The first major exhibition in the United States of chaekgeori painting, including on view for the first time many screens from private collections and various Korean institutions.

The only college-level publication on Korean art history written in English Korean pop culture has become an international phenomenon in the past few years. The popularity of the nation’s exports—movies, K-pop, fashion, television shows, lifestyle and cosmetics products, to name a few—has never been greater in Western society. Despite this heightened interest in contemporary Korean culture, scholarly Western publications on Korean visual arts are scarce and often outdated. A Companion to Korean Art is the first academically-researched anthology on the history of Korean art written in English. This unique anthology brings together essays by renowned scholars from Korea, the US, and Europe, presenting expert insights and exploring the most recent research in the field. Insightful chapters discuss Korean art and visual culture from early historical periods to the present. Subjects include the early paintings of Korea, Buddhist architecture, visual art of the late Chosŏn period, postwar Korean Art, South Korean cinema, and more. Several chapters explore the cultural exchange between the Korean peninsula, the Chinese mainland, and the Japanese archipelago, offering new perspectives on Chinese and Japanese art. The most comprehensive survey of the history of Korean art available, this book: Offers a comprehensive account of Korean visual culture through history, including contemporary developments and trends Presents two dozen articles and numerous high quality illustrations Discusses visual and material artifacts of Korean art kept in various archives and collections worldwide Provides theoretical and interpretive balance on the subject of Korean art Helps instructors and scholars of Asian art history incorporate Korean visual arts in their research and teaching The definitive and authoritative reference on the subject, A Companion to Korean Art is indispensable for scholars and academics working in areas of Asian visual arts, university students in Asian and Korean art courses, and general readers interested in the art, culture, and history of Korea.

"Pathways to Korean Culture explores the various social, cultural and political perspectives of the Joseon era (1392-1910), introducing the major painting and currents of this dynamic, dynastic period and uncovering the fascinating history of more than 500 years of Korean art and visual culture. Il closely examines the many themes and socio-cultural aspects of the Joseon art world, from the ink painting tradition of the literati elite to the role of women as both patrons and artists. It looks at the various functions paintings had during this period, where they were as important for foreign exchange as they were as a means of escapism. The Joseon dynasty's overarching Confucian ideology was constantly at odds with the culture's Buddhist projects. Burglind Jungmann investigates select clusters of objects to shed light on the multiple layers of personal, intellectual, aesthetic, religious, socio-political and economic contexts in which they are embedded. From palace decorations to formal artworks, Pathways to Korean Culture takes a sweeping, comprehensive look at Korean history and visual culture, exploring its engagement with the West, its political affiliations with China, and its uniquely varied artists and artistic output."--Rabat de la jaquette.

The social and economic rise of the chungin class ("middle people" who ranked between the yangban aristocracy and commoners) during the late Chosŏn period (1700-1910) ushered in a world of materialism and commodification of painting and other art objects. Generally overlooked in art history, the chungin contributed to a flourishing art market, especially for ch'aekkori, a new form of still life painting that experimented with Western perspective and illusionism, and a reimagined style of the traditional plum blossom painting genre. Sunglim Kim examines chungin artists and patronage of the visual arts, and their commercial transactions, artistic exchange with China and Japan, and historical writings on art. She also explores the key role of men of chungin background in preserving Korean art heritage in the tumultuous twentieth century, including the work of the modern Korean collector and historian O Se-ch'ang, who memorialized many chungin painters and calligraphers. Revealing a vivid picture of a complex art world, Flowering Plums and Curio Cabinets presents a major reconsideration of late Chosŏn society and its material culture. Lushly illustrated, it will appeal to scholars of Korea and East Asia, art history, visual culture, and social history. A William Sangki and Nanhee Min Hahn Book Art History Publication Initiative. For more information, visit http: //arthistorypi.org/books/flowering-plums-and-curio-cabinets

CHOICE 1997 Outstanding Academic Books This is the first full-length study in English of Japan's folk performing arts covering such topics as the different categories of presentations, public policies affecting the folk performing arts, performance events within and without communities, and the folk performing arts in literature. Throughout, it addresses issues concerning the survival and preservation of traditional culture in contemporary Japan. Once largely unknown outside of their local community settings, Japan's folk performing arts have today captured universal attention. In Japan, almost every municipality is home to one or more of the diverse dramatic, dance, narrative, and musical presentations that make up the folk performing arts. They can be seen at events that range from long-established festivals to newly created folk-culture and tourist programs. Since the 1920s, a growing body of work by folklorists, theater historians, and other academic specialists, together with literary treatment by well-known authors, brought the folk performing arts into the national cultural spotlight. The postwar Cultural Properties Protection Law conferred on them the status of legally designated cultural assets.

To speak about art is to evoke the hand of the creator who produced the work. It is to confer to its gestures the importance of thoughts and to explore their point of convergence on the canvas or the stone. With this text, Henri Focillon delivers one of the most beautiful odes to the hand and, simultaneously, to the talent of artists, studying Hokusai, Cézanne, and even Rodin. What do artists such as Rembrandt, David, Gauguin, and Hokusai have in common? A virtuosity of the hand, replies Henri Focillon. The viewer often forgets that behind the works, it is first and foremost a hand and its fingers which guide the paintbrush, the pen, or the stylus. Focillon’s text recalls the importance of this part of the body, in which the artist’s talent comes to life. Within his text, he grants the hand the recognition that it deserves.

One of the Handbooks of Korean Art series designed to provide an introduction to major aspects of Korea's artisitic heritage. This book focuses on folk painting.