Korean Art & Culture
A fascinating publication from the Peabody Essex Museum, explores the Art and culture of Korea including Shamanism, and Buddhism. Contains very nice colour plates.
The document provides an overview of Korean art history from prehistoric periods through modern times. It discusses the development of ceramics, painting, sculpture, and other art forms under different ruling dynasties and periods. Key points include the influence of Chinese art during the Three Kingdoms period, the flourishing of ceramics and other art forms under the Goryeo dynasty, the development of uniquely Korean painting styles like landscapes and genre paintings in the Joseon dynasty, and the suppression and revival of Korean art under Japanese colonial rule.
This document provides an overview of Japanese art and history. It summarizes Japan's cultural influences from China and Korea, including writing systems, Buddhism, and architectural styles. Key periods discussed include the Heian period during which refined courtly arts flourished, and the Kamakura period when a military government rose to power and arts shifted to glorify warriors. Specific artworks are analyzed, such as Buddhist sculptures and scroll paintings depicting scenes from literature, showing the evolution of Japanese artistic traditions.
Japanese art features scenes from everyday life depicted with detailed figures in paintings and woodblock prints. Woodblock printing became one of Japan's oldest visual art forms during the Edo period. Ukiyo-e art, also known as "pictures of the floating world", was produced in various media including paintings and prints and depicted scenes of daily life. Kabuki theater makeup uses dramatic colored lines and shapes on actors' faces to represent qualities like passion, depression, youth and more. Origami, the Japanese art of paper folding, started in the 17th century and common models include flowers, animals, and geometric shapes.
The document provides an overview of various aspects of Japanese culture, including its geography, traditional clothing, architecture, food, arts, games, festivals, and ceremonies. It discusses Japan's main islands and typical traditional outfits like kimonos and yukatas. The arts section covers martial arts like judo, games, painting, and the tea ceremony. Festivals mentioned include the doll festival and ceremonies for girls and children. Origami, bonsai, kabuki theater, and noh theater are also summarized briefly.
The Kamakura period (1180-1333) saw a shift in power from nobility to the warrior class in Japan. The warrior class, known as samurai, gained political power through alliances and marriages, eventually surpassing the traditional aristocracy. Samurai developed an iconic style of armor, helmets, and banners to distinguish themselves in battle. In their private lives, some samurai took up ikebana flower arranging as a hobby and meditative practice, influencing Japanese arts and culture.
This document provides an overview of Chinese and Korean art before 1279 CE. It discusses the major Neolithic cultures in China like Yangshao and Lungshan and the development of painted and black pottery. The Bronze Age dynasties of Xia, Shang, and Zhou are covered along with the introduction of bronze casting. Key periods like the Warring States period, the Qin and Han dynasties, and the Six Dynasties period are summarized. Specific artworks like the Jade Cong, Fang Ding ritual vessel, and Painted Banner are highlighted. The document also discusses Buddhist art, Tang dynasty painting, Song dynasty landscape painting, and the Three Kingdoms period in Korea.
Chinese art and painting places great emphasis on nature, balance, and harmony between humanity and the natural world. Landscape painting is considered the highest form, and paintings often feature landscapes, flowers, birds, and other natural subjects. Key principles that guide Chinese painting include observing rhythm and movement in nature, using space and brushwork effectively, and drawing from artistic traditions. Calligraphy, paper cutting, kite making, and knot tying are examples of Chinese folk art forms that live on today.
The document summarizes Chinese art from the Tang dynasty through the Qing dynasty. It provides examples of paintings from different historical periods in China including landscapes from the Song dynasty, handscroll paintings from the Yuan dynasty, literati paintings from the late Yuan dynasty, bird and flower paintings from the Ming dynasty, and landscape paintings in the manner of earlier artists from the Qing dynasty. The document also includes examples of calligraphy and poetry integrated with painting from the Tang and Ming dynasties as well as contemporary Chinese artist Ai Weiwei's large-scale installation from 2010.
The document provides an overview of Korean art history from prehistoric periods through modern times. It discusses the development of ceramics, painting, sculpture, and other art forms under different ruling dynasties and periods. Key points include the influence of Chinese art during the Three Kingdoms period, the flourishing of ceramics and other art forms under the Goryeo dynasty, the development of uniquely Korean painting styles like landscapes and genre paintings in the Joseon dynasty, and the suppression and revival of Korean art under Japanese colonial rule.
This document provides an overview of Japanese art and history. It summarizes Japan's cultural influences from China and Korea, including writing systems, Buddhism, and architectural styles. Key periods discussed include the Heian period during which refined courtly arts flourished, and the Kamakura period when a military government rose to power and arts shifted to glorify warriors. Specific artworks are analyzed, such as Buddhist sculptures and scroll paintings depicting scenes from literature, showing the evolution of Japanese artistic traditions.
Japanese art features scenes from everyday life depicted with detailed figures in paintings and woodblock prints. Woodblock printing became one of Japan's oldest visual art forms during the Edo period. Ukiyo-e art, also known as "pictures of the floating world", was produced in various media including paintings and prints and depicted scenes of daily life. Kabuki theater makeup uses dramatic colored lines and shapes on actors' faces to represent qualities like passion, depression, youth and more. Origami, the Japanese art of paper folding, started in the 17th century and common models include flowers, animals, and geometric shapes.
The document provides an overview of various aspects of Japanese culture, including its geography, traditional clothing, architecture, food, arts, games, festivals, and ceremonies. It discusses Japan's main islands and typical traditional outfits like kimonos and yukatas. The arts section covers martial arts like judo, games, painting, and the tea ceremony. Festivals mentioned include the doll festival and ceremonies for girls and children. Origami, bonsai, kabuki theater, and noh theater are also summarized briefly.
The Kamakura period (1180-1333) saw a shift in power from nobility to the warrior class in Japan. The warrior class, known as samurai, gained political power through alliances and marriages, eventually surpassing the traditional aristocracy. Samurai developed an iconic style of armor, helmets, and banners to distinguish themselves in battle. In their private lives, some samurai took up ikebana flower arranging as a hobby and meditative practice, influencing Japanese arts and culture.
This document provides an overview of Chinese and Korean art before 1279 CE. It discusses the major Neolithic cultures in China like Yangshao and Lungshan and the development of painted and black pottery. The Bronze Age dynasties of Xia, Shang, and Zhou are covered along with the introduction of bronze casting. Key periods like the Warring States period, the Qin and Han dynasties, and the Six Dynasties period are summarized. Specific artworks like the Jade Cong, Fang Ding ritual vessel, and Painted Banner are highlighted. The document also discusses Buddhist art, Tang dynasty painting, Song dynasty landscape painting, and the Three Kingdoms period in Korea.
Chinese art and painting places great emphasis on nature, balance, and harmony between humanity and the natural world. Landscape painting is considered the highest form, and paintings often feature landscapes, flowers, birds, and other natural subjects. Key principles that guide Chinese painting include observing rhythm and movement in nature, using space and brushwork effectively, and drawing from artistic traditions. Calligraphy, paper cutting, kite making, and knot tying are examples of Chinese folk art forms that live on today.
The document summarizes Chinese art from the Tang dynasty through the Qing dynasty. It provides examples of paintings from different historical periods in China including landscapes from the Song dynasty, handscroll paintings from the Yuan dynasty, literati paintings from the late Yuan dynasty, bird and flower paintings from the Ming dynasty, and landscape paintings in the manner of earlier artists from the Qing dynasty. The document also includes examples of calligraphy and poetry integrated with painting from the Tang and Ming dynasties as well as contemporary Chinese artist Ai Weiwei's large-scale installation from 2010.
The document summarizes traditional Korean music and instruments. It discusses the folk song Arirang and its origins as a song of farewell and parting. It then categorizes Korean folk music as either "munye" for upper classes or "minsogak" for the general public. Key traditional instruments described include the gayageum zither, haegeum fiddle, daegeum bamboo flute, janggo hourglass drum, and samulnori percussion ensemble. Samulnori features four drums and originated accompanying shamanistic rituals.
Korean art uses concepts from Chinese and Japanese art but with simplicity and harmony with nature. Korean masks were used for various purposes like war, burial rites, ceremonies, dances, plays, and to express criticism of authorities anonymously. There are different types of Korean dances involving masks like Talchum from North Korea and Sandae Noli from Seoul. Korean calligraphy uses the Korean alphabet Hangul with circular strokes and Hanja Chinese characters. It is practiced using brushes, mulberry paper, ink sticks, and inkstones. Hangul calligraphy became popular recently while Hanja was known by the educated historically. Korean paintings were influenced by China and feature landscapes, portraits, and Buddhist themes depicting nature. Korean drama refers to contemporary
Korean art has a long history spanning from Neolithic times to today. Some of the earliest examples are pottery and petroglyphs from 3000 BCE. During the Three Kingdoms period in 57 BCE to 668 CE, the kingdoms of Goguryeo, Baekje, and Silla developed distinct artistic traditions in areas like tomb murals, metalworking, and gold crafts that were influential throughout East Asia. Subsequent periods like Goryeo and Joseon saw flourishing of art in areas such as Buddhist paintings, ceramics, calligraphy, and architecture that incorporated both native Korean and Chinese artistic influences and traditions. Today, Korean art is celebrated through various galleries, exhibitions, and cultural performances that
The document discusses art from the Middle Ages, including Romanesque and Gothic styles between 500-1500 AD. It provides examples of illuminated manuscripts, architecture like churches and castles, and sculptures that taught religious stories. Gothic art is characterized by pointed arches, rose windows, flying buttresses, and verticality to seem closer to heaven. Frescoes in places like Assisi showed biblical scenes to educate those who could not read.
Korean traditional dance originated from ancient shamanistic rituals thousands of years ago and was supported by royal courts, academies and the government. There are six main types of traditional Korean dance today - Court, Folk, Shamanistic, Confucian, Buddhist and Modern. Many dances feature unique gestures like sliding the feet and lifting the shoulders. Popular folk dances include the Fan Dance performed with colorful fans, the Salpuri dance to exorcise spirits, and circle dances like Kanggangsuwollae. Masked dances incorporate music, mime and drama. The Sword Dance and Drum Dance showcase those instruments. Traditional dances are now preserved through academies as important parts of Korean cultural heritage.
Chinese painting styles and subjects traditionally focused on landscapes, plants, animals, and other natural elements. Landscape painting was considered the highest form, reflecting Chinese ideals of living in harmony with nature. Painting techniques were influenced by calligraphy, using brushes and black or colored inks on materials like silk and paper. Common themes expressed the relationship between nature and humanity according to Daoist and Buddhist principles.
Minhwa, or Korean folk art paintings, convey Korean mythology, religion, and culture. They were traditionally created anonymously to decorate homes and celebrate occasions. Two major categories are paintings that wish for good luck and repel evil spirits. Common symbols include the sun, moon, pine trees, and animals believed to bring good fortune and longevity. One famous example is the royal folding screen depicting the sun, moon, and five peaks, representing the monarchy's governance. Minhwa provide insights into traditional Korean agrarian life, values, and spirituality.
This document provides an overview of Greek and Roman art history from 800 BC to 300 AD. It describes several key aspects of ancient Greek architecture, sculpture, and painting, including the Parthenon, Acropolis, and three orders of columns. It also discusses the three periods of Greek sculpture and their changing focus. For ancient Rome, it outlines major architectural structures like basilicas, the Pantheon and Colosseum, as well as the aqueduct system. Roman art is described as following Greek classical forms with a focus on realism in portrait sculptures and mural paintings.
The document discusses the characteristics and history of art in China and India from early periods through various dynasties. In China, early art included pottery and jade from the Neolithic period. Significant artistic developments occurred during the Shang Dynasty, Zhou Dynasty, Qin Dynasty, Han Dynasty, Tang Dynasty, Song Dynasty, Ming Dynasty. In India, early petroglyphs date back thousands of years, with sculpture, painting, architecture, and other art forms influenced by religion and politics evolving over millennia. Major sites like the Taj Mahal exemplify the pinnacle of each country's artistic heritage.
Japan is an island nation located in East Asia, consisting of over 6,800 islands. The four largest islands are Honshu, Hokkaido, Kyushu, and Shikoku. Traditional Japanese clothing includes the kimono, a full-length silk robe worn by both men and women in various styles and colors depending on occasion, season, and marital status. Some traditional Japanese crafts discussed include hinamatsuri dolls, daruma dolls, kokeshi dolls, ikebana flower arranging, and origami paper folding.
Portraiture of Roman Emperors evolved over time from the Republic to the High Empire periods. During the Republic, portraits depicted idealized bodies and realistic heads to elevate individuals. Private portraits became popular along with imperial iconography. In the High Empire, portraits moved away from idealization and captured the personality and emotions of emperors, like confidence, worry, and sadness. Heads showed signs of aging and realism overtook the idealized depictions of the past.
Japanese theater has a long tradition dating back to the 16th century. Two major forms are Noh and Kabuki. Noh features stylized performances that incorporate music, drama, and dance. Kabuki began as a more lively alternative to Noh, shocking audiences with contemporary stories told through dramatic costumes and sword fights. Both forms have evolved over time but maintain their cultural significance as unique Japanese art forms. Vocal techniques used in these theaters demonstrate extraordinary breath control and the ability to synchronize speech with shamisen music. Shamisen accompanies dances and provides music across multiple Japanese theatrical traditions.
