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In the 1950s, a discourse of internationalism and modernization sprung up in both South and North Korean art community. South Korean artists pursued for western artistic techniques with the attempt to reform. (Kim Yong-Na, 26) Native traditions were once rejected and costumed as conservative and old. At that time, artists were exposed to the Western art community. They were greatly interested in and influenced by western form of arts. For instance, Exultation by Lee Ung No demonstrates the artist’s interest in autonomous forms, line, and colours which resembles to works of abstract expressionists such as Jackson Pollock or Robert Motherwell (Fig 20). Moreover, Korean Art Informel inspired by Europe post war movement, Art Informel, was one of the most significant movements which thirsted for a new kind of art. (Kim Yong-Na, 35-36) They used aggressive brushstrokes and dark and heavy colours to express their spiritual wanderings in the Korean War aftermaths. These qualities can also be found in abstract sculptural works produced in post-war period. Circle of History is one of these sculptures which adopted the material of iron (Fig 21). Iron was once the symbol of modernity but also the symbol of destruction and suffering brought by the war. (Kim Yong-Na, 42) Lines and spaces are emphasized through this material which could not be achieved by traditional approaches. Aggressive and expressive surfaces are created with an avant-garde method in order to metaphor the scars of war as well as their struggle to extricate from it.

 

Although North Korean artists did not adopt expressive artistic techniques of the west but they were heavily influenced by Socialist Realism. Similar to South Korea, ink painting was not regarded as an appropriate form for portraying Socialist Realist subjects. (Portal, 150) Instead, media admitted by the Soviet such as oil paintings, printmaking, and posters began to produce in the North. (Bowlt, 43) Oil painting was especially adopted for two main categories; landscapes and scenes of construction. (Portal, 157) Construction sceneries represent an under development state which is moving towards a better future. For instance, Building the Road to Nampo shows hundreds of tiny figures constructing a new highway against a far background of skyscrapers with slogans celebrating and encouraging their achievements (Fig 22). This painting implies that the North Korean nation as a whole has come together with the common goal of constructing their homeland and their future. It is a painting of unity, encouragement and hope. This motif also indicates North Korea’s struggle in extricating from the aftermath of the Korean War by realizing their hope in urbanization and a constructed future. This construction motif can also be found in printmaking works which is another media admitted by the Soviet. (Bowlt, 43) For example Building a Road is a woodcut print which similarly depict a construction site against the far background of buildings (Fig 23). These together demonstrate North Korean artist’s expectancy for their state’s future as well as their attempt in breaking away from the past.

 

 

Extrication from the Past

This utopian vision of the future is also common for artists from the South. This is also a form of escapism which shows great expectancy in the future despite the situation in present. For instance, themes such as still life, folks, and rural life are often depicted by South Korean artists during Korean War period. (Roe, 60) These paintings demonstrate the artists’ ignorance towards the war but also their hope for peace in the future. This escapism approach indicates both states’ hope in extricating from the trauma caused by Korean War expressed through works by artists from South and North. 

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