National Museum of Korea: Quarterly Magazine, vol.44 by National Museum of Korea

Quarterly Magazine

VOL.44 SUMMER 2018

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

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Quarterly Magazine VOL.44 SUMMER 2018

EXHIBITIONS

COLLECTIONS

ACTIVITIES

02 Current

13 New Treasure

31 Museum Scene

500 Years of the Joseon Dynasty Maps

Silver-gilt Floral Cup with Stand

06 Current

14 Art and Stories

El Dorado: The Spirits, Gold, and the

Shaman

Seonbi, Spending the Summer in Elegant Pursuits

32 Focus Joseon: The Movable Type Dynasty 36 Exhibition A Gathering of the Three Buddhas:

10 Interview

20 Season’s Heritage

Buddhist Hanging Scroll at Yongheungsa

Discovering Korean and Mongolian History

Ox-horn Craft: A Blend of Free-wheeling

Temple

through Cultural Heritage

Patterns and Gorgeous Colors

38 News & Publication 40 Education

AFFILIATED NATIONAL MUSEUMS

24 Current

A Journey of Healing through Artworks in the Collection

Hwangryongsa Temple 28 Current The Gaya Kingdom: Archaeological Artifacts Found in Jeollabuk-do

Cover Mother and son stopping in front of the Stele for Master Wollang from the Wolgwangsa Temple Site

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 July 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)

CURRENT

500 Years of the Joseon Dynasty Maps By Baik Seungmi, Associate Curator of the Exhibition Division, National Museum of Korea

National Museum of Korea August 14 - October 28, 2018 The NMK presents a special exhibition celebrating the unique features of early maps that are missing in the precise maps of the present day.

Territorial Map of the Great East, Korea (Daedongnyeojido) Joseon Dynasty, 1861 By Kim Jeong-ho 30.2 × 20.1 cm (1 volume, 22 books)

Where am I now? What is the shape of this land that I call home? In order to answer questions you will probably open up a map. From mountains rising high into the sky to oceans spread over a vast expanse and villages of densely clustered houses, all the features of the three-dimensional world around us are arranged on a flat piece of paper waiting to be read. Although the approach and goals may be different, maps produced throughout history and up until the present day present the space and time around us as well as the answers to various questions about our lives and our society all within a small bounded area. The exhibition 500 Years of the Joseon Dynasty Maps examines the special appeal of maps as a genre and the traces of human activity hidden within. The various different styles of early maps on display reveal historical traces of how people of a certain period viewed the world, their many values and desires, and even their personal and communal anxiety about engaging with the world. Fig.1 The first part of the exhibition starts with stories related to the sense of “space” in maps. Different kinds of maps including maps of the world, maps depicting countries, maps outlining borders and foreign regions, and astronomical maps reveal a great deal about spatial awareness and how the Joseon Dynasty perceived the world. Visitors can see how Joseon positioned itself within the East Asian world order as the rightful guardian of civilization. In addition, the maps also reveal the process of integrating knowledge of an entirely different world introduced through western civilization. The original Joseon map Honil gangni yeokdae gukdo jido (Ryukoku University collection, Japan) produced in 1402, the geographical knowledge that it conveys about Europe as perceived through the lens of the Chinese Yuan Dynasty as well as Africa and India makes it one of the most extraordinary records in the world. Maps such as Cheonhado that depict oceans and continents within a circular composition representing the sky are typical maps that reflect the way in which Joseon

Fig.1 Map of Korea (Haejwa jeondo) Joseon Dynasty, mid-19th century 60.6 × 105.0 cm

people perceived the world. The map Joseon bangyeok jido from the early Joseon period reveals how Joseon understood the land within its territory and precious works such as Map of Frontiers West and North of Joseon (Seobuk pia yanggye malli illam jido), Map of Japan (Ilbon yeodo), and Map of Liaddung (Yodong jido) provide insight into the way in which Joseon attempted to understand other countries beyond its borders. The second part examines how the concept of “time” is conveyed in certain maps. Over time, many traces of the passage of time accumulate in the space of life. People even say that space itself is the embodiment of time. The tradition of recording history in maps has been an ever-present feature of the East Asian

approach to geography and it is especially prominent in the case of the Joseon Dynasty’s maps. Even the names of certain maps such as Comprehensive and Synoptic Map of the Ancient and Modern Joseon (Cheonha gogeum daechong pyeollamdo) that represents the outside world as it was perceived at the time, or the Complete Map of Joseon (Joseon paldo gogeum chongnamdo), reveal how maps convey the passage of time. Key features of the historical landscape such as particular historical information or the line of succession between kings, show how the character of history is recorded through the representation of visual images. The third part examines how maps reveal desires and ideals related to the notion of the “human.” All of the various 2018 SUMMER 03

values that human society strives to achieve such as the desire for enlightened rule, a strong national defense, and the effort to establish a peaceful and prosperous society can be found in maps. Figs.2 and 3 From detailed maps that outline plans for administration and national defense to painted maps that attempt to realize ideal models in reality, maps serve to relay a great deal of information about human desires and ideals in a single work. The final part of the exhibition entitled “map chronicles” examines the development of Joseon maps through representative examples of maps made by some of the most important map producers of the period. Following in the footsteps of the innovations in geography during the Goryeo Dynasty, tracing geographic information was considered an important aspect of governing the country in the fifteenth-century Joseon. This spurred a rapid expansion in knowledge of geography and the production of new maps of the entire nation that formed the basis for future developments in map making. In the aftermath of the two major foreign

Fig.2 Map of Jangjin, Hamgyeongdo (Jangjin jido) Joseon Dynasty, 18th century 77.0 × 116.0 cm

Fig.3 Map of Mujang County in Jeolla-do (Jeolla-do mujanghyeondo) Joseon Dynasty, 19th century 154.0 × 112.5 cm

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incursions in the sixteenth and seventeenth centuries the Joseon Dynasty’s map-making underwent groundbreaking developments, spurred on by an increased demand as the population was attempting to come to terms with the harmful effects of war. Not only were maps used for administrative purposes and national defense but the number of ways in which maps were used also greatly expanded, giving rise to new maps of mountains and temples as well as individual districts. In addition, the advent of large-scale map arrangements gave way to major new developments in maps of the entire Korean Peninsula. Starting with Jeong Cheok and Yang Seong-ji who established the foundation of the Joseon Dynasty’s map production and the maps produced by the Office of Border Defense, or Bibyeonsa 備邊司 to the large-scale maps pioneered in the eighteenth century by Jeong Sang-gi Fig.4 and the highly detailed and beautiful administrative maps produced by Shin Gyeong-jun, and culminating in maps such as Cheonggudo and the Territorial Map of the Great East, Korea (Daedongnyeojido) by Kim Jeong-ho that represent the zenith of the Joseon Dynasty’s map-making, the development of map production mirrors the transformations occurring within Joseon society. The achievements of Kim Jeongho, most celebrated map-maker from the period, owe much to the development of Joseon geography and cartography in the eighteenth century. More than just one man’s passion, this achievement was the result of the contribution and support of many contemporary intellectuals who shared the common goal of overcoming difficulties and transforming society. This exhibition attempts to provide detailed answers to many key questions that peak our interest in the Joseon Dynasty’s map-making: Why did Joseon society require maps? What motivated the artists who created them? And also, how were they used in everyday life? These early maps, though light in color, serve to guide our way to a new and deeper understanding of Joseon society.

