National Museum of Korea: Quarterly Magazine, vol.39 by National Museum of Korea

Quarterly Magazine

VOL.39

VOL.39 SPRING 2017

National Museum of Korea in Seoul is operated along with 13 affiliated national museums.

National Museum of Korea http://www.museum.go.kr

Chuncheon National Museum http://chuncheon.museum.go.kr

Gongju National Museum http://gongju.museum.go.kr

Buyeo National Museum http://buyeo.museum.go.kr

Cheongju National Museum http://cheongju.museum.go.kr

Daegu National Museum http://daegu.museum.go.kr

Gyeongju National Museum http://gyeongju.museum.go.kr

Gimhae National Museum http://gimhae.museum.go.kr

Jinju National Museum http://jinju.museum.go.kr

Mireuksaji National Museum http://iksan.museum.go.kr

Jeonju National Museum http://jeonju.museum.go.kr

Gwangju National Museum http://gwangju.museum.go.kr

Naju National Museum http://naju.museum.go.kr

Jeju National Museum http://jeju.museum.go.kr

CONTENTS

Quarterly Magazine VOL.39 SPRING 2017

Reopening of the Permanent Exhibition at the Jeju National Museum 08

Reflections on the Remains of the Ancient Siji Village, Daegu 12

Sangpyeongtongbo, Heralding Nationwide Distribution of Metal Coins 18

Royal Tombs of the Joseon Dynasty 22

New Acquisitions in the Japan Gallery 23

Publication of the National Museum of Korea 24

Exhibits that upon Close Inspection Lead Me to Become Lost in Thought 26

Artists in Love with Plum Blossoms: Yi Insang and Jo Huiryong 30

Smile Like that of My Grandfather’s Grandfather: A Search for the Smile of the Baekje People 36 Doridopyo: A Bound Volume Containing a Map of the Country, a Chart of

Road Networks, and Triangular Charts of Road Information 38

Excavation of the Gold Crown Tomb in Gyeongju: A New Research of the Silla Tombs 40

Dialogue with a Curator

Publisher Yi Young-Hoon National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, Korea www.museum.go.kr/site/eng/home Design and Production

P31 Communication

Publication Date

April 20, 2017

ISSN 2005–1123 Cover A part of the Permanent Exhibition at the Jeju National Museum. See page 02

Note to Readers 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 downloads available)

Reopening of the Permanent Exhibition at the

Jeju National Museum By Choi Seungae, Associate Curator, Jeju National Museum

Gwakji-ri type pottery in the “Island Nation, Tamna” part of the exhibition

2 02

03 3

Exhibition area featuring a time lapse and projection-mapping videos on various aspects of Jejudo Island

The Jeju National Museum reopened in March this year with a whole new look. First opened 16 years ago, the museum environment and content of the exhibitions have undergone sweeping changes to communicate the unique history and culture of Jejudo Island to visitors in an easy and interesting way. The new exhibitions focus on “storytelling,” a feature that is most evident at the entrance and exit of the museum. The permanent exhibition begins by telling the story of the Jejudo Island and ends with the story of the people living there. Through these stories of the Jeju residents that form the undercurrent of the exhibition, visitors can gain a real and vivid glimpse into the lives of the people who forged the distinctive culture of the island. Arranged according to the flow of time, from the prehistoric age to the Joseon period, the exhibition presents diverse aspects of Jejudo Island: Jejudo people in the prehistoric age, when Jejudo became an island where people settled and formed villages; Jejudo as an island nation called Tamna, which increased its international influence through exchange with Silla, Japan, and Tang Dynasty; Jejudo Island during the Goryeo Dynasty, when 04

celadon wares and Buddhist culture were introduced to the island and the people battled against Mongol invaders; and Jejudo Island during the Joseon Dynasty, when it came into contact with the outside world through people stranded on the island and came under the cultural, social, and political influence of those who were exiled from the mainland. Clearly divided according to period, the exhibition encapsulates the history of Jejudo and the lives of the island people. The permanent exhibition is composed of some 2,000 objects. The outcome of archaeological surveys in the Jejudo region, the exhibits include historic materials telling the story of lives of people in Jejudo Island. The major exhibition themes are “Paleolithic Period, the Beginning of Jejudo Island,” “Jejudo Island and the Neolithic Period,” “Island Village, Growth and Changes,” “Island Nation, Tamna,” “Jejudo Island during the Goryeo Dynasty,” “Jejudo Island during the Joseon Dynasty,” and “People of Jejudo Island.” One item shown to the public for the first time is a giant pottery jar, measuring almost 140 cm in height, of the Gwakji-ri type pottery. Functioning as a vessel to hold water, like other jars, this interesting

Gosan-ri Type Bowl Neolithic Period Gosan-ri, Jeju Excavated in 2012-2015

A view of the Jeju National Museum

Arrowheads

Arrowheads from the Neolithic period

Exhibition area that deals with the theme of Jejudo Island during the Joseon Dynasty

This area shows the lives of people of Jejudo Island.

object allows visitors to compare the past and present of the Jeju people, who adapted themselves to life on a volcanic island. Along with other Gwakji-ri type pottery of various sizes, it is on display in the “Island Nation, Tamna” section in the center of the exhibition hall. Its overwhelming size makes it an eye-catching piece. In addition, the permanent exhibition includes all the major cultural heritage items of Jejudo Island, including the Pyohaerok (Jang Hancheol’s Diary); Gosanri type pottery, the earliest Korean pottery type, excavated from Gosan-ri on Jejudo Island, the oldest Neolithic site in Korea; Gwakji-ri type pottery and Gonae-ri type pottery, which are representative of the Tamna period; Goryeo period armor from Hangpaduriseong Fortress; and the Tamna sullyeokdo (Illustrated Record of an Inspection Tour of Jejudo Island by the Governor). To enhance the contents of the exhibition, a variety of videos and other visual materials have been employed. Upon entering the exhibition hall, visitors’ expectations rise as they are greeted with a time lapse video showing Jejudo Island from its birth as a volcanic island to its present-day appearance and a model of the whole island using projection-mapping technology. Interactive videos for children have been prepared, including “The Story of Tamna,” which explores the legend of the three founding fathers of the Tamna people and a video on the subject of the local government office of Jeju. A range of visual materials help explain the historic importance of the exhibits. There is a chronological chart that allows an easy comparison of time and events on the mainland and on Jejudo Island, infographics that give an easy introduction to the figures who were exiled to Jejudo Island, and illustrations of the major products of the island. The exhibition is finished off with “The people of Jejudo Island” that brings out the simple, healthy lives of the locals who find the solution to the basics of food, clothing,

and shelter in nature and pay reverence to local deities whose stories are found all over the island. It is the answer to the question “How did the people of Jejudo Island live?” that is the overriding theme of the exhibition. To enhance the exhibition experience of visitors, changes have been made to the whole museum environment. The glass surface of display cabinets has been maximized to provide the best viewing conditions and the lighting has been changed to LED to help visitors focus on the exhibits. The lobby and visitor facilities such as the Experience Room have been renewed. The people of Jejudo Island have a saying that goes “Go and have a look and tell me about it when you get back.” With the renewal of the Jeju National Museum, it is hoped that many visitors will come and learn about the island and return home to spread the stories of its history.

Portrait of Choi Ikhyeon 1833-1906 Korean Empire, 1905 By Chae Yongshin Treasure No. 1510

The diving suits and equipments used by Haenyeo (female divers)

Mounted jars with long neck excavated from the group of tombs in Nobyeon-dong

Reflections on the Remains of

the Ancient Siji Village, Daegu By Chang Yongjoon, Chief Curator, Daegu National Museum

Daegu National Museum November 22, 2016 - April 2, 2017 (through August 6, 2017 in Special Exhibition Gallery I)

Horse-shaped Vessel Three Kingdoms period Excavated from dwelling sites in Uksu-dong, Daegu

Mounted dishes excavated from the group of tombs in Nobyeon-dong

A special exhibition titled Reflections on the Remains of the Ancient Siji Village, Daegu opened at the Daegu National Museum last November. Featuring objects excavated from the Siji area in the city of Daegu, which has been rather overlooked compared to the Imdang archaeological site in nearby Gyeongsan, center of the small ancient state known as Apdokguk, the exhibition gives an overview of the daily lives of past Koreans from the Paleolithic period to the Joseon Dynasty. The items in the exhibition may lack beauty and splendor of the royal or noble culture; still, they offer a rare opportunity to explore the lives of the common people over the ages.

