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HERITAGE N A E R O K KOREAN HERITAGE

Fabulous VOL 41 SUMMER 2018 SUMMER 2018 Vol.41 Cultural Heritage Administration

Centuries of Dedication to the Refinement of Craft Meet Daily Life

ISSN 2005-0151 www.koreanheritage.kr Government Publications Registration Number : 11-1550000-000639-08 Hanok & Buchae ON THE COVERS

Hanok refers to traditional Korean housing built purely with materials from nature—wood, stone, and earth. Celebrated for their architectural harmony with the natural environment, traditional Korean houses fully consider the climate and topograpy of the Korean Peninsula. All across the country there are hanok surviving from hundreds of years ago and others being carefully restored based on historical documentation.

An image of the decorative motifs appearing along the edges of the name plaque for Injeongjeon Hall at Changdeokgung Palace Quarterly Magazine of the Cultural Heritage Administration KOREAN HERITAGE

SUMMER 2018 Vol.41

ON THE COVERS

Traditional Korean houses sometimes feature soseul daemun, or “lofty gates,” which were reserved for buildings of high status. Rising above the flanking walls, a lofty gate with a raised roof reflected the authority of a building’s occupant. This explains its widespread adoption as a type of gate for royal palaces. The front cover displays Honggyeongmun, a gate in Gyeongbokgung Palace that was restored to its present appearance in 2005. The image on the back is from the installation artwork Reflection by Suh Do-ho. It was inspired by the lofty gate of his childhood home, which in turn was KOREAN HERITAGE is also available on the website designed after Yeongyeongdang Hall in Changdeokgung Palace. Suh creates modern artworks (www.koreanheritage.kr) and smart devices. You can also download drawing upon hanok, which represents to him both his Korean identity and worldview and a miniature its PDF version and subscribe to our newsletter to receive our latest microcosm that sheltered him during a critical period of his life. news on the website. FEATURED ISSUE Cultural Heritage Administration, 2018 Centuries of Dedication to the Refinement This publication is copyrighted. No part may be reproduced of Craft Meet Daily Life by any process without written permission. Fabulous Copyright © Cultural Heritage Administration

FEATURED HERITAGE THROUGH PHOTOS TRADITIONAL KOREAN AESTHETICS · 04 Buchae: A Culinary Prescription Traditional Fans Stir the Air with Dignity for Fighting Summer Heat · 34 Koreans of the past created a wide range of fans for both practical and aesthetic purposes Koreans of the past endured the sweltering summer heat through a wise selection of hot and cold dishes A COMPARATIVE VIEW · 12 The Prodigal Man in Hallyangmu and Talchum Two forms of traditional dance address life in hierarchical Joseon society through choreographic movements

HERITAGE ISSUES TODAY INTERVIEW · 18 · 42 Encounter of Tradition with Modernity The Past Comes Alive Hanok: Houses that Breathe Three complete tiles assembled from shards excavated from for a Thousand Years Sacheonwangsa Temple are put on public exhibition. Also, one of the definitive palace tour programs in Korea, the Moonlight Tour at Master Choi Ki-young and the installation artist Suh Do-ho discuss Changdeokgung, continues to offer a special nightly promenade of the attraction of traditional Korean housing this royal space in 2018

LOCAL HERITAGE GUIDE · 26 Coastal Rocks

Sculpted by Waves CULTURAL HERITAGE ADMINISTRATION HEADLINES Presented here are three scenic sites renowned for beautiful rock formations carved by waves, winds, and sunlight Films by K-Heritage TV Awarded at Worldfest-Houston · 52

KOREAN Cultural Heritage Administration Date Of Publication June 5, 2018 · Published by Cultural Heritage Administration Republic of Korea · Publication Management Director of International Cooperation Division · Content Coordination Moon Sun- HERITAGE 189 Cheongsa-ro, Seo-gu, Daejeon, Republic of Korea Tel 82-42-481-4737 Fax 82-42-481-4759 Contact jin.park@korea.kr kyong, Park Ji-young · Translation Park Jung-eun · Copy Editing Bill Sharp · Coordination by CH121 Quarterly Magazine of the Cultural Heritage Administration Website www.koreanheritage.kr Printed by Sejin Publishing, Printing TRADITIONAL KOREAN AESTHETICS A fan featuring warped ribs, the rendering of which requires a high degree of dexterity Buchae: Traditional Fans Stir the Air Since time immemorial, people have employed a with Dignity range of devices to respond to seasonal changes. One Text & Photos by Geum Bok-hyun, Cheonggok Fan Museum example is fans, which were used to provide a cooling breeze in the sweltering summer heat. Originally, large, durable leaves were used to move the air, but the form evolved continuously with the adoption of new materials such as feathers, silk, and paper. In Korea, handheld fans signified the dignity and tastes of their users and formed an intrinsic component of a number of customs. Koreans of the past would beat out a rhythm with their fans as they recited poetry, and they took pleasure in exchanging them as gifts. Traditional fans were much more than simple cooling devices for Koreans.

History of Traditional Fans The world’s oldest fans are those discovered in the tomb of the ancient Egyptian pharaoh Tutankhamun from the fourteenth century B.C. The first known evidence of a fan in the East is a lacquered fan handle excavated from a tomb in Dahori in southeastern Korea. Originally made with feathers, only the handle of the Dahori fan relic has survived. It is purported to have been made before the three ancient kingdoms of Goguryeo, Baekje, and Silla came to dominate the Korean Peninsula during the Three Kingdoms period at the start of the Common Era. Fans are also found among relics from Goguryeo (37 B.C.–A.D. 668). The Goguryeo-era Anak Tomb No. 3 in Hwanghae Province in present-day North Korea features murals showing human figures holding fans. Murals at the Takamatsuzuka Tomb in Japan also depict female attendants holding round, rigid fans with long handles following behind a main figure who appears to hail from Goguryeo. A fan rendered in the shape of a lotus Among the surviving relics from the Goryeo Dynasty (918–1392) is a handheld fan exhibited in

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the Treasures Hall of Taesamyo Shrine in Andong, Korea, which is dedicated to the spirit tablets In Korea, handheld fans signified the dignity and tastes of three meritorious officials who made critical contributions to the foundation of Goryeo. This of their users and formed an intrinsic component of handheld fan with a lacquered wood mount and handle are believed to have belonged to Princess a number of customs. Noguk, the wife of Goryeo’s thirty-first ruler Gongmin (r. 1351–74). When the royal couple visited the shrine to pay tribute to the dynastic founders, the princess happened to leave her fan behind. This royal accouterment has been maintained at the shrine ever since.

