Koreana Spring 2011 (English)

Korean Culture & Arts

v o l . 2 5 , no . 1 Spri n g 2 0 1 1

Ganghwa Island

A Charming Window to Korea's Past ISSN 1016-0744

BEAUTY OF KOREA

Binyeo

Traditional Hairpin

© Suh Heun-gang

T

he traditional salpuri dance incorporates the graceful gestures that women make in their everyday life.

One such gesture is that of a woman in front of a mirror, as she touches up her hair pinned into a bun.

The braided hair is formed into a bun by fixing it at the nape with a binyeo , a long hairpin with a decorative end. (Without a binyeo, this braided style would look much like the chignon that has come to be the signature hairstyle of the French fashion house Chanel.) Along with the binyeo, another type of decorative hairpin, dwikkoji (rear hairpin), is often worn with the Korean chignon. The hairstyle accentuates the elegant lines of a woman’s neck.

In the past, when young Korean girls wore their hair braided down the back, the chignon, held in place by a binyeo, indicated that the wearer was a married woman. In addition, this hairstyle signified her family’s political affiliation as well as her own fashion sense. Thus, the women from families of different political factions had distinctive ways of decorating their chignons.

The types of binyeo ranged from basic wooden ones, used by common women, to those made of gold or silver. However, in the royal palace, where various ceremonies were held year round, and among the families of the elite class, the binyeo was an extravagant work of artisan jewelry made with exceptional craftsmanship and creative innovation.

In general, married women would wear a single plain binyeo, about 10 to 12 centimeters in length. But queens and royal concubines often used ten or more hairpins at a time to decorate their chignons. Today, there remain dozens of ancient queens’ binyeo, adorned with brilliant gemstones and exquisite engraving, which served to highlight their lustrous black hair. These artifacts are made of diverse materials, including gold, silver, coral, cloisonné, jade, and pearl; one binyeo measures 33 centimeters in length.

Lady Gyeongbin Kim (1831-1907), the concubine of King Heonjong of Joseon, left behind a protocol that prescribes the proper attire, including the binyeo and accessories, to be worn for each particular royal ceremony.

The binyeo types were named according to their decorative motif, such as the dragon (yongjam ), phoenix (bongjam ), peony (moranjam ), plum blossom with bamboo (maejukjam ), and lotus flower (yeonjam ). A unique kind of binyeo, known as tteoljam , included small charms, attached to fine wire coils, which would quiver with the wearer’s every movement. Lady Gyeongbin classified the various binyeo into such categories as “brilliant and stately,” “symbolizing authority,” and “seasonally appropriate.”

At weddings, commoners would wear more than one binyeo, often including larger pieces adorned with royal motifs, like the dragon. Today, women will wear the chignon hairstyle with a binyeo mainly on special occasions that call for traditional attire. Kim Yoo-kyung Writer

Korean Culture & Arts

Vol.25, No.1 Spring 2011

The main hall of Jeongsu Temple, on Ganghwa Island’s Mt. Mani, is adorned with exquisite lattice work, which features blooming lotus flowers and peonies of blue, orange, red, and green. © Ha Ji-kwon

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Ganghwa Island 6 Tour of Ganghwa Island’s Irresistible Charm

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Lee Dong-mi

14 Ganghwa Island A Prism for Viewing Korean History

Kim Hyung-yoon

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24 The Way of Life on Ganghwa Island

Ham Min-bok

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30 FOCUS

K-Pop Builds Momentum for New Korean Wave Shin Hyun-joon

Published quarterly by The Korea Foundation 2558 Nambusunhwanno, Seocho-gu, Seoul 137-863, Korea

44 Artisan S im Yong-sik

A Master’s Woodwork Brings the Hanok’s Charm to Life

Park Hyun-sook

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50 DISCOVERING KOREA

‘ Five Looking West’ Exhibit Reveals Korean Influences on American Art

Charles La Shure

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Hesung Chun Koh : A Super Mom and Tireless Cultural Emissary Shin Ye-ri

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ART REVIEW

A Brief Home Journey after 700 Years Masterpieces of Goryeo Buddhist Painting

Bae Young-il

60 ON THE GLOBAL STAGE

Kim Young-se: Visionary Designer of the Future

Jeon Eun-kyung 64 MASTERPIECES

Joseon Prince’s Dream Journey to Peach Orchard Paradise

Ahn Hwi-joon 68 ON THE ROAD Onyang

Bygone Resort of Royals, Destination for Honeymooners

Kim Hyung-yoon 76 CUISINE

Pyeonyuk : Sliced Beef

Lee Jong-Im 80 LIVING Amateur Bands of the Middle-Aged Youthful Dreams Come True

Park Eun-kyung 85

JOURNEYS IN KOREAN LITERATURE

Chung Han-ah

A Family’s Alchemy of Despair and Hope Shin Soo-jeong

The Taste of Maté Translated by Maya West

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Koreana, registered as a quarterly magazine with the Ministry of Culture, Sports and Tourism (Registration No. Ba-1033, dated August 8, 1987), is also published in Chinese, French, Spanish, Arabic, Russian, Japanese, and German.

Bomun Temple is located on Seongmo Island, ten minutes by boat from the Oepori docks on the west coast of Ganghwa Island. Nestled at the foot of Mt. Nakga, it offers a panoramic view of the West Sea. 4 Koreana | Spring 2011

Ganghwa Island Ganghwa Island boasts such an abundance of historic sites, from prehistoric dolmens to modern Anglican churches, that it is often called a “living museum.� The tales of the warfare on this island offer a glimpse of the flow of history on the Korean Peninsula. Many visitors, particularly those from the capital region, take romantic day trips to this island to enjoy the natural beauty of its vast tidal flats.

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Tour of Ganghwa Island’s Irresistible Charm The author of this article, a resident of Ganghwa Island for over 10 years, loves to smell the salty air whenever she returns from the mainland. In the scent of the tidal flats carried by the wind, she can detect the ocean’s saltiness and the sweat-drenched smell of the islanders, in which the irresistible charm of Ganghwa is pleasantly palpable.

Lee Dong-mi Travel Writer | Kwon Tae-kyun, Ha Ji-kwon Photographers

Yongdu Heights is one of the island’s 53 heights, a defensive fortification that takes advantage of the natural terrain. This height looks out at Gimpo Peninsula across Ganghwa Strait.

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rom Gimpo in Gyeonggi Province, crossing over a strip of ocean as narrow as a river and dotted with shrimpers takes you to Ganghwa Island. Many people look down at the water that flows beneath Ganghwa Bridge and wonder: Is it a river, or is it the ocean?

In a sense it is both. This body of water is the Yeomha, which means “Salt River.” Its official name is Ganghwa Strait, which signifies the ocean. But it is such a narrow waterway that it looks like a river. By traveling back up the Yeomha from the southern end of Ganghwa Island, Seoul can be reached via the Han River. Hence, the foreign powers who sought to capture the Joseon capital of Hanyang (Seoul’s former name) set their sights on this waterway. We cross this waterway, peaceful enough as it glitters in the sun but with turbulent currents of history below the surface, and make our way to Ganghwa Island, the gateway of Korean history.

“Altar for Star Veneration” The road to Ganghwa turns left on the island and joins the coastal road that leads to notable sights: Mt. Mani, Chamseongdan, and Dongmak Beach. Hwanung, the son of the King of Heaven, came down to earth and gave birth to a son, Dangun, a familiar and legendary figure to Koreans. Known as King Dangun, or Grandfather Dangun, to many, he built Chamseongdan, the “Altar for Star Veneration,” on the summit of Mt. Mani and made offerings to the heavens there. The altar is said to be at the midpoint between Mt. Paektu (Baekdu) in the north and Mt. Halla in the south.

Broad rice paddies line the road to Mt. Mani. Close your eyes briefly and imagine you are traveling in a boat. When Dangun went to the mountain to make offerings at the summit altar, this area of Ganghwa Island was surrounded by ocean. At that time, Mt. Mani was an island unto itself.

Ancient Temple Along the road to Mt. Mani is the 1,000-year-old temple named Jeondeungsa. It was originally located within Samnangseong (Fortress of the Three Sons; Historical Site No. 130), which, according to legend, was built by Dangun’s three sons, Buso, Buu and Buyeo, at his request. This historic temple is home to several state-designated treasures, including the main hall Daeungjeon (Hall of the Great Hero), Yaksajeon (Hall of the Medicine Buddha), and a ritual bell. Indeed, the temple does have a history spanning 10 centuries.

The history of Jeondeung Temple is so noteworthy that it’s hard to know where to begin, but as for the temple’s attractions, there is one story that must be mentioned. The central Spring 2011 | Koreana 7

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1 The ancient Jeondeung Temple was built in 381, shortly after Buddhism was first introduced to Korea. Whenever the nation was threatened by foreign aggression, it served to inspire the Buddhist followers to defend their homeland.

2 A panoramic view of Ganghwa Island that has long been recognized as a critical region in Korea’s history. It has served as a temporary capital during times of national crisis, due to its strategic advantages as an island and a center for maritime transportation.

3 At the four corners of Jeondeungsa’s Daeungjeon Hall, there are sculptures of nude women who appear to be holding up the eave sections. The wooden carvings are part of a colorful local story.

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building in most Buddhist temples is the Daeungjeon. Services are held in this main hall, where the icon representing Sakyamuni, the historic Buddha, is enshrined. The main hall at Jeondeungsa is an elegant and dignified structure, but the four corners of the eaves are decorated with carvings of nude women.

What are figures of nude women doing in such a sacred place where the word of the Buddha is delivered? What could possibly be the reason?

Long ago, it appears that repair work was carried out on this hall. A skilled master carpenter came to the temple to do the work. Since there was no bridge at the time, he would have traveled by boat. All alone, he lodged at a tavern at the foot of the mountain. The mistress of the tavern must have been a real beauty. The carpenter fell in love with her, and entrusted her with his wages, while intending to marry her when his work was completed. But one day when the repairs were nearing completion, the carpenter returned to the tavern and found that the mistress had disappeared. The money, of course, had vanished as well.

The grief-stricken carpenter is said to have carved images of the woman beneath the eaves of the main hall. There she was destined to stay, holding up the heavy roof and reflecting on her wrongdoing.

That’s not the whole story, however. At first glance, it appears the women are holding up the heavy roof as punishment, but structurally these sections do not really bear any of the roof

load. Similarly carved images are found on the four corners of the hall, but one of the women at the back is shown with one hand down. It seems that the master carpenter truly loved the tavern mistress. Or perhaps this is an expression of the Buddha’s compassion for sentient beings, for while the woman may appear to be paying a heavy penalty, in truth she is not.

At the rear of the temple is Jangsagak (Pavilion of Hidden History), also known as the Jeongjoksan Historical Archives.

Copies of the “Annals of the Joseon Dynasty” were housed at four separate archives around the nation during the Joseon period, with the originals being kept at Jangsagak. This building was recently restored, and right next to it is Seonwonbogak, where the Joseon royal genealogies were stored. These two buildings alone testify to the temple’s prestige.

Temple Stay at Meditation Center Korean temples like Jeondeungsa are very important for reading Korea’s cultural code. Many Koreans and people from other countries are captivated by the unique culture and atmosphere of mountain temples. It is possible to stay at one of these temples thanks to the Temple Stay programs.

While Jeondeungsa also allows overnight stays, for overseas visitors, the nearby Lotus Lantern International Meditation Center may be a better choice. Primarily a place for meditation, it teaches basic principles of Seon (Zen) Buddhism to foreigners. Since its opening in 1997 by the late Venerable WonmySpring 2011 | Koreana 9

eong, disciple of Zen Master Seongcheol (1912-1993), it has introduced Buddhism and meditation techniques to foreign visitors.

The center includes the main hall and lodgings, alongside 6,000 square meters of farmland. The clean and warm rooms are equipped with a bathroom, for the convenience of visitors.

There are no language barriers as most of the monks and nuns come from other countries, such as Russia and Switzerland.

On the day I stayed at the center, my companions were Danielle and Charlotte from New Caledonia and a young French woman Isabelle, who was studying at the Sogang University language institute.

After the evening meal, a service is held in the main hall, which is small and cozy. During the meditation session afterward, visitors sit cross-legged with their hands clasped together

and their eyes closed, leaving far behind the sound of car horns, flashing television screens, and the racket of Internet games.

The early morning service is even more pious. After the morning meal, visitors are accompanied by the center’s mascot, a puppy named Yeondeung-i (“lotus lantern”), on a walking meditation session along the rice paddy paths between villages, down pine forest trails, and past the grave of the Goryeo literary figure Yi Gyu-bo, conversing quietly with the monks along the way.

The sutra-copying activity is another highlight. The handcopying of scriptures containing the teachings of the Buddha is a traditional means of practicing asceticism. At the Lotus Lantern International Meditation Center, visitors copy down the words of the Buddha in Chinese, Korean, or English. After

If you roll up your trousers and venture out into the flats, the gooey tidal mud will ooze up between your toes.

It tickles, but is soft and comforting. Crabs and clams covered with the black tidal mud play hide and seek. Old pine trees stand quietly in rows behind the white sand beaches, making this an ideal place for relaxation.

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about 50 minutes of writing down sutra passages, the copy is stamped with a red temple stamp, leaving the participants as proud as if they had won a gold medal. It is an experience that brings everyone closer together, regardless of nationality, gender, age, and occupation.

Tidal Flats and High Ground The East Sea of Korea features clear waters and steep coastal cliffs, but the western coast is characterized by a wide tidal range and expansive tidal flats. The southern tidal flats of Ganghwa Island are particularly noteworthy, as they rank among the world’s five-largest tidal flats areas, along with those along the eastern coast of Canada, the eastern coast of the United States, the coasts of the North Sea, and the Amazon River basin.

1 At low tide, the tidal flats at Dongmak Beach cover an area of around 60 million square meters, such a vast expanse that the sea is no longer visible from the shore.

2 The Osang-ri dolmen cluster at the southern foot of Mt. Goryeo includes 12 northern-style dolmen structures.

The best-known tidal flats of Ganghwa Island are found at Dongmak Beach. At low tide, they cover an area of about 60 million square meters and extend four kilometers into the ocean, so vast that the sea is nowhere to be seen from the shore.

But simply exclaiming at the wonder of this sight is to miss the real attraction of the tidal flats. If you roll up your trousers and venture out into the flats, the gooey tidal mud will ooze up between your toes. It tickles, but is soft and comforting. Crabs and clams covered with the black tidal mud play hide and seek.

Old pine trees stand quietly in rows behind the white sand beaches, making this an ideal place for relaxation.

The best vantage point for a panoramic view of the expansive tidal flats is Bunori Heights, from where a grand spectacle spreads out below you. The sight of fishing boats, which had been moored to the piers at high tide, sitting helplessly on a sea of mud at low tide, is downright hysterical.

Historic Sites From the southern end of Ganghwa Island we make our way to the northern end. Ganghwa is such a fascinating place that is often called a microcosm of Korean history. Each period of Korean history is represented at various sites, such that a tour of the island gives visitors an overview of the nation’s his-

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1 The Ganghwa Ginseng Center is evidence of the island’s longtime reputation for producing high-quality ginseng.

tory. Korean history can be roughly divided into the six periods of the prehistoric ages, Three Kingdoms, Goryeo Dynasty, Joseon Dynasty, opening of ports, and modern era.

Dolmens are relics from the prehistoric period. The dolmens on the Korean Peninsula were inscribed on the World Heritage List at the 24th session of the UNESCO World Heritage Committee, in Cairns, Australia, in 2000. The most handsome dolmens in Korea are found on Ganghwa Island.

Chamseongdan on Mt. Mani is another prehistoric site, while Jeondeung Temple with its sculptures of nude women date to the Three Kingdoms period.

During the Goryeo period, Ganghwa Island was the capital of Goryeo for 39 years. When the Mongols invaded, the king and his court left the capital of Gaegyeong (modern-day Gaeseong) and took refuge at the palace on Ganghwa, from where they resisted the invaders. The Goryeo palace site can still be seen today. Another Goryeo attraction is the site of Seonwon Temple, where the Tripitaka Koreana woodblocks are said to have been carved. This World Heritage treasure is maintained at Haein Temple in Hapcheon, South Gyeongsang Province.

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In fact, Ganghwa Island plays a noteworthy role in the print culture of Korea. In addition to the Tripitaka Koreana, which was produced at Seonwon Temple, the “Annals of the Joseon Dynasty” and Joseon royal genealogies were stored on the island. In today’s terms, Ganghwa was at the forefront of cuttingedge information technology.

From the Joseon Dynasty period, far more traces remain.

Yongheung Palace, residence of King Cheoljong, the 25th ruler of Joseon, is found in the town of Ganghwa, while the Anglican Church, which was built during the port-opening period, has seen the passage of more than 110 years. The church is an impressive building that combines elements of Korea’s traditional temple and palace architecture with the iconic style of an Anglican church.

Indeed, the church took tremendous effort to build. An English priest traveled to Mt. Baekdu to pick out 100-year-old pine trees for the timber. It took six months to select the right trees and transport them to Ganghwa across the Yellow Sea, and then another six months to dry out the timber. The church stands on a hill that provides a bird’s eye view of Ganghwa town.

Traditional Market The vibrancy of Ganghwa Island today can be vividly seen in the traditional Pungmul Market. In Korea’s rural areas,

traditional markets open once every five days. People work hard for four days, and then bring their produce or handmade goods to the market for sale or barter on the fifth day. The marketplace also serves as a venue for people to exchange news and enjoy the music of traditional percussion bands. Visiting Ganghwa on one of these market days, which fall on days ending in 2 or 7, is an opportunity to experience the island’s produce and food and to understand the local way of life.

The Pungmul Market’s operations include sections on the first and second floors of the main building, along with an annex and outdoor area. The first floor is reserved for special agricultural products like yellow Ganghwa sweet potato and Ganghwa turnip. Stalls on the second floor offer a variety of foods, such as Ganghwa large-eyed herring, red bean porridge, and “barley bibimbap ” (cooked rice and barley mixed with seasoned meat and vegetables).

Large-eyed herring is a specialty of Ganghwa Island. Being so small in size, its innards are tiny, and it dies quickly after being caught. Because of this, people who are stingy or quick to anger are mocked as having “the innards of a large-eyed herring.”

Though quite small, the large-eyed herring is served sashimi-style with vegetables and seasonings, or made into fish balls and boiled in a spicy seafood broth. The peak season for largeeyed herring is in May and June, but it can be enjoyed all year round, with Ganghwa’s ginseng makgeolli (rice wine) being a perfect accompaniment. Ganghwa Island is famed for its ginseng, which is said to have the potency to resuscitate a person

on the verge of death. When ginseng is added to makgeolli, the resulting liquor has a somewhat bitter yet appealing taste.

At the market annex, medicinal herbs and Ganghwa’s trademark flower mats are sold. The flower mats are woven from sedge and decorated with flower patterns and auspicious images. Crafted in the flower mat village, they are helpful to keep you cool in summer and warm in winter.

