가을 AUTUMN 2016 Vol.9 No.3 Vol.9

가을 AUTUMN 2016 Vol.9 No.3 ISSN 2005-0151ISSN 2005-0151 ISSN 2005-0151ISSN 2005-0151 OnOn the the Cover Cover

One of the most definitive Korean stringed instruments, the gayageum is recorded in the 12th-century history Samguk sagi (History of the Three Kingdoms) as being invented by King Gasil of the ancient Ko- rean confederacy of Gaya (42–562). It is noted for its soft and beautiful tones and is widely adopted in ensembles with other instruments.

autumn Contents 02 03

04 Korean Heritage in Focus Exploration of Korean Heritage 32 The 40th Anniversary of the Discovery of the Sinan Shipwreck Exquisite Korean Artifacts on Display Overseas Conservation Science Provides Cultural Heritage with a New Lease on Life Culture Day Events at the National Palace Museum of Korea Connecting the World through Ancestral Dances Traditional Weddings as a Precious Cultural Legacy of the Past

04 10 20 26

16 32 40 44 48

16 Korean Heritage for the World Cultural Heritage Administration Headlines 52 Traditional Hyanggyo Schools: History and Modern Role CHA News Reflection onIlseongnok , the “Records of Daily Reflections” CHA Events Traditional Instrument Makers: Creators of Gorgeous Sounds Korean Heritage in Focus 04 05

This year marks the 40th anniversary of the initiation of the Sinan excavation, which was inspired by a few ceramic vessels caught in a fishing net in the waters off Jeungdo Island. The underwater excavation was conducted over nine years from its first phase starting on October 26, 1976 to the eleventh installment in 1984, uncovering a number of breakthrough archaeological findings and receiving enormous attention in the media. The high-profile extended excavation project provoked enthusiastic national interest in “treasure ships,” which also gave birth to the social issue of archaeological treasure hunting. The nine-year research project resulted in the discovery of a shipwreck and about 23,500 objects, including ceramics, coins, timber products, and medicinal herbs. The starboard section of a The Sinan ship restored after conservation treatment merchant ship measuring 28.4 meters in length and A celadon vase with peony 6.6 in width was excavated (the portion remaining from the original 34 by design; one of the vessels 11 meter ship). As a vessel of Chinese origin from the Yuan Dynasty (1271– found in a fishing net in the waters off Jeungdo 1368), the Sinan shipwreck, along with the artifacts she carried, elaborately Island that led to the excavation of the Sinan The 40th Anniversary of the testifies to the international trade taking place along the Silk Road in East shipwreck Discovery of the Sinan Shipwreck Asia during the Middle Ages. A large commercial vessel built in Fujian Province, China, the ship excavated in Sinan displays a V-shaped cross section with a large keel Text by Kim Byung-keun, ‌Underwater Excavation Division, at the bottom. The bow of the ship is narrow at the base to improve National Research Institute of Maritime Cultural Heritage maneuverability, widens toward the top, and the stern is wider than the bow. Photos by the‌ National Research Institute of Maritime Cultural Heritage and National Museum of Korea The Sinan shipwreck possesses great symbolic significance as a material Goryeo celadon pieces from the Sinan shipwreck The excavation of a shipwreck in the waters off Jeungdo Island in remnant of Silk Road trade along maritime Sinan, South Jeolla Province, sparked the rapid advancement of routes. underwater archaeology as a unique academic discipline in Korea. Since the excavation of the Sinan shipwreck, a series of further The finds from the international trading underwater archaeological projects have been carried out, including ship discovered at Sinan were mostly of at Wando in South Jeolla Province, Biando and Sibidongpado Islands Chinese origin, but a small selection of in North Jeolla Province, and Daeseom and Mado Islands in South goods from both Goryeo (a Korean dynasty; Chungcheong Province. Bringing to light twelve Korean and two 918–1392) and Japan were also included. Chinese ships, along with the tens of thousands of artifacts associated Among the finds of Goryeo origin, the with them, the underwater excavations of the past four decades have ceramic articles and bronze spoons in established Korea as a leader in East Asian underwater archaeology. particular were manufactured in a unique Korean Heritage in Focus 06 07

Uncovered items that were rendered in stone, glass, or bone were purportedly used by the people on board for cooking, recording, and recreational purposes, rather than as trade goods.

Wooden objects including boxes, bowls, small tables, and lacquered bowls, and red sandalwood beams were excavated intact. There were also mokgan, or “wooden cargo tags,” offering vital clues as to when the ship sank, where the cargo was destined, and how much of each type of good was loaded. Ceramics excavated from the Sinan shipwreck

Vegetation was also included among the findings. Goryeo style, and the wooden clogs (geta), ceramic vessels, and knives from It is highly likely that medicinal herbs and spices were Japan appear to be everyday objects used by people on the ship. being traded at the time. The seeds excavated are assumed to be residues of Wooden cargo tags with inscriptions indicating the fruits consumed by people aboard the ship. destination of the cargo Mainly trade goods, the cargo carried by the Sinan shipwreck came in diverse types and materials. The ceramic wares are largely from Song The year that the ship sank was confirmed as 1323 by an inscription on (960–1279) or Yuan China. As a popular export of China, ceramics were the wooden cargo tags. While very few documentary records related to trade sold extensively around the globe, including in Asia, Europe, and Africa between Goryeo and China remain from this time, the Sinan artifacts clearly over a period spanning from the 9th or 10th to 19th centuries. China’s demonstrate that although it may not have been active, trade by sea was ceramics were regarded at the time as valuable goods worldwide. Produced indeed being conducted between the two countries by trading ships departing at renowned kilns in China including Jingdezhen Yao and Longquan Yao, from Zhejiang Province. The three-way trade among China, Goryeo, and the ceramic goods excavated from the Sinan shipwreck speak volumes about Chinese coins from the Japan centered on the ports of Ningbo in China, Yeseong (or Ryesong) in Sinan wreck the vibrant maritime trade occurring during the Yuan Dynasty. Goryeo, and Hakata in Japan. In Japan, coins emerged as a mainstream import after the mid-12th century. From the mid-11th century, traders from Few metal objects were found, about 720 in number. Kaesong, the capital of Goryeo, made inroads into Japan. As Hakata gained However, the number of metal artifacts rockets to about in prominence as a port they established trade companies there to pursue eight million if coins are counted. The coins found at the ongoing trade activities. Sinan shipwreck span a vast period of about 1,300 years, covering from Xin (8–23) to Yuan China. The excavation The excavation of a ship which conducted international trade along of such a large volume of Chinese coins indicates that maritime Silk Road routes offered a great deal of materials useful for Goryeo and Japan imported coins from China to be enhancing the understanding of East Asia during the Middle Ages in used as local currency. Among the metal finds, a weight terms of social and economic conditions, shipbuilding, international trade, inscribed with the Chinese characters Qingyuan Lu, and arts and crafts. It also provided momentum for the establishment of meaning “Qingyuan circuit,” provided clear evidence for the National Research Institute of Maritime Cultural Heritage and of the ascertaining the ship’s port of departure. “Qingyuan” is Gwangju National Museum. The finds from the Sinan shipwreck were an old name for the modern port of Ningbo in Zhejiang initially maintained at the National Museum of Korea in Seoul, but as local Province, China. communities expressed their passionate desire to house the Sinan artifacts Korean Heritage in Focus 08 09

close to their origins, the government established a national museum with a dedicated exhibition hall allocated to the Sinan wreck in 1978 in Gwangju, a metropolitan city within South Jeolla Province, to complement the Sinan gallery at the National Museum of Korea.

Although the needs for exhibiting the Sinan finds were generally satisfied by the display spaces of the two museum institutions, conservation and storage and the recovery of the hull remained as major efforts. In 1981 the Cultural Properties Management Bureau (the precursor of the Cultural Heritage Administration) initiated the Mokpo Conservation Center in Mokpo, South Jeolla Province, as an auxiliary organization for the Conservation Science Division of the National Research Institute of The restoration of the Sinan ship Cultural Heritage, a research arm of the Cultural Properties Management To commemorate the 40th anniversary of the Sinan excavation, the Bureau. The Mokpo Conservation National Research Institute of Maritime Cultural Heritage is preparing Center started off as a temporary a wide variety of celebratory events for 2016. Gathering underwater organization housed in a makeshift archaeologists and ocean historians from across the Asia and Pacific region, office building equipped only with a three-day international conference will begin on October 26, the date on a space for desalinating the hull which the Sinan excavation was launched. Special exhibitions are also in and a two-member staff. However, the works: An international exchange exhibition is slated for November it quickly grew into the Mokpo 28, 2016 to March 1, 2017 showcasing the achievements of Chinese Maritime Heritage Conservation underwater excavation and oceanic Silk Road routes from Ming China Center in 1990, the National (1368–1644). On display will be the excavation results of Nan’ao One, an Desalination of the Sinan Maritime Museum in 1994, and finally into the de-facto best underwater wreck ancient Chinese trade ship. From October 26, 2016 to January 31, 2017, an heritage research organization in Korea with nearly 100 full-time members exhibition spotlighting Korean underwater excavation will present some of in 2009 under the name of the National Research Institute of Maritime the prominent achievements in the country over the last 40 years. Cultural Heritage.