The earliest textual evidence of a fan comes from the twelfth-century Korean history Samguk A _ A rigid handheld fan for sagi (History of the Three Kingdoms). It is recorded that when Wanggeon (r. 918–43), the founder weddings, lavishly embroidered with peony flowers of Goryeo, ascended to the throne, the leader of the Later Baekje Kingdom, Gyeonhwon, sent him

a handheld fan trimmed with peacock feathers as a congratulatory gift. Wanggeon held this fan B _ A court lady’s fan made from embroidered silk at his enthronement ceremony, but not as a means to move the air. It was intended to express his

commitment to protect the dynasty from wind, which symbolized war or misfortune at the time C _ A painted fan rendered and was understood as a harbinger of pending disaster. in the shape of a banana leaf

The Many Varieties of Korean Handheld Fans The Chinese character seon ( ) meaning “a handheld fan” is comprised of 扇 two components ( and ) meaning “a house” and “feathers.” 戶羽 Together they denote “feathers inside the house.” Its Korean equivalent buchae is a pure Korean word, consisting of bu meaning “move air” and chae meaning “a tool.” Traditional Korean handheld fans come

in more than one hundred variations depending on the materials involved, inclusions of embroidery, and the intended occasions for its use. Plumage fans can be divided into different types according to the C kind of a bird and the color of the feathers, like fans made from the tail feathers of male pheasants, their body feathers, or those of owls or peacocks. Hemp or silk can be used with fabric B fans, and silk fans are categorized into those with and

without embroidery. There were distinctive fans serving as a regal A accessory, and others as a ritual object at a wedding for royalty or nobility.

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A folding type of fan, one variation of hapjukseon has as many as fifty ribs and one hundred folds. The lightness and durability of Folding Handheld Fans for Style and Dignity Korean paper allows the creation The Chinese travelogue Xuanhe fengshi gaoli of this type of fan. tujing, an account of a diplomatic mission to Korea written by the Chinese emissary Xu

The development of Korean paper in Jing during the Song Dynasty (960–1279) the eighth century during the Unified records that “People in Goryeo carry with Silla period (676–935) provided a them handheld fans even in winter. critical boost for the development These fans are of an interesting of diverse types of handheld fans. variety, which is folded and unfolded Made from the inner bark of and therefore convenient.” From this, mulberry trees, Korean paper is it is inferred that folding handheld both light and durable, providing fans, called jeopseon, had already an ideal material for handheld come into wide public use by the fans. Diverse kinds of paper fans Goryeo public even before they were were crafted, such as those painted known in China. with a taegeuk (supreme ultimate) A folding handheld fan from the symbol, inscribed with a poem, or Goryeo era that demonstrates a great decorated in a flower and butterfly motif. level of dexterity and dignity was excavated

Others resembled the form of the tail of a hapjukseon in Hwanghae Province. Guarded by a thick

carp, while still others featured warped ribs for metal rib at either end that was ornamented

decorative purposes. There were lacquered fans folding fan made with thin using the silver inlay technique, the wooden slips are

bamboo strips as its ribs clutched together by a silver rivet at the base decorated as well. A folding fan coated in lacquer, which creates a brilliant and waterproof surface Traditional Korean handheld fans boast a simple but with a fish motif coated in gold. Suspended from the rivet are delicate aesthetic. One of its outlets is the decoration on the head of the handles of rigid fans where a chain and a pendant that are also covered in silver. Its exquisite the component ribs are gathered. Rendered thick and sturdy, the head of the fan handle is commonly crafting matches that of fans used exclusively by kings. ornamented with one of a diverse range of motifs, a distinctive characteristic unique to traditional After its invention, the folding fan quickly became a necessary part of the Korean fans. paraphernalia of the literati class for their outings. It was a customary practice in Goryeo for aristocrats One of the definitive Korean hand-fan forms is the hapjukseon, meaning “a handheld fan with the ribs to always carry a folding fan, regardless of season. They used the fan in the hand to create a cooling individually made by attaching two bamboo strips.” A folding type of fan, one variation of hapjukseon breeze in summer and to buffer the freezing wind in winter. They could also avoid people or things they has as many as fifty ribs and one hundred folds. The lightness and durability of Korean paper allows did not wish to encounter by covering their faces with the fans. While reciting a poem, their handheld the creation of this type of fan. fans served as batons to mark the rhythm.

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Those recognized for even greater goodness received multiple fans, and they would pass them along as gifts to those senior in age or to whom they felt grateful.

A fan showing a taegeuk symbol in the center

Fans Offered as Gifts Handheld fans were given as diplomatic gifts throughout the Goryeo era, and in the following dynasty of Joseon (1392–1910) as well. Goryeosa (History of Goryeo), a fifteenth-century Korean history, recounts that painted fans were sent to the Yuan Dynasty in 1232 on a diplomatic mission from Goryeo to this Mongol dynastic rule established in China. Examples of hand fans adopted as political gifts during the Joseon period include an offering to the Ming Dynasty of ten rigid and eighty-eight folding fans in 1426 during the reign of King Sejong and of fifty folding fans presented in 1452 during the reign of King Danjong, both through visiting Chinese emissaries. Tongmungwanji, an eighteenth-century compilation on foreign relations with China and Japan, relates that handheld fans were also part of the Joseon diplomatic offerings by the embassies to Japan. Fans were presented as royal gifts as well. Emperor Shun, a legendary leader of ancient China, fashioned special fans called wumingshan and offered them as gifts to those who performed good acts or recommended good candidates for employment as a way of hiring people of talent and wisdom. In Goryeo as well, kings would celebrate Dano, a seasonal holiday falling on the fifth day of the fifth lunar month signifying the beginning of summer, by awarding people fans for their benevolent acts. Those recognized for even greater goodness received multiple fans, and they would pass them along as gifts to those senior in age or to whom they felt grateful. These fans endowed by a king sustained their holders through the summer. The practice of exchanging fans as gifts on Dano took hold among the Korean people and has been transmitted until the present.

A fan embodying a taegeuk (supreme ultimate) symbol and embroidered with Despite living in an age of automatic air conditioning, many Koreans cherish memories of handheld a flower and butterfly motif fans deeply in their hearts. My mother and I used to rest on a straw mat in our courtyard on sweltering summer days. I still vividly remember her chasing away mosquitoes and softening the heat with a handheld fan as she narrated interesting stories to me. I still miss the pleasant breeze created by her

fan and treasure the memories of those summer days with my mother.

TRADITIONAL KOREAN AESTHETICS · 10 / 11 A COMPARATIVE VIEW The Prodigal Man in Hallyangmu and Talchum Dance can express emotions, perform rites, and comment on society. In traditional Korean culture, dance forms that point out the absurdities Text by Kweon Hye-kyung, National Gugak Center Photos by the National Gugak Center, Intangible Heritage Digital Archive within social realities by means of satire and humor have long enjoyed wide popularity. Two examples are hallyangmu (the dance of the prodigal man) and talchum (mask dance), both of which express the distress and frustrations that people suffered in the strictly hierarchical society of the Joseon era.

Hallyang, a Man with an Extravagant Lifestyle During the Joseon Dynasty, the term hallyang, or “prodigal men,” was applied to noblemen who did not hold office and therefore did not work for money, but simply idled away their lives enjoying various entertainments. Today, it also metaphorically denotes those who spend extravagantly and enjoy fully. Hallyang is one of the most popular characters in the traditional performing arts of Korea.

Within the repertoire of traditional Korean dance, hallyangmu, or “dance of the prodigal man,” comes in two variations—one in the form of a theatrical performance presenting a particular storyline and the other as solo piece staged mainly for aesthetic purposes. The former is a drama narrated through choreographic movement the story of a prodigal man and an old Buddhist monk as they contest over the heart of a gisaeng courtesan. In the latter variation of hallyangmu, a male dancer costumed in a robe and hat characteristic of a Joseon literati performs gorgeous and elegant movements suggesting the stylish and playful lifestyle of a hallyang. The dramatic version of hallyangmu merits further attention since its principal storyline of a conflict between a prodigal nobleman and a Buddhist monk can also be found in the plot of talchum, an outdoor performing arts genre featuring masked dancers that gained nationwide popularity in the later Joseon period. This article compares the theatrical hallyangmu and mask dance side by side to spotlight their artistic similarities.

