Masterpieces of Joseon flower paintings

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Sun, November 27, 2022 | 20:38

Arts

Masterpieces of Joseon flower paintings

Posted : 2018-07-08 17:33

Updated : 2018-09-19 18:10

An eight-panel folding screen featuring peony paintings from the 19th century / Courtesy of Gallery Hyundai

'Morando' (Peony Painting)

By Kwon Mee-yoo

The peony was one of the most popular flowers appearing in flower paintings from Joseon Kingdom

Kho said the peony holds symbolic importance in East Asia.

"The origin goes back to China's 618―907 Tang Dynasty when the Tang court discovered the beauty of the peony and the flower came to symbolize life and the vital force of the universe. From there it spread throughout Northeast Asia. In Tibet, the peony was sculpted for plinths of Buddhist statues and people of Goryeo adorned stone coffins with peony patterns," Kho said.

"During the 1392-1910 Joseon era, the peony was the most popular subject for flower-themed folding screens. The royal court used peony screens for a variety of events including weddings, funerals and ancestral rituals. The peony consolidated its symbolism of wealth and prosperity in Joseon era."

The peonies in paintings and screens are painted in diverse styles. Some are realistic, while others are fancy in an unearthly way.

"According to a historic document, Joseon scholar Park Mi described the flamboyant peony screen used for his wedding in the early 17th century, saying its many colors dazzle the eye. The shape or color of a flower didn't much matter since it was just a symbol of prosperity."

Kho also pointed out the wealth and honor represented by the peony are not those of the nouveau riche, but more of a wish for good luck.

A 12-panel folding screen of lotus paintings from the 19th century / Courtesy of Gallery Hyundai

'Yeonhwado' (Lotus Painting)

Though mostly associated with Buddhism nowadays, the lotus was the flower of Joseon noblemen.

"There were no Four Gracious Plants, or Four Plants of Gentlemen (the plum blossom, the orchid, the bamboo and the chrysanthemum), but the lotus was the only flower of the gentleman in Joseon," Kho said.

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The lotus is a scared flower in Buddhism, but Chinese philosopher Zhou Dunyi's essay "On the Love of the Lotus" imparted a new meaning to the flower blooming above the water.

"The lotus grows in murky water but blooms above the surface and has a sweet fragrance that can be smelled from a distance. Zhou's essay also influenced Joseon scholars to regard the lotus as a symbol of ideal spiritual harmony. King Jeongjo didn't like flowers at all, but he loved lotus flowers and the lotus appeared often in letter paper of the Joseon literati."

The lotus was symbolic of love as well. Folding screens featuring lotus flowers and a pair of animals such as fish, white heron and swallow were popular among the wealthy.

"When only lotuses are painted on a folding screen, the room becomes a pond ― a place for love," Kho explained.

"The lotus often appeared in Sin Yun-bok and Kim Hong-do's paintings related to love."

Part of a 19th-20th century painting of flowers and animals / Courtesy of Gallery Hyundai

'Hwachoyeongmodo' (Painting of Flowers and Small Animals)

Hwachoyeongmodo refers to a painting that featured flowers and a variety of small animals.

"They painted the most beautiful flowers of each season as well as small animals and birds. For instance, the peony was for spring, lotus for summer and chrysanthemum for autumn," Kho said.

The animals in the paintings are also extraordinary and exotic birds such as the peacock and phoenix make appearances as well.

In later works, the pair of animals appears with baby animals, which represented the creation of a family.

"These screens with paintings of flowers and animals were very popular and used for wedding ceremonies and decorated bedrooms of newlyweds. Sometimes, parents-in-law gave the screens as gifts for good luck to a daughter-in-law after giving birth," the professor said.

Hwachoyeongmodo diversified in style as it spread among the common people.

The "Painting of Pleasure," expected to be painted from the late 19th century to early 20th century, features a tiger wearing glasses, a pair of dragons and two cranes conjoined together.

"This painting's unique style differentiates from other paintings with similar objects. We also see some traits from Jeju Island folk painting in this painting and hope to find more works from this unnamed artist," Kho said.

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