Conversation: The People’s Treasures—Collecting and Sharing Korea’s Cultural Heritage

Good evening and welcome to the Art Institute of Chicago. I'm Richard Ferrer, Associate Director of Exhibition Design. And it's my honor to welcome you to tonight's program.

"Korean National Treasures: 2,000 Years of Art," features 140 artworks from the private Lee Kun-Hee collection, donated to the Korean nation in 2021. 22 of the artworks on view are officially recognized as National Treasures or Treasures by the Korean government. The exhibition spaces were designed to display 16th-century Buddhist scriptures, Bronze Age artifacts, and modern paintings, often focusing on the theme of collecting and preserving heritage.

A key feature of the exhibition design includes a dense cabinet of curiosities style installation, mimicking traditional chaekgado to showcase the breadth of the collection. The screen that you see there inside the case is kind of the inspiration for how that whole wall was displayed. On behalf of all of us at the Art Institute, I want to thank the National Museum of Korea for generously providing lead support for "Korean National Treasures: 2,000 Years of Art." I also want to acknowledge our corporate sponsor Samsung and an anonymous donor for their contributions to this exhibition.

Tonight's program is generously sponsored by the Carol Given Winston Fund for Docent and Patron Education. Carol was a member of the museum family for 38 years, and the fund bearing her name was established to inspire those who share Carol's love of art and learning. We are honored to have Carol's children and extended family here tonight.

(audience applauding) The exhibition was beautifully curated by my colleague Yeonsoo Chee, (audience applauding) the Korea Foundation Associate Curator of Korean Art at the Art Institute. Joining Yeonsoo on stage is Jiyoon Jo curator at the Leeum Museum of Art in Seoul, South Korea. He is currently conducting research on the Lee Kun-hee Collection.

Translating for us tonight is Jung Soo Kim. Before we begin, I want to extend our gratitude to museum trustees and leaders for their generous support, especially Barbara Bluhm, who is here with us this evening. (audience applauding) And now, without further delay, please join me in welcoming Jiyoon and Kim to the stage.

(audience applauding) (Jiyoon Jo speaking in Korean)

Hello, everyone. I am Jiyoon Jo from the Leeum Museum of Art, as just introduced. I specialize in the history of Korean painting and have been working at the Leeum Museum for about 25 years as a curator.

Alongside my field of expertise, I am currently conducting research on the Lee Kun-hee Collection. It is a great pleasure to meet you all and to have an opportunity to speak about the Lee Kun-hee Collection. I would also like to express my sincere gratitude to the staff at the Art Institute of Chicago for inviting me all the way here.

(Jiyoon Jo speaking in Korean) In April 2021, the donation of the late Samsung Chairman Lee Kun-hee's collection became a major topic in the Korean media. The news that his lifelong collection of over 23,000 artworks would be transferred to the nation dominated newspapers and broadcasts across the country. Most of the donated works were designated for the National Museum of Korea and the National Museum of Modern and Contemporary Art, MMCA.

(Jiyoon Jo speaking in Korean) Most of the donated Korean antiquities were allocated to the National Museum, while modern and contemporary art was assigned to the MMCA. The antiquities included masterpieces of traditional Korean art, such as Jeong Seon's "Clearing after Rain on Mount Inwang" along with 14 National Treasures and 46 Treasures. As for modern and contemporary art, approximately 1,600 works were donated.

These included works by major Western artists rarely seen in Korea, such as Van Gogh, Gauguin, Monet, Chagall, and Picasso, as well as representative works by modern Korean painters including Lee Jungseop, Park Soo Keun, and Kim Whanki. (Jiyoon Jo speaking in Korean) So public attention was intensely focused on this donation of the century, with some offering praise, while others expressed suspicion regarding the underlying intentions behind the donation. (Jiyoon Jo speaking in Korean) Following this, the donated works toured various regions across Korea under the name "Lee Kun-hee Collection." Finally, beginning in late 2025, the collection embarked on an international tour, traveling to the Smithsonian's National Museum of Asian Art, Sackler Gallery, in Washington, D.C., the Art Institute of Chicago, and eventually the British Museum.