An underwater excavation site off of Jindo Island, South Jeolla The establishment of the National Research Institute of Maritime Province, will be opened to the public in an effort to raise awareness of the Cultural Heritage was closely preceded by another significant underwater development of the country’s underwater archeology. This location known excavation off the coast of Daeseom and Mado Islands in 2007, sustaining for the Battle of Myeongnyang, one of the sea battles of the Japanese public interest in treasure ships and entrenching underwater archaeology in invasion of 1597, will be made accessible on designated dates to those Korea as a separate academic field. These accomplishments in underwater submitting online applications from June to August. In addition, efforts excavation gave rise to a plan for establishing a research institute for will be made for designating the hull of the Sinan wreck on a heritage list, underwater heritage in the West Sea (Yellow Sea), the construction of which publishing both a photo book on regular exhibits and a book on Korean is scheduled for 2017. underwater archaeology, and issuing a special edition of the annual magazine Underwater Heritage. Korean Heritage in Focus 10 11

The Cultural Heritage Conservation Science Center works to transmit Conservation Science Provides Cultural the Korean cultural legacy to future generations in the same state in Heritage with a New Lease on Life which it was inherited. With the number of archaeological discoveries increasing and the environmental impact on cultural heritage intensifying, the center is playing a critical role by investigating Text by Kwon Hyuk-nam, Cultural Heritage Conservation Science Center cultural objects scientifically and taking responsibility for their

Photos by Kwon Hyuk-nam and the Naju National Research Institute of Cultural Heritage monitoring, treatment, and restoration.

One of the most significant historical Korean cultural products, Seokguram Grotto remained in a vulnerable state in the 1950s despite a series of repairs conducted in the 1910s. In fact, these efforts had actually contributed to the loss of its authentic form and the collection of moisture inside the grotto. In order to develop basic countermeasures to the deterioration of Seokguram, a team of cultural heritage professionals, including some with scientific backgrounds, was collected in 1958. This was the first time in Korea that scientists participated in heritage repair. In 1963, nondestructive scientific treatment was first applied to the conservation of cultural objects: about 60 cultural heritage items (including two gilt-bronze images of a pensive Maitreya Bodhisattva designated National Treasures No. 78 and No. 83) were irradiated using gamma rays.

It was 1968 when the concept of cultural heritage conservation science was first adopted in an official document, “A Research Paper on the Scientific Conservation and Management of Cultural Heritage”. Since then, a long series of research papers has been published regarding the scientific conservation of heritage objects and structures, such as studies on artifacts at Hyeonchungsa Shrine, on Seokgatap Pagoda, on Seokgatap and Dabotap Pagodas and Seokguram Grotto, and on the woodblocks of the Tripitaka Koreana at Haeinsa Temple.

With the emerging need for the application of scientific tools to the conservation of cultural heritage, a separate team was established for that purpose. This body responsible for conservation science began in 1969 as the two-member Conservation Science Team in the Cultural Properties Research Division of the Cultural Properties Management Bureau (the Conservation treatment of the Silla monument from Jungseong-ri in Pohang (National Treasure No. 318) present-day Cultural Heritage Administration). When the Cultural Properties Research Division was expanded into the National Research Institute of Cultural Heritage (NRICH) in 1975, the two-member team was enlarged Korean Heritage in Focus 12 13

into the Conservation Science Research Division at the NRICH and came bronze seated Buddhas from the seven-story stone to take on a greater role in cultural heritage conservation including the pagoda at Simgoksa Temple in Iksan (Treasure No. examination and investigation of heritage objects and structures as well as 1890). their conservation treatment. In 2009 the conservation treatment function of the NRICH was commissioned to a separate newly-established affiliated Cultural heritage is of course subject to organization, the Cultural Heritage Conservation Science Center. About continuous deterioration. As the artificial creations 30 conservation scientists are currently employed at the center where of people of the past, cultural objects and structures they pursue the conservation treatment of cultural heritage, which can be by their very nature tend to revert to their original composed of diverse materials such as metal, stone, clay, plaster, wood, conditions: metal elements are reduced to minerals

paper, or textiles. Their work takes place both on-site and in the laboratory. and wooden components decompose into soil. The gilt-bronze portable shrine and seven Buddhas from the The center is also working constantly to discover improved conservation To slow this natural process of deterioration, it is seven-story stone pagoda at Simgoksa Temple when they were found on-site methods suited to Korean cultural heritage through international exchanges essential to studiously characterize the materials with countries including the United States, the United Kingdom, Canada, and apply suitable conservation tools to each. In Japan, and China. An annual international conference is held in order to particular, cultural objects that are excavated after provide an arena for Korean conservators to share ideas and technologies a long burial under the earth run the risk of rapid with their international counterparts. In addition, the center has recently deterioration once they are exposed to air.

The ten-story pagoda begun to provide educational and technological assistance to colleagues in from the Gyeongcheonsa Southeast Asia through an international training program known as the Asia As mentioned above, a portable shrine and Temple site in Kaesong (National Treasure No. 86) Cooperation Program on Conservation Science. seven Buddhas excavated from Simgoksa Temple have been recently treated at the Cultural Heritage Since its establishment in 2009, the Cultural Conservation Science Center. During the process Heritage Conservation Science Center has conducted of repairing the seven-story stone pagoda of conservation treatment on a number of heritage Simgoksa, they were discovered in a rectangular Conservation treatment of the portable shrine and Buddhas from Simgoksa Temple objects and structures of national importance. niche rendered into the foundation stone of the Representative examples include the ten-story pagoda with the Buddha statuettes placed inside pagoda from the Gyeongcheonsa Temple site in the portable shrine. Archaeological finds are Kaesong (National Treasure No. 86), the reliquaries normally recovered by workers at the location, but from the eastern three-story stone pagoda at the for the sake of reducing the potential for harm to Gameunsa Temple site in Gyeongju (Treasure No. the objects when the vulnerable condition or large 1359), and the reliquaries from the three-story scale of an object complicates recovery, on-site stone pagoda at Seonamsa Temple in Suncheon archaeologists sometimes request that the center (Treasure No. 955). Some items have recently been do the job. In the case of the Simgoksa artifacts, registered on the national heritage list following the center was invited to the site, where it recorded their conservation at the center: the Silla monument the conditions of the objects, recovered them, and

from Jungseong-ri in Pohang (National Treasure transferred them to the center for conservation The portable shrine and Buddhas from Simgoksa Temple after No. 318); the gilt-bronze incense burner from the treatment. First, preliminary investigation tools conservation treatment Mireuksa Temple site in Iksan (Treasure No. 1753); such as computerized tomography and X-rays were and the gilt-bronze portable shrine and seven gilt- applied to the objects, and it was found that they Korean Heritage in Focus 14 15

Conservation treatment of murals in Donghwa-ri, Wonju The on-site recovery of cattle bones in Bogam-ri, Naju A pair of gilt-bronze shoes as found in an ancient tomb in Bogam-ri, Naju The gilt-bronze shoes from an ancient tomb in Bogam-ri, Naju after conserva- tion treatment

were rendered in gilt bronze and that Buddhist articles were stored inside In parallel with its principal job of conservation treatment of cultural the Buddha statuettes. heritage, the Cultural Heritage Conservation Science Center performs other functions as well. Among these is studying the condition of nationally Based on the information acquired from the preliminary investigation, designated heritage objects and structures with a view to providing basic the Buddha statuettes were removed from the shrine and the articles stored information for their efficient management. For this purpose, a wide range inside were recovered. Containers for Buddhist relics and reliquaries were of scientific tools are being applied, including three-dimensional imagery found inside of the Amitabha Buddha triad. The two bunches of paper in techniques, infrared radiation tools, and microscopes. In addition, individual the head of the main Buddha were in a severely damaged condition and the research projects are underway to devise appropriate conservation methods, writing on them was illegible. Next, dirt and impurities on the surface were including for stone objects of the royal tombs of Joseon (1392–1910), the removed and stabilizing treatment was applied to prevent further corrosion. petroglyphs of Bangudae Terrace in Ulju, traditional paper (hanji), and The conservation process was completed with hardening treatment and the decorative painting on wooden elements (dancheong). restoration of detached parts. Purported to date from the later Goryeo to early Joseon period, the portable shrine and seven Buddhas came to reveal a gilt layer and delicate decorative motifs upon conservation treatment at the center. They were entered onto the national heritage list as Treasure No. A panoramic view of the Cultural Heritage Conser- 1890. vation Science Center

Other cultural objects of national significance are currently being treated at the center, including the stupa of State Preceptor Jigwang from the Beopcheonsa Temple site (National Treasure No. 101), Buddhist Monk Samyeong’s outer vestment and robe (Important Folklore Cultural Heritage No. 29), a piece of lacquered armor from Gongsanseong Fortress in Gongju, a painting of a sun, moon, and five peaks called aniworobongdo from Injeongjeon Hall at Changdeokgung Palace, and the gilt-bronze Buddha from the Seollimwon Temple site in Yangyang. Korean Heritage for the World 16 17

Traditional Hyanggyo Schools: History and Modern Role

Text & Photos by Park Jin-jae, Conservation and Management Foundation of Seowon

Hyanggyo were state-run educational institutions established at the local level in traditional Korean society. They provided Confucian instruction and contributed to entrenching these ideals within society. Comprised of separate spaces for ritual and study, a hyanggyo county school functioned as a site for the worship of Confucian sages and, at the same time, as an arena for cultivating the self and engaging A panoramic view of Naju in academic pursuits. County schools also played a wide range of Hyanggyo sociocultural roles in the surrounding local communities. During the succeeding Goryeo era, a system of selecting civil servants Confucianism and the Start of Hyanggyo through state examinations, or gwageo, took root based on preliminary tests executed at Gukjagam, the national Confucian academy of Goryeo. As a Confucianism is a system of philosophical and ethical teachings laid need for providing the education required for the civil service examination out by Confucius during the Spring and Autumn period (770–476 B.C.) in arose, the Goryeo court dispatched Confucian teachers to the countryside, China. The primary method for seeking truth in Confucianism is “cultivating marking the beginning of the hyanggyo education institution. the self and governing others.” The first part of the proposition suggests the Confucian ideal of study, which focuses on ethical reflection and nurturing Joseon, the new dynasty established after the fall of Goryeo, installed Seonggyungwan (the successor of the Goryeo-era Gukjagam) in the capital Left: A photograph of benevolence. The latter part addresses political participation through Daeseongjeon Shrine at careful consideration of historical conditions at a given time. It was during and hyanggyo in local areas. For the Joseon court, which adopted Neo- Seonggyungwan from Confucianism as its governing philosophy, hyanggyo were considered a Joseon gojeokdobo the Three Kingdoms period (57 B.C.–A.D. 668) when Confucianism first Right: Daeseongjeon critical political tool for the dissemination and strengthening of the ideals of Shrine at Seonggyungwan extended its influence into the Korean Peninsula. this philosophy in wider society. Accordingly, hyanggyo were established near the town hall of respective areas under the policy of “one town one hyanggyo.” The number of hyanggyo county schools remaining today reaches 230 nationwide, nine of which have been registered on the national heritage list (six Treasures and three Historic Sites).

