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Collecting and Representing Chinese Antiquities in Late Chosŏn Korea

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Collecting and Representing Chinese Antiquities in Late Chosŏn Korea UNIVERSITY OF CALIFORNIA Los Angeles Visualizing the Past: Collecting and Representing Chinese Antiquities in Late Chosŏn Korea A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Ja Won Lee 2018 © Copyright by Ja Won Lee 2018 ABSTRACT OF THE DISSERTATION Visualizing the Past: Collecting and Representing Chinese Antiquities in Late Chosŏn Korea by Ja Won Lee Doctor of Philosophy in Art History University of California, Los Angeles, 2018 Professor Burglind Jungmann, Chair This dissertation examines collecting Chinese antiquities in Korea during the Chosŏn 朝 鮮 dynasty (1392–1910) and its impact on visual and material culture. Through investigation of textual records and visual sources, it becomes apparent how collectors’ passions for Chinese bronzes contributed to new types of pictorial objects and how painters incorporated aspects of Chinese bronzes in their paintings and embroidery in response to increasing demands and shifts in artistic conventions. The aim is to offer insight into the cultural significance of acquiring Chinese bronzes and to illuminate the intellectual and artistic motivations of literati during the late Chosŏn dynasty. Chapter One investigates the circumstances in which Chinese ritual bronzes were imported and revered, from the Koryŏ 高麗 (918–1392) through the Chosŏn dynasties. Ritual handbooks and illustrated catalogs reveal characteristics of Koryŏ and Chosŏn vessels, of bronze, ii celadon, and brass, that integrated ancient and archaistic models from Ming 明 (1368–1644) and Qing 清 (1644–1911) China. Chapter Two discusses the appreciation of Chinese antiques by the elite in Korea, who enriched their collections for their scholarly pursuits. Thus, collectors were a force in shaping the sociocultural environment along with the aesthetics that promoted new painting genres in the late Chosŏn dynasty. Chapter Three analyzes the ways in which Chosŏn artists appropriated motifs of Chinese bronzes and visualized patrons’ desire for Chinese antiquities, focusing on screens of Antiques that feature Chinese bronze vessels and on screens of Books And Scholarly Utensils, also known as ch’aekkŏri. Chapter Four considers Chinese bronzes in collectors’ portraits and in paintings of antiques and flowers. By comparing objects in these paintings to those in Chinese illustrated catalogs and archaistic bronzes, these two chapters explore possible pictorial sources, modified visual elements, and cultural transmission. Depicting Chinese antiquities enabled patrons to demonstrate their knowledge of Chinese culture as part of their own high cultivation and thereby to enhance their social prestige. The Chosŏn elite sought to claim their standing within their own society and to secure their status in East Asia through the reception of selected elements of Chinese culture and through the adaptation of these to their own traditions. iii The dissertation of Ja Won Lee is approved. John Duncan Lothar von Falkenhausen Hui-shu Lee Burglind Jungmann, Committee Chair University of California, Los Angeles 2018 iv TABLE OF CONTENTS ABSTRACT OF THE DISSERTATION..................................................................................... ii TABLE OF CONTENTS .............................................................................................................. v LIST OF FIGURES ..................................................................................................................... vi ACKNOWLEDGEMENTS ....................................................................................................... xx VITA .......................................................................................................................................... xxiii INTRODUCTION......................................................................................................................... 1 CHAPTER ONE. Discovering Antiquities: Chinese Bronzes as Ritual Vessels ..................... 11 1. Chapter Introduction ..................................................................................................................... 11 2. Characteristics of Ancient and Archaistic Bronzes ..................................................................... 15 3. Koryŏ Bronzes and Celadons in the Shape of Ritual Vessels ..................................................... 24 4. Chosŏn Ritual Vessels at Court ..................................................................................................... 32 5. Chapter Conclusion ....................................................................................................................... 