ggcf.kr/경기문화재단

Gyeonggi Culture Foundation

Yojiyeondo

요지연도

Taoists believed in the existence of the land of immortals, a paradise or utopic land where there is no aging and death. Mentions of the mythical Mount Kunlun, in which Xi Wang Mu, the Queen Mother of the West – the highest deity of Taoism – was believed to dwell, are often found in literature from the Tang Dynasty on. Starting in the Yuan Dynasty, Yojiyeondo (Yaochi yan tu: ‘Banquet at Yaochi’), which are paintings depicting the banquet held in Mount Kunlun, the abode of Xi Wang Mu, were widely produced. One of the magical tales surrounding Mount Kunlun has it that eating fruits from the peach trees in Xi Wang Mu’s orchard, which ripen every three thousand years, grants eternal youth and longevity. In Korea, given the existence of a portrait of Xi Wang Mu on a mural inside the Goguryeo tomb, Gamsinchong, this Taoist deity must have been known no later than the Three Kingdoms period.

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The Collection of Gyeonggi Provincial Museum

경기도박물관 소장품전

Archaeology Hall
The long history of Gyeonggi-do from the Paleolithic Age to the Unified Silla Period is presented through 250 diverse artifacts including stoneware, earthenware, bronze ware, ironware, and roof tiles.

Art Hall I
Visitors can learn more about Gyeonggi-do’s history and culture through porcelain and Buddhist exhibits. The most precious porcelain and Buddhist artifacts possessed by the museum are displayed in this room, along with videos and additional resources designed to further visitors’ understanding of the province’s history.

Art Hall Ⅱ – Paintings and Calligraphies Hall
Art Hall II displays some fifty artworks encompassing six genres, namely, landscape paintings, documentary paintings, flowering plant paintings, paintings of the Four Gracious Plants (plum, orchid, chrysanthemum and bamboo), paintings of animals, birds and flowers, and folk paintings.

Folk Customs Hall
This room is organized into four themes – Daily Life (food, clothes and shelter), Yearly (annual cyclical rituals), Lifetime (longevity rituals) and Folk Art – to shed light on the unique cultural characteristics of Gyeonggi-do’s traditional lifestyle.

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The Costume, the Pattern of Joseon Dynasty: Men and Women’s Vest, Baeja

배자

Baeja was a vest worn over jackets, and was worn by both men and women. It was also called Deung-geo-ri or Bae-geo-ri. Most Baeja had center-front opening, and its opening was buttoned or tied with straps.Gyeonggi Provincial museum possesses various types of vests: long ones, short ones, and ones with their back shorter than front, etc. Women’s vest was shorter and smaller than the men’s. This was because the length and size of women’s Jeogori had changed: women’s Jeogori became shorter and smaller, whereas men’s Jeogori did not change. There were a lot of excavated vests which were quilted with cotton batting or padded with thick cotton. Therefore, those Baejas were presumed to be an outer clothing for the winter.Since Baeja was not formal clothing, people could design it as they wanted. As a result, Baeja was diverse in shape and showed its practicality and grace as an attire.

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The Costume, the Pattern of Joseon Dynasty: Women’s Ceremonial Robe, Green Wonsam

녹색원삼

Wonsam as women’s ceremonial robe was originally reserved for the upper class women but was allowed as bridal attire for lower class women in the late Joseon dynasty. When wearing Wonsam, a headdress and a large belt, for example Gache or Keunmeori, Daedae, Jokduri, or Hwagwan. During the early Joseon dynasty, the form of Wonsam was similar to that of Dallyeong. It had side openings with pleated parts. Red, dark blue, green colors were used for Wonsam. Later the form of Wonsam changed: it took center-front opening style, and sleeves became longer and wider. Multi colored stripes and white wide cloth were attached to the sleeves, and the pleated parts attached to the side openings disappeared. The common color of Wonsam was green, but during the late Joseon dynasty the color of Wonsam varied depending on the wearer’s social status.