This document identifies and describes several traditional theater forms and festivals celebrated in Asia, including Wayang Kulit shadow puppet plays from Indonesia, Peking Opera from China, and Kabuki dance-dramas from Japan. It provides details on the Wayang Kulit puppeteer and leather puppets, the roles in Peking Opera like Dan female roles and Sheng male roles, and explains that Kabuki combines song, dance, and performance art. The document asks questions about the different theater plays in Asia, the importance of theater in society, and the impact of the pandemic on performing these plays.
This document provides a history of oriental and eastern art, including Chinese, Japanese, Korean, and modern East Asian art. It summarizes the origins and evolution of art forms such as painting, calligraphy, sculpture, and pottery in each culture. Key developments include the origins of Chinese stone art 10,000 years ago, the rise of landscape painting in China 900-1100 AD, the influence of Buddhism on Japanese bronze casting in the 7th-8th centuries, and the influence of Western art in modernizing Japanese art in the 20th century. It also notes the growing international market for Chinese and East Asian art.
Korean art forms include painting, masks, and knot tying. Korean paintings often feature landscapes, Buddhist topics, and celestial observations. Mountains and water are common landscape elements. Korean masks, called tal, were used in religious rituals and theater to banish spirits. They later became part of elaborate dances by the 12th century. Mask colors symbolize aspects like age, race, and parentage. Some masks have moving parts. Knot tying in Korea, known as maedeup, features decorative knots like the dorae double connection knot.
Thai cultural traditions can be seen in local crafts like textiles, silverwork, wood carving, and basketry. Traditional Thai art is primarily Buddhist art with some Hindu influences, seen in temple decorations featuring snakes, birds, and spirits. A common Buddha image shows him seated in meditation with one hand touching the ground, symbolizing his enlightenment. Traditional Thai silk is handwoven with bright natural dyes, and Thailand celebrates Loi Krathong festival by floating flower-covered krathongs on water.
Japanese art has evolved over centuries, originally influenced by Buddhist art from China. During early periods like Nara and Fujiwara, Buddhist sculptures and paintings became popular. The Fujiwara period saw the development of Yamato-e painting traditions. During Kamakura, sculpture took on realistic details, while the Muromachi period saw the rise of ink paintings influenced by Zen Buddhism. Later periods like Momoyama and Edo saw developments in screen paintings, lacquerware, and ceramics. In more recent centuries, Western styles influenced Japanese art, though traditional forms remain influential as well.
The document provides an overview of the development of ancient Greek art from c. 900-31 BCE. It covers major periods including the Geometric and Orientalizing styles from c. 900-600 BCE, the Archaic period from c. 600-480 BCE, the Classical period from c. 480-400 BCE, and the Hellenistic period from c. 323-30 BCE. Key developments in sculpture, architecture, and artistic styles are showcased through numerous examples of pottery, temples, statues, and more. The document traces the evolution of Greek art over nearly a millennium through its major historical phases.
Greek art is characterized by naturalism and idealism in human form. The Greeks achieved great success in sculpture and architecture between 1000-400 BCE, striving for perfection and proportion in portraying the human body. The three classical orders of columns - Doric, Ionic, and Corinthian - were interpretations of ancient post-and-beam structures made in stone with distinctive features at the top and base of each style. Greek artistic influences remain prominent today.
1
xxxxxxx
ARH2000
Fall 2017
Harn Diversity Project
The Harn Museum of Art at the University of Florida displays an expansive collection of
Asian art from various countries throughout the region. The online exhibit Korean Art:
Collecting Treasures showcases pieces that span a multitude of media and that can trace their
origins to Korea. Many of the pieces were donated to the museum by General James Van Fleet in
1988. Fleet served in the U.S. Army as an officer during the Korean War and influenced the
founding of the Korea Society in New York in 1957. The Korea Society worked to promote
positive relations between American and Korean communities by encouraging a “mutual
understanding” between the two cultures (“Korean Art: Collecting Treasures”). The effect of
Korean Art: Collecting Treasures is very similar; it creates a window into the world that is
Korean culture thus sparking conversation and recognizing and validating the strong Korean
community in Gainesville.
Gainesville, as a whole, is a widely diverse community which is largely due to the
influence of the University of Florida. Educational and research opportunities draw people from
across the globe to this central Floridian town. The Institute of International Education Open
Doors Report of 2016 states that there is a total of 7,107 international students enrolled here at
UF with 267 of these students being from South Korea. The total of South Korean international
students is the third largest group behind only China and India. In addition to international
students, there are, also, eighty-one exchange students from South Korea. The Korean
2
Undergraduate Student Association (KUSA) provides a way for this community of Korean
students, international, exchange, and American, to engage with each other and find support.
KUSA enhances the social lives of its members by establishing “big” and “little” families,
hosting a spring formal dance, and organizing an annual trip to Atlanta (“KUSA at UF”). Beyond
the social aspects of the club, the Korean Undergraduate Student Association states that their
goal is to “unite” the Korean and Korean-American communities and to “promote the visibility”
of these communities “on campus as well as in the greater society” (KUSA-GatorConnect). This
stated purpose is extremely similar to the purpose of the aforementioned Korea Society and
mirrors the effect Korean Art: Collecting Treasures has on viewers, particularly the aspect of
“visibility.” The Korean Undergraduate Student Association with this Korean art exhibit,
together prevent Korean culture from being ignored or neglected on campus by giving it a place
to come together and shine brightly to the public.
Korean Art: Collecting Treasures features pieces whose themes, styles, and media are
iconic to Korean artwork as a whole. Ceramic works are particularly characteristic of Asia
(Frank, 318). Almost all of ...
Korea has a long history of over 5,000 years with influences from China and Japan. It was divided in the 20th century but has since grown its economy to become the 12th largest in the world. Korean culture such as K-pop and TV dramas have also spread globally in recent decades through the Korean Wave. Korea has contributed many innovations throughout history such as inventing the world's first metal printing type, woodblock printing, and alphabet known as Hangul.
The document summarizes traditional Korean music and instruments. It discusses the folk song Arirang and its origins as a song of farewell and parting. It then categorizes Korean folk music as either "munye" for upper classes or "minsogak" for the general public. Key traditional instruments described include the gayageum zither, haegeum fiddle, daegeum bamboo flute, janggo hourglass drum, and samulnori percussion ensemble. Samulnori features four drums and originated accompanying shamanistic rituals.
Korean art uses concepts from Chinese and Japanese art but with simplicity and harmony with nature. Korean masks were used for various purposes like war, burial rites, ceremonies, dances, plays, and to express criticism of authorities anonymously. There are different types of Korean dances involving masks like Talchum from North Korea and Sandae Noli from Seoul. Korean calligraphy uses the Korean alphabet Hangul with circular strokes and Hanja Chinese characters. It is practiced using brushes, mulberry paper, ink sticks, and inkstones. Hangul calligraphy became popular recently while Hanja was known by the educated historically. Korean paintings were influenced by China and feature landscapes, portraits, and Buddhist themes depicting nature. Korean drama refers to contemporary
Korean art has a long history spanning from Neolithic times to today. Some of the earliest examples are pottery and petroglyphs from 3000 BCE. During the Three Kingdoms period in 57 BCE to 668 CE, the kingdoms of Goguryeo, Baekje, and Silla developed distinct artistic traditions in areas like tomb murals, metalworking, and gold crafts that were influential throughout East Asia. Subsequent periods like Goryeo and Joseon saw flourishing of art in areas such as Buddhist paintings, ceramics, calligraphy, and architecture that incorporated both native Korean and Chinese artistic influences and traditions. Today, Korean art is celebrated through various galleries, exhibitions, and cultural performances that
The document discusses art from the Middle Ages, including Romanesque and Gothic styles between 500-1500 AD. It provides examples of illuminated manuscripts, architecture like churches and castles, and sculptures that taught religious stories. Gothic art is characterized by pointed arches, rose windows, flying buttresses, and verticality to seem closer to heaven. Frescoes in places like Assisi showed biblical scenes to educate those who could not read.
Korean traditional dance originated from ancient shamanistic rituals thousands of years ago and was supported by royal courts, academies and the government. There are six main types of traditional Korean dance today - Court, Folk, Shamanistic, Confucian, Buddhist and Modern. Many dances feature unique gestures like sliding the feet and lifting the shoulders. Popular folk dances include the Fan Dance performed with colorful fans, the Salpuri dance to exorcise spirits, and circle dances like Kanggangsuwollae. Masked dances incorporate music, mime and drama. The Sword Dance and Drum Dance showcase those instruments. Traditional dances are now preserved through academies as important parts of Korean cultural heritage.
Chinese painting styles and subjects traditionally focused on landscapes, plants, animals, and other natural elements. Landscape painting was considered the highest form, reflecting Chinese ideals of living in harmony with nature. Painting techniques were influenced by calligraphy, using brushes and black or colored inks on materials like silk and paper. Common themes expressed the relationship between nature and humanity according to Daoist and Buddhist principles.
Minhwa, or Korean folk art paintings, convey Korean mythology, religion, and culture. They were traditionally created anonymously to decorate homes and celebrate occasions. Two major categories are paintings that wish for good luck and repel evil spirits. Common symbols include the sun, moon, pine trees, and animals believed to bring good fortune and longevity. One famous example is the royal folding screen depicting the sun, moon, and five peaks, representing the monarchy's governance. Minhwa provide insights into traditional Korean agrarian life, values, and spirituality.
This document provides an overview of Greek and Roman art history from 800 BC to 300 AD. It describes several key aspects of ancient Greek architecture, sculpture, and painting, including the Parthenon, Acropolis, and three orders of columns. It also discusses the three periods of Greek sculpture and their changing focus. For ancient Rome, it outlines major architectural structures like basilicas, the Pantheon and Colosseum, as well as the aqueduct system. Roman art is described as following Greek classical forms with a focus on realism in portrait sculptures and mural paintings.
The document discusses the characteristics and history of art in China and India from early periods through various dynasties. In China, early art included pottery and jade from the Neolithic period. Significant artistic developments occurred during the Shang Dynasty, Zhou Dynasty, Qin Dynasty, Han Dynasty, Tang Dynasty, Song Dynasty, Ming Dynasty. In India, early petroglyphs date back thousands of years, with sculpture, painting, architecture, and other art forms influenced by religion and politics evolving over millennia. Major sites like the Taj Mahal exemplify the pinnacle of each country's artistic heritage.
Japan is an island nation located in East Asia, consisting of over 6,800 islands. The four largest islands are Honshu, Hokkaido, Kyushu, and Shikoku. Traditional Japanese clothing includes the kimono, a full-length silk robe worn by both men and women in various styles and colors depending on occasion, season, and marital status. Some traditional Japanese crafts discussed include hinamatsuri dolls, daruma dolls, kokeshi dolls, ikebana flower arranging, and origami paper folding.
Portraiture of Roman Emperors evolved over time from the Republic to the High Empire periods. During the Republic, portraits depicted idealized bodies and realistic heads to elevate individuals. Private portraits became popular along with imperial iconography. In the High Empire, portraits moved away from idealization and captured the personality and emotions of emperors, like confidence, worry, and sadness. Heads showed signs of aging and realism overtook the idealized depictions of the past.
Japanese theater has a long tradition dating back to the 16th century. Two major forms are Noh and Kabuki. Noh features stylized performances that incorporate music, drama, and dance. Kabuki began as a more lively alternative to Noh, shocking audiences with contemporary stories told through dramatic costumes and sword fights. Both forms have evolved over time but maintain their cultural significance as unique Japanese art forms. Vocal techniques used in these theaters demonstrate extraordinary breath control and the ability to synchronize speech with shamisen music. Shamisen accompanies dances and provides music across multiple Japanese theatrical traditions.
This document identifies and describes several traditional theater forms and festivals celebrated in Asia, including Wayang Kulit shadow puppet plays from Indonesia, Peking Opera from China, and Kabuki dance-dramas from Japan. It provides details on the Wayang Kulit puppeteer and leather puppets, the roles in Peking Opera like Dan female roles and Sheng male roles, and explains that Kabuki combines song, dance, and performance art. The document asks questions about the different theater plays in Asia, the importance of theater in society, and the impact of the pandemic on performing these plays.
This document provides a history of oriental and eastern art, including Chinese, Japanese, Korean, and modern East Asian art. It summarizes the origins and evolution of art forms such as painting, calligraphy, sculpture, and pottery in each culture. Key developments include the origins of Chinese stone art 10,000 years ago, the rise of landscape painting in China 900-1100 AD, the influence of Buddhism on Japanese bronze casting in the 7th-8th centuries, and the influence of Western art in modernizing Japanese art in the 20th century. It also notes the growing international market for Chinese and East Asian art.
Korean art forms include painting, masks, and knot tying. Korean paintings often feature landscapes, Buddhist topics, and celestial observations. Mountains and water are common landscape elements. Korean masks, called tal, were used in religious rituals and theater to banish spirits. They later became part of elaborate dances by the 12th century. Mask colors symbolize aspects like age, race, and parentage. Some masks have moving parts. Knot tying in Korea, known as maedeup, features decorative knots like the dorae double connection knot.