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Historical Records on the Dance of the Prodigal Man A historical record of the dance of the prodigal man providing a high level of detail can be found in the 1872 compilation Gyobang gayo (Songs of the Gyobang Office) written by Jeong Hyeon- seok, who served as governor of Jinju from 1867–70. The book features a meticulous description of the songs and dances performed at the district’s Gyobang, an office charged with governing music and dance under the supervision of the local government. It is the only dedicated account of the Gyobang culture of Joseon that has survived to the present. The storyline of the dance of

the prodigal man as recounted in the book features a gisaeng courtesan, a prodigal man named Pungnyurang, an old Buddhist monk, and his disciple. The prodigal nobleman approaches a dancing gisaeng, and the two start to court. Entering the stage pulled by his disciple, the old monk approaches the gisaeng and the nobleman and the monk alternate in their attempts to seduce her. Outraged by her indecisive attitude, the nobleman reprimands the gisaeng. When she bursts into tears, he consoles her. The theatrical version of the prodigal man is Chwibari and the old monk fight during a performance of the Mask Dance of Bongsan. a rare example within the repository of traditional Korean dance forms of a silent dramatic performance. The particular variant presented in the book Gyobang gayo has been transmitted as Jinju Hallyangmu (Dance of the Prodigal Talchum, an Entertainment for the People Man of Jinju), but there are other varieties performed in other parts of The term talchum, or “mask dance,” can be exclusively used to refer to masked dances originating

Korea, such as in the Seoul/Gyeonggi region and in the Gyeongsang in the northwestern province of Hwanghae, such as Bongsan Talchum (Mask Dance of Bongsan,), area. These follow different lineages of the practice. Despite slight Gangnyeong Talchum (Mask Dance of Gangnyeong), and Eunnyul Talchum (Mask Dance of variations in the composition of the cast, their storylines are Eunnyul). Dance dramas featuring masks were separately called sandae nori (playing on an outdoor fundamentally the same. stage) in the Seoul/Gyeonggi area, and in the Gyeongsang region as deul noreum (playing in a field) and ogwangdae (five clowns). To fully capture the distinctive characteristics of this type of dance, the term talchum has since been established as a generic description of all regional dance dramas performed wearing masks. Actively transmitted throughout the Korean Peninsula, the broader mask dance genre features a diverse range of characters: a lazy nobleman overflowing with vanity and his servant Malttugi, who critiques his master using satire; an apostate Buddhist monk who represents corruption within the Buddhist community; a young gisaeng and a grandmother who is pitted against her; and a drunken man called Chwibari who competes with the Buddhist Hallyangmu, “dance of the prodigal man,” in its solo dance version. Photo courtesy of Intangible Heritage Digital Archive. monk over the young courtesan. These characters manifesting social realities of the late Joseon

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While the dance of the prodigal man was of a more official nature and conducted by entertainers hired by local governments, period entertain the audience through stories of their serve to visually exaggerate the mask dance provided a popular conflicts and reconciliations. personalities of the characters. A outdoor event that ultimately Chwibari is one of the major characters in the mask offers a performer the liberty united performers and mask dance cast and takes on the role of the prodigal to overemphasize the movements spectators within an exhilarating man (hallyang). His mask is typified by a reddish color of the dance and clearly bring across the alluding to his intoxication and by the several wrinkles persona being portrayed. A good example is atmosphere. on his forehead from which a long strand of hair Grandmother, a common mask dance character hangs loose. A willow branch in his hand and a bell known for a pronounced swaying in her walk. Mask dances were performed wrapped around his knee serve as his symbolic objects. As with the nobleman in the dance of the and developed by residents within the very arenas in which their daily lives prodigal man, Chwibari disputes with an old Buddhist monk to win over a gisaeng. First competing took place while the dance of the prodigal man was reserved for professionals. through a dance contest, Chwibari loses, but he beats the monk away with violence. Chwibari then While the dance of the prodigal man was of a more official nature and uses money to curry favor with the gisaeng. Taking a step farther than his counterpart in the dance conducted by entertainers hired by local governments, mask dance provided a of the prodigal man, he seduces the gisaeng and fathers a child with her. popular outdoor event that ultimately united performers and spectators within an exhilarating atmosphere. The dance of the prodigal man enriches Similar but Unique the repertoire of traditional Korean dance through its unique form As described above, the two forms of traditional dance—the theatrical version of hallyangmu and as a dramatic performance. Serving as popular entertainment,

the mask dance, or talchum—feature similarities in their plots and characters. The differences there has been a mask dance revival since the 1970s when mainly stem from the use of dialog and masks in the performance. While the dance of the prodigal university students adopted it as one of the most significant man is a typical dance drama conducted without dialog, mask dance features words and songs cultural features of the nation. The two dance forms and are consequently better suited to conveying a sense of satire and humor. featuring a prodigal man are both indispensable assets in the Compared to a dance drama, the masks in a mask dance traditions of Korean dance.

Characters for a mask dance: from left, a grandmother, a foolish servant called Imae and a leper

A COMPARATIVE VIEW · 16 / 17 Namwon Yechon in Jeollanam-do Province, designed by Choi Ki-young, exemplify hotels contructed in hanok-style.

INTERVIEW Encounter of Tradition with Modernity A Living House “When those who live in an apartment composed of artificial and chemical ingredients sleep for Hanok: a night in a hanok with its natural aromas of wood, earth, and stone, how do they feel? I’ve never intended to leave them with a certain impression; I just know that they will wake up to a level of Houses that Breathe freshness they’ve never experienced.” These words were spoken by Master Choi Ki-young who recently supervised the construction

for a Thousand Years of Gyeongwonjae Ambassador, a hanok-style hotel in Incheon. This clear answer was a response to a somewhat irreverent question about what he hopes foreign visitors will feel after a night at Interview with Master Choi Ki-young and the artist Suh Do-ho

Text by Choi Min-young, Editor | Photos by Choi Ki-young and Suh Do-ho the hotel. According to him, just one night in a hanok-style accommodation would be enough to understand the difference. “A hanok is a house that breathes. It is made of wood and earth; that is all. A traditional Korean Traditional Korean houses, or hanok, are built with full respect to the weather patterns and topographic house is a part of living nature. Humans who reside in such a living house also become part of nature.” features of the country. Wood-floored halls are laid at a set distance above the ground in preparation for Wooden architecture is not unique to Korea, but the construction methods for traditional Korean the hot, humid summer, and an under-floor heating system was devised to address the freezing cold of houses are distinctive. Timbers are erected to form columns, wooden architectural members winter. Drawing materials from nature as their major components, traditional Korean housing provides an are joined without glue or nails, and wood is adopted as the finish. Spaces between the wooden architectural artifact that is minimally intrusive on nature. This issue of Korean Heritage presents the words members are packed with earth, and the doors and windows are sealed with paper. The sturdy of Master Choi Ki-young, a designated transmitter of traditional Korean architecture, and the artist structural wooden components provide a sense of security and coziness, and the air inside the Suh Do-ho, who applies novel interpretations to Korean architecture to create international art. house is freshened by being filtered through the walls of wood.