Fig.4 Complete Map of the Eastern Country, Korea (Dongguk daejido) Joseon Dynasty, 18th century By Jeong Sang-gi 272.7 × 137.9 cm Treasure No. 1538

2018 SUMMER 05

CURRENT

El Dorado: The Spirits, Gold, and the Shaman By Oh Seeun, Associate Curator of the Exhibition Division, National Museum of Korea

National Museum of Korea August 4 - October 28, 2018

The NMK presents an exhibition on South American civilization in its special exhibition gallery in six years after Maya 2012 Mexico, which was preceded by The Great Myth and Mystery of Peruvian Civilization: Inca held in 2009.

Fig.1 Anthropozoomorphic (bird-man) Pectoral 900–1600 Gold 16.5 × 13.3 × 2.1 cm

Fig.2 Muisca Golden Laft 600–1600 Gold 19.5 × 10.1 × 10.2 cm

Fig.3 Textile Applique in the Form of a Feline-man with Hanging Plates 100 BCE–400 CE Gold 9.2 × 12.8 cm

The term “El Dorado” is literally translated as “the golden man” in Spanish, but it was later used to refer to a “land of gold.” The legend of El Dorado, a city entirely constructed from gold, was enough to entice many Spanish explorers arriving in Colombia to pursue their conquest of the New World in the sixteenth century. Many explorers competed to discover El Dorado and their intense ambition caused no end of suffering to the people of the New World. Eventually, in 1536, Gonzalo Jiménez de Quesada discovered the region inhabited by the Muisca indigenous people of the Chibcha ethnic group (present-day Bogota area). After observing a chieftain decorated with gold ornamentation and an emerald palanquin, the Spanish explorer set out to plunder all the gold he could find. However, the explorers were disappointed to find that the buildings in the area were made from dirt and not gold and they pursued the Muisca all the way to Lake Guatavita where it was known that the chieftain painted himself entirely in gold and made gold votive offerings during a ritual

ceremony. They tested the lake water for gold but found that it was only dark mud. This pursuit of gold extended all the way to the early twentieth century but El Dorado continued to remain elusive to treasure hunters. The legend of El Dorado regained attention in 1969. This was the year when three farmers discovered a Muisca Golden Laft in a cave in the region of Lake Guatavita. The exquisitely ornamented golden model suggests that the chieftain entered into the middle of the lake in order to conduct a ritual ceremony. Fig.2 Following this discovery, El Dorado once again began to draw worldwide attention. This exhibition, organized in cooperation with the Museum of Gold in Colombia, provides a unique opportunity to explore the significance of El Dorado in world history and to discover how gold functioned in the society of the Muisca indigenous people. The true meaning of El Dorado is found in the ritual life of the Muisca people and the four parts of this exhibition attempt to recreate the glory of this past golden 2018 SUMMER 07

Fig.4 Anthropo-zoomorphous (bat-man) Breastplate 900–1600 Gold 9.5 × 11.9 cm

Fig.5 Lime-flask in Fruit Shape 700–1500 Gold 16.7 × 8.6 cm

Fig.6 Anthropomorphic Male Figure 600–1600 Pottery 17.5 × 12.5 cm

civilization. The first part of the exhibition “The revival of El Dorado” and the second part “Assimilating with nature” present everyday objects including earthenware pots and gold accessories such as the textile applique in the form of a feline-man with hanging plates Fig.3 that reflect the lifestyle of the Muisca people. In particular, a batshaped pendant reveals how the Muisca perceived humans as just one of the many parts of nature and their reverence for animals as humans in a different form. Skilled goldwork in Colombian indigenous society developed to an exceptionally high degree. Metalwork started to develop in around the first century BCE and Colombia emerged as the center of South American metallurgy during this period. The exceptional level of workmanship and aesthetic charm of these productions haven’t lost their appeal even in the present day, and their incredible beauty puts them in a category all of their own. This practice of gold working was taken up in social groups governed by a chieftain and rapidly developed into a highly sophisticated skill through the affirming structures of society. The third part of the exhibition “Transformation through the shaman” examines how gold jewelry functioned in the transformation of one’s identity during shaman ritual and how it was used to enhance the prestige and authority of the sacred chieftain. Figs.4 and 7 The gold

ornaments held religious significance for the indigenous people in that they symbolized the sacred ideal at the very heart of their society. Fig.1 The final part of the exhibition “Meeting with the gods” focuses on a figure of the chieftain decorated with facial and body tattoos and demonstrating the supernatural strength endowed to him through the consumption of the coca plant. Besides, it presents votive offerings and ritual objects to help visitors understand how the Muisca indigenous people considered gold as an important tool for moving into the afterlife and thus offered golden tunjo figurines to gods in order to secure the destiny of their souls. Figs.5 and 6 In today’s society, most people think of gold as a sign of wealth or a tool for exchanging goods. However, for the Muisca indigenous people gold did not serve as an object of greed but rather as a votive offering for gods and a tool for living in harmony with nature and achieving good fortune for one’s spirit. In order to better understand the values of the Muisca indigenous people, visual images are displayed alongside the artifacts in the gallery. By viewing contemporary images of indigenous life as well as images of Muisca historical sites and the surrounding environment, visitors can fully imagine the inner world of these fascinating people and their time.

Fig.7 Anthropomorphic Votive Figure with Ornaments 600–1600 Gold 12.2 × 3.0 cm

2018 SUMMER 09

INTERVIEW

Discovering Korean and Mongolian History through Cultural Heritage By the Editorial Team / With Gelegdorj Eregzen, Principal Researcher, Institute of History and Archaeology of Mongolian Academy of Sciences

Long Encounter of 18 Years Gelegdorj Eregzen joined the National Museum of Mongolian History in 2000. But he had no time to research his area of specialty, ancient history, and the Xiongnu people since the first excavation site he was dispatched to was South Korea. Under the Mon-Sol Project, a collaborative research project by Korea and Mongolia, the NMK has been carrying out excavation work with various institutions in Mongolia. When Eregzen first stepped on Korean land, the project was in its early days and everything was unfamiliar to him—not only the language and culture but also the way excavation work was carried out. For 18 years now, he has been traveling back and forth between Mongolia and Korea. In the early days, he never imagined that his connection with Korea would last for so long. Now, as head of the Mongolian side of the Mon-Sol Project, he is in charge of excavations, symposiums, special exhibitions, and publication of research results. Traces of Mongolia Discovered by the NMK Some three years into his work on the MonSol Project, Eregzen began studying for his Ph.D. degree at Seoul National University. Being a frequent visitor to Korea, he had become accustomed to the culture and decided Korea was the best place for him to 10 NMK

continue his studies. Fortunately, he also had the opportunity to undertake research at the NMK for five years; so while living in Seoul the first place he headed every morning was the museum. Considering his area of specialty, at the NMK Eregzen first set out to find a point in ancient Korean history that corresponded with the Xiongnu Empire, and this turned out to be the Nangnang (Ch. Lelang) period. But despite its importance in Korean history, Eregzen ran up against a dearth of materials on the subject. Through his research, he discovered not a few traces of Mongol influence on the Nangnang culture. Nangnang tombs, for instance, were built in a way similar to Xiongnu tombs. Moreover, many of the grave goods found inside the tombs were related to the Xiongnu in some way. Though Nangnang is known to have been a commandery under the Han Dynasty of China, the Xiongnu also had considerable influence, a point that continues to attract Eregzen’s interest. Nangnang was not the only trace of Mongolian culture that Eregzen found at the museum. The gold crowns and gold belts of Silla Kingdom are very similar to those worn by the Mongol nomads. The pendant ornaments on golden belts may have been transmitted from the Mongol nomads to the aristocrats of the Tang Dynasty and then to the people of Silla Kingdom. As yet there is a lack of evidence

to support this theory, but Eregzen is planning to write an essay on this subject some day.

