QUARTERLY MAGAZINE VOL.56 SUMMER 2021
This ewer is in the shape of a person sitting on clouds wearing a crown with a flower ornament and decorative robes. In his hands is a tray holding a large peach. There is a hole in the crown where the ewer was filled and another at the tip of the peach, which served as a spout. A handle with a small ring at the top was attached to the back. The crown, collar of the robes, and the peach are all decorated with dots of white clay and the eyes with black inlaid dots. The figure emanates a sacred aura with its solemn, dignified face expressed in detail down to the lines on either side of the mouth.
Celadon Ewer in the Shape of a Human Figure Goryeo Dynasty, early 13th century H. 28.0 cm, D. 19.7 cm (bottom) National Treasure No. 167 On display in the Medieval and Early Modern History Section, Permanent Exhibitions
new & noteworthy
02 travelling works
Iron Seated Buddha Statue and Standing Figure of Osiris
04 news card 06 issue NMK Receives Donation of the Late Samsung Chairman’s Collection
special feature
08 theme essay White Porcelain: Embodiment of Joseon History and Culture 14 insight
Making Memories at the Museum
inside galleries
18 museum scene Han Chinese on the Fringes of the Silk Road and Traces of Life with the Western Regions 20 current
Homo Sapiens: Evolution
Relationship & Future?
26 current A New Asian Ceramics Gallery at the Gwangju National Museum 30 visitor of the day The Vast Space of the Museum Filled with the Aura of Two People 34 visual guide Medieval and Early Modern History Section: Communication with People of the Past for Inspiration Today
arts of Korea
38 collection Joseon Water Droppers: Handicraft Items Well Loved and Used
IN THIS ISSUE
40 miscellaneous
Design and Production aNSWER Photography Park Jung Hoon Photo Studio QUARTERLY MAGAZINE VOL.56 SUMMER 2021 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) 2077–9940 Email: thehinse@korea.kr
Translation Cho Yoonjung / Timothy Atkinson Revision Hwang Chiyoung Publication Date July 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, eBook, and HTML available)
TRAVELLING WORKS
The Buddha Goryeo Dynasty Iron H. 93.0 cm, W. 69.0 cm On loan from the National Museum of Korea On display in the Korea Gallery of the British Museum, London
Osiris Abydos, Egypt Late Period, Dynasty 26 664-525 B.C.E. or later Bronze, gold leaf On loan from the Brooklyn Museum, Charles Edwin Wilbour Fund, 08.480.27 On display in the Egyptian Gallery of the National Museum of Korea
Live Symposium
International Symposium for Opening of the World Ceramics Gallery The National Museum of Korea hosted the International Symposium for Opening of the World Ceramics Gallery to mark the foundation of the new exhibition space. Held in May 21 under the theme of “Maritime Ceramic Trade and Cultural Exchange between East and West,” the symposium presented the cultural changes in East and West triggered by Asian ceramics that reached the West via maritime trade routes. Presentations were made on varied topics by scholars from home and abroad. International participants included Li Zhaohui, a professor at Fudan University in China; Christian J.A. Jörg, a professor at Leiden University in the Netherlands; and Yu Pei Chin, deputy director at the National Palace Museum of Taiwan. Korean scholars taking part were Jang Hyojin, a curator at the Gwangju National Museum; Kim EunKyeoung, a research professor at Duksung Women’s University; and Park JungMin, a professor at Myongji University. The diverse results of research on ceramics made for trade not only allowed deeper understanding of the exhibits in the World Ceramics Gallery but were also expected to promote greater interest in the history of ceramics from around the world. Due to the COVID-19 situation, only those who booked in advance were able to actually attend the symposium. However, the event was also broadcast live on the National Museum of Korea’s YouTube channel for free viewing by anyone interested in the subject of trade ceramics.
Japanese Porcelain Coffeepot with Decoration of Flying Cranes 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
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Vivid Moments
Buyeo National Museum Presents First Immersive Content “Great Gilt-bronze Incense Burner of Baekje” The Buyeo National Museum unveiled to visitors its first immersive content on the Great Gilt-bronze Incense Burner of Baekje (National Treasure No. 287). The museum installed electronic screens in the lobby of the Permanent Exhibition Hall to block out light and ultra-high-definition stereoscopic video and surround sound systems in the ceiling of the lobby to provide visitors with a stimulating multimedia show. The video is presented seven times a day, every hour between 10 a.m. and 5 p.m., and while it is running the scent of lotus blossoms is released so that visitors are treated to spectacular visuals and sound and surrounded by beautiful scent. This new type of immersive content takes all visitors back to the ancient Sabi period of the Baekje Kingdom when the Great Gilt-bronze Incense Burner was made. The digital immersive video, which runs for eight minutes each time, brings the incense burner to life, highlighting its stand in the shape of a dragon, body in the shape of a lotus, lid in the form of mountain peaks, and phoenix ornament on top. By COVID-19 social distancing rules, the permanent exhibition can be viewed after booking online at the Buyeo National Museum’s website.
Teaser 1 and 2 for the immersive content
Great Gilt-bronze Incense Burner of Baekje Baekje Kingdom, 6th–7th century H. 61.8 cm, D. 19.0 cm National Treasure No. 287 Buyeo National Museum
ISSUE
by KIM SEWON Curator of the Collection Management Division, National Museum of Korea
NMK Receives Donation of the Late Samsung Chairman’s Collection
Scene of Inwangsan Mountain After Rain Joseon Dynasty By Jeong Seon National Treasure No. 216 Gift of Lee Kun-hee
Buncheong Flat Bottle with Incised Tree and Bird Design Joseon Dynasty Treasure No. 1069 Gift of Lee Kun-hee
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On April 22, the National Museum of Korea received over 21,600 pieces of 9,797 items from a collection of cultural heritage amassed by the late Samsung Chairman Lee Kun-hee. The items in the donation by the late chairman’s heirs include 14 items assigned national treasure status by the government and 46 more with the treasure designation. The collection is highly significant, for it spans the entire range of Korean archaeology and art history, with major categories ranging from pottery (Korean celadons and white porcelains as well as Chinese ceramics), classical paintings and calligraphic works, documents and writings, folk paintings, Buddhist artworks, metalcrafts, woodcrafts, folklore items, to stone sculptures. The donation is extraordinary not only for its tremendous scope but also
its enormous size, which equals to around 75% of the 28,657 pieces the National Museum of Korea had received previously in contributions since 1946. The cultural heritage from Lee’s collection serves to elevate the overall quality of the NMK collection. The diverse items are evenly spread over the entire Korean history timeline, and they strengthen the capability to support exhibitions at the National Museum of Korea in Seoul as well as at the regional national museums around the country. Of special note, pottery and handicrafts make up a large part of the new donation, areas where the NMK collection has been lacking. Now, the NMK has received a powerful impetus to expand the public’s right to enjoy culture through various new exhibits. Preservation of calligraphy and
Bodhisattva Avalokiteshvara with One Thousand Hands Goryeo Dynasty Treasure No. 2015 Gift of Lee Kun-hee
Theme of Chuseongbu, Sounds of Autumn Joseon Dynasty By Kim Hongdo Treasure No. 1393 Gift of Lee Kun-hee
paintings requires their periodic removal from display, causing problems for the museum to maintain an adequate exhibition. Importantly, the traditional paintings and calligraphic works donated are of high quality, greatly expanding the number of items available for exhibition. The donated pieces in the calligraphy and painting category include such masterpieces as Scene of Inwangsan Mountain after Rain (National Treasure No. 216) by Jeong Seon 1676–1759 and Theme of Chuseongbu, Sounds of Autumn (Treasure No. 1393), the last known work by Kim Hongdo 1745– after 1806 . The NMK collection has also benefitted from rare Buddhist paintings acquired by the late Samsung Chairman such as Bodhisattva Avalokiteshvara with One Thousand Hands (Treasure No. 2015) from the Goryeo period. Cultural heritage from Lee’s collection with high utilization potential for museum exhibitions include the Gilt-bronze Standing Bodhisattva Triad (National Treasure No. 134), Gilt-bronze Standing Bodhisattva (Treasure No. 780), Buncheong Flat Bottle with Incised Tree and Bird Design (Treasure No. 1069), and Celadon Bowls and Dish with Inlaid Peony Design (Treasure No. 1039). Other donated items have great archaeological and historical value and will enhance the permanent exhibit in the Prehistory and Ancient History section of the National Museum of Korea. Take, for example, the Episodes from the Life of Shakyamuni Buddha,
vol. 11 (Treasure No. 523-3), the Episodes from Shakyamuni’s Life, vols. 11 and 12 (Treasure No. 935), and the Sword with Ring Pommel (Treasure No. 776) from the Three Kingdoms Period. Many of the cultural artifacts without national designation donated this time have been known to the public through exhibitions at the Ho-Am Art Museum or Leeum, Samsung Museum of Art, and therefore are also valuable for exhibition purposes. The National Museum of Korea plans to organize the many donated pieces by category and material before registering them into the museum collection and managing them systematically. We applaud the intentions of the late Samsung Chairman Lee, who wished to share Korea’s cultural value and rouse cultural pride, and we respect the Lee family for unconditionally donating this vast collection to the nation. These cultural heritage items will be continuously displayed at exhibitions within the NMK system and other Korean museums as well as at Korean galleries in museums around the world. The receipt of the late Chairman Lee Kun-hee’s collection has provided the National Museum of Korea with a platform for further advancement. We hope that this momentous occasion will attract the interest of people who love and care about Korean cultural objects and inspire more owners of cultural heritage collections to get into the donation spirit.
