QUARTERLY MAGAZINE VOL.48 SUMMER 2019
QUARTERLY MAGAZINE VOL.48 SUMMER 2019
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We met a mother and daughter who had come to the museum together. They chatted as they
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Soban is individual dining table that was loaded with food in the kitchen and carried to the
walked along, but in the Kim Honghak Gallery
room where the meal was to be eaten.
and the Celadon Gallery their footsteps stopped
Ha Jihoon, who is gaining renown for his
at the same time more often. They have a
modern reinterpretation of traditional soban,
shared love of antique furniture and handcrafts,
is producing other tables, chairs, and cabinets
as special as their relationship with each other.
that incorporate traditional motifs.
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An exhibition that introduces the process of producing real scenery landscape paintings from the
perspective of the painter was opened. It featured a range of landscapes painted from real life by artists of the Joseon Dynasty who were active between the 17th and 19th centuries. Please experience the beauty of Korean real scenery landscape through the albums, fans, and folding screens.
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Anticipation is high for the first
CONTENTS
special exhibition in Korea to highlight the civilization of ancient
Etruria, one of the hidden gems of the Mediterranean. A cultural link between ancient Greece and Rome, the Etruscan civilization holds important clues for understanding the flow of Western history.
02 Yesterday and tomorrow The Easiest Way to Create Newness 08 Academic heritage The Birth of Prestigious Family in the Joseon Dynasty: A Look at the Jang-dong Kim Clan 12 Interview Walking the Flower-lined Path to the Museum Where History and Culture are Alive 15 From the collection 16 Current The Etruscans—Rising to Rome 22 Current Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea 26 Issue Festive Education Events at the Museum 30 Current New Storage at the Gyeongju National Museum: Treasure Trove of a Thousand Years 34 Current Wanju, Continuing the Legacy of Jeollabuk-do 37 Museum scene 38 News 40 Place and event Savoring the Scent of Pines along the Path through the Museum Garden
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Under this year’s Painting Festival theme of “My Favorite Cultural Treasure,” hundreds of
young students showed a fantastic display of imagination and spent a memorable day as they enjoyed the event held once a year in their own special way.
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, 2019
ISSN
2005 – 1123
Printed in Korea. Copyright © 2019 National Museum of Korea. Note to Readers The related information of image is given in the following order: title, period or produced date, artist, material, dimensions. Items from other institutions are classified by their collection names. www.museum.go.kr/site/eng/archive/ebook/all (PDF downloads available)
YESTERDAY AND TOMORROW
By Ha Jihoon, Artist
The Easiest Way to Create Newness
Fig.1 Hajok Lounge 2015 Aluminum and felt
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As an artist, the question that I am asked most often about my work is “Why do you work with tradition as your subject?” Perhaps it strikes people as unusual. It seems they are thinking, “Why tradition, when there are so many other things to work with?” Since I was a university student, I have had many opportunities to see handcraft and design exhibitions, but there was one that not only inspired me but actually shocked me. Titled Copy, it was a furniture exhibition on the theme of plagiarism that I saw when I was studying in Denmark. Danish chairs that are famous around the world and have an iconic place in the history of design were exhibited with dozens of copies. Among them, looking strangely out of place, was a Ming Dynasty chair. Right beside it was a piece called China Chair by the great designer Hans J. Wegner. As far as exhibition arrangement goes, it was placed where a copy might be, but the docent’s explanation cleared up this mistaken idea: “China Chair was inspired by the Ming Dynasty and many copies of it have been produced.” Unlike the copies of other chairs in the exhibition, Hans J. Wegner’s China Chair represented a “reflection of the times.” The rearrangement of proportions to suit contemporary life and infusion of modern sensibilities in the chair seemed, to exaggerate a little, like the transformation of Chinese tradition into something the designer’s own. To this day, I believe that the moment I saw the chair taught me much more than any formal education. Apart from the realm of the gods, the only type of creation that humans are capable of is to take something that already exists and make it look new. Human beings do not have the ability to create something from nothing. Hence, rummaging through the past for subject matter is a natural part of creative activity. When even people like Hans J. Wegner look back to another country’s tradition, shouldn’t we start by taking Korean tradition as a subject? Fig.4 Following that shocking exhibition experience, my work as an overseas student in Denmark was wholly focused on exploring the relationship between Korean tradition and the culture of other countries. Figs.1 and 5 I started to design furniture that would give Westerners the experience of getting up from their chairs and coming down to sit on the floor. A wonderful thing isn’t it, to give people a taste of Korea through a single
Fig.2 Dining Table Joseon Dynasty Wood H. 28.7 cm, D. 4 3.0 cm National Museum of Korea
Fig.3 Deoksugung Project 2012 Chrome-plated ABS Photo © Park Myungrae
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piece of furniture? Fig.6 Personally, the Korean traditional furniture item that I like best is the small portable dining table called soban. Figs.2 and 9 Clearly different from the tables of other cultures, it is a table made for one (that is, one table per person) that varies in form according to region—for example, the Naju soban table, Tongyeong soban table, and Haeju soban table—and has a beauty that surpasses simple beauty of form. So, when I finished my studies overseas the first person I sought out in Korea was the master craftsman Kim Chunsik, title holder of the National Intangible Cultural Heritage of soban making. As his son, Kim Yeongmin, who is training to succeed his father’s title, and I are both the same age so if we must make distinctions, the master is of my father’s generation. Unlike other tables of its kind, the Naju soban table is devoid of decoration and is exceptionally beautiful structurally. To ensure that the legs do not appear to be leaning inwards, they are carved to face outwards. Moreover, to enhance the strength of the table they are not made of several pieces joined together, as they appear, but are carved from a single piece of wood, a wonderful detail from today’s point of view. When I cautiously explained my idea to the master craftsman, who had spent his life making traditional tables, the unexpected reply was, “Let’s give it a try. Tradition has to be put through new experiments according to the times.” So, replacing lacquered table top made of gingko wood with a metal one with laser-cut openwork decoration, we made what could appear to be an abnormally long soban. One by one, we completed such pieces that were the “future of the past.” Fig.7 Deoksugung first served as the royal palace of Joseon when King Seonjo, who had left the capital during Imjin War, returned in 1593 and adopted the palace as his residence. In later years, Queen Inmok was confined at the palace and King Injo was coronated there. However, the palace was not occupied for centuries until Emperor Gojong proclaimed the Korean Empire in 1897 and made Deoksugung the imperial palace. It was here that Emperor Gojong was forced by the Japanese to abdicate and where he lived until his death. In 2012 “Deoksugung Project” was held with a series of contemporary art works that made use of the buildings and spaces of the palace, building on its rich heritage. I was
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Fig.4 Three-tiered Bookcase Joseon Dynasty Wood 62.0 × 37.2 × 133.0 cm National Museum of Korea
Fig.5 Gamjabi Cabinet 2016 Powdercoated steel and polycarbonate 35.0 × 90.0 × 150.0 cm
Fig.6 Jari 2000 Rattan 200.0 × 100.0 × 40.0 cm
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Fig.7 Ban 2005 Gingko wood and aluminum 32.0 × 4 3.0 × 24.0 cm
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commissioned to work with Deokheungjeon, the palace hall where Emperor Gojong received Japanese high officials and foreign envoys. Unlike other halls at the palace, such as Junghwajeon and Hamnyeongjeon, it was a richly decorated space with brilliant traditional painted patterns called dancheong. But considering Korea’s circumstances at the time, it was a fancy showpiece for a powerless leader, nothing more and nothing less. In this building I placed on the floor lumpy forms covered in chrome. These chrome-plated seats showed distorted reflections of the paintwork on the ceiling, deconstructing and presenting an inner view of the patterns. Sitting on the seats, one’s gaze naturally turns to the ceiling to appreciate the handicraft displayed there. Back in the old days, what would Emperor Gojong have been thinking as he looked up at the ceiling? Fig.3 The House of Woonkyung is a traditional tiled-roof house at the foot of Inwangsan Mountain where the statesman Lee Jaehyeong lived from 1953 until his death. Borrowed Landscape is an exhibition that is the combined work of the wellpreserved old house and the will of Lee Mihye, granddaughter of Lee Jaehyeong, to go beyond preservation and explores changes according to the times. As the title suggests, it is about borrowing and enjoying for a while rather than taking possession. Depending on the season and one’s state of mind, varied landscapes, living and vital, come inside the house. How beautiful is the thought of just borrowing, not owning them? Fig.8 In the process of exploring the past lived by Koreans, I was sorry that I failed to recognize its true value earlier and also felt a sense of guilt, as if I had picked and eaten a ripe fruit without permission. Tradition, a source for creation so readily available that one feels guilty about tapping into it, is right in front of our eyes. The problem is that it is so close we often fail to see it.
