Korean Chaekgeori painting. 19th Century Joseon. Books & Scholars’ Accouterments

Anonymous. Korean, 17th century. Joseon period. Hanging scroll. Ink on paper. Seal: Shinso Dimensions: Scroll: H. 200 cm x W. 31 cm (79” x 12”) Image: H. 122 cm x W. 29.5 cm (48” x 11.5”) The grapevine came to China and then Korea from western Asia via the silk road trade routes. By the mid-Joseon period, it was one of the most popular subjects for Korean literati painters. Grapevines were painted as a singular subject or, less commonly, in combination with squirrels, which are associated with children due to their playful nature. Together, grapevines and squirrels embody wishes for abundant offspring and wealth. For the Korean literati artist the twisting vines, curling tendrils and round, plump grapes provided ample opportunity for expressive "brush play”. In this painting the artist has abstracted the scene and is seemingly unconcerned with discontinuities and proportion. Vines spring up from nowhere, grapes hang in random clusters and the squirrel’s head appears as if twisted backwards. For the vines and leaves we can feel a sense of speed in the brushstrokes, imparting a dynamic feel which is at once intense and animated. This contrasts dramatically with the countless tiny strokes of ink which realistically capture the texture of the squirrel’s fur...

Obata Tosho (1812-1886) Longhorn Beetle & Poppies. Late Edo period, mid 19th Century Framed Japanese Painting. Ink and color on paper. Individually framed 19th century bird and f...

A six-panel painted folding floor screen from Korea circa early 20th century. This type of screen is called Chaekgeori (books and things) which is quite unique to Korea. It became popular at the end of 18th century favored and encouraged by King Jeongjo (1752-1800) as a political tool to promote social conservatism such as the traditional Confucianism value, especially considered important in a time when waves of new ideology influx came to Korea. Initially commissioned for the royal court, they became increasingly popular with the scholars of noble and affluent households and were used widely in their halls and studies. Early screens were painted with trompe-l’oeil bookcases displaying books and arrays of collectibles. Later, the bookcases were eliminated to focus on the assemblage of neatly stacked books and objects of scholarly pursue. On this screen, the six panels were neatly presented and framed in woven brocade borders. Among the stacked volumes, one can find many fine porcelain vases with flowers, potted orchids, pen holders with brush pens and scroll paintings, incense burner, ink stone, teapot, fan with ink painting, vessels of fruits, exotic plants such as lotus, plumeria and even a pair of glasses. It feels like a pleasant visual measure hunting for the viewers. Several words in Chinese found their way into the picture as well, including filial (xiao), longevity (shou) and luck (fu). The painting was done in a meticulous way with no details overlooked and also with a rather western still-life dimensional perspective. In a rather unusual maximal but also minimalistic way, the screen exudes a historical charm with a folky flair but appears modern at the same time. Each panel is 17.5"w by 70.2"h. For general information on the subject see reference: Chaekgeori the Power and Pleasure of Possessions in Korean Painted Screens...

A Korean four-panel folding screen circa 1830s, from the late Joseon Dynasty. The painting depicts a vivid hunting scene on four vertical scroll panels mounted with brocade borders. The four panels are related to each other in narrative but not in an absolutely continuous fashion, therefore they could be viewed individually and independently, which was not uncommon in the screen paintings as they are meant to be folded and unfolded as needed. The pictures show a general on the far left panel seated on a low platform bed...