Quarterly Magazine
Quarterly Magazine
VOL.43 SPRING 2018
VOL.43 SPRING 2018
National Museum of Korea in Seoul is operated along with 13 affiliated national museums.
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National Museum of Korea Seoul
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5 Gongju National Museum Buyeo National Museum
Mireuksaji National Museum
Naju National Museum
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Cheongju National Museum
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Jeonju National Museum
Gwangju National Museum
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Daegu National Museum
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Jeju National Museum
Chuncheon National Museum
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Gyeongju National Museum
Gimhae National Museum
Jinju National Museum
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National Museum of Korea
http://www.museum.go.kr
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Chuncheon National Museum
http://chuncheon.museum.go.kr
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Gongju National Museum
http://gongju.museum.go.kr
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Buyeo National Museum
http://buyeo.museum.go.kr
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Cheongju National Museum
http://cheongju.museum.go.kr
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Daegu National Museum
http://daegu.museum.go.kr
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Gyeongju National Museum
http://gyeongju.museum.go.kr
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Gimhae National Museum
http://gimhae.museum.go.kr
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Jinju National Museum
http://jinju.museum.go.kr
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Mireuksaji National Museum
http://iksan.museum.go.kr
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Jeonju National Museum
http://jeonju.museum.go.kr
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Gwangju National Museum
http://gwangju.museum.go.kr
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Naju National Museum
http://naju.museum.go.kr
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Jeju National Museum
http://jeju.museum.go.kr
Museum opens at 10 a.m.
Quarterly Magazine VOL.43 SPRING 2018
EXHIBITIONS
COLLECTIONS
ACTIVITIES
02 Review
15
33
Museum Scene
Perceptions and Representations of
Gilt-bronze Wick Trimmer from
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News and Publication
Return of Goryeo Bronze Buddhist Niche
the Tiger in East Asian Art 08
Current
Nomadic Empires of the Mongolian
Wolji Pond, Gyeongju 16
the Visit More Interesting
Donation by the Friends of the National Museum of Korea
Joseon Periods: Celadon Maebyeong and White Porcelain Hangari
Interview
Smart Curator Could Make
Art and Stories
The Eternal Portraits of the Goryeo and
Steppes 12
New Treasure
22
Season’s Heritage
40 Education
Let’s Enjoy the Art of Korea
Putting Poetics into Paintings: Album of Sikong Tu’s Modes of Poetry
AFFILIATED NATIONAL MUSEUMS
28
Review
The Bear in Korean Culture
30
Current
The Victory Report on the Imjin War Written by Choe Huiryang
Cover A visitor approaches the mighty stone tiger in the middle of the Pass to History. See page 33
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 aNSWER Photography Park Jung Hoon Photo Studio Translation Cho Yoonjung / Nathaniel Kingdon / Timothy Atkinson Revision Chung Eunsun / Hwang Chiyoung
Publication Date April 20, 2018 Printed in Korea. Copyright © 2018 National Museum of Korea. 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. w ww.museum.go.kr/site/eng/archive/ebook/all (PDF downloads available)
REVIEW
Perceptions and Representations of the Tiger in East Asian Art By Choi Seonju, Head of the Asian Arts Division, National Museum of Korea
Traditionally, many people on the East Asian mainland had to be constantly on the lookout for tigers, which they recognized as savage, man-eating beasts. As the same time, they held tigers in awe as sacred animals that kept various demons at bay. The tiger does not belong in the same category of fantastic animal as the dragon or phoenix. Rather, it exists in the real world and has had a place in people’s everyday lives from antiquity. The tiger image was inscribed on jade vessels in prehistoric 02 NMK
times as well as on weapons and sacrificial implements during the Bronze Age as a symbol of valor or a magical charm. The exhibition entitled Tigers in East Asian Art: Korea · Japan · China shed light on the universal as well as the culturallyspecific significance of the tiger in Korean, Japanese, and Chinese art. Visitors could learn about the perceptions toward the tiger that were shown in the primitive beliefs of high antiquity as well as in Taoist and Buddhist thought of later times. They also
saw how the tiger’s symbolism evolved in Korean, Japanese, and Chinese art and culture. This was a new approach to understanding East Asian culture through artistic symbolism and themes, providing various interesting perspectives and discussions.
The Korean Tiger The tiger character appears in the mythology of the national ancestor of the Korean people as well as in various
A display themed “The Korean Tiger”
other Korean myths, legends, fables, and proverbs. The animal is also a common theme in Korean handicrafts, sculptures, and paintings. The earliest surviving depictions of the tiger in Korea date back to the Bronze Age, among the Bangudae Petroglyphs in Ulsan. The tiger image appears on the walls of Goguryeo 37 BCE–668 CE tombs, outside Unified Silla 676–935 royal tombs as a zodiac guardian, and on Goryeo Dynasty 918–1392 stone coffins adorned with the four directional deities. However, many
of the most realistic portrayals of the tiger are from the Joseon Dynasty 1392–1897. The tiger was seen to play important roles in both the present world and in the afterlife. Importantly, belief in the tiger as one of the four deities who guard the four directions pervaded East Asia. The four directional deities include the blue dragon in the east, white tiger in the west, vermilion bird in the south, and black turtle in the north. Paintings of them can be found as far back as the Spring and Autumn and the
Warring States Periods 770–221 BCE in China, and they appear on the Korean Peninsula as early as the 7th century CE, in murals at the Gangseo Great Tomb of Goguryeo. Relief and intaglio images of the four directional deities are engraved on stone sarcophagi from the Goryeo Dynasty, while stone tigers are among the guardian figures on the grounds of Joseon royal tombs. The Korean perspective of the tiger transformed the most during the Joseon Dynasty. Realistic paintings of a ferocious 2018 SPRING 03
Tigers and Magpies Joseon Dynasty, late 19th–early 20th century By Shin Jae-hyeon Framed; color on paper 96.8 × 56.9 cm (image), 124.0 × 85.0 cm (overall) Leeum, Samsung Museum of Art
A display of the Arhat with Tiger and the Stone Coffin Adorned with Four Deities
tiger were produced, and the beast appeared on many New Year’s paintings as a talisman for repelling malevolent forces in the coming year. A ferocious-looking tiger was often paired with the mighty dragon in these works, while a comical portrayal would typically appear with magpies, harbingers of good news. Meanwhile, the “four-tiger sword” was produced in the Joseon Dynasty to project the authority of the royal family. In this case, the tiger image was not depicted; instead, the sword itself symbolized the ferocious power of the tiger. These examples show that the tiger image has been variously portrayed in Korean art because it was perceived to be more than a simple hunting trophy or vicious predator. The tiger has been revered as a deity that controls human fate and guards space and time, and as such was considered a supernatural being imbued with the spiritual power to judge and discern right from wrong.
The Japanese Tiger Tigers were never native to Japan, so the Japanese people rarely observed them directly. However, Japanese stories about tiger hunting can be found in various records going back as far as the Chronicles of Japan, called Nihon Shoki 日本書紀, which was completed in the 8th century. 04 NMK
One example of a tiger depiction in early Japan is the white tiger that is part of the four directional deities painting on the burial chamber wall inside the Takamatsuzuka Tomb, built in Nara in the late 7th–early 8th century. However, the tiger was not a major motif in Japanese art in medieval times, and it took until the Muromachi period 1336–1573 before paintings featuring the tiger as the central character came into vogue. In the Kamakura period 1185–1333, Japanese trade was active first with the Song Dynasty 960–1279 and then with the Yuan Dynasty 1271–1368, and many Chinese paintings were passed to Japan. Ink paintings of the tiger and dragon as well as the tiger alone by Muxi 牧谿, a Chan Buddhist monk and painter who lived in China toward the end of the Southern Song Dynasty, were well received by Japanese literati. This sparked a flurry of tiger paintings locally, and those produced in Zen monasteries were particularly prized.