The outdoor area features agricultural specialties that change with the seasons. On market days, elderly men and women bring their products, stake out an area, and hawk their wares from under a parasol. Their wrinkled faces, generous nature, and bright smiles are so heartwarming. With various street foods on offer and lively music in the background, a visit to the Pungmul Market is a wholly delightful experience.

Temple Festivals There is much more to Ganghwa Island, with too many sites to mention. There is Bungmun Road with its bright cherry blossoms in spring, the Ganghwa Peace Observatory where you can view North Korea in the distance, and Seongmo Island, a natural haven for seagulls. The seagulls that follow the boats to the island put on an amazing show of adeptly snatching up snacks tossed overboard by passengers. The Ganghwa Peace Observatory is located only 2.8 kilometers away from North Korea.

In spring, the Goryeosan Azalea Festival is presented at Mt. Goryeo, where bright red azalea flowers bloom on the slopes; in mid-summer, the Lotus Flower Festival takes place in front of Seonwon Temple; and in autumn, the Mountain Temple Concert is staged at Jeondeung Temple and the Salted Shrimp Festival is held at Oepori Wharf. Also, on October 3, the Great Heaven Opening Ritual is conducted at the Chamseongdan stone altar. In winter, the vast rice paddy tracts of Ganghwa Island become golden fields swaying in the wind, while flocks of migratory birds visit the tidal flats at the island’s southern end.

Ganghwa is a truly enchanting island.

2 The Ganghwa Pungmul Market offers a variety of produce, including locally grown turnips, a specialty of Ganghwa that is exported abroad.

3 Ganghwa large-eyed herring sashimi (center). A serving of large-eyed herring, along with a glass of Ganghwa ginseng makgeolli, is a must-have experience of any visit to Ganghwa. The large-eyed herring is caught in abundance around Ganghwa Island.

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Ganghwa Island A Prism for Viewing Korean History Ganghwa Island is situated just off the mainland coast, but due to its swift currents and turbulent eddies, it was a place of refuge for the king in times of war during the Goryeo and Joseon periods. The Goryeo Dynasty set up its capital on the island for nearly 40 years. In the tumultuous 19th century, imperialist fleets demanded that Joseon open its doors while exerting military force in the seas off the island. Tempered by the buffeting waves and cyclical tides, despite such crises, the people of Ganghwa are known to be rational and not easily swayed by emotion, along with possessing a robust vitality.

Kim Hyung-yoon Essayist | Kwon Tae-kyun, Suh Heun-gang Photographers

The tidal flats of Donggeom Island can be reached by land from Chojijin on the eastern side of Ganghwa Island. A scene of the sun setting beyond the tidal flats is truly a sight to behold.

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1 Ganghwa Bridge, as seen from Munsu Mountain Fortress in Wolgot-myeon, Gimpo, Gyeonggi Province. Munsu Mountain Fortress was built by King Sukjong of Joseon in 1694 as a safe haven for the royal family during foreign invasions. On the other side of the bridge is Ganghwa Island’s Gapgotjin.

2 Ganghwa is home to a large number of dolmen like this Bronze Age dolmen in Bugeun-ri, Hajeom-myeon, which features a northern-style table-shaped structure. This is the largest dolmen in South Korea, at a height of 2.6 meters and with a capstone measuring 7.1 meters in length and 5.5 meters in width. The dolmens of Ganghwa have been inscribed on the UNESCO World Heritage List since 2000.

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A Narrow but Perilous River Located off the west coast of the Korean Peninsula, Gang­ hwa Island consists of 22 islands of varying sizes, including the main island. Five of these islands are inhabited. Ganghwa is Korea’s fourth-largest island. But unlike other large islands, it lies very close to the mainland.

Ganghwa Bridge, which connects the northeastern tip of the island to the mainland, is 780 meters in length. Prior to 1969, when this bridge was built, reaching Ganghwa was no simple feat. Ferries were the only form of transportation and could only operate during high tide. These ancient wooden vessels, rowed by hand, remained in operation long after the advent of motorized vessels.

Three rivers meet at the northern end of the island. The waters that flow out into the Yellow Sea (West Sea) along the eastern coast of the island are known as the “Salt River” (Yeomha), which has always been a dangerous waterway. The Yeomha has a narrow channel, but swift currents and treacherous whitewater.

Only the most sturdy and skilled boatmen could safely navigate passengers to the other side in their wooden vessels.

The Home of Dolmens Of the 60,000 dolmens that have been discovered to date worldwide, some 40,000 are located on the Korean Peninsula.

While Ganghwa does not have the largest number of dolmens on the peninsula, it is certainly a place where visitors can readily see the megalith culture of the Bronze Age. The dolmens (large stone tombs) are scattered across the island from the northwest to the south. Prior to land reclamation projects, all of these tombs were located along the coastal areas.

The land reclamation projects, which turned Ganghwa from the fifth-largest island in Korea into the fourth largest, were aided by the conditions at low tide, when expansive tidal flats appeared.

The tidal flats of Ganghwa provide an ideal habitat for an 16 Koreana | Spring 2011

abundance of marine life, such as oysters and clams. These fish and shellfish have served as a vital food source for the island people since Paleolithic times and even earlier. Thanks to the generous bounty of the tidal flats, the local individuals, who acquired wealth and influence during the Bronze Age, were later interred in the island’s large stone tombs.

Chamseongdan Altar of Old Joseon The people who built the stone tombs founded a nation around 2,300 B.C. Called Gojoseon (Old Joseon), this nation was the first state to emerge on the Korean Peninsula. Dangun, the ruler, made two yearly visits to Mt. Mani near the western coast of Ganghwa Island. The 469-meter-high Mt. Mani is located between Mt. Paektu (Baekdu) at the northern border of the Korean Peninsula and Mt. Halla in the extreme south. At the summit of this mountain, Dangun would make offerings to the heavens at the Chamseongdan stone altar, which remains in existence today.

The island residents still make offerings to the heavens at Chamseongdan, or “Altar for Star Veneration.” They also continue to do what their ancestors did since time immemorial – use the tidal flats as a source of sustenance and livelihood. They reap a bounty of marine products from the surrounding ocean and rivers, especially the island’s popular shrimps and crabs. In addition, the local residents boast of the area’s high-quality rice, vegetables such as sweet potato, and ginseng.

In this way, Ganghwa has long been an agreeable place to live. Not only does it have abundant local produce, the maritime climate makes the summers cooler and winters less harsh, thereby providing ideal conditions for human settlement.

The Mongol Invasion The Korean Peninsula has experienced the tragedy of war on a number of occasions, while the consequences of these conflicts have invariably been felt on Ganghwa each time. The

The vast tidal flats of Ganghwa provide an ideal habitat for an abundance of marine life, such as oysters and clams. These fish and shellfish have served as a vital food source for the island people since Paleolithic times and even earlier. Thanks to the generous bounty of the tidal flats, the local individuals, who acquired wealth and influence during the Bronze Age, were later interred in the island’s large stone tombs.

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tales of the warfare on this island offer a glimpse into the history of the Korean people.

The most tragic war on the peninsula has been the Korean War, which began in June 1950 and pitted the South against the North for three years. This bloody war, which took a toll of some three million lives, from both Koreas and their allies, was so horrific that it needs no further mention.

Going further back in history, the Mongols, who had built a great empire with the rise of Genghis Khan, invaded the kingdom of Goryeo on the Korean Peninsula in the process of conquering most of Eurasia. This invasion began in 1231 and consisted of six conflicts over the following 29 years. The king, who had resided in the capital city of Kaesong (Gaeseong), fled and moved the capital to Ganghwa, where he remained for over a decade after Goryeo’s surrender to the Mongol forces.

The people of Ganghwa suffered great hardship while serving the king and those in power during this period of turmoil.

The Japanese and Manchu Invasions From 1592, 320 years after the Mongols departed Korea, the neighboring Japanese invaded the peninsula twice, with the 18 Koreana | Spring 2011

1 The Chamseongdan stone altar on Mt. Mani, is said to have been built by Dangun, who founded Korea’s first kingdom of Gojoseon around 2,300 B.C.

2 Ganghwa Fortress, with outer walls that surround the town of Ganghwa, has been the site of several standoffs against foreign invaders, from the Goryeo period through the Joseon period.

second invasion ending in 1598. The king of Joseon, the state that succeeded Goryeo, abandoned the capital city, but fled northward rather than relocating to Ganghwa Island, because of the threat of Japan’s naval forces.

In 1627, 30 years after the seven-year conflict with Japan ended, the Qing Dynasty of China invaded Joseon. This time, the Joseon king took refuge on Ganghwa Island, just as the Goryeo king had done centuries earlier. Fortunately, the invading forces called for a peace settlement after only a month of conflict, so the king’s refuge on Ganghwa did not last long, which caused only minor inconvenience for the people of the island.

However in 1636, Qing launched another invasion. The

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king again fled the capital and sought safe haven in his usual hideaway. But the invading forces advanced so quickly that the king was only able to send his family and the ancestral tablets of the preceding Joseon kings to the island, while he did not even have time to board a boat. When the war ended with an early Joseon surrender, the Ganghwa residents were not burdened with yet another occasion to serve the royal family.

Joseon’s Policy of Seclusion In the central area of the town of Ganghwa, a building sits facing south on a sunny spot. This is the site of the Goryeo palace, a must-see attraction for visitors to the island. It is where the royal palace of Goryeo was located when the royal family took refuge on the island for nearly 40 years, during the Mongol invasion in the early 13th century. Originally, there were many more buildings, but they collapsed after Goryeo’s surrender and the king’s return to the mainland.

Four hundred years later, during the Joseon period, new buildings were constructed for a temporary palace for the king’s use as a wartime refuge. But the new buildings were burned down by the invading Qing forces not long thereafter.

After the Qing forces left, King Injo built a government office here, known as Yusubu. This was a special office, one of the four outposts located to the north, south, east, and west of the capital.

The 19th century was marked by turmoil around the world.

Although Joseon wanted no part in this discord, it was drawn in nonetheless. This “Land of the Morning Calm” refused to deal with any foreign power but China, with whom it had long maintained friendly relations. The basis of Joseon’s diplomatic policies was the rejection of both the West and Japan. Thus, the nation resisted the entry of Christianity, which ran counter to the traditional Korean ideology of Confucianism.

Accordingly, the imperialist nations sought to test the resolve of this isolationist “Hermit Kingdom.” In August 1866, the American merchant vessel General Sherman crossed the Yellow Sea and sailed up the Taedong River to Pyongyang. The government officials and people of Pyongyang courteously welcomed the strange visitors that had come from afar. But after being outraged by the haughty demands for trade and the gunfire that eventually ensued, they attacked and burned the ship.

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1 The Ganghwa Yusubu, western outpost of the capital, was erected during the Joseon period on the site of the former Goryeo palace where the king had sought refuge.

2 Gwangseongbo was a battlefield for fierce fighting between Korean defenders and the American Far East Fleet as it traveled up the Ganghwa Strait to demand the opening of Joseon ports in 1871. These cannons are reminders of this period.

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Persecution of Catholicism and the French Invasion Since the year of the so-called “General Sherman Incident,” the Joseon government had been waging an extensive persecution of Catholics. Tragically, over 8,000 Catholics were executed around the nation, including nine of the 12 French missionaries in Joseon. On Ganghwa Island as well, three Korean Catholics were executed at a place called Gapgot.

In response to this bloodshed, Rear Admiral Roze of the French navy led seven warships and 1,000 troops into the Yellow Sea. Under the pretense of holding Joseon accountable for the killing of the French priests, on October 16 they attacked and captured Ganghwa Fortress. They remained on the island for a month, razing all the government buildings and pillaging

arms, food and treasures. The Joseon government had established a library in Yusubu, where some 4,700 books and royal treasures were stored. The French troops took some of these materials back to France and reduced the remainder to ashes.

The French government still maintains possession of 296 books looted by the French troops. France returned one volume in 1993, and as a result of lengthy negotiations, the two nations recently agreed that the remaining volumes would be returned under a permanent lease.

Japan Opens the Doors of Joseon After the Qing invasion in the early 17th century, the Joseon government realized the importance of Ganghwa Island as a

Catholic Holy Site and Anglican Churches Gapgot is a small fishing village located near Ganghwa Bridge on the western bank of Yeomha, the Salt River. This was where the Qing emperor forced the Joseon crown prince to surrender after the Manchu Invasion of 1636, three Korean Catholics were beheaded in 1866, and French troops landed to assault Ganghwa Fortress. It was also here that the treaty of amity was signed with Japan in 1876. In addition, the Joseon government also founded a naval school, Tongjeyeong Academy, here in 1893 in a belated effort to reinforce its naval capability. Today, Gapgot is home to a watchtower, Gapgot Heights and a Catholic holy site that commemorates the local Catholic martyrs.

Tongjeyeong Academy got off to an auspicious start, enrolling 50 officers and 300 seamen, and inviting British naval officers and petty officers as instructors, but it closed after only four years due to Joseon’s unstable political situation. The British naval instructors had to return home, but the Anglican Church, which arrived at around the same time, succeeded in taking root on the island.

The Anglican Church began to conduct missionary work on Ganghwa in 1893. It built its first church in 1897, and some 110 years later this graceful and dignified Joseon-style building still serves as a place of worship today. Another church built at Onsuri, three years later, is also a stately Joseon-style building, showing that the British missionaries knew how to respect the local culture. Although far smaller than the Buddhist structures in nearby areas, such as the famous temple Jeondeungsa, they are, along with the Joseon-style Methodist church built in Seodo-myeon in 1923, recognized by visitors as valuable aspects of the island’s cultural heritage.

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military bulwark for the nation’s security. They thus strengthened or built anew fortresses inland and established strongholds along the coastline, while deploying five generals to the island.

In 1871, five years after the General Sherman Incident, the United States sent five warships and 1,230 troops, heavily armed with the latest weaponry, to Joseon. On June 10 that year, American troops easily captured two strongholds on the eastern coast of Ganghwa Island, but they encountered fierce resistance at the fortress of Gwangseongbo the next day. In this battle, the United States suffered 13 casualties, including three dead, while the Joseon troops suffered 53 dead (including two generals) and 24 wounded.

In reality, the defensive forces on Ganghwa were nearly wiped out and the strongholds were reduced to ruins. But the American troops, despite their victory, still could not open the doors of Joseon, which was staunchly resolved to remain isolationist.

In this way, the United States brought superior firepower to threaten Joseon and demand that it open its doors, just as France had done before, but again the effort ended in failure.

Five years after the United States’ withdrawal, though, Japan completed the “historic task” of imposing imperialism.

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Japan dispatched the modern warship Unyo, which it had imported from England, and bombarded the island in a dramatic show of force. This led to the signing of a trade agreement five months later, in February 1876, known as the JapanKorea Treaty of Amity, or the Treaty of Ganghwa, and with this Japan took the first step toward claiming Korea as its colony.

The People of Ganghwa As for the farmers and fishermen of Ganghwa Island, not only during the Goryeo period but thereafter as well, the government authorities appeared to care little for their safety.

They did not have the ability to properly defend the nation nor the wisdom or diplomatic capability to compensate for this, making for a sad state of affairs. Fortunately, the residents of Ganghwa today have not been disheartened by this plight, but have instead found vitality for life in the pure ocean air. The resilience they have gained from long years of perseverance permeates their daily lives.

The island maintains an academic tradition known as the Ganghwa School. A group of scholars, including the distinguished Jeong Je-du, retired from government service and settled in the countryside, and “stressed a self-awakening applied to everyday life.” In the early 18th century, Joseon saw the rise

1 The Anglican Church, built in 1900, incorporates the influences of Korea’s palace and temple architecture with the style of a traditional Anglican church. A sign in the front reads “Church of God,” while the vertical signboards, often seen at royal palaces and Buddhist temples as well as private houses, have been hung on the columns.

2 A variety of everyday items can be crafted with sedge, the primary material for making the Ganghwa flower mats.

of Sirhak, or the school of “practical learning,” whose scholars adopted an objective and empirical attitude; studied the history, geography, and documents of their nation that had been neglected by previous generations; and concerned themselves with the formation of a national identity. The Ganghwa School exerted a tremendous influence on the formation and realization of Sirhak.

The people of Ganghwa Island are known to be rational and not easily swayed by emotions, along with possessing a robust vitality. This can be attributed to a spirit of “basing things on facts and seeking the truth” of the Ganghwa School. The island is actually a “high risk area,” just across the river from North Korea, with which South Korea remains in a technical state of war. And yet those who visit this island find its mountains and fields peaceful and are heartened by the easy and carefree expressions on the faces of its residents. This must be a reflection of the psyche of the people of Ganghwa, who have been tempered by the buffeting waves and cyclical tides during each crisis situation.

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Celadon Ewer and Flower Mats Among the ancient cultural objects most cherished by Koreans is a celadon gourd-shaped ewer decorated with underglaze iron pigment. This ewer, which exhibits the height of beauty in its shape, decoration and color, was recovered from the tomb of the 13th-century military figure Choe Hang. He was a third-generation overlord of the Choe family military regime, which drove the king from power and exercised dictatorial rule for some 60 years. Choe Hang controlled the government-in-refuge on Ganghwa Island during the Mongol invasions and was later buried here.

This masterpiece of Goryeo celadon shows the exceptional artistic sense of the people of that time.

The potters who had accompanied the king from the mainland continued their ceramic artistry even in refuge. Although the tradition of celadon has long been lost, flower mats, a specialty of this region, are still being produced today, thus preserving the artistic spirit of long ago.

On the other hand, these precious cultural legacies serve as a reminder of the extravagance of those who reigned over the common people in days gone by. They claimed to be fighting against the enemy, but in truth they hid on the island and left the common people to endure the plundering and brutality of the invaders. The king and those in power were protected from the invaders by Ganghwa’s ocean and rivers. Since the Mongol troops were lacking in naval capability, it was often the common people living on the mainland who ended up being brutally slaughtered.

Moreover, the common people of Ganghwa were mobilized to build fortresses and buildings to ensure a comfortable life for the royal family and high-ranking officials; they had to supply massive amounts of food and goods, and provide local specialties; and with empty stomachs they endured extortion at the hands of government officials.

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The Way of Life on Ganghwa Island The author of this article is a poet and fisherman who fell in love with Ganghwa Island after visiting there in 1996.

He has since rented a vacant farmhouse and settled down there to start a new life. He has expressed his thoughts about his simple life on the island in the poetry collection “Why Are Tears Salty?” and the prose compilation “All Roads Are Related.”

Ham Min-bok Poet | Ahn Hong-beom Photographer

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Fishing boats are forever coming and going along the seas off Ganghwa Island.

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The Janghwa-ri Tidal Flat Ecosystem Experience Center (1) and the Hwangsan Island tidal flats (2). The southern tidal flats of Ganghwa Island, which extend from Janghwa-ri in the southwest to the small Hwangsan Island in the southeast, are among the world’s five-largest tidal flat areas.

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rom the slopes of Mt. Mani, the tidal flats create a truly spectacular sight, encompassing some 60 million square meters. The waterways spread out like veins on the mud flats.

From high up the mountain, they look like gnarly tree roots.

The thin tendrils on the shore thicken as they near the ocean, and gradually are joined together, forming huge “water trees.”