The Architectural and Spatial Characteristics of Hyanggyo

During the Joseon era, Confucian ethics and teachings permeated every aspect of daily lives across society, from the ruling class to commoners. Architecture was no exception. Confucian principles gave form to ritual Korean Heritage for the World 18 19

architecture such as the royal palace, royal ancestral shrine (Jongmyo), ritual functions such as performing Confucian rites, drawing up local self- and altars for gods of earth and grain (Sajikdan), as well as to educational governance rules (hyangyak), and organizing edifying events (hyangsarye). buildings. In consequence, after the mid-Joseon period the education function of public education institutions, hyanggyo and Seonggyungwan, was transferred to Seonggyungwan was comprised of three separate spaces—one for ritual, private Confucian academies, or seowon. one for study and a third for supporting these two functions. The ritual area centered around Daeseongjeon Hall, where spirit tablets for Confucius, Hyanggyo and Seowon the founder of Confucianism, and his four disciples were enshrined. The main ritual hall featured eastern and western buildings (called Dongmu and Although seowon differed from hyanggyo in the private nature of their Seomu, respectively) at its front to house the spirits of prominent Confucian establishment and operation, both seowon and hyanggyo were education personages from China and Korea. To the rear of the ritual area was located institutes transmitting Confucian teachings. However, certain characteristics the study area, where the lecture hall known as Myeongnyundang took the separate seowon from the public education institutions of Joseon. While central location, with dormitories for students to its front in the east and west Seonggyungwan and hyanggyo promoted the worship of Confucius and (Dongjae and Seojae). For supporting the ritual and study areas, auxiliary his four disciples, seowon placed the focus of veneration on the Confucian buildings such as Jeonsacheong and Gojiksa were incorporated into the personages of the surrounding area. Their locations differed as well: while Seonggyungwan complex to allow the preparation of ritual ceremonies and hyanggyo were situated in local administrative centers and were under the execution of administrative affairs, among other tasks. The spatial layouts direct control of the magistrates dispatched by the central government, the of most hyanggyo were mainly reproduced after Seonggyungwan, but there location of a seowon was determined in consideration of affiliations with the were two types of hyanggyo architecture according to which areas were Confucian figure to be venerated and the surrounding natural landscapes, situated to the front and to the rear between the ritual and study spaces. remaining outside of the control of central government authority.

The Weakening of the Educational Role of Hyanggyo Contemporary Use of Hyanggyo

The hyanggyo education system Starting 2014, a wide range of interpretation programs began being started to exhibit limitations from the implemented at hyanggyo to allow a wider appreciation of their cultural mid-Joseon period. While teachers and historical value in contemporary Korean society. Under the leadership for hyanggyo were selected from of the Cultural Heritage Administration, diverse education and experience the pool of those who had passed programs have been developed featuring active participation by the private the civil service examination, there sector. emerged a strong tendency among civil servants to prefer to avoid local The interpretation programs operated at hyanggyo include the posts in county schools and remain experience of Confucian rituals and scholarly culture, field trips to historic in the central political sphere. As sites, education for cultivating character and civil ethics, and cultural the problem of securing a necessary events such as lectures on the humanities. Open to all, the interpretation pool of willing and competent teachers was coupled with deficiencies in the programs are expected to develop the traditional hyanggyo educational The spring ritual ceremony for Confucius and his dis- operation and management of county schools, hyanggyo suffered a critical institutions into a vibrant cultural space by reinventing their sociocultural ciples at Seonggyungwan loss of relevance in Joseon education. As the role of county schools as local roles for contemporary Korean society and, ultimately, contributing to the providers of Confucian education dwindled, hyanggyo were restricted to advancement of local culture and economies. Korean Heritage for the World 20 21

Q. Could you offer a brief introduction of Ilseongnok? It is a historical chronicle of the A. 151-year period from 1760, the 36th year of the reign of King Yeongjo, to 1910, the final year of the Joseon Dynasty. It is a vast chronicle consisting of 2,329 volumes and, presumably, about 60 million characters. The title denotes “reflecting on one’s deeds and thoughts three times a day.” Alongside Seungjeongwon ilgi (The Diaries of the Royal Secretariat), Ilseongnok is recognized as a key written testimony Ilseongnok (Records of describing the political, social, economic, and cultural aspects of the Joseon Daily Reflections) Dynasty from the 18th to 20th centuries. It is rendered from the viewpoint of the king, but it encompasses not only records of political affairs, but also detailed accounts of the daily life of the people. Since the book includes significant records which cannot be found in other historical documents from the same period, it is considered essential for those who wish to gain a thorough understanding of 18th–20th century Joseon.

Q. ‌Could you explain the details of how and by whom it was Reflection onIlseongnok , produced? the “Records of Daily Reflections” A. This royal diary was initiated in 1760 by King Jeongjo, the 22nd monarch of Joseon who reigned from 1776 to 1800, while he was still the grand crown prince during the reign of his grandfather, King Yeongjo. Text by Yang Jin-suk, Researcher, Kyujanggak Institute for Korean Studies, Seoul National University The entries he made before assuming the throne are separately known Photos by ‌the Kyujanggak Institute for Korean Studies, Seoul National University, as “Jonhyeongak ilgi,” or “The Diaries from Jonhyeongak Hall,” the National Museum of Korea and Goodimage place where Jeongjo resided as the heir to the throne. Jeongjo carried on The royal diary, Ilseongnok (Records of Daily Reflections) contains daily with his diary keeping into his years as king, when he did not restrict the records for the 151 years from 1760 to 1910 written from the perspective subjects of the diary to personal issues but addressed governing affairs as of the king of the Joseon Dynasty. Describing not only affairs related well. to state administration, but other social matters as well, the cultural and historical significance ofIlseongnok has been recognized globally As his state duties gradually increased, Jeongjo had greater numbers of A portrait of King Jeongjo, the 22nd monarch of through its inscription onto the Memory of the World Register in 2011. items that needed to be recorded, and he found it difficult to keep up with Joseon (r. 1776–1800) the diary all on his own. He eventually delegated the diary-keeping duty to a trusted agency, Gyujanggak (or Kyujanggak).

Gyujanggakdo (Painting of Gyujanggak) by Kim Hong-do; ca. 1776; 143.2 × 115.5 cm; paint on paper; National Museum of Korea Korean Heritage for the World 22 23

Gyujanggak was an organization newly established by King Jeongjo as final days of Joseon, leavingIlseongnok the extensive significant historical the royal library. It composed and published books and undertook cultural chronicle it is today. projects. In addition, it also served as a research and planning organization with regard to political, cultural, educational, and administrative policies What‌ was Jeongjo’s true motivation behind the production of national importance. As the task of royal diary keeping was transferred Q. to Gyujanggak, Ilseongnok came to take on an official dimension as a royal of Ilseongnok? record. Jeongjo did not cease his diary writing even after taking the throne A. since he wished to use the records for the purpose of improving his The diary entries featured in “Jonhyeongak ilgi,” political position. Following his coronation, he established Gyujanggak and made by Jeongjo before rising to power, address Jangyongyeong, a military organization, in order to groom subjects who several areas. First of all, Jeongjo kept a detailed daily could help pursue his political ideals. He also record of what and how much he read. According took the necessary steps for eliminating his to these records, he studied every day alongside his rivals and for securing the needed justifications teaching courtiers at a building named Geundokhap, for such actions. He made the most of his diary excluding only the days when he had state occasions during this process. to attend. His dedicated attitude toward reading must have been formed during his daily study with his At the time, there was already an extensive teachers in those years. He also found himself in a record of the king’s daily life being kept Compiled in 1771, situation which required rigorous reading: his grandfather, the then-monarch by the Royal Secretariat in the form of the Myeonguirok contains of Joseon King Yeongjo, would often check his study by quizzing him. “Jonhyeongak ilgi,” and Seungjeongwon ilgi, and it seemed redundant was used as a reference to create a second set of records on the king. The production of Ilseongnok Gyujanggak Hall at for the production of the Jeongjo possessed a firm commitment to study and the acute intelligence Changdeokgung Palace first edition ofIlseongnok was a sizable project that required an immense amount of personnel and by Gyujanggak to accomplish academic requirements. He was both diligent and clever, and financial resources. Despite obvious concerns about redundancy and the his academic perseverance is manifested in the accounts of his reading. financial burden involved, King Jeongjo was unwavering and pushed ahead with the production of this new documentation of the king. In addition, “Jonhyeongak ilgi” describes his daily activities related to his duties for King Yeongjo This is because Jeongjo was greatly discontented with Seungjeongwon and other members of the royal family, such as regular ilgi and desired a record that reflected his own perspective. The recording greetings and visits. Also included are secret notes done by the Royal Secretariat was focused on the king and the royal on the political plots and maneuvering surrounding court, but the agent of recording was the Royal Secretariat, not the king. his ascendancy to the throne. These records would Furthermore, the final records were stored at the Royal Secretariat. Jeongjo later be applied as evidence for punishing his political wanted a new set of accounts highlighting his own perspective and enemies. stance, and one that would be easily accessible. Jeongjo kept Ilseongnok at his residence and revisited it whenever he wished. So, Ilseongnok was Jeongjo continued with this daily writing after established as a historical record under the control and maintenance of the becoming king. His successor, King Sunjo, also took on the diary-keeping king. King Jeongjo wished to stress the fact that Ilseongnok was a book of practice, and it was maintained continuously through the reign of the final Ilseongnok is recorded which he was in charge. chronologically by the day, monarch of Joseon, King Sunjong. The royal diary initiated by Jeongjo month, and year did not remain as simply his personal record, but was carried on until the Korean Heritage for the World 24 25

