[Special Exhibition] Art and Ideals | May 14, 2014-July 31, 2014

[Special Exhibition Hall] Idealism in East Asian Art

People have always dreamed of an ideal world, one that is more complete than the not-so-complete reality of the present. Such an ideal world has been expressed in a myriad of ways varying in accordance to a person’s status and the circumstances of the period in which they lived; as such, idealism has been a primary theme throughout art. The paintings and ritual paraphernalia used for rituals and decorations of the royal palace contain the idealism envisioned by monarchs, in which their rule would be filled with peace and prosperity. The paintings and craftwork that portray scholars in communion with nature show their elegant tastes and high ideals of the arts. The artwork that depicts a religious paradise shows various ideal worlds governed by the gods, worlds that could give relief to the human souls that suffered through a harsh life on earth. Ewha Womans University Museum 2014 Special Exhibition explores various meanings of idealism as represented in the traditional arts of East Asian countries including China, Japan, and Tibet. By looking into ideal worlds as visualized in art, we may be able to gain a sense of the interior world of those who lived before us, those who overcame reality and dreamed of a more harmonious world.
Illustration of Tributary Missions Folding Screen Paintings of the Sun, Moon, and Five Peaks Six fold Folding Screen Jar with Pine Tree, Bamboo and Figure Design in Underglaze Blue Elegant Gathering in the Western Garden Preaching Assembly of Amitabha
王會圖屛風 日月五峰圖六曲屛風 靑畵白磁松竹人物文壺 西園雅集圖 阿彌陀說法圖
Joseon 19th century Joseon 19th century Joseon 16th century China, Ming 16th century Late Joseo
Ink and color on silk Ink and color on silk Ink and color on silk Ink and color on silk
167x380cm 155.3x349cm H.47cm 115.8x49.5cm 173x192cm
Leeum, Samsung Museum of Art Treasure No.644 National Museum of Korea

[Modern Art Gallery] Pursuit of Ideals in Contemporary Art

As busy people, we long for a peaceful haven where our hearts can escape the conflict and pain we encounter in our daily lives. We aspire for a just, ideal world free from political oppression and social inequality. This exhibition, “Pursuit of Ideals in Contemporary Art,” is designed to shed light on the meaning of idealism from a modern perspective by looking into the paintings, photos, and installation and video arts created by contemporary Korean artists who have reproduced the fundamental human desire for utopia. On display in the first exhibition hall are works that reproduce the paradise that modern people dream of by reinterpreting traditional landscape painting?the embodiment of the ideal dreamt of by our virtuous ancestors?through modern formative language and integrating the spaces of ordinary life with the world of dreams and imagination. In the second exhibition hall, installation and video works lead visitors to experience an idealized non-material world through realistic sensibilities made possible with modern technology. Through these artistic works, visitors will be able to look into the universal longing for utopia that exists beyond time and space as well as the social implications of idealism that represents our times.
Media installation Dreamroom-Beikyoung From Right to Left Reclusive Bliss in the Green Mountain
Airan Kang WON SEOUNG WON Han, Keryoon Seo, Eun-ae
2010 2004 2009, 2014 2010
C-print in light box partial adjustment 2 Channel video Color on paper
130x205x8cm 4:18min 121.2x401.4cm
National Museum of Modern and Contemporary Art, Korea

History of Donated Artifacts Part III: Korean Modernism Art Since 1960s 
| Mar 2, 2011-Jul 30, 2011

This exhibition is designed to shed light on the history of donated artifacts at Ewha Womans University Museum. It is the third exhibition focusing on donations following those held in 2011 and 2012, respectively, and centers on the museum’s modern art collection among works donated from 1990 to 2009. From 1990 to 2009, a wide variety of works were donated to the museum, ranging from paintings, sculptures and photographs to installation art and tapestries, all of which were produced from the 1960s to 2000s. The Modern Art Gallery was opened in 2006 based on these donations. The museum itself has accommodated extensive exhibitions embracing traditional to contemporary art, and has grown to become one of the most respected in Korea. This exhibition offers a glimpse at the course of development of Korean abstract art since the 1960s, spotlighting contemporary Korean artists’ efforts to integrate tradition and modernity in their works in innovative, unique ways.