The response to these exhibitions has been highly enthusiastic, both domestically and internationally. The Sackler Gallery exhibition recorded the highest attendance ever for a Korea-related exhibition, drawing over 80,000 visitors, far exceeding initial expectations. The exhibition here in Chicago is also attending considerable interest and is being presented with great success.

This phenomenon demonstrates that the global wave of K-Culture is extending to an increasing interest in traditional Korean art. At the center of this, we may say, is Chairman Lee Kun-hee's donation of the century. (Jiyoon Jo speaking in Korean) However, there is a surprisingly overlooked aspect behind this monumental donation.

Thus far, attention has largely focused on the background of the donation, as well as the scale and financial value of the works. It is also true that insufficient consideration has been given to the art historical significance of the works, the intentions with which the collector acquired and donated them, and the meaning they convey to us. In this talk, I would like to take some time to reflect on the history and major works of the Lee Kun-hee Collection, as well as the significance of this collection and its donation.

(Jiyoon Jo speaking in Korean) To properly understand the Lee Kun-hee Collection, it is essential to consider his father, Ho-Am Lee Byung-chull. As the founder of Samsung and the father of Lee Kun-hee, he had a strong inclination toward collecting, once remarking that he had a habit of collecting. However, his engagement with art collecting did not begin immediately.

Initially, he collected items such as golf clubs and watches, but gradually developed an interest in traditional Korean art. He began by collecting calligraphy, which had been his personal interest, and later became deeply engaged with various forms of cultural artifacts, including painting, earthenware, ceramics, and Buddhist sculpture. (Jiyoon Jo speaking in Korean) The early stages of his collecting resembled those of many collectors.

Beginning with an interest in a particular field and gradually expanding outward is a common pattern among collectors. In fact, in a 1976 article he contributed to the Nihon Keizai Shimbun, he stated that collecting brought him joy and peace of mind. This reflects a disposition similar to that of many collectors who focus on what they personally value.

(Jiyoon Jo speaking in Korean) He demonstrated a growing appreciation for traditional Korean art, beginning with calligraphy and gradually extending his interest to painting, celadon, white porcelain, and Buddhist art. (Jiyoon Jo speaking in Korean) A representation example is the "Gourd-Shaped Ewer with Lotus Motif." This 13th-century Goryeo work exemplifies the formal beauty and technical refinement of Korean ceramics. He recalled purchasing it at what was then an unprecedented price to reclaim it after it had been illicitly taken to Japan.

He held particular affection for this piece, even writing in his autobiography that, "I felt pride and deep satisfaction whenever I stood before it"." (Jiyoon Jo speaking in Korean) In addition, he collected representative works of Korean antiquities such as "Prunus Vase Decorated with Clouds, Cranes, Peonies, and Chrysanthemums" and one of the best painters in Joseon dynasty, Kim Hong-do's "Daoist Immortal." (Jiyoon Jo speaking in Korean) The period during which he most actively collected antiquities spanned roughly the three decades surrounding the Korean War. This period, encompassing Japanese colonial rule, liberation, the Korean War, and the April 19 Revolution, was one of severe political and economic hardship. As a result, the government was unable to adequately safeguard cultural heritage.

Consequently, large quantities of cultural properties were taken overseas, and at the same time, there were neither sufficient means to prevent their removal nor the capacity to preserve what remained. In this context, Lee Byung-chull resolved that, "Our cultural heritage must no longer be lost or dispersed abroad," and devoted himself to collecting major Korean cultural properties with great determination. (Jiyoon Jo speaking in Korean) A representative example of this effort is his collection of Goryeo Buddhist paintings.

