Vol.9 No.1 SPRING 2016 봄
봄 SPRING 2016 Vol.9 No.1 Vol.9
봄 SPRING 2016 Vol.9 No.1 ISSN 2005-0151ISSN 2005-0151 ISSN 2005-0151ISSN 2005-0151 OnOn the the Cover Cover
Najeon (mother-of-pearl inlay) refers to a decorative technique of embellishing wooden or lacquered surfaces with thin sheets of mother-of-pearl cut into diverse shapes. While similar traditions are prac- ticed across Northeast Asia, Korea devel- oped a technique reflecting its own unique aesthetics and influenced Japanese prac- tices during the early Edo period. Mainly ornamenting everyday objects and furni- ture such as mirrors and chests, mother- of-pearl inlay expresses a diverse range of motifs, including scrollwork, chrysanthe- mums, dragons, and landscapes. Contents 02 03
04 Korean Heritage in Focus Exploration of Korean Heritage 36 Special Exhibition: Royal Portraits and Portrait Halls of the Joseon Court Interpretation of Modern-Day Conditions Using Dongui bogam Paintings of the Joseon Kings and Their Portrait Halls Sangnim, an Artificial Forest with a Thousand-Year History
08 32
04 14 24 36 42
14 Korean Heritage for the World Cultural Heritage Administration Headlines 48 Voices from the Field on Inscription on the Memory of the World Register CHA News Confucian Printing Woodblocks in Korea CHA Events The Archives of the KBS Special Live Broadcast “Finding Dispersed Families” Tug of War in Eastern Asia: Its Heritage Value and Practice in Korea, China, and Japan Mother-of-Pearl Inlay in Korea, China, and Japan Korean Heritage in Focus 04 05
Special Exhibition: Royal Portraits and Portrait Halls of the Joseon Court
Text & photos by Lee Jong-sook, Curator, Exhibition & Publicity Division, National Palace Museum of Korea
The National Palace Museum of Korea, an affiliated agency of the Cultural Heritage Administration, hosted the special exhibition Royal Portraits and Portrait Halls of the Joseon Court from December 8, 2015 to February 14, 2016 at its building inside Gyeongbokgung Palace in Seoul. With the outbreak of the Korean War in 1950, the portraits of the Joseon kings were transferred to the southern city of Busan. Tragically, however, a fire at the portrait storage in Busan destroyed most of these representations of the Joseon kings and left only a few damaged examples. Thanks to the persistent efforts at the recuperation of the damage to these regal portraits by the National Palace Museum of Korea, this special exhibition can offer the public a chance to appreciate the major royal portraits that remain. At the exhibition, a total of nine royal portraits, including two of King Taejo, the founder of the Joseon Dynasty (1392–1910), were on display and the process of producing drawings of kings was explained. The exhibit also included documentary and pictorial materials including the uigwe royal protocols of Joseon that address portrait halls, called jinjeon, where royal portraits were enshrined and ceremonies for the royal paintings were performed, as well as ritual artifacts that were used at portrait halls, such as incense burners.
Portrait of King Taejo on display at the exhibition Korean Heritage in Focus 06 07
Theme 2 described the methods and process for the production of royal portraits during the Joseon period. Also on display were introductions of the painters responsible for producing royal portraits and of other portraits by late-Joseon royal portrait painters, including Yi Myeong-gi and Yi Han- cheol, so that the audience could directly appreciate their mastery.
Theme 3 was designed to show how the authority of royal portraits was considered on a level with that of the actual king of the day and displayed major royal portraits such as Royal Portrait of King Taejo (in blue dress), the only royal portrait that was (until a few years ago) housed continuously at a portrait hall (Gyeonggijeon Hall in Jeonju); Portrait of Prince Yeoning, depicting a young Yeongjo before he was enthroned as the 21st ruler of Joseon; Royal Portrait of King Yeongjo, representing a 51-year-old Yeongjo; Royal Portrait of King Cheoljong, showing how the 25th Joseon monarch looked at 31 years of age; and Royal Portrait of King Gojong, a portrait of The exhibition Royal Portraits and Portrait Halls of the Joseon Court the 26th ruler that is purported to have been executed by the painter Chae Yong-sin. Also displayed were royal portraits opened to the public for the first time ever, includingRoyal Portrait of King Taejo (in red dress; a copy The exhibition was intended to shed light on the lofty status and special from 1900); Royal Portrait of King Wonjong (a copy from 1936), Royal meaning invested in the royal portraits from the Joseon court. These portraits Portrait of King Munjo, and Royal Portrait of King Sunjong (drawn by were crafted using rigorous procedures and formalities, and then enshrined the painter Kim Eun-ho in 1928 after the king’s death), meeting with an in a special space in the jinjeon where they were held in high esteem and enthusiastic reception by researchers of traditional clothing and other related honored with ceremonies. These were not simple paintings, but were directly experts. equated with the king depicted. Historical records evidence how the king and courtiers mourned over the ashes of royal portraits when they were Theme 4 presented the jinjeon, a dedicated space for the enshrinement consumed by a fire at a portrait hall, and royal portraits were regularly of royal portraits. Portrait halls come in two types: one dedicated to a checked for maintenance and shown respect through a regal protocol of four single king and the other for multiple kings. Presented in this exhibition bows, just as with the king on the throne. as an example of the first type was a portrait hall for King Taejo, while Yeonghuijeon Hall and Seonwonjeon Hall represented the second type. The To effectively fulfill its purpose as described above, the exhibition and portrait hall built on Ganghwado Island for emergency purposes was also the roughly 100 artifacts on display were organized according to six themes: presented. An exploration of portrait halls was given through the uigwe royal 1. The history of royal portraits and portraits halls of Korea; 2. Production protocols and painting materials. of royal portraits during the Joseon Dynasty; 3. Royal portraits as kings; 4. Jinjeon as the home of royal portraits; 5. Paintings that accompanied royal Theme 5 showed large-scale folding screens with painterly decorations portraits; and 6. Ceremonies at portrait halls. that are assumed to have been installed in portrait halls along with royal portraits. Theme 6 displayed a diverse range of ritual objects and vessels For Theme 1, the history of Korean royal portraits and portrait halls was that were used in ceremonies at portrait halls such as Mokcheongjeon Hall explored mainly for the Goryeo and Joseon Dynasties, the temporal period (located in Kaesong, dedicated to portraits of Taejo) and Seonwonjeon Hall from which relatively large amounts of relevant records remain. (located within the Changdeokgung Palace complex). Korean Heritage in Focus 08 09
Production of Royal Portraits during Joseon
During the Joseon Dynasty, portraits of all 27 of its rulers were produced in large numbers. In the case of the dynasty’s founder, King Taejo (r. 1392–1398), the number of portraits housed at Seonwonjeon Hall in Changdeokgung Palace reached as high as 26 pieces in the mid-Joseon era. King Yeongjo (r. 1724–1776), the longest-ruling monarch of Joseon, had multiple portraits produced at 10-year intervals and depicting him in diverse costumes. As for the last monarch of the dynasty, King Sunjong (r. 1907– 1910), as many as eight portraits were executed while he was still Crown Prince.
The production of a royal portrait was a national undertaking subject to strict and intricate procedures. An ad hoc office in charge of the production process was set up and portrait painters were selected. Royal portrait painters were categorized into three types respectively responsible for drawing the face, for depicting the body, and for helping with mixing colors: lead painters, associate painters, and assistant painters. The number of royal portrait painters mobilized at a time was three to four at minimum and 13–14 at most. An example of the latter case can be found in the year 1900, when a fire at Seonwonjeon Hall required the reproduction of portraits of seven kings.
To produce a royal portrait, an underdrawing was first made on oiled paper and silk was then pressed on top of the sketch to allow the drawing Portrait of King Taejo (in red dress) by Jeong Du-hui 2013; color on silk; 284 x 163.5 cm; National Palace Museum of Korea to be copied in ink onto the silk. With the underdrawing done, coloring began: the reverse was painted first, and then additional paint was applied to the front. This technique of “back side coloring” was commonly used for portraiture during the Joseon era for the purpose of enhancing the durability Paintings of the Joseon Kings and allowing naturalistic color development. Next, the portrait was mounted and a title was added to indicate to whom it belongs. Decorations, including and Their Portrait Halls tassels, were eventually added.
