Korean history can be split between six periods. The Formative Period, Three Kingdoms Period (57 BCE-688 CE), Silla Period (688-935), Koryo Period (918-1392), Joseon Period (1392-1910), and Modern Period (1910-now). The Joseon period is "the last and longest-lived imperial dynasty of Korea", it is distinguished by having a close relationship with the neighboring Ming dynasty of China, adopting a similar bureaucratic system and Neo-Confucianism (Britannica). The new bureaucratic system redistributed lands and created the Yangban, a new scholar-official aristocratic class. In 1443, King Sejong developed Hangul, the phonetic Korean alphabet still used today. In 1592, Korea was invaded by Japan, then in 1627 Korea was invaded by the Manchu tribes, so afterward it became incredibly isolationist until the 1880s. The Treaty of Ganghwa (1876) opened Korea as an independent state and became an "arena for competition" among Chinese and Japanese powers, especially during the Sino-Japanese War (1894-95) and the Russo-Japanese War (1904-05). Eventually, Korea was annexed by Japan in 1910, thus ending the Joseon dynasty.
Traditional Korean art was generally defined by its "simplicity, spontaneity, and feeling of harmony with nature" (Britannica). Similar to Chinese and Japanese cultural values. Traditional Korean art was very naturalistic, it lets the inherent patterns of nature speak for itself. Which leads artists to simplicity and brings out the natural characteristics of the materials used. This simplicity was applied to both the form and design of a piece. For example, "a single stem of a flower... may be drawn in a subtle shade of blue on the side of porcelain vase or bottle, but never merely from a desire to fill empty space. The effect is rather to enlarge the white background" (Britannica). There's also an avoidance of extremes in Korean works. Hard lines, sharp angles, steep planes, and garish colors were avoided and replaced by graceful, modest lines and gentle and mellow colors. There's a "quiet inner harmony" alongside the art's rhythm (Britannica).
Joseon art before the invasions of 1592 and 1627 by Japanese and Manchu forces was more spontaneous than the previous Koryo period and showed an Indigenous aesthetic sense. It displayed Confucianist values. After the invasions, a strong nationalist sentiment grew in Korea, so citizens focused more on rebuilding its economy and maintaining the Korean culture. Scholars focused more on improving Korean culture and spreading practical knowledge instead of "empty" Confucianist ideals. Artists created works on landscapes and daily Korean life. There was a florescence of Joseon art during the 17th and 18th centuries but died out due to declining patronage, lack of inspiration, and the depression and poverty that occurred during the last few decades and the eventual end of the dynasty.
I chose this piece as it's a great example of the Joseon period, and I like the design of the dragon. I like how it curves around the vase, grasping for its quarry. Its face is exaggerated and amusing to look at. The cleanliness of the lines and form also interests me as it is well-preserved despite being 200+ years old and despite Korea going through Japanese occupation during the early 20th century.
This vase depicts a dragon chasing Chintamani, a wish-granting jewel, around it. The dragon curves and glides across this blue-and-white porcelain vase. Dragons were popular with Korean elites as they represented authority and royalty, and thus became associated with success and good fortune in the 18th century. The cobalt blue used in this vase also helps define the status of its owners as cobalt was imported from the Middle East to Korea and was reserved for use by royalty and the upper class. The bottle-like shape and the material, glaze, and composition place it squarely in the Joseon dynasty and
as a good, well-preserved example of the period (Chicago Institute). The form of the vase is well used for both composition and practical use. The bottle shape helps one contain objects and pour out liquids. It also helps increase the stature of the dragon as it swells and conquers the whole composition. Color is also used well as the stark contrast helps define the authority and power of the dragon and the innocence of the background, of nature. The piece also showcases incredible linework as diagonal lines create a sense of movement and power to the dragon and flowers. It also uses a lot of small lines to detail the dragon's face and scales, but it's not too cluttered to help emphasize the whiteness of the vase.
I chose this piece because I enjoy the simplicity of the lines and the abstract design of the orchid tree. I like how it all flows together.
