Journal of Korean Art and Archaeology Vol.3
2009. 01.
2577-9842
2951-4983
INTRODUCE
- • The story of the various stages by which Korean museums were established, and the collections grew, is a fascinating one, and it is to be hoped that Director-General Choe’s account may come to serve as a blueprint for the eventual publication of a complete history, with illustrations of the various buildings that have housed the collections, and of the manner in which they were displayed and interpreted for visitors. The author has rightly emphasized the vital role of museums as the repositories of the symbols of nationhood, while also documenting the roles of the branch museums established in various cities, both in the South and in the North, and the important contributions of private museums which have not only built up fine collections, but which, it might be added, have been able for example to recover elements of Korean culture, such as Goryeo Buddhist paintings, that were previously, despite their enormous importance, quite unrepresented in the national collections.
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- Roderick Whitfield(Percival David Professor Emeritus, School of Oriental and African Studies University of London)
The third volume of the International Journal of Korean Art and Archaeology focuses on Korean museums and their evolution since the Imperial collections opened to the public in 1909, highlighting the role of museums as national symbols. Director-General Choe Kwang-shik outlines Korean museums' history, emphasizing their struggle and success. Additional articles explore Korea's historical relations across Asia, the rise of genre painting, ancient musical instruments, bronze casting methods, and the impact of true-view painting by Jeong Seon.
- Choe Kwang-shik(Director-General, National Museum of Korea)
The history of Korean museums dates back to November 1, 1909, with the opening of the Imperial Museum of Korea. Over the past century, these institutions have evolved to become integral cultural spaces and symbols of state legitimacy. During the Japanese colonial period, museums like the Museum of the Government General of Joseon played a key role in cultural preservation. Post-liberation saw further development with the establishment of the National Museum of Korea in 1945. During Korea's centennial museum celebration in 2009, various Korean museums reflected on their past, strategized for future growth, and aimed at promoting the national brand through cultural content. The events aimed to foster unity among over 600 museums and art galleries and strengthen ties with the community, focusing on highlighting Korean culture globally and preparing for future expansion.
- Cho Hyunjong(Chief Curator, Curatorial Affairs Office, National Museum of Korea)
The world's oldest known musical instrument is a Neanderthal flute from Slovenia made of cave bear bone, dating back 82,000-43,000 years. Older percussion instruments, likely predating wind instruments, were made from easily available materials like stones and wood. In Korea, prehistoric instruments include bone flutes, bronze bells, zither-like string instruments, clay bells, and friction instruments. These were used in ritual ceremonies, possibly to communicate with the supernatural, reflecting the sociocultural context of the times. Key artifacts include a Bronze Age bone flute from Seopohang, well-preserved bells from different sites, and rock engravings portraying musical scenes. Textual records, like the Weishu, indicate the significance of instruments like the zither during social rituals, aligning with archaeological findings.
- Park Haksoo(Conservation Scientist, Conservation Science Team, National Museum of Korea)
This document discusses National Treasure No. 141, a Bronze Mirror with Twin Knops and a fine geometric design, considered a key artifact of Bronze Age Korea. Housed at the Korean Christian Museum at Soongsil University, it showcases advanced bronze manufacturing techniques. Despite many experiments, the exact manufacturing method remains unclear. The mirror, investigated during conservation in 2007-2008, revealed detailed geometric patterns and casting defects, implying the use of a sand-based closed mould and intricate crafting tools. Polishing and wear indicate its potential use. Further research is needed to fully understand the techniques used in its production.
- Ahn Hwi-Joon(Emeritus Professor, Seoul National University)
Genre painting, or pungsokhwa in Korean, captures everyday life scenes of common people. Stemming from the Bronze Age, these paintings were significant in Korean history, reflecting cultural shifts and societal habits. Traditional genre paintings in Korea depict a broad range of scenes, including royal events, commoner lives, and secular activities. Renowned artists like Kim Hongdo and Shin Yunbok contributed significantly to the genre, emphasizing realism, documentary precision, and historical integrity. The paintings serve as vital links to Korea’s past, offering insight into lifestyles and customs while inspiring modern artists to explore contemporary genre painting styles.
- Lee Tae-ho(Professor, Myongji University)
True-view landscape paintings from Korea's late Joseon Dynasty mark a significant shift in Korean art, moving from Chinese-inspired styles to a focus on Korean landscapes. Initiated by Jeong Seon, these paintings demonstrate a move from idealism towards realism, with place names adding cultural value. Corresponding with the Silhak movement's emphasis on reality and originality, Jeong's work and his style significantly influenced Korean art. Their approach to realism, while sometimes exaggerating details, contrasted with later Western realism in landscape depictions. The impact of Jeong Seon's techniques persists in Korean art history.
- Kwon Young-pil(Visiting Professor at Sangji University)
The article explores West Asia's rich cultural exchange with East Asia, challenging traditional views of the Silk Road. It highlights that the Silk Road may have functioned more through sea routes, with India as an intermediary. West Asia, encompassing the Middle East, significantly influenced art and culture, transmitting Greco-Roman elements to regions like Korea via Central Asia. The piece discusses cultural syncretism, such as Greco-Roman and Zoroastrian integration, and the transmission of West Asian art styles, like the griffin motif and chiaroscuro technique, across Eurasia to Korea, revealing ancient Korea's integration into Silk Road culture.