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THEME ESSAY
by LEE JUNG-IN Curator of the Fine Arts Division, National Museum of Korea
WHITE PORCELAIN: Embodiment of Joseon History and Culture
Fig.1 Jar with Plum, Bird and Bamboo White porcelain painted in underglaze cobalt-blue Joseon Dynasty, late 15th–16th century National Treasure No. 170
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The Joseon Dynasty 1392–1897 was established with Neo-Confucianism as the state ideology, prompting adjustments in the existing political and social systems. Even new ceramic traditions began within the changing environment. Joseon potters’ methods were rooted in the inlaid celadon and white porcelain craftsmanship employed during the Goryeo Dynasty 918– 1392. While they continued to produce celadons, they started a new category called buncheong ware and took white porcelain in a new direction to reflect Neo-Confucian norms and rituals. Thus, white porcelain came to represent Joseon sensibilities and developed into a tradition that lasted for five hundred years. In the early Joseon period, ceramics was needed for various uses by the royal family and central government offices. To satisfy this demand, a tribute tax system was established through which payment could be remitted in the form of ceramic produced in local regions. Buncheong ware produced at kilns around the country as well as white porcelain pieces made at Gwangju in Gyeonggi-do and both Goryeong and Sangju in Gyeongsangdo were delivered to the capital, Hanyang (now Seoul) for use at the royal palaces
and government offices. The white porcelain from early Joseon still followed the Goryeo tradition; the clay body had a soft quality and milky white coloration, while the decorations were applied with inlay techniques Fig.2. The Joseon government presented high-quality white porcelain pieces as diplomatic gifts to high-ranking Ming Chinese diplomats in the 1420s, and the excellence of Joseon white porcelain craftsmanship thus became known outside the country. During the reign of King Sejong r. 1418–1450, white porcelain became the type of ceramic vessels to be used by the king and in ritual ceremonies. The quality of white porcelain production rose further as a result. Supplies of white porcelain grew limited as demand by the royal family increased by the mid-fifteenth century. To address the shortage, government-run kilns were established in around Gwangju, Gyeonggi-do around 1467. Good quality clay and firewood were readily available in the Gwangju area, which was also close to the capital. Moreover, some of the best white porcelain pieces in the country were already being made in Gwangju. The official kilns were also known as
bureau branches, called bunwon, as they were managed by the Saongwon (Bureau for Overseeing Ceramic Production), which was responsible for supplying food and dining ware to the royal palaces. A centralized kiln system was put in place to run white porcelain production countrywide, ensuring a stable supply and making it a pivotal component of Joseon ceramics overall. Meanwhile, buncheong ware sported local characteristics, as it was mainly used in private sector or local government offices, and its production died out over time. Blue-and-white porcelain made in official kilns was produced in the late fifteenth century. This was the supreme class of ceramics made at the time and its use was restricted to royal family members, making it highly prized. Blueand-white porcelain was imported from the Ming Dynasty, China in early Joseon, but localized production began in the mid-fifteenth century. Unfortunately, the cobalt-blue pigment had to be imported, and it was both costly and difficult to acquire. Therefore, blue-and-white porcelain was only made in small batches in Joseon and it was used exclusively within the royal family or at key state
Fig.2 Bowl with Lotus Scroll White porcelain with inlaid design Joseon Dynasty, 15th century Bequest of Lee Hong-kun, 1981 National Treasure No. 175
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Fig.3 Dish with a Poem White porcelain written in underglaze cobalt-blue Joseon Dynasty, late 15th–16th century 竹溪月冷陶令醉 花市風香李白眠 到頭世事情如夢 人間無飮似樽前
Tao Yuanming becomes enraptured by the chill moonlight shining on the valley of bamboo grove, And Li Bai falls asleep with the scent of flowers blowing on the wind. The ways of the world are but a dream. To live is like being intoxicated even without drinking.
