2017 SUMMER Vol.10 No.2 여름

ISSN 2005-0151

SUMMER 2017 Vol.10_No.2 On the Cover

Boasting remarkable durability, natural lacquer resin has been widely applied in Asia for the last 4,000 years to both prac- tical and aesthetic objects with wooden, metal, and other surfaces. Lacquer showcases the natural textures of the wood in wooden utensils and it adds to the splendor of the decorative motifs when applied over mother-of-pearl. For more about lacquer ware and its masters, see p.18. Contents 06 07

04 08 14 18 22 26 30 38

Heritage Issues Today 04 Photo Essay 26 Hanji Becomes International Restoration Material Jeju Island in Summer

World Heritage in Perspective 08 Korean Heritage on Display 30 Megaliths as Precious Evidence of Prehistoric Societies Renewal of the Korean Empire Gallery

Exploration of Korean Heritage 14 A Visit to Korean Heritage 38 Cheongha Fortress: A Definitive ‘True-view’ Painting A Leisurely Walk through Jeonju Hanok Village Masters of Lacquer Freeze Time An Earthly Reincarnation of Paradise in Gwanghalluwon Garden Cultural Heritage Administration Headlines 44 CHA News CHA Events Heritage Issues Today 08 09

Hanji Qualifies as a Material for Heritage Restoration In Korea, hanji is employed in diverse artistic fields including painting, calligraphy, crafts, and architecture. In addition, it is also used in the restoration and conservation of heritage. The boundaries of hanji’s use in heritage conservation are now extending beyond Korean soil. Recently, hanji became recognized as an approved material for heritage restoration in Italy. On December 15, 2016 the Central Institute for the Restoration and Conservation of Archive and Book Heritage (ICRCPAL), an Italian research institute, held a certification ceremony for hanji at its headquarters in Milan officially recognizing two Hanji is applied as a reinforcement treatment for Nanjung ilgi (The War Diaries types of traditional Korean paper as a of Admiral Yi Sun-sin), one of Korea’s Memory of the World entries suitable material for the conservation The oldest woodblock print in the world, Mugujeonggwang daedaranigyeong (Great Dharani Sutra of of European documentary heritage. Both of the two certified types of paper were made Immaculate and Pure Light) was made using traditional Korean hanji paper at the Sin Hyeon-se Traditional Korean Paper Workshop in Uiryeong, Gyeongsangnam- do Province. They are officially known as Uiryeong Sinhyeonse Traditional Hanji 1 and 2.

Hanji Becomes International This is the first certification of hanji as a restoration material by an overseas organization. Restoration Material The recognition is especially meaningful when considering that the ICRCPAL is a leading research Text by ‌Ahn Ji-yoon, Researcher, Cultural Heritage Conservation Science Center, National Research Institute of Cultural Heritage institute in Italy and a globally recognized Photos by the Cultural Heritage Conservation Science Center and the Cultural Heritage Administration authority in the field of paper heritage conservation. During the process of testing “Paper lasts 1,000 years and silk lasts 500.” This old saying emphasizes the qualities of hanji, the ICRCPAL discovered the quality of traditional Korean paper, or hanji, which is known for its its superb attributes and has already adopted durability and strength. Made with hanji, the oldest known woodblock it for the restoration of five important Italian print in the world, Mugujeonggwang daedaranigyeong (Great Dharani documents, including the Chartula of St. Francis Sutra of Immaculate and Pure Light), has withstood the rigors of time of Assisi and the Rossano Gospels. for more than 1,200 years and remains in good condition. Eight of the The restored Chartula of St. Francis of Assisi thirteen Korean entries on the UNESCO Memory of the World Register are books or documents crafted using hanji. Heritage Issues Today 10 11

Globalization Endeavors behind the superb strength of hanji is the traditional papermaking method of oebal In Europe, Japanese washi has long been considered the definitive Asian paper and tteugi which allows component fibers to accumulate in multiple orientations. Hanji also is widely used in the restoration of documentary heritage. The lofty reputation enjoyed displays a nearly neutral pH, which is advantageous for long-lasting conservation. In by washi in Europe can be explained, at least partly if not totally, by Japan’s proactive addition, in the final step in the traditional papermaking process a surface treatment awareness-raising efforts in the generous provision of washi to Italy for document technique called dochim is applied in which the surface of the finished sheets is restoration after the 1966 Flood of the Arno in Florence. Compared to Japanese pounded to compact the fibers and lessen ink bleed. traditional paper, Korean hanji possesses a low level of recognition and usage overseas, despite its excellent qualities. The domestic market for traditional Korean paper has These attributes make hanji an ideal material for heritage conservation and also been contracting in the wake of a series of challenges, such as the aging of hanji- restoration. It makes an excellent reinforcement or backing paper for books, making practitioners, a lack of future craftsmen, and declining demand and public documents, and paintings and can be employed not only for the restoration of archaic interest. There exist only a few hanji workshops in Korea that still practice traditional documentary heritage, but also for modern works. Hanji shows far greater durability methods. and strength than modern pulp-based papers.

To imbue a new dose of vitality into the hanji market and to make its qualities The ICRCPAL’s recognition of hanji heralded its official entrance into the European better known overseas, the Hanji in Europe project was launched in 2014. As a shared market for heritage restoration materials. In Europe, only materials that have passed Korean-Italian research undertaking implemented by Korea’s National Research through a rigorous verification process can be employed in restoration, as evidenced Institute of Cultural Heritage, the Korean Embassy in Italy, and the ICRCPAL, it was by the small number of workshops in intended to promote hanji in Europe as a heritage restoration material. The first fruit of Italy that qualify for the provision of this cooperative enterprise was reaped in the form of the ICRCPAL’s recognition of hanji paper for the conservation of books as appropriate for the restoration of European documents and books in December and documents. Currently, two more of last year. In the lead-up to the certification of hanji, an academic symposium on kinds of traditional Korean paper are the paper was held in Korea in July 2016. The presentations on the use of hanji for undergoing the verification process at the restoration of a drawing from the Vatican Museums and of a globe housed at a the ICRCPAL. The superlative qualities museum dedicated to Pope John XXIII drew particular attention. of hanji will hopefully become better known worldwide and can soon be adopted for heritage restoration Notable Attributes of Hanji across Europe. Certain characteristics set hanji apart from other types of paper. First of all, it is made from long fibers of the paper mulberry tree, a plant species native

to Korea. It therefore exhibits a strong Seungjeongwon ilgi (The Diaries of the Royal Secretariat), one of Korea’s Memory of the World entries made of hanji inter-fiber connection and a resulting resistance to tearing. Another factor

