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Historians have claimed that when social stability returned to Korea after devastating invasions by the Japanese and Manchus around the turn of the seventeenth century, the late Chosŏn dynasty was a period of unprecedented economic and cultural renaissance, in which prosperity manifested itself in new programs and styles of visual art. A New Middle Kingdom questions this belief, claiming instead that true-view landscape and genre paintings were likely adopted to propagandize social harmony under Chosŏn rule and to justify the status, wealth, and land grabs of the ruling class. This book also documents the popularity of art books from China and their misunderstanding by Koreans and, most controversially, Korean enthusiasm for artistic programs from Edo Japan, thus challenging academic stereotypes and nationalistic tendencies in the scholarship about the Chosŏn period. As the first truly interdisciplinary study of Korean art, A New Middle Kingdom points to realities of late Chosŏn society that its visual art seemed to hide and deny. A William Sangki and Nanhee Min Hahn Book
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
A new series of the Scottish antiquary established 1886.