QUARTERLY MAGAZINE VOL.58 WINTER 2022
Pensive Bodhisattva Three Kingdoms period, first half of the 7th century H. 90.8 cm National Treasure
Pensive Bodhisattva Three Kingdoms period, latter half of the 6th century H. 81.5 cm National Treasure
The statue above was cast in the early seventh century. Its style of the figure is simple and restrained. The austerity of the piece is accentuated by the bodhisattva’s exposed torso, headdress with triple semicircular peaks, and plain circular necklace. By contrast, the garment folds below his knee are presented in a wavelike rhythmic pattern, flowing downward with a fullness that projects dynamism. On the other hand, the statue below was cast in the late sixth century. Standout features include the sharp nose, the splendorous adornments, and the refined garment folds. A garment appendage flares out on each shoulder, adding vitality, while overall magnificence is enhanced by a necklace is furtively revealed amidst the garments and adornments on the arms.
new & noteworthy
02 travelling works
Earrings and Necklace
04 news card
special feature
08 issue Room of Quiet Contemplation: Time to Lose Yourself Deep in Wandering Thought
inside galleries
12 museum scene New Permanent Exhibition Opens at the Children’s Museum 14 current Monk Artisans of the Joseon Dynasty: Buddhist Sculptures and Paintings 20 current
Ottchil, the Coated Splendor of Asian Lacquerwares
24 current Future Sea Overflowing with the Island Culture, Jeju National Museum 30 visitor of the day A Great Way to Celebrate Mother’s Birthday 34 visual guide The Sculpture and Crafts Section: Dignified Artworks Filled with the Philosophy of Everyday Life
arts of Korea
38 collection Incense Burner: A Work of Art with Practical and Artistic Value
IN THIS ISSUE
40 miscellaneous
Design and Production aNSWER Photography Park Jung Hoon Photo Studio QUARTERLY MAGAZINE VOL.58 WINTER 2022 Publisher
National Museum of Korea
137 Seobinggo-ro, Yongsan-gu, Seoul 04383, Republic of Korea www.museum.go.kr/site/eng/home Editorial Direction Design Team, National Museum of Korea Tel: (82 2) 2077–9573 Fax: (82 2) 2077–9940 Email: thehinse@korea.kr
Translation Cho Yoonjung / Timothy Atkinson Revision Hwang Chiyoung Publication Date January 25, 2022 ISSN 2005 – 1123 Printed in Korea. Copyright © 2022 National Museum of Korea.
All photography was conducted while abiding by COVID-19 preventative measures, including temperature checks, use of hand sanitizer, wearing masks, and maintaining a safe distance between people. Note to Readers Throughout the magazine, East Asian names are listed in the order of family name followed by first name. The related information of image is given in the following order: title, period or produced date, artist, material, dimensions. Items from other institutions are classified by their collection names. www.museum.go.kr/site/eng/ archive/ebook/all (PDF, eBook, and HTML available)
TRAVELLING WORKS
Pair of Earrings Silla Kingdom, 6th century Gold and garnet H. 5.7 cm On loan from the National Museum of Korea On loan to the Metropolitan Museum of Art, New York
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Necklace with Bes and Taweret Pendants New Kingdom, Dynasty 18 circa 1539-1292 B.C.E. Gold, faience, carnelian On loan from the Brooklyn Museum, Gift of Evangeline Wilbour Blashfield, Theodora Wilbour, and Victor Wilbour, 16.580.201 On display in the Egypt Gallery of the National Museum of Korea
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NEWS CARD
Renewal of Baekje Kingdom and Gaya Confederacy Galleries The Baekje Kingdom and Gaya Confederacy galleries in the Permanent Exhibition Hall have been renovated and reopened to the public. After four months of work on reorganizing and updating the two old exhibition rooms, the range of exhibits has been greatly expanded to show the results of the latest research. To this end, the exhibition is presented in a new way, departing from the flat and uniform methods, to introduce a new threedimensional, explanatory type of exhibition that visitors will find easier to enjoy. Notable exhibits include ornamental ridge-end tiles (chimi) from the Wangheungsa Temple site in Buyeo and a Lamp-shaped Pottery from the Ancient Tombs in Marisan tumuli, Haman. The Buyeo chimi, the oldest extant tile of its kind in Korea, is displayed in its complete form after reproducing the missing sections with a 3D printer. The Lamp-shaped Pottery is in the form of a mounted vessel with seven cup-shaped lamps. Discovered intact during a repeat excavation of the tombs in 2015, the lamp is now shown to the public. Other impressive exhibits include the items excavated from the ancient tombs in Suchon-ri, Gongju, and weapons from Gaya. 04
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Lamp-shaped Pottery Gaya Confederacy Excavated from the Ancient Tombs in Marisan tumuli, Haman
New Display
Prehistory and Ancient History section on the first floor of the
2021 Children’s Museum Future Development Forum The National Museum of Korea held “Children’s Museum Future Development Forum” on November 9, 2021, presented live on its YouTube channel. The forum was an opportunity to examine changes in children’s environment before and after COVID-19 and to explore the direction of the Children’s Museum in the era of “Living with COVID-19.” Under the theme of “A Place for Children: Where and How,” the forum was divided into Part 1 “Children Who Learn” and Part 2 “Children Who Play,” with presentations and discussions on six topic areas, including creativity, architecture, psychology, and adventure. In the first part, George E. Hein, a world-renowned scholar in museum education, gave a keynote speech under the theme of “Children, Museums, and Education.” The second part featured a presentation by the architect Tezuka Takaharu, famous for his TED lectures and design of Fuji Kindergarten, selected as the world’s best kindergarten by OECD and UNESCO. Proceedings of this online forum can be downloaded from the website of the Children’s Museum of the National Museum of Korea.
Online Forum
Gold Crown Ornaments of King Muryeong Baekje Kingdom L. 30.7 cm, W. 14.0 cm National Treasure
Journal of Korean Art & Archaeology Vol. 16 The Journal of Korean Art & Archaeology Vol. 16, featuring a special report on “The Baekje Kingdom within East Asia: The Tomb of King Muryeong,” was published in December 2021. Through this journal, every year the National Museum of Korea translates into English papers in the fields of Korean archaeology, history, and art history for the global academic community. The year 2021 marked the 50th anniversary of the discovery of the Tomb of King Muryeong, and Vol. 16 of the journal features four papers on the topic: “Cultural Exchange and International Interaction in East Asia as Seen through the Tomb of King Muryeong,” “Research on Excavation and Investigation of the Tomb of King Muryeong,” “Cultural Exchange among the Three Kingdoms as Revealed by Artifacts from the Tomb of King Muryeong,” and “Critical Review on the Metalworks in the Tomb of King Muryeong.” As these titles indicate, the contents shed light on various research achievements, including excavation of the Tomb of King Muryeong and analysis of the items discovered there, and study of Baekje’s exchange with neighboring nations, enhancing understanding of Baekje Kingdom’s international relations during the reign of King Muryeong and the academic importance of the Tomb of King Muryeong in East Asian archaeology. To further promote the international community’s interest in and understanding of Korean art, the journal also includes one paper on sixteenth-century “real scenery” landscape paintings of the Joseon Dynasty and one paper on the shape and production technique of a Gilt-bronze Standing Avalokiteshvara Bodhisattva from Gyuam-ri, Buyeo.
