Museum Quality Late 19th Century Korean Temple Painting of Jijang (the Bodhisattva of Hell) with the Seven Stars Spirit (Chilseong), with original temple inscription. This painting came from the Myonbu-jon Hall of the Underworld of a large Buddhist temple. The center figure in this painting is Jijang Bosal (Sanskrit: Ksitigarbha Bodhisattva), who postponed his own ascension to Heaven to relieve and rescue souls from Hell. He holds in his left hand the cintamani wish-granting pearl that lights up the darkness of Hell. The seven figures to his left and the seven figures to his right represent Chilseong, the Seven Stars Spirit of the Big Dipper. Chilseong controls people's destinies. To Jijang's left in the front row is the monk Tao-ming (Korean: Tomyong) who was once a Tang prince, and to Jijang's right in the front row is the demon king Poisonless (Korean: Mudok Kwiwang). The painting is in good condition. The frame is is partially separated from the painting. This is easy to repair, but we have not done so, as you may want to replace the frame. The frames on Korean Buddhist temple paintings are almost never original, as they were not framed originally, so it is perfectly fine to replace the frame. Colors on silk. Frame: 53.75 x 46.25 inches, 136.5 x 117.5 cm; Painting: 45.75 x 37.75 inches, 116 x 96 cm.

Large Antique Korean Painting of a Dragon Flying Through the Clouds. A marvelous rendering of Korea's most beloved ancient deity, the dragon rain god who brings both rain and good fortune. His face is delightful and his body writhes with energy, as he chases through the sky after the red flaming jewel of transcendent wisdom, symbolizing the pursuit of wisdom. Because he brings rain, which gives life and growth to all living things, the dragon is a symbol of creation, growth, and fertility. Therefore, the dragon god was the most important deity in the old agrarian Korean society. This is truly Korean folk art at it's very best! Ink and colors on paper. Frame: 53 x 30.25 inches, 135 x 77 cm; Painting: 44 x 24 inches, 112 x 61.

Large Geese and Reeds Painting (Noando) by Yang Ki Hun aka Seokyeon (1843-1897) from Pyeongyang. The literal meaning of 'noando' is reed and geese painting, but it is a play on words, as 'no' means both reed and old, and 'an' means both geese and comfort ('do' means painting). So 'noan' can mean 'reed and geese' or 'old comfort', and so a painting of geese and reeds symbolized a wish for a comfortable and peaceful old age. Yang Ki Hun was a member of the Royal Academy of Painting in the late 19th Century, toward the end of the Joseon Dynasty. He made a living by painting for the king and his court, and also by selling his paintings in Pyeongyang. He was the most well-known of the provincial painters who, because of the increase in the economic power of the provinces in the late 19th Century, and the accompanying demand for paintings, were able to make or supplement income by selling their paintings locally. Here are two great quotes from Yang Ki Hun's contemporary, the painter and calligrapher Chi Un Yeong (aka Paekryeon): "Yang Ki Hun's paintings stir up my jealousy because they seem completely freed from all ideas and restraints". And after Seokyeon (Yang Ki Hun) passed away, Chi Un Yeong wrote, "Seokyeon told me that when he stayed on Neungna Island for a few years some time ago, he often saw geese fly in and land on a reed field, so he was able to paint them in a realistic way. His words still linger vividly in my ears. I remember playing with him thirty years ago in the Taedong River, and it seems so far away and dream-like." Ink on silk. Silk Mounting: 78.5 x 24.5 inches, 200 x 62 cm; Painting: 49.5 x 20 inches, 126 x 51 cm. The gorgeous silk mounting in a beautiful and very 'Korean' green color, is original to the painting, and is in excellent condition. The motif on the mounting is that most 'Korean' of motifs, the cloud-shaped mythical bullocho longevity plant.