Ha Jihoon An artist who overlays traditional motifs with contemporary sensibilities, Ha Jihoon presents works that break the boundaries between art and industrial design. Graduating from the Department of Woodworking and Furniture Design at Hongik University and the Department of Furniture Design at the Royal Danish Academy of Arts, Ha was named a “Next Generation Design Leader” by the Ministry of Commerce Industry and Energy in 2009 and “Young Artist of the Year” by the Ministry of Culture, Sports and Tourism the same year. His works can be found in the collections of the Victoria & Albert Museum in England, Frankfurt Museum of Applied Arts in Germany, and the National Museum of Modern and Contemporary Art, Korea. As an active designer, Ha has worked on many experimental projects and held solo exhibitions and now teaches in the Department of Living Design at Kaywon University of Art and Design.
Fig.8 Borrowed Landscape 2019 Photo © Park Yuseon
Fig.9 Dining Table Joseon Dynasty, 19th century Wood 46.0 × 37.0 × 30.0 cm Manufactured in Naju, Jeollanam-do National Museum of Korea
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ACADEMIC HERITAGE
By Lee Kihyun, Associate Curator, Jeonju National Museum
Fig.1 Album of Nine-bend Stream of Gogun Compiled by the Jang-dong Kim Clan Green-jade Valley
Fig.2 Tomb of Namyeongun
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The Birth of Prestigious Family in the Joseon Dynasty: A Look at the Jang-dong Kim Clan
Fig.3 Album of Nine-bend Stream of Gogun Compiled by the Jang-dong Kim Clan Poem by Kim Sujeung
Yi Haeung 1820–1898, better known as Daewongun (Prince of the Great Court) or Heungseon Daewongun, wished to curb the political influence of the Jangdong Kim clan and restore power to the royal family; so in 1845 he moved the tomb of his father, Namyeongun (Prince Namyeon), to Gayasan Mountain in the Yesan area of Chungcheongnam-do. A geomancer at the time claimed that the site would “yield Emperors through two generations.” The tomb of Namyeongun rests on a towering hill nestled in the embrace of the Gayasan Mountain peak behind. The
location affords an unobstructed view to the south that reaches as far as Hongseong and Boryeong, which is ideal for a grave. The 2017 movie Myeongdang, starring Jo Seungu and Ji Seong, tells the story of how the dominant Jang-dong Kim clan and the Yi Haeung competed over the tomb site, which, they believed, had the power to alter their respective fates with regard to political power. Fig.2 The Jang-dong Kim clan is remembered for wielding great political influence in late Joseon, reaching as far as the throne itself. How did this happen? The clan was at the height of its glory at the
time when its members were known for their fidelity to principle, Neo-Confucian learning, and masterful literary style—all the virtues necessary for being part of the scholar-official class in Joseon. Here is a look at how the Jang-dong Kim, a clan of scholars from the provinces, managed to emerge as a highly honored family in the capital. The Jang-dong Kim clan, a branch of the Andong Kim clan, resided in the Andong region of Gyeongsang-do for generations. In the fifteenth century, Kim Gyegwon became the first member of the Jang-dong Kim clan to move to
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Fig.5 Monument to the Loyalty of Kim Sangyong Incheon Metropolitan City Monument No. 35 © Cultural Heritage Administration
Fig.4 Map of the Capital, Detailed Map of the Great East Depicted with Jang-dong, Sunhwa-bang, Buk-bu, Hanseong-bu
Fig.6 Baegundong from the Album of Paintings on the Eight Scenic Views in Jang-dong Joseon Dynasty By Jeong Seon W. 29.5 cm, L. 33.1 cm
the capital, Hanyang (now Seoul). He lived with his sons in Jangui-dong (now Samcheong-dong), and they became part of the literati society in the capital. From this time, they became known as the Jangdong Kim clan rather than the Andong Kim clan. Figs.4 and 6 The scholarship and artistic achievements of the Jang-dong Kim clan flourished after its member began marrying a member of the reputable Dongnae Jeong clan. Once Kim Geukhyo 1542–1618 became the son-in-law of Jeong Yugil 1515–1588, he was allowed, at the young age of 28, to join gatherings of Joseon’s leading scholars of the day, including Yi Hwang 1501–1570, Yi I 1536–1584, and Yu Seongryong 1542–1607. Kim Geukhyo’s sons, Kim Sangyong 1561–1637 and Kim Sangheon 1570–1652, were able to study under famous scholars, thanks to Jeong Yugil’s influence. Their maternal grandfather was also a renowned calligrapher, and they 10
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Fig.7 Nogajae’s Travelog to Beijing Written by Kim Changeop © Kyujanggak Institute for Korean Studies, Seoul National University
inherited his artistic skills as well. When the Joseon Dynasty was invaded by the Manchus in 1636 and 1637, the Jang-dong Kim clan gained credentials for remaining loyal to the Ming cause. Kim Sangyong set himself on fire after the Manchu forces took Ganghwado Island, and Kim Sangheon refused to submit to Manchu authority even after being held in harsh confinement in Manchuria for six years. Joseon scholars praised the two brothers as paragons of virtue during times of great turmoil. Fig.5 Kim Sangheon’s grandsons Kim Sujeung 1624–1701, Kim Suheung 1626–1690, and Kim Suhang 1629–1689 all maintained the same strict political positions as had their forebears had done, and they were sent into exile repeatedly as a result. Kim Suhang was forced to take poison while in exile, and before death, he left these final words to his six sons: “Do not strive for high posts in government; concentrate
on learning, instead.” Heeding these words, his sons all devoted themselves to scholarship and art, and they led the blossoming of literati culture in the seventeenth-century Joseon Dynasty. The clan members took great pride in this legacy of fidelity to principle, NeoConfucian learning, and masterful literary style, which bonded them closely together. Figs.1 and 3 Jang-dong Kim clan members were intensely interested in the seventeenthcentury international situation. They managed to lead literati society in the Joseon capital because they accepted new ideas and things, within the scope permitted by the prevailing worldview of the time. They traveled to Beijing as part of official embassies, exposing them to new academic trends and providing the wherewithal to respond appropriately to social changes. Fig.7 However, in the early nineteenth century repeated marriages
between the Jang-dong Kim clan and Joseon royal family transformed the clan into the most powerful group of royal inlaws. The Jang-dong Kim clan members then lost their flexibility in thinking and proceeded to act in the way typical of politically influential families. The process through which the Jang-dong Kim clan grew, advanced, and emerged as a political force closely resembles the way in which things rise and fall in history. Viewing the artworks left behind by the Jang-dong Kim clan members provides an opportunity to reevaluate their legacy.