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events. Professional artists attached to the royal palaces were responsible for painting the underglaze designs for these pieces Fig.1. The earliest Joseon blue-and-white porcelain ware closely resembled Ming Chinese pieces, but over time, domestic production evolved and took on a uniquely Joseon tone Fig.3. When cobalt-blue was hard to import, the underglaze designs were painted with iron-based pigment Fig.5, while the same elegant and refined skills of the court artists are evident in the painted designs. In the sixteenth century, the white porcelain vessels produced at the official kilns were classified for everyday
use or ritual use. Their formativeness reached perfection, and they feature the signature restraint and tidiness for which Joseon white porcelain came to be known Fig.4. Joseon suffered great hardship at the hands of Japanese forces during the Imjin War 1592–1598, followed by Manchu invasion in 1636–1637. As a result, Joseon was disrupted socially and economically for most of the seventeenth century. Ceramic vessels for ritual ceremonies in the royal palaces were repaired and reused, and grayish white porcelain was produced at the official kilns. White porcelain vessels were painted underglaze with red or
brown pigments with an iron base, which was easy to find in Joseon, instead of using the expensive cobalt-blue pigment from China. The decorative mode sometimes carries a painterly style, but often the designs are either simple or incline toward the abstract Fig.6. Economic activity picked up in Joseon during the eighteenth century, while interpersonal exchanges and trade with the Qing Dynasty, China were brisk, and the latest books, technical items, and cultural influences coming in from China were adding a new stimulus to Joseon society. In the latter half of the eighteenth century, consumption of high-quality ceramic ware, to include while porcelain, increased among members of the royal family and elite class and expanded to include wealthy commoners. As a result, elegant and refined white porcelain ware was being produced in diverse forms, with blue-and-white porcelain that catered to literati tastes being particularly popular. Meanwhile the production of blueand-white porcelain for ritual purposes continued Fig.7. The literati lifestyle was associated with the enjoyment of calligraphy and painting while sipping tea as well as the collection of implements used in the scholar’s studio, antiques, and books. Blue-and-white porcelain profoundly influenced this way of life. Joseon blueand-white porcelain ware in the eighteenth century epitomized the aesthetic sensibilities and measured dignity of the royal family and literati class. These pieces were characterized by broad empty spaces and compact depictions Fig.9. Their decorative themes included landscape scenes, the four noble plants (plum, orchid, chrysanthemum, and bamboo), or potted plants, and poetry was brushed on as well. The late eighteenth century Joseon potters diversified the look of their creations by filling the entire surface with
Fig.4 Bottle White porcelain Joseon Dynasty, 15th–16th century Treasure No. 1054
Fig.5 Jar with Plum and Bamboo White porcelain painted in underglaze iron-brown Joseon Dynasty, 16th–early 17th century National Treasure No. 166
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Fig.6 Jar with Dragon and Cloud White porcelain painted in underglaze iron-brown Joseon Dynasty, 17th century
Fig.7 Jar with Dragon and Cloud White porcelain underglaze cobalt-blue Joseon Dynasty, late 18th century
Fig.8 A display of the Buncheong Ware and White Porcelain Gallery on the third floor of the NMK
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decoration, or by painting with cobaltblue pigment while applying openwork or embossed carving techniques. The craftsmen working at the official kilns were capable of making pieces for the royal family and central government offices as well as products for the open market. Thus white porcelain ware became increasingly popularized. Joseon society underwent radical change in the nineteenth century. The growing commodity money economy shook up the traditional caste system, while Western learning, science, and technology were coming in from outside. Cities and commerce advanced, and a class of the newly wealthy emerged. These people liked the extravagant ceramics produced in China and Japan, and such imported pieces came to occupy a significant place in the lives of royal family members and commoners alike. In response to such pressures, Joseon artisans conceived special shapes and methods to produce various ceramic vessels and luxurious implements for the scholar’s studio that catered to Joseon aesthetic tastes Fig.8. The class of blue-and-white porcelain consumers continued to broaden, and demand grew for pieces that expressed popular wishes for good fortune, longevity, and wealth. The characters “壽” (longevity) and “ ” (good fortune) as well as images of peonies, pomegranates, bats, the ten longevity symbols, and carp were already well established as “lucky decorative motifs” in Joseon, while locallymade white porcelain also began to sport various auspicious symbols featured in imported white porcelain from China and Japan, to include Lingzhi mushrooms, a stylized floral medallion pattern known as bosanghwa, chestnuts, and a pine-tree mesh pattern. Joseon royal family members also began to use blue-and-white porcelain ware with lavish designs. Blue-and-
white porcelain ware for royal family use was adorned with clouds and dragons, phoenixes, Chinese characters for “longevity” or “good fortune,” floral medallion scroll, Lingzhi mushroom scroll, and other such formalized motifs Fig.10. Pieces for royal family members were often completely covered with decoration, indicating the influence of imported ceramics. The finances of the Joseon royal family worsened in the late nineteenth century, while foreign-made ceramics flooded into the country. As a result, operation of the official kilns became increasingly difficult to sustain. The management rights to these kilns were privatized in 1883, ending a run that had lasted for more than four centuries. Thus white porcelain and Joseon shared the same history. These ceramic pieces were closely entwined with contemporary society and culture. The view of the world and aesthetic senses that the people pursued reflected the ups and downs of the times, and white porcelain carries to this day traces of Joseon’s history and culture, which lasted for over five hundred years.
Fig.9 Octagonal Bottle with Orchid White porcelain painted in underglaze cobalt-blue Joseon Dynasty, 18th century Bequest of Lee Hong-kun, 1981
Fig.10 Lidded Bowl with Floral Medallion and Chinese Characters “壽” (longevity), “ ” (good fortune) White porcelain painted in underglaze cobalt-blue Joseon Dynasty, 19th century
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INSIGHT
by LYNDSEY TWINING A Member of the Editorial Board of National Museum of Korea, quarterly magazine
Making Memories at the Museum
Lyndsey Twining seemed to know the large part about the museum, from the current exhibitions to past special exhibitions, new exhibits, and online contents. As we talked, her deep interest and affection for Korean culture were clearly apparent.
“We see only what we know.” - Johann Wolfgang von Goethe, Introduction to the Propyläen, 1798 As someone whose work and studies are focused on the interpretation of Korea’s cultural heritage both in Korean and English, I spend much of my time familiarizing myself with a variety of historic sites and their related artifacts. Visiting museums related to Korean history and culture is thus naturally one of my favorite pastimes. The National Museum of Korea (NMK) is the largest and most comprehensive museum in Korea thanks to its permanent galleries covering Korean history in chronological order, its galleries featuring Buddhist and Confucian painting, literature, and sculpture, and its special temporary exhibitions. It is therefore the museum I have visited most often since moving to Korea in 2013. I have visited the NMK on dozens of occasions, each time creating new memories. So, when I think of the museum, my mind floods with snapshots of the numerous memories I cherish from my trips. I can still picture myself standing in front of the long timeline of Korean history and excitedly explaining all the various historic periods to my friend Leah, who came to Korea to visit me. I recall sitting alone in the Buddhist sculpture exhibit and feeling a sense of calm wash over me in the presence of the several massive Buddhist statues, as well as visiting the special exhibition about maps from the Joseon Dynasty 1392–1897 with my friends from graduate school
and totally geeking out, because there are few things that I get more excited about than historical maps. I vividly remember watching my friend Chelsea’s face as she took in the beautiful immersive visual art that was made to accompany the special exhibitions of the paintings Wintry Days (Sehando) by Kim Jeonghui and Welcoming Banquet for the Governor of Pyeong-an by Kim Hongdo. And I could never forget taking a day trip on a bonechillingly cold January day to the Daegu National Museum with my friend Robert who was living in Daegu at the time. These are just a few of the lovely memories I have of the NMK. By unintentionally making the NMK a regular part of my life, it has become a marker for how I have changed and grown over the past eight years—most notably in terms of my relationships. But it has also helped me to see just how my knowledge of Korean history, religion, and art has also grown over the years. Over the course of my graduate program, I have translated or edited thousands of interpretive texts relating to Korean cultural heritage. I did not feel as if I was really learning anything significant from each individual text at the time, but with each visit to the NMK, I noticed that the works of art and artifacts seemed to have more and more to say to me and thus became multi-dimensional in a way I had not recognized before. For example, when I first visited the museum, I had no understanding of Buddhist paintings at all. Sure, they were beautiful in their intricacy and colorful splendor, but the symbols, composition, and figures meant nothing to me. However, SUMMER 2021
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“ I have visited the NMK on dozens of occasions, each time creating new memories. So, when I think of the museum, my mind floods with snapshots of the numerous memories I cherish from my trips.”