Master Sin Hyeon-se making hanji World Heritage in Perspective 12 13

Large Stones as the Object of Worship Megaliths as Precious Evidence Megalithic culture underwent continuous development throughout the Neolithic of Prehistoric Societies and Bronze Ages. Prehistoric peoples considered that humans were subject to the influence not of other humans, but of nature. Based on this belief, they revered natural Text by Yun Yong-wan, Head, Incheon Cultural Heritage Conservation Foundation Photos by the Cultural Heritage Administration, Topicimages, and Shutterstock elements and would process large stones into objects of worship or burial sites. Megalithic monuments are found around the world in diverse types, such as menhir, dolmen, stone lines, stone circles, and stone statues. As one of the supreme human inventions, writing divides human history into two pe- riods. The period before the use of the written word is categorized as prehistory, while Megalithic monuments began to appear in Korea during the Bronze Age. Large the succeeding era is history. The study of the former is dependent on the materials that remain from the period. The megalithic monuments standing today provide us stones were erected for the purpose of enhancing agricultural harvests, tribal solidarity, with information on various aspects of the prehistoric societies that bequeathed them and the authority of the leader. A wide range of associated rituals were also held. to us. Two representative examples from the World Heritage List are explored here: the Although crafted in various forms and sizes, the megalithic monuments of Korea all Gochang, Hwasun and Ganghwa Dolmen Sites in Korea and Stonehenge, Avebury and originate in the prehistoric belief in the divine power of large stones. Associated Sites in England.

A dolmen park in Hwasun, Korea Stonehenge, celebrated as the foremost Neolithic stone masterpiece World Heritage in Perspective 14 15

A Representation of Prehistoric Architectural Skill Human society developed from a number of consanguineous groups living on equal terms to a more stratified system with a ruling class standing distinct from the ruled. Erecting a megalithic monument, which must have required a huge volume of labor, attests to the power and authority possessed by the ruler at the time of its construction. Even in a hierarchical society where the ruling group could exert power sufficient to mobilize the labor for building a megalith, the significance of agriculture cut across class differences and rituals praying for a bumper harvest would have engaged all members of society. Believing that large stones could influence supernatural forces that impose both good fortune and disaster, people took part in worship at the megalithic monuments as an integral part of their daily lives.

Megaliths also serve as evidence of the architectural skill of prehistoric societies. Stonehenge, for example, was constructed to reflect the movement of the sun and moon in their yearly cycle. The plinths at Stonehenge speak volumes to the skills and A “capstone” dolmen in Hwasun, nicknamed Pingmae Bawi Rock, one of the largest megaliths in Korea knowledge of prehistoric architects in their alignment, scope, and size.

Whether built as a marker of social boundaries, a demonstration of authority, or as a place for assemblies and rituals in the ancient past, megalithic monuments retain a high heritage value as a key to understanding social, cultural, and economic aspects of prehistoric life.

The Numerous and Diverse Dolmens of Korea The Gochang, Hwasun and Ganghwa Dolmen Sites in Korea provide an excellent example of a megalithic World Heritage Site that displays diverse styles of dolmens distributed across a wide- ranging area. The inscribed dolmens in Korea are known to have functioned as tombs for the ruling class or as ritual altars, a significant distinction from the classic megalithic World Heritage

A dolmen in Gochang, Korea Stonehenge in England World Heritage in Perspective 16 17

A dolmen in Gangwha, Korea Stonehenge and Avebury, a megalithic site spawning numerous mysteries and hypotheses

Site in England, Stonehenge and Avebury, which remains a mystery in terms of by Stonehenge and Avebury House Mysteries whom, how and why it was built. The stones at Stonehenge and Avebury were carried to the site both by water and overland from hundreds of kilometers away. Testifying to a high level of social One of the most significant prehistoric sites in Korea, the dolmens in Gochang, organization, these large stone structures are widely praised as the greatest megalithic Hwasun, and Ganghwa have provided invaluable information on the development of masterpiece of the Neolithic era. megalithic culture, and also on the social structure of the Bronze Age and the cultural exchanges taking place in Asia at the time. Stonehenge is a Neolithic stone circle that has given birth to numerous enigmas and academic hypotheses attempting to explain them. Some say that Neolithic people Although they appeared there later than in Europe, Korea holds two-thirds of the used it to measure time according to the appearance of the sun and moon, while total number of the world’s known megalithic tombs-about 400,000 out of the 600,000. others argue that it is a monument for worshipping the sun. It is also conceived as a Dispersed across a wide area, megalithic tombs in Korea can be categorized into three burial site or a home for the souls of the dead. Although lower in terms of public profile, types: the table style, with a flat capstone supported by several upright stones; the Avebury is the most impressive earthwork in all Europe, enclosed by a ditch and bank. baduk (Japanese go) board style, where a large boulder is placed as a capstone atop It forms a unique prehistoric landscape with relevant sites in the surrounding area. They several smaller rocks; and the gaeseok (capstone) style consisting simply of a capstone were inscribed together on the World Heritage List in 1986 as Stonehenge, Avebury without any supporting stones. Recognized for their historical and cultural value, the and Associated Sites in England. dolmen sites in Korea were inscribed on the World Heritage List in 2000. Exploration of Korean Heritage 18 19

Cheongha Fortress: A Definitive ‘True-view’ Painting

Text by Kim Yong-kown, Director, Gyeomjae Jeongseon Art Museum Photos by the Gyeomjae Jeongseon Art Museum and the Cultural Heritage Administration

Jeong Seon (1676–1759), also known by the penname Gyeomjae, is the foremost late-Joseon scholar-painter. He left a brilliant mark in the history of Korean painting by departing from the previously dominant Chinese styles and initiating a new painting school called jingyeong sansu, or “true-view” landscape, which was considered more apt for the depiction of Korean natural features.

