When long-preserved family records and heirlooms enter the museum sphere, they transcend private history to function as scholarly resources that illuminate the social conditions and cultural currents of their time. The culture of donation, sustained by generations of custodians, plays a critical role in safeguarding heritage at risk of loss while expanding opportunities for research and public engagement.
The National Museum of Korea is presenting “A Heart That Shares Beauty: Newly Acquired Donated Artifacts I” at Gallery 4 of its permanent exhibition hall through July 19. The exhibition introduces national heritage objects newly added to the museum’s collection, honoring the intent of donors while unfolding the stories embedded within each piece. At its core are nine significant works of painting, calligraphy, and classical texts donated by Lee Yeon, a descendant of the Gyeongju Yi clan.
The central historical figure, Yi Yu-won (1814–1888), was a high-ranking official who served as Chief State Councillor in the late Joseon period and a noted writer. A ninth-generation descendant of the renowned statesman Yi Hang-bok, he devoted himself to preserving family records, commissioning copies of ancestral portraits and organizing historical documents. This legacy of preservation continued through later generations, allowing the artifacts to survive even during the upheaval of the Korean War. The current donation marks the third contribution from descendants of Yi Hang-bok.
The exhibition features nine donated artifacts. “Portrait of Yi Yu-won at Age 47,” painted by Lee Han-cheol, reflects a transitional phase in 19th-century portraiture, where traditional conventions begin to merge with emerging modern techniques. The use of shading to create three-dimensional facial contours and the inclusion of scholar’s rocks in the background suggest the influence of Qing painting styles.
“Portrait of Yi Yu-won at Age 57 (Sketch)” is believed to be a preparatory drawing for a completed work inspired by the portrait of the Goryeo scholar Yi Jehyeon, whom Yi Yu-won admired. Meanwhile, “Portrait of Yi Seok-gyu at Age 74 (Sketch),” depicting his grandfather, follows the conventional format of portraits created for admission into the Giroso (Hall of Senior Officials), with later additions possibly made to reflect his advanced age.
Also on display is a sketch portrait of Yi Jong-baek, offering insight into the process of depicting family lineage figures.
Archival materials and royal writings further enrich the exhibition. “Eopil Subicheop,” which compiles a resignation petition alongside the king’s written reply, and “Eogo-cheop,” a collection of poems presented to King Cheoljong, reveal aspects of bureaucratic life and political relationships of the time.
“Calligraphy of King Sunjo,” which brings together the writings of Yi Yu-won’s grandfather Yi Seok-gyu, his father Yi Gye-jo, and the king himself, provides valuable material for understanding calligraphic styles and intellectual networks of the period.
Additionally, royal signboards personally inscribed by King Gojong, including “Gyulsan-ga O-sil” and “Suchung Bujeong,” are exhibited, offering a glimpse into the connections between the royal court and the Gyeongju Yi family in the late Joseon era.
Reported by News Culture M.J._mj94070777@nc.press
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