This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the in...This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.展开更多
Xiaonan Garden is the back garden at the Weng family＇s former residence, a famed mansion in Jiangnan. Various architectural colored paintings in the Jiangnan style, including a rare paster colored painting, are prese...Xiaonan Garden is the back garden at the Weng family＇s former residence, a famed mansion in Jiangnan. Various architectural colored paintings in the Jiangnan style, including a rare paster colored painting, are preserved in the garden. This study examines the wooden support, pigments, and structure of the painting and conducts a series of conservation experiments in situ and in the laboratory. Several conservation problems, such as the manually brushed lime, re-adherence of flaking painting layers, and consolidation of gold foil, were solved, and good results were obtained. Virtual recovery provided a solid foundation for protection and example of research on architectural colored paintings in Jiangnan.展开更多
文摘This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.
文摘Xiaonan Garden is the back garden at the Weng family＇s former residence, a famed mansion in Jiangnan. Various architectural colored paintings in the Jiangnan style, including a rare paster colored painting, are preserved in the garden. This study examines the wooden support, pigments, and structure of the painting and conducts a series of conservation experiments in situ and in the laboratory. Several conservation problems, such as the manually brushed lime, re-adherence of flaking painting layers, and consolidation of gold foil, were solved, and good results were obtained. Virtual recovery provided a solid foundation for protection and example of research on architectural colored paintings in Jiangnan.
