​

From December 1, 2021 to February 27, 2022, theNational Palace Museum of Korea (Director: Kim In Kyu), an affiliate of theCultural Heritage Administration of Korea, is presenting a special exhibitionorganized on the occasion of the thirtieth anniversary ofthe excavation and restoration  carriedout at Gyeongbokgung Palace. Glory of the Royal Palace looks back on thehistory of this revitalization of the palace space.

This exhibition sheds light on the effort torestore Gyeongbokgung, the primary palace of the Joseon Dynasty, to itsoriginal form and convert it to its present form as vital cultural heritagevisited by ten million people every year. Four buildings that were restoredwithin the palace complex are explored through the theme of the four seasons.However, the seasons are presented in the reverse order of the year, movingfrom winter through fall and summer to spring with the aim of spotlighting the significanceof restoration. Showcasing some twenty original archival materials, includingrecords that were made on-site during the excavations, field measurements, andrestoration drawings, the exhibition provides a comprehensive overview of thehistory of the excavation and restoration work carried out at Gyeongbokgung. Animmersive three-channel video installation featuring interviews andincorporating media façade techniques is expected to further enhance visitorimmersion.

Theexhibition is comprised of four sections. The title for each section wasinspired by a poem by Si Mok in the magazine Donggwang in 1927. Entitled“Gogung danyeong,” the poem described the appearance of Gyeongbokgung Palaceafter it had been damaged during the period of Japanese occupation. The Koreantitle of the exhibition reading Gogung yeonhwa holds a double meaning of“brilliant sun” and “spring landscape,” alluding to the resplendent times andthe new spring that Gyeongbokgung Palace will welcome with its restoration.

In the introduction area is an installation workthat was produced in collaboration with a contemporary artist. It is entitled Jeoksimafter the foundation of a building that reveals its structure and scale andis considered critical in excavation work as it provides clues for restoration.The artist Park JinWoo recreates Gyeongbokgung Palace based on the concept of jeoksim,which literally means the accumulated layers of diverse minds. The piecesof a jeoksim hanging from the ceiling arranged like buildings in apalace allow visitors to enjoy the reinterpreted palace as if floating acrossit.

The first section, “Even if the Wind Blows the Door Shut,” presents aspace that has been designed for looking through a window from the interior ofHeungbokjeon Hall to see the “winter” in which it served as a garden for theJapanese Government-General of Korea. Also on display in this space are worksincluding “Bonghwangsu,” a poem on the ruins of Gyeongbokgung Palace by JoJi-hun. Using the window as a device to separate time and space, this sectioninvokes a sense of pity among the visitors who cannot do anything but observethe past and conveys the powerlessness that the writers at the time must havefelt.

The second section, “Buried Memories,” comparesthe year-round efforts of the survey excavation team to autumn, the season whenleaves change color and labors bear fruit. In the front part of the section aredisplayed items including ceramic shards recovered from Gyeongbokgung Palace,excavation journal entries, and artifact catalog cards arranged in a mannerresembling a cross-section of soil with its different layers to recall thefeeling of a historic site. In the rear are displayed ceramics, roof tiles, andmetal implements uncovered from the Sojubang Kitchen Site, visualizing howitems that had been buried by people can be reborn as precious culturalheritage. Hidden stories on the excavations are presented through immersivecontent featuring three people who participated in the past and present andalso the curator of the exhibition.  

The third section, “A Meritorious Deed Achievedafter Five Hundred Years,” presents a large media wall measuring four byfifteen meters. It depicts the drawings for the restoration of the palace usingthe line graphics technique, allowing the meticulous designs of royal palacearchitecture to be observed. Also on display together are elevation viewdrawings of Ganggnyeongjeong and Gyotaejeon Halls, which are close to one totwo meters in width. The architectural drawings for the restoration ofGyeongbokgung are the totality of the excavation and restoration work createdthrough a comprehensive analysis of ancient maps, historical documents, andmeasurement drawings based on excavation achievements. The area across from thevideo has been designed to allow visitors to feel as if they are strollingaround the palace on a summer night.

The fourth section, “Spring after the Ice Melts,”presents a large three-channel video visualizing the “spring” of GyeogbokgungPalace that will arrive after the restoration work is completed in 2045. The GroundPlan for the Northern Palace (northern palace denotes Gyeongbokgung) hasbeen reinterpreted as a digital ceremonial record featuring the names of thepeople who contributed to the restoration. Tools that were used in therestoration work and architectural components that were replaced during therepair of Geunjeongjeon Hall and Hyangwonjeong Pavilion are showcased togetherto present the various repair methods employed and the efforts needed tosafeguard the distinct cultural value of Gyeongbokgung Palace.

Onlinecontent to enhance the understanding of the exhibition will also be provided.Videos including guided tours of the exhibition and a time-lapse capturing thefour seasons at Gyeogbokgung Palace will be available through the YouTubechannels of the Cultural Heritage Administration of Korea and the NationalPalace Museum of Korea. Moreover, virtual reality (VR) components presentingpanoramic views of the gallery, description of works on display, andphotographic images will also be unveiled.

Through therestoration of Gyeongbokgung Palace, the Cultural Heritage Administration ofKorea and the National Palace Museum of Korea will continue to serve as abridge connecting the past and present. It is hoped that this specialexhibition will offer an opportunity to explore the new glory of GyeongbokgungPalace.

​