Writings in the Korean Han’gŭl Script by and for the Women of Chosŏn Korea (1392–1910)

2017 ◽  
pp. 39-55
Author(s):  
SeoKyung Han
Keyword(s):  
Choson Korea

Confucianism and Rituals for Women in Chosŏn Korea

2021 ◽  
Vol 13 (2) ◽  
pp. 91-120
Author(s):  
Hwa Yeong Wang
Keyword(s):  
Theory And Practice ◽  
Family Rituals ◽  
Orthodox Interpretation ◽  
Choson Korea

This essay offers an analysis of the writing and practices of Song Siyŏl as a way to explore the philosophical concepts and philosophizing process of Confucian ritual in relation to women. As a symbolic and influential figure in Korean philosophy and politics, his views contributed to shaping the orthodox interpretation of the theory and practice of Neo-Confucian ritual regarding women. By demonstrating and analyzing what kinds of issues were discussed in terms of women in four family rituals, I delineate the ways in which Song Siyŏl positioned women in his ritualist metaphysics and to examine his philosophizing process.

Socially skilling toil: New artisanship in papermaking in late Chosŏn Korea

2018 ◽  
Vol 57 (2) ◽  
pp. 167-193
Author(s):  
Jung Lee
Keyword(s):  
Social Relations ◽  
Modern Science ◽  
Unique Material ◽  
Choson Korea ◽  
Technical Innovations ◽  
Manual Skills ◽  
State Production ◽  
Everyday Politics ◽  
Eighteenth And Nineteenth Centuries ◽  
Made In

In pre-modern Korea, paper was renowned for its white glossy surface and cloth-like strength, becoming an important item in both tributary exchanges and private trade. The unique material of the tak tree and related technical innovations, including toch’im, the repeated beating of just-produced paper that provides sizing and fulling effects, were crucial to this fame. However, the scholar-officials who integrated papermaking into the state production system in order to meet administrative and tributary needs initially made toch’im corvée and then penal labor, thereby dismissing it as simple toil. They were not alone, though, in denigrating a form of manual labor. Historiographies of modern science and technology are generally silent about such work, focusing instead on how we invented the human out of drudgery. However, papermakers in late Chosŏn Korea (the eighteenth and nineteenth centuries) chose to identify their artisanship with toch’im and eventually succeeded in securing recognition for that technique as a highly paid specialty. By examining this skilling of toch’im, this paper seeks to change the historiographical silence about toil. It overcomes the archival silence that accompanies manual skills by tracing toch’im’s contours through its changing locations and associations in society’s changing social and material networks, revealing paper artisans’ social techniques, or everyday politics that eventually dignified their laborious technique. Paper artisans’ changing relationships with tak barks, tools and facilities, central and local authorities, farmers, merchants, and scholar-officials reveal how such social skilling was made in late Chosŏn Korea, where papermaking became a most successful industry. This tracing of toch’im re-situates creative toil and everyday politics of artisanal hands in the interconnected transformation of social relations, craft, and knowledge practices.

A Story of Globally Important Agricultural Wisdom in the 15th Century Choson Korea

Anthropology ◽  
2018 ◽  
Vol 06 (02) ◽  
Author(s):  
Jun Seong Ho ◽  
Evelyn Ruiz Gamarra
Keyword(s):  
15Th Century ◽  
Choson Korea

scholarly journals Stature Data and Measurement Unit in Chosŏn Korea

2012 ◽  
Vol 41 (null) ◽  
pp. 125-159
Author(s):  
Young Jun Cho
Keyword(s):  
Measurement Unit ◽  
Choson Korea

scholarly journals Tea Bowl with Decoration of Standing Cranes (Tachizuru): Made-to-order Ceramics Produced in the Japan House Kilns

2021 ◽  
Vol 311 ◽  
pp. 151-182
Author(s):  
KATAYAMA Mabi
Keyword(s):  
Cylindrical Shape ◽  
Historical Records ◽  
Port City ◽  
Edo Period ◽  
Hybrid State ◽  
Choson Dynasty ◽  
Southern Song ◽  
Choson Korea ◽  
The Subject ◽  
Shifting Boundaries

The Japan House (Korean: waegwan; Japanese: wakan) in the port city of Pusan, was a Japanese outpost during the Chosŏn dynasty. In the period 1639 to 1718, the Sō clan of Tsushima, commissioned made-to-order ceramics here, reflecting Japanese requirements, and a long-standing Japanese enthusiasm for kōrai chawan (“Korean tea bowls”), as demanded by the tea authorities in Japan. The focus of this paper is a group of tea bowls with decoration of standing cranes, the most representative type of made-to-order tea bowls produced at the Japan House kilns. Historical records and recent excavations of kiln sites have revealed that the type of tea bowl with standing crane design enjoyed popularity and continued to be produced until the closure of the Japan House kilns. A bowl of the deep, cylindrical shape adheres closely to early Koryŏ prototypes, while its notched foot resembles those of soft porcelain bowls made for ritual use. The subject of its design motif can be traced back to the ubiquitous cranes of Koryŏ inlaid celadon. The ethereal crane, traditionally associated with longevity, was popular in East Asian pictorial culture. The standing crane design on this type of tea bowl displays a combination of influences from the crane painting by the Southern Song painter Muqi (act. ca. 1240-75) and its reinterpretation by the Kano painters. This paper seeks to define the characteristics of the Japan House kiln products by examining its best-known type of tea bowl with decoration of standing cranes. It elucidates how the tea bowl with standing crane design is clearly not an imitation of early Koryŏ celadon but shows a range of decorative styles that reflect the tastes of the Edo-period daimyo tea world. While adapted to the tastes of Japanese consumers, the tea bowl with standing crane design produced at the Japan House kilns display influences from regional kilns in Chosŏn Korea. In this light, the type of tea bowl with decoration of standing cranes manifests a hybrid state of shifting boundaries and demarcations where Japanese and Korean influences coexisted and encountered with difference.

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