#kisaeng

[icecreamwithjackdaniels]

"An anchor lifts, a ship is leaving. He goes this time, when to return.

Far over the sea’s vast waverings one can see a going as return.

But at the sound of that anchor lifting, the night could feel her insides turn."

— An anonymous kisaeng poem from the 17th century, from "Songs of the Kisaeng: Courtesan Poetry of the Last Korean Dynasty", translated and introduced by Constantine Contogenis and Wolhee Choe

[maydenadie]

The Gisaengs or Kiseangs

In the anciant Korea and just like geishas, ​​they were young girls dedicated to entertainment. To become a gisaeng a woman had to go through several years of hard training and learn arts, literature, music, dance, singing, poetry, etc. This is how the gisaeng managed to master the arts in an extraordinary way. Now, the gisaeng represented a rather curious paradox. By definition they belonged to the lowest social class, the same as slaves, but their studies and skills positioned them at the highest levels of culture and the arts. ⁣⁣

Although you may not believe it, in ancient Korea there were social castes, and giseang were even below prostitutes, which may be the reason why they are confused with women of carnal pleasures, since in the sources I have reviewed, all deny that they are prostitutes, but being of low social extraction, they were not at the same level as prostitutes. Although paradoxically, they had the opportunity to access an education that no other woman could have, not even those of the highest class, could even dream of an education like that. And that is why much of Korean culture has been transmitted to our days thanks to them.

Although young women were properly trained in art, poetry and prose; and music, they were considered the lowest social class and at the same time, respected as cultured artists. Women could become kisaeng through several paths. Some were daughters of kisaeng, who inherited their mother's status. Some were sold to the gijeok (was a list of all the kisaeng working in a particular district) by families who could not support them. Many of these families were of lower rank, but sometimes, poor families of higher rank would sell their daughters, and even women of the yangban aristocracy became kisaeng, usually because they had violated the strict sexual norms of the Joseon period.

Despite all this, giseangs were slaves of the government, even though kisaeng had a number of important political roles as servants of the state. They were employed to entertain visiting dignitaries from China and Japan, and to accompany them if they traveled around the country. They were supervised by the official in charge of kisaengs, called hojang. The hojang was also in charge of keeping records of kisaengs and preventing kisaengs from running away. Kisaengs were required to carry out their employers' requests, unless they had previously notified the hojang. Kisaengs in a district were inspected twice a month and when a new official entered the area. Kisaengs' businesses were not directly supervised by the state. Most kisaengs had a gibu, or "kisaeng's Sugar daddy," who provided protection and financial assistance. Most gibu were soldiers, government employees, or servants in the royal household. Despite this, they had no legal duty or power from the kiseang.

Their origin is quite uncertain and there are several theories that try to explain the origin of the kisaeng. One of the many theories explained that the beginning of the kisaeng is located in the system called wonhwa (원화), a name given to groups of women who were bearers of great beauty and who under the mandate of Jinheung (526-576), the twenty-fourth king of the kingdom of Silla, were indoctrinated to carry out this work. On the other hand, there is another theory that explains that the origin of the giseangs was located in the 10th century due to the abundant migrations produced by the unification of the Three Kingdoms in the year 936 and the beginning of the new Goryeo Dynasty. At this time, the gisaeng depended directly on the government, in fact, many of them were employed in the court itself, although they were also found scattered throughout the country.

Kisaeng houses in the Joseon Dynasty were located particularly close to the centre of a village, often near markets. They were there to create a "cozy effect"; in many cases, the location was carefully chosen and the area around the house was carefully decorated with an ornamental pool and plants.

Today, believe it or not, kiseangs still exist, but very few traditional kisaeng houses still operate in South Korea, many of the traditions and dances have been lost. Some South Korean businessmen bring their foreign partners to a kisaeng house. But many say it is not the same.

Some famous kiseangs are:

Eowudong, a 15th-century writer, poet, politician, dancer, artist, scholar, painter and philosopher.

Yi Mae-chang, a poetess from Buan.

Hwang Jin-yi, a musician and intellectual from Gaeseong. And about whom the most movies and dramas have been made.

Non Gae, remembered for assassinating a Japanese general at the Battle of Jinju.

Gyewolhyang, who tried to kill General Konishi Yukinaga in Pyongyang.

Kim Ja-ya, South Korea's last classically trained kisaeng.

[koikishu]

This is a more personal question, but I was hoping you could help me.

