VOL.53 AUTUMN 2020
Painting of Red and White Plum Blossoms Joseon Dynasty By Jo Huiryong Paper 124.8 × 46.4 cm (each panel)
The special exhibition The Science of Light: Revealing the Secrets of Cultural Properties takes a different approach to other exhibitions where the focus is on looking at the objects on display. It analyzes cultural heritage from a scientific perspective and confirms the current state of cutting-edge science, which is able to reveal an abundance of information hidden inside the object.
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The Place to Experience Chinese History
Evolving Museum Education
30 Seonbi Culture Gallery Opens at the Jeonju National Museum
and Culture The China Gallery in the World Art Gallery at
The National Museum of Korea is trying
The Jeonju National Museum has arranged
the National Museum of Korea introduces
out interesting new ideas to take museum
a new exhibition focusing on the seonbi, the
the diverse religions of the Chinese people,
education to the next level in face of the age
intellects and scholars who were pro-active
their rich handicraft tradition, as well as
of non-contact. Online learning programs
leaders of Joseon society. In the Seonbi
landscapes, figure, and other paintings. Also,
have been increased and tailored to different
Culture Gallery, relics handed down in the
the display of ceramics according to major
groups, including children, youths, adults,
families of the seonbi are explained in a
kiln sites is fascinating for the overview
families, and foreigners.
way that helps visitors to understand their
it gives of changes in Chinese ceramics
historical context.
production.
CONTENTS
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CURRENT The Science of Light: Revealing the Secrets of
Cultural Properties
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WORLD ART GALLERY Art Blossoming from the Yellow River Basin
ISSUE Learning Programs in Full Swing Despite
Non-contact Times
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COLLECTION Geometric Motifs: Balanced and Ordered Beauty
Created by Adjoining and Overlapping
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ESSAY Stories and the Imagination
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 / Timothy Atkinson Revision Chung Eunsun / Hwang Chiyoung Publication Date October 25, 2020 ISSN 2005 – 1123 Printed in Korea. Copyright © 2020 National Museum of Korea.
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ESSAY Shadows of the Old Capital Left Behind on Glass
All photography was conducted while abiding by COVID-19 preventative measures, including temperature checks, use of hand sanitizer, wearing masks, and maintaining a safe distance between people.
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CURRENT Seonbi Culture Gallery: Exploring the Culture of
Note to Readers Throughout the magazine, East Asian names are listed in the order of family name followed by first name. 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.
Ancient Scholars at the Museum
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FOCUS Silla Kingdom: In Search of the Way from
the Silk Road
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NEWS
www.museum.go.kr/site/eng/ archive/ebook/all (PDF downloads available)
CURRENT
By Lee Youngbeom Conservator, National Museum of Korea
The Science of Light: Revealing the Secrets of Cultural Properties August 25 – November 15, 2020 National Museum of Korea
A display showing the cultural heritage conservation using various kinds of light
Part 2 themed “Invisible Light: Revealing the Secrets of Cultural Properties”
Light is the source of life for all plants, animals, and human beings. Human beings first relied on natural light such as sunlight and moonlight in the night sky and the light of fireflies. Since the discovery of artificial light in the form of fire in prehistoric times, people have been able to protect themselves from danger and extend the hours of human activity from day to night by turning on the lights when it grows dark. Moreover, new light sources that have become available with the development of optical science are being utilized in not only food, clothing, and shelter but the various other fields to improve the quality of life and make life more abundant. It was originally thought that the only light that existed was visible light perceived by people in the form of color. 04
But thanks to the efforts of scientists during the nineteenth century the field of invisible light was discovered, including infrared rays, ultraviolet rays, and X-rays, which are classified according to their wavelengths and characteristics. Such light with invisible wavelengths is not only used in the development of industrial and medical technologies; it has also been used in the field of cultural heritage to enable the discovery of a large amount of information that was inaccessible before. For thirty years now the National Museum of Korea has used light to conduct research and investigation of cultural heritage and carry out conservation treatment on them, starting with infrared analysis conducted in 1989 on the Headrest of the Queen Consort of King Muryeong (National Treasure
Visible light image of the Glass Cup from the South Mound of Tomb No. 98, Gyeongju (National Treasure No. 193)
Korean Jewel Beetle (National Monument No. 496) and Saddle Bridge decorated with the wings of jewel beetles
Earthenware Funerary Objects in the Shape of a Warrior on Horseback (National Treasure No. 91) and multiple views from CT scans NMK 2020 AUTUMN 05
Visible light and infrared images of the mural painting in Ssangyeongchong Tomb
Celadon Incense Burner (National Treasure No. 95) and multiple views from CT scans
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No. 164) discovered in the Tomb of King Muryeong in Gongju, which revealed classical Chinese characters gap 甲 and eul 乙 inscribed on it, to the recent use of computed tomography (CT). The current special exhibition is designed to show the diverse materials that have been scientifically interpreted using light of various wavelengths along with interesting digital contents that will help visitors easily understand the characteristics and superior workmanship of Korea’s cultural heritage. The exhibition prologue provides basic background information by explaining the different wavelengths of light and the principles behind the use of light in the study of cultural artifacts. Part 1 is titled “Visible Light: Adding Color to Cultural Properties” and explores the field of visible light and optical technology. Light is the medium for recognition of objects, and people see light reflected off objects as color. That is, the color of the light reflected off objects is color, which in Korean is called saek-kkal or bit-kkal, with “saek” meaning “color” and “bit” meaning “light.” On display in the gallery are items such as ancient mirrors, which embody the principles of light reflection, old glass beads filled with beautiful colors and traditional tones, nautilus cups, saddle bridge decorated with the wings of jewel beetles, lacquered items decorated with inlaid mother-of-pearl, hwarot (bridal robe), and gold earrings. Part 2, titled “Invisible Light: Revealing the Secrets of Cultural Properties,” introduces various instances where the mysteries hidden in cultural heritage were unraveled with the use of infrared rays, ultraviolet rays, and X-rays. A range of digital contents show the inscriptions on ancient wooden tablets which is no longer visible to the naked eye and allow visitors to examine the hidden inner structure and learn about the functions of
Secrets of the national treasures unraveled with the use of CT scans
Mural painting fragments of Goguryeo Kingdom on display
various items recently examined using CT, including Earthenware Funerary Objects in the Shape of a Warrior on Horseback (National Treasure No. 91), Goryeo celadon vessels, and finely made Joseon porcelain water droppers, and Pythagorean cups, called gyeyeongbae, designed to prevent overdrinking. Part 3 is titled “Light: Examining Cultural Properties.” When people are
A visitor looking deep into the Gilt-bronze Pensive Maitreya Bodhisattva designated as the National Treasure No. 78
sick they go to the doctor or hospital. But where do cultural heritage go when they are not in good condition? The Conservation Science Division at the National Museum of Korea is like a general hospital for cultural heritage. Before starting conservation treatment, any item received is first disinfected to prevent any biological damage such as insect and bacterial damage. Conservation science specialists in each field examine the items, first with the naked eye and then with a microscope, and move on to other processes including 3D scanning, non-destructive diagnosis of relics, X-ray radiography, and CT. Based on the information obtained, they gather materials on various aspects of each item, including methods of production, history, and damaged parts, to fulfill their role in safely conserving cultural heritage and ensuring that they are passed on to posterity. The special exhibition also features a detailed analysis of the Gilt-bronze Pensive Maitreya Bodhisattva (National Treasure No. 78), Goguryeo tomb murals, and the royal court paintings in Gyotaejeon Hall, the queen’s bedchamber in Gyeongbokgung Palace in terms of their internal structure, methods of production, and components as a way to reflect on the value of safety diagnosis and conservation and the importance of passing down cultural heritage. Through this exhibition the National Museum of Korea highlights the importance and achievements of conservation science and research and investigation of cultural heritage and hopes to stimulate thought on the direction cultural heritage conservation science will take in the future.
