By expanding the definition of "epistle" to include any writing that addresses the intended receiver directly, JaHyun Kim Haboush introduces readers to the rich epistolary practice of Chos?n Korea. The Chos?n dynasty (1392-1910) produced an abundance of epistles, writings that mirror the genres of neighboring countries (especially China) while retaining their own specific historical trajectory. Written in both literary Chinese and vernacular Korean, the writings collected here range from royal public edicts to private letters, a fascinating array that blurs the line between classical and everyday language and the divisions between men and women. Haboush's selections also recast the relationship between epistolography and the concept of public and private space. Haboush groups her epistles according to where they were written and read: public letters, letters to colleagues and friends, social letters, and family letters. Then she arranges them according to occasion: letters on leaving home, deathbed letters, letters of fiction, and letters to the dead. She examines the mechanics of epistles, their communicative space, and their cultural and political meaning. With its wholly unique collection of materials, Epistolary Korea produces more than a vivid chronicle of pre- and early modern Korean life. It breaks new ground in establishing the terms of a distinct, non-European form of epistolography.

This notable catalogue--the first English-language publication on the subject--highlights the art of the early period (1392-1592) of Korea's revolutionary Joseon dynasty. The Joseon rulers replaced the Buddhist establishment and re-created a Korean society informed on every level by Neo-Confucian ideals. They supported the production of innovative secular art inspired by past traditions, both native and from the broader Confucian world. Yet despite official policies, court-sponsored Buddhist art endured, contributing to the rich complexity of the early Joseon culture. The exquisite paintings, porcelain and other ceramics, metalware, and lacquerware featured in the book are drawn from the holdings of major Korean and Japanese museums, the collection of the Metropolitan Museum and other U.S. collections; and private collections. Many of the works have never been seen in the United States. Published in association with The Metropolitan Museum of Art Exhibition Schedule: The Metropolitan Museum of Art (3/17/09 - 6/21/09)

Kang Hang was a Korean scholar-official taken prisoner in 1597 by an invading Japanese army during the Imjin War of 1592–1598. While in captivity in Japan, Kang recorded his thoughts on human civilization, war, and the enemy's culture and society, acting in effect as a spy for his king. Arranged and printed in the seventeenth century as Kanyangnok, or The Record of a Shepherd, Kang's writings were extremely valuable to his government, offering new perspective on a society few Koreans had encountered in 150 years and new information on Japanese politics, culture, and military organization. In this complete, annotated translation of Kanyangnok, Kang ruminates on human behavior and the nature of loyalty during a time of war. A neo-Confucianist with a deep knowledge of Chinese philosophy and history, Kang drew a distinct line between the Confucian values of his world, which distinguished self, family, king, and country, and a foreign culture that practiced invasion and capture, and, in his view, was largely incapable of civilization. Relating the experiences of a former official who played an exceptional role in wartime and the rare voice of a Korean speaking plainly and insightfully on war and captivity, this volume enables a deeper appreciation of the phenomenon of war at home and abroad.

The Imjin War (1592–1598) was a grueling conflict that wreaked havoc on the towns and villages of the Korean Peninsula. The involvement of Chinese, Japanese, and Korean forces, not to mention the regional scope of the war, was the largest the world had seen, and the memory dominated East Asian memory until World War II. Despite massive regional realignments, Korea's Chosôn Dynasty endured, but within its polity a new, national discourse began to emerge. Meant to inspire civilians to rise up against the Japanese army, this potent rhetoric conjured a unified Korea and intensified after the Manchu invasions of 1627 and 1636. By documenting this phenomenon, JaHyun Kim Haboush offers a compelling counternarrative to Western historiography, which ties Korea's idea of nation to the imported ideologies of modern colonialism. She instead elevates the formative role of the conflicts that defined the second half of the Chosôn Dynasty, which had transfigured the geopolitics of East Asia and introduced a national narrative key to Korea's survival. Re-creating the cultural and political passions that bound Chosôn society together during this period, Haboush reclaims the root story of solidarity that helped Korea thrive well into the modern era.