The Allegations of Cultural Appropriation in “Jewel in the Palace“: A Critical Examination68

The immensely popular Korean drama "Jewel in the Palace" (대장금, *Daejanggeum*), also known internationally as "Empress Chungjeong," has achieved global recognition, captivating audiences with its compelling narrative of a female chef rising through the ranks of the Joseon royal court. However, alongside its acclaim, persistent allegations of cultural appropriation regarding its depiction of culinary arts and cultural practices have emerged, particularly concerning its perceived borrowing from Chinese culinary traditions and aesthetics. This essay aims to critically examine these allegations, analyzing the evidence presented and considering the complex historical and cultural contexts involved.

The primary contention revolves around the drama's portrayal of Korean cuisine and its apparent similarities to Chinese culinary practices. Many viewers and critics have pointed to the sophisticated cooking techniques, elaborate presentation, and the emphasis on medicinal properties of food showcased in the series as being strongly reminiscent of Chinese imperial cuisine. The intricate preparation methods, the use of rare ingredients, and the highly formalized dining etiquette depicted arguably bear a closer resemblance to the refined culinary traditions of imperial China than to the presumed simpler fare of the Joseon era. This perceived similarity has fueled accusations that the creators of *Daejanggeum* consciously or unconsciously appropriated elements of Chinese culinary culture to enhance the drama's visual appeal and narrative complexity.

However, a nuanced examination reveals a more complicated picture. While acknowledging the undeniable influences of Chinese culture on Korean cuisine throughout history, it is crucial to understand that Korean food developed its own unique identity and characteristics over centuries. The assertion that every sophisticated element in *Daejanggeum*'s culinary depictions is solely of Chinese origin ignores the significant evolution and adaptation of culinary techniques within the Korean context. Korean cuisine, while influenced by its neighbours, incorporated these influences, transforming and reinterpreting them to create a distinct culinary heritage. The drama might indeed showcase elements that share similarities with Chinese techniques, but this does not automatically equate to appropriation.

Furthermore, the drama's focus is not simply on replicating historical accuracy in terms of cuisine. *Daejanggeum* is a fictionalized narrative, albeit one loosely based on the life of a real historical figure. The creative liberties taken by the writers are evident throughout the series, and the emphasis on dramatic storytelling often outweighs strict adherence to historical detail. The depiction of food, therefore, serves primarily to enhance the narrative, to showcase the protagonist's skills and resilience, and to build a visually appealing spectacle for the audience. To judge the drama solely based on the perceived authenticity of its culinary representations is to miss the broader artistic and narrative goals of the production.

The argument of appropriation is further complicated by the broader context of cultural exchange in East Asia. For centuries, there has been a continuous flow of cultural influences between China, Korea, and Japan. The adoption and adaptation of culinary techniques, ingredients, and aesthetic principles were common, not exceptional. To label any specific element as solely "Chinese" or "Korean" ignores the complex and intertwined history of these cultural interactions. In this sense, the perceived similarities in the drama's culinary depictions may reflect the historical realities of East Asian cultural exchange rather than deliberate appropriation.

However, it is equally important to acknowledge that the representation of culture in media always carries potential for misrepresentation and misinterpretation. Even if the intention was not to appropriate Chinese culture, the superficial similarity of certain elements could be perceived as such by viewers unfamiliar with the nuances of Korean and Chinese culinary history. This highlights the importance of contextualizing cultural depictions in media and providing audiences with adequate information to understand the historical and cultural background of the presented elements.

In conclusion, the allegations of cultural appropriation against *Daejanggeum* require a careful and nuanced examination. While the drama undeniably shares similarities with aspects of Chinese culinary traditions, these similarities should be interpreted within the broader context of historical cultural exchange in East Asia and the fictionalized nature of the narrative. Dismissing the drama's culinary depictions as mere appropriation ignores the evolution and adaptation of Korean culinary techniques and the drama's artistic license. However, the potential for misinterpretation necessitates a more critical awareness of cultural representation in media and a greater understanding of the intricate historical relationships between East Asian cultures. The debate surrounding *Daejanggeum* serves as a valuable reminder of the complexities involved in representing culture accurately and respectfully in a globalized media landscape.

2025-05-09

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