Showing posts with label Ancient Korea. Show all posts
Showing posts with label Ancient Korea. Show all posts

Friday, 10 February 2012

Harvard's Online China Lectures

A slide from the introductory lecture in Harvard University's online series "China: Traditions and Transformations."

"An artwork whose medium is history," is how Harvard University Professor Peter K. Bol, borrowing a line from the China scholar Haun Saussy, defines China. With fellow Harvard Professor William C. Kirby, Bol then proceeds to provide an overview of Chinese culture, philosophy, history and politics in HIST E-1825 China: Traditions and Transformations, a set of 37 lectures offered, free of charge, as streaming video and audio on Open Learning Initiative, Harvard University Extension School's long-distance learning website. Inevitably, not being in the classroom can be a disadvantage when some of the "lectures" posted in the series are actually seminars with a lot of discussion between the two professors and their students. But as a free service, the series is an exceptionally useful tool for those who need an introduction to Chinese civilization. The 37 lectures range from discrete units on "Confucius and Confucianism" and "Buddhism" to focused investigations on issues directly relevant to the present day, such as "The Origins of the Taiwan Question" and "China's Rebirth in the 1970s." The lectures are anecdotal at times, with Professors Bol and Kirby asking colorful questions to drive home important points. When exactly is China's birth date? What image is China trying to project to the rest of the world, and why? Can you really see the Great Wall from space? How did philosophical concepts of yin and yang affect the cycles of political control during dynastic China? Check out "The World Empire of the Mongols" and click HERE The seminar series ends with the professors asking, "What is 'Chinese' about China?" Bol and Kirby predict that some of the answers — China's ability to achieve unity, a need to "legitimize" its power, the cultural role of its 5,000-year-old language — may ultimately restore China to the pinnacle of wealth and power it enjoyed much earlier in its history.

Saturday, 13 August 2011

Shipwrecked: Tang Treasures from the Java Sea

Shipwrecked: Tang Treasures from the Java Sea, edited by Regina Krahl, John Guy, J. Keith Wilson and Julian Raby

Hardcover: 328 pages
Publisher: Smithsonian Books (3 Aug 2011)
Language English
ISBN-10: 1588343057

Part adventure story, part maritime archaeological expedition, part historical look into ninth-century Chinese economy, culture, and trade, Shipwrecked is a fascinating journey back in time. Twelve centuries ago, a merchant shipan Arab dhowfoundered on a reef just off the coast of Belitung, a small island in the Java Sea. The cargo was a remarkable assemblage of lead ingots, bronze mirrors, spice-filled jars, intricately worked vessels of silver and gold, and more than 60,000 glazed bowls, ewers, and other ceramics. The ship remained buried at sea for more than a millennium, its contents protected from erosion by their packing and the conditions of the silty sea floor. Shipwrecked explores this precious cargo and the story of the men who sailed it, with more than 250 gorgeous photographs and essays by international experts in Arab ship-building methods, pan-Asian maritime trade, ceramics, precious metalwork, and more.

About the Author
John Guy, Curator of South and Southeast Asian Art at the Metropolitan Museum of Art, has extensively researched all early shipwrecks discovered in insular Southeast Asia. He lives in New York City. Regina Krahl, an expert in the Chinese production of high-quality ceramics and their export markets, has published widely in the field.

Saturday, 12 February 2011

Korea’s cartographic legacy

This digitally enhanced copy of the Gangnido was restored by Ryukoku University of Japan. The 1402 map outlines China, Arabia, Africa and Europe and an exaggerated Korean Peninsula. Provided by Choi Seon-wung

