National Museum of Korea: Quarterly Magazine, vol.40 by National Museum of Korea

Quarterly Magazine

VOL.40 SUMMER 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

Museum opens at 10 a.m.

CONTENTS

Quarterly Magazine VOL.40 SUMMER 2017

02 The Reopening of the Ungjin Baekje Gallery at the Gongju National Museum 06 Joseon Korea: Court Treasures and City Life 09 Sound for the Enlightenment: Ritual, Invocation, and Practice 12

The New National Treasures 2014 – 2016

Treasure, the State-designated Cultural Heritage

20 Roads of Arabia: The Archaeological Treasures of Saudi Arabia 24 Unbuttoning the French Fashion from the 18th to the 20th Century 28 Korean Ceramics with Grape Designs: Filled with the Abundance of Grapes 32 Reliquary in the East Three-story Stone Pagoda at the Gameunsa Temple Site 36 Three Eye-catching Korean Works 38 Joint Research by Korea and Mongolia: Results of Excavations at Mongolian Archaeological Sites 40 Asian Adventure at the Museum 42

Museum Tour “Time Travel into the Spring”

Publisher National Museum of Korea 137 Seobinggo-ro, Yongsan-gu, Seoul, 04383, Republic of Korea www.museum.go.kr/site/eng/home Editorial Direction

Cover Gold Diadem Ornaments of the Queen Consort of King Muryeong displayed in the Ungjin Baekje Gallery at the Gongju National Museum See page 02

Design Team, National Museum of Korea Tel: (82 2) 2077–9573, Fax: (82 2) 2077–9258, Email: polagu47@korea.kr

Design and Production

P31 Communication

Photography

Park Jung Hoon Photo Studio

Publication Date

July 20, 2017

ISSN

2005 – 1123

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)

The Reopening of the Ungjin Baekje Gallery at the Gongju National Museum By Lee Yong Jin, Associate Curator, Gongju National Museum

The exhibition room featuring the tomb of King Muryeong

In April the Ungjin Baekje gallery at the Gongju National Museum reopened to the public. Ungjin Baekje 475 CE–538 CE refers to the period after King Munju r. 475–477 moved the capital to Ungjin (present-day Gongju) and before King Seong r. 523–554 further relocated the capital to Sabi (present-day Buyeo). The newly renovated exhibition halls speak to the unique features of the Ungjin Baekje period and its close connection to the preceding Hanseong Baekje 18 BCE–475 CE period and the early years of the following Sabi Baekje 538 CE–660 CE period. In order to promote a positive viewing experience, the renovations aim to simplify the movement of visitors between the four parts in the Ungjin Baekje gallery and independent display cases are used to present the exhibits in a more accessible way. The first part “From Hanseong to Ungjin” examines the key factors that facilitated the transfer of the capital to Ungjin through an in-depth look at prestigious objects bestowed by the central government on the local gentry in the area of present-day Chungcheongnam-do. Here, visitors come face to face with excavated materials from the Yongwon-ri site in Cheonan, the Bujang-ri site in Seosan, and the Suchon-ri site in Gongju. In particular, the exhibition features a wide variety of prestigious items belonging to the local gentry, such as swords with a pommel decorated with dragon and phoenix design, a black-glazed jar with cockhead-shaped spout, various burnished black jars with lids, a three-legged cauldron made of iron, swords with a rounded pommel, Chinese pottery, and earrings of different styles. Among others, the excavations at Suchonri site in Gongju are especially important, as they not only reveal how the type of corridor-style stone chamber tomb was adapted from tomb models of the Hanseong Baekje period, but also in that the highly valuable objects excavated, such as the giltbronze crown cap and gilt-bronze shoes, 03

The Headrest of the Queen Consort of King Muryeong displayed against hand-crafted bricks

reveal the different status the occupants of the tombs must have enjoyed among the various members of the local gentry. The second part, “Ungjin Baekje culture” provides a survey of the main features of culture at the time through items related to religion, thought, and foreign trade. Among the excavated material from Gongsanseong Fortress and the Songsan-ri Tomb Complex on display, the most peculiar works are a couple of tiny glass figurines measuring about the size of a fingernail. These two figurines with shaven heads and folded arms were excavated from the tomb of King Muryeong r. 501–523 where they were positioned in the Queen’s grave around the area of her lower back. We can assume that the Queen carried them on her body tied around her back as a talisman toward off evil spirits and bad energy. Since it is hard to check all the details of the tiny figurines with the naked eye, a magnified image is placed beside the figurines in the gallery. The third part, “King Muryeong’s

Excavated objects from the tomb of King Muryeong in the independent display cases

life and accomplishments” introduces the golden age of Ungjin Baekje period by focusing on excavated objects from the tomb of King Muryeong. Great effort has gone into creating an immersive experience by designing a space that makes you feel as if you have actually entered the tomb of King Muryeong. To this end, the display cases are installed according to the precise dimensions of the interior floor plan of the excavated tomb and the stone guardian animal, ritual plates, as well as the King and Queen’s wooden coffins are arranged as they were found in the original tomb. On either side of the exhibition space, hand-crafted bricks are arranged following the method used in King Muryeong’s tomb (four rows widthwise and one row lengthwise) and the resulting atmosphere is much darker than in the preceding two parts with only a little lighting provided to help the visitor concentrate on the exhibition materials. Now the exhibition also features items newly made available for public

Decorated Shoes (Queen) Baekje Kingdom, 6th century Gilt-bronze, L. 35 cm Excavated from the tomb of King Muryeong, Gongju in 1971

display such as the wooden coffins of King Muryeong and his Queen, as well as the Queen’s headrest, footrest, and gilt-bronze shoes. Much has been made of the fact that the King and Queen’s coffins will be displayed in the same space for the first time since their excavation forty-six years ago. For several years, these coffins have been undergoing treatment for preservation but they have now been fully restored with all the remaining planks and ornaments fitted into their original positions. The Headrest of the Queen Consort of King Muryeong (National Treasure No. 164) and Footrest (National Treasure No. 165) are also on public view after having undergone restoration in order to stabilize the colored pigment and affix sections of the ornamental patterns of gold leaf. The Queen’s gilt-bronze shoes that were originally only about a third complete have been restored with new fragments found among the surviving objects from the tomb of King Muryeong. For the benefit of the visitor, an

information graphic comparing the original location of the objects inside the tomb at the time of excavation and sequence of the exhibits is placed on one side of the exhibition space. The graphic installed in front of the King and Queen’s coffins shows how the coffins were constructed as well as the sequence of construction and organization. In addition, visitors can use digital magnifying glasses to check the composition and details of individual works. The fourth part, “From Ungjin to Sabi” features earthenware vessels that were used from the late Hanseong Baekje period until the early Sabi Baekje period. Here, one can view the development of tripod earthenware that was exclusive to Baekje pottery. As Jeong Yakyong 1762–1836 recorded in his Yeoyudang jeonseo, “Among the Three Kingdoms, Baekje was the strongest and the culture was highly developed.” In the newly renovated Ungjin Baekje gallery, visitors will have the opportunity to vividly experience these words in person.

Tripod potteries and mounted dishes from the Baekje Kingdom

Colored glass beads and various ornaments

SPECIAL EXHIBITION

Joseon Korea: Court Treasures and City Life

Photo © Asian Civilisations Museum, Singapore

By Park Hyewon, Associate Curator of the Research and Planning Division, National Museum of Korea

Asian Civilisations Museum, Singapore April 22 - July 23, 2017

Entrance to the exhibition room featuring white porcelain “Moon Jar”

The National Museum of Korea has opened a special joint exhibition entitled Joseon Korea: Court Treasures and City Life at the Asian Civilisations Museum in Singapore. This large-scale exhibition features three Treasures and one registered cultural heritage. The National Museum of Korea presents 248 objects in 120 categories from its collection and the National Palace Museum of Korea presents additional 36 objects in 25 categories, totaling 284 objects in 145 separate categories. The Asian Civilisations Museum was established in 1993 with the support of the Singapore National Heritage Board. This museum, together with the National Museum of Singapore and the Singapore Art Museum, provide visitors with the 06

opportunity to closely observe the central features of Singaporean culture. The Asian Civilisations Museum serves the crucial function of introducing the various cultures of Asia such as China, Southeast Asia, India, and the Islamic world that contributed to the formation of Singapore’s multicultural society. It also operates the Peranakan Museum, which shares a similar mission that exhibits art associated with the interaction between the native inhabitants of Southeast Asia and immigrants from abroad, in particular the development of mixed culture formed through marriages among immigrants of Chinese descent. In 2013, the National Museum of Korea partnered with the Asian Civilisations Museum

Octagonal Water Dropper with Landscape and Poem Design Joseon Dynasty, 19th century Porcelain with underglaze cobalt blue decoration H. 12.6 cm National Museum of Korea, Seoul Treasure No. 1329