Waterways The people of Ganghwa Island insist on a calendar that includes a tide chart. Every house has at least one, which usually hangs on the most prominent wall. Tidal calendars are also found in boat cabins, so that fishermen can safely plan their fishing activities.

Tidal calendars indicate the times of high tide and low tide for each day, and estimate the tidal variations. According to the tides, the fishermen will lay their nets and the women who gather shellfish will know when the tidal flats are exposed. For people living along the coast, the tidal chart is their daily planner. A few years ago, an old woman who got the times mixed up suddenly found herself surrounded by the incoming tide waters, and ended up drowning.

The coming and going of the tides are integral to the everyday lives of the local residents. When the tide comes in, they refrain from making red pepper paste, because it is said that red 26 Koreana | Spring 2011

pepper paste will boil over if made at high tide. Even funeral processions are delayed or moved up, in accordance with the tides. This is because coffins should be lowered into the ground only when the tide is rising.

However, no one knows why. When I asked the president of the senior citizens’ center about this, he said they were simply following what their fathers had done before them, and did not know the real reason. He did, however, recall the saying: “Calves born at neap tide (on the 8th and 23rd day of the lunar month, when the tidal range is lowest) do not follow their mothers well.” He said he can testify to this, based on personal experience.

A friend of mine recently spent his honeymoon on the east coast (of the mainland). When I asked him how it was, he gave me a most vivid description of his first sighting of the East Sea: “It was as if I’d been bewitched. Even after I had climbed up Mt. Seorak, rocked the Rocking Boulder, and came back down again, the sea was still in the same place. When I went to sleep and woke up the next day it was still there again. Even after a meal, it was still in the same place.”

After having lived for some 30 years with an ocean that regularly retreats four kilometers to leave behind vast tidal flats, seeing the East Sea, which only changes in water level, must have been disconcerting. I’ve only lived on the island for 10 years or so, but I’ve already grown accustomed to the water’s coming and going. How perplexing the East Sea must be for someone who has lived here all his life!

Seaways The harbor is always brimming with life and tension. This is because the regular road ends here and a rolling road begins, since the harbor leads to a world of the horizontal, where vertical things like trees and manmade structures are left behind, and only humans stand erect.

The harbor is the gateway to the island. Here, the end of the island meets the beginning of the sea, while the end of the sea reaches the beginning of the island. The coastal roads converge on the harbor like the ribs of a folding fan, and the shipping lanes of the sea are funneled into the harbor channel.

The harbor is the door through which seamen leave for work and return home again. It is where fishermen wonder

The architect Gaudi once said: “The straight line belongs to Man; the curved line belongs to God.” In this sense, Ganghwa Island’s walkways seem to have been made by God. Walkways make us abandon our cars and walk; their roundabout routes can make the journey more difficult. But such difficulty enables a more intimate communion with time and nature, thus enriching our hearts. In these paths, there is poetry.

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about how many fish they will catch, and make new promises for tomorrow. Here, dogs will see the fishermen off, and each catch is unloaded. When the knotted ropes are untied and anchors lifted, the boats in the harbor cleave through the waters, leaving the land behind. As the boats reach the open seas, they become islands unto themselves.

There are signposts along the seaways as well: the sun, moon, stars, wind, direction of the current, shoreline, and mountains that rise up from the islands scattered about. More helpful signposts are the buoys that mark where nets have been cast. But these signposts are all useless in a fog or snowstorm.

I once ignored the old saying, “Fog steals away the captain’s eyes,” and went out to sea to catch webfoot octopus. Suddenly, heavy fog rolled in, eliminating all sight of the mountains rising up from the islands and the buoys as well. After wandering about for some time, when the captain asked for directions to get back to the port, the four people on the other boat all 28 Koreana | Spring 2011

pointed in different directions. Alas, we were hopelessly lost.

We were enshrouded by such dense fog you could barely see anything beyond the tip of your nose.

On the verge of panic, I thought, what is the difference between being trapped in this fog and my actual life? If I look at my life from a distant time, would it be any different from my now being surrounded by fog? The present is just an island of time.

Walkways Ganghwa Island now has roads that are perfect for losing yourself in your own thoughts. They are not new roads, but old ones that have been restored. Known as “walkways” (nadeulgil ), they are differentiated by theme: a road that makes it clear Korea is a divided country, a road where historical sites can be seen, a road that leads to the tidal flats, and so on. As people walk along these roads, I would think that meandering

1 The residents of Ganghwa Island rely on the sea for their livelihood.

2 The eastern gate of Samnang Fortress (Jeongjok Mountain Fortress), which, according to legend, was built by the three sons of Dangun at their father’s behest. Jeondeung Temple is found within the fortress.

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thoughts spring to mind and just as quickly fade away.

Along these walkways, nature is there to embrace and cleanse you. The walkways are paths that abandon straight lines when possible in favor of curved ones. The paths join up with other paths that sometimes come alive and take you in a different direction. Walkways make us abandon our cars and walk; their roundabout routes can make the journey more difficult.

But such difficulty enables a more intimate communion with time and nature, thus enriching our hearts. In these paths, there is poetry.

The architect Gaudi once said: “The straight line belongs to Man; the curved line belongs to God.” In this sense, Ganghwa Island’s walkways seem to have been made by God. Mountain Ways The road leading up to the east gate of Jeondeung Temple gently swerves left and right, with the water that flows alongside

it following the same course. Fallen leaves crackle underfoot.

The path created by the passing wind forms and fades in an instant. I stop by the wayside and listen to a fringe tree that is sprouting shoots. I take note of its light green flickering and my eyes find peace in the tender gentleness. A bird flies by, dragging its shadow.

On the mountain slope to the right of the road there are neatly planted rows of pitch pines, while to the left red pines are nurtured by the sun and the wind. The red pines are bent over but the pitch pines stand upright. I climb along the road between my bent and straight companions.

Where the acacia-lined section of the road begins, the pitch pine thicket on the right ends, giving way to a forest of Korean hornbeams and white oaks. The trees are straight and firm.

Fallen leaves from the konara oaks crackle gleefully. A pheasant takes flight. I look up to the sky. And I imagine many roads unseen by the eye.

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FOCUS

30 Koreana | Spring 2011

The two top girl groups from Korea: Girls’ Generation (top) and KARA. The foreign members of Korean idol groups are shown to the right: (from the left) Nichkhun of 2PM (Thailand), TOMO of A’ST1 (Japan), Alexander Lee Eusebio of U-Kiss (Hong Kong), and Hai Ming of A’ST1 (China).

K-Pop Builds Momentum for New Korean Wave After touring extensively throughout Asia, young “idol groups” (pop groups) have now set their sights on the U.S. market. What role can they play amidst the current circumstances of the global music industry, which is marked by rapid changes due to the convergence of media arts and performance arts?

Shin Hyun-joon Professor, Institute for East Asian Studies, Sungkonghoe University

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isitors to major Japanese cities, such as Tokyo and Osaka, in 2010 would have seen images of KARA and Girls’ Generation on large-scale electronic billboards in the downtown areas. In Japan, the growing recognition of these two girl groups, ranked among the most popular in Korea since 2008, is readily apparent. Indeed, this boom in the popularity of Korean girl groups was selected as one of the top-five news stories of the Japanese pop music industry in 2010.

From BOA to KARA KARA’s “First Showcase in Japan 2010” was staged at the Akasaka Blitz building in Tokyo on January 7 in front of 4,000 fans. The group’s first single “Mister” was released in August the same year and quickly made its way into the top ten. Following in KARA’s footsteps, Girls’ Generation held their first Japanese show at the Ariake Colosseum in Tokyo on August 25, 2010, shortly before the release of their first single “Gee.” The concert was attended by over 20,000 fans and 1,000 show business people, which made the lead story on the NHK evening news that day. Many other Korean girl groups have been introduced to Japan through TV and other media, while their albums are on sale at large record stores such as Tower Records.

Over the past 10 years, the so-called hallyu (Korean Wave) phenomenon in Japan has mainly been focused on TV dramas, starting with the runaway popularity of “Winter Sonata” (Gyeoul Yeonga ). Popular music did not enter this picture until somewhat later. At the center of the Korean Wave were the male actors in the dramas, with hallyu fans in large part being middle-aged women with a passion for Korean dramas. Actors such as Ryu Shiwon and the late Park Yong-ha parlayed their “hallyu star” status into successful careers as singers as well as actors. Nevertheless, they were not full-time singers.

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The ranks of recently established pop groups, which have sought to gain a foothold in foreign markets, now routinely include non-Korean performers and are trained from the outset for such purposes. For example, a former member of Super Junior, Han Geng (韓庚), is Chinese, while Nichkhun of 2PM is a Thai-American.

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As for full-time singers, BOA was groomed for the Japanese market well before her début in the early 2000s. Thereafter, solo performers, such as Rain and Seven, and boy bands like Dong Bang Shin Ki (東方神起), also known as Tohoshinki, SS501, and Big Bang were able to make names for themselves in Japan. BOA, however, was promoted as a J-pop singer and in this sense is not really part of the hallyu phenomenon. Meanwhile, the boy bands have not created the kind of sensation that the girl groups have.

From TV to Live Performances The Japanese fans who have so enthusiastically embraced the Korean girl groups are different from the original hallyu devotees. The majority are females in their teens and twenties, the key target group of Japan’s pop culture. The Japanese media have coined the term “New Korean Wave” (新韓 流), or “Neo-Korean Wave” (ネオ韓流) for this development. Some have even referred to a “Korean invasion,” likening Japan’s overwhelming response to Korean girl groups to the British invasion of the 1960s when rock groups like the Beatles and the Rolling Stones took America by storm. This is a good indication of the tremendous popularity of these girl groups.

While the exact cause of this phenomenon in Japan is difficult to pinpoint, many believe that Korean girl groups have succeeded because they “have attributes that Japanese girl groups do not.” For example, Korean girl groups can not only sing but also dance; they are stylish, beautiful, and charismatic. The title of a news report that appeared on NHK, “Typhoon of Beautiful Legs,” may also help to shed light on what’s behind their popularity. Moreover, no fresh Japanese girl groups or formats have appeared since the 16-member AKB48.

That said, the question is not so much about “why” but “how.” Although K-pop, referring to Korean pop music as a whole, has been quite successful at gaining access to foreign 32 Koreana | Spring 2011

markets, the format has evolved noticeably over time. The focus has shifted from the export of albums to the export of performances, that is, staging concerts abroad. As such, considering the hallyu phenomenon overall, it can be said that the emphasis of hallyu has shifted from TV dramas to live music.

Rain’s World Tour While Korean pop music has made some headway in gaining a foothold in Japan’s pop culture, it has also been making its mark across the ocean in the United States. During 2006-2007, the singer Rain, one of the hottest Korean acts of the mid-2000s, held a series of large-scale concerts throughout the Pacific Rim as part of a “Rain’s Coming” tour. Although the concert tour did not always proceed smoothly, with some dates being cancelled, it was nevertheless the first real world tour by a Korean singer.

The term “world tour” was also applied to the 2010 “SM Town Live 10 World Tour,” organized by SM Entertainment, which manages top idol groups such as Girls’ Generation, BOA, Dong Bang Shin Ki, Super Junior, Shinee, and F(x). The tour, which started in Seoul on August 21, 2010, saw these star performers of SM Entertainment stage successful concerts in front of thousands of fans in Los Angeles on September 4, and in Shanghai on September 11. The L.A. concert even ranked 10th on the Boxscore list of most profitable concerts published by Billboard magazine on October 9. Officially, ticket sales for this concert, staged for an audience of 15,000, reached $1.1 million.

Changes in the Global Music Industry Why have live concerts become such an important aspect of the hallyu phenomenon? Here, it should be pointed out that the term “hallyu” was first coined after successful concerts staged in Beijing, in the late 1990s to the early 2000s, by early idol groups such as Clon, H.O.T., and N.R.G. What changes have taken place since then?

It might be helpful to take a closer look at various statistics. Efforts to export Korean music since the mid-2000s were largely dependent on Japan. The figures indicate that Japan accounted for 68 percent of Korea’s total music industry exports in 2008. Meanwhile, despite their obvious importance, the Chinese and U.S. markets accounted for only 11.2 percent and 2.1 percent, respectively. It can thus be concluded that Korean pop music clearly lost its influence in the Chinese market during the 2000s, and is still seeking to carve out a niche for itself in the U.S. market. Interestingly, music industry exports, which had been on the decline since 2005, have rebounded since 2008. This trend has resulted from the increase in live performances overseas, as exemplified by the two world tours mentioned above.

By viewing this phenomenon from a broader perspective, it can be surmised that this trend represents wider changes within the music industry infrastructure. The traditionally central role played by music albums in the global music industry has decreased dramatically. Meanwhile, the music industry has been transformed into an all-encompassing entertainment industry that includes not only the distribution and sales of sound recordings but also the promotion of various types of live concerts worldwide.

No in-depth study is needed to confirm that pop concerts and related events have seen a steady rise in Korea since the mid2000s. As such, there has been a growing convergence between the media arts and the performing arts.

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1 Super Junior, a 13-member group, has gained immense popularity in Taiwan.

2 A building in the Shibuya area of Tokyo in Japan with a large-size electronic billboard featured the Korean girl group, Girls’ Generation, at the end of 2010.

3 KARA hit the top 10 with their first single, “Mister,” in August 2010.

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1 After debuting in Japan in the early 2000s, BOA has gone on to become a top-level singer.

2 Rain achieved a breakthrough with his “Rain’s Coming” world tour.

3 The boom in Korean girl groups was identified as one of the most popular trends to hit Japan’s pop music culture in 2010.

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Korea’s pop music culture and industry have adjusted to rapid changes in the music environment over the past 10 years. Accordingly, changes were also introduced abroad since the late 2000s, which have contributed to hallyu’s emphasis on live concerts in recent years.

Korean Idol Groups Today The new music environment has affected the way that idol groups are produced. Forming idol groups geared for foreign markets, which feature all Korean members, is now thought to be outdated. Even in the 1990s, it was not uncommon for such groups to include overseas Koreans, such as Korean-Americans or ethnic Koreans from Japan. These days, this trend has become even more prevalent. The ranks of recently established idol groups, which have sought to gain a foothold in foreign markets, now routinely include non-Korean performers and are trained from the outset for such purposes. For example, a former member of Super Junior, Han Geng (韓 庚), is Chinese, while Nichkhun of 2PM is a Thai-American. In addition, Victoria of the girl group F(x) is Chinese, and Amber is Taiwanese-American, while Fei and Jia of Miss A are Chinese.

Given that Korean teenagers are lining up to become trainees at leading management companies, why would these music firms even bother with non-Koreans? The reasons are clear. The objective is to include members from other countries who are accustomed to the local language and culture in order to facilitate the entry and acceptance of idol groups in foreign markets.

While Korea is not the only country taking this approach, it has by far been the most active Asian country that strives to enter foreign markets.

Japan has long been the second-largest music market in the world, and China has a huge market in terms of potential demand, so neither has been overly concerned with a need to develop or enter markets abroad.

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On the other hand, the comparatively smaller scale of Korea’s domestic market has meant that Korean idol groups have from the outset set their sights on the larger Asian markets beyond the country’s borders.

No longer able to survive with the export of albums alone, Korean artists have found it necessary to perform overseas. While some may see this denouement as a result of Korean pop music’s successful adjustment to the prevailing trends, others may contend that it represents an ongoing struggle for survival in this era of unbounded competition. Both sides seem to have valid points.

Global Exchange of Indie Bands The music industry’s changes have not been limited to mainstream pop music. For example, in the third week of November 2010, Korean indie rock bands held joint concerts with Japanese rock bands in Shibuya, Tokyo. The participating groups included Jang Kiha and the Faces, Rock Tigers, Vodka Rain, and Crying Nut. In addition, the alternative rock band Vidulgy Ooyoo was invited to take part in a five-city Asian Echo 2010 tour staged in China last August. Visits by Asian indie rock bands to Korea have become a common occurrence as well. Similar examples of cross-border exchange can also be found in other genres, such as jazz and hip hop.

These examples indicate that live concerts overseas by Korean artists are not limited to only the music that “sells well.” Evidently, Asian musicians and music fans are no longer divided by borders.

Rather, fans are now only separated by their musical tastes.

In this regard, hallyu based on pop music, or live concerts, has served to create contact points between artists and fans through a migration of music trends. No matter how globalized the world has become, through a reduction of space and time, close contact remains necessary to bring people together on an emotional basis. Hence, the transformation of a music-based hallyu, in terms of mainstream and non-mainstream performances, into a true cultural phenomenon does not call for statistical economic studies on “the Korean music industry’s strategy to gain access to foreign markets,” but rather a humanistic approach based on cultural considerations.

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ART REVIEW

A Brief Home Journey after 700 Years Masterpieces of Goryeo Buddhist Painting

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he “Masterpieces of Goryeo Buddhist Painting” exhibition was staged from October 12 to November 21, 2010, at the Special Exhibition Gallery of the National Museum of Korea, to celebrate the G20 Seoul Summit as well as the fifth anniversary of the museum’s opening of its Yongsan complex. The exhibition showcased 61 Goryeo Buddhist paintings from the collections of Japan (27), America and Europe (15), and Korea (19). The exhibition also featured 20 Buddhist paintings of Chinese and Japanese origin to offer viewers a comparative understanding of contemporary East Asian Buddhist art. Also on display were five Buddhist paintings from the early Joseon period (1392-1910) that reflect an inheritance of Goryeo’s artistic tradition as well as 22 other Goryeo artifacts, including statues of the Buddha.

Significance of the Exhibition

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Goryeo Buddhist painting is widely acclaimed as one of the most exquisite creations of the world’s religious art. With their elegant and graceful forms, sumptuous primary colors, luminous gold pigment, and delicately flowing yet powerful lines, Goryeo Buddhist paintings represent an artistic world unparalleled in East Asia at the time, along with an aesthetic that reveals the refined artistic tastes of the Goryeo people. Expressing the heightened spirituality of Goryeo Buddhism and the mentality of the people, these paintings are the

The work that attracted the greatest attention was the “Water-Moon Avalokitesvara” painting from Japan’s Sensoji Temple.

It depicts the Bodhisattva of Compassion surrounded by an enormous tear-shaped aura of soft green.

The graceful posture and delicate facial expression reflect the standards of beauty during Goryeo, while the brushwork is so exquisite that it likely involved the application of gold pigment with a brush as fine as a strand of hair.

1 “Water-Moon Avalokitesvara” from the collection of Japan’s Danjan-jinja Temple portrays a solemn and graceful bodhisattva greeting the young boy Sudhana.

2 “Water-Moon Avalokitesvara” from the collection of Sensoji Temple in Japan. It is also known as “Teardrop Avalokitesvara.”

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38 Koreana | Spring 2011

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1 “Amitabha Buddha Triad.” The State Hermitage Museum in Russia.