Thai cultural traditions can be seen in local crafts like textiles, silverwork, wood carving, and basketry. Traditional Thai art is primarily Buddhist art with some Hindu influences, seen in temple decorations featuring snakes, birds, and spirits. A common Buddha image shows him seated in meditation with one hand touching the ground, symbolizing his enlightenment. Traditional Thai silk is handwoven with bright natural dyes, and Thailand celebrates Loi Krathong festival by floating flower-covered krathongs on water.
Japanese art has evolved over centuries, originally influenced by Buddhist art from China. During early periods like Nara and Fujiwara, Buddhist sculptures and paintings became popular. The Fujiwara period saw the development of Yamato-e painting traditions. During Kamakura, sculpture took on realistic details, while the Muromachi period saw the rise of ink paintings influenced by Zen Buddhism. Later periods like Momoyama and Edo saw developments in screen paintings, lacquerware, and ceramics. In more recent centuries, Western styles influenced Japanese art, though traditional forms remain influential as well.
The document provides an overview of the development of ancient Greek art from c. 900-31 BCE. It covers major periods including the Geometric and Orientalizing styles from c. 900-600 BCE, the Archaic period from c. 600-480 BCE, the Classical period from c. 480-400 BCE, and the Hellenistic period from c. 323-30 BCE. Key developments in sculpture, architecture, and artistic styles are showcased through numerous examples of pottery, temples, statues, and more. The document traces the evolution of Greek art over nearly a millennium through its major historical phases.
Greek art is characterized by naturalism and idealism in human form. The Greeks achieved great success in sculpture and architecture between 1000-400 BCE, striving for perfection and proportion in portraying the human body. The three classical orders of columns - Doric, Ionic, and Corinthian - were interpretations of ancient post-and-beam structures made in stone with distinctive features at the top and base of each style. Greek artistic influences remain prominent today.
1
xxxxxxx
ARH2000
Fall 2017
Harn Diversity Project
The Harn Museum of Art at the University of Florida displays an expansive collection of
Asian art from various countries throughout the region. The online exhibit Korean Art:
Collecting Treasures showcases pieces that span a multitude of media and that can trace their
origins to Korea. Many of the pieces were donated to the museum by General James Van Fleet in
1988. Fleet served in the U.S. Army as an officer during the Korean War and influenced the
founding of the Korea Society in New York in 1957. The Korea Society worked to promote
positive relations between American and Korean communities by encouraging a “mutual
understanding” between the two cultures (“Korean Art: Collecting Treasures”). The effect of
Korean Art: Collecting Treasures is very similar; it creates a window into the world that is
Korean culture thus sparking conversation and recognizing and validating the strong Korean
community in Gainesville.
Gainesville, as a whole, is a widely diverse community which is largely due to the
influence of the University of Florida. Educational and research opportunities draw people from
across the globe to this central Floridian town. The Institute of International Education Open
Doors Report of 2016 states that there is a total of 7,107 international students enrolled here at
UF with 267 of these students being from South Korea. The total of South Korean international
students is the third largest group behind only China and India. In addition to international
students, there are, also, eighty-one exchange students from South Korea. The Korean
2
Undergraduate Student Association (KUSA) provides a way for this community of Korean
students, international, exchange, and American, to engage with each other and find support.
KUSA enhances the social lives of its members by establishing “big” and “little” families,
hosting a spring formal dance, and organizing an annual trip to Atlanta (“KUSA at UF”). Beyond
the social aspects of the club, the Korean Undergraduate Student Association states that their
goal is to “unite” the Korean and Korean-American communities and to “promote the visibility”
of these communities “on campus as well as in the greater society” (KUSA-GatorConnect). This
stated purpose is extremely similar to the purpose of the aforementioned Korea Society and
mirrors the effect Korean Art: Collecting Treasures has on viewers, particularly the aspect of
“visibility.” The Korean Undergraduate Student Association with this Korean art exhibit,
together prevent Korean culture from being ignored or neglected on campus by giving it a place
to come together and shine brightly to the public.
Korean Art: Collecting Treasures features pieces whose themes, styles, and media are
iconic to Korean artwork as a whole. Ceramic works are particularly characteristic of Asia
(Frank, 318). Almost all of ...
Korea has a long history of over 5,000 years with influences from China and Japan. It was divided in the 20th century but has since grown its economy to become the 12th largest in the world. Korean culture such as K-pop and TV dramas have also spread globally in recent decades through the Korean Wave. Korea has contributed many innovations throughout history such as inventing the world's first metal printing type, woodblock printing, and alphabet known as Hangul.
This document provides an overview of Korean art and culture for educators. It includes background information on Korean history and religions, an overview of Korean art history, descriptions of key artworks in the Metropolitan Museum's collection, and classroom resources. The materials aim to introduce teachers and students to Korea's rich artistic heritage and encourage the use of the Museum's new Arts of Korea gallery in lessons.
Korean arts include traditions in calligraphy, music, painting, and pottery. These arts often use natural forms, surface decoration, and bold colors or sounds. The earliest examples of Korean art are Stone Age works dating back to 3000 BC. Traditional Korean art genres that developed under Chinese influence include calligraphy, which appreciates the beauty of brush strokes and ink, and painting, which was closely related to calligraphy. Pottery also developed a distinct Korean style with shapes like moon jars and inlaid celadon from the Goryeo period.
The document discusses the history of Korean art from ancient to modern times. It covers various periods including the Three Kingdoms Period, Goryeo Dynasty, Joseon Dynasty, Colonial Period under Japanese rule, and art today. Key topics covered include the influence of Chinese art, development of genres like landscapes and portraits, folk art traditions, and major changes in Korean painting over time. Ceramics like celadon are also mentioned.
Korea has a long history dating back over 5,000 years. Major periods include the Three Kingdoms period in which states like Goguryeo, Baekje and Silla emerged, followed by periods of rule by the Goryeo and Joseon dynasties. Korea was occupied by Japan from 1910 to 1945. Today, South and North Korea remain divided. South Korea has seen rapid economic growth and its culture has gained global popularity through the Korean Wave. Korea has contributed significant cultural achievements including inventions like hangul, the Korean alphabet, and intangible cultural heritage recognized by UNESCO.
Korea has a long history of over 5,000 years. Major periods include the Three Kingdoms period followed by Goryeo and Joseon dynasties. Korea experienced Japanese occupation from 1910 to 1945. It is now divided between North and South Korea. South Korea has seen rapid economic growth and is a global cultural exporter, especially of pop culture through the Korean Wave. Korea has contributed significant cultural achievements including the invention of the Korean alphabet Hangul, exquisite ceramics and art, Buddhist philosophy and architecture.
The document provides an overview of Korean history from 2333 BCE to 1910 CE. It summarizes the major dynasties and kingdoms, including Gojoseon, the Three Kingdoms period, Goryeo Dynasty, Joseon Dynasty, and the Japanese occupation period. Key developments discussed include the spread of Confucianism, Buddhism, the creation of hangul, ceramic and artistic achievements, and conflicts such as the Imjin War and Korea becoming a Japanese colony in 1910. The document uses comparisons to California to provide geographical and population context about Korea.
This document provides an overview of the history of art from prehistoric times through contemporary art. It begins with prehistoric cave paintings from the Stone Age and then discusses the art of early civilizations like Mesopotamia, Egypt, Greece, and Rome. Key periods and styles of art discussed include Mesopotamian art from 5000-2000 BC, Egyptian art from 2700-1100 BC divided into the Old, Middle, and New Kingdoms, Greek sculpture and culture from around 2000 BC, Roman art, Medieval art, Renaissance art beginning in Italy in the early 15th century, Baroque art, Neoclassicism, Romanticism, and contemporary art. The document examines the major developments and influences in art
Medieval Gothic Art spanned from the early to late periods between the 5th and 15th centuries. It was Christian art that symbolized the dominance of the Catholic church during this era in western civilization. Gothic art is further divided into three ages: early, high, and late Gothic. The primary purpose of Medieval art was to express Christianity, which provided a common bond across Europe. Most art originated in monasteries and churches that were the main patrons.
The Gahoe Museum in Seoul houses one of the most comprehensive collections of Korean shaman art in the world. The collection, assembled by founder Yeolsu Yoon, includes shaman paintings, folk art, amulets, books, and relics that provide insight into indigenous Korean culture and spirituality. Shaman paintings often depict deities and spirits that play important roles in shaman rituals and folk beliefs. Yoon's article explores some of the most significant deities represented in the collection, such as the Five Direction Guardians, Seven Star Spirit, Mountain God, Buddha Trinity, military generals, and disease-related spirits. The museum strives to preserve these works of art and educate the public on Korean folk traditions
Explanation by ni putu puspita history and culture of koreasman 2 mataram
This document provides an overview of the history, culture, and religions of Korea. It discusses Korea's location between China and Japan and interactions with those countries. The document outlines Korea's dynastic history from ancient kingdoms to the Joseon dynasty. It also summarizes key aspects of Korean culture like language, arts, dance, music, dress, food, and traditional religions like shamanism, Buddhism, Confucianism, and the later introduction of Christianity.
The document summarizes the history and evolution of art in India, China, Japan, and their influence on one another from 653 BC to modern times. It traces how Buddhism spread from India to China and Japan along the Silk Road, influencing artistic styles. Key periods and artistic influences discussed include ancient Indian art, Mughal architecture in India, Chinese painting dynasties, Ukiyo-e woodblock prints in Japan, and how contemporary art has developed in each country with global influences.
1. The Paleolithic era marks the beginning of artistic representat.docxjackiewalcutt
The document discusses the history and characteristics of art from the Paleolithic era through Ancient Greek art. It describes how Paleolithic art primarily depicted animals and fertility figures to address themes of survival. Near Eastern art began traditions of sculpture and painting humans with precision and grandeur as civilizations developed. Egyptian art was highly symbolic and intended to preserve the past, maintaining consistent styles for thousands of years. Aegean art was produced by the Cycladic, Minoan, and Mycenaean cultures, focusing on small sculptures and rarely depicting faces frontally in paintings until Greek influence. Greek art is generally defined as occurring from 1000 BC to 100 BC, excluding earlier Minoan and Mycenaean works, and focused
Explanation by ni putu puspita history and culture of koreasman 2 mataram
Korea is located between China and Japan and has been influenced by both neighbors. The Korean people are descendants of migrants from Siberia and their language is considered language isolate. Korea has a long history with various dynasties ruling the country from 2333 BC to 1910 AD when Korea became a Japanese colony. Traditional Korean culture includes arts like painting and ceramics, dances, unique styles of dress, cuisine like kimchi, and the Korean alphabet Hangul. Major religions practiced in Korea are shamanism, Buddhism, Confucianism, and Christianity.
Explanation by ni putu puspita history and culture of koreasman 2 mataram
Korea is located between China and Japan and has been influenced by both neighbors. The Korean people are descendants of migrants from Siberia and their language is considered language isolate. Korea has a long history with various dynasties ruling the country from 2333 BC to 1910 AD. Korean culture is demonstrated through traditions like Korean ceramics, dance, music, food and dress. The major religions in Korea are Korean shamanism, Buddhism, Confucianism and Christianity which were introduced at different times and had varying levels of influence.
Explanation by ni putu puspita history and culture of koreasman 2 mataram
Korea is located between China and Japan and has been influenced by both neighbors. The Korean people are descendants of migrants from Siberia and their language is considered isolated. Korea has a long history with various dynasties ruling the country from ancient times through the early 20th century. Traditional Korean culture includes arts like painting and ceramics, dances, unique styles of dress, cuisine featuring rice and side dishes like kimchi, and the Korean alphabet Hangul. Major religions practiced in Korea today are Buddhism, Christianity, and Korean shamanism.
Trade and artistry have been important parts of human societies since prehistoric times. Early humans created cave paintings, sculptures, and pottery to express themselves. Later, the Sumerians traded goods and developed writing to record their commerce. The Jomon people of ancient Japan invented pottery, developed specialized settlements, and established long-distance trading networks to share resources without overusing any local area. Artisans in ancient Egypt specialized in crafts like sculpture, painting, and metalworking to supply the needs of temples and palaces.
Early Korean History and Culture by Albert ParkJini Shim
Presented at the 2017 Korean History and Culture Seminar for American Educators at Korean Cultural Center Los Angeles, hosted by National Korean Studies
Writing originated independently in three places: Mesopotamia around 3200 BCE, China around 1250 BCE, and Mesoamerica around 650 BCE. In Mesopotamia, writing evolved from a system of clay tokens used for accounting of commodities starting around 7500 BCE. These tokens were eventually impressed on clay tablets, removing the need for physical tokens. Around 3000 BCE, phonetic symbols were created to represent sounds, connecting writing to spoken language. Writing was initially only used for economic purposes, but around 2700 BCE began to be used for funerary inscriptions as well.
Visionary Art Seminar at Bucharest University May 2014Howard Charing
THE POWER OF VISIONARY ART – EVOLUTION OF CONSCIOUSNESS
Bucharest May 22nd 2014 7PM Hosted by Matei Georgescu – From the series: Spirituality Serving Education Spiru Haret University – Sociology-Psychology
Department Presenter: Howard G Charing, co-author of ‘Plant Spirit Shamanism’ and ‘The Ayahuasca Visions of Pablo Amaringo’
With the participation of: Prof. Ph. D. Mihaela Minulescu. Jungian Analyst, National School of Political and Administrative Studies Prof. Ph. D. Vintila Mihailescu. Anthropologist, National School of Political and Administrative Studies
Aurel Mocanu: Translation
Moderator: Assoc. Prof. Ph. D. Matei Georgescu, Spiru Haret University.
