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It seems that the central topic of the discussion about the Korean monochrome during that time is an issue about me process of the generation and identity of the Korean monochrome. The influence of minimalism, mat of Japanese mono￢school, and that of Korean conceptual alt have been under discussion up to now, and these discussions result in the problem of whether me Korean monochrome in me 1970' s took place because of inherent necessity or on account of external influence. In particular the debate on me identity of the Korean monochrome has mainly been proceeded through the discourse about 'white color'. I can say that these controversies, represented as 'white color' is nationalistic. or not nationalistic or it is white color or colorless, regarding the topic saying mat me trait of me Korean monochrome is white color. reveal the peculiarity which the generation and the procedure of unfolding of me Korean monochrome have. Although many painters are being talked about as the representative monochrome painters, these painters of the day have never organized tbe group sharing a specific view of alt. Consequently they have not announced a statement elucidating their identity. Of course. no exhibition was held under me tide Korean monochrome' domestically in their clays. A more curious fact is mat me starting point when the Korean monochrome was officially discussed was 'me Exhibition of Korean Five Painters. Five Kinds of White Colors' held in a Tokyo Gallery on (May 6-24. 1975) Commentator Nakahara Yuske selected five Korean painters and planned me above Exhibition, He has decided that the thing in common among the five Korean artists is white color', This white color logic was accepted by critic Lee Il without any criticism and spread to Korean painting community, This perspective, which was finally decided through the textbook interpretation with regard to the Korean monochrome at the A Sectional Exhibition of Korean Monochrome Fine Art' held in Tokyo Central AIt Gallery in 1997, has continued even to the National Modern Art Gallery, expanded and reproduced, Then, isn't the Korean monochrome an unheard-of comedy in which the Korean monochrome was bound by the eyes of a Japanese reviewer, an imaginary collective individuality tumed into absolute thing and a doctrine as a historical entity which has been believed as of the present time in the 21st century?
However, what we should not forget is that individual artists had already tended to show monochrome before the Tokyo Gallery Exhibition was held, Then, if we go back to those clays and hold a 'Korean monochrome exhibition' through our sovereign eyes, not through those of foreigners, let's think about what artists we will select, what collective individuality we will establish, and whether it will be the same as the view of a Japanese, This is to leave the past criticisms behind, to concentrate on painters and their works individually, and to be absorbed in work philosophy and in reading method, In particular this is an attempt to grasp whether the traditional factors projected in individual work exists, and to comprehend what thing in common among the factors is, if they exist, and on the basic of it, we attempt to go one step further in shedding light on the identity of the Korean monochrome different from Japanese mono school and minimalism.
The above is an objection against regulating the scope of the Korean monochrome only through the external similarity among the works of art, Such works of art as Hemp 76-47(diagram 1) or Hemp 78-5 by Park Jang Nyun which are often included among the Korean monochrome aJ1d whose illusionary factor is strong enough, should be evaluated in connection with the works of art having ultrarealistic trend surfacing after monochrome in order to clarify the significance of the history of art among these works of art, In care of the work of art such as The Method of Drawing(diagram 2) by lee Kun Young having a stroog documentary factor. it should be mentioned within the category of the tendency of the experimental art which heated the art community before the advent of monochrome. The reason why The Method of Drawing and Park Seo Bo's No. 89-79-82-83 Ecriture(diagram 3) are similar in terms of form cannot allow us to identify their intention and philosophy of their working which made them work on works of art. The reason for this is mat me record of The Method cf Drawing is one-time behavior of a painter and a passive incidental matter of performance. while me material in itself called Ecriture is an aesthetic living thing which generates and unfolds itself in repeating unconscious behavior of one body of ego and non-ego. If we believe mat each work of art has a right to reveal itself entirely and can be properly evaluated under such circumstances. we will have to classify the Korean monochrome in the 1970' s in the very boundary of me restoration of the nature of matter through me oblivion of subjectivity. The reason for the above is that we have rightly interpreted me meaning of a homogenized picture which excludes literariness without grasping me evaporation toward self￢effacement. of me state of inaction of subjectivity. restoration of pure matter of a thing, and mat of me property of matter.
Then. I'll examine the origin and traditional nature of the Korean monochrome within me above category.