Academic Journal
ISSN 2577-9842
Five Hundred Arhats of Changnyeongsa Temple Site: Reflection of Our Hearts by the Chuncheon National Museum and the National Museum of Korea, has fascinated the visitors with the faces of arhats resembling those of us living today. The same exhibition, shown to the overseas public for the first time, is being displayed at the Powerhouse Museum in Sydney, Australia, celebrating the 60th anniversary of diplomatic relations between Korea and Australia. The Powerhouse Museum had closed for a long time due to the spread of COVID-19 and chose the five hundred arhats as the subject of its first exhibition after reopening, which makes the exhibition all the more meaningful. In this exhibition, the Chuncheon National Museum presents one statue of the Buddha and fifty statues of Arhats. Delivering a message for self-reflection, the show consists of two parts, each presenting the arhats in nature and in a bustling city, respectively. Installation artist Kim Seungyoung and sound designer Oh Yoonseok who had participated in the exhibition in Korea, and perfume designer Ainslie Walker, collaborated this time to help the visitors look into their inner selves and concentrate on meditation. Unlike exquisite Korean masterpieces previously shown to the overseas public, the five hundred arhats show simple aspects of Korean beauty with their ordinary faces. As the title of the special feature of The Sydney Morning Herald “Move over, Squid Game: Arhats are the next thing out of Korea” says, the five hundred arhats of Changnyeongsa Temple Site are expected to present deep roots of Korean popular
Overseas Exhibition
Faces of Koreans Seen in Australia: Five Hundred Arhats of Changnyeongsa Temple Site
culture which is now gaining popularity.
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ISSUE
by SHIN SOYEON Associate Curator of the Future Strategy Division, National Museum of Korea
ROOM OF QUIET CONTEMPLATION: Time to Lose Yourself Deep in Wandering Thought
When you finally enter the room where the pensive bodhisattvas sit, two beings lost in thought look at you from a distance. The subtly inclined walls and floor and the ceiling shining like the stars give a surreal feel to the quiet, abstract exhibition space.
The Start of a New Journey The Room of Quiet Contemplation is a new space for the exhibition of two pensive bodhisattva statues from the Three Kingdoms period which are also national treasures, designed by the National Museum of Korea to cater to museum-goers’ demands for a special, individual viewing experience. To create this gallery, for the first time the museum collaborated directly with the architect and the end result is an exhibition space that is in perfect unity with the exhibits. The two pensive bodhisattva statues are iconic cultural heritage of Korea, but they have been exhibited together on only three occasions: 1986–1988 to mark the museum’s relocation to the former Joseon Government General building; in 2004 as part of the farewell exhibition before the museum’s relocation to a new building in Yongsan; and in 2015 as part of the special exhibition Masterpieces of Early Buddhist Sculpture, 100BCE– 700CE. Because of limited space, the two pensive bodhisattvas have been exhibited alternately but now they can always be seen together. The new Room of Quiet Contemplation, where the two national treasures are on display, was designed by Choi Wook (ONE O ONE architects) in cooperation with the NMK. Considering the distance between the visitor and the pensive bodhisattvas, the architect opted for the scale of a small theater to create a space that is infused with the energy of the statues. The entrance passageway into the gallery is a transitional space where visitors get used to the darkness as they move from reality to a surreal world. Projected on the walls along the path is a media artwork titled “Cycle” that symbolically expresses the endless circulation of matter and expansion of the
universe. When you finally enter the room where the pensive bodhisattvas sit, two beings lost in thought look at you from a distance. The subtly inclined walls and floor and the ceiling shining like the stars give a surreal feel to the quiet, abstract exhibition space. The subtle scent coming from the walls lined with a mixture of earth, cinnamon bark, and cypress wood calms and comforts the mind. Inside the gallery there is very little text, which encourages visitors to immerse themselves in appreciating the pensive bodhisattvas. Concrete information about the statues can be accessed through the QR codes, postcards, and leaflets placed at the entrance and exit. Pensive Bodhisattvas: Beings Lost in Contemplation The Korean name for pensive bodhisattva images is banga sayusang. Banga refers to the bodhisattva’s seated posture with the right leg placed on the left knee, which is known as the half lotus position, and sayu refers to the way the image is lost in thought with fingers lightly touching the face. At first the name seems to come from the posture of the bodhisattva but it holds deeper meaning. The pensive bodhisattva icon echoes the scene of Prince Siddhartha falling into meditation for the first time as he pondered human birth, aging, sickness, and death. Unlike the unmoving stance of Buddha images, the pensive bodhisattva seems to be at the crossroads of life, alternating between contemplation of human suffering and spiritual practice. At this instant of stillness and movement, the faint smile playing on the lips of the images symbolizes the moment of enlightenment, attained after deep thought. This smile is the source of the emotional resonance and rapport that we feel upon seeing the pensive bodhisattvas,
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The pensive bodhisattva dating to the latter half of the sixth century is characterized by a sharp nose, clearly defined eyes, ornate crown and necklaces. In contrast, the pensive bodhisattva made in the first half of the seventh century has a naked torso and shaved head and is wearing a simple crown and plain circular necklace.
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which seems to heal the soul. Indeed, people around the world love and identify themselves with these two statues because the act of “contemplation” is bound up in the essence of human existence. The act of thinking began with the birth of humankind, and though some 1400 years have passed since they were made the two pensive bodhisattvas still arouse empathy in people regardless of nation, race, religion, and ideology, and offer consolation and peace. At first, the two national treasures may look very similar, but their expressions, robes, size, weight, and date of production all differ. The pensive bodhisattva dating to the latter half of the sixth century is characterized by a sharp nose, clearly defined eyes, ornate crown and necklaces, and drapery depicted in neatly arranged folds. The celestial robe draped over the shoulders flutters as if blown by the wind and even the ends of the fingers and toes are expressed with great sensitivity. In contrast, the pensive bodhisattva made in the first half of the seventh century has a naked torso and shaved head and is wearing a simple crown and plain circular necklace. Below the knees, however, the robe falls in rhythmic wave-like folds, contrasting with the simplicity of the upper body and creating an exquisite balance. Another outstanding feature of the two pensive bodhisattva statues is that they were made with the most advanced casting techniques known during the Three Kingdoms period 57 BCE–668 CE. Metal rods were joined vertically and horizontally to form an armature and covered with clay to sculpt the shape, which was then covered with wax. The form was covered again with clay to make an outer mold and heated to melt the wax and remove it. Molten bronze was then
poured into the mold, filling the space left by the wax, and when it hardened the mold was removed to reveal the finished sculpture. That the mold did not crack and the molten bronze formed a sculpture of even thickness attests to the superiority of the casting techniques used during the Three Kingdoms period. While small failures occurred during casting, they are not visible to the naked eye, which is the sign of a high standard of metal craftsmanship. Of the two pensive bodhisattvas, that dating to the first half of the seventh century was purchased by the Yi Royal Family Museum in 1912, and the statue dating to the latter half of the sixth century was purchased by the Japanese Government-General of Korea in 1912 and moved to the Japanese GovernmentGeneral of Korea Museum in 1916. Unfortunately, no clues remain to tell where the statues were originally made and at which temples they were enshrined. Considering the state of preservation, the ornaments on the figure, the form and style of the drapery and other features, it is presumed that the pensive bodhisattva from the first half of the seventh century was made in Silla. At the Exit of Light With reluctant footsteps, you return to reality, turning around to take one last look at the back of the pensive bodhisattvas. But using the QR code on the postcards placed at the end of the exit of light, more detailed information can be found on the statues and the Room of Quiet Contemplation. Time to lose yourself deep in wandering thought— you can look forward to having your own special experience in the Room of Quiet Contemplation.
