1957년 〈한국국보전(Masterpieces of Korean Art)〉의 성립과정 검토

Abstract

The Korean National Treasures Exhibition, titled “Masterpieces of Korean Art” held in the United States in 1957 was the first event to introduce Korea’s cultural identity to the world, and it was an important historical event that instilled cultural pride among the Korean people. It also elevated the status of the National Museum of Korea. Despite its significance, the process leading to the exhibition and the nature of the exhibition itself have not been thoroughly evaluated. The narrative that “Masterpieces of Korean Art” began Robert P. Griffing Jr., the director of the Honolulu Academy of Arts, is mythologized; it was, in reality, an initiative of the U.S. State Department under the Eisenhower administration, which was revising its anti-communist policies. Griffing, the first Westerner interested in exhibiting Korean cultural artifacts in the U.S., had his plans disrupted by the Korean War. The Korean government has since entrusted Griffing with a U.S. touring exhibition of evacuated cultural. When the U.S. State Department expressed interest, Griffing’s plans were ultimately discarded, leading to a new “Masterpieces of Korean Art” exhibition driven by the State Department, marking a new phase in cultural exchange between Korea and the United States. The U.S. State Department intended the “Masterpieces of Korean Art” exhibition to enhance bilateral relations and underscore the importance of culture during the Cold War. It aimed to mitigate American dissatisfaction with its involvement in Korea and to foster a positive perception of Korea as a stronghold against communism in East Asia. This exhibition helped establish Korea as a nation with a rich historical heritage and a valuable ally to the United States in the fight against communism. The success of the “Masterpieces of Korean Art” exhibition has often been highlighted without a critical examination of its context. Contrary to claims that it distinctly separated Korea’s cultural identity from Japan, the selection of exhibits, catalogue contents, and exhibition staging were influenced by a Japanese perspective. This led to an ironic situation where Korea’s cultural heritage, first discovered by Japanese archaeologists, was acknowledged by American curators. The lack of substantive evaluations at the time stemmed from the desire to avoid controversies regarding the overseas introduction of cultural properties and to quell debates over the export of cultural artifacts during wartime.