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Space and Location in the Circulation of Knowledge (1400–1800)

Korea and Beyond

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Edited By Marion Eggert, Felix Siegmund and Dennis Würthner

In response to the recent surge of interest in studying epistemic transfers and changes, this volume assembles an interdisciplinary range of articles that look at the production, consumption and dissemination of knowledge in East Asia, centering on Korea, under the paradigm of knowledge circulation. Applying this heuristic tool offers new perspectives on pre-modern Korea and beyond. It allows for flexibility of scale and thus facilitates the identification of shared processes of appropriation, digestion and re-distribution of ideas, regardless of whether the exchanges take place between states and nations, between social groups, or even between individuals. The articles in this volume stress the spatial and social aspects of the process of knowledge circulation in particular: the role of location and of social networks in the production, evaluation and dissemination of new knowledge.
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Early Chosŏn Painting, Social Reorganization, and the Knowledge of Chinese Literati Arts – Burglind Jungmann

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Early Chosŏn Painting, Social Reorganization, and the Knowledge of Chinese Literati Arts

Burglind Jungmann

In Korean art history cultural exchange with China, including theoretical literature, painting styles, and iconographies, has so far been regarded rather as a “transfer” of knowledge and skills from China to Korea, as a one-way road, so to speak. Moreover, debates about visual culture of the early Chosŏn dynasty (朝鮮, 1392–1910) have been dominated by concepts of the literati arts, particularly of landscape painting relating to earlier Chinese masters. In addition, the focus on the evolution of style throughout the history of painting has put Korean painting in a position of dependence on Chinese developments, a hierarchically inferior position in which Korean artists would hardly be able to compete with their Chinese models. In contrast, recent art historical studies, particularly in the fields of Chinese and Japanese art, have employed different methodological approaches for the examination of art and visual culture. Questions have been raised in relation to political, socio-economic, and cultural contexts asking, for instance, how patrons and how the gender and social standing of artists have manipulated art production, or how art was used as a means of communication and self-representation. In addition, the concept of “influence” has been questioned.1 Rather than thinking of a certain personal or regional style actively influencing another person or region, the emphasis is now on the actual agent and the perspective has been turned around. That means that the...

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