VOL.54 WINTER 2021
Bodeokgul Cave from the Album of Paintings of Geumgangsan Mountain Joseon Dynasty, 1711 By Jeong Seon Color on silk 37.0 × 35.9 cm
One spring day, welcoming banquets are held for the new governor of Pyeongan-do, which has the whole town buzzing with excitement. At the special exhibition After Every Winter Comes Spring, passing through the fantastic digital recreation of the city’s Daedongmun Gate takes you into the thick of the activity and with the governor you can enjoy the three banquets held at Bubyeongnu Pavilion, Yeongwangjeong Pavilion, and by the Daedonggang riverside through various media arts.
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Media Art Technologies Applied to Help
Two Galleries on the Third Floor at
Museum for You, Whoever You Are,
Reinterpret the Old Paintings
the Museum Newly Opened
Wherever You Are
The special exhibition features two paintings,
The Japan Gallery and World Ceramics
The National Museum of Korea has
one under the theme of “Evergreen in Wintry
Gallery have been newly opened on the third
established a future vision to be
Days” and the other “Memorable Moments,
floor of the Permanent Exhibition Hall. Here
accomplished by 2030. Armed with this
Welcoming Banquets in the Spring,” which
you will explore between East and West and
vision, the museum aims to move beyond
are shown through various media arts. It
their mutual influence through the medium
the boundaries of time, place, and identity to
conveys a message of hope, by showing both
of ceramics and at the next room you will
become a place of creativity and healing that
the despair and honor that could be enjoyed
come to understand the little known world of
anyone who loves Korean culture and art can
by a government official of Joseon, and how,
Japanese warriors.
come to at anytime from anywhere around
after enduring a cold winter, one can recover
the world.
peace as welcome as a spring day.
CONTENTS 02
CURRENT Wintry Days: Pine’s Unwavering Spirit in the Freezing
Cold of Midwinter 06
INSIGHT Forging an Era: Chusa Kim Jeonghui
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CURRENT Memorable Moments, Welcoming Banquets
in the Spring 10
INTERVIEW The Joy of Seeing the Museum Open Again
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COLLECTION
Sipjangsaeng: Ten Symbols of Longevity in Nature
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ESSAY Landscapes Connecting Utopia and Dystopia
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ESSAY Seobongchong Tomb Re-excavation Results
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WORLD ART GALLERY
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WORLD ART GALLERY The Samurai Class from Warriors to Statesmen:
600 Years of East-West Exchange through Ceramics
Patrons of Japanese History, Culture, and Art 34
RENEWAL Renewed Exhibition: White Florescence of
Joseon Ceramics 38
ISSUE National Museum of Korea Strategy for the Future,
Opening the New Era 2030 40
NEWS
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 January 25, 2021 ISSN 2005 – 1123 Printed in Korea. Copyright © 2021 National Museum of Korea. 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. 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. www.museum.go.kr/site/eng/ archive/ebook/all (PDF downloads available)
CURRENT
By Oh Dayun Associate Curator of the Fine Arts Division, National Museum of Korea
Wintry Days: Pine’s Unwavering Spirit in the Freezing Cold of Midwinter From November 24, 2020 National Museum of Korea
Year-end cold, called Sehan, is the coldest time of the year, which takes place around the New Year, between the solar terms Minor Cold 小寒 on January 5 and Major Cold 大寒 on January 20. All of creation seems to be shriveled up in this period; most plants and trees are withered and leafless. By contrast, evergreen trees—pine and cypress—lose their needles only gradually and stay green year-round. From spring through autumn, flowers and deciduous trees show off their beautiful hues, while the evergreens are hardly noticed. However, people awaken to their greenness when winter comes around. The Analects quotes Confucius as saying, “Only in the dead of winter do we realize the pine and cypress trees are the last to wither.” Resolving to remain constant, like the evergreens, and refusing to submit to life’s twists and turns is not easy; therefore, this passage resonates even more in people’s hearts.
Wintry Days (Sehando) by Kim Jeonghui, 1469.5 centimeters long handscroll work
A display for the stories about how Wintry Days (Sehando) was preserved and handed down to the present day
Wintry Days (Sehando) by Kim Jeonghui 1786–1856 reflects a man’s strong will to assume the stance of the pine and cypress trees, endure life’s trials and tribulations, and maintain personal values. This classic artwork has been designated National Treasure No. 180; every Korean has heard it at least once and is familiar with it. The painting had been preserved in the collection of Sohn Chang Kun 1929–present until he, having cherished it like one of his own children, donated it to the National Museum of Korea in 2020. This was the sole piece he was unable to part with when he donated his collection of over 300 old calligraphic works and paintings in November 2018. The NMK is now holding a special exhibition entitled Evergreen in Wintry Days to commemorate his momentous act of donating such a priceless treasure for the Korean people.
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The special exhibition is divided into two parts, the first covering how Wintry Days came to be produced and the second how it was preserved and handed down to the present day. Part 1 is titled “Duration of Wintry Days,” illuminating the time when Kim Jeonghui faced banishment to Jejudo Island in 1840, his eight years and four months in exile, and his painting of Wintry Days there. Kim was in the very heart of Korean academic and artistic circles in the first half of the nineteenth century. At the age of twenty-three, he traveled with his father to China and met Qing scholars Weng Fanggang 1733–1818 and Ruan Yuan 1764–1849. Kim Jeonghui became their disciple, and eagerly received and studied Qing scholarship, becoming one of Korea’s leading experts in the Chinese classics, epigraphy, and documental archaeology. Unfortunately, Kim became embroiled in political strife, was charged falsely with wrongdoing, and was forced into exile on
the isolated area Jejudo Island. Upon entering the gallery, visitors walk down a narrow passageway and watch a video on the large screen by the media artist Jean-Julien Pous. The film incorporates Kim’s feelings of hopelessness and loneliness in this unfamiliar and isolated place of exile with Jejudo Island’s solitary landscape. Then Kim Jeonghui’s Wintry Days appears in real life, beyond the video, in all its glory. Kim’s disciple, an interpreter named Yi Sangjeok 1804–1865, had never abandoned his master, who was branded a criminal, and sent him precious books to comfort him during his exile. To express his gratitude, Kim Jeonghui painted Wintry Days for him. He selected the title “Sehan” for the work to emphasize Yi’s affection and mental steadfastness; he brushed dark ink on worn-out paper to simply fashion pines, cypress trees, and a single house. A desolate chill is conveyed from a
harsh land and empty space. The deserted house is melancholy to the extreme. On the reverse side, Kim meticulously drew a space, and, using powerful brushstrokes, wrote the background for his painting. In this way, Wintry Days became a masterpiece with a human message, as the great scholar Kim Jeonghui candidly vented his feelings. The handscroll of Wintry Days also has inscriptions from Qing literati to whom Yi Sangjeok showed the painting. They praise the relationship between Kim and Yi as well as the constancy of the pine and cypress trees in dead winter. Part 2, entitled, “The Evergreen Heart,” introduces the people who steadfastly stood by Kim Jeonghui’s side as well as those who carried on his legacy through the studies and artworks left behind by him. Yi Sangjeok kept his teacher Kim Jeonghui informed of the latest literary news from Beijing and
sent him needed items until the end of Kim’s life. Heo Ryeon 1808–1893 visited Kim Jeonghui on Jejudo Island three times, painting Kim’s portrait and carving his teacher’s writings into woodblocks for printing. Seon Master Choui, also known as Uisun 1786–1866, maintained a close friendship with Kim Jeonghui for 30 years, and visited him while he was in exile to console his weary body and mind. Junior students of Kim Jeonghui in the twentieth century carried on Kim’s legacy through their scholarship and their art. Fujitsuka Chikashi 1879–1948 devoted his life to studying Kim Jeonghui and wrote that Kim was one of the great East Asian scholars. Son Jaehyeong 1903–1981 respected Kim Jeonghui and risked the threat of bombing to get Wintry Days back. Oh Sechang 1864–1953 protected Korean cultural heritage during the 36-year-long harsh winter of Japanese colonial rule, and he left behind writings on this famous
painting. These individuals followed Kim Jeonghui, the scholar and the artist, and each devoted himself to the evergreen trees spirit embodied in Wintry Days. We are now coming to the midwinter, and people everywhere have passed through a time of bitter cold due to the COVID-19 pandemic. The special exhibition presents the reasons why Kim Jeonghui painted Wintry Days and the people who have cherished and preserved this great artwork. We can overcome the current trials we face, no matter how difficult the situation may become, if we hold fast to our values and show affection for one another. Pines and cypress trees become firm and their greenness turn thick as they endure centuries of sehan, freezing cold of midwinter. In the same way, let us take this time to realize what we missed before and think about the importance of the people with whom we are with every day.