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after seeing many Buddhist paintings through my work over the past years and being tasked with making sure they are properly explained to their audience, I can now distinguish the Buddha from the bodhisattvas, recognize the wrathful guardians and celestial maids, and explain the symbolism of the various hand gestures. Most recently, I went to see the Buddhist Hanging Scroll from Sinwonsa Temple (National Treasure No. 299) that is currently being exhibited. Created in 1664, the painting measures over 11 meters in height and has 33 main figures, with Rocana Buddha as the principal Buddha. As I admired the painting, I was hit with a deep sense of excitement as I realized that I was familiar with each and every figure. It felt as if I was playing a game of Where’s Waldo or I Spy. “Yes! Down at the bottom! There are the Four Guardian Kings, with their monster-like faces, who are protecting the Buddha’s teachings in all directions. Oh, next to them are two bodhisattvas holding the sun and the moon! It must be Suryaprabha and Candraprabha, the Bodhisattvas of Sunlight and Moonlight. Oh, and look near the top! That must be Maha Kasyapa and Ananda, the Buddha’s best disciples, together with the other disciples.” The more background knowledge I have gained, the more exciting my trips to the museum have become. I am still by no means an expert in Buddhist art— my recall of names is often poor, and I am not so familiar with the significance of stylistic details. But the NMK has allowed me to verify time and time again that my knowledge is indeed growing. Unfortunately, with the outbreak of COVID-19 in early 2020, many people, including myself, were unable to visit the NMK for some time. This revealed the importance of providing exhibits and other content online. My own work in the
field of digital humanities is intimately related to this need, in that it emphasizes the utilization of the digital environment to develop innovative research and education techniques. The NMK ramped up its efforts to make its exhibitions available for viewing online via resources like 360-degree virtual reality tours. However, while such virtual environments are extremely useful as educational tools, they have yet to recreate the visceral experience of visiting the museum. Maybe in some decades, virtual reality will be able to recreate with fidelity not only the sights of the museum, but the smells, sounds, and textures that one encounters, so that memories cannot only be made in the real world, but in the virtual world as well. But for now, nothing beats visiting the museum in person. I am grateful for the work of the South Korean government and the staff of the NMK in implementing strict regulations that allow for safe visitation of the museum. With these restrictions, the museum has become less crowded, and thus a bit more intimate, which I have enjoyed more than the past when the museum was bustling with guests. It has been an unexpected upside to an otherwise lamentable situation. I hope that the museum can soon welcome many visitors again, including those from abroad, so that they may make their own special memories, as I have, while enjoying Korea’s many artistic masterpieces. However, in the meantime, I will continue to enjoy the extra peace and quiet at the museum. The writer graduated with a B.A. in Asian Studies from the University of Michigan. She has lived in Korea since 2013 when she was an exchange student at Yonsei University. Since 2015, she has been studying digital humanities at the Graduate School of Korean Studies at the Academy of Korean Studies, with a focus on the interpretation and translation of Korean cultural heritage.
Beautiful visual art of the Welcoming Banquet for the Governor of Pyeong-an by Kim Hongdo
Buddhist paintings intended to convey the Buddha’s teachings
MUSEUM SCENE
Han Chinese on the Fringes of the Silk Road and Traces of Life with the Western Regions Underway in the Central Asia Gallery, located in the World Art Gallery, is an exhibition that traces the lives of Han Chinese living in the area around the Silk Road with people from the so-called Western regions, which generally refers to Central Asia. Titled Turpan Artifacts with Chinese Characters—Life in the Borderland of the Silk Road, the exhibition is composed of artifacts from the 1912 Otani expedition to the Turpan oasis in the northeastern part of the Uygur autonomous region and presents the results of a survey by the National Museum of Korea, published in 2020 in the report Ancient Central Asian Writings in the National Museum of Korea I—Turpan Artifacts with Chinese Characters. Of particular interest is the fragment of a Tang Dynasty official document attached to the mat under the corpse from Astana Tomb No. 230 unveiled for the first time in the world, attracting the attention of researchers at home and abroad. Currently, parts of the same document are held by the Xinjiang Museum in China and Ryukoku University in Japan. The NMK’s survey of Turpan artifacts is important as it confirmed that the fragment removed from the mat connects with another fragment preserved in China. Also, it is meaningful in that the overall content of the document kept in Korea, Japan, and China has been restored along with the details of the mat-making process. Other fascinating exhibits also featured in the gallery include the Buddhist Votive Stele of Kang, a Buddhist Layman of Wu Zhou, excavated from the ruins of the ancient city of Gaochang of Turpan, and a mortuary tablet which functioned as a reminder of the deceased for posterity. 18
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CURRENT
by KIM DONGWAN Curator of the Archaeology and History Division, National Museum of Korea
HOMO SAPIENS: EVOLUTION RELATIONSHIP & FUTURE? May 18 – September 26, 2021 National Museum of Korea
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A display showing the whole human evolutionary process in Part 1
As the COVID-19 pandemic sweeps across the world, interest in ourselves as human beings has reached a higher level than ever before. Humans, who began to walk across the plains seven million years ago, have evolved into almighty beings capable of manipulating genes, formerly believed to be the realm of God. However, the pandemic has shown us that we humans are still weak in the face of nature. The special exhibition Homo Sapiens: Evolution ∞ Relationship & Future? gives an overview of the long journey of human evolution over seven million years. Featuring some 700 items and videos, including fossils and other archaeological materials, it shows from the evolutionary perspective the meaning of human existence and the relationships formed between humans and various other species
Huge screens featured prehistoric and ancient artworks
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during the process of evolution. The exhibition is composed of four sections: “Prologue: Ways of Understanding Evolution,” “Part 1: Evolution,” “Part 2: Homo Sapiens— Wise Man,” and “Epilogue: The Future of Homo Sapiens.” The Prologue introduces the seminal book On the Origin of Species, which took the debate on the origins of humankind from the realm of religion to science, and looks at the case of the Piltdown Man from the early twentieth century in England, which proved to be the greatest hoax in the history of paleoanthropology. In addition, a video titled “Memories of Seven Million Years” is being screened, immersive content produced with up-to-date technologies such as 3D motion capture photography, highlighting themes such as walking
Cro-Magnon Homo sapiens
Stone Marked with a Scale L. 20.0 cm From the Suyanggae site in Danyang
Korean Handaxes, representative handaxes discovered in East Asia L. up to 21.5 cm From the Jeongok-ri site in Yeoncheon and others
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A display focusing on “Tools” in Part 2
Immersive presentation titled “A Journey Together”
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upright, language and codes, tools, funerals, and hunting. Part 1 of the exhibition, “Evolution,” explores the whole human evolutionary process from the Sahelanthropus tchadensis species to Homo sapiens. Samples made for research are displayed in a way that visitors can see them as closely as possible. Humans can be explained in terms of physical changes and cultural changes depending on fossil data and archaeological data. Based on the results of recent genetic research results, this section shows what kind of beings Homo sapiens are. It also features a threedimensional chronological chart of the discoveries of famous human fossils, including the oldest human fossil Lucy, the Neanderthals from Shanidar Cave in Iraq, and the early modern humans called Cro-Magnons. Part 2, titled “Homo Sapiens—Wise Man,” investigates the characteristics of modern humans called Homo sapiens under five themes: arts, funerals, tools, language and codes, and exploration. To enhance visitors’ understanding, in “Arts” section, prehistoric and ancient artworks include the murals of Lascaux and Chauvet caves in France, the sculptures Lion Man from Germany, Venus de Milo from Greece. The section focusing on “Tools” is a special exhibition space (12 meters long and 1.8 meters high) that gives an overall view of the Paleolithic technological transitions across the world and the distinctive features of Paleolithic tools on the Korean Peninsula. In “Language and Codes,” Stone Marked with a Scale from the Paleolithic site in Suyanggae, Danyang, Chungcheongbukdo, presumably dating to 40,000 years ago are exhibited. Also featured in this part of the exhibition is an immersive presentation titled “A Journey Together,” which advocates the value of species diversity and symbiosis on Earth, where all species
are woven together as if in a net. In this fantasy world created around a digital lake, the value of coexistence is brought to life through the lives of extinct animals such as mammoths, currently living anthropoids, Homo sapiens, and visitors to the museum, who form relationships as they interact. The Epilogue raises questions about the direction the current 7.8 billion Homo sapiens on Earth should take after realizing their impact and position on the planet. Extinction events have occurred five times since the Earth was born, with 50 to 75 percent of all species disappearing each time. The mass extinctions so far have been caused by nature, but the sixth event may be caused by the greed of humans. Using varied exhibits, videos, and other materials, this special exhibition conveys messages about humanity and the future of Homo sapiens. In the face of the global COVID-19 pandemic, human beings need to think and reflect on the future more than ever before, and we hope the exhibition will present an opportunity for doing so.
