Chusa Kim Jeonghui's Last Orchid Painting Becomes a National Treasure

'Kim Jeonghui's Brush Buri Seonranddo' Designated as Treasure
'Gijang Gobulsa Yeongsanhwesangdo', 'Buljosamgyeong' and Others Also Included

The last orchid painting by Chusa Kim Jeonghui (1786?1856), titled 'Kim Jeonghui Pil Buliseonrando (金正喜 筆 不二禪蘭圖)', will be designated as a Treasure. On the 27th, the Cultural Heritage Administration announced the preliminary designation of 'Gijang Gobulsa Yeongsan Hoesangdo (機張 古佛寺 靈山會上圖)', 'Paju Bogwangsa Bronze Bell (坡州 普光寺 銅鍾)', and 'Buljosamgyeong (佛祖三經)' as nationally designated cultural heritage treasures. After collecting opinions from various sectors for a month and undergoing review by the Cultural Heritage Committee, the final designation will be confirmed.

'Kim Jeonghui Pil Buliseonrando' is a work by Kim Jeonghui, who enjoyed painting ink orchids (mukran, 墨蘭) since his teenage years and practically applied his theory that orchids should be painted using calligraphic brush techniques. The orchid is depicted in the center of the painting using ink wash, and high-quality inscriptions (jebal, 題跋 ? records about the background or appreciation of the work) are written in four places around it. The calligraphy mixes various styles with differences in shape and size. The Cultural Heritage Administration explained, "This work comprehensively represents Kim Jeonghui’s scholarly and artistic world, symbolizing 19th-century cultural history," and added, "It is also significant because the provenance can be confirmed through the seals."

'Gijang Gobulsa Yeongsan Hoesangdo' is a Buddhist painting created in the 12th year of King Yeongjo’s reign (1736). It depicts the moment when Sakyamuni Buddha preaches the Lotus Sutra on Yeongchuksan Mountain, painted with colors on silk. Centered on the seated Sakyamuni Buddha on a lotus pedestal altar, eight bodhisattvas, the Four Heavenly Kings, and ten principal disciples are arranged on the left and right according to their rank and role. The Cultural Heritage Administration stated, "Judging by the well-structured and stable composition, arrangement, and the strong contrast between the low-saturation red and green colors, it is presumed to have been created by painters such as Uigyun (義均), who were active in the Palgongsan area." They emphasized, "The content explained alongside the painting matches the inscription in the colophon, making it a standard for studying Yeongsan Hoesangdo iconography in the early 18th century."

'Paju Bogwangsa Bronze Bell' is a bronze bell confirmed through the casting record (juseonggi, 鑄成記 ? a record containing the background, maker, materials, etc. of the bell) to have been made in the 12th year of King Injo’s reign (1634) using 300 geun of bronze. It faithfully inherits the style of early Joseon bronze bells, reflecting Korean aesthetic sensibilities within the Chinese bell form. The bell body is divided into upper and lower parts by three horizontal bands. The upper part shows mold separation indicative of the segmented casting method, while the lower part features a neatly inscribed casting record in regular script (haeseo). The Cultural Heritage Administration noted, "It is the last work of Cheonbo," and added, "Unlike other bronze bells that have often been relocated from their original enshrinement sites, this bell has been preserved and functioned intact at its initial enshrinement site, which adds to its historical significance."

'Buljosamgyeong' at Seokwangsa Temple is a woodblock print edition reprinted at Wonamsa Temple (圓巖寺) in Jeonju in the 10th year of King Gongmin’s reign (1361), based on a Yuan Dynasty edition. The content mainly consists of three sutras preached by Sakyamuni and patriarchs. Mongolian monk Mongsan Deokyi (1231?1308), a prominent monk of the Yuan Dynasty in China, provided relatively easy explanations to assist beginners encountering Buddhist scriptures for the first time. The extant Goryeo Dynasty editions include three types, with the 'Jeonggaksa edition (1341)' being the earliest. The Cultural Heritage Administration explained, "Compared to other copies already designated as treasures, this edition is superior in printing and preservation," and stated, "It is recognized as a good edition (seonbon, 善本) and thus fully worthy of designation as a Treasure."

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