3. 역사
HISTORY
was one of the most prolific periods for artists in
many disciplines, especially in pottery.
A sophisticated aristocracy standardized
government operations and cultivated artistic
expression during the Goryeo dynasty
explores the period’s extraordinary production of
ceramics, lacquer wares, Buddhist paintings and
sculptures, illustrated manuscripts, and metal
crafts in light of these themes.
http://asianart.com/exhibitions/korea/intro.html
5. means "Comb-patterned"
Jeulmun
8000 BC - 1500 BC It is named after the decorated pottery vessels that
form a large part of the pottery assemblage
consistently over the above period
The Jeulmun is significant for the origins of plant
cultivation and sedentary societies in the Korean
peninsula
The Jeulmun was a period of hunting, gathering, and
small-scale cultivation of plants.
http://gazta.info/stories/south_korea/12593/1.html
6. Mumun The Mumun period is preceded by the Jeulmun Pottery
Period
1500 BC - 300 BC
This period is named after the Korean name for
undecorated or plain cooking and storage vessels that
form a large part of the pottery assemblage over the
entire length of the period
Important long-term traditions related to Mumun
ceremonial and mortuary systems originated in this
sub-period. These traditions include the construction
of megalithic burials, the production of red-burnished
pottery, and production of polished ground stone
daggers.
http://en.wikipedia.org/wiki/Mumun_pottery_period
7. Early Mumun
The Early Mumun is characterized by shifting cultivation,
fishing, hunting, and discrete settlements with
rectangular semi-subterranean pit-houses. The social
scale of Early Mumun societies was egalitarian in nature.
Early Mumun settlements are relatively concentrated in
the river valleys formed by tributaries of the Geum River
in West-central Korea. However, one of the largest Early
Mumun settlements, Eoeun (Hangeul: ), is located in the
Middle Nam River valley in South-central Korea.
In the latter Early Mumun, large settlements composed
of many long-houses such as Baekseok-dong (Hangeul: )
appeared in the area of modern Cheonan City,
Chungcheong Nam-do.
Important long-term traditions related to Mumun
ceremonial and mortuary systems originated in this sub-
period.
These traditions include the construction of megalithic
burials, the production of red-burnished pottery, and
production of polished groundstone daggers.
8. Middle Mumun
The Middle (or Classic) Mumun (c. 850-550 B.C.) is characterized by
intensive agriculture, as evidenced by the large and expansive dry-
field remains (c. 32,500 square metres) recovered at Daepyeong, a
sprawling settlement with several multiple ditch enclosures,
hundreds of pit-houses, specialized production, and evidence of
the presence of incipient elites and social competition.
Representations of a dagger (right)and two human figures, one of
which is kneeling (left), carved into the capstone of Megalithic
Burial No. 5, Orim-dong, Yeosu, Korea.
Burials dating to the latter part of the Middle Mumun (c. 700-550
B.C.) contain a few high status mortuary offerings such as bronze
artifacts. Bronze production probably began around this time in
Southern Korea. Other high status burials contain greenstone (or
jade) ornaments. A number of megalithic burials with deep shaft
interments, substantial 'pavements' of rounded cobblestone, and
prestige artifacts such as bronze daggers, jade, and red-burnished
vessels were built in the vicinity of the southern coast in the Late
Middle Mumun. High status megalithic burials and large raised-
floor buildings at the Deokcheon-ni (Hangeul: ) and Igeum-dong
sites in Gyeongsang Nam-do provide further evidence of the
growth of social inequality and the existence of polities that were
organized in ways that appear to be similar to simple "chiefdoms".
9. Late Mumun
The Late (or Post-classic) Mumun (550-300 B.C.) is
characterized by increasing conflict, fortified hilltop
settlements, and a concentration of population in the
southern coastal area. A Late Mumun occupation was
found at the Namsan settlement, located on the top of
a hill 100 m above sea level in modern Changwon City,
Gyeongsang Nam-do. A shellmidden (shellmound) was
found in the vicinity of Namsan, indicating that, in
addition to agriculture, shellfish exploitation was part
of the Late Mumun subsistence system in some areas.
Pit-houses at Namsan were located inside a ring-ditch
that is some 4.2 m deep and 10 m in width. Why would
such a formidable ring-ditch, so massive in size, have
been necessary? One possible answer is intergroup
conflict. Archaeologists propose that the Late Mumun
was a period of conflict between groups of people.
http://business.ezinemark.com/mumun-pottery-period-red-diode-
laser-module-670nm-manufacturer-blue-laser-module-473nm-
31ab5d8a235.html
10. Early bronze technology, too, was probably first
introduced to Korea by Manchurians between 2000 and
Bronze Age 1000 B.C.
