‘History Painting’ : Contemporary Korean Art and the Korean War

2020 ◽  
Vol 40 ◽  
pp. 123-143
Author(s):  
Morley Simon
Author(s):  
Jungsil Jenny Lee

Ku Ponung was a modern artist and critic active during the Japanese colonial period and the Korean War. Due to his spine curvature and eccentric personality, Ku was likened to the French painter Henri de Toulouse-Lautrec (1864–1901) and called "The Seoul Lautrec." Ku attended the Taiheiyō School of Fine Arts in Tokyo, where he was introduced to Fauvism, Expressionism, Surrealism, Cubism, and other modern Western art styles. He later pioneered the acceptance of these styles in Korea. Many of Ku’s oil paintings were lost during the Korean War, but several portraits and still lifes survive. Ku worked closely with contemporaneous writers, and his friendship with the modern poet Yi Sang is well known. Ku also edited and published the literary magazine Ch’ŏngsaekchi. After the liberation of Korea from Japan in 1945, Ku worked to revitalize Korean art by experimenting with various formats and media, including traditional ink painting and newspaper illustration. His attempt at artistic revival continued, even during the turmoil of the Korean War.


Author(s):  
Pitchapa Cheri Supavatanakul

Monochrome painting, otherwise known in Korea as Tansaekwa, was an art movement that emerged after the Korean War, lasting from the late 1960s through to the 1980s. It rose to prominence during an era of strict censorship and rapid industrialization in the 1960s and the 1970s. The policies imposed by South Korea’s then-president Park Chung-hee restricted direct political messages, thus actuating the emergence of hidden themes in abstractions within the limitations administered by the state. The Monochrome movement’s pioneer, Park Seobo (1931--), worked both with abstract artists who were critical of the government and with the National Documentary Paintings Project, producing government-commissioned artworks that advocated nationalism. Through abstraction, Monochrome paintings can raise awareness without being overtly political, and still resonate Korean tradition without submitting to the confines of the artistic establishment of the time. The Monochrome movement responded not only to political censorship, but also to the established standards of the Korean art world, eliminating notions of representation and the distance that sets the image apart from the canvas.


2018 ◽  
pp. 97-130
Author(s):  
Denzenlkham Ulambayar

Since the 1990s, when previously classified and top secret Russian archival documents on the Korean War became open and accessible, it has become clear for post-communist countries that Kim Il Sung, Stalin and Mao Zedong were the primary organizers of the war. It is now equally certain that tensions arising from Soviet and American struggle generated the origins of the Korean War, namely the Soviet Union’s occupation of the northern half of the Korean peninsula and the United States’ occupation of the southern half to the 38th parallel after 1945 as well as the emerging bipolar world order of international relations and Cold War. Newly available Russian archival documents produced much in the way of new energies and opportunities for international study and research into the Korean War.2 However, within this research few documents connected to Mongolia have so far been found, and little specific research has yet been done regarding why and how Mongolia participated in the Korean War. At the same time, it is becoming today more evident that both Soviet guidance and U.S. information reports (evaluated and unevaluated) regarding Mongolia were far different from the situation and developments of that period. New examples of this tendency are documents declassified in the early 2000s and released publicly from the American Central Intelligence Agency (CIA) in December 2016 which contain inaccurate information. The original, uncorrupted sources about why, how and to what degree the Mongolian People’s Republic (MPR) became a participant in the Korean War are in fact in documents held within the Mongolian Central Archives of Foreign Affairs. These archives contain multiple documents in relation to North Korea. Prior to the 1990s Mongolian scholars Dr. B. Lkhamsuren,3 Dr. B. Ligden,4 Dr. Sh. Sandag,5 junior scholar J. Sukhee,6 and A. A. Osipov7 mention briefly in their writings the history of relations between the MPR and the DPRK during the Korean War. Since the 1990s the Korean War has also briefly been touched upon in the writings of B. Lkhamsuren,8 D. Ulambayar (the author of this paper),9 Ts. Batbayar,10 J. Battur,11 K. Demberel,12 Balảzs Szalontai,13 Sergey Radchenko14 and Li Narangoa.15 There have also been significant collections of documents about the two countries and a collection of memoirs published in 200716 and 2008.17 The author intends within this paper to discuss particularly about why, how and to what degree Mongolia participated in the Korean War, the rumors and realities of the war and its consequences for the MPR’s membership in the United Nations. The MPR was the second socialist country following the Soviet Union (the Union of the Soviet Socialist Republics) to recognize the DPRK (Democratic People’s Republic of Korea) and establish diplomatic ties. That was part of the initial stage of socialist system formation comprising the Soviet Union, nations in Eastern Europe, the MPR, the PRC (People’s Republic of China) and the DPRK. Accordingly between the MPR and the DPRK fraternal friendship and a framework of cooperation based on the principles of proletarian and socialist internationalism had been developed.18 In light of and as part of this framework, The Korean War has left its deep traces in the history of the MPR’s external diplomatic environment and state sovereignty


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