Each step of royal portrait production was executed at a selected Text & photos by Cho Sun-mie, Professor Emeritus, Sungkyunkwan University auspicious time and date and was followed by rigorous inspection from the king and courtiers. Portraits that were produced with the utmost care and effort were enshrined at a jinjeon, or “portrait hall,” and the parade of the royal portrait to the portrait hall was honored with formalities equaling those Korean Heritage in Focus 10 11
offered to a living king. As such, a royal portrait was perceived as not just a began to suffer. In 1908, the royal portraits housed in all the existing portrait piece of artwork, but as the embodiment of the king himself. halls excepting Junwonjeon Hall in Yeongheung and Gyeonggijeon Hall in Jeonju were forcefully incorporated into a single space. In 1921, under Japanese colonial rule, a new Seonwonjeon with 12 rooms (photos 2 and 3) Portrait Halls of Joseon was constructed in Changdeokgung Palace to collectively house the portraits of the Joseon kings. The eruption of the Korean War in 1950 demanded that
1. The interior of Gyeong- The jinjeon system of the Joseon Dynasty the portraits at the new Seonwonjeon be sent for refuge to a secure location, 4. gijeon Hall in Jeonju was operated with two types of portrait and they were urgently transferred to a brick factory in Donggwang-dong halls. The first were those devoted to royal in Busan. Following the armistice between the two Koreas, however, a 4. Portrait of King Taejo by Jo Jung-muk portraits of the founder of the dynasty, King fire broke out at the factory on December 10, 1954 while plans for moving 1872; color on silk; 218 Taejo, while the second housed royal portraits the portraits back to Seoul were still being drawn, reducing much of the x 150 cm; Royal Portrait Museum of various rulers (but including Taejo as priceless royal heritage of Korea to ash. What remained of the damaged well). In the early Joseon era, portrait halls portraits is presently being maintained at the National Palace Museum of
1. for Taejo were established in six places: in Korea. the capital Seoul (Munsojeon Hall); Jeonju (Gyeonggijeon Hall, photo 1), where the king’s family originated; Yeongheung (Junwonjeon Hall), the king’s birthplace; Noted Royal Portraits of Joseon and three former capital cities, Gyeongju (Jipgyeongjeon Hall), Pyongyang (Yeongsungjeon Hall), and Kaesong (Mokcheongjeon Hall). Seonwonjeon The most widely known royal portrait of the Joseon Dynasty is that 5. Hall and Nambyeoljeon Hall (later called Yeonghuijeon Hall) were built of King Taejo (photos 4 and 5; National Treasure No. 317), which was
respectively inside and outside the palace to serve as portrait halls for preserved at Gyeonggijeon Hall in Jeonju following its production in 1872 5. Portrait of King Taejo multiple kings. and is currently housed in the nearby newly-built Royal Portrait Museum. In (coloring on the reverse) this full-face portrait, Taejo is seen seated on a splendid chair with his hands Although severely shrunken in the mid-Joseon period due to devastating neatly folded to signify respect. He wears a blue official robe (gollyongpo) conflicts including the Japanese invasions of 1592–1598, this primary and a winged hat (ikseongwan), with the chest and shoulders decorated with organization of royal portrait halls was maintained until the end of the pads embroidered in a dragon design. Although written records indicate that dynasty. In the late Joseon, the practice of enshrining royal portraits was he commonly wore a jade belt, the depiction shows him with a gold-colored expanded somewhat as individual buildings related to royalty, including the one. 2. Seonwonjeon Hall, built royal library (Gyujanggak Hall) and royal shrines and tombs (Yuksanggung in 1921 Shrine, Gyeongugung Shrine, and Hyeollyungwon Tomb), began to house This portrait of Taejo is a copy produced in the late Joseon period, but 6. 3. The interior of Seon- wonjeon Hall paintings of kings. However, from the early 20th century the jinjeon system still demonstrates the portraiture technique characteristic of early Joseon.
The illustration of the blue and red undergarments seen through the slits on 6. Portrait of Jang Mal-son the sides of the outer clothing is an early Joseon portrait feature (photo 6). Late-15th century; color on silk; 171 x 101 cm; clan- The portrait includes a multicolored carpet imported from China. Although head family in Yeongju Chinese carpets of this kind ceased to appear in portraits, replaced by Korean woven rush mats starting from the reign of King Sukjong (r. 1674–1720) when Joseon began to stress a more independent sociocultural lifestyle, this portrait faithfully follows the features of the early Joseon original. 2. 3. Korean Heritage in Focus 12 13
The painting in this portrait is delicate and elaborate. For the face, a portraits that were damaged following the Korean War. The first subject of pinkish tint was applied quite thickly on the back, and the facial outline and the program was the portrait of King Taejo in red attire (photo 11). After the features were then expressed on the front. Although the depiction of the completion of conservation treatment in 2012, endeavors were made in 2013 face was generally done in lines, there is slight shading along the lines. The to create a copy. First made in 1900, the left half and most of the face of the dragon ornaments on the chest and shoulders are portrayed with gold leaf, portrait remains lost. It was fortunate that the monochrome photo of Taejo but expressed in such a way as to not create excessive glare. Although it is (photos 12 and 13) that served as the model for the portrait is still available. 10. 7. a portrayal of the king at an advanced age, the eyes of the older Taejo still Based on the black-and-white photo, the overall outlines and features of appear energetic, evoking an authoritative aura as the monarch of Joseon the figure could be observed. Given that the king faces toward the front, a 7. Detail of the face from 10. Portrait of King Cheol- Portrait of King Taejo (photo 7). decalcomania technique embodying right-and-left symmetry was applied. jong by Yi Han-cheol After a number of failed attempts, a digital image of the portrait (photo 14) 1862; color on silk; 202 x 93 cm; National Palace Another well-known Joseon portrait is a half-length figure of King was produced. Using this image as a model, a copy was produced in stages, Museum of Korea Yeongjo (photos 8 and 9). With the face depicted in a three-quarter view, from preparing a sketch and drawing on silk to the actual painting. The the king wears an official red robe and a winged hat. The peach-tinged face painting was reinforced and decorated on the back. The title was written in features upwardly slanting eyes outlined in deep brown. The middle of the imitation of the calligraphy on the original, and tassels were attached. The forehead is emphasized, and the sharp bridge of the nose is sculpturally final result is shown in photo 15. depicted. 8. The disastrous fire of 1954 deprived the nation of valuable cultural
8. Portrait of King Yeongjo Unlike the two above-mentioned royal depictions, the portrait of King heritage. However, the sophisticated technology and advanced equipment by Jo Seok-jin and Chae Cheoljong (photo 10; r. 1849–1863) portrays the monarch of Joseon in a of today are making it possible to obtain clues regarding the silk and paints Yong-sin 1900; color on silk; 110 x military costume. The full-length figure of the king in three-quarter profile used during the Joseon Dynasty. The newly available data on royal portraits 11. 68 cm; National Palace is seated in a chair. On the floor can be seen a rush-woven mat lavishly has enabled not only the application of conservation treatment but also Museum of Korea decorated with a dragon, and a sword stands beside the chair. Together with the production of portrait copies. Having successfully reproduced royal 11. Portrait of King Taejo (in red dress) by Jo Seok- the two-tiered footstool, the splendor manifested in the dragon-embroidered portraits—of King Taejo, King Sunjong, and King Wonjong, respectively jin and Chae Yong-sin military robe and the hat decorated with peacock feathers exudes royal in 2013, 2014, and 2015—efforts supporting the transmission of the royal 1900; 217.5 x 72.5 cm; National Palace Museum authority and dignity. Only a distant relative of the royal family, King portrait tradition of Joseon are expected to continue well into the future. of Korea Cheoljong had lived as a farmer on Ganghwado Island but was suddenly elevated to the throne when the previous king died without an heir. During his reign, he suffered a great deal due to the ambitions of the Andong Kim 9. clan, civil unrest, and the emergence of the Donghak religion. The thick eyebrows, oval face, and round eyes with a high epicanthic fold not only 9. Detail of the face from illustrate his innocence and naïveté, but also the anxieties and unease Portrait of King Yeongjo dominating his mind. This portrait delivers the torment and agony of a man who sits on the throne but lacks real power.
14. 12. 13. 15. Conservation and Restoration of Joseon Royal Portraits
12. Photograph of the 13. Detail of the face from 14. Digital images produced for the copying of the Portrait of 15. Portrait of King Taejo (in red Since 2012, the National Palace Museum of Korea has been making Portrait of King Taejo Photograph of the Portrait King Taejo dress) by Jeong Du-hui 1913; National Museum of King Taejo (in early 2013; color on silk; 284 x 163.5 phased efforts at the conservation and restoration of the Joseon royal of Korea middle age) cm; National Palace Museum of Korea Korean Heritage for the World 14 15
Voices from the Field on Inscription on the Memory of the World Register
The year 2015 saw two inscriptions of Korean heritage on the UNESCO Memory of the World Register: Confucian Printing Woodblocks and the Archives of the KBS Special Live Broadcast “Finding Dispersed Fami- lies.” Here, two working-level officials who were at the forefront of these inscription efforts present their opinions and experiences through a writ- ten interview. The interior of Jangpangak Hall
Confucian Printing Woodblocks in Korea
Text & photos by Park Soon, Senior Researcher, Woodblock Research Center, Advanced Center for Korean Studies
Q. What do you think was the rationale behind the inscription? This inscription came mainly because of the significance of the A. unique publishing method and the consistent ideological moral pursuit manifested throughout texts. In terms of the distinctiveness of the publishing process, the Confucian woodblocks were produced during the Joseon Dynasty, which corresponds with the Ming and Qing Dynasties in China. While commercial publishing dominated in China throughout these periods, the Confucian woodblocks in Korea were produced through an unusual private process. A large proportion of the Confucian woodblocks is made up of collections of personal works which were customarily published after the death of the author. Although the documents subject to printing were of an individual nature, a public consensus among the local literati, who functioned as opinion leaders in their local communities, was considered a precondition of publication. It was the norm that collections of
Separated families bursting into tears during an interview Korean Heritage for the World 16 17
“textual communication” between past and future generations. This unique publishing process is still being transmitted by some elements in Korean society.