800 BC - 300 BC
With the introduction of iron technology, the potter's
wheel, Chinese writing, Buddhism, Confucianism,
Chinese culture became firmly embedded on the Korean
peninsula.
http://www.artsmia.org/art-of-asia/history/korea-
neolithic-bronze-age.cfm
11. The Iron Age is a period generally occurring after
Iron Age the Bronze Age, characterized by the widespread
(1300 BC – 600 BC)
use of iron or steel. The adoption of such material
coincided with other changes in society, including
differing agricultural practices, religious beliefs
and artistic styles.
The Iron Age as an archaelogical term indicates
the condition as to civilization and culture of a
people using iron as the material for their cutting
tools and weapons. The Iron Age is the 3rd
principal period of the three-age system created
by Christian Jürgensen Thomsen for classifying
ancient societies and prehistoric stages of
progress.
13. Foreign Influence
The history of Korean painting
stretches back to the early murals
painted on the walls of tombs
during the fourth century.
In the fourth century, China was
considered, both by itself, as well as
by many Asian countries under its
influence, to be the center of the
universe. As such, many Korean
painters were sent to China to learn
modern Chinese painting styles.
What they learned, influenced not
only the paintings of Korea, but also
the art of Japan, as many Korean
artisans migrated to Japan.
14. Koryo
(918-1392)
고려
The Koryo period was marked by
a proliferation of painters as many
aristocrats and began painting for
the intellectual stimulation, and the
flourishing of Buddhism, just as it
had created a need for celadon
wares for religious ceremonies,
likewise created a need for paintings
with Buddhist motifs.
Another trend which has its roots in
the Koryo era was the practice of
painting scenes based on their
actual appearance which would
later become common during the
Chosun period.
15. 조선
#
Chosun
( 1392-1910)
The Chosun period is marked by a great
number of changes that occurred in Korean
painting.
The decline of the strong Buddhist culture
also helped to move Korean painting away
from its emphasis on religious motifs.
Korean artists continued to be influenced by
the painters of China but were able to
develop a stronger sense of native Korean
painting.
This stronger sense, of their native land,
was further strengthened by the Silhak, or
practical learning movement, which
emphasized understanding based on actual
observance. Korean paintings began to be
based on actual scenes of the Korean
countryside or Korean people engaged in
common activities. The uniquely Korean
flavor of painting also could be seen in the
stylized depiction of animals, and plants..
16. Colonial Period
(1910-1945) 식민지 시대
The Japanese colonial period
nearly wiped out the tradition of
Korean painting. During this time,
many things Korean were
suppressed, such as the language,
in an attempt to assimilate the
Koreans into the Japanese culture.
Korean painting culture was
likewise suppressed by the
Japanese in favor of Western or
Chinese styles - both of which had
been adopted by the Japanese.
After Korea's liberation from
Japan in 1945, Korea's painting
tradition was revived by a number
of Korean artisans in the same
way the art of making celadon was
revived.
17. 오늘 Today
It continues to the present, in which a great number of
Korean artists keep the styles and forms of the traditional
artists alive, blend the traditional styles with modern
motifs, or paint in a completely modern style.
18. Types of Korean Paintings
Landscape
Often called the realistic
landscape school, the
practice of painting
landscapes based on actual
scenes became more
popular during the mid-
Chosun period.
19. Genre
At the same time as the interest in realistic landscapes
surged, so did the practice of painting the realistic scenes
of ordinary people doing ordinary things. Genre painting,
as this has come to be called, is the most uniquely Korean
of all the painting styles and gives us a historic look into
the daily lives of the people of the Chosun period.
Some of the most notable of the genre painters were Kim
Hong-do (1745-1818?)
Another of the great genre painters was Shin Yun-bok
(1758-?), who's paintings of often risque scenes were
both romantic and sensual
20. Minhwa 최소 정화
Minhwa, or folk paintings are
by far the most interesting of the
traditional Korean paintings.
The characteristics
of Minhwa paintings are that
they were all painted by
unknown artists, and all were
painted near the end of, or after
the Chosun period. Though
many of them appear rather
childish, and unrefined, quite a
number display great painting
skill. Under
the Minhwa category of
paintings are many sub-
categories.