2 “Amitabha Buddha Triad.” National Treasure No. 218. Leeum, Samsung Museum of Art in Korea. One of the finest examples of Goryeo Buddhist painting, it portrays Amitabha Buddha as he welcomes the deceased into the land of Paradise.

quintessence of Goryeo culture. Moreover, this special exhibition also featured works from China’s Song and Yuan dynasties and Japan’s Kamakura period, thereby allowing visitors to appreciate the splendor of Goryeo’s artworks from the broader context of contemporary East Asian Buddhist art.

The exhibition was an extraordinary endeavor in that it brought together a large number of Goryeo Buddhist paintings scattered across the world, in Japan, the United States, and Europe. The display of even a handful of Goryeo Buddhist paintings in one venue is no easy undertaking. An exhibition of this scale is therefore a truly rare event that sought to offer a comprehensive understanding of this special genre of art. Furthermore, a majority of the featured paintings, including “WaterMoon Avalokitesvara,” “Ksitigarbha” and “Illustration of the Visualization Sutra,” now 3 housed at Japan’s Sensoji Temple, Nezu Museum and Otakaji Temple, respectively, had never been shown to the public in Korea. Specifically, the first of these three paintings, nicknamed “Avalokitesvara with a Tear-shaped Halo,” has remained out of the public’s eye for a lengthy time.

Buddhas, Bodhisattvas and Arhats The exhibition included six sections, along with an introductory area that provided general information about Goryeo Buddhist painting. “Buddha: The Enlightened One” (Section 1) focused on works depicting the Buddha. Goryeo Buddhist paintings represent the Buddha in several different identities, including Vairocana, Sakyamuni, and Maitreya. Among these, depictions of Amitabha Buddha are most prevalent in paintings, reflecting a belief in the Western Pure Land, or Paradise, which flourished at the time. As the pinnacle of Goryeo Buddhist painting, “Amitabha Buddha Triad” from the collection of Leeum, Samsung Museum of Art, portrays Amitabha Buddha as he welcomes the deceased into Paradise. The composition is very similar to another painting of this same scene housed at Russia’s Hermitage Museum, which indicates the exchange of influences among East Asian nations in their pursuit of Buddhist art.

“Bodhisattva: Savior of Sentient Beings” (Section 2) featured paintings of Avalokitesvara and Ksitigarbha, figures familiar to

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the Korean people, including Buddhists and non-Buddhists. Of the 24 Goryeo paintings of Avalokitesvara still in existence today, 13 were displayed in the exhibition, allowing viewers to appreciate the different styles in describing a common subject. The work that attracted the greatest attention was the “Water-Moon Avalokitesvara” painting from Japan’s Sensoji Temple. It depicts the Bodhisattva of Compassion surrounded by an enormous tearshaped aura of soft green. The graceful posture and delicate facial expression reflect the standards of beauty during Goryeo, while Spring 2011 | Koreana 39

2 1 “Ksitigarbha.” The Metropolitan Museum of Art in the United States.

2 “Water-Moon Avalokitesvara.” The State Hermitage Museum in Russia.

3 “Arhat No. 329: The Venerable Yuanshangzhou” from the collection of Iramgwan Art Museum in Korea.

This work is noted for the figure’s dynamic posture and distinctive facial expression.

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the brushwork is so exquisite that it likely involved the application of gold pigment with a brush as fine as a strand of hair.

The Water-Moon Avalokitesvara from the collection of Japan’s Danjan-jinja Temple portrays a solemn and graceful bodhisattva sitting on a rock on Mount Potalaka, greeting the young boy Sudhana who has come in search of enlightenment. It is the archetypical Goryeo representation of Avalokitesvara. The Hermitage Museum in St. Petersburg, Russia, also has a work depicting the same bodhisattva that was included in the exhibition for comparative appreciation. The style is very similar in terms of the colors and overall composition, with slight differences in the arrangement of sacred artifacts, indicating the influence of Western Xia (1032-1227). This section also featured 10 paintings of Ksitigarbha in solitary, triad, or group settings. Of these, the painting from the collection of the Metropolitan Museum of Art, in New York, depicting a solitary Ksitigarbha, is an impressive work for its realistic proportions, vivid colors, and intricate patterns of clouds, phoenixes, and scrolls in gold pigment.

“Arhat: Paragon of Spiritual Practitioners” (Section 3) was highlighted by the “Five Hundred Arhats” series painted in 12351236. This exhibition featured 10 of the 14 Goryeo paintings of arhats known to the world, seven of which are currently housed at the National Museum of Korea. Of the works on exhibit, “Arhat No. 329: The Venerable Yuanshangzhou,” from the collection of Iramgwan, a private art museum in Busan, is noted for the figure’s dynamic posture and distinctive facial expression.

“Buddhas and Bodhisattvas in Neighboring Countries” (Section 4) included works from China and Japan, together with Goryeo Buddhist paintings, to provide a broadened perspective for under-

standing East Asian Buddhist culture and arts of that era. The Chinese works comprised seven paintings from the Southern Song (1127-1279) and Yuan (1271-1368) dynasties.

Works of Joseon and Neighboring Countries Painted during the Yuan period, “Sakyamuni Buddha Triad” from Japan’s Nisonin Temple exemplifies the era’s Chinese Buddhist art. The narrow chins of the figures and the patterns of their red robes differ from the Goryeo works. Three Western Xia Buddhist paintings from the 12th and 13th centuries, discovered in 1909 in Khara Khoto by Pyotr Kozlov’s expedition team and now housed at the Hermitage Museum, have been extensively discussed among scholars for their similarity to Goryeo’s “Amitabha Buddha Triad” housed at Leeum, Samsung Museum of Art. Before this exhibition, however, there were so few opportunities to view the actual works.

This section featured 10 quintessential Japanese Buddhist paintings from the Kamakura period (1185-1333). Among these outstanding, well-preserved paintings, “Descent of Amitabha and the Heavenly Retinue” from the Tokyo National Museum was especially noteworthy for its stylistic differences from Goryeo’s “Descent of Amitabha.” Goryeo works tend to have a relatively simple composition, with Amitabha Buddha usually facing his right and standing alone, or flanked by attendant bodhisattvas: Avalokitesvara and Mahasthamaprapta. The Japanese work is more complicated, with the figures portrayed against a natural background, the Buddha facing his left, and accompanied by a number of heavenly attendants playing music. Besides, the colors are rather muted as compared to the Goryeo works, while the pat-

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1 “Sakyamuni Buddha Triad” from Japan’s Nisonin Temple exemplifies the Buddhist art of China during the Yuan-dynasty era.

2 “Descent of Amitabha and the Heavenly Retinue.” Tokyo National Museum.

3 “Medicine Buddha Triad.” National Museum of Korea.

terns outlined with gold pigment are not easily discernable.

“Succession of the Tradition” (Section 5, or Epilogue) focused on Buddhist paintings commissioned by the royal family of the early Joseon Dynasty. It showed how the legacy of Goryeo Buddhist painting had been passed on to the succeeding dynasty.

Featured works included two paintings of the Medicine Buddha Triad, belonging to the National Museum of Korea, which is known to be part of the 400 Buddhist paintings commissioned by Queen Munjeong (wife of King Jungjong, the 11th ruler of Joseon) to commemorate the rebuilding of Hoeam Temple in 1565.

Although these works do not contain the gracefully flowing lines, intricate patterns, and bright colors characteristic of Goryeo Buddhist painting, they do reveal other aesthetic qualities unique to this era.

International Collaboration About 150 Goryeo Buddhist paintings are known to be extant today, scattered across Korea, Japan, the United States, and Europe. Although the number is rather small, they are owned by individual institutions from all over the world, which required the organizers of this exhibition to undertake time-consuming negotiations with a total of 44 institutions worldwide.

In Japan, especially, where the largest number of Goryeo Buddhist paintings are maintained, collectors were noticeably hesitant to loan their works for fear they might not be returned after the exhibition. Securing permission called for much persuasion and strenuous efforts to gain their trust. Still, these efforts were not always successful. Some institutions resisted right up until the time of delivery, while others reversed their decision at the last moment and refused to lend their paintings. The officials of various institutions that granted permission were known to remark that [the Buddhist paintings] “probably want to visit their homeland at least once.”

Thanks to such great efforts and careful coordination, the Goryeo Buddhist paintings, produced in the ancient Korean kingdom of Goryeo and then dispersed around the world, were brought together at a single venue. In this exhibition, subtitled “A Long Lost Look after 700 Years,” the paintings returned to their

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homeland after many long years. For viewers, the exhibition was a precious opportunity to appreciate works that they might never see again.

This grand-scale exhibition introduced the artistry of Goryeo Buddhist painting to a broad-based audience, and is expected to result in heightened interest in and more active academic research on these historic artworks. In the past, research specialists had to visit overseas museums in order to study these paintings. However, this exhibition enabled them to view the actual works in one place, while the international symposium on Goryeo Buddhist painting generated an enthusiastic response from the general public as well as the art community. The success of the exhibition has boosted expectations for more extensive research on this subject.

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ARTISAN

A Master’s Woodwork Brings the Hanok’s Charm to Life The construction of a hanok , a traditional Korean house, is undertaken by master carpenters, who build the framework and main structure, and master joiners who are responsible for the detailed woodwork. The master joiner Sim Yong-sik is a dedicated craftsman of traditional-style windows and doors. His exquisite woodwork adorns royal palaces and Buddhist temples all over Korea. Recently, his windows and doors have been introduced to modern apartments as well, creating a new look that combines traditional influences with Korea’s modern architecture.

Park Hyun-sook Freelance Writer | Ahn Hong-beom Photographer 44 Koreana | Spring 2011

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f a house can be likened to a human face, the hanok , the traditional Korean house, would be quite an expressive one. This quality comes from its wooden windows and doors adorned with elegant lattice patterns. In a hanok structure, it can be difficult to distinguish between windows and doors.

In general, an opening is a window when installed over a sill (meoreumdae ), which is not the case with a door. Whether a window or a door, these quintessentially Korean architectural features are decorated with intricate lattice designs, based on hundreds of standardized patterns. Designated Intangible Cultural Property No. 26 by the Seoul Metropolitan Government, Master Joiner Sim Yongsik, 59, has created these windows and doors with an endless variety of designs for most of his life.

The Master Joiner Sim Yong-sik says: “If a house can be likened to a person, its windows and doors give the house the expressive quality of a face.”

Lattice: Elegance of Form and Function Sim’s workshop, Cheongwon Sanbang, is located in Gye-dong in Seoul, in the district of Bukchon, where the largest cluster of traditional houses still in use can be found. Sim’s workshop serves as a museum of traditional lattice windows and doors, a school for his apprentices, and also a home for Spring 2011 | Koreana 45

“For windows of a sunny, south-facing house, high (vertically thick) lattice strips should be used so that they can effectively block and filter the light, and in the case of a house surrounded by leafy trees, the lattice strips should be low and flat to allow more sunlight in.

The amount of sunlight and the flow of the wind also determine the size of a window.”

1 1 The structural joinery techniques for building a hanok are also applied to the making of windows and doors, which calls for an elaborate architectural process involving proportional precision and well-fitted joints.

2 Bulbalgi-chang is an octagonal lattice window that allows natural sunlight to enter.

the master and his wife. Two adjoining hanok houses had been combined to create this functional complex in which his private residence and exhibition hall are nestled in the middle, along with his workshop in the front and the school to the rear.

All throughout the neat complex, the intricate latticework exudes an authentic harmony. The windows with lattice designs modeled after such Chinese characters as 亞 and 卍 divide the plane horizontally and vertically with Mondrianic abstraction and simplicity. Other lattice pieces feature exquisite flower motifs, such as plum blossoms, apricot blossoms, and peonies. Sim moved to Bukchon in 2006, and has since kept his workshop open to the public in an effort to promote traditional latticework. In 2006, he was designated a Seoul City Intangible Cultural Property, the first latticework artisan to be so honored.

“During the seasons for family outings in spring and autumn, 200 to 300 visitors a day will come to this workshop. Although I’m usually busy with my work and teaching my students, I try my best to help visitors gain more knowledge about traditional windows and doors. When I talk about them, visitors often marvel at the beauty of latticework, its intricate and sturdy structure. This encourages me to keep working on my craft. I’ve received great help from countless people, and now I want to share what I have.

All it takes is a little more effort.”

Behind his beaming face, a handsome round window frames the shadows cast by a gently swaying bamboo branch. The panes of mulberry paper soften the sunlight, making the room cozy and warm. In Sim’s workshop, the windows and doors are as functional as they are aesthetic. There are small windows for ventilation and natural lighting: bong-chang (sealed windows), gyo-chang 46 Koreana | Spring 2011

(wide horizontal windows), and nunkkopjaegi-chang (smaller slit windows with a whimsical Korean name that translates as “a window as small as the sleep in your eye”).

Sabunhap-mun (four-piece sliding door), usually paned with mulberry paper on both the inner and outer surfaces, are inset with a small lattice window (bulbalgi-chang , “a window for lighting”) in the middle of each panel to allow more light into the room.

The lattice design varies from simple grids to meticulous geometric patterns. The lattice window on a door is positioned so that a person seated on the floor can see out through the window. This is a functional feature reflecting the typical lifestyle of a hanok home.

When traditional doors and windows are designed, the user’s physical stature is taken into consideration. The typical inner room includes a window sill just high enough for someone looking out to rest an elbow on it comfortably, while sitting on the floor.

The sill height keeps the house occupants from being seen from the outside while lying on the floor. Some doors can be fitted for use as a privacy screen; when not needed they can be lifted and attached to hooks on the ceiling to create a roomy open space for special family gatherings or during the hot summer months.

“Traditional doors and windows should be made in consideration of the amount of sunlight, strength of the wind, size of the house, and lifestyle or preferences of the inhabitant,” Sim says.

“For windows of a sunny, south-facing house, for example, high (vertically thick) lattice strips should be used so that they can effectively block and filter the light, and in the case of a house surrounded by leafy trees, the lattice strips should be low and flat to allow more sunlight inside. The amount of sunlight and the flow

of the wind also affect the size of a window. For lattice designs, I usually have thorough discussions with the owner, and sometimes I recommend designs that I think would match his or her personality.

“Mostly, I use pine wood for my doors and windows, but I will also use walnut, Chinese cedar, or zelkova. I usually work on about 10 houses a year, and each house needs dozens of windows and doors. Producing so many of them and taking all the environmental and personal factors into consideration, I don’t have any two windows or doors that look exactly the same. This endless variety has made my work ever more enjoyable, filling my 40 years as a carpenter with much happiness.”

Precision of Traditional Architecture The framework of a hanok consists of various structural elements joined horizontally, vertically, and diagonally without using any nails. A variety of techniques are used to assure a structure’s maximum strength with the minimum amount of materials. In particular, the most basic technique for joining together horizontal and vertical elements is a kind of dovetail joint called sagae matchum . This is an ingenious method to construct the basic framework by joining a column with two horizontal beams.

Although not even a single nail is used to join the parts together, the joints are so precise and sturdy that the structure will remain intact even when all the walls have been removed. These techniques for structural joinery are also applied to the making of

doors and windows, which calls for an elaborate architectural process involving mathematical precision and perfectly-fitted joints.

Sim said: “When I repaired the windows and doors of Injeongjeon, the throne hall of Changdeok Palace, I was thrilled to observe their perfect structures. Traditional Korean doors and windows, which may look simple at first glance, are constructed with rigorous architectural precision. In the palace as well, their inner structures were so perfectly built, not allowing the slightest error, that I became keenly aware of the exceptional durability of our traditional doors and windows, which have withstood the test of time.”

It is no exaggeration to say that Sim has contributed his skills to virtually every major restoration project of traditional architectural landmarks, including the main pavilions of Changgyeong Palace, Hall of Vairocana (Birojeon) of Haein Temple, Hall of Avalokitesvara (Wontongbojeon) of Naksan Temple, Diamond Altar (Geumgang Gyedan) of Tongdo Temple, Hall of Ksitigarbha (Jijangjeon) of Jogye Temple, and the main hall of Songgwang Temple. All told, he has participated in the restoration of traditional architectural structures at about 500 sites.

Sim has also crafted the windows for the Korea Foundation Gallery in the British Museum, which are modeled after what would be found in the drawing room of a long ago Korean scholar.

In addition, he also participated in the construction of Goam Seobang, a traditional Korean house built in Paris to commemorate the painter Yi Ung-no.

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Sim Yong-sik’s exquisite latticework adorned with flower motifs. His traditional lattice patterns, along with a modern touch, add to a hanok’s expressive quality.

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Windows to the World Sim aspires to let the world know more about the enduring beauty of traditional Korean doors and windows by holding exhibitions in North and South America and across Europe. His exhibitions have been received with heartwarming enthusiasm, which has motivated him to plan additional exhibitions in other countries. Sim recalls, for example, that an exhibition he held last year in 2009 in Argentina reminded him of his youthful days.

During the exhibition, as he started to demonstrate his craft, spectators watched him go about his work with bated breath.

Soon he caught a glimpse of people who picked up wood shavings from the floor and gently smelled them, as if they were fragrant flowers. Similarly, the 17-year-old Sim was also attracted to the alluring scent of wood, which led him to the career path of a carpenter in 1969.

Sim recalled: “My hometown is Deoksan Village in Yesan County, South Chungcheong Province, and there was a woodwork shop close to my home. I passed the shop everyday on my way to school and back. Attracted by the scent of wood, I snooped around, and sometimes I would pick up a scrap of wood and fiddle with it in my pocket all day.

“Sudeoksa was nearby. As is widely known, the temple has a beautiful wooden structure noted for the extraordinary aesthetics of its mathematical proportions. I used to spend time at the temple, lost in my admiration of its beauty. After I graduated from elementary school and went to a middle school in my village, I finally started working at the woodwork shop, where I met my first teacher, Master Jo Chan-yeong (Master Joiner and South Chung­ cheong’s Intangible Cultural Property No. 18).”

Talent alone cannot produce better results than satisfaction in work. It was his love for woodworking that led this youth to work on wardrobes and desks, day and night, while completing his apprenticeship to become an expert joiner. At that time, life as a joiner was an impoverished fate. His mentor, Jo Chan-yeong,

although recognized as one of the foremost joiners in the country, was poor all his life, but his pride in his work was unrivaled.

Even when many of his fellow students left for other jobs, the young apprentice, drawing inspiration from his teacher’s dignity and pride, never had a second thought about his decision. The only time Sim left woodworking was the two and a half years in his youth that he spent in Saudi Arabia, as a construction worker, to earn money for the purchase of timber so that he could pursue his craft with more stability.

After he returned home, he learned from Korea’s most outstanding joiners and carpenters. In particular, he acquired his woodworking skills from, among others, Yi Gwang-gyu, a master artisan in carpentry and joinery whose theoretical knowledge on hanok was in large part passed down by Sin Yeong-hun, director of the Hanok Culture Institute. In 1996, Sim studied Buddhist art at the Graduate School of Buddhist Studies of Dongguk University.

“My teachers were men of integrity and dignity. They always remind me of a pine tree, which remains verdant even in winter snow. While teaching me, they often gave me a hard time and would scold me severely [for my shortcomings], but I could feel that there was warm compassion at the bottom of their hearts.

