of the local pet market are some 10 years behind that

Korea ' s pet maket is expected to ~

Spring 2004 I Koreana 73

ram 1990 to 1994, the March First Independence Day celebrations in

F

Cheongdo, Gyeongsangbuk-do province featured the Yeongnam Folk

Bullfight Competition. The name of this event was changed to the National Folk Bullfight Competition in 1995, and it was designated

one of the "Ten Outstanding Korean Regional Culture and Tourism Festivals"

by the Ministry of Culture and Tourism in 1999. Its name was again changed in 2003 to Cheongdo International Bullfighting Festival, in recognition of the event's growing international character. In recent years, Japanese fighting bulls have been invited to engage in friendly Korean-Japanese matches, while U.S. troops stationed in Korea have organized rodeo-style activities. With the Korean-Japanese bullfight competition proving popular with the audiences, the number of matches has increased from 6 in 2000 to 12 in 2003.

The festival has expanded from a five-day to nine-day affair, while the previous open competition has since been changed to a championship format by weight class. In 2002, the 140 participating bulls each competed twice a day,

Cheong do Bullfighting Festival Pitting Bull Against Bull with 15 matches being held every day. The bulls are divided into blue and red teams, with keen attention focused on the "king of kings" competition that is held twice a day, pitting against each other the top bulls of each weight class.

In 2003, the "World Bullfight Invitational Competition" was also added.

Characteristics of Fighting Bulls

Initially, the Cheongdo festival featured an open competition, which made no distinction for the weight of competing bulls. Today, however, bulls are grouped into three weight classes. The gap class is for bulls weighing 730 kilograms and over, the eul class for bulls less than 730 kilograms, and the byeong class for bulls less than 640 kilograms. There is no time limit for a

match, which continues until one of the bulls makes the other tum away and retreat. If the bulls merely kick at the ground and feint charging each other but do not make contact for 15 minutes, the match is either cancelled or both bulls are assessed a loss. As soon as the bulls have been weighed, their owners schedule a list of matches, and from then on the tension mounts for the owners and trainers.

During a match, bulls use a variety of offensive maneuvers, including horn Spri n g 2004 I Koreana

75

A fighting bull's training routine includes butting tree trunks and dragging a tire (left).

The Cheongdo Bullfighting Contest has become a successful regional festival that attracts some 300,000 visitors (bottom).

In the old days, in addition to providing spectators with an entertaining diversion, bullfights also brought villagers together and helped to foster a sense of community and solidarity. These days, bullfights have become a tourism resource as well as the theme of a popular regional festival.

76 Koreana I Spring 2004

thrust, head thrust, flank attack, neck attack, head-tohead, horn lock, head-to-neck, offensive barrage, horn

their shape. Hairpin horns project outward from the sides in a straight line like hairpins. Jade horns jut out toward

slash, uppercut, neck twist, and snout thrust.

the front, and are also called front-facing horns. Back-

Bulls start fighting at the age of 2, reach their peak at 6 to 7 years, and then retire at 10. For the best fighting bulls, the bigger the better, both in height and bulk; but bulls with well-developed necks are known to be particularly effective competitors. Bulls with the following characteristics are also favored : small eyes with large dark pupils, small ears filled with long hair, a thick neck,

facing horns curve backward. Mismatched horns project out unevenly, pointing in different directions. Tube horns are thick and long, whereas skylark horns rise up vertically and are also called upward-facing horns. When the fight begins and the bull lowers its head, the skylark horns, which point directly at the opponent, can be especially intimidating.

front legs set wide apart, slender ankles, and a long tail.

Needless to say, the fighting bull's most potent

Fostering Friendship among Villagers

weapon is its horns. Only horns that are positioned close

Nowadays, fighting bulls do not toil in paddies.

together and evenly aligned laterally will be useful in bullfighting. Moreover, before a match the horns are

Indeed, they undergo rigorous training like that of a pro-

sharpened. There are several types of horns according to

fessional athlete. The training regimen includes running up and down hills, dragging tires, running with sandbags

Spring 2004 I Koreana

77

A fighting bull's most effective weapon is its horns (left).

Nowadays, many complementary events are held along with the bullfight competition such as a cattle beauty contest and rodeo events (opposite page).

villages, located on opposite sides of a small stream, competed against each other in a bullfight held along the banks of the stream. Each village selected its two strongest bulls to take on the other side. Red, blue or yellow cloth "cow kerchiefs" were tied around the bulls' necks. The villagers marched behind their bulls in a lively procession to the fighting ring, followed by a farmer's band whose spirited percussion music aroused everyone.

