Houston Community News >> Arts of Korea Gallery
10/24/2007 Houston—As a first
step toward an expanded representation of Asian art at the Museum of Fine Arts,
Houston, a new gallery dedicated to the art of Korea opens to the public on
December 8, 2007. Prominently located on the first floor of the museum’s
Caroline Wiess Law Building, it will be the only museum gallery in the Southwest
devoted to Korean art, and will combine contemporary Korean art with traditional
artworks. As announced in 2006, the long-term loan of traditional works from the
National Museum of Korea in Seoul, Korea forms the basis of the new
installation. Two Korean National Treasures, never before shown outside of
Korea, make an exclusive two-month appearance. A selection of recent
acquisitions of contemporary Korean art rounds out the presentation of 5,000
years of cultural history. A unique component of the MFAH installation will be
an entrance gate, commissioned from the renowned contemporary artist Do-Ho Suh,
to be completed and installed in 2008.
With the opening of the Arts of Korea gallery, the museum is placing new
emphasis on this country and becomes one of a handful of museums outside of
Korea to showcase this ancient culture. The new Korean gallery itself is part of
an ongoing commitment by the MFAH to Asian art. Over the next two years, the
Asian collection will be relocated and reinstalled on the first floor of the Law
Building in space that is quadruple the size of the previous galleries. Next in
line is a gallery for art of Indonesia that will open in Spring 2008. Galleries
for the art of China and Japan are scheduled to open in December 2008, and a
gallery devoted to Indian art will open in 2009. In addition to the expansion of
floorspace, the MFAH is dedicating additional resources to the acquisition of
new works in all areas of Asian art.
In addition to expanding the Asian galleries, over the next two years the MFAH
will present several special exhibitions devoted to Asian art, beginning in
January 2008 with a showing of the modernist Korean ink painter Suh Se-ok’s work
in a show titled Where Clouds Disperse: Ink Paintings by Suh Se-ok. In February
2008 the contemporary Japanese photographer Yanagi Miwa is the subject of an
exhibition, and in the summer of 2009 the Ancient Arts of Vietnam will feature
ceramics, jewelry of gold and gemstones, more than a hundred bronze artifacts,
and Hindu and Buddhist sculpture. In October 2009, Contemporary Art from Korea,
co-organized with the Los Angeles Museum of Art, will gather together works by
Korea’s finest contemporary, internationally-renowned artists for a major
exhibition.
“The museum’s vigorous acquisition of the best contemporary art from Korea is a
distinguishing element of this installation,” said Peter C. Marzio, MFAH
director. “This new art stems from the emergence of Korean artists into the
global interchange of ideas, and communicates the artists’ complex response to
their cultural past. Korea’s long and distinguished history of traditional art
is rarely presented here in the United States, so it is with sincere gratitude
that we acknowledge the National Museum of Korea for its loan of so many
important examples of traditional Korean art.”
Arts of Korea Gallery
The Arts of Korea Gallery covers the Neolithic age to the present. Four thematic
sections—ceramics, Buddhist art, women’s personal ornaments, and contemporary
art—present key moments in the country’s arts and culture. Following the Asian
tradition of marking the entrances to shrines and temples with distinctive
gates, the MFAH has commissioned a portal from the foremost contemporary Korean
artist, Do-Ho Suh, that will mark the entrance to the gallery. There will also
be an area dedicated to loans of Korean art from important local collections.
National Treasures – Gold from Silla
The highlight of the gallery’s opening is the exclusive loan of two of Korea’s
National Treasures from the 5th century Silla Kingdom, a Crown with pendants and
a Girdle with pendants, to be on view at the MFAH through January 2008. These
magnificent, rare gold objects are making their first appearance outside of
their home country, where they were excavated from the tombs of rulers who
reigned during what is often called the Kingdom of Gold (Silla Kingdom, 57
B.C.-668).
Six Silla crowns are known to exist. The one on display in Houston, found in the
tomb referred to as Gold Crown, is one of five that have been excavated in
Gyeongju, ancient seat of the Silla Kingdom. The crown is crafted of sheet gold
with typical stylized decorative tree- and antler-shaped elements and numerous
crescent-shaped jade ornaments called gogok. The tree and antler forms represent
the connection between heaven and earth, and the gogok symbolize the
resurrection of life, fecundity, and abundance. Excavations have revealed that
such crowns were worn covering the entire face, and thus were probably created
as burial objects for the deceased.
The gold girdle was found in the same tomb as the crown. It measures nearly four
feet in length and is adorned with a series of 17 pendants—among them a fish, a
small knife in a gold sheath, and a gold wire tassel—attached to a chain of
small square plaques.