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The Costume, the Pattern of Joseon Dynasty: Confucian Scholars’ Ceremonial Robe, White Sim-ui

White Sim-ui

Sim-ui, the symbol of confucian scholar, had a separate upper bodice part and a lower skirt part that were stitched together in one piece and reached the ankle. There were two types of Sim-ui: one with a straight collar, and another with square collar. Sim-ui was made of unsophisticated fabric, such as plain ramie or plain silk. Every part of Sim-ui had confucius meanings: 12 pieces of the lower skirt part express the 12 months, round sleeves, courtesy, straight lines of collars and edges symbolize justice and loyalty. Hats for this garment varied: Bok-geon, Jeong-ja-gwan, Dong-pa-gwan, etc. Flat shoes[Ri] were worn with this garment commonly, but sometimes black boots[Hwa] were found to be worn in some portraits.

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The Costume, the Pattern of Joseon Dynasty: Government Officials’ Uniform, Black Dallyeong

Black Dallyeong

Dallyeong is named after a round collar shape. It was an official’s daily uniform, but non-officials also wore it as their bridal wear during the Joseon dynasty. The attire consisted of Dallyeong, Samo, Poomdae, and Hwa. The general public were not allowed to wear this robe, but they could especially wear it during their wedding ceremony. In discussing affairs of the state in the reign of 28 years of King Sejong, black Dallyeong was considered more formal compared to red Dallyeong. Black Dallyeong was called Sangbok, and red Dallyeong was called Sibok. Hyungbae – insignia attached to the chest and back of the officials’s everyday uniform – was attached only to black Dallyeong to indicate wearer’s rank. According to Gab-sin-ui-je-gae-hyeok – dress reform carried out in May 1884, the 21st year during the reign of King Gojong – only black Dallyeong was to be allowed to wear and red Dallyeong was no longer allowed. In 1900, officials’ everyday uniform was changed into the western-style official uniform.

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The Costume, the Pattern of Joseon Dynasty: Officials’ Ceremonial Attire, Red Jobok

Red Jobok

Jobok was the most formal and splendid attire for officials. The harmony of red and gold color reflected its beauty and dignity. Officials wore the special costume on national events such as royal ancestral rites, New Year’s Day, on the winter solstice, and on the promulgation of royal edicts. The attire consisted of more than 10 items: Yang-gwan, Eui, Sang, Jung-dan, Pye-seul, Su, Dae, Pae-ok, Mal, Hwa, Hol, etc.

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2017 GCC Preview Exhibition 《Drifting Unconsciousness》

Exhibition Introduction

Gyeonggi Creation Center, located in Seongamdo, Ansan-si, is based on the locality where there were inevitable historical, social, and economic issues during the modernization of Korea, which occurred in a compressed form. Artists with different backgrounds move-in every year, focusing on the little stimulus that Seongamdo gives with their innate uniqueness. While staying at the GCC, they are not asked to have a specific direction in their works. However, they highlight the discussion points of the contemporary era through artistic practice with their unique perspective, attitude, and personal experiences. The preview exhibition of 2017 Gyeonggi Creation Center, <Drifting Unconsciousness>, will be the pre-game that estimates the broad artistic spectrum that artists will present, and 17 artists will create significant texts of arts by having their unique artistic identities and various regional characteristics embodied by Seongamdo to undergo a mutual relationship of gravitation.

Artists participating in this exhibition include those who focus on their characters, those who stay away from the world while showing their attitude and perspective, and those who focus on artistic performance and experimentation. The world they focus on and the way they show the world they choose are different points of existence for the artists, not identifiable but at the same time distinguishable from the others. The 2017 GCC Preview Exhibition <Drifting Unconsciousness> is sometimes reckless and dynamic, while at other times unstable and weak. However, we still expect that the preview will provide an excellent opportunity to experience the process of connecting with the world through their unique methods of existence.

Ⅰ. Artist Ego 이미지입니다
Ⅰ. Artist Ego
Kim Namhyeon (b.1980)
Kim Namhyeon describes the uneasiness with the collective thinking prevalent in society showcasing himself as an artist who is helplessly tamed under such structure, in a display of the struggling ego. Combination of scattered body parts and their combination closely describes the structure of various relationship visible in society and the undeniable pressure encroaching on the body.