On the Origin of Species by Charles Darwin 1872 Sixth edition L. 12.0 cm National Library of Korea
Lucy Australopithecus afarensis
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CURRENT
by JANG HYOJIN Curator, Gwangju National Museum
A New Asian Ceramics Gallery at the Gwangju National Museum
A display themed “Shipwreck, Accidental Discovery, Resurrection” in Part 2
Buncheong Ware Bottle with Sgraffito Fish Design Joseon Dynasty, 15th century H. 23.3 cm
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The Gwangju National Museum has opened a new Asian Ceramics Gallery to brand the institution as a hub for researching and applying both the Asian ceramics tradition and the cultural artifacts recovered from the Sinan Shipwreck. The gallery displays around 1,150 ceramic pieces from inside and outside Korea, providing visitors with a look at how ceramics developed on the Korean Peninsula and in other parts of Northeast Asia.
The new gallery is organized into four parts. The Part 1 is “An Era of Shimmering Glaze,” and the exhibitions start with earthenware from the Neolithic Period and continue through white porcelain from Joseon. Korean pottery is linked to the contemporary socio-cultural histories of each period, establishing several subthemes. Visitors can see at a glance the process that culminated in the production of ceramics on the Korean Peninsula. On display are diverse ceramic items
that served different purposes, including Korea’s tea-drinking tradition, literati culture, ritual practices, and beliefs in auspicious symbols. Part 2 goes under the title of “Shipwreck, Accidental Discovery, Resurrection” in reference to the cultural artifacts found in the waters off Jeungdo, an island belonging to Sinan in Jeollanamdo, starting in 1975. A Chinese merchant vessel sank there in the early part of the sixth month of 1323. The ship had left the
Chinese port of Qingyuan (now Ningbo) and was bound for the Japanese port of Hakata (now Fukuoka). More than 27,000 cultural artifacts were recovered from the sea floor during a series of underwater surveys conducted between 1976 and 1984. Recently, 17,000 of these items were relocated to the Gwangju National Museum, where many are now on public display. These include ceramics, which stand out in terms of quantity and quality, as well as metal vessels, sandalwood, and other trading goods as well as items that were used by the ship’s crew. The massive haul from the shipwreck also provides a glimpse at how goods and materials from China were enjoyed by the elite class throughout East Asia, with items associated with tea drinking, incense burning, flower arranging, and scholarly pursuits. Part 3, “Learning to Make Porcelain,” presents pottery from China, Vietnam, and Japan. The Chinese pieces range from the Han though Qing Dynasties, with the priority placed on those that were unearthed on the Korean Peninsula. They provide a look at the types of Chinesemade pottery that was imported and used by Koreans. The Vietnamese pottery is on a long-term loan from the Vietnam National Museum of History. The 73 items represent major historic periods in Vietnam and illustrate how potterymaking evolved in that country. The Japanese exhibit, meanwhile, has digital photographs of 50 items from the Kyushu Ceramic Museum in Saga Prefecture. They show how quickly Japanese craftsmen learned to produce porcelain ware from the seventeenth century onward, and how diverse the Japanese porcelain production became. Part 4, “Science of Pottery,” was planned by the Conservation Science Team. The exhibit shows the results of an experiment by the Gwangju National Museum to produce buncheong ware from SUMMER 2021
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Visitors exploring some of porcelain ware with a huge touch screen
White Porcelain Jar in Underglaze Blue Ming Dynasty, China 1368–1644 Jingdezhen ware H. 38.0 cm
Celadon Jar Yuan Dynasty, China 1271–1368 H. 32.6 cm (with lid)
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clay taken from a quarry in Maegok-dong, where the Museum is located. To make up for the deficiencies discovered in the Maegok clay during the experiment, a different clay with excellent stickiness was mixed in, and the production met success. The results of that effort are presented in a video. In addition, visitors can see the composition analysis results of pottery shards unearthed at old kiln sites in the Jeollanam-do and Gwangju regions. They show how earthenware production advanced to the capability to make porcelain ware. The exhibit provides an easy-to-understand comparison between earthenware and porcelain ware products. The newly opened Asian Ceramics Gallery is all the more significant because it represents the first concrete efforts exemplifying the direction in which the Gwangju National Museum is heading. The museum will work with other institutions inside and outside Korea to introduce new exhibits over the long term and organize displays on Asian pottery traditions. Meanwhile, the Gwangju National Museum has allocated space for the vast collection of items recovered from the Sinan shipwreck and is conducting surveys on the roles of pottery in Asian culture. Plans call for the opening of a dedicated Ceramics Hall in 2024 to make public the results of this effort. The new Ceramics Hall is an important project that serves as a milestone in the rapid rise of the Gwangju National Museum as a destination for those who are researching and applying Asian pottery traditions. A network is being built among specialists and research organizations inside and outside Korea to support studies on both the Sinan shipwreck collection and Asian pottery traditions generally as well as to share research results. In addition, the museum will play the role of presenting the research results to the public through related exhibitions and educational programs.