In the Clip Studio Paint asset store, there’s a 3D asset that features hair that’s only translated on the site as “oriental.”

https://assets.clip-studio.com/en-us/detail?id=2081707

On the link given, there’s various shots of the asset from many angles.

Do you have any idea what this hairstyle could be?

Thank you for the question!

So, it looks like a hairstyle (or a rendition of one) called the Eon'jeun Meori that would have been using by gisaeng/ kisaeng during the Joseon dynasty in ancient Korea. If you scroll down the link you sent, it shows you a demo image of how a kisaeng would have styled & accessorized it.

If you need more information regarding kisaeng/ gisaeng, please feel free to read this quick overview I posted on my sideblog, Tang-Han-Wa. So, if you're looking for a hair reference for a very high ranking kisaeng/ gisaeng, then this hairstyle is perfect.

[dimeepy]

rapidfire posting art rn... here's a piece of Danbi inspired by j.c. leyendecker!

[anemoiawithatouchofobsession]

My old Sageuk script, revised! ----- Madam Jung : Where is Yoo-hwa? She should have been here by afternoon. 유화가 어디냐? 오후까지 왔어야 했는데. Myeong Ae: She's in the palace today I think the Prince has taken a liking to her. 유화가 궁에 있아옵니다. 세자저하께서 언니한테 관심이 생겼다는 소문을 들었아옵니다. Madam Jung : I see. I hope she doesn't get swayed by the Prince to stay at the court. 그리하구나. 세자저하께 교태전에 남아있으라는 말 안듣게... Mi Hee : Why? If the Prince likes her, she might receive a lot of money. And maybe she will become his concubine! 왜 그렇습니까? 세자저하께서 언니를 좋아하신다면, 돈을 받고, 어쩌면 저하의 첩이 될지도 모릅니다! Madam Jung : Not every gisaeng's path leads to the court. Yoo-hwa is too naive to get into politics, and is too skilled to be an entertainment to the Royal family. 모든 기생들의 길이 궁까지 가야 할 필요 없다. 우리 유화가 너무 흔들리기 쉬워서 궁정과 정치에 멀리서 있어야 해. 또한, 왕실의 오락거리일뿐이 되기에는 얘가 너무 숙련되어있는데. Jin Yi : I've heard that the Consort Hee of the Jang family is a very greedy woman. Yoo-hwa would suffer a lot if she gets in that woman's way. As someone who has seen her since she was young, I am worried. 장씨 희빈마마께 욕망이 많은 여자라고 들었어요. 유화는 그 분에게 방해가 된다면 큰 고통을 겪게 될 건데. 얘를 오랫동안 보는 분이라서 걱정이 되옵니다. Jang Sook : Consorts are always greedy. I don't understand why. The court is splitting like a watermelon, the nation is being attacked on the shores, and these women give birth to four of five babies for what? For the land they receive? For their son to be the next king? So they can be the Queen Dowager and order their own son and the court around? 빈궁들은 항상 욕심이 많군요. 왜 그런지 이해하지 않아. 우리 궁정은 수박처럼 갈라지고 있고, 우리 나라는 해안에 심한 공격당하고 있는데도, 이 여자들은 무엇 때문에 계속 4명이나 5명의 아기를 낳습니까? 받는 땅을 위해서요? 아들이 생기면 그 불쌍한 아이가 다음 왕이 되기 위해서요? 대비가 되어 아들과 궁정을 명령할 수 있기 위해서요? Madam Jung : (raises hand) We are no one to judge someone else's situation and decisions in life. All we can do is live with it and give the children an example of how to,nor how not to, lead life. 우리는 다른 사람의 상황과 결정을 판단하는 사람이 아니다. 우리가 할 수 있는 것은 우리대로 먹고살고 우리 아이들에게 삶을 사는 방법에 대한 예를 드는 것일뿐이다.

