National Museum of Korea: Quarterly Magazine, vol.41 by National Museum of Korea

Quarterly Magazine

VOL.41 AUTUMN 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 EXHIBITIONS

Quarterly Magazine VOL.41 AUTUMN 2017

02 CURRENT

Metal, Iron and Steel: The Cultural History of Iron

08 ESSAY

The Past, Present, and Future of Iron

10 CURRENT

The Dream of a King: Masterpieces from the Dresden State Art Collections 16 REVIEW

Roof-end Tiles of Mireuksa Temple Site

18 REVIEW

Gilt-bronze Crown of Sinchon-ri: Encounter with the Past

20 ABROAD

Korean Traditional Paper, Jeonju hanji: An Exhibition Exchange with the Suzhou Museum in China 23 News COLLECTIONS 24

MY FAVORITES

Communicating through Art, Beyond National and Cultural Boundaries 26

SEASON’S HERITAGE

Autumn Garden, Chrysanthemum Stands Proud

QUARTERLY THEME

Paintings of Royal Events, Imbued with the Royal Authority and the State Ruling Philosophy ACTIVITIES 34

UNEARTHING THE PAST

New Results in the Archaeological Excavations of Uzbekistan

SCHOOL OUT OF SCHOOLS

Museum Specialist Job Experience Classroom

MUSEUM WISHLIST

Buyeo National Museum, Where the Spirit of Baekje Lives

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

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

Design and Production P31 Photography

Park Jung Hoon Photo Studio

Translation Cho Yoonjung / Nathaniel Kingdon / Timothy Atkinson

Cover Iron Seated Buddha Unified Silla, 8th century H. 150 cm Attributed to Bowonsa Temple Site, Seosan-si See page 06

Revision

Chung Eunsun / Hwang Chiyoung

Publication Date

October 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)

CURRENT

Metal, Iron and Steel: The Cultur al History of Iron

By Kim Sangmin, Assistant Curator of the Archaeology and History Division, National Museum of Korea

National Museum of Korea September 26 - November 26, 2017

Mural of Gaema warriors from Tonggou Tomb No. 12 (replica) and military equipments

Bronze Daggers with Iron Core Urartu, 10th–8th century BCE L. 53.7 cm (Right) Okayama Orient Museum

Vertical Plate Armor Silla H. 62 cm Jungsan-ri Tomb No.1A-75, Ulsan-si Gimhae National Museum

A display showing the development of armory over the ages

Four-Tiger Sword to Guard against Malevolent Power Inlaid with Gold and Silver Joseon Dynasty L. 100 cm

The National Museum of Korea hosts the special exhibition Metal, Iron and Steel: The Cultural History of Iron, which draws attention to the role and value of iron in the history of humankind and sheds new light on the changes iron has gone through in history. The objective of the exhibition is to explore the process of change that has made iron the most actively used metal in our lives today. The exhibition runs from September 26 to November 26 in Special Exhibition Halls I and II at the National Museum of Korea. It features 681 cultural treasures that reveal the iron culture of West Asia as well as China, Korea, and Japan in East Asia. Special Exhibition Hall I gives an overview of the world history of iron. The display focuses on the iron culture of different regions, showing the diverse ways iron developed from the time human beings began to make use of the metal. It particularly focuses on the efforts to make iron stronger and the resulting changes brought to society. Moreover, by exploring the historic incidents arising from the emergence of iron and the differences in the development process in the east and west, the exhibition highlights the role and value of iron in world history. To help visitors understand how iron tools are produced, projection mapping is used on related exhibits. Visitors can

investigate the processes such as smelting, in which the metal is extracted from the ore; refining, in which iron is turned into steel; and hammering and forging, in which steel is beaten and shaped into tools. The display in Special Exhibition Hall II explores the diverse aspects of iron in Korean history under the categories of “Power” and “Life.” Visitors can examine how iron emerged as a symbol of power and then gradually entered the lives of ordinary people and became a part of everyday life in industrialized modern society. “Iron, Giving Birth to Power,” the first theme in this part of the exhibition, focuses on increased productivity, a social phenomenon arising from the emergence of iron tools. As production capacity increased, rulers’ greed for and monopoly of iron grew accordingly, and the ownership of iron was perceived as a symbol of power. The large quantity of iron tools excavated from the Hwangnamdaechong Tomb from the Silla Kingdom are a testament to the power and the ownership and monopoly of iron, while the burial of a large number of iron ingots is a clear example of the wealth and value associated with it. The exhibition also shows how the power-related symbolism of the iron sword continued from ancient times to the Joseon Dynasty.

Mural of Gaema warriors from Tonggou Tomb No. 12 (replica) Goguryeo Kingdom 285 × 166 cm Tonggou Tomb No. 12, Jian

The thirst for power leads to war. If the increase in productive capacity created by iron means “growth,” war created by power means “destruction.” This paradox results from people’s different use of iron in different situations. The highlights of the exhibition under the theme of “power” are the diverse iron weapons used in the major wars of ancient times as well as medieval and modern times in Korean history. When it comes to ancient warfare, the exhibits and videos give an allround view of the armored warriors of Silla and Gaya which originated in the gaema musa, or “iron horse warriors” (armored warriors on armored horses) of Goguryeo. The attraction of iron became more prominent when many people began to use it together. The second theme in Special Exhibition Hall II, “Iron, Part of Daily Life” explores the wide variety of ways in which people used iron, as everyday tools, an architectural material, for rituals, as religious symbols, and in making color. This part of the exhibition features iron tools that appear in traditional genre paintings, the various iron implements people used in their lives in the areas of food, shelter, and clothing, and the use of iron in rites, including ancestral rites. Moreover, the sections “Beauty of the Iron Buddha,” shows how people overcame the rough and unrefined nature of iron as a material, and “The Beauty of Iron Revealed in Color” indicates the efforts ancient people made to understand the nature of iron and use it to achieve their desired goals. Among the exhibits, the Iron Buddha presumably from the Bowonsa Temple Site is illuminated from various angles and presents a different smile and appearance depending on the direction from which it is viewed. To experience the beauty of a massive iron Buddha, it is a good idea to stop before the Bowonsa Iron Buddha and linger for a while. Exploring iron from the perspective of cultural history, this special exhibition intends to reveal the process by which 06

Bottle, White Porcelain with String Design Painted in Underglaze Iron-brown Joseon Dynasty, 16th century H. 31.4 cm Treasure No. 1060

Iron Seated Buddha Unified Silla, 8th century H. 150 cm Attributed to Bowonsa Temple Site, Seosan-si

A display of artworks made of iron

iron has become the most commonly used metal as people turned their attention from the hardness of iron to its practicality and diversity. Being easy to rust, many of the iron exhibits give a heavy and serious impression. However, it will be of great pleasure to discover the importance and value of iron in the lives of people who increased their use of the metal over time. It is also interesting to see how the iron

works from the collection of the National Museum of Modern and Contemporary Art, Korea have been incorporated into the display. Iron may not be the most beautiful metal but this special exhibition will hopefully awaken visitors to the way it has moved the history of the world and the history of Korea as well as the importance of iron that exists in varied yet imperceptible ways in modern society.