 

Donors : Kim Juhyun, Park Ilsoon, Sung Okhi, Song Sooryun, Oum Jeongsoon, Yoo Seungho, Yi Geechil, Lee Soojai, Lee Ungno (Park Inkyeong), Lee Jongmok, Lee Jun, Han Yongjin

[Special Exhibition] The Aesthetics of Imitation | Oct 16, 2013-Dec 31, 2013

[Special Exhibition Hall] Imitation and Creativity in Korean Art

In traditional Korean art, learning by imitation was one of the major training methods for creating new artwork. Literati and court artists copied original works while at the same time used imitation as a point of departure to strike out on paths of their own. Meanwhile, unknown painters imitated the sophisticated artworks of the upper classes for the general public that had emerged as consumers when Korea was on its way to modernization. These art pieces, full of humor and wit, were aimed at catering to public tastes. The public was eager to enjoy the high quality artworks of the upper classes. Imitation was also prevalent through trade between different countries, and it served as an important role in transferring and spreading new cultures. Imitation and Creativity in Korean Art looks into the various meanings that imitation conveys through paintings, craftworks, and clothing that have traces of imitation dating from the Goryeo Dynasty to modern times. This exhibition will give viewers an opportunity to think not only about imitation as a way to create artworks by learning the teachings of great artists and masters, but also about the historical and social significance of imitation that accompanied expanding international cultural exchanges and a growing consumer base for art.
Jar with Cloud and Dragon Design in Underglaze Iron Jar with Cloud and Dragon Design in Underglaze Iron Scholar's Accoutrements Scholar's Accoutrements
鐵畵白磁 雲龍文 壺 鐵畵白磁 雲龍文 壺 冊巨里 冊巨里
17th Century 18th Century 19-20th Century Early 20th Century
Treasure No.645 National Palace Museum of Korea Anonymous

[Modern Art Gallery] Modern Art and the Idea of the Original

Artworks representing a certain period of time have influenced the artistic views and styles of successive generations of artists, serving beyond time and space as the source of new creative works of art. While the artists in the pasts ought to improve their skills by imitating masters’ paintings and borrowing their compositions and detailed techniques as the basis of creation, contemporary artists precisely replicate the original or alter parts of it, thereby converting the original work’s traditional significance and context. Korea’s modern artists introduced in Modern Art and the Idea of the Original express their respect toward the original or challenge traditional interpretations of the masterpieces’ aura and expressing their criticism against the existing cultural power structure in the arts community, by incorporating images of great artworks of the past into their own contemporary work. These artists often combine images of well-known Western paintings with formative elements from Asian art or they reproduce fine Asian artworks in a Western style. Such rendering expresses a universal sentiment that transcends the boundaries between East and West. The artworks that reinterpret historically well-known masterpieces in a new context will introduce viewers to yet another trend of contemporary art in which imitation is not just the replication of the original, but a means to create something new.
Reproduction of
Time 86-3
Space/Contemplation Marilyn Monroe
(John F. Kennedy)
Light Tree
: Interactive Dan
Man Young Han Sukju Lee Dong-Yoo Kim HYBE
1986 2009 2012 2011
Museum of Modern and Contemporary Art, Korea

[Special Exhibition] Wind as Motif in Art | May 10, 2013-Jul 31, 2013

[Special Exhibition Hall] The Sprit of the Wind in Korean Art

The wind is a natural phenomenon that signals seasonal change, but also serves as a rich metaphor for many aspects of human life. A strong wind might stand for hardship and misfortune; a bleak wind for the futility of life; and a warm breeze for the advent of peace and new energy. Deified as a divine presence in both Eastern and Western mythology, the wind has also been interpreted as a transcendental existence or sacred force that stands apart from the earthly world. With its many layers of meaning, the wind has long inspired myriad works of art and literature. This exhibition aims at reflecting on the sprit and the significance of wind as artistic motif, as observed in paintings and craftwork from the Joseon Dynasty to early modern times. The various household items featured here, each designed to make the best use of the wind in everyday life, shed light on the aesthetic style of Koreans of the past, in pursuit of not only practicality but beauty in shapes and lines.
Wind-swept Bamboo Folding Sunshade Decorated with Painted Ox Horn Sheet Picture Album Banquet of the Immortals on Pond
Kim Gyu-Jin Attributed to Lee In-Mun Anonymous
Joseon, 19th~Early 20th Century Early 20th Century Joseon, 18th-Early 19th Century Joseon, 19th century
ational Museum of Korea