NMK 2021 WINTER 05
INSIGHT
By Park Chul-sang Director of the Research Institute on Ancient Books, Documents, and Culture of Korea
Forging an Era: Chusa Kim Jeonghui The nineteenth century during the Joseon Dynasty was a time when the seeds were sewn for many aspects of our society today. When studying the scholarship and art of Joseon during that time, one person keeps coming to our mind: Kim Jeonghui 1786–1856, penname Chusa, representative scholar and artist of the nineteenth century. Study of Kim Jeonghui, therefore, helps us to understand Joseon in those days and reflect on the way we are now.
Kim Jeonghui was born in a prestigious family. His great-grandfather was the husband of Princess Hwasun, daughter of King Yeongjo, which means he was a member of the Joseon royal family. Legend has it that he was born 24 months after conception. This story was not generated in later years but already existed in his time and is symbolic of his extraordinary qualities. The foundation for Kim Jeonghui’s learning and art were laid when he was a young student in the Qing Dynasty of China. Indeed, it can be said that his encounter with two Qing scholars, Weng Fanggang 1733–1818 and Ruan Yuan 1764–1849, determined the course of his life. He met them only once but the impact was long lasting. They exchanged letters and the two scholars became Kim Jeonghui’s teachers as he studied the art
Orchid of Non-duality Joseon Dynasty, 19th century By Kim Jeonghui Ink on paper Gift of Sohn Chang Kun, 2018
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and learning of the Qing Dynasty, China. Most notably, Kim Jeonghui embraced evidential scholarship (gojeunghak), a field that he eventually made his own and transmitted back to Qing Dynasty. At the time the collection and research of Joseon epigraphy was in vogue, and Kim took the lead in discovering and analyzing new inscriptions and passing on his knowledge to Qing intellects. Through Kim Jeonghui, epigraphy was established as a new field of study in Joseon. Literati painting was another field that Kim Jeonghui studied deeply, the result of which were his masterpieces Wintry Days and Orchid of Non-duality. Literati paintings are works that were produced by men of letters as a hobby, not by professional artists. Their paintings did not focus on the depiction of objects, but on conveying the spirit of the artist. Orchid of Non-duality, one of Kim’s major works beside Wintry Days, is a painting with the artist’s thoughts written in the empty spaces. Interestingly, the orchids do not look like pictures but rather written letters. Conversely, the letters in the empty spaces look like pictures. These letters like pictures and pictures like letters harmonize as compositional elements on the canvas, while the seals stamped here and there add life to the ink painting. The writing in the blank spaces says that the
artist cannot begin to describe the way orchids should be painted but that this is the way to paint them. From this painting we can sense the pride of the artist in attaining the highest level of orchids painting. Kim Jeonghui’s greatest artistic achievements are found in calligraphy. When he invented the new calligraphy script “Chusache” (named after his own penname, Chusa) and introduced it to the Qing Dynasty, many literati there obtained examples of his handwriting and hung them up in their homes. The substance of Chusache was embodiment of the calligraphy of the ancient Western Han Dynasty, which Kim regarded as the root of all writing scripts. However, in Kim’s time the Western Han script consisted of not more than one hundred characters. Through his research, Kim Jeonghui identified the characteristics of Western Han script and was finally able
to write the characters that had not been handed down. As such, Chusache is not just a copy of old writing but a creative script. It represents the acme of evidential scholarship. A calligraphy masterpiece featuring Chusache is Pavilion with Inscribed Letters on Broken Stones, called Janseo wanseongnu. It is a combination of several scripts and it seems somehow broken and lacking in something. Through this combination, Kim Jeonghui makes people feel as if they had returned to the world that existed thousands of years ago. Kim Jeonghui’s calligraphy, painting, and scholarship were completely unprecedented in the history of Joseon. Kim devoted his life to constant exploration and interpretation of history and reviving the essence of the process. Joseon was neither a country rich in resources nor a populous country. Kim embraced foreign cultures and made
them his own, building on them to forge a unique culture for Joseon. Foreign culture, therefore, became a driving force in the lives of Koreans and the conduit of knowledge. In this respect, Kim was like a representative of Joseon when it came to creating the “Korean Wave of learning,” comparable to the current Korean wave in culture. His very life was a model of how to accept and embrace foreign culture. He rendered the nineteenth century of Joseon an era of his own, and through his art and academic achievements he is showing us how to shape the twenty-first century in which we live.
(Above the page) Wintry Days Joseon Dynasty, 1844 By Kim Jeonghui Ink on paper National Treasure No. 180 Gift of Sohn Chang Kun, 2020
Pavilion with Inscribed Letters on Broken Stones Joseon Dynasty, Mid-19th century By Kim Jeonghui Ink on paper Gift of Sohn Chang Kun, 2018
NMK 2021 WINTER 07
CURRENT
By Yang Seungmee Associate Curator of the Exhibition Division, National Museum of Korea
Memorable Moments, Welcoming Banquets in the Spring From November 24, 2020 National Museum of Korea
The National Museum of Korea has opened the special exhibition Memorable Moments, Welcoming Banquets in the Spring, featuring the convergence of media art technologies with the Joseon Dynasty painting Welcoming Banquets for the Governor of Pyeong-an. This event reflects international trends in digital exhibitions and therefore marks an important step forward for the museum to develop into a smart museum. Welcoming Banquets for the Governor of Pyeong-an from the latter half of the Joseon period is composed of paintings of three events honoring the newly appointed official: Banquet at Yeongwangjeong Pavilion, Banquet at Bubyeongnu Pavilion, and Boating on a Moonlit Night. These three works are documentary paintings 08
prized for their exquisite depiction of regional festivities held for the governor of Pyeongan-do and their representation of various events held at different times. Moreover, they are strongly marked with the characteristics of genre painting, showing in rich detail the everyday lives and leisure of the people of Pyeongyang in the second half of the Joseon period. At the time, Pyeongyang was an emerging center for trade with the Qing Dynasty of China and signs of its prosperity based on commerce and finance can be found in various parts of the painting. Divided into three parts, the exhibition makes wonderful use of digital media to give visitors the chance to experience the world inside the paintings. Part 1, titled “Spring Journey,” is a video
presentation that divides Welcoming Banquets for the Governor of Pyeong-an into four stories. “Chapter 1: First Step” recreates the journey taken by the governor on his way to his new post in Pyeongyang, generating a mood so real that you feel as if you are taking the journey with all the people in the painting. Upon arrival in Pyeongyang you can see the shops stretched out in front of Daedongmun Gate and the people busily going about their daily lives. “Chapter 2: Welcoming” shows the dances on seven big screens that were staged at Yeongwangjeong and Bubyeongnu Pavilions to greet the newly appointed governor. This performance is a modern reinterpretation of traditional dances appearing in the paintings Banquet at Yeongwangjeong Pavilion and Banquet
A visitor enjoying three paintings that together document the day of the welcoming banquets for the governor of Pyeongan-do
at Bubyeongnu Pavilion which draws us into atmosphere so that we can feel the lively spirit and meaning of the dances. “Chapter 3: Banquets” uses projection mapping to allow visitors to clearly see the three paintings larger than life size. Some of the images of the onlookers at the banquet have been enlarged even further so they can be examined in detail. “Chapter 4: Nightscape” is an experience zone featuring modern reinterpretations of water and fire images in the paintings, from the ripples on the Daedonggang River to the varied torches and lanterns used for lighting. As the end of Part 1 of the exhibition, with stunning visual and sound effects this area immerses visitors in Boating on a Moonlit Night so that they can enjoy the night views after exploring
the details of the paintings. After these video presentations comes Part 2, “Records of the Day,” where the three actual paintings are on display. In addition, there are lines of poetry written by Joseon literati after visiting Pyeongyang, which leave us something to think about after seeing the whole exhibition. Part 3 is titled “Behind the Paintings” as it provides a wealth of information that enables visitors to better understand the contents of the exhibition that are hard to present in video form. The results of conservation science analyses are also introduced, giving insight into various special features of the paintings that cannot be seen with the eyes. In these paintings, the governor of
Pyeongan-do is acting on behalf of the King, enjoying time with the people in his era of peaceful reign. The protagonist, who is about to open a new chapter of his life in a new position, surely feels no different to us as we make promises to ourselves upon taking a new challenge in life. This exhibition is an opportunity to remember shining yet fleeting moments in the past when life seemed so good. COVID-19 has made difficult for everyone but we hope that all visitors will greet the new year with new resolve after gaining energy by looking at the people of Pyeongando gathered to enjoy themselves at the banquet.