Just like a ‘giving tree,’ my teachers tried to teach me all their skills and knowledge. They all liked people and had a positive outlook on the world, but they were indifferent to worldly gains and did not fear poverty. Some of them called for me before they died and gave me the precious tools they used all their lives, legacies that I still treasure.”

Just like his teachers, Sim is an upright, uncompromising artisan. Added to this personality, however, he has internalized the characteristic of a window: a willingness to communicate with the outside world. This attitude has led him to open his workshop to the public, offer free home repairs to lower-income households, and provide financial support to children struggling to survive without parents.

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DISCOVERING KOREA

‘Five Looking West’ Exhibit Reveals Korean Influences on American Art From January 14-22, 2011, the Korea Foundation Cultural Center in Seoul hosted a fascinating exhibition, “Five Looking West.” The exhibit featured the works of five northern California artists whose art and lives have been influenced by Korea. Though their media cover a wide range of art forms, including photography, sculpture, ceramics, and paper string art, they are all drawn together by the currents of Korean culture and tradition that have informed and continue to inform their work. I had the good fortune to talk with Lois Lancaster, one of the five artists and also the curator of the exhibit.

Charles La Shure Professor, Graduate School of Interpretation and Translation, Hankuk University of Foreign Studies

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Charles La Shure: What brought you five artists together and inspired you to hold the “Five Looking West” exhibition?

Lois Lancaster: The initial impulse for a show of “artist books” and scrolls that have Korean influence grew out of a project at the British Library. They decided to have a show of objects owned by the library that were inspired by China, Korea, and Japan. They had a difficult time finding artist books by Westerners influenced by Korea. While they were searching, they heard about my work and as a result purchased four of my artist books.

The exhibit “From East to West” was held in their main gallery in the spring and summer of 2007 and included my works.

In December 2009, I met with Director Yoon Keum-jin of the Korea Foundation Cultural Center and showed her examples of my work and pictures of the pieces in the British Library. She was interested in the idea of American artists influenced by Korean culture and suggested inviting three or four other American artists to join in an exhibit. Fortunately, I have known, for many years, four other artists whose work does have Korean influence and who were eager to learn more about Korean art and culture by joining me in this exhibit. I respect their work very much and their sensitivity and willingness to learn and expand their understanding.

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La Shure: What exactly is an “artist book”?

Lancaster: An artist book is an art work inspired by the form or idea of the book. The type of binding can identify its form, such as the codex, our most commonly used binding of loose sheets of paper fastened along one side. In the past, palm leaves, tree bark, wood, ivory, papyrus, etc. were bound together by putting string through one or two holes. Unbound books included the Asian folding book, stacked sheets wrapped in cloth (Tibet), or portfolios. Carving and painting on rocks stacked in cairns are considered a form of book. Scrolls, horizontal or vertical, are a form of book.

Any material and art technique can be used; they can have text or not, illustrations or not. They can be a unique piece or a limited edition of books. They can use a printing press, computer, or other machinery, or be totally hand-made. The transformation of damaged, discarded, printed books into a new art object is often done just as Korean craftspeople rolled strips of their old books into string to make baskets and small furniture. The transformation of something that has been discarded as no longer useful into something new and desirable is a good way to work.

1 Lois Lancaster’s “Paper String Theory” is a unique example of book art, with handmade paper strings sticking up above the binding.

2 Lois Lancaster has adopted Korean paper crafts and applied it to her own works.

3 One of Linus Lancaster’s “Guardian Figures” works, which have been inspired by the jangseung (totem poles) of Korea.

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1 “Three Broken Lines,� by Chris Sarley, is a ceramic work that has been fired in a Korean-style kiln. The three lines symbolize the I Ching trigrams.

La Shure: What does the Five Looking West Artist Consortium hope to achieve with this exhibit?

Lancaster: At the start of the project, the five of us began to meet and to discuss our art and our understanding of how Korea has influenced us. It is our hope that the dialogue will expand to other artists in Korea and abroad. There are some who feel that the Asian influence on American art has waned. We think it is by no means over and that it will continue to come in waves of cultural interchange. Just as the global world is creating a flow of information and exchange, our show is just one aspect of this process. The flow is from east to west and west to east. We also hope that when Koreans see what has inspired us, it may lead them to look again at those aspects of their own traditions which may have been marginalized in the move toward modernity.

La Shure: Since you mention the move toward modernity, what role do you think tradition can play in modern society?

Lancaster: I try to work using innovation and tradition in harmony in my art work. I think that traditions are the strong legs of a culture. Watson and Crick, who won the Nobel Prize for DNA, are saying that the study of consciousness will be the most important focus of science in the 21st century. The unbroken traditions of deep meditation in Buddhism and Shamanism in Korea have much to offer; the Dalai Lama is working with scientists to explore the centuries-long traditions of Tibetan spiritual practices and the experience of consciousness.

La Shure: You have traveled extensively in Asia 2

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and Korea. When was your first visit to Korea, and how did that visit affect you?

“There are some who feel that the Asian influence on American art has waned. We think it is by no means over and that it will continue to come in waves of cultural interchange. Just as the global world is creating a flow of information and exchange, our show is just one aspect of this process. The flow is from east to west and west to east. We also hope that when Koreans see what has inspired us, it may lead them to look again at those aspects of their own traditions, which may have been marginalized in the move toward modernity.”

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Lancaster: My first visit to Korea was in 1970. At that time, the overwhelming impression was of a culture and society in the midst of recovering from the devastation of war. Two years later, I returned to Korea and saw an impressive change in restoring and healing the damage to the culture. It was then that I began photographing at a number of Buddhist monasteries. While focusing on Tongdosa (on Mt. Yeongchuk in South Gyeongsang Province), wandering into a dark corner, I came upon a folk painting of a white tiger which delighted me so much that I took a number of pictures of it. I had never seen anything like it and knew that it was a significant moment.

2 The “Five Looking West” exhibition was presented at the Korea Foundation Cultural Center.

3 Mary Pettis-Sarley’s “Starlings”

La Shure: Among the influences you cite are the spiritual aspects of Korean culture. Can you elaborate on that?

Lancaster: I became very interested in Buddhism from a course in comparative religion that I took as a part of my training in anthropology at Stanford University. Buddhism remained a major influence in my life. The influence of Daoism, Buddhism and Shamanism, which had a large impact on American artists in the 20th century, is still in play. There is an intimacy and accessibility of these spiritual traditions in Korea that is unmatched elsewhere.

It was also my good fortune to meet Dr. Zo Zayong (Jo Ja-yong) and to see his magnificent collection of Korean folk art at his Emille Museum. He became a friend and visited my home in Berkeley.

I arranged for him to give a lecture on Korean folk art on the campus of University of California at Berkeley. He was trying to salvage the art form before it was completely destroyed. Knowing him and seeing him in Korea in the following years kept alive my interest in all aspects of Korean folk art. Zo Zayong introduced me to symbolism and metaphor in paintings, which continue to be of great interest to me.

La Shure: In an introduction to your art, you wrote: “The trickster figure of myth is much with me.”

Can you explain what this “trickster spirit” is and how it informs your art?

Lancaster: As my interest in Shamanism increased, I took training at the Foundation for Shamanic Studies (www.shamanism.org) with Professor Michael Harner, learning to practice what he has called “Core Shamanism” (a bare bones experience of altered consciousness without any other culSpring 2011 | Koreana 53

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1 Linus Lancaster’s “Timeline” 2 Chris Sarley’s “Onggi Lamp Oil Bottle”

tural trappings, myths, or spirits). As a result of this training, I have worked with clients over the years and am quite familiar with working with spirits.

As an artist, the trickster figure is an energy that comes into play while I am making art. It is playful, disruptive, and mischievous. It brings imaginative ideas and solutions into my work that I had not anticipated. Although at times maddening, the work produced with the trickster spirit tends to be successful. I know when it is working well, especially when it makes me laugh.

La Shure: If I could talk briefly about some of your works in the exhibit, “The Heart Sutra” is particularly interesting. Why the Heart Sutra as opposed to any other Buddhist text?

Lancaster: I choose the Heart Sutra (which could be translated just as well with the word “essence” rather than “heart”) because it holds the essence of the teachings of Mahayana Buddhism. On the back of the piece, there is the complete sutra from the printing block version at Haeinsa monastery.

Its presence in a whole state on the piece is also important. In the past, people used this singlesheet sutra as a talisman. My experience with Buddhist meditation and Shamanic journeying was to come to the realization of the essence of the Heart Sutra. There is a saying that “all true paths lead to the One.” To reach the understanding of the essence is difficult. To line up 108 ping pong balls to read what is written on them and keep them from rolling off the table and bouncing gaily across the floor in every direction is a challenge. In all my work, there are levels of meaning and deeper meanings, which are my gift to the viewers to discover in their own way.

La Shure: You’ve mentioned the Korean art of rolling paper into string, and many of your works are inspired by this practice. What drew you to 2 54 Koreana | Spring 2011

this art form?

Lancaster: Zo Zayong took me to visit a famous paper string artist. She showed me how to twist discarded book paper into paper string. Her examples of basketry and small furniture were impressive. The old hand-made paper and beautiful printed calligraphy seemed too good not to use in a variety of ways to transform it into new art pieces.

It truly was fascinating to see how the artists have incorporated Korean culture, art and sentiments into their work. Marilyn Hulbert, whose captivating photography was featured in the exhibit, said: “When I was first introduced to traditional Korean folk art, I found it beautifully relaxing. It was like a silent inviting moment. We live in such a fast-paced world that I was delighted to feel compelled to stop and look and take in the essence of the folk art. I wanted my art work to have that same feel.”

Linus Lancaster says he has been deeply influenced by Korean folk sculptures such as jangseung and sotdae (spirit poles): “When I saw the jangseung in Seoul, it was one of the first times as an adult that I had been experientially confronted with palpable spirit in a material object. My background is in illustration, but from then on I was determined to begin working sculpturally.” One of his guardian figure sculptures quietly stood watch over the exhibit from a corner, capturing the playful yet subtly threatening spirit of Korean jangseung.

The exhibition served as an opportunity to promote the already significant cultural exchange between Korea and the United States, between East and West, and I join the artists in hoping that this tradition continues.

3

3 Marilyn Hulbert’s “Flying to Korea”

4 Marilyn Hulbert explains her photography works to exhibition visitors.

4 Spring 2011 | Koreana 55

INTERVIEW

Hesung Chun Koh

A Super Mom and Tireless Cultural Emissary Dr. Hesung Chun Koh (Chun He-sung ), a renowned scholar of comparative culture studies, has dedicated her professional life to fostering cross-cultural understanding between East and West and laying a groundwork for Korean studies in the United States. Dr. Koh, now retired from a teaching and scholarly career of more than 50 years, including 24 years at Yale University, continues to pursue her lifelong passion of building bridges for engagement, while more recently focusing her energy on exploring “how to age meaningfully” in today’s increasingly graying society.

Shin Ye-ri Editorial Writer, The JoongAng Ilbo

I

n May 2010, U.S. President Barack Obama signed a declaration that seeks to improve the standing of Asian immigrants in American society. A photograph showing this historic moment generated considerable buzz both in the United States and in Korea because, standing side by side right behind President Obama were two high-achieving Korean-American brothers, the newest faces of the Obama administration and official Washington’s new celebrated power siblings.

The brothers, Howard Kyong-ju Koh and Harold Hong-ju Koh, were appointed to the Obama administration in 2009. Howard Koh, who was the associate dean of the Harvard School of Public Health at the time, was named the assistant secretary for health; his younger brother Harold, then dean of the Yale Law School, was selected as legal adviser of the Department of State.

Having not just one but two of your children become high-ranking officials at the same time would make any parent burst with pride. The emotions expressed by their mother, Dr. Hesung Chun Koh (Chun He-sung), were particularly noteworthy.

“Just before the Senate [confirmation] hearing of my son Harold (Hong-ju), in April 2009, an entire group of senators walked across the hall to us. As they greeted my family, all the senators shook my hand. Media reporters, especially those from Korea, snapped numerous pictures, and the event became major news in Korea and the Korean-American community in the States,” Dr. Chun recalled. “That was truly one of the most gratifying moments in my life.”

A Special Mother Indeed Dr. Hesung Chun Koh believes that the KoreanAmerican community should produce more leadership figures who can also earn the respect of mainstream society in the United States.

56 Koreana | Spring 2011

Dr. Koh is a cross-cultural studies scholar who, along with her late husband, Dr. Kwang Lim Koh (Koh Kwang-lim), who served as Korea’s senior emissary to

Koh raised all her children as leaders in their own fields. Their the United States, has been success has attracted huge interest in the upbringing methods of working to raise awarethe Koh family. All six children are graduates of top-tier universiness of Korea in American ties such as Harvard and Yale; all told, 11 doctorates are held by society over the past several members of her family. The Koh family was among the family decades. As such, she sees units selected for a U.S. Department of Education research projthe success of her two sons ect to evaluate child-rearing principles. What is the Koh family as representing more than secret? their personal achieve“Parents should walk the walk, rather than just talk the talk,” ments; to her, it is America’s she advises. Right before the outbreak of the Korean War, she recognition of the fact that came to the United States to study, with dreams of making a conKorea and its people are tribution to her motherland. It was here that she met and married capable of making valuable Kwang Lim Koh, who was also a student. Juggling the demands contributions. In order to 1 of her roles as a wife, mother, and student, she earned her Ph.D. further increase Korea’s in sociology and anthropology from Boston University in seven influence over the U.S. public, she believes that “the Korean comyears. Her husband also earned two doctorate degrees, in politimunity must produce more leaders who can also earn the esteem cal science from Rutgers University, and in law from Harvard Law of mainstream Americans.”

School.

“Fortunately, I felt that after 60 years in this country, my famThe Koh children, who always saw their parents studying, folily was representing something broader than ourselves,” said Dr. lowed this example and would never be without a book in their Koh. “America’s image of Korea ultimately affects the self-image hands although they were never told to study. Their house was of Korean-American youth, which affects our chances of nurturing furnished like a small library — nine desks lined the walls. The future leaders from the Korean-American community. children made it a rule to sit down at a desk as soon as they came “While the 1988 Seoul Olympics did elevate Korea’s image, home from school and never played before their homework was demonstrating Korea’s emergence as a modern nation capable of completed. Even their friends, who came over to play, would end great artistic and technological achievement, the Korean grocery up studying at one of the unoccupied desks. As a result, word got store boycotts in New York City from 1990 to 1991 and the Los around in the neighborhood that any lazy kid should be sent to the Angeles riots in 1992 damaged the image of Korean-Americans, Koh’s. [distorted] in the media as ‘money-grubbing, gun-toting immigrants.’ When North Korea was described as part of the ‘axis of evil’ after the 9/11 terrorist attacks, Koreans and KoreanFounding of the Korea Institute Americans alike were seen as a group through the lens of racially Kwang Lim and Hesung Chun Koh stopped early attempts to charged stereotypes. Even after the G20 Seoul instill a Korean identity in their children. At Summit, Korea is still seen merely as a geofirst, the parents tried to have their children political ally and trade partner, rather than a speak Korean at home and English outside cultural peer.” so that they could become bilingual, fluent in As Koh raised her six children, all born both Korean and English. But they changed in the United States, she constantly encourtheir minds when they saw their young chilaged them to contribute to American society dren mixing up the two languages and getting while never forgetting their Korean roots. She confused in front of their American friends. continues to impart her wisdom to her grown The couple thought that it was more sons and daughters. Whenever she reads in the important to cultivate in their children pride newspapers about her sons having a tough time in Korea and its culture rather than to force with their work, she offers the words of her own their use of the Korean language. The parents mother: “Your maternal grandmother often believed that this goal could be best achieved said that the bigger a tree the stronger the wind by demonstrating to their children how they it gets. As a person in charge of important work, should do their utmost, at all times, to live as 2 you will inevitably have to go through more proud Koreans in American society.

1 The book cover of “Meaningful Aghardship than others. So, soldier on and keep The first step in this direction was the ing,” published in 2010. up the good work.” In turn, Howard has shared establishment of the non-profit Korea Insti2 Event poster for “Bridging Culture this inherited wisdom with his American coltute, while advocating that Harvard offer a Through Dolls,” a special seminar leagues.

Korean language course in the 1950s. Most and exhibition organized by Dr. Koh at Whitney Center in Connecticut.

In their unique cross-cultural environment, Americans were so ignorant about Korea Spring 2011 | Koreana 57

At a publication reception for “Meaningful Aging” at Whitney Center, Dr. Koh was joined by her daughters, sons-in-law and grandchildren.

that the Kohs would be asked if Korea was an island in the South Pacific. There were a considerable number of scholars of Chinese and Japanese studies at most colleges, but few schools even possessed a decent book about Korea. To make available courses on Korean language and history, the Kohs actively encouraged the Harvard administrators to do so.

Even while still students, the husband and wife team played a leading role in organizing seminars to discuss a broad range of topics related to Korea. As these seminars received a favorable response and attracted ever more participants, the efforts gradually developed into the Korea Institute, the precursor to today’s East Rock Institute. The institute invited Korean and American scholars, diplomats, and missionaries to its monthly lectures.

The Korea Institute, which maintained operations for more than 10 years until Dr. Kwang Lim Koh was appointed as one of Korea’s senior diplomats in the United States, is the first example of a sustained effort to promote cross-cultural communication between Koreans and Americans.

Platform for Eastern Values in the West Dr. Koh never ceased to promote Korean culture, even when she lived in Washington, D.C. as the wife of a diplomat. She fully utilized embassy gatherings to this end. Determined to enliven the mood of formal receptions, usually attended by mainly male guests, she took the initiative to approach Washington-based female ambassadors and invited them to get-togethers at the Korean embassy. Photographs of the wives of Korean diplomats in their elegant hanbok welcoming lady ambassadors began to appear in U.S. newspapers.

After completing his tenure as emissary, her husband 58 Koreana | Spring 2011

returned to academe, becoming a professor at Central Connecticut State University, while Koh moved to New Haven to work at the institute of comparative culture studies at Yale University.

Since then, they began to focus on the re-establishment of the Korea Institute in earnest, which led to the founding of the East Rock Institute in 1985.

The name of the institute, taken from the landmark mountain in New Haven, symbolizes their will to “create a rock-solid foundation of Eastern values in the West.” Now in her eighties, Dr. Koh, its founding president, still serves as chairperson of the institute, while being committed to realizing her own and her late husband’s lifelong dreams. Her love of East Rock Institute is vividly expressed in how she calls it: “my youngest child.”

The East Rock Institute has conducted seminars and international conferences to foster understanding of Korean culture and history, along with publishing a variety of journals and books on Korea. One of its most crucial projects has been its involvement in the editing and publishing of American textbooks for secondary schools and in training U.S. educators.

At an academic conference in 1982 to celebrate the centenary of diplomatic relations between Korea and the United States, an American teacher reported that there were no textbooks available to teach U.S. students about Korea. This led to the launch of a textbook project. Until then, American textbooks invariably described Korea as a devastated country still reeling from destruction of the war in which the U.S. military participated to save Korean lives.

Koh decided that this situation required urgent attention at a time when the number of second-generation Korean immigrants was rapidly increasing. She thus set up an expert committee

consisting of 30 scholars of Korean studies to provide accurate information for American textbooks. The East Rock Institute has inherited the findings of this research and continues to work on the textbook project.

