A 12-panel folding screen "Cranes and Peaches" circa 1902 combines traditional and modern techniques as the Korean Empire adopted Western influences. Courtesy of MMCA



Exhibition sheds light on art of Korean Empire



By Kwon Mee-yoo



The Korean Empire (1897-1910), proclaimed by Joseon's 26th ruler King Gojong as an effort to modernize, is often neglected in Korea's history.



"Art of the Korean Empire ― The Emergence of Modern Art," an exhibition on view at the National Museum of Modern and Contemporary Art (MMCA), Deoksugung, sheds light on this short-lived, but crucial period in the development of modern art in Korea.



The exhibit commemorates the 20th anniversary of MMCA Deoksugung, situated within one of Seoul's royal palaces.



"The art of the Korean Empire is the legacy of King Gojong. Despite its relatively brief duration, the foundation for Korean modern art of the 20th century was laid during the Korean Empire," MMCA curator Bae Won-jung said. "It was a dynamic era with a lot of cultural stimuli when foreign influences were rejected while preserving traditional practices."



The art history of the Korean Empire has not yet been studied adequately, but this exhibit aims to provide a starter for a proper understanding of the beginnings of Korean modern art.



"The Korean Empire spanned only 13 years, but we organized the exhibit with works from 1890, when King Gojong started to pursue modernization, through 1926, the year King Sunjong, the second and last emperor of the Korean Empire, passed away. Most research on Korean modern art begins from the 1930s, but this exhibition highlights how modern art was shaped right at the start of 20th century Korea." Bae said.



The exhibit features over 200 pieces, from court paintings to photography and craftworks to give an in-depth look into the art of the Korean Empire, divided in four sections ― "Art of Empire," "Photography: New Method of Documentation and Representation," "Crafts: Artistic and Industrial Paths" and "Painting as Art and Painter as Artist."



Court art accepted new culture while preserving traditional values





In "Portrait of Emperor Gojong," attributed to Chae Yong-shin from the early 20th century, Gojong wears a yellow robe symbolizing imperial status instead of Joseon's red royal robe. Courtesy of MMCA

The first part showcases how court art adapted modern influences in style.



Upon the declaration of the Korean Empire, conservative court art indicated a change in style as the status of the ruler was elevated from king to emperor, including the yellow robe.



Court documentary paintings in "uigwe," or royal protocols, also reflected modern elements as the society went through changes.



The "Formality Manual from the office in charge of drawing or copying Royal Portraits of the Kings" documented the process of restoring seven royal portraits lost in a fire. A 10-panel folding screen depicts a ceremony for the crown prince, who later becomes King Sunjong, after recovering from smallpox.



The highlight of the section is "Cranes and Peaches," a 12-panel folding screen with bright colors and gold leaf. This lavish folding screen is different from the traditional Korean style.



"This screen is estimated to have been created in 1902, which coincides with King Gojong's celebration for entering 'Giroso' (hall of venerable officials). Different styles coexist in this folding screen as court painters adopted new pigments and used them together with traditional methods," curator said.



Modernity even affected Buddhist paintings. A 1907 "Buddhist Deities" painting features guardian deities in military uniforms of the Korean Empire.



"The appearance of soldiers in modern attire in Buddhist paintings shows strong wishes for protection from the emerging new powers."





Photographic records of King Gojong's funeral / Courtesy of MMCA

"Photography: New Method of Documentation and Representation" shows how the new technology gradually replaced royal portraiture and documentary paintings after being introduced to Korea in the 1880s. However, back then, photography did not fully develop into an artistic genre, but a supplement to paintings for its characteristics of accurate depiction.



"The hyperrealistic photography complemented painting and royal portraits were substituted for photographs. The King and the royal family were documented through photogenic portraits and their images were reproduced in other media such as postcard as the king's image was consumed to promote the change to a modern state," the curator explained. "It is also notable that female members of the royal family were also photographed



A portrait of King Gojong from 1918 is assumed to be painted based on a photograph of the king. Unlike traditional royal portraits, colorful drapes on the backdrop and robe indicate use of a Western shading method.



"This painting used traditional paint, but employed new techniques. It is assumed to be shared within the royal family ― it is said that King Yeongchin, son of King Gojong, kept this portrait when he lived in Japan. Yi Bang-ja, wife of King Yeongchin, remembered the painting at her home," the curator said.



King Gojong liked to be photographed and left a variety of photographic records. A portrait of King Gojong, taken by royal photographer Kim Kyu-jin and gifted to Edward Henry Harriman, an American railroad magnate who visited Joseon in 1905, is displayed with its linden wood storage box.



Photos also replaced documentary paintings. Instead of painting national events such as the funeral of royal family, photographers captured the moments and it was published through media outlets inside and outside Korea.





Lacquerware inlaid with mother-of-pearl by Jeon Sung-gyu / Courtesy of MMCA