Wooden Seated Buddha and multiple views from CT scans
Talk with the Conservator Q. How do you feel about this exhibition that you have prepared? A. Although the exhibition is based on
conservation science it is closely linked to various fields of art and the humanities and the history of Korean cultural heritage. So cooperation with curators
in various fields across the museum was necessary to prepare for the exhibition, and there were many things that I learned in the process. Using conservation science as a medium, the exhibition will help visitors to understand the characteristics and excellent standard of Korea’s cultural heritage. Q. The digital contents really stand out in this exhibition.
©Hong Duk Sun Studio
A. Light, the theme of the exhibition, is
the source of life for all things. Visitors will be able to easily learn everything about it thanks to presentations using digital technology. For example, the cultural heritage charts allow visitors to inspect the details of items that have been analyzed as if they were conservation
science specialists. It is one exhibition that should not be missed. Q. Is there anything you would like to say to researchers and other people planning to visit the exhibition? A. People from various divisions of the
museum worked together to present each item on display and convey information about it. While showing the results of scientific research and investigation on cultural heritage items, the exhibition will also give people an idea of the role of the Conservation Science Division. For people working in related fields, it is an opportunity to access a wide variety of information on the latest high-tech equipment, research and investigation, and conservation treatment of cultural heritage.
NMK 2020 AUTUMN 09
WORLD ART GALLERY
By Park Sunghye Associate Curator of the World Arts Division, National Museum of Korea
Art Blossoming from the Yellow River Basin
Chinese culture grew out of the Yellow River civilization, and the cyclical rise and fall of various ethnic groups living on a vast territory brought about a diversified cultural mix. The Asian Arts Gallery at the National Museum of Korea was reorganized as the World Art Gallery in December 2019, and the exhibition in the China Gallery was overhauled as well. Most of the items in the exhibit are from the NMK collection, and they represent 10
various genres, including archaeological objects from ancient Chinese culture and paintings from the Ming and Qing Dynasties. As such, visitors can come away with a better understanding of China’s long history and culture. Importantly, the Chinese pottery exhibit has been greatly expanded. The Tang Dynasty 618–907 is known for the great advances that occurred in Chinese pottery, starting with the “greenish in the south
and white in the north” rule. Now, visitors to the NMK can compare pieces that were unearthed at different famous kiln sites, including the Yue kilns in Zhejiang, Yaozhou kilns in Shaanxi, Longquan kilns in Zhejiang, Ding kilns in Hebei, Cizhou kilns in Hebei, and Jingdezhen kilns in Jiangxi. The Yue kilns are China’s oldest; the first celadon ware was produced here at the end of the Eastern Han Dynasty 25–220 CE.
A display of ceramics according to major kiln sites
By Tang times, these kilns represented the leading celadon production area in southern China. Yue pieces now on display at the China Gallery dating from the Five Dynasties period 907–960 through the Song Dynasty 960–1279 include an ewer decorated with human figures, spittoon with lotus petal pattern, and ewer with chrysanthemum motif. The Yaozhou kilns remained an important center for porcelain ware for
White Porcelain Dish Jin Dynasty, China D 18.8 cm
NMK 2020 AUTUMN 11
Four Buddhist steles from the Northern Wei and Tang Dynasties and Miniature Watchtower from Eastern Han Dynasty on display
Ancient ritual bronzewares on display
seven centuries, from the Tang 618–907 through the Yuan 1271–1368 Dynasties. Black porcelain, white porcelain, and celadon ware were produced here in Tang times, while celadon was mainly produced here during Song times. These pieces were decorated with diverse patterns that were either carved into or stamped onto the surface. The intricate and refined decorations reveal the exceptional skill of the potters who worked at that time. The pieces on display at the gallery are mainly trays, large bowls, and small drinking bowls. The Longquan kilns inherited the celadon-making tradition from the Yue kilns, which had long symbolized Chinese celadon ware but was in decline by the eleventh century. Longquan celadon enjoyed its peak period in the Southern Song Dynasty 1127–1279, when top quality celadon ware was being produced at the kilns. Celadon output here during the Yuan Dynasty was diverse, ranging from items for everyday use to those made purely for decorative purposes. Our exhibit features various Longquan celadons recovered from the ship that sank off the southwest coast of Sinan, Jeollanam-do, including large vases, large trays, tea bowls and ewers, dishes, and bottles. The Ding kilns, which became one of the five most renowned kiln areas during the Song Dynasty, started out by producing both green and white porcelain at the end of the Tang and in the Five Dynasties periods. In the Northern Song Dynasty, porcelain took on a milky white hue close to ivory. Ding white porcelain has a friendly, warm feel, and features the use of stamping and various other decorative techniques, as can be seen in rice bowls, tea bowls, and dishes. The Cizhou kilns were a prominent non-government operation during the Song and Yuan Dynasties, and Cizhou ware is noted for its black decoration on NMK 2020 AUTUMN
Jar with Human Figures Design Qing Dynasty, China H 89.3 cm
Lady in the Garden 1813 By Yuji 65.8 × 34.4 cm
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Red Lacquered Wood Tray Ming Dynasty, China 26.2 × 42.1 cm
A room for visitors to relax while enjoying Chinese culture
white background. These were practical, everyday pottery pieces for commoners, so their quality is cruder than that of Ding white porcelain and they have a darker shade of white. Our exhibit includes a variety of Cizhou ware pieces, including a bottle with black decoration on a white background as well as black-glazed ewers and cups. Celadon ware and white porcelain ware were produced at the Jingdezhen kilns during the Five Dynasties periods, and the production of yingqing (shadow bluegreen) ware, blue-greenish white porcelain with special coloring, began here in the Song Dynasty 960–1279. Our new exhibition displays a number of Jingdezhen pieces from the NMK collection, including tea bowls, dishes, ewers, and censers.
