Experts Say "Critical Interpretation Needed for Statues... We Must Rethink How We Remember" [Statue Report]

Who Is Erecting Statues of Whom, and Why?
The Need for Critical Reflection
Open Dialogue on Remembrance and Commemoration Is Essential

Editor's NoteA statue is erected to honor an individual's achievements and to convey their legacy to future generations. Immortalizing someone's likeness in a statue carries a significance that goes far beyond the mere creation of a physical object. How many statues has modern South Korea erected, and of whom? Asia Economy analyzed records of unveiling ceremonies for statues of real individuals, as documented on portal sites and local government websites, from 1990 through this month.

How should we coexist with the countless statues of historical figures we encounter in daily life? Experts advise that, given the way statues have been erected in Korea, it is necessary to critically interpret "who is erecting a statue of whom, and why." They also add that it is important to consider the fundamental question of how we choose to remember someone.

Why Build Statues? ... Not the Individual, But the Era Demands It

Experts explain that, to discuss the various controversies surrounding statues, we must first understand their unique nature. The purpose of erecting a statue is not simply to create a beautiful work of art. In Korea, the culture of erecting statues began during the Japanese colonial period, and as a result, most statues were built with the intention of emulating the virtues of great figures from the past. Ultimately, it is not the individual but the demands of the era that lead to the creation of statues. This is also closely related to why there are so many statues of generals, independence activists, and war heroes in Korea.

Professor Cho explained, "In times of national hardship and frequent invasions, statues of those who contributed to national defense are erected, while in times of cultural prosperity, statues of poets, writers, and others who made cultural contributions are more common. During World War II, many Japanese statues were erected in Korea, although they were later melted down and disappeared. Ultimately, who interprets history and what type of person the era demands determines the nature of the statues that are built."

This is also why the process of creating statues often fails to capture the public's enthusiasm. Because statues are created to meet the needs of the era, both the figures chosen and the ways they are represented tend to be quite similar. Director Park pointed out, "For a statue to function as a work of art, it should present a different perspective from what is conveyed through text or common knowledge. However, in Korea, statues are erected as part of national monuments. The methods used to create statues focus on highlighting heroic traits, so there is little difference between one statue and another. They are simply recreations of great figures as seen in textbooks."

Endless Debates Over Merits and Faults ... The Need for Critical Interpretation

Wreaths are placed in front of the statue of King Sejong at Gwanghwamun Square, Jongno-gu, Seoul on Hangul Day. Asia Economy DB.

Another source of controversy is the question of "who is erecting a statue of whom, and why." This is closely tied to debates over the merits and faults of the figures chosen for statues. Statues of individuals like King Sejong, whose historical evaluation is already settled, rarely face opposition. However, statues erected before a person's historical assessment is complete are often the subject of heated debate.

In fact, overseas, the early 2020s saw a wave of beheadings of statues of historical figures during the Black Lives Matter movement. Those who were once considered great figures were later revealed to have supported slavery or exploited Black people. Thus, the legacy of a historical figure can be overturned depending on how their merits and faults are interpreted in a different era.

Recent controversial statues in Korea, such as the statue of former President Park Chung-hee being erected in North Gyeongsang Province, share the characteristic of being installed in the individual's hometown. Professor Cho, who has studied statues of figures erected during the First Republic, explained, "In the past, many statues were national projects, but today, regional identity plays a larger role. This is a phenomenon that occurs as power shifts from the central government to local governments. The two main purposes seem to be either to honor figures who make the region proud or to attract tourists by erecting statues that can draw people in."

Ultimately, experts advise that what is needed is a "critical interpretation" of how we view statues. They emphasize that, rather than having local governments or the central government make unilateral decisions, it is important to create forums for discussion that include a variety of stakeholders in society.

Director Park commented, "From the selection of the figure to the erection of the statue, who is involved in the process? Political needs often lead to unilateral selection, and artists simply fulfill functional requirements. As the saying goes, 'If I can't dance, it's not my revolution,' these become memorials for a select few, making it difficult to gain public sympathy." He added, "Positive and negative perspectives will inevitably coexist until the historical evaluation is complete. We need to preserve both and turn them into urban assets."

Professor Cho believes that the question of "who is erecting a statue, and why" must be thoroughly discussed. He said, "Ultimately, it will become increasingly important to determine whether the purpose of erecting a statue is for the public good or for the interests or desires of specific groups."

The Core Issue: Methods of Remembrance and Commemoration ... The Conversation Must Continue

The discourse surrounding statues ultimately leads to the question of "how we remember those who have passed away." The recent emergence of arguments that we no longer need statues of individuals, after a period of rapid proliferation, reflects the fact that methods of remembrance change with the times. Ongoing discussion is essential to maintaining a healthy perspective on statues.

Professor Cho explained, "We need to consider whether erecting a statue is necessary for remembrance. Even without a statue of King Gwanggaeto, we know who he was, remember him, and respect him. In the past, paying respects at a grave was the main way to commemorate the deceased, but now there are many different ways. As methods of remembrance and commemoration change, we may no longer need to cling to the idea of immortalizing someone in physical form, such as a statue, and this could allow for more open conversations."

Director Park stated, "Ultimately, the discussion about statues is about how we, the living, coexist with those who have passed away." He continued, "If we were to create a place in Seoul where only statues are gathered, our perspective on them might change. We need to think about how to keep reflecting on these figures. Unfortunately, such discussions have never surfaced in the media or elsewhere. We need a social atmosphere where these conversations can take place freely."

This Is How We Analyzed the Data

We conducted a comprehensive survey of press releases and municipal news containing the keywords "statue" and "unveiling" from portal sites and local government websites from 1990 onward. Based on this, we compiled records of statue unveiling ceremonies held from 1990 through April of this year.


Busts and reliefs were excluded from the analysis, as were statues not modeled after real individuals. Thus, statues such as the "Statue of Peace" (excluding the late Kim Bokdong's statue) and laborer statues were not included. Statues erected at educational institutions such as universities were also excluded; only those installed in public spaces such as parks and memorial halls were analyzed.