About two months ago, renowned Korean scholar Choi Suh-myun received an unexpected package from Atsushi Hirata, director of the Ryukoku University Library in Japan.
Choi was taken aback by its content: a masterful digitally enhanced recreation of a 15th century world map - the oldest world map in existence.
The map has immense historical significance, not only for the world - but especially Korea. Originally drawn in 1402 by three Koreans, it easily predates any comprehensive world map by Chinese, Japanese or European cartographers.
The name of the map originally created by Kim Sa-hyeong, Yi Mu and Yi Hoe is called the Map of Integrated Lands and Regions of Historical Countries and Capitals, also known as the Gangnido. The Gangnido is the cartographers’ synthesis of two Chinese maps, both of which have long been lost.
Little is known of the original map’s fate. At some point in the 15th century, historians assume it was copied in Korea before being stolen by invading Japanese forces later in the next century. This is the copy that exists at Ryukoku University today.
Choi said he found the digitally enhanced map’s exuberant colors and elegant calligraphy even more vivid than the centuries-old Gangnido copy, which he saw a few years ago at Ryukoku University in Kyoto. In fact, it took 10 years for the university to digitally restore the modern Gangnido’s faded color and blurred letters.
The Gangnido incorporates the known world at the time of the early Joseon Dynasty. Because its production was before Christopher Columbus’ discovery of America in 1492, the ancient map only delineates Asia, Europe and Africa. The map is also celebrated because it clearly marks the Nile River.

This world map produced by Johannes Schnitzer in 1482 shows Africa connected to Antarctica, separating the Atlantic from the Indian Ocean. [JoongAng Ilbo]
Although the proportions representing the continents are not accurate, the contours of coastlines closely outline those of today. Ryukoku University’s 15th century copy was colored and hand-drawn on silk measuring 168 centimeters (5.5 feet) wide and 158.5 centimeters in height.
King Taejong, the third king of the Joseon Dynasty, commissioned the production of the map a decade after the foundation of Joseon in 1392. According to a postscript by Joseon official Gwon Geun, the Gangnido combines two Yuan Dynasty (1271-1368) Chinese maps; the Map of Vast Reach of Resounding Teaching by Li Zemin and the Integrated Map of Regions and Terrains by Qing Jun. The Korean map also incorporates the Map of the Eight Provinces of Joseon, along with a Japanese map known as Gyoki-zu, which were made during Emperor Shomu’s reign (701-756).
The 1402 map offers proof of Korea’s awareness of the world during the early Joseon Dynasty.
“If I had to choose Korea’s most valuable cultural asset, I wouldn’t hesitate to pick the Gangnido,” said professor of geography Yang Bo-kyung at Sungshin Women’s University.
Like many of Korea’s significant cultural artifacts, the 15th century copy of the Gangnido remains in Japan. Some historians say the map was probably taken during the Imjin War (1592-1598) in one of Toyotomi Hideyoshi’s invasions or possibly more than 200 years later during Japan’s Meiji Restoration. Hideyoshi reportedly gave Japan’s Gangnido map to the Honganji, a Buddhist temple in Kyoto, which later divided into two branches, one of which is associated today with Ryukoku University, which would explain why the map rests there today.
Due to preservation issues, Ryukoku University has not uncased their Gangnido.
It was not until 1982 that Korean scholars were even aware of the map’s existence. Lee Chan, a late professor at Seoul National University, acquired a photograph of the Gangnido. He then asked painters and calligraphers to reproduce the map as best they could. However, there were major gaps between the Gangnido in Japan and the version that Lee commissioned.
"Though the copy version of Gangnido was delicately depicted, there were some differences when compared to this digital version in terms of shape and calligraphy,” said Choi Seon-wung, CEO of map production company Mapping Korea.
What made the resurrected world map more intriguing was that digital technologies emerged in the last 20 years allowing scholars to restore damaged portions of Ryukoku University’s Gangnido. The school’s science and engineering department devoted a decade to the restoration process since 2000, applying state-of-the-art technology, including a precision digital camera and fluorescent X-ray.
Their efforts paid off. Previously unrecognizable markings on the map were revealed to be the Great Wall of China and the Amur River, which now forms the border between eastern Russia and northeastern China. More place names were also revealed.
“There were some errors in place names on the China portion - since the original was not legible. We are trying to fill the blanks through the digitalized copy,” said Choi Suh-myun.
The Korean map is said to be superior to contemporary maps of the time. Scholars mostly agree that the next best world map from the time was produced in 1482 by German cartographer Johannes Schnitzer. The Korean and German maps differ significantly in that the latter connects the African continent to Antarctica, while the former does not. With the German map, it would have been impossible to traverse the Atlantic and the Indian oceans.
Schnitzer’s map stems from another map drawn up by Ptolemy (90-168), a Greek astronomer and geographer.
The Gangnido, on the other hand, accurately delineates the southern tip of Africa surrounded by the sea. The size of the continent is much smaller than it actually is, but its coastlines closely match modern maps of Africa’s contours. Scholars especially praise the Gangnido’s precise marking of the Cape of Good Hope. The original map predates the first European explorer’s discovery of the southern tip of Africa by 86 years. Portuguese explorer Bartolomeu Dias is said to be the first European to reach the cape in 1488.
How could cartographers of the Joseon Dynasty create such an extensive map without ever having set foot in Africa? Experts point to East-West cultural exchanges. Unlike the Europeans of the time, the Arabs had superior cartographic knowledge of Africa, which was transmitted to East Asia via the Mongol Empire.
The Gangnido reflects the inquisitiveness of Koreans of that time. Gwon Geun - the Joseon official - said on the map’s deny_deny_deny_deny_postscript: “As the map is neatly written and displayed, one is able to see the world without venturing outside,” adding, “looking at the map and gauging the distances of regions provides helpful information for governing the nation.”