Also, now on display from the NMK collection are fine examples of blue and white porcelain, a genre that has fascinated the entire world, from the Yuan, Ming, and Qing Dynasties. The painted porcelain exhibit shows remarkable technical accomplishments from the history of Chinese pottery. To make blue and white porcelain, the potter paints the decoration on the surface in cobalt-blue pigment before applying the glaze and then firing the piece. On the other hand, painted porcelain requires a more advanced series of steps. First, glaze is applied to the surface of a piece, which is then fired. Next, the decoration is painted onto the surface before the piece is fired again at low temperature. The decorations are executed in five basic
colors—vermilion, yellow, green, indigo, and purple—resulting in diversely colored works of art that provide visitors with a look at Chinese pottery that is both resplendent and exquisite. The last part of our new exhibit features pieces from the collection of Kim Hongnam, a former NMK Director General. The space re-creates a scholar’s study from the Qing Dynasty and is designed as a multifunctional space that allows visitors to relax while enjoying Chinese culture. A Chinese traditional display cabinet has been installed to help provide the feel of a scholar’s study from the period. The ambience is further enhanced by a Chinese landscape in a video presentation by media artist Lee leenam.
Lady in Male Attire Holding a Hawk Tang Dynasty, China H 37.7 cm
A visitor looking at the bronze ritual vessels from the collection of the British Museum
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ISSUE
By the Editorial Team / With Park Yunhee and Woo Souyeon, Museum Educators, National Museum of Korea
Learning Programs in Full Swing Despite Non-contact Times Job experience program for students
exploration of replicas, and other activities. They gave students the chance to make new discoveries and expand their scope of learning. For adults, humanities lectures and even yoga classes were offered online. Positive Signs for the Shift to the Digital
The COVID-19 pandemic has continued for ten months now. In a mood where everyone is trying to minimize contact, many aspects of everyday life have turned digital as we make an increasing use of e-commerce, online streaming, and video conferencing. We are rapidly entering the age of the new normal. The future that was envisioned to be ten years ahead may arrive earlier than expected. The National Museum of Korea is responding quickly to these changes in society, evolving into a smart museum while diversifying ways to enjoy history, culture, and art in the age of the new normal. The Education Division, which is in charge of the museum’s education programs, is also preparing for changes in the times by pursuing new and interesting programs to suit the new noncontact environment. Increased Distance Learning
As face-to-face education is becoming difficult to carry out across the country, a new form of education that can be accessed by anyone regardless of time and place is thriving. As it evolves with a clear emphasis on individualized participation, more users are choosing the contents they 16
want and using the information they need in their own ways. In 2018, the NMK had already put into trial service real-time distance learning for people far away from the museum in body or mind. Thereafter, the museum continued video communication with schools located hundreds of kilometers away. Based on these experiences, in the first half of this year when children went back to school online for the first time in Korea’s history, the NMK launched realtime online classes for students across the country and the general public. Programs for primary and secondary school students dealt with varied themes such as cultural heritage and job experience while incorporating physical activities, Studio “M:On” produced real-time online learning programs
Having operated real-time online classes after receiving applications from schools across the country, the NMK found that in the online environment students responded more independently and actively. And as everyone had equal opportunity to speak, they offered their opinions more freely. This was rather different from the face-to-face classes where one or two students tended to dominate. Most of the students participated in the online classes by writing comments in real-time and giving their opinions without hesitation or fear. As learning programs shifted to the digital form they did not simply replace or supplement actual visit to the museum but encouraged students to freely exercise their imagination and express themselves. Students came to identify better with our cultural heritage and learned new ways to approach cultural artifacts. In effect the foundation has been laid for a new way of
appreciating museum objects by learning about them first online and later seeing them first-hand. Programs for the International Community
The Education Division has also put together online learning programs for international visitors and residents of Korea, who are experiencing different sorts of problems in the current pandemic. “Culture Academy for Homeschoolers” is offered online for foreign children and teenagers who do not attend international schools and their families. Run in English, the program provides indirect experience of various cultures through artifacts in the World Art Gallery and introduces ways to enjoy the museum’s permanent exhibitions and special exhibitions. Participants actively take part online through the chatting and real-time audio, video, and screen sharing functions so that they feel connected to the museum. Anyone from a homeschooling family can take part in the program from anywhere in the world. The more informations are available on the NMK website. Various other programs are run on a reservation basis, including “Online Teacher Workshop for International School Teachers” and “Online International School Program.” When the pandemic eases and the museum reopens, these online classes will make the viewing experience even greater. One of them is “Museum Wonder Cart,” a cart with big wheels roams the first to third floors carrying activity sheets. Museum teachers suggest ways to make the exhibition more interesting using activity sheets and puzzles for international visitors. International visitors wander through the galleries as if on a treasure hunt, getting the chance to closely inspect various items on display and learn how to enjoy Korean culture in a new and interesting way. The program is held at the museum every Tuesday through Friday, from 1:30 NMK 2020 AUTUMN
pm to 3:30 pm. In an effort to reach out to more people, “Virtual Museum Wonder Cart” is held online once a month under a different theme each time. It is a program that is open to everyone who understands English. Going Live Online
As the NMK’s online programs are becoming well established, more facilities for live broadcasting are being placed around the museum. In September 21 the studio “M:On” began its operation to provide online programs in a more stable Program in English for homeschooling people
Treasure Hunt program focusing on major collections of the museum
Museum Wonder Cart provided work sheets for international visitors
and professional environment. The studio produces real-time and recorded learning programs tailored to diverse audiences, including children, teenagers, adults, families, and foreigners and organized training courses for teachers and other professional groups. In addition, programs for Koreans overseas and foreign residents learning Korean are also being prepared. The Education Division of the NMK is thus striving to produce tailored programs in various forms to close the physical gap with visitors and bring the museum into their daily lives.