Reviewers often enjoy comparing and analyzing Park Seo Bo's Ecriture and lee Woo Hwan's works of art, but I think Park Seo Bo should be compared and analyzed with Yanaki Moone Yoshi (柳宗悅) not with Lee Woo Hwan.
Japanese people still like the works of Korean monochrome. The problem is the fact that the Japanese people who see the works of the Korean monochrome admire them just as they do when they see Chosun porcelain to me Japanese's inclination, but me works of me Korean monochrome have dose relations with the tradition of Chosun porcelain, which resulted in a natural phenomenon. Furthermore Park Seo Bo's monologue which goes "I" ve drawn countless straight lines on canvas as if a potter of Korea were spinning a potter s wheel without thinking" reminds me of Yanaki Moone Yoshi' s voice. This is because Yanaki praised the beauty of the populace coming out from me bodies of the potter through the course of a spinning wheel and me potter becoming one while the potter whose job is to spin a potter' s wheel turns it ceaselessly.
The fact mat Park Seo Bo has chosen lines in Ecriture shows an influence on Yanaki s Discussion on the characteristic of Chosun an. And in the lower pan of me picture, the canvas lies abandoned while it is revealed. The view in which the clay used for the foundation of porcelain is seen between the glazes of the porcelain of Chosun admired so much by Japanese, and the finishing touch which has not been done so meticulously show me beauty of nature. If Park Seo Bo forgets himself and arrives at self-effacement through incessant repetition of me behavior drawing lines. Ecriture is bom for itself as if a porcelain were born. Park Seo Bo said that the characteristic of this operation is 'namelessness' and named it as purposelessnes s This trait comes in contact with Yanaki s eulogy for nameless potters. But this namelessness is different from mat spoken by Kichoska of Japan's thing that is. an 'object'. Park Seo Bo namelessness is behavior namelessness. Yanaki believed that mankind can enter the world of salvation through folk an' . He believed that the 'namelessness' and 'self-effacement' of arts and crafts which is derived from me state of silence is a token of salvation. and that the saved utensil is a beautiful work of art and a beauty of naturalness. As Park Seo Bo has attempted to be sublimated to nature from the state of self-effacement, Yanaki s theory of beauty has been sublimated by the belief of Tariki (他力). Yanaki’ s and Park Seo Bo s theory of beauty has something in common in the sense mat it is not me traclition of literary men of noble birth who monopolized the high class an and culture of the day as a dominant class. but it found its orthodox nature from the sense of beauty of the general public who earned their livelihood by producing handicraft as a dominated class. and theorized it. And in the sense that the admiration was given to their senior craftsmen who vanished into the craftwork namelessly they produced, it is modem.
Then, it is in me latter half of the 1980' s mat the discussion about Yanaki in Korea became more mature and people began to recognize his theory about folk art beyond his theory of me special quality of Chosun. Accordingly me point that Park Sea Bo already perceived me core of Yanaki s theory of folk art at the end of me 1960' s deserves our attention. In my opinion maybe Park Seo Bo came to receive inspiration by seeing porcelain in his view on tradition. and his direct inspiration brought about a consensus in the same direction as Yanaki' s In mentioning his own view on tradition. Park Seo Bo expressed that grafting a certain style which existed in a tradition with modem formative language is neither a light interpretation of a tradition nor a light succession of it. As a style is a product of the situation of the age. his theory was that methodology of modem an should be combined not with a traditional style but with a traditional spirit. There is something original with Park Seo Bo in the sense that he grafted traditional beauty of arts and carfts with pure alt. and that. abstract art.
The most important characteristic of the Korean monochrome lies in the restoration of the property of matter. and the reduction into pure matter, that is. returning to nature. The pure matter which is reduced into a homogenized picture from which literary element disappeared. reflects artist himself reduced into the state of self-effacement and inertia and mankind and things and everything were born out of soil. As we return to the soil and meet each other. it shows a stage of oneness in nature. It will be impossible to deny that the root of the Korean beauty oozing from the Korean monochrome comes ill contact with the traditional beauty of arts and crafts, Let's classify self-effacement monochrome and inertia monochrome on a large scale and examine them Self-effacement monochrome includes Park Seo Bo, Kwon Young Woo. Choi Byung So. Jeong Sang Hwa Lee Bong Yeol jeen Ok Seon Kim Jang Seop and Choi Myung Young, and inertia monochrome includes Yoon Myung Ro Ha Jong Hyun, and the artists drawing with Hanji or Korean traditional paper including Jeong Chang Seop, Of course. each artist's originality ill their divided section exists.