In this seminar, I will be exploring the mystery that visionary art reveals and how the visionary experience can change either an individual or the world. Visionary artists inspire us to look beyond the veil of cultural and linguistic limitations. At this unique time of evolving human consciousness the artificial boundaries in many areas between art and science are being erased. The brilliant Mathematician Benoit Mandelbrot has shown us how to perceive the world in a totally new way by introducing the concept of Fractal Geometry and a new way to understand consciousness similar to that of visionary and spiritual art. I will also discuss the unique visionary art of the Shipibo peoples of the Amazon. Their art unites the vibrations of light, colour, and sound into a new form. I will be presenting and discussing the works of the visionaryartists; Alex Grey, Paul Laffoley, David ‘Slocum’ Hewson, and Pablo Amaringo
Soplo del Banco Puma by Pablo Amaringo
The banco puma is a master shaman who transforms himself into a puma to go hunting or to hide from an enemy. In the old days when people in the Ucayali region did not have fire arms to kill large animals, the banco puma would use his ability to bring back food for his family. <p>
When the shaman transforms himself into a puma he acquires its attributes; in particular a keen sense of smell, and sinchi-ňahui (strong eyes) which can mesmerise an enemy. A banco puma is a skilled healer with great knowledge of medicinal plants.
<p>
This painting is featured in the book ';The Ayahuasca Visions of Pablo Amaringo' by Howard G Charing and Peter Cloudsley. Published by Inner Traditions. This painting is available as a Fine Art Print or Greeting Card;</p>
http://pablo-amaringo.artistwebsites.com/</p>
A Presentation in Bucharest April 2012 on Visionary Art by Howard G Charing , co-author of 'Plant Spirit Shamanism' and 'The Ayahuasca Visions of Pablo Amaringo'.
Plant Spirit Shamanism from the Bible: Moses and Hallucinogens Howard Charing
Moses and Hallucinogens:
Plant Spirit Shamanism from the Bible
The worldwide media interest in Benny Shanon's paper about Moses and entheogens, is encouraging us to take a good and hard look at the roots of religions and the notion that they were based on fertility cults, and shamanic practices such as Entheogens (or hallucinogenic) plants as a source of spiritual communion with the universal consciousness, or the mind of God.
and Tell
15 May 2012 › 21 October 2012
On view from May 15 to October 21, 2012, the exhibition Histoires de voir: Show and Tell presents the works and narratives of over 40 painters, sculptors and filmmakers from around the world. They are Brazilian, Indian, Congolese, as well as Haitian, Mexican, Danish, Japanese and American. They hail from the urban centers of Paris and Port-au-Prince, or the rural communities of the Amazon and Madya Pradesh. They emerged as artists and developed their talents in uncommon circumstances; they have often been considered as naïve artists and have rarely been invited to exhibit their works in contemporary art institutions.
MEDICINE FOR THE SOUL: How to heal with Shamanism, Shamanic Healing & Soul Re...Howard Charing
MEDICINE FOR THE SOUL:Shamanic Healing & Soul Retrieval: A Personal Perspective by author, international workshop leader, and healer Howard G. Charing.
Visit Howard's websites:
htttp://www.shamanism.co.uk
http://www.ayahuascavisions.com
Blog: http://www.shamanism.wordpress.com
This document provides a summary of the book "Net of Being" by Alex Grey with Allyson Grey. The book contains over 200 reproductions of Alex Grey's visionary artwork. It explores how Grey's mystical experiences have influenced his art and its role in cultural evolution. The book documents Grey's live painting performances and his "social sculpture" project called CoSM, the Chapel of Sacred Mirrors cofounded with his wife Allyson Grey.
A Unique workshop and retreat in the Spirit of Pablo Amaringo with Night time Ayahuasca Ceremonies
Facilitated by the Howard G Charing and Peter Cloudsley the authors of ‘The Ayahuasca Visions of Pablo Amaringo’ published by Inner Traditions.
This is a 12 day workshop and retreat with one of Pablo Amaringo foremost students and teacher at the Usko Ayar School of Amazonian Art. We will be working at the Amaruspirit Centre run by the visionary artist David ‘Slocum’ Hewson which is located by the Itaia River near Iquitos.
Each day, a hands-on Art workshop will be held; participants will enjoy a unique experience of learning the art of visionary and nature painting. This workshop is suitable for beginners are well as experienced and proficient artists.
Each night we offer traditional Ayahuasca ceremonies with Javier Arevalo who we have worked with for 12 years and brought to the UK in 2002 for a special 10 day Retreat in Wales. We will also have available Shamanic teacher plants which enhance visionary perception, awareness, and sensitivity, such as Ajo Sacha, and Guayusa.
An feature on the Amazon Rainforest from 人与自然 'Human and Nature' Magazine published in China March 2012 Issue. Includes some of my photos, one with the visionary artist Pablo Amaringo showing his art.
Robert Venosa foreword to 'The Ayahuasca Visions of Pablo Amaringo'Howard Charing
Robert Venosa's foreword contribution to the book 'The Ayahuasca Visions of Pablo Amaringo' by Howard G Charing & Peter Cloudsley. Published by Inner Traditions
Desert Psychedelic - The Art of Jimmy PikeHoward Charing
A Catalogue of Jimmy Pike's work. Born in the Great Sandy Desert area of Western Australia, Jimmy Pike worked as a stockman and in his spare time did carvings, which he sold to tourists in Fitzroy Crossing. In the 1980s, while serving a prison sentence, Jimmy Pike joined an art class and began to paint, working in printmaking and produce linocuts. His work is characterised by the used of bold shapes in strongly contrasting earth colours.
Psychedelics and Creativity - MAPS Volume X number 3 2000
MULTIDISCIPLINARY ASSOCIATION FOR PSYCHEDELIC STUDIES
A fascinating exploration and analysis of the relevance and importance of psychedelics and creativity, with interviews, reviews and art by;
L.J Altvater
Alex Grey
Stevee Postman
Steven Rooke
Allyson Grey
Donna Torres
Robert Venosa
Benny Shannon
Tom Robbins
Rick Doblin
A review in 'El Dominical' of the art exhibition 'Amazonica' - held at the Centro Cultural Ricardo Palma in Lima, Peru - June - July 2011.
A crude translation of the feature;
Forty Amazon artists from different generations, trends and styles come together in a charity show at the Centro Cultural Ricardo Palma de Miraflore. The objective is to obtain funding to develop cultural programs for children in our forest.
The Amazon is a woman, "says the artist Gino Ceccarelli." And a woman is the most beautiful display of creation ". That's why his paintings are always women who are merged with nature, relating to the many stories he heard as a child about the mythical goddesses, counted wise river towns, who met at sunset to watch the death of the sun between infinite forest. draws on ancient wisdom of founding myths of ancient explanations of the world, but also more contemporary material flows. This communion is rooted in the Amazonian wealth of art today. There are pictures to prove themselves by Gino Ceccarelli (Italian father and mother Amazon), based on myths and legends, or the whole aesthetic of pop and kitsch Christian Bendayán or visual strength of Harry Chavez.
A powerful art
The discovery of the Amazon by Lima has revealed, among other things, a powerful art that draws on ancient wisdom of founding myths of ancient explanations of the world,
Several generations
This exhibition, called "Amazonica", brings together forty artists Amazon, from the masters of the sixties and seventies to young exponents of the latest generations. They can be works of the great painter Pablo Amaringo shaman of the pioneers of integral art of the Amazon as Cesar Calvo de Araujo and Eduardo Meza Saravia, young and talented artist like Rember uitoto Yahuarcani and Roldan Pinedo Lopez, a native of the district Yarina Cocha, who developed techniques of the Shipibo-naturals Conibos.
The Artists displaying their works at the exhibition;
Ronald Alvan , Alberto Ayarza, Christian Bendayan, César Calvo de Araujo, Lastenia Canayo, Cesar Calvo de Araujo , Enrique Casanto , Harry Chávez , Gino Ceccarelli , Maximino Cerezo , Victor Churay, Samuel Coriat , Nancy Dantas , David Hewson, Orlando Izquierdo, "The Ocelot" , Emilio Lopez , Eduardo Meza Saravia, Joseph Morey, Dimas Paredes , James David Paredes , Gerardo Petsaín , Harry Pinedo, Roldán Pinedo , Reninger Reategui, "Rucoba" , Diana Riesco), Hildebrand Rivers, Brus Rubio, Miguel Saavedra , Malena Santillana , Sixto Saurin, Fernando Sovero, Luighi Tang, Elena Valera, Celia Vasquez, Juan Manuel Vasquez , Armando Williams, Rember Yahuarcani, Santiago Yahuarcani
Art Exhibition: Poder Verde - Visiones PsicotropicalesHoward Charing
The Art Exhibition catalogue of the 'Poder Verde - Visiones Psicotropicales' held at the CCE Lima, Peru in 2009. Featuring works by Harry Chavez, Pablo Amaringo, Christian Bendayan, Bruis Rubio and others.
Shamanic Illuminations - work by Pablo Amaringo, Alex Grey, and Mieshiel at t...Howard Charing
Invitation to the Shamanic Illuminations Exhibition at the ACA Galleries New York.
Shamanic Illuminations
The Art of Pablo Amaringo, Alex Grey and Mieshiel
September 15 through October 22
Opening Reception and Book Signing
Thursday, September 15 - 5-8 pm
Shipibo-Conibo Art Exhibition - 'Una Ventana Hacia El Infinito' at the ICPNA,...Howard Charing
Shipibo-Conibo Art Exhibition Catalogue - 'Una Ventana Hacia El Infinito' at the ICPNA, Lima Peru in 2002.
To see photo my photo gallery of Shipibo art on Flickr;
http://www.flickr.com/photos/hgcharing/sets/72157620132254791/
How To Talk To a Live Person at American Airlinesflyn goo
This page by FlynGoo can become your ultimate guide to connecting with a live person at American Airlines. Have you ever felt lost in the automated maze of customer service menus? FlynGoo is here to rescue you from endless phone trees and automated responses. With just a click or a call to a specific number, we ensure you get the human touch you deserve. No more frustration, no more waiting on hold - we simplify the process, making your travel experience smoother and more enjoyable.
The Power of a Glamping Go-To-Market Accelerator Plan.pptxRezStream
Unlock the secrets to success with our comprehensive 8-Step Glamping Accelerator Go-To-Market Plan! Watch our FREE webinar, where you'll receive expert guidance and invaluable insights on every aspect of launching and growing your glamping business.
Our excursions in tahiti offer stunning lagoon tours, vibrant marine life encounters, and cultural experiences. We ensure unforgettable adventures amidst breathtaking landscapes and serene waters. For more information, mail us at tracey@uniquetahiti.com.
Un viaje a Buenos Aires y sus alrededoresJudy Hochberg
A travelogue of my recent trip to Argentina, most to Buenos Aires, but including excursion to Iguazú waterfalls, Tigre, and Colonia del Sacramento in Uruguay
How do I plan a Kilimanjaro Climb?
Planning to climb Mount Kilimanjaro is an exciting yet detailed process. Here’s a step-by-step guide to help you prepare for this incredible adventure.
Assessing the Influence of Transportation on the Tourism Industry in Nigeriagsochially
This research dissertation investigates the complex interplay between transportation and the tourism industry in Nigeria, aiming to unravel critical insights that contribute to the enhancement of the overall tourist experience. The study employs a multi-faceted approach, literature review establishes a robust theoretical framework, incorporating The Service Quality and Satisfaction Theory to guide the research questions and hypotheses.
The methodology involves the distribution of a structured questionnaire, ensuring a representative sample and facilitating a comprehensive analysis of the gathered data.
Key findings include the nuanced perceptions of transportation infrastructure adequacy, safety and security concerns, financial influences on travel decisions, and the cultural and ecological impacts of transportation choices. These findings culminate in a comprehensive set of recommendations for policymakers and practitioners in the Nigerian tourism industry. The findings contribute to the existing literature by providing actionable insights for policymakers, stakeholders, and researchers in the Nigerian tourism sector.
The recommendations encompass gender-sensitive planning, infrastructure enhancements, safety measures, and strategic interventions to address financial constraints, ensuring a holistic and sustainable development of the tourism industry in Nigeria.
Author: Imafidon Osademwingie Martins
Best Places to Stay in New Brunswick, Canada.Mahogany Manor
New Brunswick, a picturesque province in eastern Canada, offers a plethora of unique and charming places to stay for every kind of traveler. From the historic allure of Fredericton and the vibrant culture of Saint John to the natural beauty of Fundy National Park and the serene coastal towns like St. Andrews by-the-Sea, there's something for everyone. Whether you prefer luxury resorts, cozy inns, rustic lodges, or budget-friendly options, the best places to stay in New Brunswick ensure a memorable stay, allowing you to fully immerse yourself in the province's rich history, stunning landscapes, and warm hospitality.
https://www.mmanor.ca/blog/best-5-bed-and-breakfast-new-brunswick-canada
Wayanad-The-Touristry-Heaven to the tour.pptxcosmo-soil
Wayanad, nestled in Kerala's Western Ghats, is a lush paradise renowned for its scenic landscapes, rich biodiversity, and cultural heritage. From trekking Chembra Peak to exploring ancient Edakkal Caves, Wayanad offers thrilling adventures and serene experiences. Its vibrant economy, driven by agriculture and tourism, highlights a harmonious blend of nature, tradition, and modernity.
