Bangudae and Cheonjeonri Petrophyphs

On the outskirts of Ulsan are the famous Bangudae and Cheonjeon-ri Petroglyphs. Dongguk University Investigation Team discovered the highly detailed Bangudae petroglyphs in 1971, only one year after the Cheonjeon-ri petroglyphs. Since, other petroglyphs have been discovered in South Korea, but none as large, striking or revealing of a rich whaling and hunting past as those of the large Bangudae specimen. The Bangudae petroglyphs are considered the nicest petroglyph specimen in Northeast Asia and in 2017 it is slated to be submitted as another UNESCO treasure for South Korea. One drawback to this is in 1962 - 1965 the Daegok Dam [Wikipedia says Sayeon Dam - has the name changed?] was built and then expanded from 1999 - 2002. This dam is important as it backs up drinking water for the ever-growing industrial city of Ulsan; however, when water rises for several months of the year, the Bangudae petroglyphs, arguably 3500 - 8000 years old, become partially submerged by water, damaging the ancient cliff art. Already some damage has been caused and if South Korea submits the petroglyphs as a UNESCO treasure, the petroglyphs must be preserved in their natural setting ... and yet Ulsan needs its water. There lies the dilemma.

The only public transportation to the petroglyphs is to get to the KTX train station on the northwestern outskirts of Ulsan, and to take bus #348 from there. Alight at the Ulsan Daegok Museum and then walk through forested trails leading past the Cheonjeon-ri petroglyphs, the Cheonjeon-ri dinosaur footprints opposite, and then from there a 2.3 km hike through a forest trail that parallels the river to get to the Ulsan Petroglyph Museum (to the right when the trail splits) and to the Bangudae petroglyphs (to the left as the trail splits). The trail is not so well marked at the ends but once you are on it, you can't get lost. Or, take the same bus but skip the other ancient sites and the Ulsan Daegok Museum, staying on the bus to its next stop which si the Ulsan Petroglyph Museum. There alight and just walk up the road maybe a kilometer to arrive at the Bangudae cliffs. I strongly recommend the other route; it gives a better feel of the ancient and the trail through the forest is small and hardly developed. Maybe 30 minutes walking on the trail between petroglyphs but allow time to look around too.

First stop: Ulsan Daegok Museum

The museum is a salute primarily to artifacts found in the dam reservoir prior to construction. Once excavations took place and were documented, the construction of the dam went forward. The dam was build on a smaller scale and completed just a few short years (6 - 7 years) before the discovery of the Bangudae petroglyphs.  

During the planning of construction of Daegok Dam on the Daegokcheon Stream, archaeological studies were done on the areas to be submerged. The Korea Cultural Heritage Foundation conducted four trail digs from September 1999 to October 2002, and five excavations were done from March 2000 to December 2004. The excavations revealed Bronze Age dwelling sites, tombs from the Three Han States and the Three Kingdoms periods, temple and building sites, stone walls, roof tile kilns, and pottery kilns from the Unified Silla period, building sites, roof tile kilns and kilns for buncheong-ware, porcelain and onggi, and a smelting furnace from the Joseon period. Some 13,000 artifacts were excavated, revealing some of the great history the dam site played in the cultures from ancient to Joseon in the Ulsan area.

One of the artifacts of surprising beauty and original design - 오리모암토기 -
discovered facedown in a collection of round pots. 

Excavating in Hasamjeong, Samjeong-gi, the excavations revealed a cluster of ancient tombs from the village of Hasamjeong in Samjeong-ri Dudong-myeong, Ulji-gun. Excavations between 2002 and 2004 confirmed seven dwelling sites of the Bronze Age and some 1,000 ancient tombs including 129 wooden chamber tombs, 12 urn burials, two wooden chamber tombs with stone and earth mounds, and one ancient road. The ancient tomb cluster in Hasamjeong is of the largest scale and highest density of all ancient tomb clusters discovered in the Gyeongju area. These Silla Kingdom tombs date to the 2nd - 7th centuries and are thought to give insight into how ancient tombs evolved from wooden coffin tombs to wooden chamber tombs to stone-lined tombs and, finally, to chamber tombs.

