QUARTERLY MAGAZINE VOL.57 AUTUMN 2021
This Bodhisattva statue is modeled on the appearance of a royal in the finest garments worn by secular people. It exhibits the height of craftsmanship of its time with its gentle yet charismatic face, elegantly muscular physique, and thin drapery emphasizing the curves of the body. It has wavy hair and a shawl around the upper body and wears various ornaments and a sarong-type lower garment called “dhoti.” The arms, legs, and nose are partially damaged but still maintain an assured, dignified air.
Bodhisattva Gandhara, 2nd–3rd century Stone H. 116.8 cm Gift of Friends of National Museum of Korea, 2008 On display in the India and Southeast Asia Gallery, Permanent Exhibitions
new & noteworthy
02 travelling works
Celadon Bowl and Earthenware Dish
04 news card
special feature
06 issue Digital Strategy 2025: Transforming the Museum into a Place for Emotional Healing 10 theme essay
Stone Pagodas: Resting Places for the Buddha
inside galleries
16 museum scene A Great Cultural Legacy: Masterpieces from the Bequest of the Late Samsung Chairman Lee Kun-hee 18 current
Ancient Chinese Bronze Culture
24 current 50th Anniversary of the Excavation of King Muryeong’s Tomb— Preparing for the Next Half Century
IN THIS ISSUE
30 visitor of the day
Take a Trip to the Museum to Empty the Mind and Relax
34 visual guide
World Art Gallery: Diverse Cultures, Wider Perspectives
arts of Korea
38 collection
Inkstones: Artist's Friend and Essential in a Cultured Life
40 miscellaneous
Design and Production aNSWER Photography Park Jung Hoon Photo Studio QUARTERLY MAGAZINE VOL.57 AUTUMN 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 October 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
Celadon Bowl with Inlaid and Gold-painted Peony Scroll Design Goryeo Dynasty Ceramics H. 6.7 cm, D. 19.7 cm (mouth) On loan from the National Museum of Korea On display in the Arts of Korea Gallery of the Metropolitan Museum of Art, New York
Delft Earthenware Dish in Kraak Style Netherlands, 1660–1680 H. 6.3 cm, D. 34.3 cm Princessehof National Museum of Ceramics, Leeuwarden On loan from the OttemaKingma Foundation On display in the World Ceramics Gallery of the National Museum of Korea
Icons and Identities Comes Back Online Co-organized by the National Portrait Gallery, London and the National Museum of Korea, Icons and Identities showed 78 major works from the collection of the National Portrait Gallery for the first time in Korea. The exhibition was a great success, despite the COVID-19, drawing a total of 51,847 visitors over 109 days and marking an average of 475 visitors per day. The NMK filmed the exhibition in 360° VR and virtually transported the special exhibition gallery intact for an online exhibition which opened on August 17 on the museum’s website. The 78 works on display can be seen in high definition and much closer than in real life using the zoom in function. Commentary on the works and video materials are also provided, while a curator’s introduction to the exhibition can be viewed on the NMK’s official YouTube channel. This online exhibition content offers a good opportunity to see the exhibition for those who have missed it and also an opportunity to go over it again for those who have seen it. Icons and Identities
Virtual Tour
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Overseas Exhibition
Overseas Exhibition KOREA- Gateway to a Rich Past Opens The National Museum of Korea and the Princessehof National Museum of Ceramics, Leeuwarden, one of the major cultural institutions of the Netherlands jointly present the exhibition KOREA- Gateway to a Rich Past. Running October 16, 2021 to August 21, 2022 in the special exhibition gallery of the Princessehof National Museum of Ceramics, the exhibition features a range of Korean ceramics spanning from ancient earthenware, Goryeo celadon, Joseon white porcelain, buncheong ware, and onggi pots for storing kimchi to contemporary works. It introduces to the people of the Netherlands aspects of Korean life through pottery and ceramics from the past to the present. Under the theme “Distinctly Korea, Elite (yangban) culture, Beauty culture, Food culture, Ceremonies & Rituals,” the exhibition showcases moon jars and other masterpieces from the NMK alongside Korean items from the collections of the Princessehof National Museum of Ceramics and the National Museum of Ethnology, Leiden. The year 2021 marks the 60th anniversary of diplomatic ties between Korea and the Netherlands. The exhibition is the result of close cooperation between the NMK and the Princessehof National Museum
White Porcelain Moon Jar Joseon Dynasty Ceramics H. 37.1 cm, D. 34.4 cm
of Ceramics including the World Ceramics Gallery on the third floor in particular, and will be a milestone in cultural cooperation between Korea and the Netherlands. AUTUMN 2021
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ISSUE
by CHANG EUNJEONG Curator of the Digital Museum Division, National Museum of Korea
DIGITAL STRATEGY 2025: Transforming the Museum into a Place for Emotional Healing
How Can Technology Change the Museum Experience? The museum is fundamentally a vessel that holds the material culture reflecting the art and technology of each era. As such, it is a place where visitors encounter the culture of the past in the midst of today’s civilization and is therefore interrelated with the technology of the times. We are living in an era where things change at a breathless pace and today’s technology makes yesterday’s technology obsolete. As reflected in newly coined terms such as “work-life balance” and “small but certain happiness,” it is a time when importance is placed on individual values and happiness. Services based on advanced digital infrastructure are rapidly spreading through our everyday lives and the demand for new cultural 06
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experiences is on the rise. The proportion of online meetings is increasing daily in the contact-free environment arising from COVID-19. We are heading toward the “new normal” era and a completely different way of living. In response to the rapidly changing socio-cultural environment, the National Museum of Korea has established “Digital Strategy 2025” in preparation for the digital transformation under its vision MUSEUM FOR YOU. We believe that the latest technology can facilitate close and accurate communication with visitors, enabling them to discover the meaning and value of the cultural heritage at the museum. In that sense, the Immersive Digital Galleries that opened at the NMK last year represent the museum’s first moves in that direction.
Expanding the Museum Experience into the Immersive Digital Galleries The hyperconnectivity of digital technology can bring together past and present, people of different ages and background knowledge, and take us to regions and places that we cannot visit in person. With the development of mobile devices and communications technology, anyone can easily produce and show their own videos. Moreover, with a growing generation of people who understand the world through video rather than text, video is no longer a language used just to view materials but is the core of communication. Indeed, the use of digital content in museums is nothing new. However, digital content has simply been used as an aid to effectively convey information or the atmosphere of exhibits;
Museum is a place where visitors encounter the culture of the past in the midst of today’s civilization and is therefore interrelated with the technology of the times.