In the 1970s, no example remained in Korea, and many were held in Japan. In 1979, he learned that two works exhibited at the Yamato Bunkakan in Nara, the "Amitabha Triad" and "Ksitigarbha" were available for sale. He attempted to acquire them, but the owner refuses to sell them to a Korean buyer.

He therefore arranged for an American affiliated with his U.S. branch to purchase the works, transport them to the United States, and then bring them into Korea. This marked the first return of Goryeo Buddhist painting to Korea. The donation of works such as "Thousand-Armed Avalokitesvara" and "Water-Moon Avalokitesvara," which are included in the Chicago exhibition here, was made possible because Lee Byung-chull paved the way.

(Jiyoon Jo speaking in Korean) Through such dedicated effort, Chairman Lee Byung-chull collected treasures of traditional Korean art that had been scattered across the world. However, he did not stop there and instead took a path different from that of many other collectors. On February 4, 1965, Chairman Lee Byung-chull held a special press conference.

He announced that he would establish a cultural foundation using his personal assets, which had long been his aspirations. He had already begun planning this foundation in 1960s and had carefully reviewed the structures of foundations in advanced countries. Before initiating the project, he first explained the purpose of establishing the foundation to his family and then formally announced it within the company.

While his family readily agreed, there was significant oppositions within the company, with only a few exceptions. In response, he emphasized that Samsung's growth had been made possible through the support of society and the people. He also explained that since the foundation's endowment would come from his personal assets, it would not place a burden on corporate management, and he continued to persuade them persistently.

As a result, the Samsung Foundation of Culture was officially established on April 2, 1965. (Jiyoon Jo speaking in Korean) The foundation's endowment consisted of stocks and real estate. Believing that the value of the foundation's assets should not be eroded by inflation, he contributed shares and real estate from his personal holdings.

Furthermore, he included a clause in the foundation's articles of incorporation stating, "In the event of dissolution, the remaining assets would revert to the state." This ensured that the foundation's assets would not be used for private gain or remain idle. This principle is clearly expressed in the foundation's founding statement that you can see on the screen. (Jiyoon Jo speaking in Korean) After establishing the foundation, Ho-Am Lee Byung-chull sought to build a museum based on his collection.

Although these works were privately owned, he regarded them as part of the cultural heritage of the Korean people. He believed that such works should be preserved permanently and made accessible to the public, rather than remaining in private possessions. Following the establishment of the foundation, he presented 203 works from his collection to the public in April 1971 under the title "Special Exhibition of Korean Art from the Ho-Am Collection at the National Museum." (Jiyoon Jo speaking in Korean) In February 1975, he announced his intention to return his collections to society.

On October 14, 1978, he formally donated his lifelong collections to the Samsung Foundation of Culture. This collection later became the foundation of the HOAM Museum of Art, which opened in 1982. (Jiyoon Jo speaking in Korean) In accordance with his vision, the Samsung Foundation of Culture began actively developing plans for the museum.

Construction on the Yongin site began in 1976. Following the 1978 donation and in preparation for the museum's opening, the foundation intensified its acquisition of antiquities while also significantly expanding its modern art holdings, which had previously been underrepresented, in order to achieve a more balanced collection. (Jiyoon Jo speaking in Korean) Among these efforts, the purchase of works from the National Art Exhibition of Korea and the JoongAng Fine Arts Prize is particularly well known.

Recognizing the difficult conditions faced by artists in Korea at the time, Lee Byung-chull organized the JoongAng Fine Arts Prize in 1978 and purchased many of the award-winning works, thereby supporting artists so that they could focus on their creative practice without financial hardship. The JoongAng Fine Arts Prize aimed to discover emerging artists and foster established ones, transcending specific styles or schools under the principle of coexistence of diversity. To this end, leading artists of the time including Chang Woo-soung, Park No-soo, and Kim Ki-chang participated as jurors and committee members.