Background Jeong Seon was born into a prominent family, but his childhood was not free from troubles when the fortunes for his family soon declined. He was able to continue his academic pursuits only with help from his mother’s family and their financial means. Jeong Seon lived in the same neighborhood as the late-Joseon high official Kim Su- hang (1629–1689), a member of the powerful Andong Kim clan, and received academic and artistic guidance from his five sons.

Jeong Seon further exchanged influences with disciples of Kim’s five sons, deepening his conception and skill in poetry, prose, calligraphy, and painting. One of these disciples was the poet Yi Byeong-yeon (penname Sacheon; 1671–1751), a maestro of “true-view” poetry, a literary style eulogizing the beauty of the Korean natural environment. Sacheon developed a life-long friendship with Gyeomjae that was sustained by a continuous dialogue in the form of exchanging poems and paintings, making a significant contribution to Jeong Seon’s establishment of the “true-view” landscape painting style.

At the age of 20, Gyeomjae received a recommendation from the literary official Kim Chang-jip (1648–1722) and first entered officialdom as a court painter at the Agency

Cheongha seongeupdo (Cheongha Fortress); 32.7 × 25.9 cm Exploration of Korean Heritage 20 21

for Drawing Pictures (Dohwaseo). At 41 he began working at the Meteorological Office ‘True-view’ in Cheongha Fortress (Gwansanggam) as a sixth-rank official. Starting in his mid-40s, he took on the role of Cheongha Fortress portrays the walled government seat of Cheongha-hyeon governing local areas: from 1721–1726 he served as the magistrate of Hayang-hyeon, County and its surroundings as seen from Bongseonjeong Pavilion to the east of the a county near present-day Daegu in Gyeongsangbuk-do Province; from 1733–1735 as fortress. Jeong Seon placed pine trees and wetlands in a close-range view and a screen the magistrate of Cheongha-hyeon in present-day Pohang in Gyeongsangbuk-do; and of several mountains including Hohaksan, Cheollyeongsan, and Naeyeonsan in the as the magistrate of Yangcheon-hyeon in western Seoul from 1740–1745. Retiring from distance, bringing Cheongha Fortress to the fore. Also depicted are additional pine official duties at 70, Gyeomjae led a leisurely life in the Inwang Valley (modern Ogin- trees further out in the center and the center right, as well as houses with gabled or dong in central Seoul) until his death at 84. hip-and-gable roofs stretching along a hill.

No historic structures have survived at the former site of Cheongha Fortress; Jeong Seon’s Pictorial World Cheongha Elementary School and the county office of Cheongha-myeon have been During his official stints in local areas as an administrative head, Gyeomjae acquired constructed in its place. Although the former buildings and structures have been the chance to visit diverse aesthetic sites and was able to give firmer shape to his new erased from the site, the “true-view” painting of Cheongha Fortress still immerses us in style of “true-view” landscape painting. He initially practiced the Southern School, a the cultural and historical appearance of the area. It also provides valuable information Chinese painting style through which Joseon scholar-painters depicted an idealized to those who seek to reimage its former appearance. It goes without saying that the world in diluted ink or thin color, but around the age of 30 he converted to a more painting serves as a source of great aesthetic satisfaction for viewers. realistic style that later matured into his “true-view” painting. This provided him with a unique technique for picturing the Korean landscape in a lively and realistic manner. A New Direction for Joseon Painting The “true-view” landscape painting Living up to his reputation as one of the most impactful artists in the history of he established abandoned the prevailing Korean painting, Jeong Seon left behind a great volume of works. Although well conceptual and abstract manner of painting versed in diverse motifs including to pursue a novel and realistic expression of figures, flowers, and insects, he the beauty of Korean mountains and rivers. was by far the most renowned Delivering subjective views through the for his landscape paintings. The signature brushstrokes of the painter, the “true- “true-view” style he established view” style excels at accentuating the essence in the early 18th century became of the object and enriching its aesthetic beauty. a driving force in Korean panting One illuminating example by Jeong Seon is as it cut ties with Chinese Cheongha seongeupdo, or Cheongha Fortress influences and mapped out a (collection of the Gyeomjae Jeongseon Art new and independent course. Inwang jesaekdo (After Rain at Mt. Inwangsan); 79.2 × 138.2 cm Museum), which he created during his term as Throughout his entire life Jeong the magistrate of Cheongha-hyeon. strived to capture aesthetic views of Korean landscapes to create masterpieces such as Geumgang jeondo (View of Mt. Geumgangsan), Inwang jesaekdo (After Rain at Mt. Geumgang jeondo (View of Mt. Geumgangsan); 130.8 × 94 cm Inwangsan), Pakyeonpokpo (Pakyeon Waterfalls), and many others. Exploration of Korean Heritage 22 23

An Organic Resin from Nature Lacquer has long been valued across Asia as a natural varnish, but particularly so in Korea, China, and Japan. In Korea the earliest examples bearing indications of lacquer use dates back to the first to third century B.C., and the deliberate cultivation of lacquer trees was initiated in the early Joseon era (1392–1910). In the 1930s the market for Masters of Lacquer Freeze Time lacquer crafts experienced a boom.

Text and photos by the Mogun Lacquerware Workshop Lacquer can absorb or release moisture depending on the surrounding environment, which helps maintain Lacquer, a durable material produced from the sap of the lacquer tree, is applied mostly a stable level of humidity. A coating of lacquer provides to wood, but it can also be used on metal and other materials. It is widely known that objects of various materials and diverse uses with lacquer provides a surface gloss, but it also protects the object from fluctuations in tem- a solid layer of protection that offers luster to their perature and humidity and from attacks by insects. surfaces and enhances their durability. Due to these attributes, for more than four thousand years lacquer has been widely applied in both the West and the East to decorative and everyday objects, and even to armor.

The Many Kinds of Lacquer In Korea the extraction of lacquer mostly takes place Master Park Gang-yong from mid-June until mid-October or early November. Since lacquer trees most actively produce sap in the early hours, the prime time for the operation falls between 4:30 a.m. and 3:00 p.m.