MUSEUM SCENE
New Permanent Exhibition Opens at the Children’s Museum The Children’s Museum of the National Museum of Korea reopened its permanent exhibition with a completely new look. Under the theme of “Aha! Discovery and Empathy in Action,” the exhibition is focused on experience, inspiring children’s curiosity as they explore history and culture to solve given problems, to develop their thoughts on cultural heritage through play, and to communicate and to empathize through various means such as type and music. The exhibition consists of three parts: Part 1 “Seeing Through New Eyes,” Part 2 “Thinking Differently,” and Part 3 “Let’s Share What’s on Our Minds.” Overall, there are 33 different corners designed to give children handson experience. The permanent exhibition aims to
show children that the museum’s exhibits are not just objects from the past but are connected with our lives today. The giant five-meter-long automaton at the entrance is attracting a lot of attention for the way it forms a small world encompassing the varied themes featured in the Children’s Museum. This small world shows how the museum’s cultural heritage connects yesterday with today. A notable feature of the renewal is the creative playground, an activity space for infants and toddlers, making the museum accessible to an even wider age range. In a space where the shape of an ancient Bronze Age ritual bells known as paljuryeong is designed on the floor,
various activities designed for infants considering their intellectual and physical characteristics have been prepared, such as building blocks forming the Tenstory Stone Pagoda from Gyeongcheonsa Temple Site, zipper games using combpatterned pottery motifs, and squigz sucker cup toys decorating ceramics. The Children’s Museum is operated on a reservation basis and is open to 99 people per session, five sessions a day. Reservations can be made in advance on the website of the Children’s Museum. This new exhibition will give all children a chance to spend meaningful time developing their creativity and imagination as they play. WINTER 2022
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by YOO SURAN Associate Curator of the Fine Arts Division, National Museum of Korea
MONK ARTISANS OF THE JOSEON DYNASTY: Buddhist Sculptures and Paintings December 7, 2021 – March 6, 2022 National Museum of Korea
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A display focusing on the “Eight Great Events of the Life of the Buddha from Tongdosa Temple” in Part 2
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Wooden Seated Vairocana Buddha designated as a treasure on display
Visitors looking at paintings with monk artisans’ story
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When you look at artworks you will sometimes wonder how they are used, what they mean, and even who made them. Indeed, who are the people who created the statues and paintings you encounter inside the main hall at a Buddhist temple? Buddhist art is meant to support devotional activities and serve as adornment. A considerable number of such Buddhist artworks were produced by monk artisans, who are both practitioners of Buddhism as well as artists. Monk Artisans of the Joseon Dynasty: Buddhist Sculptures and Paintings offers a new perspective when approaching Joseon Buddhist culture. This special exhibition sheds light on the world of monk artisans and focuses on the “people” who created the Buddhist art and the “space” in which this art was conceived. These are people with two different identities— as individuals who joined the Buddhist clergy and as professionals who produce artworks. They give visible form to an invisible sacred presence as part of their personal religious practice and in an effort to save all sentient beings. Neo-Confucianism was adopted as the dominant ideology in Joseon Dynasty 1392–1897, yet monk artisans continued to be active. These artisans were at the heart of the effort to rebuild Buddhist monasteries around the country that had been destroyed during the Imjin War with Japan 1592–1598. In the process, monk artisans with specialized skills came together in the large temple complexes, and these groups handed down their techniques and skills to succeeding generations of monks. In the process a Buddhist culture with a uniquely Joseon character blossomed. This special exhibition presents a collection of works by monk artists and monk sculptors, who created most of the objects needed at the temples during the period. Part 1 is titled “Who Were the Monk Artisans?” This section differentiates
the character of the monk artisans, who produced religious art objects, from the painters and craftsmen in the general population. Their story starts with the hands, because the journey of turning an assortment of materials like wood, stone, silk, and hemp cloth into finished sacred objects such as paintings and statues of the Buddha begins at their hands. Their handiwork was honed through daily practice, surpassing the level of natural talent, as they brought forth a world that moves people’s hearts and
Fragments of Wooden Buddhist Sculpture Late Joseon Dynasty H. 98.0 cm (largest) National Museum of Korea
Deposited Votive Objects from a Wooden Seated Avalokiteshvara Bodhisattva of Songgwangsa Temple Joseon Dynasty, 1662 Silk etc. Songgwangsa Museum Treasure
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Illustration of the Avatamsaka Sutra (The Flower Garland Sutra) of Songgwangsa Temple Joseon Dynasty, 1770 By Hwaryeon active mid–and late 18th century and twelve other monk painters Color on silk 260.0 × 256.0 cm Songgwangsa Museum National Treasure
Monk Ascending to the Western Paradise by Praying to Amitabha Buddha Joseon Dynasty, early 19th century By Kim Hongdo 1745–after 1806 Light color on fine ramie 20.9 × 28.7 cm Kansong Art and Culture Foundation
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minds. The seventeenth-century monk artisan Yeonhui 演熙 worked every day for 11 years, carving woodblocks for printing thousands of pages of Buddhist scripture. The account of his life describes how a monk attains a new state of consciousness through endless repetition. He cultivates himself by doing the same thing a thousand times, then ten thousand times, reaching the artistic realm of perfection exclusive to monk artisans. Part 2, “A Space to Sculpt and Paint the Buddha,” offers a look at the workshops and work processes used by monk artisans. The typical studio layouts for monk sculptors and monk painters present the spaces where monks gathered to carry out Buddhist art projects and offer a glimpse at how they went about creating images for religious purposes. Completing the physical object does not mark the end of the entire work process. Unlike general artworks, finished paintings and statues of Buddhist art must go through a special ceremony and procedure that is believed to breathe life into them as objects of
religious veneration. You will be able to see various sacred articles that were enshrined inside the newly-made Buddhist statues and paintings to transform them into objects for veneration. Part 3 is the highlight of this special exhibition. Entitled, “The World Dreamt of by Monk Artisans,” it is filled with the beautiful Buddhist realm that Buddhist artisans have formed through the power of various visual media. Here you can experience the results achieved by monk artisans who were never satisfied with the schematized, conventional forms of expression and constantly sought new challenges. They also created a threedimensional Buddha world through the wood-carved images of the Buddha preaching sermons, and they filled a single flat surface with the Buddhist worldview with endless layers of meaning. Everywhere they stayed, these artists created a genuine and beautiful, idealized world. Buddhist art was one of the pillars supporting the late Joseon way of life, and the monk artisans were key hidden actors who enriched the culture of the period. Temples were open to the public, and they presented a freely-accessible world of art, allowing people to dream of Paradise together. The monk artisans embodied a community-like character within themselves, and their works were community-oriented. They are separated from us by centuries of time, but the world portrayed in their artworks open up endless possibilities to people living today. Just what kinds of people were these monk artisans of Joseon? The last work on display at the exhibition is called Monk Ascending to the Western Paradise by Praying to Amitabha Buddha. When you gaze at the back of the unknown monk, you may be reminded of the monk artisans who broadened the horizons of art as they practiced their faith to perfection without putting themselves forward into view.
