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Traditional Korean Painting and Artists from the Chosun
Period
Foreign influence
The history of Korean painting stretches back to the early murals painted
on the walls of tombs during the fourth century, and continues to the present,
in which a great number of Korean artists keep the styles and forms of the
traditional artists alive, blend the traditional styles with modern motifs,
or paint in a completely modern style. Just as today, painters from many
countries study abroad to learn the styles of other countries master's or
their traditions, so did the early Korean painters travel abroad to study
the works of those that were considered the masters. In the fourth century,
China was considered, both by itself, as well as by many Asian countries
under its influence, to be the centre of the universe. As such, many Korean
painters were sent to China to learn modern Chinese painting styles. What
they learned, influenced not only the paintings of Korea, but also the art
of Japan, as many Korean artisans migrated to Japan.
Three Kingdoms Period
The Three Kingdoms period in Korea consisted of the separate kingdoms of
Shilla (37 B.C. - 668), which absorbed the other two kingdoms and became
Unified Shilla by 668, the Paekje Kingdom, which began in 18 B.C. and lasted
until it was absorbed by the Unified Shilla Kingdom in 663, and the Koguryo
kingdom which lasted from 37 B.C. until its unification with Shilla in 668.
Each of the three kingdoms had its own unique painting style, each of which
was influenced by a geographical region in China with which that kingdom
had relations. Early Shilla paintings, while said to be inferior in technique
to those of Koguryo and Paekche, tended to be more fanciful and free-spirited.
Some of them could almost be considered impressionistic. Paekche paintings
did not lean toward realism and were more stylised in an elegant free-flowing
style. In marked contrast to the paintings of Shilla and Paekche, the paintings
of Koguryo were dynamic and active and often showed scenes of tigers fleeing
archers on horseback. Following the assimilation of Paekche and Koguryo
into the Unified Shilla Kingdom, the three uniquely different painting styles
grew into one and were further influenced by continued contact with China
by the Shilla state.
Koryo
The Koryo period (918-1392) was marked by a proliferation of painters as
many aristocrats and began painting for the intellectual stimulation, and
the flourishing of Buddhism, just as it had created a need for celadon wares
for religious ceremonies, likewise created a need for paintings with Buddhist
motifs. Though elegant and refined, the Buddhist paintings of the Koryo
period could also be considered gaudy by today's standards. Another trend
which has its roots in the Koryo era was the practice of painting scenes
based on their actual appearance which would later become common during
the Chosun period.
Chosun
The Chosun period (1392-1910) is marked by a great number of changes that
occurred in Korean painting. The adoption of Confucianism as the state philosophy
during the Choson dynasty (1392 –1910) had a very profound affect
on Buddhist painting. Although Buddhism continued to be popular and still
had significant royal support, it never again had the artistic pre-eminence
that it once enjoyed. The decline of the strong Buddhist culture which helped
lead to a reduction in quality celadon products, also helped to move Korean
painting away from its emphasis on religious motifs. At the same time, Korean
artists continued to be influenced by the painters of China but were able
to transcend the Chinese mold, and develop a stronger sense of native Korean
painting. This stronger sense, of their native land, was further strengthened
by the Silhak, or practical learning movement, which emphasized understanding
based on actual observance. Korean paintings began to be based on actual
scenes of the Korean countryside or Korean people engaged in common activities.
The uniquely Korean flavour of painting also could be seen in the stylised
depiction of animals, and plants.
Colonial Period
The Japanese colonial period (1910-1945) nearly wiped out the tradition
of Korean painting. During this time, many things Korean were suppressed,
such as the language, in an attempt to assimilate the Koreans into the Japanese
culture. Korean painting culture was likewise suppressed by the Japanese
in flavour of Western or Chinese styles - both of which had been adopted
by the Japanese. After Korea's liberation from Japan in 1945, Korea's painting
tradition was revived by a number of Korean artisans in the same way the
art of making celadon was revived.
Types of Korean Paintings
Categorizing the large numbers of Korean painting styles could be a daunting
task and would require a work of greater scope than this article, but in
general, Korean paintings can be broken down into the following, periods
or categories.
Paintings from the three kingdoms period include the energetic style of
the Koguryo, the elegant paintings of Paekche, and the fanciful lines of
the the Shilla works. A great number of the paintings during the Koryo period
were of the religious variety due to the powerful influence of Buddhism
at that time. Also, during this period, the idea of paintings based on actual
scenery or scenes rather than stylised ideas began to increase in popularity.
The paintings of the Chosun era offer the richest variety and are the styles
most imitated today. While some of these types of paintings did exist in
the earlier periods, it was during the Chosun period that they came into
their own. The paintings of the Chosun period can be broken down into five
categories: landscape paintings, genre, Minhwa, the Four Gracious Plants,
and portraits.
