Hannamseorim Bookstore and Bukdanjang Art Institute
- 홈
- About Kansong
- Life
- Hannamseorim Bookstore and Bukdanjang Art Institute
- Lineage and Family Environment
- Grief over National Ruin and Introspection
- Hannamseorim Bookstore and Bukdanjang Art Institute
- Bohwagak Art Museum and Passionate Collection
- Posung Middle School and Hunminjeongeum
- The Korean War
- Cultural Properties Committee and the Art & Archaeology Magazine
To accomplish his noble mission, Kansong found himself in fierce competition with influential Japanese collectors. Throughout history and across cultures, the collection of antiques has been a luxurious pursuit reserved for those with substantial wealth and power. Acquiring the finest and most exceptional pieces demands serious endeavor. It was a formidable task for a young man from Joseon (as Korea was known during the Japanese colonial period) in his 20s, even with his immense wealth.
Kansong was compelled to overcome daunting obstacles and could not afford to dwell in sorrow for long, despite the family’s misfortunes. If it was Divine Providence that brought Kansong into this world to safeguard the half-millennium cultural heritage of Korea during this dark period, his journey could not be solely fraught with challenges.
Heaven had sent Oh Sechang before Kansong to lay the foundation for his study of the history of Korean painting and calligraphy. Oh Sechang had also nurtured a reliable antique broker named Lee Sunhwang, who would later collect paintings, calligraphic works, and antiques on Kansong’s behalf. As if echoing the Buddhist teaching that a Buddha or Cakravartin enters the world accompanied by Cakra and other aides, Kansong’s birth as a savior of Korea’s cultural assets was complemented by the presence of individuals who would assist him in his mission.
Kansong was compelled to overcome daunting obstacles and could not afford to dwell in sorrow for long, despite the family’s misfortunes. If it was Divine Providence that brought Kansong into this world to safeguard the half-millennium cultural heritage of Korea during this dark period, his journey could not be solely fraught with challenges.
Heaven had sent Oh Sechang before Kansong to lay the foundation for his study of the history of Korean painting and calligraphy. Oh Sechang had also nurtured a reliable antique broker named Lee Sunhwang, who would later collect paintings, calligraphic works, and antiques on Kansong’s behalf. As if echoing the Buddhist teaching that a Buddha or Cakravartin enters the world accompanied by Cakra and other aides, Kansong’s birth as a savior of Korea’s cultural assets was complemented by the presence of individuals who would assist him in his mission.
Oh Sechang (吾世昌 1864-1953, pen name Wuichang)Lee Sunhwang was a trustworthy and meticulous person. When someone privately asked him to sell an item on his behalf, Lee Sunhwang would bring the entire amount of payment to the person. He was so punctual and accurate in calculation that he rarely erred in his brokerage business. After completing several business deals, Kansong came to have absolute confidence in Lee Sunhwang and entrusted him with the job of collecting art and artifacts.
The artworks and artifacts collected by Lee Sunhwang were appraised by Oh Sechang to determine their suitability for acquisition. With their assistance, Kansong was well-positioned to acquire the most precious items. Although still young, Kansong possessed the high caliber befitting his grand mission. Once he placed his trust in someone and delegated a task, Kansong never wavered in his confidence. When purchasing an item, Kansong refrained from haggling over the price or offering unreasonably low sums.
If a seller appeared unaware of the true value of their item, Kansong would pay a price he deemed appropriate, regardless of the seller’s asking price. In the chaotic antique market, where no predetermined prices existed, Kansong’s approach was akin to encountering Ksitigarbha in the depths of hell.
The year 1934 held particular significance for Kansong. It was during this year that he discovered a site suitable for housing his collection and conducting research. He acquired a 10,000 pyeong (approximately 8 acres) plot in Seongbuk-ri, Sungin-myeon, Goyang-gun, at the heart of present-day Seongbuk-dong. The site had previously been occupied by a French-style residence built and inhabited by a French oil dealer who had arrived in Seoul in the late 19th century. Kansong also purchased nearby plots, securing almost all of the propitious lands extending from Gujinbong (peak). From a geomantic perspective, the site was highly auspicious, surrounded by two streams flowing between the Azure Dragon (Anamsan) and the White Tiger (Naksan).
Oh Sechang recalled that the site was in proximity to Seonjamdan (Sericulture Altar) and bestowed upon the building constructed there the name Bukdanjang. The name boards were inscribed by An Jongweon (1874-1951, pen name Seokjeong), Kim Taeseok (1875-1953, pen name Seongjae), and Lee Hanbok (1897-1940, pen name Muho), all of whom were among the most renowned calligraphers of the era. The Bukdanjang Art Institute was inaugurated before July 16th, 1934, as evidenced by a note left by Lee Hanbok stating, “I wrote this name board in Daeangnu on July 16th, 1934, in order to contribute to the wall decoration of Jisan’s new villa.”