With the match being a rough-and-tumble affair, the villagers supported their bulls with loud commands and cheers from the stream bank, while the bulls fought it out along the streambed. As is still the practice today, the bull's trainer or owner would remain close to his animal during the match, edging his bull on with loud commands. hanging from their neck, and butting large trees with

The match was decided when, after struggling against

their horns. To strengthen the hind legs, they are forced

each other head-to-head, one of the bulls turned and

to stand on an incline for lengthy periods of time, and

retreated. A decision was usually reached after one

then made to abruptly twist and turn to strengthen the

match. The owner of the winning bull rode back to his village sitting astride his animal, led by the farmer's

front legs. On an average day, a fighting bull covers a distance of four kilometers and is washed twice.

Fighting bulls are also fed a special diet, with barley, soybeans, wheat, pumpkin, sesame, and egg yolks being added to their fodder. To improve their stamina, they

band. Back in the village, the residents were treated to a lavish celebration in the evening.

Bullfighting in Southeast Asia

receive herbal supplements, in addition to being fed gin-

Bullfighting is popular in southern China, continental

seng and mudfish.

Before becoming a tourism-related event, bullfights

Southeast Asia, Korea, Okinawa and Kyushu, Japan. In these regions, it was a ritual event held by paddy-culti-

were held in Cheongdo in the traditional manner. In this

vating farmers to select a sacrificial animal to be offered

regard, representative examples of traditional bullfighting have long been held at the Bonggi-ri and Daehyeon-ri

to the deities in gratitude for the year's bountiful harvest.

Similarly, bullfighting in Korea, which was mainly con-

villages, in Punggak-myeon, Cheongdo-gun. Until the

centrated in the southern areas of Gyeongsangbuk-do

mid-1930s, on every Chuseok (Harvest Moon Day, the 15th day of the 8th lunar month) or the day after, the two

province, was held on the Harvest Moon Day. Even today in Indonesia, a bullfight is considered an

78 Koreana I Spring 2004

"event to select a sacrificial animal," whereby the losing

matic decline in the losing animal's value. In 1991, a

bull is regarded as a sacrifice for the purpose of appeas-

prize fighting bull was worth between 600,000 to 1 mil-

ing the gods. In Madagascar, where people have migrated from China, Japan and Indonesia, the losing animal is

lion yen. Meanwhile, tradition in Japan calls for the win-

slaughtered and eaten. In Korea, too, the losing animal

ner to host an extravagant banquet that could cost from 1

used to be sold to a butcher, while in Bukcheong (Ham-

to 4 million yen, depending on the bull's weight class.

From this comes the saying: "To raise a bull is to lose a

gyeongbuk-do province, North Korea), the defeated bull

shed."

would be roasted and eaten on the spot. In Japan, it was the custom for the owner of the losing bull to visit each house in the village to offer a share of the meat, with all recipients making a contribution to the owner. Until 1963, in Pohang, Gyeongsangbuk-do, a bull owner

Today, the Cheongdo bullfighting festival, which has long lost its religious significance, is primarily promoted as an event for attracting visitors and tourists. Besides the bullfighting, performance teams and farmer's bands show off their skills, while a variety of singing and other competitive events are staged as well. Despite a resched-

would be compensated if his bull died in a bullfight.

By contrast, among the Miao people of southern

uling of the event, due to an outbreak of foot-and-mouth

China, both animals were offered as sacrifices. However,

disease and other difficulties, more than 300,000 people

from the 1950s and thereafter, as soon as one bull gained

attended the 2003 festival, which generated some 200

the upper hand over his opponent, a rope was tied to the

million won in earnings. With such a positive response, in spite of its being the first domestic cultural festival to

winning bull's hind legs to separate the two; because a seriously wounded or dead animal had often caused bad blood between villages. Eventually, the match was transformed from a struggle between bulls to a competition between man and bull. Likewise, in Changnyeong, a neighboring district of Cheongdo, the village of Yeongsan organizes "wooden bullfights." Out of respect for the most valuable assets of farmers, wooden bulls were produced and brought to the bullfighting ring.

A New Tourism Resource

A successful fighting bull not only means significant

charge an entrance fee, it seems well-positioned to play an instrumental role in contributing to the development of local communities.