PUBLICATION

Metal, Iron and Steel: The Cultural History of Iron ISBN | 978-89-93518-43-6 • Language | Korean (Some English)

Iron Candlestick Inlaid with Silver Joseon Dynasty H. 80.5 cm

The three-chapter catalog accompanying the special exhibition Metal, Iron and Steel: The Cultural History of Iron has been published. Chapter 1 covers the birth of iron ware and different types of iron tool, Chapter 2 explores the relationship between iron and national power, and Chapter 3 tells the story of iron in everyday life. Also included are articles on the 730 items in the exhibition and the changes that occurred in the history of iron on the Korean Peninsula. 07

ESSAY

The Past, Present, and Future of Iron By Kim Seohyung, Research Professor, Eurasian Center for Big History, Russia

Fig.1 Aurora over Iceland Fig.2 Goryeo Metal Type Goryeo Dynasty Metal L. 1.2 cm W. 1.0 cm T. 0.7 cm

“In the early night there was a guest star... In form it was smaller than Jupiter and had a yellowish-red color, and it also shook.” This record appears in the record for the 21st day of the ninth month, 37th year of the reign of King Seonjo in the Joseon wangjo sillok 朝鮮王朝實錄 (Annals of the Joseon Dynasty). Stars that appeared temporarily in Korea were called “guest stars.” The guest star that appeared in 1604 was actually a supernova. Stars give off light using various elements. The last element used in this effort is iron (Fe). When the temperature at the center of the star exceeds 3 billion degrees, the star is destroyed in a massive explosion, which is caused by the presence of iron. An aurora is the appearance of streamers of light of various colors moving across the sky. It most frequently appears in regions located between 60 and 80 degrees north latitude, and also appeared in Korea. The Goryeosa 高麗史 (History of Goryeo), published in the Joseon Dynasty, contains a record that says, “The white banner reached the sky... pierced by the celadon-colored banner.” An aurora results from interaction between the sun and the earth. As the corona around the sun is very hot the protons and electrons are separated, but heavy elements such as iron can retain their electrons. When the iron electrons are ionized they emit green colored rays. It is iron that is responsible for the green lights of an aurora. The first country in the world to invent and use metal type is Korea. Previously, woodblocks were used for printing but this method had its drawbacks. For example, if the wood warped or a mistake was made

in a single character, the whole woodblock had to be carved again. Printing technology developed greatly when metal type was made with copper and lead alloys or metals such as bronze and iron. The book Jikji simche yojeol 直指心體要節 (Anthology of Great Buddhist Priests’ Seon Teachings) was printed with such movable metal type. Iron was produced in great quantity in the area around Heungdeoksa Temple in Cheongju where the book was printed, and this enabled invention of the world’s first movable metal type. With the outbreak of World War II, the last all-out war of the 20th century, new weapons appeared, namely armored tanks and armor piercing shells. To enable the use of such weapons, stable production of iron was essential. To win the war, Japan built a smelting works in Yeongyang, Gyeongsangbuk-do, and plundered Korea of its iron ore. The war ended but the world was polarized with the United States at one end and the Soviet Union at the other, and then the space race began. Iron is also very important in the Space Age because the material used to make space suits is an alloy containing iron, nickel, and chromium. Iron is also used in making a computer, an essential household item in this age. The computer memory, made of an iron and nickel alloy, is responsible for automatic data processing. The Mars exploration rover named Opportunity, launched by NASA in 2003, discovered an iron meteorite. It may be that a form of life that uses iron exists there, as on Earth. Ultimately, iron is a medium that sheds light on the story of space and human life in the past, the present, and the future.

Fig.3 Jikji simche yojeol Goryeo Dynasty, 1377 Printed with movable metal type © Bibliothèque National de France

Fig.4 Imjinja Type Joseon Dynasty, 1772 Metal Each 1.3 × 1.5 cm

CURRENT

The Dream of a King:

Masterpieces from the Dresden State Art Collections By Lee Wonjin, Associate Curator of the Exhibition Division, National Museum of Korea

National Museum of Korea September 19 - November 26, 2017

The Jewel Room featuring a collection of gems and jewelry

Portrait of Augustus the Strong and his military state dress

The National Museum of Korea hosts the special exhibition The Dream of a King: Masterpieces from the Dresden State Art Collections, in collaboration with the Dresden State Art Collections, one of the oldest of museums in Europe. The exhibition features 130 artworks that belonged to the prince electors of Saxony in Germany. After its run at the NMK in Seoul, the exhibition will open at the Gwangju National Museum from December 19 to April 8, 2018. The exhibition is built around the works collected by Augustus the Strong 1670– 1733, Elector of Saxony and King of Poland. Brought together for the show are artworks, jewels, and craftworks created by the finest artisans of the time, Meissen porcelain, the first hard porcelain to be produced in Europe, as well as Japanese and Chinese ceramics. The NMK previously held an exhibition of Baroque art in 2011 titled Princely Treasures: European Masterpieces 1600–1800 from the Victoria and Albert 12

Museum. The V&A and the Dresden State Art Collections are both considered treasuries of Baroque art, which is commonly associated with the splendor of royal palaces, but their collections were formed in different ways and this gives the two exhibitions a difference in character. The V&A was established as a public institution from the start and for 150 years it has been acquiring various royal collections. In contrast, many of the works of the Dresden State Art Collections come from the Saxon electors and have been maintained to this day in their original settings. Their histories are well documented and in many cases it is possible to imagine their role and place in the royal palace. The items featured in the NMK’s special exhibition are all related to Augustus the Strong and have fascinating stories to tell about the man who ruled during the Baroque period. They show the quintessence of the Baroque art and culture formed by the great king himself. The exhibition is composed of three

Fig.1 Badge of the Order of the Golden Fleece Geneva or Vienna, c. 1755–1756 By Jean Jacques Pallard 1701–1776 Topazes, diamonds, gold, silver H. 15.2 cm Grünes Gewölbe, Staatliche Kunstsammlungen Dresden

Turban-snail Goblet in the Jewel Room

Fig.2 Cup in the Form of a Sea Unicorn Leipzig, c. 1600 By Elias Geyer 1560–1634 Gilded silver, traces of gold enamel, turban-snail H. 20.0 cm W. 22.0 cm Grünes Gewölbe, Staatliche Kunstsammlungen Dresden

The Silver Room, where Baroque style silver jewelry is displayed

Photo structures of the Throne of the Grand Mogul Aureng-Zeb created with macrophotographic documentation

Chinese original porcelain and Meissen copy

Fig.3 Chinese Figures of Guanyin and Meissen copy Dehua, Qing Dynasty, 2nd half of 17th century (left), c. 1675– 1720 (middle) and Meissen, c. 1713–1720 (right) Porcelain H. 44.2 cm (max.) Porzellansammlung, Staatliche Kunstsammlungen Dresden

Fig.4 Five-piece Japanese Garniture Arita, Edo period, c. 1700–1720 Porcelain, decorated in underglaze blue and overglaze colors iron-red and gold H. 88.4 cm (max.) Porzellansammlung, Staatliche Kunstsammlungen Dresden

parts. The first part, focusing on the collection of the Armory (Rüstkammer), is a study of Augustus the Strong himself. From various angles it explores his activities after coming to the throne, the image that he sought to create as an absolute ruler, and the meaning of the epithet “the Strong” through exhibits such as the king’s military state dress, a sun mask with his features on it, ceremonial swords, and hunting gear. The second part features the highlights of the Green Vault (Grünes Gewölbe), a special chamber that Augustus the Strong built at Dresden Royal Palace (Residenzschloss) to store and display the artworks he had collected as part of his endeavors to transform Dresden into the cultural center of Europe. The display includes statuettes and jewelry made of

diverse materials such as ivory, bronze, gold, silver, and diamonds Figs.1 and 2. The third part of the exhibition traces the history of the “Porcelain Palace” that Augustus the Strong started but did not manage to finish. On display are 18th century Chinese and Japanese porcelains as well as Meissen porcelain made after the Chinese and Japanese models, the development of which was driven by Augustus the Strong. The items are selected from the Dresden Porcelain Collection (Porzellansammlung) Figs.3 and 4. A new technique of displaying items with macrophotographic structures will be featured in the NMK special exhibition. It was first applied to the exhibition The Dream of a King: Dresden’s Green Vault held at the Museum of Islamic Art in Doha, Qatar in 2011, to wonderful visitor response. The Korean exhibition is the second time such structures are to be used, both in Part 2 and Part 3. For example, the Chinese and Japanese porcelains are displayed against a giant sketched wall of a palace, enabling them to be seen in the places that they would have occupied in the castle back in Dresden Palace. The show promises to be a special experience for Korean museum visitors as it takes them back to the 18th century to stroll around Dresden royal palaces and lose themselves in the charm of the artworks.

