The beauty and tale of Yeongnamru

I hope the designation can serve as a chance for Yeongnamru to be highlighted again for its humanistic, historic and architectural values.

WI SUNG-WOOKThe author is the Busan bureau chief of the JoongAng Ilbo. Traditional Korean pavilions come in different styles: nu and jeong. They both refer to the structures open in all directions. But jeong is one story while nu — or ru in Korean pronunciation — has two stories.

Along with Chokseokru in Jinju, South Gyeongsang, and Bubyeokru in Pyeongyang, Yeongnamru in Miryang, South Gyeongsang, is considered one of the top three pavilions of the Joseon Dynasty (1392-1910). It is still a frequently visited attraction in Miryang.

Yeongnamru in Miryang has an extraordinary grandeur with two auxiliary structures, Neungpagak and Chimryugak, on either side just like two wings. When you climb up, you can see an open view of Miryang River and the southern city, evoking poetic inspiration.

Yeongnamru was once called the “poetry board exhibition hall” with more than 300 panels of poems and writings by famous writers from across Joseon. Yeongnamru started as a small pavilion at a temple named Yeongnamsa, built during the Unified Silla Dynasty (676-935). The temple was closed during the Goryeo Dynasty (918-1392) and only the pavilion survived. In 1365, the 14th year of King Gongmin’s reign, then-Miryang governor reconstructed it and called it Yeongnamru. However, it was destroyed several times due to fires and wars and then rebuilt again in 1844, and only 12 poetry panels have survived.

The most notable panels are “Yeongnamjeilru” — or the best pavilion in the Yeongnam region — and “Yeongnamru” written by 11-year-old Lee Jung-seok and 7-year-old Lee Hyeon-seok, sons of the Miryang governor, in 1843. Only the best calligraphers of the time were allowed to write the panels. It is recorded in the central column that the two brothers were called calligraphy prodigies.

Along the ceiling of the pavilion, panels written by Ha Dong-ju — a master of the late Joseon Dynasty’s Chusa-style calligraphy — as well as by Toegye Yi Hwang, Mokeun Lee Saek and Samwudang Moon Ik-jeom, can be found in the pavilion, making it more valuable.

There is a famous folktale associated with Yeongnamru. Arang, the only daughter of the Miryang governor, came out to see the moon and was murdered by a government slave who attempted to rape her. Her body was abandoned in the bamboo forest below the pavilion. Every governor appointed to Miryang died on the first night, and a brave governor volunteered to serve. He heard the story of the ghost of Arang and resolved her grudge. This is the Arang Lore, which is the origin of Miryang Arirang, the famous Korean traditional folk song. The drama “Arang Satojeon,” movie “Arang,” and novel “Arang, Why” by Kim Yeong-ha are all inspired by the tale.

On Oct. 30, the Cultural Heritage Administration announced the designation of Yeongnamru in Miryang as a national treasure. It was named a “treasure” in 1933 during the Japanese colonial rule and was promoted to a national treasure in 1955. But after the Cultural Heritage Protection Act was enacted in 1962, it was demoted to a normal treasure again.

Now that it has been designated a national treasure, its value was recognized again after 61 years. I hope the designation can serve as a chance for Yeongnamru to be highlighted again for its humanistic, historic and architectural values.