A Room of Quiet Contemplation: Seeing and Identification in the National Museum of Korea

Abstract

Contemplation is a unique way of seeing that enables us to perceive the truth of the invisible beyond what is visible. Through contemplation, one can become deeply connected with, and possibly even identify with, what they have observed. This study analyzes the spatial arrangement of “A Room of Quiet Contemplation” at the National Museum of Korea and explores its interaction with visitors. Although the room prominently features two Buddhist pensive bodhisattva statues, giving it a Buddhist appearance, it must meet certain necessary conditions due to its location in a national museum. Respect for religious diversity and the neutralization of religious bias are crucial. We examine how the statues are de-contextualized from their original temporal and local contexts, allowing them to function as universal (non-religious) signs in the museum. Furthermore, the room must be accessible to foreign visitors from various cultural and religious backgrounds. Thus, this research investigates the universality and singularity of the tradition of contemplation. Additionally, we explore how the experience of contemplation can be enhanced through various forms of the spatial expansion of “A Room of Quiet Contemplation”.

1. Introduction

We sometimes raise the hackneyed and unanswerable question of what is more important: the ‘visible’ or the ‘invisible’. Plato places high value on human ‘seeing’, stating that the best gift given by God to humans, who are mortal beings, is sight (Plato 2016). However, the vision that Plato describes is the starting point for the human soul’s ascent. After experiencing the beauty of the senses in ‘the world of sense,’ the soul is then able to contemplate the invisible truth of ‘the world of intelligence’. Therefore, from a Platonic perspective, it can be inferred that the invisible holds greater significance than the visible.

The concept that bridges the dichotomy of between the ‘visible’ and the ‘invisible’ in Plato’s Symposium is the ladder of Eros (Plato 2008). Socrates suggests that the most valuable way of life involves cultivating the mind’s eye to perceive specific sensuous or material beauty and then ascending to recognize universal and immaterial beauty. This implies that ‘seeing’ itself has different levels and a hierarchy. For Plato, Aristotle, and Plotinus, the term ‘contemplation’ refers to a form of seeing that goes beyond mere sensory perception, signifying a deeper insight into the essence of things. Contemplation is a form of seeing, but it requires specific conditions to be achieved. This study suggests that “A Room of Quiet Contemplation” in the National Museum of Korea is a uniquely designed space intended to bridge the visible and the invisible.

“A Room of Quiet Contemplation” (ARQC) is centrally located within the National Museum of Korea (Figure 1). This permanent exhibition space was specially planned and opened to the public in 2022. This study examines how ‘contemplation’ is perceived and experienced within Korean religious and artistic culture, beginning with an analysis of the spatial design of “A Room of Quiet Contemplation” in the museum. The primary focus of this study is to interpret the spatial structure and meaning of “A Room of Quiet Contemplation” at the National Museum of Korea in relation to its visitors. ARQC prominently features two Buddhist pensive bodhisattva statues at its center, giving the space a distinctly Buddhist character. However, since ARQC is located within a ‘national’ museum, it is important to consider that the Constitution of the Republic of Korea guarantees freedom of religion and that the country has no state religion. Therefore, this paper investigates how ARQC can meet the criteria for supporting religious diversity while sufficiently minimizing any specific religious affiliation. In addition, foreign visitors from various religious cultures should be able to contemplate or understand contemplation in ARQC.

This research thus demonstrates that contemplation is not confined to Buddhist tradition but a universal phenomenon, whether religious or philosophical. The National Museum of Korea also extends the experience of ARQC into virtual spaces, such as the Metaverse, YouTube, and 2-D videos related to ARQC. Consequently, this study will explore the phenomenon of the spatial extension of ARQC and how it makes contemplation more accessible.

2. National Museum, a Room of Quiet Contemplation, Pensive Bodhisattva Statues, and Visitors—A Space of Relationships

It is well understood that the National Museum of Korea maintains a religiously neutral stance in a society that has no official religion and upholds freedom of religion. In 2023, the National Museum of Korea attracted approximately 4.18 million visitors, ranking as the sixth largest museum in the world by visitor count (Seoul Economics 2024). “A Room of Quiet Contemplation,” the primary focus of this study, is situated in the most accessible location on the second floor of the permanent exhibition hall. This special room for contemplation showcases two representative national treasure pensive bodhisattvas, crafted in the late 6th century and early 7th century during the Three Kingdoms period.

