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New Exhibits of Calligraphy and Painting Section, March 2014, Traces of the Ancient Sages
- Date 2014-03-28
- Hit 13739
○ Place: Calligraphy Room, Painting Room and Buddhist Painting Room
○ Works on display: 82 Copies (209 Pieces) including Portrait of Yi Saek
In April, the National Museum of Korea (Director: Kim Youngna) newly presents a selection of calligraphy and painting from its collection, replacing existing works in permanent exhibition galleries for the first time this year.
The Calligraphy Room offers an opportunity to have a close look at calligraphic styles which were in fashion in the mid-Joseon Dynasty. Viewers will see how Zhao Meng-fu’s calligraphy developed into Songseolche (Pine-Snow calligraphy) in Joseon as well as how choseo (cursive script), Seokbongche (calligraphy of Seokbong) and Yangsongche (calligraphy of Song Jun-gil and Song Si-yeol) gained popularity, through calligraphies of King Seongjong (r. 1470-1494) and King Seonjo (1567-1608) and those of Han Ho (1543-1605, pen name; Seokbong) and Song Jun-gil (1606-1672). In addition, Rubbing of the Monument to the Loyalty of Gil Jae will remind the viewers of the fidelity and qualities required of scholars.
In the Painting Room, the viewers will discover paintings of different genres whose dates range from the early to the late Joseon Dynasty. The works on display include genre paintings by Kim Hong-do (Plowing a Rice Field and Shooting an Arrow) and Shin Yun-bok (Woman with a Long Hood and Woman with a Cap). Among landscapes, Landscape with Pavillions by Mun Cheong, Gathering of Officials of the Office of the Censor-General (Treasure No. 868), true-view landscape paintings by Jeong Seon and Yi In-mun, landscapes in the style of the Southern School of Chinese painting and Kim Su-cheol’s new style of landscape deserve special attention. In the section of figure painting, viewers will have the opportunity to understand how Joseon-Dynasty portrait painters depicted and shaded human faces through Portrait of Yi Saek following the tradition of Goryeo-Dynasty portraiture and Portrait of Seong Su-ung of the 18th century. The exhibition also includes paintings of birds, flowers and animals by such female artists as Sin Saimdang (16th century) and Jukhyang (19th century). Existing royal court paintings and folk paintings will be replaced by those conveying wishes for good fortune, wealth and honor, as exemplified by Joyous Party of Guo Zi-yi (attributed to Kim Deuk-sin), Chaekgeori and Hunting.
The Buddhist Painting Room presents religious paintings for worship as well as those for rituals, such as Buddha Preaching on the Vulture Peak, Ten Kings of Hell and The King of Sweet Dew Saving Hungry Ghost. These ritual paintings reflecting Buddhist faith and ritual will help viewers understand the view of life and death of Joseon people who wished for peace and happiness through such paintings. The viewers will also have a chance to see the works from a different perspective, learning the order of the ritual reflected in those paintings.
The works to be presented for the first time in this exhibition include Seal of Heo Mok (1595-1682), leader of the Namin (Southerners) faction and master of seal script; Painting of Hwaseong featuring the former view of Hwaseong and Jeongjo’s royal procession to Hwaseong; Bamboo by Song Sang-rae (18th century); Flowers and Trees by Heo Hyeong (19th century), Ancient Bronzewares and Flowers by Choi Wu-seok (mid-20th century) and Ten Kings of Hell. In particular, Ten Kings of Hell was devoted by a court lady to a special place for pray, wishing for rebirth of a royal family member in the Land off Bliss.
The National Museum of Korea hopes that a variety of new works in permanent exhibition galleries will help the visitors appreciate the beauty of calligraphy and painting.
○ Works on display: 82 Copies (209 Pieces) including Portrait of Yi Saek
In April, the National Museum of Korea (Director: Kim Youngna) newly presents a selection of calligraphy and painting from its collection, replacing existing works in permanent exhibition galleries for the first time this year.
The Calligraphy Room offers an opportunity to have a close look at calligraphic styles which were in fashion in the mid-Joseon Dynasty. Viewers will see how Zhao Meng-fu’s calligraphy developed into Songseolche (Pine-Snow calligraphy) in Joseon as well as how choseo (cursive script), Seokbongche (calligraphy of Seokbong) and Yangsongche (calligraphy of Song Jun-gil and Song Si-yeol) gained popularity, through calligraphies of King Seongjong (r. 1470-1494) and King Seonjo (1567-1608) and those of Han Ho (1543-1605, pen name; Seokbong) and Song Jun-gil (1606-1672). In addition, Rubbing of the Monument to the Loyalty of Gil Jae will remind the viewers of the fidelity and qualities required of scholars.
In the Painting Room, the viewers will discover paintings of different genres whose dates range from the early to the late Joseon Dynasty. The works on display include genre paintings by Kim Hong-do (Plowing a Rice Field and Shooting an Arrow) and Shin Yun-bok (Woman with a Long Hood and Woman with a Cap). Among landscapes, Landscape with Pavillions by Mun Cheong, Gathering of Officials of the Office of the Censor-General (Treasure No. 868), true-view landscape paintings by Jeong Seon and Yi In-mun, landscapes in the style of the Southern School of Chinese painting and Kim Su-cheol’s new style of landscape deserve special attention. In the section of figure painting, viewers will have the opportunity to understand how Joseon-Dynasty portrait painters depicted and shaded human faces through Portrait of Yi Saek following the tradition of Goryeo-Dynasty portraiture and Portrait of Seong Su-ung of the 18th century. The exhibition also includes paintings of birds, flowers and animals by such female artists as Sin Saimdang (16th century) and Jukhyang (19th century). Existing royal court paintings and folk paintings will be replaced by those conveying wishes for good fortune, wealth and honor, as exemplified by Joyous Party of Guo Zi-yi (attributed to Kim Deuk-sin), Chaekgeori and Hunting.
The Buddhist Painting Room presents religious paintings for worship as well as those for rituals, such as Buddha Preaching on the Vulture Peak, Ten Kings of Hell and The King of Sweet Dew Saving Hungry Ghost. These ritual paintings reflecting Buddhist faith and ritual will help viewers understand the view of life and death of Joseon people who wished for peace and happiness through such paintings. The viewers will also have a chance to see the works from a different perspective, learning the order of the ritual reflected in those paintings.
The works to be presented for the first time in this exhibition include Seal of Heo Mok (1595-1682), leader of the Namin (Southerners) faction and master of seal script; Painting of Hwaseong featuring the former view of Hwaseong and Jeongjo’s royal procession to Hwaseong; Bamboo by Song Sang-rae (18th century); Flowers and Trees by Heo Hyeong (19th century), Ancient Bronzewares and Flowers by Choi Wu-seok (mid-20th century) and Ten Kings of Hell. In particular, Ten Kings of Hell was devoted by a court lady to a special place for pray, wishing for rebirth of a royal family member in the Land off Bliss.
The National Museum of Korea hopes that a variety of new works in permanent exhibition galleries will help the visitors appreciate the beauty of calligraphy and painting.
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