Left: Hongjae jeonseo Q. ‌Could you elaborate on a few examples of the unique records (Complete Works of Hongjae) contains found in Ilseongnok? “Gunseo pyogi,” which records the publication It particularly relates accounts of social aspects of Joseon. Reports of history and contents of books published during the A. royal inspectors and direct appeals made by the people during a royal reign of King Jeongjo, con- sequently offering a look procession are good examples. into publication during the reign of Jeongjo. Right: The cover of Yeong- During the Joseon Dynasty, the king would gak gyurye, or Ilseongnok dispatch inspectors (amhaeng eosa) to local bemnye, a compilation on the principles of recording areas to investigate social conditions, just as the Ilseongnok, such as the present-day Board of Audit and Inspection sends proper order of subjects staff to other government agencies and local governments to uncover any wrongdoing and Q. Could you explain the significance of Ilseongnok? correct it. These royal inspectors drew up reports on local conditions for the king, after which they The accounts in Ilseongnok are diverse and detailed and, above all, were included in Ilseongnok. A. carry valuable information which is not covered in other historical documents from the same period. “Gunseopyogi” (a register of books and Next, there were matters that the public related commentaries complied during the reign of King Jeongjo) from considered unfair and found difficult to resolve Hongjae jeonseo (Complete Works of Hongjae), an anthology of King through local agencies. In this case, they would Jeongjo, suggests a list of items that were covered in Ilseongnok but not in directly appeal to the king during a royal Seungjeongwon ilgi: official appeals to the king by courtiers, royal messages procession: they would come up and beat a to courtiers and the people, explanatory remarks from books published by barrel drum and voice their complaints. These the court, the king’s comments on the command of the army during training direct appeals by the people were recorded in in the palace, local reports on criminal investigations and the responses by Ilseongnok. These records vividly and graphically the Ministry of Justice, details on the amount of relief provided in times of deliver the direct appeals by the citizenry to the famine and the number of beneficiaries, and public petitions offered directly highest authority in the land. by the people during royal processions.

These unique records found in Ilseongnok have recently been The preface of Ilseongnok Ilseongnok beomnye, a guide on how to compile Ilseongnok, describes subjected to considerable interest from researchers and academics, and additional items that are contained in Ilseongnok: documents sent from the understanding of local administration by magistrates and the everyday magistrates dispatched throughout the country and the king’s replies, life of commoners has been greatly refined. These research results have diplomatic documents, and reports from royal inspectors. also been widely distributed through the media, boosting public interest in such matters. By incorporating not only records of the king and the royal These are contents that are incorporated in Ilseongnok, but not in court, but also accounts related to the daily lives of the people, Ilseongnok Seungjeongwon ilgi. However, the true significance ofIlseongnok does not is a valuable resource for research to provide a better understanding and end with its uniqueness, but also emanates from its complementary and appreciation of Joseon during the 18th–20th centuries. mutually reinforcing nature alongside another royal record from the same temporal period, Seungjeongwon ilgi. Korean Heritage for the World 26 27

Master Yun Deok-jin Takes on the Family Tradition

Master Yun Deok-jin followed his father and grandfather in dedicating his life to crafting buk, a traditional Korean drum. He was born in Hadong, South Gyeongsang Province, an area of long- standing renown for its production of drums drawing on nearby supplies of quality raw materials. Mt. Jirisan located in the vicinity provides excellent wood for making drums, and ox hides from Hadong are recognized as the best in the country. Yun’s family benefitted from the bountiful local environment to sustain its drum making practices.

A performance of traditional Korean music Yun Deok-jin was registered on the provincial heritage list of

Gyeonggi Province in 1989, and in 1991 he launched the Transmission Gojangbuk (accompaniment Center for Buk Making in Namyangju, Gyeonggi Province. It was also in drum) by Yun Deok-jin 1991 when he turned 65 that Mr. Yun received national recognition through Traditional Instrument Makers: his designation on the national heritage list as a master of drum making, National Intangible Cultural Heritage No. 63, which was integrated into Creators of Gorgeous Sounds National Intangible Cultural Heritage No. 42 in 1995. After this national designation, Master Yun continued with his life mission of crafting

Text & Photos by the Korea Cultural Heritage Foundation drums until his death in 2002. He transmitted his valuable skills to his students, including his two sons, who are currently playing an active role in safeguarding the traditional drum making craft as assistant masters of Makers of traditional Korean instruments draw on such humble National Intangible Cultural Heritage No. 42. materials as wood, leather, silk, bamboo, iron, stone, and clay to craft musical instruments that produce precise but captivating sounds. Buk Making Instrument making is a craft, but it also encompasses elements of art. During the Joseon Dynasty, ritual music was endowed with great The buk is a membranophone percussion instrument, producing sounds significance and national ceremonies such as royal ancestral rituals from the vibration of an animal skin stretched across a shell. The Korean featured a set repertoire of designated musical pieces and instruments. word buk is rendered as go in Chinese, and traditional buk makers are At the time, the Royal Musical Instrument Agency was established called gojang. During the Joseon Dynasty, there were as many as 14 types to take charge of producing the musical instruments and other of drums for playing jeongak, or “classical music” (examples of jeongak ritual objects necessary for national ceremonies. Today, the role of drums include the jwago, yonggo, gyobanggo, jeolgo, jingo, geongo, handcrafting traditional instruments has been passed over to state- sakgo, eunggo, noego, yeonggo, nogo, and janggo). In addition, additional designated masters, or “Living Human Treasures,” of traditional variations were used for minsokak, or “folk music” such as the beopgo, instrument making, National Intangible Cultural Heritage No. 42. soribuk, maegubuk, sogo, and janggu. The types of traditional drums Korean Heritage for the World 28 29

currently in widespread use are the janggu (hourglass-shaped drum), soribuk Sanjo Gayageum Making or gojangbuk (accompaniment drum), and sogo (hand-held drum). The sanjo gayageum is a type of gayageum created for playing sanjo Traditional drum crafting requires skill in making the drum shells and (solo instrumental music to the accompaniment of a drum), which centers drum suspension mounts, but overall success hinges upon the care taken in on fast-paced technical tunes. The first job in crafting asanjo gayageum is treating animal skins to create a drumhead. Ox hide is generally used for to secure paulownia for a soundboard, which is ready for use only after five traditional Korean drumheads, with different parts of the skin applied to years of drying and trimming. The paulownia top is joined with sides and a create variations in tone and pitch: the hip creates hard sounds, the neck low back made of chestnut wood, then undergoes a special process involving fire sounds, and the armpit and belly relatively soft and high-pitched sounds. known as indujil. The fire brings the wood grain to life and prevents damage Tanning is the critical step in skin treatment, and the lofty skills of Master from insects and humidity. Yun are most evident in this regard. For the tanning of ox hide, it is first soaked in a lime solution to remove the hair from the surface. Next, it is After making the sound box, the head of the sound box where the right immersed several times in water-diluted chicken excrement or soy bean hand of the player is placed, is decorated. Although this step has little to do paste to eliminate fats. The skin is then smoothed and shaved to the desired with the final sound of the instrument,sanjo gayageum makers put a great thickness with a plane. deal of effort into it. Since decorative techniques and styles for creating the head vary by individual, they consider this part of the instrument as a Master Lee Yeong-su Takes Zither Making as His Life Work “signature” of their creation.

Lee Yeong-su picked up traditional instrument making following the Next, the strings are prepared. Fibers from silkworm cocoons are boiled Korean War (1950–1953). At this time, his mother’s family arranged for him and exact numbers are counted out before twisting them together. Since to meet Kim Bung-gi, the last surviving craftsman who had worked at the the thickness of the string determines the pitch of the sound, the number Joseon court and who had experience in making musical instruments in three East Asian countries—Korea, China, and Japan. Lee began working at Kim’s workshop crafting the gayageum, or twelve-string Korean zither. After becoming independent from his teacher, Mr. Lee sought a job with the Seoul Metropolitan Traditional Music Orchestra as an instrument maker.

