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Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century

Attributed to Lee Taek-Gyun (1808–1883)

Chaekgeori folding screen, 19th century
Ink and color on paper, four-panel screen, wooden frame
Each panel 138.4 x 49.5 cm
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Further images

  • (View a larger image of thumbnail 1 ) Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
  • (View a larger image of thumbnail 2 ) Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
  • (View a larger image of thumbnail 3 ) Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
  • (View a larger image of thumbnail 4 ) Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
  • (View a larger image of thumbnail 5 ) Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
  • (View a larger image of thumbnail 6 ) Attributed to Lee Taek-Gyun (1808–1883), Chaekgeori folding screen, 19th century
Chaekgeori is distinctive genre of Korean still-life painting that emerged during the latter part of the Joseon dynasty (1392–1910). These works typically feature books, scholarly tools, and decorative objects, all...
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Chaekgeori is distinctive genre of Korean still-life painting that emerged during the latter part of the Joseon dynasty (1392–1910). These works typically feature books, scholarly tools, and decorative objects, all arranged to reflect the Confucian ideals of knowledge, learning, and refinement.


This particular chaekgeori screen is especially noteworthy. On the top shelf of the fourth panel from the right, there is a seal bearing the painter’s name—an unusual feature for the period. During the Joseon dynasty, court painters were generally not allowed to sign their artworks. However, Lee Taek-gyun, a court painter in the 19th century, subtly embedded his name in a seal within the painting itself.


Lee came from a lineage of court painters and changed his name several times over the course of his life: he was known as Lee Eungrok before 1864, Lee Hyeongrok from 1864 to 1871, and Lee Taekgyun after 1871.

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Provenance

Robin and Rupert Hambro, London

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