Preface

Works of art, a formation of civilization combining the experience of survival, development and the aesthetic taste of human kind, reveals not only the characteristics of handicraft culture and the humanism, but also the unique cultural and psychological state of various nations in different regions. It is imbued deeply with such a humanistic mood that some countries’ names are directly related with the arts and crafts. For example, China means china that is porcelain and earthenware, and Japan means lacquer ware. Phoenicia, the name of an ancient mediaeval country, means purple-red fabric.

Chinese works of art, with its long history, exquisite skill and rich variety, is a lustrous pearl in the treasure-house of culture and art of human kind. Stately and magnificent jade carving, richly decorated lacquer made with special skill, elegantly molded and painted ceramic and the delicate embroidery from the southern regions of the Yangtze River reflect the glistering wisdom of Chinese masters of works of art, who created superb art treasures with outstanding craftsmanship and versatile skill and added a splendid page to the history of world civilization.

The China Fine Arts & Crafts on exhibition here, about two hundred pieces in all, are the classics kept in the China National Arts and Crafts Museum and include eight categories: jade carving, stone carving, wood carving, lacquer, ceramic, metal craft, embroidery and folk handicraft. The perfect combination of traditional and modern art idea and the fruit of scientific research represents the typical oriental artistic flavor and the highest level of modern Chinese works of art, which guarantees the satisfactory artistic enjoyment for the visitors.

Brief Introduction of China National Arts and Crafts Museum

China National Arts & Crafts Museum boasts of a collection of treasures of ivory sculpture, jade sculpture, wood sculpture, stone sculpture, pottery, ceramics, lacquer ware, metal crafts, gold or silver ware, gauze embroidery, natural plant basketwork, and folk crafts, etc., most of which are the masterpieces by the great Chinese arts and crafts masters. It is a national museum and the treasure house of arts and crafts in China.

In recent years, many masterpieces of the museum have been shown in the government-sponsored international cultural exchanges, such as the “Chinese Culture’s Tour to the United States” in the year of 2000 and “Experience China” in Brazil in 2004, etc. These pieces were warmly welcome by the local people and won praises from all walks of the host country.

Chinese Arts and Crafts

The Chinese arts and crafts play a very important role in China’s traditional culture.China is famous for its wide variety of arts and crafts with excellent workmanship. They command a big part of the country's rich heritage. Early in the ancient China, the Chinese people had developed a high regard of protecting the excellence in its arts. Today, the Chinese arts and crafts have developed their own unique styles and forms. They are regarded as an elegant combination of precious or special materials with elaborate designs. Up to this point in time, the Chinese Government has done a lot to protect Chinese traditions, so that many could have been handed down through generations. And many are sold abroad to an appreciative overseas market.

Well-known representatives of the Chinese Arts and CraftsFollowing items are the relative most representative of all Chinese arts and crafts. They are typical symbols of Chinese traditional culture and reflect the lifestyle and beliefs of Chinese people.

PaintingChinese painting is one of the oldest artistic traditions in the world. The most traditional way of Chinese painting is known as “national” or “native painting” （国画）, which is quite different from the Western styles of painting. The artists paint on rice paper or thin silk with brushes, Chinese ink and Chinese painting dye. The main themes of paintings include human figure, landscape, plants and animals. In the 1950s, Chinese artists began to use Western techniques. The Chinese painting started to show a brand new trend and style.

SilkSilk is a natural protein fibre with a soft and glossy quality. China is the birth place of silk fabrics, with some of the earliest examples found as early as 3,500 BC. In the ancient times, silk was of great importance and value. Only people of high classes were able to use it. However, with the development of silk production and of China’s international trade, silk has become more popular among people worldwide.

MusicChinese traditional music was born in Zhou Dynasty. At that time, music was just instrumental. The main music instruments used were chimes and bells. Enjoying the music was mainly the right of royal families. In the following dynasties, dancing and singing were gradually added into this form of art, while more and more instruments came into use,

for example Erhu, Pipa and flute. As well as this, religious music was developed. Music has since become a popular interest of the public. Nowadays, there has been much more kinds of music arts in China: national music, pop music, rock music and so on.

OperaThe variety of Chinese operas is reflection of different culture from different areas in China. Beijing Opera, Hebei-Bangzi, Errenzhuan and Qinqiang are most famous in North China, while Sichuan Opera, Yueju and Kunqu are popular among people in South China. As one of the most traditional Chinese arts with more than 800 years of history, opera shows us a great combination of music, literature and art. Listening to the opera can be a really pleasurable experience.

Paper-cutsSince Cai Lun invented paper, the art of paper-cuts was the first style developed in China. After hundreds of years' development, the paper-cuts have become especially popular amongst women living in the countryside. Chinese paper-cuts have been a traditional form of decoration in China at Chinese New Year and events all year round for thousands of years. By cutting a particular theme inspired by daily life into red paper with scissors or an engraving knife, for example plants, Chinese zodiac animals and some famous Chinese legendary figures, the Chinese people express their good wishes for health, prosperity and happiness in the future.

