• Korean Journal of Heritage: History & Science
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• v.40
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• pp.207-241
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• 2007

This paper investigates the royal collection of paintings and calligraphy during King Gojong's (高宗) reign (1897~1907) based on the function of the Jipgyeong-dang Hall (緝敬堂), situated at "sleeping realm (寢殿)," Gyeongbok Palace. Using the surviving palace records and art works this study argues that the date of building the hall is approximately confined to the year of 1890. Not being matched with the general opinion that the Jipgyeong-dang Hall was used for the official meeting with envoys, this hall functioned as the main place for royal audience and the storehouse for archives. The role of Gojong as collector and patron was essential not only to the maintenance of the collection but also to the strengthening of royal authority just before the Japanese annexation in 1910. The specific titles of the collection at this hall can be verified through the Catalogue of the Books, Paintings, and Calligraphy Exposed to the Sun at Jipgyeong-dang Hall (緝敬堂曝曬書目) dating to the nineteenth century. The records of the catalogue inform us that more than 1,000 paintings and pieces of calligraphy, inkrubbings from old steles, manuals for painting, and encyclopedia concerning art theories from Korea, China, and Japan were preserved there. The collection of Jipgyeong-dang Hall resulted from Gojong's policy to foster the collection of contemporary Chinese and Japanese art works and various catalogues. Standing behind the Gyeongbok Palace, the Jibok-jae Hall (集玉齋) also preserved the diverse sources of practical learning, as did the Jipgyong-dang Hall for Gojong. The enormous royal collections by Gojong might have been constructed in accordance with the royal artistic taste and the artistic milieu of the late Joseon period. The surviving royal catalogues confirm this assumption as documentary evidence.

• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.70-85
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• 2011

The study of the modern art market and distribution differs in its research focus from that of traditional art history, which traces and analyzes the works of master artists, their schools and influence, in that it attempts to approach such issues as art and society, and distribution and consumption of works of art, based on new research methods and perspectives. This paper examines the life and art collection activities of Park Yeong-cheol, considered to be one of the earliest major modern Korean art collectors. He graduated from the Japanese military academy and served as both a solider of the Greater Korean Empire and a high level officer of the Japanese army. After being discharged, he served as Governor of Gangwon-do and then Hamgyeongbuk-do, and after his retirement from public office, he became a leading businessman. He is well-known as a Japanese sympathizer who approved of and advocated for the aggressive colonial policies of the Japanese empire. As a cultural enthusiast and art collector, however, Park Yeong-cheol published the most accurate edition of Yeonamjip, and donated his collection to Geyongseong University at the end of his life, thus providing the foundation for the Seoul National University Museum. All of these activities are highly commendable. His interest in growing his collection of paintings and calligraphies was largely motivated by his love of paintings and Chinese poems,but it also appears to have been the result of his active collaboration with the Japanese government's policy of trying to discover the distinct, non-western characteristics of traditional Eastern art.

• (The)Study of the Eastern Classic
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• no.34
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• pp.415-447
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• 2009

It is encouraging fact that people are more interested in collecting modern archaic art objects of Korea with broadening spectrum of research these days. For the research in this area is significant in that it makes us learn the level of collection and appreciation which were prevalent at the end of the Josen Age by trend of preferring Occidental pictures as well as modern change in the form of collection, and enables us to reconstruct the history of modern art objects in East Asia. Except Jeon, Hyung-Pil(全鎣弼: 1906-1962), the modern collectors of Korea were not studied in details with respect to the course or contents of collection. Besides Jeon, Hyung Pil, the main modern collectors of Korea were Park, Young-cheol(朴榮喆: 1879-1939), Kim, Yong-jin(金容鎭: 1882-1968), Ham, Seok-tae(咸錫泰: 1889-?), Kim, Sung-soo(金性洙: 1891-1955), Choi, Chang-hak(崔昌學: 1891-?), Jang, Taek-sang(張澤相: 1893-1969), Kim, Chan-young(金瓚泳: 1893-?), Lee, Han-bok(李漢福: 1897-1940), Park, Chang-hun(朴昌薰: 1898-1951), Baek, In-je(白麟濟: 1898-?), Lee, Byung-jik(李秉直: -1973), et al. The object of this publication in serial form is to trace and identify the life, collected articles and contents of collection of Korean collectors who intensively collected archaic art objects in the modern age of Korea, especially, under the rule of Japanese imperialism. The first person to be introduced in this publication in serial form is Jang, Taek Sang, a leading figure in the political history of Korea. Born as the son of wealthy man, he ascended to the position of prime minister, leading a dramatic life. Being a distinguished orator, Jang, Taek Sang was well known as an appreciator and collector of picture, calligraphy and pottery. As one of the collectors of main cultural property under the rule of Japanese imperialism, Jang, Taek Sang collected countless distinguished heritages, most of which were lost during the Korean War. As he became a candidate for president to compete with Lee, Seung Man later, he sold main heritages. Thus, nearly all of the collected articles were scattered.