Many of the emerging artists who received awards in this exhibition went on to become central figures in Korean contemporary art. Kim Ki-chang who is currently on display at Art Institute of Chicago also participate as a committee member, and Park Daesung won the great prize in 1979. (Jiyoon Jo speaking in Korean) Finally, on April 22, 1982, the HOAM Museum of Art celebrated its historic opening.

At the opening ceremony, Lee Byung-chull explained the purpose of the museum. (Jiyoon Jo speaking in Korean) Lee Byung-chull did not intend this as a display of personal prestige, but rather as a means of contributing to the nation through culture. This is clearly demonstrated by the inaugural exhibitions featuring the British sculptor, Henry Moore.

He had long believed that sculpture was a relatively underdeveloped field within Korean art. He considered that both artists and the public in Korea had limited opportunities to encounter major works of sculpture. By presenting the work of Henry Moore, one of the most important sculptors of the time, he sought to provide inspiration to both artists and audiences.

(Jiyoon Jo speaking in Korean) As you know, Henry Moore was a sculptor presenting the 20th century, a pioneer of modern sculpture, whose work is also on display at Art Institute of Chicago. (Jiyoon Jo speaking in Korean) Since then, the HOAM Museum of Art has continued to actively organize exhibitions both domestically and internationally, fulfilling its role as one of Korea's leading private museums. (Jiyoon Jo speaking in Korean) After the passing of Lee Byung-chull, a new phase began with the leadership of Chairman Lee Kun-hee.

Observing his father's approach to collecting, he established his own independent direction and ultimately developed collections on a different level. His collecting philosophy can be summarized in two main directions. These are the acquisition of the finest masterpieces representing Korea and the collection of modern and contemporary art from both Korea and abroad.

(Jiyoon Jo speaking in Korean) Chairman Lee Kun-hee's goal was to collect the highest-quality masterpieces representing Korea. He believed that a single masterpiece could elevate the value of an entire collection. For this reason, he pursued the finest works across a wide range of fields.

Representative examples include Jeong Seon's "Clearing after Rain on Mount Inwang" and "Complete View of Mount Geumgang." (Jiyoon Jo speaking in Korean) In addition, he collected outstanding works across all fields, such as "White Porcelain Vase with Underglaze Cobalt Blue Landscape Design," and Kim Hong-do's "Sound of Autumn." (Jiyoon Jo speaking in Korean) He collected works by artists who represent Impressionism like Monet or Renoir, and introducing representatives of Western modern art that had not been in Korea. As a result, prior to the donation, the Samsung family had assembled more than 160 designated cultural properties. (Jiyoon Jo speaking in Korean) An important figure in the development of the modern and contemporary art collection was his wife, Hong Ra-hee, Honorary Director of the Leeum Museum of Art.

The Samsung Foundation of Culture had already begun systematically restructuring its collection in 1992 by separating modern art from antiquities. This process accelerated after she assumed the directorship of the HOAM Museum of Art in 1995. (Jiyoon Jo speaking in Korean) The collection came to include a wide range of major works by Korean artists, from masters such as Lee Jungseop, Park Soo Keun, Chang Ucchin, Kim Whanki, and Nam June Paik to contemporary artists such as Kimsooja, Lee Bul, and Do Ho Suh, who are active on the international stage today.

In addition, the collection expanded to include major works by leading Western artists, ranging from Rodin to Mark Rothko, Louise Bourgeois, and Damien Hirst, with a focus on both quality and significance. (Jiyoon Jo speaking in Korean) This was actually following the wills of the Lee Kun-Hee and Hong Ra-hee to make art as an everyday life to the public. Eventually it established HOAM Gallery and Rodin Gallery.

(Jiyoon Jo speaking in Korean) Although the HOAM Museum of Art, with its outstanding collection and natural setting, was a leading institution in Korea, its location in Yongin made access less convenient. During overseas business trips, Chairman Lee was impressed by the fact that even smaller European cities possessed strong cultural infrastructure, including fine theaters and orchestras. Inspired by this, he sought to make art more accessible to the public in Korea.