Visitors would be astonished to learn that so many objects were discovered in their very own neighborhood. Excavations are still underway at the site of the ancient Siji Village, part of present-day Suseong-gu, Daegu. A large area of mixed archaeological remains covering thousands of years, the village site was first discovered in the 1970s. Full-scale excavation work began in 1992 and more than 40,000 cultural items were discovered on 55 sites. Around 10,000 items of them were selected and gathered together for the first time for this special exhibition, the largest ever of its kind to show the objects from the Daegu National Museum’s

collection. In order to present a large and varied range of exhibits, a “visible storage” is on display as well as models of an pottery kiln from the Three Kingdoms period, a ceramic tile kiln from the Goryeo and Joseon periods, tombs for the dead, a well, and a road with wheel tracks, which shed light on the lives of the ordinary people. The exhibition spreads over Special Exhibition Galleries I and II. In Gallery I the discoveries from the Siji Village site are displayed according to period. These time-worn items used by the people who lived in Siji over the ages are arranged in the sections titled “Siji in the Past and Discovery of the Site,” “The Prehistoric 09

Pottery vessels at the entrance of Gallery I (top) Layout of a stone chamber tomb, Tomb No. 104 in the Siji District (bottom)

Buncheong wares and bronze spoons in Gallery II

Age,” “The Early Iron Age to Proto-Three Kingdoms Period,” and “The Goryeo and Joseon Dynasties.” The exhibition begins with display cases covering one whole wall devoted to showing the characteristics of different kinds of tombs—wooden coffin tombs, stone coffin tombs, stone-lined tombs, and stone chamber tombs—and the objects found in them. This allows for easy comparison of the pottery, iron ware, and other works from different periods. Consisting mainly of the finds from archaeological excavations, the special exhibition features a large number 10

of broken fragments, and attempts thus have been made to visually place the items in perspective and help visitors better understand them. For example, broken tiles have been placed on roofs, drains and wells have been illustrated, and the width of the road back in those times has been marked on the floor. Gallery II places greater focus on the pottery kilns of the Three Kingdoms period, the remains of everyday life, and tombs. With a rise in population and construction of social infrastructure in the Three Kingdoms period, the Siji area

flourished, as evidenced by a large number of archaeological findings from this period. A pottery storage for medium and largesized vessels has been reproduced and also on display are various pottery vessels, pottery tools, and an air duct excavated from the kilns as well as ironworking tools. In this part of the exhibition visitors can see the remains of the Siji settlement from the Three Kingdoms period and diverse pottery vessels, iron ware, and gold craft works excavated from ancient tombs. Some of these are shown as they were at the time of discovery in the tombs, and there

is a particularly engaging display of 1,000 pottery vessels from the Three Kingdoms period arranged according to shape. The duration of the special exhibition differs in each gallery. Gallery I is open through August as a kind of semipermanent exhibition, while Gallery II closes in April. In addition, until May 6, the Daegu National Museum is offering a guided tour of the exhibition that incorporates the stories of the 348 people who took part in the excavation of Siji Village. Pottery and Iron Implements Three Kingdoms period Excavated from the Tomb No. 272 at Nobyeon-dong, Daegu

PUBLICATION

Reflections on the Remains of the Ancient Siji Village, Daegu ISBN | 979-11-95645-695 Language | Korean

The catalog for the special exhibition Reflections on the Remains of the Ancient Siji Village, Daegu has been published. This book is the perfect guide to understanding the Siji site, which has been excavated over a long period of time to reveal the culture of the people who lived there over the ages. It is a resource of high academic value,

covering in greater detail items that have not been properly introduced until this largescale exhibition of some 10,000 items, and includes records of the excavation and several academic articles. As many of the excavated items were broken or left in fragments, it is difficult to imagine their original appearance. But thanks to the varied photos and explanations in the catalog the significance of the exhibition is evident. 11

Sangpyeongtongbo, Her alding Nationwide Distribution of Metal Coins

By Lee Sukyung, Associate Curator of the Archaeology and History Division, National Museum of Korea Lee Kihyun, Assistant Curator of the Archaeology and History Division, National Museum of Korea

A view of Joseon Dynasty III Gallery

In 1795, King Jeongjo r. 1776-1800 went on procession to visit the tomb of his father, Crown Prince Sado, located in Hwaseong, on the occasion of the 60th birthday of his mother, Lady Hyegyeong. 1735-1815 In order to cross the Hangang River to reach Hwaseong, a pontoon bridge comprised of 36 boats was constructed at Nodeullaru pier, where the river is not so wide and the current not so strong. Railings and redspiked gates were installed on the gently arched bridge. Grass was laid along the

edges and earth spread over the pine boards so that the surface would resemble flat land. The cost for installation of the bridge was borne by the Gyeonggang merchants who dominated trade along the Hangang ports. In return, the merchants were given shipping rights for the grains paid as taxes to the state. Among the merchants were a good number who donated more than 10,000 nyang in coins named Sangpyeongtongbo, the legal tender of the Joseon Dynasty, 1392-1897 for the

construction of the new town of Hwaseong. The 18th century was thus a time when the merchant class thrived. The flourishing of business was in contrast to the situation in the early Joseon Dynasty when one of the principles of state management was to discourage commerce in favor of agriculture. As a result of this policy, at the time the regular rural markets declined and when private trade was banned, commerce regressed. This artificial policy did not last long, however. In the lean years at the 13

Fig.1 Sangpyeongtongbo Coins Joseon Dynasty, after 1678 Bronze or brass Averaged. 3.0 cm

end of the 15th century, rural markets opened and gradually spread all over the country. The situation really changed with the Japanese invasions. 1592-1598 During the war, commercial activity increased as people sought to obtain supplies and make a livelihood. After the war, agricultural productivity increased and the rural markets grew. The definitive factor promoting the distribution of goods was the Uniform Land Tax Law, called daedongbeop. A system of tax payment in the form of rice, cloth, or currency, it was gradually implemented from the first half of the 17th century. The state-certified merchants to the royal court active in Hanseong, called gongin, used rice and cotton cloth collected as taxes to purchase products from the markets for supply to the court. As the commodity and monetary economy

Visitor looking at the development of the monetary economy in the latter half of the 17th century

has been developed, currency in the form of commodities such as rice and cloth posed limitations in terms of storage and distribution. Moreover, in the 17th century intermediary trade flourished with Joseon merchants selling Chinese silk to the Japanese for silver coins. Contrary to the situation before the Japanese invasions when the use of silver coins was banned, silver coins easily entered the country as their convenience as highvalue currency was recognized. From the latter half of the 17th century, however, the Tokugawa Shogunate made moves to prevent the outflow of silver from Japan by developing its own trade routes to China and cultivating its own ginseng, which had been a major commodity purchased from Korea. This decline in trade with Japan and resulting decrease in inflow of silver coins made it necessary for Joseon to produce

its own high-value currency. In 1678, Heo Jeok, Kwon Dae-un, and others strongly advocated the production of metal coins, which led to the issue of Sangpyeongtongbo made of copper, lead, and tin. This heralded the beginning of the coin-based currency in Joseon society. The name of the new coin, “tongbo” means “a circulating jewel,” indicating a coin; “sang” means “constant” and “pyeong” means “uniformity,” and together they indicate even adjustment of things. Unlike Joseontongbo, the coin issued during the reign of King Sejong, r. 1418-1450 the Sangpyeongtongbo was widely used up until 1894. And true to its name, it played a role in adjusting prices. In contrast to the present monetary policy, the coins were made by various government organizations, and the abbreviated name of the issuing authority was marked on the top at the

back of each coin. “Ho” stood for Hojo (Ministry of Taxation) and “Pyeong” stood for Pyeongan Gamyeong (Headquarters of the Governor of Pyeongan-do) Fig.1. With full-scale distribution of the Sangpyeongtongbo, commodities trade grew even more active. As maritime routes were better developed than land routes at the time, the ports where boats came and went became trading centers, especially those located along the Hangang River in the capital. Grains paid as taxes and those sent by sharecroppers to the land owners in Hanseong were transported via the water, and the ports where grains, lumber, fish, and salt gathered functioned as wholesale markets. As commerce thrived and work was created, places by the riverside such as Yongsan, Mapo, and Seogang grew in population and were absorbed into the administrative system of the capital Fig.2.