'Reflect' by Jahee Lee, mirror constructed entirely of antique wood, metal, and textile with the ten symbols of longevity (sipjangsaeng), only the glass is new. 47.5 x 30 inches, 120.5 x 76 cm. Growing up with parents who were social workers in a traditional Korean Hanok house of hand-hewn timber, Jahee Lee developed both a deep affection for people and for traditional materials. When her parents' orphanage, the Lighthouse in Haenam (est. 1953) was recently demolished, she decided to use the materials from the building to create mirrors. Someone else would probably have used the materials to create furniture or other structures, but mirrors are a thought-provoking choice. Jahee says "A mirror is an object that has many delicate layers of meaning. Through this object you can realize the meaning behind yourself and see within your life. When you are facing a mirror you cannot deny your feelings or deceive yourself. The mirror tells you exactly the truth with clarity that you cannot deny, it embraces you as you are, and it makes you think about yourself and how you relate to your world around you. I hope that by using materials from the old Lighthouse orphanage, the love and warmth and traditional values taught and practiced there will live on and inspire the person who looks in this mirror."

'Reflect' by Jahee Lee, mirror constructed entirely of antique wood, metal, and textiles, only the glass is new. 43 x 7 inches, 109 x 18 cm. Growing up with parents who were social workers in a traditional Korean Hanok house of hand-hewn timber, Jahee Lee developed both a deep affection for people and for traditional materials. When her parents' orphanage, the Lighthouse in Haenam (est. 1953) was recently demolished, she decided to use the materials from the building to create mirrors. Someone else would probably have used the materials to create furniture or other structures, but mirrors are a thought-provoking choice. Jahee says "A mirror is an object that has many delicate layers of meaning. Through this object you can realize the meaning behind yourself and see within your life. When you are facing a mirror you cannot deny your feelings or deceive yourself. The mirror tells you exactly the truth with clarity that you cannot deny, it embraces you as you are, and it makes you think about yourself and how you relate to your world around you. I hope that by using materials from the old Lighthouse orphanage, the love and warmth and traditional values taught and practiced there will live on and inspire the person who looks in this mirror."

'Reflect' by Jahee Lee, mirror constructed entirely of antique wood and metal, only the glass is new. 28 x 28 inches, 71 x 71 cm. Growing up with parents who were social workers in a traditional Korean Hanok house of hand-hewn timber, Jahee Lee developed both a deep affection for people and for traditional materials. When her parents' orphanage, the Lighthouse in Haenam (est. 1953) was recently demolished, she decided to use the materials from the building to create mirrors. Someone else would probably have used the materials to create furniture or other structures, but mirrors are a thought-provoking choice. Jahee says "A mirror is an object that has many delicate layers of meaning. Through this object you can realize the meaning behind yourself and see within your life. When you are facing a mirror you cannot deny your feelings or deceive yourself. The mirror tells you exactly the truth with clarity that you cannot deny, it embraces you as you are, and it makes you think about yourself and how you relate to your world around you. I hope that by using materials from the old Lighthouse orphanage, the love and warmth and traditional values taught and practiced there will live on and inspire the person who looks in this mirror."

Korean Antique Painting of Gwanum, the Bodhisattva of Compassion, for use in shaman rituals. The details of the beautifully flowing robe are wonderfully rendered. Shaman paintings of Gwanum are rare and are important proof of the sycretism of Korean belief, combining shamanism with Buddhism. Colors on silk. 38 x 22 inches, 96.5 x 56 cm.

Rare Antique Korean Doll Couple with exact details in the costumes of that era (late 19th Century). These were used in rituals. This is an exceptional example, with very personal features, such as the woman's swollen cheek bones and pursed lips, and the man's introspective eyes, that go well with their bent postures from many years of living a full life. It is rare to find dolls from this era that are so artistically and beautifully rendered with so much heart-warming emotion. It is equally rare to find a man with an original walking stick. 8.5 inches, 21.5 cm.

A magnificent Korean landscape like this needs a contemplative and appreciative soul to take it all in, and you'll find him here in the humble hut atop the bottom cliff. The standard 17th century manual of painting stated, "Figures should be painted in such a way that people, looking at the picture, wish that they could change places with them." The man in this painting has left the village in the higher part of the mountains to enjoy solitude in the hut with an awe-inspiring view. A good Korean mountain painting is more than a beautiful landscape; it is also a profound philosophical and spiritual statement. Heaven, Earth, and Humanity are represented. Mountain paintings are the most important paintings for traditional Korean artists. Most Korean homes and places of business have one proudly displayed in a place of prominence. Ink on paper. Frame size: 34.75 x 18.75 inches, 88 x 47.5 cm; Painting size: 24 x 13 inches, 61 x 33 cm.

