Artists on the Turning Point of the Modern Era

ESSAY

By Kwon Hyeeun, Associate Curator of the Exhibition Division, National Museum of Korea

The rapid changes in the state of world affairs from the mid-nineteenth century also affected the Joseon Dynasty, which was thrust into a new age with the sudden opening of ports that came with the Treaty of Ganghwado Island signed with Japan in 1876. The traditional era drew to a rapid close and as in all other areas, changes began to take place in the calligraphy and painting circle.

COURT PAINTERS TO MODERN ARTISTS

The first signs came with the closure of the Dohwaseo, the royal bureau of painting, following the 1894 Gabo Reforms that swept through the government. With the disappearance of the Dohwaseo, which had been operated by the royal court, court painters such as An Jungsik 1861–1919 lost their positions and their work and hence became real modern artists who made painting their profession. As the last of the court painters, their experience had built them a solid reputation but by the same token they anguished over their place and identity in dark times when the nation had lost its sovereignty. Spring Dawn at Mount Baegak, which depicts a dawn on a spring day at Gyeongbokgung Palace with Baegaksan Mountain in the background, were painted by An in the summer and autumn of 1915. This was after the Japanese Governmentgeneral of Korea had destroyed many of the buildings inside the royal palace and was planning to hold an exposition to mark its fifth year of rule. This spring landscape was painted by An right after the destruction of Gyeongbokgung Palace by the Japanese colonial government, and holds many implications as a work by one of the last court painters featuring one of the last remaining palace halls.

SUCCESSION AND CONCENTRATION OF TRADITION

When the Dohwaseo was closed down, An Jungsik and Jo Seokjin 1853–1920 continued to stand at the center of the art circle and teach students. It could be said that most of the artists active from the days of the Korean Empire 1897–1910 and the modern era were students of these two masters; they thus had an immense influence on the Korean art scene, and their students were acknowledged as the artists who laid the foundations for Korean modern art.

In 1901, An Jungsik took on Yi Doyeong 1884–1933 as his first student and taught him at his atelier, Gyeongmukdang, in the same way as he had been taught at the Dohwaseo. In 1911, Seohwa Misulhoe (Association of Calligraphy and Painting) opened Korea’s first modern art school with the support of the Joseon royal family and the Japanese Governmentgeneral of Korea. The teaching staff centered around the two senior masters, An Jungsik and Jo Seokjin, and their disciples: Kang Jinhui 1851–1919 , Jeong Daeyu 1852–1927 , Kim Eungwon 1855–1921 , Kang Pilju, and Yi Doyeong. Some of the major artists to come out of the school were O Ilyeong 1890–1960 , Yi Yongu 1902–1952 , Yi Hanbok 1897–1944 , Kim Eunho 1892–1979 , Park Seungmu 1893–1980 , Yi Sangbeom 1897–1972 , No Suhyeon 1899–1978 , and Choe Useok 1899–1965 . The school closed after producing its fourth class of graduates in 1918, but proved to be the cradle of Korea modern art, giving rise to the major artists of the modern era. In 1918, calligraphers and painters armed with a modern selfawareness formed Seohwa Hyeophoe (Society of Calligraphers and Painters), the country’s first modern art association. Composed of graduates of Seohwa Misulhoe, its objectives were to seek balanced development of old and new in the calligraphy and painting world, research Asian and Western art, and teach students of the next generation. In 1919 the group planned the first Calligraphy and Painting Exhibition, a competitive art salon, but it was delayed due to the March First Independence Movement. The event was finally held in 1921 as Korea’s first modern art exhibition covering all genres. Seohwa Hyeophoe was disbanded in 1936 after holding its 15th annual exhibition and is significant for the contribution it made to Korean modern art and the way it stimulated the domestic art scene.

THE AGE OF EXHIBITIONS AND SEPARATION OF CALLIGRAPHY AND PAINTING

The modern calligraphy and painting circle was divided among different groups such as Seohwa Hyeophoe, Seohwa Misulhoe, and Seohwa Yeonguhoe (Research Association of Calligraphy and Painting) but they all worked under the traditional idea of calligraphy and painting as one genre. The death of An Jungsik in 1919 proved to be a major turning point, and when Jo Seokjin also died the following year the traditional era centered on the two great artists ended. The transition from traditional to modern grew in pace. Then in 1921, the Joseon Misul Jeollamhoe (Joseon Art Exhibition) with a public nature was launched by the Japanese Government-general. The first edition of what amounted to a national art event was divided into three sections: Section 1 for Asian painting, Section 2 for Western painting and sculpture, and Section 3 for calligraphy. But from the fourth edition in 1924 changes in thinking were reflected in the removal of paintings of the four gracious plants (plum blossoms, orchids, chrysanthemums, and bamboo) from the Asian painting section to include in the calligraphy section. Then in the eleventh edition of the exhibition in 1932, the four gracious plants were once again made part of the Asian painting section. The calligraphy section was abolished and replaced with the new handcraft section, indicating recognition of handcraft as a genre of fine art.

Changes in the calligraphy and painting world thus saw rapid change with the start of the modern era as the old and familiar clashed with the new and unfamiliar. The complete separation of traditional calligraphy and painting as genres that occurred then is a situation that continues to this day.

Spring Dawn at Mount Baegak

Summer in 1915 / By An Jungsik / Ink and light color on silk / 197.5 × 63.7 cm / Registered Cultural Heritage No. 485