Secondly, the Confucian woodblocks convey the timeless value of pursuing Confucian morality. The contents of the Confucian woodblocks are focused on building an ideal Confucian state, and toward this purpose they suggest ways to commemorate Confucian sages and cultivate moral Confucian character across society. They describe how an ethical Confucian character can be nurtured through Confucian study, and how the purpose of this study is not the pursuit of everyday success, but rather about cultivating a proper mind and body. The central theme running through the Confucian Jangpangak, the Woodblock Archives of the Advanced Center for Korean Studies woodblocks is the nurturing of morally integrated people, a transcendent value of humanity. The Confucian woodblocks demonstrate how this timeless value was studied and developed.
works of individual scholars would not be published without the consent of local intellectuals, even if financial means had been secured for publication. Q. Could you describe the preparation process for the These local literati who directed public accord formed a network of family nomination? clans, kindred scholars, Confucian academies, and community members, and It took about two years to prepare the nomination file. Since the took leadership in all the affairs involved in the publication process. A. nomination covered 64,226 woodblocks comprising 718 titles donated by 305 clan families, a daunting amount of time was required Woodblock printing is a time-consuming and financially burdensome to catalog the contents of all of the woodblock sheets. Most of the two effort. The overall process took from two to three years, and each stage years was consumed by conducting research. Advice was also sought from consumed a huge volume of funds. The costs incurred in woodblock printing relevant experts to be reflected in the nomination. In addition, since little are currently about US$5,000 per woodblock sheet (carved on both sides). has been known about these Confucian woodblocks—sometimes even their Although it is impossible to make a comparison of costs between the Joseon very existence—outside of a small circle of academics, considerable time Dynasty and today, this at least should make it clear that the costs for was spent on publicity activities. Three English-language promotional books A woodblock for the town chronicle of the Andong woodblock publishing went far beyond the financial capacity of any single and three video clips were made and disseminated. An annual international area (Yeonggaji) clan. Therefore, not only those who participated in the formation of public conference on Confucian woodblocks was consensus, but also those who were outside of the process were required organized for the accumulation of research. to make donations depending on their respective financial situations and Although one might think that a document the collectively the funds for woodblock printing were gathered. This collective size of a nomination file could be completed effort is referred to as “community publishing” in the nomination dossier. in one or two weeks, it contains condensed The inscribed Confucian woodblocks are the fruits of this community information that can only be extracted through a publishing system of the Joseon Dynasty. It should be noted that the lengthy and extensive course of research, and is woodblocks described here were not a disposable means of printing, also supported by active promotional efforts. but have been preserved for centuries and have served as a medium of Korean Heritage for the World 18 19
Q. W hat do you think is the meaning of the to temporarily close Jangpangak to inscription? the public and delegated its function of receiving visitors to a permanent The Confucian woodblocks are a documentary exhibition hall. This was a measure heritage that has been just barely known, even A. to allow environmental research on in academia. Japanese colonial rule and the Korean War Jangpangak. Decisions regarding cost us about 80 percent of the Confucian woodblocks produced during the A woodblock for the the replacement of equipment or the Korean medicine text Joseon era, and even the surviving examples have remained closed to the reconstruction of the building will (Chimgyeongyogyeol ) outside out of the fear of loss. The greatest value of this inscription can be be made depending on the upcoming found in bringing to light these woodblocks hidden away so long from the research results. Even during the closed The interior of Jangpangak Hall public eye and securing an appropriate conservation mechanism. period, the building will remain open to academics for research purposes. There is another meaning as well. Among the 718 titles inscribed on the woodblocks, only a few Along with researchers, access to Jangpangak will also be allowed to were created by well-known Confucian scholars, the craftspeople who perform the carving. The woodblock carving technique such as Yi Hwang, Ryu Seong-ryong, or Kim Seong- of China has been inscribed on the UNESCO intangible heritage list, but il; most of them were written by little-known authors. the transmission of traditional Korean carving skills is nearly extinct. The In terms of their authors and contents, the Confucian inscription of the Confucian printing woodblocks on the Memory of the woodblocks may not demonstrate “world significance,” an important criterion A woodblock for a col- World Register will provide an opportunity to revitalize traditional carving lection of accomplished for inscription on the Memory of the World Register. These woodblocks are techniques. Using the woodblocks for conducting research and training scholars’ calligraphy not the product of renowned figures of international acclaim, but the work (Seonhyeon yumuk ) in carving skills is a more effective method of conservation than simply of everyday scholars who dedicated their lives to Confucian studies and the keeping them closed to the public. teaching of students. The inscription of the Confucian Printing Woodblocks implies that documentary heritage carrying universal value of humanity, even In order to better publicize the woodblocks, a special exhibition is if not recounting ground-breaking or history-changing events, can also have a being prepared to open in October 2016 to correspond with the one-year chance to be inscribed in the future. anniversary of the inscription. The first leg of the exhibition will be held in A woodblock for an Seoul and accompanied by an academic workshop, which will be followed appeal to the king by the mid-Joseon scholar Yi Q. What kinds of plans have been prepared for the management, by a national tour of all major cities. Hwang (“Seonghak sipdo” contained within the conservation, and promotion of the inscribed documentary collected works of heritage? The current permanent exhibition hall is constricted; therefore, Yi Hwang) construction will commence in the first half of 2016 to prepare a more Constructed in 2005, Jangpangak, or the Woodblock spacious area. In the new permanent exhibition hall, exhibits will be on A. Archives of the Advanced Center for Korean Studies, display focusing not only on Confucian printing woodblocks, but detailing is a depository for the woodblocks with the capacity of the publishing culture of Korea as a whole. A space for experiencing housing up to 100,000 woodblock sheets. Although designed woodblock book making will also be prepared. As such, the expansion of with the most advanced technology available at the time, the permanent exhibition hall is designed to enhance both conservation and Jangpangak began to develop management issues stemming public access. from increasing visitation and the wearing out of equipment. In response, the Advanced Center for Korean Studies decided Korean Heritage for the World 20 21
The Archives of the KBS Special Live was sometimes enough to spur their memories. “Finding Dispersed Broadcast “Finding Dispersed Families” Families” unearthed stirring accounts of separated families that would Text & photos by Lee Min-ji, Archive Management Office, Korea Broadcasting System (KBS) otherwise have been buried within individual memories and slowly Q. What do you think was the rationale behind the inscription? diffused into history. The records of the TV program “Finding Dispersed Families” A. easily satisfied the inscription criteria, particularly in terms of their Q. Could you describe the significance in human history. The records’ global significance and their preparation process for the uniqueness stem from the fact that universal themes related to all humanity, nomination? such as the tragedy of war and familial love, were effectively presented on a This was not the first attempt national TV program that featured public participation. by KBS to have the archives inscribed on the Memory of the World A. Documents from the KBS Register. There was an effort in 2011 led by the Program Organization Special Live Broadcast Anyone who witnesses the agonized cries and flowing tears of the “Finding Dispersed A mother (Seo Ok-sun) Office, but it failed to make it through the deliberation process for selecting Families” speaks with her daughter separated families cannot help but empathize with their searing pain. These (Kim An-sun) after 33 candidates for nomination by the Cultural Heritage Administration. Drawing years of separation stories of dispersed families are interwoven with historical tragedies such on the lessons learned in the first try, the Archive Management Office at KBS through the “Finding as the Cold War and the Korean War, and testify to the importance of peace Dispersed Families” in 2013 took the initiative in collecting the related records and enhancing program and the value of family. conservation and promotion efforts.
