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Investigation Underway for Graffiti Discovered on Seoul’s Main Palace

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Investigation Underway for Graffiti Discovered on Seoul’s Main Palace

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The Gyeongbokgung Palace, a historic national treasure in Seoul, South Korea, was vandalized with graffiti twice over the weekend. The 14th-century palace was spray-painted in red and blue on Saturday and Sunday nights. At least two suspects were involved in the first incident, and one person turned themselves in following the second. Police have not determined a motive for the vandalism. Graffiti is generally uncommon at heritage sites in South Korea, and those responsible could face heavy penalties under the Cultural Heritage Protection Act.

The palace, one of the five grand palaces built during the Joseon Dynasty, is a popular tourist destination with a rich history. The vandalism targeted the entrance to Yeongchu Gate and the side gate of the National Palace Museum, causing damage spanning 44 meters. The graffiti also included website addresses and references to an artist and album in English.

Government workers have been working to remove the graffiti, which is expected to take up to a week. Meanwhile, the damaged areas are being covered with a tarp and closed off by fences. The palace is currently undergoing restoration, and the vandalism poses a setback to its preservation efforts.

The Gyeongbokgung Palace is entitled to special protections under the law, and anyone charged with vandalizing it could face up to five years in prison and a fine of up to $39,000. At least 20 government workers are involved in the graffiti removal efforts, and the authorities are taking the case very seriously.

The vandalism has sparked outrage in South Korea, especially given the palace’s historical significance and cultural value. The incident has raised concerns about the need for increased security and protection at the palace and other heritage sites in the country. Police are continuing their investigation to identify and apprehend all the suspects involved in the vandalism.

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Photo credit www.nytimes.com

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