Panorama media room in the Immersive Digital Gallery 1
rarely has it been presented to the public independently. In contrast, the Immersive Digital Galleries present “immersive contents,” created by applying cuttingedge technology to the museum’s cultural artifacts, as independent works. The biggest feature that distinguishes immersive digital content from existing digital content is the experience of an immersive space. The sense of space that comes from using the five senses is a key element of immersive content. In this experiential space, storytelling and interaction are used to communicate with the visitor. The first things we considered when planning immersive content were the context of the museum as a venue, people’s experience of the space, and the relationship between the space and the museum exhibits. Three
separate dedicated experience spaces, or Immersive Digital Galleries, were prepared, connected to the visitor’s path of movement but separated from the exhibition artifacts. Such spatial separation was intended to help visitors focus better both on the immersive experience and viewing of the exhibitions. This is because visitors inevitably experience the exhibition galleries and the Digital Immersive Galleries in different ways. That is, in an exhibition room where visitors must maintain an appropriate distance from the items on display, to communicate with the artifacts they need to take a step forward. Conversely, as soon as they step into the Digital Immersive Galleries, they are totally surrounded and feel as if they were walking directly
A visitor trying to fill the shelves of a Chaekgado with her own items of choice, just like Joseon intellectuals, with a tablet in the gallery
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Visitors step into the Digital Immersive Galleries, they are totally surrounded and feel as if they were walking directly into a painting or through a historical scene.
into a painting or through a historical scene. The sense of space created by the three-dimensional image of a traditional painting on a gigantic three-sided screen surrounding the body and the strong sound trick you into thinking that you are the center of the painting. The stereoscopic videos and camera work projected on the walls and ceiling take you into an ancient stone-chamber tomb to see the murals painted on the walls. While the movements of visitors in the exhibition room tend to be static, immersive content that responds to each participant makes people move more actively. Wearing a VR head mounted display, you will be teleported to places that are inaccessible to the general public such as the museum storage and conservation science room as well as various historic sites. This exhilarating experience puts the items from the display cabinets in their original context and makes the whole museum experience much more stimulating. If the exhibition galleries show you
only as much as you know, the Immersive Digital Galleries can be enjoyed without any special knowledge. While the exhibition galleries give visitors the pleasure of taking the initiative to learn about and appreciate the artifacts, the Immersive Digital Galleries give the pleasure of trying things firsthand and immersing yourself in the content. In that sense, the Immersive Digital Galleries are experimental places where the museum and the public test just how much the museum experience using digital content can be expanded. Here, new content technologies can be applied to increase the sense of immersion and encourage interaction and active participation, thereby enhancing emotional communication and empathy. Along with the NMK, 13 affiliated national museums are currently conducting such experiments together. The NMK’s immersive content is recognized for its special value not only in applying the latest digital technology to provide new experiences but also as a
Virtual reality (VR) experience room
Extended reality (XR) content of Virtual Reality Gallery at the Gwangju National Museum
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creative work based on the authenticity of cultural heritage prototypes. It has been exhibited not only at the museum but also various institutions at home and abroad to enthusiastic response.
Shift to Artificial Intelligence and Emotional Communication with the Museum In the expanding non-contact environment in response to COVID-19, the distribution and consumption of content through online platforms is rapidly increasing. As such decentralized communication strengthens individualized cultural consumption, customized services that employ artificial intelligence algorithms to meet individual tastes are also quickly spreading. Artificial intelligence has been an important issue for museums, which face the challenge of diversifying experience of the museum and making a qualitative shift to cater not just to “visitors” who see the exhibitions
firsthand but “users” who consume content online. The application of artificial intelligence technology to the museum’s archive data and user data will make it easier to understand the correlation and meaning of the complex data, thereby helping to strengthen storytelling and expand services tailored to different tastes. This is the reason behind the NMK’s moves to make use of artificial intelligence technology. Last year the NMK began research with the goal of increasing the quality and utilization of museum-owned data with the use of artificial intelligence and building a platform capable of intelligent curation. Based on the NMK’s own cultural heritage and archive data, the museum aims to develop artificial intelligence technology and utilization models for application in specialized fields such as Korean cultural heritage. However, the use of artificial intelligence can only be effective when technology development, field application,
and optimization form a virtuous cycle based on a large amount of reliable learning datasets. Accumulating results that will enable the long process to continue is of paramount importance. A good example of such efforts is the exhibition docent robot QI, based on artificial intelligence and autonomous driving technologies, which has been in operation since 2019. In four languages, QI serves as a docent and guide to the exhibits and facilities. It is steadily improving through continuous expansion of linked databases and addition of conversation learning data based on field operation and is now a well-loved feature of the museum. The NMK is making these digital endeavors not just to convey cultural information but to transform the museum into a place for relaxation and social communication. The ultimate goal of “Digital Strategy 2025” is transformation of the museum into a place of emotional healing that brings people together.
Visitors asking the exhibition docent robot QI some questions
Visitors taking pictures with a QI on the Path to History inside the Permanent Exhibition Hall on the first floor of the NMK
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THEME ESSAY
by PARK AH-YEON Associate Curator, Gyeongju National Museum
STONE PAGODAS: Resting Places for the Buddha
Fig.1 Stone Pagoda at Mireuksa Temple Site, Iksan Baekje Kingdom, 7th century H. 14.2 m National Treasure
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In ancient India, a pagoda was called as thupa in Pali and stupa in Sanskrit, both words meaning a “grave” or “resting place for an admirable person.” As Buddhism flourished in India, the term came to refer to “the tomb of the Buddha.” When Buddhist texts were translated into literary Chinese, thupa and stupa were transcribed into Chinese characters “塔婆” (Kr. tappa) or “窣堵婆” (Kr. soldopa), and over time these compound words were shortened to just a single character “塔” (Kr. tap). Subsequently these structures in China were associated with the Enlightened One, the Buddha. Pagodas underwent changes depending on the countries in which they were built. In India, artisans used baked mud to create dome-shaped structures, while in China the pagodas were built out of bricks, and many of them in Japan were made of wood. On the other hand, the Koreans eventually preferred stone as the building material for pagodas, earning
Korea the reputation of the “land of stone pagodas.” Buddhism was introduced in the Korean Peninsula during the Three Kingdoms period 57 BCE–668 CE. Goguryeo, which was the closest to China geographically, became the first of the Three Kingdoms to embrace religion in 372. Baekje followed suit in 384. On the other hand, Silla officially accepted Buddhism in 527, the last of the Three Kingdoms to do so, after the monk Ichadon 506–527 was martyred. Most Korean pagodas were built out of wood for a time after Buddhism arrived on the peninsula, but stone emerged as the material of choice from the seventh century. Wooden pagodas were vulnerable to fire, and few could last for a long time, while stone was seen as a way to overcome this problem. Goguryeo pagodas are known only from records as no example survived intact. Baekje made pagodas distinct from