Lacquer comes in two types depending on the extraction method. One is drawn from cuts in the skin of a lacquer tree and is mainly used for making crafts or for industrial purposes. Another kind of lacquer sought for medical uses is extracted by applying heat to lacquer tree wood that has been soaked in water for roughly one week.

Differences in processing also result in distinct lacquer types. Sap from lacquer trees can simply be stripped of impurities to be ready for use as raw lacquer. The raw lacquer can also be put through further processing steps‐such as heat treatment for the elimination of moisture to enhance transparency and purity, and sometimes be

Diverse lacquer crafts blended with other substances such as camellia oil‐to become refined lacquer. Exploration of Korean Heritage 24 25

Lacquer Master Park Gang-yong Transmission Festival of Korea and Masters of the lacquerware crafting possess knowledge and skills across the full the National Craftwork Festival. He process of creating lacquered works‐extracting lacquer, processing it, and applying the is currently operating the Mogun organic resin to the surface of objects. One of the most prominent lacquer masters in Lacquerware Workshop in Namwon all Korea is Park Gang-yong. He is a vital driving force behind the widespread popular and supporting the transmission of use of wooden lacquerware in everyday life. lacquerware skills and know-how to future generations. Born in Jeongeup, Jeollabuk-do Province in 1964, Park went to Seoul for training under the instruction of the established lacquer master Lee Ui-sik. In 1992 he moved Lacquer utensils in wood widely used by the public to Namwon, an area in Jeollabuk-do with a longstanding reputation for wooden Process of Wooden Lacquerware lacquerware. He settled there rather than his nearby hometown based on his resolution While various species of trees can be used for the base object, including the to dedicate the rest of his life to the creation of lacquerware. needle juniper, ginkgo, tree-of-heaven, and pine, the wood of choice and method of production may differ depending on the intended usage and form of the finished Park initially practiced using raw lacquer in the traditional manner, but soon product. realized that it possesses a critical shortcoming: raw lacquer cannot survive temperatures surpassing 60 degrees Celsius. This does not pose a problem for dishes or The process of lacquerware making starts with sanding an uncoated wooden bowls intended as monastic vessels or for ritual tables, but it is detrimental to anything frame to smooth its surface. Next, the frame is applied with a first round of coating to be used as household utensils. using a diluted raw lacquer. The object is transferred to a drying room at 70–75 percent humidity where it is dried for between three and seven hours (although sometimes it Later, Park learned skills for producing takes as many as 18). It is removed from the drying room, applied with a mixture of raw refined lacquer from nationally designated lacquer and clay to fill any gaps on the surface, and sanded once again. Master Jeong Su-hwa. After undergoing heat treatment, refined lacquer can sustain The object surfaced with the lacquer-clay temperatures of 200 degrees Celsius and mixture is then coated with refined lacquer, above, and can therefore be used for dried, and sanded. The process of applying everyday items as well as monastic utensils refined lacquer, drying, and sanding is and ritual dishes. In addition, refined repeated four or five times. Then, refined lacquer provides a more refined shine lacquer is additionally applied seven rather than a glaring surface and can be or eight times for the enhancement Raw lacquer is applied to a wooden object. freely mixed with diverse colors. of the strength and transparency of the coating. Only after this long and Master Park has maintained a life-long passion for making lacquerware. In 2008 arduous process is a wooden lacquer craft he was recognized as a master of lacquerware at the Jeollabuk-do provincial level, considered complete. and his artworks have won awards at several significant contests, including the Craft Mother-of-pearl lacquerware Exploration of Korean Heritage 26 27

A traditional garden in Namwon, Jeollabuk-do Province created during the Joseon era, Gwanghalluwon incorporates a variety of aesthetic elements including Gwanghallu Pavilion, which provides the garden with its name, a pond in front of the pavilion, the Bridge of Crows and Magpies, and the Three Divine Mountains. There are also a number of interesting stories associated with the garden.

Construction of the Garden Gwanghalluwon is celebrated as one of the definitive traditional gardens of Korea alongside Soswaewon Garden in Damyang and the area surrounding Gyeonghoeru Pavilion in Gyeongbokgung Palace in Seoul. Gwanghallu Pavilion enjoyed an unrivalled reputation among Joseon poets for its aesthetic environment compared to other famous pavilions such as Bubyeoknu in Pyongyang, Chokseoknu in Jinju, and Yeongnamnu in Miryang.

Today’s Gwanghalluwon started with Gwangtongnu Pavilion, which was established by the early Joseon official Hwang Hui after he was banished to Namwon in 1419. The current name Gwanghan-nu was derived from an analogy made in 1444 by Jeong In-ji, the governor of Jeolla-do Province, between Gwangtongnu and Gwanghan- cheongheobu, the mythical lunar palace housing the Chinese goddess Chang’e. The pond at Gwanghallu was added in 1461 when Jang Ui-guk, the magistrate of Namwon, drew water from the nearby Yocheon Stream to create a pond symbolizing the Milky An Earthly Reincarnation of Way while carrying out repairs on the pavilion. In 1582 the Three Divine Mountains were rendered in the pond under the leadership of Jeong Cheol, the governor of Jeolla- Paradise in Gwanghalluwon Garden do Province at the time.

Text by the Cultural Heritage Administration Photos by the Public Relations and Information Division, Namwon City Government; and Topicimages A Divine Space on Earth Koreans of the past strived to express an idealized world or divine space in the architecture of houses or gardens while respecting the given topography and pursuing harmony with nature. Gwanghalluwon is a fine example of this. The garden embodies a diverse range of traditional Korean philosophies and beliefs, such as yin and yang, wu xing (the five elements), geomancy, and Confucian ethics. Gwanghallu Pavilion with the Bridge of Crows and Magpies coming into view Exploration of Korean Heritage 28 29

The topography of the garden was not refined artificially, but has been maintained deities, Mt. Penglai, Mt. Fangzhang, and Mt. Yingzhou, which respectively correspond as it was originally found with the hilly areas remaining intact. On the hills in the garden with Mt. Geumgangsan, Mt. Jirisan, and Mt. Hallasan in Korea. There is a stone turtle in have been spontaneously placed large stones. The plants and flowers of the garden front of Gwanghallu Pavilion that serves as a guardian of the Three Divine Mountains. grow naturally to impart a sense of being in the wild.