“I wrote this name board in Daeangnu on July 16th, 1934, in order to contribute to the wall decoration of Jisan’s new villa.”
Oh Sechang recalled that the site was in proximity to Seonjamdan (Sericulture Altar) and bestowed upon the building constructed there the name Bukdanjang. The name boards were inscribed by An Jongweon (1874-1951, pen name Seokjeong), Kim Taeseok (1875-1953, pen name Seongjae), and Lee Hanbok (1897-1940, pen name Muho), all of whom were among the most renowned calligraphers of the era. The Bukdanjang Art Institute was inaugurated before July 16th, 1934, as evidenced by a note left by Lee Hanbok stating, “I wrote this name board in Daeangnu on July 16th, 1934, in order to contribute to the wall decoration of Jisan’s new villa.”
“I wrote this name board in Daeangnu on July 16th, 1934, in order to contribute to the wall decoration of Jisan’s new villa.”
<Bukdanjang> by Lee Hanbok, calligraphy on paper (133.0x34.5cm)
Daeangnu (literally “pavilion overlooking Bugaksan”) must have referred to Lee Hanbok’s study on the second floor of his residence in Hyoja-dong, and Jisan was another pen name for Chun Hyungpil.
That same year, the Chun family had another occasion for celebration. Kansong, at the age of 29, welcomed his third child, Chun Sungwoo, on June 2, 1934. He was the grandson that Kansong’s deceased father had long anticipated. One can only imagine the bliss experienced by Kansong’s two mothers and the sense of reassurance felt by Kansong himself.
Today, Chun Sungwoo serves as the principal of Boseong High School and chairman of the school foundation, preserving Kansong’s legacy in education.
From 1934 onwards, Kansong engaged the services of Jinbo Kizo, the Japanese proprietor of the antique shop “Onkodo,” as his intermediary for participation in the antique auctions of the Gyeongseong Art Club. At the auction of the Watanabe family collection on March 3, 1934, Kansong acquired a pair of stone tigers for 1,200 Korean won—a sum substantial enough to purchase a house. Kansong positioned these stone tigers to guard the entrance of Bukdanjang, where they continue to fulfill their duty with solemn vigilance.
That same year, the Chun family had another occasion for celebration. Kansong, at the age of 29, welcomed his third child, Chun Sungwoo, on June 2, 1934. He was the grandson that Kansong’s deceased father had long anticipated. One can only imagine the bliss experienced by Kansong’s two mothers and the sense of reassurance felt by Kansong himself.
Today, Chun Sungwoo serves as the principal of Boseong High School and chairman of the school foundation, preserving Kansong’s legacy in education.
From 1934 onwards, Kansong engaged the services of Jinbo Kizo, the Japanese proprietor of the antique shop “Onkodo,” as his intermediary for participation in the antique auctions of the Gyeongseong Art Club. At the auction of the Watanabe family collection on March 3, 1934, Kansong acquired a pair of stone tigers for 1,200 Korean won—a sum substantial enough to purchase a house. Kansong positioned these stone tigers to guard the entrance of Bukdanjang, where they continue to fulfill their duty with solemn vigilance.
On May 26, 1934, Kansong procured a number of Goryeo celadon pieces at the auction of an anonymous family’s collection, including the Large Celadon Bowl with Cover and Inlaid Cloud and Crane Design.
At the auction of another anonymous family’s collection on September 13, Kansong secured Plantain and Roses by Fang Ming (1881-1940, a renowned Chinese painter of the late Qing period), White Porcelain Lidded Incense Bowl, White Porcelain Huijun (sacrificial vessel), and White Porcelain Knee-shaped Water Dropper with Openwork Cloud and Dragon Design in Underglaze Blue and Iron.
Concurrently, Kansong established a workshop within the old hanok building on the Bukdanjang premises, where he oversaw the re-framing or repair of paintings and calligraphy pieces he had collected, subsequently storing them in specially crafted paulownia boxes. Each box bore a certificate of authenticity affixed to its top, along with an appraisal statement penned by Oh Sechang, which often doubled as a seal.
At the auction of another anonymous family’s collection on September 13, Kansong secured Plantain and Roses by Fang Ming (1881-1940, a renowned Chinese painter of the late Qing period), White Porcelain Lidded Incense Bowl, White Porcelain Huijun (sacrificial vessel), and White Porcelain Knee-shaped Water Dropper with Openwork Cloud and Dragon Design in Underglaze Blue and Iron.
Concurrently, Kansong established a workshop within the old hanok building on the Bukdanjang premises, where he oversaw the re-framing or repair of paintings and calligraphy pieces he had collected, subsequently storing them in specially crafted paulownia boxes. Each box bore a certificate of authenticity affixed to its top, along with an appraisal statement penned by Oh Sechang, which often doubled as a seal.