Members of the samurai, who constituted Japan’s ruling class, also preferred ink paintings of tigers, and this fact was heavily exploited to establish close ties between the Zen temples and the samurai. The dragon and tiger paintings continued to be loved by samurai from the end of the Muromachi period through the Edo period 1603–1868. The Tokugawa shoguns of the Edo military dictatorship, called bakufu 幕府, had multiple large paintings put on walls, screens, or sliding doors, known as shouhekiga 障壁畫, for décor inside their residence at Edo Castle. Besides the samurai-Zen link, these paintings were popular because the dragon and tiger were seen to symbolize the samurai’s military might. The dynamic composition of paired folding screens depicting a dragon and tiger staring at each other from each side was considered appropriate as an interior decoration. Tiger paintings in Japan entered a new phase from the 17th century onward.
Various painting manuals started to come into Japan from China, and Japanese artists reproduced the tiger models in these texts, but most of them looked like ordinary housecats. However, the famed artist Maruyama Ōkyo 1733–1795, who received support from the court and wealthy merchants, closely observed the markings on a tiger’s pelt, and then produced tiger paintings that closely resembled the real thing, rather than the stylized images that were commonly made. His works influenced subsequent generations of artists, including Ganku 1749–1839. Meanwhile, numerous woodblock prints and paintings with a tiger-hunting theme were produced in the Japanese ukiyo-e genre, which flourished after the Imjin War 1592–1598. This was closely tied to the epic tales of powerful Japanese feudal lords, called daimyo 大名, who purportedly exterminated tigers while they were on the Korean Peninsula to prosecute the war.
Visitors looking at the tigers depicted in artworks
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A display themed “The Japanese Tiger”
Dragon and Tiger Edo period, 17th century By Kano Tsunenobu 1636–1713 Pair of hanging scroll; ink on silk Each 139.6 × 80.3 cm (image), Each 260.0 × 103.5 cm (overall) Tokyo National Museum
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Bell with a Tiger-shaped Knob Han Dynasty Bronze H. 65.0 cm National Museum of China
A display themed “The Chinese Tiger”
The Chinese Tiger The tiger theme was in evidence very early in Chinese culture. Found among the extant artifacts from the Shang Dynasty 1600–1046 BCE are tiger images engraved on ge dagger-ax, bronze mirrors, and drinking cups; Bell with a Tiger-shaped Knob, called chunyu 錞于; as well as tiger-shaped military tallies, known as hufu 虎符 and jade plaques, called yuhu 玉虎. The tiger on weapons served as a protector spirit for the warriors who carried them. This symbol was believed to imbue soldiers with the fierce tiger’s majesty, vigor, and combat skills, thereby inspiring them to fulfill their desire to perform bravely on the battlefield. Meanwhile, tiger shapes and patterns were frequently applied to handicrafts used day to day. For example, people liked pillows and other bedding articles decorated with tiger images because they considered the tiger to be a divine animal
that wards off evil influences. Articles were commonly decorated in animal patterns in the Jin Dynasty 1115–1234, a practice intimately connected with the lifestyles of the northern hunter-gatherer tribes. Carrying tiger-shaped jade pieces was also popular among the Chinese during the Ming Dynasty 1368–1644. Indeed, in addition to its use on bronzeware and jade ornaments, the tiger motif was frequently seen in paintings and ceramics. The tiger started out in East Asian culture as a totem and was counted among the mythological four directional deities and twelve zodiac animals that guarded space and time. The tiger was subsequently reborn as a guardian spirit within the Taoist and Buddhist traditions, symbolizing a host of guardian deities. A savage predator, the tiger also signified war, killing enemies, and repelling malevolent forces. As the king of beasts, it symbolized the ideal Confucian
gentleman and virtuous government; as a swift runner, it was likened to the wind. Such basic notions regarding the tiger were initially formed in China and then spread throughout East Asia, and they evolved independently in Korea and Japan, resulting in a diverse array of manifestations. Many tigers once inhabited the Korean Peninsula, so the people would encounter them in everyday life. The fear and awe that the real tigers inspired were variously expressed in Korean art. On the other hand, tigers did not dwell on the Japanese islands, and so the people there emphasized its qualities as a sacred animal. The tiger was paired with the dragon in paintings that graced Zen temples and the palatial residences of the Shoguns. The special exhibition was well received as an opportunity to appreciate the commonalities as well as the differences in the ways that people in Korea, Japan, and China view the tiger. 2018 SPRING 07
CURRENT
Nomadic Empires of the Mongolian Steppes By Yoon On-shik, Associate Curator of the Archaeology and History Division, National Museum of Korea
National Museum of Korea April 27 - July 15, 2018
The National Museum of Korea holds a special exhibition Nomadic Empires of the Mongolian Steppes in collaboration with the Institute of History and Archaeology of Mongolian Academy of Sciences, the National Museum of Mongolia, and the Bogd Khaan Palace Museum.
Head of the Kul Tegin Statue Turkic period, 8th century Excavated at Khushuu tsaidam, Khashaat, Arkhangai province Stone H. 42.4 cm Institute of History and Archaeology of Mongolian Academy of Sciences
The National Museum of Korea holds a special exhibition in honor of the 20th anniversary of the Korea-Mongolia research project that will shed new light on the history and culture of the nomadic empire that dramatically changed the course of world history. This exhibition provides an opportunity to closely examine the factors that allowed the various nomadic groups in the vast Mongolian steppes to form a great Empire across the Eurasian Continent and reconsider the existing interpretations of history that are mainly based on settlement culture. The exhibition consists of three parts and showcases the results of the Korea-Mongolia research project along with around 500 artifacts, many of which have only recently been discovered.
Part 1: The Dawn of an Empire A survey of Stone Age sites in a southern area of the Gobi indicates that humans began living in the Mongol region approximately 750 to 800 thousand years ago. In addition, a hominid fossil from around 40 to 50 thousand years ago was also discovered in the archaeological site of Salkhit of Khentty province in eastern Mongolia. The Stone Age in Mongolia is broadly divided into the Paleolithic period when stone implements were first used, the Mesolithic period marked by the manufacture of microliths and the use of bows and arrows for hunting prey at a distance, and the Neolithic period when people produced earthenware and clothing to adorn the body. Bronze implements from the area date to the late third millennium before the Common Era and evidence of bronzeage production can be found in excavation findings from Khirigssur and the stone-cist burials at Erdene as well as examples of socalled deer stones and other images carved on rocks. The bronze implements used by the nomads generally featured realistic or stylized representations of wild carnivores and herbivores as well as livestock.