“I would like more and more people to engage in our project as patrons, volunteers, or interns,” said Dr. Koh. It is her belief that the institute belongs to not only Koreans but also to anyone with a connection to Korea. As for enhancing Korea’s “brand image” among the international community, which is currently a hot topic in Korea, Dr. Koh had this to say in her keynote speech at the recent annual gala of the Korean American Society in New York: “We can do this by drawing from the Korean cultural value that I call ‘creative syncretism’ — the ability to reconcile opposing

after, she organized a fashion show to introduce traditional Korean costumes to the residents, with the help of Sungshin Women’s University. When she was introduced to a Korean doll maker who created elaborate dolls modeled after women of the Joseon period, Koh started to organize an exhibition featuring dolls of the world. Some 80 items from 18 different cultures were collected when Koh asked her neighbors to pitch in for the exhibition, including an opera doll from Sicily, a straw doll used as a talisman by a native American tribe, and an Inuit doll from Alaska.

Although it was Koh who conceived the idea, without the contributions from a large number of people who loaned their valuable dolls, this project could not have been realized. Once again, in yet another setting, Koh came to realize how powerful community can be.

“In an increasingly diverse multicultural society, you must know who you are and understand your cultural heritage. Otherwise, you will not feel secure enough to be tolerant or accepting of others, and live harmoniously with – much less lead – them. When you are not confident and lacking in self-image, you cannot become cosmopolitan.”

forces to bring about luck and happiness. This value is best portrayed in the triple whirl of the yin-yang symbol found in Korean folk art. Imagine what would happen if the Korean-American population disappeared from the greater New York area. Who would miss us, why, and what would be our legacy or contribution?

When answering this question, we can see how we must cooperate and live together peacefully, by embracing all those related to Korea by birth, marriage, adoption, and choice. This includes not just those who live on the Korean Peninsula, both South and North, but also those seven million Koreans living in over 175 countries around the world. Our most important allies are often our non-Korean neighbors.”

She further noted: “In an increasingly diverse multicultural society, you must know who you are and understand your cultural heritage. Otherwise, you will not feel secure enough to be tolerant or accepting of others, and live harmoniously with — much less lead — them. When you are not confident and lacking in selfimage, you cannot become cosmopolitan.”

‘Unofficial Diplomat’ at Whitney Center Koh remains active in public service. She is enthusiastically engaged in the activities of Whitney Center, a not-for-profit healthcare retirement community in Connecticut where she now resides, as well as the East Rock Institute. Koh lived alone after losing her husband to a stroke, and moved to the center in 2009 with her 80th birthday approaching. She found there a new calling: playing the role of an “unofficial diplomat” as the sole Korean at Whitney Center.

After moving in, Koh began to give an introductory lecture on Korean culture at the center’s college for senior citizens. Soon

‘Meaningful Aging’ Koh has now found another dream: a retiree community being built in Korea to allow senior citizens to share their life experiences and wisdom, and live to a happy old age. Knowing that Koh is a person who has turned whatever she dreamed of into reality, I asked her how she planned to achieve this dream.

“I’ve already had a memorandum of understanding signed among the Whitney Center, East Rock Institute, and Yale University. The purposes of the MOU are to carry out a variety of joint studies and projects on aging-related issues. I want to invite Korean scholars and government experts to Whitney so they can learn from firsthand experience. I also want to invite Korean medical doctors so they can see Yale’s geriatrics program. Besides, I plan to share my know-how with anyone involved with a non-profit living community for elders.”

Koh wrote in her book, “Meaningful Aging,” published by JoongAng Books last year: “The best we can do is to age meaningfully, which can be achieved by doing even the smallest things to help someone else, not just yourself.”

Lastly, Koh underscored the need for measures to address today’s aging issues. “Korea is now the fastest aging nation in the world. So the question is, who will take care of our elderly, and with what money? Not only the governments at all levels but also each individual citizen needs to actively plan and prepare now for their own and loved ones’ golden years. Active cross-cultural research and international cooperation on aging policy measures can yield amazing results. Koreans believe in so-called jeonhwa wibok , turning crisis into opportunity. I would be so grateful if my remarks can help to raise consciousness on this urgent issue in Korea and around the world, and stimulate positive change.”

Spring 2011 | Koreana 59

ON THE GLOBAL STAGE

Kim Young-se is the founder and director of INNODESIGN, an international design consulting group with headquarters in Silicon Valley. He also holds an endowed chair at Sangmyung University, where he offers encouragement to talented young Korean designers. His design creativity has shown itself in various practical items, from the cellular phone to powder compact.

Kim Young-se

Visionary Designer of the Future The founder and director of INNODESIGN, Kim Young-se is one of Korea’s foremost industrial designers. At the 2005 International Consumer Electronics Show (CES), Bill Gates praised Kim’s iriver H10 (an MP3 player) as a leading design product of the digital era. Through various innovative products, Kim is demonstrating his ingenious capabilities to the world. Jeon Eun-kyung Editor-in-Chief, Monthly Design

“A

designer should be able to design with the sense of a businessman, and a businessman should be able to do business with the sense of a designer. That’s what the design business is all about,” says Kim Young-se. He believes that design is the result of innovative thought derived from the market, not from the factory.

For Kim, design is not just an option for technology and marketing; when it is based on love and understanding of the consumer, design can make people dream of the future and change their lives. If a designer works based on such understanding, the product cannot fail to gain recognition from the consumer. This is the belief and core strategy of INNODESIGN (www.innodesign. com).

‘Design Is Love’ INNODESIGN’s “Design First” process, proven successful in many cases, is highly appraised at a time when so much importance is being placed on design. The way Kim sees it, the core of this design philoso-

phy is humanity and love for human beings.

“When our son was little, he once gave us a very cute card where he offered us gifts such as washing the dishes and clothes and massaging our sore muscles. At the end he wrote: ‘I will love you forever.’ It made my wife cry,” Kim says. The card had a strong impact on Kim. He realized that “design is loving others,” a lesson learned from his little son’s gift.

“I realized that good ideas that touch consumers only come by observing people with love,” Kim says. “The beginning of design is love. That’s the only way to move consumers, beyond just satisfying them. If moving consumers is the aim of any business, a business has to start from love, in the spirit of design.”

Kim decided to become a designer at the age of 16. He studied industrial design at Seoul National University as well as the University of Illinois, where he taught after graduation. He also worked at various design companies in Chicago and in this way laid a solid foundation for his future design work. In 1986, he established Spring 2011 | Koreana 61

“The beginning of design is love. That’s the only way to move consumers, beyond just satisfying them. If moving consumers is the aim of any business, a business has to start from love, in the spirit of design.”

INNODESIGN in Silicon Valley, and in 1997, the company’s building was constructed in Silicon Valley’s Palo Alto.

INNODESIGN Seoul, established in 1999, now operates internationally with branch offices in Beijing and Tokyo. It has expanded beyond product design to provide creative design consultation services, including visual design, user interface and space design, as well as business consultation.

Kim has received prominent international design awards, such as IDEA, iF, and red dot, and also Japan’s Good Design Award. The Japanese economics journal Nikkei has introduced INNODESIGN as one of the 10 leading design companies in the world along with IDEO of the United States and Seymourpowell of Britain. The LG smart phone by INNODESIGN was chosen as Best Product of 2000 by Business Week and introduced in a cover story of DESIGN, a magazine published by the British Design Council.

All these remarkable achievements aside, Kim is considered a master of innovative design not because of his many awards and successful projects but because he is a visionary who continuously expands the meaning and role of design.

ProTech and William Sauey INNODESIGN has made its mark in the history of Korean design. Kim is proud of having contributed to globalizing Korea’s industrial design through consultation work for major Korean 62 Koreana | Spring 2011

businesses during his time in Silicon Valley. When asked to name the hardest time in his career, he likes to answer: “Now.” He says: “I don’t ever remember a time without any difficulties.”

Kim’s first big difficulty came about 25 years ago. He wanted to buy a golf bag to take along on trips but couldn’t find one he liked. So he designed one. He called it ProTech and decided to produce it himself. He borrowed several hundred thousand dollars and manufactured the bags, but his problems had just begun.

He didn’t know how to sell the bags, or how to cover the marketing costs, and so on. Eventually, he decided to show his products at a golf merchandise trade fair in Orlando, Florida, hiring only a small booth to save money.

Kim recalls: “In those early days of INNODESIGN, I was embarrassed overseeing sales at our stall, along with other inexperienced staff. Then one day, I met someone who rescued me. It was William Sauey, president of Flambeau, a major American company for plastic products. ‘You seem to be a very creative young designer. Why don’t you concentrate on design work and leave production and sales to me,’ he suggested. The next day, we made a design license contract, giving Flambeau the rights to production and sales with INNODESIGN receiving 8 percent in

A cruise ship, a refrigerator, an MP3 player, an electric car, and a golf bag are all examples of Kim’s popular and successful avant-garde applications to industrial design.

royalties.”

Thanks to this successful venture, INNODESIGN was able to move into its own building in Palo Alto a few years later. ProTech also brought him his first IDEA award.

“I wouldn’t have had such a hard time if I hadn’t tried to make something new. I wouldn’t have had the hardship of borrowing money, the ordeal of sleeping in a small rented car by the highway to travel to the factory, or the embarrassment of sitting in a small stall at the trade show. But it’s important to remember ‘no pain, no gain.’ The only way to overcome difficulty is to put your heart into what you’re doing. There is truth in the old saying ‘Sincerity moves heaven,’” says Kim. From a tough beginning, INNODESIGN has now become a representative design company for Korean firms, creating products such as Tong Yang Magic’s gas cooker Lobster, the iriver MP3 player, Laneige’s slide-top compact, LG’s refrigerator Dios, and Samsung’s Anycall phone. Recently, it has been consulting for CT&T, a Korean company specializing in electronic cars, producing designs for a small electronic vehicle for two and a sports car. It is also in the process of designing a CT&T plant in Hawaii.

One of Kim’s key interests these days is establishing a brand image of Korea. He is concerned about the relative weakness of Korea’s global image, the way many people see it primarily as a divided country despite its remarkable economic development over the past few decades. That’s why Kim started the T-line

project, a design collection inspired by the taegeuk symbol (yin-yang mark) on the Korean flag. The result is a line of cultural products featuring the symbol, developed in conjunction with the Cultural Foundation of the National Museum of Korea.

A Visionary Strategy Leonardo da Vinci and King Sejong, Steve Jobs and James Cameron ― these are the visionaries of the past and the present whom Kim considers to have changed the world. For some time now in his interviews and lectures, Kim has defined a visionary individual as a role model for future leaders. A visionary is a creative person who successfully recognizes future value in the present through the power of imagination. Today’s visionaries are creators who make new trends in this era of design which will go beyond the age of information.

Kim’s design philosophy is further expounded in his books “Innovators are the Creators of Trends” and “Visionaries Control the Future,” both published in 2005. These books also introduce his training methods for creativity and sensitivity.

To the question about the best of his design products, his answer is always the same: “The best design is yet to come!”

This outlook comes from his “hungry heart,” from never being satisfied, and the constant desire to create better designs. Thirst for recognition for his new creations inspires his search for new ideas. Kim’s best design therefore is always a work-in-progress, and that’s what keeps people waiting for his next creation.

Spring 2011 | Koreana 63

MASTERPIECES

Joseon Prince’s Dream Journey to Peach Orchard Paradise As a leading cultural figure during the time of King Sejong, Prince Anpyeong was an exceptional calligrapher, avid collector of Chinese calligraphy and painting, patron of the arts, and an open-minded individual who did not make distinctions between the classes. He was thus surrounded by men of talent from all fields and social classes. One night in 1447, the prince had a dream of traveling to a peach orchard paradise, which became the inspiration for one of the greatest masterpieces of Korean painting.

Ahn Hwi-joon Professor Emeritus of Art History, Seoul National University

“Dream Journey to the Peach Blossom Land” An Gyeon, 1447, Joseon Dynasty; ink and color on silk, 38.6 x 106.2 cm; Central Library of Tenri University, Tenri, Nara Prefecture, Japan

64 Koreana | Spring 2011

O

n the night of the 20th day of the fourth month of 1447, Prince Anpyeong, or Yi Yong (1418-1453), third son of King Sejong of the Joseon Dynasty, fell into a deep sleep and had a wonderful dream. In the dream, the prince comes to the foot of a mountain, accompanied by his close friend Bak Paeng-nyeon (1417-1456), and sees before him an exquisite scene of rocky cliffs, peach trees, and a forest path.

At the edge of the forest, the path forks into several directions.

While the prince is wondering about which path to take, he meets a man in ragged clothing, who shows him the way to a peach orchard. The friends pass through a landscape of craggy cliffs, densely wooded forest, and a meandering stream.

The peach orchard spreads out over a broad expanse that appears to continue for several miles, surrounded by a towering wall of mountains shrouded by dense clouds and mist. There is an abundance of peach trees in bloom, along with bamboo groves and several thatched cottages. There are no hens, no cows, or other animals, only a small boat drifting along a stream. The scene is lovely yet desolate, like a village of the immortals.

This is a brief description of the peach orchard that Prince

Anpyeong had dreamt about. As soon as he awoke from this dream, the prince summoned An Gyeon, the leading artist of the time, and, after describing his dream, asked An to paint the wonderland. In just three days An completed the painting that became his masterpiece, “Dream Journey to the Peach Blossom Land” (Mongyu dowon do ), according to the painting’s colophon.

The four essential elements of this painting include the peach orchard, Prince Anpyeong, An Gyeon, and the work of art itself.

The peach orchard represents an ideological foundation for the painting; Prince Anpyeong, as the person whose vision inspired the painting’s images, reflects the cultural complexity of the work; An Gyeon, as the artist and creator, expresses its artistic nature; and the painting itself features a unique style, along with occupying an important place in the history of Korean art.

Ideological Background It is natural to be curious about the background of the peach orchard that Prince Anpyeong dreamed about, in regard to its ideological background and the dream’s inspiration. Clearly, the image of a beautiful grove of peach trees in full bloom can be

Spring 2011 | Koreana 65

The remote and lovely peach orchard at the end of the “dream journey” is thought to represent a proverbial utopia as envisioned by a Joseon prince who lived amidst political turmoil.

found in a work of prose, “Peach Blossom Spring” (Taohua yuan ji ), written by the ancient Chinese poet Tao Yuanming (365-427), also known as Tao Qian. The fairyland scenery of blossoming peach trees, the rugged mountains that cut off the outside world, the cottages surrounded by bamboo plants, and more than anything else, the boat adrift on the water carrying the fisherman who discovered the orchard, are clues that point to the influence of Tao Qian. The difference is that the farmers, hens and dogs mentioned

by Tao do not appear in the prince’s dream or in An’s painting.

The apparent impact of Tao’s “Peach Blossom Spring” on Prince Anpyeong and An Gyeon is of great significance. This is especially relevant in light of the efforts to suppress Buddhism and to promote Confucianism that were undertaken from the outset of the Joseon Dynasty. This suggests that while Joseon appreared outwardly to be a firmly Confucian nation, with NeoConfucianism adopted as the prevailing ideology and moral standard for society, beneath the surface it was actually rooted in a more liberal Daoism. In other words, the people maintained dualistic ideological values, and it was in this context that landscape paintings, including “Dream Journey to the Peach Blossom Land,” could flourish and earn such high acclaim under a Confucianbased dynasty.

In the painting’s inscription, Prince Anpyeong asks of himself: “I am a person who dedicates his body to the palace day and night looking after affairs of state, so how is it that I went to the mountains and forests in my dreams?” His soliloquy continues, “I must have harbored such wishes, being a lover of seclusion in nature,” which reveals an ideological dualism. For the prince, burdened by the complexity of state affairs in accordance with Confucian 66 Koreana | Spring 2011

principles, dreaming of the Daoist world, represented by the peach orchard, is a clear manifestation of his own dualistic mindset. Entangled in political conflict with his brother, Prince Suyang, it is highly likely that he regarded the peach orchard as a kind of utopia, completely free from cares and restrictions.

The profound spiritual influence of “Peach Blossom Spring” on Prince Anpyeong reveals the classicist tendency that characterized King Sejong’s reign, 1418-1450. This can be attri­ buted to the literary trends of the era, when active research was carried out on not only the eight masters of the Song and Tang dynasties but also the literature, calligraphy, and systems of earlier periods in Chinese history.

The Producer, Prince Anpyeong As a leading cultural figure during the time of King Sejong, Prince Anpyeong was an exceptional calligrapher, avid collector of Chinese calligraphy and paintings, patron of the arts, and an open-minded individual who did not make distinctions between the classes. He was also the leader of the political faction which clashed with that of his brother, Prince Suyang. Thus he was surrounded by men of talent from all fields and classes of society, including scholars from the Hall of Worthies (Jiphyeonjeon) such as Seong Sam-mun, Bak Paeng-nyeon and Shin Suk-ju, senior court officials including Kim Jong-seo and Jeong In-ji, and artists like An Gyeon, who often participated in the cultural activities led by the prince. The poetry works written by 21 poets and writers in their own hand for “Dream Journey to the Peach Blossom Land” well attest to this fact.

Five years before this painting was produced, a similar example of such cultural collaboration took place in 1442. After the prince obtained a copy of “Poems on the Eight Views of the Xiao and Xiang Rivers” written by the Southern Song emperor Ningzong, he commissioned An to paint the eight views and leading literary men of the day to write poems of praise. These instances show how Prince Anpyeong was behind the creation of this monumental work, combining painting, poetry and calligraphy, regarded as the greatest masterpiece of its time. Without the

The peach orchard spreads out over a broad expanse that appears to continue for several miles, surrounded by a towering wall of mountains shrouded by dense clouds and mist. There is an abundance of peach trees in bloom, along with bamboo groves and several thatched cottages. The scene is lovely yet desolate, like a village of the immortals.

prince’s involvement, such a project would never have gotten off the ground, and indeed no similar work has since been produced.

have played a role in the influence that An exerted on the art of early Joseon (1392-ca.1550) and mid-Joseon (ca.1550-1700) as well as the ink and wash paintings of Japan’s Muromachi period.

The Painter, An Gyeon “Dream Journey to the Peach Blossom Land” is the greatest of the known Asian peach blossom paintings. The creation of this masterpiece was made possible by the masterful artistry of An Gyeon. Various factors contributed to his evolution into a truly great artist, including his extraordinary talent and creativity, artistic dedication, extensive study of great works of art, and continuous interaction with prominent figures who had an eye for art.

In this regard, a notable tribute to An was expressed by Shin Suk-ju (1417-1475) in the “Record of Painting” from his book “Collected Works of Shin Suk-ju” (Bohanjae jip ), which included the following excerpt: “There is a famous artist in the court by the name of An Gyeon. Highly intelligent and vastly learned, he has studied many old paintings and learned all the key points, bringing together all the best aspects and finding a balance. There is nothing he cannot paint but his landscapes in particular are exceptional. Even in the past there has been no one equal to him. He has long been associated with Bihaedang [Prince Anpyeong] and his works account for the greatest number among the prince’s private collection.”