NMK 2021 WINTER 09
INTERVIEW
By the Editorial Team / With Kim Taehyun, Jung Eunyong, and Kim Chaewoo
The Joy of Seeing the Museum Open Again Between Aesthetic Appreciation and Scientific Thinking Eleven-year-old Kim Chaewoo shows an aptitude for photography, scientific experiments, growing plants, and taking care of pets. Since he was very young he has been to a lot of concerts and exhibitions and enjoys exploring the nature of different materials and making scientific experiments. These
A family talking about the Buddhist sculpture and its forehead hole
talents encompassing science and the arts were discovered by Chaewoo’s parents, his father, Kim Taehyeon, who works in brand design and digital marketing and his science teacher mother, Jung Eunyong. For some time now the family have taken turns choosing a place to visit on weekends. When it was the father’s turn they all went to Museum SAN where they took pleasure in walking around
the contemporary architectural spaces surrounded by beautiful natural scenery. When it was the mother’s turn, the family went to the Goseong Dinosaur Museum, built next to a fossil site, and spent the whole day looking at authentic fossils of dinosaurs such as the oviraptor and protoceratops. From the expression on their faces, it is easy to see that the whole family
are diligently nurturing mind and body in order to stay active and keep their spirits up. When the parents began working at home at the beginning of the COVID-19 outbreak, the family had the new and rather interesting experience of being together 24 hours a day. But as the pandemic stretched on, the parents returned to the workplace and in such an unprecedented situation Chaewoo found himself going to school just once a week to prevent the further spread of the virus. Although school life has almost returned to normal, if social distancing measures are strengthened again, it is highly likely that most of the curriculum will be covered in online classes. Happily Queuing up to Enter the Museum
Upon hearing that the National Museum of Korea (NMK) would be reopening after an almost three-month closure, Kim, the father, got online and completed the simple reservation process. Because of COVID-19 the family is careful about going out to eat even in their neighborhood, but the museum’s three-stage entry process put their minds at ease and allowed them to concentrate on the exhibitions. After standing in line at intervals of 2 meters all visitors were checked to ensure they were wearing masks and had their temperature measured. Then scanning the QR code they had received at the time of reservation, they passed through
a security check and only then were they finally allowed to enter the exhibition hall. While standing in line waiting their turn, the family was thankful for entry process which they found practical and a matter of course. Jung, the mother, looked around and noticed that thorough quarantine measures were being taken with hand sanitizers placed here and there and transparent dividers installed at the information desk and the cloakroom to guard against infection. Inside the galleries, visitors maintained a safe distance. Chaewoo has been waiting for this visit to the museum. He wanted to see first-hand City of Supreme Peace, which he has only seen in photos. This painting, now on display in the Calligraphy and Painting Gallery on the second floor of the Permanent Exhibition Hall, shows multifarious aspects of people’s daily life during the latter half of the Joseon period. A wedding, a man who has come first place in the state civil service exams, a noblewoman with her retinue—those scenes are painted with such liveliness that Chaewoo had a wonderful time looking at all different people and working out their stories. Beyond Expectations: Digital Immersive Galleries
Chaewoo and his father are keen to take part in digital experiences, the more so after visiting the media art exhibition at
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Walking at the Outdoor Exhibition Area featuring stone relics
the Jeju Museum of Contemporary Art. The first place they want to visit when they can start travelling again is Museum DAH, which opened at Haeundae in Busan in 2019. On the family’s recent visit to the NMK they were most eager to see the Digital Immersive Galleries, which opened in May 2020. When they entered the darkness of Digital Immersive Gallery 1 the whole family exclaimed with delight. The spectacular video and sound presentations seemed to wrap around them completely and they felt as if they were inside the videos. All visitors, adults and children alike, were busy taking selfies with their phones. Before the excitement had time to wear off, the family headed to the second floor and waited their turn to enter Digital Immersive Gallery 2. Chaewoo’s father made reservations to use the VR contents and when his turn came Chaewoo, wearing a special headset, was able to get a 20-minute experience
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of virtual reality with his whole body. He chose a program where he could inspect the Reliquaries from Gameunsa Temple in detail and became totally absorbed in this new experience. At the end of the program he tasted the pleasure of hitting the bullseye when he shot an arrow at the sun and a dragon appeared. The Museum as a Part of Everyday Life
Visiting museums has already become an important part of life for Chaewoo’s family. During school holidays Chaewoo spends a lot of time with his mother at the Gwacheon National Science Museum. He especially likes the Insectarium, and after watching the aurora in the Planetarium he has been dreaming of traveling to Canada one day and seeing the aurora in real life. When he was younger he would often go down to his maternal grandparents’ place and will never forget the time he made his own wind chime at the Cheongju National
Museum and bound a book with the paper he had made with his own hands at the Jikji Museum of Buddhist Arts. As for Kim, Chaewoo’s father, his thoughts turn to the museum whenever he needs inspiration. As a brand designer he often finds himself thinking about the things representative of Korea. Several times already he has worked with motifs taken from the Korean script, hangeul, and each time he has asked himself how he can take an intangible heritage and express it as something tangible. Among the exhibits at the NMK he has gained inspiration from the printing types made of wood, lead, or other metal and used them in his finished designs. The museum has been a rich resource for him when he has been seeking to unravel a problem as he works. Jung, Chaewoo’s mother, often makes use of the diverse contents provided by museums in her own classroom. On days when it is possible to observe
a partial eclipse or meteor shower, she watches the online service provided by the Astronomical Observatory with the students in the astronomy and physics club that she supervises. And whenever she gets the chance she also recommends various museum programs and online contents to her students. The three members of Chaewoo’s family, who have a special love of museums, are hoping that the pandemic will end as soon as possible so that they can make the museum a part of their everyday lives again.
This visit was made before the social distancing guidelines were raised to Level 2.5 to prevent the spread of COVID-19.