Madam Jung : Cheon-geum-ah? 천금아? Cheon-geum  : Yes, mother 네, 어머님 Madam Jung : You are the closest to the age of 16 among the training gisaengs. Am I right? 여기 아이들 중에 16세 넘은 아이 너냐? Cheon-geum  : True, mother. 맞사옵니다 Madam Jung : Then, have you decided on a gisaeng name yet? 그럼, 기생이름을 선택했느냐? Cheon-geum  : No, mother. 아니옵니다 어머님 Madam Jung : Why so, when I have reminded you mamy times? 몇 번 말을 했던게요, 그럼 왜? Cheon-geum : (stutters slightly, in a quieter voice) I- I intend not to take on a gisaeng name, mother. 저- 저는 기생 이름을 생기는 생각이 없아옵니다, 어머님 Wol-hyang : (looks at Eui-hye with a look of worry) Madam Jung : May I know the reason? 이유를 좀 전할할 수 있을까? Cheon-geum  : (voice becoming more firm) My mother gave me a name that I think is fitting to me. I want to be a heavenly lyre player even when I'm a gisaeng. Please understand this young girl's wish, mother. 이 소녀의 애미는 저에게는 잘 어울리는 이름을 지으셨다고 생각을 하느니, 기생이 되도 지금 이름대로 천상의 거문게꾼으로 유명하고 싶은 이 소녀의 순한 마음을 이해주십시오 Soon-ryeon : (leans over to Wol-hyang and whispers) when is her birthday? In how many months? 얘 생일 언젠데? 몇월? Wol-hyang : ( noticing that Madam Jung jas noticed Soonryeon whispering, signals with her hand, 2 fingers. SR gives a look of "well, whatever" and continues eating.) Madam Jung : (slightly angry) So you think these reasons give you the freedom that your friends don't have? What makes you think you have a choice? 그럼 네 친구들이 없는 자유가 네가 갖고 있는 줄 알았느냐? 선택이 있는 생각을 어떻게 들 수 있느냐? Cheon-geum : (quiet but firm) None of the other girls were born to a gisaeng and raised to be one. I have never known anything else but being a gisaeng. How can I change my name? 다른 얘들은 기생의 몸에 타어나지 않았고 기생이 되기 위해 키웠던 게 아니옵니다. 이 소녀는 기생의 삶 밖에 모른데, 어떻게 온 인생이 담긴 그 이름까지 버릴 수 있는 겁니까? Madam Jung : (breathes in sharply) Listen here, child... 아이야, 한 번 들어봐 Mi-hee : (signals to Madam Jung to let her deal with it) Cheon-geum-ah, think again. All of us have gisaeng names. 천금아, 또다시 생각해보렴. 우린 다 기생이름은 있다. Hwa-myeong : I am also the daughter of a gisaeng. I know that you're proud of your name, but I'm sure your mother would appreciate it if you followed the tradition. 저도 기생딸이라서 이름이라는 것에 대한 자랑스음 아주 잘 알아. 그래도, 우리 기생민의 전통을 따라하면 좋겠다. Myeong-ae : ... it is, in the end, what she did too. It wouldn't be wrong to do so. 천금양 어머니도 결곡엔 그렇게 했느니, 니 잘못이 아니라단다... Hwa-myeong : You think it would be disrespectful to your mother, isn't it? 이름을 바뀌는 것은 어머니에게 무례할 거라고 생각을 하냐?? Cheon-geum  : (nods timidly) Mi-hee : I can assure you, it isn't. In fact, I'm sure your mother, if she were here, would tell you to leave your pride behind and do the same as all your seniors, and be a honourable gisaeng. You understand? 장담할건대, 그렇지는 않아. 천금애미께 여기 계셨다면, 자존심은 버리고 모든 선배들과 똑같이 하고, 훌륭한 기생이 되라고 말씀하실 거예요. 이해했나? Cheon-geum  : (lowers her head at the sudden interjection of the seniors, embarrassed) I understand. I will think about it. 알겠아옵니다. 생각을 할 겁니다. Madam Jung : Lift your head up. I will give you time until the day before your 17th birthday. Have you understood? 고개를 들어라. 17번째 생일의 날까지 시간을 줄게. 알아들어시게. Cheon-geum  : Yes, mother. 네, 어머님

