@article{ART002692631},
author={Kim, Hye-Joo},
title={Modernity in Kim KiChang's "Babo Sansu"},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2001},
number={13},
pages={103-125}
TY - JOUR
AU - Kim, Hye-Joo
TI - Modernity in Kim KiChang's "Babo Sansu"
JO - Journal of History of Modern Art
PY - 2001
VL - null
IS - 13
PB - 현대미술사학회
SP - 103
EP - 125
SN - 1598-7728
AB - In this study, I have attempted to shed light on Kim KiChang's landscape commonly known as ''Babo Sansu" from the viewpoint of modernity and I came to the following conclusions.
To begin with, it is quite certain that Kim KiChang originally and artistically reinterpreted and made use of the traditional motives and feelings such as humor and simplicity in the Korean folk paintings. Though his motives can be easily found in the Korean folk paintings, we should not underestimate his own originality, to which the innocence, seeming far more childish, clumsy, and awkward in his paintings, may be attributed.
Moreover, he adopted and reinterpreted the beauty of comic, ludicrous humor of the Korean folk painting in his original style so that it can constitute the main sense of beauty in his "Babo Sansu". His paintings also reveal the beaut)' of simplicity through his efforts to boldly simplify forms, colors and composition.
The planeness of his paintings which were made possible by his liberal perspec rive and formation through a variety of compositions such as centralized, or enumerative or symmetrical ones, not only helped to establish his characteristic artistic construction, but also satisfied the formative characteristics of modernism, as I have tried to show.
We could also see that Kim KiChang successfully achieved the autonomy of the lines in his paintings by the frequent use of image language befitting to the modern age of image and the intense, spontaneous, rhythmic lines. And as for the colors in his ''Babo Sansu", five Korean basic colors are mostly used but his subjective expressiveness, and contrastive and decorative elements in colors are quite remarkable. Thus Woonbo's paintings, with emphasis on the intensity and purity of the colors, have sought the intrinsic value of colors themselves. In this respect, his art should be evaluated to have drawn closer to the essential meaning of modem art.
In conclusion, Kim KiChang's ''Babo Sansu" is considered to be worthy of reevaluation in terms of modernity, since his paintings mark a turning point for the diversity and experimental spirit in Korean painting by enlarging the aesthetic realm resulting from the archetypal and collective unconsciousness and the anti一aesthetic attitude.
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Kim, Hye-Joo. (2001). Modernity in Kim KiChang's "Babo Sansu". Journal of History of Modern Art, 13, 103-125.
Kim, Hye-Joo. 2001, "Modernity in Kim KiChang's "Babo Sansu"", Journal of History of Modern Art, no.13, pp.103-125.
Kim, Hye-Joo "Modernity in Kim KiChang's "Babo Sansu"" Journal of History of Modern Art 13 pp.103-125 (2001) : 103.
Kim, Hye-Joo. Modernity in Kim KiChang's "Babo Sansu". 2001; 13 : 103-125.
Kim, Hye-Joo. "Modernity in Kim KiChang's "Babo Sansu"" Journal of History of Modern Art no.13(2001) : 103-125.
Kim, Hye-Joo. Modernity in Kim KiChang's "Babo Sansu". Journal of History of Modern Art, 13, 103-125.
Kim, Hye-Joo. Modernity in Kim KiChang's "Babo Sansu". Journal of History of Modern Art. 2001; 13 103-125.
Kim, Hye-Joo. Modernity in Kim KiChang's "Babo Sansu". 2001; 13 : 103-125.
Kim, Hye-Joo. "Modernity in Kim KiChang's "Babo Sansu"" Journal of History of Modern Art no.13(2001) : 103-125.