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B C

A _ Based on the remaining underground relics of the ancient Korean kingdom of Baekje, Baekje Cultural Land opened in 2010 in Buyeo, Chungcheongnam-do Province. Choi Ki-young restored the Cheonjeongmun Gates for the queen’s quarters at Sabigung. B _ The Wheel-turning Gate of Cheongpyeongsa in Chuncheon dating from the Goryeo Dynasty was repaired by Choi Ki-young in 2002. A C _ Master Choi Ki-young is dedicated to offering a new lease on life to traditional Korea architecture.

“I believe that a hanok is the best place for prenatal care. For a baby it is all about getting good air, Master Choi has played a leading role in the restoration or repair of hundreds of Buddhist hearing good sounds, and just spending the period of the pregnancy in a comfortable and pleasant structures, such as the Paradise Hall at Bongjeongsa Temple in Andong and the Preaching Hall at ambience. Some people deliberately take time out to go to a suitable place and rest. If you live in a Buseoksa Temple in Yeongju. He has also led a number of significant restoration projects, such as traditional Korean house, however, you don’t need to invest extra time and energy seeking mental the restoration of a historical Silla Dynasty bridge named Woljeonggyo and the reconstruction of security and a restful atmosphere—these things just come naturally.” Baekje-era buildings for the Baekje Cultural Land historical attraction. The latter was a particularly grand project that spanned nine years starting in 2006 and involved the recreation of as many as Master Choi Revives Historical Architecture 187 historical structures, including palace buildings, Buddhist temples, wooden pagodas, and more. Choi Ki-young was designated a “Living Human Treasure” in 2000 for the practice of traditional “I also never lived in the Baekje era. It is not that I already knew about the times and could just wooden architecture, National Intangible Cultural Heritage No. 74. He is currently managing the do the job. It was an arduous process of detailed analysis and historical crosschecking. I learned a Transmission Center for Traditional Wooden Architecture and teaching as an emeritus professor at lot during the process by comparing architecture from Joseon with that of the previous dynasty of Chonbuk National University. Korea’s wooden architectural practice was inscribed on the UNESCO Goryeo and further with that of Baekje. There is no such thing as an end to learning.” Representative List of the Intangible Cultural Heritage of Humanity in 2010. Starting at the young Master Choi still graphically remembers his path as a traditional Korean builder from a novice age of sixteen, carpentry work has developed into a lifelong mission for Master Choi as he has carpenter all the way to the nationally designated transmitter for traditional wooden architecture. shouldered the responsibility of sustaining traditional architectural skills and bequeathing them to Overflowing with passion, his youth was dedicated to the fervent study of palace architecture. future generations. Perseverance and persistence dominated his middle age. Today, his driving force is supplied by

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“A hanok is a house that breathes. It is made of wood and earth; that is all. A traditional Korean a strong sense of his mission to actualize in the present time historic buildings from a house is a part of living nature. thousand years ago. Humans who reside in such “Today’s buildings have an average a living house also become lifespan of about twenty years, but hanok part of nature.” can survive five centuries with no problem. That’s how natural elements normally are. A thousand-year-old pine tree can live another thousand years when a good carpenter forms it into a hanok.” Traditional architecture, a comprehensive reflection of the history, culture, and thinking ofa nation, can be transformed into artistic inspiration evoking a strong sense of nostalgia. Suh Do-ho, an installation artist active on the international stage, is placing traditional Korean housing at the Bridging Home at the Liverpool Biennial in 2010 Do Ho Suh (photo by Andrew Boyle) center of his artistic world. ⓒ

A Secure Space in Times of Confusion Suh Do-ho creates installation art in both domestic and international arenas. With a genuine

understanding of the precious qualities of hanok, he cherishes a strong hope that these qualities Western buildings and another that has crashed into a Western structure. Suh relates that all of will remain fully appreciated and respected in contemporary society. his installations are based on his experience of establishing his own world within a wholly new “When I studied in the United States, my first house there was a colonial-style building from the environment. His unconventional sense of art seems to have emerged from his childhood in the

eighteenth century. Living there, I started wondering about what a real home means to me, and 1970s when all Korea embarked on an earnest project of Westernization and modernization. He this line of thinking inspired my work Home within Home within Home within Home within Home. spent his childhood transgressing between two different periods inside and outside his house, The innermost home is the hanok-style house built by my parents where I spent my childhood. which seems to have endowed him with the fundamental basis for his artistic work of today. The house was a microcosm to me, something which closely protected me at an important stage of life when recognition of the self and identity formation takes place. My childhood house Suh’s Artistic World Buttressed by Hanok remains one of the major motifs in my artworks.” His unique artistic narratives centered on hanok are owed in large part to his parents, who had His installation Home within Home within Home within Home within Home is rendered in the extensive knowledge of and a deep affection for traditional architecture. They did not hesitate to form of a traditional Korean house covered in layers of Western-style houses. The artwork is derived spend time or effort to secure quality wood, and they invested a full five years in the construction from his childlike imagination and a desperate longing to find a sense of safety and comfort in of his childhood home. The entire process was scrutinized by the young Suh Do-ho. He gradually a house, even in a country far from his birthplace. This work embraces the cultural distinctions learned about hanok through personal experience and developed a first-hand understanding between Korea and the United States and speaks to the value of harmonious coexistence. rather than one gained by book or indirect learning. Other works of his also address cultural collisions—a hanok forcefully wedged between “My parents obtained good timbers from the calligrapher Son Jae-hyeong and asked Master

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“The warm sunshine that penetrated the plastered paper of a window to reach inside the house has Bae Hui-han to build our house. Over the process of taken a deep root in my its construction, I could closely observe Master Bae subconscious world.” as he did the designing, joining of wooden members, and shaping of the house. Connected only through a variety of jointing methods and not dependent on nails, the architectural components of a hanok contract and expand with the seasonal changes and live within the system of nature.” All the tasks involved—piling up bricks, refining stone blocks, and plastering the walls—were carried out by artisans specializing in traditional architecture. They formed the last generation of artisans born in the Joseon era. Suh still vividly remembers the gray- haired masters earnestly constructing the house. Artist Suh Do-ho narrates his experiences and personal stories Modeled after Yeongyeongdang Hall in the rear through installation artworks featuring hanok. garden of Changdeokgung Palace, the house was constructed in the traditional manner from the inside out in terms of internal viewpoints and the rendering of walls and ceilings. “My childhood house had doors and windows in place of dividing walls. When fully opened, the boundary between the inside and outside was erased. The unhindered entrance of external light, sounds, and smells into the house is, I think, the most distinctive characteristic of hanok. The warm sunshine that penetrated the plastered paper of a window to reach inside the house has taken a deep root in my subconscious world.” All of his experiences and stories demonstrate that hanok were not simply artificially selected as an artistic motif, but that they stand at the heart of the impetus that has driven him to venture out into new artistic realms. “Hanok form an important place in the Korean identity, but it is not easy to encounter them in everyday life. They remain more as an image in our consciousness. However, I am glad that hanok seem to gradually be re-entering people’s lives these days. I hope that we can preserve the beauty of traditional Korean houses in everyday life by finding ways to maintain the old while at the same time introducing modern elements.”