Celadon Prunus Vase with Inlaid Cloud and Crane Design, 13th century
Blue-and-White Porcelain Bottle with Chrysanthemum Design inUnderglaze Iron and Copper, 18th century
Album of Genre Paintings by Hyewon, late 18th to early 19th centuryIn the summer of 1935, Oh Sechang encountered a scroll of a poem brushed by Sin Wi (1769-1847, pen name Jaha) that had been acquired and reframed by Kansong. Sin Wi had ascended to the position of royal secretary in 1823 at the age of 55. During his tenure in the Royal Secretariat, he met almost daily with the 38-year-old Chusa, then serving as royal archivist, to share tea and engage in discussions on poetry and calligraphy. This particular poem, celebrating his friendship with Chusa, was written in a script influenced by the Chusa style.
In the winter of 1935, the 72-year-old Oh Sechang discovered among Kansong’s latest acquisitions a treasure from his own family that had been lost 34 years earlier. It was the Album of Zhang Pushan’s True Masterworks that Oh Sechang had inherited from his father, Oh Gyeongseok (1831-1879, pen name Yeokmae). Oh Gyeongseok had received it from his teacher, Chusa. The album contained ten masterpieces by Zhang Geng (1685-1760, a Qing painter, pen name Pushan). In 1902, Oh Sechang had gone into exile in Japan, having been branded a traitor by the Russophiles who had risen to power. His house was destroyed, and family heirlooms, including the album, were lost. Through Kansong’s efforts, the album miraculously reappeared before Oh Sechang’s eyes.
Kansong spared no effort or expense in acquiring top-grade art and artifacts of Korea. The Album of Genre Paintings by Hyewon (National Treasure No. 135), a collection by Sin Yunbok (1758-?, pen name Hyewon), had been in the possession of Japanese collector Tomita Gisaku (1858-1930), owner of Tomita Trading Co. Widely regarded as the treasure of treasures, its asking price was astronomical. After years of relentless pursuit to acquire the album at any cost, Kansong finally succeeded in repatriating it. The satisfaction felt by Kansong, Oh Sechang, and other artistic luminaries of Korea must have been immeasurable.
In March, Kansong purchased a collection of farewell poems for Sin Jaesik (1770-1843, pen name Chuimi). Sin Jaesik had been appointed director in the Office of the Special Counselors and was set to embark on a journey to China as a royal envoy on October 16, 1836. Political heavyweights and literary masters such as Kim Jeonghui (1786-1856), a recorder and second minister in the Ministry of War; the Great Lord Jo Manyeong (1776-1846); Rites Minister Jo Inyeong (1782-1850, pen name Unseok); Seoul Chief Magistrate Gweon Donin (1783-1859, pen name Ijae); and influential statesman Kim Yugeun (1785-1840, pen name Hwangsan) composed farewell poems, which Chusa (at age 51) transcribed in his original calligraphic style.
The task of collecting top-grade Korean art and artifacts already in the possession of wealthy Japanese collectors exceeded the capabilities of the Joseon broker Lee Sunhwang. Consequently, Kansong engaged the services of Jinbo Kizo (also remembered by some as “Jinbo Yoshizo”) as his broker. Moved by Kansong’s noble character and enthusiasm, Jinbo set aside any animosity between Japan and Korea, dedicating himself wholeheartedly to assisting Kansong in acquiring the finest Korean arts and artifacts available on the market.
In 1935, Jinbo brokered an astronomical 20,000 Korean won deal for the Celadon Prunus Vase with Inlaid Cloud and Crane Design (National Treasure No.68), a masterpiece representative of Goryeo-period inlaid celadon ware, between Japanese antique trader Maeda Saiichiro and Kansong. He also facilitated Kansong’s triumph over powerful Japanese collectors in acquiring the Blue-and-White Porcelain Bottle with Chrysanthemum Design in Underglaze Iron and Copper (National Treasure No.294) for 14,580 Korean won at an exhibition/auction of the Joseon Art Club on November 22, 1936. While procuring supreme cultural properties of Korea at major auctions both in Joseon and Japan through Jinbo, Kansong continued to collect top-grade pieces offered for sale by owner families via Lee Sunhwang.
One such acquisition was the Road to Shu Scroll by Sim Sajeong (1707-1769, pen name Hyeonjae). This monumental landscape painting (818x58cm) represents the pinnacle of Sim Sajeong’s lifework. The renowned painter must have found solace in pouring his soul into the Road to Shu Scroll. It might be more apt to say that Sim Sajeong bequeathed this painting as the crowning achievement of his illustrious artistic career.
At the time, the price of a spacious tile-roofed house in Seoul was approximately 1,000 Korean won. Kansong acquired the Road to Shu Scroll for 5,000 Korean won and dispatched it to Kyoto, Japan, for repair and reframing at an additional cost of 6,000 Korean won. Even for Kansong, resolute in his mission to safeguard Korean arts and artifacts, the expenditure of such a substantial sum for the purchase and restoration of a single weathered painting must have given him pause. Thus, Kansong, in his early 30s, was channeling all of his resources and energy into the protection of his country’s cultural heritage.
Road to Shu Scroll, 1768