Deer Statue Turkic period, 8th century Excavated from Khoshoo tsaidam, Arkhangai province Silver H. 17.4 cm National Museum of Mongolia
Jar with Deer Image Early Iron Age, 7th–5th century BCE Excavated at Chandmani, Uvs province Earthenware H. 25.0 cm Institute of History and Archaeology of Mongolian Academy of Sciences
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Dondogdulam Queen’s Boots (Gutal) 20th century H. 40.5 cm Bogd Khaan Palace Museum
Crown Turkic period, 8th century Excavated from Khoshoo tsaidam, Arkhangai province Gold and jade H. 9.8 cm National Museum of Mongolia
Part 2: The Ancient Nomadic Empires of the Mongols The Xiongnu was the first association of tribes in the Mongolian region, followed by the Xianbei and the Rouran Khaganate. From the mid-6th century until the end of the 9th century the Mongolian region was ruled by states established by the Turkic Khaganate, the Uygurs, and the Kirgiz and in the early 10th century the Khitan emerged as a dominant power. Among these various nomadic groups this exhibition focuses particularly on the Xiongnu c. 3rd c. BCE–1st c. CE and Turkic Khaganate 522–744 associations. There are a great variety of historical sites related to the Xiongnu Empire including tombs, fortresses, and paintings on rocks. In particular, tombs at Duurlig Nars, excavated by the Korea-Mongolia research expedition, plays an important role in revealing the culture of the Xiongnu ruling class. In addition, the exhibition features artifacts excavated from the historical site known as Noyon uul of Tuv 10 NMK
province, uncovered by the Russian Kozlov expedition between 1924 and 1927. Also on display are harness decorations excavated from the historical site in Gol mod of Arkhangai province, uncovered by a joint French and Mongolian research team between 2005 and 2009. The following Turkic Khaganate Empire used their own unique alphabet and built temples to hold ancestral rites for the deceased members of the aristocratic class. Even today in the area of Arkhangai province, we can find stone figures and epitaphs as well as traces of an ancestral shrine built to honor the accomplishments of Bilge Khaghan, Tonyukuk, and Kul Tegin. The gallery features a rubbing from the western face of the Kul Tegin stele along with a stone statue of a head. Also on view are examples of fine metalwork such as a golden crown, golden decorative belt, a golden kettle and cups, and a silver deer that were excavated by a joint Turkish and Mongolian research team between 2001 and 2003.
Part 3: The Mongol Empire and the Descendants of Genghis Khan Between the 13th and 14th centuries the Mongols established an enormous empire that extended over most of Eurasia from the Pacific coast to Eastern Europe, from Siberia to South Asia. Artifacts recovered from the contemporary site No. 57 at Tavan tolgoi of Sukhbaatar province, such as iron armor and stirrups with inlaid decoration as well as leather boots and belts, points to a lifestyle characterized by endless and intense warfare. However, Mongol society underwent a monumental transformation in the middle of the 14th century with the collapse of the Mongol Empire. Nomadic characteristics of Mongol life faded and a trend towards a more settled way of life gained popularity, in no small part due to the rapid spread of Tibetan Buddhism among the Mongols in the 16th century. Gegeen Zanabazar, who was declared spiritual leader of Mongol Buddhism in 1639, contributed greatly to transforming Mongol religion, art,
Silver Ornaments with an Image of a Mythic Unicorn Xiongnu period, 3rd century BCE–1st century CE Excavated at Gol mod, Khairkhan, Arkhangai province Silver D. 4.8 cm Institute of History and Archaeology of Mongolian Academy of Sciences
Green Tara 17th century By Zanabazar 1635–1723 Gilt Bronze H. 76.0 cm Bogd Khaan Palace Museum
and culture by erecting various temples and casting Buddhist statues. This part features Buddhist artwork and objects from everyday life dating from the period of the Mongol Empire until present day, including a representation of Green Tara from the Bogd Khaan Palace Museum. Nomadic empires had a huge impact on world history in the way in which they stimulated more settled countries into action and opened up a global exchange connecting East and West, North and South. The situation on the Korean Peninsula was no exception and the Korean population not only had to negotiate the border with the nomadic groups in the northern region but they also had to react to various incursions into their territory. The final part of this exhibition tells this story of the history of nomadic groups and the Korean Peninsula.
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INTERVIEW
Smart Curator Could Make the Visit More Interesting By Shim Hyunsook, Elementary school teacher and Sun Yigang, Middle-school student
Guide talking about today’s theme “The Story of the Dinner Table”
First Experience with a Guided Program at the Museum I heard about the smart curator by chance and decided to take a guided tour of the museum with my second child. Yigang and I haven’t gone on an outing together, just the two of us, since we took a trip to Gyeongju when he was in the fifth grade. Our trip to the historical city of Gyeongju is something we still like to remember and talk about. We’ll never forget the sight of the stone pagodas, Buddha statues, and the Divine Bell of King Seongdeok, which appear at the beginning of the history part of the social studies textbook. From a young age Yigang has been interested in history and culture. It’s because history provides clues to the social phenomena of today and shows us how our culture developed. Hoping to make new memories, I went to the museum with my child, now in the final year of middle school. I was a little bit excited about visiting the museum at evening, which was open till late for the monthly “Korean Culture Day.” It would be a new experience. Surrounded by darkness, the museum looked different from the way it looks in the daytime. And perhaps because it was just the two of us, without the rest of the family, we felt closer to each other than usual. The Story of the Dinner Table At seven o’clock, we gathered in front of the information desk with the eight other teams that had booked in advance. Holding the iPad that the guide handed out, I touched the screen and the first theme for the day appeared: “The Story of the Dinner Table.” Vaguely I guessed that it would be about dishes and cutlery. But it turned out
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to be a wonderful time where we learnt all about the Korean food culture. The tour was divided into four subthemes: “What is the first thing our ancestors ate?,” “Gaining energy for life from food,” “Bubble and boil, the start of cooking,” and “A healthy table setting.” The guide explained the evolution of our dietary culture from the Prehistoric Age to the Korean Empire period in the context of the times in storytelling fashion, which made everything easy to understand. It was not a simple account divided into historical periods. I became engrossed in the subject while listening to the guide’s fluent explanation of the Korean food culture, from seeds, rice, and side dishes to iced drinks and coffee, imported from overseas. Toward the end of the one-hour program, because of the topic I suppose, I felt full although I hadn’t eaten dinner yet. The iPad was very helpful when it came to focusing on what the guide was saying. While listening to the explanations, we were able to enlarge pictures of the objects concerned, or look at photos of the excavation site and other materials providing background information, which made it easier to communicate with the guide. As a teacher, I was impressed that while we moved through all the different galleries listening to the guide, none of the children fidgeted or lost interest. The way the program used the iPad for explanation was just right for children of these days who are so used to looking at a screen.
Interesting New Facts The thing Yigang found most interesting was the story of whale hunting in the Neolithic Age. The Korean waters have
Hyunsook and Yigang concentrating on what the guide is saying
Yigang and other children listening to the explanation of the first part of the program
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Chatting with each other after the end of the Smart Curator program
a rich diversity of marine life because of the meeting of warm currents and cold currents. Unlike today, back in the past many whales of various species apparently lived in nearby waters. Whales not only had a lot of meat, they were also highly useful for their oil, thick skin, and even their bones and were a very important resource for the Neolithic people. We can presume that whale hunting would have been a sort of festival, with the villagers setting out to sea in a number of boats to catch the whale. The whale is the marine creature that appears most frequently on the Bangudae Petroglyphs in Ulsan. Yigang commented that the rock carvings may have been made to celebrate a successful hunt or perhaps to pray for success when the whale was hard to catch. When the things he had learnt from his textbooks coincided with the explanations, his memory was roused. He showed great interest in new facts and filled out the story in his own way.
More to Look Forward to on Our Dinner Table The typical Korean meal of rice, side dishes, and soup was established during the Goryeo period. Whenever something was added to the table, it was accompanied by a long history. Thanks to thousands of years of effort, a dietary culture similar to today’s, including soup, pan fried food, meat, fruit, and liquor, had developed during the Joseon period. In the exhibition hall, we were able to compare the chopsticks of Korea, China, and Japan. The Japanese hold the bowl in their hands because their chopsticks are short with pointed ends, while Korean chopsticks are generally made of metal 14 NMK
since a lot of Korean food is salty or has a strong smell. As for the Chinese, since they share bowls of oily food they use long chopsticks made of bamboo. This example shows how an item made for the same purpose can develop unique characteristics in different countries according to cultural differences. Yigang will continue to study history at school and the program was a
good opportunity for him to realize that separate facts all come together in the larger flow of history. We sat at the table every day taking the food on it for granted, but now we see all sorts of history on the table including traces of the Neolithic people and the Goryeo people’s wisdom, and so on. Because of this my son and I have more to talk about.
