Library Catalog
Amazon cover image
Image from Amazon.com

God Pictures in Korean Contexts : The Ownership and Meaning of Shaman Paintings / Laurel Kendall, Yul Soo Yoon, Jongsung Yang.

By: Contributor(s): Material type: TextTextPublisher: Honolulu : University of Hawaii Press, [2015]Copyright date: ©2015Description: 1 online resource (176 p.) : 47 black & white images, 10 color imagesContent type:
Media type:
Carrier type:
ISBN:
  • 9780824847647
  • 9780824857097
Subject(s): DDC classification:
  • 755/.9957 23
LOC classification:
  • ND1432.K6 K43 2015
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Preface and Acknowledgments -- 1. Introduction: The Lives of Korean Shaman Paintings -- 2. What Are Shaman Paintings? -- 3. Korean Shaman Paintings Collected -- 4. Painted Gods at Home -- 5. Gods Painted, Gods Bought and Sold -- Coda: Painted Gods in Museums -- Notes -- Bibliography -- Index -- About the Authors
Summary: Shamans walking on knives, fairies riding on clouds, kings with dragon mounts: They are gods and they are paper images. Some are repulsed and unsettled by shaman paintings, some cannot stop collecting them, and some use them as sites of veneration. Laurel Kendall, Jongsung Yang, and Yul Soo Yoon explore what it is that makes a Korean shaman painting magical or sacred. How does a picture carry the trace of a god and can it ever be “just a painting” again? How have shaman paintings been revalued as art? Do artfulness and magic ever intersect? Does it matter, as a matter of market value, that the painting was once a sacred thing? Navigating the journey shaman paintings make from painters’ studios to shaman shrines to private collections and museums, the three authors deftly traverse the borderland between scholarly interests in the material dimension of religious practice and the circulation of art. Illustrated with sixty images in color and black and white, the book offers a new vantage point on “the social life of things.” This is not a story of a collecting West and a disposing rest; the primary collectors and commentators on Korean shaman paintings are South Koreans re-imagining their own past in light of their own modernist sensibility. It is a tale told with an awareness of both recent South Korean history and the problematic question of how the paintings are understood by different South Korean actors, most particularly the shamans and collectors who share a common language and sometimes meet face-to-face.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780824857097

Frontmatter -- Contents -- Preface and Acknowledgments -- 1. Introduction: The Lives of Korean Shaman Paintings -- 2. What Are Shaman Paintings? -- 3. Korean Shaman Paintings Collected -- 4. Painted Gods at Home -- 5. Gods Painted, Gods Bought and Sold -- Coda: Painted Gods in Museums -- Notes -- Bibliography -- Index -- About the Authors

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Shamans walking on knives, fairies riding on clouds, kings with dragon mounts: They are gods and they are paper images. Some are repulsed and unsettled by shaman paintings, some cannot stop collecting them, and some use them as sites of veneration. Laurel Kendall, Jongsung Yang, and Yul Soo Yoon explore what it is that makes a Korean shaman painting magical or sacred. How does a picture carry the trace of a god and can it ever be “just a painting” again? How have shaman paintings been revalued as art? Do artfulness and magic ever intersect? Does it matter, as a matter of market value, that the painting was once a sacred thing? Navigating the journey shaman paintings make from painters’ studios to shaman shrines to private collections and museums, the three authors deftly traverse the borderland between scholarly interests in the material dimension of religious practice and the circulation of art. Illustrated with sixty images in color and black and white, the book offers a new vantage point on “the social life of things.” This is not a story of a collecting West and a disposing rest; the primary collectors and commentators on Korean shaman paintings are South Koreans re-imagining their own past in light of their own modernist sensibility. It is a tale told with an awareness of both recent South Korean history and the problematic question of how the paintings are understood by different South Korean actors, most particularly the shamans and collectors who share a common language and sometimes meet face-to-face.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)

Previous
Back to results
Next
Close