King Jeongjo’s Procession to His Father’s Tomb Joseon Dynasty, 1795 Handscroll; ink and color on paper 46.5 × 4,483 cm National Museum of Korea, Seoul

Bridal Robe Late Joseon Dynasty Silk with embroidered decoration 124 × 198 cm National Museum of Korea, Seoul Gift of Lee Sang-ryong, 2002

to curate the exhibition The Peranakan World: Cross-cultural Art from Singapore and the Straits. The present show Joseon Korea: Court Treasures and City Life is the reciprocal exhibition in this collaboration between the two museums and is part of the continuing friendship and cultural exchange between Korea and Singapore. Of special importance is the fact that this will be the first exhibition to provide a full introduction to Korean traditional culture in Southeast Asia, an area where the popular phenomenon known as the “Korean wave” has attracted much interest. In an effort to provide an overview of Joseon culture that forms the basis for Korean culture today, the exhibition presents a variety of different lifestyle

settings ranging from the culture of the Joseon royal family to the daily routine of everyday folk. During the Joseon Dynasty 1392–1897, the country was governed according to a centralized bureaucratic system headed by the ruling monarch. Awe-inspiring pieces such as the delicately executed paintings of royal processions or examples of the records of the state rites of the Joseon Dynasty, known as Uigwe, reflect the highly sophisticated culture of record keeping at the time and allow us to come face to face with the culture of the Joseon royal family. One of the most impressive works on display, King Jeongjo’s Procession to His Father’s Tomb, records the procession of King Jeongjo r. 1776–1800 and his mother

Lady Hyegyeong 1735–1815 to Hwaseong in vivid color on a 45 meter-long hand scroll. This event was designed to demonstrate the King’s filial piety for his father while providing an opportunity for him to observe the everyday life of his subjects. The painted record is executed in fine detail with lively descriptions. In addition, the vibrant colors and highlights in gold leaf are sure to leave a lasting impression on the viewer. Among the ruling class the yangban people spurred the development of a native aesthetic by cultivating scholarship and art and pursuing the virtue of self-restraint. This aesthetic permeates works and craft objects from the period. Designated as Treasure No. 1487, Portrait of Seo Jiksu by two of the best court painters of the time, 07

Kim Jeonghui’s Calligraphy of Kim Yugeun’s Autobiography of Mukso Joseon Dynasty, 1837–1840 Calligraphy by Kim Jeonghui 1786–1856 Composition by Kim Yugeun 1785–1840

Photo © Asian Civilisations Museum, Singapore

Handscroll; ink on paper 32.7 × 136.4 cm National Museum of Korea, Seoul Treasure No. 1685-1

Yi Myeonggi 李命基, 1756–after 1802 and Kim Hongdo 金弘道, 1745–after 1816, depicts a government official of the third rank, Seo Jiksu 徐直修, 1735–1811 on the event of his sixtyfirst birthday. Yi Myeonggi painted Seo Jiksu’s face and Kim Hongdo executed the rest of his figure. In the portrait, the contours of the face and complexion are expressed with countless short, soft brushstrokes and none of the minute skin imperfections such as spots, moles, and wrinkles are omitted. With the dawn of the Joseon Dynasty, the ceremonies and religious practices of the general populace also underwent major transformations. Buddhism that had flourished during the Goryeo Dynasty weakened and Confucian rules and rituals took root in society. In yangban houses shrines were erected to house the

Paintings, calligraphy, and handcrafts that reflect the culture of the “yangban” people

ancestral tablets and perform memorial rites. This exhibition not only features the utensils used in the ancestral rites but also a type of portable shrine known as a “spirit shrine” (gammoyeojaedo). The term gammoyeojaedo is used to describe the painted image of a shrine, but literally refers to the practice of tending to one’s ancestors with affection (gammo) as if they were still alive (yeojae). At the same time, practitioners maintained an interest in Buddhism because it offered assurances about their present condition and the afterlife that they couldn’t find in the Confucianism. The most representative example of this type of worship is Nectar Ritual Painting that depicts a Buddhist ceremony in honor of the deceased and their contentment in the afterlife. The exhibition also presents the active lives of people from many different social standings and a variety of lifestyles practiced by the inhabitants of the capital, Hanyang (present-day Seoul). Many of the paintings on show speak to everyday life at the time as seen in Three-day Parade depicting the celebration in honor of excited students who have passed the civil service exam or Shoeing a Horse in which the artist Jo Yeongseok 1686–1761 not only portrays the activity of hammering a horseshoe but also catches the lively emotion of both man and horse. A great variety of additional items such as a colorful bridal robe, delicately embroidered with intricate patterns, children’s jackets decorated with colored stripes, various other fashionable ornaments, and even a spectacle case provide an interesting glimpse into the lives of all members of society at the time.

SPECIAL EXHIBITION

Sound for the Enlightenment: Ritual, Invocation, and Pr actice By Kim Doyoon, Assistant Curator, Daegu National Museum Kim Jiho, Assistant Curator, Daegu National Museum

Daegu National Museum May 23 - July 30, 2017

Seated Avalokitesvara at the entrance to Part 3

Display for “Manifestation—Guidance of Sentient Beings to Enlightenment” in Part 3

Flying Apsara Playing Music Unified Silla H. 12 cm National Museum of Korea, Seoul

The special exhibition Sound for the Enlightenment: Ritual, Invocation, and Practice opened at the Daegu National Museum in May. Using the theme of “sound” it sheds new light on Buddhist cultural heritage and shows how sound can lead to enlightenment and dharma, the truth. Held in the special exhibition gallery, this exhibition is divided into four parts and explores sound that is heard not only with the ears but is seen with the eyes, sound that opens people’s hearts, the sounds made by sentient beings, and the sound of enlightenment for those in Buddhist practice. Part one, titled “Echo—Enlightenment through Sounds,” is a collection of sounds that can be heard at Buddhist temples. The focus is on sounds that spread the truth of Buddhism to the world and awaken the

Buddha nature in all, including the sound of wind chimes at mountain temples, the temple bell rung at daybreak and evening, and the sound of the dharma drum with the wooden fish and cloud-shaped gong. Due to the difficulty of transporting and exhibiting huge temple bells to the museum, rubbings of their surfaces are on display instead. The life-size rubbings give a clear idea of the size of the bell and the splendid molded figures of celestial beings (apsaras) and other ornamental designs can be closely inspected. On one side of the exhibition room, a projector has been set up to show videos featuring the majestic sounds of the so-called four Buddhist treasures: temple bell, dharma drum, wooden fish, and cloud-shaped gong. Part two is titled “Dharani—

Enlightenment by Sutra Recitation.” Buddhists believe that the very act of memorizing the dharani in Sanskrit, the language of Shakyamuni, has a mystical power. Featured in this section are sounds of sutra recitation, and the sounds from rites accompanying the enshrining of written prayers in Buddhist sculptures and pagodas. Dharani is recited in rites when sarira or votive offerings are enshrined in Buddhist sculptures as well as rites held to appease the souls of those who died in war or other disasters. On display are various ritual implements such as the vajra, vajra bell, and cymbals, and a collection of items enshrined in statues and pagodas. Part three, titled “Manifestation— Guidance of Sentient Beings to Enlightenment,” is a display focused on the sound of sentient beings seeking Avalokitesvara. When suffering illness or faced with death or difficulties beyond their power to handle many people resort to chanting “Namu gwanseumbosal” (“I take refuge in Avalokitesvara”). Avalokitesvara is the bodhisattva who can change and appear before people in a form they can understand to save them from suffering and lead them to enlightenment. Thirty-two Manifestations of Avalokitesvara (replica) seems to vividly convey the desperate sounds of those who seek escape from suffering and the sounds of

all sentient beings. Part four is titled “Ascetic Practice— Journey to Enlightenment” and features the sounds of those who seeking enlightenment. Those carrying out spiritual practice must face themselves in the absence of sound, in a state of quiet and peace, contemplating the koan by focusing and concentrating one’s spiritual energy. At the moment of enlightenment one is accompanied by poems called odosong. To effectively convey the emotion of that situation, a presentation introduces the path to enlightenment taken by two modern day seon masters, the Venerable Seongcheol 1912–1993 and Venerable Manhae 1879–1944. Notable exhibits include the Amitabha Triad Stele with Inscription of Gyeyu Year (National Treasure No. 106), Illustrated Manuscript of the Lotus Sutra (National Treasure No. 211), items enshrined in the Shakyamuni Buddha Triad of Boseongseonwon Temple, a gilt-bronze seated Avalokitesvara bodhisattva, a vajra and vajra bell discovered at Dobong Seowon (Confucian Academy) site in Seoul, and the seon master Seongcheol’s odosong and yeolbansong. With this exhibition of Buddhist sound, the Daegu National Museum hopes to give people a moment to wash away the grime of the everyday life with the sound of truth.