Life and Culture of the Jang-dong Kim Clan in the Seventeenth Century ISBN : 978-89-8164-190-0 Language : Korean and English
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INTERVIEW
By the Editorial Team / With L ee Keumrye, Housewife and Kwon Jinhee, Staff of the DMZ International Documentary Film Festival
Walking the Flower-lined Path to the Museum Where History and Culture are Alive
THE PRIZED MUSEUM GARDEN
The benches placed here and there through the garden of the National Museum of Korea are wonderful places to sit and look at the scenery for a moment on a sunny day as fresh breezes blow. Lee Keumrye, familiar with the charm of the garden, comes here every spring and autumn. Although there are many different ways of coming to the museum, Lee recommends the bus for anyone who wants to really
enjoy the garden. Getting off the bus upon hearing the announcement, “The National Museum of Korea, where history and culture are alive,” you can revel in the walk toward the front entrance through the lovely garden that presents a different aspect every time. Lee loves flowers and every time she visits the museum she makes sure to take a photo in the garden. The NMK garden filled with verdure and beautiful flowers of myriad colors are as
generations, Lee and Kwon often notice a cultural gap between them, but they treat each other with great consideration and easily move back and forth from being the ideal mother and daughter to the best of friends. THE OLD HABIT OF VISITING THE MUSEUM
A mother and daughter looking around the Donated Works section
meaningful and precious to Lee as any cultural treasure. MOTHER AND DAUGHTER, ALIKE IN MIND
Lee has three daughters, but she finds herself spending a lot of time with her youngest, Kwon Jinhee. The eldest is a missionary who lives overseas while her second daughter is busy raising young children. When her eldest daughter last
visited Korea in 2014, the whole family came to the NMK to spend the day together exploring the special exhibition Pompeii: Culture of the Ancient Roman City. Though a lot of time has passed since then, Lee fondly recalls that day whenever she comes to the museum. Walking around the museum with her daughter Kwon Jinhee on a fine day, talking about this and that, is something she finds so relaxing. As they belong to different
After working at a foundation providing support for documentary production, Kwon Jinhee is now employed at the office of the DMZ International Documentary Film Festival. When foreign directors come to Korea to shoot a documentary or take part in a workshop she is often asked to recommend a half-day tour. As she sometimes accompanies them, she tends to suggest her favorite spots, such as the museum or one of the old palaces of Seoul and is gratified when the visitors are satisfied. When she has occasion to give gifts on overseas business trips or travel she heads for the Museum Shop without hesitation. The cultural goods in the shop are diverse and of high quality, so there are few better places to buy gifts for foreigners. Kwon makes a point of visiting local museums and art galleries when she travels to other countries. The chance to see cultural treasures she has never seen before and learn about countless historical stories and places makes it worth the effort of finding time and going the extra miles. In Seoul, it is easy to put off a visit to the NMK under the knowledge that she can go anytime. She adjusts her visits according to her situation: when pressed for time she may head straight to the item that she wants to see and leave soon after, spending less than half an hour at the museum, and when there is a special exhibition that she has been waiting for she takes her time and explores at leisure. THE JOY OF APPRECIATING CERAMICS
To enjoy the museum to the full, Lee Keumrye goes on weekdays when the place is less crowded. One place she makes sure not to miss is the Celadon Gallery on the
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chrysanthemums. When Lee visited the National Palace Museum in Taipei she was captivated by the Jadeite Cabbage, a lifelike representation of a cabbage head in jade, and thought about it constantly. Likewise, these days the image of the celadon box is in her head all the time. Every time Lee comes to the NMK, the mere sight of one piece in particular makes her happy. It is the Blue and White Porcelain Jar with Plum, Bird, and Bamboo Design (National Treasure No. 170). The jar standing about 15 centimeters high features a pair of birds sitting on top of a plum tree and below it a cluster of wildflowers. The harmony achieved by the design on the body and the lid is exquisite. Painted with a brush rather than carved or stamped on the surface, the design reveals the artist’s skill in depicting the subject. Lee is always amazed that a jar made by the finest artisans of the Joseon Dynasty can be seen right in front of her eyes hundreds of years later. ANTICIPATION AND EXCITEMENT IN DAILY LIFE
One of their plans spending whole day together exploring the museum within this summer
third floor of the Permanent Exhibition Hall. Her favorites change on each visit, and she finds herself lingering in front of the display to inspect them closely. As she loses her heart to each piece, she ends up falling in love with everything in the ceramics on display. These days she is enamored with the Celadon Box with Inlaid Chrysanthemum Design. Nothing could be more beautiful than this piece, so small that it can be held in one hand, decorated all over the body and lid with 14
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Of a curious nature and fond of travel, Lee Keumrye plans to explore new places and go farther afield with her daughter Kwon Jinhee. Lee has been swimming for years and says it is the secret to her health. Also, her scope of activity grows as she socializes with others in the same swimming group. On Wednesdays and Sundays Lee has church choir practice and takes part in various programs at the church’s senior academy. Thanks to her good health, she is not tired in the morning even if she goes out all week. So, when her daughter suggests an outing she readily assents. On summer days when it is too hot to go outside she likes to come to the museum and roam around the cool interior, where there are plenty of places to rest among the exhibition rooms. Sometimes, an exhibit that she had not really noticed before attracts her attention and the anticipation of discovering something next time that she may have missed this time makes her feel happy.