COLLECTION
Geometric Motifs: Balanced and Ordered Beauty Created by Adjoining and Overlapping
Brick with Coin Design Baekje Kingdom Clay 16.3 × 36.7 × 4.0 cm
Blue and White Porcelain Spittoon with Tortoise Shell Design Joseon Dynasty Ceramics H 13.5 cm D 6.3 cm (mouth) D 11.1 cm (bottom) Small Iron Brazier with Silver and Copper Inlay (top down view) Joseon Dynasty Metal H 21.0 cm
Buncheong Bowl with Stamped Linear Design and Inscription Joseon Dynasty Ceramics H 7.8 cm D 18.7 cm (mouth) D 5.5 cm (bottom)
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Celadon Jar with Inlaid Chrysanthemum Design (top down view) Goryeo Dynasty Ceramics H 4.7 cm D 5.8 cm
Burial Urn Unified Silla Kingdom Clay H 21.5 cm
Red Lacquered Bamboo Inkstone Box Joseon Dynasty Wood H 20.0 cm L 34.9 cm W 19.6 cm
Bronze Mirror with Fine Linear Designs Excavated from Wanju Galdong site Tomb No. 5 Treasure No. 2034
Roof-end Tile Baekje Kingdom, 4th–5th century Clay D 10.8 cm Excavated from Pungnaptoseong Fortress
Lacquered Spectacle Case with Inlaid Motherof-pearl Joseon Dynasty Bone, horn, and shell L 17.0 cm W 7.0 cm NMK 2020 AUTUMN 19
ESSAY
By Choe U-Ram Artist
Stories and the Imagination
Ouroboros Metallic material, resin, 24K gold leaf, motor, machinery, custom CPU board H 12.0 cm Ø 130.0 cm 2012. Courtesy of the artist
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If someone asks me about my religion I feel that I should say “animism.” My works are inspired by stories and the imagination. I sympathize with objects. I feel pity for a screw that has fallen and lies discarded in a corner of my studio and weep over smashed car parts that are thrown out after testing. I lovingly wash my car which is so old that I have to send it to the scrapyard tomorrow and stay up all night writing a farewell letter to it.
Gold Buckle from Seogam-ri Nangnang Commandery Metal L 9.4 cm Excavated from Pyongyang National Treasure No. 89
NMK 2020 AUTUMN 21
Everything Has a Soul — Anima Machine
Urbanus Scientific name: Anmopista Volaticus floris Uram Metallic material, machinery, metal halide lamp, electronic device (CPU board, motor) H 389.0 cm W 389.0 cm D 233.0 cm 2006. Courtesy of the artist
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When I presented my Urbanus series in 2006 I created a virtual organization called United Research of Anima Machine (U.R.A.M). Its purpose was to research living machines, or “anima machine.” From my debut in the first half of the 1990s to the present, I have been working on themes related to machines and life, and considering that I say machines have a soul and have established an imaginary research institute, it would seem that I wanted to study them a little bit more seriously. As a person who makes machines with a soul it is probably natural that I believe all things and all phenomena have a soul. When I see something new I see it as an object with a different form of soul and my efforts to live with it start with imagining stories. In animism, which is understood to be a primitive form of religion, people project divinity onto the trees, rivers, and rocks, and in the same way people accept the new environment made by giant god-like entities like machines, science, and technology and regard them as yet more animated beings that coexist with humans. Objects made by human beings are infused with human passions and emotions. Hence the machines and civilization made by humans are filled with passion and emotions, too. Though they have the appearance of machines they are actually humans. The Urbanus (2006) series explores my emotions as a person living in the machine civilization. Naturally, my interest extended to the giant city. The city seen below from a skyscraper seemed to be a giant living and breathing creature. In the city, light and darkness coexist, like the coexistence of yin and yang, which can again be expressed as male and female. There has to be light to feel the darkness and there has to be darkness to recognize the light. I was driven to ponder the importance of coexistence and harmony and that sensibility was expressed in the Urbanus series. In the East, women are considered to be yin. But I express women as beings in control of all birth and mothers who emit light, while men are beings who prowl around women and absorb their light. Another Anima-Machine Jet Hiatus (2004) is based on the imagination, the idea that it lives by rapidly transforming psychological flow into physical energy. It is an inorganic creature that mutated from a gas turbine engine and flies against the extremely powerful jet stream. Utilizing the space between layers of air to gain propulsion, it flies faster than
the speed of sound and is sometimes spotted in the vicinity of airplane dumps or engine assembly plants. That is why it is sometimes likened to a salmon in the sky. The Endless Circulation of Souls
In Metamorphoses by the ancient Roman poet Ovid, Pythagoras says, “Everything changes, nothing dies: the spirit wanders, arriving here or there, and occupying whatever body it pleases, passing from a wild beast into a human being, from our body into a beast, but is never destroyed.” I can become an animal or an animal can become me. I break down the barriers between humans and non-humans and, furthermore, question the boundaries between living things and inanimate things. Here, the concept of difference does not exist; there is only circulation and change. I understand change as the process of communication, identification, and circulation. Change is the way to unite humans and all things in the world as one, and to NMK 2020 AUTUMN
Jet Hiatus Scientific name: Anmorosta Cetorhinus maximus Uram Steel, acrylic, machinery, synthetic resins, acrylic paint, electronic device (CPU & LED board, motor) H 88.0 cm W 222.0 cm D 85.0 cm 2004. Courtesy of the artist
Custos Cavum Metallic material, resin, motor, gear, custom CPU board, LED H 220.0 cm W 360.0 cm D 260.0 cm 2011. Courtesy of the artist
change means to move. If the hearts of objects do not exchange emotions with others in relation to the consciousness, their emotions become stagnant and harden until they are stiff and dry. The innate energy in emotion comes alive only when it is expressed, and ultimately emotion is manifested as physical force. My work titled Ouroboros (2012) is an expression of the eternal cycle. The motif of a serpent biting its own tail, called Ouroboros, is a symbol of eternity that appeared in ancient East and West alike. My Ouroboros has a shiny gold head and ceaselessly devours its own body. No matter how much it eats its stomach is never full, and hence symbolizes human greed which is never satisfied. Custos Cavum (2011) tells the story of suffering that arises
from severed communication and hope for its restoration. I was thinking deeply about communication around the time I was devising this work. Then one day, on a television nature documentary, I saw the story of the seal who lives alone on the vast snow plains of the South Pole. Being a mammal, the seal must spend most of its time on the ice fields. To go into the sea to hunt for food it needs to pass through a hole in the ice. But the bitter cold of the South Pole means the hole in the ice is apt to freeze over and disappear. For its survival the seal uses its front teeth to constantly gnaw away at the edge of the hole to keep it open, because it cannot make a new hole when the existing hole freezes over and is shut. The seal’s situation brought to mind human communication, which led me to create a story about a mythical being known as Custos Cavum, or the guardian of the hole, who facilitates communication between two different worlds. All Things Are One
My works are about human beings, with machines used as an extension of humans. As such, movement plays a very important role, for movement is the process of change. Life and death, myself and others, human beings and nature are all connected and through the process of circulation show that they are one. One (Reply to Dr. Lee) (2020) expresses the cycle of life and death and their homogeneous nature using the motif of flowers that bloom and wither. The petals which look like traditional paper hanji are made of the same material as the protective suits currently used in the fight against the spread of COVID-19. It is inevitable that I agonize over the situation, as one human being who feels infinitely small and helpless as the world faces death in the age of the pandemic, and as an artist. On each petal there are overlapping ink stains, like a book where the ink has become wet and blurred so that the writing is indecipherable. They symbolize the traces of consciousness left by the endlessly repeated cycle of birth and death within the eternity of time. The central part of the work is shining with the light of imagination and anticipation of a new order of life. But deeper, at the very center, is a black sphere representing emptiness and the indifferent order of the universe. Though my works are continuously circulating and changing, will they be complete when even movement and stillness reach a state of equilibrium? Is this what is meant by the Way in the Tao Te Ching 道德經 or nirvana in Buddhism?