After passing through a dark and quiet hallway, you enter a small theater-sized space, 24 m in length, where you encounter two pensive bodhisattva statues (Figure 2). According to an interview with the architect Choi Wook, who designed “A Room of Quiet Contemplation,” the 24 m length corresponds to that of a small theater, providing an optimal space size that allows viewers to perceive the subtle expressions of the pensive bodhisattva statues (Brique 2021). Each statue features the right leg resting on the left knee and the right hand gently touching the cheek (National Museum of Korea 2022). The slanted walls, floor, and ceiling contribute to a surreal atmosphere that defies traditional perspective (Figure 3). The walls, crafted from a mixture of earth, cinnamon, and cypress wood, emit a subtle scent. Approximately 21,000 rods of varying lengths are suspended from the ceiling, subtly adjusting its the height and creating a soft light at the rod ends, evoking the feeling of a celestial starry sky. The oval-shaped exhibition stand and irregular spatial structure generate a dynamic flow within the space, enhancing the contemplative experience. This design aimed to ensure that the background would not stand too realistically but would instead blend naturally into the overall space (Hankookilbo 2021). This was focused entirely on the pensive bodhisattva statues and the visitors, aiming to foster a sense of connection between them.

At first glance, these statues may appear to be purely Buddhist, but their significance extends beyond this initial impression. It is believed that the pensive bodhisattva was worshiped as the main deity of a specific temple during the Silla period in the 6th and 7th centuries, indicating its Buddhist origins. However, by de-contextualizing from its original context, the statue has lost its initial function and acquired a new status within the National Museum of Korea in the 21st century. Although the two pensive bodhisattva statues are Buddhist cultural artifacts, they do not merely represent Buddhism. They symbolize the broader culture of the Three Kingdoms period during which they were created, but they also stand as masterpieces of Korean art. For instance, the pensive bodhisattva statue, National Treasure No. 83 (Figure 4), has been featured as a key artifact in the “Silla Korea’s Golden Kingdom” at the Metropolitan Museum of Art in the United States since 29 October 2013 (New York Times 2013). The two national treasures are not only cultural assets of Buddhism but are also recognized as works of art in Korea and internationally, transcending their religious origins to be appreciated as post-Buddhist and post-Korean cultural icons.

In addition to shedding their local identities from the 6th and 7th centuries and acquiring new statuses as Korean national treasures and globally recognized works of art, these statues became sign bearers upon their inclusion in the museum. Accordingly, to Saussure’s analysis, a ‘sign’ is composed of a signifier and a signified (de Saussure [1916] 1974). In this context, the Buddhist image functions as a ‘signifier’ that carries with it a ‘signified’ (meaning). A signifier is a sound image that represents a sign (pp. 66–67). The signifier brings about signification—the process of meaning-making—so that these statues gain their significance.

In the realm of contemplation, the possibility for linguistic production is crucial. The contemplation of the pensive bodhisattva, which can inspire linguistic thought, transcends its role as a mere object of Buddhist contemplation and instead becomes a central signifier. This pensive bodhisattva, a work of art whose beauty is globally recognized, is not confined to being understood solely by Buddhists or Koreans. It functions as a universal signifier, transcending religious distinctions and appealing to a broader, more inclusive audience.

Signification, or the production of meaning, within a context begins with naming. There has been considerable controversy among scholars regarding the identity of National Treasures No. 78 and No. 83.1 Are these pensive statues representations of Prince Siddhartha or Maitreya Bodhisattva (the future Buddha)? For nearly a century, extensive research has been conducted to determine whether these pensive statues depict Prince Siddhartha or Maitreya Bodhisattva. Given this ongoing debate, it raises the question: what stance does the national museum take on this matter?

There is a claim that it is a statue of the pensive Prince Siddhartha, based on descriptions found in early Indian scriptures and Chinese translations that depict the life of Buddha, such as Buddhacarita. In these texts, Prince Siddhartha is often described as sitting and contemplating under the Bodhi tree (Seo 2014, pp. 151–52). Similarly, early Indian and Chinese Buddhist scriptures frequently portray Prince Siddhartha alongside his favorite horse and a horseman. However, these motifs were gradually omitted in later generations, leading to the production of statues without any motif during the late Northern Wei Dynasty of China (386~534 AD). These later statues were still intended to represent Prince Siddhartha (p. 160).