Wooden Seated Amitabha Buddha Triad and Wooden Amitabha Buddha Altarpiece of Yongmunsa Temple designated as a treasure on display
Artwork with Buddha and bodhisattva statues by the contemporary artist VAKKI
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by Noh Namhee Assistant Curator of the World Arts Division, National Museum of Korea
OTTCHIL, the Coated Splendor of Asian Lacquerwares December 21, 2021 – March 20, 2022 National Museum of Korea
Trefoil-shaped Covered Box with Chrysanthemum Scroll Design on display
Fig.1 Lacquered Mirror with Flower and Animal Design Unified Silla Kingdom D. 18.5 cm National Museum of Korea
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The special exhibition Ottchil, the Coated Splendor of Asian Lacquerwares tells a story that begins with a special tree—the lacquer tree, which grows only in Asia. This exhibition shows how lacquer, the sap from the tree, evolved from its functional beginnings to create the diverse lacquer culture of Asia. Creating a lacquerware is a long process, starting with collecting the sap and involving repeated application of the lacquer, or ottchil. However, lacquerware has been called the “art of time” because once an item is made in this way it endures for a much longer time than usual. In addition, lacquer was applied to various materials such as wood, leather, and fabric to create various types of lacquerwares that evolved into sumptuous works of art when decorated with mother-
of-pearl, gold, and other luxurious materials. The exhibition focuses on the time aspect, material qualities, and artistry of lacquer work, and shows the diversity of lacquerware by examining how Asian peoples used common materials to develop wares that varied from region to region. The exhibition starts with a prologue in the form of a media art piece. With the lacquer tree as its theme, the video consists of a mixture of black and white images of the lacquer tree, in whole and in parts, the sap that gathers when notches are made in the bark of the tree, and the lacquer when it has been purified. The video is projected onto a long piece of textile similar to hemp, which is used to make lacquerware, and visitors pass through this virtual “lacquer tree space” to enter the exhibition proper.
A display showing the late Joseon Dynasty lacquerware that varied in shapes and designs
Part 1 of the exhibition, “Meeting Lacquerware,” gives visitors basic information about lacquer and lacquerware. The flower-shaped cups and stands indicate that lacquerware was made in diverse forms, like contemporaneous ceramics and metalcraft items, and there is an explanation of lacquer and the lacquerware production process. Information on why lacquer is used, how the sap from the lacquer tree is purified to make a coating material, and the many varied processes required to make even a simple wooden lacquered object is provided through text in question and answer form, replicas showing the production processes, and videos. Lacquer was originally used as a varnish for the functional purpose of protecting objects from water and insect
damage. But when people noticed its unique gloss and adhesive properties they created various decorative techniques that made use of it. Part 2 of the exhibition, “Decorating Lacquerware,” looks at three different types of techniques: using lacquer to add color, using lacquer to draw or inscribe designs, and using the adhesive properties of lacquer to attach decorative metal designs cut out of gold or silver sheet. Lacquer is originally a colorless, natural varnish. A technique used from early times was to mix lacquer with materials such as iron oxide or cinnabar to create lacquer that is black, red, or another color, which was then used to paint decorative designs on items. Then in East Asia during the seventh and eighth centuries, the pyeongtal technique became popular. This involved cutting decorative shapes out of thin gold
Fig.2 Book Stand Late 16th – early 17th century, Japan 50.7 × 37.5 cm Tokyo National Museum
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A display showing the Chinese carved lacquer
or silver sheet, which were then attached to the surface of lacquered objects and lacquered over again. The surface of the object was ground and polished to reveal the metal designs underneath. Some bronze mirrors from the Unified Silla period in Korea were also decorated with this technique Fig.1. In Part 3, “Revealing Regional Characteristics,” lacquerware from Korea,
China, Japan, and Southeast Asia can be compared according to the distinctive decorative techniques that developed in each region, in addition to those examined in part 2 of the exhibition. Particularly notable techniques include the Korean mother-of-pearl inlay technique (najeon), where thin pieces of shell are inlaid on a lacquered surface; the Chinese carved lacquer (diaoqi), where lacquer is applied
Fig.3 Carved Lacquer Box Late Yuan or early Ming Dynasties, 14th century H. 13.6 cm, W. 12.0 × 12.0 cm Shanghai Museum
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in thick layers and a design is then carved into the surface; and the Japanese technique of sprinkling gold powder on a lacquered surface before it dries to make designs (maki-e) Fig.4. In Southeast Asia, lacquerware has been produced mainly in Myanmar, Thailand, and Vietnam, and diverse decorative techniques have been used, such as attaching molded lacquer shapes or colored glass to the surface. The section devoted to Chinese carved lacquer features 34 varied items from the Shanghai Museum in China Fig.3. The central exhibit is the Trefoil-shaped Covered Box with Inlaid Chrysanthemum Design, which was acquired from Japan in 2020 and is on display for the first time. This covered box is one of the finest works of lacquerware inlaid with mother-of-pearl produced during the Goryeo Dynasty 918–
Lacquerware from Southeast Asia
, and is one of only three extant trefoilshaped covered boxes inlaid with motherof-pearl in the world that remain intact. Before entering the space where the covered box is displayed, visitors watch a video that traces its long history and inspires their curiosity. For a long time, the production of lacquerware was limited to Asia and its use to a very small class of people, but over time it moved beyond these regional and social boundaries. Part 4 of the exhibition, “Transcending Boundaries,” features lacquerware that reflects these changes. During the Age of Discovery, Japan made lacquerware especially for export to Europe. Called nanban lacquerware, it is characterized by unique shapes and luxurious decoration. In this exhibition, two pieces of nanban lacquerware owned 1392
by the Tokyo National Museum in Japan are on display, giving visitors a chance to see the type of items that caught the attention of Europeans Fig.2. In addition, other lacquerware that represents the crossing of boundaries includes late Joseon Dynasty lacquerware that show changes in shapes and designs that occurred when usage expanded beyond a privileged class, and lacquerware from
Myanmar, which is now a major tourist product of Southeast Asia. Finally, the epilogue section features the works of artists who have modernized lacquer craft with the support of the Korea Craft and Design Foundation. Visitors will be able to round off their appreciation of the exhibition by examining the various attributes of lacquerware and its modern variations.
Fig.4 Inkstone Box 19th century, Edo period, Japan H. 4.5 cm, W. 24.2 × 26.4 cm National Museum of Korea
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by SUH JINSEON Associate Curator, Jeju National Museum
Future Sea Overflowing with the Island Culture, Jeju National Museum From November 26, 2021 Jeju National Museum
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The Jeju National Museum, which celebrated its 20th anniversary in 2021, completed the expansion in November the same month after three years of work. The Special Exhibition Hall was expanded as it had grown too small, and the Children’s Museum and Immersive Space were newly constructed to create a multipurpose cultural space. The expanded museum building has a floor space of 4,494.0 m2 with one basement floor and two floors above ground that house the Special Exhibition Hall, the Children’s Museum and education room, and the Immersive Space. It is also equipped with convenience facilities such as a large lobby for rest and relaxation, a cafe, and infants’ lounge. These facilities will serve as a place for healing and social interaction that local residents and visitors can visit at any time they want to recharge. The special exhibition Jeju National Museum Goes with Jeju, commemorating the museum’s 20th anniversary, opened around the same time. Taking the opening of the new spaces as a turning point, the Jeju National Museum plans to look back on Jeju Island’s history while also looking into the future, and continue its footsteps as a museum that is vibrant and alive and a part of the regional society.
