British Museum blog

Facelift: the new Korea Foundation Gallery

Sascha Priewe, curator, and Ellie Miles, Interpretation Officer, British Museum

The Museum is re-opening its refreshed Korea Foundation Gallery (Room 67) thanks to a generous grant from the National Museum of Korea. The project gave us the chance to re-think how we talk about and display things from the Korean peninsula. We took into account the collection’s profile, and how our visitors actually use our permanent gallery spaces. Most visitors make their own paths around the gallery, so we took down walls and moved cases to open up the space for them to browse and make different connections between objects. Bringing in colourful case designs and a new lighting design, we hope that the new gallery will give the objects a stronger visual impact, and encourage closer looking than before.

Samramansang Moon Jar #1 by Kang Ik-joong (b. 1960)

Samramansang Moon Jar #1 by Kang Ik-joong (b. 1960), USA, 2010–13, mixed media on wood (British Museum 2014,3046.1)

The collection tells an on-going story of Korean visual and material culture that continues to today. To start this new look at the Korean peninsula’s enduring history, we chose contemporary art with a historical focus. Kang Ik-joong (b. 1960) is an artist whose paintings of moon jars from the Joseon period (1392–1910) are particularly well known. His spectacular Samramansang Moon Jar #1 will welcome visitors into the gallery.

One of the parts of the new gallery that we are most excited about is the cases that we have reserved for changing displays. These will allow the gallery to be responsive to the events programme, new acquisitions and visitor interest. When the gallery opens on 16 December the first of these cases will show the work of Nam June Paik (1932–2006),the Korean pioneer of video art. The display of his works is in step with other interest in him, such as Tate Modern’s current exhibition. The other changing cases will allow us to make links with other collections within the Museum, too, and with the Museum’s exhibition programme.

Korean and Chinese objects displayed in Eumorfopoulos’ home, 7 Chelsea Embankment, London, 1934

Korean and Chinese objects displayed in Eumorfopoulos’ home, originally published in George Eumorfopoulos, G.E. 7, Chelsea Embankment, December 1934 (1934).

As we’ve been thinking about the re-display, the first ‘mini-exhibition’ will look at the history of the Korean collection at the British Museum, and how the earliest Western collectors of Korean art might have seen Korea. The beginnings of the Korean collections and the collecting of Korean objects began in the 19th century through the likes of the diplomat Thomas Watters (1840-1901), William Gowland (18427–1922), who worked for the Japanese mint, and George Eumorfopoulos (1863–1939), an ‘Oriental’ art collector in London, each representing different types of collectors. Between the three of them they amassed important collections but each with a very different texture.

East Gate – Seoul by Elizabeth Keith (1887–1956), Britain, about 1924, colour woodcut, donated by the Contemporary Art Society, P&D 1928,0310.40

East Gate – Seoul, colour woodcut by Elizabeth Keith (1887–1956), Britain, c. 1924, (British Museum PD 1928,0310.40)

Another lens through which Korea was seen was through photography and paintings. The display will show books featuring images of Korea published by the collectors’ contemporaries. Depictions of trades, pastimes, boats, architecture, costumes and natural history and so forth provided a lens through which Asia was perceived. And we will also show prints by Europeans and Americans that they made based on their impressions of Korea.

The gallery refreshment has given us the chance to look into the collection from different angles, to explore its strengths and its weaknesses. We have made some new discoveries and reconnected with objects that have been ‘old friends’. But our main task has been to improve the gallery to serve the visitors much more consciously by telling exciting stories and making connections with a part of the world, its past and present, that is still largely unknown.

The Korea Foundation Gallery</a re-opens on 17 December 2014, admission free.
View on the floorplan

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London, a world city in 20 objects: Korean moon jar

Korean moon jarSascha Priewe, British Museum

Conventionally known as ‘moon jars’, dalhangri in Korean, because of their suggestive shape and milky-white glaze, these vessels are considered a high point of Korean ceramic production during the Choson period (1392-1910).