In Korea in around 600AD, it is highly plausible that a pensive statue was produced in connection to the belief of Maitreya Bodhisattva rather than as a depiction of Siddhartha’s contemplation, despite ongoing debates on this issue (Moon 2022). In scriptures related to Maitreya Bodhisattva, such as Sangsengkyung (Sutra of the Descent to Be Born or Sutra on the Contemplation of Maitrey’s Descent), Maitreya is primarily portrayed as delivering sermons, while the saints around her are depicted as being in contemplation (Seo 2014, p. 160). Therefore, it is reasonable to interpret the pensive statues as representations of human saints contemplating around Maitreya rather than as depictions of Maitreya Bodhisattva herself. Additionally, in the same century, single statues from the Northern Wei Dynasty of China saw a gradual increase in the proportion of saints’ pensive statues. This trend should also be considered when interpreting the Korean nameless pensive statues, which are similar in scale and style to those of the late Northern Wei Dynasty (p. 161).

Consequently, the pensive bodhisattva statues in the museum do not represent either Prince Siddhartha or Maitreya Bodhisattva. In Mahayana Buddhism, the term ‘bodhisattva’ refers to anyone aspiring to attain Nirvana, often signifying an ordinary Buddhist practitioner. On the other hand, when a Bodhisattva is given a specific name, it becomes almost equivalent to a Buddha who has achieved liberation, serving as an object of worship. Therefore, a pensive bodhisattva, which symbolizes an ordinary person in deep contemplation striving for Nirvana, differs from Maitreya Bodhisattva, who is worshiped as a future Buddha.

Here, the significance of being nameless is profound. According to Jacques Lacan (1997), the less a signifier is attached to a specific meaning, the more indestructible it becomes (pp. 184–85). Unlike Saussure’s theory of signs, Lacan’s perspective questions the notion of a fixed relationship between the signifier and the signified. Lacan posits that the signifier is not bound to a meaning that is universally accepted within a linguistic community. Instead, a nameless signifier, such as a bodhisattva statue without a fixed name, allows meaning to emerge through the personal experiences and imaginative input of the viewer. In contrast, if the pensive bodhisattva in ARQC were identified as a specific bodhisattva or a Buddha, it would evoke a fixed image and potentially lead to automatic worship. However, because the identity of the statue is ambiguous, interpretation is left to the visitors. They do not need to consider any prior knowledge about the statue’s production during the Silla Dynasty in the 6th and 7th centuries or how it came to be in the museum. The absence of a name successfully de-contextualizes the pensive bodhisattva statue from its original context and implications. “A Room of Quiet Contemplation” thus becomes a place for personal interpretation. This approach provides an opportunity for the museum’s content to be shaped by visitors themselves (Bataille [1930] 2005, p. 65). It even integrates visitors into the exhibition’s arrangement, as O’Doherty ([1976] 1996, p. 39) suggests. The namelessness of the signifier invites visitors to actively assign meaning to it, allowing true contemplation to begin.

3. Contemplation in Western Culture: Plato, Plotinus, and a Room of Quiet Contemplation

Contemplation is a form of ‘seeing’. The Latin word contemplatio combines the meanings of cum (simultaneity, commonality, unity) and templum (house, temple, sanctuary, space surrounded by the sky). Etymologically, this term conveys the idea of a place intertwined with time, but it was used to mean ‘seeing’ the reality inside an object (Shannon 1993, pp. 209–10). Contemplation involves not only perceiving an object but also understanding its inner reality. The Greek Fathers (Clemens, Origen, Evagrius, Gregory of Nyssa, etc.) adopted the Greek word theoria (focusing on a specific object for a certain purpose) to capture the meaning of the Latin word contemplatio, emphasizing the traces of God in creation (Oh 2007, p. 276). Thomas Merton expands on this idea by defining contemplation as “seeing God, the basis of reality, within a contingent reality” (Merton 1962, p. 3).

