Relevant bibliographies by topics / Korean Genre painting

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Academic literature on the topic 'Korean Genre painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Korean Genre painting"

1

Vostrikova, Ekaterina. "The hwajohwa Genre (Bird-and-flower Painting) in Korean Traditional Painting of the Early and Middle Chosŏn Periods (Late 14th – Late 17th Centuries)." Scientific and analytical journal Burganov House. The space of culture 17, no. 2 (June 10, 2021): 61–78. http://dx.doi.org/10.36340/2071-6818-2021-17-2-61-78.

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The article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the early and middle Chosŏn periods (late 14th – late 17th centuries). The study identifies the historical and cultural context, the stylistic evolution of the bird-and-flower painting and the main terms for its designation. It presents individual artistic trends, examines the techniques used in Korean traditional painting. Moreover, the author outlines the leading artists who worked in this genre during the indicated period. In the early Chosŏn period (1392 – c. 1550), the hwajohwa genre gained particular relevance in traditional Korean painting, and a high artistic level was achieved in it. Vivid painting in the bird-and-flower genre, made in the academic style of court painting, became the most common and indicative of this historical period. In the process of the formation and strengthening of the positions of the new Yi dynasty, the ruling circles commissioned social paintings. Therefore, the works are characterised by an optimistic mood; the compositions are full of idyll and harmony with the world around them. Artist Yi Am, who laid the foundations for the development of the hwajohwa genre in Korea, was the most prominent representative of this movement. At the same time, scholar painters began to create small landscapes with birds, made only with water and ink. Confucian scholar Kim Jŏng is rightfully considered the founder of this scenic movement. The Middle Joseon period (c. 1550–1700) was characterised by the flourishing of the hwajohwa genre in the technique of monochrome ink painting. Many intellectual artists from the upper strata of Korean society emerged, for whom the bird-and-flower genre became a means of expressing deep personal relationships with nature and the world around them. Korea of the second half of the 16th–17th centuries suffered from numerous foreign invasions; thus, lonely and weary birds, sleeping or resting on the branches of trees, became the main and most popular motif in the hwajohwa genre. Such painting was a direct reflection of the feelings of the educated stratum of Korean society about the fate of their homeland. Paintings by scholar painter Cho Sok and court painter Yi Jin were the most popular works of the bird-and-flower genre of this period.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.

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This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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3

An, Hyeon-Kyeong. "A Study on Hair Style and Headdress in the Joseon Dynasty Genre Paintings: Focusing on the Genre Paintings of Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok." Journal of the Korean Society of Cosmetology 29, no. 3 (June 30, 2023): 665–84. http://dx.doi.org/10.52660/jksc.2023.29.3.665.

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This study sought to provide basic data for developing the new korean hairstyle images by studying the hairstyles and headdress of Joseon dynasty in the late 18th and 19th centuries, focusing on the genre paintings of the three major Joseon genre painters, Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok. The subjects of the study consisted of 25 pieces of the paintings of Kim Hong-do's "Danwon Genre Painting Book", 8 pieces of the paintings of Kim Deug-shin’s "Geungjae Genre Painting Book", and 30 pieces of the paintings of Shin Yoon-bok's "Hyewon Genre Painting Book". The following results were obtained: First, in terms of the sex ratio, the proportion of males was much higher than that of women’s, the age ratio, the proportion of middle-aged was much higher than elderly ones. By painter, Danwon interested in young children and boys, Geungjae in man adults, and Hyewon in female adult prostitute namely keesaeng. Second, looking at the hair style and headdress of men, there were far more types of headdress of men than women. The most common hair styles & headdress of men were Got, Sangtoo. Chidren before marred done Baird, bushy hair, and tied hair. In addition, Gun, Faereng-ee, Gumkijeon-lip, Bang-gun, Go-kal, Song-nak, Yu-gun, Bock-gun, Sat-got, Samo, Jeon-lip, Tang-gun, Cho-lip, Kalte-gee were appeared. Third, looking at the womens, the most common hair styles & headdress of women were Tre-meory and Eunjeun-meory. Children before married done Keemeet-meory. And Gun, Jeon-mo, Jang-ot, Tsuge chima, Garima, Ju-lip, Jeon-lip, Sat-got, Naul were appeared.
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4

Park, Kiyeon. "The Development of Changzhou School and Yun Shouping’s (1633-1690) Flower Paintings." Korean Journal of Art History 316 (December 31, 2022): 135–66. http://dx.doi.org/10.31065/kjah.316.202212.005.