Ulju Cheonjeon-ri Petroglyphs, National Treasure No. 187

From the Ulsan Daegok Museum walk about a kilometer to the Cheonjeon-ri petroglyphs and dinosaur footprints. These petroglyphs are registered as National Treasure No. 147, and are the first rock carving discovery in Korea, and the first cultural heritage from Ulsan to be registered as a national treasure in Korea. The carvings of numerous animals, circles, spirals, ovals and abstract designs as well as sailing boats, dragons, horses and the names of official Silla Dynasty posts were made by chiseling on the rocky surface of a 15-degree cliff incline. Some of the geometric patterns that are found over the whole surface are assumed to have been carved in the Bronze Age and they are, in most cases, interpreted as symbols for fertility and abundance rites. For this reason the Cheonjeon-ri petroglyphs have important meaning in the study of prehistoric art and ancient history.

There are also figures of humans riding horses, sailing boats, cavalry parades, and dragons. These are marked in thin lines and are presumed to have been made in the Silla Dynasty. The writings of the Silla Dynasty are presumed to have been left by Eulsa and Gimi in the 6th century. One of the drawings records that King Sabuzigalmun, a brother of King Bubheung, visited Cheonjeon-ri at dawn on the 18th of June 525. The second one is the record of Queen Gimolshae, the wife of King Sabuzigalmun, who felt irresistible yearning for her husband after the king died, and, with her little son who later became King Jinheung, visited Cheonjeon-ri where her husband's marks remained.

The Cheonjeon-ri Dinosaur Footprint Fossils

The footprints are identified as those of large and medium-sized dinosaurs (specifically the sauropod, brachiosauridae, whose weight is about 60 tons, and the Goseongosauripus, a kind of ornithopods, iguanodons) of the Lower Cretaceous period, about 100 million years ago. Along this stream, there are several places where dinosaur footprints have been discovered but this site reveals especially clear specimens.

Bangudae Petroglyphs, National Treasure No. 285

The Bangudae petroglyphs were rather densely carved imagery in a rock wall space of about 10 meters wide by 10 meters high with other rock surfaces around containing some more imagery. About 20 types of animals can be seen, including sea animals like whales, sea turtles, seals, water birds, sharks and fish. Land animals appear to a lesser extent, animals like tigers, panthers, wild boars, deer, wolves, fox and raccoon as well as people depicted hunting and their tools of boats, harpoons, floats and nets.

It is guestimated that these rock carvings were created 3500 - 7000 years BC in the Neolithic age based on results of the geographical environment research and archaeological comparative study. As Bangudae petroglyphs are a site reflecting the unique maritime fishery culture of the North Pacific coasts and the first whale hunting relics of mankind, the site is listed on the Potential World Heritage Sites by UNESCO.

Unfortunately, the Bangudae petroglyphs must be looked at from across the stream. As this stream is the source of drinking water for Ulsan, wading and boating on it are prohibited.
For about 8 months of every year the petroglyphs are partially obscured by the high dam waters, damaging about 200 of the 300 carvings. Of course the number damaged is related to how high the waters are allowed to climb. This particular year is not as wet as in previous years and so the rainy season hasn't flooded the area yet, but typically in June the waters cover the floor of the stream bed and lap at the lower edges of the cliff art.

Ulsan Petroglyph Museum

Walking from the Cheonjeon-ri petroglyphs and dinosaur footprint fossils is about 2.3 kilometers, according to the sign. As the trail ends a road that leads either to the left or the right. Taking the right road will wind the walker up in minutes at the Ulsan Petroglyph Museum, shaped not so ironically, like a whale. This aerial shot best shows the head and the tail of the fat whale, which is a salute to the abundance of unique whales in the Bangudae cliff art.

The Ulsan Petroglyph Museum is dedicated to the cliff art of Korea. Models of the Cheonjeon-ri and the Bangudae petroglyphs are inside, and are supposed to be actual-sized models of the originals. The head docent of the museum even is willing to give a tour of the museum and explains in great detail the time periods of the art, the damage being done, ideas for its protection, etc. While I understood quite a lot about her description of the reproduction of the Bangudae model and its significance, my comprehension significantly dropped when she talked about the Cheonjeon-ri model -- information overload for one but also the explanation comprised descriptions of people's titles and descriptions of ceremonies of the Silla Dynasty as well as a lot more unfamiliar verbs ... well, I got a bit and that tidbit was interesting.

Creating a model using clear film and markers along with precise measurements to ensure proper alignment.

Particularly interesting to me was one whole wall in the museum that was dedicated to other petroglyphes discovered in Korea. The Cheonjeon-ri petroglyphs were the first, and very significant, but the Bangudae petroglyphs are considered the great historical treasure in relationship to detailed descriptions of prehistoric whaling culture. However, since, other smaller petroglyphs have been discovered also and do add to the pool of knowledge about ancients and their practices. Supposedly these are the total of the petroglyphs discovered in South Korea as of today.