In the Western tradition, contemplation is rooted in thought much earlier than the advent of Christianity, beginning with Plato. In his Symposium, Plato presents a methodology that emphasizes a life guided by contemplation, progressing from beauty in the sensory world to the ultimate recognition of the absolute truth of the intelligible world. In the Symposium, Plato introduces the concept of the ascent of Eros, which moves from the appreciation of particular physical beauty to universal physical beauty in all instances, then to moral beauty, followed by the beauty of intelligence, the supreme intelligence of absolute beauty, and finally to absolute beauty itself. This metaphor of gradual ascent illustrates a process that begins with sensory perception and culminates in the understanding of the idea of the intelligible world. This provides an image of gradual ascent. It starts with the sense of seeing material and ultimately reaches the stage of understanding the idea of the intelligible world. Through this process, one can ascend to higher levels of understanding, acquiring a special capacity for seeing through contemplation.

“A Room of Quiet Contemplation” is meticulously designed to facilitate an encounter between a special space (templum) and a special time (cum). The two objects of contemplation— the pensive bodhisattva statues (National Treasures No. 83 and No. 78)—are placed within the room. The design of the space may evoke contemplation by manipulating time and space, engaging the visual senses of the visitors. From a Platonic perspective, the goal of contemplation is not merely to remain within the sensory experiences provided by the museum but to ascend to the intelligible world that transcends senses. However, it is uncertain whether visitors are able to achieve this shift to the intelligible world, as Plato suggests. Often, the visitors simply pass through the room without fully engaging or communicating with the objects of contemplation. Even if they spend some time observing the pensive bodhisattvas, they may not fully grasp or appreciate the material world’s beauty. In such circumstances, is there enough time or personal resolve for them to use contemplation of the sensory world as a stepping stone to penetrate the essence of the intelligible world?

In the Platonic sense, entering the intelligible world through the world of sense is possible only by acquiring a special ability to see. Unfortunately, most people may only perceive the objects in the sensory world, such as those presented in “A Room of Quiet Contemplation,” and might pass through the room without fully understanding the intent behind the design. In the midst of a hectic life, one might be content with a brief moment of rest or healing in the room’s quiet atmosphere. Yet, the true purpose of contemplation in the Platonic sense is neither healing nor relaxation; it is to ascend to the absolute beauty of the intelligible world.

Following the method of ascent suggested in Plato’s Symposium, Plotinus also regarded the act of perceiving visually beautiful objects as a stepping stone for spiritual ascent. However, he believes that a new way of seeing is essential to reach a higher level of beauty (Ricken [2003] 2010, p. 580). Unlike Plato, Plotinus had a distinctly strong religious tone. He devoted himself to achieving self-purification and unity with ultimate reality through rigorous practice.

What is the new way of seeing that moves our souls from the beauty of the sensory world to the beauty of the intelligible world? It involves a process that allows the soul to transform into a spirit capable of ‘looking within oneself.’ This special form of seeing shifts the focus from external sensory beauty to an inward gaze, purifying the soul and enabling it to ascend to the spiritual realm. A soul that has become a spirit can contemplate itself in a way that conventional vision cannot achieve. As a result, new eyes that can recognize wisdom (sophia) are opened, allowing one to rise to a higher level of absolute beauty. Contemplating such high-level beauty requires training, practice, and patience. In this journey, advanced visual training is a necessary prerequisite for the mental ascent that progresses from vivid sensory experience to intelligible contemplation of reality (S. A. Lee 2011, p. 140).

This suggests that long-term visual training may be essential for achieving a genuine contemplative experience. Moreover, the Plotinian path to contemplation is closely tied to ethical consciousness and ethical purification (Ricken [2003] 2010, p. 584). A person whose vision is clouded cannot perceive anything, even when what is visible is right before them (Plotinus 1955). Through successful purification, a person’s soul transforms into a spirit capable of self-contemplation, whereas the soul alone can only perceive the external world. After becoming a spirit, the next step is to unite with the One. Such rigorous self-discipline, whether for ethical or visual purposes, is necessary for true contemplation.

