Difference between revisions of "National Museum of Korea" - New World Encyclopedia
Dan Davies (talk | contribs) |
Dan Davies (talk | contribs) |
||
| Line 12: | Line 12: | ||
== History == | == History == | ||
| − | Emperor [[Sunjong of Korea|Sunjong]] established Korea's first museum, the Imperial Household Museum, in 1908 C.E. in the waning days of the [[Joseon Dynasty]]. The collection of the Imperial Household Museum at [[Changgyeonggung]] and the later Japanese Government General Museum, during the [[Korea under Japanese rule|Japanese rule of Korea]], became the nucleus of the National Museum's collection established when South Korea gained independence in 1945 C.E. During the [[Korean War]], the government safely moved the 20,000 of the museum's pieces to [[Busan]] to avoid destruction. When the artifacts came back to Seoul after the war, curators housed them in [[Gyeongbokgung]] and [[Deoksugung]] Palace. In 1972, the museum moved again to a new building on the grounds of the [[ | + | Emperor [[Sunjong of Korea|Sunjong]] established Korea's first museum, the Imperial Household Museum, in 1908 C.E. in the waning days of the [[Joseon Dynasty]]. The collection of the Imperial Household Museum at [[Changgyeonggung]] and the later Japanese Government General Museum, during the [[Korea under Japanese rule|Japanese rule of Korea]], became the nucleus of the National Museum's collection established when South Korea gained independence in 1945 C.E. During the [[Korean War]], the government safely moved the 20,000 of the museum's pieces to [[Busan]] to avoid destruction. When the artifacts came back to Seoul after the war, curators housed them in [[Gyeongbokgung]] and [[Deoksugung]] Palace. In 1972, the museum moved again to a new building on the grounds of the [[Gyeongbokgung]] palace. In 1986, the museum moved again in 1986 to the [[Jungangcheong]], the former [[Japanese General Government Building, Seoul|Japanese General Government Building]], which housed the museum until demolition in 1995. |
== Layout of the Museum == | == Layout of the Museum == | ||
| − | The museum has three floors. Symbolically, the left of the museum represents the past while the right side of the museum represents the future. | + | The museum has three floors. Symbolically, the left of the museum represents the past while the right side of the museum represents the future. The first floor contains the Archaeological Gallery containing approximately 4,500 artifacts from the [[Paleolithic]] to the [[Balhae]] era. Ten exhibition rooms comprise the gallery: the Paleolithic Room, [[Jeulmun Pottery Period|Neolithic]] Room, [[Mumun Pottery Period|Bronze Age]] & Early Iron Age Room, [[Proto Three Kingdoms]] Room, [[Goguryeo]] Room, [[Baekje]] Room, [[Gaya]] Room, [[Silla]] Room, [[Unified Silla]] Room, and [[Balhae]] Room. The Neolithic and Bronze Age Rooms present information about and artifacts from important prehistoric sites and settlements such the [[Bangudae Petroglyphs]] and [[Songgung-ni]]. |
| − | The | + | The Historical Gallery, containing recorded and historical documents such as [[Hangul]] inscriptions, maps, and other valuable documents resides on the first floor. The Historical Gallery has nine rooms: the Hangeul Room, Prints Room, Inscriptions Room, Documents Room, Map Room, King and His Reign Room, Socio-economic Life Room, Traditional Thoughts Room, and Foreign Relations Room. The second floor contains the Fine Arts Gallery I and the Donation Gallery hosting the Painting Room, Calligraphy Room, Buddhist Paintings Room, and Wooden Craft Room. The Fine Arts Gallery I contains 890 pieces of art in four rooms that explore the traditional and religious arts of Korea in line and color. |
| − | The | + | The Donation Gallery holds 1000 pieces of art from a wide variety of cultures donated from the private collections of collectors. The Donation Gallery hosts the following rooms: the Lee Hong-kun Collection Room, Other Collections Room, Kim Chong-hak Collection Room, Yu Kang-yul Collection Room, Park Young-sook Collection Room, Choi Young-do Collection Room, Park Byong-rae Collection Room, Yoo Chang-jong Collection Room, Kaneko Kazushige Collection Room, Hachiuma Tadasu Collection Room, and Luchi Isao Collection Room. The third floor houses the Fine Arts Gallery II, containing 630 pieces that represent Korean Buddhist sculpture and craftwork. Highlights of the gallery include [[Goryeo]] [[Celadon]] wares and [[National treasures of South Korea|National Treasure of Korea]] No. 83, the world-renowned [[Bangasayusang]] (or meditating Maiterya). The gallery has five rooms: Metal Arts Room, Celadon Room, Buncheong Ware Room, White Porcelain Room, and Buddhist Sculpture Room. |
| − | + | Finally, also on the third floor, the Asian Arts Gallery contains 970 pieces exploring the similarities and divergences of Asian Art as well as the confluence of Asian and Western art via the [[Silk Road]]. Six rooms make up the gallery: Indonesian Art Room, Central Asian Art Room, Chinese Art Room, Relics from Sinan Seabed Room, Nangnang Remains Room, and Japanese Art Room. The grounds of the museum contain parks, gardens of indigenous plants, waterfalls and pools, a collection of pagodas and other outdoor Korean art. | |
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | Finally, also on the third floor, the Asian Arts Gallery contains 970 pieces exploring the similarities and divergences of Asian Art as well as the confluence of Asian and Western art via the [[Silk Road]]. Six rooms make up the gallery: Indonesian Art Room, Central Asian Art Room, Chinese Art Room, Relics from Sinan Seabed Room, Nangnang Remains Room, and Japanese Art Room. | ||
| − | |||
| − | The grounds of the museum contain parks, gardens of indigenous plants, waterfalls and pools, a collection of pagodas and other outdoor Korean art. | ||
==National Treasures== | ==National Treasures== | ||
| − | + | '''National Treasure No. 3: The Stele Built to Honor the Expedition of Silla's King Jinheung''' | |
| − | + | {{main|Bukhansan Monument}} | |
| − | + | King Jinheung erected a stele on Mt. Bukhansan around 555 to mark expanded Silla territory. | |
| − | |||
| − | |||
| − | + | '''National Treasure No. 60: Incense Burner Celadon with Lion-shaped Cover: '''. The lion-shaped cover indicated a Buddhist altar ritual object. Goryeo, 12th century. H 21.1cm | |
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| + | '''National Treasure No. 78: Pensive Bodhisattva''' | ||
:This is another masterpiece of the pensive type. This Buddhist statue wears a tall crown with sun and moon decoration. This type of a crown was originated from Sassanian Persia. | :This is another masterpiece of the pensive type. This Buddhist statue wears a tall crown with sun and moon decoration. This type of a crown was originated from Sassanian Persia. | ||
In the sense that it has enigmatic smile, natural pose, harmonious body parts, rhythmical expression of clothing and a waistband, this pensive Bodhisattva exhibits a quite unique sculpture style different from the National Treasure No. 83 pensive Bodhisattva. | In the sense that it has enigmatic smile, natural pose, harmonious body parts, rhythmical expression of clothing and a waistband, this pensive Bodhisattva exhibits a quite unique sculpture style different from the National Treasure No. 83 pensive Bodhisattva. | ||
| Line 55: | Line 38: | ||
H 83.2cm | H 83.2cm | ||
| − | + | '''National Treasure No. 79: Amitābha Buddha'''—from the Pagoda at the Monastic Site of Hwangboksa (Buddha) | |
| − | |||
:From National Museum: These images were found in a reliquary installed inside the Three-story Pagoda at the Monastic Site of Hwangboksa in Guhwang-dong, Gyeongju in 1942. They have attracted much attention because they are made of almost pure gold. An inscription on the reliquary tells that a golden standing Buddha was placed in the pagoda when the pagoda was erected in the first year(692) of King Hyoso and a golden seated Amitābha Buddha was placed in it in 706. | :From National Museum: These images were found in a reliquary installed inside the Three-story Pagoda at the Monastic Site of Hwangboksa in Guhwang-dong, Gyeongju in 1942. They have attracted much attention because they are made of almost pure gold. An inscription on the reliquary tells that a golden standing Buddha was placed in the pagoda when the pagoda was erected in the first year(692) of King Hyoso and a golden seated Amitābha Buddha was placed in it in 706. | ||
Even though a standing Buddha was created in the early Unified Silla, it still shows some resonances of Buddha statues from Three Kingdoms period. The fact that this statue is only 1㎜ thick, exhibits excellent casting technique at that time. | Even though a standing Buddha was created in the early Unified Silla, it still shows some resonances of Buddha statues from Three Kingdoms period. The fact that this statue is only 1㎜ thick, exhibits excellent casting technique at that time. | ||
This seated Amitābha Buddha is more realistic than the standing one. In 10 years a new sculpting technique was evolved. end. | This seated Amitābha Buddha is more realistic than the standing one. In 10 years a new sculpting technique was evolved. end. | ||
| − | + | '''National Treasure No. 80: Buddha'''—from the Pagoda at the Monastic Site of Hwangboksa (Buddha) | |
:These images were found in a reliquary installed inside the Three-story Pagoda at the Monastic Site of Hwangboksa in Guhwang-dong, Gyeongju in 1942. They have attracted much attention because they are made of almost pure gold. An inscription on the reliquary tells that a golden standing Buddha was placed in the pagoda when the pagoda was erected in the first year(692) of King Hyoso and a golden seated Amitābha Buddha was placed in it in 706. | :These images were found in a reliquary installed inside the Three-story Pagoda at the Monastic Site of Hwangboksa in Guhwang-dong, Gyeongju in 1942. They have attracted much attention because they are made of almost pure gold. An inscription on the reliquary tells that a golden standing Buddha was placed in the pagoda when the pagoda was erected in the first year(692) of King Hyoso and a golden seated Amitābha Buddha was placed in it in 706. | ||