Chaewoo encountering the Reliquaries from Gameunsa Temple VR tour
In the Sarangbang Chaewoo taking some pictures which he has seen in books
NMK 2021 WINTER 13
COLLECTION
White Porcelain Jar with Ten Longevity Symbols in Underglaze Cobalt Blue and Copper Joseon Dynasty Ceramics H 37.3 cm
Sipjangsaeng: Ten Symbols of Longevity in Nature
Compass Joseon Dynasty Wood D 9.8 cm T 3.0 cm
Pouch Embroidered with Ten Longevity Symbols Joseon Dynasty Silk 11.0 × 12.0 cm
White Porcelain Bottle with Ten Longevity Symbols in Relief in Underglaze Copper and Cobalt Blue Joseon Dynasty Ceramics H 32.4 cm D 5.5 cm (mouth) D 21.2 cm (body)
White Porcelain Water Dropper with Twin Crane Design in Relief in Underglaze Copper Joseon Dynasty Ceramics H 5.4 cm
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White Porcelain Incense Burner Joseon Dynasty Ceramics H 16.7 cm D 16.7 cm (mouth) D 23.5cm (body)
Eight-panel Folding Screen Embroidered with Ten Longevity Symbols Joseon Dynasty Silk L 59.0 cm W 33.5 cm White Porcelain Lidded Bowl with Ten Longevity Symbols in Underglaze Cobalt Blue Joseon Dynasty Ceramics D 13.0 cm
Arm Rest Joseon Dynasty Wood H 26.0 cm L 12.0 cm W 46.0 cm
Ox-horn Plated Brush Container Joseon Dynasty Bone, horn, and shell H 12.5 cm W 20.0 cm
Lacquered Box Inlaid with Mother-of-pearl Joseon Dynasty Bone, horn, and shell H 15.1 cm L 15.1 cm W 53.0 cm
NMK 2021 WINTER 15
ESSAY
By Lee Seahyun Artist
Landscapes Connecting Utopia and Dystopia
Between Red - 141 2012 Oil on Linen 300.0 × 300.0 cm Courtesy of the artist
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Geumgangsan Mountain from the Album of Paintings of Geumgangsan Mountain Joseon Dynasty, 1711 By Jeong Seon Color on silk 37.0 × 35.9 cm NMK 2021 WINTER 17
Between Red - 019JAN01 2019 Oil on Linen 248.5 × 666.6 cm Courtesy of the artist
The Road Reached after a Long, Long Journey
A long time ago, I once thought that European art was truly the most artistic and avant-garde. The paintings that I was exposed to as an overseas student reflected the society, culture, politics, philosophy, life and death, and history of Europeans and they aroused in me a vague sense of awe. But it was not long before I realized that we were aiming for different things. Since I was young, fundamental questions about art have always sat inside of me. Will these works I’m doing make me happy? What do I want to achieve? Is this what I am really looking for? Endlessly I questioned myself and poured all my effort into finding the answers. But suddenly I stopped asking myself what is art, what am I, and what is my talent. Boldly I stopped the work I had been doing for over 15 years. Peace restored, I concentrated on drawing with just paper and pencil, brush and paint. For several years I simply drew, following where the pencil led, following where the brush led. My circumstances were not so easy, but whenever I deliberately tried to make a living I would fumble and lose my way again. Yet as the fear of meaninglessness kept rushing at me, I hoped for the opportunity to concentrate solely on my work at least once, when I could devote my time and effort without regret. Red Landscapes: Between Red
I finished the work I was doing and at the age of 40 I went to London to study. In 2006, two months before my graduation 18
exhibition at the Chelsea College of Art and Design in London, where I did my master’s degree, I began a series of paintings depicting Korean mountains and rivers with one single color— red. The series was initiated by the idea of “distinction and difference.” Having reached the conclusion that distinction and difference come from the environment that surrounds us I began to concentrate on the scenery that had existed for me as I was growing up, past memories and experiences, and the sentiments and values that I had developed along the way. And inspiration grew as I kept investing meaning in the landscapes that remained with me as memories and pain. Between Red series are paintings that express the desire of an artist living in a divided country to depict the reality of Korea. When I was doing my military service the landscapes that I saw through night vision goggles was steeped in sadness and pain, and I was faced with the cold reality of monitoring and detecting any movement that had not been prearranged. At the same time the monochromatic landscapes that the night vision goggles presented constituted a beautiful, mystical world that stimulated primordial sensations. These intense memories compounded by conflicting feelings gave birth to my red landscapes. My exploration of diverse landscapes is wound up in
Between Red - 016DEC02 2016 Oil on Linen 200.0 × 200.0 cm Courtesy of the artist
memories of my mother. A few years ago when I went back to visit the places that were part of my mother’s memories of youth—the garden in front of her old house, the mountain behind it, and the Tongyeong seaside, the place where my mother’s ashes had been scattered—I was shocked to find that the scenes of the past had disappeared. It made me realize that Korea’s landscapes were something that could change and disappear without notice. Misunderstanding and Prejudice Regarding Color
When I first presented Between Red, the galleries and visitors in Europe seemed to enjoy the red landscapes and be fascinated with the border between utopia and dystopia. It was in Korea that I faced unusually strong misunderstanding and prejudice, for it seemed many people found my work unsettling. In Korea the color red brings to mind the anti-communist ideology of a past military dictatorship and people tend to regard it as taboo. In the far past the color red was used as a means to ward off evil
spirits, but in the past half century it has degenerated into the symbol of the red complex. But red is an incredibly intense and beautiful color. In the Between Red paintings real historical figures or the nameless masses who lived each moment with such intensity drift over the canvas but because of the beautiful landscape their heartbreaking sadness is thrown into relief. The red landscape is a metaphor that dramatically reveals Korea’s painful history. Feeling the need to get rid of the various prejudices and misunderstanding I devoted myself to my work. When I presented it in the special exhibition at the 2011 Venice Biennale, I ended up expanding my scope of activity to China and the United States. And the misunderstanding I had aroused in Korea over the years naturally faded away. Perspectives Divide Utopia and Dystopia
Will the day come when we discover in reality the utopia that has existed in so many different ways in the thought, philosophy,
Between Red - 018SEP02 2018 Oil on Linen 200.0 × 200.0 cm Courtesy of the artist
and art of both East and West? This is the kind of question that makes me depict the world inside Between Red sometimes as utopia and sometimes as dystopia. From the perspective of capturing a beautiful landscape, it could be said that my landscapes show a utopian world. But if we look below the surface, no people appear in the paintings, only the suggested traces of their lives. A world that is beautiful but where people cannot live is a kind of dystopia. But instinctively, an aspect of utopia is presented again. A world not of the future but of the past, but in reality a world that has never existed in the past. In this sense, it connects back to dystopia again. Hence my paintings are a bridge between utopia and dystopia. This kind of contradiction reveals itself in form. I adopt not Western perspective but the so-called three distances method (samwonbeop) used by the Joseon Dynasty artist Jeong Seon, encompassing the flat or level distance, the high distance, and the deep distance. This way I painted a different landscape depending on where I moved, but using Western methods of
depiction rather than the traditional Eastern texture stroke method. So while my paintings resemble traditional landscapes they are not landscapes at all. A series of works tackled as a way to express mixed and contradictory feelings there appear clashes in form and consistency is cast aside. In the same context I have trapped controversial content in the external form of a landscape, deliberately choosing the color red to do so. Having grown up in a country seaside village, putting down my experiences and the natural scenery of Korea on the one picture plane, layering upon each other the seas, the islands, and the mountains that have disappeared through the painful process of democratization, economic modernization, and indiscriminate development, I am building a world that existed in the past but has never existed at all.
