MS 1983-28 John Bernadou collection of Korean maps and drawings
Collector:
Bernadou, John B. (John Baptiste), 1858-1908 Search this
Extent:
10 Maps
4 Drawings (visual works) (watercolor)
1 Manuscripts (document genre)
Type:
Collection descriptions
Archival materials
Maps
Drawings (visual works)
Manuscripts (document genre)
Works of art
Watercolors
Manuscripts
Place:
Korea
East Asia
Date:
undated
Scope and Contents:
The collection consists of materials gathered by Bernadou in Korea in 1884-1885, including ten (10) maps and related notes and (4) watercolor drawings.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Biographical Note:
John Baptiste Bernadou (1858–1908) was an officer in the United States Navy. In 1884, Smithsonian Secretary Spencer Baird appointed Bernadou a "Smithsonian Attaché" to the American Legation in Korea on an assignment to investigate the country's economic and strategic potential. Over the next year, Bernadou learned the Korean language and local customs, traveled extensively, and
assembled a collection of material culture that was deposited at the
Smithsonian Institution. He later served in the Spanish-American War and developed a formula for smokeless gunpowder.
Publication Note:
The collection is described in:
Hough, Walter. "The Bernadou, Allen, and Jouy collections in the U.S. National Museum." Annual Report of the Board of Regents of the Smithsonian 1891.
Houchins Chang-su Cho. An Ethnography of the Hermit Kingdom: The J. B. Bernadou Korean Collection 1884-1885. Washington: Smithsonian Institution, Asian Cultural History Program, 2004.
Related Materials:
The Department of Anthropology object collections holds artifacts collected by Bernadou in Korea in Accessions 16970, 32730, and 61681.
1 Print (tinted silver collodion, mounted on board, image: 27 x 21 cm.; board: 42 x 34 cm.)
Type:
Archival materials
Prints
Photographic prints
Portraits
Photographs
Place:
Seoul (Korea)
Korea
Date:
1905
Scope and Contents:
A photograph of the Emperor Gojong received by Alice Roosevelt in September 1905 at an Imperial reception in Seoul . The photograph was received with a matching portrait of Crown Prince Sunjong.
金圭鎭
高宗
Biographical / Historical:
Alice Roosevelt visited Seoul as a member of the William H. Taft Mission to Asia.
Local Numbers:
FSA A2009.02 06a
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia, FSA A2009.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
1 Print (tinted silver collodion, mounted on board, image: 27 x 21 cm.; board: 42 x 34 cm.)
Type:
Archival materials
Prints
Photographic prints
Portraits
Photographs
Place:
Seoul (Korea)
Korea
Date:
1905
Scope and Contents:
A photograph of Sunjong received by Alice Roosevelt in September 1905 at an Imperial reception in Seoul for members of the Taft Mission to Asia. The photograph was received with a matching portrait of Emperor Gojong.
金圭鎭
純宗
Biographical / Historical:
Alice Roosevelt visited Seoul as a member of the William H. Taft Mission to Asia.
Local Numbers:
FSA A2009.02 06b
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia, FSA A2009.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
An interview of Bruce Metcalf conducted 2009 June 10, by Edward S. Cooke, Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Metcalf's home, in Bala Cynwyd, Pennsylvania. Mr. Metcalf discusses his early years in Amherst, Massachusetts; beginnings as a maker with modeling clay and plastic airplane models; undergraduate years at Syracuse University, Syracuse, New York in the late 1960s; early interest in architecture; early disenchantment with modernist discourse and theory; introduction to Marxist theory and idealism of the 1960s; summer trip to California in 1970; return to the East Coast upon the death of his father; return to college, transferring into jewelry in his senior year; influence of his teacher Michael Jerry; seeing the work in "Objects: USA" exhibition (1969) and influence of the work of J. Fred Woell, Richard Mawdsley, L. Brent Kington; rejection of current trends in art, including conceptual art and formalism; his affinity for the medium of metal, and hammersmithing; influence of funk ceramics, including work by Fred Bauer and Richard Shaw; brief stint at Montana State University, Bozeman; working in cardboard and wood; graduate school at the State University of New York, New Paltz; working with Robert Ebendorf and Kurt Matzdorf at New Paltz; work as a production artist/craftsperson; attending Rhinebeck, New York, craft fair in the mid-1970s; the influence of writings by William Morris and John Ruskin and the notion of "dignified labor"; graduate school at Tyler School of Art, Philadelphia, Pennsylvania; formulating his aesthetic of narrative symbolism; publication of his