PUBLICATION

The Dream of a King: Masterpieces from the Dresden State Art Collections ISBN | 978-89-93518-42-9 • Language | Korean (Some English)

The catalog The Dream of a King: Masterpieces from the Dresden State Art Collections has been published to accompany the special exhibition of the same title. Divided into three parts, Part 1 “Augustus the Strong” focuses on the man who was the Elector of Saxony and the King of Poland and the items connected with him, Part 2 “Green Vault: The King’s Treasure Chambers” tells the story of the treasure rooms designed and made by Augustus the Strong, and Part 3 “Porcelain Palace: The King’s Unfinished Dream” introduces the King’s attempt to build Porcelain Palace and challenge the Emperor of China with his Meissen Porcelain. 15

REVIEW

Roof-end Tiles of Mireuksa Temple Site By Editorial Team / With Choi Gyeonghwan, Assistant Curator, Mireuksaji National Museum

Mireuksaji National Museum September 12 - December 31, 2017 The Mireuksaji National Museum hosts the special exhibition Roof-end Tiles of Mireuksa Temple Site in the Architecture and Culture Room from September 12 to December 31, 2017, bringing together 120 tiles from the Baekje Kingdom and Unified Silla through the Goryeo and Joseon periods. The exhibition is arranged to clearly show the changes in roof-end tiles according to period. The characteristics of the roof-end tiles from each period 16

and the differences between them can be examined through the examples excavated at Mireuksaji (Mireuksa Temple site). The design most commonly found on roof tiles is the lotus blossom, but it appears in a different form in each period. The Baekje lotus blossom design is simple and delicate while the Unified Silla version is ornate with many petals. During the Goryeo and Joseon periods, the lotus blossom design grows simpler and more abstract over time. Among the most eye-catching items on

Green-glazed Rafter-end Tile with Lotus Design Baekje Kingdom, 7th century D. 15 cm Mireuksa Temple site

Roof-end tiles from Mireuksa Temple Site arranged according to period

Concave Roof-end Tile with Arabesque Design Unified Silla, 8th–9th century L. 28 cm (middle) Mireuksa Temple site

Structure installation replicating the form of roof tiles

display are the Convex Roof-end Tile with Lotus Design and the Green-glazed Rafterend Tile with Lotus Design, both made in the Baekje Kingdom. These tiles show traces of painted decoration which give an idea of the aesthetic tastes of the Baekje people. Moreover, the exhibition explores various aspects related to roof tiles such as the techniques and tools used to produce Baekje roof tiles and the system of stamping tiles with seals, which served as

Gallery for the special exhibition of roof-end tiles

a kind of quality guarantee. It also features a structure that shows the extended rafters found on Baekje wooden buildings. The current Mireuksaji National Museum will be reopening in October 2019 as the Iksan National Museum (tentative name). The museum will be a center for exhibition and preservation of the cultural heritage of the Iksan area dating from prehistoric times through the end of the Joseon Dynasty, including the sarira reliquaries and contents excavated from

the stone pagoda at the Mireuksa Temple site, which has been designated UNESCO World Heritage as part of the Baekje Historic Areas. Construction work begins at the end of this year to turn the existing exhibition building of Mireuksaji National Museum into a social education facility and to create a new building (two stories underground, one story above ground) for exhibition and storage, designed to harmonize with the surroundings of the temple site. 17

REVIEW

Gilt-bronze Crown of Sinchon-ri: Encounter with the Past

By Editorial Team / With Lee Jinwoo, Assistant Curator, Naju National Museum

Naju National Museum September 19, 2017 - January 7, 2018

Gilt-bronze Crown on display in the special exhibition gallery

Exhibition of gilt-bronze shoes arranged according to period

The exhibition Gilt-bronze Crown of Sinchon-ri: Encounter with the Past opened at the Naju National Museum’s special exhibition gallery in September and will run through January 7, 2018. Marking the 100th anniversary of the excavation of the Gilt-bronze Crown of Sinchon-ri, Naju National Treasure No. 295, the exhibition sheds new light on the discovery, and by bringing together major objects symbolizing power found in other regions such as the gilt-bronze shoes and sword with ring pommel it investigates the culture of the Yeongsangang River to see how different regions influenced each other as they developed. The exhibition is divided into four parts and covers the situation at the time the gilt-bronze crown was discovered one hundred years ago and changes in the power structure of the Mahan confederacy at different stages in history. Part 1, titled “The Tumuli of Bannam,” delves into Korea’s painful history through the excavation of the Gilt-bronze Crown of Sinchon-ri, carried out in 1917 during the Japanese occupation period by Yasui Seiitsu, a researcher with the Japanese Government-General of Korea. On display are photographs showing the excavation of the tomb in which the crown was discovered and a daily log recording the process. Part 2, “First Glimpse of the Crown,” features an installation replicating the jar coffin containing the crown, the first gilt-bronze crown to be discovered on the Korean Peninsula, as well as a range of earthenware vessels.

Part 3, “Gilt-bronze Crown: Encounter with the Past,” is a display of more than 40 ornamental gilt-bronze items dating to around the same time as the Gilt-Bronze Crown of Sinchon-ri which were discovered in other regions, allowing for comparison. Featured here are the Gilt-bronze Cowl Cap from Baekje, exhibited in Korea for the first time, the Iksan Ipjeom-ri Gilt-bronze Shoes, similar to the Gilt-bronze Shoes of Sinchon-ri, and the Sword with Triplepointed Leaf Decorated Ring Pommel/ Sword with Trefoil Decorated Ring Pommel, which attest to the outstanding metal craftsmanship of ancient Korea. Part 4 is titled “Disappearance of the Gilt-bronze Crown” and explores the end of the era when gilt-bronze crowns were made and changes in the Mahan confederacy in the Yeongsangang River basin. The Giltbronze Crown of Sinchon-ri was the last of its kind to be made and was replaced by the Silver Flower-shaped Crown Ornament while tombs conformed to the style of

Baekje tombs, developments that reflect changes in the Mahan and Baekje regions. This special exhibition coincides with the timing of the third Naju Mahan Culture Festival and in connection with the exhibition an international symposium will be held November 17 on the topic “Shedding New Light on the Gilt-bronze Crown of Sinchon-ri, Naju.”

Gold Diadem Ornament from Cheonmachong Tomb Silla Kingdom, 5th–6th century Copper alloy H. 23.0 cm W. 23.0 cm Treasure No. 617 Gyeongju National Museum

Photographs of the tomb excavation

ABROAD

Korean Traditional Paper, Jeonju hanji:

An Exhibition Exchange with the Suzhou Museum in China By Kim Hyunjung, Curator and Lee Youngbeom, Associate Curator, Jeonju National Museum