Ceramics
Of all the art forms, ceramics most clearly illustrate Korea’s aesthetic
development and technological progress, beginning with the porous, low-fired
earthenware ceramics made in the prehistoric Neolithic Age (8000-1000 B.C.) and
encompassing Korea’s Bronze Age (1000-300 B.C.), the period of Three Kingdoms
(300-668), the Silla period, the Goryeo dynasty (918-1392), the Joseon dynasty
(1392-1910), and up to the present day.
A highlight of the ceramics section will be the loan of an exceptionally large
Neolithic Comb-Pattern Jar. Simple in form, it is almost 20 inches in height and
is incised with a deliberate decorative comb-pattern motif. It was excavated
near the Han River in modern-day Seoul, providing evidence of the long history
of human habitation in that area. A Red-Burnished Jar is an example from the
Bronze Age. Among the pieces from the Three Kingdoms period is a large hollow
vessel in the shape of a duck, and from the Unified Silla dynasty, a stoneware
burial urn stamped with a pattern covering the entire surface.
A key turning point in the history of Korean ceramics is marked by the emergence
of celadon during the Goryeo dynasty. Impressive representative examples include
loans of a Turtle-Shaped Ewer, Incense Burner, and Flower-Shaped Dishes.
Buncheong ware, also from this period, is characterized by the use of white slip
over a fairly coarse gray stoneware clay body before a transparent grayish-green
glaze was applied. The Covered Bowl and Flask-shaped Bottle are excellent
examples of buncheong ware.
By the end of the 14th century, with the founding of the Joseon dynasty,
white-bodied porcelain ware became the most popular type of ceramic. The early
years of the dynasty were marked by undecorated white wares, reflecting the
austere taste of the period. A notable characteristic of the Korean white wares,
such as the 17th century Jar with cloud and dragon design, and Bottle with
floral design, is the decidedly creamy white color of the porcelain as compared
to the bluish-white wares produced in China.
Buddhist Art
Buddhism was introduced to Korea from China during the Three Kingdoms period and
flourished through the Unified Silla and Goryeo periods. The religion was
practiced and supported by the royal courts and the aristocracy, and eventually
took hold among all levels of society.
The central role of Buddhism in Korean art is explored through a selection of
figural sculptures and objects such as bells and ritual sprinklers used in the
practice of the religion. Among the figurative deities are a Three Kingdoms
Contemplative Boddhisattva, a Standing Buddha from the Silla period, and a
Goryeo dynasty Seated Amitabha Buddha. The ritual objects demonstrate the
complexity of Korean metalwork. The late Goryeo Ritual Ewer and Buddhist Bell,
13th-14th century, represent some of the most important of Buddhist ritual
objects. One of the few bronze bells in a Korean collection, this example of a
Buddhist bell has cast decoration of lotus flowers and a beautifully modeled
dragon, typical of Goryeo bells.
Women’s Personal Ornaments
Another section is devoted to personal ornaments and accessories created for
women’s personal use. These intricately decorative pieces served as adornment
and to indicate social status. Among the objects are two signature works, the
Joseon period Ornament with Amber and Ornament with Jade, which show the unique
Korean decorative knot called maedup. Hairpins, a Celadon cosmetic case, a
Mother-of-pearl inlaid mirror box, and a Cicada-shaped perfume pouch are a few
of the exquisite items on view.
Contemporary Art
Contemporary Korea has developed over a century of turbulent history. In 1905,
Korea, a country ruled by long dynasties, was made a protectorate of Japan and
was annexed from 1910 to 1945. Since 1948, Korea has been divided and led by two
separate governments. Against this history, contemporary artists are grappling
with complicated issues surrounding tradition, modernity, and identity. From the
MFAH permanent collection, a selection of art created since 2000 is included in
the gallery and elsewhere on the MFAH campus. Highlights include Shin
Meek-young’s homage to tradition with a large carved Buddha and a Chinese vase
created of soap; and Kim Boem’s Jar White Porcelain with Spinosaurus design in
Underglaze Cobalt-blue (2004), rendered by using a ballpoint pen and transparent
lacquer on a paper clay vessel; and Lee Bul’s Untitled, a dynamic sculpture or
wire, crystals and beads. Atta Kim’s Series of People, #073, from Museum Project
(2000) places a bride and groom attired in Western clothing in a glass box; and
Park Dae-Sung takes traditional ink painting to new dimensions with his enormous
Hyun Yul (2006), measuring about six by twelve feet. Outside, visitors will
encounter Gimhongsok’s Oval talk, a large talking egg that recounts ancient
myths, and Choi Jeong-Hwa’s White Lotus Blossom, a gigantic, motorized
interpretation of one of Asia’s most recognizable symbols.
“The juxtaposition of traditional Korean art with the very newest work from
Korea recognizes the contributions of contemporary Korean artists to the
international scene,” said Christine Starkman, curator of Asian art at the MFAH.
“These artists very imaginatively engage with issues of Korean art history,
globalization, and the nature of language and translation.”