One (Reply to Dr. Lee) Metallic material, soft Tyvek, motor, electronic device (custom CPU board, LED) H 250.0 cm W 250.0 cm D 180.0 cm 2020. Courtesy of the artist
About the author Choe U-Ram was born in Seoul in 1970. He graduated from the department of sculpture at Chung-Ang University in 1991 and received his master’s degree from the same school in 1999. From childhood he was interested in machines and robots and his career as an artist took off with his solo exhibition “Civilization
Host” in 1998. Since then he has held many
solo exhibitions in Korea and overseas at such venues as the National Taiwan Museum of Fine Arts, Asia Society Museum in New York, Borusan Contemporary in Istanbul, and Mori Art Museum in Tokyo. Inspired by stories and creative imagining his works are living creatures that move while the artist himself shows dynamic, diverse energies in his ceaseless efforts to communicate with audiences.
NMK 2020 AUTUMN 25
ESSAY
By Kang Minkyeong Assistant Curator of the Archaeology and History Division, National Museum of Korea
Shadows of the Old Capital Left Behind on Glass
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Fig.1 Stone axis and stone stairs at the former site of Hoegyeongjeon, a palace hall at Manwoldae Gelatin dry plate
The National Museum of Korea collection contains over 38,000 negatives on dry glass plates coated with a gelatin emulsion of silver bromide. They date between 1900 and 1940, and most were taken during the Japanese colonial period by Japanese scholars under orders from the Japanese Government-General of Korea, as they traveled around the Korean Peninsula and studied Korean custom, ancient sites, and old artifacts. The massive collection of dry glass plate negatives managed to survive mostly intact during the tumultuous time between Liberation in 1945 and the end of the Korean War in 1953. The NMK has published a series of photograph collections taken from these dry glass plates, starting with Royal Palace (Vol. 1) in 2007 down to Gaeseong in Gelatin Dry Plates — Palace and Tumuli (Vol. 11) and Remains of Balhae Kingdom: Documentations in Gelatin Dry Plates (Vol. 12) in 2019. Especially Gaeseong in Gelatin Dry Plates — Palace and Tumuli features 160 photographs taken of old sites around Gaeseong, which was the capital of the Goryeo Dynasty 918–1392. These include Manwoldae where the main palace compound once stood as well as tombs of prominent people from Goryeo and relics excavated from those old tombs. “Night falls over the old sites of the ruined fortress walls. Only moonlight in the stillness. Talking of our feelings that permeate the ruins…” As the lyrics of the classic song “The Old Sites of the Ruined Fortress Walls” suggests, the capital of the fallen dynasty elicits deep feelings in people. Extant evidence of Goryeo’s more than 500-year history has the same effect on Gaeseong visitors. People who have wandered around old Goryeo sites buried in Gaeseong’s natural surroundings have reminisced about the glories of the past. What is the appearance of these Goryeo sites in the Gaeseong area that people often visit? The dry glass plates preserve intact how these places looked in the first half of the last century. The palace site where the Goryeo kings once lived and governed is called Manwoldae. People today who visit the terrace surrounded by the Songaksan Mountain foothills on a brightly
Gaeseong in Gelatin Dry Plates — Palace and Tumuli ISBN 978-89-8164-204-4 Language Korean NMK 2020 AUTUMN 27
Fig.2 Grave robbers’ hole into tomb of King Myeongjong r. 1170–1197 Gelatin dry plate
moonlit night are naturally struck by the impermanence of passing time. The photograph collection begins with a shot of the former site of Hoegyeongjeon Fig.1, the palace hall praised highly by the Song Chinese envoy Xu Jing 1091–1153 in the Illustrated Account of Goryeo, which he wrote after his visit to the Korean Peninsula in 1123. Other noteworthy scenes are the overgrown Manwoldae Palace site in the early twentieth century, an archaeological building site survey in 1918, and a simply drawn floor plan produced around the time of the survey. Photographs and video clips taken during inter-Korean excavations at Manwoldae Palace provide much information about the site in recent years, but the dry glass plates show how it looked more than a century ago, leaving people with a different impression. Photos of roof tiles excavated from Manwoldae Palace record the place where the items have been stored, but most of the pieces were moved from Gaesong to museum and 28
university collections in Gyeongseong (now Seoul), Tokyo, and elsewhere. Indeed, the location is unclear for a considerable number of these pieces. How would we even know of their very existence, let alone their appearance, without the dry glass plates? While palaces were spaces for the living, tumuli were spaces for the dead. After they died, Goryeo kings, royal family members, and high-ranking officials were laid to rest in the capital vicinity, where they had spent their lives. That is why so many royal tombs and graves from the Goryeo period are clustered around Gaeseong. However, time passed, and the dynasty changed. The tumuli in the Gaeseong area were not maintained properly and were forgotten about. Goryeo period tumuli again came into the spotlight as Koreans entered the modernization period at the end of the Joseon period. However, the target of interest was the treasures buried inside the tumuli. This trend led the famous Korean
Fig.3 Lobed celadon bottle (National Treasure No. 94) excavated from the tomb of King Injong r. 1122–1146 Gelatin dry plate
Fig.4 Goryeo tomb mural with one of the twelve earthly branches (Dragon) on it Gelatin dry plate Photo by Lee Geon-jung, 1947
patriot An Jung-geun 1879–1910 to lament that Japan’s incursion into Korea had reached as far as the bones of the deceased. Goryeo period royal tombs are the subjects of more than a few of the photographs in the NMK dry glass plate collection. Upon close inspection, one will see the stone guardian figures around the tombs have been scattered about, while the burial chambers show clear signs of having been tampered with Fig.2. After Liberation, the NMK conducted official excavations of Goryeoera tombs in Beopdangbang in Jangdan near Gaeseong, and the tombs had already been plundered. However, the murals on the burial chamber walls remained in good condition. Photos of these murals Fig.4 taken in 1947 by professional photographer Lee Geon-jung 1916–1979 are included in this dry glass plate collection. The name “Goryeo” today is often associated with celadon ware, and Goryeo celadons are cultural heritage now deeply ingrained in people’s minds. However, the public only became aware of Goryeo celadons in the twentieth century. Celadons excavated from Goryeo tombs became a big hit with Japanese collectors, fueling grave-robbing activities. The NMK gelatin dry plate collection has numerous photos of the celadon pieces taken out of the tombs along with handicrafts used by Goryeo people, and the details