⓵ Introduction 01:38

Greetings and welcome to the National Maritime Museum of Korea. Our museum focuses on excavating, exhibiting, preserving, and studying both domestic and international maritime culture and heritage. Our main goal is to educate the public about maritime culture.

In today’s tour, together with me, you will get to explore a variety of maritime cultural artifacts, including records, arts, and everyday cultural practices that our ancestors have collected during their lives near the sea. Now let’s get ready to dive into the essence of Korea’s maritime cultural history.

Let’s begin by watching the introductory video located at the entrance of the exhibition hall. The video you're currently watching is a video inspired by the 'Bangudae Petroglyphs' in Ulsan with a central theme of "We are a maritime nation with maritime DNA". These petroglyphs, now designated as a national treasure, depict Neolithic inhabitants of the Korean Peninsula hunting whales, which are hundreds of times their size, by venturing into the open sea in small boats and using harpoons. This video aims to convey that our nation has actively utilized the sea for living since prehistoric times.


⓶ Our Sea in Records of Imagination 04:16

Throughout history, humans have documented their direct experiences with the sea, along with imaginary concepts surrounding this unknown realm, while living in close concert with it. These records encapsulate the various perspectives, thoughts, and emotions that people of the time had toward the sea. They vividly portray how human life intertwines with the sea. Examples include handwritten texts made during time spent on the sea, maritime knowledge including information about ocean currents, personal accounts of voyages adrift, literary works inspired by the sea, and tales of exile near the coast. Feel free to envision the past as seen through their eyes, interpreting these accounts of the sea in your own imagination.

In the first exhibition area, titled "Our Sea in Records, Records of Imagination," you will get to encounter numerous classical novels themed around the sea. Our ancestors perceived the unpredictable ocean as both their living space and a source of fear. This reverence and awe inspired many to imagine the sea as a splendid palace ruled over by an omnipotent Dragon King, by envisioning the sea as the mysterious world. This led to the emergence of similar characters and worldviews in many classic novels, reflecting the collective imagination, beliefs, and mysteries that people carried regarding the ocean.

One of the most well-known classical novels themed around the sea is "The Hare’s Liver," a piece of literature from the late Joseon Dynasty. This narrative, widely known as 'The Story of the Hare,' or 'The Turtle and the Hare,' is a fable-like pansori (Korean fork musical story) novel. The plot begins with a turtle, a loyal servant in the Dragon Palace under the sea, embarking on a journey to land to fetch a hare’s liver, believed to have the ability to cure the ailing Dragon King. The turtle vividly describes the opulent Dragon Palace to entice the hare. Captivated by the grandeur of the palace, the hare follows the turtle into the sea but ultimately uses its wits to escape from the perilous situation.

"The Dutiful Daughter" is another renowned classic novel in which the sea is a central theme. The version in our museum dates back to 1857. The main storyline revolves around Shim Chung, a devoted daughter who sacrifices herself to the sea god to restore her blind father's sight. Although she plunges into the Indangsu sea as an offering, she briefly resides in the Dragon Palace and safely returns to the human world, ultimately restoring her father's vision. In "The Dutiful Daughter," the Dragon Palace under the sea is depicted as a surreal paradise, far removed from the world we live in. Houses are described as using the bones of whales as their beams and fish scales in place of roof tiles, creating an environment vastly different from our own.

As shown by the narratives and the descriptions from the aforementioned examples, the sea has represented not only a utopian realm but also a space where people's hopes and desires for overcoming the hardships of reality have converged since ancient times.


⓷ Rough Sea, Records of Drifting 02:52

Drifting refers to a ship being unexpectedly pushed far into the ocean and floating aimlessly on the water. While drifting is a fearful prospect for those relying on sea travel, it sometimes results in the accidental discovery of new places and exposure to different cultures. Experiences of drifting were documented in various records, revealing that the sea could be a pathway to anywhere.