For bus numbers getting here and to some nearby sites, go to Ulsan Tour of Ancient History: Munmu Tombs, Petroglyphs, Whaling.

King (and Queen) Munmu's Watery Graves

Daewangam in Kyeongju

Daewangam, translating as the Great King Rock, is the location of the world's only underwater tomb. Munmu-wang, King Munmu (661 - 681AD), was the king who unified the Three Kingdoms and who became the 30th ruler of the Silla Kingdom (578 - 935 AD). On his deathbed, the king abdicated to his son and gave express instructions for a water burial in the East Sea. "A country should not be without a king at any time. Let the Prince have my crown before he has my coffin. Cremate my remains and scatter the ashes in the sea where the whales live. I will become a dragon and thwart foreign invasion." And so in death King Munmu was to protect the Unified Kingdom that he had created.

The cluster of rocks is about 200 meters off the coast and is divided by a cross-shaped waterway, forming a pool at the center. At the bottom of the pool is a 3.6 meter long, 2.9 meter wide and 0.9 meter thick stone slab, which according to legend, covers the remains of King Munmu's cremated body. Historians debate whether his ashes were actually interred in an urn under the granite or they were spread on the water for according to another legend, King Sinmun, Munmu's son and heir, did as his father asked by cremating his father and scattering his ashes over Daewangam, the Rock of the Great King. King Sinmun also built Geomunsa, Temple of the Appreciated Blessing, and dedicated it to his father. He built a waterway for the sea dragon to approach land from the sea and he built Igyeondae Pavilion, which overlooks the islet, so future kings could pay their respect to the great king Munmu.. The site is known as the place from which King Munmu was seen ascending from his final resting place in the sea to the heavens as a dragon.

After fulfilling his father's death wish, in a dream, King Munmu and the famous general Kim Yu-sin appeared to King Sinmun and said, "Blowing on a bamboo flute will calm the heavens and the earth." King Sinmun awoke and rode to the sea to receive the bamboo flute Monposikjuk. It is said that blowing on the bamboo flute invokes the spirits of King Munmu and General Kim Yu-Sin and pushes back enemy troops, cures illnesses, brings rain during drought and halts rain in floods. The spot is permeated with the guardian spirit of King Munmu.

Whether all of this is true or not, there are many shamans who come to perform their rites, prayers and exorcisms to the East Sea particularly here along the beach line overlooking where King Munmu has his watery burial. Particularly in front of King Munmu's watery tomb and to the south the beach is lined with white boxy tent structures. At first I thought these were storage tents but when a drum tempo and the harsh notes of the timpani clanged, I peaked around to check out what kind of ceremony was going on. Shamans, some dressed as monks! Several of the tents were occupied with different groups of people with simple to quite elaborate food offerings on tables in front of them. As the evening progressed, more and more drum and timpani tempos picked up. The furthest tent had a female shaman in hanbok; she was in trance and was jumping wildly and waving the two long knives that shamans wield in some exorcisms. Too bad she was dancing in the dark; otherwise, I would have attempted some pictures.

The underwater tomb of King Munmu, Daewangam, Historic Site No. 158.
Bongil-li, in Yangbuk-myeon, Gyeongju, North Gyeongsang Province.

Along the beach after dark many candles were set out in groups as ascending prayers to the sea and the heavens. The next morning, there were pools of candle wax in strange blobs (as shaped by the sand pits or footprints they had melted in) everywhere showing where the candles had melted and documenting a sea that had extinguished the prayers and taken them.

One of the shamans that was backlit. Most were sitting within the white tents
and I didn't want to obviously intrude my camera to get a shot.

Daewangam at Daewangam Park in Ulsan

Then next morning I left Song-il Beach and went to Ulsan to stay at Ilsan Beach where King Munmu's wife similarly is worshipped as a protector in the East Sea.

This Daewangam, again called the Rock of the Great King, is not where King Munmu was interred in his watery grave. This particular Daewangam is located in Ulsan, Ulju-gun at the Ganjeolgot Cape, just to the south of Ilsan Beach. Like the Kyeongju Daewangam, it similarly is a place of mysticism and mystery. According to one legend, the queen of King Munmu in the Unified Silla dynasty wanted to be buried under the rocky island so she could turn into a dragon that would protect her country, a mirror of her husband's noble will. Another legend has her becoming a guardian dragon upon her death and flying to Ulsan, where she submerged herself under the rock now called Daewangam to protect her country and people. It is said that because of the greatness and power of the dragon, even seaweed does not grow around this rock.