4. Identification Accompanied by Contemplation

“To any vision must be brought an eye adapted to what is to be seen, and having some likeness to it. Never did eye see the sun unless it had first become sunlike, and never can the soul have vision of the First Beauty unless itself be beautiful. Therefore, first let each become godlike and each beautiful who cares to see God and Beauty.” (Plotinus, Enneads. I 6 [9]). One’s personality is transformed through contemplation: the individual becomes internally non-dependent and increasingly similar to the object of contemplation (Ricken [2003] 2010, p. 582). In the process of the Plotinian soul’s ascent to the spirit and union with the One, the movement of Eros that drives the soul toward the One is not about possessing the One but about assimilating with it, where the soul becomes more like the One (Song 2013, p. 71). Throughout this process, the soul is purified, elevated to the level of the spirit, ultimately coming to resemble the One.

This identification that occurs during Plotinian contemplation can be applied to the relationships formed in “A Room of Quiet Contemplation”. Through the contemplation of the material statue of the pensive bodhisattva in the museum, a viewer ultimately becomes similar to an immaterial aspect of the pensive bodhisattvas. If that is the case, what specific aspect of the pensive bodhisattva becomes integrated into the viewer?

Freud argues that identification is the most decisive process in the construction of the ego (Laplanche and Pontalis [1967] 2005, p. 119). As a result of identification, the ego-ideal or super-ego is added as an instance to the ego. Freud observes that identification can progress through what he terms a “unary trait” (Freud [1922] 1957). This refers to a process where one ego perceives a significant analogy with another ego upon a single point, leading to an identification based on that specific point. In other words, we can form a connection and influence our self-identity based on one shared characteristic even if we are not fully aware of what that characteristic is.

This raises the question: what is the unary trait that might prompt identification during contemplation of the pensive bodhisattva? To explore the relationship between contemplation and identification, we will examine a scene from Han Kang’s novel Baby Buddha that reflects the Korean tradition of contemplation.

5. Contemplation and Identification in the Korean Buddhist Tradition and in the Museum

Koreans have a long-standing tradition of mental cultivation through the method of contemplation. For instance, one of the reasons why Korean archery is renowned as the best in the world is the mental discipline developed through contemplation, although the specific techniques remain largely unknown to the general public. From the original teachings of Buddhism to both Theravada and Mahayana tradition, the concept of contemplation—understood as ‘seeing things as they are’ (Yathābhūtam)—has been regarded as a crucial approach to life.

Contemplation aimed at understanding ‘reality as it is’ is a practice that avoids distorting existence as it is by excluding elements like signification, delusion, emotion, prejudice, and expectation. For example, Samatha-Vipassanā is a Buddhist practice that involves simply observing all kinds of thoughts, delusions, emotions, and sensations that arise in our consciousness (Kim 2008, pp. 30–31). By merely observing these mental by-products, which naturally occur or are brought about by deliberate intention during breathing or work, one can experience their gradual disappearance, leaving only the object of concentration—or emptiness. In this way, Buddhist contemplation can be experienced through meditation practice or by engaging with Buddhist art.

In Han Kang’s novel A Baby Buddha, we can investigate the possibility of salvation through Buddhist contemplation and identification (Han 1999). The main character, Sun-hi was initially untroubled by her husband’s burn scars before her marriage. However, after marrying, she began to perceive the burn scars as ugly, which caused her significant distress. Contemplation, in this context, involves seeing the burn scars simply as they are—without attaching any additional meaning, such as beauty or ugliness, to them. Unfortunately, as Sun-hi starts to assign value judgements to the scars, she loses her ability to contemplate them objectively, leading to psychological instability.

Fortunately, Sun-hi’s mother serves as a potential source of salvation. As a way to escape her psychological suffering and move forward, Sun-hi begins to adopt her mother’s contemplative attitude toward life. Her mother, a dedicated Buddhist practitioner, seeks liberation through her devotion to Buddhist painting, providing Sun-hi with a model of spiritual practice and contemplation.

