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The gayageum or kayagum (Korean: 가야금; Hanja: 伽倻琴) is a traditional Korean musical instrument. It is a plucked zither with 12 strings, though some more recent variants have 18, 21 or 25 strings. It is probably the best known traditional Korean musical instrument. [1]
This is a list of women artists who were born in South Korea or whose artworks are closely associated with that country. This is a dynamic list and may never be able to satisfy particular standards for completeness.
Literally meaning "monochrome painting," the works of artists like Ha Chonghyun, Park Seo-bo, Lee Ufan, Yun Hyong Keun, Choi Myoung-young, Kim Guiline and Lee Dong-youb were promoted in Seoul, Tokyo, and Paris. Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of contemporary Asian art.
Yun Suknam was born in 1939 in Manchuria, China.She returned to Korea, a year after Korea's liberation from Japan in 1946. She studied English literature at Sungkyunkwan University in South Korea, It was not until her 40s that she entered the art world, moving to New York to study printmaking at Pratt Institute, and painting at the Art Student League in New York.
Korean painting (Korean: 한국화) includes paintings made in Korea or by overseas Koreans on all surfaces. The earliest surviving Korean paintings are murals in the Goguryeo tombs , of which considerable numbers survive, the oldest from some 2,000 years ago (mostly now in North Korea ), with varied scenes including dancers, hunting and ...
Yun Hyong-keun (Korean: 윤형근, 12 April 1928 – 28 December 2007) was a South Korean artist. After graduating from the Hongik University, Yun became associated with the Dansaekhwa movement. Yun is well known for the smearing effects of burnt umber and ultramarine blue paints on raw canvas or linen, which reveals a Korean sensibility of ...
Kim Byungki, an art critic and artist, wrote that "the energy bursting out from the painting, like lava exploding from a crate, delivers inexplicable emotions to the viewers. [20] ” Lee Il, a critic, commented that “balance and harmony of colors in the paintings shows that YYK's mastery of color reached a supreme level. [ 21 ] ”
Kang's practice draws on her early training in traditional Korean painting. In her works, she espouses the philosophical disposition of Chosun-era painters, who aimed to convey their own observations and interpretations of history through poetry, writing, and visual art. Kang's multimedia work often takes the form of immersive installations. [1]