Daewangam is located at the tip of Daewangam Park, just south of Ilsan Beach. In 2004 the previously named Ulgi Park (since 1962) became known as Daewangam Park and the park has been cultivated and landscaped as a natural spot of beauty for people to relax in, particularly as Ulsan was getting the reputation as a very polluted city because of its extensive factories and shipping industries. Today, the park is a beautiful and restful place with 15,000 large pine trees that have been growing more than 100 years, an impressive age considering the invasions, wars and need for wood before, during and after the colonial period. The Daewangam Pine forest is one of the 12 scenic beauties of Ulsan and offers superb views of the East Sea from between the trees and from lookout promontory rocks in the jutting finger of land where the park is located. One of the famous sites and is truly mysterious is Seuldo, where two well-known TV dramas "Flame of Desire" and "May Queen" were filmed. What is most unique about this beach, however, is the entire beach is a collection of fist-sized rocks and between the rocks the air and water flow as the waves strike the rock, creating a haunting and at times musical effect likened to the geomungo (six-stringed Korean zither).

A glimpse just to the north of Ilsan Beach with some of the tall Ulsan buildings. To the right is a part of Hyundai Heavy Industries, one of the largest shipbuilding companies in the world.

Beyond the trees is Hyundai Heavy Industries. This day was particularly bright and clear with wind from the south to blow the industrial pollution northward or inland.

One of the twin caves. This cave, the cave of the rude blue dragon. 

Again the cave of the rude blue dragon

Legend says that a rude blue dragon lived in this natural cave. The blue dragon was a prince of an underwater kingdom, but who had a bad character and caused many shipwrecks. The fishermen were angry and their furious complaints reached the king of the underwater kingdom. The king commanded his other four sons to kill their brother and since there have been no more shipwrecks. This legend is quite useful, especially as Ulsan is one of the world's ship-building capitols, hence, a potentially propitious legend to have.

At the farthest extension of land in the Daewangam Park is Daewangam, the Rock of the Great King (but actually of his wife). Just before the bridge leading to the rock are two picnic sites for visitors to eat fresh seafood served under the colorful open sea market umbrellas and black awnings. These eating sites are very temporary because if the water kicks up or a storm comes, these little beachy areas quickly get slapped by large powerful waves or become totally submerged. The sellers set up quickly and can as quickly dismantle the sites.

The Daewangam! Take the bridge across and while crossing watch the power of the ocean surge beneath. This is a place of powerful currents and imagining the power of a dragon here is not difficult.

For bus numbers getting here and to some nearby sites, go to Ulsan Tour of Ancient History: Munmu Tombs, Petroglyphs, Whaling.

Anchovies Drying on the Pavement

A friend and I like to do coastal walks in Pusan and for several days we'll hike around along various places just enjoying the environment, the sun and the people we meet. This time we based our hikes around Songjeong Beach, a beach that is rapidly developing and is overlooked by the fine hotels on famous Dalmaji Hill. The beach has beautiful white sand and while we were there an annual surfing competition was taking place. Used to Waikiki, I didn't think the surf was high enough for catching waves but people were standing up and taking short rides. There was even a young kid out there with his golden retriever riding the front of the board. The beach is a bit northward of greater Pusan so it doesn't have the popularity (yet) that other beaches have. However, it is fast growing in fame and popularity. Already there are two festivals besides the surf competition held here: the Harvest Full-moon Seaweed Festival and the Songjeong Beach Festival.

Today on our walk north of the Songjeong Beach we came across some ajumas drying anchovies on rolls and rolls of durable fabric. The scene rather surprised me as I started to realize the production process before those tiny little fish appear as my side-dish. How fine would the net have to be to scoop up the tiny little fish and keep them from wriggling through? Since the net had to be so fine, what kind of other sea life was caught and what became of that larger life -- thrown back into the ocean, died, tossed into other containers to be sold at other markets? 

Obviously the fish need to be dried after catching them and, as they are so delicate, they must be painstakingly sorted, removed from sea debris like seaweed strands, and laid out to dry on these massive sheets. Looking at the fish production in front of us, I started to realize what intensive labor processing takes place so I can have a few fish with my rice.

These things are delicious but never until today did I seriously question the hygienic method of how they were prepared for my soup bowl.