of prominent Goryeo people’s lives inscribed on tomb tablets Fig.3. In Gaeseong in Gelatin Dry Plates — Palace and Tumuli, the NMK has included recent photographs of those items whose whereabouts are known to provide readers with a chance to compare and further their understanding. The publication concludes with a discussion by Jang Sanghun (Director of the Children’s Museum at the NMK) on the activities of the Gaeseong Preservation Society and Gaeseong Prefecture Museum, which were born out of a movement in the local society to preserve Gaeseong’s cultural heritage during the Japanese colonial period. There is also a translation of a report by the prominent Japanese historian Imanishi Ryu 1875–1932 on the structure and nature of the Goryeo-era tumuli in the Gaeseong area. The inclusion of these materials is aimed at providing a connection between the circumstances in Gaeseong at the time the glass plate photographs were taken and the images of the Gaeseong artifacts and historic places that have been preserved by them. Gaeseong is located close to Seoul, just across the DMZ in North Korea. However, the prospects for going there from the South are dim at the moment. Right now, the wildflowers are in bloom at Manwoldae Palace, and breezes blow across the Tomb of King Gongmin r. 1351–1374. Looking at Gaeseong in Gelatin Dry Plates — Palace and Tumuli will help you understand Gaeseong during this season, and inspire the imagination of what the place was like a thousand years ago when it was called Gaegyeong, the capital of Goryeo.
NMK 2020 AUTUMN 29
CURRENT
By Jung Dae-young Associate Curator, Jeonju National Museum
Seonbi Culture Gallery: Exploring the Culture of Ancient Scholars at the Museum From September 10, 2020 Jeonju National Museum
Exhibition area with seonbi-related items
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Armillary Sphere Joseon Dynasty Wood W 36.5 cm H 45.0 cm
The Jeonju National Museum has undertaken a branding project to make the seonbi culture of the Joseon Dynasty symbolic of the museum. The word seonbi refers to the scholars of Joseon society and means “a person who is virtuous and learned.” In modern times, when materialism is rife and industrialization has weakened the spiritual side of life, the spirit and culture of scholars of the past is newly coming under the spotlight. As people aspire to achieve “small but certain happiness” these days, the seonbi spirit of “knowing one’s capabilities and being content” is drawing attention once again. To enhance specialization in this area, the Jeonju National Museum has been carrying out various projects since 2018. As a result, a number of seonbi-themed exhibitions have been held, including Seowon: Honoring Virtue and Educating Scholars (summer 2020); Seonbi, Leading Jeonbuk Literati Art (autumn 2019); and Seonbi, Sharing the Hearts beyond Words (spring 2019). The museum also held lectures at the Seonbi Culture Academy NMK 2020 AUTUMN 31
Portrait of Yi Jehyeon Late Goryeo Dynasty W 93.0 cm L 177.3 cm Ink and color on silk National Treasure No. 110
Calligraphy by An Jung-geun Daehan Empire Ink on paper Treasure No. 569-7
and academic seminars, and concluded agreements with related organizations. As part of the museum’s specialization efforts, a gallery dedicated to showing the seonbi culture was scheduled to open in September 2020. The Seonbi Culture Gallery features a permanent exhibition on the Joseon seonbi culture to enhance public understanding of the scholars as intellects transcending time and place. Located on the first floor of the main building, the Seonbi Culture Gallery includes an exhibition space where visitors can see seonbi-related artifacts and the realistic contents area where they can enjoy with the digital media technology. The exhibition features around 100 items, including Portrait of Yi Jehyeon 1287–1367, which is National Treasure No. 110, and other seonbi-related paintings, as well as journals, written records, everyday items, and documentary materials. The focus will be placed on storytelling to introduce items from the museum’s collection in the most effective manner and make it easier for visitors to understand the culture and 32
spirit of the seonbi. The realistic media arts section features diverse contents based on digital technology in an effort to adapt to the flow of the times in the age of the fourth industrial revolution. Such contents made with diverse digital technologies give visitors the opportunity to have a more active experience of the museum. They cover subjects such as the tea culture of the seonbi, the constellations, the seonbi in nature, seowon (Confucian academies), and the scholars’ travels around the country. Making use of projection mapping and other state-art technologies, these contents are anticipated to appeal to visitors’ interests and sensibilities. Through its new Seonbi Culture Gallery, the Jeonju National Museum hopes to enhance understanding of the Joseon scholars as leaders in society and to provide an opportunity for people to think about the spirit and culture of the seonbi, which is just as relevant today as in the past.
Realistic contents area featured the tea culture, constellations, and the seonbi in nature
Relics featuring the spirit of the seonbi
NMK 2020 AUTUMN 33
FOCUS
By Hwang Eunsoon Curator, Gyeongju National Museum
Silla Kingdom: In Search of the Way from the Silk Road
Fig.1 Glasswares Silla Kingdom Excavated from royal tombs in Gyeongju
Fig.2 Glass Bottle Silla Kingdom, 5th century Excavated from Hwangnamdaechong Tomb, Gyeongju National Treasure No. 193
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Gyeongju, home to the Gyeongju National Museum, was the capital of Silla Kingdom 57 BCE–935 CE for a millennium. The Silla palace sites of Wolseong and Donggung and Wolji Pond; the cluster of Silla royal tombs at Daereungwon Tomb Complex; and the site of Hwangnyongsa Temple, Silla’s great temple compound, all are in close proximity to the Museum. To the south lies Namsan Mountain, a treasure trove of Buddhist art, sculptures, carved reliefs, and architecture. A thousand years of Silla history and culture remains intact above and below the ground in the Gyeongju area. The city itself has been deemed a Historic Area, which was registered as a UNESCO World Cultural Heritage list in 2000. Silla was a small kingdom occupying the southeastern part of the Korean Peninsula. What was the source of the strength that allowed it to prosper for a thousand years and unify the Three Kingdoms? Early on, Silla maintained diplomatic, economic, and cultural interactions with neighboring Goguryeo, Baekje, and Gaya. Exchanges were also made across the sea with Japan and China over multiple dynasties as well as with various states in the Western Regions (e.g., India, Central Asia, Xinjiang)—all to advance domestically. Silla remained in contact with numerous states across the water and overland for a long time, and these foreign relations helped to shape international sensibilities as well as a cosmopolitan culture in Silla.