The adoption of nationwide television A task force was set up in July 2013, and a project for compiling broadcasts as a means of seeking out family the related records was launched company-wide. First, archives held by members is considered a highly creative the Archive Management Office were thoroughly searched for related approach. Efforts at reuniting dispersed videotapes, photos, audiotapes, music, and books. Senior workers assisted families had already been undertaken with securing important records such as the notes of the program producer before the launch of the program, but with and the Gold Mercury Award granted to KBS in 1983 for the program’s few positive results. The TV program contribution to world peace. The prop room and the general affairs office “Finding Dispersed Families” achieved a storage were also combed through. Assistance and cooperation were remarkable success by restoring around sought from relevant organizations, including the National Archives of 10,000 families, largely due to the power of Korea. Through this multi-faceted endeavor, the scattered archives were national television: more than 50,000 people meticulously collected. appeared on the program and shared their stories. There were many who were too Careful consideration was given as to how to best organize these young when they were separated from their records. The process of categorizing the records according to standards families to remember the exact situation or such as media, time, place, and producer offered a chance to deepen our even their birth names; seeing and listening understanding of the heritage and contributed to summing up its values in a to descriptions and narratives presented by way that suited the writing of the nomination file. This was the preparation their family members on national television stage that was allocated the most time and effort. Korean Heritage for the World 22 23
People holding up signs containing information on the identities of their family members The KBS broadcasting station crowded with people hoping to find war-separated family members
The same level of attention as went into the collection of the archives program shows the immense sorrow carried by families shattered by political and the analysis of their value was given to considering methods for and ideological struggles, and it highlights how reunions are humanitarian in enhancing conservation and public access. All of the records were digitalized nature and separate from political and military concerns. and uploaded to a database. To improve access, a separate webpage for the records was prepared both in Korean and English. A photo book on the The separation of families by war is a tragedy that must be remembered archives was compiled and dispatched to UNESCO Headquarters and to around the world, not just by Koreans. While military conflicts continue to relevant broadcasting personnel. ravage lives in other parts of the world, “Finding Dispersed Families” remains a painful but valuable record of the tragedy of war that we all should keep in mind as we work toward ensuring peace in every corner of the globe. Q. What do you think is the meaning of the inscription? This is the second TV broadcast heritage that has been inscribed What kinds of plans have been prepared for the management, on the Global Memory of the World Register. It is also a rare Q. A. conservation, and promotion of the inscribed documentary case of global recognition of modern heritage, which has been subject to heritage? less attention domestically than has heritage from the distant past. Most importantly, the archives of the “Finding Dispersed Families” program is Efforts are being made to prepare an independent space for the an important documentary heritage that serves the role of reiterating the A. comprehensive conservation and exhibition of the relevant records; tragedy of war and the importance of Korean unification to current and the records are currently scattered among different agencies according to future generations. their respective types. The records from “Finding Dispersed Families” were produced in great quantities but have not been managed and conserved in an More than 30 years after the broadcast of the program, the Korean inclusive manner. They have gained a chance at comprehensive conservation Peninsula remains divided and dispersed family members are growing old based on a pubic consensus thanks to this inscription. Efforts to further collate still missing their relatives. The issues addressed by “Finding Dispersed relevant records and to enhance online access will continue to be made. Families” remain today in Korea. The “Finding Dispersed Families” Korean Heritage for the World 24 25
Tug of War in Eastern Asia: Tug of War, a Sacred Ritual and a Thrilling Game Its Heritage Value and Practice in Tug of war is a game in which two teams take either end of a rope and attempt to pull their opposites over to their side and thus determine the Korea, China, and Japan winner. The rope, the fundamental element of the game, can be made of anything sourced from the local environment, such as rice straw, rattan, bamboo, saplings, vines, grass, hemp, or animal hide. Text by Heo Yong-ho, Professor, Korea University
Photos by the Korea Cultural Heritage Foundation, Ju Byeong-su, the Uiryeong County Government Tug of war is a competitive game, but is not simply about achieving victory. Tug of war games ultimately aim to bring about prosperity and contribute to the enhancement of solidarity and harmony in practicing communities during the process. This means that tug of war is a contentious game which ends up separating winners from losers, but at the same time it provides a ritual for praying for abundance through collaboration and unity among community members.
Eastern Asia and Its Rich Tug of War Practices
Tug of war has long been practiced around the globe. Research findings confirm that rope pulling has been performed in the Americas, Africa, Europe, Asia, and South Pacific; and further by the Itelmen of the Kamchatka Peninsula and the Inuit of the Arctic. The traditional livelihoods of practicing communities are diverse, such as rice cultivation, slash-and- burn agriculture, hunting and gathering, and fishing. The transcendence of geographical bounds and means of living by tug of war practicing communities lends weight to the argument that tug of war is a universal cultural phenomenon of humanity.
However, there is a particular geographical region which shows a high concentration of practicing communities and can therefore be considered a “tug of war cultural area:” eastern Asia. Although some of the practicing communities in eastern Asia adopt slash-and-burn agriculture or fishing as their livelihoods, most rely on rice cultivation. Tug of war in this region is explored here by focusing on cases from China, Japan, and Korea.
A scene from a tug of war match Korean Heritage for the World 26 27
China and Ancient Written Evidence of Tug of War However, the traditional form of tug of war described above has disappeared from contemporary China. Rope pulling games using a crab- China retains the oldest written records on tug of war. Chinese books shaped rope performed by certain ethnic minorities during traditional compiled during the sixth through eighth centuries, such as Jingchu suishiji sporting events are all that can be found of tug of war in the country today, (Seasonal Festive Customs in the Jingchu Region), Suishu jingjizhi (The a far cry from the active transmission evident in Japan and Korea. However, Treaties on Geography of the History of Sui), and Fengshi wenjianji there has been a recent movement in Lintan County, Gansu Province to (Records of Things Seen and Heard by Mr. Feng), contain accounts of revive the traditional tug of war practice: efforts are being made to revitalize tug of war, referring to it with diverse names such as gouqiang, qiangou, the traditional tug of war practice based on accounts from a local history shigou, bahe, bahejie, and tuogouzhihu. These accounts indicate that tug of from the Ming Dynasty (1368–1644) by emphasizing the historic value of war in China evolved out of military drills and developed into large-scale its 600-year history. prosperity-prayer games of a collective nature.
This earliest documentary evidence supports a hypothesis that tug Japanese and Korean Tug of War Practices: Different but Similar of war in eastern Asia originated in China. In particular, it is notable that the description of tug of war presented in Fengshi wenjianji shares much Unlike the situation in China, traditional tug of war practices in Japan in common with contemporary tug of war practices in both Japan and have been transmitted to the present. Tug of war is called kagihiki or Korea. Commonalities include the causal relationship between victory and tsunahiki in Japanese. The timing for tug of war matches varies by region: abundance, a rope consisting of a huge body with hundreds of branch ropes on the fifteenth day of the first lunar month in the northeastern area, attached, and the use of a log to link male and female ropes. This means that including Aomori and Akita Prefectures and Tokyo and Osaka; from the China, Japan, and Korea share the tug of war practice of using an enormous seventh lunar month to the fifteenth day of the eighth lunar month in Chiba double rope and the function of it predicting the size of the harvest, Prefecture; the fifteenth day of the eighth lunar month in Kyushu; and the contributing to an argument that tug of war practices in all three countries sixth lunar month in Okinawa Prefecture. In contrast, in Korea tug of war share the same origin. games are mainly performed on the fifteenth day of the first lunar month (Jeongwol Daeboreum). Differences in the timing of tug of war between the
Rice straw, the main two countries indicate that in Korea rope pulling functions more as a New ingredient for making a Year’s ceremony to predict the harvest and pray for prosperity, while in tug of war rope Japan it is more of a harvest ceremony. Japanese tug of war is also distinct from Korean practices in that the former demonstrates characteristics of a rain calling ceremony. Although tug of war games in Korea are closely associated with farmers’ music (nongak), an association with sumo wrestling is evident in Japan.
A wide range of materials are used for constructing ropes in Japan, such as rice straw, bamboo, vines, barley straw, and grass. The dominant form of rope is a double rope comprised of male and female sides joined in the center. Such a double rope is also popular in Korea, but there are communities (concentrated in the southeastern section of the country, known as the Jeolla region) that perform tug of war using a single rope. Korean Heritage for the World 28 29
In Japan, competing teams for rope pulling games are divided between farming and fishing villages, eastern and western neighborhoods, and people from higher and lower areas, as well as between men and women. A victory in a tug of war game is interpreted as a harbinger of an abundant harvest, while a triumph for the women or a western team is understood as a symbol of good luck and upcoming bumper crops. The characteristics of Japanese tug of war with regard to team composition and the interpretation of victory are echoed in Korea. Tug of war practices in these two countries are also similar in that the dominant means of sustenance in the practicing communities is rice cultivation, the major ingredient for the rope is rice straw, grand- scale tug of war games using a double rope are the most popular form, and tug of war is actively transmitted in contemporary society.
