This is an eight-panel chaekgeori screen from Korea, created between 1930 and 1945. It is made using ink and color on paper, showcasing the intricate artistry of this traditional Korean art form. The word “chaekgeori” translates loosely to "books and things." These screens depict various objects, including books, and have been highly regarded since their emergence around 1783, during the later periods of the Joseon dynasty (1392-1910).
What distinguishes Korean screens from those of neighboring countries is their individuality. Unlike paired Japanese screens, Korean screens are standalone works of art. They often have narrower panels compared to Chinese or Japanese screens. While six- and eight-panel screens are the most common, there are also examples with two, four, ten, or even twelve panels. Additionally, screens can vary in height, with larger ones demonstrating grandeur and prestige. Typically, Korean screens are painted on paper and mounted on wood frames with cloth borders. Some screens, more luxurious and costly, are embroidered rather than painted. Unlike Japanese screens but like Chinese ones, older Korean screens may have short feet.
Korean screens were intentionally designed to create specific settings that reflected the owner's social status, among other purposes. Therefore, the screens themselves reveal their social uses. In the case of chaekgeori screens, they project and amplify the cultured identity of the owner through the depiction of precious possessions, with a particular emphasis on books.
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Chaekgeori screens use a technique called trompe l’oeil (French for “to trick the eye”). In trompe l’oeil, the artist uses very realistic 2D art to make it seem as if the image in the painting is a full, 3D item. For example, the chaekgeori screen shown on W2W depicts an extra space filled with shelves and books, even though that space doesn’t actually exist.
Chaekgeori artists also took inspiration from a German artform called Wunderkammer. A Wunderkammer is a type of cabinet that displays collections of “curious” objects.
Some scholars have studied the connection between chaekgeori and Wunderkammer. They have explored the origins of trompe l'oeil chaekgeori in Korea, tracing it back to the 17th century. During this period, Korean observers were influenced by the popularity of duobaoge, which were shelves used to display curiosities, as well as trompe l'oeil paintings in China. These trompe l'oeil artworks were not limited to hanging scrolls and handscrolls; they also included scene illusion paintings called tongjinghua, which were installed in specific pavilions of the Forbidden City. Jesuit painters who immigrated to China, notably Giuseppe Castiglione, introduced these techniques to the Chinese court in the 17th century. Eventually, Chinese artists became skilled in these techniques as well. Korean diplomats who visited China had the opportunity to witness these extraordinary artworks, including the trompe l'oeil ceiling paintings at the Cathedral of the Immaculate Conception in Beijing.
In the early days of chaekgeori screens, the subjects depicted were often chosen from a variety of exotic imports, influenced by trompe l'oeil painting and the format of duobaoge shelves. These imports were not only from China but also from other regions. It is noteworthy that alongside the revival of classical elements, featuring ancient Chinese bronzes and ceramics, the screens also showcased items that represented the latest technologies of that time, such as spectacles, clocks, and tobacco pipes. This combination reflected the contemporary trend of tobacco smoking and incorporated both traditional and modern elements in the chaekgeori screens.
During the reign of King Jeongjo from 1776 to 1800, there was significant royal support and promotion of chaekgeori. In fact, King Jeongjo went as far as incorporating chaekgeori into his official regalia, sometimes substituting it for the conventional irworobongdo mountain screen by placing it behind his throne.
Influenced by the king's interest, the early examples of chaekgeori screens were primarily created by male painters for consumption by elite males. These early screens showcased a modern painting technique that was derived from foreign influences, specifically forced perspective with trompe l'oeil. This technique was expressed through the depiction of shelving, and occasionally through the portrayal of shelving visible behind an open curtain. These depictions gave the impression that one could almost reach out and touch the items displayed on the shelves. Screens featuring shelves in their composition are referred to as chaekgado.
Korean literary culture has some fascinating features. The art of making paper in Korea dates to the 3rd century, following closely behind China. Paper production became so abundant that it was extensively used in Korean architecture, covering walls, windows, and floors of buildings. Korea also had impressive printing capabilities. Even before the Gutenberg Bible was printed in 1454-55, the earliest known book printed with movable metal type was the Jikji, printed in Korea in 1377. Another remarkable example is the Tripitaka Koreana, a collection of Buddhist writings carved on 81,350 wooden blocks in the 12th century. These blocks have been preserved in the Haeinsa temple since 1398.
Despite the ability to mass-produce books, they were not widely accessible in Korea. Access to books was closely controlled by several Joseon rulers, making them highly valued and scarce. Interestingly, although books are the central theme of chaekgeori, they are rarely depicted by their specific titles in the screens. This reflects a strategic political approach known as the "Policy of Impartiality." By not explicitly naming books, the screens demonstrate erudition without publicly endorsing specific works that might fall out of favor with those in power. In Joseon-era Korea, possessing or reading books that contradicted the ruling ideology could lead to punishment. The rise of chaekgeori in Korea aligns with the "Northern Learning" movement of the 18th century, which advocated for greater international engagement, intellectual exchange, trade, modernization, and scientific progress.
