[2026 Parliamentary Audit] Yoo Hongjun Apologizes, Saying "I Failed to Disclose It Was My Personal Collection"... Spouse's Donations Also Draw Scrutiny

Bowed twice over controversy over personally submitting a calligraphy work by a pro-Japanese collaborator
Personally recommended the work he bought for 50,000 won... admits vetting was inadequate
Stone tiger statue donated by spouse not listed on we

Yu Hong-jun, director of the National Museum of Korea, formally apologized during a parliamentary audit over the controversy surrounding his loan of a work from his personal collection to a special museum exhibition, after it was identified as the work of a pro-Japanese collaborator. He acknowledged not only the error in the work’s authentication but also that, despite apologizing several times, he had failed to disclose that he was its owner. The controversy has widened to include questions about the procedure for making artifacts donated by his spouse available to the public and possible conflicts of interest, raising concerns about the fairness of the museum’s operations.

National Museum of Korea Director Yu Hong-jun bows his head in apology over controversy surrounding an exhibition of his personal collection before delivering a work report at a parliamentary audit held by the Culture, Sports and Tourism Committee on the 19th. Yonhap News Agency

Before delivering his work report at the National Assembly’s Culture, Sports and Tourism Committee audit on the 19th, Director Yu said, “The deep trust the public has placed in the museum and the value built through the efforts of its staff have been shattered in an instant by my serious negligence.” He added, “At the time, I did not openly disclose that the work belonged to me as the museum director,” and said, “My failure to publicly acknowledge my mistake, despite having spent my life as an art historian, was a serious error and an act of negligence.” He bowed his head twice while reading his apology.

The work at the center of the controversy is the calligraphic inscription “Ilbansigukeun” (一飯是國恩), displayed in the National Museum of Korea’s special exhibition “Our Table,” which opened on July 1. Meaning “Even a single bowl of rice is a blessing from the country,” the phrase is said to have been spoken by Buddhist monk and militia commander Yeonggyu during the Imjin War. The museum introduced it as the calligraphy of independence activist Park Won-geun (1912–1950), but it was later confirmed to be the work of Park Jung-yang (1874–1959), a pro-Japanese anti-national collaborator.

Director Yu bought the calligraphic work, which is part of his personal collection, for 50,000 won at an online auction in 2019. At the time, the auction listing described it as the work of “Park Deok-won,” who had taken part in a Joseon diplomatic mission to Japan. The museum later determined that it was the work of independence patriot Park Won-geun, based on the signature “Korean Park Won-geun” (韓人 박원근) on the work and Director Yu’s account as its owner. According to materials submitted to the National Assembly, the work was included in the exhibition at Director Yu’s recommendation.

The museum removed the work in August after receiving a tip from an outside source. After obtaining reviews from seven experts in calligraphy, modern and contemporary history, historical documents, and conservation science, it announced on September 7 its final conclusion that the work was by Park Jung-yang. It was confirmed that Park Jung-yang used the name Park Won-geun while studying in Japan. The experts cross-checked the handwriting, seals, Japanese-style mounting, and historical records.

National Museum of Korea Director Yoo Hongjun bows in apology over controversy surrounding an exhibition of his personal collection before delivering a work report at a parliamentary audit held by the National Assembly's Culture, Sports and Tourism Committee on the 19th. Yonhap News Agency

The museum and Director Yu apologized repeatedly when removing the exhibit and announcing the results of the investigation, but did not disclose that the director himself owned the work. His ownership was only confirmed later through materials submitted to the National Assembly ahead of the audit. The museum said it had not disclosed the owner’s information based on the Personal Information Protection Act and the International Council of Museums (ICOM) Code of Ethics.

It was also confirmed that other works from Director Yu’s personal collection were included in the exhibition. In addition to the calligraphic work, an embroidered cloth cover was displayed in the same special exhibition. Director Yu said he had bought the controversial work with the intention of donating it to the Buyeo Cultural Center. The National Museum of Korea said Director Yu had previously donated 865 items, including paintings, calligraphy, and ceramics, to support the establishment of the Buyeo County Art Museum, and had planned to donate the calligraphic work as well.

The handling of artifacts donated to the museum by Director Yu’s spouse has also become controversial. According to materials obtained by the office of People Power Party lawmaker Jeong Yeon-wook, a member of the National Assembly’s Culture, Sports and Tourism Committee, Director Yu’s spouse donated two items—a stone tiger statue and a small stone tiger statue—to the National Museum of Korea on April 30. The stone tiger statue has been displayed on the steps of the museum’s Open Plaza since June 2, but information about either artifact was not posted on the museum’s website.

Article 4-2 of the Enforcement Rule of the Museum and Art Gallery Promotion Act requires museums to post the names, quantities, dimensions, and photographs of artifacts they have decided to accept as donations on their websites or other platforms. The museum explained that it could not take high-resolution photographs because the heavy artifacts could not be moved to the photography studio, and that the exhibition schedule had been arranged on short notice.

Director Yu and his spouse each donated two artifacts on the same day. The director’s donations can be found in e-Museum, the National Cultural Heritage Information System, but his spouse’s donations were not posted, according to the available information. This has raised questions about whether the same donation procedures and disclosure standards were applied to both.

Yu Hong-jun, director of the National Museum of Korea, responds to questions from committee members during a parliamentary audit held by the National Assembly's Culture, Sports and Tourism Committee on the 19th. Yonhap News

Questions have also arisen over how matters involving the director’s and his family’s interests were handled in the review of donated artifacts. The controversy erupted as the National Museum of Korea was breaking its record for annual visitor numbers. At the audit that day, Director Yu said the museum had welcomed more than 6 million visitors this year, up 20% from the same period last year. He also forecast that annual attendance would exceed 7 million by the end of the year.

Director Yu described the increase as “a meaningful change showing that the museum has become a cultural space that people across the country enjoy and love as part of their everyday lives, rather than seeing a brief surge driven by the success of ‘K-Pop Demon Hunters.’”

Separate from the museum’s growth in scale, questions about the scholarly verification of exhibits, collection management, and systems to prevent conflicts of interest involving the institution’s director remain unresolved. At the audit, Director Yu said he could not justify his wrongdoing by citing scholarly intent or explanations, and apologized again to independence activist Park Won-geun, his family, and museum staff.

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