Ten scenes at Hamhŭng and ten more scenes of the northern borders of Korea. Nam Ku-man (南九萬, 1629-1711), when posted to Hamgyŏng Province as governor between 1671 and 1674, selected a set of ten scenic spots of Hamhŭng, and another set of ten scenic spots of Kwanbuk, native place of the founding king of Chosŏn, and had a painter paint the scenes, subsequently pairing each painting with his own prose on the 'Ten Views of Hamhŭng' and the 'Ten Views of Kwanbuk.' Today, the original paintings with his text written on them are not extant. However, the theme was popular until the end of Chosŏn period and many copies of them were produced. This album is one of the examples, the album of 'Ten Views of Hamhŭng' and 'Ten Views of Kwanbuk.' The paintings show the topography and the landmarks representing each of the ten scenic spots, such as fortress walls and military and administrative facilities. On the upper part of each album leaf is the transcription of Nam Ku-man's prose. This corresponds with the style of the works, 'Ten Views of Hamhŭng' and 'Ten Views of Kwanbuk' in the collection of the National Museum of Korea done in the 18th century. However, the elements in the paintings in this album are rendered more simply and are mannered in style. The album has an inscription added by Chongsan (鍾山). It says he came to Hamhŭng in early spring in 1882 and appreciated the album, 'Ten Views of Hamhŭng,' in the collection of Hyanggyo (鄉校), the local county school. He, thus, asked T'oegyo (退校) Na Wŏn-sŏk (羅元石) to make a copy of the paintings, and bound them into an album. This figure by the name of Chongsan has not been identified, but one of the candidates could be Hong Ki-ju (洪岐周, 1829-?), who was appointed to the post of judge of Hamhŭng in January, 1882. and 그림의전래과정과설명이있음.
Alternative Title:
Hamheung sibgyeongdo·Gwanbuk sibgyeongdo, Hamhŭng sipkyŏngdo, Kwanbuk sipkyŏngdo, 咸興十景圖-關北十景圖., and 함흥십경도-관북십경도
Description:
In Korean (Hanmun)., On double leaves, Korean thread binding., Painting Sketchbook. Size: 49.1 x 19.3 cm., and Yale Association of Japan Collection original call number: Db12.
The seating of the ten dignitaries of the Ŭigŭmbu, a bureau of the Korean royal government. This is an album of painting and calligraphy to commemorate the gathering of officials who served in the Ŭigŭmbu, a bureau of the Chosŏn government. The album contains a painting of the scene of the Kyehoe (契會), a friendly gathering of literati or officials, and a list of the participants. The list in this album includes ten members: eight who passed civil examinations, one who passed military examinations, and one named Yi Chung-hyŏn (李重鉉) who was serving in the office without passing a state examination. Based on the fact that the majority of the participants passed civil examinations prior to 1804, this gathering probably took place in 1807. During the Chosŏn period, officials often held friendly gatherings and commemorated the occasion by sharing the same copy of the painting of the scene. Among such paintings still extant, those of the Ŭigŭmbu are the most numerous. The commemorative paintings can be categorized into two types. The first type uses a parallel oblique composition in which the buildings and the landscape are captured in cross-court direction and the figures rendered in a small portion. The second type describes the buildings and the figures with a frontal bird's-eye-view, and the figures are delineated in a close-up. The painting contained in this album belongs to the second type. and 의금부관원들의계모임에관한책.
Alternative Title:
Geumo jwamok, Kŭmo chwamok, 금오좌목, and 金吾座目, 1807.
Description:
In Korean (Hanmun)., Manuscript, in an unidentified hand. The original manuscript dated 1807., Size: 33.5 x 22 cm., and Yale Association of Japan Collection original call number: Db10.
Subject (Topic):
Korean manuscripts and Yale Association of Japan Collection
Donated by Peter Parker to the Yale School of Medicine and transferred to the Historical Library., Fifteenth Report, Chinese Repository, vol. 11, 1850, p. 268: No. 27976, Lipoma of both cheeks, 12th June 1848, Háng Ahau, aged 50, of the district of Pwányü, manufacturer of artificial flowers, had a singular affection of both cheeks, resembling lipoma of the nose. The morbid growth of either side were of the same size, about ten inches in circumference, and hung pendulous from both cheeks, presenting a very singular appearance. The only inconvenience occasioned was from their weight. Shortly after presenting himself at the hospital, he was seized with fever, and went home, and has not since returned., and Man with lumpy masses hanging from both cheeks.
Subject (Geographic):
China
Subject (Name):
Case No. 27976, Háng Ahau, and Parker, Peter, 1804-1888
Subject (Topic):
Medicine, Chinese, Missions and Missionaries, Missions, Medical, Neoplasms, and Tumors
Images in the collection unrelated to southwestern states include views of locations in New York City, New York, consisting of artifacts at the Metropolitan Museum of Art and stained glass windows created by Bonawit at the Carmelite Monastery in Brooklyn.
Description:
G. Owen Bonawit (1891-1971) was an artist who created stained glass decorations for religious and public buildings, as well as a photographer for the United States Bureau of Reclamation.
Subject (Geographic):
Brooklyn (New York, N.Y.) and New York (N.Y.)
Subject (Name):
Bonawit, G. Owen--(George Owen),--1891-1971 and Fink, Howard
Manuscript, by Yi Hŏn-myŏng, et.al., The original manuscript dated 1908., Prose and verse by relatives and friends in 1848 in commemoration of the sixtieth anniversary of the marriage of Yi Yo-hwa and his wife. This is an album of painting and calligraphy commemorating the "diamond" wedding anniversary of Yi Hang-mu (李學懋) and his wife. Yohwa (潦花) is the name of Yi Hang-mu's residence and his ho (號). The album consists of the paintings that depict the party celebrating the diamond wedding anniversary on February 28th, 1848, and the congratulatory prose and verses written by their son, Yi Hŏn-myŏng (李憲明, 1792-?) and others. Among the figures who contributed a literary composition were Cho Su-sam (趙秀三, 1762-1849), one of the representative literary figures of the time, and Yi Man-yong (李晚用, 1792-?), grandson of famous poet Yi Pong-hwan (李鳳煥, ?-1770). The painting depicts the party scenes taking place in a large mansion, which is slightly different from the typical style of the 18th century due to the way the large close-up party scenes are rendered. In the painting, Yi Hang-mu (李學懋) and his wife are painted larger than other family members. The elegant banquet taking place in the outer as well as the inner quarters of the mansion is a variation of the then popular genre painting, The Illustrious Life of Guo Fenyang (郭汾陽), rather than the depiction of the actual banquet. The Illustrious Life of Guo Fenyang (郭汾陽) refers to the set of paintings that depict the banquet given by Guo Ziyi (郭子儀, 697-781) in his luxurious mansion. This figure from the Chinese Tang dynasty is the symbol of worldly success in Asia., and 이학무의회혼기념시첩.
Alternative Title:
Yohwa noin hoegeuncheop, Yohwa noin hoegŭnch'ŏp, 요화노인회근첩, and 澆花老人回[gŭn]帖, 1908.
Description:
In Korean (Hanmun)., Size: 43 x 27.4 cm.; v. 1: 22 p.; v. 2: 12 p., and Yale Association of Japan Collection original call number: Db5.
Subject (Topic):
Korean manuscripts and Yale Association of Japan Collection