21. Sub-Categories
Landscape Paintings
Magpies and Tigers
Flowers and Birds
Peonies
Lotus Flowers
The Ten Longevity Symbols
Dragons
Paintings of Tiger Hide
Fish and Crabs
Manchurian Hunting Scenes
One Hundred Children
Paintings of the Life Cycle
Bookcases and Scholars' Rooms
Shamanistic Deities
22. Four Gracious Plants
The Four Gracious Plants
Four Gentlemanly Plants, or the Four Seasons
symbols, consist of plum blossoms, orchids or
wild orchids, chrysanthemums, and bamboo.
They were originally Confucian symbols for
the four qualities of a learned man, but are
now more commonly associated with the four
seasons. They are plum blossoms which
represented courage, the orchid stood for
refinement, the chrysanthemum was a sign of
a productive, and fruitful life, and bamboo
represented integrity.
In modern times, the four have come to be
associated with the seasons as well; plums
blossoms bravely bloom in the cold of an early
spring, orchids disseminate a dim fragrance
far in the heat of summer, chrysanthemums
overcome the first cold of a late fall and
bloom, and bamboo bares its green leaves
even in the winter.
23. Portraits
Portraits were painted throughout Korean history but
were produced in greater numbers during the Chosun
period. The main subjects of the portraits were kings,
meritorious subjects, elderly officials, literati or
aristocrats, women, and Buddhist monks.
24. About Korean Paintings
Korean-Arts' collection of paintings are all hand painted by Korean artisans
and represent the rich traditions of landscape, genre, Minhwa, and the Four
Gracious Plants.
All works are painted on hanging silk scrolls, and feature the painting
centered on a patterned background which has a small wood dowel at the top
with a hook for hanging, and a dowel at the bottom to keep the scroll hanging
true.
Many of the paintings are reproductions such as the Minhwa tiger. While
others are unique works that follow the traditions of landscape,
genre, Minhwa, or the Four Gracious Plants paintings discussed above.
25. Three Kingdom Period
(668-57BC)
The first major period of Korean art during
recorded history is the period of the Three
Kingdoms (c. 57 BCE–668 CE), when the
peninsula of Korea was ruled by three
monarchies.
The Koguryŏ kingdom (37 BCE–668CE). First
established in southern Manchuria, the
Koguryŏ kingdom had a lifestyle based on the
typically austere cultural patterns of northern
Asia, evolved in a region characterized by its
scarcity of arable land and severity of climate.
26. The Paekche kingdom
(18–660 BC)
was centred in southwestern Korea, south of the
present-day city of Seoul.
Paekche art, therefore, was open and receptive
to Chinese influences. Northern Chinese cultural
elements were introduced by land through the
Koguryŏ kingdom, while southern Chinese
influences easily crossed the navigable East Asian
seas.
The kingdom of Silla (traditionally dated 57 BCE–
668 CE) was the oldest of the monarchies. The
original territory of the Silla kingdom, the
modern Kyŏngsang-puk province, is a mountain-
secluded triangle, a geographic factor that is
sometimes offered as an explanation for the
distinctiveness and conservatism of its art.
27. Koguryŏ kingdom
Buddhist sculpture probably began in the
5th century. No 5th-century pieces
survive, however, except for some
fragments of terra-cotta figures. The
earliest dated Koguryŏ Buddhist image is
a gilt-bronze standing Buddha. It has an
inscribed date that may correspond to the
year 539. The elongated face, the flared
drapery, and the mandorla, or almond-
shaped aureole, decorated with a flame
pattern, all point to the influence
of Chinese sculpture of the Bei (Northern)
Wei period
In Paekche the Koguryŏ-type Buddha
became more naturalistic and thus more
Korean in style. The Buddha’s face is
rounder and more expressive, with the
distinctive “Paekche smile.”
28. Chosŏn period
(1392–1910)
By the beginning of the Chosŏn period,
the production of traditional religious
sculpture had virtually died out because
Confucianism had become the new state
creed. Nevertheless, Buddhism was
patronized by several queens at court, and
many small-scale, quiet bronze images
were produced.
In the late Chosŏn period, many large-
scale Buddhist images, some measuring
nearly 7 metres (23 feet) in height, were
built in clay over a wooden armature.
Their gilded bodies are simple, stolid
masses covered with loose, yet leatherlike,
thick robes. Drapery folds are depicted in a
formalized, schematic series of plaits.
29. Source 출처
http://www.korean-
arts.com/about_korean_paintings.htm#The History
of Korean Paintings