NEW TREASURE
Gilt-bronze Wick Trimmer from Wolji Pond, Gyeongju This Gilt-bronze Wick Trimmer 金銅燭鋏 is an artifact that sheds light on the lives of people in the Silla royal court in which such exquisitely crafted utensils were used as part of everyday life. At the end of the long handle are two small blades each with a semi-circular raised border of 2.2 centimeters in height. As the trimmers close around the wick for cutting, these borders prevent the wick from falling to the floor. This indicates that this trimmer was produced specifically to trim candlewicks.
Gilt-bronze Wick Trimmer from Wolji Pond, Gyeongju Unified Silla, 8th century L. 22.5 cm W. 8.3 cm Treasure No. 1844 Gyeongju National Museum
ART AND STORIES
The Eternal Portraits of the Goryeo and Joseon Periods: Celadon Maebyeong and White Porcelain Hangari By J ang Namwon, Professor, Department of the Art History, Ewha Womans University
In Korean art history, celadon and white porcelain ceramics have long been considered representative examples of the Goryeo and Joseon periods, respectively. Maebyeong refers to a porcelain vase with a large, extended body and a small mouth. For hundreds of years starting in the Goryeo Dynasty and throughout the Joseon Dynasty, this type of vessel referred to as jun, was used to serve liquor or for flower arrangements. According to convention, Goryeo examples of this type of vessel are called maebyeong while Joseon examples are referred to as hangari. Among extant Goryeo maebyeong, an example from the Kansong Art Museum collection displays many of the salient features of this type of ceramic Fig.1. It has been suggested that this Celadon Maebyeong with Inlaid Cloud and Crane Design was part of the tomb furnishings from the tomb of Choe U d.1249, a son of Choe Chungheon, in the vicinity of Goryeosan Mountain on Ganghwado Island and probably dates to around the mid-13th century. The small, shallow mouth of the vase provides a sharp contrast to the round, bulbous body. This, along with the contrast between the slim curved body of the lower half of the vase and the sudden swelling of the body around the shoulders of the vase, contributes to a striking visual tension.
Fig.1 Celadon Maebyeong with Inlaid Cloud and Crane Design Goryeo Dynasty H. 42.1 cm D. 6.2 cm (mouth) National Treasure No. 68 Kansong Art Museum Photo © Kansong Art and Culture Foundation
The special Goryeo inlaying method uses both black clay and white porcelain to fill in patterns engraved on the surface of the vessel. The process is highly sensitive because it requires multiple types of clay, each responding to different shrinking and expanding temperatures, and therefore the vessels can often cave in or explode during firing or cooling. That being said, this maebyeong with its shallow engraved decoration shows the absolute minimum of distortion and reflects the highest technical skill. 2018 SPRING 17
The inlay decoration is composed of round frames containing cranes soaring upward along with stylized clouds as well as cranes outside the frames descending towards the ground together with the same type of cloud design. The various movements of the cranes spreading across the surface of the vessel were designed to intersect across a multitude of different directions. In this way, the surface that could have looked flat, instead gives the impression of an expansive scene along with a considerable sense of spatial depth and three-dimensional effect. Similar designs, in terms of composition and arrangement found in other craft items from the Goryeo period such as lacquerware items inlaid with mother-ofpearl, indicate that craftsmen adopted the same kind of approach in different media.
Fig.2 Celadon Maebyeong with Inlaid Cloud and Crane Design Goryeo Dynasty H. 39.1 cm D. 6.1 cm (mouth) National Museum of Korea
In East Asia, clouds and cranes carry an auspicious meaning. The Song Dynasty Emperor Huizong 1082–1135 was said to have painted the work Cranes above Kaifeng and the motif of clouds and cranes can also be found in wall paintings from the tombs of Chinese Jin Dynasty 1115–1234. However, if we consider ceramics, Goryeo celadon vessels are the only type of pottery that emphasizes the cloud and crane design to such a high degree. Images of the cloud and crane motif in Chinese painting and decoration were apparently further developed as an individual motif in the Goryeo Dynasty and then spread widely across a great variety of genres. Among extant Goryeo celadon vessels, the Celadon Maebyeong with Inlaid Cloud and Crane Design in the collection of the National Museum of Korea Fig.2 is truly a masterpiece. Although it has less decoration than the celadon at the Kansong Art Museum, the cranes and clouds are arranged across the surface of the vase at even intervals and it remains in perfect condition with the ceramic lid left intact. Both examples feature a faint, transparent glaze color and the sharp details engraved into the smooth body of the vessel with sculptural precision are evidence of exquisite craftsmanship. Saturated in auspicious meaning, these vessels evoke the idea of thousands of cranes scattering throughout a jade colored sky only to come together again to encircle the Goryeo sky for all eternity. A White Porcelain Hangari with Grape Design in Underglaze Iron-brown from the Ewha Womans University Museum collection Fig.3 is a good example from the Joseon Dynasty. Rejecting an overall decorative pattern, the entire surface of the vessel is transformed into a canvas upon which the artist painted broad leaves in between bunches of hanging grapes in free brushstrokes. The design appears the same from both front and back; however, the grapevine moves down along a diagonal line from the upper right shoulder of the vessel, giving the impression of a continuous spiral. At the end of the vine hangs a bunch of supple ripe grapes, depicted with light and dark shading using iron pigment in the same manner as paintings of grapes executed using ink and paper.
18 NMK
Fig.3 White Porcelain Hangari with Grape Design in Underglaze Iron-brown Joseon Dynasty H. 53.3 cm D. 19.4 cm (mouth) National Treasure No. 107 Ewha Womans University Museum
In order to maximize volume, the voluptuous upper body of the vessel formed by the curved line of the sloping shoulders that emanate from the straight rise of the mouth meets the lower body, extending outward from the narrow foot as if inflating, at the center of the jar. The radical change in the curvature of the 50 centimeter-tall vessel is not only impressive but also contributes to an uneasy impression. However, the energetic line of the branch that falls naturally from the shoulder to the middle of the vessel’s body along with the suitable balance provided by the empty space helps to put the mind at ease. In fact, the design is rendered in such a naturalistic manner that it seems as though the image even conveys the trembling sensation of a breeze passing through the open space in the composition. It is certain that a court painter or some literati artist painted this image in a single sitting at the site of the Joseon royal kilns in the Bunwon area of Gwangju in Gyeonggi-do. In fact, the composition and certain details that are characteristic of paintings of grapes by court painters from the 17th–18th centuries also appear in the image on this Joseon jar. According to a record in the Journal of the Royal Secretariat, called Seungjeongwon ilgi, from the 14th year 1673 of King Hyeonjong’s reign, iron oxide, which is inherently crimson in color, turned black when fired and occasionally even turned dark yellow. This tells us that it would not have been easy to control the color of white porcelain vessels with iron underglaze. The design on this hangari also underwent a reaction that resulted in colors ranging from dark brown to a lighter olive hue and it is possible that the potter intentionally utilized the sensitive characteristics of the pigment to achieve this effect. The ripe grapes and large mature leaves were depicted with a considerable amount of pigment so as to appear darker in color, whereas the small grapes and young, tender leaves are only outlined in minimal pigment in order to appear lighter. Although this is simply a distinction between dark and light, the proper application of the dynamics of shading