Let's examine the self-effacement monochrome first of all In his work Nuntitled(reappeared ill 1977, 2002. diagram 6) Choi Byung So draws lines with a ball point pen and pencil on newspapers repeatedly which are often used ill our daily life. and through this reiterated behavior. I who am the main body disappear', and through the behavior, drawn on the newspapers countlessly the newspapers from which all the things related to everyday life are removed, meet the properly of matter itself devoid of the name of newspaper'. In this picture. the property of matter in itself, and our behavior have arrived at the state oneness which is undistinguishable. This oneness is possible ill the bosom of nature just like matters are born in the soil in the time immemorial and return to it. Accordingly. nature oozes in the picture of the Korean monochrome. The picture of this self-effacement monochrome is not obtained by attempting to anive at the property of matter in itself. but it has a trait in which the property of matter is revealed through the oblivion of myself.
Inaction monochrome negates the artificiality and commission of behavior rather than forget the consciousness of main body. and it has entrusted the conduct of the main body to nature from the beginning of that conduct. The inaction monochrome is not to attempt to empty ego. but to eliminate my conduct in itself. depend upon nature. and return to nature. Youn Myeung Ro's series of Crack0977. diagram 9) is not the picture the artist has intentionally divided but is all accidental phenomenon of matter and a vestige in which the property of matter appeared spontaneously. When Yoon Myung Ro said that his work is "another reality having an order in the relation between what exists and what is going to exist". the reality is none other than the property of matter in itself. Then the lump of the pasted pigment reminds us of earth wall and cracked surface makes us recall the surface of me patterns of cracked ice of Chosun white porcelain. As the pattems of cracked ice of the countlessly divided glaze on the surface of Chosun white porcelain al'e not me design made by me thoroughly calculated intention of Chosun patters. so is Yoon Myung Ro s Crack. And as the patterns of the cracked ice of the Chosun white porcelain are beautiful. Yoon Myung Ro s property of matter of Crade conveys natural beauty to us like the Chosun porcelain.
As seen in the above analysis. the Korean monochrome is not aiming at the restoration of pure property of matter, but at me evaporation of subjectivity and at returning to nature through it. In this sense the Korean monochrome differs from Japan's mono school. and as Oh Gwang Soo indicated. it is different from minimalism under dle dimension of the restoration of hands. The Korean monochrome dosely keeps in touch with me tradition of the Korean porcelain before we say about its having originated from 'white color' or about the thoughts of Laotzu and Chuang-rzu in dle dimension of returning to nature Accordingly. we can say that the Korean monochrome is original in me sense that it has grafted the beauty of traditional arts and crafts with modern Korean an which is pure art.
However, what we should not forget is that individual artists had already tended to show monochrome before the Tokyo Gallery Exhibition was held, Then, if we go back to those clays and hold a 'Korean monochrome exhibition' through our sovereign eyes, not through those of foreigners, let's think about what artists we will select, what collective individuality we will establish, and whether it will be the same as the view of a Japanese, This is to leave the past criticisms behind, to concentrate on painters and their works individually, and to be absorbed in work philosophy and in reading method, In particular this is an attempt to grasp whether the traditional factors projected in individual work exists, and to comprehend what thing in common among the factors is, if they exist, and on the basic of it, we attempt to go one step further in shedding light on the identity of the Korean monochrome different from Japanese mono school and minimalism.