Major items donated or entrusted to the Jeju National Museum on display
Hands-on activities in the Children’s Museum with the stories about the lives of Jeju Island people
Children’s Museum— Everything about Jeju Island with the Innocence of Children!
A family having fun at the Children’s Museum
Five Areas for a Hands-on Experience of Jeju Island’s Nature and Culture The Children’s Museum has been designed to give children hands-on experience that will help them understand the stories of the lives Jeju Island people set against the island’s mountains, fields, and seas. The museum opened under the theme “Hi there, Jeju!” so that visitors can approach Jeju Island’s nature and culture as if greeting someone for the first time as easily as if they were a friend. The Children’s Museum is divided into five areas—Meeting, Climbing, Playing, To the Sea, and Sharing—where visitors get a hands-on experience of Jeju Island’s nature and culture. “Meeting” introduces the unique natural environment of Jeju Island, much of which has been designated as an Absolute Preservation Zone. “Climbing” stimulates children’s imagination with the legend of Grandma Seolmundae, the giant goddess who created Jeju Island, against the setting of Hallasan Mountain and Baengnokdam (White Deer Lake) on top. “Playing” gives children the chance to experience life on the island and empathize with the
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people, making use of features such as Jeju Island’s stone walls around fields, pigsty, and vegetable gardens surrounded by stones. “To the Sea” is a place to experience the busy lives of the haenyeo, the women divers of the island. Finally, “Sharing” inspires children to think about ways to protect the mountains, fields, and coastal waters of Jeju Island and hand them down to posterity. The Children’s Museum is mainly for children aged six to ten and can be visited individually or families.
Immersive Space—Fantastic Immersive Contents to Be Enjoyed Surrounded on All Sides by the Fantastic Media Artwork “Drifting in the Sea, Dreaming of What Lies Beyond” The Immersive Space is a room where
The immersive video titled “Drifting in the Sea, Dreaming of What Lies Beyond”
visitors can enjoy varied immersive contents on the theme of Jeju Island’s history, culture, and nature. The first video produced to mark the opening of the immersive space is “Drifting in the Sea, Dreaming of What Lies Beyond,” a media reinterpretation of the contents of the book Record of Drifting in the Sea (Pyohaerok) written by Jang Hancheol in 1771, which is in the collection of the Jeju National Museum. On the giant screens covering the walls and the floor, the rough seas rage as a ship drifts and exotic scenes of the strange world experience by the scholar Jang Hancheol unfold. It is a fantastic video art piece to be enjoyed, filled with scenes of Jeju Island’s culture and history. Hug By Lee Jungseop Drawing on tin foil Lee Jungseop Art Museum
Special 20th Anniversary Exhibition—“Continuing” and “Weaving” Jeju Island and Museums Together Items from 16 Public and Private Museums and Art Galleries of Jeju Island Gathered Under the Same Roof for the First Time
A huge touch screen
Paintings of Shamanistic Spirits and Portrait of Jeju Person on display
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The special exhibition Jeju National Museum Goes with Jeju was organized to “continue and weave” Jeju Island and its museums and art galleries together to mark the 20th anniversary of the Jeju National Museum. The two most important elements comprising a museum are the “collection” and “people.” In the exhibition, visitors can see the major items donated or entrusted to the Jeju National Museum by more than 50 people and learn of the stories those artifacts have to tell. Though each item may have a different meaning, the thoughts and feelings of the people who donated them are all equally valuable and will hopefully
remain unchanged in the future. Over the past 20 years to this day, the Jeju National Museum has carried out a wide range of projects. During that time, many public and private museums were established on the island and their activities have played a large role in making Jeju Island what is today. In moving toward a new future, the Jeju National Museum and other museums and art galleries on the island will be working together in various ways. The current special exhibition, which brings together sixteen public and private museums and art galleries of Jeju Island for the first time, is the first such project. The exhibition features Calligraphy by An Jung-geun (Treasure), Paintings of Shamanistic Spirits (National Folk Heritage, collection of Jeju National University Museum), and works by many artists who love Jeju Island.
Painting of Shamanistic Spirits, Jeseok Late Joseon Dynasty Color on paper Jeju National University Museum
Chief curator's old desk and some posters for the special exhibition at the Jeju National Museum in the past 20 years
Calligraphy by An Jung-geun 1910 Entrusted to the Jeju National Museum by an individual Treasure
VISITOR OF THE DAY
by the EDITORIAL TEAM, with HONG INOK and SUH SANG-IN
A GREAT WAY TO CELEBRATE MOTHER’S BIRTHDAY
Mother and daughter looking at the Stele for National Preceptor Nanggong at Taejasa Temple in the Calligraphy and Painting Gallery
Mother and Art Hong Inok showed talent in art as a child and after studying art education at university she worked as an art teacher until she got married. In her twenties, she mastered various genres featured in the art curriculum, such as calligraphy, Asian painting, Western painting, handicraft, and sculpture. On those days when she became totally immersed in painting,
she would forget to sleep or eat as she concentrated on the canvas. So when she became a mother she naturally found it harder to find time for art. Instead, she fell in love with needlework, which made daily life happier for her, and has since then made many household items with embroidery, quilting, and knitting. Suh Sang-in, her daughter, remembers the history of the artworks that decorated
opens up the new year’s calendar and circles the birthdays of all her family members. After passing big events in life such as college admission, graduation, various award ceremonies, getting a job, and promotion, she found that there was less events to celebrate and so began to pay special attention to family birthdays every year. Hong Inok’s birthday comes when the colors of autumn leaves are most beautiful, which makes her keen to travel. Around this time she used to go on long trips with close friends or travel overseas. But since the outbreak of COVID-19, she has celebrated her birthday in a different way. In 2020, Suh made special plans for the day. She took her mother to Yangnimdong in Gwangju, where they had lunch at an Italian restaurant, then walked around the village filled with art and handicraft stores, and took pictures. October 2021, for an even more memorable birthday, she brought her mother from her home in the provinces to Seoul and organized a fourday itinerary, as if they were going on a trip. A Memorable Birthday in the Digital Immersive Gallery
her parents’ house thanks to art-loving mother. She grew up watching the house filled up with not only her mother’s paintings but antiques, either bought or inherited, as well as paintings and sculptures by contemporary artists, and became attached to some of them. One Special Day in the Year Around the beginning of the year, Suh
Suh Sang-in likes to spend time with her parents whenever she gets the chance. When she suggests they check out a trendy place, or try some new food or a different experience, both of them agree readily, which makes her think of her parents first when anything fun happens. After thinking about what her mother would like to do on her birthday in 2021, she suggested that they visit the National Museum of Korea, and as expected it was exactly the type of place her mother likes. Suh has visited the museum two or three times during the last ten years but it was the first time for her mother. Hong Inok is not very interested in shopping and hates busy, crowded places, so there was no place in Seoul that she particularly wanted to see. But the museum is another story. She
had heard that the NMK was so big that it was impossible to see it all in one day, but when she stepped into the Path to History on the first floor it took her quite a while to adapt to the scale that was greater than she had imagined. Both mother and daughter were curious about the Digital Immersive Gallery and were led inside as if under a spell. A realistic landscape painting of Geumgangsan Mountain was spread before their eyes, and the impression left by the gigantic screen showing the stunning changes of the seasons lasted for a long time. Suddenly, this thought crossed Hong’s mind—that the younger generation, who might find historical artifacts boring, could watch digital content first then conversely seek out the Album of Paintings of Geumgangsan Mountain by Jeong Seon, painter of the late Joseon period. Beautiful Times to be Revived Before traveling anywhere with her parents, Suh Sang-in likes to find out in advance whether a good exhibition will be held there. When they went to Yufuin Hot Springs in Japan three to five years ago, they visited the Chagall Museum, and once traveled to Naoshima solely to see Yayoi Kusama’s work. Suh knows from experience that memories of travel become clearer thanks to the artworks that are imprinted on her heart in a myriad of colors. At the NMK, the size of the Donation Gallery was of the things that surprised Hong Inok the most. She was inspired to learn that the number of individuals who had donated precious cultural items, ranging from state-designated treasures to everyday items, was far bigger than she had imagined. Moreover, she felt deeply grateful to those people who donated their treasured cultural items to the museum so that they could be seen by many people. At the same time, she wondered whether WINTER 2022
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anything precious that had been handed down to her, generation to generation, would be suitable for donation to the museum. When Hong studied Eastern-style painting under Jo Bang-won, late master of the Southern school style of painting, she came to own several of his calligraphy works and paintings, and thought it might be a good idea to donate them. In this regard, the wooden furniture in the Kim Chong-hak Gallery inspired her imagination. Although the furniture was hundreds of years old, she was impressed by how good it looked thanks to excellent preservation. It made her realize the importance of preservation and systematic management of donated items. As Suh Sang-in watched her mother slowly walk around, thoughtfully appreciating the old furniture, she added another scene to her memory of the museum. One day, when she comes back to the museum and passes by the same gallery she will clearly remember the day that she spent here with her mother.
