Korea Journal
- P-ISSN0023-3900
- E-ISSN2733-9343
- A&HCI, SCOPUS, KCI
64권 2호
초록
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Abstract
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초록
King Chungseon of Goryeo, the grandson of a Yuan emperor, commissioned from renowned 14th-century Chinese artist Chen Jianru a portrait of Yi Jehyeon, a prominent Goryeo scholar-official. Despite the portrait’s fame as a rare Yuan work and evidence of the Goryeo-Yuan relationship, its purpose remains a mystery. This study aims to explore how the Portrait of Yi Je-hyeon was a personal gift of King Chungseon, but also served the subtler purpose of strengthening the king’s political position by connecting Yi with southern literati through the cultural act of painting appreciation. Firstly, this study demonstrates works of art such as paintings and poems were one way for southern literati to reinforce their sense of solidarity and commonality. Secondly, this study seeks to argue the people involved in the creation and appreciation of the portrait, as well as its compositional elements and motifs, suggest that it was a means to establish Yi Je-hyeon’s legitimacy within orthodox southern literati circles. Ultimately, this study argues King Chungseon, who sought to form a power base in the Yuan court with the support of southern literati, attempted to establish and strengthen connections between these factions and certain members of the Goryeo elite, including Yi Je-hyeon.
Abstract
King Chungseon of Goryeo, the grandson of a Yuan emperor, commissioned from renowned 14th-century Chinese artist Chen Jianru a portrait of Yi Jehyeon, a prominent Goryeo scholar-official. Despite the portrait’s fame as a rare Yuan work and evidence of the Goryeo-Yuan relationship, its purpose remains a mystery. This study aims to explore how the Portrait of Yi Je-hyeon was a personal gift of King Chungseon, but also served the subtler purpose of strengthening the king’s political position by connecting Yi with southern literati through the cultural act of painting appreciation. Firstly, this study demonstrates works of art such as paintings and poems were one way for southern literati to reinforce their sense of solidarity and commonality. Secondly, this study seeks to argue the people involved in the creation and appreciation of the portrait, as well as its compositional elements and motifs, suggest that it was a means to establish Yi Je-hyeon’s legitimacy within orthodox southern literati circles. Ultimately, this study argues King Chungseon, who sought to form a power base in the Yuan court with the support of southern literati, attempted to establish and strengthen connections between these factions and certain members of the Goryeo elite, including Yi Je-hyeon.
초록
Nikkō Tōshōgū, a mausoleum and place of worship for the deified spirit of the first Tokugawa shogun, Tokugawa Ieyasu (1542–1616), is famous for its sacred spatial sites, sumptuous architectural and sculptural decorations, and political and religious significance for the Tokugawa shogunate. Interestingly, the shrine holds several ritual objects sent by Joseon kings in the 17th century and still displays a large Joseon bell engraved with the writings of Joseon officials (sent in 1643) in front of the Yōmeimon, the entrance to the inner shrine complex. More significantly, Japan requested that these specific items be sent from Joseon, and that they be presented as voluntary gifts. This article aims to examine the uniqueness inherent in the Joseon gifts on display at Nikkō Tōshōgū and the conflicts of interest surrounding them. With a thorough analysis of this gift-giving process—during which both countries, operating from disparate perspectives and driven by their respective needs and interests, engaged in and navigated constant deliberations and negotiations—this article suggests that these gifts, while seemingly a peaceful gesture, actually conceal a complex and contentious history and are a result of both countries’ fierce and desperate struggle to address their practical needs.
