Papers by Robert Carrubba
From Extraction to Final Product: Following the Artisanal Gold Production Network in the Eastern DR Congo, 2018
After agriculture, artisanal mining is the most important livelihood in the eastern Democratic Re... more After agriculture, artisanal mining is the most important livelihood in the eastern Democratic Republic of the Congo (DRC). As a result of government policy, war and demographic pressures, tens of thousands of rural Congolese families have experienced a long-term decline in their on-farm subsistence capacity. Artisanal mining has provided an important source of off-farm employment and income for these families, despite the inherent dangers of the work. Between 2013 and 2015, the International Peace Information Service (IPIS) visited 1,615 artisanal mines across the region, recording the presence of 239,700 miners. Around 80 percent of these miners were working in gold mines, and around two-thirds were working in mines affected by the presence of the national army or a non-state armed group. Often, armed groups levy a tax or demand tribute in return for 'protection'. While a lot of attention has been paid in recent years to the links between artisanal mining and conflict in the eastern DRC, less is known about the labour and production process itself. This photo story documents this process, following gold from the point of extraction at a rural artisanal gold mine in South Kivu Province, through processing and trade, to its transformation into a final product in the provincial capital Bukavu.
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Books by Robert Carrubba
서울대 한국어
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The Beauty of Old Korean Paintings A History and An Appreciation, 2005
The Beauty of Old Korean Paintings: A History and an Appreciation, by Lee Dongju 이동주 «李東洲» is an ... more The Beauty of Old Korean Paintings: A History and an Appreciation, by Lee Dongju 이동주 «李東洲» is an extraordinary gem of Korean art history, especially of painterly tradition in Korea and East Asia at large, writes Sajid Rizvi, commissioning editor of the volume and Editor of Saffron Books Korea Library Series.
The Beauty of Old Korean Paintings: A History and an Appreciation (translated by Robert Carrubba and Kim Kyongsook, ISBN 9781872843896, 2005; revised 2007) began as an illustrated lecture by Lee Dongju (1917-1997), the eminent author and art historian and Professor Emeritus at the Seoul National University. Although the book follows the format of a long slide lecture it has been thoroughly edited and adapted to make the texts and images accessible to an international audience. Initial editing by Robert Carruba and Kim Kyongsook was augmented with further editorial research and work, with addition of new elements, by Sajid Rizvi.
The Beauty of Old Korean Paintings originally was written in Korean under the subtitle A History and An Appreciation of Traditional Korean Paintings. As stated above the book began as an illustrated lecture by Lee Dongju 이동주 «李東洲», a self-trained art historian. The book evokes this passionate connoisseur’s acute, entertaining and at times uncomfortably frank observations on the subject of Korean art and artists.
The Beauty of Old Korean Paintings offers a wealth of information readily cross-referenced to Korean, Chinese and Japanese sources while preserving Professor Lee’s authentic voice and the value of his original work as an authoritative text on Korean painting. As the book is about to go out of print, with only a limited number of copies available, a new edition is being prepared by Sajid Rizvi, with further additions to the subject matter of the book.
True to Professor Lee’s intent, the book evokes interest in the whole gamut of Korean art as well as Korean artists, aesthetics and history.
About Lee Dongju
Lee Dongju 이동주 (李東洲), given name Lee Yonghui 이용희(李用熙˜), was born in Seoul, Korea, in 1917 and passed away in 1997. His father, Lee Gapseong, was one of thirty-three signatories to the declaration of independence issued during the March the 1st Movement of 1919.
Lee Yonghui attended Yonhi College, now Yonsei University, majoring in political science. Initially more famous as a scholar of international political science than an aesthete he held positions as Professor of Political Science at Seoul National University, President of Aju University, Reunification Minister, and First Secretary to the President. Although Lee Dongju never received an advanced degree in the subject, from his undergraduate days had a love for Korean art and naturally became immersed in its study.
For more than 60 years, he engaged himself in a comparative study of Korean, Chinese, and Japanese paintings while directly examining, researching, differentiating and systematising the specific character of traditional Korean works. Through his direct contact with these numerous paintings, Lee Dongju established his own aesthetic theory regarding Korean art, one that brought to light the error of narrow academic approaches and guided readers toward a more direct and proper appreciation. In this frame his aesthetic focused on appreciating individual paintings rather than judging works by the artist’s name or history. He asserted that a painting should be enjoyed for its intrinsic beauty.