Suzhou Museum, China September 21 - November 26, 2017

Display for craft objects made of Jeonju hanji

The Jeonju National Museum opened the joint exhibition “Korean Traditional Paper, Jeonju hanji” at the Suzhou Museum, a sister affiliate museum in China, on September 21. This exhibition, running from September 21 to November 26 this year, is a reciprocal exhibition following the special exhibition “The Wuyue Kingdom during the traditional period of the Tang and Song Dynasties” held at the Jeonju National Museum from October 27 to December 20, 2015. Hanji refers to Korean traditional paper made by hand from the pulp of mulberry trees according to traditional methods. From early times, the area of Jeonju, 20

abundant in a great variety of local goods, has been well known for its production of high-quality paper, and has kept the culture of hanji production alive to this day. Therefore, Jeonju hanji represents the culture of hanji in Jeonju and by extension Korean hanji and hanji culture as a whole. This exhibition showcases the strong vitality and superior quality of hanji that gave rise to the phrase “silk lives for five hundred years, paper lives for one thousand,” and provides an introduction to the role of hanji as a local product of Jeonju and the hanji culture. Among the objects on display are documentary records, paintings, and calligraphy written or painted on hanji

as well as handicraft items made with hanji. In total, there are 106 objects covering 49 categories, from paintings such as Viewing a Waterfall by Jeong Seon 1676–1759 Fig.1 to handicraft items made by contemporary craftsmen and artists. The exhibition is divided into four parts with an additional “prologue” section at the beginning. This “prologue” section titled, “Speaking of hanji,” introduces the term hanji as well as the time period in which it was first used and a brief summary of the most prominent characteristics. The first part of the exhibition proper addresses hanji made in Jeonju and the culture of papermaking in that area. Jeonju

Fig.1 Viewing a Waterfall Joseon Dynasty, 18th century By Jeong Seon 1676–1759 Hanging scroll; ink on paper 20.6 × 75.8 cm Fig.2 Lotus Sutra Written in Silver and Painted in Gold on Darkblue Paper Joseon Dynasty, 15th century 33.9 × 12.3 cm

Panoramic view of the Suzhou Museum, China

was the foremost city for production of hanji during the Joseon Dynasty. As a result, the region developed a strong printing and publishing industry and was also a major center for crafts production. This part of the exhibition features the so-called wanyeong copies of books 完營本 and woodblock prints published by the headquarters of the Jeolla-do Provincial Governor Jeolla-do Gamyeong in Jeonju and woodblock prints used for printing such books as well as examples of commercial novels such as “The story of Sim Cheong” published by private operations in Jeonju. Also on display are fan paintings which offer a glimpse into how fans were produced

at the Seonjacheong, office for production of fans established in the Gamyeong. The second part of the exhibition introduces various aspects of hanji culture such as record keeping, paintings, and Joseon kings’ calligraphy works. In order to show how records were kept in hanji, this part of the exhibition features documentary works produced by Buddhist temples and the Royal Court, such as a copy of the Lotus Sutra Written in Silver and Painted in Gold on Dark-blue Paper Fig.2 and Documentary Painting of the Procession to Queen Jeongsun’s 1745–1805 Tomb in the Eulchuk Year (1805) Fig.3. A folding screen painting titled, Grapes (1879), by Choe

Seokhwan 1808–? reveals how the artist used hanji as a complementary backdrop for his lively brushstrokes and ink play. This part also features Eopil, or calligraphy by the monarch. In this section, we can see that hanji of the finest quality was reserved for state records for royal use, diplomatic documents, and manuscripts of Buddhist sutras. The third section focuses on the ongoing tradition of hanji handicrafts. These craft objects made of hanji were most popular during the Joseon Dynasty and there are many examples of exceptional artworks from the mid to late Joseon period. Among the objects on display are 21

Fig.3 Documentary Painting of the Procession to Queen Jeongsun’s 1745–1805 Tomb in the Eulchuk Year Joseon Dynasty, 1805 Handscroll; ink and colors on paper 51.0 × 1698.0 cm

personal items from the scholar’s study such as a fan and a box for eyeglasses, cherished items made of colored paper from the women’s quarters, and functional items used by the common people, such as paper jars made by jiseung 紙繩 technique of twisting paper into cords. The exhibition displays artworks from the Joseon Dynasty alongside contemporary artworks Figs.4 and 5 that build on traditional methods. The final section of the exhibition examines a variety of ways in which hanji is utilized today. Hanji is used in creating contemporary artworks and is also widely utilized as an industrial material because it is durable, easy to process, and gives a delicate and natural impression. The nature-friendliness inherent in hand-made hanji is another reason why it is so widely loved, which is evinced by contemporary artworks as well as functional items such as socks and wallpaper made of hanji. Supplementary displays such as “Process of hanji production” and “Microscopic view of the characteristics of hanji” will help the viewer better understand hanji from a scientific point of view. 22

Fig.4 Box Joseon Dynasty, late 19th century Colored paper 17.5 × 31.0 × 13.0 cm Jeonju Hanji Museum Fig.5 Box By Kim Hyemija Colored paper 16.0 × 25.0 × 12.5 cm

Display for various types of Jeonju hanji

NEWS

Bae Kidong, Newly Appointed Director-general of the National Museum of Korea Bae Kidong was appointed the new Director-general of the National Museum of Korea on July 17, 2017. An archaeologist and museum specialist, he previously served as director of the Hanyang University Museum, director of the Jeongok Prehistory Museum, chairperson of the board of the Cultural Foundation of the National Museum of Korea, and chairperson of the Korean National Committee of ICOM. Believing that the museum’s reason for existence is to satisfy the public demand for culture, Bae says that if the museum has played an important role as a supplier of information it’s now time to touch people’s sensibilities. Bae majored in archaeology and anthropology at Seoul National University and its graduate school and received his doctorate degree in anthropology at the University of California, Berkeley. Up to his appointment as NMK director, he concentrated on teaching as a professor in the Department of Anthropology at Hanyang University, ERICA Campus. Recently, the Director-general Bae Kidong was elected a new board member of Blue Shield International at its first General Assembly held in Austria in September. Blue Shield International, often described as the “cultural version of the Red Cross,” is an international NGO and Bae will be representing the Asia-Pacific as the only board member from the region.

15th-century Buncheong Epitaph of Yi Seonje Donated to the NMK The buncheong epitaph of Yi Seonje 1390–1453, a scholar-official who served at Jiphyeonjeon (Hall of Worthies) during the Joseon Dynasty, has been donated to the National Museum of Korea. As a buncheong object that is clearly dated, this epitaph holds great significance. It will be displayed to the general public at the NMK through October 31 before being transferred to the Gwangju National Museum.

Buncheong Epitaph of Yi Seonje Joseon Dynasty, 15th century H. 28.7 cm W. 25.4 cm

Installation of Pyeongchang Winter Olympics and Paralympics Mascots at the Children’s Museum Figures of the 2018 Pyeongchang Winter Olympics mascot Soohorang and the Paralympics mascot Bandabi were installed at the entrance of the Children’s Museum in September. Modeled on the white tiger, Soohorang gets its name from a combination of three characters (syllables): soo 守, meaning “to guard world peace, the spirit of the Olympics”; ho 虎, signifying the tiger; and rang from the famous folk song “Arirang” from the Gangwon-do region, where Pyeongchang is located. Bandabi’s name comes from bandal, the half-moon mark on the Asian black bear, a symbol of patience and determination, and bi 碑, meaning a “stele” for commemorating an event. 23

MY FAVORITES

Communicating through Art, Beyond National and Cultural Boundaries By Editorial Team / With Diana Chou, Associate Curator, San Diego Museum of Art and Silvia Gaetti, Curator, Grassi Museum of Applied Art

A group of researchers of Korean studies and Asian studies as well as Asian art curators from museums and art galleries overseas visited the National Museum of Korea this summer to participate in the 2017 Museum Network Fellowship Colloquium hosted by the NMK. Among the participants, we introduce Silvia Gaetti and Diana Chou in this volume. The two specialists talk about the most impressive works from the NMK collection.

Could you briefly introduce yourself? My name is Diana Chou. My current job is associate curator at the San Diego Museum of Art. I came to United States for graduate study. I studied Japanese Art and Western art for master’s degree and earned a PhD in Chinese painting.

Can you say a few words about participating in the fellowship program? I think it was a very wonderful opportunity and it’s very beneficial for my professional development. At the San Diego Museum of Art, 45% of the collection is Asian Art which I currently oversee. There are about 8,000 objects. Korean art is one of the areas that I am responsible for. So there is a need to learn about Korean art, because I was trained in Japanese and Chinese art. As you know I learned Japanese art, Western art, and Chinese art. So I have very limited understanding of Korean art. To do a good job I need to learn from this program.