The Extraordinary Gilt-bronze Pensive Bodhisattva The item at the NMK that Eregzen finds most remarkable is the Gilt-bronze Pensive Bodhisattva. Located in the Buddhist Art Gallery on the third floor of the Permanent Exhibition Hall, the figure with the right leg resting on the left knee, head bent forward with one finger of the right hand lightly touching the cheek, and lost deep in thought is an unforgettable sight. The smile playing around the lips, the expression on the face that makes the figure look alive, the soft folds of the robes, and the delicate movement in the hands and feet—the expression is so ideal that Eregzen marvels every time he sees the bodhisattva. Special Exhibition Duties Eregzen’s latest visit to Korea was made for a rather special reason. That is, he is serving as advisor for a special exhibition jointly organized by Korea and Mongolia to mark the 20th anniversary of the Mon-Sol Project. Involved in the exhibition Nomadic Empires of the Mongolian Steppes from the planning stage, Eregzen designed a display that would properly show the culture of the nomads. While the most common image associated with the Mongolians is vast

Gelegdorj Eregzen looking at a saddle and stirrup in the special exhibition gallery

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organized in the absence of any decree on overseas exhibition, which meant the whole process was full of complications. However, thanks to the special exhibition in Korea standards have been put in place for exhibition of Mongolian cultural heritages outside the country. Some of the exhibits are so rare and precious that they are not readily shown even to the Mongolian public. These include the Gold Diadem excavated from the Bilge Khaghan complex and Fabrics Embroidered with Human Image. Eregzen’s acquaintances and fellow researchers realized the value of these items, and the great interest excited by the exhibition attracted 12,000 visitors within the first week.

Gelegdorj Eregzen looking at the Gilt-bronze Pensive Bodhisattva, National Treasure No. 83

green plains, Eregzen dreamed of putting together an exhibition that would promote better understanding of the Mongol people and their culture and history. Hence a great number of items, including statedesignated treasures, were gathered for the exhibition, which was made possible by the trust built up between Korea and Mongolia while working together for 12 NMK

the past two decades. Over the last ten years, almost no exhibitions on Mongolia have been held outside the country, and naturally an overseas exhibition dealing with the country’s history and culture from prehistory to modern times is unprecedented. Although Mongolia amended its laws regarding protection of cultural heritage, this exhibition was

Future Tasks Many excavations have been carried out under the Mon-Sol Project and will continue in the future. After the opening of the special exhibition, Eregzen returned to Mongolia to resume work on the excavation of Xiongnu tombs at the Durling Nars site. Based on experience accumulated over many years working with Korean researchers, Eregzen said, scientific and modern excavation methods have been established in Mongolia as well. The ultimate outcomes of the Mon-Sol Project will be as immense as the time the two countries have worked together. As part of the Mon-Sol Project, Eregzen hopes to see the construction of a dedicated exhibition space. He believes that the day will come when the results of the project will become widely known among the Mongolian people with the related items filling the exhibition hall.

NEW TREASURE

Silver-gilt Floral Cup with Stand

This cup and stand both have a foliated shape composed of six rounded petals made of silver and coated with gold. The petals do not feature smooth oval shapes unlike lotus petals, but their expression suggests that they are lotus petals rather than peony petals. The cup and stand offer a glimpse into the lives of the Goryeo aristocracy who would have recited poems while gazing at this shining floral cup filled with liquor.

Goryeo Dynasty, 12th century H. 12.3 cm Treasure No. 1899

ART AND STORIES

Seonbi, Spending the Summer in Elegant Pursuits By Song Hyejin, Professor, Sookmyung Women’s University

The first day of the fourth lunar month, commonly considered the start of summer, was called Cheonghwajeol 淸和節, meaning “clear warm day.” It was a way of celebrating the season of warm, clear weather when fragrant grasses grew in profusion. It was before the onset of the hot and humid season, a time when the winds were fresh and pleasant and nature was lush and green. The Confucian scholars of the past, called seonbi, spent these days enjoying poetry, calligraphy and painting, and playing the geomungo (sixstringed zither) in beautiful natural surroundings. Yi Inmun, a court painter of the Joseon Dynasty, once painted the scene of scholars gathered at a pavilion by a beautiful stream, spending the day gracefully by playing the geomungo and looking at works of art. The inscription on the painting reads “Cheonghwajeol in the gyeongjin year.” In later times, people called this painting Elegant Gathering at a Pavilion or Four Worthy Scholars Playing Elegantly. The inscription describes the scene of “a number of old pine trees, and a clean, fresh breeze blowing through the valley,” and also describes the actions of the four people depicted: “two people sitting before the wide open

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Fig.1 Jisangpyeondo Joseon Dynasty By Kang Sehwang Private collection

doors looking at paintings,” “the person who has put down his geomungo and is leaning against the railings, resting,” and “the person sitting down and reciting a long poem.” Reading through the lines we can almost feel the “swish of the breeze blowing through the pine trees,” “the dung, dung sound of the zither,” and “the long drawn out melody of the poetic song.” This is painting of the sounds of early summer. Fig.2 Another painting of music played in early summer is Danwondo by Kim Hongdo. It shows people of like mind, regardless of social rank or class, gathered together to enjoy music, art, and poetry, those elegant pursuits called pungnyu in Korean. On a day when the lotus leaves are green in the pond under the shade of a paulownia tree, Kim Hongdo greets friends who have come from far away. He prepares a liquor table for them and urging them to drink, he picks up the geomungo and begins to play. One guest moves his hand to the melody, and another guest leans against a pillar, his fan caught mid-air, as if he is lost in the music. Though time may pass the elegance of such early summer occasions is not forgotten. The artist Kim Hongdo, seen in the picture playing the 2018 SUMMER 15

Fig.2 Elegant Gathering at a Pavilion Joseon Dynasty By Yi Inmun National Museum of Korea