Gwanghalluwon delivers historical Koreans’ conceptions of an ideal world and their Famed Love Stories attitudes toward nature. This explains the heritage value of the garden as an important The garden is also deeply associated with tales of source of information on social, cultural, and architectural attributes of the society at romance. One is the Tale of Chunhyang, a classic Korean novel the time. set against Gwanghallu Pavilion. It is here where Yi Mong- ryong, the son of the magistrate of Namwon, fell in love at first sight. He was taking in the beautiful scenery on the fifth day Aesthetic Beauty of the Garden of the fifth lunar month and happened to spot Chunhyang, In Gwanghalluwon Garden, the large man-made pond, the bridge lying across a daughter of the gisaeng (female entertainer) Wolmae, it, and its three islands all conspire to create a beautiful scene. The pond is rendered playing on a swing in the distance. They made a pledge of in a rectangular form with a ratio of 1:2 for the sides. Situated at the western edge life-long love to each other at the house of her mother. This of the pond, the bridge known as Ojakgyo (Bridge of Crows and Magpies) stands on house, known as Wolmae’s House, has been recreated in the A portrait of Chunhyang at the Chunhyang Shrine arch-shaped legs which lend a sensation of rhythm to what would otherwise have Gwanghalluwon compound. been a monotonous flat structure. Three islands known as Samsinsan (Three Devine Mountains) are afloat in the pond at nearly equal east-west intervals; they were Another love story is associated with Ojakgyo, the Bridge of Crows and Magpies. constructed as a symbol of the three legendary Chinese mountains resided upon by The name of the bridge derives from the July 7 legend. A couple, Gyeonu and Jiknyeo, passionately loved each other but were separated on either side of the Milky Way and could not meet. Feeling sympathy for their tragic destiny, on the seventh day of the seventh lunar month crows and magpies flew up to form a bridge with their bodies to allow Gyeonu and Jiknyeo to be united at

least once a year. The bridge formed by The house of Chunhyang’s mother, where Chunhyang and Yi Mong-ryong made crows and magpies is called Ojakgyo. their life-long vow to each other

The cover of Jingbirok, National Treasure No. 132 These two love stories are so deeply rooted in the minds of the Korean people that Gwanghalluwon Garden remains popular among contemporary couples.

Gwanghalluwon Garden at night Photo Essay 30 31

Jeju Island in Summer

Text by the Cultural Heritage Administration photos by Topicimages

Jeju is a volcanic island renowned for its breathtaking ocean scenery and captivating volcanic features. The island boasts hundreds of small extinct parasitic volcanoes, interesting shaped rocks (including the one in the shape of the head of a dragon), and gorgeous waterfalls such as Cheonjeyeonpokpo Falls (meaning “a pond for heavenly beings”). Among the numerous geographic elements created by volcanic activity on the oval-shaped island of Jeju, three‐the Geomunoreum Lava Tube System, Seongsan Ilchulbong Peak, and Mt. Hallasan‐were jointly entered on the UNESCO World Heritage List in 2007. Beside these wonders of nature, there is also a vibrant folk culture most characteristically represented by the guardian stone statue Dolhareubang, low stone walls, and the traditions associated with the haenyeo women divers.

Parasitic volcanoes at the foot of Mt. Hallasan Photo Essay 32 33

Cheonjeyeonpokpo Falls

Seongsan Sunrise Peak (Ilchulbong)

Dolhareubang, or “Stone Grandfather” Yongduam, or “Dragon Head Rock,” formed where flowing lava encountered the ocean Korean Heritage on Display 34 35

The National Palace Museum, an affiliated organization under the Renewal of the Korean Cultural Heritage Administration, has undertaken a refurbishment of the Korean Empire Gallery in commemoration of the 120th an- Empire Gallery niversary of the declaration of the Korean Empire (1897–1910). The Text by Im So-yeon, Exhibition & Publicity Division, National Palace Museum renewed gallery was opened to the public on February 28 of this Photos by the National Palace Museum year. A permanent exhibition hall dedicated to the Korean Empire was initially installed at the museum in 2007 as a showcase for the history and culture of the first imperial—and first modern—state in Korean history. It remains the only such space in the country.

Junghwajeon Hall at Gyeongungung Palace as represented in the exhibition A recreation of the interior of the imperial palace Korean Heritage on Display 36 37

On Display The exhibition room is segmented into three spaces respectively addressing the themes of the birth of the emperor and his empire; Gyeongungung, the imperial palace of the Korean Empire; and the imperial family and its lifestyle.

Alongside newspapers and other innovations of the day, the first section of the exhibition displays items that help explain the establishment and development process of the Korean Empire. They Daerye uigwe (The Protocols of Grand Rites), include Daerye uigwe (The Protocols of Grand Rites, a detailed account of the enthronement of designated as Treasure No. 1901-3), which recounts the Emperor Gojong preparation process of the state rites and ceremonies associated with the proclamation of the Korean Empire; Hwangjejibo (Treasure A postcard of Gyeongungung Palace (Deoksugung Palace) before the 1904 fire No. 1618-2), or the “seal of the emperor,” fashioned on the occasion of Gojong’s

Renovated Display Space for the Korean Empire In 1897, Gojong, the 26th monarch of the Joseon Dynasty, proclaimed the Korean Empire. After designating the seat of the new empire as Gyeongungung Palace (currently known as Deoksugung Palace), Emperor Gojong pushed ahead with a diverse range of reforms and modernizations geared toward the establishment of a more powerful and prosperous modern state. He reorganized governance systems for the administrative, military, and financial sectors, and renovated urban areas. Modern infrastructure such as electricity, streetcars, and railways were introduced, and public parks were installed. The imperial palace of Gyeongungung was refurbished with Western buildings standing alongside traditional Korean structures, adding to the dignity of the imperial court and materializing the fervent aspirations toward modernization.