About the author Born in 1967 on Geojedo Island, Gyeongsangnam-do, Lee Seahyun spent a happy childhood in Tongyeong and completed his elementary and secondary education in Busan. After graduating from the Western Painting Department of Hongik University (1989) and its graduate school (2001), in his age of 40 he went to study overseas and obtained his master’s degree at Chelsea College of Art and Design in London (2006). With his graduation exhibition in 2006, Lee’s Between Red began to draw the attention of Europeans. He expanded his scope of activity and began to hold solo exhibitions around the world, including Union Gallery in London, Zonca & Zonca Gallery in Milan, Nicholas Robinson Gallery in New York, and Mimesis Art Museum in Gyeonggi-do, Korea. Lee’s works can be found in the collection of various institutions around the world, including Leeum, Samsung Art Museum in Korea, Shanghai Minsheng Art Museum in China, All Visual Arts in the UK, the Berger Collection in Switzerland, and the Microsoft Art Collection in the US. NMK 2021 WINTER 21
ESSAY
By Kim Daehwan Associate Curator of the Archaeology and History Division, National Museum of Korea
Seobongchong Tomb Re-excavation Results
Ritual food and dishes offered to Silla royalty from 1,500 years ago
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Seobongchong is a Silla royal tomb in the Gyeongju area that was excavated twice, in 1926 and 1929, during the Japanese colonial period. The Imperial Japanese Government conducted the Research Project on Cultural Heritage of the Korean Peninsula to obtain information on the historical remains and artifacts that would justify its colonial rule over Joseon, and the digs at Seobongchong Tomb were part of this effort. Sweden’s Crown Prince was involved in the excavations, and Sir Percival David 1892–1964 of the UK helped to cover the project cost. As a result, the tomb was well known in Europe as well as in Asia. Despite the interest, the Imperial Japanese Government did not arrange well the artifacts uncovered in the tomb and did not even write a report on the findings. The National Museum of Korea keenly recognized these problems and planned a Seobongchong Tomb Re-excavation Project. We began by reorganizing the items already excavated and publishing a report in 2014. The tomb re-excavation work was carried out in 2016 and 2017, and report on the recent finds was issued. What follows is a summary of the results of the Seobongchong Tomb re-excavation. Revision of Inaccurate Information on Tomb Size
The re-excavation team uncovered all the stones set around the tomb mound base and reconfirmed the existence of twin mounds. The mound to the north was built first, followed by the one to the south. The order in which the North and South Mounds were created was briefly alluded to by the investigators during the Japanese colonial period. However, they did not issue a report, and the basis for their claims was not substantiated. This time, the chronological order of the two mounds was clearly illuminated, and their maximum diameters were confirmed—46.7 meters for the North Mound and 25 meters for the South Mound. The Japanese archaeologists NMK 2021 WINTER
set the diameter of the North Mound at 37 meters, but the figure was proven wrong during the re-excavation. Accurate mound diameters of Seobongchong Tomb are important as fundamental data supporting research on identifying the tomb occupants. Researchers have always compared the diameters of extant Silla tombs and identified those with the largest diameters as being Silla royal tombs. The present survey yielded the diameter of the North Mound for the first time, a fact that will influence further studies on Silla royal tombs. Confirmation of Data on Stone Mound Construction
The team found new data on the mound of stones (dolmuji) piled on top of the burial chamber at the North Mound of Seobongchong Tomb. The large stone mound is a key feature of Silla tombs for kings and queens in the fifth and sixth centuries. The dolmuji at Seobongchong
Square lidded bowls from the Seobongchong Tomb that appear similar to today’s stackable side-dish boxes
Tomb were surveyed during the Japanese colonial period, but the details of the research findings were not publicized. During the re-excavation, holes were found for the poles of the scaffolding used to stack the stones. The researchers determined that the scaffolding had been set up before the stone mound was built. In addition, the dolmuji takes on a trapezoidal shape from the side, suggesting it served as a sacrificial alter during the burial process. The Japanese archaeologists had asserted that river stones had been stacked without any foundation, but the re-excavation team learned that the dolmuji was made according to a detailed plan and that it served as a stage during the burial ritual. Excavation of ritual earthenware vessels from large jar No. 5 in the South Mound of Seobongchong Tomb
Containers and a large jar for ritual food
Rediscovery of the Deonneol Structure
The structure of tomb facilities was also clarified. The protective structure around the stone coffin (deonneol) of the North Mound have a double layer over the ground, and a container of burial objects and stone coffin (neol) were discovered inside. By contrast, the South Mound was found to have a double layer deonneol half underground. These facts are important because they inform us about the tomb facilities as well as the conducting of sacrificial ceremonies inside the tomb to honor the deceased. The double-layered deonneol structure encompasses the spaces inside, between, and above the two deonneol. The many spaces suggest that complex sacrificial ceremonies were conducted in those spaces. This tomb has more space available for these ceremonies than earlier tombs had, and these ceremonies were most likely more elaborate than what was done previously. Discovery of New Sacrificial Ceremonies at the Tomb
The protective stones around the North and South Mounds show evidence of sacrificial ceremonies using large
earthenware jars. The re-excavation team judged that the presence of these jars stemmed from ceremonies that involved food offerings. These ceremonies were conducted immediately after the tombs were built, and they were held on at least two occasions in case of the South Mound. The ceremonies are presumed to have been held for a set period to honor the deceased buried in the tombs. In addition, the vessels found inside and around the large earthenware jars allowed researchers to reconstruct the sacrificial implements for presenting food offerings. Moreover, Sillastyle earthenware vessels were scattered around the large jars, indicating local people participated in the ceremonies. This provides archaeological clues that can be linked with funerary rites for Silla royal family members, which are rarely described in ancient literature. Discovery of the Oldest-known Stone Table for Silla Tombs
An item confirmed to be a stone table south of the South Mound is the oldest known example of a stand-along stone table for use at a Silla royal tomb. It proves that sacrificial ceremonies were held at the tomb regularly. The piece has caused scholars to reevaluate the established idea that regular tomb-side sacrificial ceremonies in Silla date back to the seventh century. Now, it is recognized that these activities took place as early as in the sixth century. A Period of Diverse Sacrificial Food Offerings and Tomb Constructions
Remains of various animals were found inside the large earthenware jars, providing an important clue to the kinds of food offerings that were presented during Silla sacrificial ceremonies. Among these remains are the bones of herring and yellowtail, fish species that are mainly caught in the autumn months. This means the tombs were built and the sacrifices
Seobongchong Tomb and adjacent royal tombs
were offered during the autumn. The evidence leads to the conclusion that the South Mound was completed in the autumn in the early sixth century, and that seasonal foods were presented during the sacrifices. This concludes a brief summary of the Seobongchong Tomb Re-excavation Project results. Going forward, the National Museum of Korea will use the findings from this project to reevaluate the surveys conducted during the Japanese colonial period and perform a comprehensive study of Seobongchong Tomb. Please expect to find out more about the deceased who were buried at these royal tombs.
Research on ritual earthenware vessels from the South Mound of Seobongchong Tomb
NMK 2021 WINTER 25
WORLD ART GALLERY
By Kim Heejeong Associate Curator of the World Arts Division, National Museum of Korea
600 Years of East-West Exchange through Ceramics
Japanese Porcelain Bowl Decorated with Birds and Flowers 17th century H 34.5 cm (ewer) D 32.0 cm (saucer) National Museum of Korea
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The newly opened World Ceramics Gallery explores cultural exchange between the East and West and their mutual influence through ceramics, a major product of trade. The current exhibition will continue for around two years until November 13, 2022. The European ceramics on display are on loan from the Princesshof National Museum of Ceramics and the Groninger Museum in the Netherlands. Despite the difficulties posed by COVID-19, such cooperation was made possible by the trust built up between the National Museum of Korea and the two institutions. After the sixteenth century came the most active period of exchange
between the civilizations of East and West in the history of humankind. The World Ceramics Gallery presents this story in six parts, from the origin of porcelain in China and its spread to neighboring nations to the massproduction of porcelain in Europe. Part 1 is an introduction comprising a symbolic display of early Chinese ceramics with Goryeo celadon to shed light on the ceramics of East Asia, the starting point of East-West exchange. Part 2 delves into the subject of Chinese trade before the sixteenth century and the maritime Silk Road, taking a close look at Chinese ceramics,
A visitor looking at Chinese blue-and-white porcelains that were imported in Europe
which dominated pre-sixteenth century trade and was actively exported not only through East Asia but also Islam and African regions. It explores Chinese ceramics exports of the sixteenth century, tracing the route of the ship that was wrecked off the Sinan Coast, Korea, carrying a cargo of Yuan Dynasty ceramics, which forms one of the major parts of the collection of the NMK. Part 3 takes a close look at all sorts of Asian ceramics that were imported in Europe. Under the first theme “Europe in Love with Chinese Blue-and-white Porcelain,” it introduces the impact of Chinese ceramics, then called “white
gold,” on European society. Chinese blue-and-white porcelain was considered enigmatic and precious and was very expensive. European royalty and aristocrats filled their castles or rooms with Chinese ceramics to possess this exotic elegance, as seen in Charlottenburg Palace in Germany and Santos Palace in Spain. Creating a “porcelain room” for their treasures, they showed off their wealth and power. Inside the gallery are a series of videos that bring to life the fashion for Asian things that swept through Europe. Around the mid-seventeenth century when the Ming Dynasty was giving way
Large Dish with Central Decoration of Landscape with Deers and a Tree 1610–1630 H 8.2 cm D 51.0 cm Princessehof National Museum of Ceramics
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Japanese Porcelain Coffeepot with Decoration of Flying Crane Birds and the “Three Friends of Winter” (pine, bamboo, prunus), Feet in the Shape of Human Figures 1730–1750 H 39.0 cm D 7.7 cm Princessehof National Museum of Ceramics
Still Life with Turkey Pie 1627 By Pieter Claesz 75.0 × 132.0 cm The Rijksmuseum
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to the Qing Dynasty, trade in porcelain became difficult due to internal confusion in China and this is when Japanese ceramics filled the gap. Under the second theme, “Birth of Japanese Porcelain,” the exhibition looks at the characteristic features of Imari ware, which became the major Japanese ceramics export item. Japanese and Chinese porcelain made upon commission of the Dutch East India Company reflected Western tastes and visitors can see some very original ceramics combining the cultures of the East and West which were made only at this period. Part 4 introduces Delft ware from the Netherlands. Commonly called Delft blue it found its way into the market dominated by Chinese blue-and-white porcelain and started the trend for blue ceramics. Available at a low price, Delft ware made it possible for ordinary people to own Chinese-style ceramics. Though it started off imitating Chinese porcelain, Delft ware gradually forged its own character and flourished for the next 100 years. Parts 5 and 6 display some of the best Meissen ware to be made since their production began, featuring finely made works of the height of luxury from
Yuan Dynasty ceramics of China from the wrecked medieval merchant ship off the Sinan Coast, Korea
around the eighteenth century. The porcelain making technology developed by Meissen spread to all parts of Europe. This exhibition features ceramics from Germany, France, England, and the Netherlands which adopted the Meissen ware production technology and further went on to develop their own technologies and styles. The transmission of culture that began with the trade of ceramics in the seventeenth to eighteenth century brought change not only to culinary items and architectural ornamentation but was the cause of wars, colonization, and many other events in East-West politics, economics, and society. The diverse items on display will allow visitors to see beyond their beauty to the East-West exchange that grew so dramatically in the process of modernization.
