Burglind Jungmann

Biographic Data

ID8457013
NAMEBurglind Jungmann
GIVEN NAMESBurglind
FAMILY NAMEJungmann
SIGNATUREJUNGMANN B
VERIFIEDNo
TOTAL WORKS52
TOTAL CITATIONS0
WORKS AS AUTHOR30
WORKS AS EDITOR22
FIRST PUBLICATION YEAR1995
LATEST PUBLICATION YEAR2024
H-INDEX0

  • Three Collectors of Minhwa and the ‘Modern Gaze’

    Burglind JungmannARTICLEArts asiatiques2024

    儘管韓國民畫(民間繪畫)如今已成為公認的韓國藝術流派之一,但學術界直到20世紀末才開始關注其價值。這種忽視源於一種偏見,即那些色彩鮮豔且時常略顯拙劣的佚名作品,難以與歷史名人的“文人”水墨畫相提並論。自20世紀10年代起,柳宗悅開始收藏韓國民畫,並將其納入他民間藝術(日語稱為“民芸”)的實踐之中。到了20世紀60至70年代,趙子庸和李禹煥被民畫所吸引,因為民畫具有象征意義,反映了人類的儀式和願望。他們三人的藏品中,既有民間流動畫家的作品,又有精緻的宮廷作品。本文旨在探討這三位收藏家對民畫的定義,以及他們的收藏動機。儘管他們在日韓現當代藝術界的角色各不相同,但他們都深受歐美現代藝術的影響,正是這種“現代視角”,使得他們能夠發現並重新審視這一重要的東亞繪畫流派

  • Kang Sehwang's Scenes of Puan Prefecture – describing actual landscape through literati ideals

    Burglind Jungmann, Liangren ZhangARTICLEArts asiatiques2010

    In the early eighteenth century, chin'gyông "true scenery" or "true view," painting emerged in Chosôn Korea as a dominating landscape genre. While earlier artists were preoccupied with legendary or historical landscapes rooted in Chinese tradition, chin'gyông painters turned their eyes to real landscapes in their own country. This paper centers on a handscroll by Kang Sehwang, Scenes of Puan Prefecture, which is diplayed in the collection of the …

  • Documentary record versus decorative representation

    Burglind JungmannARTICLEArts asiatiques2007

    A la fin de l'époque du Chosŏn, de grands paravents ont été produits en nombre significatif à la cour du roi pour commémorer des événements importants. Ils suivent une tradition de peinture documentaire sur des rouleaux verticaux ou horizontaux et des albums, genre généralement considéré de moindre valeur esthétique et représentative. Cependant, l'usage du format en paravent à partir de la fin du XVIIe siècle implique que ces peintures documentai…

  • Painters as Envoys

    Burglind JungmannBOOKPainters as Envoys2004

    "It is well known that Japanese literati painting of the eighteenth century was inspired by Chinese styles that found their way to Japan through trade relations. However, because Japanese and American art historians have focused on Japanese-Chinese ties, the fact that Japan also maintained important diplomatic-- and aesthetic-- relations with Korea during the same period has long been neglected. This illustrated, cogently argued book examines the…

  • Han Si-gak

    Burglind JungmannCHAPTER2003

  • Yi Yŏng-yun

    Burglind JungmannCHAPTER2003

  • Yi U

    Sŏng-mi Yi, Yeohoon Choi et al.EDITORCHAPTER2003

  • Yu Deok-jang

    Burglind Jungmann, Yeohoon ChoiCHAPTER2003

  • (Yi) Su-mun

    Hwi-Joon Ahn, Jiyeon Kim et al.EDITORCHAPTER2003

  • Goryeo [Koryŏ] dynasty

    Junghee Lee, Yeohoon Choi et al.EDITORCHAPTER2003

  • Kim Su-cheol

    Sŏn-p’yo Hong, Jiyeon Kim et al.EDITORCHAPTER2003

  • Yi I

    Sŏng-mi Yi, Yeohoon Choi et al.EDITORCHAPTER2003

  • Bak Je-ga

    Hong Sŏn-p’yo, Jiyeon Kim et al.EDITORCHAPTER2003

  • Yu Suk

    Burglind Jungmann, Yeohoon ChoiCHAPTER2003

  • Yi In-sang

    Sŏn-p’yo Hong, Yeohoon Choi et al.EDITORCHAPTER2003

  • Kang Hŭi-ŏn

    Burglind JungmannCHAPTER2003

  • Kim family (i)

    Burglind JungmannCHAPTER2003

  • Ham Je-geon

    Sŏn-p’yo Hong, Jiyeon Kim et al.EDITORCHAPTER2003

  • Jeongjo

    Henrik H Sørensen, Jiyeon Kim et al.EDITORCHAPTER2003

  • Hwang Jip-jung

    Burglind Jungmann, Jiyeon KimCHAPTER2003

  • Yi Myeong-gi

    Hong Sŏn-p’yo, Jiyeon Kim et al.EDITORCHAPTER2003

  • Yi Seong-rin

    Sŏng-mi Yi, Yeohoon Choi et al.EDITORCHAPTER2003

  • Yi Kyŏng-yun

    Burglind JungmannCHAPTER2003

  • Go Un

    Yi Sŏng-Mi, Jiyeon Kim et al.EDITORCHAPTER2003

  • No Yeong

    Henrik H Sørensen, Yeohoon Choi et al.EDITORCHAPTER2003