PaintingChinese painting is one of the oldest artistic traditions in the world. The most traditional way of Chinese painting is known as “national” or “native painting” （国画）, which is quite different from the Western styles of painting. The artists paint on rice paper or thin silk with brushes, Chinese ink and Chinese painting dye. The main themes of paintings include human figure,landscape,plants and animals.In the 1950s, Chinese artists began to use Western techniques. The Chinese painting started to show a brand new trend and style.

Folk ToysChinese folk toys are almost as old as the nation itself. They are also the best portrait of the long Chinese history as well as the wisdom and creativity of the Chinese folk. They are not only popular among the children, but also among the adults. These toys show the rustic simplicity and vivacity since they are mainly made from cloth, grass, straw, clay, paper and so on.

In addition to this, the toys symbolise the hopes and desires of the Chinese people and their regard for the younger generations.

Ceramic

 

Chinese ceramics has a long history. The ancient Hemudu people over 7000 years ago were already able to make colored pottery (which requires a temperature under 1050°C), and people of the Eastern Han Dynasty could make ceramics over 1900 years ago (which requires a temperature above 1280°C), 1700 years earlier than the people in Western countries. With the culture advances, the use of pottery and ceramics has gradually turned from utensils to ornamental works of art.

Lacquer Ware

 

Chinese lacquer ware boasts a history of over 5000 years. It is made with a mixture of various refined colorful natural lacquer through such procedures as polishing, carving, filling, painting, and jade and spiral shell embedding, etc. Contemporary lacquer ware bases mainly include Beijing, Hangzhou, Yangzhou, and Sichuan, etc.

Jade Carving

With a long history of over 7000 years, Chinese jade carving enjoys the reputation of “the essence of oriental arts” in the world. The jade carvings have different kind of forms, mainly in the shape of human figures, birds, animals, flowers, and utensils. Chinese crafts masters make use of the natural texture, shape, and luster of the jades and carve them into masterpieces of carving with excellent skills.

Stone Carving

Chinese stone carving enjoys a long history and was famous for its outstanding achievements all over the world as early as in Han and Tang dynasties. The craftsmen made full use of the different colors of the stone materials and sculpted them into various masterpieces through adroit skills. The 4 major grottos—Mogao Grotto in Dunhuang, Yungang Grotto in Datong, Longmen Grotto in Luoyang, and Maijishan Grotto in Tianshui, whose construction began in Han dynasty and completed in Tang dynasty, are all immortal artistic treasure houses.

Wood Carving

 

Chinese wood carving originated in the Spring and Autumn Period (from 770 B.C. to 476 B.C.). The techniques of wood carving can be divided into freestanding, engraving, relief, deep relief, etc. Chinese wood carving features clear cutting and smooth lines. Famous wood carvings include the Dongyang wood carving in Zhejiang, gold-lacquer wood carving in Guangdong, boxwood carving in Wenzhou, and Longyan wood carving in Fujian, etc.

Metal Craft

 

Chinese metal crafts originated from the Shang dynasty (from the 17th century B.C. to the 11th century B.C.). At that time, the refining techniques of bronze was already very sophisticated and many exquisite, imposing masterpieces were produced and passed to later ages. Modern metal crafts mainly include cloisonné, ceramics, gold- and silverware, jewelry, filigree works, as well as bronze ware and tin ware, etc.Embroidery

 

Embroidery is one of the most precious jewels in Chinese culture. It has a long history since Neolithic age. And because of the quality of silk fibre, most Chinese fine embroideries are made in silk. After the opening of Silk Road in Han Dynasty, the silk production and trade became flourishing. Several major silk embroidery styles had been developed, like Song embroidery (Song Jin 宋锦) in Suzhou, Cloud embroidery (Yun Jin 云锦) in Nanjing and Shu embroidery (Shu Jin 蜀锦) in Sichuan. The major modern embroidery styles are Su embroidery, Xiang embroidery, Yue embroidery and Shu embroidery. Today, in spite of the high developed machinery, some very  intricate productions are still made by hand.

China is famous as the “country of silk” throughout the world. It is the earliest in silkworm raising, filature, silk weaving and dying, and silk embroidery in the world. In the history, silk brocades, embroideries were exported to Persia, Rome, and other European countries through the famous Silk Road and played an important role in the cultural exchanges between the East and West.

Folk Handicraft

 

Chinese folk handicrafts are closely related with the Chinese people’s daily life. Throughout the long history, there have been developed hundreds of types and thousands of varieties of folk handicrafts. These works have greatly enriched Chinese people’s life.JAPANESE CULTURE

JAPANESE CULTURE - Over 220 pages of Japanese culture including traditional Japanese culture like Geisha, Samurai, Japanese tea ceremony, Japanese gardens, kimonos and Japanese Language. Plus modern Japanese culture such as modern Japanese fashion and music.

Japanese culture, particularly traditional Japanese culture has many roots in traditional Chinese culture, however Japanese culture, even historically differed from Chinese culture and due to the separation of the two land masses, plus the enforced periods of isolation from the outside world, further extended the differences between the two cultures.

It is with some irony then that in modern times that the younger Chinese generations have looked to modern Japanese culture as a source of inspiration, particularly in field of Japanese fashion culture, where the Chinese are inspired by Japanese fashion magazines.

