[Following the Path of "The King and the Man": Longing Etched in Brushstrokes... Gasa and Calligraphy Bloom at the Edge of Namdo]

In the Wake of "The King and the Man" Craze: Revisiting the Exile Sites of Namdo <3>


The Legacy of Dedication Left by Songgang and Wongyo Through the Brush


Masterpieces of Joseon Art Born from Years of Isolation


The Fragra

Editor's NoteThe film "The Man Who Lived With the King" has surpassed 13 million viewers, sparking a "culture of exile" phenomenon in South Korea. The isolation and despair faced by those banished from the center of power to the periphery paradoxically blossomed into great scholarship and art within the broad embrace of the southern provinces. The Asia Business Daily's Honam reporting team goes beyond cinematic narrative to explore key historical sites of exile in Gwangju and South Jeolla Province, where the breath of real history is still alive. Over a six-part series, we will closely examine the spirit of the scholars who turned barren lands into grounds of hope, as well as the value of exile culture that became the root of today’s "Land of Art, Namdo."

On the afternoon of the 19th, citizens are freely visiting Hwanbyeokdang located in Buk-gu, Gwangju. Hwanbyeokdang is the place where Jeong Cheol stayed for 11 years, from his childhood to his youth when he held a government position, and where he studied under his teacher Kim Yoonje. Photo by Min Hyunki

The solitude of the periphery, faced by those pushed out from the pinnacle of power, sometimes became the nourishment for great art. The inner growth of the protagonist depicted in the film "The Man Who Lived With the King" (hereafter "The King and the Man") had already been proven centuries ago by the brushstrokes of scholars who entrusted themselves to the southernmost tip of the Korean peninsula. The time that Songgang Jeong Cheol, regarded as the pinnacle of Joseon gasa (lyrical verse) literature, spent in Damyang, and the period of exile endured by Wongyo Lee Gwangsa on Sinji Island, who perfected the uniquely Korean calligraphic style "Dongguk Jintche," are prime examples.

The Cradle of Gasa Literature: The Flow of Seongsan Byeolgok in Sikyeongjeong, Damyang

Jigok-ri, Gasamunhak-myeon, Damyang-gun, Jeollanam-do. Atop a hill overlooking the tranquil waters of Gwangjuho Lake stands Sikyeongjeong, meaning "the pavilion where shadows rest." In the mid-16th century, Songgang Jeong Cheol, cast out of political office, stayed here and interacted with the people of Honam. Even today, the tranquility of the pavilion still carries the atmosphere of classical elegance from those times.

The twisted forms of the old pine trees surrounding the pavilion seem to reflect the tangled emotions of those relegated to exile. The view of Mudeungsan Mountain and Gwangjuho Lake seen from the porch of Sikyeongjeong is beautiful, but for Songgang, a politician of his era, this beauty paradoxically served as a backdrop that accentuated the loneliness of political exile.

While Songgang appeared to sing of a life devoted to nature in his work "Seongsan Byeolgok" written here, at its core was an unceasing longing for the king. Just as the protagonist in "The King and the Man" hones his inner self while yearning for the distant king, Songgang, using the forests and valleys of Damyang as his backdrop, brought gasa literature—the summit of Korean literary history—to full bloom. The relentless determination of this master of words, who sought to capture the entire world with his brush, is infused in every weathered pillar of Sikyeongjeong.

The view of Sigyeongjeong located in Gasamunhak-myeon, Damyang-gun, Jeollanam-do. Sigyeongjeong is the place where Jeong Cheol of Songgang stayed and interacted with the Confucian scholars of Honam. Photo by Min Hyunki.

"Unwavering Devotion to the King" ... The Pinnacle of Gasa Literature Blossoms in Changpyeong, Damyang

Songgang Jeong Cheol’s exile in Damyang was the darkest tunnel of his political career, but in the history of Korean literature, it was his most brilliant golden age. After losing a power struggle with the Dongin faction in 1585, Songgang retreated to his hometown of Changpyeong in Damyang and stayed there for over four years.

The works "Samiingok" and "Sokmiingok," written as he moved between Sikyeongjeong and Songgangjeong, represent the apex of lyrical poetry, expressing his yearning for the king through the voice of a woman. His lines, starting with "If I am born again, I wish to follow my lord...," are praised for their refined metaphors and the beauty of the Korean language.

On this afternoon, a visitor surnamed Kim (42), who traveled from Anseong, Gyeonggi Province to see Hwanbyeokdang, said, "For Songgang, Damyang was both a place of political exile and a literary sanctuary. If not for the solitude and fervent longing for the king he experienced here, the precious gasa works we study today might never have been born."

Indeed, Songgang’s brush became even sharper under isolation, and the results became the textbook of Joseon gasa literature.

Sinji Island, Wando: 23 Years of Exile Birthed the "Dongguk Jintche"

A pine tree said to have been planted by the Confucian scholar Lee Gwangsa about 250 years ago while he was exiled in Geumgok Village, Sinjido, Wando. This pine tree was designated as a protected tree by Wando County in 2015. Provided by Wando County, Jeollanam-do

Traveling further south from Damyang leads to Sinji Island in Wando County, now connected by a bridge—a site of another artistic obsession. It is where Wongyo Lee Gwangsa, who made a mark on late Joseon calligraphy, spent nearly half his life—23 years—in exile.

Banished to Sinji Island in 1755 due to the Eulsadangok incident, Wongyo never put down his brush even under the uncertainty of survival. At the time, Joseon calligraphy merely imitated Chinese models, but Wongyo, befriending the wild waves and winds of Sinji Island, completed "Dongguk Jintche," an original Korean script style.

Within the small room on Sinji Island, he repeated tens of thousands of brush strokes, infusing his calligraphy with the spirit of Joseon. Despite his status as an exile, he taught the island’s children and, at the request of residents, wrote countless signboards and inscriptions, connecting deeply with the common people. This is why Wongyo’s writing is rooted so deeply in the temples and academies across the southern provinces, beyond a mere art form.

Wongyo's calligraphy is also well-known for its connection to Chusa Kim Jeonghui. During his own exile in Jeju, Chusa stopped by Daeheungsa Temple in Haenam, saw the "Daeungbojeon" signboard written by Wongyo, and rebuked, "He has ruined Joseon calligraphy," ordering its immediate removal. However, eight years later, upon returning from exile, Chusa revisited Daeheungsa, admitted his arrogance, and had Wongyo’s signboard reinstalled. Wongyo’s skill, forged in isolation, was powerful enough to change even the heart of the technically sophisticated Chusa.

"Isolation Was the Mother of Art" ... The Rediscovery of Artisan Spirit Amid Film Craze

Recently, due to the success of "The King and the Man," both the Damyang Gasa Literature Museum and the former residence of Wongyo Lee Gwangsa on Sinji Island have seen a steady stream of humanities enthusiasts. Kang, a visitor (44) met at the site, said, "The protagonist’s process of building his own world during his isolated time in the film is very similar to the lives of Songgang and Wongyo. I feel awe for their determination to transform despair into art."

An official from Damyang County stated, "The exile sites of the southern provinces are not just tourist attractions, but sanctuaries where the essence of Korean art was born. We will prepare various programs so that visitors can experience firsthand the artistic inspiration awakened by 'The King and the Man.'"

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