Essay on Individuality in Korean Art

Previous research reveals that Korean-Americans are considered the most separated from the rest of the society, both culturally and ethnically. Study used Berry (1997)’s strategies of assimilation, integration, separation and marginalization and three main dimensions of cultural orientations; language, identity and behaviors (Choi et al. 2014). Study included youth who are highly integrated in society; born in the US or immigrated at a young age; proficient in both English and mainstream behavior practices whereas their parents known to be culturally separated and the family socialization processes largely Korean (combination of high acculturation and high enculturation, characterizing integration). Researchers used years of residence and nativity

The current essay is a compare and contrast analysis of two persons whom the author interviews. Two individuals included in this study were my friends. Both are my college friends and belong to Korea. The girl is Jain Lee and she is studying at college with me. The name of the boy is Hyunbo Park and he is also studying at college with me. Being young students both represent the young Korean generation from their looks and appearances as well as likes and dislikes as is obvious from their photos below that. The author has reviewed and compared their personalities within the contest of culture. The Two Culture Theory as well as Individualistic and Collectivistic cultural theories have also been focused.

The Joseon Dynasty was declared by Yi Seonggye, best known as King Taejo, in the late fourteenth century. King Taejo 's foundation for the new empire was based on the rejection of the Goryeo Dynasty, the state religion of Buddhism, and his desire for a Neo-Confucianist society. The new standards of Neo-Confucianism significantly affected the art and visual culture produced during this period of Korean history. During the Joseon period, paintings were considered a form of visual enlightenment for the Korean people. Painting, calligraphy, playing music, and playing the game paduk were regarded as the “Four Accomplishments that were expected of a learned man.” The understanding and skill of painting is also said “to be necessary for cultural and intellectual refinement.” As a result, the Korean government created academies for men of jungin status to become poets and painters. Many Korean artists were greatly inspired by the ink paintings of Chinese literati artists and masters. The three most interesting topics in Korean painting are landscape, genre, and portraiture due to their progressions in style over time, as well as the variation in techniques that artists used. Significant examples of Korean landscape painting include An Gyeon 's Dream Journey to Peach Blossom Land and Jeong Seon 's The Diamond Mountains. Genre painting as seen in Kim Hongdo 's Carpenters (from the album Genre Paintings by Danwon) and Shin Yun-bok 's Double Sword Dance (from his album of genre

Within the tribute system, the Koreans sought to rank highest in submission to China. They followed Chinese precedent and used historical records and maps as evidence in border disputes, as well as recognizing the records and maps of others.[1] By following the rules of the tribute system, Chosǒn sought to imitate the Ming. One Korean traveler to China, Pak Chiwǒn, who visited after the fall of the Ming, remarked on Chinese technological superiority, in particular in architecture and manufacturing.[2] The size of a small Chinese border town, as well as the quality of the goods in such a remote region, impressed Pak Chiwǒn.[3] Even though he is clear to criticize the Qing, Pak cannot help but comment on the flourishing economy and excellent quality of architecture. Finally, the Koreans of the Chosǒn dynasty saw themselves as the son, and China as the father.[4] The Koreans followed the rules of the tribute system, followed the Confucian ideal of filial piety, and were awed by Chinese technology and

Almost every culture has some traditional artifact of religious value. For Tibet one example of this is a Thangka. They aren’t just a religious artifact, a Thangka is an artform. That art form is still used today in modern art in Tibet. A Thangka is a three dimensional object made of various parts. The main attraction is a picture panel that is painted or embroidered. Some more necessities are a textile mounting, a silk cover, wooden dowels at the top and bottom and metal or wooden decorative knobs placed on the bottom dowel (Shaftel). Thangkas were created to communicate iconographic information in the form of a picture (Shaftel). Thangkas have many rules the artist must follow, but there is some fluctuation allowed with technique. Technique

Time flies, it’s already been five years since I left Korea. How have you been doing? I often recall the time we discussed about relationship between Korea and U.S. until the day before I departed Korea. Especially, the U.S. attacks Korea in late 1800s and that was the reason why you didn’t want me to immigrate to the U.S. Although you and my opinion were different, I miss our debating time because that was our good and golden time. It doesn’t surprise me that you are majoring Korean history in college. I believe you would become an outstanding historian in the future.