Silla ones. The oldest extant example of stone pagodas from Baekje stands on the former site of Mireuksa Temple, the largest Buddhist monastery complex in the kingdom at the time, located at presentday Iksan. The structure is made of stone, but many of its structural elements originate in wooden pagodas. This pagoda is believed to have originally been nine stories high, but today only the first six stories remain. However, it still remains the largest Korean stone pagoda in terms of scale. A sarira container made of gold was discovered within the pagoda, and a gold plate found with the reliquary has an inscription that states that a Baekje queen enshrined Buddha relics here in 639 Fig.1. The Silla stone pagodas differ from those of Baekje as they were first built like brick pagodas with stone blocks carved to resemble bricks. The oldest known example of a stone pagoda from Silla was completed in 634, the third year in the reign of Queen Seondeok r. 632–647, at
Fig.2 Stone Brick Pagoda at Bunhwangsa Temple, Gyeongju Silla Kingdom, 634 H. 9.3 m National Treasure
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Bunhwangsa Temple, and it resembles a brick pagoda. According to records, the structure once consisted of nine stories, but only three remain today. The pagoda was made of stones carved to look like bricks. A door has been built into each of the four sides of the pagoda. Carved statues of vajrapani, called geumgangyeoksa, bare-chested warriors who serve as the guardian of the Buddhist Dharma, stand at both sides of each door, while a stone lion figure is seated at each corner of the platform upon which the pagoda is built Fig.2. Silla conquered both Baekje and Goguryeo unifying the Korean Peninsula and fusing the distinct cultures of Three Kingdoms. In the process, a new type of stone pagoda was created. The East and West Three-story Stone Pagodas at Gameunsa Temple Site, Gyeongju and the Three-story Stone Pagoda from Goseonsa Temple Site, Gyeongju represent the creation of the classic Unified Silla
stone pagoda, with a two-tiered base, three-storied body, roof stones, and an ornamental finial on top Figs.3 and 4. This standardized form of stone pagoda continued to be made from the Unified Silla period and afterwards without any great changes. By the mid-eighth century, the pagodas in Silla were crafted with immaculate form and beautiful proportions. Classic examples of this style include the Three-story Stone Pagoda at Bulguksa Temple, Gyeongju Fig.5, and the East and West Three-story Stone Pagodas from Galhangsa Temple Site in Gimcheon. Some pagodas with novel shapes also appeared from the mid-eighth century onwards, among the most famous being Dabotap Pagoda at Bulguksa Temple. The structure is paired with Threestory Stone Pagoda which occupies the opposite end of the same courtyard. They represent a reenactment of a passage in the Lotus Sutra, in which the Ancient
Buddha (Prabhutaratna) appears in his stupa to hear the Historic Buddha (Shakyamuni) preach on the Vulture Peak. Dabotap Pagoda displays amazing stone construction techniques and a flawless sense of proportion Fig.6. Uniquely shaped pagodas were also made, such as those featuring four stone lion figures in place of the base or with a niche in the first-story of the body Figs.7 and 8. In addition to altered shapes, some pagodas from this period feature figures engraved on the outer surface of the base stone or body stone. The images are of the Buddha, bodhisattvas, four heavenly kings, or eight classes of supernatural beings from the Lotus Sutra (deva 天, naga 龍, yaksa 夜叉, gandharva 乾闥婆, asura 阿修羅, garuda 迦樓羅, kinnara 緊那羅, and mahoraga 摩喉羅迦). They either serve as objects of veneration by the faithful or as guardians of the relics stored inside the pagoda. The pagoda surface is decorated to beautify the pagoda, which is both
Fig.3 East and West Threestory Stone Pagodas at Gameunsa Temple Site, Gyeongju Unified Silla Kingdom, 682 H. 13.4 m National Treasure
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Fig.5 Three-story Stone Pagoda at Bulguksa Temple, Gyeongju Unified Silla Kingdom, mid 8th century H. 8.2 m National Treasure
Fig.4 Three-story Stone Pagoda from Goseonsa Temple Site, Gyeongju Unified Silla Kingdom, late 7th century H. 10.2 m National Treasure
Fig.6 Dabotap Pagoda at Bulguksa Temple, Gyeongju Unified Silla Kingdom, mid 8th century H. 10.4 m National Treasure
Fig.7 Three-story Stone Pagoda with Four Lion Design at Hwaeomsa Temple, Gurye Unified Silla Kingdom, late 8th–early 9th century H. 5.5 m National Treasure
Fig.8 Thirteen-story Stone Pagoda at Jeonghyesa Temple Site, Gyeongju Unified Silla Kingdom, 9th century H. 5.9 m National Treasure
Fig.9 Three-story Stone Pagoda at Jinjeonsa Temple Site, Yangyang Unified Silla Kingdom, 9th century H. 5.0 m National Treasure
a structure in which Shakyamuni’s relics are enshrined as well as one that symbolizes the Buddha himself. From the ninth century, Korean stone pagodas began to be made smaller and rather than the structural elements the focus was on beautiful, ornate decoration, reflecting the perception of pagodas as works of craftsmanship Fig.9. The Goryeo Dynasty 918–1392 produced the most pagodas both in terms of quantity and variety. During the Three Kingdoms period and Unified Silla Kingdom, pagodas were built mostly in a predetermined style and were centered on the capital and the royal family. On the other hand, pagodas in Goryeo differed according to the region and the social class of the sponsors. Goryeo stone pagodas are more elegant than their Silla counterparts, and they impart a distinct sense of rusticity. In addition, the pagodas may come with more than four sides and many stories, and sometimes they show
foreign stylistic influences. One of the best examples of strong foreign influence is the Ten-story Stone Pagoda from Gyeongcheonsa Temple Site featuring diverse engravings on the body, which has the detailed craftsmanship typical of a wooden structure. This structure provides a look at the features of wooden structures of the time. The Buddha figures that cover the outside surface are an excellent source for iconographic research Fig.10. Far fewer new pagodas were built during the Joseon Dynasty 1392–1897 than in the previous periods. Since stone pagodas were made of a material that was long lasting by nature, many pagodas from previous periods remained standing, reducing the need to build more. The emphasis was therefore placed on preserving and repairing ancient pagodas during the restoration work in temple complexes in the years after the Imjin War 1592–1598 with Japan. In Joseon, pagodas were built smaller compared to those from previous periods, and either had many stories on a four-sided body or succeeded the tradition of many-story pagoda with a many-sided body from the Goryeo Dynasty. Korean stone pagodas were built continuously under Buddhist influence from the Three Kingdoms through to the Joseon periods. These structures served as a symbol of state protection and were objects to which individuals prayed to build up their religious merit so that they might be reborn in the paradise of the Pure Land. Stone pagodas were made to enshrine the sarira, or remains of Shakyamuni, and are therefore beautiful masterpieces made with exquisite craftsmanship and great devotion. Fig.10 Ten-story Stone Pagoda from Gyeongcheonsa Temple Site Goryeo Dynasty, 1348 H. 13.5 m National Treasure
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MUSEUM SCENE
A Great Cultural Legacy: Masterpieces from the Bequest of the Late Samsung Chairman Lee Kun-hee The collection donated in April to the National Museum of Korea by the late Samsung Chairman Lee Kun-hee’s bereaved family generated a stir as it consists of 9,797 cultural items (21,600 pieces) that cover Korea’s entire archaeological and art history. In response to growing public interest in the unprecedentedly large bequest, the NMK presented to the public 77 selected masterpieces representing different periods. This exhibition was free; however, bookings had to made online beforehand. Although the number of visitors was limited to 20 people every 30 minutes under social distancing rules, the response was so enthusiastic that the exhibition was fully booked every day.
The exhibition was a significant event as it featured 28 masterpieces that have been designated either treasures or national treasures, including Clearing after Rain on Mount Inwangsan by Jeong Seon 1676–1759 (National Treasure); Bodhisattva Triad with a Single Halo which demonstrates the delicate beauty of gilt-bronze Buddhist images from the Three Kingdoms period (National Treasure); Korea’s only extant painting of Thousand-armed Avalokiteshvara (Treasure); and the Sound of Autumn painted by Kim Hongdo 1757–after 1806 in his later years (Treasure). This exhibition reflected the philosophy of Chairman Lee Kun-hee who had devoted considerable efforts to collect and preserve cultural heritage in order to contribute to the development of Korean culture. It was also an opportunity for visitors to think about the endeavors of artisans who created these masterpieces over the different eras of Korean history and the philosophy of donors who have preserved and safeguarded them.