You said that you liked Goryeo celadon part the most but you chose one impressive object and one favorite object from different sections. Could you explain about your choice? The two objects, one is a silver incense box dated to the 12th to 13th centuries during Goryeo Dynasty. I was impressed because it has a lot of important elements, including techniques. The way of engraving techniques was very refine. It reflects the Goryeo taste, a very elegant taste. The sophisticated taste is reflected in celadon, and silverworks particularly, because of the skillful craftsmanship and detailed designs. It is not plain at all. It also suggests a strong connection probably from Persian culture. It’s not plain at all. It indicates probably from the Persian culture. Could you introduce famous collections at the San Diego Museum of Art? Established in 1926, the museum was at first called San Diego Fine Arts Society of San Diego. But it was changed to San Diego Art Museum in 1950. Our best known collection is Spanish oil painting collection, mostly comprised of Christian paintings. The other well known collection is the Indian manuscript. It’s the largest single collections of Indian manuscripts outside of India. As for Korean collection, the majorities are ceramics, and include a little bit of paintings. Also, a small number of Buddhist sculptures.

Incense Case with Phoenix Design Goryeo Dynasty, 12th–13th century Gilt-sliver

Mandarin-duck-shaped Incense Burner Lid Goryeo Dynasty, 12th century Celadon

Could you briefly introduce yourself? My name is Silvia Gaetti. I live in Leipzig, Germany and I’ve been working as a curator for Asian art at Grassi Museum of Applied Art since December 2016. What brought you to this fellowship program? Since when have you been interested in Korean art? One of my colleagues who had participated in this program years ago recommended it. It was a fantastic opportunity to learn more about Korean art and culture. I visited Korea about three or four years ago while I was working for a Japanese artist. That was my first visit to Korea and also to the NMK. I saw many pieces of Korean arts for the first time back then. Were there any specific Goryeo Celadon that you really wanted to see? I wanted to see Goryeo celadon but also Buncheong ware from the Joseon Dynasty. I was very interested in the development of ceramic, because Goryeo celadon inspired European ceramics but also influenced the development of ceramics in Korea. Also one thing that I was really interested in was contemporary artists’ responses to celadon.

Could you tell us what was the most impressive work and why? I would say an incense burner lid. I really like the expression of this figure. On the one side, it’s a very expressive representation of an animal but on the other side it is technically extremely impressive. It is a very small object and the glaze is perfect. If you take a closer look at it, you can see that under the glaze all single feathers are carved in a very natural manner. I really like the meaning of the mandarin duck. It is a symbol of peace and unity but it is normally thought as a pair, a symbol of love. It is also transcultural animal because you can see it here in East Asia but it was imported to Europe and today you can see it all around the world. Another detail I really liked is the repaired beak.

What made the Goryeo Celadon look beautiful and so attractive to you? It’s the ceramic glazes and forms that I am mostly attracted to and I think it has a lot to do with the color and also the diversity that the celadon glaze can produce. From the same material and composition of the glaze, you can see how many different shades of green and blue celadon can be produced. Could you give a short introduction about your museum to the NMK Magazine readers? The Grassi Museum of Applied Art in Leipzig has a focus on applied and decorative arts from Europe and Asia. The collection includes ceramics as well as metal works, glass, textile, jewelry, graphic art, and modern design. The Asian art collection centers on East Asian and Persian art from the last five centuries. 25

SEASON’S HERITAGE

Autumn Garden, Chrysanthemum Stands Proud By Jung Min, Professor, Department of Korean Language & Literature, Hanyang University

The blooms of the withering chrysanthemum lean beside a boulder, executed with a dry brush. Above, the flower has completely dried and wilted, while those below retain their beautiful form. A dried bamboo plant weaves its way among them. The name of this painting by the literati painter Yi Insang 1710–1760, penname Neunghogwan, is Impromptu Portrayal of Withering Chrysanthemums at the South Stream on a Winter Day. 南溪冬日偶寫病菊 Fig.1. Why would one ever want to draw withering chrysanthemums? The chrysanthemum is often metaphorically referred to as “[one who] disdains the frost and alone maintains integrity 傲霜孤節.” Spring flowering plants bloom in the warm spring sunlight and then quickly fade. The chrysanthemums sprout their leaves in the summer, long after the spring flowers are gone, and endure patiently until fall, when the fruit has ripened. They bloom in the early autumn sun, only after the fiery summer energy has abated and frost appears; thus, their fragrance is sharp but cold. The chrysanthemum absorbs cool energy. Autumn may bring clear blue skies, but for some reason a melancholy mood circulates about. The ailing chrysanthemum plant in the picture projects the literati painter himself. Although the world is cold and gloomy, he exudes a fiery quality. He is withered by the frost but never loses his dignified bearing. His staunch uprightness and spirit are conveyed by combining the chrysanthemum with bamboo. Perhaps the artist is sending a warning to those young people who exaggerate the severity of the difficulties that they face. He establishes a mental beacon for when times are tough. He imparts a rigorous character upon a flower that blooms under difficult circumstances. The message is that one should not be intimidated in the face of difficult times but rather should let the character blossom. The chrysanthemum is that kind of flower. Jeong Yakyong 1762–1836, penname Dasan, had a special love for chrysanthemums. When he served as a government official in the capital, he found a small house to live in Myeong-dong. He had bamboo railings installed around his narrow courtyard and filled it with nearly forty different pots, planted with various flower types. Eighteen of these pots contained chrysanthemums. Jeong was pleased to look at the green chrysanthemum leaves in summer and felt joy to be in their midst comes autumn. He relished the upright posture of the flowers during the day. At

Fig.1 Withering Chrysanthemum Late Joseon Dynasty By Yi Insang 1710–1760 Ink on paper 28.5 × 14.5 cm

night, he would place the chrysanthemum flowerpots before an empty wall, illuminate them with candles, and invite guests to behold the fanciful shadows reflected on the wall surface some distance away. In ancient East Asia, the chrysanthemum symbolized the exceptional integrity of gunja (variously translated as “superior person” or “ideal Confucian gentleman”). At a time when other trees and plants are shedding their leaves, this flower alone commences to bloom. In his famous “Drinking Wine 飮酒” series, the famous Jin Dynasty poet Tao Yuanming 365–427 wrote: “ I pluck chrysanthemums below the eastern fence; from afar I see the Southern Hills…; In all this there is true meaning; I’d like to explain, but have forgotten the words.” 採菊東籬下悠然見南山此中有眞意欲辨已忘言 27

Ever since then, the phrase “chrysanthemums below the eastern fence” has symbolized the high-minded recluse. The poet may not be able to describe the scene of the sun setting over the hill but the message is conveyed to the reader through the poet’s loftiness of character and spirit. People are judged by how they are late in life. Appearing elegant in youth, they should not allow themselves to lose their vitality and look ugly in old age. People are prone to mistakes when young, but as they get older they may increasingly value a life that exudes the true essence or “fragrance” that comes from having an upright character. The chrysanthemum expresses the spirit of a gunja who grows old gracefully yet ardently. The fan painting Autumn Flowers and Colorful Butterfly by Kang Sehwang 1713–1791 depicts a variegated butterfly alighting upon a chrysanthemum Fig.2. In reality, butterflies are not seen in autumn, chrysanthemum season, but everything in this

Fig.2 Autumn Flowers and Colorful Butterfly Joseon Dynasty, 18th century By Kang Sehwang 1713–1791 Light color on paper 21.2 × 67.6 cm

painting makes sense. The butterfly has been attracted by the chrysanthemum’s pungent fragrance—a scent that has brought the insect back to life. In human life, too, is the endless desire to blossom fully like that flower. The butterfly has been summoned by the lone chrysanthemum to come sit, suggesting passion and desire that continues unabated into old age. Meanwhile, Competing Officials Late in the Year 晩節爭卿, one of the genre paintings on a folding screen kept at the Musée Guimet in Paris, offers a very different feel Fig.3. Several scholars are shown sitting around a straw mat in a courtyard, playing a board game known as jongjeongdo 從政圖, seunggyeongdo 陞卿圖, jonggyeongdo 宗卿圖, or seunggwando 勝官圖. The board has between 80 and 300 squares that each contain the title of a government office, and the players roll a notched, hexagonal wood stick to move their horse-shaped pieces. The player who arrives first at the square in the top left corner wins.