"The Record of Drifting Across the Sea by Choi Bu" is a personal account of drifting written by a scholar named Choi Bu. While assigned to the capture of a runaway criminal on Jeju Island, Choi Bu faced the death of a family member in 1487. Consequently, en route to his hometown in Naju by boat, he encountered a storm that set him adrift for 17 days. After numerous hardships, he eventually arrived on the coast of Yungpa in Zhejiang Province, China. His record vividly details his experiences during his time adrift, the coastal guards of Yungpa misidentifying him as a pirate, his journey to Beijing to meet the Emperor, and his return to Joseon, all covering about six months. "The Record of Drifting Across the Sea by Choi Bu" also provides insights into the 15th-century Ming Dynasty and records dialogues between Choi Bu and Ming intellectuals, shedding light on the cultural exchanges between the two countries in the early Joseon period.

"Account of the Shipwreck of a Dutch Vessel" is a unique record detailing the experiences of Westerners, Hendrik Hamel and his crew, who unexpectedly drifted to Korea. Hamel, a crew member of a ship belonging to the Dutch East India Company, was en route to Nagasaki, Japan when the ship was wrecked on Jeju Island. Hamel and his crew were detained in Joseon for 13 years before making a harrowing escape to Japan. Two years later, back in the Netherlands, Hamel documented his arduous journey in a report to claim unpaid wages. Publishers, intrigued by the report, adapted the original content into a book focusing on its most interesting parts, which became the "Account of the Shipwreck of a Dutch Vessel."


⓸ Vast Sea, Records of Observation 03:10

Our ancestors left behind a variety of qualitative records from their lives near the sea. These records are crucial for understanding how people in the past perceived, utilized, and coexisted with the sea.

"Collected Works of Yun Seon-do" is a collection of poems and prose written by Yun Seon-do, a scholar in the late Joseon Dynasty. This compilation includes his famous sijo (a traditional Korean poetic form) series 'Fisherman’s Four Seasons.' Set in Bogildo, Wando, Yun Seon-do's hometown in Jeolla Province, this series divides a fisherman's life into four seasons—spring, summer, autumn, and winter—with ten poems for each season. However, the 'fisherman' in 'Fisherman’s Four Seasons' is not a literal fisherman who is fishing for survival, but is rather represented as a scholar who enjoys nature. It makes us imagine the old yangban(nobility) class escaping the chaotic secular world, fishing, reciting poetry, and sharing drinks surrounded by nature. Yun Seon-do observes and records the life of a fisherman from the perspective of an outsider who relishes in nature in its true form.

“Collected Works of Kim Ryeo” are 12-volume books compiling the poetry and prose of Kim Ryeo, an official and scholar from the late Joseon period. In volume eight, you will find the fish encyclopedia called Uhaeieobo. Uhaeieobo along with Jasan Eobo, is one of the most important fish encyclopedias during the Joseon dynasty. The name 'Uhae' refers to an old name for Jinhae-hyeon, which is now Masanhappo-gu, Changwon City. Kim Ryeo was exiled in this place, because of Catholic Persecution of 1801. During that time, he get acquainted with local fishmen and do a study about fish, so that he can write the fish encyclopedia.


⓹ Records of Maritime Journeys to Neighboring Countries 06:24

Throughout history, envoys typically traveled via safe routes over land for their diplomatic missions. However, due to the constraints of the era, such as blocked routes or when the destination was an island nation like Japan, they had no choice but to navigate the perilous paths of the sea. Envoys who undertook these risky maritime journeys often documented their experiences. Let us now explore some historical records related to these diplomatic missions, particularly focusing on our neighboring countries of China and Japan. We will begin by examining the documents related to missions to China.

The first document is "Daily Records of Joseon Envoys to Ming” by Lee Duk-hyung. This chronicle, written by Lee Duk-hyung, focuses on the major events that occurred during these maritime diplomatic missions. Lee Duk-hyung himself was an envoy who traveled to the Ming Dynasty between June and October 1624 for the investiture of King Injo.

During the Joseon Dynasty, most diplomatic missions to China traveled via land routes. However, the period when Lee Duk-hyung visited the Ming Dynasty coincided with the transition from the Ming to the Qing Dynasty. This era saw ‘Later Jin’ occupied the Liaodong region, temporarily closing the land routes and necessitating the use of sea routes for diplomatic travel.