[Modern Art Gallery] A Dialogue on the Wind

In art, the wind is not merely a natural phenomenon created by the circulation of air, but can be interpreted to possess philosophical, symbolic, and social significance related to human life. Free-flowing winds connote life’s dynamic aspects, and the invisibility and unpredictability of the wind hint at the transience of life. A wind sweeping across a vast area is often used as an analogy for trends and thoughts that create cultural contexts. This exhibition introduces works of contemporary art that seek different ways of interpreting the wind through unique modes of expression. The featured works reflect distinct styles and trends of different time periods, from performance art using fabric and wind from the 1970s, to media art and installation that recreate the movement of the wind in recent years.
Windy Day Mix-723 Wind- Folk Amusement Nothing
Youn Myeung-Ro Seung-Taek Lee Yook Keun Byung
2009 1971 2012

[2012-2013] Special Exhibitions from Our Permanent Collection
 | Sep 12,2012-Jul 31, 2013

[Permanent Exhibition Hall] Four Seasons in Joseon

Living amidst the four distinct seasons and capricious climate on the peninsula, Koreans have long respected seasonal customs and changes. In spring, when the earth returns to life, early Koreans held celebrations to wish for a rich harvest and peaceful year ahead. In summer, they escaped the heat by heading for the forested mountainsides where they could indulge in leisure and arts. Come fall, they worked alongside their neighbors to bring in the harvest and enjoyed the bounty of the season. And when winter arrived, they observed customs that helped them reflect on the passing year and prepared for the coming of the New Year. features paintings and pottery that capture the changing seasons in Korea, as well as clothes, accessories and wooden furniture made from seasonal materials, revealing how early Koreans adapted to the climate and responded to nature’s changes.
Flowering Plum Tree Lotus Flowers Chrysanthemum Snowscape of Castle
趙熙龍 作 梅花圖 蓮花圖 蓮花圖 劉淑 作 西城訪雪圖
Jo Hee-ryong Unknown Artist An Jung-Sik Yoo Suk
oseon, 19th Century Joseon oseon, 19th Century Joseon, 1854

[Chang Budeok Memorial Gallery] Dress and Grooming in Joseon Dynasty

In the Joseon Dynasty, people based their conduct on the ethical standards of Neo-Confucianism. They practiced restraint and preferred a modest and simple style in accordance with these values. This exhibition explores the sense and spirit of aesthetics pursued by early Koreans through dress and grooming infused with Confucian decorum. Women were usually modest and discreet. They kept their faces clean and pale and preferred light makeup, and they wore several layers of clothing under their outer garments in order to avoid exposing any skin. This heavy layering of long skirts topped with an abbreviated jacket created the unique silhouette of the late Joseon period, characterized by a narrow top with a very full skirt. Women finished off the look by highlighting their outfits with accessories, such as hairpins (binyeo) and pendants (norigae). To indicate their high social status, noblemen (yangban) also beautified their faces, wore special clothing for formal occasions, and tied their hair into topknots using special tools, such as a comb for grooming a topknot (sangtubit) or a tool for tucking sideburns into the sides of one’s hat (saljjeogmiri). Men and women used fragrance not only for the scent but also to express their wealth as well as to discipline themselves mentally and physically. Through a variety of artifacts, such as toiletries, clothing, and jewel-ornamented accessories, that shed light on the process of dressing and grooming, this exhibition illuminates the daily lives of Koreans in the Joseon Dynasty, who identified inner beauty with outer beauty and pursued the aesthetics of neatness and virtue.
Hair Parting Implements Hairpins Drawers for Women
White Brass Silver and Enamel Ramie
Joseon, 19th Century Joseon, 19th Century 20th Century

2012 History of Donated Artifacts at Ewha Womans University Museum, Part2 
| Mar 2,2012-Jan 31, 2013

As a sequel to Part I, which gave a glimpse into the donation culture from 1935 to the 1980s, The History of Donated Artifacts at Ewha Womans University Museum, Part II is an exhibition that traces the history of donation culture during the period from the 1990s, when the museum was built and reopened, to 2009. During this period, the museum sought to transform itself into a new cultural space and took the initiative in leading Korea’s museums in various realms. This exhibition focuses on Chinese pottery and traditional Korean historical relics from the Three Kingdoms period to the modern era. Modern art has been omitted from this exhibition as it is slated to be introduced in other exhibitions. The exhibition will be a valuable opportunity for visitors to witness the donation culture that has developed thanks to the support and interest of local community members and university personnel during the period when the museum took a leap forward.