Japanese Temple - Japanese Culture

JAPANESE CULTURE - OCCUPATIONS

Geisha are famous female traditional entertainers, who sing, dance, play traditional Japanese musical instruments and engage their clients with interesting conversation. Today there are still some active Geishain places such as Kyoto and Kanazawa.

Samurai were a traditional warrior class in pre-industrial Japan, who were easily recognised as they were the only men allowed to carry two swords. Samurai were committed to a single daimyo (normally a wealthy leader).

JAPANESE CULTURE - FASHION

Japanese fashion isn't just a set of modern fashion trends and sub cultures. Japanese fashion includes many traditional forms of clothing including the kimonoand its associated accessories.

The Kimono is the most famous form of traditional Japanese clothing for women. The Kimono is actually a style with many different forms; from the casual to the wedding style, all which have a particular meaning and are wore to different events or occasions.

JAPANESE CULTURE - CEREMONIES

The Japanese Tea Ceremony is a highly developed art form, with several different schools or styles ofJapanese Tea Ceremony in existence. The Japanese Tea Ceremony is a very formal event in which many exacting steps are followed.

Traditional Japanese weddings ceremonies are normally based on the Japanese Shinto religion ceremony.Traditional Japanese weddings are major occasion with the wearing of traditional Japanese clothing including the bride in the wedding kimono.

JAPANESE CULTURE - MUSIC

Japanese Music is a major part of Japanese culture which spans from the traditional Japanese music and instruments to modern Japanese music including J-POP and Japanese Rock Music.

The Koto is one of the most refined and sophisticated of the traditional Japanese musical instruments. To the western ear the Koto would sound similar to a harp. What is equally amazing about the Koto, is seeing it carried by petite Japanese woman.

JAPANESE CULTURE - FESTIVALS

Bon-Odori Festival is a traditional Japanese summer festival featuring Japanese drum music, dancing and special summer food.

Shichi-Go-San Festival is a traditional Japanese festival where parents celebrate on the fifteenth of November their children growing up as they turn three, five and seven years of age.

Japanese New Year is celebrated at same time of the year as western countries, but is celebrated in a distinctive style. Japanese New Year is an important family time of the year and there are many traditions involved.

Christmas in Japan for most Japanese is a variation on the more commercial style Christmas seen in many western countries. However, there are some Christian Japanese who follow a very old style of celebration.

JAPANESE CULTURE - ARCHITECTURE

Japanese Castles were the key to structure and life of many Japanese cities. This extensive section provides information on over 110 Japanese Castles, including condition, style, history, location and pictures.

Japanese Temples are Buddhist temples found throughout Japan, which date back over one thousand years. There are several Japanese Temples which are World Heritage Sites. This extensive section provides information on almost two hundred Japanese Templesthroughout Japan including their style, history, location and pictures.

Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture, ink paintingand calligraphy on

silk and paper, ukiyo-e paintings and woodblock prints, kiri-e, kirigami, origami, and more recently manga—modern

Japanese cartooning and comics—along with a myriad of other types of works of art. It has a long history, ranging from the

beginnings of human habitation in Japan, sometime in the 10th millennium BC, to the present.

Historically, Japan has been subject to sudden invasions of new and alien ideas followed by long periods of minimal contact

with the outside world. Over time the Japanese developed the ability to absorb, imitate, and finally assimilate those elements of

foreign culture that complemented their aesthetic preferences. The earliest complex art in Japan was produced in the 7th and 8th

centuries in connection with Buddhism. In the 9th century, as the Japanese began to turn away from China and develop

indigenous forms of expression, the secular arts became increasingly important; until the late 15th century, both religious and

secular arts flourished. After the Ōnin War(1467–1477), Japan entered a period of political, social, and economic disruption that

lasted for over a century. In the state that emerged under the leadership of the Tokugawa shogunate, organized religion played a

much less important role in people's lives, and the arts that survived were primarily secular.

Painting is the preferred artistic expression in Japan, practiced by amateurs and professionals alike. Until modern times, the

Japanese wrote with a brush rather than a pen, and their familiarity with brush techniques has made them particularly sensitive to

the values and aesthetics of painting. With the rise of popular culture in the Edo period, a style of woodblock prints called ukiyo-

e became a major art form and its techniques were fine tuned to produce colorful prints of everything from daily news to

schoolbooks. The Japanese, in this period, foundsculpture a much less sympathetic medium for artistic expression; most

Japanese sculpture is associated with religion, and the medium's use declined with the lessening importance of traditional

Buddhism.

Japanese ceramics are among the finest in the world and include the earliest known artifacts of their culture. In architecture,

Japanese preferences for natural materials and an interaction of interior and exterior space are clearly expressed.

Kimono

A kimono is a full-length robe made of silk, worn by both men and women. While men have a simple black or brown-colored kimono, there are different designs of this for women. Furisode for unmarried women. Tomesode for married women. Uchikake is a special kimono worn by Japanese brides. It is made of silk and is much longer than the regular kimono. The footwear of Japanese people is called Zori sandals are flat and thonged Japanese sandals made of rice straw or other plant fibers.

