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Original Color and Natural Color: Debates on the Color of Joseon-Painting in North Korea during the 1960’s

Jisuk Hog 1

1단국대학교

Accredited

ABSTRACT

North Korean artists have debated on the matter of colors in Joseon-painting(朝鮮畵) during the 1960's, so called Chollima period. At that time, they regarded Joseon-painting as an art form that well followed the doctrine of socialist realism. For them, the defining traits and characters of colors in Joseon-painting corresponded to the definition of realistic painting in North Korea. In the first stage of debate about Joseon-painting, North Korean artists accepted color painting(彩色畵) as a new art form in order to oppose oriental ink-painting(水墨畵). They wanted to use colors to effectively capture the landscape of their "mother" land. In the second stage of its debate, color was regarded as a means of excluding naturalism or literalism; it should serve as a means of realizing socialistic realism in art. However, many artists and art critics criticized the notion of original color as it was too conceptual; they considered the idea of original color inappropriate for realism, and therefore began to espouse natural color. "Natural color" here meant the color(or the intensity of shock) that artists could experience in reality. This paper examines how artists and critics, who participated in the heated debate about the color for Joseon-painting in North Korean art world, during the mid 1960's, strived to find more modern and powerful types of colors that could effectively convey the speed and intensity of the industrialized Chollima period.

Citation status

* References for papers published after 2022 are currently being built.