Even though a standing Buddha was created in the early Unified Silla, it still shows some resonances of Buddha statues from Three Kingdoms period. The fact that this statue is only 1㎜ thick, exhibits excellent casting technique at that time. | Even though a standing Buddha was created in the early Unified Silla, it still shows some resonances of Buddha statues from Three Kingdoms period. The fact that this statue is only 1㎜ thick, exhibits excellent casting technique at that time. | ||
This seated Amitābha Buddha is more realistic than the standing one. In 10 years a new sculpting technique was evolved. | This seated Amitābha Buddha is more realistic than the standing one. In 10 years a new sculpting technique was evolved. | ||
| − | + | '''National Treasure No. 83: Pensive Bodhisattva''' | |
| − | |||
:This statue is described to put one leg over the other lap while lost in thought with fingers onto the cheeks. Statues in such a pose were derived from Buddha's posture of contemplating on human being's life. This statue is depicted to put a flat crown called 'Three Mountain Crown' or 'Lotus Crown.' Its torso is naked, but wearing a simple necklace. This statue has remarkable similarities with the wooden pensive bodhisattva at the Koryuji temple that is believed to have been founded by a Silla monk in Kyoto, Japan. In that sense, this statue can be presumed to have been created in Silla. However, since it has a well-balanced shape and exhibits elegant and refined craftsmanship, it is also considered as one from Baekje period. | :This statue is described to put one leg over the other lap while lost in thought with fingers onto the cheeks. Statues in such a pose were derived from Buddha's posture of contemplating on human being's life. This statue is depicted to put a flat crown called 'Three Mountain Crown' or 'Lotus Crown.' Its torso is naked, but wearing a simple necklace. This statue has remarkable similarities with the wooden pensive bodhisattva at the Koryuji temple that is believed to have been founded by a Silla monk in Kyoto, Japan. In that sense, this statue can be presumed to have been created in Silla. However, since it has a well-balanced shape and exhibits elegant and refined craftsmanship, it is also considered as one from Baekje period. | ||
Three Kingdoms period, Early 7th century | Three Kingdoms period, Early 7th century | ||
H 93.5cm | H 93.5cm | ||
| − | |||
| − | |||
| − | |||
| + | '''National Treasure No. 86:Gyeongcheonsa Pagoda''' | ||
| + | {{main|Gyeongcheonsa Pagoda}} | ||
[[Image:Goryeo Pagoda.jpg|thumb|left|250px|The pagoda sits on the first floor of the National Museum of Korea]] | [[Image:Goryeo Pagoda.jpg|thumb|left|250px|The pagoda sits on the first floor of the National Museum of Korea]] | ||
:Gyeongcheonsa Pagoda (경천사십층석탑) is National Treasure of Korea No. 86. It was designated by the South Korean government on December 20, 1962. An inscription on the first story of the pagoda states that it was erected in the fourth year of King Chungmok in 1348. The pagoda was first placed at the now-lost Gyeongcheonsa Temple which sat at the foot of Mt. Buso in Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do Province. During the Japanese occupation of Korea, the pagoda was taken to Japan. In 1960, the pagoda was returned and placed on the grounds of Gyeongbokgung Palace. Today, the pagoda stands in one of the main halls of the National Museum of Korea. The pagoda stands 13 meters in height and is ten stories tall. However, because of the three-tiered foundation, it is a common mistake to believe that the pagoda has thirteen stories. Unlike most Goryeo-era pagodas, this pagoda is made from marble. The preferred material of Korean sculptors was generally granite. The later Joseon-era Wongaksa Pagoda is stylistically very similar and is believed to have been heavily influenced by the Gyeongcheonsa Pagoda. The pagoda has a three-tiered foundation which projects in four directions like a cross. The first three stories of the pagoda share the same shape as the foundation. Each panel of this tiered foundation is carved with Buddhas, Bodhisattvas, flowers, and arabesque patterns. The remaining stories are square in shape and share intricate detailing which tries to create the illusion that the marble pagoda is made from wood. Each remaining story has railings, a hip-and-gabled roof, eaves, and carvings made to suggest that each roof is tiled. The pagoda is valuable because it preserves the Goryeo-era wooden architectural style that has been mostly lost. According to the South Korean Cultural Heritage Administration, the pagoda is one of the finest examples of Korean stone work and is of high artistic value. | :Gyeongcheonsa Pagoda (경천사십층석탑) is National Treasure of Korea No. 86. It was designated by the South Korean government on December 20, 1962. An inscription on the first story of the pagoda states that it was erected in the fourth year of King Chungmok in 1348. The pagoda was first placed at the now-lost Gyeongcheonsa Temple which sat at the foot of Mt. Buso in Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do Province. During the Japanese occupation of Korea, the pagoda was taken to Japan. In 1960, the pagoda was returned and placed on the grounds of Gyeongbokgung Palace. Today, the pagoda stands in one of the main halls of the National Museum of Korea. The pagoda stands 13 meters in height and is ten stories tall. However, because of the three-tiered foundation, it is a common mistake to believe that the pagoda has thirteen stories. Unlike most Goryeo-era pagodas, this pagoda is made from marble. The preferred material of Korean sculptors was generally granite. The later Joseon-era Wongaksa Pagoda is stylistically very similar and is believed to have been heavily influenced by the Gyeongcheonsa Pagoda. The pagoda has a three-tiered foundation which projects in four directions like a cross. The first three stories of the pagoda share the same shape as the foundation. Each panel of this tiered foundation is carved with Buddhas, Bodhisattvas, flowers, and arabesque patterns. The remaining stories are square in shape and share intricate detailing which tries to create the illusion that the marble pagoda is made from wood. Each remaining story has railings, a hip-and-gabled roof, eaves, and carvings made to suggest that each roof is tiled. The pagoda is valuable because it preserves the Goryeo-era wooden architectural style that has been mostly lost. According to the South Korean Cultural Heritage Administration, the pagoda is one of the finest examples of Korean stone work and is of high artistic value. | ||
| − | + | '''National Treasure No. 89: Gold Buckle''' | |
:1st century | :1st century | ||
W 9.4cm | W 9.4cm | ||
| − | |||
:This artifact is a pure gold buckle of a belt. Hundreds small golden bits are pasted to the thin gold plate and its rim is decorated with gold yarns. 53.6g gold was used to create this buckle. In the center a huge dragon is described. Around it six small dragons are crowded. | :This artifact is a pure gold buckle of a belt. Hundreds small golden bits are pasted to the thin gold plate and its rim is decorated with gold yarns. 53.6g gold was used to create this buckle. In the center a huge dragon is described. Around it six small dragons are crowded. | ||
The body of a dragon is depicted with relatively thick golden bits and its nose is exaggerated. Originally there used to be 41 pieces of small and blue jewels between big and small dragons, but now only 7 pieces are left. | The body of a dragon is depicted with relatively thick golden bits and its nose is exaggerated. Originally there used to be 41 pieces of small and blue jewels between big and small dragons, but now only 7 pieces are left. | ||
| − | + | '''National Treasure No. 90: Gold Earrings''' | |
| − | + | Silla, 6th century | |
| − | |||
L 8.7cm | L 8.7cm | ||
National Treasure No. 90 | National Treasure No. 90 | ||
| Line 94: | Line 72: | ||
These earrings were found in Couple's tombs in Bomun-dong, Gyeongju. They are the most elaborate and magnificent earrings among Silla earrings in that they display elegant taste of Silla and the prime craftsmanship of metal arts of Silla. | These earrings were found in Couple's tombs in Bomun-dong, Gyeongju. They are the most elaborate and magnificent earrings among Silla earrings in that they display elegant taste of Silla and the prime craftsmanship of metal arts of Silla. | ||
| − | + | '''National Treasure No. 91: Horse Rider-shaped Vessels''' | |
:Silla, 6th century | :Silla, 6th century | ||
H 26.8cm | H 26.8cm | ||
| Line 102: | Line 80: | ||
The other person who seems to be a servant, did his hair up into a topknot and was naked in his torso. He is waving a bell to lead his master's spirit and is carrying a bundle on his back. His ornaments for a horse are quite simple. | The other person who seems to be a servant, did his hair up into a topknot and was naked in his torso. He is waving a bell to lead his master's spirit and is carrying a bundle on his back. His ornaments for a horse are quite simple. | ||
| − | + | '''National Treasure No. 92: Ritual Ewer(Kundika)''' | |
| − | + | Goryeo, 12th century | |
H 37.5cm | H 37.5cm | ||
| − | |||
:A ritual ewer derived from a water bottle used by Brahmans and later by Buddhist monks in ancient India. A number of examples in celadon or bronze originating from the Goryeo period have survived to the present day. The hue of rusted bronze creates a sense of tranquil harmony with the scene of a rainy shore. The intricate details of the inlaid silver and the elegant form of this ewer show sophisticated, Korean traditional metal work from that time. | :A ritual ewer derived from a water bottle used by Brahmans and later by Buddhist monks in ancient India. A number of examples in celadon or bronze originating from the Goryeo period have survived to the present day. The hue of rusted bronze creates a sense of tranquil harmony with the scene of a rainy shore. The intricate details of the inlaid silver and the elegant form of this ewer show sophisticated, Korean traditional metal work from that time. | ||
| − | + | '''National Treasure No. 94: Lobed Bottle Celadon (reportedly from King Injong's Tomb)''' | |
| − | + | Goryeo, 12th century | |