FROM THE COLLECTION
Twelve Falls from the Album of Sea and Mountains Twelve Falls 隱僊臺望十二瀑, one of the 25 paintings in the Album of Sea and Mountains, contains the character mang 望 in the title, which means “to look towards,” along with the name Eunseondae, which tells us that Eunseondae Cliff is the point from which the falls are being viewed. Eunseondae Cliff is depicted in the foreground on the right-hand side while the middle ground has been omitted and the falls depicted in the distance. The mountain peaks and cliffs on the left and right in the foreground are painted in dark ink, while Birobong Peak in the center and the twelve falls twisting and turning as they flow down are painted in light ink. Clouds and mist are placed between the foreground and background, giving a sense of distance and enveloping the far mountains and waterfalls in a sense of mystery. This painting is going to be on display as part of the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea.
Joseon Dynasty, 1816 Painted by Kim Hajong, written by Yi Gwangmun Ink and color on silk 27.2 × 41.8 cm (painting) 37.9 × 53.4 cm (album)
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CURRENT
By Noh Heesook, Associate Curator of the Exhibition Division, National Museum of Korea
The Etruscans—Rising to Rome
JULY 9 – OCTOBER 27, 2019 NATIONAL MUSEUM OF KOREA This special exhibition introduces Etruscan culture and history to Korean visitors for the first time. The exhibition utilizes a variety of multimedia devices to examine the peculiarities and mysteries of Etruscan civilization from many different perspectives.
Entrance to the exhibition rooms with giant screen videos featuring various aspects of Etruscan civilization
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A chariot on display in Part 3
Mirror with Turms (Mercury) and Two Female Divinities Second half of the 4th century BC Bronze Volterra, Museo Etrusco Guarnacci
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The Etruscans were an ancient civilization that thrived mainly in the central and northern regions of the Italian Peninsula. First appearing in the age of Villanovan culture in around the tenth century BC, the civilization lasted for nearly a thousand years, expanding from early settlements in the area of present-day Tuscany in central Italy to the region of the Tiber river. Etruscan remains have been found as far north as the Po valley and in Campania in southern Italy. The Greeks referred to the Etruscans as “Tyrsenoi” or “Tyrrhenoi” and they appear in Latin texts as “Tusci” or “Etrusci.” Throughout their long history, the Etruscans were considered the most religious, creative, and artistically inclined people in the Mediterranean region. They traded extensively across the Mediterranean Sea
and actively engaged in the arts, sports, architecture, and religion. In preparation for the special exhibition The Etruscans—Rising to Rome, the National Museum of Korea has loaned 300 artifacts from the National Archaeological Museum of Florence, Guarnacci Etruscan Museum of Volterra, etc. This marks the first time that Etruscan artifacts and culture will be featured in a major exhibition in Korea. The name Etruscan may not be familiar to many Koreans but in the context of world history, the Etruscan civilization preceded Rome and had an enormous impact on the development of Roman culture. The present exhibition focuses on Etruscan myths and histories and is divided into five parts. Part 1 provides a general introduction to the Etruscans.
Cluster Earrings 4th century BC Gold Firenze, Museo Archeologico Nazionale
Cinerary Urn with Couple Making the Journey Together End of the 2nd century BC Alabaster Volterra, Museo Etrusco Guarnacci
Gallery displays explain the geographical orientation to the Etruscan region as well as historical background and illustrate the development of ancient cultures on the Italian Peninsula. Part 2 addresses the subject of “Religion in the Etruscan Culture.” The Etruscans adopted the Greek practice of polytheism and incorporated Greek gods into their religious pantheon. In fact, they were so religious that the gods were manifest in almost every aspect of Etruscan life. In addition to the gods adopted from the Greek pantheon, the Etruscans also worshiped indigenous deities that developed out of their native culture. The exhibition provides an introduction to the Etruscan gods and shrines as well as background on votive offerings and ritual practices. Since there 19
Cinerary Urn with Vanth and Charun Accompanying a Dead Person 2nd century BC Alabaster Volterra, Museo Etrusco Guarnacci
Kylix with Dionysian Cortege Last decades of the 4th century BC Red figure pottery Volterra, Museo Etrusco Guarnacci
are relatively few Etruscan shrine sites remaining, a gallery display featuring a shrine pediment provides a rare opportunity to explore Etruscan shrine architecture. Part 3 focuses on stories relating to “Etruscan Life.” A great variety of artifacts from daily life have been recovered from Etruscan tombs and a number of important tomb wall paintings reveal the character of life in the Etruscan region. These tomb artifacts provide invaluable insight into Etruscan life and culture from many thousands of years ago. Part 4 entitled “Infernal Divinities and Afterlife,” introduces Etruscan burial and funeral practices. In the Etruscan pantheon, the gods Vanth and Charun rule over the underworld and serve as symbols of the inevitability of death. 20
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The Etruscans believed that the spirit continued to exist after death. They decorated the interior of the tomb as if it were a home and brought in various objects from everyday life. Due to this belief in life after death, it was necessary to make preparations for entrance into the afterlife. Tombs were filled with various symbols representing the status of the deceased. As a result, tombs represent the most plentiful source of information about Etruscan society. Part 5 focuses on “Etruria and Rome.” The city-state of Rome was founded in the eighth century BC and grew into a powerful empire that not only dominated Italy but the whole of the Mediterranean region. The Etruscans were gradually absorbed into Roman area of influence and their exceptional art and culture
formed the bases of Rome’s blossoming civilization. Learning about the Etruscan civilization not only introduces us to a new, fascinating era of history but also helps to expand our way of thinking about the world. The NMK hopes to familiarize visitors with the relatively unknown world of Etruscan culture and provide an engaging and intuitive viewing experience through the installation of various digital media displays. Just as traveling serves to broaden the mind, the NMK aspires to provide a journey through space and time that will live long in the memory.