Indeed, the fear of the sea was particularly heightened for Lee Duk-hyung and his delegation as they embarked on their maritime journey. This apprehension stemmed from the tragic events of 1620 and 1621, when all the envoys sent via sea routes either drowned or suffered a devastating shipwreck. A passage in the book reads, "A whirlwind suddenly arose, and mountainous waves reached the sky. Our ship was swept up by the waves, rising a hundred feet before plummeting down a thousand. There was nothing we could do but pray to the heavens." Vividly describing these fears, these words paint a stark picture of the life-threatening challenges and crises faced by the envoys on their sea voyages. They resorted to prayers, hoping for divine intervention to overcome the perilous conditions encountered at sea.

The text pertains to a significant historical document titled "Jukcheon Yi Gong Haengjeok.” It is currently recognized as one of the earliest known Korean-language records of diplomatic missions to date. The document holds immense value not only for the study of the Korean language but also for the history of maritime culture.

Next, let's look at some of the Korean diplomatic missions to Japan, known as 'Joseon Tongsinsa.' Geographically nearby, Japan has a long history of active exchanges with Korea. The Joseon Tongsinsa represents a significant aspect of these interactions during the Joseon Dynasty. Following the Imjin War, diplomatic relations between Korea and Japan had deteriorated. The Joseon Tongsinsa was established to restore these relations and to promote cultural exchanges between the two nations. A national delegation was subsequently sent from Korea to Japan for diplomatic and cultural missions.

The "Records of the Gyeongsang-gamyeong Provincial Office" are a compilation of various documents issued or received by the Gyeongsang Gamyeong (provincial government) from the late 18th to the early 19th centuries. These records include details of special products that the diplomatic envoys, known as Tongsinsa, were required to carry on their missions.

The "Painting of Joseon Envoys Procession" depicts the procession of a Tongsinsa mission. The Joseon Tongsinsa was a large-scale diplomatic delegation, which typically included 400 to 500 members, including official positions such as regular, vice, and assistant envoys, and support staff like artists, physicians, interpreters, and horsemen. They traveled to Japan aboard multiple ships.

“The Joseon Tongsinsa ship” displayed on the right is a model of an actual vessel used during the last Joseon Dynasty diplomatic mission to Japan in 1811. This model, recreated at half the original size, is based on actual drawings and descriptions of the ships used by the Tongsinsa. Opposite the Tongsinsa ship model is a video installation titled "Painting of Joseon Envoys Sea Route from Japan to Joseon." This work reconstructs the Tongsinsa delegation's return journey from Edo (now Tokyo) in Japan to Busan in Korea. It features a red line, marking the sea route taken by the ship, along with information about major Japanese cities, temples, and scenic spots they encountered en route.

This concludes our tour of the first areas of the exhibition, the Maritime hall, where we explored Our Sea in Records.


⓺ Drawing the Sea Paintings and Calligraphic works 03:04

Throughout history, people have been inspired by the sea to create a variety of artistic works. In this section, "Art of Our Sea," we will check out paintings that have the sea as their subject. These works offer insights into the relationship between humans and the sea and the influence of the sea on humanity.

At first, you can see “The Painting of Tongsinsa Vessel” by Japanese painter, Ishizaki Yushi. Tongsinsa Vessel, a diplomatic envoy ship from Joseon, navigating through rough waves on its way to Japan. If you look closely, you’ll see there are 14 people on the boat. In the center, a figure is depicted descending from the mast, gripping the ropes, while others below and at the rear of the ship watch with interest. On the first floor of the decorated cabin, three people are having a lively conversation. In another room, figure dressed in white is gazing out at the scenery. The painting captures the moment of the diplomatic mission as they will arrive their destination.

The next is "Pine tree and Flacon. This artwork was created by Yi Eui-yang in 1811, and in the upper left corner, you can see his other name, "Yi Sin." Main subject of this painting, the falcon and pine tree, was popular subject among the Samurai class during Japan's Edo period. Therefore, It's believed that Yi Eui-yang, who traveled to Japan as part of the Joseon diplomatic delegation, painted it as a gift for the Japanese samurai.

