Contemporary Art from South Korea

An exhibition of paintings by four South Korean Artists at Hacienda Gallery, Mumbai from January 18 to 30, 2007

Genres of Contemporary Korean Paintings

Seo Seongrok, art critic
(Seo Seongrok’s writing interpreted in a conversation between Kim Kyoungae and Jasmine Shah Varma)

In Korea there are two distinct genres in painting. One is Western Painting that came from Japan during the Colonial period under Japan. The other is Korean Painting which is an altered form of Sumukhwa (Chinese ink painting). Geographically Korea is surrounded by powerful countries hence there has been a constant political and cultural influence of one power or the other. Korea adopted and incorporated various influences and what we see today is a result of both these genres coexisting and evolving over time.

Contemporary artists continue the use of Korean Painting material and follow its aesthetics. Typical material used includes paper, ink stick, ink stone, pointed brush etc. The understanding of space in Korean Painting is distinct from that in Western Painting. In the former the use of space and the application of strokes and ink are given importance but in Western Painting the emphasis is on description of ideas, rendering texture and telling a story. But contemporary Korean artists do not follow the peculiarities of each genre strictly. They borrow from both traditions to create a unique contemporary visual language.


Lee Jongmok is a good example of Korean Painting. He exhibits well the harmony between paper, water, brush and ink. In Korean Painting various hues of black are explored by varying the amount of water used in a stroke. In Jongmok’s work handling of water and ink is remarkable. His linear brush strokes are noteworthy. The strokes are natural, gossamer and flow easy. The brush stroke is not applied with force on paper, ink gently permeates the surface. When the tip of the brush touches the paper, the paper seems to want more brush strokes.



Kim Kyungsun explores the metaphysical aspects of lotus leaf form. Compared with Jongmok her paintings are more process oriented and physically involving. She drips colour, spreads and scatters colour and ink on paper. She makes imprints of colour. The paper absorbs colour and the overlapping of hues is apparent. Her brush strokes are like clouds in the sky. In her compositions the main elements appear like coincidence or unplanned, but they do not result from impulsiveness. Her process involves using calculated amount of water, ink and preplanned strokes. The idea however is to make it appears natural in the final painting. The intense process of creating is not apparent, on the contrary the paintings appears serene and detached. Her work brings out an internal expression and surpasses corporeal qualities. Looking at the painting is not just a visual experience but a deeper mystical one.


Shin Hyundae’s painting displays another aspect of Korean Painting. Hyundae paints in the style of Silkyoungsansoo — depicting actual scene or landscape. This practice of painting flourished in Korea before Impressionism in France. During the Chosun Period (1392 to 1910) the tradition of Kwannyumsansoo — painting from memory or reference and not directly from life — was practiced until Silkyoungsansoo came about in the later years. Korean painters went outdoors and painted from life.

In contemporary times they continue to the practice Silkyoungsansoo as seen in Hyundae’s work. He visits remote rural areas, ancient monuments, scenes in urban cities, mountains and seashores and observes life and people there. For him the brush has a different function. It is not a medium for holding ink, but it is a means for the artist to express himself. The difference from the traditional and Hyundae’s practice is that the latter adds more colour which helps to express emotions and feelings more emphatically. In one of his earlier painting of pine trees and white snow fields you can experience the freshness and purity in the air.


Kim Kyoungae’s paintings are expressive and reminiscent of Minwha, a late Chosun period practice, which became popular among low middle class. Minwha is a form of Korean traditional painting created by self-taught artists. It’s decorative, colourful and does not conform to rules and regulations of formal Korean Painting. It brings in the essence of the common Korean people and conveys joyfulness. Kyoungae’s work does not strictly belong to the Minwha tradition but one can see some relevance of this style in her work. The use of decorative motif and bright colours is similar to Minwha paintings. But the artist’s emphasis on composition and structure and the content are different from Minwha tradition. In Kyoungae’s painting clouds, trees, flowers, circles and squares suggest more than the physical aspects of the painted image. The colours are used to express personal memories and experiences. In her painting two different realms — the real and the dream co-exist. They seem to be in the past or in the dream and create a nostalgic feeling. The painted images are from the real world but are rendered to create mystery. There’s also a sense of illusion of travel in fantasy. She creates many kinds of worlds in one painting.

Contemporary Korean artists have found an independent visual language in spite of proximity to China and Japan. They use bright colours, some follow the tradition of Silkyoungsansoo and there are others who emphasize the harmony of water, ink and paper. The works of each of the four artists display a critical part of Korean Painting. Their art practice is distinct from each other and yet it is held together by the peculiarities of Korean Painting. This group exhibition offers an opportunity to understand a part of contemporary painting in Korea.

Seo Seongrok, art critic has been teaching History of Art and Aesthetics at the Faculty of Fine Arts, Andong National University, Andong, South Korea since 1990. He was awarded Best Art Critic in 2001 by Walgan Art. In 2006 he was awarded best author for his writings on Korean Art. Some of his major publications in Korean language are: Park Soogun, biography of the late Korean artist, Rembrandt, The God You Met in the Art Gallery, Dreaming Hand, Footprints of the Korean Contemporary Painting, Korean Contemporary Art, Perspectives on European and Oriental Arts and Issues of Contemporary Art.