H 22.7cm | H 22.7cm | ||
| − | |||
:This Celadon was reportedly handed down from King Injong's tomb of Goryeo period(1122-1146). It is a very crucial source of study on celadon of 12th century Goryeo period since it represents the best quality of color and shape in Goryeo celadon. Derived from a liquor bottle of a Chinese bronze ware, it was also produced in ceramic in the Northern Song Dynasty and was transmitted to Korea. While a Chinese bottle has a huge mouth and a voluptuous body, this bottle has a perfect balance in shape and shows beauty of glaze. | :This Celadon was reportedly handed down from King Injong's tomb of Goryeo period(1122-1146). It is a very crucial source of study on celadon of 12th century Goryeo period since it represents the best quality of color and shape in Goryeo celadon. Derived from a liquor bottle of a Chinese bronze ware, it was also produced in ceramic in the Northern Song Dynasty and was transmitted to Korea. While a Chinese bottle has a huge mouth and a voluptuous body, this bottle has a perfect balance in shape and shows beauty of glaze. | ||
| − | + | '''National Treasure No. 95: Incense Burner Celadon with Openwork Design''' | |
:Goryeo, 12th century | :Goryeo, 12th century | ||
H 15.3cm | H 15.3cm | ||
| − | |||
:This Incense burner not only represents the best quality of Goryeo celadon but also is loved internationally. It comprises with a cover where incense goes out, a burner, and a support. | :This Incense burner not only represents the best quality of Goryeo celadon but also is loved internationally. It comprises with a cover where incense goes out, a burner, and a support. | ||
In the center of the cover there is a hole that allows incense go out. Above it, there is a curved knob with seven treasure design incised, so that incense can be spread wide. | In the center of the cover there is a hole that allows incense go out. Above it, there is a curved knob with seven treasure design incised, so that incense can be spread wide. | ||
Composed of various shapes according to function and with various techniques such as incising, relief, inlaying and so on, this incense burner is a perfect beautiful work of art. | Composed of various shapes according to function and with various techniques such as incising, relief, inlaying and so on, this incense burner is a perfect beautiful work of art. | ||
| − | + | ||
| + | '''National Treasure No. 97: Maebyeong, Vase Celadon with Incised Lotus Scroll Design''' | ||
:Goryeo, 12th century | :Goryeo, 12th century | ||
H 43.9cm | H 43.9cm | ||
| − | |||
:The way that its line flows from its curved shoulder through its waist to its base represents well characteristic beauty of curves of Goryeo celadon. On the front of the body soft lotus veins are sumptuously incised. The design of veins that circle lotus is in harmony with the shape of Maebyeong. | :The way that its line flows from its curved shoulder through its waist to its base represents well characteristic beauty of curves of Goryeo celadon. On the front of the body soft lotus veins are sumptuously incised. The design of veins that circle lotus is in harmony with the shape of Maebyeong. | ||
The surface is decorated in intaglio that is a process of engraving designs into the surface with a burin. The early design was only simple plant, but influenced by Chinese celadon, it took more various subjects, such as veins, lotus, animals, nature, imaginary animals and so on. | The surface is decorated in intaglio that is a process of engraving designs into the surface with a burin. The early design was only simple plant, but influenced by Chinese celadon, it took more various subjects, such as veins, lotus, animals, nature, imaginary animals and so on. | ||
| − | + | '''National Treasure No. 98: Jar Celadon with Inlaid Peony Design''' | |
:Goryeo, 12th century | :Goryeo, 12th century | ||
H 19.8cm | H 19.8cm | ||
| − | |||
:Since designs of inlaid celadon are mostly thin lines, it is quite rare that such broad surfaces have been inlaid very delicately like this celadon. Its shape is quite influenced by its contemporary bronze wares. Its elegant shape and its detailed peony design are in harmony. | :Since designs of inlaid celadon are mostly thin lines, it is quite rare that such broad surfaces have been inlaid very delicately like this celadon. Its shape is quite influenced by its contemporary bronze wares. Its elegant shape and its detailed peony design are in harmony. | ||
| − | + | '''National Treasure No. 113: Bottle Celadon with Willow Design in Underglaze Iron-brown''' | |
| − | + | Goryeo, 12th century | |
H 31.4cm | H 31.4cm | ||
| − | |||
:This bottle has a very modern feeling thanks to its bold decorative design and composition. Compared with designs of other underglazed iron-brown celadon, its design is quite simple, but the way willow is described is elegant. The willow depicted on the other side has its root and stump expressed so boldly that they show the artist's magnificent skill. The shape of this bottle is quite unique among other celadon. | :This bottle has a very modern feeling thanks to its bold decorative design and composition. Compared with designs of other underglazed iron-brown celadon, its design is quite simple, but the way willow is described is elegant. The willow depicted on the other side has its root and stump expressed so boldly that they show the artist's magnificent skill. The shape of this bottle is quite unique among other celadon. | ||
From the fact that a poem about liquor is incised in a similar shaped bottle in The Museum of Oriental Ceramics, Osaka, it must have been a liquor bottle. | From the fact that a poem about liquor is incised in a similar shaped bottle in The Museum of Oriental Ceramics, Osaka, it must have been a liquor bottle. | ||
| − | + | '''National Treasures No. 116: Gourd-Shaped Pitcher Celadon with Inlaid Peony Scroll Design''' | |
:Goryeo, 12th century | :Goryeo, 12th century | ||
H 34.7cm | H 34.7cm | ||
| Line 148: | Line 121: | ||
:Peony scroll design is depicted in inverse inlaying technique. The inverse inlaying technique means to inlay the outside of the design. It is believed that this technique has been used to avoid crowdedness of the surface in the case of decorating the whole surface of celadon with patterns | :Peony scroll design is depicted in inverse inlaying technique. The inverse inlaying technique means to inlay the outside of the design. It is believed that this technique has been used to avoid crowdedness of the surface in the case of decorating the whole surface of celadon with patterns | ||
| − | + | '''National Treasure No. 119: Buddha with Inscription of the Seventh Year of Yeonga''' | |
| − | |||
| − | |||
:This Buddha statue is the oldest among ones that have the year of production inscribed. | :This Buddha statue is the oldest among ones that have the year of production inscribed. | ||
It is one of thousand Buddhist statues distributed by Dongsa in Pyeongyang in 539 in Goguryeo period. Since it was excavated in Uiryeong, Gyeongsangnam-do, it became a concrete source that proved that the excavation site and the production site could be different. | It is one of thousand Buddhist statues distributed by Dongsa in Pyeongyang in 539 in Goguryeo period. Since it was excavated in Uiryeong, Gyeongsangnam-do, it became a concrete source that proved that the excavation site and the production site could be different. | ||
| Line 156: | Line 127: | ||
:Goguryeo, 539 | :Goguryeo, 539 | ||
H 16.2cm | H 16.2cm | ||
| − | |||
| − | + | '''National Treasure No. 125: Funeral Urns''' | |
:Unified Silla, 8th century | :Unified Silla, 8th century | ||
H 16.4cm | H 16.4cm | ||
| Line 166: | Line 136: | ||
These funeral urns appointed as National Treasure No. 125, were extorted by Japan during the Japanese occupation, but returned to Korea on the occasion of normalization of diplomatic relations between Korea and Japan. The inner urn was glazed and flower patterns were stamped on its whole surface. The outer stone urn was carved angularly. | These funeral urns appointed as National Treasure No. 125, were extorted by Japan during the Japanese occupation, but returned to Korea on the occasion of normalization of diplomatic relations between Korea and Japan. The inner urn was glazed and flower patterns were stamped on its whole surface. The outer stone urn was carved angularly. | ||
| − | + | '''National Treasure No. 126: Spotless Pure Light Dharani Sutra''': | |
| − | + | Unified Silla, 8th century | |
6.7×620.0cm | 6.7×620.0cm | ||
| − | + | :This is the oldest prints of wood printing blocks in the world. It was found in the Seokgatap Pagoda in Gyeongju with other reliquary when the pagoda was dismantled for restoration in 1966. The exact date of printing was not known. However since the pagoda was erected in 751 and other reliquary showed the characteristics and style of Silla period, it can be presumed that the print was produced around that same period. | |
| − | :This is the oldest prints of wood printing blocks in the world. It was found in the Seokgatap Pagoda in Gyeongju with other reliquary when the pagoda was dismantled for restoration in 1966. The exact date of printing was not known. However since the pagoda was erected in 751 and other reliquary showed the characteristics and style of Silla period, it can be presumed that the print was produced around that same period. | ||
| + | '''National Treasure No. 131: Register of King Taejo''' | ||
| + | Goryeo, 1390 | ||
| + | 55.7× 386.0cm | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
:This is the oldest paper document in the collection owned by the National Museum of Korea. It is bound with a scroll. The length of one page is 55.7cm and six attached pages are 386.0cm. | :This is the oldest paper document in the collection owned by the National Museum of Korea. It is bound with a scroll. The length of one page is 55.7cm and six attached pages are 386.0cm. | ||