first article in 1977 as a response to review of the exhibition "Forms in Metal: 275 Years of Metalsmithing in America" (1975); yearlong teaching position at Colorado State University, Fort Collins, Colorado; taking a teaching position at Kent State University, Kent, Ohio (1986-1991); publication of his article "Crafts: Second-Class Citizens?" in the first issue of Metalsmith, 1980; growing involvement with the Society of North American Goldsmiths; development of his notion of "social utility" and the role and function of crafts and making; expansion of his writing on craft; rejection of the deconstructivist school of thought in the 1980s; abandonment of sculptural objects for jewelry in the early 1990s; return to Philadelphia in 1991; early teaching of history of craft, first at Kent, then on a Fulbright scholarship in Seoul, South Korea (1990), later at the University of the Arts, Philadelphia, in the early 1990s; influence of Martin Eidelberg; development of his vision for a history of craft course; collaboration with Janet Koplos on "Makers: A History of American Studio Craft"; use of his medium and craft to explore issues of nurturing and anxiety; the psychological/social effect and aesthetic importance of wearing jewelry (for the wearer and the artist); the pros and cons of craft collectors; the problematics of installation work by craft artists; recent trends in craft, including Anne Wilson's notion of "sloppy craft" and an "anti-craft" attitude; recent artists, including Arthur Hash and Gabriel Craig; lack of exhibition opportunities for younger/emerging artists; influential recent texts, including "Shards," by Garth Clark. He also recalls Robert Arneson, Randy Long, Carol Kumata, Jamie Bennett, Steve and Harriet Rogers, Wayne Hammer, Stanley Lechtzin, Gene Koss, Henry Halem, Mark Burns, Rose Slivka, Nilda Getty, Jill Slosberg, Sharon Church, John Gill, David La Plantz, Lois Moran; Gary Griffin; William Daley, Marian Pritchard, Glenn Adamson, Pat Flynn, Susan Cummins, and Judith Schaechter.
The following oral history transcript is the result of a recorded interview with Bruce Metcalf on June 10, 2009. The interview took place in Bala Cynwyd, Penn., and was conducted by Edward S. Cooke, Jr. for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Bruce Metcalf has reviewed the transcript. His corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose.
Biographical / Historical:
Bruce Metcalf (1949- ) is a jeweler and writer in Bala Cynwyd, Pennsylvania.
General:
Originally recorded as 5 sound files. Duration is 4 hr., 10 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Photographs compiled by Frederick K. Morris documenting his travels in China, 1920-1923; Mongolia, 1922-1923; and Japan and Korea, 1923 and 1925. The photographs were made or collected by Frederick and Florence Morris in Shanghai, Yokohama (after an eathquake), Tianjin, Beijing, Zhangjiakou, Kyoto, Nara, Nikko, Seul, and Kaijo, as well as various villages. They depict scenery, cities, clothing, transportation (including rickshaws, boats, and animals), fishing, peddlers, tradesmen and craftsmen, students, Pei Yang University, the tomb of Confucius, ceremonies and festivals, agriculture, and tourist sites such as the Great Wall and palaces. The collection also includes photographs of the Morris family, their friends, and personnel of the Third Asiatic Expedition. A few newspaper clippings, postcard, sketches, and souvenirs are also in the albums.
Biographical/Historical note:
Dr. Frederick Kuhn Morris (1885-1962) was a geologist and professor at Massachusetts Institute of Technology. He first visited China as a visiting professor at Pei Yang University (Bei yang shi fan xue tang) at Tianjin from 1920-1921. Joining the American Museum of Natural History's third Central Asiatic Expedition (circa 1925) as the expedition's geologist, Morris assisted expedition leader Roy Chapman Andrews to collect natural history specimens in Northern China and Mongolia.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
This program celebrated the centenary of diplomatic relations between the United States and Korea, and the equally-long relations between the Smithsonian and Korean scholars. Many of the kinds of traditions the first Smithsonian researchers encountered a century earlier were represented at the 1982 Festival, including musical instrument making, musical performance, pottery making and rituals from the indigenous shamanic religion of Korea. Visitors could also enjoy other venerable traditions including masked dance drama, hemp-cloth and hat making, and the occupational songs of farmers and women divers. Korean Americans presented traditions brought from Korea that have taken root in the American land.