There were markets not authorized by the states, such as those run by the Gyeonggang merchants. As these markets grew, however, the merchants of the authorized markets, located on Jongno street in the center of Hanseong, moved to restrict the activities of unauthorized merchants. In exchange for carrying out construction and other works in the royal palace, the authorized merchants were given exclusive rights to the purchase and distribution of goods. They were under the management of Pyeongsiseo (Market-control Office), and collected taxes in place of the Pyeongsiseo officials. An identification tag of a tax collector for a store selling bridal coronets, jokduri, has been passed down to the present Fig.3. King Jeongjo recognized the effectiveness of the handicraft industry and commerce in enhancing the economic circumstances of the people and hence abolished the

Fig.3 Identification Tag of a Tax Collector Joseon Dynasty, 18th-19th century Wood D. 8.8 cm

Fig.2 Map of Hanseong Joseon Dynasty, 1861 Wood block printing on paper

Fig.4 Book on How to Play Golpae Joseon Dynasty, 19th century Ink on paper 20.7 x 17.5 cm

Fig.6 Dangbaekjeon Coins Joseon Dynasty, 1866.11.-1867.5. Bronze D. 3.4-3.9 cm

exclusive rights of the authorized merchants in a move to protect the ordinary merchants. The Gyeonggang merchants, who had grown under such protection, later made great financial contributions to the construction of Hwaseong, which was King Jeongjo’s lifelong dream, and his procession to that city. Under the government of the 19th century which was dominated by the royal in-laws, commercial capital was used to maintain power and the wealth of the city was concentrated among the few, including the royal in-laws, merchants, and low-level officials. Their penchant for the pleasure-seeking life is well depicted in the novel Yi chunpung-jeon, or the story of Yi Chunpung. In the instability of a society where success and wealth were accessible only 16

Fig.5 Agreement by which Poor People Sold Themselves as a Slave Joseon Dynasty, 19th century Ink on paper 50.4 x 46.3 cm

to the few, gambling began to thrive as people sought to make easy money. The distribution of coins stimulated the spread of gambling and increased the size of the stakes, giving rise to social problems. With a wider use of coins, which could be readily exchanged, gambling progressed rapidly and grew highly speculative. Games such as golpae (similar to dominoes) and tujeon (cards), originally popular for socialization and relieving the tiredness of labor, were transformed into games on which big bets were laid Fig.4. The development of a commodity and cash-based economy led to a materially rich and lavish urban culture, but the lives of the common people, burdened with high taxes, grew gradually worse to the point that some sold themselves as bonded servants Fig.5. In the 19th century, taxes came to be

collected more often in cash rather than rice or cotton cloth, but conversion of the amount into cash often resulted in overly high taxation. The economic circumstances of small merchants in the provinces and the poor people in the capital, whose economic circumstances had deteriorated, began to resist, leading to uprisings such as the Hong Gyeongrae Rebellion in 1812. In the early days of his rule, the regent Heungseon Daewongun 1820-1898 sent secret royal inspectors all over the country to reveal and punish corrupt local officials who colluded with merchants. In addition, to restore the authority of the royal court, he rebuilt Gyeongbokgung Palace, which had been burnt down in the wars with Japan, and sought to strengthen the country’s military might against the invasion of Western powers. To raise the

Fig.7 Coins from the Modern Era 1886-1888 © The Currency Museum of Korea

A view of the Korean Empire Gallery

money for these projects, he issued a new coin named Dangbaekjeon, which had 100 times the value of the Sangpyeongtongbo, ignorant of the economic nature of currency. This led to a drastic rise in prices and impoverished the lives of the people Fig.6. Influenced by issue of the Dangbaekjeon and reckless production of coins, the Sangpyeongtongbo declined seriously in value and heavy losses were seen in foreign trade. To fix the situation, King Gojong r. 1863-1907, later Emperor Gojong issued in 1882 Korea’s first modern coin, the Daedongjeon, but having failed to prepare the legal grounds, casting of the new coin was discontinued in nine months. Proper issue of modern coins began later when the nation’s first permanent mint Jeonhwanguk (Bureau of Minting) was established

and a stamping machine and coin press machine were imported from Germany. Coins from this time bore the era name “Gaeguk” which means “foundation of the nation,” the Taegeuk symbol, a plum blossom branch, and a twin dragon motif Fig.7. However, the distribution of Japanese currency in Korea was allowed by the Regulations on the Issue of New Currency, a statute providing for the modern currency system, and this ultimately expanded the Japanese market and accelerated Japan’s economic plunder of Korea. As mentioned above, with the use of the Sangpyeongtonbo coins, which were easily circulated, from the latter half of the 17th century Joseon society naturally shifted from an agriculture-based society to a commodity and cash-based economy. Metal coins, which once dominated the

flow of society and economics thanks to their lightness and convenience, are now considered heavy and clunky and have lost their importance. Such changes in Korean society can be examined at the Joseon Dynasty Gallery and the Korean Empire Gallery at the National Museum of Korea, which were renewed in December 2016. Visitors will come to understand the influence of commerce on 17th century Joseon society as they explore the state of affairs during the Joseon Dynasty, including development of commerce in the Hangang River basin, the system of rule in the provinces, the culture of travel to famous scenic spots near the upper Hangang River, taxation and transportation of rice grown by sharecroppers, and the transportation of white porcelain wares to the capital. 17

Royal Tombs of the Joseon Dynasty By Paik Eunkyung, Assistant Curator, Jeonju National Museum

Jeonju National Museum February 21 - April 9, 2017

Royal Procession to the Ancestral Tomb in Hwaseong in Part 3 of the exhibition

The special exhibition, Royal Tombs of the Joseon Dynasty, held at the National Palace Museum of Korea last year has opened anew at the Jeonju National Museum. This exhibition is an opportunity to think once again about the historic and artistic significance of the royal tombs of the Joseon Dynasty and the value of the cultural heritage left by our ancestors. As the resting places of the kings and queens, the royal tombs were as hallowed as the palaces where they lived when alive. The royal tombs of the Joseon Dynasty were inscribed on the UNESCO World Heritage List in 2009 as a rare example of royal tombs preserved almost intact, and in recognition of the historic and cultural value of the architecture and landscaping of the tombs and associated systems and rites. The exhibition features many items related to the 40 remaining royal tombs of the Joseon Dynasty (excluding two in North Korea). At the entrance of the exhibition hall is a series of large overlapping photos of

Map of Myeongneung (Royal tombs of King Sukjong and his consorts) Joseon Dynasty, 1757 Ink and color on paper 53.0 x 53.0 cm National Palace Museum of Korea