2012 Fall Special Exhibition: The Aesthetics of Table Setting
 | Sep 12,2012-Dec 31, 2012

[The Aesthetics of Table Setting - Served with Decorum and Finesse]

Food is mandatory for survival and critical to good health, and the setting of the food table is an everyday act. But beyond the issue of mere survival, tables set with care and attention to decorum and finesse offers us psychological gratification and emotional security. They are also a social medium for strengthening relations among diners. It has long been a tradition in Korea to prepare banquets to celebrate happy occasions and drinks and snacks to commiserate together over sad occasions. This concept of the table as a medium extends not only to relationships among people but also to the relationship between humans and the divine; each religion in Korea has developed its own aesthetics of table setting according to its unique doctrine. All around the world, food reflects the features of the surrounding environment and the local social structure. Table settings, then, can be seen as a repository of each culture’s approach to decorum and finesse. This exhibition features the changing aesthetics of Korean table settings across time and social status, from the settings for the royal and imperial families and the presidents of the Republic of Korea to those for ordinary people, dating from the Goryeo kingdom to the present. It also examines the different decorum and finesse of religious table settings by comparing Buddhist altar settings with Confucian ones. Through food served in a variety of tableware and the various images of and processes by which food was placed on the table, visitors can experience firsthand the aesthetics of Korean table settings.
Celadon Table Setting for Tea Blue and White Table Setting for Daily Meals Rice-bowl Wrapping Cloth Brass Tableware Set from Presidential Mansion Gyeongmudae
Goryeo, 12th~13th 19th Century~ Early 20th Century Joseon, 19th Century Mid 1950s
The Museum of Korean Embroidery Rhiwhachang(Entrusted collection, Presidential Archives)

[The Aesthetics of Table Setting - Meals and Tables in Contemporary Art]

Eating is one of the most important things that we do. Food is a traditional and frequent subject of art, intended not only to portray the world in its natural state but also to symbolically express human nature and sometimes phases of the times through food. In the 1980s, socially aware artists of the minjung (people) movement used rice sacks as their canvas and wooden tables to portray rustic table settings, thereby expressing the value of food prepared by laborers. In contemporary artworks, lavish displays of food that stimulate the viewer’s appetite and depictions of people eating such food are associated with human desire and consumption in consumer society ; the perishable nature of food also expresses the transience and futility of human life. Meals and Tables in Contemporary Art explores various aspects of our lives via table settings as represented by contemporary artists. Ranging from paintings and photographs that depict food culture in beautiful and playful ways, to installation works that combine table settings and technology, the works on display capture the finesse of the table setting and its social meaning. These works which explore aesthetics of table settings through creative materials and various expressive ways of contemporary art, offer a chance to ruminate on human lives and cultural matrix of our society.
Still Life with a Candlestick Steal Life series 03 Drawing Sculpture Delicious mealⅡ
Choi Won-Jung Ham Kyung-Ah Hwang Hae-Sun Kim Young-Sup
2012 2009 2010 2008-2012

2012 Spring Special Exhibition: Motherhood | May 11,2012-Jul 31, 2012

[Motherhood - Mother Images in Korean Art]

This exhibition features artwork produced between Joseon dynasty and the 1960s, depicting the image of the mother, deified for its correspondence to the principles of nature and the universe, and the experiences that mothers go through in real life including childbirth, child-rearing and education. Also on display are works that re-interpreted motherhood in a socio-political context in the course of political turbulence in Korea during the 1980s and 1990s. The works on exhibit reveal that the fundamental power of motherhood and its historical significance live on regardless of the changing times and culture.
Goddess of Birth On the Way Home Heading to Seaside Market Old Market
Anonymous Lee Dal-Joo Kim Hong-Do Yun Suk-Nam
Early 20th Century, Private Collection of Yang Jongsung Leeum, Samsung Museum of Art 18th century 1992-2006

[Motherhood - Mother Images in Asian Art]

This exhibition will take a look at how artists from each Asian country interpret the meaning and role of women as mother. The participating artists from Korea, China, Taiwan, India, and Bangladesh focus on the biological status of the mother as conceiver and nurturer of life, or portray motherhood as a symbol of a nation and its people in the context of a specific political event. Meanwhile, female artists with feminist perspectives express the inherent power of women or address social issues such as homosexuality, highlighting the problem of gender difference in our modern society. The exhibit explores the meaning of motherhood as embodied in Asian contemporary art to provide us with an opportunity to appreciate not only universal sensibilities but also the cultural uniqueness of the East in comparison to that of the West.
Duhshmoy(A mother's Lament) The Pregnant Woman
Yasmine Kabir (Bangladesh) Seo Dae-Seung
1999 2002
Artist's Collection Artist's Collection