Hinamatsuri dolls They can be made of many materials but the classic hina doll has a pyramidal body of elaborate, many-layered textiles stuffed with straw and/or wood blocks, carved wood hands, carved head and human or silk hair. A full set comprises at least 15 dolls, representing specific characters, with many accessories.

Daruma dolls are spherical dolls with red bodies and white faces without pupils. They represent Bodhidharma, an East Indian who founded Zen about 1500 years ago; according to legend, he removed his own eyelids to prevent sleep from breaking his concentration, and his limbs withered after prolonged meditation. Daruma dolls are charms to bring good fortune, continued prosperity, and fortitude to accomplish goals. Usually daruma dolls are purchased without eyes.

Kokeshi dolls have been made for 150 years.They were originally made as toys for children of farmers. They have no arms or legs, but a large head and cylindrical body, representing little girls. From a simple toy, it has now become a famous Japanese craft, and now an established souvenir for tourists.

Ikebana is the Japanese art of flower arrangement. It is more than simply putting flowers in a container. It is a disciplined art form in which the arrangement is a living thing where nature and humanity are brought together. One tries to represent the three elements sky, earth, and mankind in a well balanced relation.

Origami is a traditional Japanese art of paper folding. It has since evolved into a modern art form. The goal of this art is to transform a flat sheet of paper into a finished sculpture through folding and sculpting techniques, and as such the use of cuts or glue are not considered to be origami.

Kamakura art

n 1180 a war broke out between the two most powerful warrior clans, the Taira and the Minamoto; five years later the Minamoto

emerged victorious and established a de facto seat of government at the seaside village of Kamakura, where it remained until

1333. With the shift of power from the nobility to the warrior class, the arts had to satisfy a new audience: men devoted to the

skills of warfare, priests committed to making Buddhism available to illiterate commoners, and conservatives, the nobility and

some members of the priesthood who regretted the declining power of the court. Thus, realism, a popularizing trend, and a

classical revival characterize the art of the Kamakura period. In the Kamakura period, Kyoto and Nararemained the centers of

artistic production and high culture.

Sculpture: The Kei school of sculptors, particularly Unkei, created a new, more realistic style of sculpture. The

two Niō guardian images (1203) in the Great South Gate of the Tōdai-ji in Nara illustrate Unkei's dynamic supra-realistic style.

The images, about 8 m (about 26 ft) tall, were carved of multiple blocks in a period of about three months, a feat indicative of a

developed studio system of artisans working under the direction of a master sculptor. Unkei's polychromed wood sculptures

(1208, Kōfuku-ji, Nara) of two Indian sages, Muchaku and Seshin, the legendary founders of theHossō sect, are among the most

accomplished realistic works of the period; as rendered by Unkei, they are remarkably individualized and believable images.

One of the most famous works of this period is an Amitabha Triad (completed in 1195), in Jōdo-ji in Ono, created by Kaikei,

Unkei's successor.

Calligraphy and painting: The Kegon Engi Emaki, the illustrated history of the founding of the Kegon sect, is an excellent

example of the popularizing trend in Kamakura painting. The Kegon sect, one of the most important in the Nara period, fell on

hard times during the ascendancy of the Pure Land sects. After the Genpei War (1180–1185), Priest Myōe of Kōzan-ji sought to

revive the sect and also to provide a refuge for women widowed by the war. The wives of samurai had been discouraged from

Azuchi-Momoyama art

Painting: The most important school of painting in the Momoyama period was that of the Kanō school, and the greatest

innovation of the period was the formula, developed by Kano Eitoku, for the creation of monumental landscapes on the sliding

doors enclosing a room. The decoration of the main room facing the garden of the Juko-in, a subtemple of Daitoku-ji (a Zen

temple in Kyoto), is perhaps the best extant example of Eitoku's work. A massive ume tree and twin pines are depicted on pairs

of sliding screens in diagonally opposite corners, their trunks repeating the verticals of the corner posts and their branches

extending to left and right, unifying the adjoining panels. Eitoku's screen, 'Chinese Lions', also in Kyoto, reveals the bold,

brightly colored style of painting preferred by the samurai.

Three Beauties of the Present Day, by Utamaro, 1793

Hasegawa Tohaku, a contemporary of Eitoku, developed a somewhat different and more decorative style for large-scale screen

paintings. In his 'Maple Screen', now in the temple of Chishaku-in, Kyoto, he placed the trunk of the tree in the center and

extended the limbs nearly to the edge of the composition, creating a flatter, less architectonic work than Eitoku, but a visually

gorgeous painting. His sixfold screen, 'Pine Wood', is a masterly rendering in monochrome ink of a grove of trees enveloped in

mist.

Art of the Edo period

In the Momoyama period (1573–1603), a succession of military leaders, such as Oda Nobunaga, Toyotomi Hideyoshi,

and Tokugawa Ieyasu, attempted to bring peace and political stability to Japan after an era of almost 100 years of warfare. Oda,

a minor chieftain, acquired power sufficient to take de facto control of the government in 1568 and, five years later, to oust the

last Ashikaga shogun. Hideyoshi took command after Oda's death, but his plans to establish hereditary rule were foiled by

Ieyasu, who established the Tokugawa shogunate in 1603.