Sun-hi quietly observes her mother as she draws various statues of Buddhas and bodhisattvas, and appreciates the images of Buddhist paintings (Figure 5). She also engages in drawing Buddhist images herself. This series of activities represents a method of contemplation that not only purifies the mind of ‘myself’ but also serves as a practice to gather the outwardly distracted mind inward, achieving a state of tranquility (Bang 2015, pp. 98–99). As Sun-hi gazes upon the statue of Guan Yin (Avalokiteshvara) with her eyes, she also intuitively grasps the essence of Guan Yin with the mind’s eye. This process naturally leads to self-reflection and identification with Guan Yin. While drawing a statue of Guan Yin, Sun-hi unconsciously identifies with the object by internalizing the calmness and benevolent nature embodied in the image of Guan Yin. Through this process of becoming similar to the object of she is painting, Sun-hi evokes compassion for others, a central quality of Guan Yin.

Just as the character in the novel Baby Buddha identifies with Guan Yin through contemplation, we can explore how the act of contemplation within a museum setting might lead to a similar process of identification. If this is the case, it suggests that a museum offers a unique opportunity to engage in a contemplative process that transcends mere observation, potentially fostering a deeper connection or identification with the artwork itself.

Visitors who have previously viewed sculptures or other forms of Buddhist statues in different museums might draw various comparisons with their past observations. Some may perceive a profound truth about life that transcends the bodhisattva’s serene expression, potentially leading to an unconscious identification with the bodhisattva’s tranquil and compassionate nature. Others might simply appreciate the sensuous beauty of the artwork, preserving its esthetic appeal in their memories without engaging in deeper contemplation. For some, the serene image of the bodhisattva might offer a moment of emotional healing, providing a brief respite from the stresses of life. However, there may also be visitors who pass through ARQC (A Room of Quiet Contemplation) in the museum without any significant impact, simply observing the exhibits without a lasting change in perspective or emotion. This may be where Hans-Georg Gadamer’s concept of “the fusion of horizons” occurs (Gadamer [1975] 1989). It can be said that this is where the horizon of the viewer and the horizon of the “Room of Quiet Contemplation” meet, creating unique contemplative experiences for each individual.

6. This Is Not a Space of Worship: Universality and Singularity of the Act of Contemplation

Likewise, “A Room of Quiet Contemplation,” when exposed to all types of visitors, may fail to move people or foster meaningful encounters. The initiative lies entirely with the visitors. Whether they seek healing or a profound experience of contemplation, the visitors hold all the keys. In a museum, it is the viewer who builds a relationship with the art. They know exactly what they want, and that may be to focus on two or three pieces, sinking into deep concentration in front of them as if they were really idols (Adorno [1953] 1977, p. 194). Visitors entering “A Room of Quiet Contemplation” might either quickly pass through and leave or choose to stay in front of the pensive bodhisattvas, contemplating them for some time. While hurrying through the room, they might find the work unappealing. Additionally, if a visitor is a devout follower of their own religion and views the pensive bodhisattva as an object of idolatry, they might choose to bypass altogether or not enter ARQC at all.

Although various purposes, intentions, and effects can be associated with ARQC, the primary purpose is contemplation itself. As previously mentioned, the pensive bodhisattva statue is a work of art that transcends its local Korean origins and the individual religion of Buddhism. Also, it is interpreted as depicting the contemplation of an ordinary person aspiring to attain Buddhahood, rather than representing a specific Buddha or bodhisattva from the Buddhist tradition. In other words, the pensive bodhisattva functions as a universal signifier rather than as a particular one tied to individual religions or specific historical contexts. This brings us to the crucial question: is the act of contemplation itself universal, regardless of the visitor’s region, culture, or religion? Does this special act of seeing, called “contemplation,” hold the same significance and impact across different backgrounds?

According to 2022 statistics from the Seoul Metropolitan Government, the proportion of foreign visitors to the National Museum of Korea exceeds 20% (Seoul City n.d.). Given that Koreans themselves come from diverse religious backgrounds and that Korea does not recognize any specific religion as a state religion, this diversity is further compounded by foreign visitors, who also bring a wide array of cultural and religious perspectives. This raises a crucial question: how is contemplation possible in ARQC for people with such varied cultural backgrounds? Can the singular act of seeing, known as contemplation, truly warrant universality across such diverse audiences?

First of all, we could observe through the examples of Plato and Plotinus the significance of contemplation in Western thought. The philosophical tradition that has shaped Western society highly values the contemplative way of life. Aristotle also emphasized that contemplative activity (theoria) closely resembles divine contemplation, which he considered the essence of the gods, asserting that living a contemplative life constitutes the highest form of happiness (Aristotle 1981, Nicomachean Ethics, 1178b). Similarly, many Western philosophers have recommended a contemplative life as a model for achieving a high-quality life.