The above is an objection against regulating the scope of the Korean monochrome only through the external similarity among the works of art, Such works of art as Hemp 76-47(diagram 1) or Hemp 78-5 by Park Jang Nyun which are often included among the Korean monochrome aJ1d whose illusionary factor is strong enough, should be evaluated in connection with the works of art having ultrarealistic trend surfacing after monochrome in order to clarify the significance of the history of art among these works of art, In care of the work of art such as The Method of Drawing(diagram 2) by lee Kun Young having a stroog documentary factor. it should be mentioned within the category of the tendency of the experimental art which heated the art community before the advent of monochrome. The reason why The Method of Drawing and Park Seo Bo's No. 89-79-82-83 Ecriture(diagram 3) are similar in terms of form cannot allow us to identify their intention and philosophy of their working which made them work on works of art. The reason for this is mat me record of The Method cf Drawing is one-time behavior of a painter and a passive incidental matter of performance. while me material in itself called Ecriture is an aesthetic living thing which generates and unfolds itself in repeating unconscious behavior of one body of ego and non-ego. If we believe mat each work of art has a right to reveal itself entirely and can be properly evaluated under such circumstances. we will have to classify the Korean monochrome in the 1970' s in the very boundary of me restoration of the nature of matter through me oblivion of subjectivity. The reason for the above is that we have rightly interpreted me meaning of a homogenized picture which excludes literariness without grasping me evaporation toward self￢effacement. of me state of inaction of subjectivity. restoration of pure matter of a thing, and mat of me property of matter.
Then. I'll examine the origin and traditional nature of the Korean monochrome within me above category.
Reviewers often enjoy comparing and analyzing Park Seo Bo's Ecriture and lee Woo Hwan's works of art, but I think Park Seo Bo should be compared and analyzed with Yanaki Moone Yoshi (柳宗悅) not with Lee Woo Hwan.
Japanese people still like the works of Korean monochrome. The problem is the fact that the Japanese people who see the works of the Korean monochrome admire them just as they do when they see Chosun porcelain to me Japanese's inclination, but me works of me Korean monochrome have dose relations with the tradition of Chosun porcelain, which resulted in a natural phenomenon. Furthermore Park Seo Bo's monologue which goes "I" ve drawn countless straight lines on canvas as if a potter of Korea were spinning a potter s wheel without thinking" reminds me of Yanaki Moone Yoshi' s voice. This is because Yanaki praised the beauty of the populace coming out from me bodies of the potter through the course of a spinning wheel and me potter becoming one while the potter whose job is to spin a potter' s wheel turns it ceaselessly.
The fact mat Park Seo Bo has chosen lines in Ecriture shows an influence on Yanaki s Discussion on the characteristic of Chosun an. And in the lower pan of me picture, the canvas lies abandoned while it is revealed. The view in which the clay used for the foundation of porcelain is seen between the glazes of the porcelain of Chosun admired so much by Japanese, and the finishing touch which has not been done so meticulously show me beauty of nature. If Park Seo Bo forgets himself and arrives at self-effacement through incessant repetition of me behavior drawing lines. Ecriture is bom for itself as if a porcelain were born. Park Seo Bo said that the characteristic of this operation is 'namelessness' and named it as purposelessnes s This trait comes in contact with Yanaki s eulogy for nameless potters. But this namelessness is different from mat spoken by Kichoska of Japan's thing that is. an 'object'. Park Seo Bo namelessness is behavior namelessness. Yanaki believed that mankind can enter the world of salvation through folk an' . He believed that the 'namelessness' and 'self-effacement' of arts and crafts which is derived from me state of silence is a token of salvation. and that the saved utensil is a beautiful work of art and a beauty of naturalness. As Park Seo Bo has attempted to be sublimated to nature from the state of self-effacement, Yanaki s theory of beauty has been sublimated by the belief of Tariki (他力). Yanaki’ s and Park Seo Bo s theory of beauty has something in common in the sense mat it is not me traclition of literary men of noble birth who monopolized the high class an and culture of the day as a dominant class. but it found its orthodox nature from the sense of beauty of the general public who earned their livelihood by producing handicraft as a dominated class. and theorized it. And in the sense that the admiration was given to their senior craftsmen who vanished into the craftwork namelessly they produced, it is modem.
Then, it is in me latter half of the 1980' s mat the discussion about Yanaki in Korea became more mature and people began to recognize his theory about folk art beyond his theory of me special quality of Chosun. Accordingly me point that Park Sea Bo already perceived me core of Yanaki s theory of folk art at the end of me 1960' s deserves our attention. In my opinion maybe Park Seo Bo came to receive inspiration by seeing porcelain in his view on tradition. and his direct inspiration brought about a consensus in the same direction as Yanaki' s In mentioning his own view on tradition. Park Seo Bo expressed that grafting a certain style which existed in a tradition with modem formative language is neither a light interpretation of a tradition nor a light succession of it. As a style is a product of the situation of the age. his theory was that methodology of modem an should be combined not with a traditional style but with a traditional spirit. There is something original with Park Seo Bo in the sense that he grafted traditional beauty of arts and carfts with pure alt. and that. abstract art.