CURRENT
by OH SEEUN Associate Curator of the Exhibition Division, National Museum of Korea
ANCIENT CHINESE BRONZE CULTURE September 16 – November 14, 2021 National Museum of Korea
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The special exhibition to mark the 2021–2022 Year of Korea-China Cultural Exchange
Wine Vessel, Jue Late Shang Dynasty, 13th–11th century BCE L. 21.0 cm
Wine Vessel, You Late Shang Dynasty, 13th–11th century BCE H. 32.9 cm
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Ancient Chinese made bronzeware for use in sacrificial ceremonies from around the twentieth century BCE. According to the Chinese legend of “Three Sovereigns and Five Emperors,” Emperor Shun 舜 r. 2255–2205 BCE, the last ruler in the pre-dynastic period commanded Yu 禹 to control the floods on the Yellow River. Subsequently, Yu became the founding emperor of the Xia 21st–16th century BCE,, China’s first dynasty, and he cast a collection of nine tripod cauldrons, known as ding, which became symbols of the authority given to the ruler by the Mandate of Heaven. The belief in this legend motivated the Chinese to cast bronzeware, despite the difficulty of the task, and use them to make offerings to the gods. The National Museum of Korea is hosting Ancient Chinese Bronze Culture to mark the 2021–2022 Year of KoreaChina Cultural Exchange. The special exhibition is being held in collaboration with the Shanghai Museum, which boasts a world-class collection of ancient Chinese bronzeware. Bronze vessel production methods were limited four millennia ago, and no more than 40% of all the castings were successful. Yet the number of completed pieces found from that period is so high that a precise count is difficult to make. On the other hand, we can imagine how excellent the craftsmanship was at that time, as vessels thousands of years old are excavated today with their original form intact. China’s peculiar culture of bronzeware for ritual use can be found nowhere else on earth, while the refined and mysterious vessel shapes stand alone in the world. The details as to how the Shanghai Museum gathered its collection of bronzeware is extraordinary. Other Chinese museums have obtained archaeological relics mainly through excavations, whereas the Shanghai Museum has built up its collection by collecting, receiving donations, and
buying at auctions. In the 1950s, the Chinese government launched a massive metal collection drive, and Shanghai, the nation’s leading port at the time, also had the largest smelting works in the country. Therefore, countless bronzeware naturally flowed into Shanghai, and some people who understood the importance of the very old bronzeware delivered more than 30,000 pieces to the Shanghai Museum. Subsequently, archaeological digs were increasingly conducted on historic sites inside China, allowing experts to surmise the original sites for items in the Shanghai collection, the majority of which had been illegally excavated. The special exhibition is divided into four parts, laid out in a chronological order that reveals how people’s perception of concerning bronzeware evolved. Initially they were made as ritual items for offering sacrifices to the gods. Over time they became a means of demonstrating the power of kings and feudal lords, and ultimately they were produced as articles used in everyday life. Part 1: The beginning of Bronze Culture: Casting Bronzeware Modeled on Pottery Pieces This part introduces visitors to the characteristics that define bonze vessels at the earliest stage. Bronzeware production began in earnest during the Xia Dynasty 21st–16th century BCE. Xia craftsmen produced bronzeware by applying copperworking methods developed during the Longshan Culture of the late Neolithic Era. They used Neolithic Era earthenware as their model for producing the earliest bronzeware. Their casting methods were still primitive, and the food contents would leak out of the legs. The vessels were simply decorated, without intricate patterns. Production techniques advanced over time, and a wide range of bronzeware was produced from the succeeding Shang Dynasty 16th–11th century BCE onwards.
Bronzeware collection from the Shanghai Museum
Reduced modeling to show ancient bronzeware production process
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Part 2: Vessels for the Gods: Casting Various Bronze Ritual Items
Tripod Cauldron Western Zhou Dynasty, late 10th century BCE H. 40.5 cm
In this part, visitors will see bronze ritual items that were once used in various ceremonies. China’s second dynasty, the Shang 16th–11th century BCE was a theocratic state, prompting the king to preside over sacrifices to the gods whenever important state decisions such as engaging in war were to be made. Offering libations was an important part of these ceremonies, so the sophistication of wine vessels advanced greatly during this period. In the late Shang Dynasty, a wide range of bronze implements were produced, to include wine, food, and water vessels as well as musical instruments. The Shang Dynasty’s libation ceremonies and bronzeware production methods were carried over to the ensuing Western Zhou Dynasty 11th century – 771 BCE. However, by the middle of the Western Zhou Dynasty, people increasingly believed that the excessive consumption of alcoholic
Digital presentations to maximize the impact of the items on display
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beverages led to the demise of the Shang Dynasty, and so the production of bronze wine vessels steadily decreased. Instead, rituals involving the offering of food and water continued to develop. New shapes of ceremonial food vessels also appeared such as the dou footed dish. Part 3: Symbols of Power: Creating Rules for the Use of Bronzeware On display in this part is bronzeware that was incorporated into a system of usage that would demonstrate the power of human rulers. The bronzeware produced during the Shang Dynasty for the benefit of the gods were institutionalized in the Western Zhou Dynasty as a means to project the status of individuals in power. Regulations were put in place stipulating the use of dishes and musical instruments according to social position, which were used to maintain the social order with the emperor at the top. This system put the Son of Heaven in the center and placed
the various feudal lords in subordinate positions around him. Part 4: Bronzeware in Everyday Life: Producing Bronzeware for Practical Purposes This part shows how the advent of ironware triggered a transition of bronzeware from sacrificial vessels to everyday utensils. The power of the Eastern Zhou Dynasty declined from the middle of the Spring and Autumn period 770–476 BCE, causing the heretofore rigorous adherence to social hierarchy to wane and slashing the production of traditional bronzeware. As ironmaking capabilities improved, weapons and tools came to be made out of iron. Bronzeware was made to maintain a strict system of social status and power, but by the Spring and Autumn 770–476 BCE and Warring States periods 475–221 BCE, they were used primarily as everyday items such as mirrors or lampstands, except occasional, elegantly-decorated pieces. Ancient Chinese Bronze Culture exhibition features digital images. Animal face patterns, which symbolize a god’s appearance and a ruler’s power, are projected digitally at the theme space of exhibit, thereby underscoring the significance of the bronzeware. Also there has been set up to further visitors’ understanding of ancient Chinese bronze culture. On display here are artifacts linked to Chinese events or antidotes familiar to many Koreans, presenting both interesting stories and fun things to look at. The inscriptions on ancient bronzeware are yet another form of historical record, containing important messages left behind by ancient Chinese. Digital contents also show the ways in which the bronzeware was produced and used, adding another layer of interest to the entire exhibit. Red copper was found by accident in China around thirtieth century BCE, marking the beginning of Chinese
Elegantly-decorated bronze vessel in a single showcase
bronzes, and the chance discovery led to a medium that changed Chinese history. Moreover, the subsequent, tireless efforts of craftsmen gave rise to a brilliant treasure in blue-green hue. Bronzeware was initially produced to placate the gods and bore mysterious patterns on them. Although they became famous for their uncanny shapes, getting to view them up close was truly a rare occurrence. Now, the NMK offers a superb opportunity to see in a single setting bronzeware that was produced over a period of two millennia. In the process, you will find out what lies behind the mysteries of these bronzeware and enjoy a new experience.