Hinduism is a religion in which we can find a phenomenon of contemplation closely resembling Plato’s perspective. The concept of “Darsan” in Hinduism is a religious phenomenon in which the method of contemplation is particularly evident. Hinduism actively employs various images and statues of gods as channels of faith. Although these statues are material and experienced through the senses, Hindus regard seeing a statue of a god as a direct encounter with the divine (Eck 1998). Rather than considering it idolatry, Hindus view this as a form of communication with God that transcends the physical image. In their tradition, viewing and worshiping paintings and statues depicting the attributes of various gods is an essential act of faith for Hindus.

In addition, the Church Fathers of Christianity, influenced by Plato and Plotinus in their construction of Christian theology, developed sophisticated contemplative prayers using the method of contemplation, creating their own unique practices. Origen (185–253), who practiced contemplation as a positive (cataphatic) path, begins with light and moves toward brighter light to attain moral illumination (Oh 2007, p. 282). On the other hand, Gregory of Nyssa (335–395), who advocated for a negative (apophatic) path in The Life of Moses, progresses in the opposite direction —from light to darkness. According to Gregory, God cannot be comprehended by reason, but it is in this darkness that one can achieve the clearest recognition of God. Over time, various forms of contemplative prayers, such as Lectio Divina of the Western Church and the Jesus Prayer of the Eastern Church, have evolved since the early days of Christianity.

A visitor from a culture where contemplation is integrated into religious practice may interpret the experience in ARQC as being somewhat religious. However, in Protestant or Islamic traditions, there is a stronger tendency to view statues or images of gods as material and sensory channels which are often considered idolatrous. Even though a religious interpretation occurs to such visitors, it might be dismissed or downgraded to idolatry. Even in the worst case, they may simply pass through the room without engaging deeply with the art. On the other hand, in the case of Protestant or Islamic cultures, if they approach the space from an artistic rather than a religious perspective, it is possible to set aside the religious connotations and focus on the contemplation of the artwork as a pure artistic experience. There may be instances where one gains insight into the reality of the universe and one’s own life. Clearly, “A Room of Quiet Contemplation” is not designed for worship but rather for introspective reflection.

7. Extended Space: Beyond Time and Place

Now, let us examine the ancillary elements that are shaping new structures and relationships centered around ARQC. As we have observed, developing a special visual faculty for contemplation and living a contemplative life requires long-term practice. For ordinary people, attaining the ability to truly contemplate in “A Room of Quiet Contemplation” within a short visit is almost impossible. If you watch the promotional video of “A Room of Quiet Contemplation” produced by the National Museum of Korea on YouTube “https://youtu.be/quxJFL2UvgM?feature=shared (accessed on 3 May 2024)”, you will notice that it depicts the experience as retreat from a busy and hectic life into ARQC, where visitors admire the pensive bodhisattva, become part of the space, and enter into a new relationship. It is described as a time for ‘healing’. It seems that the purpose of ARQC’s arrangement in the museum is to offer a sacred but challenging experience called ‘contemplation’ in a special space with a more practical and easy method called ‘healing’ rather than the ultimate goal of Nirvana. This approach is further illustrated through the virtual reality experience of ARQC.

The National Museum of Korea offers the Metaverse experience “Peaceful Hill” (featuring Pensive Bodhisattva) through the Zepeto platform. This interactive app provides a space for rest and healing by allowing users to engage in various activities as they approach the pensive bodhisattva statues in a virtual healing garden. “Peaceful Hill” enables you to enjoy quality time in your own place on your smartphone, exploring the pensive bodhisattva in the healing garden (Figure 6). Both the garden and the pensive bodhisattva are entirely virtual and not real. This virtual reality experience represents a spatial expansion of “A Room of Quiet Contemplation,” located on the second floor of the National Museum of Korea.