Duck-shaped Ewer with Ivory Yellow Glaze Vietnam, 6th–7th century H. 19.3 cm Vietnam National Museum of History
White Porcelain Bowl Joseon Dynasty, 16th century H. 11.9 cm
A display of diverse white porcelain items
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Aunt and niece looking at the large voluminous jar emerged as the production of buncheong ware
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VISITOR OF THE DAY
by THE EDITORIAL TEAM, with KIM KYOUNGCHUN and KIM HANBYUL
The Vast Space of the Museum Filled with the Aura of Two People
The Real Thing Better than Photos Kim Hanbyul and Kim Kyoungchun, her second oldest aunt on her father’s side, recently spent a wonderful day at the museum. The niece lives in Seoul and the aunt in Gwangju. The two relatives living more than 300 kilometers apart and with completely different lifestyles decided to meet one Saturday in May. This was largely due to the influence of Instagram. The aunt and niece generally see each other a couple of times a year on family occasions. But when Kim Kyoungchun realized she had only seen her niece on Instagram over the past two or three years she suddenly missed the time she used to spend with her. How the MZ Generation Makes Use of the Museum Kim Hanbyul, typical of the so-called “MZ generation” (millennials and generation Z; those born between 1980 and 2010), has an adventurous spirit and enjoys being creative and watching the impact of influencers. Working as an interior designer for five years now, she plans and organizes spaces and in everyday life she continually seeks the momentum that will help her to grow and develop. Whenever she has the time she likes to go shopping to check out the next season’s items, altering and styling the clothes she buys to her own tastes. This is one of the things that make her happy. From time to time she also visits the National Museum of Korea to see how the architecture, the interiors, and the
materials harmonize. In her eyes, it seems the interior of the Permanent Exhibition Hall has been fitted out with yellowish travertine to harmonize with the subtle tones of the stone artifacts and the use of traditional color schemes. Guessing the intentions of the interior designer of a certain space and finding the answers for herself is her own special way of enjoying the museum. Not only is she impressed by the way the level of lighting has been lowered in the galleries and the dark walnut colored wood laid crisscross to enhance the ambience, she believes that the ideas used in the spatial design clearly highlight the varied aspects of the exhibits and makes us see them more clearly. Kim Hanbyul particularly enjoys visiting the Sculpture and Crafts Gallery in the Permanent Exhibition Hall with the hope of imbuing some storytelling into the space. The exhibits in the display cases are very small compared to the architecture and interior design elements, but she finds inspiration in their intricacy and sophistication which is no less than that of architectural design. She expands her own design world by studying the way artists in the past broke stereotypes and reflected the times they were living in. Auntie’s Bucket List Not long ago, Kim Kyoungchun added another item to her bucket list when she was watching a clip showing foreigners visiting the National Museum of Korea on TV. In her schoolchild memories, the museum was a rather boring and stuffy
place, but her curiosity was piqued when she saw it on television as a cultural complex. Kim has worked and lived in Gwangju for the past 30 years, building herself a career in accounting and finance. Planning a visit to the National Museum of Korea in Seoul was not as simple as it might seem. Whenever she comes to Seoul she always runs out of time and has to push back some things on her bucket list until the next time. So she was pleased and filled with anticipation when she and her niece decided to meet at the NMK. Finding Likenesses in the Galleries Of their travels, though other memories may fade, both aunt and niece tend to remember most those times when they wandered leisurely through a famous museum or art gallery in a foreign city and relaxed over a cup of coffee in the café. Aware of this point in common, the niece suggested to her aunt that they first visit the Calligraphy and Painting Gallery on the second floor of the NMK. She felt that her aunt would be inspired and find a sense of healing by observing first-hand the key values of Korean paintings. In the eyes of her fashion-loving niece, Kim Kyoungchun, dressed nicely in a tailored suit, seemed to be strolling happily around the exhibition room finding interest in every single piece, much as if she were traveling in a foreign land. At the time, two small exhibitions were being held in the gallery: “Most Loved Korean Animal Paintings” and SUMMER 2021
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“Appreciating Paintings and Calligraphy Joyfully,” including four portraits of the Joseon Dynasty. Delighted by this unexpected luck, Kim inspected the pictures one by one, falling in love with the innocent charms of the animals, the horses and cats painted on large canvases, the water buffalo carrying children on its back across the stream, and chicks feeding around the mother hen. When she and her niece realized that after seeing the special exhibition Icons and Identities from the National Portrait Gallery, London on the first floor they could look at portraits of the Joseon Dynasty on the second floor, they looked at each other in happy surprise. A Day to be Kept in the Drawer of Memories When aunt and niece looked around the Calligraphy and Painting Gallery they began to realize the great size of the museum. They decided to go up and focus on the third floor of the Permanent Exhibition Hall, where they repeated the pattern of examining the exhibits for half an hour then sitting down to rest then getting up again. As they looked around slowly, they discovered media art all over the place, as expected these days when video content is the trend. Though they enjoyed
Aunt taking a closer look of the Bronze Miniature Pagoda
Kim Kyoungchun One-line comment
Place that anyone can enjoy even without any background knowledge
Three memorable points The bamboo path from the entrance, the beauty of the ceramics, the calm and quiet aura On the next visit I want to take a walk around the outdoor garden and Mirror Pond. “I have always liked accessories, so I took a good look at the gold earrings and gold crown ornaments. Although it's been hundreds of years since they were made, some are stylish enough to wear even today. If replicas were sold at the museum shop, I would want to buy them, even if they were a little expensive.”
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Bracelet Goryeo Dynasty Gilt silver D. 9.6 cm, T. 2.2 cm On display in the Metal Craft Gallery
the emotional impact of seeing the artifacts in real life, they also liked observing them more clearly and in detail through media art. In their view, it seems a step in the right direction for museums to use varied methods to give visitors easier access to objects in these times when images are more easily remembered than text and video is more convenient than paper. Seeing each other for the first time in a long time, aunt and niece quickly recovered the sense of family that had been cut off for a while as they talked about the artifacts together and discussed their hardships at work. In particular, the aunt, Kim Kyoungchun is happier with this museum excursion than anything else on her bucket list. No longer disappointed at having no shared memories with her grown-up niece, she smiled contentedly at the thought of the day’s outing and being able to talk to her at any time.
Niece filling up inspiration from the exhibits in the display cases
Kim Hanbyul One-line comment
Treasury of creative inspiration
Three memorable points My aunt who looked so good in her stylish suit, media arts, spatial design of the White Porcelain Gallery On the next visit I want to look at the exhibitions in order from the prehistoric period to the modern period. “The case for eyeglasses is a very beautiful artifact with a combination of colors that is not gaudy. As I looked at the delicately embroidered patterns, I could guess how much hard effort went into making the case and for that reason it seems even more precious.”
Glasses Case Embroidered with the Longevity Symbols Joseon Dynasty L. 43.0 cm On display in the Donated Works section
VISUAL GUIDE
by THE EDITORIAL TEAM, with KIM JINSIL Curator of the Archaeology and History Division, National Museum of Korea
A display at the Goryeo Dynasty I Gallery
MEDIEVAL AND EARLY MODERN HISTORY SECTION: Communication with People of the Past for Inspiration Today
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The Medieval and Early Modern History section consists of three major exhibition parts: the Goryeo Dynasty Gallery, which introduces Goryeo as a medieval nation; the Joseon Dynasty Gallery, which shows the history and culture of a dynasty that lasted over five hundred years; and the Korean Empire Gallery, which sheds light on the hopes and despairs of an empire tasked with modernization of the country. Gathered in these galleries are major cultural heritage items that make it easy to follow the flow of history in Korea at the same time when major events were taking place around the world, such as the Crusades, the discovery of America, and the French Revolution. The Goryeo Gallery consists of two galleries. Gallery I traces the founding of the Goryeo Dynasty 918–1392 and compares the brilliant culture of the aristocratic class with the indigenous culture of the provinces. Gallery II is devoted to the display of varied materials that promote understanding of the social atmosphere
of Goryeo after the Musin Rebellion, a military revolt that occurred in 1170, and also introduces the Buddhist culture and printing technology of Goryeo. The exhibition in the Joseon Gallery is spread over three galleries. Gallery I follows Joseon Dynasty 1392–1897 from the time of its foundation through the sixteenth centuries as it went through the process of reorganizing government systems and establishing the Confucian ruling ideology. Gallery II shows the growing power of the Sarim, the Confucian scholars in the provinces, and Gallery III focuses on the trends of the era, when the commodity economy developed and people took interest in new civilizations. The Korean Empire Gallery has a short history of 13 years, from its proclamation as independent state to its annexation by Japan. The Medieval and Early Modern History section makes it possible for visitors to easily understand the Middle Ages and modern period of Korean history.