Architecture: Katsura Detached Palace, built in imitation of Genji's palace, contains a cluster of shoin buildings that combine

elements of classic Japanese architecture with innovative restatements. The whole complex is surrounded by a beautiful garden

with paths for walking. Many of powerful Daimyo (feudal lords) built a Circuit style Japanese garden in the territory country,

and competed for the beauty.

Painting: Sōtatsu evolved a superb decorative style by re-creating themes from classical literature, using brilliantly colored

figures and motifs from the natural world set against gold-leaf backgrounds. One of his finest works is the pair of screens The

Waves at Matsushima in the Freer Gallery in Washington, D.C. A century later, Korin reworked Sōtatsu's style and created

visually gorgeous works uniquely his own. Perhaps his finest are the screen paintings of red and white plum blossoms.

Sculpture The Buddhist monk Enkū carved 120,000 Buddhist images in a rough, individual style.

Ukiyo-e and Bunjinga: The school of art best known in the West is that of the ukiyo-e paintings and woodblock prints of the

demimonde, the world of the kabuki theater and the pleasure districts. Ukiyo-e prints began to be produced in the late 17th

century; in 1764 Harunobu produced the first polychrome print. Print designers of the next generation, including Torii

Kiyonaga and Utamaro, created elegant and sometimes insightful depictions of courtesans.

The print Red Fuji from Hokusai's series, Thirty-six Views of Mount Fuji.

In the 19th century the dominant figures were Hokusai and Hiroshige, the latter a creator of romantic and somewhat sentimental

landscape prints. The odd angles and shapes through which Hiroshige often viewed landscape, and the work of Kiyonaga and

Utamaro, with its emphasis on flat planes and strong linear outlines, had a profound impact on such Western artists as Edgar

Degas and Vincent van Gogh. Via artworks held in Western museums, these same printmakers would later exert a powerful

influence on the imagery and aesthetic approaches used by early Modernist poets such as Ezra Pound, Richard

Aldington and H.D..[10]

A school of painting contemporary with ukiyo-e was Nanga, or Bunjinga, a style based on paintings executed by Chinese

scholar-painters. Just as ukiyo-e artists chose to depict figures from life outside the strictures of the Tokugawa shogunate, Bunjin

artists turned to Chinese culture. The exemplars of this style are Ike no Taiga, Yosa Buson, Tanomura Chikuden, and Yamamoto

Baiitsu.

he Art of Traditional Korean Craftsmanship

Korea has a long and proud history of excellence in arts and crafts, so there’s no better way to remember your time in Korea than by taking home one of these lovingly-crafted, traditional pieces. Main items include najeonchilgi (mother-of-pearl lacquerware), woodcrafts, and hanji paper crafts. 

‘Najeonchilgi’ is a traditional mother-of-pearl craft in which the beautiful patterns of shells are inlaid into wood and coated with a lacquer finish. ‘Na’ refers to shellfish with incandescent spiral shells and ‘jeon’ refers to carving and decorating an object with gold, silver, or bronze plating. The art of Korean mother-of-pearl lacquerware dates back to the Joseon Dynasty and the development of lacquer techniques.

Hanji is made from the inner bark of the mulberry tree (called ‘daknamu’ in Korea), which is ground into a pulp, washed, and dried. It takes approximately 100 meticulous steps to produce hanji. Dolls, folding fans, or even cup holders are created using hanji. Some of the most popular hanji products are Hanji lamps, which have delicate designs and emanate a gentle glow of light. Daily use items such as fruit plates or tea tables using hanji are readily found in shops specializing in hanji crafts. 

Wooden crafts reflect the beauty of nature and exude their own simple charm. Hahoetal (a type of Korean traditional mask) is the most well-known type of Korean woodcraft. Designated as National Treasure No. 121, masks are made of alder wood, decorated, and finished off with a coat of lacquer. Some popular wooden crafts include bride and bridegroom dolls, ducks, spoons and chopsticks.

Colorful Fiber and Chilbo Crafts

Fiber and chilbo (literally ‘seven precious colors’) crafts are also well-known crafts in Korea. ‘Jogakbo’ are Korean patchwork quilts that boast an exquisite harmony of color and design, and are decorated with fine embroidery. Typical embroidered patterns depict animals or plants and signal health, longevity, or blessing. Chilbo crafts involve applying various colors of enamel onto metal pieces, but they are also made using glass pieces, leather, or even paper. Jogakbo and chilbo are perfect for both daily use or to give as a gift.

Korean calligraphy is seen as an art where brush-strokes reveal the artist's personality enhancing the subject matter that is

painted. This art form represents the apogee of Korean Confucian art.

Korean fabric arts have a long history, and include Korean embroidery used in costumes and screenwork;Korean knots as best

represented in the work of Choe Eun-sun, used in costumes and as wall-decorations; and lesser known weaving skills as

indicated below in rarer arts. There is no real tradition of Korean carpets or rugs, although saddle blankets and saddle covers

were made from naturally dyed wool, and are extremely rare. Imperial dragon carpets, tiger rugs for judges or magistrates or

generals, and smaller chair-covers were imported from China and are traditionally in either yellow or red. Few if any imperial

carpets remain. Village rug weavers do not exist.

