The last royal court paintings of the Joseon Dynasty, which have been preserved inside the inner chambers of Changdeokgung Palace for over a century, are being revealed to the public for the first time. The National Palace Museum of Korea announced on August 13 that it will host a special exhibition titled “Meticulous Murals of Changdeokgung” in the second-floor special exhibition hall to commemorate its 20th anniversary, running from August 14 to October 12.

A total of six expansive murals and one preparatory sketch, all originally completed in 1920 to adorn Huijeongdang Hall, Daejojeon Hall, and Gyeonghungak Pavilion of Changdeokgung Palace, are featured in this exhibition. Ranging in height from 180 to 214 centimeters and stretching up to 882 centimeters in width, these works are among the largest of their kind in the nation, and their scale is virtually unprecedented in Korea.

These grand murals were commissioned in the aftermath of a 1917 fire that destroyed the palace’s inner residence. They were created to reestablish the living quarters for Emperor Sunjong and Empress Sunjeonghyo following the palace’s reconstruction the following year. Painted on silk and mounted on paper before being applied to the walls, the murals were designed as upper-wall adornments for each hall, enhancing the dignity and traditional elegance of these royal spaces.

The production of the murals involved leading artists of the era—Hae-gang Kim Kyu-jin, Jeong-jae Oh Il-yeong, Muk-ro Lee Yong-u, Lee Dang Kim Eun-ho, Sim-san No Su-hyeon, and Cheong-jeon Lee Sang-beom—who collectively defined the style of early modern Korean painting. Each left the phrase “meticulous copy” (謹寫) and their signature on the artworks, reflecting a modern sensibility and an emphasis on individual artistic identity.

Among the masterpieces is “Chongseokjeong Scenery” and “Geumgangsan Manmulcho Scenic View,” by Kim Kyu-jin for Huijeongdang, both of which were sketched firsthand in the scenic Geumgang Mountains. This highlights the period in which Geumgangsan became a central theme in royal art. For Daejojeon, “Phoenixes” was created collaboratively by Oh Il-yeong and Lee Yong-u, directly facing “White Cranes” by Kim Eun-ho, together symbolizing an era of peace and marital harmony. Notably, Kim Eun-ho’s original sketch for “White Cranes” is being disclosed to the public for the first time in this exhibition.

In Gyeonghungak Pavilion, No Su-hyeon’s “Longevity Boat with Sun and Immortals” and Lee Sang-beom’s “Wave Riders in the Three Immortal Halls” are displayed, featuring motifs associated with long life and health—wishing for the imperial couple’s tranquility and longevity.

The six murals, while rooted in tradition, exemplify the shift of the period by embracing both personal expression and changing artistic landscapes. They represent the largest surviving examples of royal court painting in Korea. Comprehensive preservation efforts were completed between 2014 and 2023. The original murals are now housed at the National Palace Museum of Korea, while replicas and printed versions have been installed in the corresponding palace chambers. All works are designated national registered cultural heritage items.

The exhibition is divided into two parts: the first showcases the murals from Huijeongdang, Daejojeon, and Gyeonghungak in their respective spatial contexts; the second incorporates a media art experience entitled “Meticulous Murals Reawakened,” offering immersive video interpretations of Mount Geumgang, phoenixes, white cranes, and the world of immortals.

Throughout the duration of the exhibition, guided tours are provided daily at 11 a.m. and 3 p.m., alongside expert lectures and interactive programs for both elementary students and adults, including on-site explorations.

With this special exhibition, the National Palace Museum of Korea aims to deepen public appreciation for Joseon palace architecture, royal court painting, and modern Korean art, and to further elevate the value of royal heritage both domestically and internationally.

Note “This article was translated from the original Korean version using AI assistance, and subsequently edited by a native-speaking journalist.”

Photo=Republic of Korea Policy Briefing