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An introduction is presented to the special feature of this issue "Minhwa- Paintings for Happiness," which explores Korean folk painting.

The author presents a personal narrative in which he reflects upon the Korean Full Moon Jar that is in the collection of the British Museum in London, England, dealing with topics including how the jar is slightly asymmetrical, how the jar was constructed during the Choson Dynasty and the glazing techniques used on the jar.

The article focuses on the collection of Korean art in the Toyokan Asian art gallery at the Tokyo National Museum in Tokyo, Japan. The article discusses items in the collection including a Gaya crown from the Three Kingdoms period, a bronze ornamental fitting from the Iron Age and metalwork objects from the Goguryeo, Baekje and Silla kingdom. The article goes on to discuss Buddhist art objects in the collection as well as pieces made of celadon, Korea's most celebrated ceramic ware.

A biography of Joseon dynasty painter Kang Sehwang is presented. Sehwang came from an established Confucian family known for their artistic ability, his education at the Kiroso and his characteristic styles of painting landscapes, flowers and birds. The article also discusses an exhibition of Sehwang's art entitled "A Painter's Life: Kang Sehwang and Literati Culture" at the National Museum of Korea from June 25 - August 25, 2013.

The article examines a gilt-wood sculpture of a Buddhist bodhisattva figure from the Korean late Joseon dynasty period of 1601-1910 belonging to the Samuel P. Harn Museum of Art in Florida. The author suggests that the sculpture is from the Seungil School and was made from the 1650s-1670s. The author describes the statue and discusses the bokjang ceremony, a Buddhist ritual of placing sacred objects inside Buddhist statues.

An interview with Jan Stuart, Department of Asia keeper at the British Museum (BM) in London, England, about its Korea Foundation Gallery, scholarship and cooperation with Korean institutions is presented. When asked about the most notable achievement of the gallery, he notes the fulfillment of its main purpose to provide an opportunity for the public to encounter objects from Korea. He cites ceramics as a special highlight of the collection. Stuart also relates the formation of the collections.

The article explores the author's experience on rendering services to a male Korean national who has been in jail and wants to pursue in learning better English language. It mentions that the author was entrusted by his Korean student a half-dozen sizeable paintings for safe-keeping in which he sees as payment in kind for services rendered. Also presented is the author's further explanation on the life of his 65-years-old Korean national student.

A calendar of art events in New York City including the exhibitions "Art of the Korean Renaissance, 1400-1600" at the Metropolitan Museum, "Jenny Holzer: Protect Protect" at the Whitney Museum of American Art and "Edward Steichen: In High Fashion" at the International Center of Photography.

This article reviews the Busan, South Korea Biennale art exhibitions from September sixth to November 15, 2008.

This article reviews the Gwangju, South Korea Biennale art exhibitions from September fifth to November ninth, 2008.

The article features Korean-born, internationally recognized artist Chunghi Choo. Topics discussed include her educational background, description on the decanter invented by Choo, and praise of renowned textile designer Jack Lenor Larsen on Choo. It also mentions the book "Chunghi Choo and Her Students: Contemporary Art and New Forms in Metal" published by Arnoldsche Art Publishers.

The article features the works that represent Korean art which occupy a total area of 5,496 square meters in the new National Museum of Korea. These are located on the second and third floors in the northern part of the west wing. Included in the exhibition are calligraphy, painting, Buddhist painting, and wooden objects on the second floor and the Buddhist sculptures, ceramics, and metalwork on the third floor.

The article explores the works of Korean potter Jin Jang. It discusses the art techniques of the artist, as well as her career in contemporary ceramics. It also explores on the changes in her techniques, from contemporary ceramics to utilitarian functional ware. During her life in the Koryo dynasty, Koryo porcelain was regarded as an imperial ware exclusive for aristocracy. However, Jang created her version of the ceramics to be accessible to everyone. Her wares are thin-walled, which brings out its true use. In addition, pictures showing some of her works are provided.

The article offers information on Asia Week auctions in New York. The "Japanese and Korean Art" sale at Christie's on March 24, 2008 was a resounding success. Meanwhile, Katsura Yamaguchi, senior specialist in the Japanese department, expressed disappointment with the sale "An Important Collection of Japanese Prints."

This article reviews an exhibition of paintings of flowers, plants, birds, and animals at the Kansong Arts Museum in Seoul, South Korea in the fall of 2001.

The article discusses the Museum of Korean Embroidery in Sinsa-Dong, Gangnam-gu, South Korea. The collection contains 2,000 examples of preserved textiles of Buddhist embroidery, official insignias that were worn by government authorities, and folding screens. It is also possible for museum visitors to watch demonstrations of artists embroidering textile fabric.

The article discusses the life and work of Ahrong Kim, a ceramic sculptor. Topics discussed include her first contact with clay, attribution of her innate talent to her grandmother whose Korean patchwork style, jogakbo uses scraps of leftover fabrics to create cloth, integration of her grandmother's patchwork style in her sculptural work, channeling her emotions into her sculptures and completion of a five-year residency at the Clay Studio in Philadelphia, Pennsylvania.

The article profiles South Korean artists Hwajin Oh and MiKyoung Lee, focusing on an overview of their careers as of 2014 as part of the growing global awareness of South Korean art and culture. Topics include South Korean cultural proliferation, analysis of the themes of both artists' work, and the incorporation of textiles in their art.