Korean paper art includes all manner of handmade paper (hanji), used for architectural purposes (window screens, floor

covering), for printing, artwork, and the Korean folded arts (paper fans, paper figures), and as well Korean paper clothing which

has an annual fashion show in Jeonju city attracting world attention.

Painting

Dream Journey to the Peach Blossom Land by An Gyeon.

For much of the 20th century, painting commanded precedence above other artistic media in Korea. Beginning in the 1930s,

abstraction was of particular interest.

From the mid-1960s, artists like Kwon Young-woo began to push paint, soak canvas, drag pencils, rip paper, and otherwise

manipulate the materials of painting in ways that challenged preconceived notions of what it meant to be an ink painter

(tongyanghwaga) or oil painter (soyanghwaga), the two categories within which most artists were categorized. In the 1970s and

80, these challenges eventually became the foundation of Dansaekhwa, or Korean monochrome painting, one of the most

successful and controversial artistic movements in twentieth-century Korea. Literally meaning "monochrome painting," the

works of artists like Ha Chonghyun, Park Seo-bo, Lee Ufan, Yun Hyong Keun, Choi Myoung-young, Kim Guiline and Lee

Dong-youbwere promoted in Seoul, Tokyo, and Paris. Tansaekhwa grew to be the international face of contemporary Korean art

and a cornerstone of contemporary Asian art.

1. KOREAN ARTS2. 2. KOREAN PAINTING Korean paintings have subjects such as landscapes, facial features, Buddhist topics and an

emphasis on celestial observation in keeping with the rapid development of Korean astronomy. Mountain and Water are important features in Korean landscape painting because it is a site for building temples and buildings.

3. 3. KOREAN MASK Korean Masks are called tal or t’al Originated with religious and artistic meaning Korea has a rich history of masks They use it in funeral services to help banish evil spirits and theatre plays dating back to the prehistoric age

4. 4. Masks were also used for shamanistic rites and were kept within temples where they were honored with offerings. By the 12th century the masks became part of elaborate dances & dramas.

5. 5. The roles of colors in Korean masks 1. Black, Red & White – Bright and vibrant colors that help establish the age & race of the figure 2. Half Red & Half White – symbolizes the idea that the wearer has two fathers, Mr. Red & Mr. White 3. Dark-faced – indicates that the character was born of an adulterous mother Some masks have moving parts like winking or shifting eyes and moving mouths.

6. 6. KNOT TYING IN KOREA Decorative knot work is known as “Maedeup” or called “Dorae” or double connection knot

한국 미술

KOREAN ART

역사

was one of the most prolific periods for artists in many disciplines, especially in pottery.

A sophisticated aristocracy standardized government operations and cultivated artistic expression during the Goryeo dynasty

explores the period’s extraordinary production of ceramics, lacquer wares, Buddhist paintings and sculptures, illustrated manuscripts, and metal crafts in light of these themes.

HISTORY

청자*Celadon pale green–glazed ceramics

Jeulmun8000 BC - 1500 BC

means "Comb-patterned"

It is named after the decorated pottery vessels that form a large part of the pottery assemblage consistently over the above period

The Jeulmun is significant for the origins of plant cultivation and sedentary societies in the Korean peninsula

The Jeulmun was a period of hunting, gathering, and small-scale cultivation of plants.

h

Mumun1500 BC - 300 BC

The Mumun period is preceded by the Jeulmun Pottery Period

This period is named after the Korean name for undecorated or plain cooking and storage vessels that form a large part of the pottery assemblage over the entire length of the period

Important long-term traditions related to Mumun ceremonial and mortuary systems originated in this sub-period. These traditions include the construction of megalithic burials, the production of red-burnished pottery, and production of polished ground stone daggers.

Early Mumun

The Early Mumun is characterized by shifting cultivation, fishing, hunting, and discrete settlements with rectangular semi-subterranean pit-houses. The social scale of Early Mumun societies was egalitarian in nature. Early Mumun settlements are relatively concentrated in the river valleys formed by tributaries of the Geum River in West-central Korea. However, one of the largest Early Mumun settlements, Eoeun (Hangeul: ), is located in the Middle Nam River valley in South-central Korea.

In the latter Early Mumun, large settlements composed of many long-houses such as Baekseok-dong (Hangeul: ) appeared in the area of modern Cheonan City, Chungcheong Nam-do.Important long-term traditions related to Mumun ceremonial and mortuary systems originated in this sub-period.

These traditions include the construction of megalithic burials, the production of red-burnished pottery, and production of polished groundstone daggers.

Middle Mumun

The Middle (or Classic) Mumun (c. 850-550 B.C.) is characterized by intensive agriculture, as evidenced by the large and expansive dry-field remains (c. 32,500 square metres) recovered at Daepyeong, a sprawling settlement with several multiple ditch enclosures, hundreds of pit-houses, specialized production, and evidence of the presence of incipient elites and social competition. Representations of a dagger (right)and two human figures, one of which is kneeling (left), carved into the capstone of Megalithic Burial No. 5, Orim-dong, Yeosu, Korea.