A visitor standing before the “space of enlightment”

PUBLICATION

Sound for the Enlightenment: Ritual, Invocation, and Practice ISBN | 978-89-98234-37-9 • LANGUAGE | Korean

This catalog is divided into four parts corresponding to the organization of the special exhibition Sound for the Enlightenment: Ritual, Invocation, and Practice. As the exhibition is based on the theme of sound that is heard not only with the ears but also the heart, the catalog contains a wealth of materials that will help visitors to better understand the items on display. This book includes photographs accompanied by explanations, as well as five special columns written by curators and a member of the Cultural Heritage Committee and two articles.

Display for the illustrated manuscript of the “Lotus Sutra”

SPECIAL EXHIBITION

Overall view of the gallery for the special exhibition “The New National Treasures 2014 – 2016”

The New National Treasures 2014 – 2016 By Seo Yuri, Assistant Curator of the Fine Arts Division, National Museum of Korea

Medieval and Early Modern History Gallery No. 114, National Museum of Korea May 13 - July 9, 2017

The National Museum of Korea, in cooperation with the Cultural Heritage Administration, is hosting a special exhibition titled The New National Treasures 2014 – 2016 to show items that have been newly designated treasures and national treasures and to publicize Korea’s cultural heritage designation system. The exhibition runs from May 13 to July 9 this year in the Medieval and Early Modern History Gallery No. 114 on the first floor of the Permanent Exhibition Hall, featuring 50 of the items newly designated between 2014 and 2016 by the Cultural Heritage Committee’s Movable Cultural Heritage Sub-committee. Designation as a treasure or national treasure means that an item is recognized one of the finest cultural heritage works in the nation and imbues the item with universal value as the cultural heritage of humanity. With the active cooperation of various institutions and collectors around the country, the exhibition brings together varied works including paintings and calligraphy, books, ceramics, and metal crafts, which are arranged under three themes: Faith, Records, and Life. The first theme “Faith, the Deepest Longing” shows how Koreans of the past prayed for their welfare and good fortune to absolute beings, including varied deities and the Buddha. From ancient times, Koreans have worshipped heaven and a range of animals, sculpting or painting images as objects of worship. Following the introduction of Buddhism to Korea in the Three Kingdoms period, Buddhist art flourished and Buddhist sculptures, paintings, and handcrafts, as well as sutras containing the words of the Buddha, carefully preserved as they went through various hands, have been handed down 14

to the present Figs.1 and 2. In the exhibition room visitors come face to face with works of art infused with the longings and desires of our ancestors as they prayed for themselves and others, and the nation, putting their faith in the supernatural powers of the gods. The second theme “Record, Preserving History” focuses on use of letters and pictures as an important means of leaving records. With their long years of experience and observation, people of the past strove to faithfully record the facts that they had learnt, and ancient records carved in hard materials such as stone or metal serve as important historic materials today Fig.3. Other varied records in the form of writing or pictures on paper show us the wisdom and thoughts of the Korean ancestors and shed light on the traditions of national events and ceremonies that continued for hundreds of years. Leaving records in history is important, for by supplementing the limitations of human memory those records enable memories to be handed on to posterity. Korea’s highly developed record-keeping culture, recognized by the world, can be confirmed in exhibits such as the Uigwe titles of the Joseon Dynasty and Dongui bogam (Principles and Practice of Eastern Medicine), which have been inscribed on the UNESCO Memory of the World Register Fig.4. The exhibition gives information on the Memory of the World program, including definition of the term, explanation of the inscription process, and a list of Korean records that have been inscribed on the register. These newly designated treasures will be preserved in perpetuity as materials that point the way to the future. The final theme “Life, Living on in Art” features letters left by ancient Koreans,

Fig.1 Bronze Shrine and Gilt-bronze Seated Amitabha Buddha Triad Joseon Dynasty, 1468 H. 24.6 cm (Shrine), 12.5 cm (Amitabha) From the pagoda in Maegok-dong, Suncheon, Jeollanam-do Gwangju National Museum Treasure No. 1874

Fig.2 Painting of Avalokitesvara Bodhisattva from Goryeo Late Goryeo Dynasty 103.5 × 53 cm Sungbo Cultural Foundation Treasure No. 1903

Fig.3 Inscribed Copper Plate of Buddhist Monk Yeomgeo Unified Silla, ca. 844–855 28.8 × 17.2 cm Reportedly from Heungbeopsa Temple site, Wonju, Gangwon-do Chuncheon National Museum Treasure No. 1871

Fig.4 Dongui bogam (Principles and Practice of Eastern Medicine) Joseon Dynasty, 1613 36.6 × 22 cm National Library of Korea National Treasure No. 319-1

Display for the second theme “Record, Preserving History”

Fig.5 Silver-gilt Floral Cup with Stand Goryeo Dynasty, 12th century H. 12.3 cm National Museum of Korea, Seoul Treasure No. 1899

Visitors before white porcelain jars

Display for the third theme “Life, Living on in Art”

the pictures that they looked at, and the craftworks that they made and used. The exhibits are arranged to reflect the lives and thoughts of people living in different eras. The refined gold accessories and crafts from the Three Kingdoms period and Unified Silla show the ancient Koreans’ sense of beauty, while the Goryeo celadon wares and metal crafts reflect the refined yet luxurious aesthetic sought by the aristocratic class of the time Fig.5. Treasures from the Joseon period shed light on the lives of various classes of people including the royal family and the literati artists Fig.6. These items, which remain today as works of art, will give visitors insight into the Korean perception of beauty, the sophisticated craftsmanship involved, and the lives, thoughts, and enjoyment of art and culture of the people. The objective of the exhibition is not only to show the beauty of the works themselves but also to shed light on their innate religious, historic, and artistic value. The pleasure of the exhibition is found in discovering the beauty of the exhibits as well as the stories hidden in them. At the same time, the exhibition seeks to explain the whole process of designating national treasures and their management, including the reason for their designation, the procedures involved, and collection and survey of the items concerned. Visitors

will be able to find the answers to questions in their minds regarding the concept of treasures and national treasures, the Cultural Heritage Protection Act, and the definition of cultural heritage. The exhibition gives information on all the items newly designated between 2014 and 2016 and where they can be seen, and provides videos of items not featured in the exhibition which can be searched and viewed on a touch screen. This special exhibition of newly designated treasures and national treasures was made possible by the cooperation of 28 institutions and individuals, including state organizations, public organizations, and universities possessing these works, in compliance with the Cultural Heritage Protection Act (Article 48), which stipulates that, except under special circumstances, state designated cultural heritage must be made available for public display. It is the outcome of the concerns and efforts of the many people who were involved in the whole process, from the collection of the items to their designation. As an occasion to remind ourselves that it is our duty to properly protect and preserve our treasures and national treasures, the exhibition is expected to stimulate the public to think again about the value of our cultural heritage.

Fig.6 Bongsudang Jinchando (Painting of the Birthday Banquet for Lady Hyegyeong at Bongsudang Hall) Joseon Dynasty, ca. 1795 156.2 × 65 cm Dongguk University Museum Treasure No. 1430-2

PUBLICATION

The New National Treasures 2014 – 2016 ISBN | 978-89-97748-41-9 • LANGUAGE | Korean

This catalog gives an overview of the items that were newly designated as treasures and national treasures of Korea between 2014 and 2016, divided into three sections—Faith, Records, and Life—according to the three parts of the special exhibition. The book also contains information on the administrative standards applied, including an explanation of the designation system and treasure management system provided by the Cultural Heritage Administration’s Tangible Cultural Heritage Division. 17

Treasure, the State-designated Cultural Heritage By Kim Woollim, Curator of the Fine Arts Division, National Museum of Korea

As the oldest wooden structural component of the Seoul City Walls, Sungnyemun Gate (south gate of old Seoul) is engraved in the minds of Koreans as “National Treasure No. 1.” Indeed, it is icon that symbolizes our tradition as a cultured nation and the success of the modern system of state-designated cultural heritage. But the arson attack on the gate in 2008 made us think again about the nation’s cultural heritage protection policies. The government, believing that the best method of restoration is to return something back to its original state, applied this policy to Sungnyemun Gate to the end. But when it is not practically possible to restore anything 100 percent to its original state, the controversy over quality keeps growing. Ultimately, what is the original form of cultural heritage? To what extent is repair and change permitted on the cultural heritage items that are still with us and a part of our lives? It may be that the value of cultural heritage is not innate in the physical properties of an item from the beginning, but is something that is newly discovered in the traces of its history of distribution, use, wear and tear, corrosion, and change. The issues surrounding Sungnyemun Gate in Seoul bring to the surface the dilemma of cultural heritage protection in the 21st century, along with the achievements of Korea’s system of state-designated cultural heritage, established during the modernization period.