2011-2012 Permanent Thematic Exhibition | Sep 2, 2011-Jul 31, 2012

[Permanent Exhibition Hall]Clay and Color: Color in Korean Ceramics Rediscovered

Ceramics have both functionality and artistry, but what is emphasized foremost has been how they are used and the forms they take. Often neglected, the colors of ceramics are important other than creating an aesthetic effect. The colors were the fruit of a period’s technology and the results of a period’s thoughts and aesthetics. In this exhibition, we set seven categories of the colors that appear in Korean ceramics: red, grey, black, green, White, blue, and brown. with this emphasis, we want to shed light on the socio-cultural aspects of the colors used in ceramics, especially their historical contexts and what changes of color reveal about those contexts. Also, by showcasing various contemporary ceramic works that freely use different colors, we can have a look into how the aesthetics of traditional coloring are being handed down to today’s ceramic artists and how they are being re-created anew.

[The Chang Pudeok Memorial Gallery]Flying Bats: Symbol of Hope

Bats symbolize blessings because both the Chinese character for a bat and for blessing are pronounced the same. The bat was appeared prominently on various objects, such as clothes, accessories, furniture, and pottery among other household items in the late Joseon Dynasty. In particular, they often appeared on the clothes worn by women and symbolized fertility. This exhibition divides the patterns that featured the bat into five types and looks into the symbolic meaning and style of each pattern, Through this exhibition, we offera glimpse into the lives of our ancestors who expressed their hopes and dreams through the bat.

2011 Special Autumn Exhibition | Sep 2, 2011-Dec 24, 2011

[Temporary Exhibition Hall]The Promise of 100 Years- Ceremonial Wedding Traditions in Korea and Japan ‘Baeknyeongayak’-a beautiful promise to become a husband and wife that spend their life together ? has not only ceremonial significance but further constitutes a holy exchange of science vows between a man and a woman. The Korean wedding ceremony is closely associated with traditional customs. Koreans recognize the social significance of wedding and consider it not only as the birth of new family but also the marriage of two families as well as two people. Thus, weddings have are treated as the most meaningful event in one’s life. During the Joseon Dynasty, when Confucianism was the ruling principle, people observed very strict procedures and formalities when conducting a wedding ceremony. This exhibition displays the costumes, accessories and relevant artifacts used in wedding ceremonies from the Joseon Dynasty to the present. The exhibition intends to deliberate on the significance of tying the knot and its aesthetic consciousness. In addition, the wedding culture of Japan is also highlighted in the exhibition to compare the wedding cultures of two countries and reflect on the universal aesthetic consciousness of Asian culture.

[Modern Art Gallery]Technology Meets Tradition

Art and technology have an indivisible relationship. Brushes and paper, canvas and pigments, and other art materials are based on the technology of their times. After the Industrial Revolution, scientific developments changed human life rapidly and fundamentally. And these changes were reflected in the birth of many kinds of new art forms. The fusion of art and technology that continued from the early 29th century exploded between the 1960s-1970s, and this resulted in the introduction of various technologies to art, such as video, sound media, and state-of-art computer based technology.
The Technology Meets Tradition exhibition features artwork that use or include traditional art elements or traditional images whilst, at the same time, using technology. Although technology is always facing towards the future rather than the past, the artwork introduced in this exhibition is not only futuristic but reflect the trace of the past. This artwork using contemporary technology conjures up the sensibility of the past in today’s aesthetics. In these works, we can reflect on the conditions of life today in which we are peering towards the future stepping whilst clinging on to our past traditions.

