▶ Interview
Rashila Maharjan, curator at SNU Museum (Class of 2020, graduate program, Department of Anthropology)
Despite our ever-evolving world, the value of historical artifacts and culture remains eternal. As time passes, there is a need to restore and repair artifacts, ensuring no discoloration or deterioration. To preserve the value of artifacts, the interest and efforts of many are essential.
Rashila Maharjan is a curator from Nepal who is completely fluent in Korean. She majored in Korean language and literature in college and anthropology in graduate school. She is currently working as a curator at the SNU Museum, promoting the excellence and preservation value of cultural heritage in South Korea. We met with Ms. Maharjan, who seeks to investigate the value of cultural heritage, which connects the past and the present and opens doors to the future.
SNU Museum is dedicated to preserving and repairing the artifacts in its collection. For the first time since its opening, the Museum held a special exhibition,
Sri Sri: Stories of Restoration Inheritance, with a theme of preservation and repair. This special exhibition spans October 12, 2024, to March 29, 2025, and is the first since Ms.
Maharjan joined SNU Museum.
“SNU Museum annually plans a special exhibition, which departments alternate in preparing. This exhibition selectively showcases preserved and repaired artifacts from all departments.
Among the artifacts on display, the types and number of anthropological folk artifacts made of various materials are the highest. I am proud to seize this meaningful opportunity to
showcase the artifacts I have researched and organized while working at this museum.”
SNU Museum has continued preserving and repairing all artifacts. This exhibition's theme was handling artifacts that have never been disclosed.
“SNU Museum has been involved in more continuous and diverse activities than anticipated. In addition to repairing artifacts, efforts are being put into conserving them in the long term.
This special exhibition is particularly intended to widely make known the roles of museums.”
Sri Sri: Stories of Restoration Inheritance consists of six sections: pottery, masks, headwear, wooden furniture, metal artifacts, and calligraphic and painting artifacts. Visitors
with a
special interest in unknown artifacts will particularly enjoy this exhibition. Each artifact has unique characteristics and a different environment for preservation. A key entertainment
point for visitors is comparing the repair processes for artifacts in their respective sections.
“Depending on the unique characteristics of each artifact, museums must manage the optimal temperature, humidity, and lighting conditions in a customized manner. Moreover, the difficulty
level and duration of repair methods vary greatly depending on the current conditions of the artifact. This exhibition separately describes each artifact's characteristics, preservation
environment, and repair methods. Thus, the feedback survey from visitors shows most feel there are “detailed explanations allowing the exhibition to be more understandable and
entertaining.”
At first glance, people may think that museums only display artifacts. However, they also preserve and repair them to prevent further damage. The artifacts are stored in art storage, where
museum experts regularly check their condition. They clean them, inspect them for poor condition, and discuss and select artifacts requiring further care. After choosing their targets, the
repair is commissioned to experts. Prior to such selection, the museum authorities constantly weigh the value of the exhibits and artifacts.
“Under financial support from the Korea Heritage Service since 2017, the museum is implementing a more systematic restoration procedure. Conservation and repair techniques have changed as
technology advances, while the underlying principles remain intact. We summarized the cardinal messages of this exhibition into three sentences and added them to the prologue at the
entrance to the exhibition hall. They read: ‘The original appearance must not be changed. Repairs are only allowed for absolutely necessary matters. Preservation aims for long-term
outcomes.’ Even a damaged artifact cannot be completely restored to its original state because it is important to preserve its unique value.”
Artifact repair should be minimized for meaningful outcomes. Items comprised of fragile materials are repaired with similar materials. For example, headwear made of horsetail is difficult
to fill without horsehair of the same material. In such cases, these artifacts are intentionally left unrepaired. The meaning of restoration becomes clear when artifacts undergoing change
are left untouched without similar materials, as it is crucial to pass on the original appearance of the artifacts to future generations. "An artifact should show no significant changes
before and after preservation and repair. The preservation and repair processes are not just about fixing artifacts, such as repairing torn or cracked parts. From the viewpoint of museums,
these processes prevent artifacts from further damage. I hope this exhibition will be an opportunity to reject stereotypes based on the idea that conservation and repair solely aim to
replace old items with new ones through the preservation and repair process.”
Ms. Maharjan has conducted research at the SNU Museum since September 2023. After graduating high school, she studied in South Korea in 2015. The only Korean phrases she knew were
“안녕하세요” (hello) and “감사합니다” (thank you). However, a Korean proficiency test is required to gain admission to college in South Korea. Through great efforts, she was able to pass this
test. Her genuine interest in the language and culture enabled her to major in Korean language and literature.
“I loved languages. In addition to studying the Korean language, I developed a keen interest in folk songs, oral literature, and the intertwined history exposed through literature.
Thus, I chose anthropology as my major at SNU Graduate School, which allows students to explore folklore studies together. I have learned about numerous items of interest through
anthropological studies, which I could not have learned as a Korean language and literature major.”
After over a year of working as a curator at the SNU Museum, she is keenly realizing the importance of preserving and recording cultural heritage. She is able to experience the value
of artifacts firsthand while handling and managing them.
“I constantly concluded that, without preservation, there are no artifacts, and without artifacts, there are no museums. Each seasonal change leaves me with concern and anxiety. The
changing conditions of artifacts become evident depending on the humidity and temperature. I am learning about the importance of sophisticated investigation and related exploration.”
What is the value of cultural heritage from her viewpoint as a foreign curator? She revealed her ambition to reject the stereotype of ‘old-fashioned’ museums and create one that
invites people of all ages.
“A foreign curator may sound unfamiliar. When foreigners examine Korean heritage and artifacts, they have the advantage of comparing the culture with their native culture. Comparative
research and shared characteristics co-exist. I can see cultural values from my unique perspective, distinct from existing viewpoints. My different cultural background can be
advantageous because this setting nurtures explorations from various perspectives. I am eager to engage in research activities in an effective and novel manner to protect the value of
artifacts.”