Around the players are flowerpots filled with lovely red and yellow chrysanthemums, while chrysanthemums of different varieties appear beneath an old tree. How nice would it be to reach the highest government post amidst a noble air (fragrance) as the year draws to a close? In this case, the chrysanthemum symbolizes honor and prestige. Someone called Old Man Kim who lived in Hanyang (present-day Seoul) in the 18th century was particularly adept at cultivating chrysanthemums. He was able to adjust the blooming time at will and could create blooms ranging from tiny fingernail size to exceedingly large. A single plant could also be bred to bloom in different colors, starting with black. Thus, Old Man Kim gained fame for his extraordinary chrysanthemum cultivation techniques, but he never divulged his secrets to others. The black chrysanthemum was produced by applying watery ink with a toothbrush to the stigma during the budding stage. The ink would be adsorbed by the sigma’s sticky liquid, which would stain the flower petals. Expose the flower during the blooming stage to the smoke of burning sulfur and a red flower would become white. Other techniques were used to produce three or even four different colored chrysanthemums from the same plant in a single flowerpot. In 18th century Joseon, having chrysanthemums in one’s autumn garden was considered a luxury. The attractive painting of chrysanthemum in iron-based pigment on the curvaceous white porcelain jar offers wishes of longevity Fig.4. Its fragrance suddenly permeates the desolate garden; it blooms amid the frost. Believing people need to live like the chrysanthemum, this flower most often appeared in autumn scenes. The chrysanthemum symbolizes staunch integrity, reclusiveness, and longevity.

Fig.3 Competing Officials Late in the Year Joseon Dynasty, 19th century Artist unknown Ink and light color on paper 61.8 × 40 cm © Musée national des Arts asiatiques-Guimet

Fig.4 White Porcelain with Chrysanthemum Design in Underglaze Iron-brown Joseon Dynasty, 18th century H. 6.1 cm

QUARTERLY THEME

Paintings of Royal Events, Imbued with the Royal Authority and the State Ruling Philosophy By Hwang Jihyun, Curator of the Exhibition Division, National Museum of Korea

Fig.1, 2, 3, 4 Illustrations of the Court Banquets in the Musin Year 1848 Joseon Dynasty, 1848 Eight-panel folding screen Color on silk Each Panel 136.1 × 47.6 cm

Court Banquets held in the Musin Year 1848 King Heonjong’s 憲宗 r. 1834–1849 grandmother, Grand Royal Queen Dowager Sunwon of the Kim clan 純元王后金氏 1789–1857, turned 60 years old in 1848, while the King’s mother, Royal Queen Dowager Sinjeong of the Jo clan 神貞王后趙氏 1808–1890, celebrated her 41th birthday that year. The 41st birthday was called mango 望五, literally, “looking forward to five i.e. fifty,” while the 60th birthday was known as yuksun 六旬, meaning the sixth decade. The average lifespan of Joseon people was quite short, and reaching sixty was considered a long life. Thus, these two birthday celebrations were held to offer both congratulations as well as wishes for greater longevity. King Heonjong announced that 1848 would be the most propitious time for Joseon in a millennium, and ordered to begin preparations for royal celebrations in 1847. On the 16th day of the 3rd month of 1848, he personally bestowed the honorific title, thereby publicly praising their virtue. A lavish banquet was held at the palace on the 17th day and evening. Then another feast was served on the 19th day to reward the officials who prepared the royal birthday celebrations, and at evening.

Court Banquets of the Joseon Dynasty Confucianism was the Joseon state ideology, which means that state governance was based on the Confucian rites, or ye 禮. Five categories of state-sponsored rites, known as orye 五禮, for practicing the Confucian ideal, and “felicitous rites,” or garye 嘉禮, one of these five categories, were performed on happy occasions such as royal weddings and birthdays. Such celebrations were intended to bring the ruling family and the people closer together, and the court banquet was the most effective way to make this happen. These were not simply gatherings where people enjoyed food, drink, music, and dance; rather, they served as state ceremonies that promoted harmony and mutual understanding among the members of Joseon society. The court banquets of the Joseon period carried a clear justification and were carried out with solemn propriety according to careful procedures. The banquets at the palace were divided into two main categories, “oeyeon 外宴” and “naeyeon 內宴,” depending on the hosts and guests. The “oeyeon” were intended for the ruler and key male subjects, which the women royal family members did not attend. On the other hand, the “naeyeon” were held primarily for

the queen’s mother, the queen, the crown prince’s main consort, and other key women in the palace, but male relatives of the royal family would also take part, including the king and his immediate relatives, royal sons-in-law, and other royal in-laws. The ceremonial assistants, temporary workmen, musicians, and dancers were also divided into male and female groups according to the category of the event they served. Other banquet types include the night banquet as well as a special follow-up gathering in which the king expresses his gratitude to the officials who organized the court banquets.

Illustrations of the Court Banquets in the Musin Year This eight-panel folding screen contains scenes from a succession of court banquets held in the musin year 1848. Panels 1 and 2 Fig.4 depict the ceremony held on the 16th day of the 3rd month, after the honorific titles had been conferred upon the king’s grandmother and mother. On this occasion, the officials congratulate King Heonjong for his conferring the titles. The setting is Injeongjeon, the throne hall at Changdeokgung Palace. This particular folding screen is considered to be the first in 31

Fig.5 Detail of Fig.4

Joseon to place the scene of the congratulatory ceremony ahead of the court banquet illustration. Such placement was a symbolic device to underscore the significance of the occasion and the celebration. A solemn and dignified air is projected by the orderly appearance of the participants. The military and civilian officials lie prostrate in their finest court apparel and are surrounded by palace guards, while musicians are on the left and right in the back of the courtyard Fig.5. Also present are the regalia required whenever the ruler goes on a parade. Panels 3 and 4 Fig.3 show the daytime celebration on the 17th day and Panels 5 and 6 Fig.2 illustrate the banquet that night, both held at Tongmyeongjeon, a hall at Changgyeonggung Palace. They were both “naeyeon” banquets with the Grand Royal Queen Dowager as the honored guest. The implements, décor, and layout are virtually identical because the two events were conducted on the same day and at the same venue. The area inside the hall was reserved for the senior female members of the royal family and the wives of high-ranking officials Fig.6. The Grand Royal Queen Dowager Sunwon sat on the red-lacquered folding armchair, which has a folding screen as a backdrop. Immediately to the 32

south are the places for the queen on the east side and the King’s primary concubine Gyeongbin on the west side. The square mats below the red columns are the places for officials’ wives invested with ranks. The area in the courtyard where the dancers perform is surrounded by red blinds. King Heonjong is to sit under the black canopy to the left on the west side of the dancers Fig.7. The court musicians of the terrace orchestra are immediately south of the red blinds, while the courtyard orchestra is placed below a second barrier of white curtains. Royal family members and royal inlaws are shown clad in green behind the musicians. In Joseon, Neo-Confucian values held sway, and men and women were not customarily allowed to intermingle. This social practice can be seen in the court banquets as well. That is, all males, except the king and crown prince were required to be seated in an area that was separate from the places for the women at the “naeyeon.” More than ten court banquet dances would normally be performed in turn at court banquets in late Joseon, but illustrations such as this one show dancers performing various dances simultaneously. This provides the viewer with more information about what took place during the event.