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1. A Teacher’s Sourcebook for
Ko r e an A r t & C u l tu re
Featuring the Korean Art Collection
of the Peabody Essex Museum
Salem, MA
2. Why Learn about Korean Art and Culture? 1
Table of Contents Timeline of Korean History 2
Introduction to Late Joseon Dynasty Korea 3
The Arts of Life 4
Paper 4
Lacquer 6
Porcelain 7
Clothing & Textiles 8
Screens 12
Works of art on front cover
clockwise from left:
Symbolism – Embodied Wishes and Hopes 14
Hwarot (bridal robe), detail
Animals 15
18th century
Buddhist Symbols 16
Seoul
Daoist Symbols 16
Silk, paper, cotton, wool, metallic thread
Chinese Characters 16
Museum purchase
The Ten Longevities 16
E20190
City Gate, Korea
Philosophy and Religion 17
Photograph
Collection of Peabody Essex Museum Shamanism 17
Neo-Confucianism 20
Miseon (tail shaped fan) Buddhism 21
Ca. 1800
Chun-Ila Province
Paper, lacquer, bamboo Glossary 26
Gift of Yu Kil-Chun
Sambuldo (three Buddhas), detail
Works Consulted 29
19th century
Paint, paper, textile
Anonymous gift
Find Out More 33
E30038
Ja (ruler)
19th century
Bamboo, ox horn, paint
Gift of Charles Goddard Weld
E9714
3. Korea is in the news almost every day.
Despite its small size (the Korean peninsula is approximately 84,565 square
miles, about the size and latitude of Utah), Korea is home to 71 million
people. That’s almost twice the
population of California on half the
amount of land, and only 30 percent
Why Learn about Korean Art and Culture?
of that land is actually inhabitable.
South Korea is among the world’s most technologically advanced nations,
has a literacy rate of almost 100 percent, and is home to one of the most
populous urban centers, Seoul (ranked 19th in the world). The current
economic success on the Korean peninsula is all the more amazing
considering Korea’s occupation by Japan from 1910 – 1945 and the country’s
devastation during the Korean War (1950 – 1953). Korea has been divided at
the 38th Parallel since the Soviet Union and the United States drove Japan
out of Korea at the end of World War II, but neither power wanted to see
the other take complete control of the Korean peninsula. The Korean War,
which began when North Korea, aided by China and the Soviet Union,
invaded South Korea (backed by the United Nations Forces including the
United States), hoping to force reunification of the country. The ensuing
war resulted in terrible losses on both sides and ended with an armistice
and the establishment of the Demilitarized Zone.
North and South Korea have both become key players in the global
economy and contemporary international politics, but Korean influence in
the world does not stop there. Korean visual art, cinema, and performing
arts, both traditional and contemporary, have gained global recognition
for their innovation and sophistication. In 1995, Korea became the home
to the first international art exposition in Asia, the Gwangju Biennial,
which is now one of the most important global contemporary art events.
Korean is spoken by more than 80 million people, making it the 15th most
spoken language in the world. There are 2 million Koreans living in China,
1.3 million living in the United States, and about 700,000 living in Japan.
Korean students comprise the second largest foreign student population in
the United States (more than 93,000 people), behind Japan and just ahead
of China.
It’s this last point that brings us the Yu Kil-Chun Gallery of Korean Art
and Culture at the Peabody Essex Museum in Salem, Massachusetts. A
young member of the first official Korean delegation to the United States
in 1883, Yu became one of the first Korean students to study in the United
States when he enrolled in Governor Dummer Academy in Byfield,
Massachusetts in 1884, sponsored by his friend Edward Sylvester Morse,
the director of the Peabody Essex Museum. In the spirit of educational
exchange, Yu donated some of his personal effects to start a collection
of objects that would teach Americans about Korea. That first American
collection has grown into a wonderful resource for 18th – 19th century
Korean art and culture that presents a picture of life in late Joseon dynasty
Korea. This information is all the more relevant now that the United
States and Korea have become more closely connected. In 2003, Korean
Americans celebrated the centennial anniversary of the first Korean
1 Korean Art & Culture
4. immigration to the United States. Korean children adopted by American
families have also made a significant contribution to the cultural
connections between the two countries. Beginning with war orphans who
were adopted by Americans in the 1950s, the adoption of Korean children
has continued to the present day, resulting in a population of almost
100,000 Korean adoptees living in the United States.
Here at PEM, we are fortunate to have the Yu Kil-Chun Gallery of Korean
Art and Culture to learn from and enjoy, and we hope the following
resources will help introduce the beauty, depth, and complexities of Korea
and its people, art, and culture.
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Timeline of Korean History
7000 – 10th century bce Neolithic period
10th – 3rd century bce Bronze Age
Beginning 300 bce Iron Age
57 bce – 668 ce Three Kingdoms period
Silla kingdom (57 bce – 668 ce)
Goguryo kingdom (37 bce – 668 ce)
Baekje kingdom (18 bce – 660 ce)
Kaya Federation (42 – 562)
668 – 918 Unified Silla dynasty
918 – 1392 Goryeo dynasty
1392 – 1910 Joseon dynasty
1910 – 1945 Japanese colonial rule
1945 – 1953 Liberation, division into zones of occupation by United States
and Soviet Union
The Korean War (1950 – 1953)
1953 – present Republic of Korea (South Korea)
Democratic People’s Republic of Korea (North Korea)
Korean Art & Culture 2
5. Introduction to Late Joseon Dynasty Korea
T he Joseon dynasty (1392 – 1910), ruled by the Yi family, was
named for Korea’s ancient founding dynasty (ca. 4800 bce).
Joseon translates into “the land of morning calm.” It was a
time of sophisticated cultivation in the arts and scholarship, often with
Korean adaptation of Chinese thought, technology, and language. While
the written language of the educated class in Korea was Chinese (and
remained so into the 20th century), King Sejong (1397 – 1450) oversaw the
development of Hangeul, the phonetic alphabet of the Korean language,
to bring literacy to people in the lower classes. The Joseon dynasty had
a close tributary relationship to China’s Ming dynasty (1368 – 1644) that
allowed for support, protection, trade, the migration of science and
technology, and the development of a class of Confucian scholars.
Late Joseon dynasty Korea (18th – 20th centuries) was governed by
principles of neo-Confucianism that called for respect for hierarchy
in family, society, and government. This resulted in an atmosphere of
extreme class striation and strict gender roles, with the yangban, or upper
class, wielding the country’s power. The king’s court was the center of a
The first official Korean delegation to the United
system of administration populated with scholars and military officials
States, 1883, with Yu Kil-Chun standing in the
(all men) who had passed the civil service exam.
center, and Percival Lowell seated on the right.
After several hundred years of trading almost exclusively with China and Lowell, an American from Boston who had
Japan, late Joseon Korea became interested in establishing diplomatic spent time in Korea and Japan, served as the
relationships with the West, and despite internal conflicts, it started sending delegation’s foreign counselor.
some of its citizens to receive a Western education in Japan. By the late 19th Collection of Peabody Essex Museum
century, while European and American interests were fighting for control
of southern Chinese ports, China and Japan were battling for control of
the strategically located Korean peninsula. Eventually, Korea became a
Japanese protectorate and then was formally colonized by Japan in 1910.
Celebrations for the Governor of Pyeong-an (detail)
19th century
Ink and colors on silk
Gift of George A. Peabody and
William C. Endicott
E20262
3 Korean Art & Culture
6. The Arts of Life
PA PE R
K orean paper is famous throughout Asia and the world for its high
SUSAN BEAN
quality and is known for being exceptionally strong and durable.
Made from mulberry trees (genus Morus) and produced by the
government office of papermaking, Korean paper was used for a wide
variety of objects including furniture, kitchen utensils, quivers, and
tobacco pouches. These paper objects were made by gluing sheets of paper
together, then gluing those layers of paper to a bamboo or wooden frame,
or making scraps into “paper clay” or paper cords. The objects would then
be covered with lacquer or a varnish made from rice, persimmon juice,
and oil, rendering them strong and water resistant.
Artist Jang Yong-hoon makes hanji
paper from mulberry bark in Gapyeong
County, Gyeonggi Province, South
Korea.
(October, 2003)
Jiseung jegi (paper twine offering vessels)
19th century
Paper, lacquer
Museum purchase
E20156
These lacquered paper vessels were made by weaving together
paper cords or twine. The simple, rustic appearance and frugal
reuse of precious paper speak to the Confucian values that
permeated daily life in Korea in the 19th century.
Korean Art & Culture 4
7. JEFFREY DYKES
JEFFREY DYKES
Banjit gori (sewing box)
19th century
Paper, metal
Gift of Charles Goddard Weld
E9792
This sewing box, made completely from paper, has a dark,
austere exterior that opens to reveal colors and decorations
considered auspicious for its owner.
Taegeukseon (fan with yin yang symbol)
19th century
Paper, wood, lacquer
Gift of Edward Sylvester Morse
E4439
Daeryunseon (large wheel-shaped fan)
19th century
Seoul
Paper, bamboo, metal, bone, ox horn,
paint, wood
Museum purchase
E9731.AB
Fans were carried by both men and women in all seasons and for many
reasons: for privacy in public, as a shield from the sun, to fan flames in
Blue/Green East Wood
the hearth, to keep away insects, to cool oneself, and as an accessory. By
White West Metal
the late Joseon dynasty, most fans were made out of paper. They were
Red South Fire
often decorated simply, with some of the five cardinal colors: blue, white,
Black North Water
red, yellow, and black. The combination of these colors is used on many
Yellow/Brown Center Earth
other objects from daily life in Joseon Korea. They correspond to the
five cardinal directions: east, west, south, north, and center, and the five
elements: wood, metal, fire, water, and earth.
5 Korean Art & Culture
8. L ACQUER
M ade from the sap of lacquer trees (genus Toxicodendron), lacquer
is quite toxic to work with, but the results are beautiful and make
items durable. Korean lacquer is renowned for its high quality. It was used
to cover objects made of wood, paper, horsehair, bamboo, leather, and even
metal. Applied in multiple layers (each layer takes a long time to dry), the
finished lacquered object was long lasting, water-resistant, and beautiful.
Early in the Joseon dynasty, lacquer production and even the number of
lacquer trees was tightly regulated by the government, and lacquer objects
were available only to the upper classes. Later, mass production techniques
allowed lacquer products to reach all levels of society.
Munseo ham (document box)
17th century
Wood, lacquer, mother-of-pearl Sewing tray
Museum purchase Late 18th century
E300228 Paper, lacquer, mother-of-pearl
Museum purchase
E300229
These two examples of inlaid lacquer ware (made by placing
pieces of mother-of-pearl or tortoise shell in wet lacquer)
show dramatically different styles of decoration and aesthetics.
The sewing tray, made of lacquered paper, was a woman’s
object and was decorated with jovial symbols of long life,
fertility, and a happy marriage. The document box shows a
more restrained, simple design of scrolling peonies, appealing
to the more austere Confucian aesthetic. This treatment
of decoration and symbolism on household objects show a
gendered view of the world and divergent expectations of
women and men.
Korean Art & Culture 6
9. PORCEL AIN
K orean ceramics have been admired and collected throughout Asia
and the world for centuries. Porcelain, a type of ceramic made from
fine white clay and fired at an extremely high temperature, was especially
prized during the Joseon dynasty because of the purity and brilliance of its
white color. Many porcelain wares from this time were completely white,
keeping with austere neo-Confucian tastes. Others were decorated with an
underglaze paint made from the blue mineral cobalt. The blue and white
designs on Joseon period porcelain wares were inspired by Chinese Ming
dynasty porcelain but present simplicity and elegance of design in keeping
with Neo-Confucian aesthetics. For example, this wine bottle is decorated
with just one image, leaving plenty of white space.
Jegi (offering vessels)
19th century
Porcelain
Gift of Maria Henderson
E300483, E300461 Wine bottle with dragon decoration
19th century
Porcelain with underglaze cobalt blue
Museum purchase
E2024
7 Korean Art & Culture
10. CLOTHING & TE X TILES
S ewing and embroidery was the domain of women of all classes.
Sewing tools were important possessions, considered precious, and
were beautifully made and decorated. They showed a woman’s aesthetic
taste as well as her social status and wealth through her ability to afford
these items.