He continued his life-long career of Paulownia is trimmed to make a soundboard for a gayageum A wood piece is carved to craft an anjok (movable bridge) for A gayageum by Lee instrument making even after retiring (twelve-string zither). a gayageum. Yeong-su; 145 x 22 cm from the Seoul orchestra, crafting and repairing instruments at the National Gukgak High School. Even today, he is still making traditional instruments out of his home. Instruments by Lee Yeong- su have won several prizes at the National Traditional Craftsmanship Festival, an annual event displaying traditional craft works to the public in an effort to safeguard and promote traditional craftsmanship, including his hyangbipa (pear-shaped five-string lute) in 1979 andgeomungo (six- string zither) in 1984. In 1991 Mr. Lee was designated as master of National Strings are connected to the sound box of a gayageum, with Strings are tightened to produce the proper sounds. strings of different thicknesses creating variations in pitch. Intangible Cultural Heritage No. 42. Korean Heritage for the World 30 31

of fibers that are twisted together should be meticulously measured. The paulownia plank as a soundboard. Fibers from silkworm cocoons are twisted quality of raw silk fibers and the method of twisting are decisive factors in to the necessary thickness: about three thousand cocoons are used for the determining the sound of the instrument. The completed strings are steamed thick strings, and about fifteen hundred for the thinner ones. The neck is and then dried. The strings are then connected to the sound box: one end of made purely from unrefined bamboo in its natural form, maintaining the a string enters from the top and is tied to a peg (dolgae) attached at the back individual characteristics of the bamboo. The strings are connected to the of the head side of the instrument, and the other end of the string is tied to a pegs at the higher part of the neck. The bow is equipped with pine resin- floating peg (budeul) at the tail end. After being suspended at either side of coated horsehair and a leather handle. Each wooden part of a haegeum is the instrument, the twelve strings are supported by movable bridges (anjok). meticulously lacquered before joining.

Master Go Heung-gon and His Ceaseless Study of Instrument Quality instruments are born through the constant study and examination Making of the characteristics of raw materials and each respective component of the instrument. About two to three hundred steps are needed to craft each As a child, Go Heung-gon frequented the house of Kim Gwang-ju, haegeum, and a single error in any of the many steps can lead to critical the first master of National Intangible Cultural Heritage No. 42, exposing damage to the sound of the instrument. This is why Master Go cannot stop himself to the production of various traditional instruments including the his research into creating quality traditional musical instruments. gayageum (twelve-string zither), geomungo (six-string zither), and haegeum (two-string fiddle). Following the instructions of his teacher, Mr. Go did not cease his study of traditional instruments after commencing the job of instrument making. In particular, he strives to create instruments customized to the playing styles of different musicians. For this purpose, he takes as much time as he can spare to attend traditional music concerts. Mr. Go was designated assistant master of National Intangible Cultural Heritage No. 42 in 1990, and in 1997 he was elevated to master. Master Go’s efforts still continue today as he pursues the production and restoration of traditional musical instruments and their transmission to future generations.

Haegeum Making

Originally from China, the haegeum, or two-stringed fiddle, was introduced to the Korean Peninsula during the Goryeo period and used for hyangak, a variant of royal music. Capable of producing a diverse and colorful range of tunes, haegeum are currently increasing in popularity as a traditional instrument for fusion music.

A haegeum consists of a sound box, strings, a neck to support the strings, and a bow. To craft the sound box, giant timber bamboo is dug up, Haegeum (two-string roots and all, and put through a natural fermentation process of more than fiddles) by Master Go five years. The front side of the bamboo sound box is appended with a Heung-gon Exploration of Korean Heritage 32 33

Exquisite Korean Artifacts on Born in Flames: Korean Ceramics from the Display Overseas National Museum of Korea

Text & Photos by the National Museum of Korea

Exhibitions of Korean crafts and artworks held outside the country Under a cooperative partnership with the State Hermitage Museum, the can serve to spark or increase cultural interest in Korea among people National Museum of Korea is holding Born in Flames: Korean Ceramics around the world. This issue of KOREAN HERITAGE presents two from the National Museum of Korea in Saint Petersburg from July 29 to overseas exhibitions focusing on Korean artworks: Born in Flames: November 6, 2016. Conceived as an illumination of the past and present Korean Ceramics from the National Museum of Korea held at the of Korean ceramics, the exhibition allows visitors to gain an enhanced State Hermitage Museum in Saint Petersburg, Russia, and Mother- appreciation of Korean ceramic artworks and the artistic spirit embodied by of-Pearl Lacquerware from Korea at the Asian Art Museum in San the exhibits. Francisco, United States. Interest in Ceramics Bridges East and West

The act of shaping clay into vessels and firing them into enduring and brilliant ceramics transcends geography as a universal cultural phenomena practiced across the globe. What makes ceramics all the more interesting is the fact that it is a space where the arts encounter everyday life. Although ceramics are a theme that can invoke genuine interest beyond any East-West cultural division, ceramics culture can assume unique forms depending on the cultural and historical backgrounds of a given region. Korean ceramics have their own sphere of aesthetics and techniques, expressing essentially Korean cultural characteristics and artistic sensibilities.

Exchange of Exhibitions between Korea and Russia

Born in Flames: Korean Ceramics from the National Museum of Korea was organized within the framework of a partnership between the National Museum of Korea and the State Hermitage Museum that was cemented in 1991. This cooperative relationship was initiated with the exhibition Scythian Gold from the Hermitage held at the National Museum of Korea in 1991, which met with an enthusiastic public response. In the spirit of reciprocity, Wind in Pines: 5,000 Years of Korean Art was organized at the State Hermitage Museum in 2010. This exhibition on Korean ceramics is also being held as a component of this established cooperative relationship, The interior of the exhibition hall for Born in Flames: Korean Ceramics from the National Museum of Korea at the State Hermitage Museum Exploration of Korean Heritage 34 35

and is intended to present classical ceramic wares alongside creatively Dining sets combining celadon and white porcelain interpreted modern artworks inspired by the Korean ceramic tradition. A pieces, splendid cosmetics boxes, and stationary reciprocal display is planned for December 2017 exhibiting artifacts from accessories offer a peek into the everyday lives of the Hermitage collection at the National Museum of Korea. The State Joseon citizens. Moon-shaped jars, or dal hangari, Hermitage Museum boasts international renown: it is arguably the world’s evoke the image of the moon through both the round third-most prominent museum after the British Museum and Musée du form and white color. Acclaimed as an art form Louvre. representing quintessentially Korean aesthetics, moon jars are in fact neither completely round in An exhibition of Korean ceramics was also held for three months shape nor perfectly white in color, a characteristic starting on April 27 of this year at the Grand Palais in Paris, France in from which their greatest charm is derived. commemoration of the 130th anniversary of the Korean-French diplomatic relationship. The exhibition Earth, Fire, Soul—Masterpieces of Korean Korean Ceramic Culture Seen through Ceramics was the first display of Korean ceramics in more than 50 years in Modern Examples France, a region where exhibitions themed on Korean culture and arts are rare. Traditional ceramic ware still serves as a source of inspiration for contemporary artists. Set alongside The Apogee of Korean Ceramic Culture Displayed in Russia classical masterpieces, works by contemporary Korean artists active in the international arts scene are also on view at the The poster for Born in Flames: Korean Ceram- The Korean ceramics exhibition is displaying exhibition. The 35 modern artworks produced by 11 artists speak volumes ics from the National 342 artworks in total, consisting of 35 innovative on the influence of Korean ceramic culture on modern creative activities. Museum of Korea modern examples and 307 traditional ceramic Among them are: a collaborative work by Lee Ufan and Park Young-sook pieces. These include 11 nationally designated rendered in the style of blue-and-white porcelain; a video work by Kim treasures such as a celadon ewer in the shape of Soo-ja titled “Earth, Water, Fire, Air,” which presents a novel perspective a turtle-dragon (National Treasure No. 96) and on the four primary elements of the universe; and a new video work by two a white porcelain moon-shaped jar (Treasure Korean artists who participated in the 2015 Venice Biennale, Moon Kyung- No. 1437). The exhibition provides a panoramic won and Jeon Joon-ho, which took over a year to complete and focuses on overview of Korean pottery culture from its roots the question of the imperfect beauty of a moon jar and the persistence of the in the Three Kingdoms period and its gradual human aspiration toward perfection. A celadon ewer in the development during the succeeding dynasties of Goryeo and Joseon, all the shape of a turtle-dragon (National Treasure No. 96) way to the present. Born in Flames: Korean Ceramics from the National Museum of Korea is expected to boost the appreciation of Korean ceramic pieces and their Funerary objects delicately formed into animal or human figures and artistic value both in Russia and in wider international circles. Held at one of buried in graves illustrate the worldview of ancient Koreans regarding the the world’s most famous museums in the historical city of Saint Petersburg, afterlife. Elegantly silhouetted vessels rendered in greenish blue tones (the the exhibition will contribute to expanding the global popularity of Korean so-called “kingfisher” color) serve as a clear indication of the sophisticated culture beyond the contemporary realms presented in Korean Wave products tastes of the nobility during the Goryeo period. Buncheong ware from the and into Korean traditions. It will also serve as a chance for people of early Joseon era manifests the vibrancy and vitality of the newly established Korean descent living in Russia and nearby countries to better understand dynasty, while Joseon white porcelain embodies the unpretentious and their ancestors’ cultural background. austere aesthetics underpinned by the ruling Neo-Confucian principles. Exploration of Korean Heritage 36 37

Never before has a U.S. museum featured a survey of mother-of-­ ­pearl lacquerware exclusively from Korea. This ornate, painstakingly meticulous art has been practiced in Asia for thousands of years, and was perfected on the Korean Peninsula centuries ago. Through a select group of 30 radiant objects, spanning the domestic craftsmanship of dynasties past to cutting-­ edge contemporary art, audiences will deepen their appreciation for this alluring technique and delight in its novel interpretations by living artists.