State Record of the Royal Tomb Construction for Queen Consort Cheolin Joseon Dynasty, 1880 Ink and color on paper 44.3 x 31.5 cm Treasure No. 1901-3 National Palace Museum of Korea

the tombs which give a sense of their grand scale. The exhibition is composed of four main parts, as in the original exhibition at the National Palace Museum of Korea: “Constructing the Royal Tombs of the Joseon Dynasty,” “Devising a New Royal Tombs System,” “Honoring the Ancestors in the Royal Tombs of the Joseon Dynasty,” and “Maintaining the Royal Tombs of the Joseon Dynasty.” For the Jeonju exhibition, a new part titled “Honoring the Progenitors of the Royal Household” has been added. Featured here are 17 Uigwe titles (official state records) related to the royal tombs, and considering that Jeonju is the hometown of the Yi clan constituting the royal household of the Joseon Dynasty, the exhibition includes the items related to the tomb of Yi Han, the progenitor of Yi Seonggye who founded the Joseon Dynasty as King Taejo. r. 1392-1398 Part 1 of the exhibition deals with the burial process, from a state funeral to the construction of a royal tomb. A state funeral was held with the highest dignity and a temporary office was established to prepare for all the rituals associated with the event. Exhibited here are a number of Uigwe titles, including the State Record of the State Funeral of King Cheoljong, r. 1849-1863 State Record of the Installation of King Cheoljong’s Royal Coffin Hall and Spirit Hall, and State Record of the Royal Tomb Construction, which contain the details of King Cheoljong’s funeral and the construction of his tomb. Part 2 shows the spatial composition of the interior and exterior of the tombs as well as the system for installation of the stone figures guarding the tombs. In the early days of the Joseon Dynasty, royal tombs were stone-chamber tombs but to reduce the labor of the people involved in the construction a shift was made to pit tombs with a lime-soil mixture barrier. On display are the white porcelain grave goods found where King Jeongjo r. 1776-1800 was first buried and the State Record of the Royal Tomb Construction for Queen Consort Cheolin, which records all procedures

carried out from the death of Queen Consort Cheolin 1837-1878 to the construction of her tomb, Yereung. Part 3 explores the rites associated with royal tombs. Salleungjerye is the memorial rites held for all past kings and queens buried in the royal tombs of the Joseon Dynasty, while neunghaeng refers to a royal procession to hold the memorial rites or to pay respects at the tomb of a deceased king or queen, an event that required much labor and financial resources. This part of the exhibition features items related to rites such as cheolleung (relocation of a royal tomb) and bongneung which is related to the posthumous promotion or reinstatement of a royal family member. Part 4 introduces the records on royal tombs, called wangneungji, to shed light on the people who looked after the tombs and their management methods. Perceived to be where the ancestral guardian deities of the royal family resided, the tombs were strictly looked after for the holding of rites, and the exhibition shows various records and seals related to their management. Part 5, the new addition to the exhibition explores the tombs of the ancestors of King Taejo, the founder of the Joseon Dynasty: Jogyeongdan, the tomb of Taejo’s progenitor, Yi Han, located in Jeonju as well as Jungyeongmyo and Yeonggyeongmyo, the tombs of Taejo’s fifth great-grandfather General Yangmu and his wife, located in Samcheok, Gangwon-do. An inspection of the royal tombs will give insight into the efforts that were made to strengthen the authority of the royal throne and justification for the rule. Considering the difficulty of understanding royal tombs simply by looking at related books and documents, the Jeonju National Museum has placed videos in various spots throughout the exhibition hall. In the screening room, an animated video of 8 minutes and 30 seconds showing the whole process from death to construction of a royal tomb gives visitors basic information on royal tombs prior to exploring the exhibition.

Various vessels used for memorial rites at a royal tomb

Display of the Plaque Listing the Memorial Service Dates for Kings and Their Consorts

Jogyeongdan, featured in Part 5 of the exhibition

New Acquisitions in the Japan Gallery Japan Gallery, National Museum of Korea January 17 - April 2, 2017 The Japan Gallery in the Asian Arts section on the third floor of the Permanent Exhibition Hall of the National Museum of Koea features three Japanese art works that were newly acquired in the first half of 2016. Put on display soon after their acquisitions to renew and enhance the permanent exhibition, the new works are notable for their use of Japanese traditional decorative techniques. At the “Dialogue with a Curator” held on February 8, visitors to the museum had the opportunity of listening to a detailed explanation of these new works. The biggest and most striking one is the folding screen Pine, Tortoise, and Mandarin Ducks. Based on two seasons—spring with its blossoming life and snow-covered winter—it features pine trees, tortoise, and mandarin ducks painted on luxurious gold paper with thin square pieces of gold leaf of uniform size pasted on the surface. The gold shining from the screen first catches the eye, and the brilliant effect is enhanced by the colored pine trees and ducks. Part of Waka Anthology Transcribed by Honami Kōetsu, another new acquisition, sheds light on the world of Japanese decorative art with its use of the juri-e technique. Juri-e is the art of printing designs by placing paper cutouts against the background paper and rubbing a device covered in colored paint over it. Maki-e Paper Box and Writing Supplies Container is a work made with varied Japanese handicraft techniques including lacquer work and stereotype printing. With the display of these three new acquisitions featuring different techniques, visitors can appreciate the unique decorative beauty of Japanese art.

Part of Waka Anthology Transcribed by Honami Kōetsu Edo period, 17th century Color on paper, written in ink

Pine, Tortoise, and Mandarin Ducks By Maruyama Ōkyo Edo period, 1783 Color on paper with gold background Six-panel folding screen

Publication of the National Museum of Korea National Museum of Korea: Guide to the Permanent Exhibition ISBN | 978-89-93518-39-9 • Language | Korean

A new guide to the National Museum of Korea’s permanent exhibition has been published. A catalogue of the permanent exhibition was published in 2005 to mark the relocation of the NMK to the present Yongsan site and its reopening as the seventh largest museum in the world, and the new guide to the permanent exhibition comes ten years after the Official Guide to the National Museum of Korea was published in 2007. The scale of the Permanent Exhibition Hall is vast with 11,493 works displayed over three floors, and it is difficult to see them all in one day. The curators in charge selected the major works from the countless exhibits in different galleries—Prehistory and Ancient History, Medieval and Early Modern History, Calligraphy and Painting, Sculpture and Crafts, Asian Arts, and Donated Works—for inclusion in the latest guide. To enhance readers’ understanding, the use of specialized terminology has been minimized and the works explained in clear text. This guide introducing the major works in the permanent exhibition is a valuable source for enjoying the exhibitions at the National Museum of Korea.

Journal of Korean Art and Archaeology vol.10 ISSN | 2005-1115 • Language | English

The National Museum of Korea published the tenth volume of the Journal of Korean Art and Archaeology. First published in 2007, this annual academic volume, with its special features and articles on diverse fields of Korean traditional culture, has been contributing to sharing the scholarly achievements in the field of Korean art and archaeology with scholars around the world. This year’s issue focuses on ancient Korean Buddhist sculpture of Unified Silla with three special features, each dealing with Variocana images from the late Silla period, Buddha and bodhisattva images from Gamsansa Temple and their relation to the Central Asian painting tradition during the Tang Dynasty, and Indra and Brahma images at Seokguram Grotto, respectively. The journal includes interesting texts on the utilization patterns of nuts and nut-yielding trees from Neolithic Times through the Three Kingdoms period, lime mortar burials of the Joseon period, incense burners from the Goryeo Dynasty, and paintings of the Eight Views of the Xiao and Xiang Rivers from the early Joseon Dynasty.

Narrative Figure Paintings of the Joseon Dynasty

Royal Temples of Joseon I: Yongjusa Temple in Hwaseong

Report on Discoveries from the Sinan Shipwreck I: Unglazed Pottery

Report on Discoveries from the Sinan Shipwreck II: Metal Craft

ISBN | 978-89-8164-158-0 Language | Korean and English

ISBN | 978-89-8164-167-2 Language | Korean

ISBN | 978-89-8164-165-8 Language | Korean

ISBN | 978-89-8164-166-5 Language | Korean

Exhibits that upon Close Inspection Lead Me to Become Lost in Thought By Cho Miseon, freelancer With Stefanie Dearden

Could you please give a short selfintroduction? My name is Stefanie Dearden and I live in Segok-dong, Gangnam-gu, Seoul. I am originally from a small town in southeast America, but my university studies and my husband’s work have taken me to all over the world.