Similar to shamans are priest and ministers; they have higher authority in a religious community. They also guide people through prayer to fight off evil energy/spirits. Shamans help communities too. They claim to have special powers, although they are not religious. Another religion that intertwines with shamanism is Buddhism. They both have strong spiritual beliefs, and meditate to go into a different state. South Korea has no "official" religion-like the Anglican Church in England-nor is there one dominant religion. Shamanism, Buddhism, and

The religion of the ancient Korean was animistic nature worship. To these ancient people the world seemed full of powers, manifesting themselves in animals, fruits and vegetable life, in the heavens above, and in the water below. Korean’s most ancient religions are Shamanism, Buddhism, Confucianism, and Christianity. All these played an important role in the country’s early cultural development and have greatly influenced thoughts and behavior til today.

Culture today is not like the culture in ancient times, but some of the things they had back then are still around today. Culture includes all aspects of daily life, including: religion, art, entertainment, music, food, traditions, and social expectations. The cultures in ancient Rome and ancient Korea were vastly different from one another. This was due to the fact that both Rome and Korea are in different parts of the world, and as a result their food, traditions, and celebrations were unique to each civilization.

A considerable amount of what is known from the various periods of earliest Korean history was derived from paintings from tomb walls and archaeological discoveries. Korean pottery has been found that dates as far back as 8000 BCE. Throughout different time-periods, the characteristics of the pottery changed which enabled the identification of the period of origin and its people. “Pottery seems to have spread from the east coast of Manchuria into the northwest of Korea, then moved gradually south.” The Prehistory of Korea: Jeong-hak Kim, p. xxxi

In the photograph of Park Jong-chul’s student-lead demonstration at the Korea University of Seoul in 1987 [fig. 1], there are hundreds of bodies, united together, facing against the military police of recently-elected Roh Tae-woo. What is not seen in this photograph, however, is the underlying sentiments that turned each individual into a member of this mass. What is really at play in the minds of these students is the ideology of minjung. The concept obtained political meaning in the mid-1970s, becoming a major movement in the 1980s that sought political, social, and cultural change. Commonly translated into “the mass of the people” or simply “mass” or “the people,” minjung was used as a way of categorizing all strata of society that were “victimized” by the Park Chun Hee regime not only politically, but economically, socially, culturally, and religiously as well. In this fight for the mobilization of the oppressed – a fight for democracy – it was not only students and workers who became politicized, but even producers of culture, such as writers and artists. This essay will focus on this latter movement, specifically looking at the “minjung art” movement in a heavily politicized South Korea of the 1980s. This essay will first dissect the meaning of minjung and culture before taking a close look at several pieces of minjung art and the way art became a political tool. Through an examination of minjung, art, and minjung art, this essay will analyze the relationship between

Korea has met many religious ideas and practices throughout the nation’s history. Other than the more indigenous ideologies like shamanism, Confucianism and Buddhism have been most influential in ancient Korea prior to the onset of Japanese colonialism. The Korean Art Exhibition at the Los Angeles County Museum of Art showed multiple ritual objects such as incense burners and ritual bottles (kundika) used in Buddhist practices during the Koryŏ period, suggesting that the religion was prevalent during that time. The museum also displayed a wooden tablet (wonpae) used in the Chosŏn period for Buddhist rituals; however, the exhibit did not forget to mention that Confucianism was the official ideology of the Chosŏn. The relationship between the two set of beliefs has been dynamic throughout Korean history. Buddhism dominated religious practices in the Koryŏ period, but during the transition from the Koryŏ to the Chosŏn period, Neo-Confucian scholars overpowered its counterpart by calling for anti-Buddhism reforms. The bringing of new ideas by Neo-Confucians was necessary in replacing the rich and overpowered Buddhism religion and attaining a new order of virtuous and meritorious leadership.

South Korea appears in the first quadrant of Figure 2.2 in which states that the country has a culture with relatively larger power distance and lower individualism. South Korea has a relatively large power distance due to the country’s strong emphasis in respecting for one’s elders and superiors. This cultural belief is deeply

I was the “funny guy” in my clique of high school friends. Ever since I learned to read English, I enjoyed reading and collecting joke books. I exhausted every single joke book from the small community library in town. Riddles, jokes about animals and wildlife, reasons why I didn’t do my homework, lawyer jokes, and later on, ethnic jokes. I knew they were funny, but I wanted more. Perhaps it was my lack of physical achievements that made me obsess with a need to entertain my peers.

Since 1990s, Korean Popular Culture has had a strong influence in Asian countries, including China, Hong Kong, Taiwan, Japan and Singapore. This new popular cultural phenomenon in Asia is called the “Korean Wave”, also known as hallyu in Korean pronunciation, which refers to the surge of popularity of Korean popular culture abroad, particularly in Asia(Kin 284). The “Korean Wave” is first coined in mid-1999 by journalists in Beijing who are surprised by the fast growing popularity of Korean entertainment and popular Culture in China(Fiaola 1).