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Yun Shouping 惲壽平 (1633-1690) was one of the Early Qing orthodox masters. He embarked on his artistic career by painting landscapes in the Southern School style, but later gained his reputation for flower paintings in the “boneless” (mogu 沒骨) coloring method, a technique that does not leave traces of outlines on the pictorial surface. Living in the late Ming and early Qing period, Yun trod on an eventful trajectory of life. He was born to a family of literati and exhibited an aptitude for scholarly exercises during his childhood. As a Ming royalist, he was arrested for his activities against the Manchu rule. During his engagement in the resistance, he was accidentally reunited with his father, Yun Richu 惲日初, with whom he returned home together. Changzhou, Yun’s hometown, was a region that was particularly known for paintings of flowers and insects. Active since the Song period (960-1279), the Changzhou school developed a style of painting that achieved a lifelike verisimilitude of ordinary flowers and insects. Against this regional backdrop of the vivid and lifelike painting tradition, Yun applied the boneless coloring method to the genre of flower painting. This boneless coloring method allowed Yun’s flower painting to depart significantly from prior generations of Changzhou flower painters whose work relied on meticulous fine brushwork (gongbi 工筆). Yun began his study of flower painting from 1670s, acquired various techniques and styles of painters active from the Song through the Ming periods, and took the genre of flower painting to a level of literati painting. Prior to Yun, flowers were regarded as a pictorial subject reserved exclusively for academy painters. Yun overturned that perception, charting a new territory of artistic exploration for scholar-painters. His style exerted a far-reaching influence over diverse hosts of painters encompassing not only the Yun clan painters, but also court painters, the Eight Eccentrics of Yangzhou, and even modernists. He also left indelible impacts on the history of Korean flower painting since his work came to be circulated in Chosŏn.
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Lee, Ho-Jung, and Woo-Hyun Cho. "A Study of Modern Korean Costumes on Kisan Genre Painting." Korean Society of Costume 62, no. 4 (June 30, 2012): 15–31. http://dx.doi.org/10.7233/jksc.2012.62.4.015.

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Wang, Xiao Yu, and Dong Kwan Yoo. "The occurrence type of visual humor in Korean and Chinese genre painting." Journal of Basic Design & Art 23, no. 5 (October 31, 2022): 295–308. http://dx.doi.org/10.47294/ksbda.23.5.21.

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7

Kang, Ok Hee. "Modernity and international universality of Korean genre painting in the modern century." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 52 (August 30, 2021): 37–70. http://dx.doi.org/10.19078/ea.2021.52.2.

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8

Kang, Junsoo. "A Study on the Necessity of Contents for Joint Exhibition of Korean-Japanese Genre Paintings Using Ukiyoe's Awareness." Academic Association of Global Cultural Contents 54 (February 28, 2023): 1–19. http://dx.doi.org/10.32611/jgcc.2023.2.54.1.

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The purpose of this study is to discuss the functions and meanings that Ukiyoe could present to various publics. Ukiyoe is a painting that focuses on depicting reality rather than depicting the ideal world, past, and future. Based on woodblock prints, Ukiyoe pursues mass production, securing price competitiveness through low prices, depicting original desires, popularity, playfulness, and carpe diem tendencies. Just as Japanese Ukiyoe has the function of securing the positivity of painful reality, Korean genre paintings of the Joseon Dynasty also have the function of restoring the positivity of reality. While the former gained worldwide popularity and fashion and exerted an influence on Western Impressionist painters, the latter has less recognition. In the era of globalization, where cultural products with regional distinctive characteristics are competitive, Korean folklore and Japanese Ukiyoe have unique values. Therefore, it is necessary to promote active cultural exchange, increase awareness, meet the demands of tourism consumers, and revitalize the local economy by holding expositions and joint exhibition event contents in the pavilion to promote the customs of both countries by using the awareness of Ukiyoe.
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Im, Mi-hyun. "Reconstruction of Keung-Jae Kim Deuk-shin’s Life." Institute of History and Culture Hankuk University of Foreign Studies 82 (May 31, 2022): 125–58. http://dx.doi.org/10.18347/hufshis.2022.82.125.

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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754~1822) was a painter from the Yeong, Jeong, and Sun Dynasties. Born to the Kaesong Kim clan, a noble painter family of the late Joseon Dynasty, he entered the Dohwaseo in his teens and, for more than 44 years, played critical roles of a major painter, living the typical life of a painter during the late Joseon Dynasty. In addition to his well-known genre painting, he was one of the best painters of his time, presenting outstanding skills in almost all genres, including landscapes, figures, furry animals and flowers and birds. Nevertheless, many viewed him with limited perspectives, such as “a painter whose major inspiration was Kim Hong-do” and “a painter only known for genre painting.” Focusing on these aspects, this paper intends to reconstruct Kim Deuk-shin’s life and his influence on Korean painting history. Born to the Gaesong Kim clan and Shinpyung Han clan, both noble painter families of the late Joseon Dynasty, Kim Deuk-shin received rigorous education from an early age and became an official Dohwaseo painter in his teenage years. After the establishment of Jabidaeryungw hawon (the best painters of their time, temporarily recruited for royal court assignments in the late Joseon period) by Gyujanggak, he was recruited as one of the first Jabidaeryungwhawon and devoted himself to Gyujanggak activities for the next 37 years. He was known to be diligent in all his tasks, small or large, in addition to major painting duties including Gamdong (監董, a temporary official post to supervise and manage special projects such as civil engineering works or publication of books), royal portrait painter for Jeong Dynasty, and production of Hwaseongwonhaengdobyeong. With his talent and attitude, he was a trusted painter, being appointed several times as an official (burok, 付祿) during both Jung and Sun Dynasties. In addition to his official duties, Kim Deuk-shin was also active in his private works. He grew himself as a painter by interacting with important artists of the Joseon Dynasty, such as Kim Eung-hwan who came from a similar background, as well as Kim Hong-do and Lee In-moon. He received private orders through these personal relations, resulting in general paintings of various genres, as evidenced by his works such as Gosangugok-sihwabyeong and Hanjgangjooyouaheokdo cheob.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Books on the topic "Korean Genre painting"