Overview Location Most of the left side of the Path to History after entering the first floor of the museum Contents Exhibition tracing the history and culture of Korea from the Goryeo Dynasty to the Korean Empire in chronological order under various themes Composition Six galleries
Celadon Ewer in the Shape of a Human Figure: The Goryeo People Who Sought to Be Immortals Room No. 113, Goryeo Dynasty I
This ewer was made in the image of an immortal. The figure is sitting on clouds wearing a crown with a flower ornament and decorative robes and is holding a tray with a large peach sitting on it. At the tip of the peach is a spout and at the top of the head is a hole where the ewer was filled. The ewer reflects Taoist influence as both the immortal and peach are Taoist symbols. Taoism is an ideology advocating a life that does not go against nature, and the immortals are beings who have achieved that state. The ewer embodies the wishes of the Goryeo people who sought the Taoist ideal land in their everyday lives.
Epitaph Tablet of Princess Boknyeong Goryeo Dynasty, 1133 Stone 77.5 × 44.0 × 3.0 cm
monarch of the Goryeo Dynasty. As a record of the person who lies in the grave, an epitaph is a tablet made of stone or ceramics inscribed with details such as date of birth, family relations, and the deeds of the deceased, which was buried inside the grave. Princess Boknyeong, the wife of Wang Yeon and sister of King Yejong, died young at the age of 38. While the epitaph bears the era name of China’s Song Dynasty, it states that the princess was the “daughter of the emperor,” which shows that Goryeo prided itself as an imperial nation, despite its tribute-investiture relationship with China.
Epitaph Tablet of Princess Boknyeong: The King’s Daughter Sleeps Here Room No. 113, Goryeo Dynasty I
This is the epitaph of Princess Boknyeong, fourth daughter of King Sukjong, 15th
Royal throne and astronomical chart of the Joseon Dynasty
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A display at the Joseon Dynasty III Gallery
Course tips If you download the National Museum of Korea app from the App Store or Google Play Store to your phone, it will recognize your location and serve as a useful guide to the exhibitions. Using the app, make sure you don’t miss the AR presentation for the Buddhist Bell with Inscription of “Fourth Year of Cheongnyeong” in the Goryeo Gallery II. Photo Spot The Ten-story Stone Pagoda from Gyeongcheonsa Temple, highly visible from anywhere in the Permanent Exhibition Hall, is one of the top 30 exhibits of the National Museum of Korea that must not be missed. An expression of the Goryeo people’s image of the Buddhist Pure Land, this stone pagoda is a very popular photo spot. If you wait for the right time and take a picture there, you will take away a memorable souvenir.
Incense Burner with Inlay Silver Decoration: The Heart of Buddha Blooming with the Incense Room No. 116, Goryeo Dynasty II
This censer is a vessel for burning incense and was placed on the altar in Buddhist ceremonies. It has a bowl-shaped body and a high tapering base. Buddhism was the state religion of Goryeo, and as such Buddhistrelated metal crafts achieved outstanding development. The censer is decorated with an inlaid silver design of Sanskrit characters, dragons, anuruddha heads, clouds, and thunder. Silver inlay is a technique for creating sumptuous decorative designs by making grooves in the surface of an object and filling them with thin silver wire. Constellations Chart: Joseon Map of the Heavens Room No. 117, Joseon Dynasty I
Incense Burner with Inlay Silver Decoration Goryeo Dynasty, 13th–14th century Copper Alloy H. 29.5 cm, D. 21.0 cm (mouth), D. 14.6cm (bottom)
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Constellations Chart known as Cheonsang yeolcha bunyajido is a map of the heavens divided into 12 stations (cha) and celestial zones (bunya). This map depicting 1,464 stars was carved in stone in the early Joseon
Dynasty based on the astronomical charts of the Goguryeo Kingdom, supplemented with the constellations observed in Joseon in the late fourteenth century. In East Asian thought, the king was mandated by heaven and the ability to understand the movements of the heavens and interpret them for the world was the symbol of royal authority. Joseon produced a new planisphere in the early years to stress its legitimacy by stating that the foundation of the nation was the will of heaven. By the latter half of the Joseon period the planisphere was widely spread among the people through rubbings and hand-written copies. Printing Woodblocks of Map of the Great East: Map of Joseon Carved in Woodblocks Room No. 119, Joseon Dynasty III
writings. However, in 1866 the French army attacked Ganghwado Island in retaliation for the execution of Catholic missionaries and looted the books of Oegyujanggak. In 2011, a total of 297 Uigwe from Oegyujanggak were returned to Korea, 145 years after they had been taken. Most of the Oegyujanggak Uigwe were carefully made volumes for the king’s perusal, and 30 of the returned books are exclusive extant copies that provided a great turning point in the study of Joseon Dynasty Uigwe.
Printing Woodblocks of Map of the Great East Joseon Dynasty 32.0 × 43.0 cm Treasure No. 1581
These woodblocks were carved by the geographer Kim Jeongho to publish the Map of the Great East (Daedongnyeojido). Daedongnyeojido is not only a collation of the map-making traditions of Korea, but it is almost as detailed and practical as modern maps. It is especially notable that the map was carved on woodblocks. Varied geographical information was carved onto the woodblocks for printing, which contributed to the wide dissemination of geographical knowledge. Daedongnyeojido, the first Korean map to feature a legend, contains so much information that it is incomparable with earlier maps. It is estimated that a total of 60 woodblocks were used to print the map, and 11 among the 12 surviving woodblocks are currently preserved at the National Museum of Korea.
Portrait of Emperor Gojong: The Korean Empire, an Imperial Nation Room No. 120, Korean Empire
In 1897, Emperor Gojong of Joseon was enthroned as emperor and the name of the nation was changed from Joseon to the Korean Empire. Under the international order centered on China, the king of Joseon could not be an emperor. With the foundation of the Korean Empire, however, Gojong became emperor and all state rites were reorganized to fit the status of an imperial nation. Such moves were intended to strengthen the nation as an independent state in response to foreign invasions in the late nineteenth century. In the portrait exhibited in the Korean Empire Gallery, Gojong is dressed in a yellow robe, which is symbolic of an emperor, unlike the portraits of preceding kings of Joseon.