Fig.4 Celadon Maebyeong with Inlaid Peony Design in Underglaze Copper Goryeo Dynasty H. 34.6 cm D. 5.6 cm (mouth) Treasure No. 346 National Museum of Korea
Fig.5 White Porcelain Jar with Plum and Bamboo Design in Underglaze Iron-brown Joseon Dynasty, 16th century H. 41.3 cm National Treasure No. 166 National Museum of Korea
causes the grapes to appear in a more naturalistic way. However, what makes this a true example of Joseon white porcelain is the way in which the ceramic fully realizes the essential qualities of a handicraft item. At the most basic level, this type of white porcelain craftwork is simply a functional bowl of robust quality made from pristine clay with a transparent glaze. Assuming that the technical firing process is successful and the clay fuses in the proper way, the robust quality of the ceramic reflects the tremendous degree of precision in the manufacturing process as well as the meticulous selection of pristine clay and glaze materials. The beauty of this ceramic is matched by its symbolic value as a record of the everyday hardships of life throughout history. During the Japanese colonial period it belonged to a Japanese collector and in the ensuing years it passed through multiple owners. In this process, it was coveted as a prized possession above and beyond its value as a sculptural object. Following this tumultuous journey, it arrived safely at the Ewha Womans University Museum in 1965. Soon thereafter it was designated National Treasure No. 107 and has for many years fascinated museum visitors and profoundly shaped the perception of Korean ceramics. For example, it is no coincidence that the widespread affection for grapes as a symbol of fertility, health, long life, abundance, and robust vitality reflects the energetic representation of grapes in this hangari. While the exquisite Goryeo celadon maebyeong with inlaid decoration represents the pinnacle of skillful design in the sharp rendering of sculptural forms, the Joseon white porcelain hangari is more painterly and exudes a kind of sophisticated vitality. This kind of technical aptitude and approach to formal aesthetics reflects a period of socio-economic prosperity as well as a highly developed and mature culture. Although the celadon inlaid maebyeong and the white porcelain hangari with iron underglaze Figs.4 and 5 were produced in different contexts and for different consumers, they both reflect the highest quality craftsmanship and aesthetic taste of the periods in which they were developed. Putting aside the distinctions between these two historical periods, each ceramic object functions as an eternal portrait of Goryeo and Joseon, respectively. 2018 SPRING 21
SEASON’S HERITAGE
Putting Poetics into Paintings: Album of Sikong Tu’s Modes of Poetry By Lee Heagyeong, Associate Curator, Chuncheon National Museum
Open the volume and a painting in sharp colors appears alongside its corresponding poem on facing pages. Each poem is headed by a title such as “Broad-minded 豪放,” “Concise 含蓄,” “Unrestricted 疏野,” and “Detailed 委曲” Figs.2 through 5. The late Tang poet Sikong Tu 837–908 wrote a series of twenty-four verses, categorizing twenty-four different poetic modes or styles. This album of paintings and poems was produced to illustrate the meanings of each poem and consists of six pairs of four-character phrases.
Composition of the Album of Sikong Tu’s Modes of Poetry The Album of Sikong Tu’s Modes of Poetry consists of twentytwo paintings by Jeong Seon 1676–1769 in the true-view landscape painting style of late Joseon period along with calligraphy of their corresponding poems, brushed by Yi Gwangsa 1705–1777. The album covers just twenty-two of the twenty-four poetry styles that Sikong Tu covered originally; the modes described as “Washed and Refined 洗練” and “Clear and Wondrous 淸奇” were left out. Of these twenty-two paintings, only eighteen pages of calligraphy survive today. The calligraphic styles are varied to include seal script 篆書, clerical script 隸書, regular script 楷書, semi-cursive script 行書, and cursive script 草書.
Fig.1 Detail of Fig.2
The painting and poem covering the “Fluidity 流動” category are on the last page. The work has been dated by the two-line phrase “Gyeomjae, a 74-year-old man, in the last ten-day period of the 11th lunar month of the gisa year 1749”, which appears on the upper right corner of Jeong Seon’s work. A short commentary about ten characters has also been written on each painting Figs.6 and 6-1. 2018 SPRING 23
Fig.2 “Concise” from the Album of Sikong Tu’s Modes of Poetry Joseon Dynasty, 1749 Colors on silk 27.8 × 25.2 cm
Fig.3 “Unrestricted” from the Album of Sikong Tu’s Modes of Poetry Joseon Dynasty, 1749 Colors on silk 27.8 × 25.2 cm
Fig.4 “Detailed” from the Album of Sikong Tu’s Modes of Poetry Joseon Dynasty, 1749 Colors on silk 27.8 × 25.2 cm
Fig.6 “Fluidity” from the Album of Sikong Tu’s Modes of Poetry Joseon Dynasty, 1749 Colors on silk 27.8 × 25.2 cm
Fig.5 “Broad-minded” from the Album of Sikong Tu’s Modes of Poetry Joseon Dynasty, 1749 Colors on silk 27.8 × 25.2 cm
Fig.6-1 Jeong Seon’s signature and seal (Detail of Fig.6)
Table of Contents for the Album of Sikong Tu’s Modes of Poetry 1 2 3 4 5 6 7 8
Imposing and All-encompassing 雄渾 Limpid and Placid 沖澹 Delicate and Rich 纖穠 Unexcited and Calm 沈着 Lofty and Ancient 高古 Decorous and Dignified 典雅 Strong and Sturdy 勁健 Intricate Beauty 綺麗
9 Natural 自然 10 Broad-minded 豪放 11 Concise 含蓄 12 Essence and Spirit 精神 13 Fine and Close 縝密 14 Unrestricted 疏野 15 Detailed 委曲 16 The Real World 實境
17 Sorrow and Lament 悲慨 18 Description 形容 19 Transcendence 超詣 20 Drifting Aloof 飄逸 21 Bighearted and Expansive 曠達 22 Fluidity 流動
2018 SPRING 25
A Closer Look at One of the Verses: Sorrow and Lament Below is the text of the verse entitled “Sorrow and Lament 悲慨” Fig.7, referring to one of the modes in which a classical Chinese poem must be written. The painting, filled with color, is of a military man with a sword who stands between a pair of lush pines. The man represents Jing Ke 荊軻, the assassin who attempted but failed to kill King Zheng of the Qin state, who later became the First Emperor r. 221–210 BCE of the Qin Dynasty. Thus, an episode from Chinese history is borrowed to express the meaning of Sikong Tu’s verse. The calligraphy has been brushed in a vibrant cursive script, blending well with a painting that has no margins. Sorrow and Lament Powerful wind rolls the water, And trees in the forest break. 26 NMK
My anguish is like death, I have called out for rest but it does not come. One hundred years of life pass like a flowing stream, Wealth and honor are reduced to cold ash. The Great Principle seems more distant by the day, Who resembles a heroic man of talent? The valiant knight brushes off his sword, Flood-like and pervasive are his cries. The wind whistles and wails amid falling leaves, Rain seeps into the verdant moss. In the painting, the lower end of the man’s robe and his hair appear to be tossed by a strong wind. The branches of the mighty pines and other trees in the scene are buffeted by the force of the wind as well. A mission had not turned out the way it was
Fig.7 “Sorrow and Lament” from the Album of Sikong Tu’s Modes of Poetry Joseon Dynasty, 1749 Colors on silk 27.8 × 25.2 cm
intended, and the sense of frustration is apparent. The man’s indignation is underscored by the painting and calligraphy produced with the most powerful brushstrokes in the entire album. The words to “Melancholy and Depression” contain the most dynamic sentiments of all the verses in this series by Sikong Tu, and the painting also was drawn with dynamic brushwork. An examination of the paintings in the Album of Sikong Tu’s Modes of Poetry reveals that they are not explanatory illustrations aimed at assisting the reader in understanding the verses. Rather, they were most likely made to express the characteristics of specific poetic modes to someone already knowledgeable of Sikong Tu’s work and to enhance the feel of each mode. In this sense, the paintings in this album were done in the spontaneous style, emphasizing the artist’s intended meaning rather than an
accurate representation of the form.