39 CHAPTER TWO. Appreciating and Collecting Antiquities: Chinese Bronzes as a Scholarly Pursuit ................................................................................................................. 41 1. Chapter Introduction ..................................................................................................................... 41 2. Appreciating Chinese Antiquites: The Role of Chosŏn Envoys ................................................ 43 3. The Encounters of Collectors with Chinese Bronzes .................................................................. 47 4. Bronze Collections in the Late Chosŏn dynasty .......................................................................... 59 5. Chapter Conclusion ....................................................................................................................... 68 CHAPTER THREE. Illustrating Antiquities: Chinese Bronzes in Chosŏn Paintings and Embroidery ............................................................................................................................. 70 1. Chapter Introduction ..................................................................................................................... 70 2. Screens of Books and Scholarly Utensils (Ch’aekkŏri) ................................................................. 73 3. Screen of Antiques .......................................................................................................................... 89 4. Chapter Conclusion ..................................................................................................................... 103 CHAPTER FOUR. Staging Antiquities: The Role of Collectors in Late Chosŏn Art ........ 105 1. Chapter Introduction ................................................................................................................... 105 2. Portraits of Collectors of Chinese Antiquities ........................................................................... 108 3. Ink Paintings of Antiques and Flowers ....................................................................................... 124 4. Chapter Conclusion ..................................................................................................................... 146 CONCLUSION ......................................................................................................................... 148 FIGURES ................................................................................................................................... 151 TABLE ....................................................................................................................................... 251 BIBLIOGRAPHY ..................................................................................................................... 255 v LIST OF FIGURES Fig. 1-1. Zhenghe ding, 1116, bronze, H: 23.2 cm; D: 19.4 cm, National Palace Museum, Taipei. Fig. 1-2. Shang xiang xing taotie ding reproduced from the Bogu tu. Fig. 1-3. Taotie motifs of the Shang and Zhou dynasties. Fig. 1-4. Zhou Wen Wang ding, Late Ming dynasty, bronze, wood and jade for cover, H: 17.0 cm, National Palace Museum, Taipei. Fig. 1-5. Zhou Wen Wang ding reproduced from the Bogu tu. Fig. 1-6. Detail, Pictures of Ancient Playthings, 1728-1729, handscroll, ink and color on paper, 62.5 cm x 20.0 m, Percival David Foundation of Chinese Art Collection, British Museum, London. Fig. 1-7. Square Cauldron Incense Burner, 12th century, celadon, H: 18.4 cm; W: 15.5 cm, National Museum of Korea, Seoul. Fig. 1-8. L: Detail of Square Cauldron Incense Burner (Fig. 1-7). R: The side-view beaked birds motifs of the Shang and Zhou dynasties. Fig. 1-9. Inscription of Square Cauldron Incense Burner (Fig. 1-7). Fig. 1-10. Shang Zhao Fu ding reproduced from the Bogu tu. Fig. 1-11. Shang Fu Gui ding recorded in the Bogu tu. Fig. 1-12. Square Cauldron, Shang dynasty, bronze, H: 17.1 cm, National Museum of Korea, Seoul. Fig. 1-13. Tripod, 12th century, celadon, H: 17.0 cm, Museum of Oriental Ceramics in Osaka. Fig. 1-14. Tripod, Yuan dynasty (ca. 1323), bronze, H: 15.9 cm; D: 12.1 cm, National Museum of Korea, Seoul. Fig. 1-15. Incense Burner, 12th century, H: 15.0 cm, National Museum of Korea, Seoul. vi Fig. 1-16. Bronze Censer Decorated with Dragons Chasing a Flaming Pearl, 12th-14th centuries, bronze, H: 9.0 cm, Victoria and Albert Museum, London. Fig. 1-17. Square Cauldron Incense Burner, 12th century, celadon, H: 11.1 cm; W: 14.1 x 12.7 cm, National Museum of Korea, Seoul. Fig. 1-18. Celadon Incense Burner with Impressed Taotie Design, 12th century, celadon, H: 16 cm; D: 13.1 cm, Horim Museum, Seoul. Fig. 1-19. Fragment of Celadon Incense Burner with Impressed Taotie Design, 12th century, celadon, found in Sadang-ri kiln site in Kangjin, H: 13.5 cm, National Museum of Korea, Seoul. Fig. 1-20.
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