Stefanie looking at “Inscription on the Sacred Bell of King Seongdeok”

Visitor’s the Most Favorite Object

Inscription on the Sacred Bell of King Seongdeok Sacred Bell of King Seongdeok (National Treasure No. 29) is the largest of the extant ancient bells in Korea. Known as the Bongdeoksa Bell or the Emille Bell, it was made in memory of King Seongdeok, r. 702-737 the 33rd monarch of Silla, and to pray for the prosperity of the royal family and the nation. Famous for its beautiful engravings of celestial maidens, the Sacred Bell of King Seongdeok has an embossed inscription on the front and back, composed of 1,000 characters, which records why the bell was made and the names of the people who took part in its production. The inscription on the front of the bell was written by Kim Buwon in a wellbalanced standard script, while the inscription on the back was written by Yodan in a sharp script style. The strokes of the characters are thick with solemnity that suits the grand size of the bell. This Inscription on the Sacred Bell of King Seongdeok, which speaks for the culture of the Unified Silla period, is a rare item that gives a glimpse at the standard of the calligraphy at the time. 24

Do you remember when you first visited the National Museum of Korea? It was almost two years ago. The NMK was the first museum I visited after moving to Seoul, and I immediately knew it was a place I wanted to be involved with in some way. I came and took one of the English guided tours two or three days after arriving in Seoul. I was impressed by how education-centered the museum is, and how it really seeks to engage with its visitors. It was a lovely start to learn the foundations of Korean culture. What object in the exhibition do you find most impressive? At some point I found myself standing before the Inscription on the Sacred Bell of King Seongdeok in the Calligraphy and Painting Gallery on the second floor and had pleasure in looking at it for a long time. The rubbing of the surface of the bell gives an idea of its grand scale, while the bell itself shows the essential beauty of calligraphy. My husband and I saw the actual Sacred Bell of King Seongdeok when we visited Gyeongju last year, but I think that the rubbing helps me appreciate the bell’s scale and detail even more closely than when I saw it in person. In Gyeongju, the bell is appreciated for its historic significance

and its novelty to tourists (you can ring it, and there’s a legend behind it). But in the Calligraphy Gallery setting I’m more keen on appreciating its artistic significance— the considerable amount of talent, time, and material required for its construction. And I’m also a big fan of calligraphy and rubbing as an art form. I think it is often far too underrated by Westerners. For some reason it would be easy for you to pick a white porcelain or celadon piece. Out of all the types of Korean ceramics, Buncheong ware is my favorite. I particularly like the Buncheong Maebyeong with Fish Design (Treasure No. 347) in the Buncheong Ware Gallery. It has a raw, natural beauty that really speaks to me. There’s something about the combination of its neutral palette and its thick white slip that feels like it has just come out of the clay. Fish, like the ones on this vase, always look so natural on buncheong, perhaps because fish have a sort of unexpected unassuming beauty to them as well. Neither are trying to be beautiful but instead are allowing their natural selves to shine through. This is what I see every time I look at the vase. Is there any other exhibit that you particularly like? I love the Asian Arts section because they demonstrate how incredibly diverse the spectrum of Asian art really is. My grandmother is from Okinawa, so I’ve always had a keen interest in Japanese art and loved studying it in graduate school. Pine, Tortoise, and Mandarin Ducks speaks to me. For millennia Japanese people have appreciated the beauty of the seasons, particularly for their inevitable evanescence. Japanese seasonal paintings

Buncheong Maebyeong with Fish Design Joseon Dynasty, 15th century H. 29.7 cm Treasure No. 347

often give me a melancholic feeling— appreciation for the beauty present but an awareness that this beauty will not last forever. Seasonal pieces like Pine, Tortoise, and Mandarin Ducks are often created in pairs or multiples of four so as to depict the same setting but in different spans of time. Pieces like this screen remind me of the passing of time, and especially allow me to more fully appreciate what I have while it is mine as nothing in this life is ever certain or permanent. Was there any incident or reason behind your interest in Korean culture? My travels throughout Korea were a primary driver for my interest. I visited Seoul when I was in university, and was so fascinated with the royal palaces and gates around the city. While living here, my husband and I have visited Gyeongju, Namhae, and Boseong and have seen a bit of the influences of the Silla

period, maritime history, and Chinese interactions on Korean culture. I like visiting the museum after a trip to learn the background about what I saw on holidays. It’s good to see that you are enjoying Korea so fully. Lastly, do you have a tip for other visitors on the best way to enjoy the museum? Any foreign tourists visiting the NMK for the first time should make sure to stop by the information desk. There are leaflets available in various languages showing the layout of the exhibition galleries from the first floor to the third floor. At many spots throughout the museum, wall panels can be found in both Korean and English, which are a great help in understanding what the exhibitions are all about. While exploring the galleries, reading the explanation panels along the way, I hope visitors will have the good fortune of finding an object that makes them stop to savor its beauty. 25

Artists in Love with Plum Blossoms: Yi Insang and Jo Huiryong By Lee Soomi, Head of the Fine Arts Division, National Museum of Korea

Anyone who has felt the scent of plum blossoms cutting through the cold air to tickle the nose will understand why our ancestors had such a love for this flowers. While the cold of winter still fills the air and everything is frozen, the subtly spreading scent of the plum blossoms has a quality that sets it apart. In the Neo-Confucian worldview, winter is the season when the energy of heaven and earth shuts down and is hidden, and yin and yang are not in harmony. Plum blossoms come early to herald the passing of winter when yin and yang harmonize and the flowers bloom following the natural order. The scholars of the past roamed the mountains in search of plum blossoms when the cold lingered still and sensed the natural movement of the universe. When unable to go to the mountains, they would satisfy themselves with a potted plum tree inside the house. When the flowers began to bloom on the plum tree, so carefully looked after, a scholar would invite his friends over and together they would drink and write poetry. Yi Gyusang, 1727-1799 who wrote about the lifestyle of the 18th century literati, described such a “plum blossom gathering” in the Byeongse jae-eonnok (A Record of Notable Men of Joseon). It is the story of seven friends including the literati painter Yi Yunyeong 1714-1759 and Yi Insang 1710-1760 who gathered on a winter night to admire the plum blossoms. They cut a hole in a piece of ice and placed a candle in it, which they shone on the plum blossoms while they wrote poems. Along with the flowers they admired bronze ware and other antique objects and books as they drank their liquor, and it’s easy to imagine the congenial, romantic mood of the gathering. Yi Insang, one of those who attended the party, painted Elegant Gathering, which vividly depicts such a scene. A bronze vessel and a sword lay on a long table. The scholars stand around the table and is a potted plum tree. The tree stands tall with the branches reaching high above the folding screen in the picture. As a man fond of such gatherings, what kind of plum blossom paintings would the artist have made? Plum Blossoms at Night Fig.1 painted by Yi Insang is a small ink and wash painting made with a brush loaded with water. The blossoms are not clearly outlined but seem to blur into background. This may be the way plum blossoms look when seen from the light of a candle fastened in a block of ice, as mentioned above. In the lower right hand

Fig.1 Plum Blossoms at Night Joseon Dynasty, 18th century By Yi Insang 1710-1760 Ink on paper 30.2 x 21.8 cm (Left) Detail of the Plum Blossoms at Night

corner is a poem: “The dim moonlight falls on the blinds and the gold glitters cold; The cold wind blows against the wall and the blue branches stretch out long.” We can feel Yi Insang’s gaze as he sits growing mellow on a cold winter night drinking and chatting with his friends and looking at the silent plum tree. A fleeting impression has been captured, the dreamy plum blossoms that might disappear at any moment. There was another artist who so loved to paint blossoms till his hair turned white with such effort: Jo Huiryong, 1789-1866 active in the 19th century. It is said that he painted a big folding screen covered with plum blossoms for his bedroom so that he could always be surrounded by the flowers. 27

