Intense conservation efforts restore 19th-century Korean artifacts now on view in Seoul

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Intense conservation efforts restore 19th-century Korean artifacts now on view in Seoul

Published: 12 Mar. 2025, 15:36 Updated: 12 Mar. 2025, 15:50

SHIN MIN-HEE
[email protected]

Audio report: written by reporters, read by AI

A conservator treats the 19th-century folding screen “Welcoming Banquet of the Governor of Pyongan." [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

When a cultural artifact is restored to mint condition through conservation treatment, it’s time to flaunt it. Two Korean assets from the 19th century are briefly staying in the country and are on view at the Leeum Museum of Art in Yongsan District, central Seoul.

Owned by the Peabody Essex Museum (PEM) in Salem, Massachusetts, the items are an eight-panel folding screen, which initially came in shabby, separate sheets and was severely gnawed at by insects, and a hwarot, or a bridal gown worn by women during the Joseon Dynasty (1392-1910).

“Welcoming Banquet of the Governor of Pyongan" before undergoing conservation [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

“Welcoming Banquet of the Governor of Pyongan" after undergoing conservation [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

The preservation was made possible by the Overseas Korean Cultural Heritage Foundation, a subsidiary under the Korea Heritage Service, which supports the conservation of Korean cultural heritage items located outside the country.

PEM is home to more than 1,800 Korean artifacts and operates a Korean gallery. The collection began in 1883 when Edward Sylvester Morse (1838-1925), then-director of PEM, bought 225 Korean artifacts from an adviser to King Gojong (1852-1919).

The folding screen, titled “Welcoming Banquet of the Governor of Pyongan,” was treated for 16 months as a pro bono project by the Leeum Museum of Art’s Conservation Research Laboratory. This follows the foundation’s partnership agreement with the Samsung Foundation of Culture since September 2022.

Conservators treat the 19th-century folding screen “Welcoming Banquet of the Governor of Pyongan." [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

Through the eight panels, the folding screen depicts a grand banquet held to congratulate successful candidates of the state examinations in 1826 by the governor of Pyongan Province, the northwestern area of the Korean Peninsula. “Welcoming Banquet of the Governor of Pyongan” exists in a single copy.

According to Nam Yu-mi, senior conservator at Leeum, the conservation process involved referencing actual satellite images of the region and evaluating what time of day each screen depicted. The finalized version was pieced back together in the correct sequence of early in the morning to evening. It is estimated that 2,500 to 3,000 figures were painted on the entire folding screen.

“Welcoming Banquet of the Governor of Pyongan” was also originally covered in over 10,000 holes made by insects, which were all filled in during the treatment. Nam explained that the insects had devoured the paper due to traces of rice powder found in between the padded paper of the folding screen. The rice powder was intentionally put there because it would make the paper appear whiter and thicker, which in turn would produce better pigmentation.

The front of a hwarot, or a bridal gown worn by women during the Joseon Dynasty (1392-1910), before undergoing conservation [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

The front of a hwarot, or a bridal gown worn by women during the Joseon Dynasty (1392-1910), after undergoing conservation [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

The hwarot, one of the mere 50 versions that exist in the world to this day, was conserved at Dankook University’s Seok Juseon Memorial Museum for 13 months.

Hwarot were historically only worn by royalty but over the years became widespread to civilians. Likewise, this hwarot is assumed to have been worn by multiple people over decades, as it exhibited signs of repair, like patching up the shoulders.

Experts restored the hwarot after conducting research on the material, particularly the fabric and dye, and embroidery techniques. Experts also found layers of hanji (traditional Korean mulberry paper) that interlined the hwarot’s sleeves.

“Like for anyone, the day of your marriage was the happiest day in your life,” said Kim Jung-hee, chair of the Overseas Korean Cultural Heritage Foundation, in a press conference on Monday. “It’s why there are many patterns on the hwarot that symbolize harmony and good luck.”

Some examples of the revitalized motifs include lotus flowers, peonies, phoenixes and butterflies.

The back of a hwarot, or a bridal gown worn by women during the Joseon Dynasty (1392-1910), before undergoing conservation [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

The back of a hwarot, or a bridal gown worn by women during the Joseon Dynasty (1392-1910), after undergoing conservation [OVERSEAS KOREAN CULTURAL HERITAGE FOUNDATION]

Nam explained that the overhaul of both artifacts was prolonged because of a lack of conservation experts on Korean art in the United States — especially on folding screens and hwarot.

“The craftsmanship for Korean artifacts tends to be different from other countries, even among neighboring nations like Japan and China,” Nam said. “It’s why they need to be shipped back to their motherland in order to preserve the tradition as much as possible.”

The artifacts will be exhibited at Leeum until April 6. PEM said that afterward, they will travel back to its revamped Korean gallery, called the Yu Kil-Chun Korean Art Gallery, named after the Joseon-era politician (1856-1914), scheduled to open on May 17 this year.

BY SHIN MIN-HEE [[email protected]]