“This exhibition provides a bridge between the past and the future.

What makes it so special is that we have examples that are hundreds of Box with Peony Motif years old and it’s uncommon to find these pieces in such good condition,” 1550–1650; lacquered wood with inlaid says Associate Curator of Korean Art, Hyonjeong Kim Han. “In both South mother-of-pearl; Asian Korea and the U.S., relatively little attention has been given to the study Art Museum (acquisition made possible by Koret The interior of the exhibition hall for Mother-of-Pearl Lacquerware from Korea at the Asian Art Museum and research into this precious, time-honored­ tradition, which is why we Foundation Funds) felt it was critical to take a multifaceted approach, exploring historical, artistic, and technical themes, Mother-of-Pearl Lacquerware from Korea as well as the conservation of Korean lacquers.”

Highlights of Korean Mother-of-Pearl Text & Photos by the Asian Art Museum in San Francisco, United States Lacquerware Juxtapose Old and New

The Asian Art Museum in San Francisco, United State With Korea now seen as a global powerhouse Presents First Ever U.S. Exhibition Devoted to Time-honored in art and culture, there has been a renewed interest Korean Tradition, Featuring Rare Historic Luxuries alongside in traditional aesthetics and handicraft techniques. Contemporary Masterpieces Lacquer is a kind of “organic plastic” made from layering, drying, and polishing tree sap into a luminously smooth surface that can take many Intricate flowers, swirling leaves, and graceful birds poised to fly, all months to finish. Delicate inlays of mother-of-­ pearl—in­ the past harvested illuminated in precious mother-of-­ ­pearl on a sleek lacquer background. from abalone shells along the Korean coast—endow the lacquered boxes, Pebble by Hwang Samyong From April 29 to October 23, the Asian Art Museum presents Mother-­of-­ tables, cabinets, and other objects on display with a courtly luster that 2015; mother-of-pearl Pearl Lacquerware from Korea, an original exhibition combining new underscores the status of their owners and makers. Highlights among these and lacquer on fiberglass; Crosspoint Cultural insights into this ancient tradition whose enduring creative power continues heirlooms include delightfully elaborate keepsake boxes from the early Foundation, Korea to inspire artists and artisans. 1500s to the mid 1600s, a selection of 18th-century­ luxury tables, and a rare late-Joseon­ dynasty reading Drawn primarily from the Asian Art Museum’s unique holdings of desk. mid-to-­ ­late Joseon dynasty lacquerware—with loans from LACMA and the Metropolitan Museum of Art as well as art institutions in Korea—the “There are few traditional artisans still practicing exhibition demonstrates the aesthetic and technical development of mother-­ this technique in Korea,” explains Han. “But of-pearl­ lacquerware through to the present day. contemporary artists have revived the tradition of Exploration of Korean Heritage 38 39

mother-of-­ ­pearl to express change and constancy. It allows them to be Cabinet in harmony with their culture, while still connecting to a contemporary 1800–1900; lacquered wood with inlaid mother- conversation about art.” The exhibition places multiple mother-of-­ ­pearl of-pearl, ray skin, and works from today’s Korea directly into dialogue with the past. normous metal wire, and metal fittings; The Avery “pebbles” by Hwang Samyong, which required roughly 250 hours each to Brundage Collection complete, exude a witty simplicity glossed with luxury. Seven wall panels completely patterned with mother-of-­ ­pearl by Kim Yousun are infused with impressionistic energy and light, recalling Van Gogh’s luminous swirls.

Multimedia artist Lee Leenam will also debut a new video work titled Reborn Light: Mother-­of-­Pearl featuring a 16th-century­ Joseon dynasty painting from the Asian Art Museum’s collection as its background. Playing with the notion of luminescence, Lee brings to life the still elements in the museum’s painting, and creates a fantastical story in which elements from the past, from art, and from a fictional future interact.

“The Asian Art Museum was the first museum in America to have a dedicated Korean art curator and gallery, so we have always been a leader in finding innovative ways to present Korean art and culture outside of Asia,” notes Asian Art Museum Director Jay Xu. “This exhibition furthers the museum’s commitment to sparking conversations about what’s next, in San Francisco and around the globe.” Overseas Korean Cultural Heritage Foundation, which has long recognized and supported the Asian Art Museum’s various conservation projects. New Conservation Partnerships Lead to Surprising Discoveries to Share with Visitors Museum to Host Symposium, Demonstrations, and Workshops for All Audiences In preparing objects from the Asian Art Museum’s collection for exhibition, museum curators and In addition to the exhibition, on Saturday, May 21 the Asian Art conservators collaborated with the Getty Conservation Museum hosted a public symposium for historians and conservators of Institute to examine a range of historic samples using lacquerware, “Looking at Mother-of-­ ­Pearl Lacquerware from Korea,” to sophisticated X-ray­ and chemical spectrography. This was the share and discuss new findings in the field. Scholars presented their latest Table with Phoenix Motif first time the Getty had studied Korean lacquerware up close, and together research, while audiences were then treated to live demonstrations of the 1850–1945; lacquered with colleagues at the Asian Art Museum, long-lost­ techniques were wood with inlaid mother- design and production of mother-of-­ ­pearl inlays. Visitors were also invited of-pearl, ray skin, and recovered, including intricate under-gilding­ processes and other ancient to create their own mother-of-­ ­pearl art project in artisan-led­ activities at metal wire; Asian Art Mu- skills that had not previously been documented. seum (acquisition made the museum. Thanks to support from Korea Foundation, the museum will possible by Korean Art and be open for free to all visitors in order to celebrate Korea Day celebrations Culture Committee) To enhance audience access to these discoveries, the museum has also on Sunday, September 25, with additional family-friendly­ programs and produced a new video describing the craftsmanship and conservation of activities centered on Mother-of-­ ­Pearl Lacquerware from Korea. these vibrant artworks. The video was produced with funding from the Exploration of Korean Heritage 40 41

The National Palace Museum of Korea Specializes in Joseon Royal Culture

Situated immediately to the west of Gyeongbokgung Palace in the Jongno area of Seoul, the National Palace Museum of Korea is a themed museum concentrating on the royal court of the Joseon Dynasty. As a space honoring the 500 years of history and culture of Joseon, the National Palace Museum carries out a diverse range of research, exhibitions, and educational programs geared toward improving the conservation and promotion of the cultural legacy of Joseon royal culture. Through these programs, the royal culture museum provides contemporary Korean society with an arena where the public can gain a taste of the subtleties of Korean royal culture of the past.

Abundant Cultural Fruit to Be Reaped at the Museum

Under the national Culture Day program, the National Palace Museum offers a variety of cultural programs on the last Wednesday of every month.

Musical Date with a Curator: A Perfect Combination of Music and

The pansori epic chant performance presented as the first session of the Musical Date with a Curator program this June Exhibitions

The definitive Culture Day event at the National Palace Museum is the Musical Date with a Curator Culture Day Events at the National program. Fusing music with exhibitions, the program provides a concert performance in one Palace Museum of Korea session followed by a curator’s interpretation of an exhibition in the second.

Text & Photos by Kim In-su, National Palace Museum of Korea The program held this June offered an hour- long pansori epic chant performance consisting of major extracts of renowned pansori narratives such as “Tale of Heungbo,” A curator offers interpreta- Under a national program to improve public opportunities to “Tale of Chunhyang,” and “Tale of Sim Cheong.” This interactive pansori tion of the special exhibi- tion The Royal Tombs enjoy cultural activities, the last Wednesday of every month has performance offering interesting stories in an approachable way sparked a of the Joseon Dynasty been designated Culture Day in Korea. On Culture Days, cultural jubilant atmosphere among the audience of about 150, with the spectators Embody the Spirit of the Royal Court in the second institutions throughout the country, including theaters, museums, inspiring the performers through their enthusiastic responses. The thrilling session of Musical Date performance halls, art galleries, sports facilities, and heritage sites, music was followed by a curator’s interpretation of the special exhibition with a Curator this June. all open their doors to the public at a discount or free of charge. The Royal Tombs of the Joseon Dynasty Embody the Spirit of the Royal Court. Exploration of Korean Heritage 42 43

The musical portion of this program covers a wide range from the old and new and from the West and East, including traditional Korean instrumental music, pansori epic chant, classical music, and crossover music fusing Western and Eastern traditions. The second section of the program is designed to offer intriguing interpretation of an exhibition—either regular or special—by a curator in charge of the exhibition.