The next artwork is a replica of the "Painting of banquet at Yoji" housed in the National Museum of Korea. This screen was produced by officials to celebrate the second son of King Jeongjo of Joseon dynasty becoming the crown prince. The event of his becoming the prince was compared to a feast hosted by Xiwangmu, a figure from Chinese Taoist mythology. Filled with symbols of longevity like peaches and immortals, the artwork expresses hopes for the new prince's long and prosperous life. On the far right of the screen, there's an inscription by Yi Si-su, a prime minister at the time, and on the far left, the titles and names of the people who participated in making the screen are written.

"The Flag of Blue Dragon," is a large flag that was used in festivals and rituals. Blue dragon, which governs the East and the seas, is placed on the center and surrounded by auspicious patterns of clouds. The 'Flag of Blue Dragon' is believed to have been used in sea deity rituals and festivals praying for abundant fish catches and safe voyages. It is reflected that people who live near the coast venerate for the dragon that rules the seas.

The next piece is "Folding Screen Illustrates Sea, Cranes, and Peaches." This painting symbolizes longevity, featuring the sea, moon, mountains, cranes, peaches, Ganoderma (reishi mushrooms), bamboo, and coral in a vibrantly-colored style. The sea, serving as the backdrop, is significant for its inclusion of coral, a symbol of longevity. The work, heavily influenced by Taoist themes, embodies wishes for health, longevity, and fertility.

Lastly, we have the "Gwandong Palgyeong Folding Screen", which means Folding screen illustrates of The Eight Views of Gwandong. "Gwandong" refers to the area east of the Taebaek Mountains in Gangwon Province, depicting eight famous scenic spots along the East Coast. The painting includes Chonseokjeong and Samilpo, which are now in North Korea, and Cheongganjeong, Naksansa, Gyeongpodae, Jukseoru, Mangyangjeong, and Wolsongjeong, which are in South Korea.


⓻ Making the Sea Blossom Crafts 06:10

Due to being a peninsula with three sides bordered by the sea, our country has found the ocean to be an ideal source for craft materials. Natural materials sourced from the sea, such as mother-of-pearl (from shells), fish skin, and tortoise shell, have been transformed by skilled artisans into quintessentially Korean artworks of unique beauty. The first piece you will see is a craftwork made from the shell of a tortoise. Small pieces of the shell are heated at high temperatures and joined together. Historically, the tortoise has been regarded as one of the ten symbols of longevity, adding further significance to these exquisite creations.

Our museum would like to proudly introduce a prominent example of tortoiseshell craft, exbibit #14 the "Lacquered Box Inlaid with Mother-of-Pearl in a Pattern of Twin-Dragon Design". This craft piece uniquely incorporates three materials, tortoiseshell, mother-of-pearl, and fish skin, and is primarily used as a storage box for clothes or other items. The box's lid features a symmetrical design of twin dragons vying for a magical pearl. The central pearl is adorned with tortoiseshell, while the dragons' scales, manes, and bellies are crafted from fish skin, and their eyes and the surrounding cloud patterns are made from mother-of-pearl. The interior of the box is lined with silk and features a circular dragon pattern. The intricate design and use of precious materials suggest that it was likely made for use in a palace or by high-ranking nobility for storing official garments.

Next, let's explore the craft of Najeon, a type of traditional Korean mother-of-pearl inlay work. Najeon craft involves thinning and carving shells from abalones, conches, and pearls, and then inlaying these onto the surface of furniture using lacquer. Exhibit #7 is typical example of ‘Najeon’ craft, the "Chest Decorating Map of Tongyeong with Mother-of-Pearl." This piece artistically represents the historical landscape of Tongyeong, a region in Gyeongsang Province, using mother-of-pearl inlay. It appears to be inspired by a 19th-century folding screen painting called 'Tongyeong Seongdo.' Remarkably, it realistically depicts the topography of Tongyeong, including its mountains and rivers, as well as significant structures like the Chungryeolsa temple, Sebyeonggwan Hall, and Gullyang Bridge, all intricately crafted using Najeon techniques.

Now, let's learn a bit about crafts made from fish skin, known as Eoppi craft. Fish that provide suitable leather for such crafts include sharks, rays, eels, and whales. Among these, shark skin was particularly favored in the royal court. A notable example of Eoppi craft is exhibit #1 under #1, the "Chest with Shark Skin." This piece, known as 'Gakgesuri', is a type of single-tiered chest, featuring hinged doors and several drawers on the inside. It was typically used to store valuables or documents, functioning as a safe or medicine chest. The exterior of this piece of furniture is wrapped in shark skin, which is known for its resistance to both friction and moisture.