김남현_Familiar Conflict 110x100x230cm Mixed Media 2016 이미지입니다
Bin Woohyuk (b.1981)
The quiet forest surrounded by dense trees which Bin Woo-hyuk describes is a haven where people hide to seek peace and consolation from anxiety caused by a psychological situation complexly intertwined with reality. The calm emptiness detected in his artwork describes the inner side, increasingly estranged by the traumatic traces and losses that appear familiar but are abruptly uncovered.
jekei_Jeon Heekyoung (b.1981)
Works of Jeon Heekyoung are the acts of artists who try to eliminate the rift between the ideal world and the adverse reality. His arts represent disparate spaces where the abstract shapes with images disassembled and flows of colors are overlapped, and eliminate the difference. The artist’s artistic practice to reach the ideals serves as the motivation to overcome impossibility.
빈우혁_그뤼네발트 52 230x354cm Oil and Charcoal on Canvas 2016(L)전희경_심연의 계단 97x486cm Acrylic on Canvas 2015(R) 이미지입니다
Yang yooyun (b.1985)
Yang yooyun focuses on the unstable subjects that cannot be trusted in the uncertain world due to the ultimate loneliness coming from the emotion that cannot be wholly shared with others. Yang uses unclear texture of the screen to describe the ambiguous and uncertain emotional state. Showing wariness toward the estrangement that feels stranger for familiar subjects, the artist transmits the subtle nuance absorbed with loneliness and fear.
양유연_에우리디케 151x210cm Acrylic on Mulberry Paper 2016 이미지입니다
Chung Jene kuk (b.1955)
Chung Jene kuk fills stories by adding artists’ imagination to small subjects existing in the spaces contained in specific places such as museums and churches. When the artist presses the stop button on the camera, we start a virtual trip as the space gap we often ignore becomes the means to stimulate the romantic memory and sensor.
정진국_박물관의 실루엣 : 카메라옵스큐라 80x59cm Pigment Print 2013 정진국_박물관의 실루엣 : 상징주의 화가의 화실 80x59cm Pigment Print 2000정진국_박물관의 실루엣 : 박물관 안뜰 80x59cm Pigment Print 2009 이미지입니다
Hyunik Cho (b.1978)
Hyunik Cho uses painting to describe the paradox of dual values existing in the society that can be read by the symbols which specific objects encountered by individuals in daily lives. By using direct and blatant expressions with heavy feelings, he sorts out the unclear borders co-existing in both extremes that rapidly change into the most miserable being when trust is broken for subjects that supported the burden of life.
조현익_믿음의도리 Dimensions Variable Mixed Media 2015~6 이미지입니다
Hoh Woojung (b.1987)
By using images obtained from newspapers, internet articles and issues, Hoh Woojung represents the view of the virtual world with ambiguous reality and imagination by using delicate and fine drawing. Repetitive and complicated images contain unstable emotions resulting from the inability to communicate due to limited information exposed to the public media as well as the double-sided aspect of an unclear and desperate society.
허우중_이상적인 이상 Dimensions Variable Drawing Collage 2017 이미지입니다
Ⅱ. Artist & World
Munhee Park (b.1982)
By connecting the meanings of society, culture, and history that objects have with life, it focuses on the new perspective formed in the analysis. Collection of objects grouped based on visual similarity or proximity are read as a circumstantial statement and enable a multi-layered interpretation. By depicting an exciting and colorful manner of owning the world, it discusses the exploration of life in connection with the objects and situations in the works that may look similar but are strangely paired up.
박문희_세 개의 진실 70x100cm(each) Pigment Print 2015 이미지입니다
Ahn hyochan (b.1990)
Ahn hyochan, mainly using the form of mass-produced products for his works, focuses on the communication between art and the public. He satirically represents the paradox of the isolated modern art which denies conceptional and abstract artworks.
안효찬_우리안의 우리 Dimensions Variable Mixed Media 2016 이미지입니다
Yoola Shin (b.1972) Yoola Shin