Top to bottom:
Ja (ruler)
19th century
Lacquer and mother-of-pearl
Gift of Charles Goddard Weld, E9720
Ja (ruler)
19th century
Wood, brass
Museum purchase, E1495
Ja (ruler)
19th century
Lacquer, wood, mother-of-pearl
Gift of Kojiro Tomita, E26008
Ja (ruler)
19th century
Bamboo, ox horn, paint
Gift of Charles Goddard Weld, E9714
Silpae (spool)
19th century
Wood, lacquer, mother-of-pearl
Museum purchase
Silpae (spool) E9807
19th century
Wood, lacquer, mother-of-pearl
Gift of Gustavus Goward
E9806
Korean Art & Culture 8
11. Beoseonko indu (sock-shaped iron)
19th century
Wood, lacquer, mother-of-pearl, metal
Gift of Kojiro Tomita
Rulers, spools, and a small iron used for pressing seams were E26008
some of a woman’s “seven friends” (the others were needles,
thread, scissors, and thimbles) and were all made of inlaid
lacquer on wood. The spool on the left is decorated with the
Chinese characters for long life (swu in Korean) and happiness
(bok), while the one on the right is decorated with peaches, a
symbol of abundance and prosperity. The ruler on the left is
decorated with a brightly colored and auspicious dragon, while
two of the darker rulers in the middle bear the image of the
seven star constellation (Chilsong, or the Big Dipper), which is
associated with the Buddhist and shamanist deity who controls
life span and childbirth.
Jebok (robe for royal ancestral rites)
19th century
Silk
Museum purchase
E15354A
Special-occasion garments were made by hand by women for their familes. The man’s robe, composed of the colors of eum
The care taken with each stitch was tantamount to a wish for good fortune and yang (Chinese: yin and yang), reflects the
and protection for the wearer. The type of fabric and the use of color subdued simplicity befitting a Confucian scholar.
indicated class and status. Upper-class people wore a variety of colors
and high-quality fabrics, while others were restricted to cotton fabric and
colors like white and earth tones.
9 Korean Art & Culture
12. Hwarot (bridal robe) This woman’s bridal robe is ornately and intricately decorated
18th century with luxurious fabrics and embroidered symbols of long life
Seoul and fertility, including peonies, lotus blossoms, vines, and a
Silk, paper, cotton, wool, metallic thread phoenix with its offspring. Besides conveying good wishes,
Museum purchase the decorations are also meant to protect the bride from
E20190 bad fortune. The bands of fabric on the sleeves composed
of white, blue, and red invoke protection from the cardinal
elements of metal, wood, and fire, with which the colors are
associated.
Korean Art & Culture 10
13. Saektong chima jeogori (multicolored
girl’s festival dress)
Ca. 1900
Silk, cotton
Museum purchase
E38896B
The girl’s festival dress is composed with stripes
of colors on the sleeves. In this case, the sleeves
are striped with more than the five cardinal
colors. Children were dressed in brighter colors
than adults to help protect the children from
malevolent spirits and because of Confucian
beliefs stating that adults should comport
themselves with sober decorum.
Bojagi (wrapping cloth)
20th century
Ramie
Museum purchase with funds from the
Toplitz Hilborn Memorial Fund
E301728
Wrapping cloths came in all shapes and sizes and were used
for wrapping almost anything. By wrapping an
object, the user hoped to trap happiness or blessings in the
folds of cloth. This type of cloth is made of fabric scraps,
meticulously and beautifully assembled into a patchwork
design by women to whom every piece of cloth was precious.
While many wrapping cloths were sewn by hand, this
particular one was made with a sewing machine.
11 Korean Art & Culture
14. SCREENS
S creens were among the most popular and ubiquitous forms of painting
found in late Joseon dynasty homes and were painted by itinerant
artists or artists employed at court. They were used to decorate a room or
rearrange a space, to serve as backdrops for ceremonies and performances,
and to help insulate against drafts during the cold winter months.
Hwajo (birds and flowers), detail
19th century
Ink and color on paper
Museum purchase and gift of Lea Sneider
E301717
Subjects like this bird and flower screen with its many
references to marital bliss would be appropriate for the
chambers of a newlywed couple. The imagery (read from right
to left) depicts animals or birds in conjugal pairs alongside
symbolic plant motifs.
Korean Art & Culture 12
15. Men’s quarters (saranbang, or outer quarters) would be Munja chaekgori (pictorial ideographs
decorated with screens referencing scholarly pursuits like and scholars’ articles)
calligraphy, poetry, and painting. This screen combines two 19th century
genres of painting: munjado and chaekgori. Munjado paintings Ink and color on paper
featured the Chinese characters for the eight principles of Museum purchase
Confucian virtue: filial piety, brotherly love, loyalty, trust, E300529
propriety, righteousness, sense of honor, and humility. The
characters are adorned with images or symbols that relate
to the principles, sometimes with an image replacing one
of the character’s strokes. Chaekgori paintings feature the
accoutrements of a scholar’s studio. The most defining feature
are the stacks of books, which are surrounded by incense
burners, porcelain vases, spectacles, brushes, and sometimes
animal symbols related to a scholar’s pursuits. This example
of a brightly colored munjado chaekgori screen is adorned in
contrast to the stark calligraphy or ink painting that a scholar
would paint himself.
13 Korean Art & Culture
16. Symbolism – Embodied Wishes and Hopes
Found in abundance in all forms of Korean art, the images outlined below
were part of a visual lexicon that would have been understood by everyone
at the time and is still recognized today. These images were not just
decoration but embodied and conveyed hopes for the protection and good
fortune that they could bring.
COLORS
Five Cardinal Colors, Directions, and Elements
Blue / Green East Wood
White West Metal
Red South Fire
Black North Water
Yellow / Brown Center Earth
PLANTS
Pomegranates Fertility, many sons
Dates The king, fertility
Persimmons Fertility, many children
Peonies Wealth, honor, happiness, fertility,
marital bliss, spring
Grapes Fertility, many children
Peaches Long life, abundance, prosperity, fertility, spring
Creeping vines Perpetuity, longevity
Pine Integrity, longevity
Melon Fertility, many children
Four Honorable Men – Noble Attributes of a Confucian Scholar
Bamboo Integrity, consistency (evergreen)
Orchids Loyalty, integrity
Apricot or plum blossoms Indomitable spirit (blooms in late
winter in the snow)
Chrysanthemums Constancy (blooms in late autumn,
despite frost)
Korean Art & Culture 14
17. ANIMALS
Tiger Courage, protection, chases away malevolent spirits
Magpie Repels bad luck, attracts good luck (often paired
with tiger)
Rabbits Fertility
Butterfly Happiness, free love (as opposed to
Confucian propriety)
Cicada Noble-mindedness
Fish Diligence, vigilance, academic success,
many children
Bat Homophone for happiness, blessings (bok)
Five bats (obok) Five fortunes: longevity, wealth, health, virtue,
natural death
Monkey High position in government (homophone
for emperor)
Cat Protection from evil spirits
Rooster Intelligence, patience, trust, bravery,
military strategy
Peacock Authority, nine virtues: tidy face, careful walk,
appropriate behavior, contentedness, peaceful
coexistence, not obscene, always returns
White heron Graciousness, academic success
Duck Happiness, fertility
Mandarin duck Fidelity
Wild goose Good news, loyalty
Crane Nobility, spirituality, long life
Deer Friendship, long life
Pheasant Nobility
Mythical Animals
Haetae Protection from fire
Phoenix Elegance, virtue, morality, prosperous future,
the queen
Dragon Heavenly power, good luck, repels evil,
the king, rain
Four Guardians – Symbols of Auspiciousness and Authority
Blue dragon of the east
White tiger of the west
Red phoenix of the south
Black tortoise-snake of the north
15 Korean Art & Culture
18. BUDDHIST SYMBOLS
Clouds Good harvest, absolute power of heaven,
enlightenment
Lotus Purity, creation, birth, enlightenment
DAOIST SYMBOLS
Big Dipper (Seven Stars) Chilsong – deity that controls life
spans, childbirth
Taegeuk (eum yang) Ultimate equality and balance, cycle of life
(Chinese: yin yang)
Blue Eum, female, negative, earth, moon, cold
Red Yang, male, positive, heaven, sun, hot
Yellow Humankind, third element in samtaegeuk
CHINESE CHAR ACTERS
Swu Longevity (Chinese: shou)
Bok Happiness, blessings (Chinese: fu)
Huy Double happiness, marriage (Chinese: shuang xi )
(Shown clockwise from upper left.)
THE TEN LONGE VITIES
Shipjangseng
Rocks
Mountains
Water
Clouds
Crane
Deer
Tortoises
Pine tree
Fungus of immortality
Sun
Korean Art & Culture 16
19. Philosophy and Religion
SHAMANISM
S hamanism is an indigenous religion of Korea centered on a belief
that life force exists in all natural objects. Human mediators, usually
women, called shamans are religious figures who can influence these life
forces, or spirits. A shaman (mudang for women, paksu for men) interacts
with spirits through ceremonies that involve dance, percussion, fans,
and other tools. Ceremonies are often performed outside, in temporary
shrines, or in people’s homes. The shaman communicates with spirits who
can speak through him or her. It is believed that while dancing, a shaman’s
soul leaves her body for the spirit world. In the shamanist pantheon there
exist a great variety of nature spirits including the heavenly spirit and
spirits of the sun, moon, stars, earth, mountains, seas, rivers, rocks, and
trees. Spirits of family ancestors and historical figures including warriors
and kings are also invoked. Shamanist rites are performed to bring
happiness, ward off disease, and escort the souls of the deceased to heaven.
Sambuldo (three Buddhas), detail
Originating in the Neolithic period (4000 bce – 1000 bce), Korean
19th century
shamanism is still practiced today. Related to similar religious practices
Paint, paper, textile
in northern and central Asia, Korean shamanism evolved as it came
Anonymous gift
in contact with foreign traditions, such as Buddhism, Daoism, and
E30038
Confucianism. Like many aspects of Korean thought and culture,
shamanism remains distinctly Korean while simultaneously adapting
to these outside influences. For example, shrines to shamanist deities,
especially Sanshin, the mountain spirit, are found on the grounds of
Korean Buddhist temples.
Shaman Paintings
Shaman paintings depicting a few specific subjects are used for ceremonies
and are usually burned after the death of the shaman who owned them.
Originally painted by the shamans themselves, shaman paintings were
later made by commissioned artists and Buddhist monk painters.
These paintings reflected the Daoist, Buddhist, and Confucian deities
incorporated into the shamanist pantheon.
In addition to being used in shamanist ceremonies, paintings of the
mountain spirit Sanshin would be placed in small shrines in or near
Buddhist temples, where people could individually pray to Sanshin
without the shaman as an intermediary. Usually portrayed with a pine
tree and accompanied by his messenger the tiger, Sanshin was thought to
protect travelers and grant sons to couples who could not conceive.
Sansindo (the Mountain Spirit)
Late 18th century
Ink and colors on silk
Museum purchase
E300674
17 Korean Art & Culture
20. Beginning in the late Unified Silla period (668 – 918), many communities
in Korea installed jangseung (guardian poles) carved from tree trunks at
the village entrance to protect themselves. The rough-carved images were
designed to frighten away evil spirits and disease. Usually jangseung were
installed in pairs: a taller pole represented the male spirit of the heavens,
and a shorter pole represented the female spirit of the earth.
Shamanism in the Arts of Daily Life
Although found in artwork not explicitly related to shamanist ceremonies,
the central themes of Korean art during the Joseon period are related
to shamanistic beliefs: bringing good fortune, repelling evil spirits, and
conveying hopes for a long life. These themes are found in the symbolism
of paintings, tools, decorative arts, and clothing and in the traditions
observed on major Korean holidays like Seollal (Lunar New Year,
celebrated at the first new moon of the year) and Chusok (Thanksgiving,
celebrated on the 15th day of the 8th lunar month).
Jangseung (village guardians)
19th century
Wood
Museum purchase,
Edward Sylvester Morse Fund
E20809, E20810
Gulrae (girl’s festival hat),
detail of embroidery
19th century
Northern Korea
Silk
Gift of Young Y. Chung
E301980
Decorated with auspicious colors and symbols like deer,
peonies, vines, and cranes, this festival hat would have been
made for a girl by a family member wishing to protect her
from evil and bring her good fortune and a long life.
Korean Art & Culture 18
21. Hwarot (bridal robe), detail
18th century
Seoul
Silk, paper, cotton, wool, metallic thread
Museum purchase
E20190
This woman’s wedding robe abounds with symbols of fertility,
a long life, a happy marriage, and
protection from evil.
Hwajo (birds and flowers), detail
19th century
Ink and color on paper
Museum purchase and gift of Lea Sneider,
E301717
Bird and flower paintings depict a combination of auspicious
animals and plants (often but not always birds and flowers).
The subjects are often depicted in conjugal pairs, rich with
symbolism of fertility, fidelity, happiness, and a long life. These
paintings would be found in almost any domestic setting,
especially in the room of a newlywed couple who were
thought to need extra blessings and protection.
Ja (ruler)
19th century
Lacquer and mother-of-pearl
Gift of Charles Goddard Weld
E9720
This ruler, used for sewing, is decorated with the seven
stars of the constellation Ursa Major or the Big Dipper. This
constellation is associated with Chilsong, a protective deity in
the shamanist pantheon with Daoist origins.