The renewed exhibition hall showcases some 270 exhibits designed to help visitors better appreciate the establishment of the Korean Empire and the regal authority of the imperial court, as well as a representation of the interior of Gyeongungung, the birthplace of the empire and a witness to both its glories and its painful decline. A representation of a banquet hall Korean Heritage on Display 38 39

enthronement as emperor and used afterwards to stamp Refurbished Display Facilities letters of appointment for officials; and the gold seal of The exhibition environment has been Myeongseong used in her investiture as empress. greatly improved for the benefit of both Gojong’s enthronement ceremony at Hwangudan visitors and the artifacts on exhibit. The Altar has been reproduced in a video clip that is National Palace Museum is housed in an shown to visitors to improve their appreciation of the older building with relatively low ceilings, exhibition. a structural issue which can impede the A state seal for the Korean Empire, called exhibition of large-scale objects. In this regard, Hwangjejibo A table for the imperial family In the second section, the modern aspects of the the museum has been making continuous imperial palace of Gyeongungung are delivered through renovation efforts to ensure that even in low-ceilinged rooms visitors can enjoy wide representations of its interior. Alongside the name plaque of the palace inscribed with views and large exhibits can be successfully displayed. Chinese characters reading “Gyeongungung” is Gyeongungung junggeon dogam uigwe (The Protocols of the Office of the Reconstruction of Gyeongungung, Treasure 1901-3), a In particular, the first floor of the museum building where the Korean Empire room record on the rebuilding of the palace after a fire in 1904. The modernization process is housed has the lowest ceilings in the museum. The lights in the room have a history for Korean palaces can also be observed through such exhibits as a map marking the of flickering and undermining the visitor experience. To compensate for the low ceiling location of the water pipes laid out at Changdeokgung Palace, one of the Joseon royal and to eliminate the flickering while ensuring safe artifact management, a new display residences, and glass lampshades that were installed over the lights in the ceilings of case system has been introduced in the Korean Empire gallery. The front pane of the palace buildings. display cabinet is rendered in the maximum possible size using low-reflective glass. A state-of-the-art lighting system based on organic light emitting diodes (OLED) was The third segment of the exhibition enables visitors to enjoy a lively experience selected for their minimal heat production, lack of ultraviolet light, and adjustable of the imperial family’s lifestyle, which broadly incorporated many modern Western elements. On display are furnishings, utensils, and accessories used by the imperial family, as well as Western costumes such as a ceremonial robe for Yeongchinwang, Gojong’s seventh son and the last crown prince of the Korean Empire, and a reproduction of the imperial banquet hall. One of the additions to the exhibition after the remodeling is a formal outfit for literary officials that has been lavishly adorned with gold-colored roses of Sharon, one of the symbolic motifs of the Korean Empire. The literary officials’ uniform, which encourages visitors to envision vivid images of an official event of

the era, has been reproduced as a costume for officials A childhood ceremonial suit for Yeongchinwang, the last crown of the first rank based on records from the 1900 imperial prince of the Korean Empire A wave-shaped bathing pitcher used by edict Rules on the Costumes for Literary Officials. the imperial family Korean Heritage on Display 40 41

The interior of the renewed Korean Empire Gallery Visitors in the renovated Korean Empire Gallery

brightness according to the needs of the artifacts. These efforts at furthering both Although lasting for only 13 years until the Japanese annexation of Korea in artifact conservation and visitor satisfaction have made a significant contribution to 1910, the Korean Empire has a significant place in Korean history as the first imperial improving the appreciation of the importance of the exhibited objects. and modern state. It is also notable that the death of Emperor Gojong in 1919 sparked a popular cry for independence that developed into the nationwide March 1 Independence Movement. It is true that the period of the Korean Empire has been Associated Programs adversely perceived in association with the subsequent Japanese colonial era (1910– In the newly opened Korean Empire gallery, interpretation services are regularly 1945), but hopefully, people can take advantage of the opportunity of the empire’s provided six times per day in Korean and twice each in English, Japanese, and Chinese. 120th anniversary this year to pay a visit to the refurbished Korean Empire gallery and The museum offers diverse educational programs on the Korean Empire, including the discover the cultural and historical value of the first Korean imperial state. Dreams of the Emperor of Korea for families with elementary-school age children that is operated in association with the field education program at Deoksugung Palace. Programs for all adults (May–June) and for teachers (August) will be introduced this year. An academic symposium on the significance of the Korean Empire artifacts as material evidence of the era’s modernization efforts and historical importance will be scheduled for October. A Visit to Korean Heritage 42 43

The best way to enjoy Jeonju is to do it slowly. Packed with more than 700 traditional Korean houses, the city’s Jeonju Hanok Village offers visitors a chance to leave behind their hectic routines and appreciate a lazy walk through the diverse historic sites A Leisurely Walk through scattered throughout this largest traditional housing complex in the country. Jeonju Hanok Village

Text by Choi Woo-jung, Traditional Cultural Heritage Division, Jeonju City Government Photos by the Traditional Cultural Heritage Division, Jeonju City Government; and Topicimages

Jeonju Hanok Village Bursting with Life and Vigor Jeonju Hanok Village is not a staged traditional village frozen at a certain point in history. It is a living space where people pursue their daily routines in an active interaction with the surrounding tangible and intangible environment. Every corner of the village is alive with people and brimming with energy and vitality.

Jeonju Hanok Village is also rich in historical sites and monuments. These include Gyeonggijeon Shrine, which houses the portrait of the founder of the Joseon Dynasty; Pungnammun Gate, the main gate of Jeonju Fortress; Jeondong Cathedral, a Catholic church erected on the spot where the country’s first case of martyrdom took place; Jeonju Hyanggyo, a traditional secondary education center serving the region; and Omokdae, a steep hill where Yi Seong-gye, later known as King Taejo, celebrated a one- sided victory over Japanese marauders in 1390 on his way to Gaegyeong, the capital of the Goryeo Dynasty (918–1392)