Jang Sook : Madam, isn't it commonplace to name the girls as soon as they enter the gyobang? 마님, 평소에는 이런 소녀들에게 교입할때 기생이름을 지우는 것은 맞습니까? Madam Jung : You are right, Mrs. Jang. But I feel like a child should be able to enjoy her name before having it taken away from her. 맞는 말씀이십니다.그렇지만, 이 아가들이 자신의 이름과 그것의 뜻을 알고 즐기는 시간을 주고 싶다고 생각하옵니다. Jin-yi : This gyobang really seems like the only one in the kingdom to do so. 온 왕국에서 이 교방은 이것을 하는거 유일한 것 같죠... Jang Sook : I have heard of another gyobang in the Pyongyang region, where they allow the girls to choose which field they study in, isn't that good too, madam? 평양쪽 또다른 교방에서 교입하는 소녀들에게 각자의 공부의 길을 선택하는 것을 허락하는 게 들었는데, 그리하는 것도 좋아하지 않습니까? Madam Jung : I disagree with that. I know that some of the best gisaengs especially in dancing and singing have come from that gyobang, but the gisaengs there lack an all-round education. A gisaeng should be able to do anything. 아닙니다. 저 교방 출신 기생들은 특히 무용과 창으로 아주 유명하지만, 모든 필요한 실력을 갖이지는 아니다. 기생이 모든 게 잘할 수 있어야 됩니다. Myeong-ae : I agree, mother. There is no reason a gisaeng who excels at poetry would also excel at dancing. 동의하옵니다, 어머님. 시를 잘 쓰는 기생은 무용을 잘 할 리 없네요. Soon-ryeon, Eui-hye and Hwa-jung : (look at  Wol-hyang with a smile, almost as if taunting her for her two left feet.  Wol-hyang lets out a sigh and stuffs her mouth with rice) Mi-hee : (notices  Wol-hyang, smiles) Mi-soon-ah (referring to Myeong-ae by her gisaeng name) , to realise you're wrong, you don't need to look far. 미순아, 잘못의 말씀을 했던 게 이해하기 위해 멀리서 보지마오. Wol-hyang : (even more embarrassed, she cowers and keeps on stuffing rice into her mouth) Mi-hee : I'm sitting right here, am I not, mother? 저 여긴 앉아 있지 않으나요, 어머님? Wol-hyang : (surprised at the sudden relevation, looks up) Madam Jung : I remember. 기억하단다. Mi-hee : (continues) There were days I practiced until my legs bruised, and I thought of Yoo-hwa (Yi-rin's gisaeng name) and cried, because I wasn't even as good as her toenail when it came to dancing. 유화의 발끝만큼도 춤을 못출 수 있단 것을 생각하며 울었고, 제 다리가 다쳤을적까지 연습하는 나날들이 있었군요 Myeong-ae : (laughs) And weren't there days I made the floor wet with my tears, as my voice cracked at all the songs, Geum-wol? 나도 노래할때 이상한 소리가 내서 내 눈물로 바닥을 젖은 날들이 있었다, 기억하나, 금월아? Hwa-myeong : I remember crying while playing the drums - I hit my head with a drumstick. (laughter erupts across the room) . I got a big red boil on my head like an egg. It's practice, practice and again practice, that made us to be as skilled as we are. (turns to Wolhyang) There's no need to worry at all. If there is a will, there is a way. 나는 복을 치다가 울었던 기억이 난데요 - 복에 내 머리를 부딪쳤다고... 이마가 겨란처럼 빨갛게 부어올랐어요. 역시, 연습, 연습 그리고 연습이 우리를 이렇게 만들어. 월향아,너 걱정하기가 필요없다. 너 이젠 마음 먹었으니 길이 발견될테니. (Wolhyang : bends her head, half in shame, half in relief. The seniors and Madam Jung smile, and everyone continues eating)

[cosmosbeelover]

Photo collection of kisaeng's - Part 6 - Finale

All photos below have been AI enhanced for a more clear viewing (there may be some errors in the pictures), i will be listing there names in both English and Korean below the photos.

There names go from top left to bottom right.

On the list of photos, this picture is shown twice with some name changes, so i will add both versions. Korean - 기생명부-곽향란, 최선홍, 전용옥, 전금옥, 선간일익, 전명자, 고명선, 백운학 Korean version 2 - 기생명부-곽춘란, 최유홍, 전용옥, 전금옥, 선간일익, 전명월, 고명선, 백운학 English - Parasite List - Kwak Hyang-ran, Choi Seon-hong, Jeon Yong-ok, Jeon Geum-ok, Seon Gan-il-ik, Jeon Myeong-ja, Go Myeong-seon, Baek Woon-hak. English version 2 - Parasite List - Kwak Chun-ran, Choi Yu-hong, Jeon Yong-ok, Jeon Geum-ok, Seon Gan-il-ik, Jeon Myeong-wol, Go Myeong-seon, Baek Woon-hak.

Korean - 기생명부-최중유월, 이춘홍, 황금주, 이금선, 한경옥, 장명실, 장명화, 최영선 English - Parasite List - Choi Joong-yu-wol, Lee Chun-hong, Hwang Geum-ju, Lee Geum-seon, Han Kyung-ok, Jang Myeong-sil, Jang Myeong-hwa, Choi Yeong-seon

[papaya2000s]

The History of Korean Girl Groups' evolution over time - Before Liberation to Girls Generation (SNSD) -> Part 2

Note there will the use of both Korean and Hanja in this post.