While space, which is limitless, is a topic illuminated in philosophy, place refers to a specific part of the space in which our bodies reside, relate to others, and live. “A Room of Quiet Contemplation” inside the museum is a place; however, the virtual reality of the Metaverse “Healing Garden” is more accurately described as a space rather than a specific place. If ARQC is a defined place of 440 m², the Metaverse ‘Healing Garden’ is a space with an unspecified area supported by a new electronic digital system that allows individuals to experience healing in their own environment without physically visiting the museum. In the globalized world, communication is possible anytime and anywhere, creating what Casey refers to as a “place without place” (Casey [1997] 1998, p. xiii). When I am in virtual reality, I can interact with impressions similar to those experienced in a physical presence, enabling communication, even though I am not physically present in the real place.

Another expansion of ARQC is the pensive bodhisattva miniatures sold at the museum store (Figure 7). Visitors are no longer merely passive observers but are actively engaged in the exhibition, with the magazine space open to the public and collectibles available like items from a vending machine (Jesberg 1970, pp. 145, 164). The most popular product at the museum store is the pensive bodhisattva miniature (Hankyore 2022). The small pensive bodhisattva statue, available for purchase in the museum’s commercial space, can be placed in private settings to create a personal “Room of Quiet Contemplation”. While this miniature may inspire the idea that contemplation can be practiced in one’s own place, it is often simply used as a decorative item. Thus, we can see that the ARQC space has expanded beyond its original purpose of contemplation, influenced by commercial interests and the development of the digital electronic industry, allowing more people to own and enjoy art in new ways.

Lastly, the video screen at the narrow entrance to ARQC invites interpretation. The shapeless movement on the screen continues incessantly. As time passes, forms appear and disappear, and something flows without stopping for even a moment. This seems to represent the fundamental doctrine that distinguishes Buddhism from other religions, i.e., The Three Marks of Existence: everything changes, there is no self, all is suffering. The idea that there is no unchanging entity called the self (ego) is further emphasized by the 2-D artwork placed in the hallway before entering ARQC (Figure 8). It suggests that ‘everything changes,’ including expectations of a transformed self and a transformed world. This 2-D video art also serves as a device to convey the universality of contemplation, encouraging self-change in a space of art rather than in a space of worship, and it is accessible to people from various religious and cultural backgrounds.

8. Conclusions

Contemplation is a special capacity to see the reality of a thing beyond the sensory level, bridging the visible and the invisible. A key effect of contemplation is the identification that occurs between the contemplator and the object of contemplation. This study sought to interpret “A Room of Quiet Contemplation” (ARQC) at the National Museum of Korea by examining its spatial arrangement and the relationship with visitors. We focused on whether the National Museum takes into consideration the diverse religious and cultural backgrounds of its visitors, specifically, investigating (1) the alleviation of religiosity as Korean Buddhism, (2) the universality and singularity of the contemplative experience, and (3) the expansion of space beyond traditional notions of time and place.

Firstly, the pensive bodhisattvas in ARQC have not been given specific names except for National Treasure No.83 and No.79. The absence of fixed names and designated meanings for these statues suggests that they are not intended as objects of worship. Instead, their role as nameless, universal signifiers may produce infinite meanings depending on each visitor’s interpretation. This supports the first objective: alleviating the religious specificity associated with Buddhism to accommodate the religious and cultural diversity of visitors.

Secondly, to offer a meaningful contemplative experience for visitors from diverse cultural backgrounds, we aimed to demonstrate that contemplation possesses a universal quality despite its inherently unique and personal nature. In Western society, philosophers such as Plato and Plotinus have long valued contemplative lives, and Christian contemplative prayers have also evolved significantly. Similarly, in Hinduism, the tradition of Darsan corresponds directly to a form of contemplation akin to Platonic thought.

Next, we examined the Buddhist notion of contemplation and its practical application. In Korean Mahayana Buddhism, one of the paths to liberation is achieved through identification with Buddhist images via contemplation, which involves training to see reality as it truly is, as exemplified in the novel A Baby Buddha. However, ARQC must also consider visitors from Protestant and Islamic backgrounds, where the use of material images and statues is often regarded as idolatry.

Lastly, we explored the spatial expansion of ARQC through the development of electronic communication technologies, such as virtual reality in the Metaverse and 2-D video art. Additionally, commercially available miniature pensive bodhisattva statues can be used to create a personal room of quiet contemplation, further extending the reach and impact of the original space.