Fig.2 Blossoming Red and White Plum Trees Joseon Dynasty, 19th century By Jo Huiryong 1789-1866 Light color on paper 124.0 x 375.5 cm Ilmin Museum of Art Photo © Ilmin Museum of Art

At the age of 52, Jo was exiled to Imjado Island. There he lived for a year and seven months, a time that brought richness to his art. He would paint as a way to assuage the bitterness and loneliness of exile. Jo divided his small hut by the seaside into three rooms, one to sleep in, one for the kitchen, and one to paint in. The plum blossoms, orchids, bamboos, and rocks became his family, and he painted them every day without rest. Blossoming Red and White Plum Trees Fig.2 is a work from that time in exile. In the midst of his loneliness and destitution, he painted it according to the request of his friend Na Gi. 1828-1854 In the inscription on the painting the artist writes that he painted the big red and white plum blossoms by grinding his inkstone in the hollow of a rock by the sea and using a big cheap dog-hair brush for an old countryman. The most eye-catching feature of the screen are the upward soaring rocks. The shape is created with bold brushstrokes, unfettered by conventions, and accents are given with green dots to depict the moss on the rocks. The vitality of the rock is matched by vigorously stretching plum branches. In his poem on the painting, Jo writes, “Any single branch should be painted as if seizing a dragon and tying up a tiger.” He further writes that though he expresses his sadness and anguish through poetry, the frustration of his heart reaches out through his ten fingers to create a work of art. Looking at the painting, it seems we

can hear the voice of the artist, whose inner bitterness bursts forth through the bold brushwork. Jo Huiryong’s Plum Blossom House Fig.3 is a trancelike painting of a scholar’s hut in the mountains surrounded by plum blossoms. Through the round window of the thatched hut, the scholar’s back can be seen. Along with the books on the table is a plum blossom twig in a vase. The eyes travel from the hut to the trees at the side and then up to the top of the mountain. Following the lively, dancing brushstrokes, our emotion seems to rise as well. The dark grey sky at the top tells us that it is a silent night. Though surrounded in quiet and stillness, the plum blossoms wave and shake, sprinkling their petals. The brushstrokes are not so much trying to bring objects alive but are rather full of life themselves, freely scattered here and blown over there. Jo was an artist who rose above the realism of the Joseon Dynasty 1392-1897 painting to create the most expressive paintings of his time. Most plum blossom paintings after the Goryeo Dynasty 9181392 focused on simple strokes and minimal composition to express the dignity and staunchness symbolized by the plum blossoms. But as seen in Jo’s paintings, which focus on the beauty of the plum blossoms themselves and their scent by depicting their lovely shapes and the oddity of their big twisted branches, plum blossoms served as a medium to express his emotions.

Fig.3 Plum Blossom House Joseon Dynasty, 19th century By Jo Huiryong 1789-1866 Light color on paper 106.1 x 45.6 cm Kansong Culture and Art Foundation

A Smile Like that of My Grandfather’s Grandfather: Search for the Smile of the Baekje People By Lee Byongho, Director of the Mireuksaji National Museum

Fig.5 Head Fragment of a Clay Figurine Baekje Kingdom, late 6th century Unearthed at the Guarisa Temple site, Buyeo

The people who lived on the Korean Peninsula centuries ago incorporated their distinctive disposition, daily life rules, and life aspirations into traditional society, and part of this was sublimated into art. “The Moment of Everyday Art” has been adopted as the theme for special features of the National Museum of Korea during this year, and in this volume we focus on smiling Baekje people captured in art.

A Chinese Depiction of a Baekje Native Materials that can be used to show how Baekje Kingdom 百濟, 18 BCE660 CE people appeared historically are extremely rare, making the restoration of Baekje history all the more difficult. At least there is the Illustrated Tribute Missions, a scroll that depicts the tribute envoys from 12 non-Han Chinese countries paying tribute to the Liang court. One of them is from Baekje Kingdom, and his facial details and full court dress are vividly depicted in the painting Fig.1. He wears an official’s hat, long-sleeved robe, and wide-legged pants. His upper robe reaches below his knees, and his footwear appears to be some type of boots. The Baekje envoy has a plump face with a well-rounded nose, tiny mouth, and penetrating eyes. Such a facial expression and appearance closely resemble those seen on Buddhist statuary and carvings from Baekje Kingdom. The painting was produced by a Chinese person, but it stands as the only extant document that verifies the appearance of a Baekje person’s face and attire. On the other hand, the Baekje envoy found on the Illustrated Tribute Missions seems to be somewhat stiff and unnatural. Perhaps such seriousness comes from the painter’s intention to formally portray an official on a diplomatic mission. One may seek to discover a more natural or relaxed appearance of persons from Baekje Kingdom by examining objects that have been uncovered in archaeological digs and the faces portrayed on Buddhist iconography. Unfortunately, the extant pieces are fragmentary, and this approach is roundabout. Convex Tile with Chinese Influence Growing in political status, Baekje Kingdom reached out to China, sending its first envoy to the Eastern Jin 東晉 317-420 in 372. Buddhism arrived in Baekje from the southern Chinese domain in 384, just twelve years later. This suggests that the transmission of the Buddhist faith played an important role in international diplomacy at this time. A non-Han Chinese monk from Eastern Jin formally introduced Buddhism to the Baekje court in 384. He probably came from the Western Regions because his name is rendered as a transliteration of Sanskrit: Marananta in Korean or Moluonantuo in Chinese. 摩羅難陀 Virtually no records or objects exist to show

Fig.1 Image of the Baekje Envoy in the Illustrated Tribute Missions (replica) Northern Song, 11th century National Museum of China

what the Buddhist temples or iconography looked like during this early stage, when the Baekje capital was near present-day Seoul. However, an interesting roof-end tile was unearthed at Pungnaptoseong, 風納土城 the rammed earth wall of a former Baekje capital fortress on the south side of the Hangang River Fig.2. The convex tile is decorated with a tiger face and closely resembles a roof-end tile from the Eastern Jin period that was uncovered in present-day Nanjing, China Fig.3. Considering the dating of the Chinese piece, the work from the Pungnaptoseong site is seen to be from the mid- to late 4th century. In other words, the tile that was unearthed at Pungnaptoseong can be assumed to have been produced around the time when Buddhism was formally introduced to the Baekje court. The decorative design was influenced by the Chinese Southern Dynasties, but the production method was in step with the Baekje tradition. This probably means no foreign potters were yet in Baekje Kingdom to transfer their skills locally. 31

Clay Figurines Made with Outside Help The Buddhist religion blossomed in Baekje Kingdom after the capital was moved to Sabi, 泗 located in present-day Buyeo, Chungcheongnam-do, in 538. Historic records describe Sabi as having “numerous monks, monasteries, and pagodas.” Many former temple sites still remain in the Buyeo area. The most important of these is one where Jeongnimsa Temple site once stood in the very center of the capital area inside the city walls. A five-story stone pagoda remains on the site, providing a glimpse of how magnificent this temple must have been. A wooden pagoda is believed to have been preceded the extant stone version. This conclusion has been reached because the soil layer discovered below the stone pagoda spreads much more widely than necessary, and because it closely resembles the shape of soil layers at other sites verified to have once had wooden pagodas on them. In addition, clay Buddhist figures as well as more than 150 clay figurines of various human subjects, including monks, warriors, and servants, have been excavated from the site. They are thought to have been used for religious adornment inside the original wooden pagoda, as is the case with those found at the five-story wooden pagoda, considered the world’s oldest extant structure of its kind, at Horyuji Temple in Japan. Therefore, the pagoda at the Jeongnimsa Temple site is believed to have been built after the wooden pagoda was burned in the mid-7th century. Heads of clay figurines unearthed from the Jeongnimsa Temple site feature prominent noses, rather heavy-set eyes, and slight smiles at the corners of the mouth. These heads differ somewhat in the fine details, but the clay type, overall shape, and production techniques are almost identical, which leads to the conclusion that they were produced from the same mold. The head and the torso were made separately and then attached. One of these clay figures Fig.4 still has a considerable amount of golden brown glaze on it, which means it was fired at low temperature in the way terra cotta is. The dating of these clay figurines is estimated to be the first half of the 6th century, judging from the Chinese pottery fragments and earthenware unearthed along with them as well as their own stylistic features. That is to say, they were made around the time of Baekje’s historic relocation of its capital to Sabi in 538. The historic text records that Liang court sent various artisans, including painters and others, to Baekje Kingdom in 541. Apparently, Baekje Kingdom was requesting the Liang Dynasty’s assistance for some monumental project such as the construction of a massive wooden pagoda at Jeongnimsa Temple and the production of numerous clay figurines to be placed inside it. The veracity of this theory is supported by the results of recent excavations of the ruins at Shang Dinglinsi Temple in Nanjing, China. Discovered at this site were clay figurine fragments covered in golden brown glaze, the heads and torsos fired separately and connected subsequently. 32