Earthenware Kettle with Decoration of Landscape Filled with a Tea House and Boats on the Sea Circa 1775–1778 H 28.0 cm L 24.8 cm W 20.7 cm Princessehof National Museum of Ceramics
NMK 2021 WINTER 29
WORLD ART GALLERY
By Jung Miyeon Associate Curator of the World Arts Division, National Museum of Korea
The Samurai Class from Warriors to Statesmen: Patrons of Japanese History, Culture, and Art
The newly-organized Japan Gallery focusing on the Samurai culture
American anthropologist Ruth Benedict’s famous book, The Chrysanthemum and the Sword, was considered the best analysis in the English language of the nature of Japanese people for many decades after it was released in 1946. The title succinctly expresses the author’s view that for the Japanese people delicate refinement (the chrysanthemum) in the way that one drinks tea coexists with barbarism (the sword) in the way enemies are mercilessly slaughtered. However, the sword does not represent the character of the Japanese warrior in either complete or absolute terms. The samurai, who dominated Japanese society as the ruling class, greatly influenced the advancement of the nation’s history, culture, and art. They sponsored art and played a key role in the formation of cultural trends that defined the age. The newly-organized Japan Gallery on the third floor of the Permanent Exhibition Hall consists of four sections— introduction, religion, tea ceremony and performing arts, and art. The introduction section presents battle equipment such as swords and armors that symbolize the
warrior. At the same time, a video lays out a timeline for the most important events in Japanese history, from the Jomon 11,000–500 through Showa 1926–1989 periods. Starting out from the introduction section, visitors will encounter Buddhist relics. The Japanese ruling class in antiquity needed a pivot for bringing people together, and so Buddhism was introduced, and over time it spread to the masses. The new Japan Gallery displays images of the Twelve Devas from the esoteric Buddhist doctrine that evolved uniquely in Japan, transcribed Jingoji Temple scripture from the Heian 794–1192 period, and hanging Buddhist votive plaque (kakebotoke) from the Kamakura 1192–1333 period. Noh theatre developed under the protection of the Muromachi shogunate 1333–1573 as performing art for the samurai class. Noh theater was spotlighted by the Asian Arts Division, forerunner of World Arts Division, when it opened a themed exhibition titled, Noh, Japanese Traditional Performing Art in 2015. The new Japan Gallery has Noh masks and
costumes on display in the exhibition space with a miniature reproduction of a Noh theater stage decorated with pine trees, giving visitors the impression that they are in front of an actual Noh stage. Across from the Noh stage, a reproduction of the Japanese traditional tearoom awaits visitors. Tea-drinking was a pastime for the ruling class, to include the imperial family and nobility, starting from the Heian period. Then, the tea-drinking tradition gradually spread to the samurai class. Sen no Rikyū 1522–1591, a tea master who served Toyotomi Hideyoshi 1537–1598, refused to use the expensive Chinese tea bowls fashionable among the Japanese ruling class. Instead, he brewed his tea using everyday instruments inside a rustic tearoom with mud-plastered walls. In the process he created a new form of tea ceremony, known as tea with rustic simplicity (wabicha). The renovated Japan Gallery has a tearoom modelled after Taian, designed by Sen no Rikyū himself. Here, visitors can watch a life-like video presentation of a Japanese traditional garden through the four seasons of the year.
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Fig.1 Dish with Pine, Bamboo, and Cherry Blossom Design Nabeshima ware Edo period, early 18th century Porcelain with underglaze blue and overglaze enamels H 4.2 cm W 20.1 cm Purchased in 2010
The samurai embraced the Kyoto Palace culture and supported the production of art objects inside the palace as a means of legitimizing their own authority. The Tale of Genji (Genji-monogatari) is a novel depicting life inside Kyoto Palace during the glamorous Heian period. The classic tale speaks for the political and cultural influence that the Kyoto Palace commanded. Members of the samurai class enjoyed it and ordered artworks with a theme from the Tale of Genji. The samurai were behind the production of small pictorial representations of scenes from the Tale of Genji known as genji-e in Japanese, as exemplified by the Album of Painting of the Tale of Genji in the NMK collection. They also requested members of the Japanese imperial family or nobles with profound knowledge of calligraphy to brush passages from the story in their 32
own hand. The Japan Gallery renovation included the creation of the interactive touch-screen that provides details on individual scenes from the Album of Painting of the Tale of Genji. The system allows visitors to select any scene or calligraphy from the album to appreciate them in a closer look or to understand the stories behind the scenes. Maki-e is a distinctive Japanese technique of scattering metal powder (gold, silver, silver-gold alloy, copper-gold alloy, or some other type) on the lacquered surface of wood to create designs before the lacquer dries. Members of the samurai class especially liked to commission large volumes of wedding ceremony implements crafted this way when a daughter was getting married. The new Japan Gallery has on display wedding items with maki-e decoration and is showing for the first
time a palanquin from the Edo 1603–1868 period Fig.2. The exterior is painted gold, while the interior is adorned with richly colored paintings with a gold background. Viewing it, visitor can imagine the glamorous wedding ceremonies that were held by samurai clans. Nabeshima ware followed the Arita ware tradition, which was based on the techniques of Joseon potters forcibly taken to Japan during the Imjin War 1592–1598. The Nabeshima clan, lords of Saga Domain, produced this exquisite porcelain as gifts for the Tokugawa shogunate Fig.1. Nabeshima wares were always produced in small quantities upon order by feudal lords (daimyo), as they were intended to be exclusive gifts inside Japan rather than to be sold outside the country. Hence the motive of its production was not profitability but rather to project the clan’s
Noh masks and two pairs of six-panel folding screen on display
dignity. These were top-quality ceramics made by special order. Nabeshima ware is known for the minimalist motifs that lack redundancy. The piece was not simply beautiful and elegant porcelain; it was a high-quality gift designed for political purposes. The Japan Gallery, reopened in 2021 after a facelift, introduces Japanese articles in the NMK collection that show the aspects of the samurai less known to Koreans. The samurai maintained a staunch warrior identity for seven centuries after the establishment of the shogunate, but they also established a new identity as rulers of the state. A proper understanding of the samurai, Japan’s ruling class, is the first step for Koreans to understand their neighboring country, which is still far away in many respects.
