\nTranslation by Mimi Park \ubc15\uc0c1\ubbf8\n\t\t\t\t
![\"Byeongsan](\"https:\/\/clumsy.site\/wp-content\/uploads\/2021\/07\/byeongsanseowon-column_byoungsoocho-\u1107\u1169\u11a8\u1109\u1161.jpg\" "\\"byeongsanseowon")
\n\tMahk is united not by an aesthetic uniformity but through a fondness of individual imperfections. Whereas the Japanese notion of wabisabi is characterized by a preoccupation with a rough or humble appearance in and of itself, mahk is loyal to authenticity in the process itself. Works rendered with mahk oftentimes fail at being immediately impressive. That’s okay- their purpose is not to impress the audience, but to serve the artist or artisan in their act of creation, and once finished, to be of utmost use. One example of Japanese minimalist aesthetic in contrast to Korean mahk and bium dynamics is the tendency, in modern Japanese architecture, towards stark white exterior walls, in contrast to the rough concrete exteriors for which Seoul has become known. In having no regard for appearances, the physical beauty of mahk-infused work radiates in a self-assured, uncurated, carefree kind of way.<\/p>\n
Influential Korean painter and theorist, Ufan Lee, identifies Moon Jars, a renowned genre of Josun pottery, as asserting an honesty standing with no ulterior motive. Sculpted from two bowls joined at the middle, their subtly lopsided profiles approach near abstraction. Through this rawness these objects “lacks completeness and presence as an art work” and yet they bear witness to “an impressive affinity to [their] surroundings” (Lee). Another example is Korean seungmu dance: performers break from the rhythm of their performances to adopt spur-of-the-moment alterations in choreography.<\/p>\n\n\n\n\n\n\n\n<\/section>\n\t\t\t\t![\"\"](\"https:\/\/clumsy.site\/wp-content\/uploads\/2021\/07\/DSC8418.jpeg\")
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Across all arts, traditionally, Korea holds little regard for straightforward perfection. If we study the docility of the Zen gardens at the Ry\u014dan-ji temple or the muted refinement of Chashitsu (tea houses) in Japan, we encounter environments who hold unassuming simplicity in appearance only. Their humble demeanors are in truth the product of considerable planning beforehand. Korean arts, on the other hand, willingly give up refinement for the sake of true improvisation on every level.<\/p>\n
This coarse spontaneity has become less outwardly apparent in Korea since the end of the Josun dynasty in the first decade of the 20th century. In the 1930s and 1940s, under Japanese settler colonization, even the Korean language itself was banned from school and public life. In the decades that followed, Westernization and Christianity swept the nation, and many traditional Korean practices were shunned in favor of modernization. Thus much of the true spirit of Korean creativity has for some time been on decline-forgotten and covered up, often unknowingly. For example, many restorations of ancient Korean buildings, in the first half of the last century, were done in the style of Japanese buildings of similar time periods (Kwon). Slowly artisans and creators of all kinds are lifting the layers that disguised true Korean artistic tradition.<\/p>\n
Renewed interest in original Korean values and aesthetics, as well as the realization that perhaps our traditions are not inferior to Western, Japanese, Chinese, or any others, have spurred a new rise of modern Koreans who are well versed in foreign as well as native considerations in art and design. Contemporary Korean art can be seen in lineage with these traditional ideas. Artists such as Park Seobo and Ufan Lee paint with an attention to the informality between fabrication and emotion that relentlessly harbors this rawness.<\/p>\n\t\t\t\t![\"\"](\"https:\/\/clumsy.site\/wp-content\/uploads\/2021\/07\/Park-Seo-Bo-Ecriture-No.-65-75-1975-oil-and-pencil-on-canvas-130-x-195-cm.-51-18-x-76-\u00be-in.-1536x1013-1.webp\")
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In a piece by Seo-Bo Park, repetitive streaks of pencil scrape across a canvas, excavating a thick layer of oil paint as they proceed up and down, back and forth, not unlike the works of Cy Twombly in the late 1960s. Nevertheless, something emanates from the piece that is encountered nowhere else. Where Twombly’s marks are sharp, like many of his American contemporaries, Seo- Bo’s fade through the viscosity of their heaping paint. The work is as much about a pencil’s encounter with thick pigment as it is about the sequential maneuvering of the artist’s hand across the canvas. Contemplative yet materially consequential, the work engages a marked balance between artistry and meditation, as if to absolve through silent repetition the meaningfulness of anything beyond the immediacy of a creative act. That the painting speaks to such extents about its own making should be of little revelation when considering its own title, ‘Ecriture’, signifies the action of writing (p.230-231). Beyond mere conveyance of words, Park considers the tactile implication of a hand’s interaction with a canvas without the overbearing teleology of meaning.<\/p>\n
