Ahn Jung-geun's 'cannon' calligraphy at the Palace Museum — free to 27 Dec

The National Palace Museum of Korea, part of the Korea Heritage Service, has opened the special exhibition 'Dokdae (獨對): The Eight Characters Ahn Jung-geun Left Behind' to mark the 117th anniversary of Ahn Jung-geun's assassination of Itō Hirobumi at Harbin. Its subject is eight characters meaning 'international law is no match for cannons'. Shown only to the press in August at Jungmyeongjeon Hall in Deoksugung Palace, the calligraphy can now be seen by anyone, free of charge. It is the only object in the room: you walk through a darkened corridor and stand face to face with it alone, which is what 'dokdae' — a private audience — refers to.

What does 'Manguk gongbeop buryeo daepo' mean?

Manguk gongbeop (萬國公法, 'the public law of all nations') was the title of an international-law treatise translated in Qing China that reached Korea in the late Joseon period; at the time it stood for modern international law itself. The eight characters read: 'international law is no match for cannons.' The Korea Heritage Service says they carry Ahn's criticism of a world in which international law bent to the power of strong states and could not protect the sovereignty of weak ones.

The context is his trial. After shooting Itō at Harbin Station on 26 October 1909, Ahn argued that he had acted as a lieutenant general of the Korean Righteous Army in a war, and demanded to be tried under international law. Japan refused, prosecuted him for simple murder, and he was sentenced to death in February 1910. He wrote this piece the following month, a few days before his execution on 26 March.

Why is it judged to be genuine?

On the left is the inscription 'Written by Ahn Jung-geun, a Korean, in Lüshun Prison, third month of the gyeongsul year (1910)' (庚戌三月 於旅順獄中 大韓國人 安重根 書), and beneath it the palm print that marks Ahn's calligraphy. The writing is in running script, mixed with regular and cursive forms, set down in a single sweep.

The Korea Heritage Service gives three grounds for authenticity: writing man (萬) in cursive is the same habit seen in 'Hwanggeum baengmannyang buryeo ilgyoja', held by the National Museum of Korean Contemporary History; the brushwork, character shapes and speed of the stroke closely match Ahn's pieces already designated as Treasures; and the palm print matches. The museum's exhibition page says around 70 pieces of Ahn's calligraphy survive, 31 of them designated Treasures.

How did it come back after 116 years?

What adds to its value is an ink inscription on the back of the scroll. It recounts the events from the assassination to the execution and records that the piece was held by Kurihara Sadakichi (?–1941), warden of Lüshun Prison, then passed to a man who signed himself only with a pen name (平門狂生 雷峽逸人) and had it mounted and kept it. Kurihara is remembered in several anecdotes for treating Ahn humanely in prison. The museum notes that the inscription also contains errors, such as dating the execution to 'June of Meiji 43 (1910)'.

Its existence first came to light in May 2025, when the Overseas Korean Cultural Heritage Foundation heard of it through its network in Japan. After research and negotiation it was brought to Korea that November, funded by the national Lottery Fund. It was first shown at a press viewing at Jungmyeongjeon Hall, Deoksugung, on 13 August 2026; this exhibition is its first public display.

How is the gallery laid out?

The whole room is built around one object. You pass through a deliberately dark corridor to stand before the lit calligraphy, and at the exit there is an interactive video space: put your hand against Ahn's palm print on the touchscreen and leave a message about the peace you hope for, and it scrolls across a large screen in vertical writing. With a single piece on show the visit is short, so pair it with the museum's permanent galleries of Joseon royal artefacts in the same building.

The August press viewing also showed, for comparison, the Treasure 'Calligraphy by Ahn Jung-geun — Iltong cheonghwa gong' (日通淸話公), a framed silk piece Ahn wrote in March 1910 for Kiyota, the head warder at Lüshun Prison; it too bears his palm print. Neither the press release nor the exhibition page says whether it is in this exhibition.

Before you go

• Hours: Mon–Fri and Sun 09:30–17:30 (last entry 17:00); Saturdays and the last Wednesday of the month 09:30–21:00 (last entry 20:30).
• Closed: the last Monday of each month (the next day if it is a public holiday), 1 January, and Seollal and Chuseok days. During the exhibition the closing day is 30 November.
• Admission: free, according to both the Korea Heritage Service press release and the museum's visitor information.
• Location: Special Exhibition Gallery II, 2nd floor, National Palace Museum of Korea, on the west side of Gyeongbokgung (to the left of Gwanghwamun Gate). Gyeongbokgung Station on Line 3 connects directly to the museum.

Getting there, and what is in English

Take Seoul Subway Line 3 to Gyeongbokgung Station; the station's underground passage leads straight to the National Palace Museum, so you do not even need to go outside. There is no ticket or booking, so a foreign phone number or card never comes into it. The exhibition page names the work in English — 'International Law Is No Match for Cannon' — and gives its sections English headings, and the museum's permanent galleries next door are labelled in English. Because the exhibition is one object rather than a run of captions, the experience depends less on reading than most: the scroll, the palm print and the darkened approach speak for themselves. If you have time, Gyeongbokgung is in a free-admission period until 15 November.