Fig.3 Danwondo Joseon Dynasty By Kim Hongdo Private collection

geomungo, memorialized in this picture the friend waving his fan after that he had passed away, writing “Cheonghwajeol” on the painting to note the season. At the turn in seasons when spring gives way to summer, the scholars of the past would open the doors wide and revel in the early summer warmth reciting poetry, writing calligraphy, looking at paintings, and playing music in the midst of nature. Fig.3 In the fifth and sixth months of the lunar year, the scholars would go on a “pungnyu retreat” to escape the heat of the dog days of summer. One of the most memorable related records is the description of a musical affair written by a scholar as the foreword to an old musical score titled Joljang mannok. One summer day the author heard the blind man Yun Donghyeong playing the gayageum (twelve-stringed Korean zither) and was instantly captivated. On the spot he asked Yun to go with him to a small island in the southern part of Goheung peninsula and spent the summer there listening to him play the zither. In later years, the scholar wrote down the score of the music he had heard that summer and added a preface to it. One part reads: “Escaping the cares of the world and listening to him play the gayageum and sing as I lean against the window of this house in the mountains, the breeze through the tall straight pine trees disperses as the sound of ten thousand flutes so that the performer and the listener forget the built-up weariness of the world and effortlessly reach the state of self-effacement.” Though such days cannot be enjoyed by all, this piece of writing is wonderful for the way it gives the feel of a retreat focused on elegant recreation. Fig.7 Another painting shows the scene of a retreat all on one’s own. It is the work of Yi Jaegwan. Titled Afternoon Nap, it shows a scholar lying down and falling asleep with books piled up around him and his geomungo laid aside after putting the strings in order. It is the middle of a summer day, with no danger of anyone coming to knock on the door. The scholar takes an afternoon nap as he listens to the sound of a bird twittering as it sits on a swaying pine branch. A young servant is making tea with water from the spring and under the shade of the pine tree a white crane waits for the scholar to wake up and play the geomungo. When the boy calls out that the tea is ready the scholar will probably get up and wake himself and clear his mind with a hot cup of tea, then tune the geomungo to play a melody—dung, dung. Fig.6 On days when the heat was so great that it was hard to stay inside, people would go and sit under a pine tree in the woods or by the riverside and enjoy the sounds of nature borne by the breeze through the pine trees and the wind off the river. With the intention of playing some music after a bit of reading they would carry the geomungo with them, but once they were sitting by the stream under the pine tree the sound of the wind and the water

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Fig.4 Woman by a Lotus Pond Joseon Dynasty, 18th–19th century By Shin Yunbok Color on silk 29.7 × 24.5 cm National Museum of Korea

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Fig.5 Celadon Maebyeong with Inlaid Design of an Old Man Playing the Musical Instrument Goryeo Dynasty H. 30.9 cm D. 5.1 cm (mouth) National Museum of Korea

Fig.6 Afternoon Nap Joseon Dynasty By Yi Jaegwan Ho-Am Art Museum

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were just like music. Why bother playing music, they would think, and forgetting about their instruments would sit and gaze at the water. There are many paintings that depict scholars in such a scene including Watching the Water Under a Pine Tree, Figures Under a Pine Tree, and Playing the Zither Under a Pine Tree. Such paintings bring to mind a poem: “To play the geomungo is hard for my hand hurts; I hang the strings on the pine tree; the wind blowing through them is good to hear.” This is an example of pungnyu enjoyed all on one’s own, when one doesn’t really have to do anything at all. Fig.5 Another elegant summer pastime of scholars was looking at lotus blossoms. The lotus was considered the most virtuous among all flowers and was hence a favorite with scholars. Every summer, scholars would make their regular visit to a lotus pond to enjoy the blossoms. At home, they made a small lotus pond in the yard and at dawn listened to the flowers opening with their “peok, peok” sound. On rainy days they loved to listen to the raindrops falling on the leaves. The poet Jeong Cheol, penname Songgang, wrote a poem that cannily expresses the sound of the geomungo harmonizing with the sound of rain falling on lotus leaves: “Plucking the middle string of the geomungo for notes high and low; The water breaking out of the icy stream now seems to sing; And rain falls on the lotus leaves in harmony.” It is said the scholars would slowly stroll by the lotus pond on a moonlit

summer night and enjoy the subtle lotus scent that infused their ramie sleeves, displaying wonderfully heightened sensibilities. Looking at the lotus blossoms in the pond during the hottest days of summer was considered a way of cleansing the mind stained by the mundane world. However, a somewhat louder form of enjoying the lotuses was widespread. The custom of beating the heat by drinking all night and day was called hasageum 河朔飮. On such occasions the liquor was drunk in a special way, that is, by taking a large lotus leaf for a liquor cup. The liquor was poured into the leaf and, using a hair rod, a hole was made to connect with the hole in the stem through which the liquor was imbibed. The lotus stem would curve like the elephant’s trunk and for this reason the lotus leaf was called the “elephant cup.” Looking at the Listening to the Zither by the Lotus Pond or Woman by the Lotus Pond painted by Shin Yunbok and thinking about this way of drinking liquor in this elephant cup, the lotus pond covered with lotus blossoms comes across as something rather special. Fig.4 Behind the lofty idea of cleansing the mind are the charms of a bout of merrymaking. The more we examine the various ways the scholars spent their summer days, from the onset of the season to the end of the dog days, who tried so hard to make memories, beat the heat, or forget about it by indulging in elegant and artistic forms of recreation, the more exquisite they seem. Fig.1

Fig.7 Gayageum Photo © Korean Traditional Instruments and Music, National Gugak Center

2018 SUMMER 19

SEASON’S HERITAGE

Ox-horn Craft: A Blend of Free-wheeling Patterns and Gorgeous Colors By Hwang Jihyun, Curator of the Exhibition Division, National Museum of Korea

“Glance at an Ox-horn craft, and you may get the impression of a clownish grin or perhaps a shy blush. Examine the colors and patterns of these playfully inviting craftworks and you may find yourself taken aback in wonder at such vibrant energy and selfless enjoyment.” From Ox-horn Craft (1975) by Choi Sunu 1916–1984 who devoted his life to informing the public about the nature and essence of Korean aesthetic beauty

The ox-horn craft, called hwagak gongye 華角工藝, is a type of decorative arts for wooden objects. Bulls are normally dehorned at the age of three, and the best horns are straight. The horn is peeled into paper-thin sheets, steamed until it can be flattened, and trimmed to make regular-sized rectangles called gakji 角紙 (horn paper). The design is painted on the reverse side in mineralbased paint; the horn sheets are set into the surface of wooden articles, and the design appears through the translucent horn material. Depending on the size of the article, dozens of horn sheets may be inlaid over its surface. The techniques employed in this craft are unique to Korea; they cannot be found in any other Asian country. It is unclear when or how the craft began, but the decorative painting of thinly sliced turtle shell 玳瑁伏彩 is known to have existed as early as Unified Silla 668–935, suggesting that the tradition of ox-horn craft is also very old. The oldest extant articles decorated with painted ox-horn date back to the eighteenth century, during the late Joseon Dynasty. 20 NMK

Ox-horn was also a material used in Joseon to produce horn bows for military use; therefore, the supply was controlled by the state. However, the Joseon Dynasty enjoyed a long period of peace after the Imjin War in the 1590s and the two Manchu Invasions in the early seventeenth century; military demand for ox-horn decreased, and the material became more available for use in craftwork. Moreover, the Joseon Dynasty was an agriculture-based society, and in peacetime the state as well as the common people were intent upon raising cattle as work animals. Thus, circumstances became favorable for the ox-horn craft to spread throughout the country. Meanwhile, economic recovery in the late Joseon Dynasty prompted commoners of means to seek higher social status and enjoy the things of high culture. These things included the handicrafts used by the upper class such as ceramicware, lacquerware inlaid with mother-of-pearl, and wooden furniture. Thus, the ox-horn craft was also able to flourish within such a social environment. Most of the items inlaid with painted oxhorn were used in everyday life in the Joseon Dynasty: needle cases, spools, rulers, and other sewing implements; mirror stands, comb boxes, combs, and various small items found in vanity sets. Smaller furniture pieces such as ham 函 (lidded boxes) and sock storage chests were also so adorned, while the jang 欌 (single-piece dressers) and nong 籠 (wardrobes with separate stacked units) that were decorated with painted ox-horn were smaller than usual. Oxhorn was applied to some items for men such as the handles, caps,

Boxes with Ox-horn Ornament Joseon Dynasty, 19th century 34.1 × 21.8 × 24.3 cm Boxes decorated with painted ox-horn were often about this size in the late Joseon Dynasty, but those used in the palaces were at least twice as large. They were mainly produced to serve as ladies’ hope chests.