Home within Home within Home within Home within Home Do Ho Suh. ⓒ Courtesy of the Artist, Lehmann Maupin New York, Hong Kong and Seoul and Victoria Miro London / Venice. INTERVIEW · 24 / 25 LOCAL HERITAGE GUIDE Coastal Rocks

Sculpted by Waves Day and night, the ebb and flow of the waves gives form to coastal areas. Bordered by the sea on three sides, Korea Text & photos by is rich with scenic coastal sites that provide magnificent Song Il-bong, travel writer land and seascapes. Above all, there is a bounty of rock structures in far-ranging shapes. This issue presents three such sites, respectively located on the western, southern, and eastern coasts of the country.

Candlestick Rock, the main symbol of Chuam Beach

LOCAL HERITAGE GUIDE · 26 / 27 The southern end of Gyeokpo Beach connects with a sea cliff named Chaeseokgang. This coastal cliff is quick to attract the eye for its unique resemblance to a stack of tens of thousands of books. Comprised of sedimentary rock from the Cretaceous period roughly seventy million years ago, Chaeseokgang took on its current shape

as ocean waves chipped it away over the eons. The sedimentary Gyeokpo Beach rock cliff showcases the geological processes that take place with the passage of time. When the tide recedes, visitors can descend to the beach to take a closer look at the sedimentary layers of the rock.

The suffix gang in Chaeseok-gang means “river.” The seemingly Address erroneous suffix unconnected to the nature of the site derives 191 Naesosa-ro, Sunset seen from Gomso Port in Byeonsan-bando National Park from an association with a river in Anhui Province, China called Jinseo-myeon, Buan, Caishijiang in Chinese. The Chinese river is famed for a picturesque Jeollabuk-do landscape so beautiful it allegedly caused the drowning of the Gyeokpo Beach for a Glowing End to the Day eighth-century Chinese poet Li Bai. Enjoying an outing in a boat, By car Seoul → Expressway No. Buan, a county in northwestern Jeollabuk-do Province, is situated alongside the largest tracts of the poet was mesmerized by the reflection of the moon in the river. 15 (Seohaean) → Buan rice paddies in the country, the Honam Pyeongya Delta. It has long been He threw himself into the river in an effort to catch it. The name Interchange → National known as one of the “Ten Utopias of Korea,” a concept referred to in a Chaeseokgang refers to the beautiful scenery of the sedimentary Route No. 30 → Byeonsan- series of historical books from the Joseon era. The Ten Utopias were rock cliff emulating that of the Chinese river. There is another bando National Park perceived as areas endowed with scenic landscapes, free from political turmoil, and overflowing with food. Buan is home to Byeonsan-bando National Park, a peninsular landmass protruding from the western coast of Korea. Nestled within the national park is Gyeokpo Beach, which presents one of the most spectacular sunset views in Korea. Together with two other spots along the western coast—Seokmodo Island in Ganghwa and Anmyeondo Island in Taean—Gyeokpo Beach is considered one of the three best sunset- A statue of a mermaid named watching sites in the country. At the northern tip of the beach stands a Princess Sunset monument commemorating the sunset of the final day of the millennium on December 31, 1999 as a symbol of “eternal light.” Further down toward the ocean from the

monument is a statue of a mermaid named Princess Sunset. The distinctive marine topography near Jeokbyeokgang Cliff A panoramic view of Chaeseokgang Cliff near Gyeokpo Beach

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nearby coastal cliff named Jeokbyeokgang, which shows its best face when the sun disappears and it becomes bathed in the glow of the sunset.

Geumsan Mountain, Rich in Rocks and Legends Namhaedo Island, comprising the administrative district of Namhae in the southwestern portion of the Gyeongsang region, has been described as “Treasure Island.” Surrounded on all sides by lovely waters, Namhaedo boasts a series of driving routes with striking views, small laid-back ports, and intriguing legends. One of the definitive natural features of this island off the southern coast of Korea is Geumsan Mountain. Integrated into the extensive Hallyeo Maritime National Park that also straddles five other districts, Geumsan is covered with the famous sites traditionally referred to as “Thirty-eight Scenic Sites of Geumsan.”

Many of these are rock formations in intriguing shapes. The Avalokitesvara statue at Boriam Among the traditional scenic sites is Ssanghongmun, twin rock caves formed at the entranceway to Geumsan Mountain. From afar, the two hollows in a grand rock mass bring to mind a frightening center for Avalokitesvara, a grand sculpture of the bodhisattva

Geumsan Mountain image of the eye sockets in a skull. The seventh-century Buddhist stands in the outdoor space of the temple. Also within the Boriam monk Wonhyo, however, perceived them as a pair of rainbows. compound is another notable monument: a three-story stone This inspired the name Ssanghongmun, or “Gate of Double pagoda. Made on a modest scale, the stone pagoda is renowned Address Rainbows.” In front of the rock caves solemnly stands the General for the mysterious phenomenon that magnetic compasses do not 5-9 Daebatdam-ro, Rock (Janggunam), appearing like a military officer defending the function around it. When brought close to the pagoda, an otherwise Yonghyeon-myeon, Sacheon, entrance of a fortress. serviceable compass loses its ability to point north. Despite a Gyeongsangnam-do Further up from the Gate of Double Rainbows is a Buddhist series of suggested hypotheses over the years, there is as yet no

By car temple named Boriam which enjoys some of the most scenic vistas authoritative scientific explanation for this phenomenon. Seoul → Expressway No. on the mountain. It is one of the three most prominent monastic At the top of Geumsan visitors can reach what is called 10 (Namhae) → Hadong centers dedicated to Avalokitesvara (Gwaneum) Bodhisattva the “Observatory Platform” (Mangdae), the highest peak of the Interchange → National Route in Korea, alongside Hongnyeonam and Bomunsa Temples, mountain. This spot offers a spectacularly panoramic view of the No. 19 → Namhae Grand The three-story stone pagoda at Boriam Bridge → Namhae-eup → respectively located in Yangyang in Gangwon-do Province and intriguingly shaped rocks of the mountain and the countless islets Boriam Temple Ganghwado Island in Incheon. Living up to its fame as a powerful in diverse sizes stretching off the southern coast.

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The Thirty-eight Scenic Sites of Geumsan are not limited by terrestrial boundaries. One of them can be found in the celestial realm: the star Canopus. It is easy to observe from the southern hemisphere, but Korea is generally too far to the north. However, from its vantage far in the southern reaches of Korean territory, Geumsan offers a rare glimpse of Canopus for a few days every Chuam Beach spring and autumn. Legend has it that those who have seen Canopus will enjoy longevity.

