Chung Chong-yuo
Chung Chong-yuo, Landscape of Keum-Kang Mountain, 1942, Ink and color on paper; ten-panel folding screen, 135×350cm. MMCA collection

Chung Chong-yuo

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Chung Chong-yuo (1914-1984, pen name Cheonggye) enrolled in Osaka School of Fine Arts (Osaka Bijutsu Gakkō), and learned Japanese painting from Yano Kyōson after taking night classes briefly at Taiheiyo Art School in Japan. He became known in Korean painting circles by receiving an honorable mention with his Suburbs in Autumn at the Joseon Art Exhibition [Joseon misul jeollamhoe] in 1935. In 1939, he won the Changdeokgung Prize with Snow in March, and in 1940, he was awarded a special prize for Morning at Seokguram Grotto without review from a panel of judges. At the time he went back and forth to Seoul to study under Lee Sangbeom. He matured the plein-air landscape manner by adding the beauty of ink and brushwork in traditional painting to the Nanga (Southern painting) style he learned in Japan. He was well versed in bird-and-flower painting and figure painting and produced paintings in various formats, including a temple mural as seen in Portrait of Queen Seondeok at Buinsa Temple, and gwaebul (large hanging scrolls hung for outdoor rituals) such as Uigoksa Gwaebul. At the end of the Japanese colonial era, he created paintings reflecting the times. These paintings include State Protector King Geumgang Gongmyeong, Waiting for a Transport Ship, and Always Prepare Yourself As If You Were in a Battle Field. After Korea’s liberation from Japan, Chung Chong-yuo served as the head of the Ink painting section at the Korean Plastic Arts Federation [Joseon johyeong yesul dongmaeng] and the Korean Art Alliance [Joseon misul dongmaeng]. In 1946, he submitted his Procession on August 15 to the first Korean Art Alliance Exhibition and won the Democratic National Front Award. In 1948 and 1949, he enthusiastically engaged in artistic activities by holding solo exhibitions, where he presented Korean paintings that captured natural landscapes and social realities in a contemporary manner. However, immediately after the Korean War, he defected to North Korea. In North Korea, Chung was a member of the Korean Artist Federation [Joseon misulga dongmaeng] and worked as a professor at the Pyongyang Art University. He wrote art textbooks, such as Chaesaekhwae daehayeo (About color painting), Mukhwae daehayeo (About ink painting), Joseonhwa gibeop (Chosonhwa painting techniques), and Joseonhwa jaeryoe daehan sayongbeop (How to use Chosonhwa painting materials). He earned the titles “Laudatory Artist” in 1974 and “People’s Artist” in 1982 in recognition of his contributions to the establishment of North Korea’s Chosonhwa painting theories and the creation of related art works. Among his notable works are Gwaebul at Uigoksa Temple (1983, National Registered Cultural Heritage No. 614), Morning Clouds on Jirisan Mountain (1948), Farming Village in May (1956), and The People in Kosong Assisting the Front (1958).
* Source: MMCA

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