Cultural Properties Committee and the Art & Archaeology Magazine
- 홈
- About Kansong
- Life
- Cultural Properties Committee and the Art & Archaeology Magazine
- 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
As previously noted, Kansong’s headship of Posung Middle School marked his sole public office. Additionally, he served on the Cultural Properties Committee, an advisory body evolved from the Historic Sites Preservation Committee of the USAMGIK. Kansong’s appointment was crucial, given his unparalleled knowledge and passion for preserving cultural properties in Korea. Indeed, the committee’s legitimacy arguably hinged on Kansong’s inclusion.
Following the committee’s transformation, Kansong uniquely maintained membership on two subcommittees simultaneously. Despite his general disinterest in public service, Kansong approached these duties with enthusiasm, willingly undertaking even lengthy research trips. His dedication stemmed from profound grief over the destruction of Korean cultural assets during the Korean War.
Upon returning to Seoul in 1954, Kansong forged relationships with prominent figures in cultural preservation: Lee Hongjik (1909-1970; pen name Namun), Choe Sunu (1916-1984; pen name Hyegok), Hwang Suyeong (1918-2011, pen name Chou), Jin Hong-seop (1918-2010, pen name Sumuk), and Kim Wonyong (1922-1994, pen name Sambul), all executive officers at the National Museum of Korea. His interactions with Choe Sunu and Hwang Suyeong were particularly frequent
Kansong and Choe Sunu met multiple times daily. They often visited Go Huidong’s residence to discuss painting and calligraphy over wine and refreshments they brought. There, they would sort through Bohwagak’s war-damaged cultural properties or appreciate the fine art and artifacts Kansong had safeguarded in the south. Wherever they went, Kansong and Choe Sunu would share a glass of wine and enjoy each other’s company.
Kansong, a paragon of benevolence and generosity, consistently nurtured and encouraged the five young scholars. He took pleasure in sharing drinks, embarking on excursions to historic sites, and appreciating cultural assets in their company. Consequently, Kansong was perpetually surrounded by these erudite young minds.
The depth of Kansong’s regard for these scholars is evident in his bestowal of pen names upon them, with the exceptions of Namun and Sambul. He crafted the monikers “Hyegok,” “Chou,” and “Sumuk,” presenting them either as carved seals or calligraphed nameplates. Kansong’s dedication extended to inscribing their doorplates; notably, Chou preserved his original plate throughout his life. Furthermore, Kansong frequently gifted them paintings or calligraphic works when opportunities arose.
Kansong himself possessed remarkable proficiency in poetry, writing, calligraphy, and painting. While he never professed to be a professional artist, his mastery reached a level seldom achieved by dedicated painters or calligraphers. His works, “Autumn Daybreak at an Old Pond” and “Daffodil,” are acclaimed for their spirit and magnificence, surpassing even those of renowned Chinese artists Badashanren (1626-1705, painter and calligrapher) and Shitao (1643-1707, landscape painter and poet).
Kansong’s artistic prowess extended to creating replicas of masterworks, such as Chusa’s “Noble Scholar Living Free and Easy” and Han Si-gak’s (1621-?) “Portrait of Monk Dingying,” with a quality rivaling the originals. His depictions of animals, be it a rooster, ox, or sheep, were so lifelike as to evoke sensory memories in viewers - the crow of a rooster, the scent of ox manure, or the warm breeze in a meadow.
Following the committee’s transformation, Kansong uniquely maintained membership on two subcommittees simultaneously. Despite his general disinterest in public service, Kansong approached these duties with enthusiasm, willingly undertaking even lengthy research trips. His dedication stemmed from profound grief over the destruction of Korean cultural assets during the Korean War.
Upon returning to Seoul in 1954, Kansong forged relationships with prominent figures in cultural preservation: Lee Hongjik (1909-1970; pen name Namun), Choe Sunu (1916-1984; pen name Hyegok), Hwang Suyeong (1918-2011, pen name Chou), Jin Hong-seop (1918-2010, pen name Sumuk), and Kim Wonyong (1922-1994, pen name Sambul), all executive officers at the National Museum of Korea. His interactions with Choe Sunu and Hwang Suyeong were particularly frequent
Kansong and Choe Sunu met multiple times daily. They often visited Go Huidong’s residence to discuss painting and calligraphy over wine and refreshments they brought. There, they would sort through Bohwagak’s war-damaged cultural properties or appreciate the fine art and artifacts Kansong had safeguarded in the south. Wherever they went, Kansong and Choe Sunu would share a glass of wine and enjoy each other’s company.