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Brush Container with Ox-horn Ornament Joseon Dynasty, 19th century H. 12.5 cm Ox-horn crafts painted with a yellow background were uncommon. The ox-horn was not inlaid in one panel at a time; rather, it was wound around as a single large piece and set into the wood. The depicted animals all carry auspicious meanings, and this item is unusual because the animals are arranged in pairs.

or holders for writing brushes as well as decorative pieces attached to the base of a fan; however, the craftwork was mainly reserved for things used by women in the home. The color scheme when painting the ox-horn was based on the directions in the Five Phases (Kr. ohaeng 五行; Ch. wuxing) theory, namely red 赤 (south), azure 靑 (east), yellow 黃 (center), white 白 (west), and black 黑 (north). The background is usually red, but sometimes yellow. The patterns or designs are presented in various tones, which at first glance appear to be the primary colors but on closer inspection turn out to be intermediate hues. That is, the artisans blend multiple paints together so that a single finished piece will show a diverse color range. Moreover, the gakji upon which the designs have been painted would yellow slightly over time, softening color intensity. These factors help ox-horn craft, which are usually hard to harmonize with surrounding objects due to their strong colors, create a soft and luxurious mood. Since so many different motifs can be found in ox-horn craft, it is difficult to enumerate them all; overall, however, they express wishes for good fortune and can generally be put in either animal or plant categories. The former includes deer, tigers, turtles, 22 NMK

girin 麒麟 (mythical beast similar to a unicorn), lions, cranes, and phoenixes, while the latter features peonies and lotuses. The images may also impart a Taoist or Buddhist connection such as a young boy depicted riding on the back of a deer or turtle. In this sense, the ox-horn craft from the late Joseon Dynasty indicates the preferences of the people of means who enjoyed such pieces and can offer some insight into the contemporary social atmosphere. The designs on the individual horn paper stand alone, but the composition can be complex, and ox bone filament is inlaid to serve as a kind of border between each sheet to provide a tidy visual effect. On the one hand, the image artistry may elicit a silly or humorous effect, while on the other hand, the borderlines contrast sharply with the background color to give some semblance of organization and impart balance and order overall. Some say that the Joseon Dynasty craftworks are not as technically sophisticated or visually spectacular as those produced in other East Asian countries during the same period. However, hwagak, a craft unique to the Joseon Dynasty, is both simple and gorgeous, imparting a beauty that appears elegant but not flamboyant. Moreover, these pieces serve as excellent examples of the diversity of colors and designs enjoyed by the Joseon people.

Sewing Rulers with Ox-horn Ornament Joseon Dynasty, 19th century L. 53.3 cm (maximum) Half of the ruler is subdivided into five one-chi parts, with a floral design filling each interval; detailed measurements are not indicated. The other half is decorated with the image of a long dragon shrouded in clouds.

Fine-toothed Bamboo Combs with Ox-horn Ornament Joseon Dynasty, 19th century L. 7.5 cm (maximum) After a coarse comb has been run through the hair, this comb is used to arrange the hair neatly. It is small enough to fit in a hand, but a decorated center post has been placed among the teeth to provide a point of reference.

Comb Box with Ox-horn Ornament Joseon Dynasty, 19th century 24.0 × 24.0 × 20.5 cm This box is designed to store combs, pins for parting hair and cleaning combs, and other hair care items. The wide border of the drawers built into the lid and front sets this piece apart from the typical boxes decorated with painted ox-horn.

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CURRENT

Hwangryongsa Temple By the Editorial Team / With Lee Yonghyeon, Associate Curator, Gyeongju National Museum

Gyeongju National Museum May 25 - September 2, 2018

Exhibition area featuring an ornamental end tile from the main roof ridge of Hwangryongsa Temple

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The Gyeongju National Museum sheds new light on Hwangryongsa Temple in a special exhibition of treasures excavated from the temple site.

Votive Offerings from the Foundation Stone of the Nine-story Wooden Pagoda of Hwangryongsa Temple Unified Silla

As part of its permanent exhibition, the Gyeongju National Museum prepared a room featuring some 100 items excavated from the Hwangryongsa Temple site. For the special exhibition Hwangryongsa Temple, this display has been greatly expanded to give an overview of related research from the perspectives of archaeology, art, architecture, and history. Notably, the historical accuracy of the exhibition has been enhanced through three rounds of investigation by a team of seven specialists. Based on 30 years of research, including architectural study of Hwangryongsa Temple by the National Research Institute of Cultural Heritage, items excavated from the temple have been newly interpreted and hence the Gyeongju National Museum event can truly be called the first and largest special exhibition on Hwangryongsa Temple. To help visitors gain a clearer understanding of what they are looking at, every Thursday afternoon, the museum offers special tours by the curators in charge. The largest temple of the ancient Silla Kingdom, Hwangryongsa Temple existed

from the mid-sixth century to the first half of the twelfth century. Featuring around 700 of the 40,000 items excavated from the Hwangryongsa Temple site, the exhibition sheds new light on the Silla’s culture, history, architecture, Buddhism, monarchy, and society. Part 1, titled “The Imperial Dragon Appearing at the Palace,” expounds on the name “Hwangryong,” which stands for the center of the universe and all that is finest. Literally, the name means “imperial dragon,” a yellow dragon that symbolizes the king. Hwangryongsa Temple, constructed as part of the overall design of Gyeongju as the royal capital, was indeed the finest Buddhist temple of Silla. This part of the exhibition features photographs, notes, and a range of other documentary materials on the numerous excavations carried out at the temple site. The highlight of the special exhibition is Part 2, “Nine-story Wooden Pagoda, a Symbol of National Defense.” Here a large screen has been installed to show a video running 8 minutes and 20 seconds featuring a computer graphic recreation of the supposed appearance of the Nine-

Notes of the excavations carried out at the Hwangryongsa Temple site

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Engraved Gilt-bronze Plaques from the Nine-story Wooden Pagoda of Hwangryongsa Temple Unified Silla, 872 Gilt-bronze 22.5 × 94.0 cm Treasure No. 1870

story Wooden Pagoda of Hwangryongsa Temple. In addition to the video, there is a display of objects excavated from the space underneath the foundation stone of wooden pagoda. Engraved Gilt-bronze Plaques from the Nine-story Wooden Pagoda of Hwangryongsa Temple (Treasure No. 1870), a document giving details on the history and reason for its construction as well as its repair and the management of such a project is highly valuable for research on Hwangryongsa Temple. Part 3, “Mystical Symbol, the Sixteenfoot Buddha,” brings together the Buddha images discovered at the temple and the relics excavated from the temple halls. Hwangryongsa Temple had a unique structure of three main halls, each called Geumdang (Golden Hall), and the treasures yielded by them are displayed in this part of the exhibition. The principal icon of the temple was a giant Buddha that would have stood 3.79 meters high (roughly 16 feet). It was burned down by Mongol invaders and no longer exists. To give visitors a sense of the great size of the image, a silhouette of the Buddha has been attached to the wall of the gallery. In addition, models of 26 NMK

the surfaces show that the Hwangryongsa Temple Bell, which was 4.14 meters high, was even bigger than the Divine Bell of King Seongdeok, another famous temple bell from the Silla period. Through visual presentation of basic information, such as height and size, the exhibition tries to impart a sense of the grand scale of Hwangryongsa Temple. Part 4, “Daily Life at the Temple,” explores the everyday lives of the people who lived at the temple through the display of such objects as roof tiles, clay sculptures, gilt-bronze items, glass, and earthenware. Along with lanterns that lit up the night, humble pieces of pottery, and

other items that tell the story of daily life, there are others that reflect the majesty of the state-sponsored temple including a large jar standing 85 centimeters high, an ornamental end tile from the main roof ridge, called mangsae, 182 centimeters high, lavishly decorated green-glazed bricks, and roof-end tiles, called sumaksae, featuring various designs. The special exhibition brings together items that have been excavated over the years from the Hwangryongsa Temple site, giving visitors an idea of the grandeur of the temple that no longer remains, while the various installations convey the ambience of the temple in its time.