Originally, bullfights were held for their entertainment value and could lead to heightened social status for a successful bull's owner; but it also helped to enhance a sense of community and solidarity among villagers. Today, it has the added value as a tourism resource capable of generating revenue for local residents. To capitalize on this trend, Jinju, Uiryeong, and Pohang are all making efforts to promote bullfighting as a tourism attraction. Meanwhile, the residents of Cheongdo are now hard at work

prize money for its owner, its value increases as well.

However, in Japan, the bullfight winner only gets about

constructing an arena that will be used exclusively for

30 percent of the prize money, on average, while the

bullfighting. Upon its completion, it is expected that bull-

loser is awarded 70 percent, to compensate for the dra-

fights will be staged every weekend. ~

Spring 2004 I Koreana 79

MASTERPIECES

The Mother Dog and Puppies painting exudes an unmistakable sense of sentimentality and warm-heartedness. It is said that the affection and simplicity of this masterful work closely reflects the character of the Korean people.

Kim Seung-hee Curator, National Museum of Korea

Mother Dog and ¡Puppies rom the past, the yard of a

against her broad back. The dogs are

less, the Japanese came up with such

south-facing hou se has

enjoying a leisurely time under the

expressions as "sorrowful beauty"

belonged to the family

shade of thick leaves that shelter

(Yanagi Muneyoshi) and "peninsular

dogs. Household events,

them like a roof. Although the sea-

temperament" (Sekino Tadasu). Such

without exception, were held in the

son cannot be clearly ascertained

efforts to define Korean beauty

front yard where the family dogs

since black ink is used to depict the

among Korean scholars included

would invariably be constantly nos-

leaves , based on the light-green

examples like "nonchalance" (Goh

ing about. Prior to Korea's industri-

blades of grass that extend well

Yu-seop) and "the beauty of nature"

alization, dogs were considered part

above the foot of the tree trunk, the

(Kim Won-yong). Compared to their

of the family, with practically all

scene seems to be in the middle of an

Japanese counterparts, the Korean

households having at least one or

early autumn day. No trace of cau-

scholars emphasized the positive

two dogs. With the dogs romping

tion or wariness about her surround-

aspects of beauty that could be repre-

about with their noses flaring,

ings can be detected on the face of

sented through artistic expression.

smelling the scent of spring, plants

the mother dog, while the endearing

In any case, although the aesthetic

with new pale-green sprouts could

affection and innocence of the pup-

sentiments of a people or region may

be found scattered around the yard.

pies create an atmosphere of warmth

have common stylistic elements

And in the morning, after listening to

and tranquility.

based on prevailing trends, it does

F

the dogs howling through a winter's

During the period of Japan's colo-

not seem possible to articulate a spe-

night, as though fretting , the yard

nial rule (1910-45), Japanese schol-

cific sense of aesthetics, which is

would be found filled with snow.

ars sought to define the Korean sense

permanent and rigid. But in spite of

The painting Moth er Dog and

of beauty with a clear and simple

this, it appears that scholars of aes-

Puppies features a mature mother

expression. But efforts to categorize

thetics and art historians cannot

dog with young puppies eagerly bur-

the historical and cultural sensibili-

resist an urge to narrowly define the

rowing into her underside to suckle,

ties of a region or people are in large

aesthetic characteristics of a certain

while one drowsy puppy leans

part an exercise in futility. Nonethe-

period or region. If art is a window

80 Koreana I Spring 2004

Yi Am, Mother Dog and Puppies, watercolor on paper, National Museum of Korea

to the inner self, then the Mother Dog and Puppies painting is indispensable to any discussion of the Korean psyche, since it serves to reveal the innate characteristics of the Korean people. Of course, not all

Koreans are able to enjoy peaceful lives. But the aesthetic sensibilities of rhe Korean people that are reflected in Korean art invariably include tranquility and warmth, like that of basking comfortably in the early

autumn sun. Because of their cheerful and adorable nature, the dogs, which seem to be neither mistrustful nor suspicious of others, symbolize the disposition of the Korean people.