Constructing a rope for the tug of war practice of Uiryeong Korean Tug of War and Its Diverse and Comprehensive Character
Tug of war in Korea, called juldarigi, takes diverse names according Baekjung and Chuseok, as well as on irregular occasions such as celebratory to the various regions, such as juldanggigi, julttaenggigi, juldanggeugi, events or to combat outbreaks of disease, tug of war in Korea mostly occurs juldaenggigi, julssaum, and julssam. It is also variously expressed in Sino- around the fifteenth day of the first lunar year. A tug of war game assumes Korean terms such as hyeolhahui, galjeon, sakjeon, yesak, seolha, yulye, the form of a competitive contest with the ultimate purpose of predicting insakhui, and mangin. As far-ranging as the names are the forms of the rope: the fishing or farming harvest for the year and praying for a bumper harvest. types such as a single rope, double rope, and crab rope are all employed for Although kudzu vines and hemp can be adopted depending on the local rope pulling games. environment, rice straw is most commonly used to fashion the rope. Bamboo strips and tree bark are also often employed as reinforcement. Similarly varied are the areas where tug of war is practiced, with matches taking place throughout the entire country. The 1930 research report Although there are some cases where only selected men take part in the Local Entertainment of Joseon mentions 161 areas on the Korean Peninsula rope pulling, normally no restrictions are imposed on participation in tug which were practicing tug of war, and it confirms that the Chungcheong, of war games in Korea, allowing anyone interested to become part of the Gyeongsang, and Jeolla regions had a high concentration of active areas. communal act of pulling the rope regardless of age or gender. This inclusive Although rope pulling takes place on other seasonal festive days such as nature of participation requires the construction of a huge rope which can Korean Heritage for the World 30 31
incorporates diverse rope pulling features that can be found across the globe, Fashioning a tug of war rope in Samcheok using as shown through the rope forms and the functions of the contest. a rope twister called a sulbitong
Tug of War, an Expression of Human Wisdom and Ingenuity
The rope, which is indispensable to the performance of tug of war, is made from materials closely related to the surrounding environment and the livelihoods of practicing communities. Tug of war games rely on local resources to turn humble materials into diverse types of ropes.
Tug of war is a ritual that is intended to predict the size of the harvest and pray for abundance and prosperity. This sacred purpose is delivered through the ecstatic act of rope pulling, meaning tug of war also becomes a thrilling game. Either as a ritual or game, it can be complete only through togetherness among community members. In this sense, tug of war is a festival where ritualistic and entertainment functions can coexist. accommodate hundreds or even thousands of participants at one time. Although there are no limitations on participation, there are particular rules Tug of war is a cultural practice which starts from inconsequential for dividing teams—according to gender or region, for example. materials such as rice straw but escalates into a community festival. As a condensed expression of human wisdom, tug of war is an arena where It is interpreted that the winner in the tug of war game will enjoy people can entertain themselves and offer up wishes for prosperity, and also a bumper crop. When teams are divided by gender, the female team is learn about community values. encouraged to win based on the belief that a victory for women will bring about prosperity. To the contrary, when region is used as the standard for dividing the teams, such as between east and west, coast and inland, or north and south, competition becomes fierce. In such cases a mechanism for cooling the cutthroat rivalry is sometimes set: a positive meaning can be assigned to a victory by each team, so a triumph for either team is interpreted as promoting peace and abundance.
The tug of war practice in Korea is characterized by its diversity. While the double-rope tug of war that is recorded in ancient Chinese documents is still popularly practiced, Korean tug of war also demonstrates similarities with the rope pulling using a single rope typical of Southeast Asia. Korean practice also manifests competitive features, as do the rope pulling games of China and Japan, while at the same time demonstrating the ritualistic and shamanistic characteristics that define Southeast Asian and Indian rope pulling manifestations. As such, the tug of war practice of Korea A tug of war contest in Uiryeong Korean Heritage for the World 32 33
China
The oldest known example of mother-of-pearl inlay is a ritual vessel dating to the Western Zhou period (ca. 1046–771 B.C.). Excavated in 1964 from a Western Zhou tomb in Luoyang, Henan Province, the vessel features small circles inlaid with mother-of-pearl. The related technique reached its zenith during the Tang Dynasty (618–907) and was expressed mainly in four types: mother-of-pearl inlay on wood; mother-of-pearl inlay on a black- lacquered surface; mother-of-pearl and gemstone inlay; and mother- of-pearl and tortoiseshell inlay.
A number of artworks with mother-of-pearl inlay presumed to originate in Tang China are housed at the Shosoin Treasure House in Japan. A copper mirror embellished with inlaid design (photo 1) kept in the south section of Shosoin is a clear example A modern mother-of-pearl of mother-of-pearl and gemstone inlay from Tang China, ornamented work from Korea by Jeong Su-hwa, Important Intan- with an inlay of mother-of-pearl, amber, and turquoise. Examples from the 1. Copper Mirror gible Cultural Heritage No. Song Dynasty (960–1279) have not been excavated, but remaining inlaid 8th century; 39.5 cm in 113 (sideboard; 84 x 40 x diameter; underside; 123 cm) lacquerware artifacts from the succeeding dynasties of Yuan (1279–1368) Shosoin and Ming (1368–1644) are exquisitely ornamented with landscape and figure designs inlaid in thin sheets of mother-of-pearl. Mother-of-Pearl Inlay in
Korea, China, and Japan Korea
It was during the Unified Silla period (668–935) Text by Lee Nan-hee, Curator, National Folk Museum of Korea when the mother-of-pearl inlay technique made its Photos by the Korea Cultural Heritage Foundation, Seo Heon-gang debut in Korea’s cultural expression. In the succeeding dynasty of Goryeo (918–1392), the technique enjoyed its apogee, as embodied in delicate and sophisticated artifacts. While long exchanging mutual influences, Korea, China, and Japan A mother-of-pearl-inlaid copper mirror measuring 18.6 have each developed a unique aesthetic sense and distinctive culture. One centimeters (photo 2) that is assumed to have been found in of the cultural expressions that demonstrate their respective characteristic the area occupied by the Gaya Federation (42–562) in the present-
aesthetics is lacquerware with mother-of-pearl inlay, which is created by day Gyeongsang region is similar to the example housed at Shosoin in terms 2. Copper Mirror lacquering and polishing a surface that is then inlaid with mother-of-peal. of the use of mother-of-pearl and amber for the expression of the design (excavated from the area formerly ruled by the Gaya These three Northeast Asian countries share the commonality of access to and the decoration of the surroundings with shards of turquoise. Like the Federation) 8th century; 18.6 cm in diameter; un- urushiol for high-quality lacquer production, and manufacture superb inlaid one at Shosoin, this copper mirror is decorated with flowers and two lions. derside; Leeum, Samsung lacquer artifacts reflecting their collective national traditions of beauty. The application of an animal and floral design is the commonality shared Museum of Art Korean Heritage for the World 34 35
A modern mother-of-pearl between the two, but the Joseon era, thinner mother-of-pearl became available and a new technique work from Korea by Jeong Korean example features (known as kkeuneumjil) for cutting mother-of-pearl to express motifs Su-hwa, Important Intan- gible Cultural Heritage a more active sense of came into fashion. Patterns of longevity symbols, landscapes, characters, No. 113 (two-tiered chest; movement in the lions and and auspicious symbols expressed in a modest and naturalistic way were 88 cm high) a rather simplified design widespread throughout the Joseon era. compared to its counterpart in Japan. Japan The design of choice for lidded bowls using mother-of-pearl inlay during the Goryeo Dynasty Lacquerware associated with Korea has been excavated from Yayoi was lotus flowers and scrollwork, a symbolic pattern borrowed from period (ca. fourth century B.C.–ca. A.D. third century) sites in Japan. Buddhism, while a motif featuring pomegranates with a seed pod in Passing through the Kokun (ca. third century–538), Asuka (358–710), and the center surrounded by scrollwork was also in style. The adoption of Nara (710–794) periods, Japan came under greater influence from Korea in flowers as a design has long been perceived as the most dignified way to terms of lacquer technique. It was during the Nara period when Japan began denote everlasting productivity, prosperity, and other auspicious effects. to utilize the mother-of-pearl technique for the decoration of lacquerware. In examples of cosmetics containers from the Goryeo era, a lotus and scrollwork design is gracefully embodied in inlay using not only mother-of- Approximately 20 lacquer artworks with mother- peal, but also tortoiseshell colored on its reverse. of-pearl inlay from this period are currently housed at Shosoin, including mother-of-pearl artifacts that One valuable example of Goryeo inlaid lacquer is a lidded container were transmitted from Baekje (18 B.C–A.D. 660) decorated with a grass and waterfowl design (photo 3). Prized as a and Silla (57 B.C.–558) in Korea and Tang China. superlative example of Goryeo inlaid lacquer, this container epitomizes the exquisite and intricate application of inlay technique using not only mother- During the Heian period (794–1185), mother- of-pearl, but also gold and tortoiseshell. of-pearl inlay saw remarkable advancement and was used simultaneously along with the make-e
3. Incense Container technique. In the Kamakura period (1185–1333), Inlaid with Grass and delicate inlay openwork was in fashion for decorating 4. Container Inlaid with Waterfowl Design Scrollwork Design 12th–13th centuries; saddles, and in the Muromachi period (1392–1573) Japan was influenced 16th–17th centuries 290.9 mm x 187.8 mm; (Momoyama and Edo National Museum of by advanced Chinese inlay skills. During the Momoyama (1573–1615) and periods); 11.8 cm x 41 cm Korea early Edo (1615–1868) periods, the dignified lotus and scrollwork design x 31.2 cm; MOA Museum of Joseon was accepted into Japanese inlaid lacquer norms. The scrollwork of Art in Japan design shown in photo 4 reflects the influence of Joseon. The cross pattern During the Joseon Dynasty, a sociocultural trend of shunning luxury used as a secondary design element in the decoration of the edges is one of and pursuing modesty was fueled by the influence of Confucian philosophy. the motifs favored in Japan for products to be exported to Europe. It also affected the expression of lotus and scrollwork designs on inlaid lacquerware. Around the mid-Joseon period, this design came to be enlarged, and the flowers and leaves grew more realistic with the emergence of an inlay technique called tabalbeop using whole shell. During the late Exploration of Korean Heritage 36 37
Interpretation of Modern-Day Conditions Using Dongui bogam
Text by Yun Da-won, Department of Korean Medicine, Semyung University
Dongui bogam (Principles and Practice of Eastern Medicine) is a medical text compiled under the leadership of the court physician Heo Jun in 1610. Synthesizing existing medical compilations, Dongui bogam is prized for its creative editing and unique organization suited to the Korean environment. This medical book issued more than 400 years ago still holds considerable clinical value and remains one of the most widely read texts among practitioners of Korean medicine. The significance of this 17th-century Korean medical compilation was recognized at the global level with its entry into the UNESCO Memory of the World Register in 2007.