Sarira Reliquaries Unified Silla

A display themed “Nine-story Wooden Pagoda, a Symbol of National Defense” in Part 2 of the exhibition

Visitors gazing at the silhouette of the Sixteen-foot Buddha on the gallery wall

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CURRENT

The Gaya Kingdom: Archaeological Artifacts Found in Jeollabuk-do By the Editorial Team With Jung Jisub, Assistant Curator, Jeonju National Museum

Jeonju National Museum April 24 - August 26, 2018 The Jeonju National Museum and Daegaya Museum joined hands to organize a special exhibition that brings together the results of excavations that have been carried out from the 1980s to date at Gaya sites located in Jeollabuk-do.

Cylinder-shaped Vessel Stand excavated from the Ancient Tomb in Wolsan-ri, Namwon

Gilt-bronze Crown Ornament 5th century L. 18.0 cm Excavated at Jisan-dong, Goryeong Daegaya Museum

Discussions of Korea’s ancient history have generally focused on the Three Kingdoms— Goguryeo, Baekje, and Silla. In the 1970s, the city-states known as Daegaya, Aragaya, and Geumgwangaya, which all together constituted what is referred to as the Gaya Confederacy, came to be known through the excavation of Gaya sites in Gyeongsangnam-do. This led to concerted efforts to restore Gaya’s history, but another Gaya city-state that existed in the eastern, mountainous part of Jeollabukdo continued to remain almost unknown. In 2012 the Jeonju National Museum held a special exhibition titled The Gaya Warrior of Unbong Highland, revealing to the public for the first time the traces of Gaya discovered in Jeollabuk-do. Six years later the museum is hosting another special exhibition on Gaya that presents outcomes of research on Gaya archaeological sites in Namwon, Jinan, Imsil, Jangsu, and other highland areas. The exhibition is composed of five parts. Part 1, “Gaya in Jeollabuk-do Unveiled,” focuses on the artifacts that attest to the forces that shared Gaya culture and had presence in the Jeollabuk-do region. One of the most notable items on display is the Cylinder-shaped Vessel Stand featuring an openwork patterns of triangles and squares, which is characteristic of Gaya pottery. Part 2, “Gaya in Jeollabuk-do and Its Neighbors,” shows evidence of exchange between Gaya forces in Jeollabuk-do and its neighbors including Daegaya, Baekje, and Silla during the fifth and sixth centuries. Luxurious items and ritual objects, including iron armor, bronze mirrors, iron arrowheads, swords with ring pommel, and horse trappings that were designed to

Celadon Vessel with a Rooster Head 5th century H. 14.3 cm Excavated at Wolsan-ri, Namwon Jeonju National Museum

A display themed “With Mountains and Rivers” in Part 4 of the exhibition

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A display themed “Gathering Forces” in Part 3 of the exhibition

display the owner’s power and influence, hint at close mutual influences among neighboring states. Part 3, “Gathering Forces,” tells the story of the people who built hundreds of tombs in the eastern part of Jeollabukdo. The items excavated from a myriad of tombs in Imsil, Jinan, Jangsu, and the tumuli clusters of Wolsan-ri and Durak-ri show the magnificence of Gaya some 1,500 years ago. Part 4, “With Mountains and Rivers,” shows how the ancient Gaya people crisscrossed the Baekdudaegan mountain range, sometimes battling and at other times cooperating with neighboring powers, as they strove to consolidate their status as an independent entity. The Celadon Vessel with a Rooster Head is the ninth of its kind discovered in Korea and has an impressive look with its round body topped by a rooster head serving as the spout and bow-shaped handle. Part 5, “Leaving Traces Behind,” delves 30 NMK

into the way the Gaya polity in Jeollabukdo was absorbed into the Baekje and Silla Kingdoms. The findings from recent ground surveys including those related to the remains of some 70 signal fires and 150 iron foundries are highly interesting in that they are expected to offer clues to finding the connection between Gaya forces in this region with other Gaya city-states. For this special exhibition, the Jeonju National Museum produced panels that provide child-friendly explanations. The contents faithfully cover important points in Gaya history that are appealing to children, helping families get the most out of the exhibition. A three-minute video screening in the video room will enhance visitors’ understanding of Gaya culture. Showcasing a selection of Gaya relics excavated in the Jeollabuk-do region, the exhibition will continue through the second half of this year, moving on to the Daegaya Museum in Goryeong after the end of the show in Jeonju.

Bronze Mirror Baekje Kingdom, 6th century D. 17.8 cm Excavated at the Tomb of King Muryeong Gongju National Museum National Treasure No. 161

MUSEUM SCENE

A group of children crowd around a cabinet devoted to the display of a Silla gold crown and gold belt. With a serious look in their eyes they gaze at these objects, National Treasure Nos. 191 and 192, respectively, excavated from the North Mound of Hwangnamdaechong Tomb. They are engrossed in examining the upright ornaments of the crown, shaped like the branches of a tree linking heaven and earth, and the pendant ornaments on the belt in varied shapes such as a medicine case, fish, and curved jade pieces, which reveal to them the power and authority of Silla royalty.

FOCUS

Joseon: The Movable Type Dynasty By Lee Jaejeong, Curator of the Archaeology and History Division, National Museum of Korea

The National Museum of Korea held a theme exhibition titled Joseon: The Movable Type Dynasty between June 21 and November 13, 2016, and published a catalogue of the same name in conjunction with that event. This article aims to cast light again on this aspect of the NMK collection, which was made public for the first time by the abovementioned exhibition and catalogue. The curators in charge of the exhibition dedicated a decade’s efforts in studying the movable type before its public presentation, and published an accompanying catalogue to present rich content that failed to be fully covered in the exhibition setting. More than 820,000 pieces of movable type are in the NMK collection, the majority produced in the seventeenth and early twentieth centuries to be used by the Publication Office, called Gyoseogwan 校書館, and other agencies of the Joseon Dynasty responsible for printing books required by the state and the royal family. Copies of most of the books printed together with the movable types survive. The sheer volume of movable type pieces produced under state sponsorship in premodern times cannot be found in any other country. Indeed, the movable type collection at the NMK is the world’s largest of its kind. The catalogue consists of a prologue and eight chapters, each focusing on different themes, including the background of invention and significance of each movable type version, the beauty of individual fonts, and stories regarding movable type.

