Xavier Salmon, director of the Department of Drawings and Prints at the Louvre Museum in Paris, has emerged as an unexpected champion of hanji, Korea's traditional handmade mulberry paper. The French curator, who considers himself an ambassador for the ancient Korean craft, recently showcased his passion for the material through a unique photographic exhibition that bridged Korean and Parisian heritage.

During his visit to Korea last year, Salmon traveled extensively through Seoul and visited major Buddhist monasteries, including the historic Haeinsa and Bulguksa temples. From this journey, he carefully selected 12 photographs of Korean sites and paired them with images of 12 Parisian heritage locations, creating what he describes as a visual dialogue between the two cultures. All of these works were printed on hanji created by Korean master craftsmen, emphasizing the paper's artistic and cultural significance.

The resulting exhibition, titled "Spirit of Korea, Spirit of Paris: The Curator's Eye," was displayed at the Art Cube 2R2 Gallery in Seoul and ran through November 29. Salmon, a specialist in 17th and 18th-century European art, currently oversees the Louvre's vast collection of more than 500,000 pieces that span thousands of years of world cultural heritage.

"You can feel the materiality of the paper -- the paper gives some softness," Salmon explained on November 20, pointing to the distinctive deckled edge of the hanji print where natural fibers remain visible. "It's difficult to print on this paper and the result is not like when you're printing on regular paper. I think the result is very poetical in comparison with normal photos."

The Louvre Museum actually uses hanji in its restoration work for drawings, prints, and even furniture, which has given Salmon extensive familiarity with the traditional Korean paper. He notes that while Japanese washi paper enjoys widespread international recognition, hanji remains relatively unknown abroad. Salmon attributes this to limited promotion, particularly following the disruption of the Korean War era.

Salmon demonstrated his deep understanding of hanji production, explaining the key differences between Korean and Japanese papermaking techniques. "For Japanese paper, the motion goes mostly side to side, but for hanji, you work both back and forth and side to side -- its duality comes from the process," he said, demonstrating the traditional 'waebal tteugi' technique in which the frame is shaken to trap water and cross the fibers. "Now people are more interested and more involved in the promotion of this incredible paper."

The French curator's commitment to promoting Korean culture extends beyond this exhibition. He co-curated "Stories of Paper" at the Louvre Abu Dhabi, which featured the complete reconstruction of a hanok, or traditional Korean house. Built by skilled artisans from Jeonju using authentic materials including hanji, wood, tiles, and stone, this installation has now become a permanent part of the museum's collection.

During his approximately 20-day stay in Korea, Salmon visited the Kansong Art Museum, Seoul's first private museum founded by Jeon Hyung-pil to protect cultural artifacts during the Japanese colonial period. The director was particularly struck by Korea's autumn beauty, saying, "You have a special light at this time of year -- a very soft light -- and it plays with the colors of the ginkgo and the maple. This mixture of colors is absolutely astonishing for a European eye."

Looking ahead, Salmon is actively working to organize a joint symposium in collaboration with the National Museum of Korea next year in Paris, commemorating the 140th anniversary of diplomatic relations between Korea and France. Additionally, Paris will host another major exhibition highlighting Korean culture at the Guimet Museum, which houses Europe's largest collection of Asian art and is located just a 10-minute ride from the Louvre.

When asked about the enduring appeal of museums in the modern era, Salmon offered a philosophical response: "A museum exists to meet beauty and humanity -- the treasures of humanity." However, he also addressed recent security challenges, including a robbery at the Louvre where thieves stole royal and imperial jewels valued at more than $100 million. While acknowledging that the Louvre continues to strengthen its security measures, Salmon expressed frustration with the spread of misinformation about the incident online, calling it "a pity for the reputation of the museum."

Despite security concerns, Salmon emphasized that excessive protective measures should not compromise the visitor experience. "Many museums are fighting against that kind of robbery. Of course, we can put cameras and protections everywhere, but when you visit a museum, it should be a place where you take pleasure in seeing things," he explained. "If it becomes like an airport or bank, with controls everywhere, it's no longer the same experience."