Chaekkori, paintings depicting books and scholar's items, are abundant with symbols of diligence, motivation, good fortune and virtue. Chaekkori are uniquely Korean, despite the fact that many of the items depicted in a Chaekkori are Chinese. The Joseon Dynasty Korean scholar had much respect for Chinese art and learning, but expressed that admiration in a uniquely Korean manner through Chaekkori. We see items here that indicate refined comfort, but more important than the sense of gentility that is conveyed, is the ideal of self-improvement to which everyone could aspire: rich or poor, young or old. Though the items depicted were not readily available to the poor, the Chaekkori could inspire them nonetheless. Adults enjoyed them, but they would also be placed in children's rooms to teach them the value and beauty of culture and learning. French artists as early as the 1880's saw ideas in this genre that they imported into their own art. Frame: 29 x 16.75 inches, 73.5 x 42.5 cm; Painting: 23.75 x 11.5 inches, 60.5 x 29 cm. Mineral pigments on old hand-woven silk.

'Reflect' by Jahee Lee, mirror constructed entirely of antique wood and open ironwork with the Buddhist symbol for the wheel of life, only the glass is new. 24 x 6 inches, 61 x 15 cm. Growing up with parents who were social workers in a traditional Korean Hanok house of hand-hewn timber, Jahee Lee developed both a deep affection for people and for traditional materials. When her parents' orphanage, the Lighthouse in Haenam (est. 1953) was recently demolished, she decided to use the materials from the building to create mirrors. Someone else would probably have used the materials to create furniture or other structures, but mirrors are a thought-provoking choice. Jahee says "A mirror is an object that has many delicate layers of meaning. Through this object you can realize the meaning behind yourself and see within your life. When you are facing a mirror you cannot deny your feelings or deceive yourself. The mirror tells you exactly the truth with clarity that you cannot deny, it embraces you as you are, and it makes you think about yourself and how you relate to your world around you. I hope that by using materials from the old Lighthouse orphanage, the love and warmth and traditional values taught and practiced there will live on and inspire the person who looks in this mirror."

Very Large 19th Century Traditional Bird and Flower Painting, with pheasants, swallows, ferns, bamboo, orchids, and yellow roses. Hwajodo (bird and flower paintings) were almost always unsigned. Though this painting is anonymous, the artist was obviously highly skilled. The birds are paired to symbolize love. The orchids symbolize purity in this context, and the bamboo symbolize resilience. It was believed that the owner of this painting would experience pure and resilient love. A stunning and very large example of this popular genre. Ink and colors on paper. Frame: 52 x 34 inches, 132 x 86.5 cm; Painting: 42.5 x 24.5 inches, 108 x 62 cm.

Large Mountain and River Landscape Painting by Kim Joeng Rok aka Chu San. A good Korean mountain painting is more than a beautiful landscape; it is also a profound philosophical and spiritual statement. Heaven, Earth, and Humanity are represented. Mountain paintings are the most important paintings for traditional Korean artists. Most Korean homes and places of business have one proudly displayed in a place of prominence. Frame: 67.5 x 33 inches, 171.5 x 83.75 cm; Painting: 59 x 24.5 inches, 150 x 62.25 cm.

Scholar Studying Under a Majestic Willow Tree by Silla San In, a large, beautiful, and inspiring 19th Century Korean scholar's ink painting on paper. The willow tree is an ancient symbol of peace and contentment. Frame: 57.5 x 27 inches, 146 x 68.5 cm; Painting: 50 x 20 inches, 127 x 51 cm.

Very Rare Pair of 19th Century Bird and Flower Fan Paintings (Hwajodo). The top painting has bamboo, swallows, and pheasants. The bottom painting has bamboo, plum blossoms, and bush warblers. These are antique fan paintings that have been beautifully mounted and framed. The plum blossoms symbolize courage and the bamboo symbolize resilience. The birds are all paired to symbolize love. So the complete meaning is that love survives through courage and resilience. An old, beautiful and inspiring pair of paintings. Ink and colors on paper. Each Frame: 34 x 19.5 inches, 86.5 x 49.5 cm; Each Painting: 26.5 x 12 inches, 67.5 x 30.5 cm.