Abstract
Nikkō Tōshōgū, a mausoleum and place of worship for the deified spirit of the first Tokugawa shogun, Tokugawa Ieyasu (1542–1616), is famous for its sacred spatial sites, sumptuous architectural and sculptural decorations, and political and religious significance for the Tokugawa shogunate. Interestingly, the shrine holds several ritual objects sent by Joseon kings in the 17th century and still displays a large Joseon bell engraved with the writings of Joseon officials (sent in 1643) in front of the Yōmeimon, the entrance to the inner shrine complex. More significantly, Japan requested that these specific items be sent from Joseon, and that they be presented as voluntary gifts. This article aims to examine the uniqueness inherent in the Joseon gifts on display at Nikkō Tōshōgū and the conflicts of interest surrounding them. With a thorough analysis of this gift-giving process—during which both countries, operating from disparate perspectives and driven by their respective needs and interests, engaged in and navigated constant deliberations and negotiations—this article suggests that these gifts, while seemingly a peaceful gesture, actually conceal a complex and contentious history and are a result of both countries’ fierce and desperate struggle to address their practical needs.
초록
The late 19th century marked a significant period in Korea’s history, when it established formal diplomatic relations with the outside world. Goryeo celadon began appearing in the context of diplomatic and other exchanges in the 19th century. These celadon pieces were exquisite and often of the highest quality. There are also cases of foreign diplomats collecting Goryeo celadon. British consul William Carles, French consul Victor Collin de Plancy, and American consul Horace Allen played prominent roles in collecting, selling, and donating Goryeo celadon. In the complex landscape of East Asian diplomacy, ceramics occasionally played a role in exchanges between China, Japan, and Southeast Asian regions. Overall, this phenomenon can be attributed to the changing economic and cultural value of Goryeo celadon, particularly during the late 19th century. However, the inclusion of Goryeo celadon in diplomatic contexts or as prominent diplomatic gifts was also closely related to the changing perception of Goryeo celadon within Korea, as it began to be viewed from a more externalized perspective. Moreover, as foreign interest in Korean (Joseon) culture expanded into a range of ethnographic studies, Goryeo celadon came to be recognized as an artistic product that demonstrated the cultural competence of the nation. Simultaneously, Goryeo celadon took on the role of a diplomatic medium, symbolically representing Korea’s heritage on a national level.
Abstract
The late 19th century marked a significant period in Korea’s history, when it established formal diplomatic relations with the outside world. Goryeo celadon began appearing in the context of diplomatic and other exchanges in the 19th century. These celadon pieces were exquisite and often of the highest quality. There are also cases of foreign diplomats collecting Goryeo celadon. British consul William Carles, French consul Victor Collin de Plancy, and American consul Horace Allen played prominent roles in collecting, selling, and donating Goryeo celadon. In the complex landscape of East Asian diplomacy, ceramics occasionally played a role in exchanges between China, Japan, and Southeast Asian regions. Overall, this phenomenon can be attributed to the changing economic and cultural value of Goryeo celadon, particularly during the late 19th century. However, the inclusion of Goryeo celadon in diplomatic contexts or as prominent diplomatic gifts was also closely related to the changing perception of Goryeo celadon within Korea, as it began to be viewed from a more externalized perspective. Moreover, as foreign interest in Korean (Joseon) culture expanded into a range of ethnographic studies, Goryeo celadon came to be recognized as an artistic product that demonstrated the cultural competence of the nation. Simultaneously, Goryeo celadon took on the role of a diplomatic medium, symbolically representing Korea’s heritage on a national level.
초록
During the period from the 19th to the mid-20th centuries, colonial Singapore played a central role as an Asian trading hub. From 1965, the Republic of Singapore, as a sovereign nation, attempted to uphold its former colonial position of dominance. The efforts undertaken by the Singaporean elites proved to be highly effective, surpassing even the ideological conflict of the 1960s. This resulted in communist nations like the Soviet Union, China, North Vietnam, and North Korea expressing a desire to establish commercial trade relations with Singapore. In the 1950s and 1960s, North Korea stood out as an Asian nation that had achieved notable industrial advancements. North Korean leaders sought to utilize Singapore as a platform for disseminating its industrial products and economic achievements. The efforts made by North Korean communist leaders can be analyzed through various activities carried out between Singapore and North Korea. In the case of Singapore, its leaders aspired to broaden its trading horizons by establishing connections with socialist nations and adopting the insights gained from North Korean industrialization. Through primary sources of Singapore news articles, North Korean news articles, South Korean diplomatic archives, and CIA archives, this paper focuses on the mutual interactions of Singapore, the trading hub, and North Korea, the industrial estate.
