The Duam Hall showcases the cultural assets donated by Duam Kim Yongdu (1922~2003), a Korean Japanese businessman from Sacheon, Gyeongsangnam-do Province. He collected Korean cultural assets that had ended up in Japan and donated 190 items to the Jinju National Museum. This exhibition hall reminds visitors of the significance of recovering and donating cultural properties.
The late Duam Kim Yongdu collected Korean cultural properties that had been leaked to Japan during a time of chaos and confusion and donated them to the Jinju National Museum, located in the vicinity of his hometown, Sacheon, in 1997, 2000 and 2001.
His statement, “It brings me joy to donate these cultural properties, but imagine how these cultural properties must feel to return home after wandering outside for years and even centuries,” provides a glimpse into his great love for his country and cultural heritage.
Let us introduce to you some of the 190 items donated by Duam Kim Yongdu (1922~2003). Please visit our museum to see the other artifacts and learn more about them.
소상팔경도
Early 16th century, Joseon
Treasure No. 1864
This is an artwork that demonstrates the typical characteristics of paintings of the eight views of the Xiao and Xiang rivers that were popular in the early Joseon dynasty. These paintings present eight breathtaking scenes of the confluence of Xiao and Xiang rivers south of Dongting Lake located in Hunan Province, China. A pair of views is presented with mountains or cliffs shown on either side of the painting.
The eight views begin with Sansicheongnam (Mountain Village Surrounded by Spring Vibes) followed by Yeonsamojong (Temple Bell Sounded Near Dusk), Eochonseokjo (Fishing Village in Sunset Glow), Wonpogwibeom (Sailboats Returning to the Port from the Distance), Sosangyau (Night Rain Falling upon the Xiao and Xiang), Dongjeongchuwol (Autumn Moon over Dongting Lake), Pyeongsanagan (Wild Geese Descending to Sandbar), and ends with the winter scene called Gangcheonmosel (Snow Falling upon the River and Mountains at Dusk). This work presents the Angyeon painting style from the 16th century and has an importance significance in the Eastern painting history.
View detail
This is a view of the fortification and the mountain village being surrounded by a haze on a spring morning. At the bottom of the painting, there is a pavilion by the water and a hill with two pine trees on top. This is a subject that is commonly seen in the landscape paintings of the Igwak-pa (李郭派)* tradition that was prominent in the early Joseon dynasty.
Igwak-pa (李郭派) This is a term collectively referring to the painters that passed down the Northern landscape painting style that was perfected by Le Cheng in the early Northern Song dynasty of the five dynasties and the style introduced by Guo Xi who added a different twist to it.
This particular work does not have any people returning from a trip or a bridge, which are typically seen in Yeonsamojong paintings of other works of Eight Views of the Xiao and Xiang Rivers. In contrast, it shows a dog in front of a hut greeting its owner returning from work on the left side. It displays different tendencies from the Igwak-pa tradition where the scenes that seem far apart actually create a sense of harmony together.
It depicts fishermen catching fish from a boat with nets cast on the river water. The poetic depiction of the picturesque scenery of the sun setting behind the mountains is eye-catching.
There are boats returning from afar along the small island where there is a pavilion and vast waters that seem to continue to the other side of the mountain depicted at the top. The hills and the two pine trees depicted underneath are the typical characteristics of the Igwak-pa paintings.
It depicts a rainstorm with the trees and reeds leaning diagonally toward one side due to the fierce wind, and the darkness and dampness are well-depicted in the painting.
There are people on boats under the moonlight, and this scene captures the essence of the fall mood.
There is a flock of geese that have descended upon a flat sandy area, and the leafless trees and the bleak atmosphere capture the lonesome mood of late fall.
With the entire world covered in snow, it demonstrates the desolate landscape and atmosphere of winter. At the bottom, there are two people walking in raincoats.
정조대왕 친필 칠언율시
POEM
King Jeongjo (1752~1800)
1791 Treasure No. 1632-1
King Jeongjo was the 22nd king of the Joseon dynasty who reigned for 25 years (1776~1800) and left behind astounding cultural legacy.