The Gold Crown from Seobongchong Tomb

The National Museum of Korea presents the special exhibition "New Scientific Revelations about the Gold Crown from Seobongchong Tomb", which sheds light on one of Korea's most sublime artifacts: the gold crown. To date, South Korea has excavated only five gold crowns (three of them are currently on display in this museum) and each is considered a treasure.

Unlike the heavy gold crowns of Europe, the Korean version of gold crown is delicate and has thin branches encrusted not with emeralds, diamonds and rubies but with dangling jade teardrops, or gogok. The branches are rather soft and testing is being done to discover the metals used as the crowns have a tendency for the branches to weep or sag under their weight.

Seobongchong Tomb in Gyeongju, constructed by the people of Silla, was initially investigated in 1926. The excavation uncovered a gold crown with a very unique feature - a phoenix decoration on the top. Throughout history, the phoenix has been a favored symbol of royalty, and even now, the phoenix continues to symbolize the highest power and authority. Indeed, the people of Silla believed that the emergence of a phoenix would mark the arrival of peace and stability for the entire world.

This gold crown recently underwent rigorous scientific analysis to enhance the understanding of the production and original state of the crown. In the research it was discovered that the crown had been altered over the years and the museum and other scientists are petitioning for the crown to be returned to its original form, as it was when it was discovered in 1926. At that time, small tear-shaped pendants dangled from the headband of the crown, but in subsequent years these dangling pieces of jade have been removed and the crown displayed in its "entirety" without them. The National Museum officials, curators and others in Korea are actively pursuing the crown to be restored to its original glory. Treasure No. 339.

The bottom picture for 2015 shows how the crown could be restored with jade pendants properly reattached.

The Pirates of Penzance: Musical

The famous Gilbert & Sullivan's comic operetta, The Pirates of Penzance, is put on for the second time in the history of the Camarata Music Company (CMC) since its opening in 2010. The CMC now has over 900 members, including performers, musicians, behind the scene workers and supporters. The choir and music groups within the CMC organization provide musicals, concerts and volunteer for the disabled, at hospitals, nursing facilities, and more, with the dedication to providing high-quality musical outlets and camaraderie for all involved. (For more on their performances and volunteering, check out the website at www.camaratamusic.com).

The term "Camarata" comes from two meanings: First, from the "Florentine Camerata", a group of humanists, musicians, poets and intellectuals in Renaissance Florence, Italy. Important members included Giulio Caccini, Vincenzo Galilei, Count Giovanni de Bardi, Pietro Strozzi, and Ottavio Rinuccini. Second, Camarata comes from the word "camaraderie" meaning 'togetherness'. It is with this concept that they perform and label themselves as an international group, with members from 62 countries.

INTRODUCTION TO THE PIRATES OF PENZANCE

The Pirates of Penzance hardly needs an introduction. Long before Joe Papp's Broadway production and major motion picture added renewed popularity, this engaging operetta had established itself as one of the best loved pieces of musical theater in the English speaking world.

The Pirates of Penzance was the only Gilbert & Sullivan opus to receive its premiere in the US. In a vain attempt to secure an international copyright for their work, the celebrated team brought their fifth collaboration to the Fifth Avenue Theater in New York, clearly establishing the American appreciation for this uniquely British art form.

The history of Pirates is notable for several other reasons as well. On the voyage across the ocean, Sullivan misplaced his musical score and had to recreate all of the music from memory. His composition for the women's entrance eluded him, so he substituted a similar chorus from the never published score of Thespis. As a result, "Climbing Over Rocky Mountain" is the only authentic chorus in existence from that lost score. With the rousing ensemble number "When the Foeman Bares His Steel", Sullivan perfected the double chorus technique which was to become one of his hallmarks. Two distinct choral themes are introduced separately and then overlapped for a dramatic musical climax. Gilbert also brought to the foreground for the first time his frequent lampooning of the British Aristocracy, with direct references to Queen Victoria and the Peerage. Then of course "I Am the Very Model of a Modern Major-General" raised the art of the patter song to an all-time high. This song has been parodied in numerous product commercials (Campbell's Soup, Handiwipes, and The New York Times, among others), has been frequently used as an elocution exercise for speech students, and was once employed by comedian Tom Lehrer to set a list of all the elements from the periodic table!