Abstract
During the period from the 19th to the mid-20th centuries, colonial Singapore played a central role as an Asian trading hub. From 1965, the Republic of Singapore, as a sovereign nation, attempted to uphold its former colonial position of dominance. The efforts undertaken by the Singaporean elites proved to be highly effective, surpassing even the ideological conflict of the 1960s. This resulted in communist nations like the Soviet Union, China, North Vietnam, and North Korea expressing a desire to establish commercial trade relations with Singapore. In the 1950s and 1960s, North Korea stood out as an Asian nation that had achieved notable industrial advancements. North Korean leaders sought to utilize Singapore as a platform for disseminating its industrial products and economic achievements. The efforts made by North Korean communist leaders can be analyzed through various activities carried out between Singapore and North Korea. In the case of Singapore, its leaders aspired to broaden its trading horizons by establishing connections with socialist nations and adopting the insights gained from North Korean industrialization. Through primary sources of Singapore news articles, North Korean news articles, South Korean diplomatic archives, and CIA archives, this paper focuses on the mutual interactions of Singapore, the trading hub, and North Korea, the industrial estate.
초록
While funerals are traditionally solemn occasions in Confucian ideology, Korean funeral rituals also displayed elements of playfulness or festivity. Previous studies have often interpreted this playfulness as a remnant of local traditions, contrasting with the prevailing Confucian approach to funeral rituals characterized by grief and sorrow. Drawing on ethnographic research in Jeongseon, Gangwon-do during the mid to late 20th century, this study examines the playfulness in Korean funeral rituals as an innate aspect of the ritual itself. Funerals in this period involved abundant food and vigorous social exchanges between family members and condolers from around the village. The concept of good death (hosang), which generally denotes one’s passing after a long life and under stable economic and family conditions, mitigated the solemnity of funerals and allowed playfulness to manifest within the ritual. This gave rise to various expressive forms, including playing with the bier the night before the burial, adhering to playful behavior norms shared by participants, and fostering a festive atmosphere where jokes and laughter were permissible. With detailed descriptions, this study illustrates how the concept of good death influenced the practice of funeral rituals, enabling diverse cultural expressions to emerge.
Abstract
While funerals are traditionally solemn occasions in Confucian ideology, Korean funeral rituals also displayed elements of playfulness or festivity. Previous studies have often interpreted this playfulness as a remnant of local traditions, contrasting with the prevailing Confucian approach to funeral rituals characterized by grief and sorrow. Drawing on ethnographic research in Jeongseon, Gangwon-do during the mid to late 20th century, this study examines the playfulness in Korean funeral rituals as an innate aspect of the ritual itself. Funerals in this period involved abundant food and vigorous social exchanges between family members and condolers from around the village. The concept of good death (hosang), which generally denotes one’s passing after a long life and under stable economic and family conditions, mitigated the solemnity of funerals and allowed playfulness to manifest within the ritual. This gave rise to various expressive forms, including playing with the bier the night before the burial, adhering to playful behavior norms shared by participants, and fostering a festive atmosphere where jokes and laughter were permissible. With detailed descriptions, this study illustrates how the concept of good death influenced the practice of funeral rituals, enabling diverse cultural expressions to emerge.
