Relevant bibliographies by topics / Korean Narrative painting

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Academic literature on the topic 'Korean Narrative painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Korean Narrative painting"

1

Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.

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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypted codes precisely corresponding to the characters of their studio names, or ho 號 (Ch. hao). Yuan’s Shiwu Qinggong 石屋淸珙 (1272~1352), who officially conferred the dharma to Goryeo’s Taego Bou 太古普愚 (1301~1382), proposed “a single thatched hut in the depth of the retreats,” or yi an shenyin 一菴深隱, as exemplary of Chan Buddhist paintings. The written records of the monks’ handscroll paintings suggest that the monks of the late Goryeo and early Joseon painted landscapes by combining the motifs of a thatched hut and of the depth of the retreat with depictions of natural features that signified their studio names. While the monk’s studio name was the central theme of the painting, each character of his name was also rendered pictorially. The records further testify that Goryeo monks played a critical role in introducing to Korea the styles of the Liu Daoquan 劉道權 and Li-Guo 李郭 schools, which gained tremendous traction in the early Joseon art scene, as the literati regarded highly of ink paintings by monks. It has been widely noted that early Joseon paintings contributed to the development of the paintings of a scholar’s studio in Muromachi Japan. The monks’ poempaintings themed on their studio names further attest to the significant impact that early Joseon paintings made over not just the style but also subjects, form, and content of Japanese paintings. Even if many works of premodern Korean painting are now lost, written records about them still survive. Close examinations of such textual sources can help illuminate the historical trajectory of Korean poem-painting scrolls in the context of East Asian art history.
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2

Song, Hyosup. "Creating and applying a narrative-semiosis model." Chinese Semiotic Studies 17, no. 1 (January 14, 2021): 109–21. http://dx.doi.org/10.1515/css-2021-0005.

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Abstract In this study, I explore a new model of narrative that contains interactions between three levels of story – narrative story, cognitive story, and social story. With this new model, narrative is no longer a static form but rather a whole signifying process among levels. I term this new model narrative-semiosis. The narrative-semiosis model in this study is closely related to the six elements of Jakobson’s communication model. In my new model, cognitive story exists in the minds of both the addresser and addressee, and social story exists in the context where human beings think and perform in the real world. Cognitive story is inferred from the message that is in a narrative story. In this paper, I describe the semiotic interactions among the three levels of stories, not unidirectional but bidirectional, in my narrative-semiosis model. I also validate my model by applying it to a traditional Korean shaman epic Danggumagi and a painting text, Sun and Moon, describing their semiotic narrative signification.
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3

Gyuyoung Lee. "A Specificity and Narrative Structure of the Russian Iconostasis and Korean Amrtakundalin(amrita painting, 甘露幀畵)." Cross-Cultural Studies 42, no. ll (March 2016): 419–49. http://dx.doi.org/10.21049/ccs.2016.42..419.

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4

Kwon, heeju, and Eunkyung Kim. "The Implementation of the Conscription System in Colonial Joseon and the kamishibai: Based on the narrative and painting of the family register report." Institute of History and Culture Hankuk University of Foreign Studies 83 (August 31, 2022): 117–42. http://dx.doi.org/10.18347/hufshis.2022.83.117.

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This paper discusses the use of kamishibai for propaganda and the introduction of the family register to facilitate the draft of Koreans after the outbreak of the Second Sino-Japanese War. The examinations is based in particular on the narratives and paintings of the newly discovered 1943 works from the Joseon Development Association, Revolutionary of My Brother and Return of Father. First, these works emphasize the relationship with real life. Although the family register was introduced for the purpose of the draft, the Japanese government encouraged Koreans to register, citing that the register was closely related to economic interests such as education, property inheritance, and distribution of daily necessity. Actually, considering that there were Koreans who reported increases in the number of family members, regarding the register as a basic survey for the distribution of wartime daily necessities at the time, profits from property would have been an advantage that cannot be ignored. Second, the role of the father is emphasized in both examples of Kamishibai. It can be said that, in Japan's family system, the head of the family is given the authority to control the family members. In these works, the father, the head of family, plays the most important role in determining the future of his son and daughter. It can be said that this ensured the legitimacy of the draft and facilitated physically mobilizing the people by guaranteeing rather than limiting the authority of the head of the family. Third, the kamishibai works emphasizes that the draft is the way to become a legitimate citizen and be protected by the state. For Koreans, the draft was an exploitation they want to avoid, but the Japanese imperialisrs stated that by becoming a soldier, a person could become a true Japanese and a man, and that people would be protected by the state when performing military duties. Both works feature a soldier, or a son who wants to become a soldier, who demonstrates the duty of Koreans to serve in the military by demonstrating the attitude that the family of the soldier and the family of the son should have towards state policy, such as registering themselves in the family register. The appearance of a Korean protagonist who is based on a true story, or based in reality, was a very necessary storyline for Japan at the time and was also a role model requested by Koreans. These kamishibai works can be said to have standardized the life of individuals, who are not categorized as a “subjects” of imperial Japan but specifically embody and present the appearance of the subjects in life.
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5

Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.

