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Papers by Charlotte Horlyck
This chapter explores how people were interred during the Koryŏ dynasty. It focuses on means of d... more This chapter explores how people were interred during the Koryŏ dynasty. It focuses on means of disposal in vogue at this time, such as interment in stone chambers and in different types of pit graves. It also discusses grave locations and burial objects since they form an important and integral component of Koryŏ funerary customs and reveal much about the core religious and ideological concerns underlying the ways in which Koryŏ people treated the dead. It is shown that in Koryŏ times there was not a single, uniform way of interment that was seen to be “best practice.” Rather, it was the individual circumstances of the deceased and in particular those of descendants, chiefly their social status and religious beliefs, that significantly impacted ways of burial.
Bulletin of the School of Oriental and African Studies, 2013
In Korea green-glazed celadon ceramics were manufactured during the Koryŏ kingdom (ad 918–1392), ... more In Korea green-glazed celadon ceramics were manufactured during the Koryŏ kingdom (ad 918–1392), but by the end of the fourteenth century their manufacture ceased and they virtually disappeared from view until the 1880s when they began to be unearthed from tombs and other sites. This led to increased interest in them from Koreans, and especially the Japanese, Americans and Europeans. Focusing on British collections, this article outlines the collecting practices of Korean celadon wares from the time of their discovery in the 1880s to the market boom of the 1910s, culminating in the decrease in their availability in the 1930s. It will be argued that the desire for celadon wares was socially conditioned and that celadon were collected for a range of different, though not unrelated reasons, ranging from collectors' pursuit of unique Korean artworks, to their want of genuine antiquities and aesthetic perfection.
The Lloyd Cotsen Study Collection of Chinese Bronze Mirrors, 2011
From the mountains of Montenegro to the shores of South-East Asia and beyond, the V&A's renow... more From the mountains of Montenegro to the shores of South-East Asia and beyond, the V&A's renowned world dress collection is highlighted in "World Dress Fashion in Detail". The book, part of the "V&A Fashion in Detail" series, explores cut work and silk embroidery from Indonesia, applied metal braid and cord fastenings from Albania, as well as elaborate patchwork from Tibet, India, Korea and Iran. Specially commissioned photographs, authoritative text and line drawings showcase the breathtaking richness of detail that will delight and inspire anyone interested in dress. This title was previously available as "Dress in Detail from Around the World".
Walk the galleries of any major contemporary art museum and you are sure to see a work by a Korea... more Walk the galleries of any major contemporary art museum and you are sure to see a work by a Korean artist. Interest in modern and contemporary art from South—as well as North—Korea has grown in recent decades, and museums and individual collectors have been eager to tap into this rising market. But few books have helped us understand Korean art and its significance in the art world, and even fewer have told the story of the formation of Korea’s contemporary cultural scene and the role artists have played in it. This richly illustrated history tackles these issues, exploring Korean art from the late-nineteenth century to the present day—a period that has seen enormous political, social, and economic change. Charlotte Horlyck covers the critical and revolutionary period that stretches from Korean artists’ first encounters with oil paintings in the late nineteenth century to the varied and vibrant creative outputs of the twenty-first. She explores artists’ interpretations of new and traditional art forms ranging from oil and ink paintings to video art, multi-media installations, ready-mades, and performance art, showing how artists at every turn have questioned the role of art and artists within society. Opening up this fascinating world to general audiences, this book will appeal to anyone wanting to explore this rich and fascinating era in Korea’s cultural history
Catalogue includes an introduction to the exhibition by Charlotte Horlyck, a b&w image of the art... more Catalogue includes an introduction to the exhibition by Charlotte Horlyck, a b&w image of the artist at work and three colour images of ceramic pieces
The Korean collection at the V &A is probably better known for its Koryo celadons and Choson ... more The Korean collection at the V &A is probably better known for its Koryo celadons and Choson ceramics than for its late 20th century artifacts. Yet, the museum began acquiring contemporary Korean art already in 1991 when preparing for the opening of the Samsung Gallery of Korean Art. Since that time the collection has been growing on a yearly basis, and now amounts to around 100 objects of varying media. The following will discuss to which extent these objects hold a significant place within the museum already extensive collection of historic pieces. Questions will also be raised as to whether is it possible to harmoniously unite a collection which not only consist of objects of diverse media and quality but also covers a wide time span, ranging from stonewares of the Three Kingdoms period to textiles of the late 20th century. In as much as the Victoria and Albert Museum is characterised by its great diversity of different collections. visitors often find the mixture of contemporary and historic objects confusing and many query the appropriateness of placing a contemporary object next to an archaeological one. Others argue that considering the strength of the historic collection it should be given priority over contemporary artefacts. Yet. while these opinions are highly valid it is important to address them within the context of the V &A Museum. This article aims to uncover some of the core issues within this debate by focusing on the following questions: Firstly. what are the purposes and airns of the V &A Museum? Secondly. how was the Korean collection shaped? Thirdly. which role does contemporary art play within the museum? Fourthly. what are the future aims of the museum and how may this affect the Korean collection?
