SEOUL.- The Modern and Contemporary Art, Korea (MMCA; director Kim Sunghee) and the National Art Museum of China (NAMOC; director Wu Weishan) co-host The Modern and Contemporary Ink Art of the Republic of Korea and the People’s Republic of China from Thursday, November 28, 2024 to Sunday, February 16, 2025 at MMCA Deoksugung. Serving as a platform to enhance artistic exchange and mutual understanding between the two countries, the exhibition also opens a new chapter in the study of East Asian ink and color painting through various related workshops and international academic conferences.

This exhibition is divided into four parts—two each devoted to the Republic of Korea and the People’s Republic of China—and features a curated selection of ink art pieces and modern masterpieces representing both nations. The Korean painting section, consisting of parts one and two of the exhibition, explores the modern transformation of traditional ink painting. Part one of the Korean painting section, “The Dawn and Innovations of the Modern Era,” presents works spanning from the early 20th century to the 1970s. During this period, traditional painting underwent significant transformations in materials, techniques, sizes, and meanings with the advent of modernity. In the early 20th century, the term seohwa (calligraphy and painting) gave way to the concept of dongyanghwa (Oriental painting), separating calligraphy from paintings created with brush, ink, and paper, and marking the transition of ink and color painting into modern art. The influence of 1950s modernism introduced styles such as cubism and informel abstraction into ink and color painting, exemplified by the works of Park Rehyun, Chang Unsang, and Ahn Dongsook. After the 1970s, artists began incorporating modern art styles into Korean themes, exemplifying Eastern modern innovation. Part two of the Korean painting section, “Beyond Boundaries, Toward Expansion,” focuses on the evolution of Korean painting from the 1980s to the present day. During the 1980s, the term hangukhwa (Korean painting) replaced dongyanghwa (Oriental painting), and efforts to establish Korean painting as a modern art genre through new forms of expression or changes in technique accelerated. This can be seen in works such as Suk Chuljoo’s Outskirt Area (1981) and Kim Sundoo’s Subway, Line No.2 (1985). From the 1990s onward, distinctions between artistic genres began to blur, and Korean painting moved away from rigid definitions of materials, themes, forms, and genres.

Parts one and two of the Chinese painting section explore two central themes: the inheritance of tradition and innovation. Part one of the Chinese painting section, “Rediscovering Tradition,” showcases ink art masterpieces that represent 100 years of modern Chinese art history. For this exhibition, NAMOC has brought together a significant collection of cultural relics. Chinese artists have inherited tradition, integrated modern interpretations, and harmoniously blended Eastern and Western art forms to create a unique artistic universe. At this exhibition, visitors can appreciate masterpieces by Chinese ink art masters that are rarely displayed even in China, such as Wu Changshuo’s Wisteria (1920), Xu Beihong’s War Horse (1942), and Qi Baishi’s Mandarin Ducks by Red Lotus (1955). Part two of the Chinese painting section, “Diversity and Prosperity,” presents a comprehensive selection of works by prominent artists representing each era from the 1990s to the present. These artists broke traditional conventions, incorporating innovative techniques to capture the dynamism and brilliance of the new era. Through the works of Hu Mingzhe, who applied new forms and painting techniques to Chinese painting Su Baijun, who modernized the gongbi (elaborately detailed) bird-and-flower painting style, visitors can explore the context in which the spirit of traditional Chinese ink art has endured to the present day, alongside the evolution and expansion of Chinese art.