Musical Date with a Curator events are scheduled for the second half of this year on November 30 and December 28. The December 28 event will feature a special exhibition on the Joseon royal palaces. Special exhibitions are organized two times a year, one in the first half and one in the second half of the year. Visitors take part in the making of seasonal royal confectionary. Petite Concerts: A Perfect Way to Enjoy the Beauty of Spring and Autumn Royal Confectionery: Healthy Seasonal Snacks

As spring arrives with the cherry As indicated by the old saying “rice is the best medicine”, Koreans of blossoms and when colored leaves herald the past placed great importance on food and considered healthy food to the arrival of autumn, the National Palace be a form of medicine. This mindset provided the foundation for the dishes Museum offers its Petite Concerts program prepared for the Joseon royal family, and not just the regular meals, but also in its outdoor space in April and May and in snacks. Royal confectionary made from seasonal ingredients played a role September and October. in helping the royal family maintain their health regardless of the changes of the seasons. This spring, fusion music concerts were held featuring traditional Korean To share the culinary secrets for a healthy life developed for the royal instruments such as the haegeum (two-string family, the National Palace Museum offers seasonal royal snacks on Culture

Spectators appreciate fiddle), gayageum (twelve-string zither), piri (flute), andbuk (barrel drum), Days. Summer snacks were showcased this June, including omija hwachae crossover traditional alongside Western instruments including piano and cello. Presenting eight (five-flavor berry punch), jehotang (a cold tea with honey and various Korean music during the Petite Concerts program. popular Korean music pieces known for their exultant tunes, the concerts medicinal ingredients), yakgwa (a sweet dessert made from honey, sesame brought listeners deeper into the excitement and joy of spring. During the oil, and wheat flour), andgaksaekpyeon (multi-colored rice cake). Autumn concerts, the audience was able to retreat from the hustle and bustle of and winter royal confectionaries will be presented on September 28 and everyday life and take in the spring-like vibrancy provided by the crossover November 30, featuring grape tea, chrysanthemum tea, and japgwabyeong music. (rice cake with nuts) for autumn and sujeonggwa (cinnamon punch), hobakpyeon (squash rice cake), and daechucho (candied jujube) for winter. For the program this autumn, the National Palace Museum is planning to welcome visitors on September 28 and October 26 and allow the audience Details on monthly Culture Day events offered by the National Palace to soak up the seasonal sensations of autumn through music. Museum can be found on its webpage (www.gogung.go.kr). Exploration of Korean Heritage 44 45

Connecting the World through Intangible Heritage Connects People at Home and Abroad The National Intangible Heritage Center, Ancestral Dances an affiliated organization of the Cultural Heritage Administration, is endeavoring to disseminate and strengthen the appreciation Text & Photos by the Intangible Cultural Heritage Promotion Division, National Intangible Heritage Center of Korean intangible heritage among people of Korean ancestry, particularly koryo saram, Since 2014, the National Intangible Heritage Center has been inviting or citizens of Korean descent who now live people of Korean descent to an intangible heritage training program in Russia and the post-Soviet states. For this in order to boost their interest in Korean culture and consolidate purpose, the center has signed a memorandum a basis for cultural transmission abroad. This year, six Uzbeks of of understanding on mutual cooperation for the operation of an intangible heritage training program with two relevant A live demonstration of Korean ancestry visited Korea and completed two weeks of training Jinju Geommu (Sword on Seungjeonmu, or the Victory Dance (National Intangible Cultural associations: the Koryo Theater in Kazakhstan and the Koryo Cultural Dance of Jinju) by the four trainees for 2015 Heritage No. 21). Association in Uzbekistan.

In 2014, the first year of the program, seven descendants of Koreans learned about how to dance Gyeonggi Minyo (Folk Song of the Gyeonggi Area, National Intangible Cultural Heritage No. 57) and Taepyeongmu (Dance of Peace, No. 92). In the second year, four trainees completed a training course on Jinju Geommu (Sword Dance of Jinju, No. 12). This year, six Korean-Uzbeks visited Korea and took part in a training program for the Victory Dance, a variant of traditional drum dances, from July 10 to 24.

An Enthusiastic Search for Ethnic Roots

This year’s six participants came from three Uzbek dance troupes affiliated with the Koryo Cultural Association, which had also sent trainees in the previous two years—five and four in 2014 and 2015, respectively. The three participating Uzbek dance troupes are the Koryo Dance Troupe, Samjiyeon Dance Troupe, and Asadal Dance Troupe. The oldest among the three, the Koryo Dance Troupe, was established in 1998 and possesses long- serving members who joined the group a decade ago. The Samjiyeon Dance Troupe boasts the largest membership among the three and includes dancers who received training in North Korea. The Asadal Dance Troupe was founded by Khen Alina, who, after being inspired by her participation in last Six Korean-Uzbeks perform Seungjeonmu (Victory Dance) as the final step of the two-week training. year’s training program, established the troupe to help transmit traditional Korean dances in Uzbekistan, including the Sword Dance of Jinju, the subject of last year’s training. Exploration of Korean Heritage 46 47

This year’s trainees from invasions of 1592–1598 gave name to the dance. The Victory Dance was Uzbekistan are mainly fourth- performed on Admiral Yi’s birthday for about three hundred years after generation koryo saram between 1592, in other rituals at shrines honoring him, and during various court 15 to 30 years of age. Growing up ceremonies. enjoying dance performances offered by the Koryo Cultural Association, For the performance of the Victory Dance, a barrel drum is placed in they initiated their dancing careers in the center of four main dancers positioned in the four cardinal directions Korean dance troupes at the young who strike the drum, sing, and dance. Twelve assistant dancers surround the age of six to nine, either upon their main dancers, and sing and dance as well. The striking of the barrel drum parents’ advice or out of a desire to in the center represents military orders transmitted in the past by drumbeat: connect with their heritage. Participant Shin Elena from the Asadal Dance one stroke for assembly, two for advancement or engagement, and three for Trainees receive instruc- tion in the Victory Dance Troupe notes, “Although we have different stories as to why we started retreat or ceasefire. The movement of dancers scattering and regrouping is at the National Intangible Heritage Center. Korean dancing, we are all the same in our desire to search for traces of our derived from a military tactic known as “three advances and three retreats,” ancestral country.” and dancers turn back and play the drum to represent the high morale of the troops. The dance troupes offer performances of Korean dances on traditional Korean holidays, such as Seollal (New Year’s Day) and Chuseok (Korean Skilled dancers with an officially Thanksgiving Day), and also on special occasions held for ethnic Koreans recognized certificate in the Victory in Uzbekistan. Watching the traditional dances presented by these dance Dance served as trainers for the groups, koryo saram in Uzbekistan may have experienced increased interest program participants. The program and affection toward the cultural legacy of their ancestors. The troupes’ also incorporated a two-day visit performances play a critical role in strengthening a sense of appreciation of to Tongyeong, where the trainees their roots among the descendants of Koreans sent to Uzbekistan. participated in a workshop organized by the Victory Dance Safeguarding Victory Dance for 2016 Association and had a chance to receive instruction from master When selecting a subject of training, the National Intangible Heritage dancers in the birthplace of the

Center chooses a dance that can be performed as a group while taking performance. The two-week program was completed with a training report A group photo of the 2016 into account the general interests of people of Korean ancestry and the on the results and a demonstration of the Victory Dance by the participants trainees and program staff at the final reporting ses- practicality of its usefulness after the training. After providing instruction at the National Intangible Heritage Center on July 22. The trainees returned sion of the program. in the Folk Song of the Gyeonggi Area and Dance of Peace in 2014 and the to Uzbekistan on July 24. Sword Dance of Jinju in 2015, this year the Victory Dance was selected, a performance accompanied by a barrel drum originating in Tongyeong, South The intangible heritage training program at the National Intangible Gyeongsang Province. Rooted in the barrel drum dance of the Joseon royal Heritage Center provides valuable opportunities allowing people of Korean court, the Victory Dance is recognized for its artistic and historical value. descent to experience the cultural traditions of their ancestors and refine The narrative song accompanying the dance includes lyrics eulogizing the their sense of identity. It is expected that graduates of the training program loyalty and upstanding morality of Admiral Yi Sun-sin, one of the most will redouble the overall effect of the program by sharing what they have renowned historic figures in Korea, whose victory during the Japanese learned among the ethic Korean community at home in Uzbekistan. Exploration of Korean Heritage 48 49

Traditional Weddings as a Confucian Rite

Traditional Korean weddings have not always resembled those of today. There were times when the newlyweds lived with the bride’s family rather than with the groom’s. Shamanistic rituals praying for good luck and chasing evil spirits away from the new family were performed, remnants of which can be found in the wedding practices of some regions today. Ancient wedding customs have been transformed under influences from Buddhism and

Confucianism, which were later adopted as the religious and governing A groom ready for the philosophies of the Korean Peninsula. start of a wedding

Traditional weddings as they are broadly understood at present took form after Neo-Confucianism was disseminated into Korea in the late Goryeo period. Rituals and procedures set out in Jia li (Family Rituals) compiled by the prominent Chinese Confucian scholar Zhu Xi (1130–1200) were localized, absorbing Korean cultural and historical features and eventually giving rise to the wedding traditions of today. A traditional Korean wedding

Procedures for a Traditional Wedding

Despite regional differences in the terms Traditional Weddings as a Precious referring to respective procedures and the procedural Cultural Legacy of the Past details, a traditional Korean wedding generally takes place in three phases—preparations, the main ceremony, and after-wedding events. Preparations

Text & Photos by the Korea Cultural Heritage Foundation start with an exchange of opinions between the two families through a matchmaker (a procedure called uihon), then the groom’s family sends a letter noting Ancient Koreans followed solemn Confucian procedures in almost the year, month, day, and hour of the potential every aspect of life. Korea has long been considered a land rich groom’s birth to the bride’s family as a sign of engagement (napchae). The A bride completes her bride’s family next selects an auspicious date for the wedding and notifies final preparations before a in Confucian scholars observing due rites and rituals. Weddings, wedding traditionally considered the most important rite of passage in life, the groom’s family (yeongil). Finally, the groom’s family sends a box of were definitely carried out according to a rigorous set of standards. wedding gifts to the bride’s family (nappye).

The main wedding ceremony itself commences with the groom offering a pair of geese, a symbol of trust, order, and fidelity jeonallye( ). Next, the Exploration of Korean Heritage 50 51

groom and bride stand face to face across the wedding table, positioned respectively in the east and west. They exchange deep bows (gyobaerye) and drink rice wine from a gourd-shaped cup (hapgeullye) as a symbolic gesture of the single soul embodied in two different people now being joined together once again.

