The slow development of a Korean aesthetic identity
As early as the Three Kingdoms period (56 B.C. to 668), Korean art bore witness to the naturalistic tendency that was to assert itself fully during the period of unification under the Silla kingdom (668 - 935). This was a period of cultural and religious proliferation, when Buddhist art, supported by the state, became increasingly important. Sculptures, pottery, bas-reliefs and decorative murals were all on display in temples. During the Goryeo kingdom (918 - 1392), the Korean peninsula enjoyed great economic prosperity, which encouraged the development of the arts. Painting, celadon ceramics and bronze sculpture flourished. It was also at this time that movable metal type was invented: the Jikji, the first printed book, was produced in 1377 - well before Gutenberg's Bible. The second volume of this work, which Korea is demanding be returned, is now kept at the Bibliothèque nationale de France.
During the Joeson period (1392-1910), the decline of Buddhism allowed new trends to develop outside religious norms and, as Chinese influence diminished, a local style flourished. This trend was reinforced by the Silhak current, a Confucian reform movement particularly active in the 18th century. A distinctly Korean modernity then developed, characterized by a focus on the common people, with genre scenes and an emphasis on local landscapes and daily activities. The work of Kim Hong-do (1745-v. 1806/18), one of the most representative painters of this period, reveals much about popular life in Korea at the time. Today, calligraphy has become one of the pillars of Korean culture, and is widely practiced by all scholars. One of the major Korean calligraphers of this period is Chusa (1786-1856), whose Winter Landscape has been recognized as a national treasure. The 17th century also saw the development of minhwa folk painting, based on Taoist themes, using bright colors and simple motifs to depict nature, animals (tigers, magpies, fish) and other popular themes.
From a modern art under domination to an exalted contemporary scene
The Japanese colonial period (1910-1945) had disastrous consequences on Korean arts. In an attempt to assimilate, local cultural expressions were destroyed, in favour of Japanese norms or even Chinese and Western styles adopted by the Japanese. After liberation in 1945, Korean painting and handicrafts were given a new lease of life and emancipated from foreign models while trying to reconnect with their heritage. From the 1960s onwards, the themes of the great avant-garde movements such as Fluxus, Support-Surface, Conceptual Art or Arte Povera resonated particularly strongly with artists such as Nam June-Paik (1932-2006), Lee Ufan (1936), Shim Moon Seup (1943-) or Kimsooja (1957-), who took up the themes in an innovative way. Today, the new generations, benefiting from the country's political and social development, are critically addressing the issues and ruptures facing Korean society. Among the rising figures on the current scene are Jung Lee (1972-), Ham Jin (1978-) and JeeYoung Lee (1983-).
Discovering Korean public art: murals and urban sculptures
In Korea, street art flourishes freely, relatively well accepted by the locals. Often cheerful and clever, the works of street art invite visitors to venture into areas often wrongly overlooked by tourist guides. The hotspot for street art in Seoul is the Ihwa Mural Village. Perched at the top of a hill near Naksan Park, this little slice of town requires a bit of effort, but it's well worth the detour. In the vicinity of the famous Hongik Art University, there's also a graffiti area known as the Street Art Exhibition, where an annual festival is held.
In Busan, the colorful Gamcheon district attracts more and more visitors every year. Since the late 2000s, this formerly marginalized area has benefited from a cultural revitalization policy, and has become an artists' HQ. Finally, the Haenggung-dong Mural Village in Gyeonggi province, south of Seoul, is a haven for graffiti artists, where small galleries such as Alternative Space Noon have opened to support local creativity.
Seoul also boasts an impressive number of urban sculptures by local and international artists. The grandiose buildings of the city center are often accompanied by a sculpture or installation, such as the DPP rose garden, an incredible LED rose field that lights up at nightfall at the foot of the Dongdaemun Design Plaza designed by Zaha Hadid. Parks and green spaces are also often endowed with works of art, such as the impressive shell by Claes Oldenburg (1929-) that towers over the Cheonggyecheon River.
Korean photography, an art in full expansion
Photography did not arrive in Korea directly after its invention, due to the country's closure in the 19th century. A few foreign photographers, such as the Italian-American Felice Beato (1832-1909), nevertheless captured a few shots in the 1860s and 1870s, but the technology never spread. It was not until the end of the century that the first photographic studios emerged. With Japanese colonization from 1910 onwards, Japanese photographers were sent to Korea, and more Koreans were encouraged to set up their own studios to meet the demands of the Japanese population, with the result that the Gyeongseong Photographers' Association was founded in 1926.
Until the 1980s, photography was mainly used for documentary or journalistic purposes, and it was not until a period more conducive to the flowering of culture that genuine experimental photography developed. Talented artists of this generation include Bae Bien-U (1950-), Hein-Kuhn Oh (1963-) and Jungjin Lee (1961-). Today, the country boasts many young emerging artists whose work is challenging the norms of Korean society, such as Koo Sung Soo (1970-) and Miru Kim (1981-). To discover them, visit MoPS, the Seoul Museum of Photography.
