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Art Show

제목 Park Su-geun. Park Byung-joon .Kim Hwan-Ki ,Park Seo-Bo Chun Kyung-Ja 등록일 2011.09.09 15:09
글쓴이 david

 

America .Europe also held an exhibition of Korean art that produced many young

Korean artists such as Park Su-geun. Park Byung-joon .Kim Hwan-Ki ,Park Seo-Bo Chun Kyung-Ja

To this date there has not been a retrospective show of the hidden art under America.Europe occupation,

or a discussion of the conflicts between those who were forced into compromise under America artistic demands.

 It is a sensitive issue, with artists who studied and worked in U,S,A . Europe and painted in the America .

 Europe style forced into self-defense and justification of compromise without other alternatives.

 

Korean painting includes paintings made in Korea or by overseas Koreans on all surfaces.

 It includes art as old as the petroglyphs through post-modern conceptual art using transient forms of light.

 Calligraphy rarely occurs in oil paintings and is dealt with in the brushwork entry, Korean calligraphy.

 Like arts of East Asia, beauty of space is important for Korean painting.

 

Generally the history of Korean painting is dated to approximately 108 AD, when it first appears as an independent form.

 Between that time and the paintings and frescoes that appear on the Goguryeo tombs, there has been little research.

Until the Joseon dynasty the 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 minhwa, 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. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames,

 and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich thalo and primary colours inspired by Indian art.

 

Korean painters in the post-1945 period have assimilated some of the approaches of the west.

Certain European artists with thick impasto technique and foregrounded brushstrokes captured the Korean interest first.

 Such artists as Gauguin, Monticelli, Van Gogh, Cézanne, 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.

And from these have been drawn the tonal palettes of modern Korean artists: yellow ochre,

cadmium yellow, Naples yellow, red earth, and sienna. 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 East Asian art trends.

Nimbus colours are not necessarily gold, and may be suggested by lighter colours.

 Faces tend to realism and show humanity and age. Drapery is done with some to great care.

The face is generally two-dimensional, the drapery three-dimensional. 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. Iconography follows Buddhist iconography.

 

Scholars tend to have the traditional stove-pipe hats, or other rank hats, and scholar's monochromatic robes.

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. Wild boar, deer, and stags,

and Siberian tigers as well were hunted.

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.

 Buddhas tend to have Korean facial features, and are in easy resting positions.

 

Korean artists from the middle 1880s til 1945

 had a very difficult time when Korea was freed by the allies after the unconditional surrender of Japan.

 

From the 1880s onward, the emerging popularity of western art in Japan lead to a low opinion of traditional Korean art.

 Nevertheless, the formation of the Korean crafts museum in 1924

by Japanese philosopher Yanagi Sōetsu is a strong example of Japanese

 aesthetes who still appreciated Korean art. From Koryo dynasty.

 

 

 

 

 

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