19 Korean Art & Culture
22. NEO-CONFUCIANISM
N ot a religion but a governing way of life, Neo-Confucianism
developed from the teachings of the Chinese philosopher Zhu Xi
(1130 – 1200). Based on a desire for harmony in the family and society,
Neo-Confucianism incorporates elements of Buddhism and Daoism to
answer metaphysical and spiritual questions not addressed by the original
Confucian texts. It encourages ancestor veneration ceremonies, ascetic
self-cultivation through practices similar to Son (Zen) meditation, and an
understanding of the universe similar to that of Daoist cosmology. While
Neo-Confucianism draws heavily on both Daoism and Buddhism, much
Neo-Confucian thought denounces both Buddhism and Daoism in their
original forms.
Embraced by Korean court officials in the late Goryeo dynasty (938 – 1392),
Neo-Confucianism became the official state ideology with the advent
of the Joseon dynasty (1392 – 1910). Although Neo-Confucianism was an
important philosophy in China and Japan, it gained special status in Korea,
where its practices of social responsibility, high moral standards, and rigid
values developed in support of the ruling class and in opposition to the
Buddhist establishment. The emphasis on learning and scholarship was
manifested with a Chinese-style imperial civil service examination system.
The Five Human Relationships of Confucianism Governing principles of modesty, austerity, and acknowledging correct
hierarchical relationships permeated all aspects of yangban (upper class)
Ruler Subject life. These principles manifested in slightly different ways for men and
Parent Child women. Women had more social freedom to practice Buddhism or
Elder brother Younger brother shamanism, while yangban men, as scholar-officials, were expected to
Husband Wife practice Neo-Confucianism more strictly.
Friend Friend
Gammoyeojaedo (Spirit House)
18th century
Ink and color on paper
Museum purchase
E301985
Korean Art & Culture 20
23. This spirit house painting represents the ceremonial offering
laid out in a family’s home shrine. Originally a hanging scroll,
this type of painting could be easily transported by a man
serving in the military, who might be away from home on
important holidays or anniversaries. It might also be used in
a household without its own home shrine. Complex Neo-
Confucian ancestor memorial ceremonies emphasize the
connection of the living to their forbears and the continuity of
family. At holidays and special anniversaries, offerings of fruits,
cooked vegetables, rice cakes, meat, fish, noodles, rice, and
wine would be laid out at an altar in a specific order to honor
the ancestors’ spirits and seek their blessings. The bright
colors and flattened perspective reflect a vernacular Korean
aesthetic.
Okjeo (stone flute)
19th century
Soapstone
Museum purchase
E20135
A yangban gentleman scholar would develop his
skills in music as well as poetry, painting, and
games of strategy. This stone flute carved from
somber-hued soapstone reflects the simple
Neo-Confucian aesthetic as well as the goals of
continuous self-cultivation.
BUDDHISM
B uddhism, originally from India, entered Korea from China in the
4th century during the Three Kingdoms Period (57 bce – 668 ce).
Mahayana, the branch of Buddhism found in east Asia, easily coexisted
and blended with indigenous shamanism and governing philosophies like
Confucianism. It was adopted as the official state religion of the Three
Kingdoms period and remained so during the Unified Silla period
(668 – 935) and Goryeo dynasty (918 – 1392). In addition to religious
principles, Buddhism brought with it aspects of painting, architecture,
medicine, and writing that became culturally embedded in Korea.
During the Silla period, the fusion of Buddhist and Confucian thought led
to an atmosphere of religious patriotism. Wongwang (531–630), a monk
who served both the Buddhist sangha (order of monastics) and the state
developed the Five Precepts for Laypeople from the original Five Precepts
of Buddhism, in order to address this fusion. Wongwang’s precepts
incorporate the Buddhist principles of trust, compassion, and Right Action
with the Confucian values associated with family and societal hierarchy.
21 Korean Art & Culture
24. Five Precepts for Laypeople
1. Serve the king loyally.
2. Serve your parents devotedly.
3. Treat your friends with sincerity.
4. Never flee the field of battle.
5. Use discrimination in killing.
From Korea: A Historical and Cultural Dictionary, edited by Keith Pratt
and Richard Rutt (Routledge, 1999), p. 123.
Five Precepts of Buddhism
1. Avoid harming any living thing, and cultivate deeds of loving kindness.
2. Avoid taking things you have not been given, and cultivate a
generous nature.
3. Avoid sexual wrongdoings, and cultivate simple contentment.
4. Avoid telling lies or speaking unkindly, and cultivate honesty.
5. Avoid drugs and alcohol, and cultivate a pure and clear mind.
From Buddhism by Geoff Teece (Franklin Watts, 2003), p. 14.
As the official state religion of the Three Kingdoms period and the Silla
and Goryeo dynasties, Korean Buddhism received royal patronage that
led to the construction of many elaborate temples as well as sculpture
and painting. During the Goryeo dynasty, Buddhism became part of the
state bureaucracy — a monk’s examination was similar to the civil service
examination, and monks who passed the exam were given official titles.
The establishment of the Joseon dynasty (1392 – 1910) was in part a reaction
to inequities caused by the state patronage of Buddhism during the Goryeo
dynasty. The official state philosophy of the Joseon dynasty was Neo-
Confucianism, but Buddhism was still practiced by members of the court,
especially women. During this time, Buddhism was relegated to the status
of folk religion and considered appropriate for the lower classes but not for
men with political ambition. Therefore, the monks’ examination system
was terminated and monks were accorded the lowest social status.
Begun in the late Joseon dynasty, the Korean collection of the Peabody
Essex Museum contains many objects that show Buddhism’s overarching
influence on Korean thought and life, as well as specific elements unique to
Korean Buddhism.
Korean Art & Culture 22
25. Hwarot (bridal robe)
18th century
Seoul
Silk, paper, cotton, wool, metallic thread
Museum purchase
E20190
The use of the lotus blossom as an auspicious decoration
on this wedding robe reflects the overall incorporation
of Buddhist symbols in Korean art and the coexistence of
Buddhist, Daoist, shamanist, and Confucian motifs. While the
lotus still carries meaning as a Buddhist symbol for purity and
rebirth, it also has a general connotation of happiness, good
fortune, and fertility. All images embroidered on this robe
reflect a hope for a long life, prosperity, and a happy marriage
for the woman who wore it. They also reflect the highly
developed aesthetics and artistry in late Joseon dynasty Korea.
In the late Joseon dynasty, a new type of painting
emerged in which Buddhist deities appeared in
shaman paintings. These deities were painted
alongside shamanist deities or completely on their
own, as shamans considered their practices to be
part of Buddhism. Painted with a bright palette of
mineral pigments, this type of painting was often
hung in a shrine on the grounds of a Buddhist
temple complex.
Sambuldo (three Buddhas)
19th century
Paint, paper, textile
Anonymous gift
E30038
23 Korean Art & Culture
26. Gamnotaeng (Nectar Ritual) This rare nectar ritual painting, an art form unique to Korea,
1744 combines Confucian veneration of one’s own ancestors with
Color and gilt on silk Buddhist concern for the souls of all deceased beings. Such
Museum purchase paintings were installed in the main hall of Buddhist temples.
E302324
At the center of the painting is a table filled with food and
flowers. The Buddhas and bodhisattvas at the top of the
painting transform these offerings into nectar. The nectar is
then consumed by the suffering human souls depicted at the
bottom of the painting. Nectar ritual ceremonies are held
several times a year to guide souls into paradise. This example
was commissioned by patron devotees who thus earned great
spiritual merit. Monk artists carried out the commission as an
act of spiritual devotion.
Korean Art & Culture 24
27. A Key to the Nectar Ritual Painting
Top, right to left:
1. Kshitgarbha, the king of hell,a bodhisattva who helps souls escape
the torments of hell
2. Amitabha, Buddha of Infinite Light who presides over the Western
Paradise, with two attendants
3. Seven buddhas, who bestow the nectar of immortality
4. Avalokisteshvara, the bodhisattva of compassion
5. Innowang Bodhisattva, who leads souls to paradise
Center:
6. A royal procession arriving for the ceremony
7. Monks and nuns praying
8. Devotees, some dancing and playing instruments, followed
by acrobats
9. Central figure with fiery red hair, constricted throat, and posture of
supplication who stands for all the lost souls who long to receive the
nectar of immortality
10. Offering table heaped with delicacies and flowers ceremonially
transformed by heavenly beings into the nectar that will save
wandering souls
1 1. Buddhist priests praying before the altar
12. Musicians and dancers
13. Monks and monk musicians led by their teacher, who is seated
in a chair
14. Pilgrims, including a man in a formal outdoor hat ( kat ), the earliest
known depiction of Korean secular dress in a Buddhist painting
Bottom:
Scenes of death occupy the outer perimeter of the painting’s lower half.
Barely visible against the beige ground are wandering ghostly souls
of the deceased. The pine trees and rocks at lower left and right are
symbolic of the secular world.
25 Korean Art & Culture
28. ascetic. Characterized by simple or austere living, self-discipline, and
self-denial to achieve spiritual improvement.
auspicious. Characterized by favorable circumstances and success.
bojagi. A cloth used to wrap, carry, or store things, as well as to show
reverence for an object by trapping good fortune in the folds of the cloth.
Buddha. An awakened being who has achieved perfect enlightenment,
Glossary in accordance with the tenets of Buddhism. Also, the historical Buddha,
born Prince Siddhartha Gautama (also called Sakyamuni), who lived in
northern India in the 6th century bce.
bodhisattva. In Mahayana Buddhism, a compassionate enlightened being
who remains in the earthly realm to help others reach enlightenment.
chaekgori. A style of Korean screen painting featuring stylized
representations of a scholar’s books, tools, and accoutrements.
Chilsong. A protective deity with Taoist origins who exists in both the
shamanist and Buddhist pantheons, associated with the seven stars that
form the constellation known in the West as Ursa Major or the Big Dipper.
Chilsong has the power to control life span, bestow children, and keep the
elements in balance.
Confucian scholars. Literati of the yangban class concerned with the study
of Confucian classics and philosophy and the cultivation of talents such as
poetry, painting, calligraphy, music, and games of strategy.
court artists. Painters who executed royal commissions of portraits,
ceremony paintings, decorative screens, and paintings on ceramic vessels.
These artists were selected through tests and were trained by the official
government Bureau of Painting and assigned a progressive civil service
rank. At different points in the Joseon dynasty, there were as few as 15 or as
many as 30 court painters.
eum and yang. Two opposing yet interrelated forces that exist in
everything in the universe. Together they form the “supreme ultimate” or
taegeuk, equivalent to the Chinese yin and yang. Eum is associated with
darkness, passivity, and female energy. Yang is associated with brightness,
activity, and male energy.
haetae. A mythical lion-dog animal, that possesses the ability to repel fire.
Haetae sculptures are typically placed outside palaces as guardians.
Hangeul. The phonetic alphabet used to write the Korean language,
invented at the behest of the Joseon King Sejong in 1443.
hanging scroll. A vertical scroll hung on the wall, usually a painting or
piece of calligraphy.
inlay. A decorative technique that involves fitting a material into a
depressed or carved-out area of another.
Korean Art & Culture 26
29. itinerant artists. Artists who worked outside of the Bureau of Painting and
traveled from town to town to create decorative and religious paintings
commissioned by families of all classes.
jangseung. Sculptures carved from tree trunks erected as protective
guardians at the entrance to Korean villages, usually in a pair consisting of
a taller sculpture representing the male spirit of the heavens and a shorter
sculpture representing the female spirit of the earth.
Joseon dynasty. The last dynastic period in Korean history (1392 –1910),
ruled by the Yi family, with Neo-Confucianism as its official ideology.
lacquer. A varnish derived from the sap of lacquer trees, used as an art
medium that also protects objects made of wood, metal, and paper.
lotus. An aquatic plant with round leaves and large pink or white flowers
that grows from the muddy bottom of a river or pond and blossoms above
the water. A symbol of purity, goodness, and rebirth in Buddhism, lotus
imagery also connotes happiness, good fortune, and fertility in Korean art.
Mahayana Buddhism. The “greater vehicle” sect of Buddhism, practiced in
north and east Asia, founded in India in the 1st century. Mahayana places
emphasis on personal devotion and merits, with enlightenment attainable
by all.
munjado. A style of Korean screen painting featuring stylized Chinese
characters for the eight Confucian virtues: filial piety, brotherly love,
loyalty, trust, propriety, righteousness, sense of honor, and humility.
Sometimes an image of a relevant plant or animal symbol would replace a
stroke of a character.
Neo-Confucianism. The governing ideology of the Joseon dynasty that
placed an emphasis on learning and scholarship as well as harmony in
society and the family through observance of hierarchical relationships
and ceremonial practices.
Sanshin. The mountain spirit, a deity in the shamanist pantheon who
protects travelers and bestows children.
shaman. A religious figure in the Korean practice of shamanism, usually a
woman, who acts as an intermediary between humans and the life forces
that inhabit all beings by performing ceremonies. A shaman’s ceremonies
involve dance, percussion, fans, and other tools.
shamanism. An indigenous religion of Korea centered on the belief that life
force exists in all natural objects and beings.
taegeuk. Korean symbol composed of two interlocking, commalike shapes
representing the realms of earth (eum, blue) and heaven (yang, red), which
combine to form the “supreme ultimate” unity of cosmological forces. A
samtaegeuk symbol incorporates a third interlocking shape representing
the realm of humankind (yellow).