Although it was produced centuries ago, Dongui bogam still covers treatments for diseases and symptoms often associated with modern life. Here, details on three common modern-day Heo Jun, the author of conditions—insomnia, diabetes, and constipation—are introduced. Dongui bogam
Insomnia, the Deprivation of a “Natural Health Source”
Insomnia is a sleep disorder characterized by difficulty falling or remaining asleep, or by experiencing sleep of poor quality. In Korean medicine, insomnia is understood as being caused by a lack of yin energy.
Yin and yang are opposing forces or energies that compose the foundation of every being in the universe. Korean medicine explains how harmonious interconnections between yin and yang are a prerequisite for healthy physiological and pathological activities. Lack of yin is believed to
The preface of Dongui bogam Exploration of Korean Heritage 38 39
Diabetes, a Definitive Disease of Modernity
Diabetes refers to a type of metabolic disease caused by reduced production of insulin or by an inappropriate reaction by the body to insulin. In the “Japbyeongpyeon” (miscellaneous diseases) section of Dongui bogam, the condition sogal (消渴) is explained as being suffered by overweight people when they indulge in sugary and greasy foods, a disease similar to what is understood today as diabetes. It is not that the two illnesses— Daehwang (大黃, Rhei sogal and diabetes—are identical, but the former is a broader medical condition Radix et Rhizoma): The Dried bamboo leaves: Bamboo leaves are dried for use Gypsum: A kind of mineral, gypsum is used in powdered Ginger: Ginger is a widely used medicinal material in thick, brown root section as a medicinal ingredient. Of a cold nature, dried bamboo form as a medicinal ingredient to lower internal heat. Eastern medicine for the treatment of rising heat. that includes symptoms of diabetes. is used as medicine, and leaves reduce heat and alleviate chest stuffiness. is immediately effective at facilitating the metabo- Consumption of large amounts of sweet and fatty foods constricts the pores lism, inducing diarrhea, and consequently prevents the discharge of yang energy, creating internal heat. and therefore reducing internal heat. The throat dries, and a thirst for water ensues. Given its soft nature, sweetness does not emit well and accumulates inside the body. Therefore, sogal is treated by cause the creation of internal heat and, consequently, the occurrence of chest removing internal heat through strengthening the lungs to allow better control of stuffiness and unease. In Dongui bogam, these are understood as symptoms the flow of water and by encouraging the production of body fluids. of the disease heobeon (虛煩), which can be identified with modern-day insomnia. Sogal is divided into three types—high, middle, and low sogal—and Yongdamcho (龍膽草, depending on its causes and symptoms it is subject to different medical formulas. Gentianae Radix): The “Mongmun” (sleeping) under “Naegyeongpyeon” (internal medicine) hair-like root section is Those suffering high sogal show a red, chapped tongue and an extreme thirst used as medicine for in Dongui bogam treats the deprivation of sleep due to heobeon with a for water. For this, a decoction (baekogainsamtang) of gypsum, jimo (知 lowering heat and drying decoction (jugyeopseokgotang) of dried bamboo leaves and gypsum or with wetness. 母, Anemarrhenae Rhizoma), and ginseng is prescribed, a remedy that has a decoction (sanjointang) of sanjoin (酸棗仁, Zizyphi Spinosae Semen) and traditionally been given to those who feel severely thirsty and sweat profusely. ginger. Patients with middle sogal eat well but remain thin, sweat A separate prescription is suggested for the disease sagyeolbulsu, which a great deal even while sedentary, and suffer hardened feces refers to a lack of sleep stemming from concerns or worries. This disease is and frequent urination. Middle sogal is treated with a decoction reminiscent of contemporary people deprived of sleep due to major stress. (jowiseunggitang) of daehwang (大黃, Rhei Radix et Rhizoma) and For this condition, a decoction (ondamtang) of dried tangerine peel and mangcho (芒硝, Natrii Sulfas) or a decoction (saengjingamnotang) licorice is suggested. of yongdamcho (龍膽草, Gentianae Radix) and hwangbaek (黃柏, Phellodendri Cortex). While remedies for sleep problems are presented in Dongui bogam, the principal rule in Korean medicine is that prevention is the best cure of People with low sogal experience tightness in the chest, a desire disease. This is why techniques for falling asleep are suggested at the end of for water, a dry ear conch, oily urine, and weak legs and knees. For “Mongmun.” For the alleviation of insomnia, it is recommended that people patients with such symptoms, a pill made of ingredients supporting lay down for sleep on their side with the knees bent, keep the mouth closed the liver and kidney, such as sukjihwang (熟地黃, Rehmanniae during sleep, and stretch the body when awake. Radix Preparat) and sansuyu (山茱萸, Corni Fructus) is prescribed. Exploration of Korean Heritage 40 41
Constipation can manifest itself in two types— “filled” and “empty” constipation, respectively caused by the consumption of food and by a lack of energy. Those with “filled” constipation eat well but have red urine, while those with “empty” constipation do not eat well and have clean and frequent urination.
If the condition falls into the former type, diarrhea is induced as a treatment so that the bowels can be Billang (檳榔, Arecae Semen): A species of palm cleansed, and anything that has coagulated or hardened originating from Malaysia, Sansuyu (山茱萸, Corni Fructus): Deseeded, Sukjihwang (熟地黃, Rehmanniae Radix Preparat): Made can be relaxed and softened. As a treatment, a decoction billang promotes the the fruits are utilized for alleviating the condi- by repeatedly steaming and sun-drying jihwang (地黃, secretion of sweat, saliva, tions of cold sweat and enuresis. Rehmannia root), it is used to increase body fluids. (seunggitang) of daehwang, mangcho, and jisil (枳實, Aurantii immaturus and digestive fluids, and Fructus), materials that attack anything that has been accumulated or also facilitates bowel movements, contributing clogged, to induce diarrhea is prescribed. If it is the “empty” type of to proper excretion and urination. constipation, bodily fluids are increased in order to wet what has dried and to Dongui bogam laid out three taboos for the prevention of sogal: disperse what has been held together. When seniors suffer from constipation, drinking alcohol, having sex, and eating salty food and wheat flour, all daehwang should not be prescribed since the primary cause of seniors’ of which would add to the production of internal heat. Another caution constipation is a lack of body fluids. Diarrhea brought about by daehwang is that acupuncture and moxibustion should not be applied to those who would discharge bodily fluids and could therefore re-cause or even worsen have suffered from sogal for more than 100 days, as skin breaks caused by the constipation. An inadequate flow of energy can also give rise to difficulty needles and moxa burns would produce a steady discharge of pus in sogal excreting, and is treated by medical materials including billang patients. The moxibustion treatment should also be only restrictively applied (檳榔, Arecae Semen) that are effective at releasing plugged energies and to patients with diabetes since they are slow in healing from wounds. facilitating their flow.