Yoola Shin shows the latent and uncomfortable contemporary topics by discording the images through sharp and sensuous intuition. The tension of objects mixed with different contexts composes ambiguous narratives and suggests a new perception for surrounding environments, awakening the existence of things that routinely define us, indifferent paradoxes, and unfairness.
신유라_콩가-거룩한 인생 Single Channel Video with Sound (02:40) 2013 이미지입니다
Yang Seungwon (b.1984)
Yang Seungwon focuses on the essence not existing in modern cities where things rapidly appear and disappear. Pictures describe the simple, uniform and anonymous cities that lost their unique locational identities as a result of the phenomenon of temporary existence caused by continuous industrialization and short-term urban planning.
양승원_Zip Code SB-15-19L Archival Backlit-Print 120x75cm 2017양승원_Zip Code SB-15-19C Archival Backlit-Print 120x150cm 2017양승원_Zip Code SB-15-19R Archival Backlit-Print 120x75cm 2017 이미지입니다
Lee Sujin (b.1980)
Lee Sujin focuses on the political, temporal, and historical ideas contained in certain areas with on-going urbanization, describing the installation process that makes such areas multi-dimensional. As a psychological landscape that brings tension in the space and the urban environment, the combination of organically organized objects freely travels the space, composing specific situations that support and lift each other strongly.
이수진_빛이 되어주는 사건들 Dimensions Variable Mixed Media 2017 이미지입니다
Ha Tae-bum (b.1974)
Ha Tae-bum uses <White> series to eliminate the existing situation and contexts in the shocking, destructive and accusatory images that the public media produced in order to recreate the white scattered images as objective representations providing no actual feeling of the site. The white image approaches as a routine calmness that is felt when there is enough distance from danger and fear.
하태범_The incident Single Channel Video with Sound (03:33) 2016 이미지입니다
IM Young-zoo (b.1982)
IM Young-joo uses installation methods and video to show the process of unraveling suspicion by do. The artist catches the ironic logic which became a belief more solid than the fact, despite the meaninglessness of distinguishing between reality and imagination amid the distortion of conceptions into a superstition over a long time.
임영주_석력 Single Channel Video with Sound (01:50) 2016임영주_밑-밤 물 돌 산 45x37cm, 37x45cm Oil on Canvas 2016  이미지입니다
Ⅲ. Art Practice
Jeho Yun(b.1977)
Jeho Yun deals with audiovisual areas and experiments with the borderline between music and sounds by stimulating the senses through the re-combination of repetitive and non-repetitive, regular and irregular arrangement of sound ingredients that are both from daily life and designed by computers. Such works are added with visual performances consisting of abstract mapping of light, creating virtual spaces and providing an experience of cognitive unconsciousness.
윤제호_線 || LINE Dimensions Variable Optical Projection with Sound 2017 이미지입니다
Wooyeon Chun (b.1983)
Works of Wooyeon Chun breaks the border between the image, text, sound, light, etc. and specific spaces, showing a type of total art genre. The artist constantly experiments with the process determined by the interactive relationship that changes and responds to the movement of performers and audience members, resulting in multi-layered forms.
전우연_흔들리는 이름 Dimensions Variable Interactive Performance 2011 이미지입니다
Sungfeel Yun (b.1977)
Sungfeel Yun’s works start from asking ultimate questions for the existence of humans, and focus on the creation and change of space by experimenting with circulating energy. The artist hypothesizes that the mutually dependent change that humans cannot understand is the actual and essential shape of space. Ultimately, he perceives that the real existence is an constantly moving invisible power and believes that everything in the world is a temporary phenomenon caused by such physical power.
윤성필_만물은 유전한다 305x117x305cm Mixed Media 2016 이미지입니다