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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
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6

Yang, sujeang. "The Adoption and Development of the Gu’s Embroidery in Late-Joseon embroidery." Korean Journal of Art History 311 (September 30, 2021): 45–86. http://dx.doi.org/10.31065/kjah.311.202109.002.

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This article uses the idioms of embroidery appreciation as depicted in narrative figure paintings in the collection of the National Museum of Korea, to examine the effects of Gu-style embroidery, which reached Korea during the late Joseon period, on the development of late Joseon embroidered pictures enjoyed by the royal court.<br/>The late Joseon period saw unprecedented developments in social, economic and cultural norms. Among these were friendly relations with Qing, allowing Koreans access to new imported culture including various regional Chinese embroidery styles. Gu embroidery became an early source of influence on change and production of embroidery in the royal court. By the 18th century, embroidered everyday items had spread into the private homes of aristocrats and commoners as part of a luxury trend. Expert producers created masterpieces specifically for viewing, which were collected for this purpose. Decorative embroidered screens were created featuring Taoist hermit and narrative figure paintings, driving artistic growth based on motifs of elegance and appreciation of luxury. Characteristics relating to Gu found in these works include: first, the filling of parts corresponding to Gu-style mixed embroidery and painting with long and short stitches and irregular long and short stitches; second, the development of a type of decorative stitching capable of the same elaborate expression as Gu; third, the replacement of untwisted thread, in which Gu style was used to achieve gradation, with twisted thread; fourth, the tracing of the outlines of all pictorial elements with outline stitch, unlike in Gu, emphasizing neatness; fifth, the use of contrasting complementary colors rather than intermediate colors; and sixth, the production of Taoist hermit paintings such as Banquet at Jade Pond and narrative figure paintings as screens. In sum, it can be said that this series of phenomena developed into a formal idiom in Joseon embroidery, which had become more highly renowned than that of China by the 19th century.
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7

Liu, Lihong. "Ethnography and Empire through an Envoy’s Eye: The Manchu Official Akedun’s (1685-1756) Diplomatic Journeys to Chosǒn Korea." Journal of Early Modern History 20, no. 1 (January 26, 2016): 111–39. http://dx.doi.org/10.1163/15700658-12342491.

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Akedun’s 1725 album Fengshi tu [Diplomatic Paintings] is an extraordinary example of the diplomatic painting genre popular during the High Qing era (1661-1796) that represents imperial delegations through the commissioners’ eye-witness experiences. Created after his four journeys to Chosǒn Korea, this album constructs a narrative in which Akedun carries out the role of an imperial ambassador while it captures ethnographic details of the lived places, curious customs, and courteous peoples of Korea. By rendering an imperial image of the Manchu Qing court, the album commemorates the amelioration of the Qing-Chosǒn relations after they had fraught confrontations during the Manchu’s post-conquest period. I argue that the Manchu ambassador Akedun keenly established his persona as an orthodox Confucian scholar in order to justify his position as a civil court-official whose missions were to negotiate for a mutual respect between the two regimes in the process of reaffirming an overarching Qing imperial order.
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8

Yang, SuJeang. "The Relationship and Development of Joseon Embroidery and Lu-Embroidery of Shandon : Focusing on Embroidered Dwelling by a Mountain Stream at the National Museum of Korea." Korean Journal of Art History 315 (September 30, 2022): 75–117. http://dx.doi.org/10.31065/kjah.315.202209.003.

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This study aims to fill the gaps in the history of Korean embroidery by examining Luembroidery of Shandong, an area closely related to the Korean peninsula in history, geography, culture, and custom. Unlike Gu-embroidery of Jiangnan that gained renown in the late Ming dynasty, Lu-embroidery’s relations to Korea could be found from the ancient times, through medieval Yuan to the Qing period, and therefore has significance as historical documents. Needlework in Lu-embroidery style, made or brought to Korea in the late Joseon period represent the literary preferences of the ruling class at the time and also hold diverse information on localized embroidery in Joseon, including Ahn Joo-embroidery, closely associated with Shandong.</br>Kkonsa existed since the ancient times, but was eclipsed in popularity by p’unsa, used in painted embroidery in medieval period in East Asia. It regained dominance again during the Yuan dynasty. In the late Yuan period, Lu-embroidery reached another golden age as Shandong Lu-embroidery employed kkonsa, a type of twisted embroidery thread rather than p’unsa, a type of silk thread, and as new techniques of more diversity and refinedness were developed. Shandong Lu-embroidery is also called uiseonsu, meaning embroidery for clothes, as kkonsa was widely used as being suitable for more sturdy costumes. In Nopakchiplam, it is recorded that new types of embroidery threads were used in Joseon as well. Conclusively, this study compared the Lu embroidery style works at the National Museum of Korea and the works of Ming-Qing period, and examined how kkonsa were used in Joseon. The iconography and style of embroidered Lotus Pond and Waterfowl and narrative figure paintings, and the use of Joseon royal style two-strands Jeonggumsa, royal embroidery, folk embroidery and Ahn Joo-embroidery were all considered for more comprehensive understanding.
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9

Yu, Mi-na. "Narrative Paintings without figures in Late 19th and Early 20th Centuries Korea." Art History Journal 48 (June 15, 2017): 155–84. http://dx.doi.org/10.24828/ahj.48.155.184.