Kansong, a paragon of benevolence and generosity, consistently nurtured and encouraged the five young scholars. He took pleasure in sharing drinks, embarking on excursions to historic sites, and appreciating cultural assets in their company. Consequently, Kansong was perpetually surrounded by these erudite young minds.
The depth of Kansong’s regard for these scholars is evident in his bestowal of pen names upon them, with the exceptions of Namun and Sambul. He crafted the monikers “Hyegok,” “Chou,” and “Sumuk,” presenting them either as carved seals or calligraphed nameplates. Kansong’s dedication extended to inscribing their doorplates; notably, Chou preserved his original plate throughout his life. Furthermore, Kansong frequently gifted them paintings or calligraphic works when opportunities arose.
Kansong himself possessed remarkable proficiency in poetry, writing, calligraphy, and painting. While he never professed to be a professional artist, his mastery reached a level seldom achieved by dedicated painters or calligraphers. His works, “Autumn Daybreak at an Old Pond” and “Daffodil,” are acclaimed for their spirit and magnificence, surpassing even those of renowned Chinese artists Badashanren (1626-1705, painter and calligrapher) and Shitao (1643-1707, landscape painter and poet).
Kansong’s artistic prowess extended to creating replicas of masterworks, such as Chusa’s “Noble Scholar Living Free and Easy” and Han Si-gak’s (1621-?) “Portrait of Monk Dingying,” with a quality rivaling the originals. His depictions of animals, be it a rooster, ox, or sheep, were so lifelike as to evoke sensory memories in viewers - the crow of a rooster, the scent of ox manure, or the warm breeze in a meadow.
Kansong’s replica of the Thousand-Character Classic by Han Hobook (33.2x23.1cm), 1935
Kansong’s calligraphic style, influenced by Han Ho (1543-1605, pen name Seokbong), Su Shi (1036-1101), and Mi Fu (1051-1107), was characterized by a masculine and unrestrained quality, reflecting his dignified yet vivacious personality. His dedication to honing his calligraphic skills is evidenced by his 1935 replica of Seokbong’s “Thousand-Character Classic,” created at the age of 30. Kansong’s literary versatility extended to impromptu poetry and various historical styles. From 1953 onwards, he published numerous refined columns, essays, and short compositions in newspapers and magazines, showcasing his exceptional literary talent.
HKansong’s seal engraving skills were equally remarkable. He crafted seals bearing his friends’ pen names, including “Hyegok (兮谷),” “rak (亞樂),” and “Judo (酒徒),” as well as his own autograph (“丁酉五十二年澗松翁作”). These seals feature classical letter designs and simple, unpretentious engraving styles.
Kansong, a man of refined literary taste, envisioned gathering the aforementioned young scholars near Bukdanjang to study Korean art history using Bohwagak’s extensive collection of arts, artifacts, and old books, thereby perpetuating and advancing Korea’s cultural lineage. Although this grand vision was thwarted by the Korean War, Kansong resolved to realize his aspiration to the extent possible, culminating in the launch of “Art & Archaeology” magazine.
Kansong’s patronage extended to providing financial support for the families of Wichang and Chungok, keeping Simsan and Cheongcheon in close proximity, and looking after Seokjeong, Lee Hanbok (1897-1940, pen name Muho, a painter and calligrapher), and Lee Doyeong (1884-1933, pen name Gwanjae, a painter). With the passing of many scholars and the dawn of a new era, Kansong invested his hopes in the emerging generation of art historians and archaeologists serving in his museum. His support for these young scholars was unstinting. The establishment of the art and archaeology community and the launch of “Art & Archaeology” magazine were manifestations of his expectations and affection for this new cohort of scholars.
Kansong, a man of refined literary taste, envisioned gathering the aforementioned young scholars near Bukdanjang to study Korean art history using Bohwagak’s extensive collection of arts, artifacts, and old books, thereby perpetuating and advancing Korea’s cultural lineage. Although this grand vision was thwarted by the Korean War, Kansong resolved to realize his aspiration to the extent possible, culminating in the launch of “Art & Archaeology” magazine.
Kansong’s patronage extended to providing financial support for the families of Wichang and Chungok, keeping Simsan and Cheongcheon in close proximity, and looking after Seokjeong, Lee Hanbok (1897-1940, pen name Muho, a painter and calligrapher), and Lee Doyeong (1884-1933, pen name Gwanjae, a painter). With the passing of many scholars and the dawn of a new era, Kansong invested his hopes in the emerging generation of art historians and archaeologists serving in his museum. His support for these young scholars was unstinting. The establishment of the art and archaeology community and the launch of “Art & Archaeology” magazine were manifestations of his expectations and affection for this new cohort of scholars.