Made in Hamgyeong-do province, the hometown of King Taejo, it consists of three parts: first, the register of twenty private slaves given to Yi Seong-gye(李成桂, later King Taejo) by the king of the Goryeo Dynasty, December 17, 1390. The second consists of details and a guide to the register. The third part is the register of thirty houses located in Gaeseong, but their relationship with Yi Seong-gye could not be traced. | Made in Hamgyeong-do province, the hometown of King Taejo, it consists of three parts: first, the register of twenty private slaves given to Yi Seong-gye(李成桂, later King Taejo) by the king of the Goryeo Dynasty, December 17, 1390. The second consists of details and a guide to the register. The third part is the register of thirty houses located in Gaeseong, but their relationship with Yi Seong-gye could not be traced. | ||
This register is a valuable source for studying the system of house registry of the Joseon Dynasty. | This register is a valuable source for studying the system of house registry of the Joseon Dynasty. | ||
| − | + | '''National Treasure No. 143: Bronze Ritual Bells''' | |
| − | + | Bronze Age | |
D 14.5 cm | D 14.5 cm | ||
| − | |||
:This artifact was excavated from the tomb in Daegok-ri, Hwasun in Jeollanam-do with a mirror with small patterns, Korean-type bronze dagger, and so on. Since it has the same patterns as other ritual tools, it is presumed to have been used by a shaman. It is believed that a mirror, a dagger, and bells were crucial tools for a powerful ruler and a shaman. | :This artifact was excavated from the tomb in Daegok-ri, Hwasun in Jeollanam-do with a mirror with small patterns, Korean-type bronze dagger, and so on. Since it has the same patterns as other ritual tools, it is presumed to have been used by a shaman. It is believed that a mirror, a dagger, and bells were crucial tools for a powerful ruler and a shaman. | ||
| − | + | '''National Treasure No. 155: Gold Diadem Ornaments''' | |
| − | + | Baekje | |
H 22.6cm | H 22.6cm | ||
| − | |||
:These Ornaments were excavated from the tomb of King Muryeong in Geumseong-dong, Gongju, Chungcheongnam-do. The tomb of King Muryeong is the only tombs of kings of Three Kingdoms period whose owner can be identified. | :These Ornaments were excavated from the tomb of King Muryeong in Geumseong-dong, Gongju, Chungcheongnam-do. The tomb of King Muryeong is the only tombs of kings of Three Kingdoms period whose owner can be identified. | ||
During the excavation of the tomb of King Muryeong, many artifacts including gold diadem ornaments, gold shoes, and a bracelet with inscription, were found and 17 items from them were appointed as national treasures. Also it exhibits the real Baekje art which is different from Goguryeo or Silla. | During the excavation of the tomb of King Muryeong, many artifacts including gold diadem ornaments, gold shoes, and a bracelet with inscription, were found and 17 items from them were appointed as national treasures. Also it exhibits the real Baekje art which is different from Goguryeo or Silla. | ||
This pair of gold diadem ornaments was found around where a queen's head had been placed. | This pair of gold diadem ornaments was found around where a queen's head had been placed. | ||
| − | + | '''National Treasure No. 166: Jar White Porcelain with Plum and Bamboo Design in Underglaze Iron-brown''' | |
| − | + | Joseon, 16th century | |
H 40.0cm | H 40.0cm | ||
National Treasure No. 166 | National Treasure No. 166 | ||
| Line 203: | Line 168: | ||
By describing plum trees whose stump rises up in a circular way and whose small branches rises up straight, the artist created poetic and noble mood. Since its design is done with a refined and elegant technique, it must have been done by a court painter. Also in this jar, the technique of the Four Gracious Plants in the 16th century is witnessed. | By describing plum trees whose stump rises up in a circular way and whose small branches rises up straight, the artist created poetic and noble mood. Since its design is done with a refined and elegant technique, it must have been done by a court painter. Also in this jar, the technique of the Four Gracious Plants in the 16th century is witnessed. | ||
| − | + | '''National Treasure No. 170: Jar White Porcelain with Plum, Bamboo and Bird Design in Underglaze Cobalt-blue''' | |
:Joseon, 15-16th century | :Joseon, 15-16th century | ||
H 16.5cm | H 16.5cm | ||
| Line 209: | Line 174: | ||
:This jar is decorated with Korean traditional design that shows distinguished talents and skills of painters of Joseon government office of Fine Arts. On the lid where the knob in the shape of a lotus bud is laid on, bamboo and plums are depicted. On the front, bamboo and plums and birds are expressed so delicately and realistically that Korean traditional mood is highlighted. While the central design is described in strong and rich cyanide pigment, designs of a chrysanthemum at the lower part and vines around the mouth are intentionally painted so light that realism and solidity of its design are maximized. | :This jar is decorated with Korean traditional design that shows distinguished talents and skills of painters of Joseon government office of Fine Arts. On the lid where the knob in the shape of a lotus bud is laid on, bamboo and plums are depicted. On the front, bamboo and plums and birds are expressed so delicately and realistically that Korean traditional mood is highlighted. While the central design is described in strong and rich cyanide pigment, designs of a chrysanthemum at the lower part and vines around the mouth are intentionally painted so light that realism and solidity of its design are maximized. | ||
| − | + | '''National Treasure No.175: Bowl White Porcelain with Inlaid Lotus Scroll Design :Joseon, 15th century''' | |
| − | :Joseon, 15th century | ||
H 7.6cm | H 7.6cm | ||
| − | |||
Lee Hong-kun Collection | Lee Hong-kun Collection | ||
:Derived from soft white porcelain of Goryeo period, it is one of the most beautiful inlaid white porcelains from Joseon period. While most of inlaid white porcelains from Joseon period was glazed and inlaid roughly, this bowl has fine finishing and expresses its soft texture with delicate design. | :Derived from soft white porcelain of Goryeo period, it is one of the most beautiful inlaid white porcelains from Joseon period. While most of inlaid white porcelains from Joseon period was glazed and inlaid roughly, this bowl has fine finishing and expresses its soft texture with delicate design. | ||
| − | + | '''National Treasure No. 191: Gold Crown''' | |
| − | + | Silla, 5th century | |
H 27.3cm | H 27.3cm | ||
| − | |||
:This gold crown was excavated from the North tomb of Hwangnamdaechong in Gyeongju. In the North tomb, more ornaments including a silver belt ornament with an inscription of 'Buindae(the meaning of Madame's belt)' were found than in the South tomb. In this sense, this North tomb can be presumed to have belonged to a woman. A gold crown indicates the owner's political and social class. | :This gold crown was excavated from the North tomb of Hwangnamdaechong in Gyeongju. In the North tomb, more ornaments including a silver belt ornament with an inscription of 'Buindae(the meaning of Madame's belt)' were found than in the South tomb. In this sense, this North tomb can be presumed to have belonged to a woman. A gold crown indicates the owner's political and social class. | ||
| − | + | '''National Treasure No. 193: Glassware''' | |
:Silla, 5th century | :Silla, 5th century | ||
H 24.7cm | H 24.7cm | ||
| − | |||
:Glassware in Silla was excavated mainly in huge tombs such as a tomb of a king. Just like a gold crown and a gold belt that a certain class people could have, glassware also shows that its owner was in a politically and socially high class. | :Glassware in Silla was excavated mainly in huge tombs such as a tomb of a king. Just like a gold crown and a gold belt that a certain class people could have, glassware also shows that its owner was in a politically and socially high class. | ||
Since this glassware is quite similar with Roman Glass of Russia and the Mediterranean areas, it is presumed to have been transmitted from the Eurasia through the Silk Road to China and Silla. | Since this glassware is quite similar with Roman Glass of Russia and the Mediterranean areas, it is presumed to have been transmitted from the Eurasia through the Silk Road to China and Silla. | ||
| − | + | '''National Treasure No. 195: Jar with Figurines''' | |
:Silla, 5th century | :Silla, 5th century | ||
H 40.1cm | H 40.1cm | ||
| − | |||
:These figurines are made of clay. Modeled after people, animal, daily life tools and so on, these figurines express a folk belief and emotion at that time. Figurines that describe everyday life have symbolic meanings of fecundity and abundance. | :These figurines are made of clay. Modeled after people, animal, daily life tools and so on, these figurines express a folk belief and emotion at that time. Figurines that describe everyday life have symbolic meanings of fecundity and abundance. | ||
This jar with clay figurines attached is well preserved. Its neck comprises two tiers of wave and circle patterns. Above them, a man, a snake, and a frog are attached consecutively. A man is holding his penis with his right hand and a stick with his left hand. A snake is biting a hind leg of a frog. | This jar with clay figurines attached is well preserved. Its neck comprises two tiers of wave and circle patterns. Above them, a man, a snake, and a frog are attached consecutively. A man is holding his penis with his right hand and a stick with his left hand. A snake is biting a hind leg of a frog. | ||
| − | + | '''National Treasure No. 246: Maharatnakuta Sutra :Goryeo, 11th Century''' | |
| − | :Goryeo, 11th Century | ||
30.0×47.0cm | 30.0×47.0cm | ||
National Treasure No. 246 | National Treasure No. 246 | ||
| Line 243: | Line 202: | ||
:This book, entitled Daebojeokgyeong or 'Maharatnakuta Sutra', is a collection of important passages selected from the major scriptures of Mahayana Buddhism. The book, translated into Chinese in 713 by a group of Tang scholar-monks including Bodhiruchi, was part of the first edition of the Goryeo Tripitaka woodblocks. The content of the book includes the episode in which Manjusri Bodhisattva heard a revelation about the future from Shakyamuni, the historic Buddha. | :This book, entitled Daebojeokgyeong or 'Maharatnakuta Sutra', is a collection of important passages selected from the major scriptures of Mahayana Buddhism. The book, translated into Chinese in 713 by a group of Tang scholar-monks including Bodhiruchi, was part of the first edition of the Goryeo Tripitaka woodblocks. The content of the book includes the episode in which Manjusri Bodhisattva heard a revelation about the future from Shakyamuni, the historic Buddha. | ||