2011 History of Donated Artifacts at Ewha Womans University Museum, Part1 
| Mah 2, 2011-Jul 30, 2011

Ewha Womans University Museum will present a series of exhibitions shedding new light on the history of the artifacts that have been donated to the museum since its foundation in 1935. The exhibitions will particularly focus on the period ranging from 1953 for which the artifacts and relevant data still exist until now.
The first series of the exhibitions features artifacts donated from 1953, when the museum was moved from Busan and reopened on the Seoul campus, following the conclusion of the Korean War, to the 1980s when the scope and content of the museum were actively expanded with the construction of a full0fladged cultural institution with modern exhibition falls.
The first period is significant as it defines the characteristics of the collections of artifacts, highlighting those donated by Dr. Helen Kim who played a central role in the donation of artifacts to the museum. The exhibitions focus on the history of artifacts donation that provided the foundation for the museum and expanded the scope of its collection. The exhibition will also feature pieces donated by prominent figures involved with Ewha Womans University and missionary in the early days of the Museum.

2010-2011 Permanent Thematic Exhibition | Nov 1, 2010-Jul 30, 2011

[Permanent Exhibition Hall]A Glimpse at the Life of the Joseon Period

This exhibition has been planned to illustrate the different lifestyles of the social classes of the Joseon Era(1392-1910): an era renowned for inholding Neo-Confucianism as its governing ideology. The exhibition shoes the different lifestyles of these five classes: the royal family, who headed the state; the nobility, who were the government officials the served the country and led society; the middle class that had a unique culture based on expertise and money; and the common class that worked in the fields of agriculture, handcrafts and commerce.

[The Chang Pudeok Memorial Gallery]Excursions in the Joseon Period

This exhibition examines the clothing worn by our ancestors during their leisure excursions. As a mark of courtesy, men always remained in full attire when they left their homes. The coat for covering worn by women speak of a society dominated by Confucian ideologies. Clothing ornaments, wealth and prosperous posterity. This exhibition also hopae, or the identity tags, which the Joseon men had to take with them wherever they went, and gama, a major means of transportation for noble class.

2011 Elegance and Grace: Beautiful People of East Asia |  May 4, 2011- Jul 23, 2011

International Exhibition for the 125th Anniversary of Ewha Womans University

In celebration of its 125th anniversary, the Ewha Womans University Museum is to present an exhibition showcasing traditional and modern artifacts from Korea, China and Japan. The focus of this exhibition is to cast new light on what we really mean by “beautiful person” in this era when ‘lookism’ is predominant. Art on East Asian countries has traditionally gone beyond the simple physical representation of the persons portrayed, instead focusing on capturing their mental and spiritual traits. For this reason, the models for portraits were mostly prominent and respectable people from each period. In this sense, this exhibition will provide visitors with an invaluable opportunity to appreciate the aesthetics of human beauty in Asian culture and, at the same time, compare each nation’s unique sense of beauty based on its political, social and cultural background.

2010 Special Autumn Exhibition | Nov 1, 2010-Jul 30, 2011

[Temporary Exhibition Hall]Pine and Bamboo_Clear Sounds and Pure Scents 

This exhibition has been planned to refocus the different meanings represented by pine trees and bamboo, which have long been of great importance in our culture. It will be an optical opportunity to appreciate the way our ancestors held them close to their hearts. The noble spirit and chastity represented by pine trees and bamboo were seen to embody the ideals and scholars, and were at times mentioned with personal figures to signify the separation from the secular world. The longevity and good fortune symbolized by pine trees and bamboo were intimately related to the daily lives of the Joseon people and were themes in paintings, ceramics and various crafts. In particular, they were highly preferred as timber and widely used to make utensils for daily use.

[Modern Art Gallery] Symphony in Ink: New Perspectives in Modern Ink Painting

[Donated Artifacts Exhibition Hall]The Scents of Forest, Sound of Forest
Forest that teem with the abb and flow of life have long served as a source of inspiration for artists. In this exhibition shows the sublime beauty of nature be reinterpreted through the use of trees and forest by contemporary artists. Such work will allow viewers to enjoy a moment of contemplation and relaxation through a poetic sympathy with nature as of they were walking through fragment woods, leaves fluttering in the wind, indulging in a cleansing communion with all about.

2010 Leaders of Korean Culture, Ewha | May 10, 2010-Sep 18, 2010

The 10th Kim Okgil Memorial Lecture ?Special Exhibition of Ewha Womans University

The special exhibition at Ewha Womans University Museum, Leaders of Korean Culture, Ewha, is being held in commemoration of two great events, “The 10th Ok-Gill Lim Memorial Lecture” and the “the 124th Anniversary of Ewha.” The museum will reflect on its historical path and the role and function of a museum marking its 75th anniversary, this year. It will be meaningful to remember the activities of the museum in its steadfast journey towards achieving its dream of nurturing culture.

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