Korean girl groups have been a significant part of the music industry since the 1910s, captivating audiences with their mesmerizing dances and melodious songs. Despite the misconception that girl groups in the past were innocent and cute while modern ones are more focused on sexiness, historical evidence suggests otherwise. In fact, girl groups in the 60s and 70s exuded a similar level of sensuality as contemporary groups, influenced by performances of the 8th U.S. Army stage. The roots of these early girl groups trace back to the singers from Kisaeng schools in the 1930s, showcasing a rich history of diverse influences and styles.

Among the 300 girl groups that emerged between the 1910s and 90s, there were standout representatives from each era that left a lasting impact on the music scene. These unique girl groups not only entertained the public but also paved the way for future generations of performers. By exploring the ancestors of girl groups and the distinctive teams that garnered widespread love and admiration from the 1910s to the 90s, we gain a deeper understanding of the evolution of Korean girl groups and their enduring popularity throughout the decades.

Introduction - Korean Entertainment before the Japanese rule

In my previous post about History of Male Groups' i already spoke about the history of Korea under the Japanese rule (Before liberation), in this post i will explain the history of Kisaeng/ Gisaeng (기생; 妓生), also called Ginyeo (기녀; 妓女).

The concept of Kisaeng, which refers to female entertainers in traditional Korean society, may seem unrelated to the modern phenomenon of Kpop idols. However, it is essential to recognize the historical significance of Kisaeng in shaping the entertainment industry in Korea. While Kisaeng and Kpop idols may differ in many aspects, such as their roles and societal perceptions, they both play a crucial role in providing entertainment to the masses. By understanding the roots of Kisaeng and its influence on Korean culture, we can gain a deeper appreciation for the evolution of entertainment in Korea.

The comparison between Kisaeng and Kpop idols serves as a reminder of the rich cultural heritage that underpins the Korean entertainment industry. Despite the differences in their practices and contexts, both Kisaeng and Kpop idols share a common goal of captivating audiences through their performances. By acknowledging the historical legacy of Kisaeng, we can better understand the cultural continuity that exists within the realm of Korean entertainment. This recognition allows us to appreciate the diverse influences that have shaped the industry over time, leading to the vibrant and dynamic landscape of Korean entertainment today.

What was a Kisaeng (기생)

Officials belonging to Gyobangsa during the Korean Empire

Kisaeng (기생), or Ginyeo (기녀), were enslaved women trained to provide artistic entertainment and conversation to upper-class men. They were government's legal entertainers, performing various functions for the state. Despite being of low social class, they were respected as educated artists.

Kisaeng played an important role in Korean conceptions of traditional culture, with some known for outstanding attributes like skill or loyalty. They were also involved in medical care and needlework. Hwang Jini (황진이), a 16th-century Kisaeng, is a famous example.

Hwang Jini (황진이; 黃眞伊) is a Korean drama broadcast-ed on KBS2 in 2006. The series was based on the tumultuous life of Hwang Jini, who lived in 16th-century Joseon and became the most famous Kisaeng in Korean history.

The Social Position of a Kisaeng

Throughout the Goryeo (고려; 高麗)(918–1392) and Joseon (조선; 朝鮮)(1392–1897) periods, Kisaeng held the status of Cheonmin (천민; 賤民), or "vulgar commoners" were the lowest in society, alongside entertainers, butchers, and slaves. Their status was hereditary, and children of a Kisaeng were also of Cheonmin status. Starting in the Goryeo period, governing offices maintained a registry of Kisaeng to ensure thorough oversight.

Kisaeng could only be released from their position if a hefty price was paid to the government, typically by a wealthy patron. Many Kisaeng were skilled in poetry, with numerous Sijo (A Korean traditional poetic form that emerged during the Goryeo dynasty, flourished during the Joseon dynasty, and is still written today) composed by them, often reflecting themes of heartache and parting.

They were considered of significantly higher status than common slaves, but held a unique role in ancient Korea's society as educated artists and writers. Different groups or tiers of Kisaeng had different educations and roles, with many specializing in arts, music, poetry, and conversation skills.

The Career of a Kisaeng

The Kisaeng system in Joseon was a short-lived business that typically peaks at age 16 or 17, and over by age 22 with most Kisaeng retiring at age 50. The system was based on a three-tiered structure, with the highest tier occupied by Ilp'ae (일패; 一牌) who sang and danced at upper-class feasts. After turning 30, Kisaeng could continue working in dressmaking and medicine until age 50.

