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How did Korean modern painting divide into Western-style and Eastern-style traditions?
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East Asian arts
Ceremonial cong of jade (calcined nephrite), 3rd millennium bc, Neolithic Liangzhu culture; in the Seattle Art Museum, Wash., U.S.
During the Japanese occupation (1910–1945), Korean modern painting diverged into two distinct traditions, largely influenced by artistic training facilities available in Japan.1
- Western-style painting: This tradition emerged as artists began studying oil painting in Tokyo. Despite initial public ridicule, it became a dominant field, characterized by a representational style rooted in Impressionism. Key practitioners included Ko Hūi-dong, Lee In-sūng, and Kim Hwan-ki. This movement also introduced the concept of art as a professional career rather than a gentleman’s avocation.1
- Eastern-style painting: This tradition maintained the use of traditional mediums, specifically ink or coloured ink. Artists such as Lee Sang-bom and Kim Eun-ho were central to this style, which persisted alongside the influx of Western techniques.1
While these two paths defined the early modern period, the boundaries evolved after World War II. Traditional painters began adopting modern modes of expression, incorporating bold compositions and abstract art qualities, eventually leading to movements like the 1970s Monochrome Art.1