The Museum of Silhak Special Exhibition on First Half 《The Woman, Communicates with Silhak》

Period/ 2017.04.17(Mon) ~ 2017.08.27(Sun)
This exhibition depicted the cultural activities of women centering on ‘poems’, mostly of female intellectuals in the Joseon Dynasty, and how knowledge and information became systematized in everyday life.

Most women in the Joseon Dynasty made frequent use of needle and threads instead of brush and inkstone. However, even when studies represented by brush and inkstone were the exclusive property of men, there were women who expressed themselves through pragmatic studies in everyday life like the woman in the Joseon Dynasty who said, “My wish is to reborn as a man and read all the books of the world.”

This exhibition introduces many women to introduce the life of women in the Joseon Dyansty. Key figures are Lady Jeong, the sister of Jeong Yak-yong, who wrote the biography of her father-in-law, Chae Je-gong, while living as a young widow; Jang Gye-hyang who is referred to as the ‘Mother of Joseon’ for bringing up children to become outstanding people; literary women such as Kim Hoyeonjae and Nam Jeongilheon; Kim Geum-won who climbed up Geumgangsan Mountain at the age of 14; Lady Jo of Pungyang who refused to become a so-called ‘chaste woman’; female neo-Confucian scholars such as Im Yunjidang and Gang Jeongildang; Yi Sajudang who compiled Taegyosingi; and Yi Bingheogak who wrote 「Gyuhap Chongseo」. These are people who pursued independence as women through literature, neo-Confucianism, and study of pragmatic science. This exhibition intended to feel the life of Joseon’s women by heart and the scholarly achievements made by female silhak scholars.
□ Exhibition Overview
Section 1. Living As a Woman in the Joseon Period
○ Education for Women That Emphasizes Womanly Virtues
In the Joseon period, women read Sohak (Elementary Education) and Samganghaengsildo (Illustrated Conduct of the Three Bonds), and were taught that they should build up womanly virtues, follow the rules as a lady, and keep their place. Women typically received their education from family members, raised so that they could weave, cook, and prepare for ancestral rites. The noble families often kept the Gyenyeoseo (Admonishments for Women), which was used to instruct girls. The most important virtue for women in the Joseon period was to successfully raise children. For example, Jang Gye-hyang (from Andong Jang Clan), who is an acclaimed mother of Joseon, dedicated her life as a daughter, wife, and daughter-in-law. With her son Lee Hyeon-il becoming the Minister of the Board of Personnel, some called her the Lady of Andong Jang, but her full name, Jang Gye-hyang, better fits her. She is not only someone’s mother or wife, but a woman who left behind her own name.

○ Lady Jeong, who Wrote the Biography of her Father-in-law Chae Je-gong
It was unusual in the Joseon Period for a woman to translate the records (in Chinese character) of her father-in-law into Korean so that the women in the family could celebrate him. Lady Jeong, the sister of Dasan Jeong Yak-yong, married Chae Hong-geun, a son by the concubine of the prime minister Chae Je-gong, but unfortunately her husband died within 2 years after their marriage. After becoming a widow at the young age of 19, Lady Jeong kept her chastity, took care of her father-in-law, and collected his records to publish a Korean biography under the title of Sangdeokchongnok, which means ‘to keep the record of the virtues of the prime minister Chae Je-gong’. In the book, you can find his achievements and hidden history of the palace related to Crown Prince Sado.
Section 2. Expressing Oneself with Poems and Studies
○ Writing Poems in the Women’s Quarters
It was hard for a woman to study or learn writing of poems, and even after she had written one by her excellent talent, it was hard for the poem to become known to the outside world. Joseon’s Women were supposed to be confined in the women’s quarters, but there were some women who expressed their inner spirit through poetry. Gigak, an anonymous female poet, Kim Hoyeonjae, and Nam Jeongilheon are most notable, among others.

Although I have the wishes of a man for my entire life
I lament being made to wear the headdress of a mistress
– Gigak

○ Kim Geum-won, who traveled to Geumgangsan Mountain, and Samhojeongsisa
As the social class who enjoyed culture expanded since the 18th century, talented women started to engage in cultural activities. The female culture group Samhojeongsisa is a typical example. Its members include Un-cho, Juk-hyang, Geum-won, who traveled Geumgangsan Mountain disguised as a man, Juk-yeop, the sister of Juk-hyang, who played gayageum skillfully, Geum-hong, an excellent poet, and Gyeong-hye, as well-known as Juk-hyang for her poetry and painting. They all had something in common, in addition to their outstanding artistic talents: they were all either gisaeng or daughters by concubine. Despite their low social status, they brought about a remarkable shift in the cultural landscape in 19th-century Joseon.

Now I understand, however large the sky and the earth
my heart can hold them.
(方知天地大 客得一胸中)
– Hodongseorakgi, Kim Geum-won

○ Birth of Female Silhak Thinkers — A Woman Can Also Become a Noble Sage
There are a number of women who contributed good poems or writings during the Joseon period, but very few studied with the aim of becoming a sage. Im Yunjidang (1721-1793), a female Neo-Confucian scholar, said that there is no difference between men and women in terms of innate nature, that a sage is a normal person like the rest of us, and that everyone can become a sage like Emperor Yao. Gang Jeongildang (1772-1832) was influenced greatly by Im Yunjidang, who had lived in a slightly earlier period, and found the model of a female scholar in Im, empowered by her book. Gang also claimed that there is no difference between men and women in that they have a common good nature, and was confident that women can attain the status of sage if they make the effort to do so.
Section 3. Discourse on Yeollyeo (chaste woman)
○ Discourse on Widows by Yeonam Park Ji-won and Dasan Jeong Yak-yong
Widows are those women who live lonely, in a deep sorrow. In the introduction of Yeollyeo hamyang bakssijeon (Biography of Yeollyeo from Hamyang Park Clan) by Park Ji-won, an old widow shows a coin, worn away at the edge from rolling whenever she failed to fall asleep, to her son. The author says that this old widow, who has kept her chastity for decades, is indeed a yeollyeo. In the Joseon Period, however, so many women kept their chastity that, apart from cases where women took their own lives, they were generally unknown.

