emerged in 1970s South Korea as a unique fusion of Korean traditions and international art movements. Artists sought to create a distinctly Korean form of abstract art that reflected post-war experiences and grappled with questions of national identity.
The movement emphasizes process, materiality, and meditative practices in art-making. It challenges traditional notions of representation and artistic authorship, using monochromatic palettes and unconventional materials to explore the relationship between artist, materials, and the natural world.
Origins of Dansaekhwa
Emerged in 1970s South Korea as a response to rapid modernization and cultural shifts
Represents a unique fusion of Korean artistic traditions with contemporary international art movements
Sought to create a distinctly Korean form of abstract art that reflected post-war experiences and philosophies
Post-war Korean context
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IHaceproject - Japanese Occupation and Post War Period View original
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Contemporary Korean Art: Tansaekhwa and the Urgency of Method View original
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To Put Finish to the War: Armistice in Korea, 27 July 1953 – Active History View original
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IHaceproject - Japanese Occupation and Post War Period View original
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Contemporary Korean Art: Tansaekhwa and the Urgency of Method View original
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Top images from around the web for Post-war Korean context
IHaceproject - Japanese Occupation and Post War Period View original
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Contemporary Korean Art: Tansaekhwa and the Urgency of Method View original
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To Put Finish to the War: Armistice in Korea, 27 July 1953 – Active History View original
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IHaceproject - Japanese Occupation and Post War Period View original
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Contemporary Korean Art: Tansaekhwa and the Urgency of Method View original
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Developed during a period of economic growth and political tensions in South Korea
Artists grappled with questions of national identity and cultural preservation
Reacted against both traditional figurative art and Western-influenced
Influence of Western abstraction
Drew inspiration from Abstract Expressionism and
Incorporated elements of action painting and color field techniques
Diverged from Western models by emphasizing process and materiality over pure visual aesthetics
Key founding artists
initiated the movement with his "Ecriture" series in the late 1960s
contributed theoretical foundations through his writings and "From Point" and "From Line" works
developed unique grid-based compositions using repetitive gestures
Characteristics of Dansaekhwa
Emphasizes process, materiality, and meditative practices in art-making
Seeks to create a harmonious relationship between the artist, materials, and natural world
Challenges traditional notions of representation and artistic authorship
Monochromatic color palette
Utilizes limited color schemes, often focusing on whites, grays, and earth tones
Explores subtle variations and tonal gradations within a single hue
Reflects influence of traditional Korean aesthetics and natural landscapes
Emphasis on materiality
Foregrounds the physical properties of artistic materials (canvas, paper, paint)
Experiments with unconventional materials like (Korean mulberry paper) and burlap
Treats the surface as an active participant in the artistic process rather than a passive support
Meditative process vs product
Prioritizes the act of creation over the final visual outcome
Involves repetitive, labor-intensive techniques that require focus and concentration
Aims to achieve a state of harmony between the artist's body, mind, and materials
Techniques and materials
Combines traditional Korean art-making methods with contemporary approaches
Emphasizes tactile engagement with materials and surfaces
Explores the boundaries between painting, sculpture, and performance
Layering and scraping
Builds up multiple layers of paint or other materials on the surface
Uses tools to remove or reveal underlying layers, creating depth and texture
Incorporates chance and into the artistic process
Traditional vs modern media
Integrates traditional Korean materials like hanji and ink with modern acrylics and oils
Experiments with found objects and industrial materials (sand, kaolin clay, steel)
Blends Eastern and Western artistic traditions to create a unique visual language
Texture and surface manipulation
Creates tactile surfaces through techniques like scratching, rubbing, and puncturing
Employs repetitive gestures to build up patterns and rhythms across the canvas
Explores the interplay between two-dimensional and three-dimensional elements
Philosophical underpinnings
Rooted in East Asian philosophy and aesthetics, particularly Korean interpretations
Seeks to transcend dualities between subject and object, form and content
Explores concepts of , impermanence, and interconnectedness
Zen Buddhist influences
Incorporates meditative practices and mindfulness into the artistic process
Emphasizes non-attachment to outcomes and embracing imperfection
Explores concepts of emptiness (mu) and the interconnectedness of all things
Harmony with nature
Draws inspiration from natural phenomena and landscapes
Uses organic materials and processes that mimic natural forces (erosion, growth)
Seeks to create works that exist in harmony with their environment
Concept of void
Explores negative space and emptiness as active elements in composition
Challenges Western notions of horror vacui (fear of empty space)
Investigates the relationship between presence and absence, form and formlessness
Major Dansaekhwa artists
Represent diverse approaches within the movement's core principles
Developed distinctive techniques and visual languages over decades of practice
Gained international recognition in the 21st century, leading to renewed interest in Dansaekhwa
Park Seo-Bo's ecriture series
Began in the late 1960s, evolving through distinct phases over five decades
Utilizes repetitive mark-making to create textured, monochromatic surfaces
Explores the concept of "descriptive geometry" to achieve a meditative state
Lee Ufan's From Line works
Consists of simple, repeated brush strokes on raw canvas or paper
Emphasizes the relationship between the painted mark and surrounding space
Explores concepts of encounter and dialogue between artist, material, and viewer
Chung Sang-Hwa's grid compositions
Creates complex geometric patterns through a labor-intensive process of and removal
Employs a strict grid system as a framework for exploring color and texture
Achieves a balance between control and chance in the final composition
Dansaekhwa in global context
Gained international recognition in the 1970s through exhibitions in Japan and Europe
Experienced renewed interest and critical reappraisal in the 21st century
Challenges Western-centric narratives of modern and contemporary art history
Reception in international art world
Initially overlooked or misunderstood by Western critics and institutions
Gained recognition through major exhibitions and biennales in the 2000s and 2010s
Sparked debates about cultural authenticity and the globalization of contemporary art
Comparisons with Western minimalism
Shares formal similarities with Minimalist and Post-Minimalist movements
Diverges in its emphasis on process, materiality, and philosophical underpinnings
Challenges notions of artistic authorship and the primacy of visual aesthetics
Impact on contemporary Korean art
Influenced subsequent generations of Korean artists exploring abstraction and materiality
Sparked debates about national identity and cultural heritage in Korean art
Paved the way for greater international recognition of Korean contemporary art
Legacy and influence
Continues to shape discussions about Korean art history and cultural identity
Raises questions about the relationship between local traditions and global art movements
Faces ongoing critical reappraisal and reevaluation in light of changing artistic and social contexts
Dansaekhwa vs younger generations
Younger artists both embrace and critique Dansaekhwa's aesthetic and philosophical principles
Explores new materials and technologies while maintaining focus on process and materiality
Addresses contemporary social and political issues more directly than earlier Dansaekhwa works
Market value and collectibility
Experienced a surge in market interest and prices in the 2010s
Raised concerns about the commodification of Korean cultural heritage
Sparked debates about the relationship between artistic value and market forces
Critiques and controversies
Faced criticism for perceived cultural essentialism and romanticization of Korean traditions
Sparked debates about gender representation and the dominance of male artists in the movement
Raised questions about the role of art in addressing social and political issues in contemporary Korea