초록
The primary purpose of this article is to examine and analyze Kang Hang’s Ganyangnok, one of the few existing eye-witness accounts of Japan during the Imjin War. Kang, a nobleman who was abducted to Japan during the second and final phase of Japan’s invasion of Korea from 1596–1598, wrote Ganyangnok to not only record what he heard and saw in Japan during the late 16th century, but to remind the Korean government of the importance of ensuring adequate preparations before the advent of a war and maintaining a wary eye on the possibility of Japan launching a similar invasion in the future. Ganyangnok is nevertheless important for understanding the origins of Korea’s distrust and alarm towards Japan’s attempt at territorial expansion and is a unique document that took the form of a travelogue and yet functioned as a policy report, informing Koreans about the nature of Japanese feudalism before the Imjin War. Rather than divorcing the form of the text from its function, as much of the existing scholarship has done by either focusing on Ganyangnok as a travelogue or a war captive’s diary, the work ought to be understood holistically since the observations Kang recorded became the basis of his policy reports, which comprise the second part of Ganyangnok.
Abstract
The primary purpose of this article is to examine and analyze Kang Hang’s Ganyangnok, one of the few existing eye-witness accounts of Japan during the Imjin War. Kang, a nobleman who was abducted to Japan during the second and final phase of Japan’s invasion of Korea from 1596–1598, wrote Ganyangnok to not only record what he heard and saw in Japan during the late 16th century, but to remind the Korean government of the importance of ensuring adequate preparations before the advent of a war and maintaining a wary eye on the possibility of Japan launching a similar invasion in the future. Ganyangnok is nevertheless important for understanding the origins of Korea’s distrust and alarm towards Japan’s attempt at territorial expansion and is a unique document that took the form of a travelogue and yet functioned as a policy report, informing Koreans about the nature of Japanese feudalism before the Imjin War. Rather than divorcing the form of the text from its function, as much of the existing scholarship has done by either focusing on Ganyangnok as a travelogue or a war captive’s diary, the work ought to be understood holistically since the observations Kang recorded became the basis of his policy reports, which comprise the second part of Ganyangnok.
초록
Yang Bang Ean is a second-generation Korean resident in Japan and a renowned composer of piano and orchestral style using musical elements from Korea. His background has provided us the opportunity to understand one side of the life of the next generation forming a part of today’s diasporization. The Korean diaspora in Japan, particularly the second generation, allows for the exploration of various postcolonial issues. These diasporic Koreans living in Japan have been pushed to the margins of their residential society. On the boundary, they have ardently tackled with how to live self-reliantly. This is through the bodily reconstruction of their Korean diasporic identity. The bodies of Korean residents in Japan are the first windows through which they suffered and can carry on again, often conducting new cultural practices. An example of this is Yang Bang Ean. Therefore, this article aims to explore how Yang has bodily constructed his Korean diasporic identity. To this end, the current study intends to apply the approach of construction of sensory nostalgia to his autobiography and his musical composition, Prince of Cheju. This study finds that, based on olfactory and ocular hearings, which were pushed to the margins of Japanese society within the old sensory hierarchy, Yang constructed a futuristic nostalgia for his own homeland—ancient Jeju Island.
Abstract
Yang Bang Ean is a second-generation Korean resident in Japan and a renowned composer of piano and orchestral style using musical elements from Korea. His background has provided us the opportunity to understand one side of the life of the next generation forming a part of today’s diasporization. The Korean diaspora in Japan, particularly the second generation, allows for the exploration of various postcolonial issues. These diasporic Koreans living in Japan have been pushed to the margins of their residential society. On the boundary, they have ardently tackled with how to live self-reliantly. This is through the bodily reconstruction of their Korean diasporic identity. The bodies of Korean residents in Japan are the first windows through which they suffered and can carry on again, often conducting new cultural practices. An example of this is Yang Bang Ean. Therefore, this article aims to explore how Yang has bodily constructed his Korean diasporic identity. To this end, the current study intends to apply the approach of construction of sensory nostalgia to his autobiography and his musical composition, Prince of Cheju. This study finds that, based on olfactory and ocular hearings, which were pushed to the margins of Japanese society within the old sensory hierarchy, Yang constructed a futuristic nostalgia for his own homeland—ancient Jeju Island.
초록
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Abstract
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