Wine Vessel Late Shang Dynasty, 13th–11th century BCE H. 20.5 cm
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CURRENT
by YOON JIYEON Associate Curator, Gongju National Museum
50th Anniversary of the Excavation of King Muryeong’s Tomb —Preparing for the Next Half Century September 14, 2021 – March 6, 2022 Gongju National Museum
5,232 items discovered inside the Tomb of King Muryeong on display
This year marks the fiftieth anniversary of the discovery of the Tomb of King Muryeong of the ancient Baekje Kingdom. The dramatic discovery and excavation of the tomb in July 1971 shook up the Korean archaeological and historical circles as the tomb proved exceptional for being the only royal tomb of the Three Kingdoms period whose occupant is known; for being discovered intact as it had never been robbed; for its tomb style influenced by the Southern Dynasties of China; and for its countless artifacts attesting to the outstanding Baekje craftsmanship. The Gongju National Museum has organized the special exhibition 50th Anniversary of the Excavation of King Muryeong’s Tomb —Preparing for the Next Half Century to commemorate the historic excavation. For the first time, all 5,232 items discovered inside the tomb are on display at the same time. The exhibition is based on two main keywords—King Muryeong’s Tomb and the Gongju National Museum—which run through all four sections: “Prologue: King Muryeong’s Tomb Unveiled the World,” “Part 1: King Muryeong’s Tomb and the History of Baekje,” “Part 2:
Stone Animal Statue Baekje Kingdom L. 48.6 cm, H. 32.2 cm, W. 48.5 kg National Treasure
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Record of the excavation and further surveys of the Tomb of King Muryeong in 1971
Epitaph Plaque of King Muryeong Baekje Kingdom L. 41.5 cm, W. 35.2 cm, T. 5.0 cm National Treasure
Gold Crown Ornaments of King Muryeong Baekje Kingdom L. 30.7 cm, W. 14.0 cm National Treasure
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King Muryeong’s Tomb and Gongju National Museum,” and “Epilogue: King Muryeong’s Tomb, Preparing for the Next Half Century.” At the Gongju National Museum, special exhibitions have been mainly held in the Special Exhibition Hall but for the first time the display has been expanded into the Ungjin Baekje Hall as well to show visitors as much as possible. “Prologue: King Muryeong’s Tomb Unveiled the World” introduces the Tomb of King Muryeong and Royal Tombs in Gongju. It explores how the Tomb of King Muryeong was accidently found and the excavation work that followed. After the discovery of the tomb on July 5, 1971, the artifacts were retrieved over three days from July 7 to 9, and further surveys of the tomb were conducted on three occasions. This section therefore looks at the discovery and excavation of the Tomb of King Muryeong, and the contents and mood of media reports at that time. “Part 1: King Muryeong’s Tomb and the History of Baekje” looks at the major academic achievements made over the past fifty years since the excavation of the tomb. The history of Baekje was rewritten thanks to knowledge of the structure of the Tomb of King Muryeong and the numerous artifacts excavated from the inside. It is even said that research on Baekje can be divided into research before and after the excavation of the Tomb of King Muryeong. Both the epitaph stone found in the tomb and the Baekje section of the History of the Three Kingdoms, known as Samguksagi, record that King Muryeong passed away in 523, which show the accuracy of the Samguksagi. In addition, the structure of the brick tomb, influenced by the Southern Dynasties of China, artifacts such as headrests, footrests, stone animal statue, and celadon works, and the coffins of the King Muryeong and the Queen Consort made of umbrella pine wood, native to southern Japan, reflect
Footrest of King Muryeong Baekje Kingdom L. 43.7 cm, W. 9.5 cm, H. 19.5 cm National Treasure
Wooden coffins for the King and Queen Consort restored based on analytical data
Headrest of the Queen Consort Baekje Kingdom L. 44.8 cm, W. 12.0 cm, H. 22.7 cm National Treasure
Headrests and footrests of King Muryeong and Queen Consort
Baekje’s international exchange and craftsmanship. “Part 2: King Muryeong’s Tomb and Gongju National Museum” introduces the achievements of the Gongju National Museum in the fields of archaeology and conservation science. The dramatic discovery and excavation of the Tomb of King Muryeong led to the opening of the Gongju National Museum in 1973 for safe storage of the artifacts excavated from the Tomb of King Muryeong. Moved into a new building in May 2004, the Gongju National Museum is responsible for systematic organization and reporting of the items in its collection and continues to build on its research and obtain new results thanks to developments in science and technology. This part of the exhibition presents the achievements of archaeology and
conservation science based on study of the king and queen’s headrests, footrests, wooden coffins, and gilt-bronze shoes excavated from the Tomb of King Muryeong. On display are the wooden coffins of King Muryeong and the Queen Consort, which were restored based on various analytical data on the joining method used to make the wooden coffins, the coffin nails, and the length of the ornamental end boards. “Epilogue: King Muryeong’s Tomb, Preparing for the Next Half Century” deals with the challenges the Gongju National Museum faces in preparing for the next fifty years. It is our hope that new results from archaeological and conservation science research will reveal a clearer picture of the real nature of the Tomb of King Muryeong.