Lee Dongju is among the very few scholars who are universally acknowledged to have an authoritative grasp of the history and tradition of Korean painting, having encountered and critiqued a vast number of works. Lee Dongju was prolific, authoring and editing numerous articles and a number of books on Korean Art, including, Old Korean Paintings, Korean Paintings in Japan, A Short History of Korean Painting, and Theory of the History of Korean Painting. Later in life, he found his greatest pleasures in paintings rather than politics.
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A History of Korean Science and Technology, 2011
Korean science is closely related to traditional Chinese technology, but Sang-woon Jeon's A Histo... more Korean science is closely related to traditional Chinese technology, but Sang-woon Jeon's A History of Korean Science and Technology shows that Korean scientists, engineers and technicians adapted Chinese practice to suit the natural elements, seasons and climate of the Korean peninsula. Jeon develops his thesis by considering the creative legacy of Korean practitioners in a number of different areas, including astronomy and meterology ("the sciences of heavens"), metal, glass and gunpowder ("the sciences of earth and fire"), printing, geography and cartography. He concludes with a comparison of science and technology in Korea and Japan, and with a discussion of important scientists active during the Choson Period.
The book is filled with new information and fresh arguments. His conclusions will be useful for professional scholars in the history of science and technology and also for general historians, as it provides topics for academic debate and fruitful indications for research. The lavish illustrations support the writer's thesis and are themselves part of Korea's rich artistic heritage.
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Papers by Robert Carrubba
Books by Robert Carrubba
The Beauty of Old Korean Paintings: A History and an Appreciation (translated by Robert Carrubba and Kim Kyongsook, ISBN 9781872843896, 2005; revised 2007) began as an illustrated lecture by Lee Dongju (1917-1997), the eminent author and art historian and Professor Emeritus at the Seoul National University. Although the book follows the format of a long slide lecture it has been thoroughly edited and adapted to make the texts and images accessible to an international audience. Initial editing by Robert Carruba and Kim Kyongsook was augmented with further editorial research and work, with addition of new elements, by Sajid Rizvi.
The Beauty of Old Korean Paintings originally was written in Korean under the subtitle A History and An Appreciation of Traditional Korean Paintings. As stated above the book began as an illustrated lecture by Lee Dongju 이동주 «李東洲», a self-trained art historian. The book evokes this passionate connoisseur’s acute, entertaining and at times uncomfortably frank observations on the subject of Korean art and artists.
The Beauty of Old Korean Paintings offers a wealth of information readily cross-referenced to Korean, Chinese and Japanese sources while preserving Professor Lee’s authentic voice and the value of his original work as an authoritative text on Korean painting. As the book is about to go out of print, with only a limited number of copies available, a new edition is being prepared by Sajid Rizvi, with further additions to the subject matter of the book.
True to Professor Lee’s intent, the book evokes interest in the whole gamut of Korean art as well as Korean artists, aesthetics and history.
About Lee Dongju
Lee Dongju 이동주 (李東洲), given name Lee Yonghui 이용희(李用熙˜), was born in Seoul, Korea, in 1917 and passed away in 1997. His father, Lee Gapseong, was one of thirty-three signatories to the declaration of independence issued during the March the 1st Movement of 1919.
Lee Yonghui attended Yonhi College, now Yonsei University, majoring in political science. Initially more famous as a scholar of international political science than an aesthete he held positions as Professor of Political Science at Seoul National University, President of Aju University, Reunification Minister, and First Secretary to the President. Although Lee Dongju never received an advanced degree in the subject, from his undergraduate days had a love for Korean art and naturally became immersed in its study.
For more than 60 years, he engaged himself in a comparative study of Korean, Chinese, and Japanese paintings while directly examining, researching, differentiating and systematising the specific character of traditional Korean works. Through his direct contact with these numerous paintings, Lee Dongju established his own aesthetic theory regarding Korean art, one that brought to light the error of narrow academic approaches and guided readers toward a more direct and proper appreciation. In this frame his aesthetic focused on appreciating individual paintings rather than judging works by the artist’s name or history. He asserted that a painting should be enjoyed for its intrinsic beauty.
