Shedding new light on the Imjin War
a 7-year war among Korea, Japan and China
Visit the exhibition hall to watch the story unfold on three large screens.
This exhibition hall presents artifacts that demonstrate how the Imjin War proceeded starting with the invasion of Joseon by Japan followed by Joseon’s retaliation, progression into an East Asian war with the involvement of the Ming dynasty of China, the Ganghwa negotiations between the Ming dynasty and Japan, re-invasion of Joseon by Japan (Jeongyu War) and the end of the war.
This is a portrait of Toyotomi Hideyoshi (豊臣秀吉, 1537~1598) from 1600. Although he is known to have been short and ugly, the mastermind behind the invasions of Joseon is depicted as an imposing figure in this painting. Following his death, a large number of his portrait was painted and used in worship at his gravesite as well as temples and shrines until the early Edo period.
This is a book providing detailed accounts of the 7-year-long Imjin War and its cause written by Ryu Seongryong with the intent to “take disciplinary measures in advance to prevent future troubles.” In this book, Ryu describes the Imjin War as an East Asian war in which Japan attempted to invade and conquer both Korea (Joseon dynasty) and China (Ming dynasty).
General Kwon Eungsu (權應銖, 1546~1608) who raised a righteous army in Yeongcheon during the Imjin War was granted the status of Seonmungongsin Class 2 in recognition of his hand in recapturing the Yeongcheonseong Fortress and other meritorious deeds during the war.
This portrait displays the characteristics unique to the portraits of meritorious subjects in the 17th century; however, based on the fact that the rank badge shown differs from the tiger rank badge used during the 17th century and the strong contrast in the clothing folds, it is deemed to have been painted later on while referring to the paintings from the era in question.
This is a sword taken from a Japanese warrior by General Gwon Eungsu during the Imjin War. The hilt is engraved “Daeyeongwonnyeon (大永元年, 1521),” which was the name of the year in Japanese style, and this shows that it was a Japanese sword. It appears that the blade was used as it was, while the sheath was modified into Joseon style.
This is a painting depicting the Joseon-Ming Alliance reclaiming Pyongyangseong Fortress from Japan in January 1593. Shown on the left side are five Joseon soldiers. Inside the area enclosed by the fortress is General Konishi Yukinaga receiving a report and the Japanese troops fighting against the Chinese troops, who are fiercely moving forward on horses with Li Rusong (李如松), Yang Yuan (楊元) and Zhang Shijue (張世爵) leading the way.
This is the document containing the specific military commands given by Toyotomi Hideyoshi to reinvade Joseon in February 1597. It orders the assignment of Japanese troops to each base and the deployment of daimyo (feudal lord) to the fortresses that they have built in Joseon.
This is the latter part of the paintings produced to commemorate the Ming forces defeating the Japanese forces during the Jeongyu War. The first half is housed in the Museum of Far Eastern Antiquities in Stockholm, Sweden. It depicts the Ming troops defeating the Japanese, being welcomed in Hanyang (present-day Seoul), and reporting their victory to the Emperor of the Ming dynasty at Zijincheng in Beijing.
This exhibition hall showcases the weapons of Joseon, Japan and China (Ming dynasty) for a comparison. Bows and arrows, spears and swords, armors and helmets, and gunpowder weapons are introduced by type. The Cheonja, Jija, Hyeonja, and Hwangja Chongtong guns as well as large and medium mortars can also be seen. Of particular note, there are artifacts that shed light on the progressive advancement of small gunpowder weapons from their introduction to the transition across the point-and-shoot and aim-and-shoot methods and the production of rifles.
The Seungja-Chongtong was developed by Kim Ji (金墀) who served as Jeollajwasuja and a soldier of Gyeongsang-do in 1575 (8th year of King Seonjo’s reign). It was a portable gunpowder weapon with a longer gunbarrel and thus improved shooting range than the conventional chongtong guns. According to 『Hwaposigeonhae』, the Seungja-Chongtong was used to shoot bullets and arrows.
This exhibition hall sheds light on the Imjin War according to various themes including records, the Great Battle of Jinjuseong Fortress, Yi Sunshin and the navy, official recognition of distinguished services, cultural exchange and propagation, and the reorganization of East Asian and Joseon societies after the war.
This is the journal kept by O Huimun (吳希文, 1539~1613) over the course of 9 years and 3 months from November 27, 1591 to February 27, 1601. It presents a vivid picture of the Joseon army, righteous army, Japanese forces, refugees, yangban (gentry) and slaves during the Imjin War.
This is the royal certificate of meritorious subject issued to Kim Simin for leading the Joseon forces to victory in the Jinju Battle. It was taken outside of Korea during the Japanese occupation period, but was returned in 2006 through a public fundraising campaign and added to the Jinju National Museum’s collection.
This is a portrait of Nongae that was painted by Yoon Yeohwan. It was designated as a standard portrait in 2007. It was reproduced due to the controversy surrounding Kim Eunho’s
This is a painting depicting joint naval exercises carried out in Tongyeong by three provinces (Gyeongsang, Jeolla and Chungcheong) after the Imjin War.
These are the paintings depicting the procession of Joseon envoys entering Edo Caste in Japan. The relations between Joseon and Japan that had been severed due to the Imjin War were restored, and envoys were sent to Japan for a total of 12 times until 1811.
This is a painting of Joseon envoys performing martial arts on horses in front of the Shogun, the military dictator of Japan. This performance was first given in 1636, and it was the most popular event in Japan.