From relics to daily sanctuary: Inside the National Museum of Korea’s boom

SEOUL – On a crisp morning in Seoul, even before the exhibition halls open officially, a group of visitors stands in line outside the National Museum of Korea, a cultural institution that has recently changed from a traditional repository of ancient relics into a lively space for daily activities.

Attracting a record 6.5 million visitors in 2025, marking more than a fourfold increase from its relocation year in 2005, the museum now ranks among the world’s most-visited art and history institutions, alongside the Louvre Museum in Paris, the Vatican Museums and the British Museum.

Unlike European museums that rely heavily on international tourists, the National Museum of Korea has a strong domestic fanbase that is reflected in its visitor demographics. About 97 per cent of its visitors are South Koreans who have embraced it as part of their daily routines, according to the museum.

This unusual record is the result of a deliberate shift led by its Future Strategy Division, which shifted its focus from passive visitors who simply view exhibits to active users who engage with its architecture, digital data and recreational spaces.

“We realised the museum’s function had to change into a space optimised for various life stages, catering to the millennials and Gen Z, who now visit night exhibitions alone or to simply socialise, rather than feeling the need to see every single exhibition room,” says Ms Jeong Myoung-hee, head of the Future Strategy Division.

She added that the museum’s move to the scenic Yongsan District two decades ago created a park-like environment, allowing citizens to form a closer connection with the space and transforming it into a place where people can enjoy nature and cultural performances.

Ms Song Ji-eun, a 42-year-old Seoul resident visiting with her child, noted that the museum’s free admission policy since 2008 significantly lowers the psychological barrier for entry, making visits feel more like an accessible stroll.

“Because it is free, unlike many overseas museums where the entrance fee can be quite a burden, I can come with a relaxed mind and enjoy a small section at a time without the pressure of having to see everything in a single day,” she says.

However, this success in making the National Museum of Korea more accessible has created logistical challenges, prompting it to prepare a controversial but necessary move to introduce admission fees by 2027.

Ms Jeong clarified that this proposed fee is not meant to reduce crowds or generate profit, but a necessary step to gather customer data, introduce customised services and address the physical ageing of the crowded facility.

Beyond policy adjustments, its soaring popularity is deeply rooted in its unique approach to space, best seen in the Room of Quiet Contemplation. Established in 2021, the large, cosy room is dedicated to displaying two Pensive Bodhisattva statues, designated as national treasures, without glass showcases.

Reflecting on the philosophy behind this space, Ms Jeong emphasised that the goal was to shift away from merely conveying historical facts. Instead, users can now spend time closely examining artefacts dating back to the sixth and seventh centuries and discover their own unique experiences in a quiet environment.

This modern approach to tradition is also evident in the museum’s popular MU:DS merchandise line, which in 2025 achieved record-breaking sales of 41.3 billion won (S$35.7 million) by transforming ancient motifs into everyday lifestyle products.

Ms Lee Young-joo, a manager at the National Museum Foundation of Korea’s product planning team, said the brand’s success stems from a strategic approach, which was to move away from just replicating artefacts as souvenirs and instead reinterpret cultural heritage into modern designs that appeal to the tastes of consumers.

“Consumers in their 30s and 40s especially prioritise finding special meaning in their purchases as well as enjoying the completeness of design and quality,” she adds.

A local shopper in her 40s who bought a traditionally styled tray agreed, praising the museum for designing practical items based on clever ideas that can be used in everyday life.

While domestic visitors remain the core demographic, Ms Jeong acknowledged a need to improve the museum’s infrastructure – which is tailored primarily to Koreans – to better welcome the international tourists brought by the global popularity of K-culture.

Ms Michelle Anderson, 30, a tourist from Sweden, said her decision to visit the museum was partly inspired by the 2025 Netflix animated film KPop Demon Hunters, which introduced her to contemporary Korean culture and prompted her to learn more about the country’s history.

Meanwhile, 26-year-old French tourist Ludovic Schwenker noted that his long-standing interest in Japanese culture inspired him to explore neighbouring South Korea, adding the museum to his itinerary to gain a deeper understanding of East Asian culture.

Mr Yoo Hong-jun, director-general of the National Museum of Korea, described the modern K-culture wave as a blend of global and local elements. He highlighted the museum’s ultimate role in providing the rich historical raw material from which A-list K-pop groups like BTS and Blackpink draw inspiration for their global hits.

The museum is accelerating its global outreach to respond to rising international curiosity by preparing a series of collaborative initiatives. The showcasing of MU:DS products at the Olympic Winter Games Milano Cortina in February was part of the movement.

A special exhibition is being held at the Tokyo National Museum in Japan to commemorate the 60th anniversary of normalised diplomatic relations between South Korea and Japan, and features a joint showcase of MU:DS products.

Another special exhibition showcasing East Asian calligraphy will be held at the same venue in July. KYODO NEWS