The current exhibition displays paintings of celebrated scenic spots in Gyeonggi-do. It is a diachronic exhibition of artworks by both contemporary artists and painters of the Joseon Period (1392-1910). It is intended to provide visitors with an opportunity to view a collection of landscape paintings of Gyeonggi-do that can be said to be inspired by the Eight Views of XiaoXiang of modern-day Hunan Province and the Nine-Bend Stream of Mount Wuyi in Fujian Province, China, and to appreciate the wealth of landscape paintings of Gyeonggi-do from the early modern period to the present time.
The Bagyeon Falls are located in Bagyeon-ri, north of Gaeseong, North Korea. Koreans have long regarded this waterfall as one of the most beautiful on the Korean Peninsula, along with Guryong Falls at Geumgangsan Mountain and Daeseung Falls at Seoraksan Mountain. During the Joseon Period, people referred to Bagyeon Falls, Seo Gyeong-deok (a Confucian scholar), and Hwang Jin-i (a famous gisaeng) as the three best-known phenomena of Songdo (currently Gaeseong): These waterfalls were depicted in a masterpiece of the same title produced by Jeong Seon (pen-name: Gyeomjae), and in a folk song famous among Koreans. This digital painting presents the refreshing sight of waterfalls and a beautiful pond.
Park Sang-ok, a Western-style painter, painted numerous objects associated with the country’s traditional folk culture and scenes characterized by its unique local atmosphere. Hwahongmun Gate and Banghwasuryujeong Pavilion are said to stand out among the Eight Scenic Views in Suwon. These special places have been the subjects of an uncountable number of photos, postcards, and paintings.
This stream with nine meanders originates at Samtaegol, Tongbangsan Mountain (height: 650m) between Seorak-myeon, Gapyeong-gun and Seojong-myeon, Yangpyeong-gun, and flows into the Bukhangang River. This painting depicts Byeokgyecheon Stream and the Seoul-Chuncheon Expressway when it was under construction.
Located in Yeoncheon, Taeryeongsipcheongwon House was inhabited by Heo Mok (pen-name: Misu1595-1682), a great scholar of the mid-Joseon Period. In the courtyard of the house, Heo created two gardens, namely, Sipcheongwon, which contained ten evergreen trees, and Goeseokwon, which contained a collection of bizarre-looking stones collected from nearby places.
According to a story about Yongjusa Temple, Garyangsa Temple was founded in 854 (the 16th year of the reign of King Munseong of Silla), and destroyed during the invasion of the Qing Dynasty of China in 1636-1637. During the late Joseon period King Jeongjo (r. 1776-1800) relocated the tomb of his father Prince Sado from Yangju to Hwasan, and re-founded the temple so he could to pray for the everlasting peace of his deceased father there. King Jeongjo felt deeply sorry for his ill-fated father, who was executed at the order of his own father, King Yeongjo, at the age of 28. At that time, Monk Bogyeong’s sermon moved him so deeply that he decided to build a temple to console his deceased father’s spirit.
The villagers of Daechu-ri, Paengseong-eup, Pyeongtaek-si became embroiled in a dispute with the Ministry of National Defense over the relocation of the base of the U.S. Army 2nd Infantry Division to their area in 2008. This painting realistically portrays the last sight of a village whose inhabitants had lived there for many generations, but who were forced out to make room for the U.S. army.
The artist Jang U-seong strived to develop the country’s traditional Indian ink paintings and led the movement for the development of literati paintings focusing on the expression of the artist’s inner world in the country’s post-liberation period. This work depicting birds flying over the DMZ in the Paju area represents earnest wishes for the reunification of the two Koreas.
The piece portrays South Korean citizens who were born in the North holding a sacrificial rite for their deceased ancestors, whose tombs are in the North, at Mangbaedan, Imjingak near the DMZ during the Lunar New Year in 1995. Part of Geumgangsan Mountain is portrayed in the top right of the painting, while the artist himself is portrayed on its extreme right. The work is intended to represent young people’s earnest desire for the reunification of the Korean peninsula.
This work expresses the hope of being able to make a trip to Europe through what is now North Korea and what was once the Silk Road after the country’s reunification. It also depicts various landmarks in North Korea, the Gobi Desert, and Mongolia, as well as Mt. Everest in the Himalayas, the Pyramids of Egypt, the Leaning Tower of Pisa in Italy, Saint Basil’s Cathedral in Moscow, windmills in the Netherlands, and the Eiffel Tower in Paris, and the route of the Trans-Siberian Railway.
Exhibition in charge | Eunju Choi(Director), Wonmo Yang(Chief curator)
Exhibition Advisory | Seokju Jang(Poet, writer), Ji-noo Lee(Documentary writer), Yongtak Park(Professor, Gyeonggi University), Junhee Lee(critic of popular culture)
Exhibition planning | Bonsu Park(Curator)
Curatorial Assist | Hye-sun Han(Assistant curator), Song-a Oh(Assistant educator)
Support | Woochan Park(Senior manager, planning team), Chae-young Lee, Rokju Hwang, Kiyoung Choi, Gahye Yoon(Curator), Wonsu Shin, Kyeongwook Kim, Namgyu Ju, Manheung Jo, Jongwook Moon(Technical support)
Programs | Yoonseo Kim(Curator)
PR/Education | Cho-a Bang(Curator)
Education program | Jihyun Seo(Assistant educator)
Administrative support | Hyunkyung Lee, Seonghee Jeong, Jiyeon Lee, Sumi Jeong(Curator)
Project Support | PR & Marketing team of Gyeonggi Cultural Foundation
Exhibition Space Construction｜Gyeonggi Total Interior
PR Signs｜Dae-yoo Kim, B&B Design
Transport and Installation | Artplus
Painting replication | Young-sik Do, Dogapyogu