To achieve this, he utilized the HOAM Gallery, located in the JoongAng Ilbo building in central Seoul, to present major exhibitions. This originated from the will art should be engaged in people's everyday lives. (Jiyoon Jo speaking in Korean) The HOAM Gallery hosted exhibitions such as "The Great Goryeo National Treasures Exhibition" and "Masterpieces of Buncheong Ware", presenting not only traditional Korean art but also modern and contemporary works from Korea and abroad.

It became a space where the public could easily access and appreciate high-quality cultural experiences. In particular, the "Art Spectrum" exhibition, which began in 2001, has played an important role in discovering emerging artists and continues to serve as a platform for new talent. (Jiyoon Jo speaking in Korean) The establishment of the Rodin Gallery was particularly significant.

In 1999, in the center of Seoul along Sejong-daero, the first Rodin Ｍuseum in Korea, and the eighth in the world, was opened. The museum permanently displayed major works by Rodin, including "The Gates of Hell" and "The Burghers of Calais," which had previously been difficult to encounter in Korea. Acquiring Rodin's works was not simply a matter of financial capability.

The sale of Rodin's works was overseen by the French government, which administers the Musée Rodin, and it placed primary importance on how the works would be presented and utilized. At the time, many institutions around the world expressed interest in acquiring Rodin's works. Chairman Lee Kun-hee and Director Hong Ra-hee demonstrated strong commitment by personally meeting with the French Minister of Culture and the director of the Musée Rodin.

As a result, Korea gained the opportunity to present Rodin's masterpieces to the public. (Jiyoon Jo speaking in Korean) There is also a notable story regarding the location of the Rodin Gallery. The gallery was located in the Samsung Life Insurance building in the center of Seoul, near City Hall.

Because of its prime location, there was considerable oppositions within the company, with some arguing that the space should be used for commercial purposes to maximize profitability. In response, Chairman Lee Kun-hee made the following remark, as you can see on the screen. (Jiyoon Jo speaking in Korean) This statement clearly reflects his philosophy regarding culture.

His decision to prioritize cultural value over commercial considerations demonstrated his deep commitment to sharing art with the public. He believe that art and culture play a significant role in shaping corporate activity, and he applied this belief in practice. (Jiyoon Jo speaking in Korean) Under the conviction that, "Technology alone cannot lead globally, beauty is also a form of competitiveness," he promoted a shift toward design-oriented management.

He also stated, "Art is creation, and creation arises from the power of thinking. If one simply follow others, one can only remain second," emphasizing the importance of creativity, which he likened to artistic practice. (Jiyoon Jo speaking in Korean) He believed that cultivating this capacity required long-term investment, and he argued that cultural strength is more important than economic scale in the advancement of a nation.

(Jiyoon Jo speaking in Korean) Although the Rodin Gallery was later transformed into Plateau, a space dedicated to contemporary artists, and eventually disappeared from the urban landscape following the sale of the Samsung Life Insurance building, Chairman Lee Kun-hee's commitment to the public enjoyment of culture ultimately came to fruition in the form of the Leeum Museum of Art. (Jiyoon Jo speaking in Korean) The establishment of a museum of global standing had long been an aspiration of the Samsung Foundation of Culture. While the HOAM Museum of Art and the HOAM Gallery had been meeting the cultural needs of the public, they were still considered insufficient to be regarded as a world-class museum.

Accordingly, efforts began to establish a new museum of international caliber at a site in the city center. As a result, on October 13, 2004, the long-anticipated Leeum Museum of Art was opened on the slopes of Namsan, overlooking the Han River in Seoul. The Leeum Museum of Art was an architectural project of rare distinctions, involving three internationally renowned architects: Mario Botta, Jean Nouvel, and Rem Koolhaas.