At the end of “Daebyeonmun” is a presentation of ways to encourage Constipation, a Disease Easily Ignored excretion among those who are old or weak and cannot be administered medical prescriptions. Jogakja (皂角刺, Gleditsiae Spina) is put into honey Symptoms of constipation include excessive effort needed for that has been boiled down, and the mix is rolled in the palm to make a small discharging feces, hardened stools, a feeling of incomplete elimination, and pill. The pill is used as a suppository, and the patient soon experiences a excreting less than three times per week. “Daebyeonmun” (excreting) of bowel movement. Honey adds to yin energy and therefore controls the “Naegyeongpyeon” in Dongui bogam relates that constipation can be caused discharge of feces; jogakja is effective at eliminating things that have been by a reduction of body fluids stemming from indulgence in food, overwork, clogged. or eating a lot of hot and spicy food. It could also result from a lack of bodily fluids due to aging or weakened energy. Exploration of Korean Heritage 42 43
Situated between Mt. Jirisan and Mt. Deokyusan, Sangnim Forest in Hamyang, South Gyeongsang Province is renowned for its rich forest and clean waters. With its forest trails and streams preserved in pristine condition, Sangnim Forest is considered an ideal spot for holidaymakers. While Mt. Jirisan may be a more popular tourist destination given its fame alongside Mt. Geumgangsan and Mt. Hallasan as one of the country’s three sacred mountains, paying a visit to nearby Sangnim Forest offers a no less satisfying experience.
The first man-made forest in Korea, Sangnim (Natural Monument No. 154) was formed along Wicheon Stream in western Hamyang. Legend has it that Choi Chi-won, the foremost literary scholar of Unified Silla, led the planting of the artificial forest of Sangnim when he was appointed magistrate of the area with a view to preventing flood damage. Created to protect the Hamyang area more than 1,000 years ago, Sangnim is now prized for its cultural and natural value.
Unlike many other forests, Sangnim can be visited without the struggle of climbing mountain paths. This may give visitors the impression that Sangnim is a small park rather than a spacious forest, but this could not be further from the truth: Sangnim is a full-scale forest spanning 21 hectares and equipped with about 1.6 kilometers of walking trails. The first thing that greets a visitor at the entrance of Sangnim is the “love tree.” Two trees stand as one with their trunks joined, symbolizing harmony and affection between spouses or lovers. What makes this combined tree at Sangnim even more Lotus fields at Sangnim special is that the two trees are of different species, zelkova and hornbean, imparting a more sacred sensation. Visitors may wish to pray for everlasting love with a partner in front of this tree.
Farther along the trail into the forest, walkers can encounter more Sangnim, an Artificial Forest with a than 110 different species of flora, including oak, zelkova, willow, cherry, Thousand-Year History camellia, wild grapes, and kudzu. This ecological diversity sometimes misleads visitors into assuming that Sangnim is a natural forest. They are surprised to discover that Sangnim was planted artificially, and again
Text by Park Hang-dar, Cultural heritage interpreter, South Gyeongsangnam-do Province surprised by the pristine conditions maintained in the planted forest for more than 1,000 years. The forest is currently home to about 20,000 trees, and a Photos by Culture and Tourism Division, Hamyang-gun County population of red spider lilies formed inside mesmerizes viewers when they come into full bloom in autumn. Exploration of Korean Heritage 44 45
Sangnim Forest in early autumn Sohacheon Stream at Sangnim
Besides the trees, shrubs, and flowers, Sangnim offers a wide range The Sangnim attractions finish off with a pond built by installing of cultural monuments to appreciate and experience, including pavilions natural stones around Sohacheon Stream. Although also artificial, the pond such as Hamhwaru, Saunjeong, and Hoesujeong; steles such as the one strikes an astonishing harmony with the surrounding nature. Appreciating commemorating the achievements of Choi Chi-won; and the Historic Figures the shades cast into the water by the sky and overhanging trees is another Park. As such, Sangnim is a treasure contributor to the pleasure of a Sangnim walk. The leaves and branches trove of cultural and historic remains reflected in the pond rival a landscape painting. of the literati class of the past, testifying to the long-established Fully refreshed after walking on earth and inhaling the reinvigorating fame of Hanyang, which stands scents, visitors exit from the forest and have a chance to enjoy a beautiful alongside Andong as one of the two scene created by lotuses and poppies. Poppies burst into bloom in spring, most noted centers of scholarship in and in summer a colorful array of lotus flowers arrests visitors’ attention. In southeastern Korea. Exhibiting busts addition, the fall foliage engenders a special sensation in autumn, and snow of the 11 most celebrated literati piling up on branches is a source of pleasure in winter. As such, Sangnim scholars of the southeastern region exhibits unique forms of beauty year-round. This is why Sangnim has long of Korea, the Historic Figures Park been a popular spot for artistic pursuits by professional photographers. serves to disseminate the scholarly spirit they embodied, presenting in a Although born out of human efforts, Sangnim is a full-blown forest. condensed space the full intellectual For more than 1,000 years, the trees and undergrowth have carried out a The joined tree at Sangnim, called the history of both Sangnim Forest and ceaseless cycle of budding and flowering, becoming firmly established in “love tree” the Hanyang area as a whole. the soil where they currently stand. Hopefully, visitors will all understand Sangnim as it is today—a forest unlike any other. Exploration of Korean Heritage 46 47
Information for Visitors
▶ How to get there ▶ Other Places to Visit in the Area
To get to Sangnim Forest from Seoul, you can take Expressway No. 1 Ildu Historic House (Important Folklore Cultural Heritage No. 186): and change to Expressway No. 35 (Tongyeong-Daejeon) and enter Hamyang 262-1 Gaepyeong-ri, Jigok-myeon, Hamyang-gun, South Gyeongsang at the Hamyang Interchange. Entering downtown Hamyang, it is about a Province 500 meter walk to reach Sangnim Forest. Both entrance and parking are free Ildu Historic House was the residence of Jeong Yeo-chang (1450–1504), a year-round. Since Sangnim is designated as Natural Monument No. 154 prominent scholar from the reign of King Seongjong of Joseon. Consisting of on the national heritage list and is subject to protection under the Cultural 11 buildings spread over a compound of about 9,900 square meters, most of the Heritage Protection Act, inappropriate activities outside sightseeing are structures were constructed during the 16th–17th centuries, with the exception prohibited. of the master’s room built in the 18th century. A one-day stay at Ildu Historic House will add to the pleasure of any visit to Hamyang.
▶ Festivals Held in Hamyang Yongchusa Temple: 623 Yongchugyegok-ro, Anui-myeon, Hamyang-gun, South Gyeongsang Hamyang Wild Ginseng Festival: Province The festival takes place over five days between late July and early August in the area in and around Sangnim, and features exhibitions, sales, and Yongchusa Temple originated out of one of the four hermitages affiliated experience programs on the theme of wild ginseng. with Jangsusa Temple, which was constructed by Monk Gakyeon in 487 during the Silla Kingdom. While Jangsusa and the other three hermitages were Water Mill Festival: destroyed, Yongchusa has survived to the present and houses a number of This festival is organized in October in the Sangnim area and encompasses cultural monuments, including Jogyemun Gate of Jangsusa Temple (designated a wide range of activities and programs, including a ritual at Saunjeong Tangible Heritage No. 54 on the provincial heritage list of South Gyeongsang Pavilion, digging lotus roots, and music and poetry composition contests. Province). Set in a gorgeous landscape, the temple also offers a view of the refreshingly cascading water of the Yongchu Valley to its rear.
A walk trail at Sangnim Cultural Heritage Administration Headlines 48 49
CHA News
New UNESCO Affairs Team Launched CHA Grants for the Promotion of Korean Heritage Abroad
A World Heritage Division was established at the Cultural Heritage The Cultural Heritage Administration has been implementing its Administration in December 2015 as an independent workforce tasked with Korean Cultural Heritage Grants program with a view to enhancing the heritage affairs pertaining to UNESCO. This new division has been assigned promotion of Korean artifacts collected by overseas entities and to extending the comprehensive task of inscribing deserving Korean heritage on the partnership with such organizations. Since its 2007 initiation, this program UNESCO lists, as well as its post-inscription conservation and promotion. has benefitted 16 organizations in nine countries. Grants have been utilized In 2015, the Baekje Historic Areas were entered onto the World Heritage for producing promotional leaflets and photo books, hosting exhibitions, List, Tugging Rituals and Games was inscribed on the Representative List launching webpages, and performing conservation treatment. Thanks to of the Intangible Cultural Heritage of Humanity, and Confucian Printing this program, artifacts of Korean origin that remain overseas have become Woodblocks in Korea and the Archives of the KBS Live Broadcast “Finding better known in a range of foreign nations and have even been revitalized Dispersed Families” were placed in the Memory of the World Register, through conservation treatment. It is particularly notable that the execution Gyehoedo, which was brought to light through pushing the number of Korean heritages inscribed on these three UNESCO of grants provided to the Honolulu Museum of Art in 2015 brought to light the Korean Cultural lists to 12, 18, and 13, respectively. a valuable artifact (the 16th-century painting Gyehoedo depicting a scholar- Heritage Grants program, before and after conserva- officials’ gathering) that had been buried away in the museum’s storage. The tion treatment painting underwent conservation treatment and was then loaned for an exhibition at the National Palace Museum of Korea. In 2016 grants will be offered to the Honolulu Museum of Art and the Koryo Museum of Art in Japan, just as last year, and new candidates will be selected as well. Anyone interested in the program can contact the person in charge at the CHA, Mr. Kim Byung-yeon (+82-42-481-4736; [email protected]).