Park Ji-won wrote three biographies of yeollyeo during his lifetime. In his second work, he describes vividly the anguish of a woman who is hesitating in the face of death. He writes it with the intent of revealing the agony of a yeollyeo. The book was on one hand a study of the custom of yeollyeo, while also a critique of it.

Park’s third biography of yeollyeo is the Biography of Yeollyeo from Hamyang Park Clan, one that he wrote in 1796 at the age of 57 while working as a County Magistrate of Anui. In this book, he delivers a full account of a yeollyeo from the Hamyang Park Clan, who took her own life by taking a drug after giving a third-year memorial service for her husband’s death. The author praises her as yeollyeo, but at the same time, he is considerate of the circumstances which led her to death. It was not only Park Ji-won who felt doubts about the cruel culture of killing oneself. Dasan Jeong Yak-yong’s criticism offered a piercing reproach to the futile suicide custom of women who followed their husband in death.

“Suicide is one of the most disgraceful acts in the world; however, the ruling class exempts corvée labor from the village members of those who committed suicide and reduces the compulsory labor for their sons or grandsons. This encourages the people regarding the most disgraceful thing in the world. How can it be called righteous?”
– Dasan Jeong Yak-yong

○ A Confession of Lady Jo from Pungyang Clan, who Failed to Become Yeollyeo
The women who followed their husband in death were praised as yeollyeo, but not all widows took their own life after their husband. In the late 18th century, Lady Jo from Pungyang Clan (1772-1815) agonized between life and death, with guilt, after her husband died before her, six years after their marriage. She decided to live on after the persuasion of her father and her mother-in-law, and made a confession of her innermost feelings after 20 years in her autobiography. She did not hide the distress that she had suffered because she could not be a yeollyeo after her husband’s death.

“I could not die with the thought of becoming unfilial and making another tragedy occur. Suddenly, I changed my mind to live on and accept my harsh destiny, rather than adding to the sorrow of my parents and parents-in-law.”
– Autobiography
Section 4. Birth of Woman Silhak Thinker
○ Lee Sajudang, Writing a Book on Prenatal Education, the First in the World
In the Joseon Period, people were mostly interested in the baby’s gender rather than other issues of pregnancy. Giving birth to a son and making him succeed the family’s pedigree held that much significance. However, there was someone who was interested in the prenatal education of a fetus, rather than its gender—Lee Sajudang (李師朱堂, 1739-1821). Her son is Yu-hui (柳僖), a silhak scholar and linguist who left more than a hundred books, including Eonmunji (Monograph on Korean). In 1800, Lee Sajudang published Taegyosingi (New Records for Prenatal Care), written in Chinese letters. Her age was 62 when writing the book. In Taegyosingi, she put emphasis not only on the behaviors of the wife, but also those of the husband. It broke the common notion that prenatal education is all about women. In 1801, Yu-hui rearranged her book into ten sections and annotated it, republishing it in a Korean version. Today’s Taegyosingi is this revised edition by Yu-hui.

○ Lee Bingheogak, Writing about Women’s Lifestyle Economy
Lee Bingheogak (李憑虛閣, 1759-1824), a female silhak scholar, was from a noble family. She was married at the age of 15 to Seo Yu-bon (徐有本, 1762-1822), who was three years younger than her. Seo’s father was Seo Ho-su, a silhak scholar, and Seo’s brother is Seo Yu-gu, the author of Imwongyeongjeji (Book of Forestry Economy). Lee Sajudang, the author of Taegyosingi, is Lee’s maternal aunt.