A display showing the Etruscan art that formed the bases of Roman culture
A display featuring the objects excavated from Pineschi Tomb
CURRENT
By Oh Dayeon, Associate Curator of the Fine Arts Division, National Museum of Korea
Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea JULY 23 – SEPTEMBER 22, 2019 NATIONAL MUSEUM OF KOREA
Fig.1 Album of Geumgangsan Mountain Joseon Dynasty, 1711 By Jeong Seon Color on silk National Museum of Korea
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The present special exhibition provides stories by Joseon artists who painted the Korean landscape. Beautiful natural scenery is something that is sure to catch our attention. People today, upon encountering a breathtaking view, will naturally bring out their cameras, but in the days before photography, they had to resort to the brush to either paint the scene or extol it in verse or prose. Artists were especially prone to reproduce the beautiful spots or famous sights they visited in order to preserve the memory of what they witnessed. The real scenery landscape painting, in which the artist sought to portray the scene as realistically as possible, existed from the Goryeo Dynasty but was most popular during the eighteenth century in the Joseon Dynasty. Literati artist Kang Sehwang said that landscape was one of the most difficult painting genres, given the vastness of the subject matter; that the real scenery drawing was the most difficult type of landscape to produce; and that the real scenery portrayal of the Korean landscape was the most difficult of all paintings to undertake. If the real scenery landscape painting does not reflect the reality, the differences between the real scene and the painting can not be disguised. Thus, Joseon painters such as Kang Sehwang fundamentally strove to paint natural views as they looked. Their
task was to portray three-dimensional reality on a two-dimensional medium, and they endured much trial and effort while laboring to reproduce the scene as realistically as possible. The exhibition sheds light on the creative process and the artists’ perspectives and interpretations and consists of four parts. Part 1, “Painting Landscapes as They Are,” introduces the backgrounds and functions of real scenery landscape paintings, which depict the scene realistically, as opposed to the conceptual landscapes, which incorporate idealized elements into the finished work. Joseon painters took advantage of Korea’s unique geomantic concepts as well as various other genres such as paintings of social gatherings of government officials or literati friends, documentary paintings, and pictorial maps. This part was organized to shed light on why and how specific locations were visualized in works prior to the wide popularity of real scenery landscape painting. On display here, for example, are works from the Album of Nine-bend Stream of Gogun, produced by Jo Segeol in 1682 for Kim Sujeung, who took the painter to his country villa in Gangwondo. The album served as the first step in producing the artist’s own version of the landscape theme made famous by Zhu Xi, Nine Scenic Views in Wuyi Mountain of China. Visitors will also see works from the Album of Geumgangsan Mountain
by Jeong Seon produced in 1711. This monumental work had a major effect on subsequent real scenery landscape paintings. Fig.1 Part 2, “The Painters Sketched Those Places,” introduces Joseon painters who traveled to natural settings to sketch. First is Kang Sehwang who wandered around the Byeonsan area, near Buan, Jeollado, where his son had been posted as a government official. He would roughly sketch the scenes on hand scrolls. Next is Kim Hongdo who was ordered by King Jeongjo to makes on-scene sketches in the
Fig.2 Hawking at West Forest Joseon Dynasty, 1796 By Kim Hongdo Light color on silk Seoul National University Museum
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Fig.3 Scenic Spots of Hangang and Imjingang Rivers Joseon Dynasty, 1796–1797 By Jeong Suyeong Light color on paper National Museum of Korea
Fig.4 Chongseokjeong Pavilion Viewed at the Hwanseonjeong Pavilion Joseon Dynasty, 1816 By Kim Hajong Color on silk National Museum of Korea
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Gwandong area and the important parts of Geumgangsan Mountain. Finally, there is Jeong Suyeong, who, while roaming with friends, sketched the scene looking down at the Namhangang River. Fig.3 These sketches resulted from the artists’ immediate responses when they beheld the scenes with their own eyes. The images are raw and impart a feeling of realism. In a short time, the artists managed to lay out concisely on paper the key points of the scene while also making certain modifications. The names of colors are also jotted on the cliff faces, and certain events of impressions connected with specific locations were also noted. The artists’ draft sketches are for use in the process of producing the finished work, but the sketches can also be considered artworks themselves. Part 3, “Trimming the Actual Scene,” presents how the artists would return to their studios from their journey and reconstruct the scenes, based on their rough drafts and memories of what they had seen, to complete their paintings. Visitors will see the methods (projection or spatial perspective techniques) employed by the artists as they strove to recall what they had observed, grasp the relationship
between the time of their observation and the composition of the scene, and resolve the issues of perspective or spatial sense. Kim Hongdo labored to paint actual locations as realistically as possible within the range of vision, and amazingly, his works closely resemble the scenes seen through a modern camera lens. Fig.2 In the first half of the nineteenth century, Kim Hajong completed the Album of Sea and Mountains, which reveals his mastery of Western-style perspective techniques and sensational coloring. The realistic scene depicts Chongseokjeong Pavilion viewed at the Hwanseonjeong Pavilion. Fig.4
The last part is “Transcending Real Scenery Landscapes,” introducing works that reveal the subjective and emotional perceptions on the part of the painter. The paintings on display underscore the artist’s analytical skills or the painting techniques and coloration that the artist preferred. Fig.5 The artists would purposely distort shapes in the process of deconstructing and recomposing the scenes. Sometimes they would paint with their fingers or use bold coloring. In such cases, their objective was not so much to represent the actual scene as it was to convey the artist’s personal feelings at the location or to project some
special significance that it held for the artist. In the process, the landscape would take on new meaning. Paintings produced after the artist’s intense agonizing or artistic experimentation still resonate soundly today. The modern viewer can share to some degree the excitement and overflowing emotion felt by the painters at the time they reproduced a scene that caught their eye in their pursuit of creating real scenery landscapes. You are invited to enjoy a brief respite from the hot summer weather and urban way of life by focusing your gaze upon the scenes.
Fig.5 Album of Journey to Songdo Joseon Dynasty, circa 1757 By Kang Sehwang Light color on paper National Museum of Korea
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ISSUE
By the Editorial Team
Festive Education Events at the Museum
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Diverse education programs and events for people from all walks of life are held at the museum all year round. Around May 18 every year is International Museum Day and this time museums hold a string of major events. To mark the occasion, the National Museum of Korea planned painting festival for children and youths, an education symposium where museum experts made research presentations, and an education fair for all visitors, giving all museum visitors the opportunity to enjoy a range of educational events. INTERNATIONAL SYMPOSIUM HELD ON EDUCATION AND DIGITAL TECHNOLOGY
A symposium jointly hosted by the Education Division and the Children’s 26
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Museum at the NMK was held on May 16 and 17. The first day was devoted to a symposium on museum education in Korea, China, and Japan held in the small auditorium. Education representatives from each country’s national museums and organizations gathered to share case studies on a particular research theme and explore directions for development. Held under the theme “The Digital Age: Challenges and the Way Forward for Museum Education,” this year’s symposium featured a range of presentations dealing with real on-site situations, such as real-time distance learning for those who find it difficult to visit the museum, education utilizing storytelling-style augmented reality interactive media, and educational approaches to participatory exhibitions that make the most of digital technologies.
In his keynote presentation that day, Director General of the NMK Bae Kidong said, “We are living in a world where we can access the information we want in real time. Digital technology, which is continually growing more advanced, effectively stimulates the senses of human beings, who are always seeking something new, and maximizes our ability to absorb information, and we now need to expand open and universal digital education.” He stressed that at a time when the world is moving from information society to a dream society, museums must adapt to the flow of the times. In addition, the symposium was an occasion to hear diverse voices and share concerns and thoughts from various perspectives, including “Digital Technology: Changes and Influences on Our Education,” which reflects a macroscopic approach
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to the issue of digital technology and education, and “Digital Education in Schools,” which addressed educational concerns outside the museum. On the second day, another symposium focusing on “Digital Technology and Education in Children’s Museums” was held in the second lecture room. Museum researchers, school teachers, people involved in digital education, and other experts in various fields held in-depth discussions on children’s experience of digital education and the role and potential of museums in digital learning. The symposium was a rewarding occasion that shed light on the education perspective of issues such as the age of the fourth industrial revolution and how to use digital technology to provide personalized experience of museums at life-long education centers.
