Representation of the Sublime in Korean Traditional Artwork

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Representation of the Sublime in Korean Traditional Artwork Jun Young Kim If every artwork indeed represented something as stated by Goodman, what would be a universal figure that is sought after in every culture and in every individuals? Would not that be the beauty of sublime according to Kant? Christians would place th God in place of the sublime. Thus through Christian perspective I would investigate how the characteristics are represented in traditional Korean art. To grasp the general characteristics of the country, I have chose to cover three different forms of art: gardening, porcelain and painting. Porcelain There on top of the table lies oriental porcelain from East Asia. Which country would this be from? Without a second thought, one would struggle to decide between China and Japan. Rarely would Korea be involved in this thought process. Little known is to the world, Korean ceramics nevertheless deserves recognition for its distinctive style different from that of China and Japan: As China is generally known for larger and more colorful characteristics, Japan is well known for its detailed sophistication and delicacy in designs. Comparatively, Korean pottery is more demure and simple in design. It is the least artificial of the three. With ceramic history almost as old as the nation itself, Korea retains diverse styles of ceramics differing from era to era. Among the particularly well known is porcelain from Goryeo dynasty (918-1392) showing off an ethereal color of jade blue named “bishaek” (kingfisher). The color is highly admired. “Many art critics say that even with the advanced knowledge of color composition in modern science, it is impossible to recreate the color’s graceful tone, hue and elegance.” Choi Soon Woo, a renowned art historian claims that it is the color of sky on top of mountain when rain stops dropping and fog is driven
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