Folk Paintings

In Korea, the status of folk paintings as part of traditional art was obscure up until the 20th century. Folk painting, or "minhwa," which is not unique to Korea, is typically understood to fall under folk studies rather than art history. Yet, there is a great difference in opinion among Korean scholars concerning the position of folk art in the traditional art world, as well as the scope and definition of the term. In the 1960s, a pioneering Korean scholar by the name of Jo Ja-yong collected folk art works and conducted excavations. Beginning with the "Tiger Exhibition" in 1969, special exhibitions of folk art were held on a regular basis. Around this time, information on folk art began to appear in publications, creating popular interest in the subject.
Since folk paintings are generally ordinary paintings made for a practical purpose, typically no mention is made of the artist's name. At first glance, the paintings seem crude. Yet, they vividly portray the simple beauty of the common people, and express a faith filled with secular aspirations and optimism. With their humor and variegated colors, they capture the honest and natural aesthetic of the Korean people.Since folk paintings are created for a practical purpose, few old examples remain. Yet, folk paintings have a diverse range of subjects, are colorful, concise in expression and treat familiar themes. Notably, since the 1960s, folk painting has begun to influence modern art circles. Folk paintings can be classified, according to content, into a few or as many as 20 or 30 different styles. Distinguishable from general landscape paintings, minhwa landscapes include the typical Eight Scenic Views of the Hwiao and Hwiang Rivers (a theme from China) and Korean landscapes. One can also find folk paintings created to decorate the interiors of rooms. These often depict the flower and bird motif, peonies, tiger-hunting scenes, comical magpie and tiger scenes and genre pictures of farmers working. Other pictures depict scholarly implements or contain inspirational verses _ clear demonstration of the respect for scholarship found in Confucian countries such as Korea.
-snake of the north and the yellow emperor of the center. As time passed, the red peacock was substituted with a phoenix or a mythical animal called the kirin, and the black turtle-snake with a turtle. The 12 zodiacal signs are represented by the mouse, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog and pig.

Tiger: The tiger was among the most popular motifs in Korean folk paintings. Originating probably from the mythical "white tiger" as the guardian spirits of the east, the tiger was often personified in Korean folklore. A notable characteristic of the tiger as featured in Korean folk tradition is that it is seldom portrayed as a ferocious beast but as a friendly animal, sometimes even funny and stupid. The tiger appears as a docile companion and messenger of the mountain spirit in many folk paintings. It often appears with a magpie in a pine tree, a rooster or a lion. The magpie in Korean folkore is an auspicious bird believed to bring good news.
Immortals: As symbols of the Taoist ideal of harmony with nature as a way to achieve eternal life, immortals have been important motifs in the Korean folk tradition over the centuries. Immortals, often portrayed as hermits in the mountains, were also believed to help the mortals to live happily, content with good health, wealth and many children.

The mountain spirit and dragon king: The popular mountain spirit and the dragon king motifs have their origins in two famous figures in Korean history, Dangun and Munmu. Dangun is the progenitor of the Korean people who is said to have turned into a mountain spirit in old age; King Munmu of the Silla Kingdom is said to have become the dragon king after death, and his remains were buried in the East Sea in accordance with his will. The mountain spirit is portrayed in folk paintings as a benevolent old man with a white beard, accompanied by a tiger messenger. The dragon king is usually depicted as a mighty animal flying amidst the clouds over a sea of high waves. The pictures of the mountain spirit and the dragon king motifs are housed at shrines in the mountains or by the sea as the guardians of peace and prosperity of the nation. Also appearing frequently in ancient folk paintings are various other Taoist or shamanistic deities as well as famous kings, generals, ministers or their wives.

2.Buddhist paintings Buddhist temples and hermitages across the country are rich archives of folk paintings, ranging from large icons for ritual use to illustrations for sutras and anecdotes about famous monks and their portraits. These temple paintings are noted for their simple compositions and bright colors.


3. Confucian paintings Confucianism, based on the teachings of Confucius and other sages, has developed in Korea as an important intellectual and moral belief system. It also incorporated the nation's unique shaman and Taoist concepts of ancestor worship and respect for nature. Folk paintings in this category, included character designs of the popular themes of loyalty and filial piety, pictures depicting the life stories of renowned scholars, and a carp jumping up from the river to transform into a dragon, symbolizing the widespread aspiration for distinguished academic achievement and a successful career in officialdom.
4. Decorative paintings A great majority of ancient folk paintings handed down to the present were used for decorative purposes. These paintings generally repeat popular motifs with relatively poor techniques, but attest to the nation's religious tradition harmonizing various faiths such as shamanism, Taoism, Buddhism and Confucianism. Ancient Korean folk paintings have the following characteristics: First, the folk paintings show an unequivocal yearning for happiness. They stand for the universal desire to chase away evil spirits and to enjoy a long life blessed with good health, affluence and high social position. Second, folk paintings attest to the honesty and simplicity of the Korean people. The paintings are unrefined, sometimes even childish and crude. Yet they demonstrate the nature of the Korean people, prone to simplicity and unpretentiousness. Third, folk paintings show the deep love Korean's have for nature, humankind and the deities. They are full of humanity, peace and warmth, which can seldom be found in orthodox paintings. Fourth, the folk paintings, with their bold compositions, dynamic brushwork and intense colors, display the indomitable will and courage of an agrarian society braving class warfare and fureign invasions. Fifth, the folk paintings abound with humor and satire. They manifest the considerable mental strength of the Korean people who are able to wisely surmount difficulties. Pains and sorrows are sublimated into joys and happiness with rich humor and satire. Sixth, Korean folk paintings have a unique style which was derived from the indigenous artistic flair of the Korean people.