Gyeonggijeon, a Shrine for Taejo’s Portrait Jeonju is the ancestral home of Yi Seong-gye, or King Taejo, where the Jeonju Yi clan resided until Taejo’s great grandfather, Yi An-sa (?–1274) moved to northeast Korea. After establishing the Joseon Dynasty in 1392, King Taejo ordered Gyeonggijeon (Historic Site No. 339 on the national list) constructed in his ancestral seat to enshrine his portrait during the commemoration of the new dynastic foundation. The name Gyeonggijeon means “a blissful land where a new The portrait of King Taejo, the founder of dynasty originated.” The main hall of Gyeonggijeon still the Joseon Dynasty, enshrined at Gyeong- Jeonju Hanok Village features more than 700 traditional Korean houses gijeon Shrine A Visit to Korean Heritage 44 45 houses the portrait of King Taejo (National Treasure No. 317 on the national list). What is Pungnammun, a Resolute Guardian for Jeonju notable within this image of Taejo wearing an official royal robe and hat is a five-clawed Pungnammun (Treasure No. 308 on the national list) is the name of the south gate dragon, the symbol of a king, ornamenting the chest and each shoulder. of Jeonju Fortress, the administrative seat of Jeolla-do Province during the Joseon era. Among the four portals of the fortress, it is the only one to survive to the present. The Gyeonggijeon compound also includes Jogyeongmyo Shrine (Tangible Originally constructed during the Goryeo era, Pungnammun was damaged during the Heritage No. 16 on the provincial list) dedicated to Yi Han, the progenitor of the Jeonju Japanese invasion of 1597 and then reduced to ashes by a fire in 1767. It was rebuilt in Yi clan, and his wife from the Gyeongju Kim clan; the placental chamber of King 1768 under the orders of the governor Hong Nak-in. This was also when it acquired the Yejong (Folklore Material No. 26 on the provincial list), the eighth monarch of Joseon; name Pungnammun. The south gate of Jeonju Fortress is characterized by the columns and the Royal Portrait Museum, which provides an integrated view of the history of spanning the first and second tiers of the wooden superstructure. While Jeonju Fortress Gyeonggijeon and displays the royal portraits of Joseon rulers such as Sejong, Yeongjo, was demolished according to an edict to eliminate fortresses issued by Japanese Jeongjo, Cheoljong, Gojong, and Sunjong. Gyeonggijeon Shrine is now being opened colonialists in 1907, Pungnammun Gate still stands as the sole remaining evidence of to the public at night from May as part of the Evening Heritage Promenade program, the fortress in the bustling old center of Jeonju. and in October a reenactment of the enshrinement parade for Taejo’s portrait will be conducted. Jeondong Cathedral, a Sacred Place Remembering Korea’s First Martyrs Jeondong Cathedral (Historic Site No. 288 on the national list) stands across from Gyeonggijeon Pavilion at the start of the central east-west road of Jeonju Hanok Village. A Catholic church of great historical significance, it was built on the site where in 1791 two early Korean Christians, Yun Ji-chung and Gwon Sang-yeon, were the first in the country to face the brutal fate of martyrdom. The church is a fine example of Romanesque architecture noted for its beautiful curves and immense grandeur. The 12-windowed central belfry with twin domed towers standing at either side of the central spire has been praised as one of the most aesthetic attributes of the building.

Jeondong Cathedral, situated at the entrance of Jeonju Hanok Gyeonggijeon Shrine, built in commemoration of the founding of Joseon Village A Visit to Korean Heritage 46 47

Jeonju Hyanggyo, a Traditional Education Center Hanbyeokdang, a Pavilion Perched on a Cliff Jeonju Hyanggyo was a public secondary education institute during the Joseon era. Located in eastern Jeonju, Hanbyeokdang Pavilion (Tangible Heritage No. 15 on Architecturally, it consists of two separate spaces, one for rituals with Daeseongjeon the provincial list) stands on a steep rock face at the foot of Mt. Seungamsan. From the Shrine at its center, and another for study centering around Myeongnyundang Hall. pavilion a view of the Jeonjucheon Stream and Mt. Namgosan can be appreciated. The Within the compound stand five ginkgo trees, which are resistant to insect attacks and pavilion enjoys a year-round flow of clean water below in the Jeonjucheon Stream, therefore represent wishes for a healthy mind and body for the students. The historical providing an additional sense of refreshment to visitors to the pavilion. Jeonju Hyanggyo compound is currently utilized as a space for the instruction of local children in traditional ethics and values. Equipped with natural views of striking beauty, it is also well known as a filming set and a spot for romantic dates. Rituals for Confucius Guided Tours in Foreign Languages Jeonju Hanok Village provides free guided tours, both in Korean and in other are observed biannually in spring and autumn. languages. They are currently available only for Gyeonggijeon Shrine. English-language tours are offered twice per day throughout the week at 11:00 a.m. and 2:00 p.m., and Omokdae and Imokdae: The Roots of the Joseon Dynasty Chinese and Japanese tours are available at 11:00 a.m. and 2:00 p.m. on weekends. Omokdae is where Yi Seong-gye hosted a celebratory party in response to the Entrance fees are separate. Participants assemble at the red-spiked gate in front of passionate welcome from his Jeonju Yi clan kin as he traveled to the capital after an Gyeonggijeon Shrine and are guided through the compound for about 50 minutes. overwhelming victory against Japanese raiders Visitor Information at Mt. Hwangsan. The steep hill of Omokdae Address : Gyo-dong, Wansan-gu, Jeonju, Jeollabuk-do Province provides a bird’s eye view Tel : +82 (0)63 222 1000 http://transtour.jeonju.go.kr:7000/etgi/ of Jeonju Hanok Village. Webpage : A stele is erected there with an inscription hand- written by Emperor Gojong (r. 1863–1907), the 26 monarch of Joseon, reading A stele shelter at Omokdae, where Yi Seong-gye held a party celebrating a one-sided victory over Japanese marauders “This is the site where King Taejo made a temporary stay.” Another stele bearing Gojong’s handwriting can be found nearby at Imokdae, the home of Taejo’s great-grandfather, posthumously titled King Mokjo, before his move to northeast Korea. The inscription on this stele means “This is the site where King Mokjo once lived.”

Jeonju Hanok Village at night Cultural Heritage Administration Headlines 48 49

CHA News The Special Exhibition New National Treasures 2014–2016 The Cultural Heritage Administration is co-hosting the special exhibition New National Treasures 2014–2016 together with the National Museum of Korea at the Traditional Materials Showcased with Italian Designs Medieval and Early Modern History Gallery of the museum from May 13–July 9.