Korean moon jar

Korean moon jar

This jar in the British Museum is one of only 20 such vessels remaining in the world. It stands 47 cm high and was produced in around 1650-1750. It was made by joining the separately thrown top and bottom sections together, thereby creating a visible joint at the centre. Although there is no firm evidence about the use of moon jars, it has been proposed that food or drink may have been stored in them or that they held flowers.

Moon jars have recently become popular in Korea and abroad. These vessels have inspired a broad movement in contemporary Korean art. Some artists, such as the famous ceramist Park Young-sook (b. 1947), whose modern moon jar is also represented in the British Museum’s collection, have recaptured their aesthetic and technical accomplishment; while others feature moon jars as a motif in paintings, photography and art installations. In this way, moon jars have become to be an icon of Korean art.

During the Choson period, Confucianism became the dominant ideology of the upper class. A moral philosophy, Confucianism governed the conduct of social relationships, and it still remains important today. It also had an impact on Choson-period aesthetics by encouraging a preference for restraint in decoration and likely contributing to the popularisation of plain white ceramics. The moon jar with its imbalance and minor imperfections in the white glaze epitomises this approach towards objects.

The British Museum’s Choson moon jar has a special connection to the United Kingdom. It was acquired by the British potter Bernard Leach (1887-1979) during a trip to Korea in 1935. Leach, who is often regarded as the ‘father of British studio pottery’, took much inspiration from certain East Asian ceramic traditions and incorporated aesthetic sensibilities, such as “nobility, austerity, strength, and warmth” that he identified, into his works. Decidedly anti-industrial, British studio potters strove to re-discover traditional artisan pottery – the ‘peasant pottery’- that Bernard Leach found resonated with many of the East Asian pieces he venerated. It is tempting to think that the British Museum’s moon jar from Korea helped to define the aesthetics of British studio potters.

This was first published in the London Evening Standard on 20 December 2012.

The Korean moon jar is on display in Room 67: Korea

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In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum The roaring lions on the walls of King Nebuchadnezzar II’s palace represented the Babylonian king himself and were intended to astonish approaching visitors. Nebuchadnezzar commissioned major building projects in Babylon to glorify the capital of his empire. Glazed bricks in bright shades of blue, yellow and white were favoured for public monuments in order to emphasise both divine and royal power. These works displayed the might of the city and its king, who commanded unlimited resources.
Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum This colossal lion in the Great Court is one of the most photographed objects in the Museum. It weighs more than 6 tons and comes from a tomb in the ancient cemetery of Knidos, a coastal city now in south-west Turkey. The tomb stood on the edge of a cliff overlooking the approach to Knidos harbour. The building was 18 metres high and the lion was on top of its pyramid roof. The hollow eyes of the lion were probably originally inset with coloured glass, and the reflection of light may have been an aid to sailors navigating the notoriously difficult coast. It is carved from one piece of marble, brought across the Aegean Sea from Mt Pentelikon near the city of Athens. Opinions vary as to when it was built. One suggestion is that it commemorated a naval battle off Knidos in 394 BC.
We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum. Our next special exhibition will explore the remarkable story of Sicily. Discover an island with a cosmopolitan history and identity – a place where the unique mix of peoples gave rise to an extraordinary cultural flowering.
Norman Sicily was a centre of multiculturalism and its art reveals a unique mix of influences. The Norman kings invited Byzantine mosaicists from Constantinople to decorate their cathedrals and palaces. Spectacular golden mosaics can still be found in Roger II’s palace chapel and the cathedrals at Cefalù and Monreale. This mosaic, depicting the Virgin Mary, is all that remains of the extensive mosaics that once decorated Palermo Cathedral.
Book now for #SicilyExhibition, opening 21 April 2016 at britishmuseum.org/sicily 
Mosaic of the Madonna originally from Palermo Cathedral. Sicily, AD 1130–1189. © Museo Diocesano di Palermo.
#Sicily #Italy #art #mosaic #exhibition #BritishMuseum
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