The History of Korean Paintings

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 center 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)(see a graphical display of the Korean, Japanese and Chinese timelines
here), 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 stylized 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 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 flavor of painting also
could be seen in the stylized 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 favor 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.
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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 stylized
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 three
kingdoms, and Koryo 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 colors (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

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 colorful 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, honors 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.

Four Gracious Plants

The Four Gracious Plants, alternately called the Four Gentlemanly Plants, or the
Four Seasons symbols, consist of plum blossoms, orchids or wild orchids,
chrysanthemums, and bamboo. They were originally Confucian symbols for the four
qualities of a learned man, but are now more commonly associated with the four
seasons. They are plum blossoms which represented courage, the orchid stood for
refinement, the chrysanthemum was a sign of a productive, and fruitful life, and
bamboo represented integrity. In modern times, the four have come to be associated
with the seasons as well; plums blossoms bravely bloom in the cold of an early spring,
orchids disseminate a dim fragrance far in the heat of summer, chrysanthemums
overcome the first cold of a late fall and bloom, and bamboo bares its green leaves
even in the winter.
Portraits

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.
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About our Paintings

Korean-Arts' collection of paintings are all hand painted by Korean artisans and
represent the rich traditions of landscape, genre, Minhwa, and the Four Gracious
Plants.
All our works are painted on hanging silk scrolls, and feature the painting centered
on a patterned background which has a small wood dowel at the top with a hook for
hanging, and a dowel at the bottom to keep the scroll hanging true.
Many of our paintings are reproductions such as the Minhwa tiger found on this
page. While others are unique works that follow the traditions of landscape,
genre, Minhwa, or the Four Gracious Plants paintings discussed above.