| − | + | '''National Treasure No. 259: Jar Buncheong Ware with Inlaid Dragon and Stamped Design''' | |
| − | |||
| − | |||
:Joseon, 15th century | :Joseon, 15th century | ||
H 48.5cm | H 48.5cm | ||
| − | |||
:This type of big jar became to appear as Buncheong ware of Joseon period was produced. It is a good example where both incising and inlaying are applied harmoniously. And also it is a masterpiece of beauty of Buncheong ware. | :This type of big jar became to appear as Buncheong ware of Joseon period was produced. It is a good example where both incising and inlaying are applied harmoniously. And also it is a masterpiece of beauty of Buncheong ware. | ||
| − | + | National Treasure No. 260: Turtle-shaped Bottle Buncheong Ware with Sgraffito Peony Design and Underglaze Iron-brown Decoration | |
:Joseon, 15th century | :Joseon, 15th century | ||
D 24.1cm | D 24.1cm | ||
| − | + | :It is called as turtle-shaped bottle since it has a round and flat body with a mouth. It was a portable bottle for water and liquor in Joseon period. Since it was usually earthenware for everyday life, there was not many of Buncheong ware or white porcelain. | |
| + | On the upper side of the bottle, peony design is distinctively depicted on the thick layer of white soil. Its design is very bold and the part of white soil and the technique used in details are perfect. The outside of peony design is scraped down and then painted with iron-brown glaze. This dark iron-brown glaze makes peony look more distinctive. | ||
| − | + | '''National Treasure No. 272: Treatise on the 17 Stages of the Yoga Practice''' | |
:Goryeo, 11th century | :Goryeo, 11th century | ||
28.8×44.8cm(25 pages) | 28.8×44.8cm(25 pages) | ||
| − | |||
Song Sung-moon Collection | Song Sung-moon Collection | ||
:Yugasajiron is one of 4 pieces of Chojo Tripitaka among Song Sung-moon's donation. When Kitan intruded into Gaegyeong in 1011, Goryeo King Hyeonjong ordered Chojo Tripitaka to be made. It was completed in 1087 but it was burnt in Mongolian invasion. The prints of Chojo Tripitaka that have been handed down until now, are approximately 2,600 books, most of which are in Japan. | :Yugasajiron is one of 4 pieces of Chojo Tripitaka among Song Sung-moon's donation. When Kitan intruded into Gaegyeong in 1011, Goryeo King Hyeonjong ordered Chojo Tripitaka to be made. It was completed in 1087 but it was burnt in Mongolian invasion. The prints of Chojo Tripitaka that have been handed down until now, are approximately 2,600 books, most of which are in Japan. | ||
The number of its prints found in Korea now is about 200 and most of them are registered as National Treasure or Treasure. Chojo Tripitaka not only followed Tripitaka of Song Dynasty but also exhibited unique Korean printing techniques by adding scriptures that had been left out. | The number of its prints found in Korea now is about 200 and most of them are registered as National Treasure or Treasure. Chojo Tripitaka not only followed Tripitaka of Song Dynasty but also exhibited unique Korean printing techniques by adding scriptures that had been left out. | ||
| − | + | '''National Treasure No. 280: Buddhist Bell From Cheonheung-sa Temple''' | |
| − | |||
:Buddhist bell of Cheonheungsa is the most beautiful bell in Goryeo period. It is a good example of Buddhist bells from Goryeo period in that it not only follows the style of Unified Silla but also gives several changes. This bell comes with an inscription that tells when and where it was made. The elegantly curved form, the hook in the shape of a powerful dragon and images of flying angels and lotus flowers all make this bell a unique work of art. | :Buddhist bell of Cheonheungsa is the most beautiful bell in Goryeo period. It is a good example of Buddhist bells from Goryeo period in that it not only follows the style of Unified Silla but also gives several changes. This bell comes with an inscription that tells when and where it was made. The elegantly curved form, the hook in the shape of a powerful dragon and images of flying angels and lotus flowers all make this bell a unique work of art. | ||
| Line 271: | Line 226: | ||
H 174.2cm | H 174.2cm | ||
National Treasure No. 280 | National Treasure No. 280 | ||
| + | |||
| − | + | ===Other National Treasures=== | |
| + | 61. Celadon wine pot in the shape of a dragon, National Museum of Korea, Seoul | ||
| + | 81. Standing stone maitreya statue of Gamsansa temple, National Museum of Korea, Seoul | ||
| + | 82. Standing stone amitabha statue of Gamsansa temple, National Museum of Korea, Seoul | ||
| + | 93. White porcelain jar with grape design in underglaze iron, National Museum of Korea, Seoul | ||
| + | 96. Celadon pitcher in the shape of a tortoise, National Museum of Korea, Seoul | ||
| + | 99. Galhangsa Temple 3-Story stone pagoda, National Museum of Korea, Seoul | ||
| + | 100. Namgyewon Monastery 7-Story stone pagoda, National Museum of Korea, Seoul | ||
| + | 101. Memorial Stupa for the Most Reverend Jigwang of Beopcheonsa temple, National Museum of Korea, Seoul | ||
| + | 102. Memorial Stupa for the Most Reverend Hongbeop of Jeongtosa temple, National Museum of Korea, Seoul | ||
| + | 104. Stupa for Priest Yeomgeo from Heungbeopsa temple, National Museum of Korea, Seoul | ||
| + | 105. Three storied stone pagoda in Beomhak-ri, Sancheong, National Museum of Korea, Seoul | ||
| + | 110. Portrait of Yi Jehyeon, National Museum of Korea, Seoul | ||
| + | 114. Celadon bottle in the shape of a muskmelon with inlaid peony and chrysanthemum designs, National Museum of Korea, Seoul | ||
| + | 115. Celadon bowl with inlaid arabesque design, National Museum of Korea, Seoul | ||
| + | 124. Seated marble bodhisattva statue of Hansongsa temple, National Museum of Korea, Seoul | ||
| + | 127. Standing gilt-bronze avalokitesvara bodhisattva statue of Samyang-dong, National Museum of Korea, Seoul | ||
| + | 167. Celadon wine pot in the shape of a human figure, National Museum of Korea, Seoul | ||
| + | 168. White porcelain bottle with plum and chrysanthemum designs in underglaze iron, National Museum of Korea, Seoul | ||
| + | 185. Saddharmapundarika sutra, National Museum of Korea, Seoul | ||
| + | 186. Standing gilt-bronze bodhisattva statue from Yangpyeong, National Museum of Korea, Seoul | ||
| + | 207. Saddle flap with 'heavenly horse' painting, from the Heavenly Horse Tomb, National Museum of Korea, Seoul | ||
| + | 239. Portrait of Song Siyeol, National Museum of Korea, Seoul | ||
| + | 245. Index of Tripitaka volume 20, National Museum of Korea, Seoul | ||
| + | 253. Celadon bowl inlaid peony design with relief lotus and arabesque designs, National Museum of Korea, Seoul | ||
| + | 271. Commentary on Yogacaryabhumi sutra volume 12, National Museum of Korea, Seoul | ||
| + | 273. Yogacaryabhumi sutra volume 15, National Museum of Korea, Seoul | ||
| + | 293. Standing Gilt-bronze Avalokitesvara Bodhisttva statue, National Museum of Korea, Seoul | ||
| + | 295. A crown of Baekje, Gilt-bronze crown from tumulus in Sinchon-ri, Naju, in the National Museum of Korea, Seoul | ||
| Line 287: | Line 271: | ||
| − | === Past Exhibit: Treasures from Pyongyang Exhibit === | + | <!--=== Past Exhibit: Treasures from Pyongyang Exhibit === |
| − | Ninety significant cultural artifacts displayed at the National Museum of Korea loaned by the Korean Central History Museum in [[Pyongyang]] until August 16, 2006, then moved to the Taegu National Museum from August 28 to October 26, 2006.[http://www.museum.go.kr/eng/display/special_view.jsp] North and South curators designed the exhibit to engender other cultural property exchanges between the two Koreas. Noteworthy among the collection: a bird bone flute from 2000 B.C.E., the oldest extant musical instrument from Korea. [http://www.korea-is-one.org/article.php3?id_article=2415]. A bronze statue of [[Taejo of Goryeo|Wang Geon]], the first king of the Goryeo Dynasty tops the list for important items exhibted. Standing 138.3 centimeter in height, archeologist excavated the statue in 1992 at his mausoleum in [[Kaesong]]. believed originally dressed in royal clothes, the statue's clothing has disappeared. North Korea loaned famous paintings from the Joseon Dynasty for the exhibit. | + | Ninety significant cultural artifacts displayed at the National Museum of Korea loaned by the Korean Central History Museum in [[Pyongyang]] until August 16, 2006, then moved to the Taegu National Museum from August 28 to October 26, 2006.[http://www.museum.go.kr/eng/display/special_view.jsp] North and South curators designed the exhibit to engender other cultural property exchanges between the two Koreas. Noteworthy among the collection: a bird bone flute from 2000 B.C.E., the oldest extant musical instrument from Korea. [http://www.korea-is-one.org/article.php3?id_article=2415]. A bronze statue of [[Taejo of Goryeo|Wang Geon]], the first king of the Goryeo Dynasty tops the list for important items exhibted. Standing 138.3 centimeter in height, archeologist excavated the statue in 1992 at his mausoleum in [[Kaesong]]. believed originally dressed in royal clothes, the statue's clothing has disappeared. North Korea loaned famous paintings from the Joseon Dynasty for the exhibit.—> |
== Gallery == | == Gallery == | ||
Revision as of 00:57, 14 August 2007
| National Museum of Korea | ||||||||
|---|---|---|---|---|---|---|---|---|
 The exterior of the National Museum of Korea (West wing). | ||||||||
| Korean name | ||||||||
|
The National Museum of Korea, the flagship museum of Korean history and art in South Korea, represents Korea culturally. Established in 1945, the museum opened in a new building in Yongsan Family Park in Seoul, October 2005. The museum's collection holds over 150,000 pieces with 11,000 on display at one time. The largest museum in Asia, and the sixth-largest museum in the world in terms of floor space, The National Museum covers 307,227 square feet.