Daoist Hermit, Crane, and Odd Stone
Autumn Daybreak at an Old PondThis period marked Kansong’s first encounter with financial strain. On February 2, 1950, the National Assembly enacted the revised Farmland Reform Act, redistributing farmland to tenant farmers and compensating original landowners with government securities. However, the Korean War precipitated a drastic devaluation of these securities, rendering them worthless. Consequently, Kansong suffered a sudden and complete loss of his landholdings, while his liquid assets were depleted during the conflict.
Despite these challenging circumstances, Kansong endeavored to repurchase lost treasures of Bohwagak. His financial situation must have been dire indeed, yet he betrayed no signs of destitution. Furthermore, he declined to accept rent from Lee Gyeomro, who had established the Tongmungwan Bookstore on the Hannamseorim Bookstore site, until July 1959. Compounding these difficulties, an unexpected financial crisis erupted at Posung Middle and High School.
In the spring of 1959, Kansong learned of the school’s substantial debt, a result of Principal Seo Weonchul’s negligent financial oversight. Despite his own financial constraints, Kansong settled the school’s debts. Those who knew him intimately suggested that the distress he endured during this period may have shortened his life.
Notwithstanding these financial hardships, Kansong remained steadfast in his leadership of the art and archaeology community, never allowing its members to become aware of his personal struggles. He consistently contributed articles to “Art & Archaeology” and financed the monthly magazine’s publication from his own resources. In this manner, Kansong exemplified his role as a devoted guardian of Korean culture.
Despite these challenging circumstances, Kansong endeavored to repurchase lost treasures of Bohwagak. His financial situation must have been dire indeed, yet he betrayed no signs of destitution. Furthermore, he declined to accept rent from Lee Gyeomro, who had established the Tongmungwan Bookstore on the Hannamseorim Bookstore site, until July 1959. Compounding these difficulties, an unexpected financial crisis erupted at Posung Middle and High School.
In the spring of 1959, Kansong learned of the school’s substantial debt, a result of Principal Seo Weonchul’s negligent financial oversight. Despite his own financial constraints, Kansong settled the school’s debts. Those who knew him intimately suggested that the distress he endured during this period may have shortened his life.
Notwithstanding these financial hardships, Kansong remained steadfast in his leadership of the art and archaeology community, never allowing its members to become aware of his personal struggles. He consistently contributed articles to “Art & Archaeology” and financed the monthly magazine’s publication from his own resources. In this manner, Kansong exemplified his role as a devoted guardian of Korean culture.
Kansong’s sudden demise from acute pyelitis on January 26, 1962, profoundly affected his friends and followers, who mourned not only his loss but also the nation’s misfortune. In tribute, they dedicated the combined 19/20 issue of “Art & Archaeology” to commemorate his legacy. Eulogies were penned by Kansong’s close associates and cultural luminaries: Kim Sanggi, Lee Sangbaek, Park Jonghwa, Lee Hongjik, Ye Yonghae, Kim Weonryeong, Chun Hyojun, Kim Dujong, Park Jeonghui, and Choe Sunu. The government posthumously honored Kansong with the Medal of Cultural Merit on August 15 of that year, followed by the Gukmin Order of Cultural Merit on November 13, 1964.
In 1965, members of the art and archaeology community, including Kim Sanggi, Nam Un, Lee Hongjik, Choe Sunu, Hwang Suyeong, Jin Hongseop, and Kim Weonryong, established the Center for National Art of Korea in Bukdanjang. Bohwagak was rechristened as the Kansong Art Museum and became the Center’s affiliated institution. In April 1966, Chun Youngwoo, Kansong’s fourth son and a graduate of Art and Archaeology from Seoul National University, assumed directorship of the Center for the Study of Korean Arts, continuing his father’s legacy through the organization of the Kansong Art Museum’s collection.
The Center’s initial efforts focused on surveying the Chinese books collected by Kansong that were scattered or lost during the Korean War, culminating in the publication of the Catalog of Chinese Books in the Kansong Collection in June 1968. Concurrently, research was conducted on paintings, calligraphic works, and other art pieces and artifacts. In 1971, the Center inaugurated special exhibitions at the Kansong Art Museum. This tradition persists, with semiannual exhibitions (spring and fall) accompanied by the publication of Kansong Munhwa magazine, which serves as both an exhibition catalog and a medium for disseminating research findings. The 85th issue, released in Fall 2013, marked a significant milestone in this ongoing scholarly endeavor.