Sinocentric of Joseoncentric?

Another distinct feature of the Gangnido can be found in the exaggerated size of the Korean Peninsula, which was deliberate. The postscript explains: “In the Li Zemin’s ‘Shengjiao guangbeitu,’ there are a lot of territorial omissions.
“The map of our country was especially expanded,” he added.
Some experts see the enlarged peninsula as a gesture of defiance against the rein of the Yuan Dynasty.
Professor Lee Chan evaluated the Gangnido in the preface of his 1991 book, “Old Maps of Korea.”
“The Gangnido is a breakaway from the Sinocentric perspective,” he said.
Professor Yang echoes his theory.
“The map was produced to emphasize the fact that Joseon is not only large but stable, like China.”
Oh Sang-hak, a professor at Jeju National University, said that based on cartographic knowledge passed on by Arabian traders, the Gangnido surpasses the perspective of a Sinocentric world by incorporating Europe and Africa. “Those history textbooks that posit the Gangnido is a reflection of Sinocentrism should be revised,” Oh explained.
While it is true that the Gangnido greatly exaggerates China’s scale and places the country at the map’s center, cartographer Choi said labeling it “Sinocentric” would not be an honest assessment. “People should not just look at these old maps, but they have to ‘read’ them,” he said.

By Yeh Young-june [estyle@joongang.co.kr]

Thursday, 30 September 2010

Silk Princess Painting and Korean Roof Tile

This year on BBC Radio 4 is a series, A History of the World in 100 Objects.
From this series I chose 2 items:

- Silk Princess Painting and
- Korean Roof Tile


Silk Princess Painting

For the full story, press PLAY


Neil MacGregor has been exploring the world of the late 7th century, with objects from South America, Britain, Syria and Korea.
This painting on a wooden panel shows scenes from the Central Asian story of the Silk Princess. According to this legend, a Chinese princess smuggled the secret of how to make silk out of China and into the country of her new husband, the king of Khotan. As she was a princess the border guards did not dare search her. In this painting her elaborate headdress conceals the cocoons of the silk moth and the seeds of the mulberry tree.
This object is from the 4000 mile tangle of routes that has become known as the Silk Road - that great conduit of ideas, technologies, goods and beliefs that effectively linked the Pacific with the Mediterranean. His chosen object which lets him travel the ancient Silk Route is a fragile painting telling a story of "industrial espionage". It comes from the Buddhist kingdom of Khotan, now in Western China, and tells a powerful story about how the secrets of silk manufacture were passed along the fabled route. The cellist and composer Yo Yo Ma, who has long been fascinated by the Silk Road and who thinks of it as "the internet of antiquity", and the writer Colin Thubron consider the impact of the Silk Road - in reality and on the imagination.