The score for Pirates is as effervescent as its characters. Sullivan's reference to grand opera (and Verdi in particular) is everywhere, most notably in Mabel's aria "Poor Wand'ring One", which is a direct parody of Violetta's "Sempre Libera" from La Traviata -- in the same key and with the identical cadenza. Yet another layer of imitation enters the picture when Sullivan's take on the Anvil Chorus in Il Trovatore, "Come Friends Who Plough the Sea", later becomes the tune for the popular camp song "Hail, Hail the Gang's All Here". These examples refer to well-known moments; however, in many other Gilbert & Sullivan settings the parody remains more memorable than its original source!

SYNOPSIS

When Frederic was still a little boy, his nurse (Ruth) was told to apprentice him to become a pilot. She heard the word incorrectly and apprenticed him to a band of pirates, remaining with them herself as a maid-of-all-work. Although Frederic loathed the trade to which he had thus been bound, he dutifully served. As the show begins, his indentures are up and he announces his intention to leave the band and devote himself to the extermination of piracy. He urges the pirates to join him in embracing a more lawful calling, but they refuse. Ruth, however, wishes to become his wife. Having seen but few women during his pirate life at sea, Frederic hesitates to accept a woman so much older than himself, but he finally consents to take her.

Just then a group of girls, all the wards of Major-General Stanley, happen upon the scene. Frederic sees their beauty -- and Ruth's plainness -- and renounces her. Of these girls, Mabel takes a particular interest in Frederic, and he in her. The other girls are seized by the pirates and threatened with immediate marriage. When the Major-General arrives, he can dissuade the pirates only through a ruse; he tells them that he is an orphan, and so works upon their sympathies so that they let him and his wards go free.

During the ensuing days and nights, however, this lie troubles the Major-General's conscience. He sits brooding over it at night in a ruined chapel. He is consoled by his wards' sympathy and Frederic's plan of immediately leading a band of police against the pirates. The police are reluctant, but Frederic is still enthusiastic.

Meanwhile, the Pirate King and Ruth seek out Frederic with surprising news. They have discovered that his indentures were to run until his twenty-first birthday, and, as he was born in Leap Year on February 29, he has really had as yet only five birthdays. Obeying the dictates of his strong sense of duty, he immediately rejoins the pirates and tells them of the deception that has been practiced upon them by Major-General Stanley. The Pirate King and Ruth storm off threatening revenge, and Frederic sadly bids Mabel farewell.

And from there, without spoiling the ending, you will need to watch this cleverly written play-on-word musical to discover the ending for yourself. Quite entertaining. Very witty. Remarkably colorful. But decidedly slapstick.

Hand-bound Books, an Art Display

One of my students took me to the semester-end art exhibition for the various art classes here at Korea University. Two large rooms had pictures hanging on walls and display tables were set out with some of the heavier pieces. Some of my favorite displays were using the medium of gauche and the very unusual medium of water color with salt to make a flecked and mottled appearance. The human form in calligraphy using fine brush strokes and heavy were also impressive. My students' three human forms were included in the display - she had a heavy stroke that delineated the outline of the human form with a lighter stroke suggesting motion and movement. There were animal drawings and paintings and imaginary compositions. All attractive and many exploring various creative mediums.

My favorite section however was the display of hand-bound books that reminded me of artsy diaries. The books were all richly cloth-bound with several pages glued together to make a large accordion picture. In some cases the picture was connected and on-going but in most it was just thematically constructed. The books accordion-ed out and were simply gorgeous! Each student had created his or her own book with whatever artistic medium he or she desired. About twenty books were on one display table but there were four that particularly "spoke to me". The first was a book of whimsical wildflowers done in pen and calligraphy ink. It was one of the books with an on-going picture once the book was accordion-ed out. The strokes were free-style and the great use of white space to contrast with the heavier shadowed touches of India ink really gave a feeling of depth.

Another was a book with the theme of the tropics. Water color and diluted calligraphy inks making a wash of soft black and white interspersed with water color gave a light and tropical feel.

Actually the book that first caught my eye was the book with hangeul characters as a background to each of the pages and colorful birds also in water color and calligraphy inks in the foreground. This was such an amazing collection of birds and with great use of the white space to transform space and position for the birds. They really stand out in an "otherly" world. I felt mystically entranced by this collection!

Another one was of Korean landscapes, bamboos, of forests and mountains shrouded in trees. It was strictly in black-and-white and fiercely projected a tempest of emotion.

This fabulous collection of hand-bound books woke my own muse of inspiration. Everyone used some kind of medium that he or she could control, was familiar with and would show his or her own personality. My muse is chirping in my ear ... am thinking pen and ink will be my medium ... am considering a fierce animal compilation ...

These were absolutely fabulous and so artistically and creatively inspired! Art students, you rock!