Oegyujanggak Uigwe: Returning Home after 145 Years Room No. 119, Joseon Dynasty III
Oegyujanggak is an annex of the royal library, Gyujanggak, that was established on Ganghwado Island to store books related to the royal family. In addition to the Uigwe, which are official records of court ceremonies or major state events, the library preserved royal seals, investiture records and books, and royal
A display at the Korean Empire Gallery
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COLLECTION
JOSEON WATER DROPPERS: HANDICRAFT ITEMS WELL LOVED AND USED
White Porcelain Mountain-shaped Water Dropper in Underglaze Cobalt-blue and Copper Joseon Dynasty Ceramics H. 18.5 cm
White Porcelain Water Dropper with Plum and Bamboo Design in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 7.6 cm, W. 7.9 cm, L. 11.7 cm
White Porcelain Lionshaped Water Dropper in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 4.3 cm, D. 7.9 cm
White Porcelain Roostershaped Water Dropper in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 8.1 cm, D. 8.5 cm, D. 4.8 cm (bottom)
White Porcelain Houseshaped Water Dropper in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 8.3 cm White Porcelain Lotusshaped Water Dropper in Underglaze Copper Joseon Dynasty Ceramics H. 6.1 cm, D. 7.6 cm, D. 3.0 cm (mouth)
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White Porcelain Water Dropper with Haetae Design in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 6.7 cm
White Porcelain Peachshaped Water Dropper in Underglaze Cobalt-blue and Iron Joseon Dynasty Ceramics H. 7.5 cm, D. 6.7 cm
White Porcelain Water Dropper with Eight Trigrams Design in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 7.7 cm, D. 9.7 cm
White Porcelain Rabbitshaped Water Dropper in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 5.0 cm, W. 8.7 cm, L. 4.0 cm
White Porcelain Fanshaped Water Dropper Painted with Underglaze Cobalt-blue and Incised Flower and Leaves Design Joseon Dynasty Ceramics H. 21.5 cm, D. 8.0 cm, W. 3.3 cm
White Porcelain Octagonal Water Dropper with Painting of Eight Scenic Spots of Xiao and Xiang Rivers in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 12.6 cm Treasure No. 1329
White Porcelain Water Dropper with Openwork Plum, Bird, and Dragon Design in Underglaze Cobalt-blue and Iron-brown Joseon Dynasty Ceramics H. 11.5 cm, D. 11.5 cm
White Porcelain Toadshaped Water Dropper in Underglaze Cobalt-blue and Copper Joseon Dynasty Ceramics H. 4.7 cm, W. 9.1 cm
White Porcelain Peachshaped Water Dropper in Underglaze Cobalt-blue and Copper Joseon Dynasty Ceramics H. 10.5 cm, D. 10.3 cm
White Porcelain Water Dropper with Taegeuk and Eight Trigrams Design in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 6.9 cm, D. 15.0 cm, D. 10.6 (bottom)
White Porcelain Water Dropper with Plum Design in Relief Joseon Dynasty Ceramics H. 5.5 cm, L. 11.5 cm
White Porcelain Persimmon-shaped Water Dropper in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 3.1 cm, D. 7.0 cm
White Porcelain Bambooshaped Water Dropper in Underglaze Copper Joseon Dynasty Ceramics H. 22.1 cm, D. 12.1 cm
White Porcelain Ringshaped Water Dropper with Lotus Leaves Design in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 3.8 cm, D. 7.9 cm
White Porcelain Persimmon-shaped Water Dropper in Underglaze Copper Joseon Dynasty Ceramics H. 4.8 cm, D. 7.7 cm
White Porcelain Fishshaped Water Dropper in Underglaze Cobalt-blue Joseon Dynasty Ceramics H. 2.6 cm, W. 7.4 cm, L. 6.5 cm
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MISCELLANEOUS
Permanent Exhibition Replaced at the
restoring lost parts, researchers revealed
Japanese Gallery of the World Art Gallery
that the sarira bottle mainly consisted of
The National Museum of Korea partly
quartz glass. Quartz glass is considered
replaced exhibits of the permanent
high-quality material for glass as it is so
exhibition at the Japanese Gallery, which
heat-resistant that it does not melt at
had reopened after reform. New exhibits
temperature lower than 1,500°C. It is twice
includes two works first shown to the public
as hard as glass made of other materials,
at the NMK: Hodogaya on the Tokaido from
requiring more efforts and advanced
the series Thirty-six Views of Mount Fuji, a
technology in glassmaking compared to
Ukiyo-e print by Katsushika Hokusai 1760–1849
general glassmaking cases. This glass sarira
who is known to have inspired the French
bottle has its quartz glass body intact and
Impressionist painter Claude
Monet 1840–1926
is the first case offering a glimpse into the
and Famous Scene from Asakusa and
glassmaking technique from fourteenth-
Yoshiwara in Edo, a handscroll featuring
century Joseon.
the scenery and customs around Sensōji Temple in Asakusa, which was a bustling street in the Edo period and still is a famous tourist site in Tokyo. The exhibition held until September 30 also presents other The 46th Painting Festival
works reflecting Japanese society during
The National Museum of Korea held untact
the Edo period.
the 46th Painting Festival from May 14 to 24. This year’s theme was “The NMK’s
Japanese Invasions of Joseon and Manchu
cultural heritage items that make me smile.”
Invasion of Joseon
Participants appreciated items on show
An exhibition on the themes of Japanese
at the museum, freely made paintings of
Invasions of Joseon known as Imjin
those items, and sent their works by mail
Waeran 1592–1598 and the Manchu Invasion of
for the festival. Despite being held untact, a
Joseon known as Byeongja Horan 1636–1637 is
total of 305 works were presented, drawing
being held at Joseon Gallery II of the Middle
attention of many people to the event
and Early Modern History section of the
targeting students of elementary, middle,
Permanent Exhibition Hall. The exhibition
and high schools throughout the nation and
presents the developments of the two wars,
people of the same age as these students
Quartz Glass Identified to be the Main
weaponry used at the time, and records and
(including non-Korean citizens). Among the
Component of the Glass Sarira Bottle of the
memories of the wars. Joseon was severely
works presented, sixty prize-winning works
Reliquaries Offered by Yi Seonggye
devastated by the two wars; however, as
will be shown to the public at the lobby of
The Conservation Science Division
it strived to recover from the damages
the Children’s Museum from July 10 to
conducted conservation treatment of a
of wars, it could lay a foundation for the
August 22.
glass sarira bottle originally enshrined inside
social and cultural development during the
Silver-gilt Lamaistic Pagoda-shaped Sarira
reigns of King Yeongjo and King Jeongjo
Reliquary, which formed the innermost part
in the eighteenth century. This exhibition
of Reliquaries Excavated from Geumgangsan
illuminates the efforts the Joseon people
Mountain Offered by Yi Seonggye. While
made to cure and overcome the traumas of
affixing damaged parts to the bottle and
wars and overcome.
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ARCHIVING HIGHLIGHT
Exhibition title Discoveries from the Sinan Shipwreck Venue
Special Exhibition Gallery
Date
July 26 – September 4, 2016
No. of visitors 62,586 Contents Around 20,000 items retrieved from the Sinan shipwreck and one ton of old coins
The special exhibition Discoveries from the Sinan Shipwreck, held to mark the 40th anniversary of the excavation of the Sinan shipwreck, featured the entire collection of artifacts from the ship rather than focusing on the masterpieces as in previous exhibitions on the same theme. The cargo proved that the sunken Sinan ship would have been one of the world’s largest merchant vessels of its time, with the load including ceramics, 28 tons of coins, and 1,000 pieces of sandalwood. With threedimensional exhibition techniques to bring to life the cargo loading procedure, ship structure, and sailing routes, the exhibition was a big hit with visitors.
Embodying the Goryeo People’s Thoughts on the World of the Immortals Made in the Goryeo Dynasty, this Celadon Ewer in the Shape of a Human Figure was discovered in an orchard on the outskirts of Daegu in 1971 and was later designated national treasure. One of the figurative celadon vessels, which were produced during the first half of the thirteenth century, it embodies the thoughts of the Goryeo people who sought the ideal world of Taoism in their everyday lives. Taoism is an ideology advocating a life that does not go against nature, and the immortals are beings who have reached that state. This celadon ewer expresses major Taoist symbols such as the immortals, peaches, and clouds, reflecting the influence Taoism exerted on the people of Goryeo. It is an item that conjures up images of the lives of the Goryeo people, who dreamt of the world of immortals and used an ewer such as this featuring Taoist motifs.
Celadon Ewer in the Shape of a Human Figure Goryeo Dynasty, early 13th century H. 28.0 cm, D. 19.7 cm (bottom) National Treasure No. 167 On display in the Medieval and Early Modern History Section, Permanent Exhibitions