It is a unique space where Korean antiquities of national significance, modern and contemporary Korean art, and international contemporary art can all be experienced in a single location. This achievement generated a significant impact across the global art world. (Jiyoon Jo speaking in Korean) This remark on the screen right now made by a figure from the art world who attended the opening ceremony, accurately articulates both the distinctive character of the Leeum Museum and its future directions.

(Jiyoon Jo speaking in Korean) Since then, the Leeum Museum has played a leading role in the Korean art world and has developed into one of the country's most representative museums. It has become an essential cultural destination for international art professionals visiting Korea for major events. Today, it serves as a site where traditional Korean art and global contemporary art are exhibited together, welcoming visitors from around the world.

(Jiyoon Jo speaking in Korean) To commemorate the first anniversary of the late Chairman Lee Kun-hee's donation, the National Museum of Korea held a special exhibition beginning on April 28, 2022. While many of the donated works were presented in the exhibition galleries, the space that drew my attention most strongly was this one on the screen. It was a space that reinterpreted chaekgado, a traditional folk painting, in a contemporary manner.

Although the works displayed there were not considered masterpieces in comparison to other exhibits, the space was nevertheless highly compelling. (Jiyoon Jo speaking in Korean) In this gallery, a wide range of collected objects was displayed. From Goryeo celadon and Joseon white porcelain to Chinese bronzeware, musical instruments, abacuses, and even Go stones, a diverse array of objects was presented together.

This type of display was also seen at the Smithsonian exhibition and can be observed in the current exhibition at the Art Institute of Chicago. In particular, the Chicago exhibition places chaekgado at the center of the display, making the meaning of this arrangement even more evident. (Jiyoon Jo speaking in Korean) However, what moved me was not simply the originality of the display or the excellence of the individual works, but rather the fact that the space embodies the message that Founder Lee Byung-chull and Chairman Lee Kun-hee sought to convey through their collection.

Why did they collect such a wide range of objects, regardless of period of time? Most collectors tend to focus on a particular area of interest. However, the Lee Kun-hee Collection encompasses a broad spectrum, ranging from traditional Korean art to various fields of modern and contemporary art. It includes not only works of aesthetic beauty but also objects of historical significance, as well as everyday items bearing traces of anonymous lives, thereby encompassing diverse narratives from both the past and the present.

(Jiyoon Jo speaking in Korean) During his lifetime, Chairman Lee Kun-hee hoped that all people would be able to engage with art in their everyday lives and, through this experience, develop a distinct cultural identity. Guided by this belief, he ensured that the collection-assembled over generations would be donated to the nation after his passing in order to realize this vision. This act reflects a spirit of cultural patriotism inherited from the previous generation, as well as a sense of responsibility to prevent the dispersal of Korea's cultural heritage.

This is precisely why we should not view this donation of the century solely in terms of the objects themselves. (Jiyoon Jo speaking in Korean) Thank you for listening to the talk. I would like to introduce curator Yeonsoo and have a little more Q&As.

(audience applauding)

Well, I think we learned just tremendously about the Lee Kun-Hee Collection, that we are only looking at the fraction of the objects through the exhibition in the other galleries, but I think Mr. Jo's talk today really illuminated the intention of the collecting by the two prominent collectors and also their mission, and then how the mission has been really fully realized through this donation of the century and also the touring exhibition in D.C. and Chicago, and then in the future in London. So, I really appreciate your illuminating talk today, and I know we are running short of time, so I have just a few questions, and then we can just open the floor for just a couple of questions from the audiences. So, my first question is that this exhibition, the collection includes over 23,000 objects, but I understand that it is not the entirety of the private collection that the Lee family owned, which is amazing, which led to the question that I have in mind that then there was a process of selection.