Sungnyemun Gate, Seoul Constructed in 1398 (repaired in 1448, major repairs in 1479, dismantled and repaired in 1963, and restored after fire in 2013) Stone walls and wood H. around 12.5 m National Treasure No. 1 (designated Dec. 20, 1962)

In Korean law, tangible cultural heritage is defined as “tangible cultural works of outstanding historic, artistic, or academic value, such as buildings, records, books, ancient documents, paintings, sculptures, crafts, and other archaeological resources” (Article 2 of the Cultural Heritage Protection Act). Under the same Act (Article 23), important cultural heritage may be designated as treasures, and among the treasures, those “of great importance for humanity and without parallel in human history” may be designated as national treasures following deliberation by the Cultural Heritage Committee. In its cultural heritage protection policies, Korea has maintained the principle of “preservation of cultural heritage in its original state.” This principle was first proclaimed in the Cultural Heritage Charter (Dec. 8, 1997) and written down

as the basic principle for the preservation, management, and utilization of cultural heritage when the Cultural Heritage Protection Act was revised in January 1999. This basic perspective of preservation of the original state gained wide consensus among the public, who agreed on the importance of taking measures to prevent the disappearance of or damage to tradition in the face of rapid urbanization. It also had great influence on methodology regarding preservation and repair and restoration. This principle of preservation of the original state is unique to Korea, as it is not found in neighboring China or Japan, or indeed anywhere else in the world. It appears that Korea’s system of state-designated cultural heritage had an influence on the cultural heritage protection policies of China going into the 2000s. China’s 2005 Notice of the State Council

“Cultural heritage is all about time. For various reasons, objects are bound to deteriorate or disappear over time. Inheriting tradition is only possible when one generation is united with the next in heart and mind... Although objects may disappear, the tradition that people make their own will remain in the end. It is a matter of the Korean people’s heart and soul. Making something your own is not an easy thing, but it is our mission because we are who we are. Tradition is nothing other than one’s very self.” – Choi Sunu, from a discussion published in Samtoh, November 1981 Choi Sunu 1916–1984 was an art historian and director of the National Museum of Korea. While stressing the importance of preserving the original form of the cultural heritage, however, he also advocated the modernization and utilization of tradition.

on Strengthening Protection of Cultural Heritages states that cultural heritage works are “the crystallization of wisdom of all nations, and the treasure of human beings’ civilization” and defines cultural heritage as “non-renewable and rare and precious resources.” This was apparently made with reference to Korea’s Cultural Heritage Charter of 1997. Moreover, Korea’s revised Cultural Heritage Protection Act of the late 2000s, which stipulates administrative measures regarding the revocation of cultural heritage designation and reinforces duties and punishment for violation of the law, must have exerted considerable influence on the Intangible Cultural Heritage Law enacted in 2011 in China, where state regulation is even stronger. Taking note of the cultural heritage protection policies and the related experience of Korea and other countries

in East Asia, UNESCO began to develop its World Heritage Program in November 1972. This was 22 years after Japan had begun state designation of national treasures and important cultural heritage, and 10 years after Korea had begun its system of treasures and national treasures. Although the “preservation of the original state” principle is sometimes criticized as being stiff and blind to environmental changes and technological development, it is a well known fact that Korea has played a unique role in the development of cultural heritage protection policies and its experience and lessons learned from such experience, as seen in the case of China, are anticipated to take on even greater significance in the future.

Number of state-designated cultural heritage according to material (as of December 2016, statistics and graphics provided by the Cultural Heritage Administration)

Stone 673

Wood 546

Metal 312

Ceramics 183

Paper 827

Others 1,882

SPECIAL EXHIBITION

Roads of Arabia:

The Archaeological Treasures of Saudi Ar abia By Kim Seungik, Associate Curator of the Exhibition Division, National Museum of Korea

National Museum of Korea May 9 - August 27, 2017

A wide view video plays behind the statues of a man in Part 3

Jointly organized by the National Museum of Korea and the Saudi Commission for Tourism and National Heritage, the special exhibition Roads of Arabia: The Archaeological Treasures of Saudi Arabia is the first large-scale exhibition in Korea to showcase the history and culture of Arabia from prehistoric times to the 20th century. Arabia has a special place in world history as the crossroads of ancient civilizations of the Middle and Near East and the cradle of the Islamic faith. Its culture and history have never been properly introduced to the Korean public, however. The special 20

exhibition covers a vast span in time, from pre-Islamic ancient Arabia to the foundation of the Kingdom of Saudi Arabia and shows the true face of the country, largely unknown to most Koreans. The title “Roads of Arabia” refers primarily to two kinds of roads—incense routes and pilgrimage routes. Ancient Arabia was an important channel for the trade of frankincense and myrrh; cities along the trade routes flourished and developed an international culture. With the foundation of Islam the ancient Arabian roads along which an endless stream of

merchants had traveled with their goods became the road for pilgrims from Syria, Egypt, Iraq, and Persia headed for Mecca. The roads of Arabia were channels for connecting different regions and peoples as well as historic roads connecting ancient Arabia with the Islamic era. Organized under five themes, the special exhibition gives a condensed overview of the long history of Arabia following the incense and pilgrimage roads. Part 1, “Prehistory of Arabia,” explores the history of human settlement that began in Arabia 1.3 million years ago through the

stone works discovered in Shuwayhitiyah in the northern part of the Arabian Peninsula and Bir Hima in the southwestern region. The Neolithic fossils and tools excavated indicate that, at the time, Arabia was a green country with lush forests and grasslands around deep lakes and fertile wetlands. Arabia’s earliest ancient civilization emerged in the eastern coastal area of the Arabian Peninsula. Part 2 of the exhibition, “Civilizations in the Oasis,” introduces a civilization that ancient records call Dilmun, which originated on Tarut Island.

From around 3000 BCE, the island was an important midpoint along the maritime trade route linking Mesopotamia and the Indus Valley. The chlorite vessels excavated in the area attest to active trade between the two regions Fig.1. Then around 1000 BCE, the legendary Incense Road for the trade of frankincense and myrrh began to form. Incense produced in southern Arabia and Africa was traded along routes leading to Mesopotamia in the north and Egypt and the Mediterranean in the east, and big cities appeared along the roads accordingly. Ancient international

Fig.4 Tombstone of al-Ghaliya, Daughter of Abd al-Jabbar, Son of al-Ala Mecca 9th century Basalt, 67 × 45 × 13 cm National Museum, Riyadh

Part 2 of the exhibition on the theme “Al-Magar Civilization and Dilmun”

Display for the holy works of Mecca

cities such as Tayma, al-Ula, and Qaryat al-Faw in the oasis and desert regions of northwest Arabia are the focus of Part 3 of the exhibition. The remains of these grand cities that assimilated the cultures of neighboring Egypt, Mesopotamia, Greece, and Rome are sure to leave a strong impression on everyone who comes to see them Fig.2. The expansion and spread of Islam in the early 7th century was a watershed in Arabian history. The new religion spiritually unified the whole of Arabia. Mecca, the birthplace of the founder Muhammad, and Medina, his place of death, became holy sites that attracted countless pilgrims. “Road to Mecca and Medina,” Part 4 of the exhibition, follows the journey of these pilgrims. The items excavated from al-Rabadha, an important stop along the pilgrim’s way starting from Baghdad, are a vivid testimony to the long journey taken by the pilgrims around the 7th century Figs.3 and 4. While Mecca and Medina, the pilgrim’s final destinations, may be off limits for non-Muslims, the giant doors of the Ka’ba from Mecca’s central mosque featured in the exhibition will guide visitors to the center of the holy

city of Islam. Finally, Part 5 of the exhibition features the objects of King Abdulaziz, the first monarch of the modern Kingdom of Saudi Arabia when it was founded in 1932, along with everyday folk items from that time as a means to shed light on the foundation of the country. The special exhibition Roads of Arabia: The Archaeological Treasures of Saudi Arabia encapsulates the long history of Arabia, spanning thousands of years. It is a precious opportunity for visitors to reach a new understanding of Arabia, a country at the crossroads of various ancient civilizations which has been largely perceived only as a land of deserts and oil.