The artist, Yi Am (1499-?), a direct descendent of the royal Yi families, was known as the most prominent painter of animals of his time. Since the scope of an artist's subjects is naturally influenced by his personal experiences, it can be imagined that the dogs in this painting were those that frolicked in the yard of the royal palace. This can be surmised from the collar of the mother dog, which features a rare reddish-orange color (red combined with yellow) that was used by the royal court and a gilded bell accessory. ln contrast to the puppies that are so eagerly seeking their mother's milk, the dignified mother dog projects a definite sense of warmth and magnanimity. 13

Spring 2004 I Koreana 81

uring the 17th and 18th

artistic circles, the independent spirit

centuries, the Joseon Dynasty (1392-1910)

of this period was manifested in a reverence for Korean landscapes.

ous tradition of producing schema-

aspired to "Joseon Sino-

This trend reached a peak with the

tized "conceptual landscapes," Jeong

centralism," based on a newfound

emergence of the jingyeongsansu

cultural confidence gained by the

painting genre, an innovative style of

Seon sought to create realistic reproductions of Korean landscapes that

establishment of its own branch of Confucianism-Seongnihak-and a

realistic landscape painting created

by Jeong Seon (1671-1751), a lead-

decentralized concept of the world

ing artist of the late Joseon period,

Jeong's brilliance is attributed to his developing this approach beyond a

developed during the period of

who believed that all natural objects

process of realistic reproduction and

China's transition from the Ming

should be represented as realistically as possible.

establishing it as a new style of artis-

D

Dynasty to the Qing Dynasty. In

Jeong Seon's Jingyeongsansu

In breaking away from the previ-

reflected exactly what he saw.

tic expression as well as a concept of

ART REVIEW

Real-Scape Revisited Perceiving Nature Through the Eyes of Contemporary Artists The "Real-Scape Revisited" exhibition was presented at the National Museum of Contemporary Art from September 24 through December 14, 2003.

This exhibition was organized to assess the standing of the traditional style of creating realistic landscapes in today's contemporary art of Korea.

Lim Dae-geun Curator, National Museum of Contemporary Art 82 Koreana I Spring 2004

Kang Gwan-wook, Captured Pure Form 4, bronze, 94 x 72 x 23 cm, 2003 (below) Park Jeong-nyeol, Eternal Land, plaster and acrylic on panel, 122 x 488 cm, 2002 (middle) Won In-jong, Mt. Chiaksan, polyester and thread, 178 x 170 x 20 cm, 2003 (opposite pa e bottom)

understanding nature. As the literati

contemporary art and to discover

of his time came to perceive nature based on the jingyeongsansu style, this further enhanced Joseon's cul-

new possibilities for "contemporary real-scapes." The exhibition featured

tural richness amid a heightened appreciation of nature.

The "Real-Scape Revisited" exhibition was presented to examine the

four sub-themes: nature, scenery, landscape, and urban setting. Each sub-theme demonstrated the diverse variations of artistic interpretations

influences of the traditional realistic

that contemporary artists attempted to express based on the natural and

landscape style on the current Korean

artificial environments in which they

contemporary art scene. In particular, ¡the exhibition sought to confirm the

lived and their related reactions.

existence of real-scape influences,

The Essence of Nature

which involved uniquely Korean interpretations of nature, in Korea's

"Nature as Original Form" consisted of works that depicted the Spring 2004 I Koreana 83

installation works. Invitation to Rest-Embarkation, 2003.

2. Kim Ho-deuk, Trembling, Suddenly-Gap, Chinese ink on Korean mulberry paper, 2002 3. Kang Yo-bae's Yellow Waves 1 portray the turbulent currents of the artist's home, Jeju Island. Acrylic on canvas, 181 .8 x 259.1 cm, 2002 4. Kim Bo-hie, Untitled, colors on Korean mulberry paper, 126 x 162 cm , 2003. Restraint and unadornment are used to convey the essence of a landscape scene.

84 Koreana I Spring 2004

Kang Un uses a traditional oil painting technique to realistically depict clouds in the sky.

Pure Form-Dawn (detail), oil on canvas, 333.3 x 218 cm, 2000 (right) Choi Ho-chul, Euljiro Loop Line, mixed media on paper, 94 x 220 cm, 2000. Caricatures are used to catch a glimpse of a fundamental element of everyday life: commuting on the subway (bottom).

strokes, and Hong Soon-myung's Soil- Sea, a work that used waves

a meditative atmosphere; Kim Chang-tae's acrylic paintings of

of sugared water on a soil surface,

mountains with a distinctive aura,

which naturally evaporated, reflected representations of variable forms of

which conveyed a contemplative and haze-shrouded scenery; Kang Yo-

nature through variable applications.

bae's Raging Waves which empathi-

"Scenery as Atmosphere" included works that reproduced the texture

cally reinterpreted the raging seas of Jeju Island; Park Jeong-nyeol's

and feel unique to the environment

Eternal Land that captured the

of Korea. From these works, it was

details of nature with a unique

possible to perceive the actual nature

miniaturization technique; and Kim Eul's Mountain Map, which por-

of Korea not just through their form but also the feel of their canvas.

trayed an ancestral burial ground like a survey map to reflect the

tions this aspect of the exhibition was the most directly linked to realscape, the event's basic theme.