The following poem was personally written by King Jeongjo when Jeong Minsi (1745~1800) was appointed as the Governor of Jeolla-do Province in February 1791, and it shows what a kind and caring man he was.
欵欵離筵酒屢巡 After several exchanges of farewell glasses at the banquet that has been organized with great care
送君明日出銅津 I will head to the Dongjakjin Dock to send you off tomorrow
卽今盤錯須民部 There are many complicated affairs, but the top priority is to care for the people
從古旬宣仗近臣 And thus the regional inspections were assigned to my closest subjects
裘帶爭瞻新刺史 People will flock to see the governor who has been newly appointed
起居無恙大夫人 I wish for no discomfort in the place of your mother’s residence…
樓名拱北良非偶 It is not a coincidence that the lookout is called Gongbungmun
幾夜登樓望北宸 For I shall climb the lookout every night to look at the northern palace
辛亥仲春一日 February 1, 1791
贐靜窩出按湖南 Parting with Jeong Minsi leaving to serve as the Governor of Jeolla-do Province
A collection of illustrations of grass, insects, birds, beasts, fish, crabs, mountains and rivers
MISCELLANEOUS SUBJECTS
Kim Ik-ju
1850
Kim Ik-ju was a painter born in the late 18th century and gained prominence in the 19th century. Oh Se-chang (1864~1953) states in Geunyeokseohwajing (Collection of Writings and Paintings of the Rose of Sharon) that Kim Ik-ju was an exceptional landscape painter. The collection of illustrations has been passed down as single sheets of paper, and they deal with diverse subjects such as grass and insects (4 pieces), birds and beasts (4 pieces), fish and crabs (2 pieces) and landscape (1 piece). From the writing in ink on the painting of a bird sleeping on the branch of a plum tree (梅上宿鳥), it can be inferred that the illustrations were created in 1850.
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The Painting of a Bird Sleeping on the Branch of a Plum TreeThis painting depicts a bird that has fallen asleep on the branch of a plum tree. On the left, it reads, “Painted by Gyeongam (鏡巖, pseudonym of Kim Ik-ju) in late September in Gyeongsulnyeon (1850).”
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The Painting of a Bird Flying Above BamboosThis is a dynamic depiction of a bird flying above bamboos. The lush bamboo leaves were painted with a green pigment, while the bird flying in the sky was painted in black ink.
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The Painting of a River and Mountains with a WaterfallTo the left of the rugged mountains and rocks is a waterfall. Past the narrow bridge below the waterfall, there is a small house nestled in the foothills where there are willow trees. The mountains and rocks were depicted with thick strokes in ink, while contrast was created to demonstrate the gentle current of the river.
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The Painting of a TigerThis painting shows the side of a tiger standing below a pine tree painted near the top. The tiger’s fur was painted meticulously with fine lines to make it appear more realistic.
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The Painting of a Goat in a ForestUnderneath the tree depicted on the right side of the painting is a baby goat that is being breastfed and a male goat with its horns lowered. The spotted skin of the goats was depicted by letting the ink run, while the hairs were depicted using fine lines.
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Flower Vines, Butterflies and BeesThere are flower vines extending from the bottom right side of the painting, and they are surrounded by butterflies and bees in various sizes. The brown butterfly shown near the top is depicted as though it is being seen from the bottom.
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Gold-banded Flower, Butterfly, Bee and GrasshopperThere are gold-banded flowers and stems extending from the left corner of the painting, and there is a butterfly and a bee near the gold-banded flower in full bloom at the center. Below the flower, there is a grasshopper and two insects facing each other.
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Chrysanthemum, Grasshopper and MantisThere are chrysanthemum stems with flowers extending from the bottom right ccorner of the painting, and amidst them there are insects belonging to the Acrididae family and praying mantis. The appearance of the flowers and insects exudes an air of fall.