Inok is often fascinated by beautiful and traditional handicraft works
Hong Inok One-line comment
I want to come back to the museum when
I get the chance and spend time looking at the objects one by one. Three memorable points Pendant with incense case ornament, antique furniture, and vast collection of donated works On the next visit I would like to see the Lee Kun-hee Collection special exhibition in April. Most impressive item
Bandaji chest
“I love antiques that show the signs of use. Old furniture is particularly attractive with its clean, simple lines and natural beauty coming from the grain of the wood. Old wooden furniture items made hundreds of years ago reflect the past when the rooms occupied by men and women were strictly separated. It’s fun to look at the items while wondering who used them.”
Chest with a Flap Door Korea Wood H. 71.5 cm, L. 42.0 cm, W. 91.2 cm On display in the Kim Chonghak Gallery
Influenced by art-loving mother, Sang-in feeling familiar with fine wooden furniture
Suh Sang-in One-line comment
Looking at my mother walk around
seeking out the items that she’s interested in, I knew it was a good idea to come to the museum with her. Three memorable points The Digital Immersive Gallery, pleasant viewing conditions, and groups of children roving the museum with mission sheets in their hands as if they were explorers On the next visit Most impressive item
I’ll bring my father as well. Painting of a Fisherman in Search of the
Peach Blossoms “An acquaintance told me that this painting has been on permanent display since October, 2021 to commemorate the 40th anniversary of the Lee Hong-kun Gallery, so I made sure to see it. It was a work whose beautiful coloring has the power to draw you in and it was good to stand and look at it for a long time, fascinated by the ideal land that the artist admired, though it does not exist in this world.” Painting of a Fisherman in Search of the Peach Blossoms (detail) Joseon Dynasty By An Jung-sik Silk 143.5 × 50.7 cm On display in the Lee Hong-kun Gallery
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VISUAL GUIDE
by the EDITORIAL TEAM, with the FINE ARTS DIVISION, National Museum of Korea
THE SCULPTURE AND CRAFTS SECTION:
Dignified Artworks Filled with the Philosophy of Everyday Life
A display at the Buddhist Sculpture Gallery
The Sculpture and Crafts section of the National Museum of Korea has over 780 famous artworks on display, offering you an opportunity to appreciate the solid beauty of sculptured pieces. The Buddhist Sculpture Gallery is organized according to time period and iconographic subject, while the Metal Crafts Gallery categorizes the items on display by the materials used (gold, silver, bronze, and iron) across time. In addition, you are introduced to various Buddhist works as well as metal crafts
decorated with gold and silver inlay. The Celadon Gallery features the famous Goryeo Dynasty 918–1392 celadons with their signature pale green tint, known as bisaek 翡色, as well as celadon ware decorated with inlays. Various production methods are in play here, including intaglio carving, engraving in relief, openwork, figurative designs, underglaze painting with iron pigment, and underglaze copper red decoration. Meanwhile, the Buncheong Ware and
White Porcelain Gallery is showing buncheong ware and white porcelain, quintessence of the ceramic tradition of the Joseon Dynasty 1392–1897. Here you will encounter the unadorned and simple forms, diverse production methods, as well as free-spirited and bold designs of powdered grayish blue-green porcelain, commonly known as buncheong ware for short. At the same time, you will experience the white porcelain pieces that feature elegant yet restrained forms.
Location North area on the third floor of the Permanent Exhibition Hall Contents A place to appreciate the solid beauty of three-dimensional artwork Composition Four galleries
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of granite, a very hard material, yet their portrayal is finely detailed. The figures project a magnificent yet upright and reverent feel.
Gilt-bronze Standing Buddha with Inscription of “the Seventh Yeonga Year” Room No. 301, Buddhist Sculpture Gallery
The Buddhist religion first came to the Korean Peninsula in the fourth century CE. Sculptures of Buddha and various other deities in the pantheon began to be produced here in the fifth and sixth centuries, and some small gilt-bronze statues of Buddhist images from this period are extant. The Gilt-bronze Standing Buddha with Inscription of “the Seventh Yeonga Year” is the oldest Korean Buddhist statue with an inscribed date ever found. The Buddha’s face is slender and long; his robes appear thick, and the hems flare out. This style of garment on Buddha statues is typical of the Northern Wei Dynasty 386–534 in China, which alone would make it difficult to precisely identify the exact time period and country of origin. Fortunately, however, a detailed inscription on the back of the halo states where the piece was produced and specifies the year as 539.
Stone Standing Maitreya Bodhisattva and Amitabha Buddha from Gamsansa Temple, Gyeongju Room No. 301, Buddhist Sculpture Gallery
Korean sculptors familiarized themselves with the traditional styles of Buddhist statuary from other East Asian countries and then modified them to suit local tastes. While conventional stylistic aspects were maintained with the two statues presented in the gallery, they also bear signs that the sculptors attempted to incorporate new stylistic elements that came into vogue in the early eighth century, namely the tendency to emphasize ample bulkiness and dynamic realism. The large eyes, broad face, and static posture are conventional style traits in both statues. However, Maitreya’s posture, which is slightly bent at the waist, as well as his corpulent body reflect new trends. A new stylistic aspect for Amitabha, meanwhile, is the tightly-fitting robe that flows from the shoulders to the ankles, revealing the outline of his body. These statues were carved out
Reliquary from the East Three-story Stone Pagoda at Gameunsa Temple Site Room No. 302, Metal Crafts Gallery
Gilt-bronze Standing Buddha with Inscription of “the Seventh Yeonga Year” Goguryeo Kingdom, 539 H. 16.2 cm National Treasure
Gameunsa Temple was established east of Gyeongju, the Silla capital, around 682, and a pair of stone pagodas, one on the east side and the other on the west side, remain today. The reliquary set was discovered inside the East Pagoda. The set consists of a small bottle for the relic (sari), or bone fragment from the Buddha’s body. The bottle is enshrined inside the reliquary, which in turn is stored inside an outer case. The crystal bottle was first placed in the center of the reliquary then covered with a round cap, obscuring it from view. The bottle was surrounded by figurines of the Four Heavenly Kings and monks, serving as guardians of the precious relic. The outer case for the reliquary is also adorned with the Four Heavenly King figures, who are shown clad in armor and striking natural poses. The sculpting techniques are meticulously fine, which bears testimony to the outstanding level of the contemporary metal craftsmanship.