Fig.1 Conical Vessel with Entwined Snakes Late 3rd millennium BCE Chlorite 19.5 × 9 × 0.5 × 19.5 cm National Museum, Riyadh

Fig.2 Head of a Man Qaryat al-Faw 1st century BCE– 2nd century CE Bronze, H. 40 cm King Saud University Museum, Riyadh

Fig.3 Jar al-Rabadha 7th–8th century CE Earthenware painted with glaze, 66 × dia 45 cm King Saud University Museum, Riyadh

PUBLICATION

Roads of Arabia: The Archaeological Treasures of Saudi Arabia ISBN | 978-89-93518-40-5 • LANGUAGE | Korean (some English)

Reading this catalog is one way to increase enjoyment of the special exhibition. Divided into five sections corresponding to the five parts of the exhibition of the same title, the book includes explanations by curators of the National Museum of Korea and overseas specialists that will enhance visitors to understand what they are looking at. It is a wonderful introduction to Arabia and its overland incense routes which were also pilgrimage roads. 23

SPECIAL EXHIBITION

Unbuttoning

the French Fashion from the 18th to the 20th Century By Baik Seungmi, Assistant Curator of the Exhibition Division, National Museum of Korea

National Museum of Korea May 30 - August 15, 2017

Buttons used on the clothes by the designer Elsa Schiaparelli

If someone was to ask if the world could be seen through a little button, I would answer “Definitely, yes!” Museum goers can confirm for themselves whether they agree or not at the special exhibition Unbuttoning the French Fashion from the 18th to the 20th Century. Organized by the National Museum of Korea and Les Arts Décoratifs, Paris, the exhibition features 1,800 items, including a range of buttons from the 18th to the 20th century as well as clothing, paintings, books, and handcrafts. The show is based on the vast 24

button collection belonging to Loïc Allio, which was designated “a work of major cultural heritage interest” (une oeuvre d’intérêt patrimonial majeur) in 2011 by the French Cultural Heritage Committee. It is a rare event resulting from a long period of discussion and cooperation between the NMK and Les Arts Décoratifs to put together the best content for display in Korea. Fashion reflects history and culture in a more intimate way than any other field. The 17th to the 18th century, when French

political and social influence was at a peak, French fashion led all of Europe. The clothing that emerged from the luxurious court culture became important symbols of wealth, power, and rank, and surprisingly, buttons, no less, were at the center of such fashion Fig.1. Buttons were first introduced to Western civilization through the Crusades, around the 13th century, but their functional purpose took second place to ornamentation. Buttons richly decorated with gold, diamonds, rubies, and other gems served to symbolically enhance the

authority of the monarchs. The aristocrats spent a great deal of money on ordering the production of buttons that would show off their social position and rank. In those days, it was not remarkable for the price of buttons to outdo the price of clothing. Several times warnings were issued against extravagant spending on buttons, which had become a means for a display of wealth, but to little effect Fig.2. In Western fashion, buttons had hence become an important ornament, the easiest and surest way to reveal the identity and

tastes of the wearer. Particularly in the 18th century, the “golden age of buttons,” all sorts of buttons began to appear. Buttons were so varied in shape, material, decoration, and production technique— from buttons finely painted with portraits or genre pictures and caricatures Fig.3; Buffon buttons based on a study of natural history using bird feathers, butterfly wings, and various plants Fig.4; buttons inscribed with riddles, proverbs, or symbolic phrases Fig.5; buttons with lewd pictures or hieroglyphs; to buttons reflecting certain

beliefs and incidents of the times such as the French Revolution or emancipation of slaves Fig.6 —that the possibilities seemed endless. French buttons of the 18th century provided pleasure for the viewer, invited commentary, and were sometimes a way to reveal one’s thoughts; like a theater stage or curio cabinet, in themselves they constituted a compact social world. The 19th century was a time of great turbulence for France as it faced industrialization and urbanization inside and the rise of imperialism outside. Buttons 25

Fig.2 Strass and Jeweled Buttons 18th century Strass, gold, silver, crystal, brass © Les Arts Décoratifs, Paris

Display for “Prologue: French Costume as Image”

Fig.3 Portrait of a Woman in Fragonard’s Style c. 1760 In the taste of Fragonard, gouache on paper, framed in eglomised glass © Les Arts Décoratifs, Paris

Button of Teniers-style Late 18th century Painting on copper and brass © Les Arts Décoratifs, Paris

Fig.4 Buffon Button c. 1785 Bird feathers, butterfly wings, various plants © Les Arts Décoratifs, Paris Display for “Patriotic Buttons of the 1940s”

from that time serve as a significant media for showing French society in the 19th century. From the reign of Napoleon, buttons on military and other uniforms served to symbolize the identity of a group. In bourgeois society buttons represented the identity and norms of the class, and at the same time were reborn as products of standardization, mechanization, and industrialization. When dandyism and Art Nouveau swept through society, they were a major means of expression for such new cultural stimuli Fig.7. With the coming of the 20th century and two world wars that took the lives of 26

millions, great changes took place across society. Women began to play an active role as members of society, and new forms of clothing began to replace the old forms that had repressed women for hundreds of years. Men’s clothing, too, became more practical and simple, and in modern fashion design buttons were an important element in determining the silhouette or balance of an outfit. For artists and designers, buttons were an especially attractive element. Creative buttons of the 20th century were a means of expressing artists’ ideas and thoughts. They played an important role in expressing modern values

such as individual freedom and creativity. The special exhibition is a highly unique show that enables visitors to see how buttons, no more than a few centimeters in diameter, became historic materials reflecting society and culture. Today, when life is dominated by speed, cumbersome buttons that have to be done or undone by hand, one by one, are still found ornamenting our clothes. It may be that these buttons will provide the opportunity to think once again about the small but important things in life that we tend to overlook.

Fig.5 Enigmatic Button Late 18th century Mother-of-pearl © Les Arts Décoratifs, Paris

Buttons made by the silversmith François Hugo

Fig.6 French Revolution Buttons Late 18th century Painting on fabric, ceramic, insect, plants, Buffon button © Les Arts Décoratifs, Paris

Fig.7 Art Nouveau Button c. 1900 Metal, mother-of-pearl, horn, porcelain of Copenhagen © Les Arts Décoratifs, Paris Visitors look at the collection of “Buttons as Pictures”

PUBLICATION

Unbuttoning the French Fashion from the 18th to the 20th Century ISBN | 978-89-93518-41-2 • LANGUAGE | Korean

This catalog features parts of the extensive Loïc Allio collection of buttons in the Les Arts Décoratifs in Paris which was featured in the special exhibition at the National Museum of Korea. The photos of the buttons are larger than life, which makes it easier to appreciate the varied materials and elaborate production techniques employed. Moreover, some articles included in the catalog for the Unbuttoning Fashion (Déboutonner la mode) exhibition at Les Arts Décoratifs help readers to understand the history of French costume from the 18th century to the 1950s. 27

Korean Ceramics with Grape Designs: Filled with the Abundance of Grapes By Lee Jung-in, Associate Curator, Buyeo National Museum

Grapes have been cultivated throughout history as a fruit that yields fresh, sweet juice in the heat of summer. It is believed they were first grown along the coast of the Caspian Sea. In Korea, grapes were supposedly introduced to the country via China some time before the Goryeo Dynasty 918–1392, but no records confirming this remain. For the profound influence they have had on the food culture of humankind, grapes have been a significant decorative or symbolic motif in the material culture of various civilizations. With their ripe, fleshy clusters of fruit, palm-sized leaves, and endless stems and vines, grapes were adopted as a decorative motif for handcrafts and architecture from very early on in history. The grape motif was popular in the Tang Dynasty 618–907 of China, when many bronze mirrors featuring a sea beast and grape design were produced, and in Korea ceramic roof tiles decorated with grapevines were found in Unified Silla sites, including Anapji Pond in the ancient capital Gyeongju. Grape designs were popular also during the Goryeo Dynasty, when the production of celadon ware flourished. The Gourd-shaped Ewer and Stand with Inlaid Grapes and Boys Design Fig.1 shows lush grape clusters and boys hanging from the vines, executed in the representative Goryeo technique known as sanggam, or inlay. The mixture of black and white inlaid lines throw into relief the round fruits and the details of the boys’ varied facial expressions and postures. The bowl-like stand that forms a set with the ewer also features an inlaid grape design that unifies the two pieces. Inlaid grape designs also appear on celadon ewers, bottles, and maebyeong (prunus vase). They can be divided into two types: those composed of grape clusters, leaves, and vines only, as seen in the Gourd-shaped Ewer and Lid with Inlaid Grapes Design Fig.2, and those with the added features like boys hanging from the vines, as seen in Gourd-shaped Ewer and Stand with Inlaid Grapes and Boys Design Fig.1. The motif of boys hanging from vines is also seen on ceramics from northern regions of China, and on Goryeo celadon ware it is combined with grapevines. Designs on celadon made with the inlay technique are luxuriant and clearly defined. The bunches of grapes on the

Gourd-shaped Ewer and Stand with Inlaid Grapes and Boys Design Fig.1 are dotted with copper oxide, which gives them the rich look of ripe fruit. The use of a reddish pigment on the grapes would have intended to highlight the design, but the color may well have come from the association with well-matured wine. The History of Goryeo records that the emperor of the Yuan Dynasty sent wine to King Chungnyeol of Goryeo Dynasty six times between 1285 and 1308, suggesting that the Goryeo royal family and aristocratic people were familiar with and had a taste for wine. The celadon ewer decorated with a lush design of grapes and boys among the vines evokes the image of Goryeo aristocrats pouring themselves a cup of wine and savoring the flavor, color, and fragrance. Various records mentioning grapes can be found in the Annals of the Joseon Dynasty from the early Joseon period to the