All the artists who participated in this sub-theme depicted nature in a friendly manner, based on a notion

Worthy of being recognized as true Korean-style landscape paintings, they affectionately re-created the

underlying harmony between nature and man.

familiar natural scenery of mountains and rivers encountered every-

Real-Scape Applications

ed Lim Taek's The Moved Landscape , a three-dimensional re-cre-

The possibilities for "Korean-

The majority of works comp1ising "Landscape as a Style" are the prod-

style" landscape painting have been

ucts of artists who have contempora-

jeondo (Panorama of Geumgangsan)

confirmed by the exhibited works, which included Kim Bo-hie's black-

neously interpreted the traditional realistic landscape style. Although

that used Styrofoam and traditional

and-white ink painting series depict-

the works are extremely varied,

ing a foggy corner of a reservoir with

ranging from paintings to installa-

where outside urban districts.

that humans and nature are one and the same. The featured works includ-

ation of Jeong Seon's Geumgang-

Korean paper; Kim Jong-eok's wood-block print titled Ganghwa Island, which revealed in minute

Spring 2004 I Koreana 85

Choe Gene-uk, Being Alive, acrylic on canvas, 248 x 462 cm, 2002. Modernization has served to create a new form of "natural landscape" (left).

Lim Taek, The Moved Landscape, Chinese drawing paper, installation on wood platform, 2003.

Jeong Sean's Geumgangjeondo, panoramic painting of Mt. Geumgangsan, is re-created as a three-dimensional work using styrofoam and hand-formed paper (below).

Contemporary artists interpret nature in new and varied ways, while their works reveal that the tree-lined streets and clusters of buildings forming the spider web-like networks of modern cities represent today's real-scape scenery.

detail the people and nature encountered on the island's coastal road; and

people is based on the spirit of the traditional Korean real-scape, though

called for an insightful perception of

Cho Byung-yeon's Mt. Yudalsan ,

his subject matter and methods are

whose panoramic scene of the houses, fields, and scenery around the

different. Also noteworthy were Choi So-young ' s City Landscape,

ducing nature involved a process of specifically revealing their inner

mountain seemed to offer an aerial view of the area.

which re-created a mountain village with patches of denim, and Park

"City as an Environment" consist-

Hong-chun's photographic work that expressed the indistinctive urban

ed of the works that questioned the true meaning of contemporary realscape. For the 18th-century artist

humans and the world, while repro-

selves and the world around them.

Just as our ancestors had sought to interpret nature through Jeong Sean 's "realistic landscape" style

countenance with scraps of pho-

some 200 years ago, we also perceive nature today through the eyes

tographs.

of our contemporary artists. In their

Jeong Sean, nature was an inevitable

For Korean artists of all ages,

own way, they serve as contempo-

element of his everyday life, but for today's artists, who have been born

nature has always been the ultimate subject and an endless wellspring of

rary versions of Jeong Sean, while their works reflect today's real-scape

and raised in an urban setting, the

inspiration. Understanding nature

genre. L;t

tree-lined streets and clusters of buildings forming the spider weblike networks of modem cities represent today's real-scape scenery.

Cities are no longer a subject of contemplation but the actual environment in which we spend essentially all our everyday lives.

Choi Ho-chul's Euljiro Loop Line uses caricatures to depict the subway, a fundamental element of contemporary life. The perspective he applied to capture the alleyways and 86 Koreana I Spring 2004

t

JOURNEYS IN KOREAN LITERATURE

@

s::

C: ::,

::T

"'