Pinnacle of the Late Joseon Paintings and Impression Extant works similar to the Album of Sikong Tu’s Modes of Poetry are not known in China or Japan. Indeed, poems on poetry are by their nature difficult to be illustrated by the painting medium. Therefore, the reader seeks to discover how the artist has interpreted and expressed in painting the details of a discussion on poetic theory, and as one digests the content, another side of Jeong Seon starts to emerge. This is an example of an invisible, abstract concept that has been materialized through painting, in contrast to the true-view landscape painting style for which the artist is famous. In other words, the artwork shows Jeong Seon’s painting world, in which he roams freely between the real and the abstract. 2018 SPRING 27
REVIEW
The Bear in Korean Culture By Editorial Team / With Cho Yonghwan, Assistant Curator, Chuncheon National Museum
Chuncheon National Museum February 7 - March 18, 2018
The Chuncheon National Museum hosted a special exhibition on the theme of the bear, a motif for Bandabi, mascot of the PyeongChang 2018 Paralympic Winter Games.
Small accessories from the Nangnang period, which is on display for the first time
28 NMK
The special exhibition The Bear in Korean Culture explored the changing perception of the bear in Korean history and culture. It consisted of five sections that can be seen in the order of “The Bear on the Korean Peninsula,” “The Bear in Korean Myths and Legends,” “The Bear in Ancient Objects,” “The Bear in Modern Life,” and “The Olympics and the Bear” following the set path of circulation. From prehistoric times, Koreans considered the bear as an important source of food, and made various tools with the bones of the bear. Among the Korean myths and legends featuring bears, the most famous is that of Dangun, the founder of the Korean nation. The special exhibition sheds light on not only the myth of Dangun but a total of ten myths from all around the country. They include the story of Gombawi
A display themed “The Bear in Ancient Objects”
based in Geumgangsan Mountain about a male bondservant who was struck by lighting and turned into a rock; the story of Gomnaru about a man who lived with a bear-turned woman in Gongju; and the tale of the magistrate of Ulleungdo Island acting as a bear. These old tales reflect ancient Koreans’ perception of the bear as a symbol of patience and at times a sacred being. In the past the perceived appearance of the bear also differed from that of today. With its big body, the bear was considered a strong and powerful animal and hence inkstones and table legs were often made in the shape of a bear. During the Korean Empire 1897–1910 the bear was featured on the military flags of the emperor. In modern society, however, perception of the bear has changed. Though still considered strong and
stupidly honest, the bear is now considered a more familiar animal as evidenced by Teddy Bears and the varied bear characters in picture books. At the end of the special exhibition, the mascot of the Paralympics, Bandabi the bear, was seen with the Olympics mascot Soohorang the tiger. The Chuncheon National Museum hopes that the exhibition played a role in extending the fever of the Olympic Winter Games PyeongChang 2018 to the Paralympics and served as an opportunity to rethink our perception of the bear, which has taken place as an important motif in Korean culture since the myth of Dangun.
Gilt-bronze Bear-shaped Table Leg Nangnang Commandery Wood H. 11.0 cm
2018 SPRING 29
CURRENT
The Victory Report on the Imjin War Written by Choe Huiryang By Editorial Team / With Lee Hyojong, Associate Curator, Naju National Museum
Naju National Museum March 27 - May 20, 2018 The Naju National Museum is hosting a special exhibition that explores the Japanese invasions from various perspectives through the life of General Choe Huiryang.
A display themed “Joseon Naval Weapons in the Report on the Imjin War Written by Choe Huiryang”
Report on the Imjin War Written by Choe Huiryang Joseon Dynasty, 1598 42.3 × 27.5 cm Treasure No. 660 Private collection
Hyeonjachongtong Gun Joseon Dynasty, 1596 L. 95.0 cm D. 13.9 cm Treasure No. 885 Jinju National Museum
This year marks the millennial of the birth of the name of Jeolla-do, a compound of the first syllables of the cities Jeonju and Naju (Jeon+Na), which are pronounced Jeolla when put together. To commemorate the occasion, the Naju National Museum presents the special exhibition The Victory Report on the Imjin War Written by Choe Huiryang. General Choe Huiryang 1560–1651 was born in Naju, Jeolla-do. He passed the state exams for military officials and during the Imjin War, Japanese invasions 1592–1598, he served as magistrate of the Heungyang region (today’s Goheung in Jeollanamdo), where Joseon and Japan confronted each other. It is known that Choe was instrumental in fending off the relentless
Japanese offensive. The Report on the Imjin War Written by Choe Huiryang, designated Treasure No. 660, is a record of the defeat of the Japanese forces in the 31st year 1598 of the reign of King Seonjo as reported to Admiral Yi Sunshin, Naval Commander of the Left Jeolla-do, and Hwang Shin, Governor of Jeolla-do. The special exhibition examines the life of not only Choe Huiryang but other military commanders, including those in charge of the irregular militia known as the “righteous armies,” as well as literary men of Jeolla-do. Divided into four sections, it features some related 150 objects including the Hyeonjachongtong Gun, designated Treasure No. 885, and the folding screen Sugunjoryeondo, which shows a naval
drilling session. Part 1 of the exhibition is titled “The Life and Achievements of General Choe Huiryang.” Choe successfully repelled Japanese forces in several battles and contributed in increasing the power of the naval forces of the Joseon Dynasty by making guns and building the panokseon, a warship with a command tower on top. The exhibits include Choe’s writ of appointment, posthumously-conferred writ of appointment, and portrait, which are selected to show the life of a military man of the Joseon Dynasty from life to death. Part 2 focuses on the “The Strategic Importance of Heungyang and the Contributions of the Local Residents.” During the Japanese invasions, Heungyang 2018 SPRING 31
A visitor looking at the Joseon naval weapons
was under the jurisdiction of Admiral Yi Sunshin, Naval Commander of the Left Jeolla-do. It was a strategic place, with the Yeosu peninsula located to the east and Wando Island and other islands to the west. When the Japanese attacked Heungyang region played an important role in its defense. The exhibitions show how, with the forces of the Naval Commander of the Left Jeolla-do concentrated in this region during the war, many military commanders and righteous soldiers distinguished themselves in battle and fended off the Japanese. Part 3 of the exhibition, “Joseon Naval Weapons in the Report on the Imjin War Written by Choe Huiryang,” is based on the war reports. It consists of seven reports to Admiral Yi Sunshin or Governor Hwang Shin, and one other on the building of warships and manufacture of weapons, also sent to Admiral Yi. Focusing on the final report, the display features models of the panokseon, the major type of warship used in battle, and the geobukseon, an armored battleship used for assault. It is interesting that the weapons used in the Battle of Dongnaeseong Fortress in 1592 and the 32 NMK
Battle of Myeongnyang Strait in 1598 are displayed together. Part 4 “Unwavering Battlefield Courage: Diaries of Righteous Armies and War Prisoners” explores the activities of the people of Jeolla-do who resisted the Japanese by taking part in the righteous armies. One of the notable exhibits is the Seomhojip which contains a document written from the perspective of Im Hwan, who headed the volunteer soldiers taking part in the 1598 siege on Suncheon Waeseong Fortress. Other items on display reflect the wretchedness of war with many people killed or taken as prisoners of war. Considering the nature of an historical exhibition based on old books and documents, the Naju National Museum has placed various visual materials such as videos and maps around the galleries. With the help of these materials visitors will be able to get a better understanding of the Naju region where Choe lived, the military facilities of the Heungyang region, and the contents of the Report on the Imjin War Written by Choe Huiryang, and visualize the battles fought by the Joseon naval forces.
Scale Armor Joseon Dynasty L. 61.0 cm W. 48.0 cm Busan Museum
MUSEUM SCENE
A stone tiger, once stood at Huireung, the original tomb of Queen Janggyeong 1491–1515, Queen consort of King Jungjong r. 1506–1544 of the Joseon Dynasty, has taken place in the middle of the Pass to History. In that sunny spot, it sits with its two ears pricked up as if anxious not to miss the sounds of spring and attracts a visitor with a smile.