The 39th session of the World Heritage Committee in Bonn, Germany, 2015 Cultural Heritage Administration Headlines 50 51
CHA Events
Event Period / Time Location Contents Event Period / Time Location Contents
Performance of Important Experience of making Every Thursday during Traditional experiences traditional crafts, and experi- Music at Deoksugung Palace Deoksugung Palace Intangible Cultural Heritage Year-round Incheon International Airport May 12–June 30 for travelers ence of traditional clothes and other traditional arts through digital technology Special night tour of March 1 (Tue.)–April 3 (Sun.), Changgyeonggung Palace Night tour of the palace Exhibition of Korean cultural Display of tangible and Changgyeonggung Palace April 29 (Fri.)–June 1 (Wed.) Year-round Incheon International Airport heritage intangible cultural heritage 14:00 during April 1 (Fri.)– Weekday performances Gyeongbokgung Palace - Transmission Center for June 30 (Thu.) Permanent and special Exhibitions relating to tradi- Year-round Important Intangible exhibitions tional arts Cultural Heritage 20:00 on April 19 (Tue.)–April Moonlight Tour at Changdeok- 25 (Mon.), May 18 (Wed.)–May Changdeokgung Palace * By reservation only Ongoing performance of Performance hall at Korea gung Palace 24 (Tue.), June 16 (Thu.)–June Year-round - traditional arts House 22 (Wed.)
Gyeongbokgung Palace, Ceremony of the changing of Year-round About 30 programs including Gyeongbokgung Palace - Changdeokgung Palace, the royal guard (closed on Tuesdays) media façades and Royal Culture Festival April 29 (Fri.)–May 8 (Sun.) Changgyeonggung Palace, performance at Year-round Baegaksan section of the Deoksugung Palace, Jongmyo Exploration of Mt. Baegaksan - Gyeonghoeru Pavilion (closed on Tuesdays) Seoul City Wall Shrine
20:00 from April 29 (Fri.) Gyeongbokgung Palace, Regular Tuesday performance Every Tuesday year-round Korea Cultural House - Night performances - –June 2 (Thu.) Changgyeonggung Palace Performance hall (“Pungnyu”) Regular performance at the Transmission Center for Traditional dance, music, and Parade of a royal carriage, Every Thursday year-round Jeongjeon Hall and Yeong- observation of the royal ances- of story narration Important Intangible Cultural performance Grand Royal Ancestral Ritual at May 1 (Mon.) nyeongjeon Hall at Jongmyo tral ritual, and reenactment of Heritage Jongmyo Shrine music and dance for the royal ancestral ritual Performance of Important Wednesday invitation of Every Wednesday from March Performance hall at Korea Intangible Cultural Heritage master artists 2 (Wed.) through December House and fusion traditional Korean Reenactment of the music and Performance of the music for the Jeongjeon Hall at Jongmyo dance for the royal ancestral music May 2 (Mon.)–May 4 (Wed.) royal ancestral ritual at Jongmyo Shrine ritual * By reservation only 09:30–15:30 on March 30 Taking and providing Hyangdaecheong Area at Culture day (Wed.), April. 27 (Wed.), May memorial photos with actors Jongmyo Shrine Reenactment of the visit to 25 (Wed.), and June 29 (Wed.) wearing ritual costumes Jeongjeon Hall at Jongmyo Myohyeollye Ritual at Jongmyo May 5 (Thu.)–May 7 (Sat.) Jongmyo Shrine by the Crown Shrine Music explained by a cura- Princess after her marriage 16:00–17:00 on March 30 National Palace Museum tor, and performances by Culture day (Wed.), April. 27 (Wed.), May Joint public performance of Performance of Important of Korea Important Intangible Cultural 12:30 from May 4 (Wed.) Fountain in front of Seokjojeon 25 (Wed.), and June 29 (Wed.) Important Intangible Cultural Intangible Cultural Heritage Heritage masters –8 (Mon.) Hall at Deoksugung Palace Heritage masters masters Every Wednesday Experience of a tea ceremony Jaesil House at during May–June and * By reservation only In front of Junghwajeon Hall at Musical show, classic music at Jeongneung Tomb Jeongneung Tomb Night promenade of Jeongdong May 27 (Fri.)–May 28 (Sat.) September–October Deoksugung Palace performance (until 22:00)
Traditional crafts exhibition 9:00 and 11:00 on every Exhibition of craft works by Listening to Korean music Rear garden and Nakseonjae hall (third floor) of Transmis- Sunday during May–June and * By reservation only 36th Traditional Crafts Exhibition June 1(Wed.)–June 15 (Wed.) Important Intangible Cultural at the palace Hall at Changdeokgung Palace sion Center for Important September–October Heritage masters Intangible Cultural Heritage Cultural Heritage Administration Headlines
Affiliated Organizations of the Cultural Heritage Administration
Name Website Tell
Korea National University of Cultural Heri- http://english.nuch.ac.kr/CmsHome/NUCH- +82-41-830-7114 tage default.aspx
The Training Center for Traditional Culture http://tctc.nuch.ac.kr/eng/ +82-41-830-7825
National Research Institute of Cultural http://www.nrich.go.kr/english_new/ +82-42-860-9114 Heritage
Gyeongju National Research Institute of http://www.nrich.go.kr/english_new/lo- +82-42-860-9114 Cultural Heritage resch_Ins/gj_PEstablish.jsp
Buyeo National Research Institute of Cultural http://www.nrich.go.kr/english_new/lo- +82-42-860-9114 Heritage resch_Ins/by_PEstablish.jsp KOREAN
Gaya National Research Institute of Cultural http://www.nrich.go.kr/english_new/lo- +82-42-860-9114 HERITAGE Heritage resch_Ins/gy_PEstablish.jsp Quarterly Magazine Jungwon National Research Institute of http://www.nrich.go.kr/english_new/lo- of the Cultural Heritage Administration +82-42-860-9114 Cultural Heritage resch_Ins/jw_PEstablish.jsp Cultural Heritage Administration, http://www.nrich.go.kr/english_new/lo- Cultural Heritage Conservation Center +82-42-860-9114 189 Cheongsa-ro, Seo-gu, Daejeon, Republic of Korea resch_Ins/ch_PEstablish.jsp Tel | 82-42-481-4735 Fax | 82-42-481-4759 http://www.gogung.go.kr/fore/main. http://english.cha.go.kr National Palace Museum of Korea +82-2-3701-7500 do?pLng=en Printed | March 15, 2016 National Research Institute of Maritime http://www.seamuse.go.kr/seamuseweb/ +82-61-270-2000 Published by | Cultural Heritage Administration Cultural Heritage main/Index.do?mn=EN_01 Republic of Korea http://www.royalpalace.go.kr/html/eng/ Gyeongbokgung Palace Management Office +82-2-3700-3900 Publication | Director of International Cooperation Division main/main.jsp management Content | Moon Sun-kyoung, Kim Young-mi, Seong Hyun-jung Changdeokgung Palace Management Office http://eng.cdg.go.kr/main/main.htm +82-2-3668-2300 coordination Translation | Park Jung-eun http://www.deoksugung.go.kr/eng/index. Deoksugung Palace Management Office +82-2-771-9955 Copy editing | Bill Sharp asp Design ∙ Editing | Graphickorea Co., Ltd
National Intangible Heritage Center http://www.nihc.go.kr/english/html/ +82-63-280-1400 Printed by | Graphickorea Co., Ltd
Korea Cultural Heritage Foundation http://www.chf.or.kr/en +82-2-566-6300 Cultural Heritage Administration, 2016
Overseas Korean Cultural Heritage Founda- http://www.overseaschf.or.kr/site/main/ +82-2-6902-0756 This publication is copyrighted. No part may be reproduced tion index002 by any process without written permission. http://www.k-heritage.tv/hp/vod/eng/ K-heritage.tv +82-2-566-6300 engIntro.do
copyright Cultural Heritage Administration