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From December 1, 2021 to February 27, 2022, the National Palace Museum of Korea (Director: Kim In Kyu), an affiliate of the Cultural Heritage Administration of Korea, is presenting a special exhibition organized on the occasion of the thirtieth anniversary of the excavation and restoration  carried out at Gyeongbokgung Palace. Glory of the Royal Palace looks back on the history of this revitalization of the palace space.

This exhibition sheds light on the effort to restore Gyeongbokgung, the primary palace of the Joseon Dynasty, to its original form and convert it to its present form as vital cultural heritage visited by ten million people every year. Four buildings that were restored within the palace complex are explored through the theme of the four seasons. However, the seasons are presented in the reverse order of the year, moving from winter through fall and summer to spring with the aim of spotlighting the significance of restoration. Showcasing some twenty original archival materials, including records that were made on-site during the excavations, field measurements, and restoration drawings, the exhibition provides a comprehensive overview of the history of the excavation and restoration work carried out at Gyeongbokgung. An immersive three-channel video installation featuring interviews and incorporating media façade techniques is expected to further enhance visitor immersion.

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

In the introduction area is an installation work that was produced in collaboration with a contemporary artist. It is entitled Jeoksim after the foundation of a building that reveals its structure and scale and is 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 pieces of a jeoksim hanging from the ceiling arranged like buildings in a palace allow visitors to enjoy the reinterpreted palace as if floating across it.

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

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

The third section, “A Meritorious Deed Achieved after Five Hundred Years,” presents a large media wall measuring four by fifteen meters. It depicts the drawings for the restoration of the palace using the line graphics technique, allowing the meticulous designs of royal palace architecture to be observed. Also on display together are elevation view drawings of Ganggnyeongjeong and Gyotaejeon Halls, which are close to one to two meters in width. The architectural drawings for the restoration of Gyeongbokgung are the totality of the excavation and restoration work created through a comprehensive analysis of ancient maps, historical documents, and measurement drawings based on excavation achievements. The area across from the video has been designed to allow visitors to feel as if they are strolling around the palace on a summer night.

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

Online content to enhance the understanding of the exhibition will also be provided. Videos including guided tours of the exhibition and a time-lapse capturing the four seasons at Gyeogbokgung Palace will be available through the YouTube channels of the Cultural Heritage Administration of Korea and the National Palace Museum of Korea. Moreover, virtual reality (VR) components presenting panoramic views of the gallery, description of works on display, and photographic images will also be unveiled.

Through the restoration of Gyeongbokgung Palace, the Cultural Heritage Administration of Korea and the National Palace Museum of Korea will continue to serve as a bridge connecting the past and present. It is hoped that this special exhibition will offer an opportunity to explore the new glory of Gyeongbokgung Palace.

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