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Chrysanthemum and Long-headed GrasshopperFrom the left to the center of the painting there are yellow and red chrysanthemums. There is a long-headed grasshopper hopping on the upper right side, while two long-headed grasshoppers are seen facing each other at the bottom.
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Fish and ShrimpThis painting provides a glimpse into the aquatic environment, with a fish swimming toward an aquatic plant on the right side and a shrimp moving toward the left side.
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Fish and CrabIt shows a catfish swimming and a crab walking. There is an aquatic plant extending from the left to the right, with a tiny fish swimming above it.
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Cheongjayanggakyeonpanmuntakjan 靑磁陽刻蓮瓣文托盞
CUP AND STAND, Celadon with raised overlapping lotus petals design
11th century, Goryeo“Takjan” refers to a set of cup and saucer. The cup has an eye-catching lotus flower design.
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Buncheongsagi Johwaeomun Pyeonbyeong 粉靑沙器彫花魚文扁甁
FLATTENED BOTTLE, Buncheong with incised brushed white slip fish design
15~16th Century, JoseonA full-bodied bottle was flattened by tapping. It appears neat, with a low bottom and a narrow width.
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Baekja Cheolhwajungmunjukjeolhyeongbyeong 白磁鐵畫竹文竹節形甁
BAMBOO-SHAPED BOTTLE, White porcelain with underglaze iron-painted bamboo design
17~18th century, JoseonLong, cylindrical bottles were made quite often in the late Joseon dynasty, but the shaping of the body to appear like bamboo segments was quite rare.
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Cheongdonggeumeunipsahyangwan 靑銅金銀入絲香垸
INCENSE BURNER, Bronze with gold and silver inlay
13th century, GoryeoAn incense burner among the Buddhist instruments used at a temple that has a flat piece near the mouth and a trumpet-shaped support is called “hyangwan.”
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Eunipsayeonchoha 銀入絲煙草盒
CASE OF LEAF TOBACCO, Bronze with silver inlay
18~19th century, JoseonThis is a container for cut tobacco that was often used by the upper class in the past.
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Najeoneomunchimseonham 螺鈿魚文針線函
TRAY-TABLE, Black-lacquered wood with mother-of-pearl inlay
18~19th century, JoseonThis was a sewing box that was used to store sewing supplies such as scissors, thread, needles, pieces of fabric, thimble, etc.
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Mokjoeopgyeongdae 木造業鏡臺
BUDDHIST ALTAR WITH FLOWER DECORATION, Wood
19th century, JoseonAn “eopyeong” refers to the mirror that reflects all the karmic actions of good and evil of the deceased. This mirror in particular was used to decorate the Dharma hall of a Buddhist temple, and it is reminiscent of a sacred turtle carrying a lotus flower.
Since the opening in 1984, around 3,400 pieces of cultural assets have been donated by some 50 people.
The First Donor of Cultural AssetsChoi Gyujin donated 11 items for the grand opening of the Jinju National Museum in 1984.
Of these, the Earthenware Horn Cup with Wagon Wheel Decoration (Treasure No. 637) has been registered as Jinju Cultural Property No. 1 and is one of the most iconic pieces in the museum’s collection.
Park Nak-gon donated 1,393 items in 2006. The cultural assets that were donated belonged to the family clan of General Park Jinyeong who raised a righteous army during the Imjin War and Yeongdongjeonggong-pa of the Miryang Park family clan. Most of them are antique documents including the king’s orders, appointment certificates and family register documents. There are even records of proeprty inheritance that are 14 meters long.
Donor of Cultural Assets Shedding Light on the Printing Culture of JoseonIn 2003 and 2004, Sim Jaeon donated 729 pieces of old documents and wooden types dating from the late Joseon dynasty. The donated items belonged to the collection of Cheongsong Sim family clan, and they attest to the fact that Confucian scholars actively published their own collections of literary works in the late Joseon dynasty. This donation allowed the museum to gain resources providing deep insight into the printing culture of the Joseon dynasty.