Fig.6 Detail of Fig.5 Fig.1 Gourd-shaped Ewer and Stand with Inlaid Grapes and Boys Design Goryeo Dynasty, 13th century Celadon H. 34.5 cm (ewer) 7.6 cm (stand)

19th century. They show that grapes were a subject adopted in diverse fields of art, from paintings of flowers and animals, poetry written in classical Chinese characters, and white porcelain, the major type of Joseon ceramics, to lacquer ware inlaid with mother-of-pearl from the late Joseon Dynasty Fig.3. From the 18th century, white porcelain vessels were decorated with grapes designs executed in varied colors and techniques. Cobalt designs on a pure white background, though blue in tone, have the refreshing look of green grapes, while brownish or reddish designs produced with iron or copper pigments have the fresh feel of ripe purple grapes. White Porcelain Jar with Grapevine and Monkey Design Fig.4 is a white jar with short neck and rounded shoulders featuring a design of grapes and a monkey nimbly making its way through the vines painted with iron pigment. On the milky white background, big bunches of grapes and leaves have been painted with finesse, leaving pleasantly blank areas, and the thin curling vines are realistically captured. Though the monkey, which imbues the scene with movement, is depicted rather small, it is the symbolism of the grapes and the monkey that should be noted here. Grapes stand for abundance and the prosperity of one’s descendants while the monkey is symbolic of an official government position. The picture of a monkey swinging along the long grape vines represents wishes for one’s descendants to enjoy honor and good fortune from generation to generation. The picture on White Porcelain Jar with Grapes and Monkey Design Fig.5 was painted with cobalt and iron pigments. The vines and leaves are realistically painted with a blackish iron pigment and the bunches of ripening grapes big and small are painted in cobalt blue Fig.6. On a twisted branch sits a small monkey picking grapes. The shoulder bears an inscription in seal script reading “Gujeonggeumdan.” The use of two pigments in suitable combination alludes to the auspicious meaning of the grapes and

Fig.4 White Porcelain Jar with Grapevine and Monkey Design Joseon Dynasty, 18th century H. 38 cm National Treasure No. 93 Fig.3 Lacquered Case with Inlaid Mother-of-pearl Grape Design Joseon Dynasty, 18th century Wood H. 7.6 cm W. 37.1 cm L. 26.4 cm

monkey motifs and creates the mood of a conventional painting full of grapes. The design scheme of grapes with a monkey appeared on Joseon white porcelain vessels from the 18th century. The two jars discussed above were both made at official government kilns and the design was painted by an artist belonging to Dohwaseo (state bureau of painting) in bold, lively brushstrokes that play up the symbolism of the grapes and monkey motifs. The grape design can be seen not only on white porcelain jars but also dishes, bottles, water droppers, brush holders, and flower pot stands. It was drawn or painted on the vessels using mainly cobalt pigment but also iron or copper pigment, or given a threedimensional treatment using embossing or openwork techniques. Generally the design consisted of clusters of grapes, leaves, stems, and vines, and in the 19th century grapes with squirrel designs appeared. In Korean history grapes have been prized as a fruit to relieve thirst in the heat of summer, to be savored as wine, or dried and preserved in the form of raisins. Moreover, in many aspects of life they have been cherished as cultural elements that symbolize abundance and prosperity. Fig.2 Gourd-shaped Ewer and Lid with Inlaid Grapes Design Goryeo Dynasty, 12th–13th century Celadon H. 33 cm Fig.5 White Porcelain Jar with Grapes and Monkey Design Joseon Dynasty, 18th–19th century H. 32.4 cm

Reliquary in the East Three-story Stone Pagoda at the Gameunsa Temple Site By Park Kyeongeun, Associate Curator of the Asian Arts Division, National Museum of Korea

Our theme of this year is “the moment of everyday art,” and in this volume our focus is on religious life. The growth of Buddhism in Unified Silla gave rise to the production of diverse forms of metal craft, and here is a closer look at one of the most glamorous and impressive examples: a reliquary found in a pagoda on the eastern side of the main courtyard on the Gameunsa Temple site, a former temple near present-day Gyeongju, Gyeongsangbuk-do.

Fig.1 Reliquary (gilt-bronze inner container) Unified Silla, ca. 682 H. 18.8 cm Excavated from the east three-story stone pagoda at the Gameunsa Temple site Treasure No. 1359

The Buddha Hall in a Buddhist temple complex is used to enshrine Buddha statuary. The faithful face them during Buddhist services and present ceremonial offerings to the Buddha. As such, these images have become objects of worship, but putting it in more precise terms, they are physical objects made to project the likeness of Shakyamuni as described in Buddhist texts. Shakyamuni is the historic Buddha, who was born, achieved enlightenment, and reached nirvana in the 6th century BCE. For some thousand years, the clergy and laity have performed rites in front of Buddha images, making offerings in service to the Buddha. However, prior to the advent of the Buddha images, representations of the human form, the faithful would worship at pagodas, in which were enshrined Buddha relics. The Buddha relics are what remained after the Buddha’s corpse was cremated, as part of Indian funerary practice. These precious objects were enshrined in pagodas, which initiated the pagoda worship tradition. Relics are tangible evidence of Shakyamuni’s existence and they symbolize his enlightenment—the Dharma carried down to the present day. The relics are closer to Shakyamuni’s bodily form than Buddha statuary, and Buddhist writings provide rules on how these relics are to be honored. The Nirvana Sutra 大般涅槃經 says that the Buddha’s bejeweled coffin consisted of four layers:

gold, silver, bronze, and iron. The relics were originally part of Shakyamuni’s actual body, so in practice the materials closest to them were to be the most precious. The reliquaries enshrined in pagodas consisted of vessels of decreasing size placed in a preset order inside one another. Each was made of a different material, ranging from crystal, gold, and silver to bronze, iron, and stone. Producing reliquaries in this manner was a way for the donors to demonstrate merit. At the same time, these pieces represent an important genre of stunning metalcraft, produced with elaborate and delicate craftsmanship imbued with Buddhist thought. Gameunsa Temple 感恩寺 was completed in 682 under the direction of King Sinmun 神文王 r. 681–692 of Unified Silla. He was the son of King Munmu 文武王 r. 661–681, who oversaw the unification of the Korean Peninsula. King Sinmun had this temple complex completed to praise the great achievements of his father and pray for the protection of his newly-established state. The temple was dedicated to the guardianship of the state and constructed to pray to King Munmu who oversaw the unification of the Korean Peninsula. The reliquary found at the temple site shows traces of new stylistic influences resulting from Silla’s relationship with Tang Dynasty 618–907, China. A pavilion 殿閣-shaped reliquary was found in the western pagoda in 1959 Figs.2 and 2-1. In 1996, the eastern pagoda was being

Fig.2 Reliquary (gilt-bronze inner container) Unified Silla, ca. 682 Excavated from the west three-story stone pagoda at the Gameunsa Temple site Treasure No. 366

Fig.3 Reliquary (gilt-bronze inner jar) Unified Silla, ca. 682 Excavated from the east three-story stone pagoda at the Gameunsa Temple site

Fig.4 Reliquary (crystal vial for the relic) Unified Silla, ca. 682 H. 3.19 cm Excavated from the east three-story stone pagoda at the Gameunsa Temple site

dismantled, and a second reliquary was found hidden in a hole of body stone in the pagoda’s third story Fig.1. This piece looked much like the first one, and it can be described as the epitome of artistic expression inspired by deep religious conviction. Thus, both pagodas at the Gameunsa Temple site were built to enshrine giltbronze reliquaries. Overall these two reliquaries resemble a pavilion structure, their design reminiscent of canopied bedchambers 牀帳 and curtained bedchambers 帷幕 found in the homes of ancient Chinese nobility. When Buddha images or relics were brought into China, they were carried in portable palanquin-like shrines 佛帳, which served as the model for this style of reliquary. Famen Temple 法門寺 is Buddhist monastery dating back to the Tang period in China’s Fufeng County, Shaanxi Province. This can be found to the Underground Palace of the True Relic Pagoda 眞身舍利塔地宮, where the white jade reliquary 白玉製靈帳 resembles a kind of funerary palanquin. However, examples of the pavilion structure-like reliquary are rare, even in China. The reliquary’s inner container is divided into two parts— the square base below and the relic vessel above Fig.1. Each side of the base exterior has been penetrated by two large openings resembling elephant eyes 眼象 with a separate metal piece inserted 34

behind to establish an enclosed space. The figure of a swordwielding divine guardian appears in relief inside each left opening, while a deva figure in flowing robes is inside each right opening. The lion is considered a guardian of the Buddhist Dharma, a statuette of the beast placed in front of each corner pillar. A raised platform decorated with lotus-petal shapes on the sides has been placed on top of the base, and a low railing runs along its edges. On each corner inside the railing is a circular column that supports the “bejeweled canopy” above. The canopy 寶蓋 is adorned with seated Buddha images, along with flying devas and dragons, while on the floor below, inside the four pillars, stand statuettes of the Four Heavenly Kings, who face outward in each of the four cardinal directions. Interspersed between the Heavenly Kings are four monk figurines positioned in the ordinal directions. All were cast separately and then attached to the reliquary base with metal points; they guard the centerpiece, a gourd-shaped cover upon which is perched a jewel with flame. Inside the shell is a crystal vial with a cap of gold, and the relic has been surreptitiously preserved inside Figs.3 and 4. The inner container is placed in a box-shaped outer case of gilt-bronze with pyramidal lid Fig.5. Each side bears the image of one of the Four Heavenly Kings, cloud patterns, and door handle

