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008			050916s2004 nju b 001 0 eng
010			_a 2003060513
020			_a0691114633 : _c60.00
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050	0	0	_aND1053.5 _b.J86 2004
069			_a02644688
090			_aND 1053.5 .J86 2004
090			_aND 1053.5 .J86 2004
100	1		_aJungmann, Burglind. _981215
245	1	0	_aPainters as envoys : _bKorean inspiration in eighteenth-century Japanese Nanga. _cBurglind Jungmann.
260			_aPrinceton, NJ : _bPrinceton University Press, _c2004.
263			_a0404
300			_a272 p. _c27 cm.
504			_aIncludes bibliographical references and index.
505	0		_aHistorical Conditions and the Origin of the Style -- Korean Embassies to Japan in the Eighteenth Century -- Southern School Painting in China, Korea, and Japan -- The Nanga Pioneers and Their Relationship with Korea -- Gion Nankai and the Korean Embassy of 1711 -- Sakaki Hyakusen, Yanagisawa Kien, and the An Kyon School Style -- The Second Generation: Ike Taiga and the Impact of Korean Namjonghwa -- Ike Taiga's Circle and the Korean Embassies -- Korean Influence on Ike Taiga's Painting Style -- Korean True Scenery Painting and Its Spread to Japan -- Conclusion: Korean Contributions to the Creation of the Nanga Style -- Korean and Japanese Texts.
520			_aIt is well known that Japanese literati painting of the eighteenth century was inspired by Chinese styles that found their way to Japan through trade relations. However, because Japanese and American art historians have focused on Japanese-Chinese ties, the fact that Japan also maintained important diplomatic-and aesthetic-relations with Korea during the same period has long been neglected. This richly illustrated, cogently argued book examines the role of Korean embassies in shaping the new Japanese literati style, known as Nanga in Japan. Burglind Jungmann describes the eighteenth-century Korean-Japanese diplomatic exchange and the circumstances under which Korean and Japanese painters met. Since diplomatic relations were conducted on both sides by scholars with a classical Chinese education, Korean envoys and their Japanese hosts shared a deep interest in Chinese philosophy, literature, calligraphy, and painting. Texts such as Ike Taiga's letter to Kim Yusong and Gion Nankai's poem for Yi Hyon plus accounts by Korean and Japanese diplomats give a vivid picture of the interaction between Korean and Japanese painters and envoys. Further, the paintings done by Korean painters during their sojourns in Japan attest to the transmission of a distinctly Korean literati style, called Namjonghwa. By comparing Korean, Japanese, and Chinese paintings, the author shows how the Korean interpretation of Chinese styles influenced Japanese literati painters and helped inspire the creation of their new style.
650		0	_aPainting, Japanese _yEdo period, 1600-1868. _981216
650		0	_aNanga. _981217
650		0	_aPainting, Japanese _xKorean influences. _981218
650		0	_aPainting, Japanese _xChinese influences. _981219
651		0	_aJapan _xRelations _zKorea. _981220
651		0	_aKorea _xRelations _zJapan. _981221
852			_9p60.00 _y02-13-2005
907			_a15637 _b08-12-10 _c08-06-10
942			_cBOOK _00
998			_aaudmc _b02-13-05 _cm _da _e- _feng _gnju _h0
905			_aBurglind Jungmann is Associate Professor of Korean Art History at the University of California, Los Angeles
935			_aPO16965%5FNOV%5F1
945			_g0 _i655217 _j0 _laudmc _nCopy Type:01 - Books _o- _p220.50 _q- _r- _s- _t1 _u0 _v0 _w0 _x0 _yi10216595 _z08-06-10
999			_c15637 _d15637