Chuam Beach for a Walk in the Steps of a Beauty The eastern coast of Korea is blessed with an extended line of gorgeous beaches and ideal spots for contemplating the sunrise. One of these is Chuam Beach in Gangwon-do Province. Among its Address diverse attractions are an up-close view of a nearby fishing village, Bukpyeong-dong, Donghae, Gangwon-do a sculpture park for leisurely strolls, and the “Korean Stone Forest,” where dozens of rocks in interesting shapes are clustered. By car A gentle hill can be found between the beach and the rock forest. Seoul → Expressway The hill offers a comprehensive view of the area—Chuam Beach No. 65 (Donghae) → to the south and a spectacular cluster of rocks to the north. The Bukpyeong Interchange powerful Joseon official Han Myeong-hoe named the rock cluster → National Route No. 7 Above _ A forest of rocks → Chuam Beach Neungpadae when he was dispatched to the Gangwon region as in interesting shapes near Chuam Beach a temporary military commander

during the reign of King Sejo (1455– Below _ Candlestick Rock, the 68). He considered the aesthetic main symbol of Chuam Beach quality of the rocks to parallel the walk of a beautiful woman, so he named rock evoking the shape of a candlestick creates a spectacular vista in the rising sun. it Neungpa, or “walking on a wave,” Another site that should not be missed on a tour of this area is Haeamjeong, a small building figuratively referring to the steps of a originally constructed in 1361 during the reign of King Gongmin of Goryeo by Sim Dong-ro from beauty. Arguably the definitive feature the Samcheok Sim family. It was later reconstructed in 1794 during the Joseon Dynasty. Rock of Chuam Beach, Candlestick Rock formations in diverse sizes and shapes are located in the sea near Haeamjeong. This rock cluster (Chotdae Bawi) also comes into view is sometimes compared to the Stone Forest, or Shilin, in China and addressed as the Korean Stone Haeamjeong Hall, built near a seascape of clustered rocks from this hilltop observatory. This Forest.

LOCAL HERITAGE GUIDE · 32 / 33 HERITAGE THROUGH PHOTOS A Culinary Prescription for Fighting Summer Heat

Text by Han Bok-ryo, Institute of Korean Royal Cuisine Photos by Cho In-ki, Photographer

In summer, Koreans of the past sought to stave off the sweltering heat by carefully striking a balance between hot and cold in their food. Cold food causes an immediate drop in body temperature and is quick to produce a cooling sensation. Hot dishes help with discharging waste from the body through sweat and enhancing blood circulation, and commonly feature meat as a main ingredient to provide energy.

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Mineo jijimi, Spicy Croaker Stew

This is a spicy stew featuring croaker as its main ingredient. Eating croaker pan-fried or raw were popular options for affluent families. For those of tighter economic means, however, the cooking method of choice for croaker was to create a stew utilizing every part, including the bones, air bladders, and eggs. Summer squash, which is in season at the peak of the croaker catch, is included in generous amounts. The croaker should be boiled with brisket until the bones are softened in order to produce a flavorful broth with a hint of sweetness.

Croaker has long been favored in the Korean cooking tradition as an ingredient for providing stamina. The late nineteenth-century culinary book Siuijeonseo includes an entry on eogyo sundae, a dish using croaker swim bladder. Good either raw or cooked, croaker produces its greatest health effect when dried.

Ingredients

croaker, beef, summer squashes, red chili peppers, leeks, tofu (dubu), red chili pepper paste, soybean paste, crushed garlic, crushed ginger, mugwort

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Miyeok oi naengguk, Chilled Seaweed and Cucumber Soup

This is a cold soup made by mixing and flavoring diverse ingredients such as seaweed, cucumber, lettuce, eggplant, and dried laver and then pouring the mix into a broth seasoned with vinegar and soy sauce. The crispiness of the vegetables seems to alleviate the summer heat. When working in the fields under the scorching summer sun, Korean farmers used to supplement their loss of salt with watered soy sauce. Over time, this watery sauce gave way to a more delicious alternative: chilled seaweed and cucumber soup. The broth seasoned with soy sauce was sometimes replaced with beef broth or supplemented with minced beef to improve the nutritious impact.

Chilled soup (naengguk) has long held a place on the Korean summer table. Chang-guk, denoting “chilled soup offering a sense of refreshment,” is featured in the compilation Joseon yoribeop (Recipes of Joseon) published by Jo Ja-ho in 1939 as an introduction to the cooking and table placement of Korean food.

Ingredients

dried seaweed, cucumbers, red chili peppers, soy sauce , crushed garlic, sesame seeds, vinegar, sugar

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Imjasutang, Yukgaejang, Chilled Chicken Soup Spicy Beef and Leek Soup

Chilled soup can take on different forms depending This is a hot dish for summer that revitalizes on the broth. Rather than being seasoned simply people tired out by the scorching heat. Hot and with soy sauce or salt, the broth can be based on spicy at the same time, yukgaejang boosts the sesame seeds or beans to enrich both nutrition appetite, reduces body heat through sweating, and flavor. Imjasutang was a component of royal and promotes the circulation of blood. Simply, it cuisine made by adding ground sesame seeds to a is a perfect summer dish. Beef brisket is boiled to chilled chicken broth containing chopped chicken create broth and then shredded along the grain meat and lavishly garnished with julienned eggs and mixed back in. Boiled tripe and intestines are and meatballs. Beans can also be used in place also added. The inclusion of a large dose of leeks of chicken. Beans are soaked in water, blanched, is notable. Chicken can be used in place of the ground, and then pressed in a cloth to produce a beef as well. milky, aromatic broth. This broth is cooled to be ready for a chilled soup. Noodles in a cold bean- Long a staple of home cooking, yukgaejang broth soup are one of the favored summer dishes made its restaurant debut in 1930 when a restaurant in Korea today. named Daeyeongwan opened in Seoul. The dish is presented as “summer soup” in the culinary Making a broth with sesame seeds is another book Oriental Culinary Art published in the United time-honored culinary practice in Korea. Umsik States in 1933 as an introduction to recipes for dimibang (Gourmet Recipes), published in 1670 representative dishes from Korea, China, Japan, as the first cookbook written in Korean, features and the Philippines. tojang nokdonahwa or noodles in a chilled sesame Ingredients soup. The 1849 compilation Dongguk sesigi Ingredients chicken, sesame seeds, minced beef, brisket, tripe, beef small intestines, (Seasonal Customs of the Eastern Kingdom) tofu (dubu), shiitake mushrooms, leeks, red chili pepper powder, relates that Koreans used to enjoy noodles in a cucumbers, red chili peppers, starch sesame oil, soy sauce, salt, crushed flour, eggs, Korean parsley minari( ), sesame soup spruced up with vegetables such as garlic pine nuts cucumber or squash.

HERITAGE THROUGH PHOTOS · 40 / 41 HERITAGE ISSUES TODAY The Forgotten Buddhist Temple Buddhist for National Protection In 670 King Munmu of Silla was informed of the dispatch Deities from of troops from Tang China for an attack on the Jeongju Sacheonwangsa on area. He reassured his people by commanding Monk Myeongnang to prevent the invasion using the dharma The Past Comes Public Display of the Buddha. Upon receiving these royal orders, Myeongnang executed a Buddhist rite for preventing an Text by Kim Do-yoon, Gyeongju National Museum external invasion at Nangsan Mountain. The invading Photos by Gyeongju National Museum and Gyeongju Tang troops encountered violent waves at sea and National Research Institute of Cultural Heritage drowned before they could set foot on Silla territory. Three years after the seven-year conflict between Silla and Tang was concluded in 676, King Munmu had a