The artisans who came from the Liang Dynasty to Baekje Kingdom in 541 were exceptionally talented in their respective fields, and top-notch tile-making specialists were in turn dispatched from Baekje to Japan in 588 to work on the construction of Asuka-dera Temple. Such robust exchanges in craftsmen and craftsmanship enabled Sabi to develop into an ideal Buddhist capital filled with temples and bustling with monks. This technical know-how enabled Baekje Kingdom to send further craftsmen to Japan in the latter half of the 6th century and thereby engage in international diplomacy through the means of Buddhism.

A Smile that Transcends Sorrow The mouths of the figurines from the Jeongnimsa Temple site are depicted firmly shut and they appear to be gazing straight ahead, giving the impression of a sober character. By contrast, the clay figurine found at the Guarisa Temple site in Buyeo is far more expressive. The head fragment of a clay figurine is presumably of an aspiring arhat Fig.5. His facial features convincingly convey the

Fig.2 Convex Roof-end Tile with an Animal Face Baekje Kingdom, late 4th century Unearthed at Pungnaptoseong, Seoul Fig.3 Convex Roof-end Tile Eastern Jin, late 4th century Unearthed in Nanjing, China

Fig.6 Clay Figure Early 8th century From the north side of the five-story wooden pagoda at Horyuji Temple in Nara, Japan

Fig.4 Head of a Clay Figurine Baekje Kingdom, mid-6th century Unearthed at the Jeongnimsa Temple site, Buyeo

sad, internal tribulations of a holy monk. The sunken eyes and gaunt cheekbones reveal the agony experienced in the quest for enlightenment and release from worldly suffering once and for all. The mouth, frozen agape, seems to express his suffering inside as he strives to overcome the rigors of his ascetic practice. This clay figurine was found in the same area where the foundation stone for the central pillar of a wooden pagoda was discovered. A close connection exists among them, leading to the conclusion that the piece was once enshrined inside the pagoda, as was the case with the figures found at the Jeongnimsa Temple site. The possibility exists, therefore, that this clay figure is not to be regarded as a traumatized ascetic. The above-mentioned fivestory wooden pagoda at Horyuji Temple in Japan displays a scene of Sakyamuni’s entry into nirvana on its north side. The scene includes the clay figures of various disciples who are expressing sadness at their master’s passing Fig.6. Some of them have their mouths wide open to indicate weeping and wailing. This may well have been the intended message of the piece from the Guarisa Temple site, too. A close examination reveals that the right side of the lower jaw and lips have been restored, which means that those who first saw this piece at the museum must have had difficulty in deciding whether the face was supposed to be laughing or weeping. The conservation scientist who restored this piece, unable to know its original form, must have taken it to be laughing, and restored it accordingly. Imagine what it would have looked like without the restoration Fig.5-1. A clear-cut determination of intended mood is not easy to make. Could it be that in the Baekje artistic realm, a weeping facial expression contains laughter as well or that the figure has reached a higher level of consciousness, transcending the boundaries of happiness and sadness?

Buddhist Images that Console the Mind Baekje artisans were skilled in working not only with metal and clay but also with stone. When it comes to their Buddhist images carved in stone, one of the best is from the early 7th century: Buddha Triad Carved on a Rock in Seosan Fig.7. Back in those days, the Seosan area was a strategically important crossroads for travelers going between the Baekje capital in Buyeo and the Chinese mainland. That is why a cliff carving of this exceptional quality could be made there. The smiling countenances of the Buddha in the center and the bodhisattvas on each side are the focal point of this Buddha Triad Carved on a Rock in Seosan. The Buddha beams brightly to give a sense of gentleness and benevolence. The bodhisattva attendant on the Buddha’s left sits in a half-lotus posture and has a shy grin on his face. The standing bodhisattva on the Buddha’s right offers up a jewel bead and flashes an innocent smile. These facial expressions produced by the Baekje artisans are unlike any artwork that survives from that time period in any country, 34

Fig.5-1 Head Fragment of a Clay Figurine Baekje Kingdom, late 6th century Unearthed at the Guarisa Temple site, Buyeo

and therefore are often referred to as the “Baekje smile.” This particular Buddha triad has been carved on a large rock face pointing thirty degrees to the southeast, and the facial looks of the three figures differ with the changes in the light at sunrise and sunset. This feature attests to the intelligence and painstaking care of the sculptors. A Chinese historic text records that natives from Silla, Goguryeo, and Japan all can be found in Baekje, along with Chinese people. Baekje Kingdom seems to have been a multicultural society, as the Republic of Korea is fast becoming today. The prevailing openness and diversity allowed the Baekje people to adopt a wide range of cultural influences from China, which they in turn exported to Japan. As such, Baekje can be seen as having played a key role as a cultural conduit in Northeast Asia during this time period. The Buddha Triad Carved on a Rock in Seosan remains a popular draw, thanks to the warm and affectionate smiles seen on the subjects’ faces. They remind us that the traces of life in a country from 1500 years ago can still be found intact to this day.

Fig.7 Buddha Triad Carved on a Rock in Seosan Baekje Kingdom, early 7th century

NMK

Doridopyo:

A Bound Volume Containing a Map of the Country, a Chart of Road Networks, and Triangular Charts of Road Information By Jang Sang-hoon, Head of the Exhibition Division, National Museum of Korea

Doridopyo Joseon Dynasty, 19th century (Left) Detail of the Doridopyo

Detail of the Triangular chart of Gangwon-do road information

This collection, a new acquisition, reveals how geographical knowledge spread rapidly throughout Korean society in the late 19th century and was widely utilized by intellectuals. The collection includes maps of the entire country depicting geographical information about the territory of the Joseon Dynasty 1392-1897 in minute detail, a chart representing the web of routes following the six main roads radiating outward from Hanseong, the capital city, as well as triangular charts recording the distances of the roads connecting all the counties in each of the eight provinces. All of these were carved into woodblocks and printed, opening up the possibility of disseminating geographical knowledge wide and far. Paldojeondo, 八道全圖 (Complete View of the Eight Provinces) likely produced after 1868, builds on the tradition of the Donggukjido, 東國地圖 (Map of the Eastern State) by the great 18th century map maker Jeong Sanggi. Focusing on the path of the chief mountain ranges that emanate from a painterly representation of Baekdusan Mountain, the map emphasizes the geomantic features of the terrain. The location of each county in all of the provinces, as well as the number of district administrative offices and even the roads leading to Seoul are included. In addition, the symbols designating the different counties in a single province are each colored in a different hue that they can be easily distinguished from one another. The maps includes all sorts of geographical information, packed into the blank space around the central image, an important characteristic of late Joseon maps found in such popular maps of Korea from

the 19th century as Haejwailtongjeondo, 海左一統全圖 and Haejwajeondo. 海左全圖 Readers can easily clarify information on the maps with introductory remarks and directly calculate distances along roads by using a scale in the shape of a rod. The fact that most of the margin space is taken up with descriptions recording scenic spots from all across the country, with special attention to the famous mountains such as Baekdusan, Geumgangsan, and Jirisan Mountains, indicates that knowledge about the scenic areas of the country was an important sign of cultural refinement among intellectuals of the time. In addition, the map includes a summary of the local goods produced in various areas around the country and lists the names of the relay stations assigned to the major roads; we can see how knowledge of industry and transportation was highly valued. A chart outlining the six major road networks of the Joseon Dynasty records the distances from the capital at the center of the country all the way to the frontier areas of the Korean Peninsula such as Uiju (Northwest), Gyeongheung (Northeast), Pyeonghae (East), Haenam (Southwest), Dongnae (Southeast), and Ganghwa (West). The name of every spot and the distance, marked in the Korean traditional measurement known as li, is filled in and many of the minor roads that feed into the main thoroughfares are recorded. The appearance of a chart of six major road networks and triangular charts of road information suggest that mileage data was widely utilized in Joseon society following the publication of the Dorogo, 道路考 (Study of Road Networks) by Shin Gyeongjun in 1770. 37