In 1965, members of the art and archaeology community, including Kim Sanggi, Nam Un, Lee Hongjik, Choe Sunu, Hwang Suyeong, Jin Hongseop, and Kim Weonryong, established the Center for National Art of Korea in Bukdanjang. Bohwagak was rechristened as the Kansong Art Museum and became the Center’s affiliated institution. In April 1966, Chun Youngwoo, Kansong’s fourth son and a graduate of Art and Archaeology from Seoul National University, assumed directorship of the Center for the Study of Korean Arts, continuing his father’s legacy through the organization of the Kansong Art Museum’s collection.
The Center’s initial efforts focused on surveying the Chinese books collected by Kansong that were scattered or lost during the Korean War, culminating in the publication of the Catalog of Chinese Books in the Kansong Collection in June 1968. Concurrently, research was conducted on paintings, calligraphic works, and other art pieces and artifacts. In 1971, the Center inaugurated special exhibitions at the Kansong Art Museum. This tradition persists, with semiannual exhibitions (spring and fall) accompanied by the publication of Kansong Munhwa magazine, which serves as both an exhibition catalog and a medium for disseminating research findings. The 85th issue, released in Fall 2013, marked a significant milestone in this ongoing scholarly endeavor.
KIM Choonghyun, 간송미술관 표석, 1971The Kansong Art Museum has, to date, curated exhibitions showcasing diverse artists, schools, periods, and nationalities, consistently accompanied by the publication of scholarly papers. For 43 years, the Museum has spearheaded art historical studies, significantly influencing the perspectives of numerous Korean historians.
The Museum’s focused research on the true-view landscape paintings of Jeong Seon (1676-1759, pen name Gyeomjae) and the calligraphic style of Kim Jeonghui (1786-1856, pen name Chusa) has affirmed the excellence and originality of late Joseon master artists, during which Korean culture flourished. This endeavor has been instrumental in revitalizing the once-damaged cultural pride of the Korean people, laying the foundation for a renaissance of Korean culture—a vision Kansong had long cherished.
Kansong’s legacy appears to have fostered prosperity among his descendants. Chun Sungwoo, Kansong’s firstborn son, has two sons (Ingeon and Inseok) and two daughters (Inji and Ina) with Kim Eunyeong, daughter of esteemed poet Kim Gwanggyun (pen name Ungcheon). Chun Youngwoo, Kansong’s fourth child and son, has one son (Inseong) and two daughters (Ingang and Inhi) with Choe Weonnam, daughter of former Defense Minister Choe Yeonghui (pen name Suseong). Chun Myeongu, Kansong’s second child and daughter, married Kim Chungyu, a professor at Yonsei University’s Medical School, and has four daughters (Eunju, Yeongju, Huiju, and Hyunju). Chun Hiu, Kansong’s third child and daughter, married Kim In, a professor at the Catholic University of Korea’s Medical School, and has one son (Yeonggyu) and one daughter (Yeonggyeong).
It is a source of profound satisfaction that the majority of Kansong’s children and grandchildren have pursued academic studies in either History or Art, thereby perpetuating Kansong’s noble commitment to Korean culture.
The Museum’s focused research on the true-view landscape paintings of Jeong Seon (1676-1759, pen name Gyeomjae) and the calligraphic style of Kim Jeonghui (1786-1856, pen name Chusa) has affirmed the excellence and originality of late Joseon master artists, during which Korean culture flourished. This endeavor has been instrumental in revitalizing the once-damaged cultural pride of the Korean people, laying the foundation for a renaissance of Korean culture—a vision Kansong had long cherished.
Kansong’s legacy appears to have fostered prosperity among his descendants. Chun Sungwoo, Kansong’s firstborn son, has two sons (Ingeon and Inseok) and two daughters (Inji and Ina) with Kim Eunyeong, daughter of esteemed poet Kim Gwanggyun (pen name Ungcheon). Chun Youngwoo, Kansong’s fourth child and son, has one son (Inseong) and two daughters (Ingang and Inhi) with Choe Weonnam, daughter of former Defense Minister Choe Yeonghui (pen name Suseong). Chun Myeongu, Kansong’s second child and daughter, married Kim Chungyu, a professor at Yonsei University’s Medical School, and has four daughters (Eunju, Yeongju, Huiju, and Hyunju). Chun Hiu, Kansong’s third child and daughter, married Kim In, a professor at the Catholic University of Korea’s Medical School, and has one son (Yeonggyu) and one daughter (Yeonggyeong).
It is a source of profound satisfaction that the majority of Kansong’s children and grandchildren have pursued academic studies in either History or Art, thereby perpetuating Kansong’s noble commitment to Korean culture.