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10

Yoon, Injeong. "Disrupting the Colonial Globe and Engaging in Border Thinking: An Art Educator’s Critical Analysis and Reflection on (de)Colonial Discourses in Global Art Narratives." Journal of Cultural Research in Art Education 35, no. 1 (September 5, 2018). http://dx.doi.org/10.2458/jcrae.4877.

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This essay attempts to problematize the fixed and bounded notion of culture in global narratives and deconstruct the practices of knowing the Other through the lens of border thinking. In order to challenge the colonial apparatus of classification, I first demystify the static notion of national identity through an example of the ideological formation of Koreanness in Dansaekhwa, the monochrome painting in Korea, in the context of global art. The first section includes my reflective narrative in light of the discussions of representation, Othering, and positionality. This section also addresses the issue of speaking about and for the Other, and how it contributes to the colonial discourse through the network of representation and interpretation. The second section addresses decolonial aspects of Lee Bul’s works and their connection to decolonial aestheSis. In the last section, I make a few suggestions regarding what art educators might consider in order to move beyond the colonial discourse in global narratives. The suggestions include critical reflexivity in the works of representation and the importance of border thinking to imagine decoloniality and to claim for subaltern perspectives.
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Books on the topic "Korean Narrative painting"

1

Chosŏn hugi ahoedo. Sŏul-si: Tahal Midiŏ, 2008.

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2

Chosŏn sidae kungjung kirokhwa yŏnʾgu. Sŏul Tʻŭkpyŏlsi: Ilchisa, 2000.

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Sadaebu ŭi mannam kwa p'ungnyu ŭi chang, Ahoedo. Sŏul-si: Han'gukhak Chungang Yŏn'guwŏn, 2016.

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4

Pak, Chŏng-hye. Chosŏn sidae kirokhwa ŭi segye: Cho, ŭi, sa, sok. Sŏul Tʻŭkpyŏlsi: Koryŏ Taehakkyo Pangmulgwan, 2001.

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Chong-nok, O., and Yi Ŭn-ju, eds. Chosŏn sidae kirokhwa ŭi segye: Cho, ŭi, sa, sok. Sŏul Tʻŭkpyŏlsi: Koryŏ Taehakkyo Pangmulgwan, 2001.

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Chosŏn sidae sahaeng kirokhwa: Yet kŭrim ŭro ingnŭn Han-Chung kwan'gyesa. Sŏul-si: Sahoe P'yŏngnon, 2012.

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7

Kŭrim ŭro ponŭn uri munhwa yusan: Kankoku sekai bunka isan setsuga = Pictorial representations of world cultural heritage in Korea. Sŏul-si: Myŏngsang, 2001.

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Kŭrim ŭro ponŭn uri munhwa yusan: Kankoku sekai bunka isan setsuga = Pictorial representations of world cultural heritage in Korea. Sŏul-si: Myŏngsang, 2001.

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Yŏngjodae ŭi ŭigwe wa misul munhwa. Kyŏnggi-do Sŏngnam-si: Han'gukhak Chungang Yŏn'guwŏn Ch'ulp'anbu, 2014.

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Yŏn'guwŏn, Han'gukhak Chungang, ed. Wang kwa kukka ŭi hoehwa. Kyŏnggi-do P'aju-si: Tolbegae, 2011.

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Book chapters on the topic "Korean Narrative painting"

1

Rosenmeier, Christopher. "Wumingshi and the Wartime Romances." In On the Margins of Modernism. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696369.003.0005.

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Wumingshi wrote several bestselling novels in the 1940s and these are covered in this chapter, including The Woman in the Tower (Tali de nüren) and North Pole Landscape Painting (Beiji fengqinghua). Both works are principally tragic love stories between stunningly beautiful women and accomplished, patriotic, intellectual men, but they also feature distinctive narrative styles and story frameworks that cross the boundaries between the real and the imagined. Wumingshi worked for the anti-Japanese Korean resistance movement in China, and this influenced several of his works. It is shown that, much like Xu Xu, Wumingshi’s work was initially modernist and highly concerned with narrative style, but it eventually transitioned to the popular romances that became hugely popular. Wumingshi’s multivolume grand opus, The Nameless Book (Wumingshu) is also considered here. In this work, he rejected nationalism and ideology and showed a return to narrative experimentation. The early volumes of this were his last published writings before the founding of the People’s Republic in 1949.
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