Fig.5 Reliquary (gilt-bronze outer container) Unified Silla, ca. 682 H. 30.2 cm Excavated from the east three-story stone pagoda at the Gameunsa Temple site Treasure No. 1359

Fig.2-1 Reliquary (gilt-bronze outer container) Unified Silla, ca. 682 H. 31 cm Excavated from the west three-story stone pagoda at the Gameunsa Temple site Treasure No. 366

decorations. These decorative pieces were produced on a separate sheet of metal and then secured on the side of the case with nails. The outer case itself consists of metal plates that were assembled to create the sides, bottom, and lid. The Four Heavenly Kings represent the main decoration of the outer case, and each faces outward in a different direction to protect the precious relic container inside. The images of these deities are also prominently displayed on the inner container, indicating the cult of the Four Heavenly Kings was widespread in Silla society at that time. The reliquary at Gameunsa Temple was crafted according to the principles of Buddhist art and elaborately constructed as one of the very rare, pavilion-shaped types. It is the most magnificent known example of reliquary from Silla, expressing religious inspiration through the skills and creativity of Silla artisans.

Three Eye-catching Korean Works By Timothy Vincent Atkinson, Freelance Translator

Iron Buddha Head Goryeo Dynasty Iron H. 38.5 cm

I’ve been living in Seoul for nearly forty years, working as a teacher and translator. Much of my work involves material on Korean culture and tradition, so I’ve been coming to the National Museum of Korea for a very long time, even when it was located on the grounds of Gyeongbokgung Palace back in the 1980s. Many of the items on display have become like old friends. Understanding the subject matter is critical if you are going to translate it from Korean to English, so whenever I need to learn more about a particular piece or genre, I find myself visiting museums as part of the necessary background research. Examining the original piece directly provides detail that cannot be obtained from books or pictures. Sometimes, an item will be particularly intriguing and you can become lost in

thought while contemplating the item on display. Viewing calligraphy has always been a favorite because of my life-long interest in classical Chinese, and often the calligraphy accompanies a painting. Thus, you get three art forms in one—literati painting, poetry, and beautiful writing. Some of these works were produced by a single person, while in other cases, the picture painting, the poetic writing, and the calligraphic brushing were performed by different individuals. In any event, looking at such works evokes the image of a seonbi (traditional scholar), sitting quietly in his study and focused solely on his brushwork. It gives you an insight into what the oftenheard phrase “seonbi spirit” is all about. On this day, I decided to bring my son, Theron, to see if he might learn to appreciate the meaning of art and culture

a little more and understand what his Dad does for a living. However, it may be a bit much to expect from an eleven-year-old to share his Dad’s passion for calligraphic works—at least until the boy makes much more progress on his study of Chinese. Therefore, we moved on to the gallery where ceramics are on display, stopping to gaze at Korean National Treasure No. 166, a White Porcelain Jar with Plum and Bamboo Design in Underglaze Iron Brown. This is an exquisite example of white porcelain from 16th century Joseon Dynasty, when the use of iron pigment became widespread because blue pigment, which had to be imported, was very expensive and in short supply. The plum blossoms and bamboo symbolize high integrity in the face of adversity, as the bamboo remains green throughout the cold winter months, and the plum is among the very first to blossom in the early spring. Here these “noble plants” are executed with exquisite skill. The effects of light and shade were utilized to the full in the rendering of the bamboo, with its straight, slender leaves and stems. By contrast the plum tree has an old, gnarled trunk, bent in an “S” shape, with small straight branches drooping diagonally all about. Such elegance and refinement in the presentation and composition have led the experts to conclude that this piece was painted by an official court painter. Extant records indicate that the government officials in charge of ceramics for the royal family would have court painters travel to the kilns at Gwangju in Gyeonggi-do to paint designs on the pottery prior to glazing and firing. This means the present jar was produced at a government-operated kiln and was probably intended for use by a member of the royal family. In the Buddhist Sculpture Gallery, an Iron Buddha Head from the Goryeo Dynasty caught Theron’s eyes, and we stopped to take a closer look. We stood there for quite a while discussing what were we seeing. The round head, bilateral symmetry of the face, and faint smile

behind tightly closed lips make this a truly impressive piece. The questions from my son were nonstop: Where is Buddha’s body? What happened to his curly hair? What is that hole in the middle of his forehead? I then briefly explained how Buddhist art had reached a high level of sophistication in the Goryeo Dynasty and the history of its subsequent decline. Theron had just about enough of this museum trip when he spotted the Painting of Scholar’s Equipment in the Lee Hong-kun Room. The familiar objects and luxurious colors grabbed his attention, and he tried to identify as many of the various items in the painting as he could. Reminiscent of a modern still-life, this type of work portrays various ceramics, bronze vessels, books, fruits, flowers, clocks, and other knickknacks on multi-shelved structures. This genre is also known as chaekgado 冊架圖, bookshelf pictures, and often painted on folding screens. These paintings celebrate learning and the desire to explore the world and so they could often be

displayed in a scholar’s study as a source of inspiration. This message is obvious by the presence of the books and the scholar’s “four precious things” (paper, brush, inkstone, and ink-stick). In fact, the books may indirectly boast of the owner’s own scholastic accomplishments. The eyeglasses could allude to a life of reading and learning as well, and, along with the timepieces, indicate the painting was produced towards the end of the Joseon Dynasty. I recall that various fruits and vegetables such as citrons, peaches, melons, pomegranates, cucumbers, and eggplants represent wishes for longevity and many descendants. Their presence in the chaekgeori imparts a folk-art feel. People who make their first visit to a museum like this are bound to return. The things here to learn and enjoy are so compelling, for they represent thousands of years of historic and cultural experience. Hopefully, Theron, too, will come to have fond memories of today’s trip and come back here many times in the days ahead.

Painting of Scholar’s Equipment Joseon Dynasty Folding screen; silk 198.8 × 39.3 cm (each panel) Donated by Lee Hong-kun

Duurlig Nars Tomb No. 1 in Khentii Aimag (2007)

Sacrificial Vessels of the Xiongnu

Joint Research by Korea and Mongolia: Results of Excavations at Mongolian Archaeological Sites By Oh Seiyon, Curator of the Archaeology and History Division, National Museum of Korea

The National Museum of Korea’s study of Mongolian sites began in 1997 with the aim of conducting comparative research on the nomadic culture of Mongolia and Korean historical culture. Under the title Mon-Sol Project, the NMK has been carrying out research in conjunction with the National Museum of Mongolia and the Institute of Archaeology of the Mongolian Academy of Sciences. This is according to an agreement that has been renewed four times as of 2016. Varied activities have been carried out over the years including 16 excavations in Mongolia, 4 academic symposiums, 7 special exhibitions, and publication of 16 reports. Here we give an overview of the NMK’s archaeological excavations in Mongolia and related research over the past 20 years and future plans.

Research and Value of Mongolian Sites in World History The nomads of Mongolia, going through a long history of repeated rise and fall, 38

were a driving force in world history as they managed to build a great empire and exerted decisive influence in the exchange and development of the cultures of the East and West. For a long time, however, the influence of the Mongolian nomadic culture on world history has not attracted proper attention due to the interpretation of history based on records written from the perspective of Western and Chinese civilizations. Over the years, a solid body of research outcomes from survey of archaeological sites and items has been built up. There are considered the most crucial materials for study of the characteristics and nature of the Nomadic Empire. Hence, new attention has been drawn to the importance of the nomadic culture, along with settled civilization based on agriculture, as one of the major forces in the development of world history. Archaeological research on Mongolia was started at the end of the 19th century by Russian scholars. The native

Mongolian archaeologists began to take part in this research in the 1950s. When Mongolia opened its doors in the 1990s, research organizations from France, the United States, Japan, and Korea studied archaeological sites in conjunction with Mongolian archaeological research organizations. From 2000 onwards more and more countries have been participating in such research including China, Belgium, Switzerland, and Turkey.