Gold Crown Ornaments of Queen Consort Baekje Kingdom L. 27.0 cm, W. 13.8 cm National Treasure
Epitaph Plaque of the Queen Consort Baekje Kingdom L. 41.5 cm, W. 35.2 cm, T. 5.2 cm National Treasure
Gilt-bronze ornaments, gold and silver ornaments, glass beads, and comma-shaped jades
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VISITOR OF THE DAY
by the EDITORIAL TEAM, with KWON YONGJUNE and JEONG JEONGHWAN
TAKE A TRIP TO THE MUSEUM TO EMPTY THE MIND AND RELAX The Same Age and Friends from Childhood Kwon Yongjune and Jeong Jeonghwan grew up in the same neighborhood and graduated from the same middle school. As a teenager, Kwon was outgoing and dealt serenely with unexpected situations as they came while Jeong was quiet and rather introverted. One friend is strongly driven to action while the other seeks stability and accepts without hesitation what he believes to be other guy’s strengths. The two have been able to stay best friends for more than ten years because they make up for each other’s shortcomings based on mutual respect. Turning Point: Becoming a Barista Jeong began studying at a university but ended up quitting school because he found he was not interested in his major. While working part-time at a cafe, he came to admire the world of baristas. Desiring to experience a wider world, he once dreamed of going to Australia to live and work as a barista, meeting all sorts of people and experiencing diverse cultures. However, as COVID-19 hit the world, he revised his plans and is now pursuing his dream in Seoul. Currently working as a barista at Blue Bottle, Jeong has become a completely different person. As a teenager he was shy but now, every day, he approaches people comfortably and starts up friendly conversations. The atmosphere of the cafe, where small talk is valued, had a decisive role in changing his personality. To most
people, a barista may look like someone who works with ease in a pleasant environment, but in fact this job is like being a swan. It looks so elegant on the surface, but underneath the water you have to keep moving your feet quickly. Now in his third year as a barista, Jeong believes you can work as a barista only if you really enjoy the work as you have to stand up all day and remain completely alert for nine hours while providing service satisfying all customers. Coffee as a Medium that Opens up the World In Kwon’s case, he became a barista at the recommendation of his friend. Seeing Jeong working so happy at work, Kwon was interested in this profession, and after gaining some experience himself and studying up in the field, he came to the conclusion that it was just the right job for him. As no special qualifications are needed to become a barista, the entry barriers are low. However, Kwon knows well that he has to work hard to keep up and develop his skills in order to succeed in this field. Having explored the world of coffee for a long time while working at several cafes, he has now built a reputation for himself as a barista at Peer Coffee. These days, he is enjoying the cafe culture itself, welcoming people with a smile and communicating and connecting with them. Forming bonds with various people with the give and take of a cup of coffee, meeting experienced baristas and getting advice, and experiencing the joy
of making cups and dishes with his own hands in a pottery workshop—he has coffee to thank for all these things. An Enigmatic Place Where Past and Present Overlap When he thinks of museum, the first thing that comes to Kwon’s mind is his grandmother. As a child he lived at his grandmother’s house in Ichon-dong, near the museum. On major holidays, the large extended family gathered at his grandmother’s house, and at those times he would take his young relatives to the outdoor garden of the National Museum of Korea where they played until nightfall. In those days, he didn’t dare to go inside the museum because he was so young, but he vaguely remembers seeing the three-story stone pagoda and stone Buddha statues while walking around the garden. Coming to the museum after such a long time suddenly brought back forgotten childhood memories. Entering the exhibition space completely at ease, he had a strange feeling because the smell of the museum seemed to be the same he had noticed as a child. Jeong remembers visiting the museum a few times on a school excursion. Rushing from one gallery to the next with a crowd of friends, he hardly saw anything properly and doesn’t remember anything clearly. It was a long time since graduating from school that he decided to go to the museum again, and snatches of memory kept coming back to him. When he was young he had spent his time at the museum just laughing and talking with his friends, but now he enjoys calmly examining the exhibits carefully one by one. The Lacquered Comb Box Inlaid with Mother-of-pearl, which caught his eye in the exhibition room, looks beautiful as it sits in the display cabinet as always. In the past, he only glanced at in passing, but this time he stopped to examine it closely and will remember it for a long time. AUTUMN 2021
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Why Spend Time in an Unaccustomed Way? If they had chosen different career paths, the two friends would have grown apart but since they have their barista jobs in common they are now even closer than brothers. As a result, they like to meet on their days off to explore unfamiliar places. To recharge after interacting with countless people at work and exhausting their energy, they spend time in unaccustomed ways in unknown places, healing body and mind before going back to their daily lives again. In that sense, the museum is a wonderful place to relax. Here they can get away from the workplace and feel free and at ease. They would like to travel to places far away, but when the conditions are not good, as at present, they can relieve the thirst for travel at the museum. Hearing that they could explore
Jeonghwan looking at the beauty of his favorite item
Jeong Jeonghwan One-line comment
Forgotten memories from my school days
kept coming back to me Three memorable points Hanging scroll from Sinwonsa Temple, the designs on ceramic items, and Ten-story Stone Pagoda from Gyeongcheonsa Temple Site On the next visit
I would like to take my time and focus on one
exhibition. “I recently became interested in porcelain, so I looked carefully at the designs on the jar. A free and easy peony design was engraved on either side of the body. I thought it was a good design for something used to hold drinks such as water or liquor.”
Celadon Jar with Inlaid Peony Design Goryeo Dynasty Ceramics H. 19.8 cm, D. 20.6 cm (mouth) National Treasure On display in the Celadon Gallery
various cultures of the world at the World Art Gallery, they headed up to the third floor as if they were travelers. First they looked around the Egypt Gallery. While hoping to visit Egypt and the United States one day, the moment they faced the coffin and mummy of Pa-seba-khaien-ipet in the exhibition room they fell into the illusion that they were already travelling. It was in the World Ceramic Gallery that they spent the longest time, their attention caught by the diverse collection of ceramics, including cups, coffee cups, and coffee pots from Asia and Europe. As both friends place great importance on the role of the coffee cup when they brew coffee, they looked at the cups in terms of design and function to see how well the cups could keep the coffee hot or cold, or protect the flavor with a small mouth and wide bottom. The longer they stayed in the exhibition room, the more they emptied their minds and recharged themselves. With renewed energy, Kwon will give lectures and seminars on brewing coffee, which he is preparing for in the second half of the year, and Jeong will continue to grow and cultivate himself, warmly greeting everyone he meets with a smile on his face.
Yongjune paying attention to the diverse collection of ceramics
Kwon Youngjune One-line comment
Overwhelming force that comes from the
grand scale of the museum Three memorable points Galleries organized for easy viewing according to period and theme, Path to History, and Ten-story Stone Pagoda from Gyeongcheonsa Temple Site On the next visit
I would like to see the special exhibition
opening at the end of the year Stele for Buddhist Preceptor Wollang Unified Silla Kingdom Stone H. 395.0 cm Treasure On display in the Path to History
“I could see it clearly from far away as it was nearly four meters high. When I got close I saw that the body of the stele was placed on a tortoiseshaped pedestal and had characters inscribed in even lines and an ornamental piece on top. The overall structure was balanced and very impressive.” AUTUMN 2021
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VISUAL GUIDE
by the EDITORIAL TEAM, with the WORLD ARTS DIVISION, National Museum of Korea
WORLD ART GALLERY: Diverse Cultures, Wider Perspectives
A display at the China Gallery
The National Museum of Korea has long been dedicated showing the public cultural artifacts from around the world. As part of this effort, we also engage in international exchanges, loaning pieces in our collection to hold special exhibitions overseas and supporting Korean Galleries in foreign museums in order to introduce the beauty of Korean culture to nonKoreans. These activities have allowed the NMK to interact with a wide range of major museums worldwide and build mutual trust with them. The World Art Gallery is inside the Permanent Exhibition Hall on the third floor of the museum, and the variety of artifacts on display are a mixture of pieces from the NMK collection as well as items from overseas museums’ collections. Thus, people living in Korea are given the opportunity to experience history and culture from faraway places that are normally difficult to access. The World Art Gallery consists of six galleries, each devoted to a different 34
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region or topic: Ancient Egypt, Central Asia, India & Southeast Asia, China, Japan, and World Ceramics. Here you get a sweeping view of various Asian cultures, pottery pieces that were the product of East and West exchanges, and pieces from Egyptian culture, which had a powerful influence on Western civilization. The goal is to get in touch with real cultural articles of various countries from the cultural relativist perspective and cultivate understanding of diverse cultures that make up humankind. Gallery visitors can relate to all the regions of the world simultaneously in real time, enabling them to appreciate the fact that such understanding is a necessary condition for us in the present day, as we live amidst diverse national and cultural backgrounds. With this in mind, the World Art Gallery going forward will infuse ever more curiosity and inclusiveness into exhibits, thereby supporting the cultivation of ever-broader perspectives and imagination in visitors.
