The entrance structure of ‘Seoul Gate,’ a Korean cultural space in Tashkent, Uzbekistan, has drawn criticism for evoking a torii at the entrance to a Japanese shrine.
Red lanterns that appear Chinese in style have also been installed beneath the structure, prompting criticism that the image of a space symbolizing Korea has become a mixture of different cultural elements.
The issue is not only the structure’s shape, but also whether the cultural symbolism conveyed by the name ‘Seoul Gate’ and the space is mutually consistent.
3-Line Summary
1. The entrance to Seoul Gate has been criticized for resembling a Japanese torii.
2. Chinese-style red lanterns have also been installed.
3. The name and visual symbolism should be considered together.
Controversy Over Red Pillars and a Black Upper Section
The Overseas Koreans Newspaper and the Korea NGO Newspaper reported that the controversial structure consists of two red pillars connected by a horizontal structure, with the upper section finished in black. At the center of the structure is the inscription ‘SEOUL MUN’ and a logo modeled on traditional Korean architecture.
Professor Seo Kyeong-deok of Sungshin Women’s University introduced a report from the site through social media on 9월 8일, arguing that the form brings to mind a torii (鳥居) erected at the entrance to a Japanese shrine. The point was that the impression created by the structure does not fit with the official name ‘Seoul Gate.’
The red lanterns hung in a row beneath the structure are also part of the controversy. The two outlets described them as decorations that appear Chinese in style. Concerns have been raised that if elements evoking Korea, Japan, and China overlap in one space, visitors encountering the site for the first time may become confused about its identity.
Its Role as a Gateway to a Korean Cultural Space
The site where Seoul Gate was established is known as a commercial and multifaceted cultural space symbolizing exchange and friendship between Korea and Uzbekistan. It was created with inspiration from Korean street scenes and waterfront promenades, and the surrounding area includes Korean restaurants, K-beauty stores, and K-dessert cafés.
The entrance structure is the first marker visitors encounter and one that is easy to capture in photographs or videos. Therefore, if the space’s name points to Korea while its architecture and decorations evoke another cultural sphere, the message that it is a Korean cultural space may be weakened.
Professor Seo stated that he believes the structure needs to be replaced. However, articles by the Overseas Koreans Newspaper and the Korea NGO Newspaper did not mention any decision or schedule to actually change the structure. This controversy leaves the issue that overseas cultural spaces should examine not only whether the name on their signboards, but also their visible architecture and decorations, fit the cultural purpose they promote.
References
Tags #Japan #Torii #Tashkent #SeoulGate #Uzbekistan #KoreanCulturalSpace #SeoKyeongdeok #KoreanCulture #OverseasKoreanCulture #CulturalSymbolism #KoreaUzbekistan #RedLanterns