This book offers an introduction to Korea's abundant and unique architectural past and present, combining explanations of the principles behind Korean architecture with introductions to some of the country's finest buildings and structures. It explains some of the ideologies and perspectives that form the foundation of Korean architectural tradition and outlines the history of Korean architecture, from the first architectural traces of dugouts and lean-tos to the increasingly sophisticated wooden frames and technologies. It offers a brief introduction to the basic elements, construction process, structural anatomy, and materials used in building a Korean traditional architecture. The book also highlights ten of Korea's best-known and most significant traditional buildings, ranging from Buddhist temples to royal palaces, Confucian royal shrines, landscaped literati gardens to "Enlightenment"-era fortresses. Korea's early modern architecture—a period from the colonial domination by Japan into the mid-20th century—is also examined.
This book offers an introduction to Korea's abundant and unique architectural past and present, combining explanations of the principles behind Korean architecture with introductions to some of the country's finest buildings and structures. It explains some of the ideologies and perspectives that form the foundation of Korean architectural tradition and outlines the history of Korean architecture, from the first architectural traces of dugouts and lean-tos to the increasingly sophisticated wooden frames and technologies. It offers a brief introduction to the basic elements, construction process, structural anatomy, and materials used in building a Korean traditional architecture. The book also highlights ten of Korea's best-known and most significant traditional buildings, ranging from Buddhist temples to royal palaces, Confucian royal shrines, landscaped literati gardens to "Enlightenment"-era fortresses. Korea's early modern architecture—a period from the colonial domination by Japan into the mid-20th century—is also examined.
The history of Korean museums goes back more than 100 years, to the opening of the Jesil Bangmulgwan in 1909. There are now 11 national museums in provincial cities throughout Korea, unified by the hub that is Seoul's iconic National Museum of Korea, completed in 2005, while the large number of regional, university, art, specialized and other museums continues to rise. Korea's galleries emerged one by one with the advent of "modernity," the flourishing of modern art and the development of the economy, introducing many Korean and international artists and playing an important role in developing popular culture. Korea's museums and galleries, displaying everything from Paleolithic relics to the latest experimental works by contemporary artists, offer windows onto the country's past, present and future.
Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word. For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.
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