The Korean National University of Cultural Heritage, an educational arm of the The exhibition spotlights 50 Treasures and National Treasures out of the 121 Cultural Heritage Administration, is hosting a cooperative exhibition with the Istituto artifacts inscribed on the national heritage list from 2014–2016. The Treasures and Europeo di Design, the largest Italian design school, displaying artifacts created National Treasures are presented in a way that highlights not only their intrinsic through a blend of traditional Korean materials such as textiles and mother-of-pearl aesthetics, but also their inherent historical and religious value. Visitors can appreciate with modern Italian designs. interesting stories associated with the displays and come to better understand the thoughts and concepts of Koreans of the past embodied by these Treasures and The bilateral exhibition National Treasures. Two Ethos began with its first iteration on the New National Treasures 2014–2016 is comprised of three units respectively focusing campus of Istituto Europeo on the religion, records, and everyday lives of traditional Koreans. The first segment di Design in Milan during on religion displays a diverse range of objects born out of ardent religious beliefs, the 2017 Milan Design such as the painting of Avalokitesvara Bodhisattva from the Goryeo Dynasty (Treasure Week of April 3–9, a design No. 1903). In the second section on records, visitors can observe the astonishing fair of global significance. recordkeeping culture of the country through such globally recognized documents as In May it moved to the Joseon wangjo uigwe (Protocols of the Joseon campus in Como for the Dynasty, Treasure No. 1901) and Dongui bogam Como Concorso d’eleganza. (Principles and Practice of Eastern Medicine, It wraps up on the Firenze National Treasure No. 319). The third segment campus in June during Firenze’s Pitti Uomo. Two Ethos will be on public display in Seoul of the exhibition addresses everyday life and as well in the latter half of this year. showcases accessories made from diverse materials during the Three Kingdoms period, celadon pieces and handcrafted objects from Goryeo, and Joseon paintings and calligraphy, including the earrings excavated from Geumjochong Tomb in Yangsan (Treasure No. 1921) and the gilt-silver flower-shaped cup and stand (Treasure No. 1899). Cultural Heritage Administration Headlines 50 51

CHA Events

Event Period Location Contents Event Period Location Contents

A chance to Programs on offer Saengmulbang in experience various include visits with a Royal refreshments Sojubang Kitchen at royal snacks and teas tour passport, traditional Year-round experience Gyeongbokgung is offered to visitors to games, traditional Gangneung Night Walk Around the center of costume experiences, Palace Gyeongbokgung August 3–5 Palace. (Gangneung) Gangneung traditional Korean music concerts, food trucks, The changing of the and an overnight stay royal guard, a daily in a hanok (traditional Ceremony of the Gwanghwamun Gate event during the house). changing of the royal Year-round of Gyeongbokgung Joseon era as they guard Palace protected the royal Programs on offer Around Woryeonggyo include night tours, a family, is reenacted. Woryeong Night Walk August 4–6 Bridge and book café, walks (Andong) March 20–June 30 Sujeongjeon Hall in Different sets of Minsokchon-gil Road around heritage sites, (Gyeongbokgung Gyeongbokgung programs are held at and a photo exhibition. Palace) Palace and each palace, offering Palace concerts April 15–June 30 Tongmyeongjeon Hall visitors a diverse Programs on offer (Changgyeonggung in Changgyeonggung range of traditional Around Hwaseong include special night Suwon Night Tour Fortress and the tours of the Temporary Palace) Palace performances. August 11–13 (Suwon) Temporary Palace at Palace at Hwaseong Hwaseong Fortress Fortress, parades, and A tea ceremony is Experience of a tea Jagyeongjeon Hall in a night market. presented for visitors ceremony at May 13–July 2 Gyeongbokgung alongside lectures on Jagyeongjeon Hall Palace traditional manners. Programs on offer include solving a cube puzzle about modern Concerts of traditional Gunsan Night Tour Around the Modern history, an experience Korean music are August 12–13 (Gunsan) Culture Street of modern costumes, Traditional music organized at Jeonggwanheon Hall military band parades, concerts at Deoksugung May 18–July 27 Deoksugung Palace to in Deoksugung Palace concerts at a mountain Palace enhance the beauty of temple, and puppetry. the night sceneries of the palace. Programs on offer include visits with a Programs on offer Around tour passport, an include a visit to Around Suncheon Local Cheomseongdae Moonlight Tour of experience of heritage sites, August 18–20 Confucian School and Observatory, Donggung Suncheon (Suncheon) Suncheon Fortress, Night Walk in the traditional culture the Culture Street Palace and Wolji Pond, modern culture 1,000-year Capital July 7–9 experience, experience the Archaeological Area experience, and (Gyeongju) of Silla costumes, a in Eastern Gyeongju, tug-of-war games. photo exhibition, and the Daereungwon parades, and theatrical Ancient Tomb Complex Programs on offer dramas. include concerts with talks on humanities, a photo exhibition on Programs on offer Gongju Night Tour Around the center of August 25–26 night views of Gongju, include night access to (Gongju) Gongju Night Walk in Sabi Every Saturday during a dance performance Around Buyeo-eup cultural facilities, (Buyeo) July and August from the ancient experience programs, shipboard kingdom of Baekje, and concerts, and a night market. a night market. Cultural Heritage Administration Headlines

Event Period Location Contents

Programs on offer include tours along alleys, treasure hunts, A Walk into Around the center of August 25–26 visits with a tour Modern Times (Daegu) Daegu passport, concerts at heritage sites, musicals, and a night market.

Programs on offer include laser light Around Cheongju Local shows, a photo Cheongju Night Tour Confucian School, the exhibition, cultural August 31–September 3 (Cheongju) Modern Culture Street, tours, and an the center of Cheongju. experience of a Confucian gentleman’s life.

Quarterly Magazine of the Cultural Heritage Administration

Cultural Heritage Administration, 189 Cheongsa-ro, Seo-gu, Daejeon, Republic of Korea Tel | 82-42-481-4735 Fax | 82-42-481-4759 http://english.cha.go.kr

Cultural Heritage Administration, 2017

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