1 Keynote speech for the symposium by Bae Kidong, Director General of the National Museum of Korea 2 Presentation of the Education Division at the National Museum of Korea 3 Kobayash Maki, National Center for the Promotion of Cultural Properties
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44TH PAINTING FESTIVAL
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On a sunny day, a painting festival was held where children and young students sat in the middle of an exhibition hall letting their imaginations roam freely as they expressed themselves on paper. The Painting Festival at the NMK, now in its 44th year, was held on May 15 from 9 a.m. to 12:30 p.m. with an estimated 300 participants. It took place in the Sculpture and Crafts and Asian Arts sections on the third floor of the Permanent Exhibition Hall under the theme “My Favorite Cultural Treasure.” These galleries were closed to ordinary visitors while the painting festival was in progress, allowing the participants to focus on their drawings. For them it was a precious time when they were able to inspect their chosen items from the museum collection at close range. At ordinary times the crowd of visitors makes it difficult to look at a chosen object carefully for a long time and imagine things about it. For children and youths who tend to look at exhibits more quickly considering the distance between one display and the next, it is sometimes difficult to look around the museum properly. But in this painting festival the participants were given the rare opportunity to sit wherever they liked to look closely at their chosen objects for inspiration and freely express any ideas that came to them. After taking a general look around the exhibition halls, one by one they sat down in front of their chosen objects and took out their drawing tools to start sketching. The Celadon Gallery and Metal Crafts Gallery were especially popular, and many children could be seen sitting around the same objects. Staffs of the museum’s education division and volunteers were on hand to swiftly deal with any unexpected happenings. After choosing what they wanted to draw, the participants grew serious as they spent time getting to know their subjects, one to one. Their hands moved busily as they gazed at the subjects then became
1 Young students freely sketching in the Celadon Gallery 2 Children drawing whatever they want to express their ideas on paper 3 A student chosen the Celadon Pomegranateshaped Ewer for inspiration
absorbed in sketching, then repeatedly rubbed something out, gazed up, and resumed drawings. Some showed the most wonderful imagination from the sketching stage while many polished up their works at the coloring stage. Endlessly, they asked the volunteers questions or discussed their drawings with the person sitting next to them. Enthralled by the period and landscape of the objects they had chosen to draw, they told their stories through their drawings, colored with imagination. When they had finished their works, they wrote down the title of their works and a short text on their feelings on participating in the event, which were also submitted. The creative finished works can be seen in an exhibition of award winning pieces to be held in July. EDUCATION FAIR, FUN FOR FRIENDS AND FAMILIES
The 2019 Education Fair was held over the weekend of May 18 and 19 at the NMK’s Open Plaza. The event was inaugurated last year to mark International Museum Day, organized by the International Council of Museums (ICOM), as well as Museum Week, giving the general public the opportunity to enjoy various cultural services and gain a better understanding of the role of museums. This year’s International Museum Day, held under
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the theme “Museums as Cultural Hubs: The Future of Tradition” as set by ICOM, drew the participation of 36 museums and education organizations across the country, including the National Hangeul Museum, Daegu Museum of Education, Youngeun Museum of Contemporary Art, and Lego Education. The fair booths saw a continued stream of visitors eager to experience the colorful education programs, including creative activities utilizing works from museums and art museums, exploration of cultural treasures with robots, experience of being a researcher at a pharmaceutical company, and in-depth exploration of the ecology of
dinosaurs and insects. On the morning of May 19, visitors who had come to the museum with friends or families enjoyed themselves at the culture concert held to boost the mood of the fair. The singing, magic, circus, and flash mob performances generated a festival mood, and everyone had fun together in the Open Plaza. Over the two days of the fair, admission to the NMK’s special exhibition Modern Transmission in Korean Calligraphy and Painting was free, and all visitors to the museum and the fair took away with them a handful of wonderful memories.
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CURRENT
By the Editorial Team / With Yim Jaewan, Associate Curator, Gyeongju National Museum
New Storage at the Gyeongju National Museum: Treasure Trove of a Thousand Years
FROM MAY 23, 2019 NEW STORAGE AT THE GYEONGJU NATIONAL MUSEUM
The Gyeongju National Museum has built a new storage for the preservation of buried cultural heritage from the Yeongnam region. Since May, the museum is opening the storage to visitors to show how items are stored, managed, and studied.
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The New Storage at the Gyeongju National Museum, located south of the main museum building, has been built for safe and systematic management of buried cultural heritage excavated in the Yeongnam region. Design work began in 2015 and the storage, consisting of one basement floor and two stories above ground, has a total floor space of 9,242 m2. The new storage was built on the concept of an ancient storehouse. The exterior walls are designed along a series of vertical and horizontal lines, which may make the
building look small but allows it to blend in comfortably with the surrounding environment. According to plan, some 600,000 items reverted to the state and preserved at museums in the Yeongnam region, including the Gyeongju National Museum, Daegu National Museum, Jinju National Museum, and Gimhae National Museum, will be stored here for conservation and management. Potteries, ceramics, and stone items account for a large proportion of the buried cultural heritage excavated in the
A display showing the development of Silla pottery from 57 BCE to 935
Yeongnam region. There are so many items, however, that not all of them can be kept in the existing museum storages, which has posed many difficulties not only for the regional museums concerned but also related organizations such as the agency in charge of excavation and the Cultural Heritage Administration. The New Storage at the Gyeongju National Museum was built to solve these problems. It was designed to store more than 1.5 times the number of items than previous storages did and reduce time and space by
enabling the use of fork lifts and supports for storage boxes when taking items in and out of storage. The new storage comprises ten storage rooms, including the Visible Storage, as well as facilities for management of museum collections including the Registration Room, Research Room, Photo Studio, Fumigation Room, and Archive Room. A specialized disaster-resistant storage system was developed from the design stage, considering the nature of the building as a large-scale cultural heritage
storage facility. The strong steel storage shelves can withstand earthquakes up to 6.8 magnitude, and seismic resistance radically increased with the use of facilities that prevent displacement, rails from coming off their tracks, and stored objects from falling. An excellent security system has been installed and using the latest information technology it also serves as a platform for systematic registration and viewing of stored objects. Over the years, national museums in the Yeongnam region
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Museum staff registering and packing objects
have suffered from lack of storage space whenever new objects were excavated, and the Gyeongju National Museum hopes that the new storage will relieve such problems. Unlike other museum storages, it is open to the public at all times. Breaking the preconceived idea that museum storages are out of bounds, the new storage
Excellent security system installed considering a large-scale cultural heritage storage facility
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offers visitors the opportunity to observe the storing, management, and study of cultural heritage items first-hand and take part in related activities. In a small exhibition in the lobby, visitors to the storage can see how objects become part of museum collections, how damaged objects are returned to their former state using diverse scientific methods, and look at various kinds of materials used to produce cultural artifacts. Three touch screens have been installed in the room, and with a few simple steps visitors can use it to understand the seemingly rather complex registration procedures. A twominute video is also screened to explain the overall role of the storage. As you step into the Visible Storage, you face a display cabinet seven meters long that has a serious air that demands attention. The left side is a display showing the development of Silla pottery from the time of the ancient kingdom’s foundation in 57 BCE to its fall in 935, while the right side features a display of Silla roof-end tiles and bricks closely packed together. Instead of reading explanation cards, here visitors can gain information about the
Objects excavated from major historic sites in Gyeongju
items in storage by scanning the QR codes linked to the museum portal site (www. emuseum.go.kr). Display cabinets, three meters long, are placed on either side of the central display cabinet, both featuring objects excavated from the major historic sites and temples in Gyeongju. Here visitors have the opportunity to see items that have been reverted to the state but never exhibited before. To show how objects are managed in the storage, fragments of broken objects as well as buffers, absorbents, and even storage cases for the items are shown just as they are used in real life. Artifacts from six historic sites and seven temples carry a storage management number that anyone can look up online to find more information. The Gyeongju National Museum is exploring ways to regularly change the display in the new storage and introduce new items excavated from historic sites in the area. Aside from the display, the new storage also has an inspection room where researchers, art historians, or archaeological specialists can make a request to see items. The registration room
has glass windows that reveals museum staff registering and packing objects. In this way visitors can get an idea of how much care is devoted to the items displayed in the museum’s exhibition halls and the necessity of treating them with such care.
