Journal of Korean Art and Archaeology Vol.2
2008. 01.
2577-9842
2951-4983
INTRODUCE
- • The articles themselves have been chosen with care by the Editorial Board, with the aim of introducing important issues in the field of Korean Art and Archaeology, and accordingly they range widely in time and subject-matter. Two of them concern the archaeology and architecture of ancient Goguryeo: its pottery tradition with origins in the Neolithic, and the plans of its earliest Buddhist temples, in as far as they can be determined from the remains of excavated foundations. The recent publication of Horyuji Reconsidered (ed. Dorothy C. Wong with Eric M. Field, Cambridge Scholars Press, 2008), with papers by distinguished authors presenting the famous Nara temple and its architecture in the context of Buddhism's transmission from Korea and China, shows the rich potential and cross-cultural importance of such architectural studies. • A third article deals directly with the growing number of representations of Koreans in mural paintings and on artifacts discovered in China or elsewhere in Asia. Such representations are eloquent testimony to the perception of Koreans, and particularly those from Goguryeo, in China and across Asia as far as Dunhuang and Samarkand. Some are labelled Gaoli or Gaoliguo, clearly referring to Goguryeo, even at a time when the latter had been supplanted by Unified Silla. The depictions of Koreans wearing caps or headdresses decorated with two feathers, one on each side of the head, are nicely corroborated by historical materials describing Koreans. • Readers will be familiar with the amazing wealth of ceramics recovered from the Sinan shipwreck, a number of years ago; the article in this volume on another shipwreck, off the island of Biando, will be news to most. In comparison with field archaeology, underwater archaeology is difficult and time-consuming to undertake, but the rewards are great, in terms of the recovery, often largely intact, of a great number of pieces caught, as it were, in the moment of their transport from one port or one country to another, shedding light on the all-important trade and cultural contacts between those countries at a particular time. In this case, although the precise destination is uncertain, it proves possible to identify with a fair degree of certainty the kiln or kilns from which the majority of the cargo came. • The article on artifacts inlaid with mother-of-pearl also concerns cultural transmission, in this case of a technique originating in China, and then transformed and made truly Korean by the use of the same materials used in a totally distinctive way, and identified particularly with the Goryeo dynasty and with Buddhism, since Buddhist practitioners were the principal users of sutra cases, incense boxes and even fly whisks. The subject has also been studied in the west, for example in the Metropolitan Museum's Arts of Korea (1998), and the exhibition of the Goryeo Dynasty at the Asian Art Museum, San Francisco (2003). Further research is needed to provide a more accurate chronology of this craft's development in Korea from the Silla period onwards and throughout the Goryeo and Joseon dynasties. • Two articles concern the Joseon dynasty more particularly: one, on flower and bird painting, demonstrates the close affinity between this genre in Korea and its counterpart in China, with the names of many artists who were specialists in the depiction of flora and fauna; the other, more particularly concerned with Joseon, examines in great detail a genre of court painting that must have existed in China as well, but which has not so far been well studied, namely paintings, whether hanging scrolls, folding screens, or albums, that document court ceremonies. In the case of this article, the paintings are those that concern the education and upbringing of the Crown Prince, complemented by historical records on the same. Perhaps only in Confucian Korea was there such a zeal for recording every detail of such ceremonies. With yellow lines to indicate the positions and movements of the Crown Prince and the officials in charge of his education, not all the paintings can be regarded as high art, but they are immensely helpful for the view they provide of daily life at the Joseon court. • Roderick Whitfield Percival David Professor Emeritus School of Oriental and African Studies University of London
COPYRIGHT & LICENSE
- Roderick Whitfield(Percival David Professor Emeritus School of Oriental and African Studies University of London)
The second volume of The International Journal of Korean Art and Archaeology aims to make recent Korean scholarly research accessible to international readers. It includes translations of selected articles and a glossary for Korean terms with no exact English equivalents, providing definitions and historical context. The volume covers diverse topics, such as Goguryeo's archaeology, the representation of Koreans in Asian art, underwater archaeology, Goryeo dynasty artifacts, and Joseon dynasty paintings. Through careful curation, the articles introduce significant issues in Korean art and archaeology, showcasing the cultural transmission and historical insights gained from these studies. The hope is that future volumes will further advance the translation and understanding of Korean terms.
- Choi Jongtaik(Associate Professor of Archaeology and Art History, Korea University)
Goguryeo pottery, produced by the Goguryeo people who lived in territories including parts of present-day Korea and China, evolved over 700 years from its establishment in 37 BC to its collapse in 668 AD. Originally influenced by Bronze and early Iron Age traditions, Goguryeo pottery gained unique attributes, such as glazing and specific decorative patterns, not found in contemporaneous neighboring cultures. Despite challenges due to limited access to archaeological sites and data primarily from China and North Korea, recent studies have begun to illuminate its development. This pottery, used both in daily life and as tomb offerings, can be categorized into about 24 types. While advancements have been made in understanding Goguryeo pottery's evolution, more direct study and scientific analysis are needed to fully establish a clear chronology and understand its manufacturing techniques.