Fig.4 Inlaid Glass Bead Silla Kingdom, 5th century Excavated from King Michu District Tomb No. 4, Gyeongju Treasure No. 634
Fig.3 Glass Cup Silla Kingdom, 6th century Excavated from Cheonmachong Tomb, Gyeongju Treasure No. 620
Articles of foreign origin have been discovered in the great tombs that dot the Gyeongju cityscape, providing tangible evidence that the kingdom was actively engaged in exchanges abroad. Glassware and golden personal ornaments adorned with glamorous precious stones reveal Silla’s dynamic international activities, extending east by sea and west over the Steppe Route and Silk Road. About twenty-five glass dishes and vessels were found in various Gyeongju-area royal tombs Fig.1, with wooden-framed burial chambers covered with an earth and stone mound. The glassware mostly arrived in Silla via the Silk Road from Mediterranean coastal states or Sassanian Persia. The glass bottle in the shape of a phoenix head was excavated from the southern mound of Hwangnamdaechong Tomb Fig.2. It is an example of the Greek-style oinochoe wine jug, produced mainly in Syria or other Eastern Mediterranean states. The fact that gold wire was used to repair the broken handle indicates how precious this artifact was to its original owners. The blue glass cup with tortoiseshell pattern was unearthed at Cheonmachong Tomb Fig.3. It is a typical example of late Roman glass, which originated in the Eastern Mediterranean. The Gyeongju National Museum recently conducted a component analysis of the piece and found that it was most likely produced in Egypt. NMK 2020 AUTUMN 35
Fig.5 Dagger and Scabbard Silla Kingdom, 6th century Excavated from Gyerim-ro Tomb No. 14, Gyeongju Treasure No. 635
The Inlaid Glass Bead Fig.4 taken from the King Michu District Tomb No. 4 in Hwangnam-dong. It features a 1.8 cm cobaltblue glass bead inlaid with the figures of a foreign-looking man and woman and several white birds. The people have pure-white faces, large blue eyes, high-bridged noses, and red lips that appear to be smiling slightly. Interspersed between the human and fowl figures are slender branches bedecked with beautiful flowers, making the piece even lovelier and exquisite in the extreme. Inlaid glass beads were first produced in the Mediterranean and then their manufacture spread widely, reaching West Asia, Southeast Asia, China, the Korean Peninsula, and Japan. The production methods used on this piece, along with its coloring and design indicate that it was made in West Asia or the Mediterranean. Recently some have suggested that there is a relationship between it and the island of Java in Indonesia. The Dagger and Scabbard Fig.5 found inside Tomb No. 14 in Gyerim-ro reveals aspects of cultural exchange on the Eurasian continent, stretching from East Europe to the Korean Peninsula. The sheath surface is gold-plated and decorated with countless gold grains along with red garnets and glass. It is thought to have been produced in the Black Sea coastal region of Eastern Europe. Dress swords similar to this one have been unearthed in Borovoe, Kazakhstan. 36
In addition, gold ornaments produced in Silla show West Asian influences in their manufacture, to include granulation (a decorative technique of creating a pattern by applying beads of gold from melted gold wire onto a surface), inlaid jade, and various forms of gold workmanship Figs.6 and 7. However, the Silla craftsmen did not simply borrow methods from outside. Instead they added indigenous design elements, going beyond simple accommodation and imitation to advance their own creative techniques. Silla Kingdom remained in constant contact with the outside world, establishing new cultural aspects, which they assimilated and reinvented as their own. The Silla people’s active involvement with outsiders can be pointed to as one of the drivers of Korean Peninsula unification. It also provided the kingdom with the strength to prosper for a millennium. Another matter of interest at this point is the very name Silla 新羅. The characters sin 新 (new or renew) and ra 羅 (spread out) were taken from the phrases deok-eop il-sin 德業日新, which means “accumulate moral character and renew oneself daily,” and mang-na sabang 網羅四方, which denotes “bringing everything together from the four directions.” As such it epitomizes the cultural character of the Silla people, who never hesitated to change, innovate, and become globalized. This is why the Korean people look back to Silla for inspiration in today’s global world.
Fig.6 Gold Earrings Silla Kingdom, 6th century Excavated from Bomundong Tomb, Gyeongju National Treasure No. 90
Fig.7 Gold Bracelet Silla Kingdom, 5th century Excavated from Hwangnamdaechong Tomb, Gyeongju Treasure No. 623
NMK 2020 AUTUMN 37
NEWS
The Presidential Couple Visits the Special Exhibition
On July 30, President Moon Jae-in and the first lady Kim Jung-sook visited the special exhibition The New National Treasures of Korea 2017–2019. Led by Kang Kyungnam, curator at the National Museum of Korea, the tour of this exhibition began with an introduction of documented heritage that have been newly designated to treasures and national treasures, including the History of the Three Kingdoms (Samguksagi; National Treasure No. 322-1) and the Memorabilia of the Three Kingdoms (Samgungyusa; National Treasure No. 306-3). The guided tour also provided explanations on other important artifacts, such as Endless Mountains and Rivers (Treasure No. 2029) by Yi Inmun and The Rough Road to Shu (Treasure No. 1986) by Sim Sajeong. President Moon viewed each item with keen interest and posed various questions including “How would have artists like Kim Jeonghui appreciated this work?” and “Had there been exhibition space in royal palaces or elsewhere during the Joseon period?” Organized for the purpose of reviewing quarantine measures at national cultural facilities and encouraging safe cultural activities, the visit was accompanied by Park Yang-woo, minister of the Ministry of Culture, Sports and Tourism, Bae Kidong, director general of the National Museum of Korea, and Chung Jae-suk, head of the Cultural Heritage Administration. President Moon conducted an on-site inspection of the museum’s prevention measures against COVID-19, such as restricting the number of visitors, conducting temperature checks, and queuing to maintain social distance. After the visit, President Moon shared on his social media that he was “vividly moved by King Sejong’s love for his people in his endeavor to spread Hangeul” after seeing the exhibit Songs of the Moon’s Reflection on a Thousand Rivers (National Treasure No. 320) composed in Hangeul by King Sejong. The president also sent his regards to the visitors he had met that day along the exhibition halls. This visit was made before the social distancing guidelines were raised to Level 2 to prevent the spread of COVID-19.