The crafts represented at the Festival were typical of those produced during Korea's late feudal period, which ended with the termination of the Joseon Dynasty (1392-1910). Before the eighteenth century, most of the handcraft industries, such as pottery-making, metal smithing, and stone-working, were strictly regulated by the royal court, which controlled much of the country's commerce. During the declining years of the dynasty, however, small cottage industries thrived, as court artisans entered private life and peasant farmers sought to improve their precarious economic situation by producing textiles, baskets, and other crafts for market. On appointed market days in the villages, peddlers, local vendors, and farmers would spread their wares on the ground or in booths, where they could be viewed by passersby. This traditional open-air market remains a feature of modern Korean life, even though many of the older handcrafts were supplanted over the last few decades with machine-manufactured goods.
The great influx of technology to the Republic of Korea in the 1960s and 1970s tended to leave all traditional arts in its wake - both elite and folk traditions. As a result, folk survivals in the 1980s tended to be grouped together with the high arts because they were considered to be old, traditional, venerable. Together with the tendency towards professionalization, this led to the current state of such folk traditions as the Farmer's Dance (nongak), taught by professional musicians in conservatories. Farmers may still know how to do it, but most people would say that one has to go to the cities to hear it done well, done precisely. If someone in a village turns out to have performing talent, he or she studies with the best masters; then, if really good, it is on to the big city to try to make a career in the performance and recording-studio world.
In choosing and presenting Korean and Korean American participants at the 1982 Festival, Smithsonian organizers sought to explore the range of vernacular styles in music, dance, crafts, foodways, games, and so forth, as expressed through the skills of the best available practitioners. The intention was to provide a glimpse of the country, its cultures, and its peoples.
Korean Participants:
Note: In Korea, it is customary to list the family name followed by the first names. We have listed our Korean National participants in that manner while Korean-Americans are listed according to their preference.
Mask Dance Drama | Yangju Byeolsandae Nori | 양주별산대놀이
Hwang Kyung-hee, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Chung-sun, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Soon-hong, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Ko Myung-dal (1911-1992; National ICH No.2), Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Suk Chong-kwan, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Yoo Kyung-sung (1918-1989), Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Sinawi-Folk Instrumental Ensemble
Kim Chung-mahn, Seoul | 서울, Korea
Kim Moo-kyung, Seoul | 서울, Korea
Kim Moo-kil, Seoul | 서울, Korea
Kim Tong-jin, Seoul | 서울, Korea
Pahk Duk-yong, Seoul | 서울, Korea
String Instrument Maker | 악기장
Choi Tae-soon (Gyeonnggi-do ICH No.30), Seoul | 서울, Korea
Hwanghae Province | Hwanghae-do | 황해도, Folk Ritual
Choi Enm-jun, Incheon | 인천, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Keum-hwa (1931-2019; National ICH No. 82-b), Seoul, Korea
Lee Ok-ja, Incheon | 인천, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Jum-soon (1918-2008; National ICH No. 32), South Jeolla Province | Jeollanam-do | 전라남도, Korea
Earthenware Pottery Maker
Shim Sang-oon, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Horsehair Hat (Gat) Maker | 갓일
Chung Choon-mo (National ICH No.4), South Gyeongsang Province | Gyeonsangnam-do | 경상남도, Korea
Korean American Participants:
Note: In Korea, it is customary to list the family name followed by the first names. We have listed our Korean National participants in that manner while Korean-Americans are listed according to their preference.
Children's Area
Mark Chang, Cambridge, Massachusetts
Hein Kim, Bloomfield, Michigan
Sue Ann Lee, Bloomfield Hills, Michigan
Wook Lee, Cambridge, Massachusetts
Noodle and Kimchi Maker
Lee Young Sil, Fairfax, Virginia
Embroiderer
Kim Jung Ja, Arlington, Virginia
Seamstresses
Park Hea Sun, 1916-1980, Rockville, Maryland
Kim Sung Duk, Silver Spring, Maryland
Shin Bok Soon, College Park, Maryland
Folding Screen Maker
Yoon Sam Kyun, Arlington, Virginia
Music
Au Myung-ja, 1953-, -- gayageum -- | 가야금, Honolulu, Hawaii
Choi Kyung-man, 1947-, -- piri -- | 피리 & -- taepyeonso -- | 태평소 player, Glendale, California
Lee Byung Sang, 1946-, -- daegeum -- | 대금 & -- danso -- | 단소 player, Ontario, California
Lee Yun-ja, 1952-, dancer, Ontario, California
Park Hi-all, dancer, Leucadia, California
Sung Kum-you, 1923-1986, dancer, Honolulu, Hawaii
Un Bang-cho, dance artist, Chicago, Illinois
Yim Hwa-yon, dancer, Chicago, Illinois
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1982 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
"Copy of a Certified Catalogue of a Collection of Ancient Korean Pottery Purchased and owned by Horace N. Allen, U.S. Minister, Seoul Korea"
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