Burials dating to the latter part of the Middle Mumun (c. 700-550 B.C.) contain a few high status mortuary offerings such as bronze artifacts. Bronze production probably began around this time in Southern Korea. Other high status burials contain greenstone (or jade) ornaments. A number of megalithic burials with deep shaft interments, substantial 'pavements' of rounded cobblestone, and prestige artifacts such as bronze daggers, jade, and red-burnished vessels were built in the vicinity of the southern coast in the Late Middle Mumun. High status megalithic burials and large raised-floor buildings at the Deokcheon-ni (Hangeul: ) and Igeum-dong sites in Gyeongsang Nam-do provide further evidence of the growth of social inequality and the existence of polities that were organized in ways that appear to be similar to simple "chiefdoms".

Late Mumun

The Late (or Post-classic) Mumun (550-300 B.C.) is characterized by increasing conflict, fortified hilltop settlements, and a concentration of population in the southern coastal area. A Late Mumun occupation was found at the Namsan settlement,

located on the top of a hill 100 m above sea level in modern Changwon City, Gyeongsang Nam-do. A shellmidden (shellmound) was found in the vicinity of Namsan, indicating that, in addition to agriculture, shellfish exploitation was part of the Late Mumun subsistence system in some areas.

Pit-houses at Namsan were located inside a ring-ditch that is some 4.2 m deep and 10 m in width. Why would such a formidable ring-ditch, so massive in size, have been necessary? One possible answer is intergroup conflict. Archaeologists propose that the Late Mumun was a period of conflict between groups of people.

Bronze Age800 BC - 300 BC

Early bronze technology, too, was probably first introduced to Korea by Manchurians between 2000 and 1000 B.C.

With the introduction of iron technology, the potter's wheel, Chinese writing, Buddhism, Confucianism, Chinese culture became firmly embedded on the Korean peninsula.

Iron Age(1300 BC – 600 BC)

The Iron Age is a period generally occurring after the Bronze Age, characterized by the widespread use of iron or steel. The adoption of such material coincided with other changes in society, including differing agricultural practices, religious beliefs and artistic styles.

The Iron Age as an archaelogical term indicates the condition as to civilization and culture of a people using iron as the material for their cutting tools and weapons. The Iron Age is the 3rd principal period of the three-age system created by Christian Jürgensen Thomsen for classifying ancient societies and prehistoric stages of progress.

한국어 회화

Korean painting

Foreign Influence

The history of Korean painting stretches back to the early murals painted on the walls of tombs during the fourth century.

In the fourth century, China was considered, both by itself, as well as by many Asian countries under its influence, to be the center of the universe. As such, many Korean painters were sent to China to learn modern Chinese painting styles. What they learned, influenced not only the paintings of Korea, but also the art of Japan, as many Korean artisans migrated to Japan.

고려

The Koryo period was marked by a proliferation of painters as many aristocrats and began painting for the intellectual stimulation, and the flourishing of Buddhism, just as it had created a need for celadon wares for religious ceremonies, likewise created a need for paintings with Buddhist motifs.

Another trend which has its roots in the Koryo era was the practice of painting scenes based on their actual appearance which would later become common during the Chosun period.

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조선

The Chosun period is marked by a great number of changes that occurred in Korean painting.

The decline of the strong Buddhist culture also helped to move Korean painting away from its emphasis on religious motifs.

Korean artists continued to be influenced by the painters of China but were able to develop a stronger sense of native Korean painting.

This stronger sense, of their native land, was further strengthened by the Silhak, or practical learning movement, which emphasized understanding based on actual observance. Korean paintings began to be based on actual scenes of the Korean

countryside or Korean people engaged in common activities. The uniquely Korean flavor of painting also could be seen in the stylized depiction of animals, and plants..

Colonial Period (1910-1945)

The Japanese colonial period nearly wiped out the tradition of Korean painting. During this time, many things Korean were suppressed, such as the language, in an attempt to assimilate the Koreans into the Japanese culture. Korean painting culture was likewise suppressed by the Japanese in favor of Western or Chinese styles - both of which had been adopted by the Japanese. After Korea's liberation from Japan in 1945, Korea's painting tradition was revived by a number of Korean artisans in the same way the art of making celadon was revived.

오늘

It continues to the present, in which a great number of Korean artists keep the styles and forms of the traditional artists alive, blend the traditional styles with modern motifs, or paint in a completely modern style.

Types of Korean Paintings

Landscape

Often called the realistic landscape school, the practice of painting landscapes based on actual scenes became more popular during the mid-Chosun period. Genre

At the same time as the interest in realistic landscapes surged, so did the practice of painting the realistic scenes of ordinary people doing ordinary things. Genre painting, as this has come to be called, is the most uniquely Korean of all the painting styles and gives us a historic look into the daily lives of the people of the Chosun period.

Some of the most notable of the genre painters were Kim Hong-do (1745-1818?)