Bingheogak completed compiling the Gyuhapchongseo (Composite Guide for the Inner Quarters) in 1809, at the age of 51. Gyuhap means the woman or the place where women stay. Gyuhapchongseo can be understood as an encyclopedia on household arts. The investigation on the food, clothing, and shelter was not the exclusive property of women. Silhak scholars studied them in depth as they extended their field of study, from Neo-Confucian metaphysics to practical thinking. The knowledge that is compiled in Gyuhapchongseo by Lee Bingheogak shows the new trends of study in the late Joseon period. Lee wrote it in Korean and made citations of more than 80 books included. Gyuhapchongseo was known to her relatives and transcribed while she was living, and continued to be transcribed after her death to become the most widely read among books on household arts published in the late 19th century.
Contents of Gyuhapchongseo
① Jusaui – making liquors and dishes
② Bongimcheuk – making clothing, dyeing, weaving, embroidering, silk-farming
③ Sangarak – farming, planting flowers, raising livestock
④ Cheongnanggyeol – prenatal education, infant care, first aid
⑤ Sulsuryak – choosing auspicious directions, fortune telling, talismans, casting out demons, disaster prevention
Major Relics
A Woman Reading by Yun Deok-hui, 18th century, color painting on silk, 20×14.3cm / a collection of the Seoul National University Museum
A woman is reading a book. It was the time when women could easily be familiar with gyubangchiru (seven elements for making clothes), but not with munbangsau (four treasures of a scholar’s study). Women were mainly supposed to be virtuous when they were sewing, weaving, and working in the kitchen, and yet they would have had the desire to study as well. The painting is the work of Yun Deok-hui (1685-1776), a writer and painter. Her father is Yun Du-seo, and her son is Yun-yong, which makes three generations of painters of a noble family. The beauty of the woman resides in her careful reading, following the letters in the book with her finger.
Annotated Taegyosingi, Joseon Period / a collection of The Museum of Silhak
An annotated edition of Taegyosingi, written by Lee Sajudang in 1800 (the 24th year of King Jeongjo’s reign) in Chinese characters. Her son Yu-hui added the phonetics and interpretation, along with the annotation, to the original version in 1801 (the first year of King Sunjo’s reign). It is the first book on prenatal education in the nation’s history, and delivers a systematic theory on prenatal education and practices through critical thinking.
Gyuhapchongseo, Joseon Period / a collection of National Library of Korea
An encyclopedia of women’s daily life compiled by Lee Bingheogak. It covers foods, clothing, farming, prenatal education, disaster prevention, etc.

Beyond the Reality

Period/ 2017.04.03(Mon) ~ 2017.06.09(Fri)
Venue/ GGCF Lobby Gallery

Beyond the Reality marks the opening of GyeongGi Cultural Foundation Lobby Gallery. The new space is a visual arts platform dedicated to the discovery of talented artists. Through professional support programs GGCF continuously contributes to the active creation of prospective artists in the Gyeonggi-do region. Extending this endeavor, the foundation is hosting a duo exhibition of Kim Hyo Sook, who is the selected promising artist of 2016, and Lee Juri, who shares a similar critical context with Kim. Reflected in the title, the exhibition highlights their different attitudes in dealing with the invisible aspects of city, repeated in its rapid destruction and formation.

Main Works
김효숙파란-방-가상수족관-부분_oil-acrylic-on-canvas_227×546cm_2016
파란방-가상수족관(A Blue Room_Virtual Aquarium)(부분), 캔버스에 오일, 아크릴, 227×324cm, 2016
특정한 장소를 안과 밖에서 바라봄으로써 현실이 비현실에 잠식되어 가는 장면을 시각적으로 표현한다.
-나의-도시-관계-My-Floating-City-Relationship_oil-acrylic-on-canvas_223×181cm_20101-e1491290294260
부유하는 나의 도시-관계 (My Floating City-Relationship), 캔버스에 오일, 아크릴, 223×181cm, 2010
불안정한 사회를 살아가는 현대인과 수많은 프레임이 투과된 현실을포착해 섬세하게 표현한다.
이주리골무인간-서식지-162x224cm-acrylic-and-pen-on-canvas-2016
골무인간 서식지, 162x224cm, 캔버스에 아크릴과 펜, 2016
고정되지 않은 장소에 대한 개별적인 드로잉을 모아, 하나의 영역을 이루는 서식지를 표현한다.
이주리충돌의-탄생-112x162cm-acrylic-and-pen-on-canvas-2016
충돌의 탄생, 112x162cm, 캔버스에 아크릴과 펜, 2016
도시의 부조리에 대한 상상적 드로잉들을 재조합하여, 새로운 충돌과 긴장을 만들어낸다.