Reliquary from the East Three-story Stone Pagoda at Gameunsa Temple Site on display
Celadon Ewer in the Shape of a Fish-dragon Room No. 303, Celadon Gallery
Bronze Kundika with Silver-inlaid Willow and Waterfowl Design Room No. 302, Metal Crafts Gallery
The kundika, literally pure water bottle, was originally a portable vessel that was filled with water and carried by Indian monks while they traveled in pursuit of their ascetic practices. Most of the extant metal kundikas from the Goryeo period lack decoration, but this piece is exceptional. The outer surface is adorned with an idyllic waterside scene so finely executed that it looks as if it were painted with a brush. In fact, it was executed with silver inlay. The artisans first etched grooves into the bottle surface and then inserted threads of silver. Over time, the surface was oxidized by air, creating a green patina that has blackened the decoration. However, at the time the piece was completed, it would have featured a contrast of metallic colors, with a glittering silver pattern against a golden background.
Bronze Kundika with Silver-inlaid Willow and Waterfowl Design Goryeo Dynasty, 12th century Bronze with silver inlay H. 37.5 cm National Treasure
Celadon Ewer in the Shape of a Fishdragon Goryeo Dynasty, 12th century H. 24.4 cm National Treasure
Celadon Prunus Vase with Inlaid Peony Design in Underglaze Copper Room No. 303, Celadon Gallery Celadon Prunus Vase with Inlaid Peony Design in Underglaze Copper Goryeo Dynasty H. 34.5 cm Treasure
Buncheong Jar with Inlaid Cloud and Dragon Design Joseon Dynasty, early 15th century H. 48.5 cm National Treasure
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This extravagant celadon ewer brings together a dragon and a fish. It exemplifies the superb creativity and production techniques applied by Goryeo craftsmen who exquisitely shaped the creatures that they envisioned in their imaginations. The spout is a dragon’s head; the body is a fish, and the handle is shaped to resemble twisted lotus stalks, complete with flower buds and leaves. The creature’s fins, the lotus leaf tips, and the dragon’s teeth are coated with white slip, adding a richer color sensation to the celadon hue. The pupils in the dragon’s eyes have been rendered with a black, oxidized pigment to impart a feeling of movement and vitality. Notably, the feeling of depth has been enhanced by a generous application of glaze on the undersides of the fins sculpted on the rotund ewer body. The glaze has been thickly applied on purpose to modulate angles and bring out the appearance of fins. This masterpiece allows us to appreciate fully the extraordinary skills of Goryeo potters.
This is a truly impressive example of the prunus vase: elegant body curves and a lively rendering of the peonies to give the impression they are fluttering in the breeze. This vase genre was used in Goryeo to store precious food articles such as honey or sesame oil. The piece seen in the gallery has white and black slip applied on the shoulders to form thick outlines, with ornamental knots suspended from each one to create the effect of a decorative fabric covering. Chrysanthemum scrolls fill the inside of these outlined spaces, and the scroll vines are very softly and vigorously portrayed. The peony images in the center of the vase body demonstrate most clearly how refined this craftwork truly is. The feeling of elegance was elevated by applying copper red pigment, which is difficult to
use effectively, on top of the peonies’ broad white petals prior to glazing. The contrasting black and white inlays as well as the copper underglaze bring an especially dignified touch to this exceptional vase.
Buncheong Jar with Inlaid Cloud and Dragon Design Room No. 304, Buncheong Ware and White Porcelain Gallery
Buncheong ware was produced uniquely in Joseon for 150 years, starting from the fifteenth century. The vessel body was formed with grayish blue-green clay, coated with white slip, and then decorated in diverse ways. Unlike with Goryeo celadon ware, large buncheong jars could be produced such as the 48.5cm-tall piece highlighted here. The present piece was variously decorated using inlay methods handed down from Goryeo celadon tradition along with stamping techniques. The decorative patterns, composition, and production methods reflect the characteristics of pottery produced in Yuan and Ming Dynasties of China, but the overall free-spirited nature and boldness of the piece is a Joseon buncheong ware signature.
White Porcelain Moon Jar Room No. 305, Buncheong Ware and White Porcelain Gallery
This jar features clear white coloring and voluminous roundness. The width and height are almost equal, so the large, spherical appearance is reminiscent of the moon, leading to its twentieth-century nickname, “the moon jar.” Given its great size, the upper half and lower half were thrown separately on a large potter’s wheel, joined together, and then fired in the kiln. As a result, traces of the join are visible in the middle and the overall shape is slightly deformed. The jar provides visitors with a special sense of calm that cannot be found in pottery that is perfectly symmetrical left to right.
