Exhibition shows Korean paintings aren't all black and white

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Exhibition shows Korean paintings aren't all black and white

“Tangled Snakes” (1969) and other paintings by Chun Kyung-ja (1924-2015) are some of the highlights of the new exhibition “The Flow of Korean Polychrome Paintings” in Jinju, South Gyeongsang. [LEEUM MUSEUM OF ART]

“Tangled Snakes” (1969) and other paintings by Chun Kyung-ja (1924-2015) are some of the highlights of the new exhibition “The Flow of Korean Polychrome Paintings” in Jinju, South Gyeongsang. [LEEUM MUSEUM OF ART]

 
During the Joseon Dynasty (1392-1910), there was a saying that went, “Pyongyang in the North and Jinju in the South,” which referred to the two prosperous cities that were said to be the best places in Korea to enjoy gastronomy, arts and entertainment.
 
But Jinju, located in South Gyeongsang, now seems to be largely overshadowed by nearby metropolitan cities such as Busan and its economic and cultural status. To revive the splendor of the past, Jinju City is attempting various cultural projects. One of them is the new art exhibition “The Flow of Korean Polychrome Paintings.”
 
The exhibition explores the tradition of Korean chaesaekhwa, or colorful paintings, which had been belittled compared to Confucian scholars’ ink paintings in the Confucianism-oriented Joseon era, and Korean modern paintings that use the same materials and techniques of chaesaekhwa. It will take place at the Jinju National Museum and the municipal Rhee Seund Ja Jinju Museum of Art from next Tuesday to June 19. 
 
“This exhibition has been curated by a group of experts, most of whom formerly worked at national museums,” explained Chung Joon-mo, one of the curators and former chief curator of the National Museum of Modern and Contemporary Art (MMCA), during a press conference held at a restaurant in central Seoul on Monday. “Jinju City greatly supported the curators, while not intervening in curation. Accordingly, we could borrow important paintings from prestigious museums such as the National Museum of Korea, National Folk Museum, MMCA and Leeum Museum of Art.”
 
“Irwolbusangdo (The Sun and Moon on the Sacred Trees in the East Sea),” a folk painting by an unknown artist, is one of the highlights of the new exhibition “The Flow of Korean Polychrome Paintings” in Jinju, South Gyeongsang.  [LEEUM MUSEUM OF ART]

“Irwolbusangdo (The Sun and Moon on the Sacred Trees in the East Sea),” a folk painting by an unknown artist, is one of the highlights of the new exhibition “The Flow of Korean Polychrome Paintings” in Jinju, South Gyeongsang. [LEEUM MUSEUM OF ART]

 
Among the highlights of the paintings to be on display are “Cheonsan Daeryeopdo (The Grand Hunt on the Heavenly Mountain),” attributed to King Gongmin (1330-1374) of the Goryeo Dynasty (918-1392); paintings of Taoist deities, attributed to Kim Hong-do (1745-1806), who is regarded as one of Joseon’s greatest painters; and “Irwolbusangdo (The Sun and Moon on the Sacred Trees in the East Sea),” a folk painting by an unknown artist.
 
“It is the first time for the painting ‘Irwolbusangdo’ to be shown to the public,” Chung said. “It is an interesting folk painting that imitates and transforms the image of ‘Irworobongdo’ or ‘Painting of the Sun, Moon and the Five Peaks’ which was set behind the king’s royal throne during the Joseon Dynasty. In my opinion, it reflects a kind of modern spirit in the late Joseon period when the general public no longer regarded royal images as sacred things that they dare not imitate for their home decoration.”
 
The exhibition also explores the evolution of the genre of miindo (paintings of beautiful women) from the Joseon period to the early 20th century, by showing paintings of women by Sin Yun-bok (1758-1814); the folding screen painting “Beauties from the Eight Provinces” by Chae Yong-sin (1848-1941) and the portraits of historical and legendary female figures by Kim Eun-ho (1892-1979).
 
“Shaman” (1984) by Park Saeng Kwang (1904-85) [LEEUM MUSEUM OF ART]

“Shaman” (1984) by Park Saeng Kwang (1904-85) [LEEUM MUSEUM OF ART]

 
Among the highlights of modern paintings that apply traditional pigment and techniques is “Tangled Snakes” (1969) and other works by Chun Kyung-ja (1924-2015), one of the most famous Korean modern painters, and “Shaman” (1984) by Park Saeng Kwang (1904-85), a Jinju-born painter who inspired the artists that led the minjung art (people’s art) movement in the 1980s. Park’s paintings in bold colors and compositions were influenced by old paintings of Korean folk religions such as shamanism and folk Buddhism.
 
“I hope the exhibition will break the prejudice that ink paintings with limited colors is central to the tradition of Korean painting,” said Lee Won-bok, one of the curators of this exhibition and former chief curator of the National Museum of Korea.

BY MOON SO-YOUNG [moon.soyoung@joongang.co.kr]
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