Coffin and Mummy of Thothirdes Room No. 306, Egypt Gallery
Mummies are always objects of curiosity, as they spark universal interest in death and the afterlife. Egyptian mummies attract special attention for their sarcophagi, which are densely covered with elaborate paintings and standardized in their form. Ancient Egyptians believed that the soul of a mummified person would remain in the physical body, and so they developed systematic mummification methods to keep the physical body as intact as possible so that the soul could continue to lead an eternal life after death. The wooden sarcophagus on display was built for Thothirdes, who lived in the late seventh and early sixth centuries BCE. The inner and outer surfaces are filled with images of spirits that watch over the deceased, scenes of the afterlife realm to which the deceased aspired to go, and scenes of the soul’s judgement for resurrection. The scientific research on the mummy inside the sarcophagus
Location South area on the third floor of the Permanent Exhibition Hall Contents Exhibits that shed light on diverse regions of the world: Ancient Egypt, Central Asia, India & Southeast Asia, China, Japan, and World Ceramics. Composition Six galleries
Zetian r. 690–705. The names of the Buddhist scriptures listed on the stele conform with the Buddhist canon texts that were kept at Ximing Temple in Chang’an, the capital of the Tang Dynasty at the time. Based on this fact, the stele in its original condition must have stood about 3 meters high and contained the names of at least 4,039 volumes of scripture in 818 categories. The stele is a valuable resource for historical research, given the possibility that copies of those texts may be discovered in the Turpan area in the future.
Coffin of Thothirdes Thebes, Egypt; Late Period, Dynasty 26, circa 664–525 BCE Wood, painted plaster Brooklyn Museum, Charles Edwin Wilbour Fund
ascertained, somewhat surprisingly, that the person who was mummified had died in the eighth century BCE, about a half century before this sarcophagus had been made. Thus, the possibility exists that agents dealing in archaeological relics during the nineteenth century paired this mummy with this sarcophagus. Buddhist Votive Stele of Kang, a Buddhist Layman of Wu Zhou Room No. 307, Central Asia Gallery
This stele was discovered in the ruins of the ancient city of Gaochang, now in the Turpan of Xinjang Uygur Autonomous Region. The marker was erected in praise of a Sogdian layman’s efforts to compile the Buddhist canon (tripitaka). He pledged loyalty to the Tang Dynasty in the midseventh century, settled down in the Turpan region, called Xizhou in Tang times, and rose to prominence. The inscription on the stele contains Zetian characters, promulgated during the Wu Zhou period, the reign of China’s sole woman ruler, Empress Wu
Bodhisattva Room No. 308, India and Southeast Asia Gallery
This bodhisattva statue was carved in the Gandharan region during the second or third century CE. The figure is depicted wearing
A display at the Egypt Gallery
Bodhisattva Gandhara, 2nd–3rd century Stone H. 116.8 cm Gift of Friends of National Museum of Korea
A display at the India and Southeast Asia Gallery
Must-see Attractions The NMK offers you a unique opportunity to view some displays found nowhere else in the country. The Egypt Gallery features pieces on loan from the Brooklyn Museum, which boasts a world-class collection of pieces on Egyptian culture, while the World Ceramics Gallery shows precious items from the Princesshof National Museum of Ceramics and Groninger Museum in the Netherlands. Photo Spots Why not taking some selfies while inside the Egypt Gallery, with articles from the Brooklyn Museum on display? The exhibit was originally scheduled to close in the winter of this year but now has been extended to March 1, 2022, providing you with ample time to plan a visit. Make a reservation to visit the Permanent Exhibition Hall, and you can proceed directly to Room No. 306, without having to go through any entry procedures.
Armor with Variegated Lacing Edo period, Japan; 18th century Iron, leather, and silk H. 70.4 cm (chest)
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curly hair in a pleat, with the upper body wrapped in a shawl and adorned with a necklace, earrings, and other ornaments. In Mahayana Buddhism, a bodhisattva is honored as an enlightened person who is capable of entering nirvana but chooses to remain on earth to save other sentient beings. The term originally referred to Shakyamuni prior to his enlightenment. Therefore, the bodhisattva figure is depicted as a member of the nobility, dressed in the most luxurious attire worn by people in the secular world. Gandhara occupied a region that now makes up parts of northwest Pakistan and northeast Afghanistan. As a transportation hub from ancient times linking Western Asia, Southern Asia, and Central Asia, it was influenced by various cultures, including the Indian and Parthian cultures as well as Hellenism. This statue, likewise, clearly shows Hellenistic influences within the uniquely Gandharan art tradition: a stout, fleshy body in a robe with downward-flowing folds, with solidly-formed and realistic-looking facial features (ears, eyes, mouth, and nose).
Chinese Buddhist Steles Room No. 309, China Gallery
A new genre of sculpture arose in China after the arrival of Buddhism: stele adorned with pictorial carvings. Their basic form was a quadrilateral stone slab with images of the Buddha and passages of script engraved on it. These steles turned the Chinese traditional stele, which had previously been reserved for noble class members, into an object of religious worship. Thus a broader segment of society became involved in stele production as an act of supplication. These figured steles were erected in public spaces, such as at village entrances and on monastery grounds, and they served as prayer offerings for the peaceful repose of deceased ancestors. The four examples of figured stele on display at the China Gallery were carved during the Northern Wei 386–534 and Tang 618–907 Dynasties. They feature images of Shakyamuni Buddha, Amitabha Buddha, or Maitreya Buddha, and also have images of figures making offerings to the Buddha and some textual inscriptions.
Blue-and-white Porcelain Kraak Large Dish with Deers Room No. 311, World Ceramics Gallery
Blue-and-white Porcelain Kraak Large Dish with Deers Ming Dynasty, China; 1610–1630 Jingdezhen Kiln H. 8.2 cm, D. 51.0 cm Princessehof National Museum of Ceramics, Leeuwarden On loan from Ottema-Kingma Foundation
Armor with Variegated Lacing Room No. 310, Japan Gallery
This armor was worn by a member of the Japanese samurai in the eighteenth century. The full-body suit includes coverings for the upper arms and the shins as well as a helmet for the head. Originally, Japanese samurai armor was held together with thin leather strips and was beautiful to behold, but it was uncomfortable and heavy to wear. Therefore a new style of armor was introduced in the sixteenth century. It consisted of a single plate to cover the torso and the material was changed to iron, which was more effective in warding off enemy blows. The protective shield for the shoulders and waist is laced together with red, white, and deep blue thread. The center of the torso and the helmet are golden in color and decorated with dragon-shaped figures. Even the protective face mask resembles a warrior’s visage.
A display at the World Ceramics Gallery
This dish is covered with deer, pine trees, and other good luck symbols. Porcelainware made in China was introduced to Europe prior to the seventeenth century, and so the East India Company established an auction house for Chinese blue-and-white porcelains in the Netherlands in 1604, and the pieces became hugely popular. Their colors shown clearly, they were decorated with mysterious blue images, representing an entirely new product class for Europeans to enjoy. The nobility and upper class became avid collectors of the expensive and rare Chinese porcelainware, which they used to decorate rooms and walls, thereby showing off their wealth and power. Thus, Chinese ceramics sparked great interest in China among Europe’s high society, which led to improvements in Dutch pottery-making as well. This was the motive force behind the subsequent birth of European porcelainware. The present Blue-and-white Porcelain Kraak Large Dish with Deers on display in the World Ceramics Gallery stands as vivid testimony to the history of dynamic exchanges between East and West, transcending its original purpose of serving food to spark new cultural possibilities.
