Korean Munjado paintings
Korean Munjado paintings
With particular focus on their comparison to Chinese munjado
Lucie Pejsarova,
Korean Studies M.A
Introduction
Korean munjado are paintings of classical Chinese characters, decorated with various patterns and symbols related to exposed character. Concept of classical Chinese character’s modification and its change to an object to be artistically varied has its origin in Sung China. Than, decorated Chinese character paintings become popular in many regions of Chinese influence and countries such as Korea, Japan and Vietnam. Among these, Korean munjado paintings are outstanding with its concept of ‘Eight characters of cardinal Confucian virtues’ - Hoy-je munjado.
The beginning of munjado paintings in Korea dates back to the 17th centuryi, which refers to Korean ruling dynasty Yi and so called late Joseon period (1392 – 1910). In those times, they were performed exclusively in royal palaces and houses of nobles. Approximately from second half of 18th century, they become popular also among middle-class society and over next three centuries naturally developed in both, concept and form. From some point of view, folk (‘devaluated’) munjado paintings were not even treated as arts. It was more handcraft, which had also its proper function – especially in case of ‘good fortune’ or ‘congratulating’ munjado – to guarantee wealth and health of its owner and his household. Even though aesthetic expression was evaluated, contains and sense of the picture was unless important.
As for art history, Korean munjado paintings were “discovered” in 60ties of 20th century, together with other Korean handcrafts and former “low-class arts”. They are typical example of Korean “seeking for its own traditions” in the intentional movement of re-building and discovering Korean culture as official policy of president Park Chung-hui. Munjado were systematically collected, displayed and presented as traditional and typical Korean arts. Biggest
With particular focus on their comparison to Chinese munjado
Lucie Pejsarova,
Korean Studies M.A
Introduction
Korean munjado are paintings of classical Chinese characters, decorated with various patterns and symbols related to exposed character. Concept of classical Chinese character’s modification and its change to an object to be artistically varied has its origin in Sung China. Than, decorated Chinese character paintings become popular in many regions of Chinese influence and countries such as Korea, Japan and Vietnam. Among these, Korean munjado paintings are outstanding with its concept of ‘Eight characters of cardinal Confucian virtues’ - Hoy-je munjado.
The beginning of munjado paintings in Korea dates back to the 17th centuryi, which refers to Korean ruling dynasty Yi and so called late Joseon period (1392 – 1910). In those times, they were performed exclusively in royal palaces and houses of nobles. Approximately from second half of 18th century, they become popular also among middle-class society and over next three centuries naturally developed in both, concept and form. From some point of view, folk (‘devaluated’) munjado paintings were not even treated as arts. It was more handcraft, which had also its proper function – especially in case of ‘good fortune’ or ‘congratulating’ munjado – to guarantee wealth and health of its owner and his household. Even though aesthetic expression was evaluated, contains and sense of the picture was unless important.
As for art history, Korean munjado paintings were “discovered” in 60ties of 20th century, together with other Korean handcrafts and former “low-class arts”. They are typical example of Korean “seeking for its own traditions” in the intentional movement of re-building and discovering Korean culture as official policy of president Park Chung-hui. Munjado were systematically collected, displayed and presented as traditional and typical Korean arts. Biggest