Another work expounds this examination of process to an even further degree. In this case, Chong-Hyun Ha’s ‘Conjunction’, coerces form from the seepage of paint between cracks of paper (p.232-233). To examine its making is to understand the delicate boundaries between which mahk frolics. That is to say, this intuitive attitude towards making equitizes the components which constitute an artwork while levying a particular space of uncontrollability in the spontaneity of materials. It is a reconciliation with the elemental messiness of that which surrounds us. Thus, of important note is that Chong-Hyun does not himself sculpt the painted forms which so immensely define the essence of his work. Rather, he entices their emergence through the process of making.<\/p>\n
Even throughout modernist architecture in Korea, we witness “Korean identity in spaces focusing on qualities of emptiness, non-existence and [bium]”, notes Hyungmin Pai, co-curator of the award-winning Korean pavilion at the 2014 Venice Biennale. As a new generation has taken the reigns of architecture in Korea, many, myself included, have considered anew what it means to design from this standpoint. In my own work, it is with a deliberate vocabulary of rough materials and a process focused on the intimate spontaneity and honest beauty for which mahk and bium allow.<\/p>\n\t
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Works Cited<\/p>\n
A. B. Cook (1914), Zeus: A Study in Ancient Religion, Vol. I, p. 104, Cambridge University Press.
Cartwright, Mark. “Korean Pottery.” Ancient History Encyclopedia. Ancient History Encyclopedia, 25 Oct 2016. Web. 16 Jan 2020.
Choi, Wan Gee (2006). The Traditional Education of Korea. Ewha Womans University Press. pp. 29-30. ISBN 9788973006755. Retrieved 4 February 2017.
“Chos\u014fn dynasty: Korean history”. Encyclopedia Britannica. Encyclop\u00e6dia Britannica, Inc. Retrieved 10 February 2019.
Kwon, Heonik “Healing the Wounds of War: New Ancestral Shrines in Korea,” The Asia-Pacific Journal, Vol. 24-4-09, June 15, 2009.
Leaman, Oliver (Oct 19, 2006). Encyclopedia of Asian Philosophy. Routledge. p. 143. ISBN 9781134691142. Retrieved 4 February 2017.
Szczepanski, Kallie. “The Ceramic Wars: Hideyoshi’s Japan Kidnaps Korean Artisans.” ThoughtCo, Jul. 3, 2019, thoughtco.com\/ceramic-wars-hideyoshis-japan-kidnaps-koreans-195725.<\/p>\n\t\t\t\t![\"Byoungsoo](\"https:\/\/clumsy.site\/wp-content\/uploads\/2021\/07\/concrete-box-house_Wooseop-Hwang-2.jpeg\" "\\"concrete-box-house_Wooseop-Hwang-2\\"")
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RELATED POSTS<\/p>\n\tThe CLUMSY Plan Korean Aesthetics and the Identity of \u200bMahk \ud55c\uad6d\uc758 \ubbf8\ud559\uacfc \ub9c9\uc758 \uc815\uccb4\uc131 02 Text by Byoungsoo Cho \uc870\ubcd1\uc218 Translation by Mimi Park \ubc15\uc0c1\ubbf8 Mahk is united not by an aesthetic uniformity but through a fondness of individual imperfections. Whereas the Japanese notion of wabisabi is characterized by a preoccupation with a rough or humble appearance in…<\/p>\n","protected":false},"author":321,"featured_media":35092,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"tpl-no-header-footer.php","format":"standard","meta":{"footnotes":""},"categories":[161,158],"tags":[149],"class_list":["post-38551","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-byoungsoo-cho","category-writing","tag-byoungsoo-cho"],"_links":{"self":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38551","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/users\/321"}],"replies":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/comments?post=38551"}],"version-history":[{"count":2,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38551\/revisions"}],"predecessor-version":[{"id":38915,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/posts\/38551\/revisions\/38915"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media\/35092"}],"wp:attachment":[{"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/media?parent=38551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/categories?post=38551"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/clumsy.site\/en\/wp-json\/wp\/v2\/tags?post=38551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nAddress : 4Fl. 199 Itaewon-ro (Itaewon-dong) Yongsan-gu, Seoul
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\n\uc774\uc6a9\uc57d\uad00<\/a>\u00a0 \uc815\uae30\uacfc\uae08\uc774\uc6a9\uc57d\uad00<\/a> \u00a0\uac1c\uc778\uc815\ubcf4\ucde8\uae09\ubc29\uce68<\/a>\n\n","protected":false},"excerpt":{"rendered":"