Moon Jar on display at the Buncheong Ware and White Porcelain Gallery
White Porcelain Lidded Jar with Plum, Bird, and Bamboo Design in Underglaze Cobalt Blue Room No. 305, Buncheong Ware and White Porcelain Gallery
White Porcelain Lidded Jar with Plum, Bird, and Bamboo Design in Underglaze Cobalt Blue Joseon Dynasty, late 15th–16th century H. 16.5 cm National Treasure
Cobalt blue pigment, which had to be imported, was very expensive in Joseon, so the blue-and-white porcelain was especially treasured. Highly trained professional artists were also called in to paint the designs on the white porcelain. In this way, Joseon artisans during the fifteenth–sixteenth centuries would at times use the entire surface of a white porcelain piece to paint a single, visually tantalizing scene in cobalt blue. This small jar is adorned with a finely detailed painting: two birds sit on a branch in a plum tree with wild chrysanthemums in full bloom below them and bamboo that appears to be waving in the breeze. The lid has a lotus bud-shaped knob in the center and is painted with images of bamboo and plum branches for an added flair. WINTER 2022
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COLLECTION
INCENSE BURNER:
a work of art with practical and artistic value Hill Censer Nangnang Commandery Metal H. 20.0 cm
Bronze Incense Burner Lid Korea Copper alloy H. 12.1 cm, D. 12.5 cm
Yellow-glazed Incense Burner Korea Clay H. 24.0 cm, D. 20.2 cm
Bronze Lotus-shaped Incense Burner with Inscription Goryeo Dynasty Copper alloy H. 14.7 cm, D. 18.8 cm
Iron Incense Burner with Lotus and Four Trigrams Design and Inscription of “Subok 壽福” Joseon Dynasty Iron H. 24.8 cm, D. 22.7 cm
Bronze Incense Burner Joseon Dynasty Copper alloy H. 25.0 cm
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Bronze Incense Burner Goryeo Dynasty Copper alloy H. 12.7 cm, D. 9.1 cm
Bronze Incense Burner Lid Inlaid with Silver Goryeo Dynasty Copper alloy H. 1.9 cm, D. 12.6 cm
Bronze Incense Burner with Gold and Silver Unified Silla Kingdom Copper alloy H. 4.7 cm, D. 7.6 cm
Celadon Lotusshaped Incense Burner Goryeo Dynasty H. 15.2 cm, D. 10.5 cm (mouth)
Celadon Incense Burner with Lionshaped Lid Goryeo Dynasty H. 21.2 cm, D. 16.3 cm National Treasure
Celadon Square Incense Burner with Ogre Mask Design in Relief Goryeo Dynasty H. 18.8 cm, D. 15.8 cm
Celadon Incense Burner Lid Goryeo Dynasty H. 12.0 cm, D. 12.1 cm (mouth)
Celadon Incense Burner Stand Goryeo Dynasty H. 12.1 cm, D. 13.6 cm
Celadon Duck-shaped Incense Burner Goryeo Dynasty H. 23.2 cm, D. 12.3 cm (bottom)
White Porcelain Incense Burner in the Shape of Geumgangsan Mountain Joseon Dynasty H. 21.9 cm, D. 14.6 cm
White Porcelain Incense Burner Korea H. 14.3 cm, D. 24.1 cm
White Porcelain Incense Burner with Flower Designs in Underglaze Cobalt Blue Joseon Dynasty H. 14.1 cm, D. 10.6 cm (mouth)
White Porcelain Incense Burner with Longevity Symbols in Underglaze Cobalt Blue and Iron Brown Joseon Dynasty H. 11.5 cm, D. 12.9 cm (mouth), D. 11.3 cm (bottom)
White Porcelain Incense Burner in Underglaze Copper Red Joseon Dynasty H. 21.0 cm, D. 21.4 cm, D. 14.4 cm (mouth)
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MISCELLANEOUS
Video Guide Made Available in Sign Language
The NMK produced a video presenting in sign language 60 exhibits at the World Art Gallery in the Permanent Exhibition Hall and released it on the mobile application of the NMK. The video is available by selecting works on each exhibition room and clicking the sign language icon in the form of a hand. A sign language interpreter explains a work in less than one minute to help hearingimpaired visitors better enjoy exhibitions
Hanging Board with the images of Taoist Immortals and the Inscriptions by Kim Jeonghui and Ruan Fu Joseon Dynasty, 19th century Color on wood 34.9 × 115.8 cm
with easy and accurate information on the works on display. The video intends to
Works on Permanent Exhibition at
Publication of a Research Report
present major exhibits in each exhibition
the Japan Gallery Replaced
The NMK houses hanging boards (110 pieces
room with easy-to-understand explanation
The NMK replaces works at the Japan
from 104 items) from the late Joseon period
of the shape, characteristics, and use of
Gallery for public show from November
as well as those made after Korea’s liberation
each work.
5, 2021 to April 1, 2022. This regular
from Japanese colonial rule. The collection
replacement presents for the first time to the
includes hanging boards (82 pieces from 82
Korean public Fight on Gojo Bridge between
items) separated from their original location
Young Yoshitsune and Benkei, a print by
when palace and office buildings of the
the Meiji-period Ukiyo-e artist Tsukioka
Joseon Dynasty were demolished during
Yoshitoshi 1839–1892.
the Japanese colonial period. The NMK
A pair of folding screen
painting titled, Overview of the Territory
conducted exhaustive research of these
of the Tokushima Clan, which gives a
hanging boards, produced high-definition
panoramic view of the territory of Tokushima
images of the front and back of the boards,
Domain in the Edo period 1603–1868, are also
translated the inscriptions, and published
shown for the first time at the Japan Gallery.
the findings of the research in the Hanging
The works on display include By the Window
Boards in the Collection of the National
A Mini Concert at the Museum
by Minami Kunzo 1883–1950, one of the leading
Museum of Korea. This book presents
Room of Quiet Contemplation, a display of
painters of Western-style Japanese painting
diverse types of hanging boards, including
two national treasure pensive bodhisattva
from the modern period. This replacement
those indicating a name of a building, those
statues placed side by side, is now winning
will provided visitors with a good opportunity
inscribed with a king’s order, those hung on a
the hearts of many museum visitors,
to see prints, folding screen paintings as well
pillar of a building (juryeon), and those hung
touching them with strong impression
as Western-style Japanese paintings from
below the eaves (pyeonaek), and includes
and comfort. For greater pleasure of
the modern period, which were not available
valuable details about these boards.
visitors, the NMK held a “Mini Concert at
for a long time at the Japan Gallery.
the Museum” on December 9, 2021. The concert presented Korean traditional music and dance performances reflecting the intrinsic value and symbolic significance of the national treasure pensive bodhisattva statues, and offered a rare opportunity to appreciate the beauty of old and modest things. The concert was meaningful in that it chose the exhibits as the theme of the performance, which is unprecedented at any museum around the world. 40
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Fight on Gojo Bridge between Young Yoshitsune and Benkei Meiji period, 1881 By Tsukioka Yoshitoshi Woodblock print 37.0 × 24.0 cm
ARCHIVING HIGHLIGHT
Exhibition title Pensive Bodhisattvas: National Treasures of Korea and Japan
Organized to mark the 50th anniversary of the normalization of diplomatic
Venue
Special Exhibition Gallery
major pensive bodhisattva statues, one from each country. It was an opportunity
Date
May 24 – June 12, 2016
for visitors to see the common features and differences in the two Buddhist
Contents Korea National Treasure Pensive Bodhisattva and Japan National Treasure Chuguji Temple Pensive Bodhisattva
relations between Korea and Japan in 2015, this exhibition featured the two
images, which are of the same type but reflect the unique culture of each country. Crossing space and time, the Gilt-bronze Pensive Bodhisattva made in Korea in the latter half of the sixth century, which is a national treasure, and the Wooden Pensive Bodhisattva of Chuguji Temple, a national treasure of Japan, made in the latter half of the seventh century in Japanese style after studying pensive bodhisattvas transmitted from Korea, were shown together for the first time. The exhibition was first held at the National Museum of Korea for three weeks and then at the Tokyo National Museum in Japan for three weeks under the title Smiling in Contemplation: Two Buddhas from Japan and Korea, leaving an unforgettable impression on visitors in both countries.
Pensive Bodhisattva Three Kingdoms period, latter half of the 6th century H. 81.5 cm National Treasure Pensive Bodhisattva (front cover) Three Kingdoms period, first half of the 7th century H. 90.8 cm National Treasure On display in the Room of Quiet Contemplation, Permanent Exhibitions
A Contemplative Existence: Two National Treasure Pensive Bodhisattva Statues
The term banga sayusang 半跏思惟像 describes a
particular posture in which a statue of the bodhisattva is posed. Banga refers to the half lotus position, whereby the foot of one leg is placed on the opposite
knee, while the other one is left outstretched toward the ground. Sayu here means to be lost in deep thought out of anguish caused by the four afflictions that are the fate of every human being—birth, aging, sickness, and death. The half lotus position suggests a pause between halting the meditation practice or making progress on the path to enlightenment. It is difficult to know whether the figure is coming out of the full-lotus position, with one leg already down, or is assuming that position, with the other one leg already up. Therefore, the banga posture reveals the moment when the calmness of spiritual cultivation clash or intermingle with the disturbance of mental anguish. The faint smile on the slightly closed mouth indicates the very instant that eternal enlightenment is reached after deep thought. When we as viewers see this instantaneous smile, the countless concerns and thoughts in our heads will simply melt away.