Lastly, let's check out three pieces of pottery from the late Joseon Dynasty, representing marine-themed crafts. Pottery refers to vessels or ornaments made from clay, glazed, and then fired at high temperatures. Our ancestors often adorned pottery with patterns that expressed their aesthetic sensibilities and were imbued with a variety of meanings.

The pottery pieces displayed all feature dragon designs. Dragons, in East Asian agrarian cultures, were revered as controllers of weather and water, and were also worshipped by fishermen as symbols of the sea god. Additionally, dragons symbolized achievement, protection, guardianship, and royal authority.

The first piece, "White Porcelain Jar with Cloud and Dragon Design in Underglaze Iron," is a white porcelain jar decorated with a dragon in iron oxide pigment. This particular piece is noteworthy for its humorous depiction of the dragon and the distinctive marking of 23 dots around the jar's opening.

Next, the "White Porcelain Jars with Cloud and Dragon Design in Underglaze Cobalt Blue" uses a blue cobalt pigment. This piece is notable for its depiction of a vigorous and valiant dragon weaving through clouds, set amidst a background of sprawling lotus petals both above and below the central figure.

This concludes our tour of the second area of the exhibition hall, the Maritime Hall, where we explored "The Sea Through Art.”


⓼ The Sea in our Lives - Living by the Sea Haenyeo (Women Divers) 02:28

Korea's traditional fishing practices have evolved in a way that respects and adapts to nature without bringing undue harm to the sea. This is a testament to our ancestors' experience of harmonizing with nature. Since 2015, the Ministry of Oceans and Fisheries has been designating and managing various fishing cultures and activities as National Important Fishery Heritage in order to preserve and pass on these traditions and values. Here, I’d like to introduce you to some of Korea's diverse fishing cultures and folk materials.

First, we present you with the "Haenyeo Culture." Haenyeo are female divers who harvest seafood like shellfish and seaweed without the use of oxygen tanks. The Jeju Haenyeo fishery was the first to be designated as a National Important Fishery Heritage by the Ministry of Oceans and Fisheries. It is highly regarded for its eco-friendly fishing methods, community-centered culture, and the sharing of knowledge across generations. It is also inscribed as a UNESCO Intangible Cultural Heritage.

There are two items related to Haenyeo. The first is "Knife Used to Harvest Abalone," exhibited here as exhibit #5. This tool is used by Haenyeo to collect abalones and other seafood. It's designed to be securely attached to the hand with a rope or rubber band to prevent loss while diving.

Next is "Haenyeo’s Wet Suit," labeled as exhibit #6. Modern Haenyeo wear rubber wetsuits, but traditionally, they dived in clothes made of fabric. The traditional Haenyeo outfit consists of a top called 'muljeoksam' and pants called 'mulsojungi.' The 'mulsojungi' has slits on the side for easier wear and removal, especially when wet.


⓽ Unlocking the Treasure Trove of the Sea Tidal Flats 02:37

Mudflats are areas of land that are submerged under seawater during high tide that become exposed as wetlands during low tide. Covering about 2.5% of South Korea's total land area, these mudflats are rich in biodiversity and have been recognized for their value by being inscribed as a UNESCO World Heritage in 2021. Additionally, the "Long Boards Used for Moving around a Mud Flat" fishery, the "Muan-Sinan Mudflat Octopus Bare-handed Fishing," and the "Hadong-Gwangyang Cockle Hand Rake Fishery" have been designated as National Important Fishery Heritage Nos. 2, 6, and 7, respectively.

