The Joseon Dynasty saw a shift in Korean art towards genre painting, capturing everyday life scenes. Artists like Kim Hong-do and Shin Yun-bok gained fame for their realistic depictions of common people and the upper class, often with humorous or satirical elements.

The true-view movement emerged, emphasizing realism and accurate representation of subjects. This led to more detailed landscapes, still lifes, and portraits. The style was influenced by Western techniques and challenged traditional artistic conventions of the time.

Korean Genre Painting

Prominent Korean Genre Painters

• Kim Hong-do (Danwon) considered one of the most celebrated painters of the Joseon period known for his realistic and lively depictions of everyday life scenes (farmers working in fields, scholars reading books)
• Shin Yun-bok (Hyewon) another renowned genre painter who focused on the lives of the upper class and courtesans often featuring intimate and sensual scenes (women bathing, lovers in private moments)
• Kim Deuk-sin a female painter who gained recognition for her genre paintings despite the male-dominated art world of the time her works often depicted women engaged in daily activities (sewing, cooking, child-rearing)

Types of Genre Painting

• Pungsokhwa (genre painting) emerged as a popular style during the Joseon Dynasty these paintings showcased the daily lives of ordinary people across various social classes (commoners, merchants, artisans)
  • Pungsokhwa often featured humorous or satirical elements that critiqued societal norms and hierarchies (a poor farmer outsmarting a wealthy landowner)
  • Common themes in pungsokhwa included market scenes, agricultural work, and leisure activities (playing games, drinking, dancing)
• Minhwa (folk painting) another form of genre painting that was created by anonymous artisans for the masses rather than the elite
  • Minhwa often featured auspicious symbols and motifs believed to bring good luck, happiness, and protection (tigers, magpies, peaches)
  • These paintings were used to decorate homes and were given as gifts for special occasions (weddings, birthdays, holidays)

Emergence of the True-View Style

The True-View Movement

• True-view movement a significant shift in Korean art that emphasized realism and the accurate depiction of subjects as they appeared in nature
  • Artists began to paint landscapes, still lifes, and portraits with greater attention to detail and naturalism (precise rendering of textures, light, and shadow)
  • This movement was influenced by the introduction of Western painting techniques and perspectives through cultural exchanges with China and Japan (linear perspective, chiaroscuro)
• Realism in Korean art became more prominent as artists sought to capture the essence of their subjects without idealization or stylization
  • Painters focused on conveying the unique qualities and characteristics of individuals and objects (wrinkles on a face, veins on a leaf)
  • This approach challenged the prevailing artistic conventions of the time which often relied on symbolic or idealized representations (using specific colors or motifs to convey meaning rather than realistic depiction)

Dansaekhwa (Monochrome Painting)

• Dansaekhwa (monochrome painting) a modern art movement that emerged in the 1970s as a response to the rapid industrialization and westernization of Korean society
  • Artists sought to create a uniquely Korean form of abstract expressionism by using minimal colors (primarily shades of white, black, and gray) and emphasizing the physical properties of their materials (paper, canvas, ink)
  • Dansaekhwa paintings often featured repetitive brushstrokes, simple geometric shapes, and a meditative quality that encouraged contemplation and introspection (large fields of color with subtle variations in texture and tone)
• Key figures in the Dansaekhwa movement include Park Seo-Bo, Lee Ufan, and Chung Sang-Hwa who explored the relationship between artist, material, and viewer in their works
  • These artists emphasized the importance of process and the act of creation itself rather than the final product (visible brushstrokes, evidence of the artist's hand)
  • Dansaekhwa paintings often evoke a sense of stillness, emptiness, and tranquility that reflects the artists' interest in Taoist and Buddhist philosophy (the void, the interconnectedness of all things)