Fig.1 Metal movable type of five different font styles

The metal movable type pieces in the NMK collection total over 500,000 and come in six different hanja (Chinese character) fonts Fig.1 as well as two hangeul (Korean alphabet) styles. The number of wooden movable type pieces exceeds 300,000, of which more than 13,000 are for printing hangeul. The prologue of the catalogue includes images of the movable type pieces by category. The images introduced in the catalogue as well as on its cover are designed to illustrate the extensive NMK movable type collection as well as the beauty of the scripts the movable type produces. The Goryeo Dynasty was the first in the world to employ metal movable type, and the Joseon Dynasty carried on this tradition, with the state government taking the lead in casting the metal type pieces, many of which are extant. However, in-depth research on this topic has been lacking, and the development of

Fig.2 Imjinja, a metal movable type in the gabinja category that was invented when King Jeongjo was the grandson heir-apparent

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movable type has not taken on the same degree of importance in Korea as it has in the West. Indeed, the Korean tradition of movable type has been undervalued. Therefore, Chapter 1 of the catalogue starts by introducing the individual type styles and then explains the significance and volume of movable type casting in the Joseon period.

Fig.3 A page from a book that was printed using the jeongnija of metal movable type

Fig.4 The front and back of metal movable type pieces in hangeul from the 15th century

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The Joseon Dynasty embraced Neo-Confucianism as the state ideology, and the crown prince was required to read NeoConfucian classics and history texts in preparation for his governing role. After ascending the throne, the king had to continue reading texts in classical Chinese constantly, and scholars aspiring to become government officials also needed to read voraciously if they were to pass the civil examinations. Books were the foundation of Joseon governance, and each time the Joseon rulers needed books of one kind or another, the state would create millions of pieces of movable type. The use of copper movable type, which was expensive and technically demanding to produce, was reserved for publications that were to be read by the king personally or to be bequeathed to others in the king’s name. Thus, the copper versions symbolized royal authority and were treated as intellectual treasures. In presenting individual movable type varieties, this article gives special attention to the gabinja 甲寅字 and hangeul types. The gabinja was created in 1434, the gabin year, by the order of King Sejong the Great r. 1418–1450, who is remembered as the supreme sage-ruler. This typeface is covered at the very beginning of the Chapter 2 of exhibition catalog under the heading “Sejong Creates Joseon Dynasty’s Exemplary Typeface.” Joseon Dynasty’s first metal movable type was produced in 1403, the gyemi year, during the reign of King Sejong’s father, King Taejong r. 1400–1418. However, this gyemija 癸未字 failed to satisfy expectations in terms of output speed. King Sejong was intent on publishing many books in order to run the ideal form of civilian government. Therefore, he ordered the scholars of his day to find ways to improve metal movable type, and the gabinja was the result of this effort. When a new set of metal movable type was to be produced, the older ones were first melted down, and the original gabinja served as the stock for reproducing several other types. The gabinja in the NMK collection are the 185,000-plus pieces Fig.2 that have survived out of the more than 300,000 that made up two of the later sets, one used when King Jeongjo r. 1776–1800 was the grandson heir-apparent and the other after he ascended the throne.

Fig.5 A set of metal movable type for printing in hangeul

In addition to such textual details, the catalogue provides a close look at book pages printed with the movable type as well as the shapes of the pieces and the form of the individual syllable or character on each type piece. The images have been taken at multiple angles to provide a complete view. Chapter 3 introduces jeongnija 整理字, a refined set of movable copper type cast in 1796 during the reign of King Jeongjo Fig.3, who wished to model his government after that of King Sejong. Chapter 4 discusses sillokja 實錄字, a movable type produced specifically to print the Sillok, or the Veritable Records of the Joseon Dynasty, which are posthumous annals of each monarch. The sillokja used to print Hyeonjong sillok 顯宗實錄 in 1677 were produced by an influential family. Metal movable type stood for royal authority during the Joseon Dynasty and its production was a state monopoly, but this type set demonstrates that the tradition was not ironclad. Besides the sillokja, there are cases from the seventeenth century onwards where metal movable type was produced and used privately as well as where state-produced type was used for nongovernment projects. Examples provided in Chapter 5 include hanguja 韓構字, gyoseogwan inseocheja 校書館印書體字, and jeonsaja 全史字. Another category that receives special attention in the catalogue is movable type with hangeul, which is unique in the sense it cannot be found in any other country. Even though the hangeul never became the official written script of the Joseon Dynasty, the production of these type sets indicates that the government considered the needs of the common people in its publishing policy. Only some 750 pieces of metal movable type in hangeul Fig.5 are known to remain from the Joseon period, and around 30 pieces of them Fig.4 were used to print Buddhist sutras in the Korean vernacular in 1461. The importance of these pieces extends beyond their being in hangeul; they are tangible evidence of how movable type printing transformed during the Joseon period. In addition to the textual explanation, the catalogue offers illustrations that allow readers to view pages from books that were printed with the type pieces as well as to compare the font style and shape of two different sets of metal movable type for hangeul. 2018 SUMMER 35

EXHIBITION

A Gathering of the Three Buddhas: Buddhist Hanging Scroll at Yongheungsa Temple

A Buddhist Hanging Scroll at Yongheungsa Temple in Sangju, Treasure No. 1374, is on display in the Buddhist Painting Gallery on the second floor of the Permanent Exhibition Hall. The temporary exhibition, taking place from May 4 to October 28, marks the thirteenth installment of a series of yearly exhibitions of Korean Buddhist hanging scrolls that started in May 2006.

Buddhist Hanging Scroll at Yongheungsa Temple Joseon Dynasty, 1684 Color on hemp 1003.0 × 620.0 cm Treasure No. 1374 Hyeonwangdo Joseon Dynasty, 1806 Color on ramie 104.0 × 87.0 cm

Yongheungsa Temple, said to be founded by the Buddhist priest Jingam Hyeso 774–850 from the Unified Silla period, is located on the slopes of Yeonaksan Mountain in Sangju, Gyeongsangbuk-do. In the painting, a gathering of bodhisattvas, disciples, and spectators fill the entire painting surface of 6 meters wide and 10 meters long. The leader of this gathering is the main deity of our terrestrial world, the Buddha Shakyamuni and it is the brilliant rays of light emanating from his body that mark the beginning of the event. Flanking this central Buddha are the Medicine Buddha who oversees a pure land where the pain of illness is unknown and the Amitabha Buddha who rules a paradise filled with enjoyment. Worshippers pray to the three Buddhas for a long life without illness and a gentle and easy passage into paradise upon death. Among approximately 110 extant examples of Buddhist hanging scrolls, the painting from Yongheungsa Temple is one of the only five precious examples that depict these three Buddhas together. The painting was produced in the fifth month of 1684 by a large group of over ninety artisans. Considering the vivid and cheerful colors and awe-inspiring patterns, it is difficult to believe that the painting is hundreds years old. In particular the depiction of the lotus flowers and various other flowers and vines as well as the auspicious cloud designs that fill up every blank space in the large painting are especially delightful to the eye. This exhibition represents a precious opportunity to view this large-scale hanging scroll from Yongheungsa Temple that is usually only unveiled during large ritual events. Other works that have been stored alongside the hanging scroll such as the Wooden Statue of Arhat featuring an inimitable jocular expression, Host of Spirits depicting a gathering of deities as well as Hyeonwangdo representing the fifth king of the underworld, Great King Yeomna, will also be on display. Through this collection of artworks we hope that visitors will be able to experience the life-breath that has passed through Yongheungsa Temple for thousands of years. 2018 SUMMER 37