Several noteworthy points about An can be gleaned from this record, which was written in 1445. As for the formation of his painting style, the following points are mentioned. First, An was highly intelligent and vastly learned. Second, he created his own style based on the study of many old paintings, bringing together their strong points and finding a balance. Third, by 1445 he was a close associate of Prince Anpyeong and without equal in the field of landscape painting. As of 1445, Prince Anpyeong’s collection contained some 30 works by An, including ink paintings of bamboo, plum blossoms, large pine trees, and geese among the reeds, in addition to landscapes.

In the poems associated with “Dream Journey to the Peach Blossom Land,” by the poets and contemporaries of An, as well as writers of later times, An is lauded as the finest artist of his time, with comparisons to Gu Kaizhi, one of the three masters of China’s Six Dynasties, as well as Wu Daozi and Wang Wei, the foremost artists of the Tang Dynasty. Such high acclaim would

Unique Style “Dream Journey to the Peach Blossom Land,” the only authentic An Gyeon painting existing today, exhibits several distinctive characteristics. First, the story unfolds along an imperceptible diagonal line from the bottom left-hand corner to the top right-hand corner. Compared to the customary practice of Asian paintings, which adopted the opposite direction (from top right to bottom left), this orientation is unorthodox and unprecedented for its time. As the panorama unfolds along the diagonal, the grandeur of the painting is brought to life.

The composition features four distinct groups of mountain ridges from left to right: low mountains of the real world, peaks at the entrance to the peach orchard, ridges just inside the entrance, and mountain ridges of the orchard. Though these areas may seem to be separated, they visually form a harmonious whole. The mountain path, which begins at the bottom left corner, serves to visually tie the painting together as it winds its way and passes through the second and third group of mountains. Aside from the first group of low earthen peaks, the mountains around and inside the peach orchard are intriguingly shaped rocky crags of the dream world.

The mountains are viewed from three perspectives, based on three vanishing points: high perspective when the mountains are viewed from the bottom up, flat perspective when the mountains beyond are viewed from those close by, and deep perspective when the rear mountains are viewed from the front. Though the orchard is surrounded by mountains (fourth group), it nevertheless appears to be a vast open space. This effect was created by painting the orchard on a slope and adjusting the height of the peaks for a visual panorama. While the influence of the master Song Dynasty painter Guo Xi is evident, the brushwork is largely unique and original to An. “Dream Journey to the Peach Blossom Land” — a monumental achievement that encompasses the painting of An Gyeon, calligraphy of Prince Anpyeong, and poetry and prose of 21 leading writers — is of immense cultural and historical significance, making it the greatest artistic treasure of King Sejong’s time.

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ON THE ROAD

Onyang

Bygone Resort of Royals, Destination for Honeymooners

A favorite honeymoon destination in Korea until the 1970s, Onyang has come to be loved by Seoul residents for day trips in the 2000s, as the subway has cut travel time from the capital area to less than an hour. This quaint rural town, known for its hot springs and traditional market, is also the birthplace of Admiral Yi Sun-sin, the legendary naval commander revered by all Koreans for his brilliant defeat of the powerful Japanese invaders in 1592-1598.

Kim Hyung- yoon Essayist | Ahn Hong-beom Photograper

Spring 2011 2010 68 Koreana | Winter

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he Chinese characters for the word “Onyang” denote warmth. Two thousand years ago, the place name was Tangjeong, meaning “boiling spring.” Onyang, a lovely section of Asan City in South Chungcheong Province, in midwestern Korea, is one of the most famous hot spring resorts in the country. It was renowned as a resort area from early times; a king was recorded to have visited here 568 years ago.

A king ordinarily did not leave his palace for a trip of three or four days’ distance, except in times of political upheaval or an invasion. The first king who undertook a trip to Onyang was King Sejong of the Joseon Dynasty, Korea’s most admired monarch due to his many great achievements. Accompanied by the queen and royal concubines, and attended by many vassals, he traveled to Onyang to treat an eye affliction. After that, Onyang became a resort for Joseon kings. In a palace called Ongung, meaning “Warm Palace,” known only through royal records, they would stay for about a month to relax and enjoy leisure away from the capital.

Resurgence of Historic Hot Spring Resort Onyang started to develop as a modern resort in the late 1920s around the old palace site, and remained a favored travel destination for newlyweds until the 1970s. But expanded access to travel elsewhere, by air, for example, and the emergence of various tourist attractions across the country caused a decline of its popularity.

Scenic Asan Bay at low tide basks in the evening’s glow.

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1, 2 The lively atmosphere of a public hot-spring bathhouse in Onyang .

Many hot spring bathhouses offer open-air bathing.

3 Hyeonchungsa, the memorial shrine of Admiral Yi Sun- sin, a legendary historical figure and native son of Onyang.

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It was only in the 2000s that this historic “warm” place started to regain people’s attention. From the Seoul metropolis, with its over 10 million population, a subway line that now stretches over several stations to reach Onyang within an hour, and social welfare policy that provides free subway service for the elderly over 65 years old, have contributed to Onyang’s renewed popularity.

Those who had visited this area on their honeymoon have been returning to revisit old memories, while young people have also found it attractive for outings. Onyang is now a place of pilgrimage and fond memories for the elderly as well as a popular day-trip destination for the young and for families.

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The natural hot springs of Onyang, with a water temperature between 44 and 57 degrees Celsius and mildly alkaline, are known as a remedy for rough skin, neuralgia, stomach problems, anemia, arteriosclerosis, and various female ailments. Along the streets from the Onyang train station, there are more than 10 hot spring bathhouses, and you can also enjoy hot spring baths in most of the local hotels, big or small. Although there are separate facilities for men and women, the public bathhouses permit nude bathing, enabling people to enjoy hot steaming baths together, and thereby offer an experience of the unique and lively bath culture of Korea.

Along the streets from the Onyang train station, there are more than 10 hot spring bathhouses, and visitors can also enjoy soaking in hot spring waters in most local hotels. In the public bathhouses nude bathing is permitted; so for people who enjoy hot steaming baths with others, it offers an experience of the unique and lively bath culture of Korea.

In particular, an overnight stay in a jjimjilbang , a large-scale 24-hour establishment incorporating a bathhouse as well as dry saunas and various leisure facilities, provides a warm and relaxing experience that can perhaps only be had in Korea. Among tourists from China and Japan, many have grown fond of this uniquely Korean leisure experience.

Fifteen kilometers west of Onyang is Dogo Hot Springs. The same distance southeastward is Asan Hot Springs. Dogo Hot Springs has water with a high sulfur content, while Asan Hot Springs has soft alkaline water. Both are popular not only for their hot springs but also for establishments that offer a gamut of recreational facilities, including swimming pools and amusement rides. Asan’s recreational facilities in particular can accommodate some 1,500 people.

Hometown of Admiral Yi Sun-sin In Gwanghwamun Square, downtown Seoul, a majestic monument depicts an iconic Admiral Yi Sun-sin standing guard over the central avenue leading to the royal palace gate. One of Korea’s

most admired historical figures, Yi is well known in the world history of warfare for his brilliant naval strategies.

The Japanese invasion in 1592 and subsequent seven-yearlong war brought a crisis to Korea, the “country of the morning calm.” Yi saved the nation at a crossroads of its destiny. He demonstrated courage and cunning, but most of all, he is remembered as a man who deeply loved his nation. For that reason, he is referred to as seongung , meaning “sacred hero.”

Onyang is where Admiral Yi was born and grew up. About four kilometers westward from the streets with hot spring bathhouses stands Hyeonchungsa, his memorial shrine. The shrine was built in 1706 at the site of the home where he was born and lived until he was called to serve as a low-ranking officer, after passing the state military service examination. Only much later, in 1967, was the site expanded and surrounded by a thick grove of pine trees, thereby adding to its grandeur. General Park Chung-hee, who came to power as president of Korea through a coup d’état in 1961, had the site expanded and equipped with more facilities. Since then, it has become a historic sanctuary for the Korean people.

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1 Maengssi Haengdan. The family residence of Maeng Sa-seong, a renowned scholar of the early Joseon Dynasty, and two 600-year-old ginkgo trees.

2 The World Botanical Garden of Asan features over 5,000 kinds of plants from around the world, along with flowers in bloom throughout the year.

3 A traditional house of the 17th century, rebuilt by Joseon scholar Geonjae in Asan’s Oeamli Village. You can experience the atmosphere of 500-year-old village life here.

young man, and take you away? It’s unbearable, Oh my son.

Where have you gone, leaving me alone?”

Other Historical Figures

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Hyeonchungsa, meaning “Shrine of Outstanding Loyalty,” includes Yi’s reconstructed birth house, a museum, and other memorial buildings as well as the grave sites of Yi’s third son and descendants, though his own grave is located on Mount Eora in Eumbong District. The museum exhibits documents related to Yi, along with some of his personal accessories and weapons. Visitors often become solemn while gazing at his war diary, “Nanjung Ilgi .”

Originally written in Sino-Korean, this journal is familiar to all Koreans, who have read translated versions from childhood. The journal clearly shows why Yi is so deeply respected and beloved in Korea. With daily entries over seven years, starting a month after the war broke out and continuing until a month before his death, it factually and in great detail documents the course and results of the numerous battles in which he fought. Moreover, it offers details of his battle strategies, life in a war camp, the honors and punishments meted out to his men, his agony over the suffering of the Korean people during the war, and his frank opinions about the government policies.

These accounts reveal that Yi was a supremely disciplined and resourceful military leader. But that was not all. He was also a humble man who missed his mother and worried about his wife and children. Hearing the news of his 23-year-old son’s death in battle, he poured out his wounded heart as a suffering father in his journal: “I should have died, and you should have survived!

But you died and I survived! Did heaven envy you, such a talented 72 Koreana | Spring 2011

The residents of Onyang are proud of Admiral Yi, a native son, and of having his memorial shrine in their hometown. There are also other historical figures that they take pride in, if not to the same degree as Admiral Yi, like Maeng Sa-seong and Yi Ji-ham.

Maeng Sa-seong lived in the late 14th to early 15th century and already had served as a high-ranking official of the Goryeo Dynasty before going on to hold several prominent positions in the Joseon government, including state councilor, one of the top three administrative positions. He edited and published the official gazetteer “Paldo Jiriji ” (Geography of the Eight Provinces). A man of letters and music, his contributions to the culture of the early Joseon Dynasty included collecting Korean folk music and creating musical instruments.

His family’s old residence in Onyang, named Maengssi Haengdan, meaning the “Maeng Family House with Ginkgo Trees,” has been maintained over the centuries and remains in good condition today. It is one of the oldest ancestral houses in Korea that has been preserved, with a footpath along the stone walls surrounding the house, in the iconic style of old.

The house was originally the residence of General Choe Yeong, a loyal subject of late Goryeo and another respected military figure. Choe early on recognized the talented young man of the Maeng family in his neighborhood, married off his granddaughter to him, and also handed down the family house.

Yi Ji-ham, a 16th-century scholar, was knowledgeable in the art of divination, medical science, mathematics, astronomy, and geography. He was also known to be exceptionally progressive and farsighted for his time, as he emphasized the complementary nature of agriculture and business, and insisted on the development of mines and overseas trade.

Yi was actually born in the neighboring town of Boryeong, but the magistrate of Onyang was corrupt and resented by the local people, so he was appointed to govern the area in 1578. Yi set up an office to care for beggars in the area, helped the old and the

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weak to survive, and improved the livelihood of residents. Consequently, his benevolent rule came to be imprinted deeply in the hearts of local people.

However, the people of Onyang today, like most Koreans, think of Yi Ji-ham primarily as the author of “Tojeong Bigyeol ” (The Secrets of Master Tojeong). Tojeong was Yi’s pen name, and over the centuries it has been a popular New Year’s custom among Koreans to consult the book to foresee their fortune in the next 12 months. Probably, Yi did not actually write the book but it came to be attributed to him because of his reputation as a renowned scholar well versed in the art of divination.

Gentle Mountains and Fields Onyang is recognized for its mild natural environment. The sprawling broad fields and moderately tall mountains combine to offer beautiful scenery. Mt. Yeongin is especially beloved by the local people. The summit of the 364-meter-high mountain is encircled by the wall of an ancient stone fortress, built in the third and fourth centuries during the Baekje Dynasty for regional defense. From the mountain’s summit, the West Sea (Yellow Sea) comes into view, offering a spectacular scene in the twilight, as well as the Sapgyo River flowing through the vast alluvial plains to Asan Bay, where it ends its long journey.

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3 1 A snowy scene along a stonewall in Oeamli Village.

2 At the Onyang Folk Museum you can gain insight into the people’s workaday life, folk customs and beliefs of traditional Korea in rich and varied detail .

3 At the traditional market, which opens every fifth day, an elderly vendor with an array of various grains in sacks awaits customers.

At 699 meters, Mt. Gwangdeok is the highest mountain in the area. For climbers who might conquer Mt. Everest, it doesn’t offer much adventure but it still has paths steep enough to challenge hikers, as well as numerous secret valleys. Along with the thick woods and clear streams of these valleys, according to local legend, the mountain cries whenever the country is confronted by a serious crisis, like an invasion.

From the northern valley of Guksa Peak, not far from Mt. Gwangdeok, water flows down to form a stream toward the west.

This stream flows through the middle of the flat fields in Onyang, where it is joined by other streams along the way and becomes Gokgyo River, which flows beyond Onyang and then merges with Sapgyo River in the neighboring town. Over its entire distance of about 50 kilometers, the river flows calmly. Fish in large numbers, like carp, thrive in the stream, while above the water, various species of birds, such as ducks and herons, are found here in great flocks.

Traces of a Long-ago Lifestyle In front of the Onyang train station, there is an old traditional market. Originally, the market was established to provide goods for royal palace but it later developed into a public market. Today, it includes modern buildings, but the food and medicinal ingredients being sold here don’t seem much different from long ago.

Besides the permanent market, a temporary market is set up

on the plaza every five days, counting from the fourth day of every month, where traces of the past are more evident. For foreign visitors, this temporary market, typical of small towns across the country, provides an opportunity to more closely observe remnants of Korea’s lifestyle of days gone by.

You can still find many clan villages around Korea, where families with the same surname have formed communities.

Oeamli Village at the foot of Mt. Seolhwa near Onyang is one such traditional village. The Yi clan from Yean settled here five centuries ago, and its descendants still constitute the principal residents of the village. The old houses surrounded by moss-covered stone walls, jangseung poles standing guard at the village entrance, thatched roof houses, ox-driven treadmills and millstones, and waterwheels ― all of these folk items evoke the rural sentiments of olden times. The tile-roofed houses of the nobility add an ambience of refinement.

For visitors with an interest in Korea’s folk lifestyle, the Onyang Folk Museum provides a wealth of educational information with its extensive folk arts collection. The museum’s five galleries feature more than 20,000 exhibits that offer a glimpse into the quotidian details of local life, folk customs, beliefs, livelihoods, handicrafts, and arts, in great variety. On weekends, you can view a traditional wedding ceremony. Like the joyous occasion of a wedding, Onyang offers an abundance of happiness and warmth for the body and heart of visitors.

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CUISINE

76 Koreana | Spring 2011

Pyeonyuk Sliced Beef

Pyeonyuk , or sliced beef, is a healthy and flavorful dish. Thinly sliced pyeonyuk, neatly arranged on a platter, is an attractive offering for guests at a dinner party or reception. It is perfect when served with vinegared soy sauce or kimchi. Pyeonyuk can also be served in sandwich wraps.

Lee Jong-im Director, Korea Food and Culture Research Center Ahn Hong-beom Photographer

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yeonyuk is a traditional dish of thinly sliced meat that has been boiled until tender. It is an example of the various unique ways that Koreans prepare meat dishes. Since pyeonyuk is cooked as a whole chunk and then sliced when served, it is often described as an Eastern version of roast beef. There is, however, a notable difference between the two traditional favorites: roast beef is roasted in an oven, while pyeonyuk is boiled.

Meat Cuts: From Prime to Exotic Pyeonyuk can be made with either beef or pork. When using beef, brisket is the best choice. If you use pork, belly or neck would be recommended.

Pyeonyuk will be mild-flavored and tender when made with beef brisket deckle because of its liberal marbling with fine streaks of fat. Other suitable beef cuts include: shank, offal such as lungs and sweetbread, head, tongue, testicles, and genitals.

A whole chunk of meat is boiled, wrapped with a hemp cloth, and pressed with a heavy weight to shape it into a rectangular loaf. The pressed meat is then sliced thinly with a sharp knife and served with vinegared soy sauce or salted shrimp extract.

Today, Korean restaurants typically serve pyeonyuk with a side dish of geotjeori (freshly made kimchi), or mumallaengi (seasoned dried radish) heavily dressed with spicy red pepper powder, and aekjeot (fish sauce).

Pyeon足yuk wrapped in fully fermented cabbage kimchi also makes a savory delicacy for the home dinner table.

A dish of pyeonyuk served with vegetables and vinegared soy sauce. A slice of pyeonyuk wrapped in lettuce leaf is a delectable treat.

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Pyeonyuk is a fixture of the dinner menu during gimjang season, one of the most important seasonal periods of the year, in late autumn or early winter, when large quantities of kimchi are made and preserved to prepare for the long winter ahead. Many Korean families boil a sizable chunk of meat so that they can enjoy pyeonyuk with freshly seasoned kimchi in the evenings of gimjang days.

Tender pyeonyuk slices are delectable with saengchae muchim (fresh vegetable salad dressed with red pepper powder, vinegar, salt, and sugar) and kimchi. A recipe for a fancy side dish, fresh ginseng

salad with honey dressing, called susam kkulchae , is provided below.

If you prefer something simpler, however, pyeon足 yuk needs little more than a soy dipping sauce mixed with vinegar and finely chopped pine nuts. To enhance the flavor of this simple dish, serve it with lettuce or perilla leaves for wrapping the meat slices.

Boiling the Meat Today, pyeonyuk is preferred by the health conscious over the dishes that involve deep-frying, stirfrying, or roasting. Pyeonyuk is an impressive dish to

Boil a chunk of beef and wrap it with hemp cloth. Weigh the beef down so that it can be shaped into a rectangular loaf. Cut the beef into thin slices with a sharp knife and serve with vinegared soy sauce or seasoned shrimp sauce and condiments.

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1 Pyeonyuk and susam kkulchae are arranged neatly on a platter and served with mustard sauce.

2 Boil a chunk of beef and wrap it with hemp cloth.

Press the beef down with a heavy weight to shape it into a neat loaf.

3 Cut the beef into thin slices with a sharp knife.

4 Mix together julienned ginseng, chestnuts, and pine nuts, and add honey to the mixture to prepare susam kkulchae.

Pyeonyuk Ingredients

• 600 grams beef brisket, 6 cloves garlic, 1 scallion (about 80g) 1/2 onion (about 60g), 20 grams chopped ginger 10 whole black pepper kernels, 10 cups water

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(Fresh ginseng salad with honey dressing) 1 fresh ginseng root, 10 jujube dates, 5 chestnuts 2 tablespoons honey, 2 tablespoons pine nuts

serve dinner guests because of its attractive visual appeal, with thin beef slices arranged neatly on a platter. It is always a welcome addition at a potluck party as well. Care must be taken, however; the boiled meat should be sliced right before serving to maintain its tenderness. To maximize the flavor, allow the chunk of meat to rest in its liquid, and then press it into a loaf a few minutes before slicing and serving.

