ART TREASURES FROM KOREA

WHEN the North Koreans swept down over the 38th parallel on June 25, 1950, one of the prizes they had their sights on was the great national collection of Korean art in Seoul. Delaying tactics by the museum staff ("The packing took quite a long time," says wide-smiling Dr. Chewon Kim, director of Korea's National Museum) and the recapture of Seoul three months after it had fallen to the Communists saved the treasures. Next week, as a gesture of "gratitude to all those known and unknown American friends who fought with us against the Communist invasion," a loan exhibition from the Republic of Korea, sent abroad for the first time (see color pages), will open in Washington's National Gallery of Art, later tour seven U.S. cities.

Turtle Afloat. Koreans proudly point back to the days when the country was the base from which Buddhism was launched in Japan, and a prime influence on Japan's ceramic art. Not only did Koreans print with movable type 50 years before Gutenberg, and launch an ironclad ship (in the form of a turtle) that devastated the Japanese fleet in 1592, but over the centuries they have made a rich contribution to the art of the Orient.

Though Koreans trace their legendary origins back to 2333 B.C., endless civil wars and ruthless invasions have wiped out nearly every perishable object that remained above ground. Except for 20th century tomb excavations that provide some sense of the luxury and craftsmanship of the past, there are few remnants of Korean art. Out of the tombs have come such works as the stoneware Mounted Horseman, wearing a noble's peaked cap and leather armor of the 5th-6th century. Even more impressive is the antlerlike gold crown ornamented with jade found in a tomb of the Old Silla dynasty (57 B.C.-668 A.D.), whose hardy kingdom in Southeast Korea gradually extended its sway over the whole peninsula. With its similarity to the animal motifs of the Scythians, it suggests that early Koreans had more in common with the nomadic horsemen than with China.

Secret Color. Buddhism, imported from China, flourished in the arts, creating prototypes of figures in gold and bronze that were later imitated by Japanese craftsmen. But it was in ceramics that Korea led the Oriental world. Even Chinese connoisseurs of the Sung dynasty praised the artistry and craft of Korean potters of the Koryo dynasty (A.D. 918-1392), proclaiming: "The secret color of Koryo is first under Heaven."

The Yi dynasty (1392-1910) was more concerned with painting. Strict, conservative and Confucian in outlook, the court looked for its models to the Chinese masters. One of the best, Yi In-mun (1745-1821), combined fantasy and perspective with superb brushwork and a cautious use of color that in many ways surpass his Chinese models. No such inhibitions bothered Sin Yun-pok (see overleaf), whose sumptuous scenes were often shocking to his contemporaries. One such scene of a kisaeng (geisha) party, with dancing girls performing on mats out of doors to the music of the hatted orchestra, is something no Korean gentlewoman could have witnessed. But to Westerners, it gives an intimate view of Korean gentry, alive with the delights and pleasures of their peaceful 18th century life.

This file is automatically generated by a robot program, so reader's discretion is required.