This chapter explores how people were interred during the Koryŏ dynasty. It focuses on means of d... more This chapter explores how people were interred during the Koryŏ dynasty. It focuses on means of disposal in vogue at this time, such as interment in stone chambers and in different types of pit graves. It also discusses grave locations and burial objects since they form an important and integral component of Koryŏ funerary customs and reveal much about the core religious and ideological concerns underlying the ways in which Koryŏ people treated the dead. It is shown that in Koryŏ times there was not a single, uniform way of interment that was seen to be “best practice.” Rather, it was the individual circumstances of the deceased and in particular those of descendants, chiefly their social status and religious beliefs, that significantly impacted ways of burial.
Bulletin of the School of Oriental and African Studies, 2013
In Korea green-glazed celadon ceramics were manufactured during the Koryŏ kingdom (ad 918–1392), ... more In Korea green-glazed celadon ceramics were manufactured during the Koryŏ kingdom (ad 918–1392), but by the end of the fourteenth century their manufacture ceased and they virtually disappeared from view until the 1880s when they began to be unearthed from tombs and other sites. This led to increased interest in them from Koreans, and especially the Japanese, Americans and Europeans. Focusing on British collections, this article outlines the collecting practices of Korean celadon wares from the time of their discovery in the 1880s to the market boom of the 1910s, culminating in the decrease in their availability in the 1930s. It will be argued that the desire for celadon wares was socially conditioned and that celadon were collected for a range of different, though not unrelated reasons, ranging from collectors' pursuit of unique Korean artworks, to their want of genuine antiquities and aesthetic perfection.
The Lloyd Cotsen Study Collection of Chinese Bronze Mirrors, 2011
From the mountains of Montenegro to the shores of South-East Asia and beyond, the V&A's renow... more From the mountains of Montenegro to the shores of South-East Asia and beyond, the V&A's renowned world dress collection is highlighted in "World Dress Fashion in Detail". The book, part of the "V&A Fashion in Detail" series, explores cut work and silk embroidery from Indonesia, applied metal braid and cord fastenings from Albania, as well as elaborate patchwork from Tibet, India, Korea and Iran. Specially commissioned photographs, authoritative text and line drawings showcase the breathtaking richness of detail that will delight and inspire anyone interested in dress. This title was previously available as "Dress in Detail from Around the World".
Walk the galleries of any major contemporary art museum and you are sure to see a work by a Korea... more Walk the galleries of any major contemporary art museum and you are sure to see a work by a Korean artist. Interest in modern and contemporary art from South—as well as North—Korea has grown in recent decades, and museums and individual collectors have been eager to tap into this rising market. But few books have helped us understand Korean art and its significance in the art world, and even fewer have told the story of the formation of Korea’s contemporary cultural scene and the role artists have played in it. This richly illustrated history tackles these issues, exploring Korean art from the late-nineteenth century to the present day—a period that has seen enormous political, social, and economic change. Charlotte Horlyck covers the critical and revolutionary period that stretches from Korean artists’ first encounters with oil paintings in the late nineteenth century to the varied and vibrant creative outputs of the twenty-first. She explores artists’ interpretations of new and traditional art forms ranging from oil and ink paintings to video art, multi-media installations, ready-mades, and performance art, showing how artists at every turn have questioned the role of art and artists within society. Opening up this fascinating world to general audiences, this book will appeal to anyone wanting to explore this rich and fascinating era in Korea’s cultural history
Catalogue includes an introduction to the exhibition by Charlotte Horlyck, a b&w image of the art... more Catalogue includes an introduction to the exhibition by Charlotte Horlyck, a b&w image of the artist at work and three colour images of ceramic pieces
The Korean collection at the V &A is probably better known for its Koryo celadons and Choson ... more The Korean collection at the V &A is probably better known for its Koryo celadons and Choson ceramics than for its late 20th century artifacts. Yet, the museum began acquiring contemporary Korean art already in 1991 when preparing for the opening of the Samsung Gallery of Korean Art. Since that time the collection has been growing on a yearly basis, and now amounts to around 100 objects of varying media. The following will discuss to which extent these objects hold a significant place within the museum already extensive collection of historic pieces. Questions will also be raised as to whether is it possible to harmoniously unite a collection which not only consist of objects of diverse media and quality but also covers a wide time span, ranging from stonewares of the Three Kingdoms period to textiles of the late 20th century. In as much as the Victoria and Albert Museum is characterised by its great diversity of different collections. visitors often find the mixture of contemporary and historic objects confusing and many query the appropriateness of placing a contemporary object next to an archaeological one. Others argue that considering the strength of the historic collection it should be given priority over contemporary artefacts. Yet. while these opinions are highly valid it is important to address them within the context of the V &A Museum. This article aims to uncover some of the core issues within this debate by focusing on the following questions: Firstly. what are the purposes and airns of the V &A Museum? Secondly. how was the Korean collection shaped? Thirdly. which role does contemporary art play within the museum? Fourthly. what are the future aims of the museum and how may this affect the Korean collection?