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The Modern and Contemporary Ink Art of the Republic of Korea and the People's Republic of China

  • 2024-11-28 ~ 2025-02-16
  • Deoksugung 2F, Gallery 1, Gallery 2 / 3F Gallery 3, Gallery 4

Exhibition Overview

The Modern and Contemporary Ink Art of the Republic of Korea and the People's Republic of China
Lee Sangbeom, ‹Early Winter›, 1926, Ink and color on paper, 152×182cm, MMCA
Lee Sangbeom, ‹Early Winter›, 1926, Ink and color on paper, 152×182cm, MMCA
Kim Kichang, ‹Horses›, 1955, Ink and color on Paper 212×122cm×(4), MMCA Lee Kun-hee Collection
Kim Kichang, ‹Horses›, 1955, Ink and color on Paper 212×122cm×(4), MMCA Lee Kun-hee Collection
Kim Ahyoung, ‹Ogin-dong›, 1978, Ink and color on paper, 91×62.8cm, MMCA
Kim Ahyoung, ‹Ogin-dong›, 1978, Ink and color on paper, 91×62.8cm, MMCA
Kim Sundoo, ‹Subway, line No.2›, Ink and color on paper, 117×150cm, MMCA
Kim Sundoo, ‹Subway, line No.2›, Ink and color on paper, 117×150cm, MMCA
Lee Jinju, ‹Visible 21›, 2024, Leejeongbae black, Color on cotton cloth, 108.7×81cm, MMCA
Lee Jinju, ‹Visible 21›, 2024, Leejeongbae black, Color on cotton cloth, 108.7×81cm, MMCA
Wu Changshuo, ‹Wisteria›, 1920, 139.6×69cm, National Art Museum of China
Wu Changshuo, ‹Wisteria›, 1920, 139.6×69cm, National Art Museum of China
Qi Baishi, ‹Mandarin Ducks by Red Lotus›, 1955, 137.7×67.8cm, National Art Museum of China
Qi Baishi, ‹Mandarin Ducks by Red Lotus›, 1955, 137.7×67.8cm, National Art Museum of China
Xu Beihong, ‹War Horse›, 1942, 110.5×61.3cm, National Art Museum of China
Xu Beihong, ‹War Horse›, 1942, 110.5×61.3cm, National Art Museum of China
Lin Fengmian, ‹Ospreys in a Canoe›, 1961, 31×34.5cm, National Art Museum of China
Lin Fengmian, ‹Ospreys in a Canoe›, 1961, 31×34.5cm, National Art Museum of China
Fu Baoshi, ‹Tao Gu Presenting a Lyric to Qin Ruolan›, 1944, 91×61cm, National Art Museum of China
Fu Baoshi, ‹Tao Gu Presenting a Lyric to Qin Ruolan›, 1944, 91×61cm, National Art Museum of China

Artist

(69 Korean artists)

Ahn Dongsook, Ahn Sangchul, An Jungsik, Byeon Gwansik, Chang Unsang, Chang Woosoung, Cho Hwan, Cho Inho, Cho Poongryu, Choi Seokhwan, Choi Wooseok, Chun Kyungja, Heo Baekryeon, Heo Geon, Heo Haengmyeon, Hong Soonjoo, Hong Sukchang, Hur Jin, Hwang Changbae, Jung Jaeho, Jung Jongmee, Kang Kyungkoo, Kim Ahyoung, Kim Bohie, Kim Chun-ok, Kim Eunho, Kim Hodeuk, Kim Junghyun, Kim Kichang, Kim Kyoungwon, Kim Sundoo, Kim Yongjin, Ko Huidong, Kwon Youngwoo, Lee cheoljoo, Lee Doyoung, Lee Eunsil, Lee Jinju, Lee Jinju, Lee Jongmin, Lee Jongmok, Lee Jongsang, Lee Sangbeom, Lee Sookja, Lee Ungno, Lee Whaja, Lee Yongwoo, Lee Yootae, Lee Youngchan, Min Kyoungkap, No Soohyeon, Oh Sook-hwan, Oh Taehagk, Oh YongKil, Pak Nosoo, Park Daesung, Park Rehyun, Park Saengkwang, Park Seungmoo, Rhee Chulryang, Shim Kyungja, Son Donghyun, Song Soonam, Song Sooryun, Suh Jungtae, Suh Seok, Suk Chuljoo, Won Moonja, Yoo Geuntaek

(76 Chinese artists)