COLLECTION
INKSTONES: ARTIST’S FRIEND AND ESSENTIAL IN A CULTURED LIFE Inkstone Joseon Dynasty Stone H. 3.3 cm, D. 18.5 cm
Inkstone Joseon Dynasty Stone L. 17.5 cm, W. 12.2 cm, H. 5.2 cm
Inkstone with Design of Beautiful Landscape Korea Stone L. 25.5 cm, W. 16.2 cm, H. 3.6 cm Inkstone with Plum, Sun, and Moon Design Joseon Dynasty Stone L. 17.0 cm, W. 8.5 cm, T. 1.7 cm
Rectangular Inkstone with Peach-shaped Well Korea Oseok stone H. 2.4 cm
Wiwon-style Duanqi Inkstone Korea Stone D. 24.7 cm, T. 2.4 cm
Rectangular Purple Inkstone with Rounded Corners and Waterside Design Korea Stone H. 1.1 cm
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Inkstone Korea Stone L. 18.4 cm, W. 13.9 cm, T. 2.4 cm
Inkstone Joseon Dynasty Stone L. 20.3 cm, H. 2.1 cm
Wiwon-style Duanqi Inkstone Joseon Dynasty Stone L. 25.5 cm, W. 15.2 cm
Zither-shaped Inkstone Korea Oseok stone H. 2.4 cm
Small Square Inkstone with Fish Design Korea Stone H. 1.6 cm
Inkstone with Plum and Bamboo Design Goryeo Dynasty Stone L. 16.2 cm, W. 9.4 cm, T. 1.3 cm Buncheong Ware Inkstone Joseon Dynasty Ceramic L. 10.3 cm, W. 5.8 cm, T. 1.7 cm
Square Purple Inkstone with Raised Dragon Design Korea Stone H. 1.8 cm
Square Purple Inkstone with Raised Bamboo Leaf Design Korea Stone H. 1.3 cm
Small Rectangular Purple Inkstone with Round Well and Landscape Design Korea Stone H. 1.6 cm
Small Square Purple Inkstone with Rounded Corners and Chrysanthemum Scroll Design Korea Stone H. 1.1 cm
Small Rectangular Purple Inkstone with Waterside Design Korea Stone L. 15.6 cm, W. 7.1 cm, H. 1.6 cm
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MISCELLANEOUS
One Hundred Days’ Rest for Pensive Bodhisattva, National Treasure
In celebration of the sixteenth anniversary of the NMK’s relocation to the present site at Yongsan, the NMK will open a permanent exhibition of two Pensive Bodhisattvas, designated as national treasures, at the same exhibition space on October 28. For this exhibition, Pensive Bodhisattva (National Treasure) is now removed from the Buddhist Sculpture Gallery to be housed at the storage and a new exhibition space for these bodhisattvas are now being prepared on the second floor of the Permanent Exhibition Hall. Equipped with architectural design and facilities optimized for the exhibition, the new gallery will become a special space where
Exhibition at the Egypt Gallery Extended
visitors can create their own stories about
The NMK extends the exhibition at the
Pensive Bodhisattvas as they appreciate
Egypt Gallery, previously scheduled to end
the thoughtful smile of the bodhisattvas.
on November 7, 2021, to March 1, 2022.
In the storage, Pensive Bodhisattva
Presenting the long history of Egypt and
(National Treasure) will undergo condition
the unique world view of Egyptian people
World Seen by Kim Hongdo
check, photographing, and lighting test in
under the theme of “Story of Life, Death,
The Calligraphy and Painting Gallery on the
preparation for the new exhibition. On its
and Resurrection,” the exhibition has drawn
second floor of the Permanent Exhibition Hall
YouTube channel, the NMK shows Pensive
great interest of the public since its opening.
is now presenting Everyday Lives through
Bodhisattva being taken out of the gallery
The Egypt Gallery on the third floor of the
the Eyes of a Traveler, an eight-panel folding
and moved to the storage for one hundred
Permanent Exhibition Hall is showcasing 94
screen painting by Kim Hongdo 1745–after 1806.
days’ rest under delicate care of collection
articles of Egyptian cultural heritage from
If you want to know what Joseon looked like
management experts.
the collection of the Brooklyn Museum in
to the eyes of Kim Hongdo, one of the master
the United States. The NMK has prepared
painters of the late Joseon period, this is the
exhibitions for people to appreciate diverse
right place to find it. This eight-panel folding
cultures of the world whenever they want
screen painting features lives of people seen
for free. Regrettably, however, it failed to
by a scholar traveler. One fine day, a scholar
provide visitors with sufficient time to enjoy
set out on a trip on the back of a donkey. In
exhibitions in 2020 as it closed four times
his trip, the scholar came across a magistrate
due to the government measures to prevent
making a ruling on the street, blacksmiths
the spread of the COVID-19. The NMK and
on the street, and men and women working
the Brooklyn Museum discussed such
in the field. Sometimes he waited for a boat
difficult situations and recently agreed to
to cross the river. Admiring Kim Hongdo’s
extending the exhibition period by around
masterful yet humorous descriptions of the
four months (114 days). Only by making a
scenes, Kim’s teacher Kang Sehwang 1713–1791
reservation for permanent exhibitions, any
wrote his impression on each panel of the
person can see the extended exhibition at
painting. In this exhibition scheduled to
the Egypt Gallery for free.
continue until late November, visitors will be able to take a glimpse of the lives of Joseon people as they see paintings and inscriptions on those paintings one after another. 40
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ARCHIVING HIGHLIGHT
Exhibition title Five Hundred Arhats of Changnyeongsa Temple Site: Reflection of Our Hearts Venue
Special Exhibition Gallery
Period
April 29 – June 16, 2019
No. of visitors 48,257 Content 97 items including arhat sculptures excavated at Changnyeongsa Temple Site in Yeongwol, Gangwon-do
This special exhibition in Seoul, originally organized by the Chuncheon National Museum, garnered a lot of attention for its collaboration with contemporary artists that presented cultural heritage items in a new way. Part I showed “Arhats in Nature” and featured 32 arhat sculptures from Changnyeongsa Temple Site placed on individual pedestals standing on a floor paved with old bricks. Part 2 showed “Arhats in the City” by placing 29 sculptures in a tower-like installation. In this exhibition, the National Museum of Korea broke away from the conventional notion of exhibitions that see exhibitions as opportunities for learning about cultural heritage, and successfully showed the potential for a new kind of exhibition experience where the visitors can emotionally connect with the cultural treasures on display.
The Gandhara region is centered around what is now Peshawar Valley in Pakistan, and covers a wide area including Swat, Taxila, the Kabul River basin, and Jalalabad. It was an area with such frequent contact with foreign cultures that Gandharan Buddhist sculptures show the influence of the Indian, Hellenistic, and Parthian cultures. Along with the Mathura region, Gandhara is one of great historical significance as the first place where a human-shaped Buddha statue was made. This statue is of a bodhisattva, which originally referred to Shakyamuni before enlightenment. But as Mahayana Buddhism gained widespread power, the term “bodhisattva” came to mean a being who saves other sentient beings and seeks enlightenment.
Bodhisattva Gandhara, 2nd–3rd century Stone H. 116.8 cm Gift of Friends of National Museum of Korea, 2008 On display in the India and Southeast Asia Gallery, Permanent Exhibitions