Pyeonyuk recipes vary from one family to another, and from cook to cook. Innumerable “secret” ingredients are added to the boiling water to reduce the meat odor and add flavor: a tablespoon of doenjang (fermented soybean paste), a splash of soju , wine, or sake, whole pepper kernels, a pinch of ground coffee, etc. There are as many different techniques as there are cooks, but to boil the meat properly, it is best to test the meat with a knife to determine its wellness. It is nicely done when the meat juice is clear, with no trace of blood.

A tip for making tastier pyeonyuk calls for adding a pinch of salt to the boiling water and allowing it to simmer for a while before adding the meat, which will absorb the saltiness. Do not overcook the meat so as to retain its natural juices and nutrients.

Versatile Pyeonyuk Pyeonyuk is often served as a garnish for a bowl of naengmyeon , chilled buckwheat noodles in cold beef broth. The beef that is boiled to flavor the broth is removed and sliced to decorate the noodles.

Pyeonyuk is also produced during the preparation of seolleongtang , ox bone soup, made by slowly simmering ox bones, gristle, and other beef cuts in a large pot until tender. The meat is removed from the pot and sliced to garnish the milky soup. Ever versatile, pyeonyuk can also be used to make quick non-traditional dishes: for example, beef slices, cut more thinly than usual, make an easy and flavorful filling for wrap sandwiches.

• Mustard sauce 2 tablespoons mustard powder (combined with water to make a paste), 2 tablespoons sugar, 3 tablespoons vinegar,1/2 teaspoon salt, 1 tablespoon finely chopped pine nuts, 1 teaspoon soy sauce • Vinegared soy sauce 3 tablespoons dark soy sauce, 3 tablespoons vinegar, 2 tablespoons fresh water, 1 tablespoon finely chopped pine nuts

Preparation 1. Trim excess fat from the beef brisket and soak in cold water for about an hour to draw out the blood.

2. Bind the beef brisket with kitchen string. This step can be skipped, but the binding helps to maintain the meat’s shape and makes it easier to slice the boiled beef.

3. Chop scallions and onions into thick pieces, and slice ginger into slivers. Peel the garlic but do not slice; keep whole.

4. In a large covered pot, bring water to a boil. Add and simmer the beef and the above vegetables, for about 30 minutes.

5. Skim off foam, add salt, and simmer, with the pot covered for another 40 to 50 minutes.

6. When the beef is cooked, remove from the pot. Wrap the beef with a clean hemp cloth and have it pressed down with a heavy weight, such as a brick, for a few hours to shape into a neat loaf. Cut the beef into thin slices.

7. Wash the ginseng thoroughly and scrub with a brush, then julienne into 3cm lengths. Peel and slice the chestnuts.

8. Wash jujubes thoroughly and drain off the water. Cut the jujubes crosswise into rings.

9. To make the fresh ginseng salad with honey dressing, mix together the ginseng, chestnuts and pine nuts, and add honey to the mixture.

10. Combine mustard paste, sugar, vinegar, finely chopped pine nuts, soy sauce, and salt to make the mustard sauce.

11. Arrange the sliced beef and ginseng salad neatly on a serving platter. Serve with the prepared mustard sauce.

12. Take a slice of pyeonyuk, top with a bit of ginseng salad, and add mustard sauce. Fold over or roll up the meat slice, and enjoy!

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LIVING

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Amateur Bands of the Middle-Aged

Youthful Dreams Come True Out of nostalgia for the student culture of the 1980s, a growing number of middle-aged people are joining amateur bands to relieve the daily stress of work.

The amateur bands have become increasingly widespread and active in recent years, thanks to the Internet and a flourishing performance culture.

Park Eun-kyung Freelance Writer | Ahn Hong-beom Photographer

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n mid-December last year, a live music club in Hongik University area, Mecca of the club culture and indie bands, hosted a range of performances by amateur music bands.

The club’s 50 or so seats were completely filled, and the excitement and enthusiasm of the participants, caught up in the year-end mood, reached such a pitch that it drove away the cold of winter.

Year-end Joint Performances

1 A regular performance event at the end of 2010 for members of amateur bands organized via Internet sites.

2 An amateur band performs at a live music café.

The performances were part of a regular year-end event organized by the Internet club 7080 Amateur Bands, which has 11 member bands. Cho Young-min, a 47-year-old businessman, is president of the seven-year-old café and a member of Jeongdeun Band. “We organize this year-end event not only for our members but also the members of other Internet clubs to have an opportunity to meet and share their love of music,” he said.

In last year’s competition-style event, six bands performed including Giant, Sunday Seoul, TripleA, and Dream. TripleA, whose members are relatively younger being in their early 30s, won first prize with a glamour-filled performance. Sunday Seoul, a group that plays blues and jazz, normally difficult genres for amateur bands, received second prize for its solid and faithful renditions. Dream, a band of older members over 55, displayed as much passion as the younger bands, which helped them win third prize.

“I played the drums in my high school band. I thought of the drums as a dynamic instrument, easy to play. But it wasn’t so,” says Yoon Jung-won, a 37-year-old office worker who is drummer and leader of the band Sunday Seoul, formed in 2009. “I joined Sunday Seoul to relieve stress and escape the daily grind.”

Since the band consists of people with various professional backgrounds ― professor, doctoral student, social worker, employee of a major company and businessman ― the members initially had Spring 2011 | Koreana 81

“People know us now. The Association of Dentists and other organizations have invited us to play at their year-end events. We are all busy with our jobs but performing on stage is fun and adds vitality to life. It’s great that we can now play in greater harmony and also respond to audiences much better than we used to,” said Dr. Lee, keyboardist of Xylitol.

1 A competitive event for amateur bands of company employees organized by an economic newspaper.

2 The number of amateur bands in Korea is estimated at between 2,000 and 3,000, while performance venues are steadily increasing as well.

some difficulty adjusting to one another. But overcoming the tension and finding common ground forged a special bond among them. “Unlike work colleagues, we’re joined by our common interest in music. This forms a unique bond among us, so our friendship is very special,” Yoon says.

Choi Hyo-keel, 47 years old and a music software producer, plays bass guitar in Jeongdeun Band. He had played in a well-known professional band but gave it up when he moved to a new job.

He started playing again at the advice of his wife. “My wife must have felt sorry for me because I was stressed out from work. She advised me to regain some vigor through music,” Choi says.

“I didn’t feel comfortable when I first joined the amateur band,” Choi recalls, while adding: “But I came to like playing with the others. It’s different from playing professionally. You still have to play your part well, but you practice hard because you want to and become more responsible.” Choi also serves as advisor to other amateur bands and says he has fun helping them improve their performances.

‘College Singing Contest’ Generation The huge popularity of amateur bands in the 2000s is rooted in the culture of the late 1970s. At that time, the Gangbyeon (Riverside) Singing Contest and College Singing Contest had just been established for university students and became very popular. Many student bands of the late 1970s were formed for the purpose of competing in these events.

Today’s middle-aged Koreans went to university in the 1970s and 1980s and all have fond memories of that time, often colored with longings for an unfulfilled dream. Burying their passion for music in their hearts, they started their real lives, finding jobs and marrying, and working hard for their families. Time passed, and they soon found themselves mid1 dle-aged. Some are now reviving the dreams of their youth by joining amateur bands.

Among the favorite karaoke songs sung by middle-aged men are “What Should I Do?” by Sand&Pebbles, “Lying on the Sea” by G Clef, and “Dialogues in Dream” by Kim Beom-yong and Han Myeong-hun, who were all winners of the College Singing Contest. Indeed, the core members of amateur bands across the country are generally in their late 40s, placing them in the generation that identifies with the culture of college singing contests and amateur bands. Some of them played in student bands in the past, but most played an instrument as a hobby when young or learned as adults during their spare time.

Pioneer Bands: Xylitol and Gapgeunse The members of the 10-year-old band Xylitol range in age from the late 30s through the late 40s.

In addition, they are all dentists, except for Kim Yeong-jun, a CEO and latest member to join the band.

Keyboard player Lee Seung-taek, 47, and guitarist Park Gyu-tae, 41, had already played in the college band Molars when they were students at Kyung Hee University. Bass player Ki Se-ho, 47, played in Sarangni (meaning “wisdom tooth”) as a medical student at Dankook University. The vocalist of the 82 Koreana | Spring 2011

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band is Shin Yong-jun, 46.

In November last year, Xylitol held a joint performance in Seoul with four other dentist bands.

“People know us now. The Association of Dentists and other organizations have invited us to play at their year-end events. We are all busy with our jobs but performing on stage is fun and adds vitality to life. It’s great that we can now play in greater harmony and also respond to audiences much better than we used to,” said Dr. Lee, keyboard player.

Xylitol has been playing for the homeless regularly for the past nine years. This is something the band members find especially rewarding. Dr. Ki, who had been treating the homeless for free for a long time, came up with the idea. “We wanted to form a band to perform for the homeless. Last time, we even played in front of about 250 homeless people. It’s so rewarding, and we’re very happy to do it,” says Dr. Ki with great satisfaction.

Choi Hun, guitarist in the Waikiki Brothers, formerly served as music advisor to Xylitol. A musician with a career of 35 years, Choi became friends with Dr. Ki 10 years ago and advised the group on their musical performances until recently. In his spare time, he would visit Xylitol in the studio to check their overall harmony and offer advice on individual parts and on how to play difficult parts. Choi no longer plays advisor to Xylitol, but still arranges difficult pieces of music for amateur bands so that they can play them more easily. On occasion, he even joins Xylitol for a performance.

“They may not be so professional, but I can feel the passion and enthusiasm of the amateur musicians, which invigorates me,” says Choi. “Moreover, unlike the world of professional musicians, amateur bands consist of people with various professional backgrounds. When I play with them, I feel like I’m living in the real world. It’s rewarding for me as a professional guitarist to be able to help people who love music and want to play in a band in their later years.”

One of the first amateur bands was Gapgeunse Band, formed in 1998. The band’s name, a Spring 2011 | Koreana 83

refreshing combination of “band” and the word meaning “grade A income tax,” drew the attention of white-collar workers. As the band became widely known through the media, other people interested in music started forming bands too. In the 2000s, forming bands at workplaces across the country grew into a kind of craze. Bands opened their own websites with links to each other, while hobby clubs and Internet clubs devoted to bands rapidly grew in number. Some of the more popular Internet clubs have anywhere from several thousand to over ten thousand members.

More Amateur Performances The number of amateur bands across the country is estimated at between 2,000 and 3,000. Along with the boom, agencies specializing in contests and festivals for such bands have opened one after another. Recently, the number of studios rented by amateur bands has increased explosively. These studios, which charge around 20,000 won per hour, are completely booked after work hours, between 7 and 11 in the evening.

At first, amateur bands were formed by colleagues, friends, or close acquaintances. But with the increase in the number of Internet clubs, more people have been joining amateur bands in response to Internet advertisements for new members. Moreover, as amateur bands can now be found across the country, they are readily available to play at local events. Festivals organized by local governments take place throughout the year, and more companies are inviting amateur bands to play at publicity events.

While amateur bands are easily accessible because they are found throughout the country, they are also sought after because they generally play what the audience likes to hear. The audience for public events includes all kinds of people, young and old, men and women, singles and families, while amateur bands can play a range of music that everyone can enjoy.

About 10 competitions for amateur bands take place across the country every year. This includes the Company Bands Festival, which took place last year for the first time. The choir team Men Qualified ― from the popular KBS television program of the same name ― won third prize. According to Kim Neung-su, the manager of Ice Agency, which planned the competition, this was the first competition in which the candidates had to play their own compositions.

Kim said emphatically: “We set the condition that groups perform their own compositions in the hope that more amateur bands will develop their own musical color and skills instead of playing the music of others. We had 50 teams in the preliminaries, which is not many compared to other competitions where there are no limitations on the music. Yet, the very fact that we could still organize the event shows that the culture of amateur bands has remarkably been upgraded.”

Kim is now busy organizing the Asian Company Bands Festival, which will be open to any amateur band in Asia. The feasibility of the festival lies in the fact that amateur bands are also very active and popular in other Asian countries such as Japan and China. According to Kim, some 4,000 amateur bands now exist in Japan, where competitions and concerts are often held. In China amateur bands have only recently started to form.

“We’re now in negotiations with agencies in Japan and China,” said Kim. “In May this year, probably, we’ll be able to hold the first Asian Company Bands Festival.”

The increasing popularity of amateur bands can perhaps be taken as a sign of the maturing of Korean society’s cultural realm. Thanks to these bands, men who had lost a sense of self while working hard as the family bread winner are regaining their self-confidence and putting the zest back into their lives.

84 Koreana | Spring 2011

For amateur band musicians, a basic practice room offers an escape from the daily routine.

Journeys in Korean Literature

Chung Han-ah, a young writer who is still in her 20s, earned critical acclaim for her novel “Seas of the Moon” (Dal-eui bada ). As a rising star of Korea’s literary scene, she is one of few novelists who write about the power of optimism.

Her short story, “The Taste of Maté” (Mate-eui mat ), opens up new terrain for the family narratives of Korean literature.

Chung Han-ah Spring 2011 | Koreana 85

CRITIQUE

A Family’s Alchemy of Despair and Hope Shin Soo-jeong Professor of Creative Writing Myongji University

86 Koreana | Spring 2011

Chung Han-ah was already well on track to becoming a novelist while still in school, winning the Daesan Literary Awards for College Students in 2005 and the Munhakdongne (Literary Community) Writer’s Award in 2007. Born in 1982, she is still in her 20s ― relatively young in age and career experience. Writers like Yun Go-eun, Han Yu-ju, Yeom Seung-suk, and Kim Sa-gwa are her contemporaries in age as well as literary career. These youthful novelists, who have published one or two short story collections or novels, could be likened to competitors at the starting line of a marathon. However, they are not to be underestimated. Despite their young age, these novelists have shown a knack for formulating story lines, along with an original style and keen insight into real life. As such, they have been at the center of attention of Korea’s literary world.

Chung Han-ah is the front-runner of this group. Her name started to be widely known with the publication of “Seas of the Moon” (2007). The “I” in the story is an unemployed college graduate who has repeatedly failed the exams for newspaper reporters. The story revolves around the protagonist, her friend Min, who hopes to someday undergo a sex change, and her parents and grandparents who operate the “Two-Generation Galbi BBQ” restaurant. The novel is a charming portrayal of the everyday life of a family. Beneath the surface, however, this is a story about frustration.

The protagonist’s aunt occasionally sends her letters from the United States, telling about her life as a NASA astronaut. However, when she visits her aunt in the U.S., she finds out that her aunt is really just a food vendor. Thereafter, the story becomes intriguing. Rather than criticizing her aunt’s deception, the protagonist asserts that such fantasy enables us to endure life’s petty humiliations.

The author convincingly makes the point that no matter how hard you might look, the moon is nothing more than mounds of gray sand. But the moment you can imagine the seas on the moon, sparkling like diamonds, the real story, or real life, starts to unfold. Hence, Chung is one of few novelists who write about the power of optimism.

Published in April 2009, Chung’s “A Smile for Myself” (Nareul wihae utta ) is a collection of eight short stories. An optimistic outlook, which characterizes her earlier novel, is also found throughout this collection. All its stories, though with their different characters and settings, ultimately speak about hope.

The characters in Chung’s stories ― a woman afflicted with gigantism who is repeatedly betrayed by the world (“A Smile for Myself”), a young prostitute in a red-light district slated for redevelopment (“Africa”), a young woman who travels to Israel to work in a kibbutz to get over her heartbreak through hard labor (“Cello Farm”), a six-year-old boy who refuses to talk after his mother’s death (“Chair”), and a high school outcast (“Dance, Dance”) ― all suffer from the anguish of their inner wounds. However, the author’s tone in the stories is never pessimistic or gloomy. In fact, even when their life becomes more miserable, this only brightens their hope and increases their resistance to pain. They “don’t remember anything bad has happened” to them; “the feel of something tender and warm, of something soft and fragrant” (“A Smile for Myself”) gives them the strength to overcome despair.

In “The Taste of Maté” as well, hope is never lost. On the day he is fired from work, for the 14th

time, the protagonist’s father shaves his head and decides to relocate his family to Argentina. This South American country, enjoying rapid economic growth, provides a promising new start for the family. However, their newfound happiness is shattered when the country is plunged into recession and the family loses its youngest child amidst their deteriorating situation. Now, they find nowhere to turn.

For the author, this is a familiar setting for the overriding theme that she has been conveying in an adroit manner. The chasm between the ideal and reality, or the distance between fantasy and real life, has been a constant motif in Chung’s works. In dealing with these contrasting values or states, Chung does not give up one to choose the other. The ideal is meaningful only when it maintains a certain distance from reality, while fantasy is desired because it offers something that reality cannot.

After their dreams are crushed, the family returns to Seoul, from where they had so desperately sought to escape. Needless to say, they again encounter considerable hardship. They struggle to eke out a living by driving a dilapidated taxi (father), working the night shift as a cashier at a 24-hour supermarket (mother), and working as a cram school teacher and sports center cashier to earn money for graduate school tuition (daughter). Beset by constant anxiety, the daughter has a recurring dream in which she is endlessly pedaling a bicycle, which causes her thigh muscles to ache when she awakens.

As challenging as life is for the family, they are not overcome by gloom. A heart-throbbing expectation of happiness is awakened in them by the Argentine dishes that the father cooks for the family, after going to great lengths to find the finest ingredients available. Saturated with memories of their former affluence, the Argentine foods are a harbinger of hope for the family. While enjoying these foods, the mother and daughter manage to escape their gnawing anxiety. In this story, the fragrance of maté, an Argentine tea, is a synesthetic representation of the shift from anxiety to hope. The sensory stimulation helps the reader to understand what the daughter means when she says on her way home in her father’s taxi at the end of the story: “The nights in Seoul are strange… The lights never go out, so the anticipation never stops.”

The writer’s message of hope is as piteous as it is desperate because this yearning for hope originates from the anguish of abysmal despair. This piteous hope is what gives meaning to Chung Hanah’s stories. The author is aware that the alchemy for creating hope from despair is made possible by family and friends. In contrast to young novelists who are inclined to portray their characters as solitary individuals, outside of the family context, the warm-heartedness of a family unit, which is brought to life in Chung’s works, is a source of comfort, like the taste of fresh-baked bread or a cup of fragrant maté tea, with a sense of the familiar and the unknown.

The family portrayed in Chung’s works is a community that provides unconditional support, which is markedly different from that depicted in many works of Korean literature. For the author, family may be a fantasy like the “seas of the moon.” Or it may be a treasure trove of memories like the “taste of maté.” In this way, Chung Han-ah’s stories open up new terrain for the family narratives of Korean literature.

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