Fig.6 Detail of Fig.3

Fig.7 Detail of Fig.3

Illustrated palace records all use red-lacquered furniture (e.g., royal throne, folding armchair) to indicate the places for the queen mother, king, queen, and other hallowed members of the royal family. Their actual images were never included in paintings of this type. Panels 5 and 6 Fig.2 also indicate that this is a night banquet by the lit candlesticks arranged inside the hall and in the courtyard as well as the lanterns hanging from the eaves of the hall. Panel 7 Fig.1 illustrates the follow-up gathering held two days later on the 19th day to express the king’s appreciation for the efforts of the officials who were responsible for organizing the court banquets. Panel 8 lists the names, ranks, and positions of the persons who produced the folding screen as well as the event organizers. This format of congratulatory ceremony followed by court banquet scenes and then name list continued to be used through the end of the dynasty for folding screens of this type.

Court Banquet Illustrations for the Dignity and Honor of the Royal Family Originally, illustrations of palace events were voluntarily produced as a memento by the officials involved who shared the paintings

to promote comradeship and show off the owners’ elevated social status. During the reign of King Yeongjo 英祖, r. 1724–1776, such paintings began to be sponsored by the royal court. Illustrations that reproduced realistic moments of the event became a tool for expressing the royal family authority and the ideology of the state rulership. Court banquets were reserved for seasonal holidays, days deemed “auspicious,” and days that celebrated or commemorated special events for the state and the royal family. In other words, they could be held when the country was at peace and well governed. Court banquet illustrations produced on large folding screens such as the one introduced here were both glamorous and awe-inspiring to viewers. They showed the imposing royal palace, ceremonies that invoke a solemn atmosphere, ritual implements and decorations unseen by most people, and colorful dance performances to court music. Court banquet illustrations possessed all the elements for underscoring the achievements of the ruler as well as the dignity and glory of the ruler’s family line. 33

UNEARTHING THE PAST

New Results in the Archaeological Excavations of Uzbekistan By Min Byunghoon, Former Head of Asian Art Division, National Museum of Korea

Before the modern era, Uzbekistan was at the center of the Eurasian Silk Roads and the crossroads of civilization where the cultures of north, south, east, and west met. During the Achaemenid Empire 550 BCE–330 BCE and the following Empire of Alexander the Great of the 4th century BCE, Bactria in the southern part of Uzbekistan today and Sogdiana in the central region formed the nucleus of East-West trade and their importance was well known throughout the empire. As is well known, Buddhism, born in India, flourished in Bactria during the Kushan Empire 30 CE–375 CE. Under the influence of Zoroastrianism and Hellenism, which had already been established as the basic culture of the region, it took firm root as the regional culture with highly individual characteristics. Termez, the southernmost city of Uzbekistan, was the heart of the blossoming Buddhist culture and hence is home to many Buddhist

Fig.1 Grottoes at Kara Tepe

remains such as temples, grottoes Fig.1, and stupas. In recent times Korea and Japan have participated in joint excavations there. Fayaz Tepe and Kara Tepe are major Buddhist temples in the center of the region. At the giant temple complex of Kara Tepe, where archaeological work still continues today, the Fine Arts Institute of the Uzbek Academy of Sciences have achieved some important results with the excavation of Buddhist paintings that have grabbed the attention of the academic world. The newly discovered Buddhist mural Fig.2 was painted around the second to third century and exhibits the same style as the mural found at Miran, a Buddhist temple site in Xiyu, Xinjiang Province, China. The two murals are so similar that they could be taken for the work of the same artist. This clearly attests to the cultural connection between the two regions, which both came under the vast Kushan Empire

in ancient times, thereby indicating that the production of the Buddhist murals in Miran was influenced by Termez, which was a sacred site of Buddhism, and that the Buddhist murals of the two places resulted from the syncretism of Hellenism and Buddhism. Along with the Termez mural, covering 25 square meters, two Kanishka coins believed to date to the third century were also discovered. The excavation team from the Fine Arts Academy has also made various important discoveries at the site of Dalverzin Tepe, a major urban settlement site of the Kushan Empire in the Termez area. The excavation of Scythian style gold relics and a number of clay Buddha statues, which were exhibited at the National Museum of Korea in 2009, is already well known in academia. The storage at the Fine Arts Academy is filled with items that shed light on various aspects of East-West exchange, including recently discovered Kushan era coins,

Fig.2 Buddhist mural newly discovered at Kara Tepe (Source: The Fine Arts Institute of the Uzbek Academy of Sciences)

Fig.3 Pottery rhyton with human face decoration excavated at Dalverzin Tepe Fig.4 Pottery vessel with goat’s head decoration excavated at Dalverzin Tepe

Fig.5 Housing Site at Paykent

Fig.6 Porcelain painted in underglaze cobalt-blue excavated at Paykent

Fig.7 Kaiyuan Tongbao, ancient Tang Dynasty coins excavated at Paykent

Fig.9 Pottery fragment with human face decoration excavated at Paykent

Fig.8 Pottery fragment with a snake design excavated at Paykent

Northern style bronze artifacts, and West Asian style pottery. Items excavated from the site are on display in the exhibition hall at the Fine Arts Academy. Among them, a rhyton decorated with a human face Fig.3 represents the fusion of Hellenism and the art of ancient West Asia, and reflects the unique nature of Uzbekistan as a melting pot of the cultures of East and West. The newly discovered pottery rhyton has a human face on the body and a goat’s head on the spout. Such rhytons decorated with a human face have also been found in Khotan, Xinjiang Province, China, and this too suggests strong Hellenistic influence. The depiction of human faces on the surface of glass wares, produced in large quantities during the Roman Empire, is a stylistic feature that influenced the production of pottery in Central Asia along with the eastward spread of Hellenism. An earthenware vessel recently

excavated from the same area Fig.4 also has a spout in the shape of a goat’s head. Pottery vessels of this style were widely produced in Central and West Asia where the goat was considered a symbol of eternal life and wealth. The people of ancient times poured liquor or other liquids into rhytons or other pottery vessels with a goat’s head spout and by drinking from it symbolically sought to take in the energy of the goat. On the southwestern outskirts of Bukhara are the remains of the ancient city of Paykent, an important center for international trade via the Silk Road. Religious facilities related to Zoroastrianism and Buddhism and various types of housing Fig.5 were discovered inside the fortress walls and several caravansaray an inn for the accommodation of caravans and a glass workshop outside the walls. Continued excavation on this site is being jointly carried out by Uzbekistan, France, and Russia. Diverse relics have been unearthed here including

Kushan pottery, an array of glass wares, Islamic ceramics, and fragments of porcelain painted in underglaze cobaltblue Fig.6, showing that the city functioned as a center of international trade from the Kushan Empire through the Timurid Dynasty 1370–1507 and Ming Dynasty 1368–1644. At the entrance of the site is a small museum. On display are ancient Chinese coins known as kaiyuan tongbao Fig.7 that suggest Tang Dynasty 618–907 currency served as international currency on both the Oasis Route and Sea Route. The exhibits also include a pottery fragment with a snake depicted on the surface Fig.8, notable for its similarity to Silla earthenware. The snake design that appears on the pottery and textiles of Uzbekistan is known to symbolize authority and guard against evil. The human face decoration attached to the surface of vessels Fig.9 is considered to reflect the traditions of the Kushan Empire. 37

SCHOOL OUT OF SCHOOLS

An educational specialist demonstrates how to pack and unpack a replica artifact

Participants receive instructions before viewing artifacts in the galleries

Participants attempt to pack a replica artifact

Museum Specialist Job Experience Classroom By Editorial Team / With Weon Geum-ok, Museum Educator of the Education Division, National Museum of Korea

