[In-Depth Review] Regret over the Controversy Surrounding Admiral Chungmugong's Standard Portrait

Ham Hyeri / Journalist · Cultural Critic

Admiral Yi Sun-sin, who defeated the Japanese invaders during the Imjin War, died in the Battle of Noryang on the 19th day of the 11th lunar month in 1598. January 2nd of the new year marks the 422nd anniversary of the admiral’s death. To commemorate this, I accompanied a memorial group led by Yi Sun-sin researcher Mr. Park Jong-pyeong to visit the admiral’s tomb and the Hyeonchungsa Shrine in Asan, Chungnam. Although we were cautious due to the novel coronavirus disease (COVID-19), we felt it was an appropriate time to express our respect. The air was cold but very clear, making it an ideal day for paying respects and conducting a field study.

The admiral’s tomb is located at 12-37 Goryongsan-ro, Eumbong-myeon, Asan-si, Chungnam. It is neatly arranged on a sunny hill about one ri northwest from the hillside where the tombs of the admiral’s father, Deokyeon-gun (Yi Jeong), and his wife, along with other family members, are buried. The tomb is surrounded by pine trees like a folding screen and is modestly sized?neither too large nor too small. Originally, the tomb was located on a hill beneath Geumseong Mountain, as determined by a Ming dynasty geomancer, but in 1614, a feng shui master from Asan recommended relocating it to its current site. To the right of the tomb are two stele stones; initially, one was erected when the admiral was posthumously promoted to Left State Councillor, and when King Jeongjo later elevated him to Chief State Councillor, an additional stele was added to record this. On the right side facing the tomb stands a memorial stele personally erected by King Jeongjo.

After paying respects at the tomb, we visited Hyeonchungsa Shrine. The site, which includes the Chungmugong Yi Sun-sin Memorial Hall that opened in 2011, is a fairly large and well-maintained space. However, I felt uneasy and troubled throughout the visit because of the controversy surrounding the portrait of Chungmugong enshrined there. The portrait of Chungmugong was painted by artist Jang Woo-seong (1912?2005) and was enshrined at Hyeonchungsa in 1953, later designated as the standard portrait in 1973. However, the Ministry of Culture, Sports and Tourism is reportedly considering revoking this designation because Jang is accused of being a pro-Japanese artist.

During the Japanese colonial period, Jang was selected multiple times in the government-sponsored exhibitions called the "Joseon Art Exhibition" organized by the Japanese Governor-General of Korea. In 1944, he also exhibited in the "Decisive Battle Art Exhibition," held by the Japanese to encourage the war effort, and was selected. These activities have been cited as pro-Japanese acts, leading to his inclusion in the Dictionary of Pro-Japanese Collaborators compiled by the Institute for Research in Collaborationist Activities. His descendants argue that Jang was compelled to participate in the Decisive Battle Art Exhibition under the direction of his mentor, master painter Lee Dang Kim Eun-ho (1892?1979), and that his intended work "Budongmyeongwang" was damaged and thus never exhibited. They filed an injunction lawsuit against the Institute to prohibit the publication of this information, but it was rejected.

Master painter Lee Dang Kim was designated as a pro-Japanese and anti-national actor by the Truth Commission on Anti-Japanese and Anti-National Acts in 2009. He was a graduate of the Seohwa Art Association, a leading modern art education institution founded by pro-Japanese aristocrats, and gained fame early in his career as a portrait artist, even painting King Gojong’s royal portrait. However, in 1937, he painted "Geumchaebongnapdo," depicting women collecting gold hairpins and other ornaments to donate as a national defense fund to the Governor-General. This painting was frequently used for propaganda purposes, leaving no room for excuse. In contrast, there is no such evidence against Jang. The Joseon Art Exhibitions that Jang participated in during his early career were the main platform for most artists in the first half of the 20th century, so this was not unusual.

Returning to the portrait, in 1952, Jang was asked by Dr. Jo Byeong-ok, president of the Chungmugong Memorial Project Association, to find the true image of Chungmugong. However, there were few records describing the admiral’s appearance, so he must have struggled. According to Yu Seong-ryong’s "Jingbirok," "Yi Sun-sin was a man of few words and smiles, with a dignified face, resembling a scholar who practiced self-cultivation and restraint." Mid-Joseon scholar Hong Woo-won, in "Nampajip," compiled descriptions from people who had seen the admiral, noting "He was eight feet tall with long limbs, strong, with a swallow-shaped chin, dragon’s beard, tiger’s eyebrows, and the appearance of a feudal lord." Yun Hyu, in the "Baekho Munjip" section "Biography of Commander Yi Chungmugong," wrote, "He was a large man, brave, with a red beard and a dignified presence." Jang stayed at the admiral’s descendant’s home, carefully observing the family’s features and bone structure, and conducted field visits. To express "courage," he imbued the eyes with a commanding gaze.

It is true that the standard portrait at Hyeonchungsa has some inaccuracies. The hat (samo) is somewhat taller than those from the 16th century, the horns are narrower, the chest emblem and belt are incorrect, and the robe’s color should be black but is red?these are issues of historical verification. However, these are minor and can be overlooked. The image of the upright Chungmugong that we have seen for over half a century will not vanish from our minds overnight simply because the standard portrait designation is revoked.

For a nation with a turbulent history, rather than striving to disparage a work created with soul to instill pride and spirit, perhaps we should focus on how to inherit Chungmugong’s spirit in these troubled times.