The most important characteristic of the Korean monochrome lies in the restoration of the property of matter. and the reduction into pure matter, that is. returning to nature. The pure matter which is reduced into a homogenized picture from which literary element disappeared. reflects artist himself reduced into the state of self-effacement and inertia and mankind and things and everything were born out of soil. As we return to the soil and meet each other. it shows a stage of oneness in nature. It will be impossible to deny that the root of the Korean beauty oozing from the Korean monochrome comes ill contact with the traditional beauty of arts and crafts, Let's classify self-effacement monochrome and inertia monochrome on a large scale and examine them Self-effacement monochrome includes Park Seo Bo, Kwon Young Woo. Choi Byung So. Jeong Sang Hwa Lee Bong Yeol jeen Ok Seon Kim Jang Seop and Choi Myung Young, and inertia monochrome includes Yoon Myung Ro Ha Jong Hyun, and the artists drawing with Hanji or Korean traditional paper including Jeong Chang Seop, Of course. each artist's originality ill their divided section exists.
Let's examine the self-effacement monochrome first of all In his work Nuntitled(reappeared ill 1977, 2002. diagram 6) Choi Byung So draws lines with a ball point pen and pencil on newspapers repeatedly which are often used ill our daily life. and through this reiterated behavior. I who am the main body disappear', and through the behavior, drawn on the newspapers countlessly the newspapers from which all the things related to everyday life are removed, meet the properly of matter itself devoid of the name of newspaper'. In this picture. the property of matter in itself, and our behavior have arrived at the state oneness which is undistinguishable. This oneness is possible ill the bosom of nature just like matters are born in the soil in the time immemorial and return to it. Accordingly. nature oozes in the picture of the Korean monochrome. The picture of this self-effacement monochrome is not obtained by attempting to anive at the property of matter in itself. but it has a trait in which the property of matter is revealed through the oblivion of myself.
Inaction monochrome negates the artificiality and commission of behavior rather than forget the consciousness of main body. and it has entrusted the conduct of the main body to nature from the beginning of that conduct. The inaction monochrome is not to attempt to empty ego. but to eliminate my conduct in itself. depend upon nature. and return to nature. Youn Myeung Ro's series of Crack0977. diagram 9) is not the picture the artist has intentionally divided but is all accidental phenomenon of matter and a vestige in which the property of matter appeared spontaneously. When Yoon Myung Ro said that his work is "another reality having an order in the relation between what exists and what is going to exist". the reality is none other than the property of matter in itself. Then the lump of the pasted pigment reminds us of earth wall and cracked surface makes us recall the surface of me patterns of cracked ice of Chosun white porcelain. As the pattems of cracked ice of the countlessly divided glaze on the surface of Chosun white porcelain al'e not me design made by me thoroughly calculated intention of Chosun patters. so is Yoon Myung Ro s Crack. And as the patterns of the cracked ice of the Chosun white porcelain are beautiful. Yoon Myung Ro s property of matter of Crade conveys natural beauty to us like the Chosun porcelain.
As seen in the above analysis. the Korean monochrome is not aiming at the restoration of pure property of matter, but at me evaporation of subjectivity and at returning to nature through it. In this sense the Korean monochrome differs from Japan's mono school. and as Oh Gwang Soo indicated. it is different from minimalism under dle dimension of the restoration of hands. The Korean monochrome dosely keeps in touch with me tradition of the Korean porcelain before we say about its having originated from 'white color' or about the thoughts of Laotzu and Chuang-rzu in dle dimension of returning to nature Accordingly. we can say that the Korean monochrome is original in me sense that it has grafted the beauty of traditional arts and crafts with modern Korean an which is pure art.
목차
한국 모노크롬은 존재하는가
한국 모노크롬은 과연 한국적인가
이우환 죽이기를 넘어서며
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