NEWS
Return of Goryeo Bronze Buddhist Niche The National Museum of Korea acquired a Goryeo period bronze Buddhist niche donated by the Young Friends of the Museum (YFM), an organization of young people affiliated with the Friends of the National Museum of Korea (FNMK). The small, portable niche made of bronze was used for worship in places other than the temple. Such small metal niches, sometimes found enshrined in pagodas, were mainly produced between the late Goryeo and early Joseon periods. Around 15 examples remain extant. Portable Buddhist niches can be divided into two kinds: the pavilion-shaped niche consisting of square casket with roof-shaped lid and the square casket niche without a lid. The bronze Buddhist niche obtained by the YFM from an antique shop in Japan is of the 34 NMK
latter type, which is rare among the extant examples. The niche is estimated to have been produced in the late 14th century during the Goryeo Dynasty, which makes it all the more valuable. The most outstanding feature of the niche is the scene of Shakyamuni preaching, depicted on the inside using the repousse technique. The doors of the niche, decorated with images of Vajrapani, open onto the scene of Buddha preaching a sermon, created on a thin sheet of metal attached to the back of the casket. Shakyamuni sits in the center flanked by attendant bodhisattvas and surrounded by ten arhats and the eight classes of dharma protectors. As the only bronze Buddhist niche from the Goryeo period decorated with the eight classes of dharma protectors, it is
Items donation by the FNMK 1989 Celadon Inkstone 2002 Ox-horn Plated Box 2004 White Porcelain Bottle with Peony Scroll Design in Underglaze Cobalt-blue 2005 Ten-panel Folding Screen of Roof Tile and Brick Inscriptions by Oh Sechang 2005 Ancient Hieroglyphic Characters “Eo” (魚; fish), “Cha” (車; chariot), and “Ju” (舟; Boat) by Oh Sechang 2006 Phyllite Stele of Vishnu 2007 Mithuna Figure 2008 Gray Schist Figure of a Bodhisattva 2014 Sutra Box Decorated with Inlaid Mother-of-pearl 2018 Bronze Buddhist Niche
Gilt-silver Avalokiteshvara H. 8.0 cm W. 5.2 cm (bottom) Bronze Buddhist Niche Goryeo Dynasty, late 14th century H. 13.5 cm W. 13.0 cm
a valuable item showing the origin of paintings of the Assembly on Vulture Peak, called Yeongsanhoesangdo, that were popular during the latter half of the Joseon Dynasty. The figure of Avalokiteshvara that was handed down with the niche shares many stylistic elements with the small bronze figures from the Goryeo period that were made under the influence of Chinese Yuan and Ming Dynasties. Judging from the fixtures inside and the size of the bodhisattva image, it is presumed that two of such images were originally enshrined in the niche. Scientific analysis has revealed that the lid, front, back, and doors are made of pure bronze while the bodhisattva is made of silver and plated with gold. The niche is relatively well preserved in
its original form, and thus sheds light on the development of metal niches, which first appeared in the Goryeo period. Since a bronze Buddhist niche of this kind can be seen as a miniature version of a temple, it is anticipated that this example will make a valuable contribution to the study of late Goryeo Buddhist art, metal craft techniques, and architectural style. The niche will be shown to the public for the first time in a special exhibition planned for December 2018 at the NMK to mark the 1100th anniversary of the foundation of the Goryeo Dynasty.
2018 SPRING 35
NEWS
Donation by the Friends of the National Museum of Korea Celadon Inkstone China, Southern Dynasties H. 5.1 cm
The Young Friends of the Museum (YFM) that donated a bronze Buddhist niche to the National Museum of Korea in January this year is a group affiliated with the Friends of the National Museum of Korea (FNMK) and is comprised of young business leaders who love Korean culture. Through voluntary payment of membership fees and contributions, YFM has been providing support for the diverse programs of the NMK since its foundation in 2008, particularly playing an important role in the donation of cultural artifacts. The Goryeo period bronze Buddhist niche that the group donated was originally in the possession of Ichida Jiro, a doctor in Daegu during the Japanese colonial period and collector of ancient artworks. After Korea’s liberation from Japanese colonial rule, Ichida Jiro’s family took the niche to Japan, and some 30 years ago it was purchased by an antiques dealer. Upon hearing that the niche was in Japan, the YFM began a fund-raising campaign for its purchase. This donation comes on the 1100th anniversary of the foundation of the Goryeo Dynasty and is especially significant in that the niche, of which the existence was only known through glass dry-plate photographs at the NMK, has returned to Korea. The FNMK have donated 18 items (58 pieces) on ten occasions to the NMK, beginning with a celadon inkstone in 1989. These continued donations have enhanced the diversity of the museum’s exhibitions and contributed to promoting public interest in making donations and contributions to the museum.
Ten-panel Folding Screen of Roof Tile and Brick Inscriptions by Oh Sechang 1925 Ink on paper Each panel 123.5 × 29.0 cm
36 NMK
Gray Schist Figure of a Bodhisattva India, Gandhara Kingdom, 2nd–3rd century Stone H. 115.0 cm
PUBLICATION ISBN Korean 978-89-93518-39-9 English 978-16-35190-09-0 Japanese 978-89-93518-48-1 Chinese 978-89-93518-49-8
ISBN 978-89-93518-46-7 Language Korean, Japanese
Language Korean, English, Japanese, Chinese
Permanent Exhibition Catalog The National Museum of Korea published a revised permanent exhibition catalog last year. The English, Chinese, and Japanese language versions of the catalog were also published at the same time this year, which means the catalog is now available in four languages. The Permanent Exhibition Hall, comprised of six galleries and fifty rooms, houses a vast collection and the catalog will serve as a useful guide for visitors. The book is divided into six sections according to the six galleries: Prehistory and Ancient History, Medieval and Early Modern History, Calligraphy and Painting, Sculpture and Crafts, Asian Arts, and Donated Works. It includes photos of the major works along with detailed explanations. All the explanations were written based on the verification and research by curators specializing in each field.
Scientific Study of Gilt-bronze Pensive Bodhisattva Images from Korea and Japan This report represents the outcomes of a joint research of the NMK and Osaka University between 2009 and 2012. Besides the traditional approach of analyzing the sculptural style and iconography, scientific analysis was also carried out using cutting-edge equipment. Covering 12 gilt-bronze pensive bodhisattva images preserved in Korea and 31 images in Japan, the report provides an explanation and photographs of each sculpture along with other materials such as analyses of materials, gamma-ray photos, X-ray CT images, and 3D photos that will enhance the reader’s understanding of the subject. It also includes three articles written by members of the research team from the NMK and Osaka University to promote new study of the gilt-bronze pensive bodhisattva images.
ISBN 978-89-8164-170-94910
ISSN 2005-1115
Language Korean
Language English
Korea through Western Eyes This book contains 75 articles on Korea published in popular newspapers and magazines in the United Kingdom, the United States, and France between the late 19th century and the early 20th century. They show how 14 major publications such as the Illustrated London News, Harper’s Weekly, and Le Petit Parisien dealt with major incidents in Korea. The articles are accompanied by photos that vividly convey the situation at the time. This book is the second in the series to cover the Korean Empire period, following the publication of the National Museum of Korea’s Collection of the Korean Empire: Volume I.