The NMK’s 20 Years of Research in Mongolia In 1997, when the NMK began research in Mongolia, the focus was on prehistoric sites in a bid to find the roots of the Korean people. We carried out a field survey of an area reaching 1,500 square kilometers covering Selenge Aimag, Bulgan Aimag, and Khentii Aimag, and collected archaeological materials from Mongolian prehistory through excavation of Bronze Age tombs and kiln sites. However,

Flake Tools from Urgun Nars Site in Khentii Aimag

Khirgisuur Bronze Age Burial Mound in Bulgan Aimag (1997) Jade Disk from the Xiongnu Tomb at the Duurlig Nars Site

Deer Stone in Bulgan Aimag (1997)

these sites presented difficulties in terms of comparative research with Korean prehistoric sites. Taking an interest in the culture of the nomadic Xiongnu tribe late 3rd century BCE–late 1st century CE, the NMK began research on Xiongnu tombs at the Morin Tolgoi site in Tov Aimag and Hudgiin Tolgoi in Arkhangai Aimag in the early 2000s. From 2002 to 2005, excavations in Mongolia were postponed due to the relocation of the new museum site in Yongsan, Seoul. Work resumed in 2006 and by 2011 five Xiongnu tombs had been excavated in the Duurling Nars site in Khentii Aimag, eastern Mongolia. One of the most significant tombs, T1 is a large tomb with a total length of 55.5 meters and belongs to a member of the Xiongnu ruling class. Similar tombs were excavated by a Russian team in Noyon Uul and by a French team in Gol Mod. This research project yielded valuable materials that play a vital role in restoring the history of the

Xiongnu, who were powerful enough to be rivals of the Qin Dynasty 221 BCE–207 BCE, which unified central China for the first time, and a “brother state” of the Han Dynasty 206 BCE–220 CE. To find the sites where the Xiongnu lived, from 2012 to 2016 research was undertaken on the Goa Dov site in Tov Aimag. Many tiles pointing to relations with the Han Dynasty were discovered. Through three years of field survey, excavation, and geophysical exploration as well as radiocarbon dating, much material was collected for study of the date and formation of the site and its character. Research is under way, based on these materials, and a comprehensive report is scheduled for publication at the end of this year.

Future Plans This year marks the start of research under the fifth Mon-Sol Project agreement. To continue through 2021, research will be

Roof-end Tiles from the Goa Dov Site in Tov Aimag (2015)

focused on the largest Xiongnu tomb, located in the Duurlig Nars site. In addition to the materials discovered so far, the new research is anticipated to help explain the culture of the Xiongnu and their relations with the Han Dynasty and thereby boost understanding of the culture and history of ancient Asia. Moreover, it will go a long way toward explaining the nature and meaning of our Museum’s collections excavated from Korean sites related to Nangnang, one of the Four Commanderies of the Han Dynasty. Every summer, archaeologists from around the world come to survey archaeological sites on the Mongolian highlands. They come because investigation of the nomadic culture is a crucial element not only in the study of Asian history but also in reconstructing the development process of human culture. In cooperation with Mongolian research institutes, the NMK will continue its forward-thinking research and contribute to study of the culture of humanity. 39

Children inspect items with a magnifying glass

Questions and answers fly back and forth between the children and the educator

Asian Adventure at the Museum By Park Yun-hee, Educator of the Education Division, National Museum of Korea

Team members take turns to draw an object in relay fashion

The National Museum of Korea has organized a new program called “Asian Adventure at the Museum.” Participants become explorers for a day and, going back and forth through four galleries, search for the traces of exchange among four countries. As they make their own observations, ask questions, and draw pictures, they not only develop their thinking powers and imagination, they learn to fully enjoy the museum and all that it has to offer. Designed for children from the third grade to the sixth grade, the program is open to school groups of up to 30 people and application is made online through the NMK website. It will be held 15 times this year, Tuesday and Thursday from April through November. Each session of the program lasts two hours, starting from 10 a.m. The participants are divided into four teams and together they explore the India and Southeast Asia Gallery, Central Asia Gallery, China Gallery, and Japan Gallery. Each gallery is explored in a different way. In the India and Southeast Asia Gallery, the children sit on a folding chair and try to depict the Buddha’s appearance, dressed in robes the same way as the Buddha, draped over both shoulders. In the Central Asia Gallery, they form pairs with one student putting on a blindfold and the other leading him or her to the painting titled Fuxi and Nuwa, showing two figures from ancient Chinese mythology. With their backs to the painting the children take off their blindfolds and draw the painting based on the descriptions given by their teammates.

In the China Gallery the children use a magnifying glass to closely examine the four Buddhist steles in an attempt to find the image of Indian musicians that matches the picture in their exploration journals. Finally, in the Japan Gallery they take turns in relay fashion, one minute at a time, to draw and color in a picture together. In the process, they develop a sense of cooperation as they discuss the task presented and work together to complete it. Rather than teaching children in a classroom or giving them explanations as they stand in front of the exhibits, the program encourages the participants to explore the exhibitions on their own. The fun of the program is doubled by offering the children “tools” for appreciation such as exploration journals, magnifying glasses, folding chairs, and pencils. The exploration journals outline “four missions that must be accomplished to make a map of Asian exchange.” The children feel a growing sense of achievement as they discover the artworks and items needed to complete each mission. After exploring the four countries in this way, the children first discover the unique characteristics of the art of each country but then they soon find similarities in form, color, and method of expression. The exhibits that they come across as part of their missions show clear traces of exchange with other countries and were included in the program for their potential to spark the participants’ curiosity. After completing the mission for each country, the children take a photo in the gallery and

print it on the spot on the photo printer provided so that they can remember this experience for a long time. The photos are compiled into an album, which is then submitted to the school concerned. At the end of the program the children fill out a questionnaire, one item asking them “What is the difference between the museum and school?” The answer that most frequently comes back is that at the museum learning takes place through experience and at school through books. Keeping this in mind, the NMK’s education division will spare no effort to help children experience other cultures in varied ways at the museum.

Children describe objects that they have seen

Participants in the program walk toward the stupas and stele

Museum Tour “Time Travel into the Spring” By Jeon Ki-soo, Museum Tour Guide

The museum tour guide stops in front of the Old Bronze Bell of Bosingak Pavillion to give an explanation

“Time Travel into the Spring” is a guided tour program that takes visitors for a stroll through the museum garden filled with flowers to learn about the outdoor exhibits. It was held four times this year on April 15 and 29 and May 13 and 27 in the outdoor garden from 2 p.m. to 3 p.m. The program was inaugurated in 2016 at the request of participants in the 2015 program “Walking in the Autumn Night,” who wanted an outdoor program they could bring their children to in the daytime. The program is open to anyone with a child in elementary school or above. Participation in the program is free but reservations are necessary as each group is limited to 30 people (15 parent-and-

child teams). Applications are accepted on a first come first served basis. Explanation is provided by an exhibition interpreter, and participants are given a handset so that they can listen while moving around freely. Gathering in the Great Hall, the group first moves on to see the stupas and stupa monuments. The Stupa of Buddhist Monk Yeomgeo from the Heungbeopsa Temple site in Wonju (National Treasure No. 104) dating back to the Unified Silla period 676–935 and the Stupa of Buddhist Monk Jingong and Stone Casket (Treasure No. 365) from the same site but dating to the Goryeo period 918-1392 show the decorative characteristics of the two eras. On the way to the outdoor garden are

Visitors look at the Stupa of Buddhist Monk Boje from the Yeongjeonsa Temple site in Wonju

“Gayageum and pansori” performance

the Old Bronze Bell of Bosingak Pavilion (Treasure No. 2) as well as pagodas and stone lanterns. The Stupa of Buddhist Monk Boje from the Yeongjeonsa Temple site in Wonju (Treasure No. 358) and the East and West Three-story Stone Pagodas from the Galhangsa Temple site in Gimcheon (National Treasure No. 99) look beautiful as they sit in a natural setting rather than a display cabinet. The museum tour guide is always aware of the need to explain things in a way easy for children to understand. The children’s interest is sparked by questions and through an explanation of the basic structure of pagodas and stupas they learn about the difference between the two, and

the characteristics of these structures from different periods. They are also treated to stories about the spring flowers in the garden, including the rhododendrons and plum blossoms, as well as the golden pine and other trees. The course ends at the Mirror Pond and Dragon Falls, where everyone can sit down and enjoy an outdoor concert. These live performances which range from opera to gayageum (12-stringed zither) solo performance, traditional songs accompanied by the gayageum and pansori (narrative song), make the perfect end to a day at the museum.

Joseon Dynasty, 1808

Thematic Exhibition

April 25 - October 22, 2017 Buddhist Painting Room, National Museum of Korea, Seoul