@article{ART003198312},
author={Hyun Jong Noh},
title={The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea},
journal={Asia Review},
issn={2234-0386},
year={2025},
volume={15},
number={1},
pages={73-115}
TY - JOUR
AU - Hyun Jong Noh
TI - The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea
JO - Asia Review
PY - 2025
VL - 15
IS - 1
PB - 아시아연구소
SP - 73
EP - 115
SN - 2234-0386
AB - This article examines the differentiation of socialist realist art in East Germany, Vietnam, and North Korea, centering on the concept of ‘socialist content and national form.’ The universal artistic doctrine was transformed in different ways as it interacted with the artistic ‘field’ and the political and social environments of these individual socialist countries.
In East Germany, the legacy of a modern civil society and a social consensus on artistic independence allowed for a certain degree of autonomy within its artistic ‘field.’ Modernist art and works that depicted the regime’s darker aspects were partially permitted.
In Vietnam, socialist realism evolved through lacquer painting, a medium modernized during the colonial period. The characteristics of this style provided artists with space to express personal emotions through diverse colors and compositions. After reunification, efforts to establish an independent artistic ‘field’ led to the acceptance of styles such as Cubism and Surrealism. However, critical depictions of the regime remained restricted, and themes are primarily aligned with party ideology and everyday life.
In North Korea, remnants of colonial-era modernism and impressionism existed but failed to develop into an autonomous artistic ‘field.’ Although discussions on artistic expression and techniques emerged during the transition to Joseonhwa, art remained subordinate to politics. During the Kim Jong-un era, following a series of regime crises, a broader range of artistic techniques was permitted, and industrial art was emphasized. Nevertheless, all artistic works remain closely tied to the party and state, preventing the emergence of an independent artistic ‘field.’
KW - Socialist Realism;North Korean Art;Vietnam;East Germany;Juche Art;Comparative Socialism
DO -
UR -
ER -
Hyun Jong Noh. (2025). The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea. Asia Review, 15(1), 73-115.
Hyun Jong Noh. 2025, "The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea", Asia Review, vol.15, no.1 pp.73-115.
Hyun Jong Noh "The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea" Asia Review 15.1 pp.73-115 (2025) : 73.
Hyun Jong Noh. The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea. 2025; 15(1), 73-115.
Hyun Jong Noh. "The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea" Asia Review 15, no.1 (2025) : 73-115.
Hyun Jong Noh. The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea. Asia Review, 15(1), 73-115.
Hyun Jong Noh. The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea. Asia Review. 2025; 15(1) 73-115.
Hyun Jong Noh. The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea. 2025; 15(1), 73-115.
Hyun Jong Noh. "The Divergence of Socialist Realist Art: A Comparison of the ‘Field’ of Art in East Germany, Vietnam, and North Korea" Asia Review 15, no.1 (2025) : 73-115.
