Korean traditional paintings — old, new and some fakes — are showcased at IMA

Traditional paintings from East Asia, including those created by Korean painters in the Joseon Dynasty (1392-1910), were originally grouped under the collective translation East Asian paintings in English, to distinguish them from Western...

Artist Jang Seung-eop's ″Wild Geese″ (ca. 1800s) [ILMIN MUSEUM OF ART]

Traditional paintings from East Asia, including those created by Korean painters in the Joseon Dynasty (1392-1910), were originally grouped under the collective translation East Asian paintings in English, to distinguish them from Western paintings.

However, in the 1970s, the term was deemed “discriminatory” because it failed to separate Korean paintings from those of other Asian countries or acknowledge their identity. It originated during theJapanese colonial period (1910-45).

A new term to describe these paintings was coined, which can be roughly translated to “Korean traditional paintings.”

This genre of works would often be called “'Korean Oriental paintings’ when translated, but that seems a bit off,” said Yoon Juli, chief curator at Ilmin Museum of Art (IMA) in central Seoul on Monday.

“We decided to refer to it them as ‘Korean traditional paintings,’ but even that has some obscurities which then complicates and limits exhibitions that showcase these types of paintings,” Yoon continued. “Still, we thought this would be the best way to show the reality of Korean traditional paintings, and contemplate on what Korean identity genuinely is.”

Artist Choi Hae-ri's ″Nageire in Plum Rains″ (2022) [ILMIN MUSEUM OF ART]

IMA is presenting “Korean Traditional Painting in Alter-age,” a collection of Korean traditional works that includes pieces from the Joseon era as well as contemporary pieces.

Korean traditional paintings are mainly comprised of paintings and calligraphy, which can be seen on all three floors of the IMA building.

“It’s not just about showing how these works all connect under the term Korean traditional paintings, but the disconnected aspects as well,” Yoon said.

The exhibition attempts to “reimagine” the perished elements of the traditional paintings with the help of 13 contemporary artists who have imitated or heavily referenced traditional techniques or imagery in their works.

Artist Hwang Kyu-min's “Hwang’s Manual-Introduction-Color Chart” (2022) [ILMIN MUSEUM OF ART]

“Hwang’s Manual-Introduction-Color Chart” (2022), a collection of ink and watercolor on paper, by 28-year-old artist Hwang Kyu-min took inspiration from the proverb, “meok [traditional East Asian black ink] is the color of all things.”

Hwang analyzed the different shades of the ink and displayed them like a color chart, hence the name.

“Hwang is an artist who has found fascination in the system that determines what Korean traditional paintings are and plays with these techniques through his works,” Yoon explained.

Artist Choi Hae-ri's ″Pierre, Pedro, Peter″ (2016) [ILMIN MUSEUM OF ART]

Others, like 44-year-old artist Choi Hae-ri, recreated “Mongyudowondo” (1447), an imaginary landscape painting by An Gyeon created during the Joseon era.

Her imitation piece, titled “Reprocessing ‘Mong u do won do (1447)’” (2014), was based not off the original work, but rather numerous replicas.

“It was a very difficult process, regarding how I was going to reproduce this historical artwork that was made during a time I’ve never experienced myself,” Choi said at the museum on Monday. “This is what artists who have majored in Korean traditional paintings feel all the time — there is pressure because you have a sense of duty when working with Korean traditional paintings [...] But because I’m a visual artist, I tried to emphasize the visual aspects, rather than the original text on the painting.”

Calligraphic letters written by historical “icons,” like admiral Yi Sun-sin (1545-1598), artist Shin Saimdang (1504-1551) and scholar Yi Hwang (1501-1570), well-known by his pen name Toegye, left, and artist Park Grim's ″Shimhodo″ series (2021-22). [ILMIN MUSEUM OF ART]

The exhibition offers a glimpse into other pieces from the Joseon era, like calligraphic letters written by “icons,” such as admiral Yi Sun-sin (1545-1598), artist Shin Saimdang (1504-1551) and scholar Yi Hwang (1501-1570), well-known by his pen name Toegye.

The letters are presented in the exhibition space in two wooden rectangular cases that are stacked atop each other and are rotatable.

“They’re not simply historical figures, but those who are considered legendary — when their tales are handed down generations and remain as Korean traditional artworks, they become an indicator,” curator Yoon said.

Artist Park Grim's ″Holy make-up″ (2022) [ILMIN MUSEUM OF ART]

However, there is a possibility that some may be fake because there is “no precise way to confirm their authenticity,” Yoon added. “That’s the thing with Korean traditional art; there are heaps of fakes. But I think that’s the interesting part of it. East Asian painting majors are encouraged to copy good paintings in class, so when you really think about it, even the fake paintings were just outstanding imitations of the actual ones. Maybe it’s more important to focus on the exact process of how these pieces were made, instead of their authenticity.”

In some instances, letters by Yi Sun-sin were revealed to be letters written by people with the same name.

Artist Park Wung-gyu's three-piece ″Dummy No. 60, 61, 62″ (2021) [ILMIN MUSEUM OF ART]

Other paintings have incorporated Buddhist ideologies, like the three-piece “Dummy” series painted in 2021. Each depicting an oversized house centipede, the creature is what 35-year-old artist Park Wung-gyu “detests the most.”

Park chose to paint house centipedes as Buddhism encourages introspection. “Dummy No. 60, 61, 62” started from the belief that killing house centipedes brings bad luck, and portrayed his positive, neutral and negative attitude toward them in each painting.

The “positive” version has somewhat of a bright atmosphere, colored red, while the “neutral” version is like a replica, and the “negative” version is dimly blurred.

“You’ll see that Park sort of blurred some parts of the painting like fluff balls because he didn’t want to see them and instead chose to illustrate them abstractly,” Yoon said.

“Korean Traditional Painting in Alter-age” continues until Jan. 8 next year. IMA is open every day except Mondays and New Year’s Day, from 11 a.m. to 7 p.m. Tickets are 7,000 won ($4.90) for adults.

BY SHIN MIN-HEE [shin.minhee@joongang.co.kr]