Chaekgeori!
Books and Scholars’ Accouterments (chaekgeori) late 1800s. Yi Taek-gyun (Korean, 1808–after 1883). Ten-panel folding screen, ink and color on silk; each panel: 197.5 x 39.5 cm. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2011.37
The overall composition of the first four panels is bifurcated into a brownish-yellow drape, occupying nearly ⅘ of the first panel and continuously extending to the top portions of the following three panels and the shelves, which stored a kaleidoscopic range of collectibles. The visual divide between the drape and the shelves rests upon the rolling edges of the drape. In addition to the representational portrayal of the folding creases, as Jang rendered the rolling edges in greyish blue, the artist clearly distinguished between the front side (yellow) and the back side (blue) of the drape. The realistic depiction of the crease lines and the color distinction render an illusionary pictorial space to the audiences, creating a vicarious viewing experience as if the audiences are entering the 3D space where the host welcomes their appreciation by lifting the drape. Jang’s deliberate use of colors in creating such a realistic, 3D pictorial representation could be found in another trace on the shelves, which occupy ⅔ of the four panels and indicate their prominent status in the entire account. While the shelves dance between single- and multi-columns, the visible traces of the folds between every two panels and the recurring double thickness of the depicted shelf wall close to the edge of each panel suggest Jang imagines the shelves as an amalgamation of four separate structures, putting next to each other. Besides the visual evidence from the physicality of the screens and the forms of the depicted shelf walls, Jang also emphasizes the individuality or separateness of each shelf structure by filling the “side walls” with reddish brown colors. Since such a color resembles the brown color on the front sides of the shelves but with variations in tone and brightness, Jang has not achieved the goal of indicating each bookshelf is divided from the adjacent shelves but also introduces lights and shadows. That is to say, while the side walls are depicted in a lighter brown color, Jang suggests a light source from the left to the right side, brightening the side walls and stored objects. The two examples mentioned above demonstrate how Jang internalized the Western painting techniques of chiaroscuro through sophisticated and designed variations of colors to render a trompe l’oeil’s picture presentation of the shelves.
Kim and Kenseth once raised an interpretive apparatus of Korean chaekgeori, which argues these pictorial paintings were actively utilized as an agent by prosperous individuals to embody and transmit their self-identities (Kim & Kenseth, 30). Jang’s screen, which we discuss here, could provide visual evidence of such a statement. For instance, the peacock feather sitting at a celadon on the bottom floor of the shelf depicted in the NO.3 panel indicates the screen owner must be affluent to possess a piece of feather from a precious bird. In addition to the implication of the owner’s privileged economic background, the peacock feather symbolizes high social rankings in Joseon Korea, which indicates the owner of the screen’s ambition and desire for social mobility (Kim & Kenseth, 31). The peacock feather deserves special recognition because the peacock serves as a visual symbol of the Ming dynasty of China, suggesting a cross-cultural influence on the visual cultures of Joseon Korea.
The above discussion gives examples of Korean artists' synthesis of Western teachings of illusionistic perspectives and Chinese influence on symbolism, showcasing a hybrid but harmonious coexistence of cross-cultural art styles in Korean chaekgeori paintings.
Cited Works:
Sunglim Kim and Joy Kenseth, “From Europe to Korea: the marvelous journey of collectibles in painting,” in Chaekgreori: The Power and Pleasure of Possessions in Korean Painted Screens, 18-34.