Journal of Korean Art and Archaeology Vol. 11 The eleventh volume of the series that presents the latest scholarship in Korean art history and archaeology has been published. The journal aims at sharing information on Korean traditional culture with an international audience. This volume carries four articles on white porcelain of the Joseon Dynasty, which is the topic of focus for this volume. Also included are articles on tombs of the Silla Kingdom, Buddhist temple architecture from the Joseon Dynasty, 18th-century portrait painting, and the White Porcelain Cup and Stand with Inlaid Grass and Flower Design and “Taeiljeon” inscription in the NMK collection. 2018 SPRING 37
NEWS
Tenth Meeting of East Asian National Museum Directors The tenth meeting of directors of the national museums of Korea, Japan, and China was held in January this year. More than ten years have passed since the establishment of a consultative body, at the suggestion of the National Museum of Korea, consisting of the directors of the national museums— the National Museum of Korea, the Tokyo National Museum, and the National Museum of China—in order to strengthen cooperation, friendship, and exchange among the three countries. Over the years, the three museums have each established foreign language web site services including Korean, Japanese, and Chinese, and carried out exchange in many areas including collection research, personnel exchange, academic publishing, and sharing of information on museum operation and protection of cultural heritage. At this year’s meeting, the museum directors discussed ways to present online joint exhibitions by the three countries held so far, topics for joint research and academic seminars, and mutual exchange in publishing and museum education programs. In addition, they exchanged views on cooperative projects in various areas such as protection of cultural heritage, cultural marketing strategies, and sharing of UNESCO-related strategy directions.
Oegyujanggak Uigwe Online English Service Begins From the start of 2018, the National Museum of Korea has been providing English-language service on the Oegyujanggak Uigwe website (www.museum.go.kr/uigwe). Users can now view and search basic materials in English, including an overview of the books called Uigwe, which are records of state events, bibliographic information, details of each book, including illutrations. As most of the Uigwe from the Oegyujanggak (an annex of the royal library established on Ganghwado Island) were viewed by the king, the paper used, covers, script style, and illustrations were of the highest standard, making the records an important cultural treasure representing the highest level of art in East Asia at the time. In addition, four Uigwe copies from the reign of King Yeongjo r. 1724-1776, 21st monarch of the Joseon Dynasty, are on display on the first floor of the Permanent Exhibition Hall of the NMK. The contents cover Yeongjo’s coronation as crown prince and wedding ceremony and reflect his efforts to strengthen the authority of the throne. Access to the Joseon Dynasty Galleries in the permanent exhibition is free all year round, and the Uigwe on display there are replaced with other Uigwe copies every three months. 38 NMK
Display of the Portrait of Kang No The Portrait of Kang No was put on display at the NMK in December 2017. Purchased by the Overseas Korean Cultural Heritage Foundation through an American online auction, the painting features Kang No 1809–1886, great grandson of the famous 18th-century literati painter Kang Sehwang 1713–1791. The ink inscription reveals that the portrait was painted in 1879 to mark the subject’s 71st birthday. Rare for a 19th-century portrait, the figure is sitting in a chair, depicted realistically while conveying the subject’s noble character and spirit. The NMK owns the portraits of five of Kang No’s ancestors—Kang Mincheom, Kang Hyeon, Kang Sehwang, Kang In, and Kang Io. With Kang No’s portrait, the portraits of six members of the Eunyeol lineage of the Kang clan from Jinju have been gathered in one place. The NMK is planning an exhibition based on these six paintings to be held in August in the Painting and Calligraphy Gallery.
Portrait of Kang No Joseon Dynasty, 1879 Ink and color on paper 60.7 × 47.0 cm Acquired in 2017
Tiger Picture Books at the Children’s Museum To commemorate the Olympic Winter Games PyeongChang 2018, an exhibition of picture books featuring tigers is under way at the Children’s Museum at the NMK through May 31. The tiger appeared time and time again in old Korean tales, from the myth of Dangun, founder of the Korean nation, and the exhibition has been arranged to show various aspects of the tiger: ferocious beast of prey, foolish beast, and symbol of valor. Children and their parents can take part in a range of activities such as reading picture books, looking at original tiger paintings and craft works, or shaking the bells attached to a tiger’s tail. This tiger-themed exhibition brings together texts and pictures, people and animals, children and adults, and provides a learning experience for the whole family.
2018 SPRING 39
EDUCATION
Participants decorating lacquered Olympic medals with mother-of-pearl and making their own special Olympic souvenirs
“ Decorating Olympic medal using mother-of-pearl” program by the National Museum of Korea
Participants making air fresheners with plaster prepared by the Chuncheon National Museum
40 NMK
Let’s Enjoy the Art of Korea By E ditorial Team / With Goh Unyong, Project Coordinator, Chuncheon National Museum and Woo Souyeon, Museum Educator, National Museum of Korea
The PyeongChang 2018 Olympic and Paralympic Winter Games have come to a close after a long march of 27 days. From the beginning, these Olympic Games were designed to be a cultural celebration with “culture every day.” While spectators and athletes from around the world lost themselves in the excitement of winter sports inside the stadiums, outside diverse cultural events took place to add to the enjoyment of the global community’s greatest festival of ice and snow. To promote the culture and natural environment of Gangwon-do, where Pyeongchang is located, the National Museum of Korea and the Chuncheon National Museum organized cultural experience programs in conjunction with Yeocho Kim Eung Hyun Calligraphy Museum, Woljeongsa Temple Museum, and the Museum of Ancient Asian Woodblock Prints at Myeongjusa Temple. Under the title “Let’s Enjoy the Art of Korea,” the five museums together presented ten different programs. The venue was the Korean Traditional Culture Center in front of the Olympic Stadium, where the opening and closing ceremonies were held, and visitors there had the opportunity to come into contact with Korean culture. The NMK ran two hands-on programs, one for making rubbings of traditional designs engraved on bronze plates and one
for decorating a lacquered Olympic medal using mother-of-pearl. The Chuncheon National Museum’s program offered a chance to make a plaster air freshener using plant and animal motifs found in paintings and a notebook decorated with auspicious motifs, which proved popular among those looking for a special souvenir from Olympics to take home with. The Yeocho Kim Eung Hyun Calligraphy Museum organized activities where participants could try their hand at calligraphy and then put their work on a mug or pictures they sent in. Visitors also had the chance to decorate an eco bag stamped with woodblocks. Traditional paper hanji, or a scarf with traditional woodblock prints of sehwa, New Year paintings made to wish for good luck, under programs were given by the Museum of Ancient Asian Woodblock Prints at Myeongjusa Temple. Also popular were the activities run by the Woljeongsa Temple Museum that involved the use of black scratch paper to decorate postcards with Buddhist symbols found on items at Woljeongsa Temple or decorate a doorplate in the shape of the Bronze Bell of Sangwonsa Temple. Whether a simple ten-minute program open to everyone or a half-hour program run on a reservation basis, all the handson activities were enthusiastically received
by visitors, who said these were a wonderful opportunity to get a taste of Korea’s history and traditions. Towards the latter half of the Olympics period, when news of the programs had spread, the number of people wanting to take part grew and waiting lines formed outside the Korean Traditional Culture Center. The programs requiring advance booking were often full and many people unfortunately had to be turned away. Throughout the entire Olympics and Paralympics period, the number of participants in the cultural experience programs reached 17,614. For the athletes and their families, International Olympic Committee members, local residents, and tourists from the other side of the world, the Korean Traditional Culture Center was a place not to be missed. Foreign visitors coming into contact with Korean culture for the first time found the activities fun and intriguing, and were pleasantly surprised to find that they were for free. For the NMK and Chuncheon National Museum, the month-long sojourn away from home to work in cooperation with three museums in Gangwon-do, was meaningful in that the cultural programs were a way of promoting Korean traditional culture to the world and giving unforgettable memories to visitors who came to enjoy this special winter festival.
2018 SPRING 41
SPECIAL EXHIBITION
Nomadic Empires of the Mongolian Steppes APRIL 27 - JULY 15, 2018 SPECIAL EXHIBITION GALLERY NATIONAL MUSEUM OF KOREA
