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This study investigates The Catalogue of Three Inkstones Studio (三硯齋硯譜, Samyŏnjae yŏnbo), compiled by Pak Yŏngch’ŏl (朴榮喆, 1879~1939), a prominent Korean bureaucrat, businessman, and collector during the Japanese colonial period. The catalogue centers on three inkstones reputedly associated with notable Chinese and Korean scholars. Pak Yŏngch’ŏl, despite his modernist and enlightenment leanings, was deeply rooted in classical Chinese culture and used his collection to assert his cultural and intellectual identity.
The study examines the cultural significance of inkstones, their role in forging social ties, and the strategic utilization of the past by modern intellectuals for self-fashioning. The first inkstone is notable for its inscriptions by Dong Qichang (董其昌), Weng Fanggang (翁方綱), and Kim Chŏnghŭi (金正喜), illustrating the cultural interconnectedness between Chinese and Korean scholars. The second inkstone, crafted by the eighteenth-century scholar Chŏng Ch’ŏlcho (鄭喆祚), is explored in terms of the craftsmanship and social networking practices of the late Chosŏn era. The third inkstone features a poem by Shen Rujin (沈汝瑾) and showcases the transnational cultural exchanges between China, Korea, and Japan.
Pak Yŏngch’ŏl’s collection practices and the subsequent compilation of the catalogue reflect his efforts to align himself with the cultural heritage of both China and Korea, while also embracing modernization under Japanese influence. The catalogue not only serves as a historical compendium but also as a reimagined past that aligns with the cultural aspirations of subsequent generations. Through a detailed analysis of the inkstones and their associated texts, the study provides a micro-historical perspective on East Asian intellectual history and material culture, revealing the intricate interplay between cultural memory, networks, and craftsmanship.
The study examines the cultural significance of inkstones, their role in forging social ties, and the strategic utilization of the past by modern intellectuals for self-fashioning. The first inkstone is notable for its inscriptions by Dong Qichang (董其昌), Weng Fanggang (翁方綱), and Kim Chŏnghŭi (金正喜), illustrating the cultural interconnectedness between Chinese and Korean scholars. The second inkstone, crafted by the eighteenth-century scholar Chŏng Ch’ŏlcho (鄭喆祚), is explored in terms of the craftsmanship and social networking practices of the late Chosŏn era. The third inkstone features a poem by Shen Rujin (沈汝瑾) and showcases the transnational cultural exchanges between China, Korea, and Japan.
Pak Yŏngch’ŏl’s collection practices and the subsequent compilation of the catalogue reflect his efforts to align himself with the cultural heritage of both China and Korea, while also embracing modernization under Japanese influence. The catalogue not only serves as a historical compendium but also as a reimagined past that aligns with the cultural aspirations of subsequent generations. Through a detailed analysis of the inkstones and their associated texts, the study provides a micro-historical perspective on East Asian intellectual history and material culture, revealing the intricate interplay between cultural memory, networks, and craftsmanship.
목차
Ⅰ. Introduction
Ⅱ. The Catalogue of Three Inkstones Studio: A Confluence of Art, Antiquity, and Literati Culture
Ⅲ. Inkstones: Cultural Memory, Networks, and Craftsmanship
Ⅳ. Collecting Art and Revealing Taste: Shaping the Identity of Modern Intellectuals in the Japanese Colonial Era
Ⅴ. Conclusion
References
국문초록
Abstract
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