This piece abstractly depicts an orchid tree growing from barren rock. The slender leaves and graceful flowers growing from the rock help convey the orchid's symbolism of strength. Kim Eung-won was a master painter of the last phases of the Joseon period. As a literati painter, he focused on orchids and rocks and used art "as a form of self-cultivation and self-expression rather than for professional purposes" (Chicago Institute). His works are very similar to Prince Yi Ha-ung (1820-1898) and Kim Jeong-hui (1786-1856) as he worked closely with Prince Yi and with a pupil of Jeong-hui.
The linework of this piece is very simplistic but conveys the message of an orchid tree. The thick blotchy line forms the base of it while the thin waving lines show movement and grace. The spacing in the piece is very open. Which forces viewers to solely focus on the orchid and its natural flowing growth and the beauty of its nature. The value of this piece, the stark black ink against the brighter paper, also helps showcase the innate beauty of the orchid tree. It is simply the darkness of the tree and shadows of the rock it grows from against the blankness, the nothing, of the rest of the world/paper.
I chose this piece because I greatly enjoy the composition and figure. I like how well-detailed the Kingfisher is compared to the rest of the scene. It brings out a note of tranquility and quiet, it reminds me of sitting in a park to nature watch and people watch.
This piece depicts a kingfisher perch on a leafless branch in the middle of winter. Cho Sok was a master painter of the Joseon era, primarily focusing on Korean landscape pieces. He was known for his ink paintings of birds, which are noted for their balance of realism and design effect (Britannica).
The line work in this piece is both simplistic and quite detailed at the same time. The branches are built from large, simple, and streaky lines which abstracts them and unfocussed them from the viewers' sight. The bird's linework is hyper-detailed and draws attention to it by the contrast of lines. The use of value in it also creates this contrast. The branches are blotchy with lighter and darker spots randomly within, and there are visible streak marks. Which helps to "blur," abstract, and unfocus the branch from the bird subject. While the bird is expertly shadowed and valued, there's a soft transition from the back to the belly of the bird and seamless transitions into the white feathers around the feet. The spacing in the piece is also well-used. The bird is dead center of the paper, which immediately draws viewers' eyes toward it, and the rest of the paper is empty, which helps highlight the kingfisher.
Works Cited:
Britannica, The Editors of Encyclopaedia. “Joseon Dynasty.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 19 Sept. 2024, www.britannica.com/topic/Joseon-dynasty. Accessed 02 Dec. 2024.
Chicago Art Institute. “Kim Eung-Won.” The Art Institute of Chicago, 2024, www.artic.edu/artists/103544/kim-eung-won. Accessed 02 Dec. 2024.
Chicago Art Institute. “Korean Art.” The Art Institute of Chicago, 2024, www.artic.edu/highlights/22/korean-art. Accessed 02 Dec. 2024.
Harvard. “Kingfisher on a Leafless, Winter Branch.” Harvard Art Museums, 2024, harvardartmuseums.org/collections/object/201048?position=2&context=person&id=34765. Accessed 02 Dec. 2024.
Kim, Won-yong, and Song-mi Yi. “Korean Art.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 22 Oct. 2023, www.britannica.com/art/Korean-art/Painting. Accessed 02 Dec. 2024.
I like how you link the historical context of Confucianism with the evolution of Joseon art. Your insights into the simplicity, harmony, and naturalism of Korean art highlight the distinct aesthetic principles that set it apart from Chinese and Japanese traditions. The dragon vase especially appeals to me because I didn't know that the cobalt blue was related to royalty.
ReplyDeleteThese pieces beautifully demonstrate the harmony of nature. Of all the pieces, I would have to say the "Kingfisher on a Leafless, Winter Branch" is my favorite. It also reminds me of sitting in nature watching my surroundings and feeling at peace. The kingfisher stands out against the branches, captivating the viewers. The "Bottle-shaped Glass" is lovely and the dedication and care to create a piece that flows naturally can be clearly seen. It is no wonder it is something that a royal would have in their possession. "Orchids" is simple but stands out as it grows through the barren rocks. It was interesting to learn that Eung-won painted for self-cultivation and expression instead of professional purposes.
ReplyDeleteHey Eli, awesome blog! I love how you talk about the different periods prior, and I like how you use different types of art. The way you discuss cobalt blue as being for royalty and the high class is great. I think you did a fantastic job discussing the Korean Joseon Period.
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