Measures to protect the treasures inside the museum include engineering the building to withstand a magnitude 6.0 Richter Scale earthquake. The display cases for artifacts have been equipped with seismic-protective platforms to absorb shocks and trembles. A imported natural lighting system utilizes sunlight instead of artificial lights and an air purification system has been designed to protect the art and artifacts of the museum. The museum has been made with fire resistant materials.
To design the new building, the Korean government held an international competition open to architects around the world to submit a proposal for the new building. Architects from fifty nine countries submitted 854 entries . Chang-Il Kim of Junglim Architects & Engineers Ltd. submitted the winning design, inspired by the idea of a traditional Korean fortress. Oblong in shape, the building looks like a Korean fortress. 404 meters in length, and six-stories in height, indigenous plants and gardens surround the building.
History
Emperor Sunjong established Korea's first museum, the Imperial Household Museum, in 1908 C.E. in the waning days of the Joseon Dynasty. The collection of the Imperial Household Museum at Changgyeonggung and the later Japanese Government General Museum, during the Japanese rule of Korea, became the nucleus of the National Museum's collection established when South Korea gained independence in 1945 C.E. During the Korean War, the government safely moved the 20,000 of the museum's pieces to Busan to avoid destruction. When the artifacts came back to Seoul after the war, curators housed them in Gyeongbokgung and Deoksugung Palace. In 1972, the museum moved again to a new building on the grounds of the Gyeongbokgung palace. In 1986, the museum moved again in 1986 to the Jungangcheong, the former Japanese General Government Building, which housed the museum until demolition in 1995.
Layout of the Museum
The museum has three floors. Symbolically, the left of the museum represents the past while the right side of the museum represents the future. The first floor contains the Archaeological Gallery containing approximately 4,500 artifacts from the Paleolithic to the Balhae era. Ten exhibition rooms comprise the gallery: the Paleolithic Room, Neolithic Room, Bronze Age & Early Iron Age Room, Proto Three Kingdoms Room, Goguryeo Room, Baekje Room, Gaya Room, Silla Room, Unified Silla Room, and Balhae Room. The Neolithic and Bronze Age Rooms present information about and artifacts from important prehistoric sites and settlements such the Bangudae Petroglyphs and Songgung-ni.
The Historical Gallery, containing recorded and historical documents such as Hangul inscriptions, maps, and other valuable documents resides on the first floor. The Historical Gallery has nine rooms: the Hangeul Room, Prints Room, Inscriptions Room, Documents Room, Map Room, King and His Reign Room, Socio-economic Life Room, Traditional Thoughts Room, and Foreign Relations Room. The second floor contains the Fine Arts Gallery I and the Donation Gallery hosting the Painting Room, Calligraphy Room, Buddhist Paintings Room, and Wooden Craft Room. The Fine Arts Gallery I contains 890 pieces of art in four rooms that explore the traditional and religious arts of Korea in line and color.
The Donation Gallery holds 1000 pieces of art from a wide variety of cultures donated from the private collections of collectors. The Donation Gallery hosts the following rooms: the Lee Hong-kun Collection Room, Other Collections Room, Kim Chong-hak Collection Room, Yu Kang-yul Collection Room, Park Young-sook Collection Room, Choi Young-do Collection Room, Park Byong-rae Collection Room, Yoo Chang-jong Collection Room, Kaneko Kazushige Collection Room, Hachiuma Tadasu Collection Room, and Luchi Isao Collection Room. The third floor houses the Fine Arts Gallery II, containing 630 pieces that represent Korean Buddhist sculpture and craftwork. Highlights of the gallery include Goryeo Celadon wares and National Treasure of Korea No. 83, the world-renowned Bangasayusang (or meditating Maiterya). The gallery has five rooms: Metal Arts Room, Celadon Room, Buncheong Ware Room, White Porcelain Room, and Buddhist Sculpture Room.
Finally, also on the third floor, the Asian Arts Gallery contains 970 pieces exploring the similarities and divergences of Asian Art as well as the confluence of Asian and Western art via the Silk Road. Six rooms make up the gallery: Indonesian Art Room, Central Asian Art Room, Chinese Art Room, Relics from Sinan Seabed Room, Nangnang Remains Room, and Japanese Art Room. The grounds of the museum contain parks, gardens of indigenous plants, waterfalls and pools, a collection of pagodas and other outdoor Korean art.
National Treasures
National Treasure No. 3: The Stele Built to Honor the Expedition of Silla's King Jinheung
King Jinheung erected a stele on Mt. Bukhansan around 555 to mark expanded Silla territory.
National Treasure No. 60: Incense Burner Celadon with Lion-shaped Cover: . The lion-shaped cover indicated a Buddhist altar ritual object. Goryeo, 12th century. H 21.1cm
National Treasure No. 78: Pensive Bodhisattva
- This is another masterpiece of the pensive type. This Buddhist statue wears a tall crown with sun and moon decoration. This type of a crown was originated from Sassanian Persia.
In the sense that it has enigmatic smile, natural pose, harmonious body parts, rhythmical expression of clothing and a waistband, this pensive Bodhisattva exhibits a quite unique sculpture style different from the National Treasure No. 83 pensive Bodhisattva. Three Kingdoms period, Late 6th century Gilt bronze H 83.2cm
National Treasure No. 79: Amitābha Buddha—from the Pagoda at the Monastic Site of Hwangboksa (Buddha)
- From National Museum: These images were found in a reliquary installed inside the Three-story Pagoda at the Monastic Site of Hwangboksa in Guhwang-dong, Gyeongju in 1942. They have attracted much attention because they are made of almost pure gold. An inscription on the reliquary tells that a golden standing Buddha was placed in the pagoda when the pagoda was erected in the first year(692) of King Hyoso and a golden seated Amitābha Buddha was placed in it in 706.
Even though a standing Buddha was created in the early Unified Silla, it still shows some resonances of Buddha statues from Three Kingdoms period. The fact that this statue is only 1㎜ thick, exhibits excellent casting technique at that time. This seated Amitābha Buddha is more realistic than the standing one. In 10 years a new sculpting technique was evolved. end.
National Treasure No. 80: Buddha—from the Pagoda at the Monastic Site of Hwangboksa (Buddha)
- These images were found in a reliquary installed inside the Three-story Pagoda at the Monastic Site of Hwangboksa in Guhwang-dong, Gyeongju in 1942. They have attracted much attention because they are made of almost pure gold. An inscription on the reliquary tells that a golden standing Buddha was placed in the pagoda when the pagoda was erected in the first year(692) of King Hyoso and a golden seated Amitābha Buddha was placed in it in 706.
Even though a standing Buddha was created in the early Unified Silla, it still shows some resonances of Buddha statues from Three Kingdoms period. The fact that this statue is only 1㎜ thick, exhibits excellent casting technique at that time. This seated Amitābha Buddha is more realistic than the standing one. In 10 years a new sculpting technique was evolved.
National Treasure No. 83: Pensive Bodhisattva
- This statue is described to put one leg over the other lap while lost in thought with fingers onto the cheeks. Statues in such a pose were derived from Buddha's posture of contemplating on human being's life. This statue is depicted to put a flat crown called 'Three Mountain Crown' or 'Lotus Crown.' Its torso is naked, but wearing a simple necklace. This statue has remarkable similarities with the wooden pensive bodhisattva at the Koryuji temple that is believed to have been founded by a Silla monk in Kyoto, Japan. In that sense, this statue can be presumed to have been created in Silla. However, since it has a well-balanced shape and exhibits elegant and refined craftsmanship, it is also considered as one from Baekje period.
Three Kingdoms period, Early 7th century H 93.5cm
National Treasure No. 86:Gyeongcheonsa Pagoda
- Gyeongcheonsa Pagoda (경천사십층석탑) is National Treasure of Korea No. 86. It was designated by the South Korean government on December 20, 1962. An inscription on the first story of the pagoda states that it was erected in the fourth year of King Chungmok in 1348. The pagoda was first placed at the now-lost Gyeongcheonsa Temple which sat at the foot of Mt. Buso in Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do Province. During the Japanese occupation of Korea, the pagoda was taken to Japan. In 1960, the pagoda was returned and placed on the grounds of Gyeongbokgung Palace. Today, the pagoda stands in one of the main halls of the National Museum of Korea. The pagoda stands 13 meters in height and is ten stories tall. However, because of the three-tiered foundation, it is a common mistake to believe that the pagoda has thirteen stories. Unlike most Goryeo-era pagodas, this pagoda is made from marble. The preferred material of Korean sculptors was generally granite. The later Joseon-era Wongaksa Pagoda is stylistically very similar and is believed to have been heavily influenced by the Gyeongcheonsa Pagoda. The pagoda has a three-tiered foundation which projects in four directions like a cross. The first three stories of the pagoda share the same shape as the foundation. Each panel of this tiered foundation is carved with Buddhas, Bodhisattvas, flowers, and arabesque patterns. The remaining stories are square in shape and share intricate detailing which tries to create the illusion that the marble pagoda is made from wood. Each remaining story has railings, a hip-and-gabled roof, eaves, and carvings made to suggest that each roof is tiled. The pagoda is valuable because it preserves the Goryeo-era wooden architectural style that has been mostly lost. According to the South Korean Cultural Heritage Administration, the pagoda is one of the finest examples of Korean stone work and is of high artistic value.
