Independence activist’s calligraphy? Museum finds it was actually work of pro-Japanese collaborator.

The National Museum of Korea apologized Monday for failing to properly verify a calligraphy work displayed as the work of independence activist Park Won-geun (1912-50), after an investigation found it was actually created by a pro-Japanese collaborator who once used the same name.

“We concluded that the calligraphy work bearing the phrase ‘Ilban Sigukeun,’ which was displayed in the special exhibition ‘The Korean Table: Food, Nature and Life,’ was created by Park Jung-yang (1874-1959), a pro-Japanese, anti-national collaborator,” the museum said in a press release.

The phrase means that even a bowl of rice is a blessing from the nation and is known as a saying attributed to Buddhist monk Yeonggyu, who was the first to organize an army of warrior monks during the 1592-98 Imjin War against Japan.

The hanging scroll bears the inscription “Korean Park Won-geun.” The museum had borrowed the work from a private collector and introduced it as calligraphy by independence activist Park Won-geun. The exhibit drew particular attention after a photograph was released showing members of Park's family kneeling and weeping in front of the work after belatedly learning that it was on display.

But about a month after the exhibition opened, on Aug. 10, the museum received a tip that “Park Won-geun” was a name previously used by Park Jung-yang. The museum subsequently removed the work from display for further verification.

It appointed seven experts in calligraphy, modern and contemporary history, classical documents and conservation science to an advisory panel and conducted a review from multiple angles. The museum ultimately determined that the work was created by Park Jung-yang while he was studying in Japan.

“After comparing 'Ilban Sigukeun' with Park Jung-yang's handwriting, we identified similar characteristics in the way the strokes were executed, leading us to conclude that it can reasonably be regarded as his handwriting,” the museum said.

In particular, one of the seals on the work, a seal stamped near the top of the piece, was found to contain an inscription matching one that calligrapher Kim Tae-seok (1874-1951) is known to have carved for Park Jung-yang in late 1932.

The museum explained that the term “Korean” used on the work was an expression used during the Korean Empire (1897-1910) by students studying in Japan and other Korean visitors when identifying their nationality to foreigners, particularly Japanese people.

“Park Jung-yang is confirmed to have studied in Japan from 1896 to 1903 during the Korean Empire,” the museum said. “That corresponds with the period and circumstances in which the term 'Korean' would have been used.”

Several other works bearing the name Park Won-geun were also found with handwriting and seals similar to those on “Ilban Sigukeun.” Some had apparently been written for Japanese recipients.

“Given the course of his life, it is difficult to believe that independence activist Park Won-geun, who was imprisoned several times for his involvement in underground organizations, left behind numerous pieces of calligraphy that circulated overseas and created calligraphy for Japanese people,” the museum said. “We believe this further supports the conclusion that the works were created by the pro-Japanese, anti-national collaborator Park Jung-yang.”

The museum said the calligraphy had been included in the exhibition as one of various phrases and literary expressions related to food culture in a show that broadly explores the origins and history of Korean food culture.

The work had also previously been identified as belonging to independence activist Park Won-geun when it was offered at auction, which reportedly contributed to the museum's failure to conduct sufficient verification before putting it on display.

“We will explain the circumstances and findings of the investigation to the family of independence activist Park Won-geun and apologize to them again,” the museum said. “We will strengthen our pre-exhibition verification procedures to prevent similar cases from recurring.”

The museum added that it would expand consultations with experts in modern and contemporary history.

“Accurately verifying facts about historical figures is one of the most fundamental responsibilities a museum owes to the public, and we fell short in fulfilling that responsibility,” Museum Director You Hong-june said.

“I once again offer my sincere apologies to the family and the public, and we will further strengthen our procedures for verifying exhibits to ensure that the same mistake does not happen again.”

BY KANG HYE-RAN [[email protected]]