Panoramic view of the New Storage at the Gyeongju National Museum
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CURRENT
By Kim Wangguk, Assistant Curator, Jeonju National Museum
Wanju, Continuing the Legacy of Jeollabuk-do JUNE 18 – SEPTEMBER 15, 2019 JEONJU NATIONAL MUSEUM The Jeonju National Museum has been holding a series of exhibitions on the cultural relics of Jeollabuk-do since 1999, and the region selected for the thirteenth installment of the series is Wanju.
Patterns on bronze mirrors with fine linear design from the early Iron Age
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The Jeonju National Museum has opened Wanju, Continuing the Legacy of Jeollabukdo to showcase the unique historical identity of this particular area. The special exhibition focuses on the prehistoric and ancient cultures of Wanju, providing an opportunity to view the history and culture created by the people here. Part 1 is “People of Wanju, Standing at the Forefront to Technology on the Korean Peninsula.” Twenty-six bronze daggers were unexpectedly discovered at Sangnim-ri, Wanju, indicating that the people here were ahead of the curve in adopting post-Stone Age know-how, namely working with metal. The bronze dagger and spear-making mold unearthed in Gal-dong have uncovered evidence of the earliest basic techniques for producing bronze tools and weapons on the Korean Peninsula. In addition, the pole-end bell from the Sinpung Historic Site and the bronze mirrors decorated with minute patterns unearthed during the Jeonbuk Innovation City Development Project provide evidence that Wanju was a hub for the latest technical advancements in ancient times. The 13,000 to 14, 000 fine lines etched into the palm-sized bronze mirrors form geometrical shapes of highly sophisticated beauty. The government has designated the bronze daggers, bronze spear molds, and bronze mirrors from the Wanju area as Treasures, in recognition of their artistic and historical value. Part 2 is themed “People of Wanju, the Pride of Mahan in Jeollabuk-do Province.” Mahan was a pre-Three Kingdoms confederacy that controlled the area that makes up Gyeonggi-do, Chungcheong-do, and the Honam region today. Sangun-ri in Wanju is where the largest number of Mahan tombs were ever found in one place, and the exhibition hall features the record number of relics excavated from them, revealing many unique characteristics of the Mahan people. Locally mined iron was used in
Bronze Mirror with Fine Linear Design Early Iron Age Excavated from Gal-dong, Wanju in 2007
Various potteries including short-necked jars and black burnished pots
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Eastern Zhou-type Bronze Dagger Early Iron Age Excavated from Sangnim-ri, Wanju in 1975
the production of daggers, swords, spears, arrowheads, and other weapons items as well as various tools, including axes, hammers, and tongs. In addition, the 6,000-plus pieces of jade in the collection provide a glance into the aesthetic world of the Mahan people. The craftsmanship is somewhat crude, but the color feel and brilliance impart a mysterious air. The exhibition hall displays most of the jade pieces that have been found at the Sangunri excavation site, providing a definitive look at their beauty. Part 3 covers “People of Later Baekje Aspiring to Unify the Three Hans.” This focuses on the latest systematic excavations at the Bongnimsa Temple site in Wanju. The stone lantern and five-
Visitors leisurely enjoying the history and culture of Wanju
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story stone pagoda at Balsan-ri in Gunsan, which have been confirmed to have come from this former temple, as well as the stone Buddha triad at the old site feature gorgeous sculptural aesthetics and high academic value. However, they have not yet received the recognition they deserve. Visitors can go beyond the Jeonju region, where one of the Baekje capitals once stood, to feel the spirit of the Later Baekje people, who dreamed of unifying the three confederacies of Byeonhan, Jinhan, and Mahan on the Korean Peninsula. Jeonju and Wanju are geographically close, and they share a connection with Later Baekje Kingdom. In addition, the exhibition hall displays modern works by artists who reinterpret the unrealized dream of King
Gyeon Hwon and his people of the Later Baekje Kingdom. This special exhibition was jointly organized by the Jeonju National Museum, Wanju-gun Office, and Wanju Foundation of Arts & Culture. In conjunction with this exhibition are various other events, including the Mangyeonggang River photo contest, academic seminar, a local flea market, and cooperate programs with modern artists. As a result, Wanju, simply an ideal place offers a chance for visitors to feel the unique character of the region, and serves as a festival site in which visitors can have fun with the local people.
MUSEUM SCENE
A foreign visitor and museum volunteer stand in front of the eleven meter-high Buddhist Hanging Scroll at Magoksa Temple covering two floors of Buddhist Art Galleries. Wearing a lavish crown and holding a lotus blossom, Shakyamuni Buddha in the hanging scroll emanates a warm vitality, as if he is silently conversing with them.