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Wŏn-bok, Yi, Yi Ae-ryŏng, and Chŏn In-ji, eds. Chosŏn sidae pʻungsokhwa =: Genre paintings of Joseon dynasty. Kwangju: Kwangju Kungnip Pangmulkwan, 2002.

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Yi, Ae-ryŏng, and In-ji Chŏn. Chosŏn sidae pʻungsokhwa: Genre paintings of Joseon dynasty. Sŏul: Hanʼguk Pangmulgwanhoe, 2002.

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Hong, Sŏng-pʻyo. Hyewŏn ŭi pʻungsokhwa yŏnʼgu: Tanwŏn kwa ŭi pigyo punsŏk. [Seoul: s.n.], 1985.

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Jinrui Bunka Kenkyū no Tame no Himoji Shiryō no Taikeika Dai 1-han. Higashi Ajia seikatsu ebiki: Chōsen fūzokuga hen : Pictopedia of everyday life in East Asia compiled from the Joseon period-genre paintings. Yokohama: Kanagawa Daigaku 21-seiki COE Puroguramu Jinrui Bunka Kenkyū no Tame no Himoji Shiryō no Taikeika" Kenkyū Suishin Kaigi, 2008.

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Hong, Sŏng-pʻyo. Hyewŏn ŭi pʻungsokhwa yŏnʼgu: Tanwŏn kwaŭi pigyo punsŏk. [Seoul: s.n.], 1985.

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Yong-hwan, Kim. Hanʼguk ŭi pʻungsokhwa =: Genre pictures of Korea. Sŏul-si: Minmunʼgo, 1988.

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Yong-hwan, Kim. Hanʾguk ŭi pʻungsokhwa =: Genre pictures of Korea. Sŏul-si: Minmunʾgo, 1988.

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Yi, Ŏg-yŏng. 20-segi saenghwal munhwa rŭl chaehyŏn han p'ungsokhwa: Yi Ŏg-yŏng Hwabaek kijŭngjŏn. Sŏul T'ŭkpyŏlsi: Kungnip Minsok Pangmulgwan, 2003.

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Chŏng, Suk-chin. Chŏng Suk-chin t'ema chakp'umjip. Sŏul-si: Fuldy, 2013.

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Chae-wŏn, Yi. Chosŏn ŭi at'ŭ chŏnŏllisŭt'ŭ Kim Hong-do: Chŏngjo ŭi isang chŏngch'i kŭrim ŭro sirhyŏn hada = Kim Hongdo, art journalist of the Chosun dynasty : King Jeongjo's political idealism embodied through paintings. Kyŏnggi-do P'aju-si: Sallim, 2016.

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Book chapters on the topic "Korean Genre painting"

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Mullany, Francis. "Genre Paintings." In Symbolism in Korean Ink Brush Painting, 177–212. BRILL, 2006. http://dx.doi.org/10.1163/9789004213616_011.

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Conference papers on the topic "Korean Genre painting"

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Артемова, А. А. "ORCHID PAINTING IN ART OF CHUSA KIM JEONGHUI (1786–1856)." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.16.

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Чхуса Ким Чонхи — центральная фигура культурной жизни Кореи XIX в. среди художников- интеллектуалов — посвятил свою жизнь исследованию природы творчества, был признанным специалистом в области науки и искусства, а также объединил вокруг себя художников, увлеченных его идеалами. В данном исследовании будет предпринята попытка проанализировать три произведения Ким Чонхи в жанре живописи орхидей и дать краткую характеристику его творчеству на разных этапах жизненного пути. Chusa Kim Jeonguhui is a major figure in 19th century Korean Art Circles among literati painters. He became well-known as a painter, calligrapher and a scholar, who devoted his life to a creative journey in Classical arts and studies. His main body or paintings is done in Orchid painting genre, so we’re going to examine three of his art pieces in this genre to analyze his creative approach in different stages of his life.
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