A museum piece the National Museum of Korea had presented as calligraphy by independence activist Park Won-geun (1912–1950) has been found to be a work left by pro-Japanese, anti-national figure Park Jung-yang (1874–1959) from the period when he used the name "Park Won-geun."
As it became known that the museum recognized the error only after receiving an outside tip a little over a month after the exhibition opened, critics say the vetting of the exhibit was lax.
On the 7th, the National Museum of Korea said it concluded that the ink calligraphy "Ilban sigugeun" (一飯是國恩), introduced in the special exhibition "Our Table," is by Park Jung-yang after verification. Ink calligraphy refers to handwriting or paintings left during one's lifetime.
"Ilban sigugeun" carries the phrase meaning "Even a single bowl of rice is all the nation's grace." The calligraphy bears the inscription "Korean (Han-in) Park Won-geun."
The museum initially judged this "Park Won-geun" to be independence activist Park Won-geun from Boeun, North Chungcheong Province, and exhibited the work. It also drew attention when the family of Park, who learned of the exhibition belatedly, visited the gallery and were shown kneeling and sobbing before the piece.
However, about a month after the exhibition opened, on the 10th of last month, an outside tip arrived saying "Park Won-geun" was a name previously used by pro-Japanese, anti-national figure Park Jung-yang, sparking controversy over the work's authenticity. The museum subsequently removed the calligraphy from display.
The disputed calligraphy is privately owned and was reportedly put up for auction in the past.
The museum appointed seven experts in calligraphy, modern and contemporary history, old documents, and conservation science as advisors to re-verify the work. It concluded the writing was left by Park Jung-yang during his studies in Japan.
The museum said, "As a result of comparing the 'Ilban sigugeun' calligraphy with Park Jung-yang's handwriting, similar features in stroke treatment were confirmed, so it appears reasonable to regard it as Park Jung-yang's handwriting."
The seal stamped on the work also supported the judgment that it is Park Jung-yang's. The head seal (duin) impressed at the top of the calligraphy matched wording known to have been engraved for Park Jung-yang by calligrapher Kim Tae-seok (1874–1951) in late 1932.
The expression "Han-in" (Korean) written on the calligraphy also served as a basis for the judgment. The museum explained that this was a term used by Koreans who studied in or visited Japan during the Korean Empire era when stating their nationality locally.
Several other works with a similar script style and seals to "Ilban sigugeun" were also identified. On the websites of auction houses overseas, including in Japan, calligraphy pieces under the name "Park Won-geun" were found, and some were reportedly written for Japanese individuals.
According to the "Report on the Truth of Pro-Japanese and Anti-National Acts," "Park Won-geun" was an alias used by Park Jung-yang. Park Jung-yang used the name Park Won-geun while studying in Japan from 1896 to 1903 during the Korean Empire period, and appears to have used the name Park Jung-yang starting around the time of his return.
There are also records that while studying in Japan he traveled through various regions selling calligraphy to cover living expenses. Calligraphy pieces written under the name "Park Won-geun" at that time are presumed to be widely distributed in overseas auction markets, including in Japan, today.
This special exhibition was prepared to comprehensively shed light on Koreans' food culture and the origins and history of K-food. However, there is criticism that the verification process was insufficient, given that the National Museum of Korea, a state institution, exhibited the work after misidentifying the artist and recognized the error only after receiving an outside tip.
The museum said, "We will explain the course and results of the investigation to the bereaved family of activist Park Won-geun and offer repeated apologies," adding, "We will strengthen pre-verification to prevent similar cases from recurring." It also plans to expand expert consultations in the field of modern and contemporary history.
Yoo Hong-jun, director of the National Museum of Korea, also said, "We once again convey our apologies to the bereaved family and the public, and we will further strengthen exhibition verification procedures to ensure such incidents are not repeated."