Fig.2 Ceremonial Palanquin Edo period, 19th century Lacquer and gold on wood; interior paintings: ink, color, and gold on paper; blinds: silk H 129.0 cm W 142.0 cm D 97.5 cm Purchased in 2004
NMK 2021 WINTER 33
RENEWAL
By Lee Jung-in Associate Curator of the Fine Arts Division, National Museum of Korea
Renewed Exhibition: White Florescence of Joseon Ceramics
Fig.1 Jar, Buncheong Ware with Inlaid Dragon and Stamped design Joseon Dynasty, 15th century H 48.5 cm National Treasure No. 259
Fig.2 Drum-shaped Bottle, Buncheong Ware with Incised Fish Design Joseon Dynasty, 15th century H 17.6 cm L 27.8 cm
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Major ceramic works from the Joseon Dynasty 1392–1910 are on display in the Buncheong Ware Gallery and White Porcelain Gallery located on the third floor of the Permanent Exhibition Hall. Buncheong ware is made by covering the surface of bluish-grey pottery with white slip in various ways. It is divided into seven different types according to the decorating techniques applied. Production of buncheong began in the latter half of the fourteenth century, under the influence of Goryeo inlaid celadon, and continued to be made through the fifteenth to midsixteenth century. As one of the tax tribute goods collected to maintain the nation’s finances, buncheong wares for use in the royal palace and central government offices were made at kilns throughout the country. White porcelain (baekja) perfectly agreed with the worldview of Joseon society, which had been founded on NeoConfucian ideology. With their clean white color, neat forms, and modest decoration, white porcelain vessels were suited for use in Joseon society where the mood called for people to practice moderation in their lives and conform to various norms and rites. During the reign of King Sejong r. 1418–1450 white porcelain of superior standard was produced for exclusive use in the royal palace. Then around 1467 and 1468, a kiln directly operated by the state, known as bunwon, was established in Gwangju, Gyeonggi-do, not far from the capital. It specialized in the production of white porcelain and set the standard until the late Joseon period. In the past the Buncheong Ware Gallery and White Porcelain Gallery were separate spaces and the displays were organized to show the characteristics of the forms and aesthetics of the two types of Joseon ceramics according to chronological order. But from 2021 the two galleries have been combined into one space to give visitors a comprehensive
overview of Joseon ceramics from the historical and artistic perspectives. The renewed exhibition is arranged according to themes based on the history of buncheong and white porcelain. The works best representing the characteristics of each period were selected and the best possible conditions were provided for visitors to appreciate the works and the information presented. The signage at the entrance to the gallery features modern design elements that reinterpret buncheong and white porcelain images so that visitors first come into contact with the artistic elements of these two streams of Joseon ceramics. The exhibition is composed of four
parts tracing the beginning of buncheong and white porcelain production, the disappearance of buncheong, and the development and decline of white porcelain. Parts 1 and 2 explore the new ceramics culture centered on buncheong and white porcelain from the foundation of Joseon to the fifteenth and sixteenth centuries Fig.1, and the shift in production to focus on white porcelain with the establishment of government kilns. Other aspects covered include the coexistence of buncheong and white porcelain Fig.2, the rise of white porcelain as the major ceramic ware of Joseon, and the artistic heights of blue-and-white porcelain, that is, white porcelain painted in
Fig.3 Jar, White Porcelain with Bamboo, Plum, and Bird Design Painted in Underglaze Cobalt-blue Joseon Dynasty, 15th–16th century H 16.5 cm National Treasure No. 170
NMK 2021 WINTER 35
underglaze cobalt blue pigment Fig.3, and white porcelain painted in underglaze iron-brown pigment Fig.6. Part 1 of the exhibition has prepared a space where visitors can rest and get a feel of the life of a Joseon potter, seeing video images of modern artisans who are carrying on the tradition of Joseon ceramics, a potter’s studio, and some 200 bowls crafted by unknown Joseon potters. There, visitors can rest quietly and observe the birth of Joseon ceramics. Parts 3 and 4 of the exhibition explore the changes in white porcelain resulting from continued warfare from the late sixteenth century Fig.4, the blue-and-white porcelain which flourished during the
eighteenth century on the back of growing financial power and trade with foreign countries Fig.5, diverse white porcelain goods that emerged as commercial products in the nineteenth century, and the falling quality of white porcelain in the second half of the nineteenth century due to the privatization of government kilns and gradual decline with the introduction of imported goods. To show the exhibits in the best possible way, the glass display cabinets were newly made, and considering the safety of items on display new materials were used for interior finishes such as the walls and floor, the glass front and stands. Also, lights specially made for the display of
ceramics were chosen to control brightness and color temperature. Through countless meetings and tests by related museum personnel the most suitable conditions for natural display of the items with no distortion of their aesthetic features were identified. In addition, the interior of the gallery was harmonized with the mood of the display cabinets through the colors and by adjusting the lights in the ceilings. In order to present the historical significance and artistry of buncheong and white porcelain to visitors in a friendly and inspiring way, varied digital media was used to great effect. Information search kiosks were installed in several places to provide easy access to information about
Fig.4 Moon-Jar, White Porcelain Joseon Dynasty, 17th–18th century H 41.0 cm Treasure No. 1437
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buncheong and white porcelain in general and details of the exhibited items. Also, the works of video artists have been installed to allow visitors to fully enjoy the beauty and artistry of the vessels on display. The renewal of the Buncheong Ware and White Porcelain Gallery is significant in that it is the fruits of experts in related fields working together through all stages of interpreting and visualizing the history and culture of Joseon ceramics. Efforts to convey the value of the exhibited items in the most ideal and artistic conditions have come to fruit in the celebration of the whiteness of buncheong and white porcelain that is now awaiting visitors.
Fig.5 Jar, White Porcelain with Dragon and Cloud Design Painted in Underglaze Cobalt-blue Joseon Dynasty, 18th century H 53.9 cm
Fig.6 Bottle, White Porcelain with String Design Painted in Underglaze Iron-brown Joseon Dynasty, 15th–16th century H 31.4 cm Treasure No. 1060 NMK 2021 WINTER 37
ISSUE
National Museum of Korea Strategy for the Future, Opening the New Era 2030
Marking the fifteenth anniversary of its relocation to Yongsan, the National Museum of Korea announced the “Strategy for the Future, Opening the New Era 2030,” which outlines a new vision and plans. The new vision is “Museum for You, Whoever You Are, Wherever You Are.” This is based on the three major goals, “museum creating life,” “museum leading the future,” and “museum making the world.” To achieve this new vision, the National Museum of Korea has established six strategies and twelve tasks as follows.
the cultural heritage of South and North Korea.
Innovative To become a museum that presents a picture of future society, the NMK will 5) create a smart museum where technology and culture coexist by utilizing AI, AR, VR, IoT, and 5G technologies while encouraging digital detox, and 6) establish a foundation for cultural services to address the challenge of the noncontact era by developing online history and cultural programs and expanding contents.
De-authorization To become a museum that communes with users, the NMK will 1) enhance user-centered museum services by making use of big data and applying web standardization, and 2) provide programs tailored to specific generations according to people’s life-cycle with expansion of the Children’s Museum and creation of content for different generations.
Barrier-free To become a museum that embraces all, the NMK will 3) expand the right to enjoy culture for the vulnerable by applying universal design and providing services catering to the vulnerable, and 4) strengthen research on the national culture for the peace and prosperity of the Korean people by creating an archive of North Korean cultural heritage and a comprehensive information system on 38
cooperation by establishing systems for online and offline international exchange and cooperation and globalizing museum publications.
Beyond To become a museum that goes beyond boundaries, the NMK will 11) pursue cultural diversity beyond time, place, and identity by developing programs for coexistence, integration, and diversity and programs for enhancing community, and 12) establish the NMK’s image as the representative brand of Korean culture by developing a brand image and stories to go with it.