National Treasure No. 89: Gold Buckle
- 1st century
W 9.4cm
- This artifact is a pure gold buckle of a belt. Hundreds small golden bits are pasted to the thin gold plate and its rim is decorated with gold yarns. 53.6g gold was used to create this buckle. In the center a huge dragon is described. Around it six small dragons are crowded.
The body of a dragon is depicted with relatively thick golden bits and its nose is exaggerated. Originally there used to be 41 pieces of small and blue jewels between big and small dragons, but now only 7 pieces are left.
National Treasure No. 90: Gold Earrings Silla, 6th century L 8.7cm National Treasure No. 90
- From the tombs of Silla period, the internationally unprecedented number of gold earrings was excavated.
These earrings were found in Couple's tombs in Bomun-dong, Gyeongju. They are the most elaborate and magnificent earrings among Silla earrings in that they display elegant taste of Silla and the prime craftsmanship of metal arts of Silla.
National Treasure No. 91: Horse Rider-shaped Vessels
- Silla, 6th century
H 26.8cm National Treasure No. 91
- These vessels have shapes of horse riders. But since there are holes in the chest and rump of the horse, they are believed to have been used just like a kettle.
Since horse riders' clothes, size, and decoration were quite different, it is presumed that their classes were different. The person who is assumed to be a master, wears a triangle-shaped hat and an armor and a sword at his left waist. And his decoration for a horse is composed of ornaments, saddle, footrests, and so on. Especially there is a horn-shaped ornament on the forehead of a horse. The other person who seems to be a servant, did his hair up into a topknot and was naked in his torso. He is waving a bell to lead his master's spirit and is carrying a bundle on his back. His ornaments for a horse are quite simple.
National Treasure No. 92: Ritual Ewer(Kundika) Goryeo, 12th century H 37.5cm
- A ritual ewer derived from a water bottle used by Brahmans and later by Buddhist monks in ancient India. A number of examples in celadon or bronze originating from the Goryeo period have survived to the present day. The hue of rusted bronze creates a sense of tranquil harmony with the scene of a rainy shore. The intricate details of the inlaid silver and the elegant form of this ewer show sophisticated, Korean traditional metal work from that time.
National Treasure No. 94: Lobed Bottle Celadon (reportedly from King Injong's Tomb) Goryeo, 12th century H 22.7cm
- This Celadon was reportedly handed down from King Injong's tomb of Goryeo period(1122-1146). It is a very crucial source of study on celadon of 12th century Goryeo period since it represents the best quality of color and shape in Goryeo celadon. Derived from a liquor bottle of a Chinese bronze ware, it was also produced in ceramic in the Northern Song Dynasty and was transmitted to Korea. While a Chinese bottle has a huge mouth and a voluptuous body, this bottle has a perfect balance in shape and shows beauty of glaze.
National Treasure No. 95: Incense Burner Celadon with Openwork Design
- Goryeo, 12th century
H 15.3cm
- This Incense burner not only represents the best quality of Goryeo celadon but also is loved internationally. It comprises with a cover where incense goes out, a burner, and a support.
In the center of the cover there is a hole that allows incense go out. Above it, there is a curved knob with seven treasure design incised, so that incense can be spread wide. Composed of various shapes according to function and with various techniques such as incising, relief, inlaying and so on, this incense burner is a perfect beautiful work of art.
National Treasure No. 97: Maebyeong, Vase Celadon with Incised Lotus Scroll Design
- Goryeo, 12th century
H 43.9cm
- The way that its line flows from its curved shoulder through its waist to its base represents well characteristic beauty of curves of Goryeo celadon. On the front of the body soft lotus veins are sumptuously incised. The design of veins that circle lotus is in harmony with the shape of Maebyeong.
The surface is decorated in intaglio that is a process of engraving designs into the surface with a burin. The early design was only simple plant, but influenced by Chinese celadon, it took more various subjects, such as veins, lotus, animals, nature, imaginary animals and so on.
National Treasure No. 98: Jar Celadon with Inlaid Peony Design
- Goryeo, 12th century
H 19.8cm
- Since designs of inlaid celadon are mostly thin lines, it is quite rare that such broad surfaces have been inlaid very delicately like this celadon. Its shape is quite influenced by its contemporary bronze wares. Its elegant shape and its detailed peony design are in harmony.
National Treasure No. 113: Bottle Celadon with Willow Design in Underglaze Iron-brown Goryeo, 12th century H 31.4cm
- This bottle has a very modern feeling thanks to its bold decorative design and composition. Compared with designs of other underglazed iron-brown celadon, its design is quite simple, but the way willow is described is elegant. The willow depicted on the other side has its root and stump expressed so boldly that they show the artist's magnificent skill. The shape of this bottle is quite unique among other celadon.
From the fact that a poem about liquor is incised in a similar shaped bottle in The Museum of Oriental Ceramics, Osaka, it must have been a liquor bottle.
National Treasures No. 116: Gourd-Shaped Pitcher Celadon with Inlaid Peony Scroll Design
- Goryeo, 12th century
H 34.7cm National Treasures No. 116
- Peony scroll design is depicted in inverse inlaying technique. The inverse inlaying technique means to inlay the outside of the design. It is believed that this technique has been used to avoid crowdedness of the surface in the case of decorating the whole surface of celadon with patterns
National Treasure No. 119: Buddha with Inscription of the Seventh Year of Yeonga
- This Buddha statue is the oldest among ones that have the year of production inscribed.
It is one of thousand Buddhist statues distributed by Dongsa in Pyeongyang in 539 in Goguryeo period. Since it was excavated in Uiryeong, Gyeongsangnam-do, it became a concrete source that proved that the excavation site and the production site could be different. Its skirt like a fin and slender face exhibit the influence of Chinese Buddhist statues. Its vague smile, a massive sacerdotal robe, and a halo mark characteristic of Buddhist statue from Goguryeo period.
- Goguryeo, 539
H 16.2cm
National Treasure No. 125: Funeral Urns
- Unified Silla, 8th century
H 16.4cm National Treasure No. 125
- Since Buddhism had been introduced to the peninsular, cremation got popular in Silla. And after the unification, the ruling class took in cremation on a full scale.
Ashes left after cremation were scattered in the mountains and fields or kept in a jar and then buried in a hollow. These funeral urns appointed as National Treasure No. 125, were extorted by Japan during the Japanese occupation, but returned to Korea on the occasion of normalization of diplomatic relations between Korea and Japan. The inner urn was glazed and flower patterns were stamped on its whole surface. The outer stone urn was carved angularly.
National Treasure No. 126: Spotless Pure Light Dharani Sutra: Unified Silla, 8th century 6.7×620.0cm
- This is the oldest prints of wood printing blocks in the world. It was found in the Seokgatap Pagoda in Gyeongju with other reliquary when the pagoda was dismantled for restoration in 1966. The exact date of printing was not known. However since the pagoda was erected in 751 and other reliquary showed the characteristics and style of Silla period, it can be presumed that the print was produced around that same period.
National Treasure No. 131: Register of King Taejo Goryeo, 1390 55.7× 386.0cm
- This is the oldest paper document in the collection owned by the National Museum of Korea. It is bound with a scroll. The length of one page is 55.7cm and six attached pages are 386.0cm.
Made in Hamgyeong-do province, the hometown of King Taejo, it consists of three parts: first, the register of twenty private slaves given to Yi Seong-gye(李成桂, later King Taejo) by the king of the Goryeo Dynasty, December 17, 1390. The second consists of details and a guide to the register. The third part is the register of thirty houses located in Gaeseong, but their relationship with Yi Seong-gye could not be traced. This register is a valuable source for studying the system of house registry of the Joseon Dynasty.
National Treasure No. 143: Bronze Ritual Bells Bronze Age D 14.5 cm
- This artifact was excavated from the tomb in Daegok-ri, Hwasun in Jeollanam-do with a mirror with small patterns, Korean-type bronze dagger, and so on. Since it has the same patterns as other ritual tools, it is presumed to have been used by a shaman. It is believed that a mirror, a dagger, and bells were crucial tools for a powerful ruler and a shaman.
National Treasure No. 155: Gold Diadem Ornaments Baekje H 22.6cm
- These Ornaments were excavated from the tomb of King Muryeong in Geumseong-dong, Gongju, Chungcheongnam-do. The tomb of King Muryeong is the only tombs of kings of Three Kingdoms period whose owner can be identified.
During the excavation of the tomb of King Muryeong, many artifacts including gold diadem ornaments, gold shoes, and a bracelet with inscription, were found and 17 items from them were appointed as national treasures. Also it exhibits the real Baekje art which is different from Goguryeo or Silla. This pair of gold diadem ornaments was found around where a queen's head had been placed.
National Treasure No. 166: Jar White Porcelain with Plum and Bamboo Design in Underglaze Iron-brown Joseon, 16th century H 40.0cm National Treasure No. 166
- Well known for its magnificent shape and design, it is a good example of the 16th century white porcelains in underglaze iron-brown. On the body, bamboo and plum are described very realistically. Bamboo is depicted in a technique that maximizes the effect of light and shade. By depicting slender and straight bamboo leaves and canes, the artist wanted to express integrity and spirit of bamboo.
By describing plum trees whose stump rises up in a circular way and whose small branches rises up straight, the artist created poetic and noble mood. Since its design is done with a refined and elegant technique, it must have been done by a court painter. Also in this jar, the technique of the Four Gracious Plants in the 16th century is witnessed.
