A wooden architectural structure believed to have served as a royal shrine during the late Joseon period, Gwanwoldang, has returned to Korea after 100 years abroad. More than a physical relocation, its return serves as an opportunity to reflect on the historical significance and enduring value of Korea’s cultural heritage. The special exhibition “Gwanwoldang Returns: Walking Through Time” is being held at Gyeongbokgung’s Gyejodang Hall from December 24 to January 26, 2026, documenting this remarkable journey and presenting it to the public.
Gwanwoldang was taken to Japan in the early 20th century, passing through Tokyo before remaining for about a century at Kotoku-in Temple in Kamakura, Kanagawa Prefecture. Despite its long stay overseas, the building preserved much of its original form. Its complete return is historically significant as the first case of a Korean wooden structure being repatriated in near-original condition. This event demonstrates that the return of cultural heritage is not merely an administrative process, but a historical moment shaped by time, people, and conviction.
The exhibition focuses on the process of Gwanwoldang’s return. Through dismantled structural components and archival records, visitors can vividly trace the journey from its departure to its homecoming. Major elements such as the main beam, bracket arms, ornamental choyeop carvings, and ridge-end tiles engraved with diverse patterns highlight both the artistic and symbolic dimensions of the architecture.
Particular attention is drawn to Gwanwoldang’s roof structure. The gabled roof, sloping symmetrically on both sides, provides structural stability while forming elegant curves. The central beam placed atop the crossbeam supports the building’s core, while the vertical struts bear the weight of the ridge purlin, maintaining roof stability. The elaborately carved choyeop serve both structural and decorative purposes. These refined details clearly reveal the craftsmanship and dedication of Joseon-era artisans.
The decorative motifs are equally significant. Ridge-end tiles engraved with dragon patterns, spider motifs, bat designs, and guardian faces function as a symbolic language embedded in the architecture. Through them, visitors can experience firsthand the aesthetic sensibility and artisanal spirit of late Joseon wooden architecture.
The return of Gwanwoldang was made possible largely through the dedication of Sato Takao, head priest of Kotoku-in Temple. Despite having no legal obligation, he personally funded the dismantling and transportation of the structure and donated it to Korea unconditionally. His actions contributed to cultural goodwill and exchange between Korea and Japan, earning him a Presidential Commendation from the Korean government. He further demonstrated his commitment by donating the prize money to the Overseas Korean Cultural Heritage Foundation.
The return of Gwanwoldang stands as a case in which individual conviction and public cooperation converged, reminding us of the meaning and responsibility inherent in cultural heritage. It encourages reflection not only on the past, but also on the present value and future significance of such heritage.
Transcending time and space, Gwanwoldang serves as a bridge connecting Korea’s history and culture. Having completed its 100-year journey, its meaning today is even more profound. This exhibition offers visitors an opportunity to listen to the stories embedded in cultural heritage, appreciate their value, and carry them forward to the next generation.
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