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Sochun Kim Chundu's Ink Painting
Literary artist Landscape Which looks quiet ,detached and plan
Shin Hangsup Art Critic
lnk painting literally, is a painting that is drawn by rubbing an ink stick after pouring water into inkstone.
Inkstone has its characteristic odour. Inkstone which is made by mixing the soot coming from the pine trees burning into the glue. this is why the ink painting which is drawn with inkstone. the scent from the inkstone, as mentioned here, does not mean the actual scents that the inkstone has from this painting but the vigor of inkpainting, or the pure and uncontaminated sign that does not mix whit others. The real taste of inkpainting lies in the fact that such a vigor of inkstone should be alive completely
In Sochun Kim Chundu's inkpainting, the vigor of inkstone is felt sufficiently. In his landscape that the scenic landscape unique in the southern provinces in composed brushes, the taste of inkstone is felt completely. Above all, the vigor inkpainting still remains in the landscape of the southern school of chinese painting which is expressed in plain and crisp brushes. Looking at his works, it seems like that the scent of inkpainting are felt to me as they are. this suggests that he expresses the atmosphere of the inkpainting well as it is without superfluousness.
Inkpainting is said to haver five colors. to express the five colors, aesthetic perspective to differentiate the differences between light, depth, and color as well as the changes in light and shade is required. If an artist does not have such an aesthetic eye, the color of inkpainting becomes muddy no matter how he of she is excellent at expression. If the inkpainting is glossy, it can't be said that he or she attained to the exquisite principle. It's because this is the basis for inkpainting prior to technique and a fundamental issue.
Sochun has immersed himself in the painting in the literary artist's style and ink landscape painting including the Four Gracious Plants(plum, orchid, chrysanthemum and bamboo). As shown in his awards history: twice of special selection and more than 20 times of winning at national exhibitions, he took his place as an artist within the system as early as possible. But, he immersed himself only in creative works, determining retirement because he selected his life as an artist out of office. This is why his works are small, detached, and plain. Being far from the vain honor and wealth, he was only involved in paintings. Thus, it is not much to say that he was recognized as an artist out of office because he broke with busy activities in the world of art.
Such an artistic attitude is probably consistent with the aspect that he studied in Kyushu University as a promising philosopher.
In fact Sochun's works are filled with the scents from characters. It is the result that he prioritized mentality rather than painting technique. to look at his works, the entire outline comes to my eye at a stroke. Like this, his works are clear and transparent. There is no reason for his brush to be moved because his mind is peaceful and clear. This is why every brush that he draws is plain and clear.
Sochun established a school of his own in writings as well as painting. In addition he made topics himself. In other words, he wrote poems. This is why he can be called as the expert in three fields: poetry, caligraphy, and painting. probably, in korean world of art , there might be someone who is managing the world of refined inkpainting with both poems and writings. That Sochun's works are continuously loved by those who have an eye seems to be attributable to the elegant value of works that such three field had made.
To take a close look at it, Sochun's brushes have no techniques like children's. They are innocent as if they were not caring about the technical completion. The dots and lines that are depicted as his mind leads are even felt like being empty. His scribbled stroke that the landscape in the southern style of painting has and inarticulate expression are unique. the drawing line expressed with scribbled stroke is like worms are wriggling. In particular, the stroke that depicted the rocks is such to look like gullible.
Right here, his mental aspect inherent in his works is seen. The drawing line which is like wriggling is the product of liberal spirit beyond technique. It is so because he would never be satisfied with such a foolish drawing line if he pursued for technical completion. Painting should give emotional comfort to appreciators through psychological and emotional purification. In the shape that leads to technical skillfulness, visual pleasure acts, but it is difficult to give a deep impression enough to be remained in mind for long time. The outside is splendid, but the inside is not sufficiently filled yet.
Sochun's landscape is expressed with scribble stroke. Brushed traces are revealed roughly as if his paintings were drawn with kudzu root brushes. scribbled stroke is effective for revealing a fresh atmosphere without fast recording. For example, the inside and outside look like transparent. It's as if his mind were being revealed openly. Away from the vague and confused expressions is effective fir attracting freshness. Resisting splashed and overlapped ink effect is also not indifferent form this. It is the result of recognition that putting efforts into each and every drawing line is sufficient for expressing images as well as shapes.
It seems that this is why Sochun's landscape is familiar. Even the landscape of strangely shaped rocks is not hight to suppress us. It's as I were looking at the landscape one day. This is also true for ideological landscape as well as the works that contain actual landscape. By lowering his eye, his works are comfortable. This is effective for expressing the landscape of the southern provinces in Korea. Ideological landscape, which is different from the reality, among Sochun's landscape works, is no small, but his drawings indicate that the ultimate goal is the completion of images and shapes.
To grant the painting beauty and spirituality, it is acceptable that the ideality different from the reality is intervened. It is natural that no matter how beautiful actual landscape should be checked according to the painting conditions. Jeongsun beautiful nature is called as the real landscape, but in fact, it focuses on the organization of painting. Although Sochun also contained the actual landscape, he did not hesitate to satisfy his drawing conditions as landscape by checking considerable parts.
Recently, real scenery landscape is recognized significantly, but ultimately landscape is difficult to express mentality and images without ideality. Sochun's inkpainting emphasizes on this.
2013 소천 김천두 영문
김선일화실 2013 Sochun Kim Chundus Ink Painting
2013 Sochun Kim Chundus Ink Painting
East Wind. Korean Traditional. Paintings Academy.
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