[Report] The Lee Kun-hee Collection Shines in Chicago, Showcasing 2,000 Years of Korean Art

"Treasures of Korea: 2000 Years of Korean Art"

The Lee Kun-hee Collection Traveling Exhibition

Receives Enthusiastic Response in Chicago Following Washington

Showcasing Korean Art from the Three Kingdoms Period to Contemporary Works

"K-Culture's Global Popularity Stems from Korea's Accumulated Cultural Assets and Creative Capacity"

On the 15th of last month (local time), at the Modern Wing of the Art Institute of Chicago, visitors stood in front of the grand "Ten Longevity Symbols" painting, searching for animals within the artwork as if playing a hidden object game. Each time they discovered turtles, deer, or pine trees—symbols of longevity and immortality—smiles spread across their faces, captivated by the vibrant reds and blues of the pigments. Even as guides encouraged them to move on to the next exhibition space, many found it hard to tear themselves away.

Last month on the 15th (local time), visitors were looking for animals in front of the Ten Longevity Symbols painting at the "Treasures of Korea: 2000 Years of Korean Art" exhibition held at the East Wing of the Art Institute of Chicago. Photo by Hyunju Lee

The traveling exhibition "Treasures of Korea: 2000 Years of Korean Art," featuring the collection donated by the late Samsung Chairman Lee Kun-hee, which drew more than 60,000 visitors at the Smithsonian National Museum of Asian Art in Washington, D.C. and served as a venue for Korea-U.S. private diplomacy, moved to Chicago in March. The exhibition continues to serve as a gateway for introducing the depth of Korean art to the American Midwest.

Ji Yeonsu, Korean Art Curator at the Art Institute of Chicago, explained, "This exhibition highlights the collecting philosophy of the late Chairman Lee Kun-hee's family, connecting it to Korea's traditional culture and the ideals of Joseon-era scholars. Whereas Western collecting often centers on expressing individual tastes and values, Korea's traditional collecting began with Confucian values and a respect for learning."

The exhibition features 140 cultural heritage items and 257 artworks, tracing the 2,000-year history of Korean art from the Three Kingdoms period to late 20th-century contemporary paintings. Masterpieces from traditional and modern painting, ceramics, Buddhist art, and other fields are displayed together, illustrating the rich accumulation of Korea's cultural legacy.

These works, once privately collected, became a shared cultural heritage for all Koreans in 2021 after the Lee Kun-hee family's donation to the nation. Curator Ji noted, "The diverse objects depicted in chaekgado paintings symbolize the scholars' aspirations for learning and knowledge. In fact, many artifacts featured in chaekgado are present in the Lee Kun-hee collection."

Ji Yeonsu, Korean Art Curator at the Art Institute of Chicago, is photographed in front of the Ten Longevity Symbols Painting after an interview with The Asia Business Daily on the 15th of last month (local time).

One section of the exhibition is dedicated to ceramics, familiar to Western audiences but presented from a distinctly Korean perspective. She explained, "Korean celadon is notable for its clear, transparent glaze and intricate inlay techniques. While the West achieved similar techniques only in the 18th century, Korea had already perfected them by the 12th or 13th centuries." She added, "The opulence of Goryeo celadon gave way to the refined and restrained white porcelain of the Joseon era, reflecting Confucian values."

Particularly eye-catching is a white porcelain bowl inscribed with "Cheonjihyeonhwang (天地玄黃)," where the character "玄" appears slightly off-center. These bowls were the finest ceramics used in the Joseon royal court.

Curator Ji commented, "In Japan or China, ceramics with imperfections would likely have been rejected outright. Yet, at the Joseon court, even slightly misshapen pieces were embraced and used in daily life—an example of the distinctive generosity and relaxed aesthetic sensibility of Joseon. Although the pure white color may appear simple, in reality it required even more effort and advanced techniques than celadon."

White porcelain bowl engraved with "Cheonjihyeonhwang (天地玄黃)" displayed at the Art Institute of Chicago. The bowl on the far right is engraved with the character "玄". National Museum of Korea

She also shared an anecdote about the late Samsung founder Lee Byung-chul and Goryeo Buddhist paintings. Until the 1970s, there were no Goryeo Buddhist paintings in Korea. Upon learning this, Lee Byung-chul tried to purchase a Goryeo Buddhist painting at a Japanese auction, but the Japanese owner refused to sell it to a Korean. Undeterred, Lee arranged to have a staff member from the U.S. branch bid on his behalf, and the painting was eventually brought to Korea via the United States. This was the first recorded instance of a Goryeo Buddhist painting returning to its homeland. Curator Ji remarked, "Recovering cultural assets is not possible through will alone. It was only possible because of a profound understanding and affection for the artwork's artistic and historical value."

The exhibition also traces the trajectory of Korean art through the Japanese colonial period and modernization. An Jung-sik's "Dream of Peach Blossom Land" from the 1910s expresses the longing for a peaceful homeland even during the painful era of lost sovereignty.

In contrast, Baek Nam-sun's "Paradise" is a fusion of tradition and modernity, East and West. The composition follows the traditional "Peach Blossom Land" theme, but features a blond, foreign figure and a harmonious blend of Western techniques with uniquely Korean sensibilities.

Visitors viewing the exhibition "Treasures of Korea: 2000 Years of Korean Art" held on the 15th of last month (local time) at the East Wing of the Art Institute of Chicago. Photo by Hyunju Lee

Curator Ji explained, "This work was created not to be folded and set up like a traditional folding screen, but to be spread wide for viewing. The artist incorporated patterns reminiscent of mother-of-pearl lacquerware along the borders, reflecting a desire to maintain a Korean identity even while painting in a Western style." Baek Nam-sun and her husband Lim Yong-ryeon were the first married couple from Korea to study Western painting abroad, and are also well known as mentors to the artist Lee Jung-seob.

This exhibition holds special meaning for Korean Americans as well. Seo Hye-kyung (age 72) and her daughter Christina Sur (age 33), who met at the exhibition, were visibly moved. Seo, who lives in New Jersey, came to Chicago to see the exhibition with her daughter.

They said, "It's the first time we've experienced such a vast and high-quality collection of Korean art in one place. Above all, we were newly struck by the beauty of the Korean script."

The power of Korean art that captivated Chicago is deeply connected to the roots of today's global "K-culture" phenomenon. Curator Ji emphasized, "Foreigners are curious how Korean culture, including K-pop, has achieved worldwide popularity. Korea's creativity and artistic capacity were not built overnight." She added, "The cultural assets and creative energy accumulated over more than 2,000 years of history are now resonating with people around the world."

This content was produced with the assistance of AI translation services.