Noh Soohyun, Landscape, date unknown, 110×236cm. MMCA collection
hangukhwa
* Source: Multilingual Glossary of Korean Art. Korea Arts Management Service
Related
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Eastern painting
Eastern painting (dongyanghwa) refers to the overall body of works created using traditional East Asian materials and methods, in contrast to Western painting. In Korea, Byeon Yeongro’s essay “On Eastern Painting” published in Dong-A Ilbo on 7th, July, 1920 was the first use of the term. The term then began to be used in Japan first to distinguish Oriental style paintings from Western ones. Until the late Joseon era, both calligraphy and painting were categorized under the term seohwa, but during the Japanese occupation of Korea in 1922, the first Joseon Art Exhibition [Joseon misul jeollamhoe] divided the painting section into Western and Eastern styles. Thereafter, the term Eastern-style painting entered official use in the country. After independence, the National Art Exhibition (Gukjeon) continued to use the term “Eastern painting,” but since 1970, numerous arguments were made to replace it with "Korean painting," because the term was imposed unilaterally during the Japanese colonial era.
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National Art Exhibition
A government-hosted exhibition held 30 times from 1949 to 1981, also known by the shorter name Gukjeon. Following national independence, the exhibition was the primary means for young and emergent Korean artists to achieve recognition. The influence of the exhibition declined as a result of the emergence of non-figurative art during the 1970s, the increased opportunities for artists to participate in overseas exhibitions, and the rise of private exhibitions and galleries.
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Grand Art Exhibition of Korea
The Grand Art Exhibition of Korea [Daehanminguk misul Daejeon] is an arts contest hosted by the Korean Fine Arts Association. National Art Exhibition (Gukjeon), which had been held from 1949 through 1981, was transferred to the private sector and renamed the “Grand Art Exhibition of Korea.” During its transitional period from 1982 through 1985, the Grand Art Exhibition of Korea was run by the Korea Culture and Arts Foundation, a semi-governmental organization. Starting in 1986, the Korean Fine Arts Association hosted the exhibition with support for the operating budget from Arts Council Korea. It had been held with five sections: Korean painting, Western painting, sculpture, crafts, and calligraphy (including the Four Gentlemen). In 1986, its crafts section was separated from the Grand Art Exhibition of Korea and established as the Grand Craft Exhibition of Korea, and in 1989 the calligraphy section was separately installed as the Grand Calligraphy Exhibition of Korea. At the same time, a printmaking section was newly established in the Grand Art Exhibition of Korea. From 1993 onward, due to the increase in entries and lack of exhibition space, the Grand Art Exhibition of Korea was divided into two parts: a spring exhibition on non-figurative art and a fall exhibition on figurative art. It played an instrumental role in establishing the terms “Eastern painting” as “hangukhwa (Korean painting)” and “Western painting” as “yanghwa (Western style painting).”
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