hree tiles sporting Buddhist guardian deities Buddhist temple known as Sacheongwangsa built on with wild eyes and protective weapons the site of Myeongnang’s ceremony. It was dedicated as T await visitors to Gyeongju National a place for praying for the protection of the kingdom and Museum in Gyeongju, the one-time capital of Silla (57 the royal family. The end of the Silla-Tang War ushered B.C.–A.D. 935). The dexterity and delicacy embodied in the Unified Silla period, when Sacheonwangsa was in the sculpted images of Buddhist guardians, evident placed under the close protection of the royal court. Time passes, but the past remains alive in the present in the from their expressive faces to their lively armor and Toward the later Unified Silla era, however, the fortunes form of cultural heritage. Surviving the harsh waves of the shoes, immediately inspire awe among visitors. They of the Buddhist temple declined, and it finally closed its passage of time, legacies from the past greet us vibrantly are displayed as part of a special exhibition of green- doors and vanished from the memory of the Korean today. This issue of Korean Heritage presents sculpted glazed sculptural tiles from Sacheonwangsa Temple. people. images of Buddhist guardians from Sacheonwangsa Temple Its subtitle “One Hundred Years of Waiting” refers to Sacheonwangsa was restored to public awareness the eventual reunion of the upper and lower portions in 1916 while Korea was under Japanese colonial rule. that can now be viewed by contemporary Koreans one of a tile featuring the image of a guardian holding At the time, the Japanese historian Ayukai Fusanoshin hundred years after their excavation began. It also features a sword in the left hand that were separated for a discovered at the site of the Silla temple a shard of a Changdeokgung Palace, which is being opened at night for a century. Gyeongju National Museum, in cooperation green-glazed tile bearing the image of a Buddhist deity special public experience. with the Gyeongju National Research Institute of seated on a monster. In 1918 the Japanese Government Cultural Heritage, is showing the completed image General launched an excavation at the temple site of the left-handed guardian and two other guardian and found further fragments of sculptural tiles. The images from March 15–August 5, 2018, one hundred excavation by the Japanese colonialists successfully years after the excavation of Sacheonwangsa was unearthed information on the scale, boundaries, and initiated in 1919. layout of the Buddhist temple, but did not go so far as

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ascertaining the exact locations of the discovered tile shards and whether there A _ A Buddhist deity holding a sword in the left hand B _ A Buddhist deity with a bow and arrow might be more still underground. The tile shards excavated at the time were placed C _ A Buddhist deity holding a sword in the right hand under the custody of the Gyeongju branch of the Government General (the present Gyeongju National Museum). Following the restoration of independence in 1945, additional research revealed that the tile pieces at the museum came from at least two types of images, but it stopped short of uncovering more. The Gyeongju National Research Institute embarked on more extensive excavation efforts at the Sacheonwangsa site in 2006, and the program was completed in 2012 with the discovery of additional tile shards. The seven years of research revealed that two wooden pagodas situated in the eastern and western sections of the site had been systematically embellished at their bases with two A sets of three sculptural tiles on each side, respectively featuring different guardian Modern Technology Solving an images. There would have been a total of forty-eight tiles decorating the Historical Puzzle bases of the eastern and western pagodas at Sacheonwangsa. Piecing together the shards into a complete guardian It is known that the green-glazed sculptural tiles of image was no easy task. There were few pieces that fit Sacheonwangsa were crafted by Monk Yangji. Renowned together, and it was like doing a jigsaw puzzle with the as the foremost sculptor of the Silla era, Yangji is noted in the pieces from different pictures. The key to the successful thirteenth-century Korean history Samguk yusa (Memorabilia of restoration of the images was conservation science the Three Kingdoms) as the creator of some of the best examples techniques from the Gyeongju National Research of Silla Buddhist sculpture, such as those at Yeongmyosa and Institute. The multiple tile fragments, numbering Beomnimsa Temples. The inclusion of the Indian mythological about two hundred in total, were individually analyzed sea-creature makara on the corner edges of the tiles and the through three-dimensional scanning and the outlines appearance of the guardian deities give rise to the presumption B of the images were determined. After arduous efforts, that Yangji was a naturalized Buddhist monk originally from either conservation scientists at the institute succeeded in West or Central Asia. This speaks to the open and international assembling the pieces to generate three different types culture of Silla at the time. of tiles bearing distinctive guardian images. They also performed an experiment making tiles using traditional skills from the period. The three tiles respectively show a guardian holding a sword in the left hand, a guardian with a bow and arrow, and a guardian holding a sword in the right hand. Above _ The mold restoration process Among them, the first is particularly meaningful. The Left _ Green-glazed tiles from Sacheonwangsa Temple have been restored to their full images six tile shards discovered during the recent excavation one hundred years after their first excavation. C by the Gyeongju National Research Institute formed the

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interpreter who further enriches this rare nightly tour with interesting stories associated with the palace. Moonlight Shines As the handheld lanterns shed light into the darkness, on Changdeokgung the interpreter’s narratives enlighten visitors on hidden historical aspects over the two-hour night promenade. Palace in 2018 Built in 1405 during the reign of King Taejong, the third monarch of Joseon, Changdeokgung was Text by Choi Min-young, Editor designed to pay respect to the surrounding topography Photos by Cho In-ki, Photographer and is renowned for its superlative natural aesthetics. It is recognized among the palaces as the most quintessentially Korean. Positioned to the east of

hangdeokgung Palace, one of the main Joseon Joseon’s main palace, Gyeongbokgung, Changdeokgung royal residences, is opening up at night to allow was addressed together with Changgyeonggung further Cvisitors an exceptional experience of this regal to its east as Donggwol, or the Eastern Palace. space. The Moonlight Tour, an interpretation program Past the main gate, visitors cross a water channel at the palace, is being offered from April through May called geumcheon, or “forbidden stream,” on a stone Three terracotta tiles bearing Buddhist guardian images from Sacheonwangsa Temple on exhibit at Gyeongju National Museum and August through September. After several years of bride. The water functions as a dividing line between the operation, this nightly tour program at Changdeokgung inside and outside of the palace, from which the name has made a name for itself among both Koreans and “forbidden stream” is derived. A short walk after the upper section of an image fitting perfectly with a piece international visitors as a unique experience of Joseon stream leads to the main hall of the palace, Injeongjeon that was unearthed by the Japanese scholar Ayukai royal culture. Here is a lively picture of the 2018 Moonlight (Hall of Benevolent Rule). Close to the exterior of the Fusanoshin in 1916. It had been held at the Gyeongju Tour program. palace just beyond Donhwamun, this main hall of National Museum in the intervening decades. The piece Changdeokgung remained beyond the reach of common in the museum has finally been reunited with its match A Nightly Promenade around people during the Joseon Dynasty. after a century of waiting. the Palace Entering the Injeongjeon compound through a gate Along with the three restored tiles, visitors to the Participants in the Moonlight Tour program start from the known as Injeongmun, the stately main hall emerges Gyeongju National Museum can appreciate two other main entrance of Changdeokgung Palace, Donhwamun at the end of a spacious courtyard paved with stone definitive examples of the sculpture of Unified Silla— A drawing of the lower portion of a Buddhist deity tile that (Gate of Sincere Edification), carrying handheld lanterns blocks. This was the arena for royal coronations, courtly was discovered by the Japanese historian the reliquaries from the western three-story pagoda Ayukai Fusanoshin in 1916 to drive away the darkness. Entering a royal palace after assemblies, and diplomatic receptions. The classical at the site of Gameunsa Temple (Treasure No. 366) dark is not an everyday event; the simple step through Korean architecture of the façade contrasts markedly and the gilt-bronze plaques excavated from Anapji Donhwamun feels like time travel to the Joseon period. with the Western interior of the building. Electric lamps Pond (Treasure No. 1475). This allows them to gain an The number of people allowed on the tours is limited suspended from the ceiling and glass windows with authentic appreciation of the Buddhist sculptural skills of to one hundred, which is divided into groups of twenty curtains at the top are suggestive of the historical the early Unified Silla period. for different time slots. They are guided by a heritage changes witnessed at the palace.