So, I'm just wondering what was the criteria of the selecting and who were involved in the decision-making, whether it was solely by the family members or the curators at the Leeum and HOAM museums who are involved. Or even the creators at the recipient institutions, the wishes, and hopes, and desires were also reflected? (Jiyoon Jo speaking in Korean)

Yes, although we did not know the exact total number of the object in the family's private collections, approximately 60 to 70% of the overall collection was donated. Regarding the donation process, there was close consultation among the Samsung family, museum curators, and the receiving institutions, including the National Museum of Korea and the National Museum of Modern and Contemporary Art. The wishes and requests of the recipient institution were also reflected of some extent.

I myself was involved in this project and was responsible for the practical process of selecting and coordinating the donation of Korean antiquities.

Okay, so it's really wonderful to know that the process was collaborated. And I also understand that there were other museums who were the recipients of the Lee Kun-Hee collection. We were just largely known by the two national museums, National Museum of Korea and the National Museum of Modern and Contemporary Art, Korea.

Can you tell us a little bit about other recipients and then why they were selected and what kind of works were donated? (Jiyoon Jo speaking in Korean) So most of the donated works went to the National Museum of Korea and the National Museum of Modern and Contemporary Art since these institutions represent Korea's leading national museum of traditional and modern art respectively, naturally it was considered appropriate for the works to be housed there for exhibition and research purpose. However, several works were also donated to regional museums, including Gwangju Museum of Art, Jeonnam Museum of Art, Daegu Museum of Art, Park Soo Keun Museum and Lee Jung Seop Art Museum The donated works were mainly by major Korean modern artists, and there were two primary reasons for selecting these institutions. So first of all, works were donated to regions closely connected to the artists themselves, either their hometown or places where they were especially active.

For example, works by Kim Whanki who was born in Sinan, Jeollanam-do, were donated there. Works by Park Soo Keun were donated to the Museum of Yanggu, Gangwon-do, his hometown. And works by Lee Jungseop were donated to the Jeju Museum, commemorating the important period of his Jeju short life.

Another example is also Oh Ji-ho who was from Hwasun, Jeollanam-do and greatly influenced the original Western-style painting scene while teaching at Chosun University. Secondly, the late chairman and his family also wished to expand cultural access to local communities. As I mentioned in the presentation earlier, Chairman Lee admired how even smaller rural towns in European cities sustained rich cultural lives.

He believed that the everyday accessibility of art, and the selected museums and institutions with strong regional identities, yet many lacked sufficient representative works by local artists. By donating these works, the family hoped to support the exhibition programming, and cultural opportunities for local residents.

Thank you. I think that is really admirable that, and I am glad that our audience got to know that, different side of the Lee Kun-Hee Collection, they were donated to the many small regional museums. So just to conclude today's program, I want to ask this one last question to you.

It's a sentimental question. You've been working as a museum art curator for over 25 years. These were your babies, and then you have to part with.

So I just want to ask you what were your feelings, and then how did you feel about when you part those objects? (Jiyoon Jo speaking in Korean)

So although those works were not formally owned by the museum, it was deeply painful for me, as someone who had organized exhibitions using them for many years to part with them. For example, I once accompanied a truck transporting the National Treasures to the National Museum of Korea. When we arrived and unrolled, they said, "Please unroll the 'Clearing after Rain on Mount Inwang' first." And I was unrolling it, and for the condition inspections, I became so emotional that my face turned so red, and I remember repeatedly telling them, hey, please take care of this, good care of it, please, this is almost like my kid.

And I have never married off my daughter myself yet, but I think it's going to be the similar feeling of the way. But at the same time, I also respect and share the wishes of the late chairman and his family. So I believe this donation would allow the works to be more widely seen and for cultural purpose, and would ultimately benefit the Korean culture world.

In fact, since the donation, interest in Korean art has grown significantly. It was good timing, and both within Korea and international. The fact that National Museum of Korea ranked third in the world in annual visitor numbers last year reflects this increased attentions.

I believe that the Lee Kun-Hee Collection contributed greatly to the growing global interest in Korean art.

Well, thank you so much, Jiyoon, And I think this is going to be really the conclusion of the program. So just let's give him another round of applause. (audience applauding)