Kim Hongdo： Painting Everyday Life in Joseon Korea (김홍도) (Korean History)

Kim Hong-do, also known as Danwon, was a painter from the Korean Joseon dynasty. He was a key figure of the new trend of painting emerging at this time. He painted landscapes, flowers and birds, as well as Buddhist paintings. What is mostly remembered nowadays is for his depiction of the everyday life of ordinary people during the It is somewhat rare to find scenes from the lives of the common people of Joseon who were called Sangmin. Kim Hong-do also wrote poetry. Kim Hong-do was born in Ansan-si to a middle-class family. His teacher was Gang Se-hwang. Gang Se-hwang helped develop the Jinyongsan-su, True View Landscape, style of painting, which was used specifically to portray Korean scenery. He also pushed for acceptance of western painting methods. In 1766, Gang Se-hwang recommended Kim Hong-do, who was now 21 years old, to the court and thus Kim Hong-do entered the royal service as a member of the Do-hwa-seo, official painter's bureau of the Joseon court. Kim Hong-do became a government officer which oversaw the management of gardens, flowers and fruit in the Jangwon-seo. He was a byeol-je, a sixth-rank official. He made a name for himself in the flower garden early on. He quickly moved to Sa-po-seo government office, which was in charge of the royal family gardens and vegetable cultivation. He was tasked to paint scenes of court events and of King Yong-jo as well as his grandson, future King Jong-jo. He painted a portrait of Jong-jo when he was crown prince in 1773. Jong-jo himself became a patron of Kim Hong-do and allowed him to reach his full potential by entrusting all matters concerning paintings to him when he became king. In 1784, he painted Dan-won-do and officially started to use the title Dan-won. In 1791, he was appointed governor of Yeon-pung in Chungcheong province. During that time, he drew portraits of the common folk, Min-jung. His own style was preponderant in these later works and showed less influences from Chinese paintings. In 1795, he was dismissed from his post as governor due to a report that stated that he abused the people and acted as a go-between for others. He moved to Hanyang and worked as a painter. He still served as a government official and engaged in privately commissioned works. Although he was one of the most famous painter of his time, he was poor and his health was poor as well. When King Jong-jo passed away in the year 1800, Kim Hong-do also lost his main supporter. He wrote a letter in December of 1805 and that's the last time that he's recorded in history. It is assumed that he passed away in 1806. Kim Hong-do painted well over 700 pieces. His style was from the Southern School of Painting, Nam-jung-hwa. It's a term used to denote art which stands in opposition to the more formal Northern School of Painting. It's not a geographic distinction. It relates to style and contents of works. Southern school painters focus on expressive brushstrokes and more impressionistic approach than the Northern school's formal attention to detail and use of color and somewhat more refined modes and methods. Painting of Gyu-jang-gak Pavilion. The Gyu-jang-gak was a space for storing the handwritings of the deceased King Jong-jo. This painting gives a good idea of the style of landscape paintings Kim Hong-do produced in his early days. Banquet hosted by the governor of Pyongan province. The series of three official paintings. There's an incredible amount of detail present in these paintings. So much in fact that it would require a whole video just to go through just one of these. The first two paintings show two banquets in two different pavilions. The third painting shows a procession of boats under the moonlight. Pyongan-do was a province during the Joseon dynasty. The 19 Taoist Immortals. Originally an eight panel folding screen picturing immortals associated to Buddhism and Taoism. It's now been rearranged in three hanging scrolls. It's five meters long. There's a legend that there are heavenly peach trees that grow on the slopes of Mount Kunlun in China. If one eats the fruit which grows every 6,000 years, one will extend his or her lifespan by 60,000 years. In the painting we can see a woman who ate a peach that she displays proudly on her left shoulder. The donkey can carry its master wherever he wishes in mere seconds. Another immortal has a pair of clappers that can bring the dead back to life. Lao Cha is riding on a one-horned cow. Another immortal Dong Bang Sak is holding another big peach. Koreans believed that he lived 180,000 years. His name nowadays means long-lived. The legend of the peaches of immortality were popularized in the novel Journey to the West. Ban Wan Poong Sok Do Chop. Ban Wan's folklore picture book. An album of 25 genre paintings depicting the everyday life of ordinary people. The paintings are around 28 by 24 centimeters. Their focus is on the subject matter and not the background. They are more informal paintings. Color is used sparingly. Sodang, a village school. This is a regular village school. One kid seems to be teased by others after failing to recite what he memorized from the lesson. The teacher is wearing