In search of the silk princess
When handling the wooden panel with the depiction of the Silk Princess, one is surprised about its weight. Having been buried under the desert sands for well over a thousand years, any humidity has evaporated from the wooden panel and it has become extremely light. Apart from the loss of some colour pigments on its surface though, the lively and linear brushstrokes of the painter are still clear. Because wood was so precious along the Silk Road, most of the painted panels of this kind were painted on both sides with different scenes, although not this one.
What is interesting about this object panel is perhaps that it found its place in a Buddhist shrine and therefore had its place in a religious context. It is evidence for the close interaction between religion, ritual and daily life of Ancient Khotan along the Silk Road.
Furthermore, written sources and archaeological evidence prove that the production of silk and silk manufacture technology was invented in China about 4,000 years ago. Around the second millenium BC the precious material was produced for the Chinese aristocracy and must have had a similar status as ritual bronzes. Historians agree that the knowledge and technology of silk production gradually travelled westwards from China via the Silk Road to Byzantium and then to northern Europe. This happened around the sixth century, approximately at the time, when this panel was painted.


Korean Roof Tile

For the full story, press PLAY

The history of the world as told through one hundred objects at the British Museum in London. This week the museum's director, Neil MacGregor has been telling the story of the Silk Road (and beyond) towards the end of the 7th Century - with objects from South America, Syria, Britain and China.
Today he looks at what was happening in Korea at this moment in history, as it became a newly unified kingdom under the Silla state. The object that represents this moment is a roof tile with an intimidating face from a grand building in the new capital.

The face on this roof tile glares at the viewer. It was intended to scare away evil spirits from a building in the magnificent ancient capital city of Kyongju. Similar tiles were used earlier in China, but once introduced into the Korean peninsula, they reached a new height in popularity and artistry. This face most closely resembles that of a dragon, animals associated with water and hence appropriate as guardians to place on a wooden building always in danger of fire.

What was Korea's grandest city in ancient times?
This tile is from Kyongju, the capital of the Unified Silla dynasty of Korea. The city was famous for its wide streets laid out in a grid. All the houses, palaces and Buddhist temples had tiled roofs, a sign of wealth and sophistication. Decorated roof tiles started to become widespread around AD 688, when the small Korean kingdom of Silla, with help from China, conquered two other Korean kingdoms. This ushered in an age of prosperity and cultural unity in the Korean peninsula.

Keeping up with the Kims
Houses covered in roof tiles in the city of Kyongju in the eighth and ninth centuries would have been of higher status than those with thatched roofs.
Since the Silla dynasty (under the royal Kim family) had managed to unify the majority of the Korean peninsula with the help of Tang China, there was also no doubt a degree of emulation of China going on: Kyongju grew in size and splendour after it became the capital of the Unified Silla state rather than just the smaller Silla kingdom. Kyongju’s street grid layout was based on that of the Tang capital Chang-an, the biggest and most cosmopolitan city in the world in the eighth century, at the eastern end of the Silk Road. And there was a huge surge of interest in building projects in Kyongju at this time, with the construction of aristocratic mansions, garden villas and Buddhist temples, all adorned with tiled roofs.
All the aristocrats from the defeated areas of Korea were brought to Kyongju and no doubt wanted to create houses and estates in which they could preserve the lifestyle to which they were accustomed.
But why a monster mask? It is probably the case that this monster mask roof tile was also copying similar tiles from China, as these are known to exist.
The monster mask derived from the ancient Chinese taotie mask which appeared on ritual bronzes. But by the time it appeared on roof tiles it had transformed itself into a protective guardian, placed at the ends of the long ridge of the roof in order to scare off evil spirits. Placed at the highest and most prominent place on the roof, it could be seen for miles around and would stand out as a conspicuous sign of the wealth and high class of the owner of the building, as well as protecting the owners from harm.
So this moulded earthenware roof tile was functional as well as decorative, and a status symbol as well as good-looking: testimony to a highly developed level of Silla craftsmanship and a thriving economy in a capital city at the height of its prosperity.