Chen Dayu (陈大羽), Chen Jian (陈坚), Chen Liu (陈流), Chen Long (陈龙), Chen Shuren (陈树人), Chen Zhifo (陈之佛), Chen Zifen (陈子奋), Cheng Jialing (陈家泠), Cui Jian (崔见), Cui Jin (崔进), Cui Zhenkuan (崔振宽), Du Dakai (杜大恺), Fang Jun (方骏), Feng Changjian (冯长江), Fu Baosh (傅抱石), Gao Jianfu (高剑父), Guan Liang (关良), Guo Yicong (郭怡孮), Han Guozhen (韩国臻), Han Jingwei (韩敬伟), Han Shuo (韩硕), Hu Mingzhe (胡明哲), Hu Peiheng (胡佩衡), Huang Anren (黄安仁), Huang Qiuyuan (黄秋园), Huang Zhou (黄胄), Jiang Baolin (姜宝林), Jin Meisheng (金梅生), Li Bo'an (李伯安), Li Chuanzhen (李传真), Li Keran (李可染), Li Kuchan (李苦禅), Li Xuesong (李雪松), Li Yuzi (李玉滋), Liao Bingxiong (廖冰兄), Lin Fengmian (林风眠), Lin Rongsheng (林容生), Lin Songnian (林松年), Liu Gang (刘罡), Liu Haisu (刘海粟), Liu Yunquan (刘云泉), Lu Qinglong (陆庆龙), Lu Xiujing (陆秀竞), Luo Ping'an (罗平安), Mo Xiaosong (莫晓松), Niu Kecheng (牛克诚), Pan Jiezi (潘絜兹), Qi Baish (齐白石), Qi Kun (祁昆), Qian Songyan (钱松喦), Su Baijun (苏百钧), Te Wei (特伟), Tian Liming (田黎明), Tong Zhongtao (童中焘), Wu Changshuo (吴昌硕), Wu Weishan (吴为山), Wu Yueshi (吴悦石), Wu Zuoren (吴作人), Xiong Honggang (熊红钢), Xu Beihong (徐悲鸿), Yang Zhiguang (杨之光), Ye Qianyu (叶浅予), Yu Fei'an (于非闇), Zeng Sankai (曾三凯), Zhang Daqian (张大千), Zhang Ding (张仃), Zhang Guiming (张桂铭), Zhang Jian (张见), Zhang Lichen (张立辰), Zhang Shiying (张士莹), Zhao Long (赵龙), Zhao Zhiqian (赵之谦), Zhou Ruolan (周若兰), Zhu Daoping (朱道平), Zhu Zhengeng (朱振庚), Zong Qixiang (宗其香)


This exhibition offers a comprehensive view of representative works of modern and contemporary ink and color paintings from the collections of the National Museum of Modern and Contemporary Art, Korea (MMCA), and the National Museum of China (NAMOC), China’s sole state-run art institution. The first ever to be co-curated by Korea and China, this exhibition narrates the history of East Asian painting from an independent view, departing from the European and American perspectives that have long dominated the discourse. Examining how ink and color paintings—the very foundation of East Asian art—have inherited and contemporized tradition since modern times, this exhibition highlights various aspects of the development and characteristics of East Asian ink and color paintings ranging from traditional portraits, landscapes, and flower-and-bird paintings to contemporary figurative and non-figurative paintings. Demonstrating how this genre employing common media manifests in distinct aesthetics and identities shaped by the unique cultures and sensibilities of Korea and China, this exhibition provides an opportunity to experience the beauty in each East Asian country’s approach to ink and color. Accompanied by an associated workshop and an international academic conference, this cultural and artistic exchange between Korea and China is expected to strengthen the ties between the two countries, especially in light of current political tensions.

  • Artist
    69 Korean artists and 76 Chinese artists
  • Numbers of artworks
    148 artworks

Audio Guide

#1. Greeting Hello, and welcome to ‹The Modern and Contemporary Ink Art of the Republic of Korea and the People’s Republic of China›. Thank you for visiting today. In this exhibition, the National Museum of Modern and Contemporary Art, Korea and the National Art Museum of China—the only state-established art museums in each country—have brought together a selection of ink and color paintings from their collections of modern and contemporary art. While the paintings of both nations share a foundation in ink and color, the diversity and originality of their artistic expressions have evolved uniquely over time. They have been passed down and changed with diverse aesthetics and unique qualities, rooted in the distinct culture and sentiments of each country. There are also differences in the terms used for ink and color painting. In the Republic of Korea, this art form was originally known as ‹seohwa›, or ‘calligraphy and painting,’ but during the Japanese colonial period the term ‹dongyanghwa›, or ‘Oriental painting,’ became common. By the 1980s, the name ‹hangukhwa›, or ‘Korean painting,’ began to take hold. In the People’s Repulic of China, by contrast, both ink-only paintings and those with color are called ‘ink wash painting’ (‹sumukhwa›). Terms such as Eastern painting and Chinese painting are also used. This exhibition brings together the two countries’ ink and color paintings that have developed in similar yet distinct ways. It provides a wonderful opportunity to experience the diverse charms of ink wash, all in one place. (In addition, we hope this exhibition will offer a chance for appreciation of the cultural and lifestyle differences between the two countries, fostering a deeper sense of empathy and mutual understanding.) Now, let us delve into the unique flavors of ink art—its hidden subtleties and nuanced beauty.
 Greeting

1. Greeting

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