a bangon which is typical of Confucian scholars. The instructor's table is empty suggesting that he's so experienced that he doesn't need reference material to teach. One student can be seen trying to whisper the answer to his friend but alas this will not do and the poor boy is starting to untie his ankle bands in preparation for his punishment. Notice the rod to the left of the teacher which he uses to punish students by hitting them on their calves. Plowing a rice field. Farmers are doing really hard work with a smile. Shooting an arrow. An archer seems to be having difficulties. Another is looking at how straight his arrow is. The other apprentice strings his bow. Korean traditional wrestling. The busiest painting in this book. Notice the yut, taffy seller. I like how one spectator removes his shoes to be more comfortable. There's some theatricality in how this is depicted. We can see the faces of all characters but one. A Korean wrestling event is an open competition where all people can join in and challenge another spectator. Hangsan, peddling. The man and the woman are about to part ways to go peddling on their own. Mudong, the dancing boy. We can feel the motion as well as hear the sounds of the haegeum, piri, daegeum, janggu and the drum, bok. It's a composition method that's comprised of six members called Samhyeon Yukgak. Interestingly the mudong system was introduced during the reign of King Sejong when mudong were used for dancing and singing instead of kisang to prevent debauchery in government officials during banquets that were anyways mostly attended by man. Usually this ensemble sits in a straight line but they sat in a semi-circle to please the spectator on this occasion. Yihwaiki, roof tiling. I like how the man at the bottom left throws tiles to the man on the roof. Also notice the man checking how straight the pillar is with one eye closed. Daejanggang, a blacksmith's workshop. We can hear the metallic sounds and see the inflated muscles of one of the worker. Notice the man at the bottom sharpening a worn out tool and the jige looking tool at the bottom left. Nosangwaan, going out for a picnic. The scholar smiles at the family, probably more so at the woman. He's riding a female donkey that's being guided by a barefoot boy. It's somewhat surprising to see that the father isn't on the cow and he's also carrying a baby. Jeomgwae, alms gathering. This painting depicts monks or street entertainers dressed as such asking for alms by selling amulets and paper talismans. Naraegbaek, two boats. We can see people of different social classes. They might be heading to the market or coming back from it. Jumak, the tavern. We can see a middle-aged couple at an inn for a meal and a drink, taking a break from their travels. The innkeeper is scooping makgeolli with a ladle. Makgeolli is a raw rice wine that's typically unpasteurized. It usually has six to nine percent alcohol content. Gonu-nuri, a gonu game. Farmers taking a break from hard work to play gonu. Gonu-nuri is a traditional board game. All that is needed to play is a dirt floor, twigs and stones. Palleto, a wash place. Notice the scholar peeping at the women doing their laundry in the stream. Umulga, a well. The man is showing his chest without hesitation but notice how the women shyly look away. The painting alludes to the segregation of the sexes during the Joseon dynasty. Tampesolgi, shredding tobacco leaves. I cannot shake the feeling that it's really hot. It's most probably the middle of summer. Jerichagi, weaving a mat. It depicts a family where the mother is spinning, the father is weaving and the child is reading a book. Notice the stick the boy is holding to help read aloud his day's lesson. One can't help but think about how much hope the parents have in their son to succeed in his studies so he doesn't have to be a weaver like his parents. Pyeotajak, rice threshing. We can see a group of workers under the watch of a man, probably the landowner, who's smoking a long bamboo pipe. It's not really a critique of class struggles though as most workers seem quite happy to do their work, except that one fellow. Geurimgamsang, appreciating a painting. Although we cannot see an actual painting, we can see their faces which show all kinds of emotions. Gilsam, weaving. Notice the grandmother watching intently at the mother's work. Pyeonjabakki, shoeing a horse. Depicts an interesting way of shoeing a horse, especially if we compare to how it is done today. Gogijatgi, fishing. Fish was, and still is, an important part of Koreans diet. Notice the water birds gathering near the fisherman. Shinhaeng, on the way to the wedding. This picture depicts the groom heading to the bride's house for a wedding ceremony. He's riding a white horse. The woman behind him is possibly the matchmaker. Notice the man holding a wooden duck. Mandarin ducks represent peace, fidelity, and many offsprings. Jumshin, lunchtime. A beautiful scene of people eating, a woman nursing her baby, and a dog waiting patiently for some food. Jangtogil, on the way to a market. The horses are not carrying any load, so it seems like the merchants sold all their wares. 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