In the museum specialists from a variety of different fields are working together. The “Museum specialist job experience classroom” is a program designed for students to experience the work that the museum specialists do. The program is being implemented in two forms. Firstly, in accordance with the “free-semester system,” students will be able to undertake one semester’s worth of curriculum at the museum. In the second form, students of a class or a club can participate in daily programs featuring museum specialists from a variety of different fields. Beyond this, there is also a weekend program for individual students. Participation is available to students from fifth grade to high school and those who want to participate can register on the program website. As part of the program, participants experience six of the most important jobs that keep the museum functioning including archaeologist, conservator, and collection manager. Through this experience, they will be able to discover who is responsible for different roles at the museum including exhibitions, education, and collection management as well as organizing various museum events. Furthermore, participants will have time to seriously consider their own personal aptitude for a future career in the museum field. In August of last year, the museum introduced the “Museum specialist job experience classroom” as a summer program, focusing on the specialty area of collection management. Starting at 10 am the participants spent two hours performing the major tasks related to collection management such as documenting and recording, packing and unpacking objects, and itemizing and tabulating collection materials. Thirty middle school and high school students, divided into five groups,

Participants learn about the duties of a collection manager at the museum

participated in the program. The educational program started with a lecture and video presentation introducing the various specialist fields within the museum. The video presentation showing collection managers at work helped the participants easily understand the role of collection managers at the museum. Following this, the participants were divided into groups and each group received an earthenware vessel and packing materials. After documenting the earthenware vessels, the participants formed teams of two and attempted to pack and unpack the objects. Following this interactive module, the groups of participants received a variety of replica objects from different historic periods such as an earthenware vessel with a horseriding figure and small identity tags. Using a magnifying glass, they closely examined the objects and then moved to the galleries in order to view genuine artifacts on display. In the galleries, the participants appraised the different quality of the artifacts’ materials and their state of conservation, noting down these observations in an itemized list. The class ended with each group of the participants reporting their observations of the artifacts

and their impressions of the day’s activities. In this way, the participants were able to naturally discover the various duties of a collection manager. All of the activities in the educational program were lead by an educational specialist from the museum, ensuring that the participants could actively take part in a great variety of practical activities. It was not only essential to document the artifacts in the permanent exhibition spaces but also to photograph and record each stage of the process in order to arouse interest in the material and help students retain knowledge that they learned. Upon completion of the program, one student reported, “a collection manager is like an assistant who ensures the safekeeping of artifacts.” By experiencing the process in which artifacts are prepared for exhibition, participants are able to develop a keen sense of the duties of the collection manager, but they also naturally develop an appreciation for other types of work at the museum. In the future, the National Museum of Korea plans to expand programs of this kind so that more students can develop an interest in museums and museum work. 39

MUSEUM WISHLIST

Buyeo National Museum, Where the Spirit of Baekje Lives By Editorial Team / With Jeon Sangeun, Public Relations Specialist, Buyeo National Museum

Great Gilt-bronze Incense Burner of Baekje in Exhibition Room 2

A view of the Buyeo National Museum

Buyeo was the capital of Baekje when the ancient kingdom met its end. Today, 1,400 years later, traces of the lost Baekje culture can be found at the Buyeo National Museum. The museum is the departure point for a journey through the history of Baekje, from the Bronze Age in the Chungcheongnam-do through the final Sabi Baekje period. Located at the foot of Geumseongsan Mountain, a 20-minute drive from Gongju Station, the museum is

a contemporary building that incorporates the form of a traditional tiled-roof house. It was originally situated at the foot of Busosan Mountain, but as the collection grew the museum was moved to its present location in 1993. Currently, Buyeo National Museum is comprised of four permanent exhibition rooms, an outdoor exhibition area, a special exhibition hall, and Sabimaru Theater, which includes the Children’s Museum and a performance space. The permanent display features around 2,100 items. In the Exhibition Building, where the permanent collection is on display, the first thing that visitors see is the Buyeo Stone Basin Treasure No. 194. Beyond the basin are four galleries where visitors begin their exploration of the museum. Exhibition Room 2 is the main attraction, being filled with stories about Baekje when Sabi Buyeo was its capital. The exhibits here are grouped under three themes: Relocation of the Capital to Sabi and Capital-related Culture, Temple Site in Neungsan-ri and the Great Gilt-bronze Incense Burner of Baekje National Treasure No. 287, and Culture of Baekje Engraved on Stones and Wood. These three sections shed light on various aspects of Baekje during the Sabi period, from everyday life in the capital to politics, administration, and religious rites. Among the major exhibits are the Tiger-shaped Chamber Pot and the Great Gilt-bronze Incense Burner of Baekje. The chamber pot designed for male use, a favorite with foreign visitors, reflects the wit of the Baekje people who visualized a tiger’s eyes, nose, and mouth in the vessel. The Great Gilt-bronze Incense Burner of Baekje is displayed in a special room of its own. Korean and foreign visitors alike are entranced by the elaborate expression of the molded images and form of the burner, from the mythical creature bonghwang with a magic bead underneath its jaw sitting on top and the lid consisting of overlapping layers of mountain peaks, to the body in the shape of a lotus blossom, the dynamic figure of a dragon supporting the body, the

Buncheong ware bottles in Exhibition Room for Donated Articles

Buyeo Stone Basin in the lobby of the Exhibition Hall

Experience zone featuring the animal figures appearing on the Great Gilt-bronze Incense Burner of Baekje in the Children’s Museum

figures of immortals and various plants and animals that adorn the whole incense burner, and the five images of musicians depicted near the bonghwang. Exhibition Room 3 is where the “Baekje smile” can be seen first-hand on giltbronze Buddha figures and clay Buddhas. Exhibition Room 4 is devoted to items donated by some 45 people, including a variety of earthenware and other Baekjerelated items. Outdoor exhibits such as the Stele for Great Master Bogwang from the Bogwangsa Temple Site, Capstone, and Tortoise-shaped Pedestal are beautifully set in the museum grounds and make wonderful photo spots. The Children’s Museum is an “edutainment” venue where young visitors

Exhibition Room 3, which is devoted to Buddhist culture

can have fun with their families. Children can take part in various activities based on motifs taken from the Great Giltbronze Incense Burner of Baekje. In the experience zones based on themes such as “science in the incense burner,” “orchestra of five musicians,” and “Sabi zoo,” children naturally come into contact with Baekje culture as they look at and touch replicas of the incense burner. Moreover, Sabimaru Theater, one of the highlights of the museum, hosts musicals, Korean traditional music (gugak) concerts, and other performances once or twice a month for museum visitors and the citizens of Buyeo. The Baekje Historic Areas, inscribed in UNESCO’s World Heritage List, are also must-see sites located in the vicinity of

the Buyeo National Museum. The history and culture of Baekje come alive as you stroll around the old Baekje sites including the remains of administrative buildings in Gwanbuk-ri, Busosanseong Fortress, Naseong City Wall, Jeongnimsa Temple site, and the royal tombs of Neungsan-ri. Location: Geumseong-ro 5, Buyeo-eup, Buyeo, Chungcheongnam-do Province How to get there (From Seoul): By bus: Nambu Bus Terminal → Buyeo Bus Terminal → Bus #701 → Get off at Buyeo Middle School By train: Yongsan Station → Gongju Station → Taxi (20 minutes) Enquiries: 041–833–8562 Opening hours: Permanent exhibition from 10 a.m. to 6 p.m. (7 p.m. on weekends and public holidays) Children’s Museum from 10 a.m. to 6 p.m. Closing days: Mondays, Jan. 1, Seollal (Lunar New Year’s Day), and Chuseok

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NOV. 26, 2017

SPECIAL EXHIBITION GALLERY, NATIONAL MUSEUM OF KOREA