NEWS
EXHIBITION
Japanese Gallery, Exhibition of Female Toiletries from the Edo Period
Children at Play Edo period, 18th century By Nagasawa Rosetsu Color on paper 167.0 × 372.0 cm
Hot Water Pourer Edo period, late 19th century Lacquerware
A portion of the exhibition items on display in the Japanese Gallery on the third floor of the Permanent Exhibition Halls has been rotated to make way for a temporary exhibition that will last until the August 31. The new display is comprised of nineteen objects including two folding screens, two hand scrolls, seven lacquer objects (maki-e), and eight color woodblock prints (ukiyo-e). Among the most impressive items on display are the maki-e lacquer objects from the Edo period 1603–1868 that were purchased by high-class women for their dowry. These include a wash basin, a towel rack, a hot water pourer, a case for storing a willow stick used as a toothbrush, and a bowl for rinsing out the mouth. Objects such as these that display the maki-e technique of applying gold and silver in various patterns before painting on layers of lacquer speak to the luxurious lifestyle of high-class women during the Edo period. In addition, visitors will be able to view two modern Japanese paintings featuring stories from Chinese mythology as well as Children at Play by Nagasawa Rosetsu 1754–1799, one of the most eccentric painters from the late Edo period.
Ottchil lacquer, the Color and Light of Ancient Artifacts
Lacquered Bronze Stirrups Unified Silla Kingdom W. 12.1 cm, L. 14.9 cm, H. 14.7 cm Treasure No. 1151 Gyeongju National Museum
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The special exhibition Ottchil lacquer, the Color and Light of Ancient Artifacts will be on show at the Gimhae National Museum until September 29. The exhibition brings together some of the most impressive lacquer artifacts dating from pre-historic times up until the Great Silla period in order to bring attention to the longoverlooked culture of early lacquer production in Korea. Besides imbuing objects with a unique luster and high-class appearance, lacquer also serves to protect against water damage, ware and tare, and vastly improves an object’s durability. In fact, it is the protective quality of the lacquer finish that has ensured the preservation of so many of these thousand-year-old objects up until the present day. The present exhibition highlights the excellent quality and significance of these early lacquer objects and showcases their beautiful aesthetic appearance. In addition, an interactive section of the exhibition allows visitors to experience the production of lacquer objects through a virtual reality display and explore lacquer artifacts in augmented reality. In this way, visitors will be able to explore the beauty of early lacquer culture and expand their understanding of lacquer production in Korea beyond the later examples of lacquerware inlaid with mother-ofpearl that are already well-known.
MISCELLANEOUS
Announcement of the MOU Partnership between the National Museum of Korea and the Korea Creative Content Agency A business partnership between the National Museum of Korea (NMK) and the Korea Creative Content Agency (KCCA) based on expanding the production of interactive content and infrastructure around Korean cultural heritage has been finalized. As part of this partnership the NMK will concentrate on developing infrastructure while the KCCA will be responsible for producing interactive content. Both organizations plan to make use of the cultural artifacts available through the resources of the NMK to develop suitable themes for producing content. In the future, they will work together to produce tangible content about cultural resources for public consumption, develop infrastructure, and promote the finished content. Announcing the partnership, Director General of the NMK Bae Kidong said, “Combining the cultural artifacts of the NMK and the skill and experience of the KCCA will present new opportunities for the people to enjoy Korean cultural heritage.”
PUBLICATION
2016–2018 Report on Children’s Museums in Korea A report detailing the condition of thirty-one children’s museums and children’s art museums in Korea over three years between 2016 and 2018 has been published. This report, released through the cooperation of the National Museum of Korea and the Association of Children’s Museums in Korea, consists of four parts: the children’s museum as a concept, the current state of children’s museums, the current state of children’s museums according to content, and trends in the development of children’s museums. Within this framework, it provides analysis of everything from exhibitions to educational programs in twenty national institutions, eight public institutions, and three private institutions. The publication of the report memorializes the 110th year anniversary of the founding of the first museum in Korea, and provides useful information that will ensure the success and longevity of children’s education in Korea. The report on children’s museums in Korea will be distributed to national and public libraries and can be downloaded on the National Museum of Korea homepage.
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PLACE AND EVENT
By the Editorial Team / W ith Shin Seokho, Assistant Director of Maintenance Division and Woo Souyeon, Museum Educator, National Museum of Korea
Savoring the Scent of Pines along the Path through the Museum Garden
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As of this year, the garden surrounding the museum has been in operation for fourteen years. The flowering plants and trees planted in 2005 when the museum moved to Yongsan have quickly grown into a vibrant forest of various smells and colors, ever changing with the seasons. The plush environment of charming and colorful plants helps to soothe those who seek it out and provides a scenic backdrop for families and friends to enjoy a simple picnic or a quick break from the busy workday. It serves as an invigorating outdoor learning space for children 40
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and couples can often be seen strolling through the grounds on a date. Shaded paths through the lively environment of the garden provide respite from the summer heat and the fresh scent of grass and continual bird songs help to cleanse the mind and body from the stresses of everyday life. Between the months of July and September, visitors delight in the crimson blossoms of crape myrtle trees, planted throughout the garden. Many visitors enjoy taking photographs next to the Mirror Pond at the
center of the garden as it beautifully reflects the museum building and is designed in accordance with the principles of Korean traditional gardens, which emphasize the harmony between mountain and water. Various cultural artifacts including an early octagonal stupa, a Goryeo Buddhist sculpture, and a Bronze Bell of Bosingak Tower from the Joseon period are on display to the east side of the pond, and to the west amenities are provided for the visitors’ convenience. The museum garden welcomes visitors into an idyllic landscape with inspiring scenes at every turn.
1 A visitor reading a book at the pine forest library on the new path 2 A view of the east side 3 The pine forest library located in the west side
Recently the National Museum of Korea has completed short paths lined with pine trees in east and west areas of the garden that was previously closed to the public, providing a new way for visitors to enjoy the museum grounds. The path can be accessed on the small hillock behind the amenities on the west side of the garden and leads into a thick forest of Korean red pines. If you remain still and let the wind pass over your face, you can experience the rejuvenating pine tree aroma surge through your body. The woven mat that marks the footpath produces a pleasant feeling underfoot while also serving to protect the animal and plant life in the forest. This path through the pines in the Outdoor Exhibitions on the east side of the garden welcomes visitors who enjoy thick greenery and seasonal flowers as well. For those who want to spend more time in the forest, we recommend visiting the pine forest library in the woods or perching on the wooden deck. The library in the forest provides a great atmosphere to leisurely read a book while enjoying the museum gardens on a hot day and the perfect spot to cool down as you slowly browse through the bookcases. Visitors can browse bestselling books including Yu Hong-june’s My Exploration of Korean Cultural Heritage and experience the joys of reading outside with the scent of the pines on the cool breeze.
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Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea JULY 23 – SEPTEMBER 22, 2019 This special exhibition explores the way landscapes were painted from real life during the Joseon Dynasty following the perspective of the artists, and sheds light on how the scenes are deconstructed and recomposed according to individual interpretation. Among the works, Album of Sea and Mountains contains a series of landscapes by Kim Hajong: sixteen paintings of the Inner and Outer Geumgangsan Mountain area, five paintings of the east coast and Gwandong area, and four paintings of the Seoraksan Mountain area. Please look at the work, Haegeumgang from the Album of Sea and Mountains, which depicts a famous scenic spot on the east coast, and get a feel for the way the artist would have seen the landscape.