Personal Narrative To become a museum that generates stories, the NMK will 7) create a museum environment that inspires creativity by utilizing shared cultural spaces and cultural complexes with locality and history, and 8) stimulate use of the museum’s contents as public resources by promoting secondary creation and expansion and diversification of the museum’s collection.
Universal To become a museum that pursues universal human values, the NMK will 9) expand the right to enjoy the culture of the world by establishing the Korean cultural identity and building the exhibition hall of world culture, and 10) raise the international profile of Korean culture and enhance international exchange and
As this new vision shows, the National Museum of Korea aims to be reborn as a “Museum for You,” where anyone can use museum services anywhere in order to meet the expectations of people who love Korean culture and art beyond the boundaries of region, generation, and country, and to seek renewal through constant innovation.
Museum for You
WHOEVER YOU ARE, WHEREVER YOU ARE
DE-AUTHORIZATION
BARRIER-FREE
a museum in communion with users
a museum embracing everyone
1 We will enhance user-centered museum services
3 We will expand the right to enjoy culture for the
by making use of big data and applying web standardization. 2 We will provide programs tailored to specific
vulnerable by applying universal design and
Create Life
providing services catering to the vulnerable. 4 We will strengthen research on the national
generations according to people’s life-cycle with
culture for the peace and prosperity of the
expansion of the Children’s Museum and creation
Korean people by creating an archive of North
of content for different generations.
Korean cultural heritage and a comprehensive information system on the cultural heritage of South and North Korea.
INNOVATIVE a museum envisioning future society
PERSONAL NARRATIVE
5 We will create a smart museum where technology and culture coexist by utilizing AI, AR, VR, IoT, and
a museum creating stories
5G technologies while encouraging digital detox.
7 We will create a museum environment that inspires
6 We will establish a foundation for cultural services to address the challenge of the non-contact
Lead the Future
creativity by utilizing shared cultural spaces and cultural complexes with locality and history. 8 We will stimulate use of the museum’s contents
era by developing online history and cultural programs and expanding contents.
as public resources by promoting secondary creation and expansion and diversification of the museum’s collection.
UNIVERSAL a museum pursuing universal values 9 We will expand the right to enjoy the culture of the world by establishing the Korean cultural identity
BEYOND
and building the exhibition hall of world culture.
a museum beyond boundaries
10 We will raise the international profile of Korean culture and enhance international exchange and cooperation by establishing systems for online and offline international exchange and cooperation and globalizing museum publications.
11 We will pursue cultural diversity beyond time,
Make the World
place, and identity by developing programs for coexistence, integration, and diversity and programs for enhancing community. 12 We will establish the NMK’s image as the representative brand of Korean culture by developing a brand image and stories to go with it.
NMK 2021 WINTER 39
NEWS
© Hong Deokseon, Sodong studio
MIN Byoungchan appointed to the New Director General of the NMK On November 2, 2020, Min Byoungchan was appointed to the new Director General of the National Museum of Korea. The new NMK Director General Min Byoungchan earned his bachelor’s degree from the department of Archaeology and Art History at Seoul National University in 1988 and further studied Buddhist art at the graduate school of the same university. Working as a curator at the NMK for over 30 years, he organized numerous special exhibitions based on his expertise. He held various posts at the NMK including the Head of the Exhibition Division and the Head of the Curatorial Affairs Office, and served as the Director of the Gyeongju National Museum from October 2018. Appointed as the head of all national museums of Korea, Min said in his inaugural message that he felt a strong sense of responsibility in the midst of the unprecedented pandemic situation, and declared his opinion that all areas of the museum’s activities (e.g., collection of items, conservation, research and investigation, exhibitions, education, events, public relations, management and operation, services) should be designed and implemented in such a way that can help raise the value of the museum as well as the status and dignity of Korean culture. He also stressed the need to enhance quality in all areas of the museum’s service—including contents development, program operation, and provision of convenience—so that every single visitor can fully experience the museum with great satisfaction, and asked the museum staff to make efforts for growth in quality besides growth in quantity.
The First World Museum Forum The National Museum of Korea held the first World Museum Forum from November 24 to 27, 2020 in collaboration with the ICOM Korea and ICOM ASPAC (International Council of Museums Asia-Pacific Alliance). This forum on the theme of “Museums and AI” was designed to further expand the contemporary society’s discussion on museums and begin a meaningful discourse for future generations. In this four-day forum, around thirty worldrenowned speakers held meaningful discussion on four themes “AI and human,” “AI and museums,” “AI projects in Asia-Pacific region,” and “Future of museums and AI.” The participants included museum experts at home and abroad, including those from major museums such as the Metropolitan Museum of Art in the United States and the National Gallery in the United Kingdom, experts in the field of AI and the digital, and scholars conducting interdisciplinary research in the fields of philosophy, aesthetics, and art. The forum was broadcasted live on the NMK’s YouTube channel (www.youtube.com/ user/koreanmuseum) and Naver TV (https://tv.naver.com/museumofkorea) and allowed people to receive answers for their questions using online chatting on the day of the forum. The broadcast on YouTube provided simultaneous KoreanEnglish interpretation in both Korean and English channels. 40
New English-language Catalogs The National Museum of Korea published two new English-language catalogs in 2020. The Five Hundred Arhats of Changnyeongsa Temple Site projecting deep faith surpassing the realm of religion introduces a new kind of Korean aesthetic to the world. The other one, Baekje Historic Areas of World Heritage, introduces the creative and open culture of Baekje and promotes the values of Baekje Historic Areas to the wider audiences. Promoting Korean traditional culture abroad and providing accurate and detailed information on its cultural heritages, both catalogs aim to make the international readers further understand and feel familiar with the culture of Korea. The Five Hundred Arhats of Changnyeongsa Temple Site and Baekje Historic Areas of World Heritage will be available from January and March 2021, respectively, on the online bookstore chains, including Amazon.com.
Premiere of City of Supreme Peace: Dreaming of New Utopia The NMK’s first immersive media performance was premiered at Theater Yong from November 6 to 8, 2020. Inspired by the late Joseon-period painting, City of Supreme Peace, currently on display at the Calligraphy and Painting Gallery, City of Supreme Peace: Dreaming of New Utopia used various stateof-the-art media technologies to provide the audience with a splendid experience transcending time and space. This non-verbal performance allowed any person around the world to understand the flow and context of the performance through performers’ mime and reactions which spectators could easily understand and respond. Each of the fourteen performers acted as musician and actor at the same time, heightening the immersion of the audience. This performance presented a harmonious fusion of traditional and contemporary music as well as modern interpretation of Korean traditional clothes, hanbok, leaving spectators with lasting impression.
Exploring Korean Culture with Overseas Koreans The NMK offered a real-time interactive online education for Koreans abroad from October to December 2020. Any person could participate in the program, without reservation, simply by entering to the NMK’s YouTube and Zoom channels at the appointed time. The program provided lectures on ceramics and Buddhist sculpture for teenagers, those on history and culture for the general public, and guided tour of the museum in English. The NMK will continue to develop diverse education programs to help Korean residents abroad including children learning Korean language at Hangeul Schools feel more familiar with Korean culture and explore diverse aspects of it.
NMK 2021 WINTER
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Bodeokgul Cave from the Album of Paintings of Geumgangsan Mountain Joseon Dynasty, 1711 By Jeong Seon Color on silk 37.0 × 35.9 cm
Painting Landscapes Across the Ages Album of Paintings of Geumgangsan Mountain, painted by the Joseon Dynasty artist Jeong Seon in 1711, contains 13 works depicting the famous mountain spots. Among the works, Bodeokgul Cave depicts on a narrow picture plane various features identified with the season while showing the great height of the peaks and the densely layered mountain landscape. The contemporary artist Lee Seahyun is famous for a series of Korean landscapes depicted in the single color red. The scenes appearing in his Between Red series are all depictions of actual landscapes, looking like real life but non-existent life, bringing down the barriers between the real and the surreal. The works of both artists are the culmination of their efforts to capture the natural landscape before their eyes with the most fitting method of expression.
