korean calligraphy
My investigations into LACMA’s 2019 exhibition, Beyond Line: The Art of Korean Calligraphy presents liberal observations on the subject. The manipulations pay homage to its history, politics, religious and secular estates. But my most important preoccupations are the interdisciplinary perspectives into Korean artistry, identity and my own extensive musings and background with printing and typography.
Heo Mok, Eulogy to the East Sea (The East Sea Stele Inscription)
Jeseon Dynasty 1595-1682, Private collection
First Pass
A devoted researcher and master of the several calligraphic forms, Heo is considered the greatest master of hanja calligraphy of the seventh century. His skill in seal script (jeoseon) is illustrated by the East Sea Stele Inscription, his most famous work in this ancient form. Heo composed the poem known as “Donghaesong” (“Euology to the East Sea”), the text of the inscription, in 1661, while he was governor of Cheokju and the stele was set up during his tenure.
Archival Ink Jet, 14”x21”
Heo Mok, Eulogy to the East Sea (The East Sea Stele Inscription)
Jeseon Dynasty 1595-1682, Private collection
Second Pass
A devoted researcher and master of the several calligraphic forms, Heo is considered the greatest master of hanja calligraphy of the seventh century. His skill in seal script (jeoseon) is illustrated by the East Sea Stele Inscription, his most famous work in this ancient form. Heo composed the poem known as “Donghaesong” (“Euology to the East Sea”), the text of the inscription, in 1661, while he was governor of Cheokju and the stele was set up during his tenure.
Archival Ink Jet, 14”x21”
Heo Mok, Eulogy to the East Sea (The East Sea Stele Inscription)
Jeseon Dynasty 1595-1682, Private collection
Third Pass
A devoted researcher and master of the several calligraphic forms, Heo is considered the greatest master of hanja calligraphy of the seventh century. His skill in seal script (jeoseon) is illustrated by the East Sea Stele Inscription, his most famous work in this ancient form. Heo composed the poem known as “Donghaesong” (“Euology to the East Sea”), the text of the inscription, in 1661, while he was governor of Cheokju and the stele was set up during his tenure.
Archival Ink Jet, 14”x 28”
The Gwanggaeto Daewang Stele Inscription
Goruryeo Kingdom, 414 AD, Woljeon Museum of Art, Icheon Inscribed steles and other inscriptions on stone were used by rulers to proclaim their lineage and achievements and to consolidate their political power.
Archival Ink Jet, 14” x 21”
Gim Jeonghui
Ink Rubbing of an Inscription of the Documents on the Amitabha Statue of Mujangsa
Joseon Dynasty, 1817 AD. National Museum of Korea, gift of Nakamura Ginya and Ikeda On
Since many questions about the calligraphy in Korea, China and Japan could be solved by clarifying the identity of the calligrapher of the stele Commemorating the Enshrining of the Amitabha Statue at Mujangsa, it is still regarded as one of the most important research topics among scholars from all three countries. Archival Ink Jet, 14” x 21”
Lee Ungno
People, 1988 Lee Ungno Museum (Daejeon Goam Art & Cultural Foundation)
First Pass
This painting is part of the Lee Ungno’s People series. Beginning in 1945 Lee focused his work on the love of the normal people (seomin) who were struggling with their poor environments in a turbulent period, from 1945 to 1950. With his rough and free brushstrokes, Lee embodies the figures of the people, and this became the origin of the People Series. The lines of the painting constitute outlines of people while also serving as an index of the artist’s bodily movements, which resonates with aspects of calligraphy. Archival Ink Jet, 14” x 31.5”
Lee Ungno
People, 1988 Lee Ungno Museum (Daejeon Goam Art & Cultural Foundation)
Second Pass
This painting is part of the Lee Ungno’s People series. Beginning in 1945 Lee focused his work on the love of the normal people (seomin) who were struggling with their poor environments in a turbulent period, from 1945 to 1950. With his rough and free brushstrokes, Lee embodies the figures of the people, and this became the origin of the People Series. The lines of the painting constitute outlines of people while also serving as an index of the artist’s bodily movements, which resonates with aspects of calligraphy. Archival Ink Jet, 14” x 21”