Wooden Lantern: Dano Pungjeong and Yeonso Dapcheong Traditional Painting Motif
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“Light passes from one scene to another, as if time itself were turning quietly.”
This wooden lantern brings together two reproduced genre-painting motifs attributed to Shin Yun-bok, also known by his sobriquet Hyewon. Unlike singular-image lanterns, this work allows two related scenes to coexist on a single object, establishing a subtle dialogue across its surfaces.
One panel presents Dano Pungjeong, a depiction of women enjoying the Dano festival. Figures bathe by a stream, swing beneath trees, and gather in moments of seasonal leisure. Dano, celebrated in late spring to early summer, was traditionally associated with vitality, purification, and the height of yang energy. In Hyewon’s hands, the scene becomes an exploration of freedom and bodily ease, conveyed through relaxed postures, flowing garments, and unguarded gestures. The women are neither idealised nor constrained; they appear fully present within their moment.
The opposing panel features Yeonso Dapcheong, translated as “young people stepping on green grass.” This scene depicts a spring outing, with youthful figures moving into the landscape. Here, emphasis is placed on motion and anticipation rather than rest. The figures advance lightly, their presence animated by the promise of renewal that accompanies early spring. Nature is not a backdrop but an active participant, its fresh greenery mirroring the optimism of youth.
Seen together, these two scenes articulate a seasonal arc. Yeonso Dapcheong speaks of emergence and forward movement, while Dano Pungjeong reflects arrival and fullness. Youth and maturity, motion and repose, spring and early summer—none are presented as opposites, but as successive states within a continuous cycle.
When illuminated, the lantern allows light to move between these motifs, softening their boundaries and unifying them into a single atmospheric presence. The imagery does not assert itself forcefully; instead, it unfolds gradually as the eye moves around the object. Light becomes the mediator, linking figures across panels and suggesting the passage of time rather than a fixed narrative.
The lantern itself is constructed from wood in a square form, its proportions referencing traditional Korean window structures. Panelled sides provide architectural order, holding each scene within a measured frame. A handle at the top allows the lantern to be carried or gently suspended, reinforcing the sense that this object, like the scenes it bears, is meant to move quietly through space.
The artwork panels are printed reproductions of traditional paintings, applied as visual surfaces rather than original hand-painted works. This allows the motifs to function as carriers of cultural memory, integrated into an object whose purpose is not illustration alone, but the shaping of atmosphere through light.
Powered by a 9V battery, the lantern may be placed freely without reliance on fixed light sources. Yet its significance lies less in illumination than in presence. It offers not brightness, but continuity—a gentle reminder that human life, like the seasons it inhabits, unfolds through shared moments of movement, rest, and renewal.
In this lantern, light does not tell a story outright.
It moves between scenes, allowing time, youth, and celebration to remain quietly connected.
* Battery is NOT included
Dimensions
- Width- 10cm (3.94 inch)
- Depth- 10 cm (3.94 inch)
- Height- 12cm (4.72 inch)
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