Catalogue
The opening of the new gallery is accompanied by Treasures from the National
Museum of Korea, published by the MFAH. The catalogue is available for $45 in
the MFAH Shop, 713-639-7360.
Interpretive Components and Public Programs
Interpretive resources are designed to introduce the Korean art and culture to
new audiences, to provide Asian-American visitors with a sense of cultural
heritage, and to promote cultural understanding among visitors of different
backgrounds.
Educational enrichment in the Korean gallery includes audio tour opportunities,
visual enhancements such as a map of Korea, and two specially created videos,
one that highlights the techniques used to create ceramics and another on
Buddhism in Korea. These resources, along with ongoing public programming, offer
a deeper understanding of the artistic and cultural profile of the country.
The audio tour for the gallery will be offered through a new service called
Guide by Cell. This technology enables visitors to dial a phone number from
their cell phones in the gallery and listen to a recording produced by the MFAH.
For contemporary art, conversations with the artists will be the focus. The same
content will be offered alternatively through the museum’s Mcast on www.mfah.org,
which can be played on a computer or downloaded to a personal audio player.
An array of public programs for children and adults relating to the new gallery
are scheduled around the opening of the gallery and in ensuing months. Storytime
tours for families, tours for students, tours for adults, and resources for
educators available for free loan from the Kinder Foundation Teacher Resource
Center are among the ongoing programs.
Funding
This gallery was established with support from the Korea Foundation. Additional
funds for establishing this gallery were provided by Poongsan Corporation;
Byoung Ju and Mia Im; Sung Joo Lim and Soon Duck Lim; Gerard and Byung Sun
Beaudoin; Chi Si Choi, MD and Sung Ha Choi; Susie K. and Howard M. Chong; The
Committee on the Arts of Korea Gallery in Houston; Chung Yul Kim, MD and Min Ja
Kim; E. Edmund Kim, MD and Bo-Ok Kim; Poong Young Kim, MD and Hea Sook Kim; Bon-Chae
and Young-Mi Koo; Kibun and Insuk Koo; Dr. and Mrs. Wook-Bae Lee; Chong Ok
Matthews; Dr. and Mrs. John In-Sung Myung and Family; Tae-Woo and Young-Il Park;
Jae Yun Ro, MD and Jungsil Ro, MD; Woolim Energy Holdings; and Dr. Kun Chee Youn
and Chan Ju Youn.
Asian Art at the MFAH and the Growth of Korean Art at the MFAH
Asian art at the MFAH comprises works from China, Japan, Korea, India, and
Southeast Asia. The objects cover more than 12,000 years, ranging from a
Neolithic Jomon period (10,500-300 B.C.) Pot with Whorl Design from Japan to
works of the present day. In 1982 the first Korean object, a magnificent
porcelain Phoenix Jar, 17th century, from the Joseon period, entered the MFAH’s
collection. The museum accessioned a second Korean object, a delicate Inlaid
Celadon Bowl from the Goryeo dynasty, in 1985. The Houston Korean-American
community, the Asia Society, and the museum partnered together in 1995 to
acquire an important Kaya period Storage Jar from the 4th century. In the same
year, a noteworthy bronze Buddhist Ritual Sprinkler (Kundika), 12th-13th
century, Goryeo dynasty, was added to the museum’s collection. The growth of the
Korean collection, in addition to an expanding collection of works from other
Asian countries, prompted the establishment of permanent Asian galleries in
1997. This dedication to the arts of Korea and Asia was solidified in 2000 with
the appointment of Christine Starkman as curator of Asian Art.
MFAH Collections and Campus
Founded in 1900, the Museum of Fine Arts, Houston is the largest art museum in
America south of Chicago, west of Washington, D.C., and east of Los Angeles. The
encyclopedic collection of the MFAH numbers more than 56,000 works and embraces
the art of antiquity to the present. Featured are the finest artistic examples
of the major civilizations of Europe, Asia, North and South America, and Africa.
Italian Renaissance paintings, French Impressionist works, photographs, American
and European decorative arts, African and Pre-Columbian gold, American art, and
European and American paintings and sculpture from post-1945 are particularly
strong holdings. The MFAH collections are presented in six locations that make
up the institutional complex. Together, these facilities provide a total of
300,000 square feet of space dedicated to the display of art. The MFAH comprises
two major museum buildings, the Caroline Wiess Law Building, designed by Mies
van der Rohe, and the Audrey Jones Beck Building, designed by Rafael Moneo; the
Glassell School of Art; two house museums, Bayou Bend Collection and Gardens
features American works, and Rienzi features European works; and the Lillie and
Hugh Roy Cullen Sculpture Garden, created by Isamu Noguchi.
General Information
For museum information, the public can call 713-639-7300, or visit
www.mfah.org.