After completing the wedding ceremony, the groom and bride change out of their ceremonial costumes and share rice wine to signify that they are now a couple (dongnoeyeon), before spending their first night together (hapgung). The next day the groom visits his family and then returns to the bride’s house (jaehaeng), where local community members receive the After their wedding ceremony, newlyweds groom with prepared entertainments (dongsangnye). The bride next goes offer bows of gratitude to to the groom’s house (sinhaeng) and notifies the groom’s ancestors of the guests. marriage. The procedure of the bride extending greetings to the groom’s parents and older members of the family, called pyebaek, a traditional traditional wedding ceremony, including the preliminary and post-wedding element that is still actively observed in modern wedding practices, is a procedures. Above all, the safeguarding of traditional weddings should be clear representation of the bride’s departure from her original family and preceded by efforts to enhance public interest in and appreciation of this incorporation as a new member into the family of the groom. Lastly, the valuable cultural tradition. bride pays a visit to her family (geunchin) and then returns to the husband’s house, which wraps up the process. For the purpose of making wedding traditions better known among the public, the Korea Cultural Heritage Foundation has been presenting Significance of Modern Transmission an annual reenactment of a traditional wedding ceremony since 2001. The 2016 event held at the Millennium Hall of Incheon International Airport In today’s world it may be difficult, or even nearly impossible, to follow showcased the wedding of a late-Joseon couple from the elite social class, these intricate traditional wedding procedures in their entirety. However, offering people from home and abroad a chance to participate in a traditional with growing Western influences pushing traditional wedding practices Korean wedding. The three-part event featured the preparations for the to the fringes of society, understanding the process of traditional wedding wedding in the first session, the main wedding ceremony in the second, and rites and appreciating each element is a worthwhile effort. To safeguard a celebratory performance of a fan dance, sarangga love song singing, and a traditional wedding practices, it would be wise to creatively reinterpret the hand-held drum (sogo) display in the third.

Napchae: The groom’s family sends a letter with Yeongil: The bride’s family selects an auspicious Jeonallye: The groom offers a pair of geese and Gyobaerye: The groom and bride stand face to face Sinhaeng: The newlyweds proceed to the groom’s Pyebaek: The bride offers greetings to the groom’s the groom’s birth year, month, day, and hour to the date for wedding and notifies the groom’s family as makes deep bows at the start of the main wedding and exchange deep bows. house after the wedding ceremony. parents and senior members of the family, a bride’s family as a sign of engagement. a sign of approval of the wedding. ceremony. traditional wedding procedure that is still actively observed. Cultural Heritage Administration Headlines 52 53

CHA News

Korean World Heritage Sites Showcased at Times Square Lectures at the Royal Library of Jibokjae Hall

In cooperation with the consumer goods company LG Electronics, the In cooperation with the Jangseogak Archives of the Academy of Korean Cultural Heritage Administration (CHA) has been airing a promotional Studies, the Cultural Heritage Administration is offering public lectures at video clip of Korea’s World Heritage Sites at New York’s Times Square Jibokjae Hall of Gyeongbokgung Palace in an effort to raise awareness of starting August 1. ideas related to the humanities that are embodied in royal culture.

The CHA signed a memorandum of understanding with LG Electronics Constructed in 1891, Jibokjae Hall served as a library for Emperor this June regarding the company’s participation in the Heritage Guardians Gojong (r. 1863–1907) and a diplomatic space for receiving foreign envoys. program. As a Heritage Guardian, LG Electronics is committed to The royal library was opened to the public on April 27 of this year after supporting the conservation and promotion of the country’s World Heritage being refurbished as a “palace library.” It has been equipped with a wide Sites. Accordingly, an arrangement was made to broadcast a promotional range of books and decorated with relevant artifacts while maintaining the video clip as part of the company’s electronic display at Times Square for physical conditions of both the interior and exterior. two months this year (August and November). Organized under the Royal Culture at Gojong’s Library program, Produced by the Korea Cultural lectures are being offered 12 times this year, with half of them taking place Heritage Foundation, the video in the summer of 2016 and half in the fall. Held on every Wednesday from shows the twelve World Heritage June 15 to July 20 and from September 21 to October 26, each lecture runs Sites in Korea—one natural and one hour starting at 3:00 p.m. and is open free of charge to anyone interested eleven cultural—and runs for about in royal culture (entrance fee to the palace is separate). one minute. Aired alongside a commercial advertisement for LG The public lecture program is Electronics, the World Heritage expected to reinvigorate the Jibokjae footage is screened more than 40 facility as a contemporary cultural times per day. space and draw it into the everyday lives of the Korean public. The The CHA will continue its CHA will carry on with its efforts to cooperative relationship with LG create diverse cultural and historical Electronics well into the future contents able to capture public through the Heritage Guardians interest and encourage participation framework, creating cultural content in the conservation and promotion of and programs for the public benefit cultural heritage. and advancing the partnership into an exemplary case of cooperate social responsibility. Cultural Heritage Administration Headlines 54 55

CHA Events

Event Period/Time Location Contents Event Period/Time Location Contents

Korean music concerts Experience of making Listening to Korean music at 9:00 and 11:00 every Sunday Traditional experiences for traditional crafts, and experi- Changdeokgung Palace accompanied by easy-to- Year-round Incheon International Airport the palace during September–October travelers ence of traditional clothes understand interpretations through digital technology 20:00–20:50 every day Traditional Korean chamber from September 24 (Sat.) to Tongmyeongjeon Hall at Exhibition of Korean cultural Display of tangible and intan- Nighttime palace concerts music and fusion Korean Year-round Incheon International Airport October 28 (Fri.) (Except for Changgyeonggung Palace heritage gible cultural heritage music October 4–16) Ceremony of the changing of Year-round (closed Tuesdays) Gyeongbokgung Palace Every day during Sujeongjeon Hall at Gyeong- the royal guard Daytime palace concerts September–October bokgung Palace Every day during The Baegaksan section of the At a fountain in front of Seok- Exploration of Mt. Baegaksan May–December * By reservation only Midday concerts at Deoksug- Every Friday from October 21 Seoul City Wall jojeon Hall at Deoksugung Fusion Korean music (closed Tuesdays) ung Palace (Fri.) to November 11 (Fri.) Palace

Regular Tuesday performance Every Tuesday year-round Korea Cultural House Lectures and concerts Special night tours of the royal September 24 (Sat.)–October Gyeongbokgung and Chang- Night tours of palaces palaces 28 (Fri.) gyeonggung Palaces Performance hall (“Pungnyu”) 19:00 and 20:00 every day Palace tour and musical at the Transmission Center for Traditional dance, music, and Moonlight Tour at Regular story narration Every Thursday year-round from October 8 (Sat.) to Changdeokgung Palace performance National Intangible Cultural performance Changdeokgung Palace 16 (Sun.) * By reservation only Heritage A commemorative exhibition Performance of intangible A special exhibition 16:00–17:30 every Saturday National Intangible Heritage October 25 (Tue.), National Research Institute of celebrating the 40th Regular Saturday performance heritage elements designated commemorating forty years of during September–December Center 2016–January 30 (Mon.), 2017 Maritime Cultural Heritage anniversary of the start of the at the national and local levels underwater excavation Sinan excavation Field trips to World Heritage September 2 (Fri.)/23 (Fri)/29 Cultural experience of World Sites and their surroundings An autumn foliage event at Activities such as treading on (Thu.)/30 (Fri.), October 7 Areas where World Heritage October 28 (Fri.)–30 (Sun.) Hyeonchungsa Shrine Heritage Sites and their sur- * By reservation with the Hyeonchungsa Shrine colored autumn leaves (Fri.)/20 (Thu.)/21 (Fri.)/28 Sites are located roundings Korea Cultural Heritage Foun- (Fri.), and November 4 (Fri.) Sensory experience of the dation; groups only October 15 (Sat.), November Exhibition halls at the Na- replicas of traditional artifacts Treasure Wagon 19 (Sat.), and December 17 Experience of a tea ceremony at Every Wednesday during Jaesil House at Jeongneung tional Palace Museum through the eyes, ears, and * By reservation only (Sat.) Jeongneung Tomb September–October Tomb hands 16:00–17:30 November 30 Three times per day on Special tour of Gyeonghoeru Gyeonghoeru Pavilion at Musical Date with a Curator (Wed.) and December 28 National Palace Museum A Culture Day event weekdays and four on week- * By reservation only Pavilion Gyeongbokgung Palace (Wed.) ends during April–October

10:00–12:00 and 14:00–16:00 Experience of a tea ceremony at Jagyeongjeon Hall at Gyeong- Experience classes on intan- National Cultural Heritage Every weekend in October * By reservation only every Saturday during * By reservation only Jagyeongjeon Hall bokgung Palace gible heritage Center September–November

Last Wednesday of every October 15 (Sat.), November Experience of medicinal herbs Petite concerts at Seokjojeon Seokjojeon Hall at Deoksug- Concerts of Western classical Health Secrets from a Royal month during 19 (Sat.), and December 17 National Palace Museum and the medical culture of the Hall ung Palace music Doctor September–December (Sat.) Joseon royal court KOREAN HERITAGE 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

Printed | September 15, 2016 Published by | Cultural Heritage Administration Republic of Korea Publication | Director of International Cooperation Division management Content | Moon Sun-kyoung, Hong In-soo, Seong Hyun-jung coordination Translation | Park Jung-eun Copy editing | Bill Sharp Design ∙ Editing | Graphickorea Co., Ltd Printed by | Graphickorea Co., Ltd

Cultural Heritage Administration, 2016

This publication is copyrighted. No part may be reproduced by any process without written permission.

copyright Cultural Heritage Administration