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A _ The interior of Injeongjeon presents a harmonious assemblage of Western elements and traditional Korean architecture.

B _ Visitors holding traditional lanterns gaze on Jangrakmun.

C _ Sangnyangjeong, a pavilion from which A the traditional wind instrument daegeum is played during the tour

The rear garden of Changdeokgung, a space beloved by the royal family for both relaxation and public events C

Next, visitors make their way to Nakseonjae (House of Joy and Goodness) the interiors during the nightly tour, the patterned forms Visitors exit the Nakseonjae compound through a round and Seokbokheon (House of Frugal Happiness). These two compounds were rendered by the crisscrossing wooden strips become gate called Manwolmun (Full Moon Gate). constructed by order of King Heonjong (r. 1834–49), the twenty-forth ruler clear. Sangnyangjeong Pavilion, where the traditional The next stop in the tour is the rear garden of of Joseon. Receiving Lady Kim as his consort, the king had Nakseonjae and wind instrument daegeum is played during the tour, is Changdeokgung, known as the Secret Garden. At the Seokbokheon built as a separate space for the new couple, respectively functioning approached from the rear garden of the Nakseonjae end of the road lined with trees and shrubs suddenly as his library and the residence of Lady Kim. While the buildings were rendered compound. The gentle tones of the bamboo flute draw unfolds the beautiful scenery of the pond known as in an unpretentious manner free from ornamental painting, a closer look reveals visitors deeper into the historical experience of the royal Buyongji (Lotus Pond) and its surrounding buildings. The their hidden architectural aesthetics. In particular, the wooden lattices forming space. King Heonjong and Lady Kim must have nurtured otherworldly landscape of the Secret Garden infuses their doors and windows feature beautiful motifs and designs. As lamps light their love here under the full moon and a galaxy of stars. spectators with a strong sense of awe and admiration.

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Yeonghwadang, a pavilion near Buyongji where The Story of Simcheong is presented in a pansori The Spring Nightingale Dance was composed by A shadow show presenting a love story about special state examinations were held in the epic chant at Yeongyeongdang (House of Flowing Crown Prince Hyomyeong for his mother’s fortieth Crown Prince Hyomyeong presence of the king Happiness). birthday with inspiration drawn from nightingales singing early in the morning.

A Garden Nourished by the Royal Family Youth) carved from a single stone block, the visitors traditional performances, such as a pansori epic The extensive green area that forms the rear garden of the palace was beloved arrive at the final stop on the tour. Yeongyeongdang chant Story of Simcheong and a shadow play based by the royal family during the Joseon era. Throughout the dynastic rule, buildings (House of Flowing Happiness) is a palace structure on a love story about Hyomyeong. Yeongyeongdang and pavilions were gradually added at spots with especially picturesque views resembling a typical house for the noble class. was remodeled into its current form presumably until it took on the form we see today. It primarily served to provide refreshment The building was constructed in 1828 by order of around 1865 and exhibits exotic features such as and support the pastimes of the royal family as they strolled or composed Crown Prince Hyomyeong to conduct a title-offering bricks made in the style of Qing China and canopies poems inspired by the beautiful scenery. Members of the royal family would ceremony for his father King Sunjo (r. 1800–34), the drawn with pulleys.

fish from a boat in one of the garden’s ponds, experience the life of commoners twenty-third monarch of Joseon. The crown prince Following the Yeongyeongdang performance, by performing farming and sericulture tasks, and host a party when there was also held a celebratory banquet here on the fortieth visitors make their way out along the road opposite cause to celebrate. The rear garden also functioned as an arena for public birthday of his mother, Queen Consort Sunwon. For his of the one taken when entering the rear garden. At events, including the state examination for selecting civil servants. mother’s birthday, Hyomyeong also created a dance the end of the wooded pathway stands the main gate Over the ten minutes allocated to the Buyongji area, visitors savor every form known as Chunaengjeon, or “Spring Nightingale of Changdeokgung, beyond which awaits the twenty- second of the circular stroll around the pond, appreciating the colorful flowers, Dance.” The Spring Nightingale Dance is performed first century. The vistas, sounds, and scents of and taking photos against the backdrop of historical buildings. Their time here at Yeongyeongdang for the tour participants, just Changdeokgung discovered throughout the nighttime is accompanied by the pleasant sounds of a twelve-stringed zither (known in as it was for Queen Sunwon three centuries ago. tour resonate in the memories of the visitors. They Korean as a gayageum) played from Yeonghwadang, a pavilion on the eastern As they conclude the nighttime promenade of will cherish this special experience of a royal space bank of Buyongji. Changdeokgung, visitors are seated on benches in for the rest of their lives. Past the Aeryeonji pond and through the Bullomun gate (Gate of Eternal front of the building to enjoy this dance and other

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Films by K-Heritage TV Awarded at Worldfest-Houston Two documentary films from K-Heritage TV (www.k-heritage.tv), an internet-based broadcasting operation specializing in the creation and dissemination of audiovisual materials on Korean heritage, took home awards at the 51st Annual Worldfest-Houston International Film Festival in April of this year. The two winning entries were Korean Gardens and Seowon: The Humanities 500 Years Ago. Korean Gardens showcases Koreans’ views on nature and their unique aesthetics through a look at Korean gardens. It also explores the everyday life and culture that the literati class of the past enjoyed within these natural spaces. Covering the nine Confucian academies (seowon) of Sosu, Donam, Wolbong, Museong, Dosan, Byeongsan, Oksan, Piram, and Dodong, Konkuk University historian Sin Byeong-ju and a student investigate the diverse sociocultural functions performed by these academies in Joseon society in Seowon: The Humanities 500 Years Ago. Marking its fifty-first anniversary this year, Worldfest-Houston is arguably one of the three most significant international media festivals in North America alongside the New York Television Festival and the Banff World Media Festival. As well as documentaries, Worldfest-Houston offers awards for diverse categories such as dramatic films, animation, and experimental films. The Cultural Heritage Administration and the Korean Cultural Heritage Foundation joined forces to establish K-Heritage TV in 2010 in an effort to allow a better appreciation

of Korean cultural heritage among a wider public. Besides creating video clips on heritage sites, artifacts, and traditional practices, K-Heritage TV also supports the production of television programs on cultural heritage. It operates its own channels within online-based broadcasting platforms (Apple TV and EveryOn TV) and provides free access for relevant programs created by government agencies, local governments, and public organizations. The two award-winning films and other video materials produced by K-Heritage TV are accessible through the English webpage Two documentaries by K-Heritage TV of the Cultural Heritage Administration won prizes at the 51st Annual Worldfest-Houston International Film Festival. (english.cha.go.kr). An image of the decorative motifs appearing along the edges of the name plaque for Injeongjeon Hall at Changdeokgung Palace

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