Another of the great genre painters was Shin Yun-bok (1758-?), who's paintings of often risque scenes were both romantic and sensual

Minhwa

Minhwa, or folk paintings are by far the most interesting of the traditional Korean paintings.

The characteristics of Minhwa paintings are that they were all painted by unknown artists, and all were painted near the end of, or after the Chosun period. Though many of them appear rather childish, and unrefined, quite a number display great painting skill. Under the Minhwa category of paintings are many sub-categories.

Four Gracious Plants

The Four Gracious Plants

Four Gentlemanly Plants, or the Four Seasons symbols, consist of plum blossoms, orchids or wild orchids, chrysanthemums, and bamboo.

They were originally Confucian symbols for the four qualities of a learned man, but are now more commonly associated with the four seasons. They are plum blossoms which represented courage, the orchid stood for refinement, the chrysanthemum was a sign of a productive, and fruitful life, and bamboo represented integrity.

In modern times, the four have come to be associated with the seasons as well; plums blossoms bravely bloom in the cold of an early spring, orchids disseminate a dim fragrance far in the heat of summer, chrysanthemums overcome the first cold of a late fall and bloom, and bamboo bares its green leaves even in the winter.

Portraits

Portraits were painted throughout Korean history but were produced in greater numbers during the Chosun period. The main subjects of the portraits were kings, meritorious subjects, elderly officials, literati or aristocrats, women, and Buddhist monks.

About Korean Paintings

Korean-Arts' collection of paintings are all hand painted by Korean artisans and represent the rich traditions of landscape, genre, Minhwa, and the Four Gracious Plants.

    All works are painted on hanging silk scrolls, and feature the painting centered on a patterned background which has a small wood dowel at the top with a hook for hanging, and a dowel at the bottom to keep the scroll hanging true.

    Many of the paintings are reproductions such as the Minhwa  tiger. While others are unique works that follow the traditions of landscape, genre, Minhwa, or the Four Gracious Plants paintings discussed above.

Three Kingdom Period (668-57BC)

The first major period of Korean art during recorded history is the period of the Three Kingdoms (c. 57 bce–668 ce), when the peninsula of Korea was ruled by three monarchies.

The Koguryŏ kingdom (37 bce–668ce). First established in southern Manchuria, the Koguryŏ kingdom had a lifestyle based on the typically austere cultural patterns of northern Asia, evolved in a region characterized by its scarcity of arable land and severity of climate.

The Paekche kingdom (18–660 BC)

was centred in southwestern Korea, south of the present-day city of Seoul.

Paekche art, therefore, was open and receptive to Chinese influences. Northern Chinese cultural elements were introduced by land through the Koguryŏ kingdom, while southern Chinese influences easily crossed the navigable East Asian seas.

The kingdom of Silla (traditionally dated 57 bce–668 ce) was the oldest of the monarchies. The original territory of the Silla kingdom, the modern Kyŏngsang-puk province, is a mountain-secluded triangle, a geographic factor that is sometimes offered as an explanation for the distinctiveness and conservatism of its art.

Koguryŏ kingdom

Buddhist sculpture  probably began in the 5th century. No 5th-century pieces survive, however, except for some fragments of terra-cotta figures. The earliest dated Koguryŏ Buddhist image is a gilt-bronze standing Buddha. It has an inscribed date that may correspond to the year 539. The elongated face, the flared drapery, and the mandorla, or almond-shaped aureole, decorated with a flame pattern, all point to the influence of Chinese sculpture of the Bei (Northern) Wei period

In Paekche the Koguryŏ-type Buddha became more naturalistic and thus more Korean in style. The Buddha’s face is rounder and more expressive, with the distinctive “Paekche smile.”

Chosŏn period(1392–1910)

By the beginning of the Chosŏn period, the production of traditional religious sculpture had virtually died out because Confucianism had become the new state creed. Nevertheless, Buddhism was patronized by several queens at court, and many small-scale, quiet bronze images were produced.

In the late Chosŏn period, many large-scale Buddhist images, some measuring nearly 7 metres (23 feet) in height, were built in clay over a wooden armature. Their gilded bodies are simple, stolid masses covered with loose, yet leatherlike, thick robes. Drapery folds are depicted in a formalized, schematic series of plaits.

Hahway Mask Dancing,

Any skill can be developed most significantly in an environment where those with the skill as well as those wanting to learn the

skill are plentiful. A certain degree of competition is vital in bringing out unchartered development and change adaptation.

Conversely, two senior Masters holding titles of ‘Human Cultural Property’ training a couple apprentices may successfully

prevent the art from dying but is hardly sufficient in leading the craft’s entrance and development into the global market

Of the current traditional Korean arts and crafts, one that appears significantly more frequently in overseas exhibits and shows is Mother-of-Pearl inlay crafts. Although Mother-of-Pearl crafts originated in China, there was a distinct period where the craft settled in Korea and Japan. In Korea, Mother-of-Pearl crafts developed most rapidly during the Goryeo dynasty(918~1392) period. China moved further towards making carvings in furniture or everyday products rather than Mother-of-Pearl crafts while Japan developed its painting techniques further resulting in the 3 countries developing distinct cultural personalities.