The article discusses costume and fashion art in Korea, focusing on an overview of its history and developments as of 2014. Topics include the impact of historic cultural isolation on the development of unique styles of dress such as paper garments, the exchange of influence between Korean and Western fashion, and profiles of artist-educators including Chunbum Bae, Haeyon Kim, and Shinmi Park.

Focuses on Korean art. Korean protest and contemporary art exhibition in Queens Museum in New York; Social description of Koreans; Immigrants' sense of dislocation; Moon Jing artists' depiction of political and social oppression; Interpretation of the art works.

This article presents information on "The Year of the Tiger: Korea" festival that took place in Berlin April 2 through June 14, 1998. The author discusses the Haus de Kulturen der Welt, where the event was held and provides descriptions of the opening ceremony and other events that took place. The festival featured, among other things, Korean art, fashion, and music.

This article presents information on Yun Kyung-Ryol, a historian of the Shilla ancestors of the town of Kyǒngju, Korea. The author describes Yun's life and tells why the ancestry of his people are so important to him. Conversations are also included on Korean art and culture, and how it developed over time. Yun's art is also explored.

This article describes the Korean art gallery that became a permanent fixture of the Metropolitan Museum of Art June 9, 2008. The author notes that the gallery will host the museum's collection of Korean painting, ceramics, sculpture, metalwork, and lacquerware. Some of the pieces of the exhibition are discussed. Comments are included from several Korean art experts.

The article discusses two autumn auction held by Christie's. First is the single-session sale of "Japanese Works of Art" held on September 17, 1997 which is highlighted by lot 72, a "red-cornered" incense box circa 1633 by Koami Choju and is sold for US$63,000 to a Tokyo dealer. Next is the autumn sale of "Fine Asian Works of Art" held at Butterfield & Butterfield in San Francisco.

The article reports on the successful tenth anniversary sale of Korean art at Christie's in New York on October 31, 19965. A total of $18,031,262 was fetched by the sale of two Korean works of art at Christie's. Sebastian Izzard, Senior Vice-President in charge of Japanese and Korean art was the first to hold sales of unique Korean works of art and according to the article, the success of this anniversary sale made the decade invested in this endeavor all the more special.

The article discusses on the style of abstract painting "Dansaekhwa" which is a way to explore monotones for Korean artists. It also states that this form of art was emerged during mid of 1970 and widely used from then. Topics discussed includes Korean art, Korean-Japanese relation and social and political climate.

The article reviews an exhibition of works by Korean artists Chung Sang-hwa and Shin Sung-hy at Blum & Poe in Los Angeles, California, until January 12, 2019.

The article analyzes the luminous colors in early classical Korean textiles during the Choson era. It is stated that plant-dyed clothing and painted instructions for a royal religious procession have revealed the color aesthetics of simplicity in individual garments. It is averred that early Choson people have thought the purity in beautiful colors and believe that symmetry and balance are needed in the use of colors. The wealthy people of this era have used luminous colors such as rich red and blue, which are reserved for royal clothes and royal representation packaging, because only the rich can afford them. Moreover, wealthy non-royals have used red for special purposes like wrapping and storing marriage certificates.

The article discusses various Korean traditional textile crafts, which includes pojagi, chogakpo and chasoopo. Pojagi are ancient square of Korean wrapping cloths with an attached wrapping strap, which originated in ancient, pre-Buddhist times for sacrifices offered to shamanistic spirits as intermediaries of happiness. The long and sacred use of pojagi has led to a tradition of carefully made and decorated wrappings of great symbolic meaning. Chogakpo is a powerful symbol which, by extending the life of old clothing, expresses hope for long life, which are known for the hidden life and dreams of Korean women.

The article offers information on the traditional Korean methods of color combinations applied in textile fabrics. It was said that neutral colors are combined with hints of colors which are taken from washed flower petals, roots and leaves diffused in sunlight. Korean colors have strong symbolic and traditional meanings which are also expressed in variations of blue, red, yellow, white, and black. Its color psychology and thought process are best seen in the color of pojagi which are usually made from scraps of different fabrics leftover from more important sewing projects.

The article focuses on Chosonhwa, the traditional North Korean technique of ink-wash painting and the arts produced at the Mansudae Art Studio in North Korea. Topics discussed include estimated number of artists and assistants that churn out ornaments for North Korean leader Kim Jong Un's regime, comparison of Chosonhwa with South Korea's Dansaekhwa or the South Korean minimalist movement, and reason the United Nations Security Council blacklisted Mansudae.

The article reviews the exhibition "Lee Bul: Crashing," featuring the works of Korean artist Lee Bul at the Hayward Gallery in London, England from May 30 to August 19, 2018 and at the Martin-Gropius-Bau in Berlin, Germany from September 28, 2018 to January 5, 2019.

The article reports that the British Museum launch a project to study and conserve historic and contemporary pictorial Korean art as part of its goal to position itself as a European authority in the field and mentions the appointment of conservator Meejung Kim-Marandet.

The article reports on the decision by China to lift the ban it imposed on South Korean art following the deployment of the U.S. Terminal High Altitude Area Defence system at a site in Seongju, South Korea in 2016 in response to rising nuclear threats from North Korea.

The article previews an unnamed art exhibition that will feature videos, installations and drawings by the South Korean artist Kim Beom, to be held at the Contemporary Art Gallery in Vancouver, British Columbia, from December 11, 2015 through January 24, 2016.

The article reviews concurrent January 14, 2015 to March 21, 2015 exhibitions by artists Park Chan-kyong and Lina Selander at the gallery Iniva (Institute of International Visual Art) in London, England, noting the South Korean context of Chan-kyong's photography.