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2020 Museum Week Festivities
2020 Museum Week was held under the theme “Museum for Equality: Diversity and Inclusion” from August 14 to 23. In celebration of this year’s museum week, the opening ceremony took place at the National Museum of Korean Contemporary History. Jung Ilwoo emceed the event as the National Museum of Korea’s public relations ambassador and the large LED artworks titled Museum Out in the Streets were on display along the walls surrounding Gwanghwamun Gate, attracting public attention. National, public, and private museums and art galleries around the nation, including the National Museum of Korea and National Museum of Modern and Contemporary Art organized a variety of programs. Moreover, exhibition tickets were offered at discounted prices for more people to enjoy the museum week. In light of the festivities, the NMK hosted 2020 Museum Education Festival featuring a wide array of cultural experiences from August 11 until 16. The event provided an opportunity for intriguingly creative, academic, and educational experiences in addition to setting the stage for diverse museum experts and cultural institutions to gather in one place in search for the social roles of museums and art galleries. The festival kicked off with the 45th Painting Festival at the NMK whereby children and youth drew their inspirations from exhibit items. In addition, the two-day Museum Education Symposium discussed the topic of museums serving as healing spaces from medical, educational, and culture perspectives, respectively, as well as various concerns and attempts shared by museums. All events were conducted observing strict quarantine and safety measures to bring consolation and comfort to people exhausted by the COVID-19 situation.
NMK 2020 AUTUMN 39
NEWS
A Royal Outing Joseon Dynasty Ink and color on silk L 191.5 cm W 404.4 cm Allen Memorial Art Museum at Oberlin College
Folding Screen A Royal Outing from the Allen Memorial Art Museum on public display at the NMK The National Museum of Korea has been providing support for Korean galleries at overseas museums since 2009. The project has so far covered twentyeight institutions in eight countries and achieved exceptional results,
Resting Areas Newly Created The parts of resting places in and around the Permanent Exhibition Hall have been renovated into convenience facilities for visitors. The relaxing areas on the second and third floors feature views of some of the main exhibits, the museum building,
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including improvement of the exhibition environment, publication of books, operation of learning programs, academic advisory service, conservation treatment, and online information sources on Korean cultural heritage. Recently, at the request of the Allen Memorial Art Museum at Oberlin College in the United States the National Museum of Korea carried out two years of conservation work on a Korean
and the outside landscape. In particular, the museum’s outdoor garden to the east of the exhibition hall on the third floor has been redesigned into a space for healing and refreshment. Visitors will be able to enjoy a new museum experience while relaxing comfortably in these completely transformed resting areas. Revived with
traditional folding screen A Royal Outing. The folding screen was owned by Dalzell Bunker and his wife Annie Allers Bunker, who lived in Korea from 1886 to 1926 carrying out missionary work as well as education and medical service, and was donated to Oberlin College in 1933. It had been restored once in the United States but this time it was mounted again in the Korean traditional way. Revealed to the Korean public for the first time, this folding screen will return to the United States and serve to promote the beauty and excellence of Korean traditional art. Stories about the folding screen can be seen on the NMK website and social media.
a touch of modernity in cooperation with furniture and landscape designers, these places are expected to serve as a leisurely resting spot for visitors to find peace of mind while viewing various artworks at first-hand.
Sehando Donated to the National Museum of Korea
Gilt-bronze Standing Bodhisattva Treasure No. 285
Acquisition of Two Treasuredesignated Buddhist Statues The NMK has purchased two Buddhist statues — Gilt-bronze Standing Buddha (Treasure No. 284) and Gilt-bronze Standing Bodhisattva (Treasure No. 285) — from the Kansong Art and Culture Foundation and displays them in the Buddhist Sculpture Gallery for four weeks until October 25. Previously owned by the Kansong Art and Culture Foundation, the Buddhist relics were put up for auction but NMK 2020 AUTUMN
The NMK received news from the Sohn Changkun’s family of their intent to donate Winter Scene (Sehando; National Treasure No. 180) by Kim Jeonghui, penname Chusa, and is currently undertaking relevant procedures. Appropriately capturing the upright spirit of scholars, called seonbi, from the late Joseon period, Winter Scene is highly valued as the most representative literati painting. This masterpiece, drawn by Kim Jeonghui at the age of fifty-nine during his exile, aptly displays the unity of calligraphy and painting in that he used dry ink and rough brushwork to realistically depict the
failed to attract bidders. The NMK decided to acquire these relics with the intent of honoring Kansong’s determination to protect valuable national heritage in addition to preserving the items’ value as cultural heritage of the whole society instead of an individual. The NMK will conduct scientific and academic research on the two Buddhist statues and plans to showcase them in various exhibitions after acquiring more information on their historical value and excellence of Korean cultural heritage.
physical, as well as spiritual hardship and parchedness that he faced in those days. The pine tree in Winter Scene is known to represent Kim Jeonghui himself, barely enduring the harsh life of exile, while the cone pine trees symbolize the unyielding scholar’s spirit that he endeavored to keep, nevertheless. Following the previous Sohn Seki and Sohn Changkun Collection, completed by donating a total of 304 pieces from 202 items to the NMK in November 2018, the Sohn made the donation for the second time. As soon as the donation steps are completed, the NMK plans to release Winter Scene to the press and hold a special exhibition for all visitors to enjoy in upcoming November.
Gilt-bronze Standing Buddha Treasure No. 284
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In Communication with the Joseon Dynasty Painting of Red and White Plum Blossoms is a masterpiece of Joseon art with stems twisting and surging upwards like a dragon and long branches stretching to the left and right, the red and white plum blossoms dotted across the space above. In contrast, Una Lumino (2008) is an animamachine (living machine) born in the twenty-first century which takes the form of a mass of breathing light that moves with finesse and grace. The artist Choe U-Ram said that when he looked down from a night plane, the lights of the city seemed to be breathing, and some enacting the scenes of interactive communication between living creatures. Strangely enough this idea coincides with the thoughts of Joseon artist Jo Huiryong, who saw the lush plum blossoms at the far right of the folding screen as a shower of stars falling from the galaxy, and the five colors like the butterflies of Luofu Mountain let loose.
Painting of Red and White Plum Blossoms Joseon Dynasty By Jo Huiryong Paper 124.8 × 46.4 cm (each panel)