Landscape - Often called the realistic landscape school,
the practice of painting landscapes based on actual scenes became more popular
during the mid-Chosun period. During this time, many painters traveled the
countryside in search of beautiful scenery to paint.
Genre - At the same time as the interest in realistic landscapes
surged, so did the practice of painting the realistic scenes of ordinary
people doing ordinary things. Genre painting, as this has come to be called,
is the most uniquely Korean of all the painting styles and gives us a historic
look into the daily lives of the people of the Chosun period. Some of the
most notable of the genre painters were Kim Hong-do (1745-1818?) who left
a large collection of paintings portraying many different scenes from Korea's
past in vivid colours (see some of his paintings here). Another of the great
genre painters was Shin Yun-bok (1758-?), who's paintings of often risque
scenes were both romantic and sensual (see some of his paintings here).
Minhwa, or folk paintings are by far the most interesting
of the traditional Korean paintings. The characteristics of Minhwa paintings
are that they were all painted by unknown artists, and all were painted
near the end of, or after the Chosun period. Though many of them appear
rather childish, and unrefined, quite a number display great painting skill.
Under the Minhwa category of paintings are many sub-categories. In brief
they are:
Landscape Paintings - Some of the most common of the Minhwa genre, Minhwa
landscape paintings can follow any of the traditional styles from the earlier
periods.
Magpies and Tigers - One of the most popular themes next
to landscapes, the tigers are usually depicted in a comical manner and are
shown with a magpie squawking at them from a tree - the magpie is considered
a carrier of good news.
Flowers and Birds - Paintings with flowers are usually quite colourful while
those that depict animals generally show animals in pairs with the Sun,
or Moon. These motifs can be seen on some modern celadon, lacquered boxes,
and music boxes as well.
Peonies - The peony symbolizes wealth, honours and high
social position and is used extensively in Minhwa paintings as well as in
celadon.
Lotus Flowers - Though it originally represented the Sun
and the mercy of Buddha, in Minhwa paintings it has come to represent high
government officials.
The Ten Longevity Symbols - The symbols are the Sun, clouds,
mountains, rocks, water, cranes, deer, turtles, pine trees, and mushrooms.
These symbols can be found in many Minhwa paintings and also on modern lacquered
boxes and celadon designs.
Dragons - The dragon can represent a variety of meanings
including repelling evil spirits and bringing rain.
Paintings of Tiger Hide - As the cost of real tiger hides was prohibitive,
paintings that resembled tiger skin were used to provoke the tigers' power
as a guardian.
Fish and Crabs - Usually appear in pairs kissing or otherwise
being amorous.
Manchurian Hunting Scenes - Used as a sign of bravery these
paintings often decorated military quarters.
One Hundred Children - Representing the 100 children from heaven they reflect
a wish for many, healthy descendants.
Paintings of the Life Cycle - Used primarily to depict
the life of a scholar-official.
Bookcases and Scholars' Rooms - Similar to a Western still-life,
these paintings showed the accoutrements of a scholar.
Shamanistic Deities - These paintings usually showed shamanistic
rites or deities.
Portraits were painted throughout Korean history but were produced in greater
numbers during the Chosun period. The main subjects of the portraits were
kings, meritorious subjects, elderly officials, literati or aristocrats,
women, and Buddhist monks.
Some Important Artists
Sin Yun-bok
Sin Yun-bok, also known as Hyewon, (mid-18th century). Korean painter. He
was a professional painter employed by the Bureau of Painting in Seoul and
is known above all for his genre-paintings. His themes are drawn primarily
from the daily life of the Korean upper class, the yangban. Through their
rich details his paintings contribute greatly to knowledge of the customs
and activities of the well-to-do in the late Choson period (1392–1910).
His paintings usually show young scholars and noblemen in the company of
kisaeng (professional female entertainers; or simply depict the girls in
various situations, a subject in which he apparently took great delight.
Given that contemporary society was heavily bound by Confucian moral norms,
his paintings are often daring and sensual. This is not only because he
depicts amorous couples, but also because the kisaeng are made the primary
figures in his works.
Yi Myong-gi
Yi Myong-gi, (c. 1791–6). Korean painter. Active in the Choson period
(1392–1910), he was born into a family of hwawon, artists of the Bureau
of Painting (Tohwaso). In 1791 he was himself appointed a court artist.
For the completion of a portrait of the king he was given the rank of ch’albang,
a post which gave him charge over a provincial office. Yi painted the faces
of his important subjects, combining realistic depiction with a lively interpretation
of each person’s rank and personality. In comparison to his portraiture
Yi’s landscapes are not so original, merely attaining the level of
picturesque.