Lee Dongju is among the very few scholars who are universally acknowledged to have an authoritative grasp of the history and tradition of Korean painting, having encountered and critiqued a vast number of works. Lee Dongju was prolific, authoring and editing numerous articles and a number of books on Korean Art, including, Old Korean Paintings, Korean Paintings in Japan, A Short History of Korean Painting, and Theory of the History of Korean Painting. Later in life, he found his greatest pleasures in paintings rather than politics.
The book is filled with new information and fresh arguments. His conclusions will be useful for professional scholars in the history of science and technology and also for general historians, as it provides topics for academic debate and fruitful indications for research. The lavish illustrations support the writer's thesis and are themselves part of Korea's rich artistic heritage.
The Beauty of Old Korean Paintings: A History and an Appreciation (translated by Robert Carrubba and Kim Kyongsook, ISBN 9781872843896, 2005; revised 2007) began as an illustrated lecture by Lee Dongju (1917-1997), the eminent author and art historian and Professor Emeritus at the Seoul National University. Although the book follows the format of a long slide lecture it has been thoroughly edited and adapted to make the texts and images accessible to an international audience. Initial editing by Robert Carruba and Kim Kyongsook was augmented with further editorial research and work, with addition of new elements, by Sajid Rizvi.
The Beauty of Old Korean Paintings originally was written in Korean under the subtitle A History and An Appreciation of Traditional Korean Paintings. As stated above the book began as an illustrated lecture by Lee Dongju 이동주 «李東洲», a self-trained art historian. The book evokes this passionate connoisseur’s acute, entertaining and at times uncomfortably frank observations on the subject of Korean art and artists.
The Beauty of Old Korean Paintings offers a wealth of information readily cross-referenced to Korean, Chinese and Japanese sources while preserving Professor Lee’s authentic voice and the value of his original work as an authoritative text on Korean painting. As the book is about to go out of print, with only a limited number of copies available, a new edition is being prepared by Sajid Rizvi, with further additions to the subject matter of the book.
True to Professor Lee’s intent, the book evokes interest in the whole gamut of Korean art as well as Korean artists, aesthetics and history.
About Lee Dongju
Lee Dongju 이동주 (李東洲), given name Lee Yonghui 이용희(李用熙˜), was born in Seoul, Korea, in 1917 and passed away in 1997. His father, Lee Gapseong, was one of thirty-three signatories to the declaration of independence issued during the March the 1st Movement of 1919.
Lee Yonghui attended Yonhi College, now Yonsei University, majoring in political science. Initially more famous as a scholar of international political science than an aesthete he held positions as Professor of Political Science at Seoul National University, President of Aju University, Reunification Minister, and First Secretary to the President. Although Lee Dongju never received an advanced degree in the subject, from his undergraduate days had a love for Korean art and naturally became immersed in its study.
For more than 60 years, he engaged himself in a comparative study of Korean, Chinese, and Japanese paintings while directly examining, researching, differentiating and systematising the specific character of traditional Korean works. Through his direct contact with these numerous paintings, Lee Dongju established his own aesthetic theory regarding Korean art, one that brought to light the error of narrow academic approaches and guided readers toward a more direct and proper appreciation. In this frame his aesthetic focused on appreciating individual paintings rather than judging works by the artist’s name or history. He asserted that a painting should be enjoyed for its intrinsic beauty.
Lee Dongju is among the very few scholars who are universally acknowledged to have an authoritative grasp of the history and tradition of Korean painting, having encountered and critiqued a vast number of works. Lee Dongju was prolific, authoring and editing numerous articles and a number of books on Korean Art, including, Old Korean Paintings, Korean Paintings in Japan, A Short History of Korean Painting, and Theory of the History of Korean Painting. Later in life, he found his greatest pleasures in paintings rather than politics.
The book is filled with new information and fresh arguments. His conclusions will be useful for professional scholars in the history of science and technology and also for general historians, as it provides topics for academic debate and fruitful indications for research. The lavish illustrations support the writer's thesis and are themselves part of Korea's rich artistic heritage.