National Treasure No. 170: Jar White Porcelain with Plum, Bamboo and Bird Design in Underglaze Cobalt-blue
- Joseon, 15-16th century
H 16.5cm National Treasure No. 170
- This jar is decorated with Korean traditional design that shows distinguished talents and skills of painters of Joseon government office of Fine Arts. On the lid where the knob in the shape of a lotus bud is laid on, bamboo and plums are depicted. On the front, bamboo and plums and birds are expressed so delicately and realistically that Korean traditional mood is highlighted. While the central design is described in strong and rich cyanide pigment, designs of a chrysanthemum at the lower part and vines around the mouth are intentionally painted so light that realism and solidity of its design are maximized.
National Treasure No.175: Bowl White Porcelain with Inlaid Lotus Scroll Design :Joseon, 15th century H 7.6cm Lee Hong-kun Collection
- Derived from soft white porcelain of Goryeo period, it is one of the most beautiful inlaid white porcelains from Joseon period. While most of inlaid white porcelains from Joseon period was glazed and inlaid roughly, this bowl has fine finishing and expresses its soft texture with delicate design.
National Treasure No. 191: Gold Crown Silla, 5th century H 27.3cm
- This gold crown was excavated from the North tomb of Hwangnamdaechong in Gyeongju. In the North tomb, more ornaments including a silver belt ornament with an inscription of 'Buindae(the meaning of Madame's belt)' were found than in the South tomb. In this sense, this North tomb can be presumed to have belonged to a woman. A gold crown indicates the owner's political and social class.
National Treasure No. 193: Glassware
- Silla, 5th century
H 24.7cm
- Glassware in Silla was excavated mainly in huge tombs such as a tomb of a king. Just like a gold crown and a gold belt that a certain class people could have, glassware also shows that its owner was in a politically and socially high class.
Since this glassware is quite similar with Roman Glass of Russia and the Mediterranean areas, it is presumed to have been transmitted from the Eurasia through the Silk Road to China and Silla.
National Treasure No. 195: Jar with Figurines
- Silla, 5th century
H 40.1cm
- These figurines are made of clay. Modeled after people, animal, daily life tools and so on, these figurines express a folk belief and emotion at that time. Figurines that describe everyday life have symbolic meanings of fecundity and abundance.
This jar with clay figurines attached is well preserved. Its neck comprises two tiers of wave and circle patterns. Above them, a man, a snake, and a frog are attached consecutively. A man is holding his penis with his right hand and a stick with his left hand. A snake is biting a hind leg of a frog.
National Treasure No. 246: Maharatnakuta Sutra :Goryeo, 11th Century 30.0×47.0cm National Treasure No. 246 Song Sung-moon Collection
- This book, entitled Daebojeokgyeong or 'Maharatnakuta Sutra', is a collection of important passages selected from the major scriptures of Mahayana Buddhism. The book, translated into Chinese in 713 by a group of Tang scholar-monks including Bodhiruchi, was part of the first edition of the Goryeo Tripitaka woodblocks. The content of the book includes the episode in which Manjusri Bodhisattva heard a revelation about the future from Shakyamuni, the historic Buddha.
National Treasure No. 259: Jar Buncheong Ware with Inlaid Dragon and Stamped Design
- Joseon, 15th century
H 48.5cm
- This type of big jar became to appear as Buncheong ware of Joseon period was produced. It is a good example where both incising and inlaying are applied harmoniously. And also it is a masterpiece of beauty of Buncheong ware.
National Treasure No. 260: Turtle-shaped Bottle Buncheong Ware with Sgraffito Peony Design and Underglaze Iron-brown Decoration
- Joseon, 15th century
D 24.1cm
- It is called as turtle-shaped bottle since it has a round and flat body with a mouth. It was a portable bottle for water and liquor in Joseon period. Since it was usually earthenware for everyday life, there was not many of Buncheong ware or white porcelain.
On the upper side of the bottle, peony design is distinctively depicted on the thick layer of white soil. Its design is very bold and the part of white soil and the technique used in details are perfect. The outside of peony design is scraped down and then painted with iron-brown glaze. This dark iron-brown glaze makes peony look more distinctive.
National Treasure No. 272: Treatise on the 17 Stages of the Yoga Practice
- Goryeo, 11th century
28.8×44.8cm(25 pages) Song Sung-moon Collection
- Yugasajiron is one of 4 pieces of Chojo Tripitaka among Song Sung-moon's donation. When Kitan intruded into Gaegyeong in 1011, Goryeo King Hyeonjong ordered Chojo Tripitaka to be made. It was completed in 1087 but it was burnt in Mongolian invasion. The prints of Chojo Tripitaka that have been handed down until now, are approximately 2,600 books, most of which are in Japan.
The number of its prints found in Korea now is about 200 and most of them are registered as National Treasure or Treasure. Chojo Tripitaka not only followed Tripitaka of Song Dynasty but also exhibited unique Korean printing techniques by adding scriptures that had been left out.
National Treasure No. 280: Buddhist Bell From Cheonheung-sa Temple
- Buddhist bell of Cheonheungsa is the most beautiful bell in Goryeo period. It is a good example of Buddhist bells from Goryeo period in that it not only follows the style of Unified Silla but also gives several changes. This bell comes with an inscription that tells when and where it was made. The elegantly curved form, the hook in the shape of a powerful dragon and images of flying angels and lotus flowers all make this bell a unique work of art.
- Goryeo, 1010
H 174.2cm National Treasure No. 280
Other National Treasures
61. Celadon wine pot in the shape of a dragon, National Museum of Korea, Seoul 81. Standing stone maitreya statue of Gamsansa temple, National Museum of Korea, Seoul 82. Standing stone amitabha statue of Gamsansa temple, National Museum of Korea, Seoul 93. White porcelain jar with grape design in underglaze iron, National Museum of Korea, Seoul 96. Celadon pitcher in the shape of a tortoise, National Museum of Korea, Seoul 99. Galhangsa Temple 3-Story stone pagoda, National Museum of Korea, Seoul 100. Namgyewon Monastery 7-Story stone pagoda, National Museum of Korea, Seoul 101. Memorial Stupa for the Most Reverend Jigwang of Beopcheonsa temple, National Museum of Korea, Seoul 102. Memorial Stupa for the Most Reverend Hongbeop of Jeongtosa temple, National Museum of Korea, Seoul 104. Stupa for Priest Yeomgeo from Heungbeopsa temple, National Museum of Korea, Seoul 105. Three storied stone pagoda in Beomhak-ri, Sancheong, National Museum of Korea, Seoul 110. Portrait of Yi Jehyeon, National Museum of Korea, Seoul 114. Celadon bottle in the shape of a muskmelon with inlaid peony and chrysanthemum designs, National Museum of Korea, Seoul 115. Celadon bowl with inlaid arabesque design, National Museum of Korea, Seoul 124. Seated marble bodhisattva statue of Hansongsa temple, National Museum of Korea, Seoul 127. Standing gilt-bronze avalokitesvara bodhisattva statue of Samyang-dong, National Museum of Korea, Seoul 167. Celadon wine pot in the shape of a human figure, National Museum of Korea, Seoul 168. White porcelain bottle with plum and chrysanthemum designs in underglaze iron, National Museum of Korea, Seoul 185. Saddharmapundarika sutra, National Museum of Korea, Seoul 186. Standing gilt-bronze bodhisattva statue from Yangpyeong, National Museum of Korea, Seoul 207. Saddle flap with 'heavenly horse' painting, from the Heavenly Horse Tomb, National Museum of Korea, Seoul 239. Portrait of Song Siyeol, National Museum of Korea, Seoul 245. Index of Tripitaka volume 20, National Museum of Korea, Seoul 253. Celadon bowl inlaid peony design with relief lotus and arabesque designs, National Museum of Korea, Seoul 271. Commentary on Yogacaryabhumi sutra volume 12, National Museum of Korea, Seoul 273. Yogacaryabhumi sutra volume 15, National Museum of Korea, Seoul 293. Standing Gilt-bronze Avalokitesvara Bodhisttva statue, National Museum of Korea, Seoul 295. A crown of Baekje, Gilt-bronze crown from tumulus in Sinchon-ri, Naju, in the National Museum of Korea, Seoul
External links
Gallery
National Treasure No.83 is one of the most popular works at the museum and is the most highly insured.
The main lobby of the National Museum of Korea.
Joseon Dynasty vase.
A replica of the Gilt-bronze Incense Burner of Baekje is on display at the museum
Pottery from the Korean Neolithic at the National Museum of Korea.
Duck-shaped pottery at the National Museum of Korea.
A display of pottery at the National Museum of Korea
Buddha on Display at the National Museum
Historical Map in National Museum
Asian Statues in National Museum
Farming Tools Display
See also
- List of Korea-related topics
- List of museums
- Wongaksa Pagoda
- National treasures of South Korea
- National treasures of North Korea
ReferencesISBN links support NWE through referral fees
http://news.sawf.org/Travel/3572.aspx
http://www.korea-is-one.org/article.php3?id_article=2415
External links
- National Museum of Korea. Retrieved July 2, 2007.
- Life in Korea, Korea Travel Guide. Retrieved July 2, 2007.
- UIA, The National Museum of Korea in Seoul. Retrieved July 2, 2007.
- Korean National Heritage Online, National Museum of Korea. Retrieved July 2, 2007.
- Yonhap News (keep hitting reload until the article shows).
- Korea Times (Images of some of the items from North Korea).
- Archaeology News, National Museum Poised to Open in New Home. Retrieved July 2, 2007.
Credits
New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here:
The history of this article since it was imported to New World Encyclopedia:
Note: Some restrictions may apply to use of individual images which are separately licensed.