NEWS & PUBLICATION

Regular Rotation of Exhibits at the Calligraphy and Painting Gallery The Calligraphy and Painting Gallery presents three themed exhibitions one after another from April 10 to August 12. A selection of paintings of butterflies by Jo Huiryong 1789–1866 and Nam Gyeu 1811–1888 are shown at the Masterpiece Room while diverse paintings of birds and flowers display the beauty of blossoms at the Theme Exhibition Room 1. Album of Flowers by Shin Myeong-yeon 1809–1886 gives a delight to the eyes with its sophisticated colors and Folding Screen Painting of Bird, Flower, and Animals by Jang Seungeop 1843–1897 shows unrestrained dynamism. The Theme Exhibition Room 2 presents narrative paintings for lessons from historic figures. Joseon-period painters had a tradition of depicting anecdotes of wise kings and sages from ancient China and Korea. The paintings on display, which gave lessons to Joseon kings and scholars, will help us consider the meaning of those lessons from today’s point of view. Upcoming Exhibition Tentative title: Portraits of Five Figures of the Jinju Kang Clan Venue: Theme Exhibition Room 2 Period: August 9 – December 9, 2018 Number of exhibits: Approximately ten paintings including Portrait of Kang No

“Pear Blossoms with White Swallows” from the Album of Flowers Joseon Dynasty, 1864 By Shin Myeong-yeon Ink and color on Silk 33.1 × 20.0 cm

Publication Earth, Fire, Soul: The Masterpieces of Korean Ceramics ISBN 978-1-63519-010-6 | Language English

The NMK published Earth, Fire, Soul: The Masterpieces of Korean Ceramics, the tenth installment in the series of English-language exhibition catalogs designed to promote Korean culture to a wider public around the world. This catalog presents the special exhibition held in 2016 at the Grand Palais, Paris (April 27 to June 20) and at the State Hermitage Museum, SanktPeterburg (July 29 to November 6), which offered an opportunity to explore the rich world of Korean ceramic art. The catalog includes the images of approximately 190 works and is made for sale to allow easier access by readers outside Korea. It is readily available at offline and online bookstores including https://www.amazon.com. 38 NMK

The National Museum of Korea Concluded MOU with the Korea Culture Information Service Agency On May 10, the National Museum of Korea and the Korea Culture Information Service Agency concluded a memorandum of understanding for the success of the intelligent curating robot project. The museum will be provided with four robots named “curatingbot” in the second half of this year, with three to be operated at the National Museum of Korea and the other at the Naju National Museum. Equipped with artificial intelligence, the curatingbots are expected to raise the level of visitor satisfaction by providing collection information, floor guides, and explanations in foreign languages.

Study of the Oegyujanggak Uigwe, Royal Protocols of the Joseon Dynasty: Funerary Rites II Fourth installment in the series, this volume presents eight articles investigating the Uigwe records of funerary rites for royal family members. “Modification of the Coffin of King Hyojong r. 1649–1659 and Its Political Implications” examines the rigor with which funerary rites were conducted, and “Procedures and Expenditures for Funerary Rites for Crown Prince Hyomyeong in the Nineteenth Century” offers a glimpse into the expenditure structure of state finance of the time. The book presents many other significant research findings, including changes in the items recorded in Uigwe. The articles are available in PDF format at http://www.museum.go.kr/uigwe.

The special exhibition Nomadic Empires of the Mongolian Steppes Notice presented on pages 8 to 11 in the previous issue runs under changed schedule from May 15 to July 17 due to unavoidable circumstances of the hosting institution.

Museum Education Exposition The NMK held a museum education exposition at the Open Plaza from May 18 to 20. About thirty museums around the nation participated in the event, and the visitors had a chance to experience excellent education programs. The virtual reality presentation of cultural heritages located in North Korea and the lighting ceremony of 1887 at the Hyangwonjeong Pavilion in Gyeongbokgung Palace attracted adult visitors as well as children. The workshop for museum education laid a foundation for the sharing of information and cooperation among museum educators. 2018 SUMMER 39

EDUCATION

Program lecturer talking with participants in the Calligraphy and Painting Gallery

A Journey of Healing through Artworks in the Collection By the Editorial Team / With Woo Souyeon, Suh Jinseon, Museum Educators, National Museum of Korea and Yoo Mee, Program Lecturer (Art Therapist)

The National Museum of Korea has initiated a new program that provides emotional care and support through the experience of art appreciation. In the past, the museum has made numerous efforts to introduce various methods of appreciating art and getting the most out of the exhibition experience, but this is the first time that the method of art appreciation has been used as a way of providing healing care. After an exhaustive series of case studies, the education division at the NMK developed a program involving the artworks in the Calligraphy and Painting Gallery based on the tenants of art therapy. This program was initiated by a “Korean Culture Day” that was usually held once a month and out of 10 classes planned throughout the year, 4 special classes are scheduled between July and August when families crowd into the museum due to the summer vacation. 40 NMK

In order to fully accommodate artistic appreciation and therapy at the same time the program integrates two art therapy approaches: sketching for 10–20 minutes on a specific subject and discussing the experience of viewing paintings in the gallery. The participants may feel a strong resistance to actually picking up a pencil and sketching and may also be anxious about sharing their impression of an artwork out of fear that they might say something that is perceived as incorrect. However, this program is not concerned about how well you paint or your ability to analayze an artwork correctly. Rather, the basic purpose of the program is to help visitors explore their own personal thoughts, and anyone who is interested can apply on the museum website. At the start of the two-hour class that runs from 7 pm to 9 pm, the participants

receive a piece of paper in order to make a simple, diagrammatic sketch based on a specific subject chosen for the day. Completing this sketch based on one’s personal feelings before viewing artworks helps the participants become more aware of their current mental state that is generally hidden from view in the unconscious. The program lecturer helps the participants analyze their sketches and tell their current emotional state. It is interesting to observe how each person approaches the same subject in a different way and to analyze the emotions revealed through different modes of expression. This sketching exercise may allow to help remedy any negative emotions such as anxiety or a lack of self-confidence that surface in the process and to uncover certain positive aspects and the potential for creative expression that the participant was not aware of.

Participants talking about their impressions of the illustrations

After fully discussing the sketching exercise, the participants take their finished sketches with them into the Calligraphy and Painting Gallery. The lecturer moderates a discussion of the artworks and the participants share their personal impressions as they examine the artworks in detail. The experience of attempting to empathize with the artist and sharing one’s impression of artworks has been shown to be conducive to good mental health and healing. The more than twenty participants candidly share their experiences with one another, regardless of the fact that they are meeting each other for the first time. Although it is quite natural to feel anxiety in an unfamiliar situation and worry about the condition of one’s mental state, the majority of participants actively engage with the program driven by a strong desire

to overcome such anxieties. The artworks featured in the program change on a monthly basis and the methodology used in the classes changes accordingly. This is because different artworks can be used to access various different mental attitudes. In addition, the way in which the viewing experience can be tailored to the particular interests of the participant represents a pioneering approach to interacting with artworks that prioritizes the viewer over the art object. Today, people are not focused exclusively on other people as they were in the past; they are more interested in discovering themselves. Through this program participants will be able to experience psychologically healing results simply by better understanding themselves and their emotions.

The Five Moral Rules with Illustrations featured in the third class of the program

2018 SUMMER 41

SPECIAL EXHIBITION

EL DORADO THE SPIRITS, GOLD, AND THE SHAMAN

AUGUST 4 – OCTOBER 28, 2018 SPECIAL EXHIBITION GALLERY, NATIONAL MUSEUM OF KOREA