The Haengsu (행수; 行首), the district leader, took charge of discipline and training new Kisaeng. The lowest tier was Samp'ae (삼패; 三牌), who were forbidden to perform the Ilp'ae's songs and dances. The system broke down in the late 19th century, and some Kisaeng were able to amass considerable personal wealth, but they were required to cover their expenses out of their own personal funds.

Becoming a Kisaeng

The Kisaeng class, a skilled worker class, was established in the Joseon period through various paths. Women were either daughters of Kisaeng or sold into the class by families struggling to support them. The government took an early interest in ensuring correct education, starting with the establishment of Gyobang (교방;敎坊) training institutes during the Goryeo period.

I did try my best at translating what what below this picture of Kisaeng's. Translation - "Junpo, the custom of giving birth to a prostitute in Korea" (駿婆,生妓俗展國韓). If anyone knows if the translation is wrong, please note it down below.

During the Joseon period, instruction focused on music and dance. The three-tiered system of later Joseon included specialized training schools for Kisaeng, covering poetry, dance, music, and art. This system continued into the Japanese colonial period, during which time the schools training Kisaeng were known as Gwonbeon (권번).

This is what they would of played before the Japanese Colonial Period, i would give it a listen if anyone is interested. Sijo Chang: Chung-san-ri (시조창 청산리)

WARNING i will be putting a line through any words that could be considered rude to some.

Japanese Colonial Period - 1910 to 1945

The Kisaeng, a caste system in Korea's Neo-Confucian way of living, were considered the lowest caste during the Japanese occupation. They often composed and sang their own Sijo, incorporating their emotions and themes into their work. Hwang Jin-I, a prominent Sijo poet, is credited with a famous Sijo poem, (정산리 벽계수야), which is rumored to be a humorous comeback to a Yangban official who boasted that he could pass through Jin-I’s territory without stopping or being tempted by her. Such elements were not as prevalent in the work of their male counterparts from the same era.

The economic depression during the Japanese occupation exposed the impoverished female population to the labor market. The transition from the Sino-Japanese War to colonial Korea expanded the sex market, leading to new laws such as the Kisaeng Regulation Order or Kisaeng Tansongnyŏng (기생 단속령; 妓生團束令). This led to the Kisaeng being grouped with licensed prostitutes, called Chang-Gi (창기).

During the colonial period, the preexisting tiers of Kisaeng disappeared, and they were more viewed as relevant to prostitution. Most Kisaeng performed in restaurants or entertainment houses to earn a living, and they were often seen as a tourist attraction for the Japanese in Korea, especially Seoul.

Chang Han, a magazine run largely by Kisaeng, discussed the personal lives of Kisaeng in conjunction with their professional ones. Before the Japanese occupation, Kisaeng were of lower caste and able to interact with those of a higher caste. After the occupation, Kisaeng had to actively navigate a restructured sex market in colonial Korea.

Modern Kisaeng

Kisaeng, a traditional Korean dance and theatre scene, has partially preserved its vocabulary and dances since the 1970s. During the Japanese colonial period, Kisaeng schools, which predominated, although true Gwonbeon no longer existed, an academic convention for students to study privately with former entertainers developed. However, few traditional Kisaeng houses remain in South Korea, and many dances are considered lost forever. The oldest traditional house, Ohjinam (오진암), closed in 2010.

Sources:

https://www.sejongculturalsociety.org/composition/current/music/chungsanri.php

https://en.wikipedia.org/wiki/Kisaeng#cite_ref-61

[pittoresko]

"Resounding geomungo, praiseworthy lotus" by Sin Yun-bok, Korean painter of the Joseon dynasty period. This painting is part of the Hyewon pungsokdo, an album of the genre paintings.

The painting depicts two couples of men and women listing to a Kisaeng (a Korean courtesan of the Goryeo and Joseon period) playing the geomungo.

The geomungo is a traditional Korean plucked zither with both bridges and frets. Geomungo is a representative stringed instrument made in Goguryeo before the 5th century.

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ITALIANO

"Geomungo risonante, lodevole loto" di Sin Yun-bok, pittore coreano del periodo Joseon. Questo dipinto è parte dell'Hyewon pungsokdo, un album di disegni appartenenti alla pittura di genere.

Nel quadro, Sin Yun-bok rappresenta due coppie di uomini e donne che ascoltano una kisaeng (cortigiana) che suona il Geomungo, una tradizionale cetra coreana a pizzico.

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