Let's explore some artifacts related to mudflats. To the far right and at the bottom, you can see wooden boards resembling skis, displayed as exhibit #12, "Long Boards Used for Moving around a Mud Flat." These boards were used for moving around on mudflats while harvesting clams or transporting the day’s catch. The main distinctive feature is one end of the long plank being raised like that of a ski.
The next artifact is "Wooden Bowl and Oyster-Shucker," displayed as exhibit #11. The wooden bowl, or 'gulhamji,' is a carved-out log used as a workbench for shucking oysters. The tool hanging inside, the oyster-shucker or 'josae,' was used for scraping off oysters attached to rocks or stones and for laying out oyster shells. The large hook on the top part was used to crack or break oyster shells, and the small blade at the handle's end was used to extract the oysters from their shells.

Lastly, we have the "Hand Dredge and Hand Net" used around the lower Seomjin River for cockle fishing. exhibit #1, the "Hand Dredge," was used to scrape the riverbed to collect cockles. exhibit #2, the "Hand Net," was used for gathering cockles and rinsing off the mud.


⓾ Where sun, sea, and wind meet together solar salt farming 02:25

"Salt Farming" is a traditional Korean fishing industry where salt is produced in an eco-friendly manner by naturally evaporating seawater using sunlight and wind. The southwestern coast of Korea, with its large tidal ranges and complex coastline, provides an ideal environment for salt farms. "Sinan Mudflat Solar Salt Farming" and "Buan Gomso Solar Salt Farming" in Korea are designated as National Important Fishery Heritage Nos. 4 and 10, respectively.

Salt farms for producing solar salt are primarily divided into reservoirs, evaporation ponds, and crystallization ponds. To produce solar salt, seawater is first drawn into reservoirs, then channeled through waterways to the large evaporation ponds. In the past, waterwheels similar to the "Waterwheel" displayed as exhibit #9 in the showcase were used to draw seawater. The video below the "Waterwheel" shows the process of water being drawn up and flowing into the salt pans, leading to the formation of salt crystals.

After about a week in the primary evaporation pond, the seawater reaches a salinity of roughly 6 to 8 percent and is then moved to a secondary evaporation pond. Once the brine reaches the appropriate concentration, it is transferred to the crystallization pond. The salt harvested from these ponds is then stored in salt warehouses, where it undergoes a process to remove the bittern. In the display case, you can see some of the tools used in the production of solar salt, such as exhibit #7 "Salt Basket" used for carrying salt, exhibit #8 "Stone Roller" for compacting the salt pan dykes, and exhibits #3 "Wheelbarrow" and #1 "Carrier" for transporting salt.


⑪ Tilling the Seabed : Traditional Fishing and Aquaculture 02:01

Traditional fishing and aquaculture in Korea have a long history as a means for people to secure a stable supply of food. Among these ways, traditional aquaculture involves confining specific organisms within a designated area to prevent escape and fostering their growth to harvest the resources they provide. Such traditional methods of conforming our needs to the natural order without causing any harm have been recognized for their value and are managed as a National Important Fishery Heritage in various regions.

"Seaweed Farming" is a method where poles with nets attached for seaweed to cling to are erected on a mudflat bed when the tide is out, allowing the seaweed to be harvested. The tools required for seaweed farming can be divided into two main categories, exhibit #2 "Tools for Laver Cleaning" and exhibit #3 "Tools for Making Laver." First, the harvested seaweed is cleaned thoroughly using a basket and a wooden rod with a circular plate. Then, the cleaned seaweed is scooped onto a square "Seaweed Frame" to shape it and dried on a "Drying Rack." The "Seaweed Cutter" is a tool for cutting dried seaweed into square shapes. Next, the "Hook Used to Collect Seaweed" is displayed on the wall, labeled as #1, which was used for harvesting seaweed in the sea. This tool features a long pole with various types of hooks at the end.



⑫ Conclusion : Wrapping up the Exhibition 01:02

We’ve come to the end of the exhibition, how was it? Did you enjoy the fascinating exhibits in the Maritime Hall of the National Maritime Museum of Korea? We explored various aspects of Korea's maritime culture, ranging from ancient whale hunting at sea to modern fishing practices. The exhibition also featured mother-of-pearl crafts made from shells, paintings inspired by the ocean, and much more.

On the 4th floor, the Navigation Hall awaits you with an array of Western nautical instruments and ships, alongside displays about Korean naval vessels and the naval force.

This concludes our guided audio tour of the Maritime Hall at the National Maritime Museum of Korea. Thank you for joining us.