Excavation of the Gold Crown Tomb in Gyeongju: A New Research of the Silla Tombs By Kim Daehwan, Associate Curator of the Archaeology and History Division, National Museum of Korea

Geumgwanchong, or Gold Crown Tomb, was so named when a golden crown was excavated from the tomb, presumed to be a royal tomb of the ancient Silla Kingdom, 57 BCE - 935 CE during the Japanese occupation period. 1910-1945 To find justification for their colonization of Korea in history, the Japanese set out on reckless excavation of historic sites on the Korean Peninsula. The major targeted sites were the royal capitals of ancient kingdoms, where written records and remains would be plentiful. As the Nihon shoki 日本書紀 (Chronicles of Japan) contains a tale about a Japanese emperor conquering Gyeongju, the capital of Silla, imperial Japan showed great interest in

Center of the tomb

finding the evidence. Though they focused on excavation of tombs presumably filled with burial items, time and time again they failed to find anything for lack of understanding of the structure of the tombs. Such failure led them to discontinue excavation of Silla tombs. Some years later, in September 1921, a gold crown and grave goods made of gold were unearthed during construction work on a private house in Noseo-ri, Gyeongju. This led to the dramatic discovery of the tomb later named Gold Crown Tomb, which turned the attention of the Japanese Empire back to Gyeongju. Unfortunately, the excavation was

carried out in an unscientific manner by amateur Japanese archaeologists and other non-specialists, and despite the importance of the grave goods their academic value and usefulness remained very low. In 2013, when the National Museum of Korea discovered the inscription “Isajiwang,” which means “King Isaji,” on a sword discovered inside the Gold Crown Tomb, the occupant of the tomb could not be definitively stated as King Isaji, for the excavations carried out by the Japanese had been so sloppy that the results were unreliable. The academic circle argued that it was necessary to debate the issue after proper scientific excavation of the tomb.

Accordingly, the National Museum of Korea began an official excavation of the Gold Crown Tomb in 2015. The new survey yielded much new information, including information on the tomb structure. The structure of the wooden burial chamber in which the tomb occupant was laid, the outer pile of stone and earth, and the mound on top were all scientifically confirmed. The outer stone pile known as jeokseok was found to be made not simply by piling stones but by first creating a wooden framework and then filling it with stones. In shape, the elevation forms a trapezoid of four meters in height. This suggests that the jeokseok structure served as a kind of altar where memorial rites for the dead were held, contrary to the long-held belief in academia that it was a device enabling the building of a large mound on the tomb. Moreover, the excavation yielded new grave goods, including three pairs of gold earrings and part of a scabbard bearing

the name “King Isaji.” The discovery of the earrings attests to the incompetent manner of the initial excavation carried out by the Japanese. The additional discovery of an object carrying King Isaji’s name, after the sword found in 2013, lends weight to the idea that he is the occupant of the Gold Crown Tomb. Through the excavation of the Gold Crown Tomb, the problems of the Japanese excavation became apparent and new research materials were obtained. But the real significance lies elsewhere. Korean researchers realized that they had unconsciously followed and internalized the Japanese perspective up till now and found out ways to overcome this problem. For example, in the study of Silla tombs, Korean scholars have long debated their origin and type. This is a subject that had been presented earlier by Japanese scholars through their research of the Gold Crown Tomb, but the underlying motive was to find historic evidence for justification of

colonial rule of Korea. Hence, they treated the wooden burial chamber and stone pile as separate elements to find the origin and type of each separately. This approach represents the dual lineage theory. Through the latest excavation, however, we learned that the chamber and stone pile are one structure. The dual lineage theory can thus be scientifically refuted, since we have learned that the supposed two structures are in fact one single structure and that the stone pile (jeokseok) served as an altar. Indeed, as the altar part calls for further study in terms of comparative archaeology, it presents a new research paradigm. Re-excavation of sites already surveyed by the Japanese is not simply to point out the mistakes and problems of previous research. The purpose is to interpret the perspective of the Japanese researchers and enable scientific argument of problematic issues on the road to open a new research paradigm. The latest excavation of the Gold Crown Tomb is just the beginning.

Gold earrings excavated from the Gold Crown Tomb

Sword with an inscription “Isajiwang” (King Isaji) discovered in 2015

Dialogue with a Curator By Cho Miseon, freelancer With Lee Kihyun, Assistant Curator of the Archaeology and History Division, National Museum of Korea

“Dialogue with a Curator,” a program held at the museum every Wednesday

An event giving visitors a chance to talk with the curators takes place every Wednesday night at the National Museum of Korea. In “Dialogue with a Curator,” held at 6 p.m. with two teams and again at 7 p.m. with two or three other teams, curators explain selected exhibits from the museum’s collection under different themes and answer questions from the visitors. As the museum is open until 9 p.m. every Wednesday and Saturday, visitors can explore the exhibitions at a more leisurely pace. “Dialogue with a Curator” will be held for a total of 50 times with 217 teams from February 2017 through January 2018 under diverse themes related to the permanent and special exhibitions and is already attracting wide participation. On the last Wednesday of February many couples and families out to enjoy an evening at the museum took part in “Dialogue with a Curator,” which coincided with the “Korean Culture Day,” the last Wednesday of every month when cultural facilities are open till late at night. That evening, talks about four themes were offered: “Goguryeo roof tiles and their designs” and “Crafts and stories from ancient China” for two teams at 6 p.m., and 40

“Romance novels of the Joseon Dynasty” and the special exhibition “Egyptian treasures from the Brooklyn Museum” for two teams at 7 p.m. The contents of the programs vary according to the curators in charge and the nature of the visitor groups; some curators go in-depth about one item in particular while others explain major works within a set context. Since a program runs for about half an hour, it is a good idea to take part in different sessions on the same day. “Romance novels of the Joseon Dynasty,” run by the assistant curator Lee Kihyun from the Archaeology and History Division, covered works not actually on display at the museum. The aim of “Dialogue with a Curator” is to give visitors a greater understanding of the items of the museum collection. During the Joseon period the readership of novels was greater than ever and gaining knowledge of the social milieu of the time is one way to achieve a deeper understanding of the museum's collection. The curator gave a fascinating explanation of the culture of the Noron faction, who imported the latest novels from the Ming and Qing Dynasties of China, the reason for King Jeongjo’s ban

on reading such novels, how Joseon people came into contact with novels, and the similarities between novels of the past and those of today. The visitors responded with a barrage of questions. When “Dialogue with a Curator” was over, Korean traditional music was performed in the Path to History area, bringing the museum to life in the evening hours. On the Korean Culture Day a free performance is held at the concert hall named “ON,” located on the second floor of the Permanent Exhibition Hall. Visitors to the museum can get a feast not only for the eyes but also the ears. Admission to the special exhibition is half the normal price on this day, and concerts at Theater Yong are also discounted. All round the Korean Culture Day is a good day to visit the museum.

Visitors who enjoy late-night opening