- Hong Sunpyo(Professor of Art History, Ewha Womans University)
In Korea, the term 'hwajo' (flowers and birds) was first noted as an art genre during the Joseon dynasty. Chinese influences, especially from the Five Dynasties and Northern Song periods, shaped Korean 'hwajohwa.' These paintings often featured birds as auspicious symbols, representing beauty and prosperity. Over time, Korean 'hwajohwa' evolved, especially in the Goryeo and Joseon periods, influenced by cultural exchanges with China. Prominent artists pioneered styles reflecting societal values, and in the late Joseon period, vibrant color and detail became popular, partly due to economic and cultural shifts. Paintings transitioned from intricate colorful creations to more abstract ink art, influenced by modern styles and external cultural exchanges.
- Sadamu Kawada(Former Director of Sagawa Art Museum, Japan)
Goryeo was established in 918 by Wang Geon, a local gentry of Gaeseong, after the fall of Gung-ye, the King of Taebong. Goryeo emerged as a dominant power by unifying the Korean peninsula by 936. Although Wang Geon, known as Taejo, faced internal succession issues and external threats from the Georan tribe, Goryeo stabilized under King Munjong in 1076. The Goryeo dynasty saw cultural growth, particularly in art and craftsmanship, producing exquisite works admired for their aesthetic and technical quality. Notably, Goryeo's mother-of-pearl inlaid lacquerware (najeonchilgi) flourished, reflecting both foreign influences and unique Korean artistry. The state-supported workshops in Gaeseong facilitated this craft development, promoting trade and cultural exchange. Extant examples are mostly found outside Korea, as the craft waned with the rise of Confucianism during the succeeding Joseon dynasty.
- Kim Lena(Emerita Professor, Hongik University)
The text explores the significance of the Goguryeo headdress, decorated with feathers, depicted in Chinese historical records and art, which signify its cultural importance in ancient Korea (37 BC-668 AD). Chinese texts consistently depict Goguryeo envoys with feathered headdresses, a trait that continued even after the Goguryeo collapse, reflecting a stereotypical image of Koreans in Chinese art. This imagery extended to wall paintings, artifacts like a silver box, and scrolls illustrating the Goguryeo influence and presence in a Sino-centric world, underscoring their diplomatic and cultural ties with the Tang Dynasty (618-907 AD).
- Kim Sung-woo(Professor of Architecture, Yonsei University)
The study investigates Buddhist architectural sites from Goguryeo (37 BC-668 AD), focusing on the layouts of temple sites Cheongam-ri, Sango-ri, Jeongneung, and Toseong-ri. These sites, examined through archaeological methods, provide insight into changing site plans rather than architectural styles and reveal notable historical shifts. The study critiques traditional Buddhist architectural classifications and underscores the evolution of temple plans, tracing chronological patterns in layout and construction from the early to late fifth century, reflecting broader changes in Buddhist aesthetics and ideology.
- Park Jeong-hye(Associate Professor of Korean Art History, The Academy of Korean Studies)
During the Joseon Dynasty, the "gungjung girokhwa," or court documentary paintings, evolved from simple commemorations of state ceremonies to a more diversified depiction of royal events, particularly during King Yeongjo's reign. Initially focusing on banquets and administrative ceremonies, these paintings began to include events involving the Crown Prince, like initiation rites and educational milestones, reflecting their importance to the state. As time progressed, the emphasis of these paintings shifted to documenting the Crown Prince's investiture and educational ceremonies, with the Sigang-won, the office responsible for the prince's education, playing a significant role in their production. This change highlighted a broader political strategy to reinforce the monarchy's strength, particularly during the reigns of Kings Jeongjo, Sunjo, and Gojong, who sought to stabilize royal authority. The paintings served as both historical documents and educational tools, reflecting the cultural and political priorities of the dynasty.
- Yun Yongyi(Professor of Art History, Myongji University)
This paper discusses Goryeo celadon wares found near Biando, off the northern coast of Byeonsanbando, Korea. Discovered in 2002 by a fisherman, the find prompted a thorough underwater excavation. A total of 3,117 pieces were recovered, characterized by various shapes and intricate patterns. The combination of patterns and firing techniques indicates these pieces were likely crafted in the 1220s, with potential production sites being Jinseo-ri and Yucheon-ri in Buan. The ceramics were likely en route to Gaeseong, then the capital of Goryeo, indicating their high value during that period.