27 Korean Art & Culture
30. tribute. A payment of money and goods to acknowledge submission of
one state to another in exchange for protection, security, and trading
privileges. Joseon Korea’s diplomatic, trade, and military relations with
China were regulated by a tributary relationship.
underglaze. A decorative technique of using pigment on ceramic before
applying a glaze and firing.
vernacular. Native; indigenous; commonly understood.
yangban. The upper-class, educated military and civil officials who
assisted in the governance of Joseon society. Characterized by scholarly
pursuits.
Yu Kil- Chun ( 1856 – 1914 ). An attaché to the first official Korean delegation
to the United States in 1883, when he began a lifelong friendship with
Edward Sylvester Morse, then director of the Peabody Essex Museum.
Yu stayed after the mission’s completion to become the first Korean
student in the United States and studied at Governor Dummer Academy
in Byfield, Massachusetts. He donated items to found the Peabody Essex
Museum’s collection of Korean art and culture. After returning to Korea,
Yu became a well-known leader and newspaper publisher, advocating for
modernization and reform.
Korean Art & Culture 28
31. Why Learn about Korean Art and Culture?
Armstrong, Charles K. “Korea in East Asian and World History: A Guide for
Teachers.” Asia for Educators. 2005. Columbia University. 22 November 2005.
http://afe.easia.columbia.edu/teachingaids/korea/korea_in_east_asian_
and_world_hi.htm.
East Asia in World History: A Resource for Teachers. 2005. Asia for Educators,
Columbia University. 28 November 2005, http://afe.easia.columbia.edu/
webcourse/index.html.
“Korea, North.” CIA — The World Factbook. 2005. Central Intelligence Agency.
Works Consulted
18 September 2005 www.cia.gov/cia/publications/factbook/geos/kn.html.
“Korea, South.” CIA — The World Factbook. 2005. Central Intelligence Agency.
18 September 2005. www.cia.gov/cia/publications/factbook/geos/ks.html.
Timeline of Korean History
Armstrong, Charles K. “Korea in East Asian and World History: A Guide for
Teachers.” Asia for Educators. 2005. Columbia University. 22 November 2005
http://afe.easia.columbia.edu/teachingaids/korea/korea_in_east_asian_
and_world_hi.htm.
The Arts of Korea: A Resource for Educators. New York: The Metropolitan
Museum of Art, 2001.
Lee, Peter H. Sourcebook of Korean Civilization: Volume I, From Early Times to
the Sixteenth Century. New York: Columbia University Press, 1993.
Introduction to Late Joseon Dynasty Korea
Bean, Susan S. and Frederic A. Sharf. The Korean Collection of the Peabody
Essex Museum. Salem, Massachusetts: The Peabody Essex Museum, 1999.
Chang, Kyung-Ho: “Korea, §II, 2: Architecture: Materials and techniques,”
Grove Art Online (Accessed 22 November 2005). www.groveart.com/shared/
views/article.html?section=art.047380.2.2.
Deuchler, Martina. Confucian Gentlemen and Barbarian Envoys: the Opening
of Korea, 1875 – 1885. Seattle: University of Washington Press, 1977.
Haboush, JaHyun Kim. The Confucian Kingship in Korea: Yongjo and the
Politics of Sagacity. New York: Columbia University Press, 2001.
Lee, Peter H. Sourcebook of Korean Civilization: Volume I, from Early Times to
the Sixteenth Century. New York: Columbia University Press, 1993.
Pratt, Keith and Richard Rutt, eds. Korea: A Historical and Cultural Dictionary.
London: Routledge, 1999.
Shin, Myung-ho. Joseon Royal Court Culture. Timothy V. Atkinson, trans. Paju,
South Korea: Dolbegae Publishers, 2004.
29 Korean Art & Culture
32. The Arts of Life
Cho, Seon-Mi: “Korea, §IX, 1: Popular Arts: Painting,” Grove Art Online
(Accessed 23 March 2005), www.groveart.com/shared/views/article.html?
section=art.047380.9.1.
Hong, Son P’yo: “Korea, §I, 7: Status of the Artist,” Grove Art Online (Accessed
23 March 2005). www.groveart.com/shared/views/article.html?section=
art.047380.1.8.
Kim, Hongnam. The Story of a Painting: A Korean Buddhist Treasure from the
Mary and Jackson Burke Foundation. New York: Asia Society, 1991.
Kim, Kumja Paik and Dong-wha Huh. Profusion of Color: Korean Costumes and
Wrapping Cloths of the Choson Dynasty. Seoul: Asian Art Museum of San
Francisco and the Museum of Korean Embroidery, 1995.
Kim, Kumja Paik. “At the UMMA: Korea’s Painting in Brilliant Colors.”
Journal of the International Institute, 6.1 (1998).
“Korea, §VI, 5(ii): Choson Porcelain, 1392 – 1910,” Grove Art Online (Accessed
20 March 2005). www.groveart.com/shared/views/article.html?section=
art.047380.6.5.2.
“Korea, §VI, 5(ii)(c): Choson Porcelain, 1392–1910: Inlay,” Grove Art Online
(Accessed 20 March 2005). www.groveart.com/shared/views/article.html?
section=art.047380.6.5.2.3.
“Korea, §VI, 5(ii)(a): Choson Porcelain, 1392–1910: Monochrome glaze,” Grove
Art Online (Accessed 23 March 2005). www.groveart.com/shared/views/
article.html?section=art.047380.6.5.2.1.
“Korea, §VI, 5(ii)(b): Choson Porcelain, 1392–1910: Underglaze Decoration,”
Grove Art Online (Accessed 20 March 2005). www.groveart.com/shared/
views/article.html?section=art.047380.6.5.2.2.
“Korea, §I, 5: Iconography and Subject-Matter,” Grove Art Online (Accessed
23 March 2005). www.groveart.com/shared/views/article.html?section=
art.047380.1.6.
“Korea, §I, 5(ii): Iconography and Subject-Matter: Natural Themes,” Grove Art
Online (Accessed 23 March 2005). www.groveart.com/shared/views/article.
html?section=art.
“Korea, §VIII, 9(vi): Lacquer: Choson, 1392–1910,” Grove Art Online (Accessed
20 March 2005). www.groveart.com/shared/views/article.html?section=
art.047380.8.9.6.
“Korea, §IX, 2(iii): Popular Crafts: Embroidery and Sewing,” Grove Art Online
(Accessed 20 March 2005). www.groveart.com/shared/views/article.html?
section=art.047380.9.2.3.
“Korea, §VIII, 11(iv): Textiles: Choson, 1392–1910,” Grove Art Online (Accessed
20 March 2005). www.groveart.com/shared/views/article.html?section=
art.047380.8.11.4.
Korean Art Guide. Seoul: Korean Overseas Information Service, 1987.
Korean Art & Culture 30
33. Korean Arts of the 18th Century: Splendor and Simplicity. New York: Asia
Society Galleries and Weatherhill, 1993.
Korean Heritage Series: Chasu (Embroidery). Seoul: Korean Overseas
Information Service, 1995.
Korean Heritage Series: Folk Paintings. Seoul: Korean Overseas Information
Service, 1995.
Korean Heritage Series: Paper Crafts. Seoul: Korean Overseas Information
Service, 1995.
Korean Heritage Series: Patterns. Seoul: Korean Overseas Information
Service, 1995.
Korean Heritage Series: Pottery. Seoul: Korean Overseas Information
Service, 1995.
Korean Heritage Series: Tanch’ong. Seoul: Korean Overseas Information Service,
1995.
Kwon, Yoon Hee: “Korea, §VIII, 4: Dress,” Grove Art Online (Accessed
22 November 2005). www.groveart.com/shared/views/article.html
?section=art.047380.8.4.
Pratt, Keith. Korean Painting. New York: Oxford University Press, 1995.
Yi, Song-Mi: “Korea, §IV, 2(iii): Bird-and-Flower Painting,” Grove Art Online
(Accessed 23 March 2005), www.groveart.com/shared/views/article.html?
section=art.047380.4.2.3.
: “Korea, §I, 5(iii): Iconography and Subject-Matter: Conceptual
themes,” Grove Art Online (Accessed 23 March 2005). www.groveart.com/
shared/views/article.html?section=art.047380.1.6.3.
Zo, Za-yong. Traditional Korean Painting: A Lost Art Rediscovered. Tokyo:
Kodansha International, 1990.
Symbolism – Embodied Wishes and Hopes
The Arts of Korea: A Resource for Educators. New York: The Metropolitan
Museum of Art, 2001.
Pratt, Keith. Korean Painting. New York: Oxford University Press, 1995.
Yoon, Yeol-su. Handbook of Korean Art: Folk Painting. Seoul: Yekyong
Publishing, 2002.
31 Korean Art & Culture
34. Philosophy and Religion
Choe, Sang-su. Annual Customs of Korea. Seoul: Seomun-dang Publishing
Company, 1983.
Clark, Donald N. Culture and Customs of Korea. Westport, Connecticut:
Greenwood Press, 2000.
Janelli, Roger L. and Dawnhee Yim Janelli. Ancestor Worship and Korean
Society. Stanford, California: Stanford University Press, 1982.
Kalton, Michael C., ed., trans. To Become a Sage: the Ten Diagrams on Sage
Learning by Yi Toegye. New York: Columbia University Press, 1988.
Kendall, Laurel. The Life and Hard Times of a Korean Shaman. Honolulu,
Hawai’i: The University of Hawaii Press, 1988.
“Korea, §IV, 2(i)(d): Buddhist Painting: Choson, 1392–1910,” Grove Art Online
(Accessed 23 March 2005). www.groveart.com/shared/views/article.html.
“Korea, §I, 5(i): Religious Themes,” Grove Art Online (Accessed 23 March 2005).
www.groveart.com/shared/views/article.html?section=art.047380.1.6.1.
Korean Buddhism. Seoul: Korean Buddhist Chogye Order, 1996.
Korean Heritage Series: Shamanism. Seoul: Korean Overseas Information
Service, 1995.
“Korean Philosophy.” The Cambridge Dictionary of Philosophy (1999). Retrieved
15 February 2005 by xreferplus. http://xreferplus.com/entry/828522.
Korean Spirit in Design: Choson 1392 – 1910. CD-ROM. Seoul: Samsung, 1998.
Lee, Peter H. Sourcebook of Korean Civilization: Volume I, From Early Times to
the Sixteenth Century. New York: Columbia University Press, 1993.
Moes, Robert J. Korean Art from the Brooklyn Museum Collection. New York:
Universe Books, 1987.
Pak, Youngsook. “Korea,” The Encyclopedia of Buddhism. MacMillan Reference
Books, 2003
Portal, Jane. “Korean Shaman Paintings.” Oriental Art 41 (Spring 1995): pp. 2–9.
Pratt, Keith and Richard Rutt, eds. Korea: A Historical and Cultural Dictionary.
London: Routledge, 1999.
Pratt, Keith. Korean Painting. New York: Oxford University Press, 1995.
Sorensen, Henrik H.: “Korea, §IV, 2(i)(d): Buddhist painting: Choson, 1392–
1910,” Grove Art Online (Accessed 22 November 2005). www.groveart.com/
shared/views/article.html?section=art.047380.4.2.1.4.1.
: “Korea, §I, 4: Religion and Philosophy,” Grove Art Online (Accessed
22 November 2005). www.groveart.com/shared/views/article.html?section=
art.047380.1.5.
. Iconography of Korean Buddhist Painting. Leiden, Netherlands:
E.J. Brill, 1989.
Teece, Geoff. Buddhism. Alexandria, Australia: Franklin Watts, 2003.
Korean Art & Culture 32
35. WEB SITES
Armstrong, Charles K. Korea in East Asian and World History: A Guide for
Teachers. 2005. Asia for Educators, Columbia University. http://afe.easia.
columbia.edu/teachingaids/korea/korea_in_east_asian_and_world_hi.htm.
Arts of KoreaResources for EducatorsExplore & Learn. 2005. Metropolitan
Museum of Art. www.metmuseum.org/explore/publications/korea.htm.
AskAsia: Korea. 2005. AskAsia: a K-12 Resource of the Asia Society.
www.askasia.org/Korea/.
The Korea Society Publications. 2005. The Korea Society.
Find Out More
www.koreasociety.org/publications/.
PBS Online: Hidden Korea. 2005. Public Broadcasting Service.
www.pbs.org/hiddenkorea/index.htm.
PEM | ARTscape.™ 2005. Peabody Essex Museum. www.pem.org/artscape.
B O O K S A N D M U S E U M P U B L I C AT I O N S
The Arts of Korea: A Resource for Educators. New York: The Metropolitan
Museum of Art, 2001.
Arirang: The Korean American Journey. Dir. Tom Coffman. DVD.
Center for Asian American Media, 2003.
Bean, Susan S. and Frederic A. Sharf. The Korean Collection of the Peabody
Essex Museum. Salem, Massachusetts: The Peabody Essex Museum, 1999.
Learning from Asian Art: Korea. Philadelphia: Philadelphia Museum of Art,
2005.
FILMS AND VIDEOS
Chi-hwa-seon. Dir. Im Kwon-Taek. DVD. Kino Video, 2002.
Chunhyang. Dir. Im Kwon-Taek. DVD. New Yorker Video, 2000.
Hidden Korea. Dir. Jan Thompson. VHS. PBS Home Video, 2001.
33 Korean Art & Culture