[

0 ::,

co ::, (D

Eun Hee-kyung

Multifaceted Perspective for Exposing the Darl( Side of Life Kim Mi-hyun Professor of Korean Language and Literature, Ewha Womans University

ince making her literary

variety of social issues, such as the

debut in 1995, Eun Hee-

Korean War, industrialization and

kyung has published the novels A Gift from a Bird

urbanization, and suppression under

S

(1995), The Last Dance with Me (1998), Was It a Dream (1999), and

Minor League (2001), as well as the

military regimes. As a result of postmodernism influences following Seoul's hosting of the 1988 Summer Olympics, the literary environment shifted to a "narrowness," which

so as to better understand people and sacrifices love in order to express her criticism of society, because she believes that love is the most private yet most public emotion, and the most extensively discussed yet most stereotyped feeling. Thus, Eun ' s

collections of short stories Talking to a Stranger (1997), Happy People Do

stressed the individual over the

romance novels are categorized as "open literature played out within a

Not Look at their Watch (1999), and

group, consumption over produc-

confined space," which is why her

Inheritance (2002). One of the fore-

tion, and everyday mundane over

romance novels are not regarded as

most female writers of the 1990s,

historical incidents. In particular, rapid advances in the number and

conventional love stories.

critics and popularity among readers for her exceptional literary talent.

literary quality of female writers,

Bird, and her short sto1ies, "Talking

who had previously been relegated

to a Stranger," "Her Third Man,"

She was nicknamed "giant newcom-

to the fringes of the literary world, opened a new era for women's liter-

and "Who Set a Trap in the Rigida

she has earned wide acclaim from

er" in the early days of her literary debut and is currently known as the most sought-after author in the pub-

ature. As such, Eun's rise to promi-

In her leading work, A Gift from a

Pine Forest on a Flowery Spring

nence coincided with the positive

Day?" Eun refuses to embrace any illusions about romantic love. She

a number of prestigious literary awards.

confluence of these developments.

This situation could also be a fac-

eschews such trite maxims as "Love is the essence of life" and "Life itself

tor behind the majority of her works

is so precious." Rather, she seeks to

What was the impact of Eun ' s writings on Korean literature in the

being romance novels. Eun delves into the disruptive nature of human

highlight just how difficult it is to sustain love and avoid life's numer-

1990s? Through the 1980s, Korean

relationships and the violent aspects

ous hidden pitfalls. For this reason,

literature had been characterized by an "openness" that embraced a wide

of life based on the love between man and woman. She questions love

Eun is regarded as a "measured" and "dispassionate" writer who, in "Her

lishing business and the recipient of

88

Koreana I Spring 2004

Eun Hee-kyung is a leading female writer who indeed left her mark on Korea's literary scene during the 1990s. She delves into the disruptive nature of human relationships and the violent aspects of life based on the love between man and woman.

Third Man," makes known: "I

ments that make it a women's story,

thought love had cooled, but this is no more than a true quality of love."

This is not to say, however, that

including infertility and chastity. The author, however, broadens the

Eun denies the existence of love or

tagonist to encompass the entire class of disadvantaged and alienated

seeks to sink into the depths of nihilism. On the contrary, she believes that truer love is possible when the

story's scope beyond the female pro-

individuals . She also portrays the wife's discontentment as a result of

husband, the person closest to her.

Whenever Eun feels overwhelmed by being a writer, she draws strength from the words of the American short-story writer and poet Raymond Carver (1938-1988), who noted: "A writer doesn't have to be the smartest person in the room."

misunderstandings and illusions about love can be identified and

the problems in communication

This modesty and self-awareness are

between people rather than a typical

what make Eun such a distinguished

eliminated. In "My Wife's Boxes," the distinctive traits of Bun's sense

power struggle between men and

writer. The issues that disillusion her also stimulate what seems to be an

of balance and critical insight are

women.

As a result, the wife in this short

intentionally cruel experiment

masterfully revealed. In this short story, for which she received the

story more importantly is a "human being," rather than a "woman," who

involving an oppressive life. Seizing upon a particular aspect of life, she

prestigious Yi Sang Literary Award in 1998, Eun combines feminism

is viewed as a carrier of recessive genes that is at risk of being weeded

dissects it for closer observation,

and humanism, while refusing to adopt a conceptual or dichotomous

out or a defective commodity incompatible with the ways of the world. The story's authenticity is

approach toward women's issues, in contrast to other female writers, because she strives for women's literature to avoid the two extremes of undue aggressiveness or passivity, while embracing male readers as well.

This short story has several ele-

which includes an examination of its underside. As such, upon an initial reading her novels might appear to

derived from the wife's discontent-

rely on an absurd storyline or black humor. However, when read again,

ment and despair being revealed from the husband's detached point

they assume the form of romance or human-interest dramas, thanks to

of view. It chillingly portrays the existence of "an other," who has

Bun's ability to utilize a multifaceted perspective for exposing the dark

left no roots or traces of her life that

side of life.

~

are readily detectable by even her Spring 2004 I Koreana

89

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