Korean painting
Photograph by tracie7779on Flickr.
Suffice to say that until the Joseon dynasty the Figure painting hobby primary influence was Chinese painting though done with Korean landscapes, facial features, Buddhist topics, and an emphasis on celestial observation in keeping with the rapid development of Korean astronomy. Throughout the history of Korean painting, there has been a constant separation of monochromatic works of black brushwork on very often mulberry paper or silk; and the colourful folk art or min-hwa, ritual arts, tomb paintings, and festival arts which had extensive use of colour. This distinction was often class-based: scholars, particularly in Confucian art felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first.
Ming ideals and imported techniques continued in early dynasty idealized works. Early dynasty painters include: Mid-dynasty painting styles moved towards increased realism. It is an issue of great sensitivity, with artists who studied and worked in Japan and painted in the Japanese style forced into self-defense and justification of compromise without other alternatives. Bridging the late Joseon dynasty and the Japanese occupation period were noteworthy artists such as: and others. .
Faces tend to realism and show humanity and age. Such artists as Gauguin, Monticelli, Van Gogh, Cezanne, Pissarro, and Braque have been highly influential as they have been the most taught in art schools, with books both readily available and translated into Korean early.
At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive. The list of major painters is long, but the most notable names include: What calligraphy used is often discreetly done. Other important artists of the literati school include: Ahn Gyeon (?-?), A Dream of Amusement in the Garden of Peach Blossoms, 1447, Tenri University Central Library. Yi Ahm (1499-?), Mother Dog, 15th century, National Museum of Korea. Jeong Seon (1676–1759), A View of Geumgang, 1734, Hoam Gallery. Kim Hong-do (1745-?), Two Men Wrestle, 18th century, National Museum of Korea. Kim Hong-do, A Cat and a Butterfly, 18th century, Gansong Art Gallery. Shin Yun-bok (1758-?), A Boat Ride, 1805, Gansong Art Gallery. Jo Hee-ryong (1797–1859), A House amongst Apricot Trees, Gansong Art Gallery. Korean artists from the middle 1880s til 1945, when Korea was freed by the allies after the unconditional surrender of Japan, had a very difficult time. From the 1880s onward, the Japanese invaders of Korea attempted both to obliterate and eliminate Korean art itself through looting and destruction of Korean artistic works, and continued as they closed Korean schools of art, torched Korean paintings of Korean subjects, and forced those few artists left to paint Japanese subjects in Japanese styles and so seed Japanese art as the art of the Koreas forever. To this date there has not been a retrospective show of the hidden art under Japanese occupation, or a discussion of the conflicts between those who were forced into compromise under Japanese artistic demands. Finely detailed art can be seen in Goguryeo tombs and other murals.
Typically they are at rest in teahouses near mountains or at mountain lodges, or will be pictured with their teachers or mentors. Hunting scenes, familiar throughout the entire world, are often seen in Korean courtly art, and are reminiscent of Mongolian and Persian hunting scenes. Nimbus colours are not necessarily gold, and may be suggested by lighter colours.
By 2005, 70 murals had been found, mostly in the Taedong river basin near Pyongyang, the Anak area in South Hwanghae province. Wild boar, deer, and stags, and sadly Siberian tigers as well were hunted.
And from these have been drawn the tonal palettes of modern Korean artists: yellow ochre, cadmium yellow, Naples yellow, red earth, and sienna. Calligraphy rarely occurs in oil paintings and is dealt with in the brushwork entry, Korean calligraphy. Generally the history of Korean painting is dated to approximately 108 C.E., when it first appears as an independent form.
As in medieval and renaissance western art, drapery and faces are done often by two or three artists who specialize in one particular painterly skill. A national painting style of landscapes called true view began - moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered.
Drapery is done with some to great care. Between that time and the paintings and frescoes that appear on the Goryeo dynasty tombs, there has been little research.
Neither colours nor forms had any real change, and rulers stood aside from edicts on art. It includes art as old as the petroglyphs through post-modern conceptual art using transient forms of light.
The murals of Horyu Temple, which are considered as treasures in Japan, were painted by the Goguryeo monk, Damjing. During the Goryeo dynasty exceptionally beautiful paintings were produced in the service of Buddhism; paintings of the bodhisattva Avalokiteshvara (Korean: Gwaneum Bosal) are especially noted for their elegance and spirituality. Yi Nyeong and Yi Je-hyeon are considered significant Goryeo artists outside of the Buddhist tradition. The influence of Confucianism superseded that of Buddhism in this period, however Buddhist elements remained and it is not true that Buddhist art declined, it continued, and was encouraged but not by the imperial centres of art, or the accepted taste of the Joseon Dynasty publicly; however in private homes, and indeed in the summer palaces of the Joseon Dynasty kings, the simplicity of Buddhist art was given great appreciation - but it was not seen as citified art. While the Joseon Dynasty began under military auspices, Goreyo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings. It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner search for particular Korean subjects.
All thickly painted, roughly stroked, and often showing heavily textured canvases or thick pebbled handmade papers. Colour theory has been used over formal perspective, and there has yet to be an overlap between painterly art and pop-graphics, since the primary influence on painters is ceramics art. The expected genres of Buddhist art showing the Buddha, or Buddhist monks, and Confucian art of scholars in repose, or studying in quiet often mountainous surroundings follows general Asian art trends. Buddhas tend to have Korean facial features, and are in easy resting positions. Iconography follows Buddhist iconography. Scholars tend to have the traditional stove-pipe hats, or other rank hats, and scholar s monochromatic robes.
While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting. Mid-dynasty painters include: The mid to late Joseon dynasty is considered the golden age of Korean painting. Particularly lethal spears and spear-handled maces were used by horsemen within hunting grounds after archers on the ground led the initial provocation of the animals as beaters. Goguryeo art, preserved largely in tomb paintings, is noted for the vigour of its imagery.
These magnificent, still strongly colored murals show daily life and Korean mythologies of the time. The face is generally two-dimensional, the drapery three-dimensional.
Many of the art pieces has an original style of painting. Goruryeo tomb murals date from around AD 500 during the Goguryeo period, 37 BC-AD 668.
