A Comparative Study In The 20th Century, Korean Ink Painting

This thesis presents the development process of ink paintings in modern Chinaand South Korea in the20thcentury. For many years, the author has been doingresearch into different and unique evolution of the ink paintings in modern China andSouth Korea in the20thcentury.After amassing a vast amount of data, the author has done all-round researchinto the ink paintings in the two countries in the20thcentury, especially the impact ofWestern art upon the art of ink paintings of these two countries. In addition, this thesishas narrated the following items in details: the movement of overseas studies,Western education, the attitude of traditionists toward Western art, the politicizedtendency of ink-painting art against a specific historical background, the relationshipbetween the basic patterns of Chinese art of ink paintings and the art of Hong Kongand Taiwan from the1940s to1970s and the international cultural community, the artin the1980s as part of the movement of ideological emancipation at that time, the artin the1990s which tried to blend itself into the tide of globalization, ink paintings inmodern South Korea from the Era of the Three Kingdoms to the Korean Dynasty, andso on and so forth. In the framework of ink paintings of these two countries in the20thcentury, this thesis takes into consideration the interaction among different art genres,organizations, criticisms and events of ink paintings, attempting to present differentevolution of modern ink paintings in these two countries in the20thcentury amid hugechanges of politics, economy and culture.This thesis consists of Three parts: part one: The Origination and Evolution ofChinese and Korean Ink Paintings before the20thCentury. Part two: The Evolutionand Main Characteristics of Chinese and Korean Ink Paintings in the20thCentury.Part three: Similarities and Differences between Chinese and Korean Ink Paintings inthe20thCentury. Relevant Reasons, intervening in the topic of modern ink paintings inthe20thcentury by understanding the cognition of the painters in these two countriesto the styles and concepts of ink-painting art under the framework of modern inkpaintings of these two countries in the20thcentury. In the20thcentury, in China andKorea, two attitudes were generally taken toward the understanding of tradition: One was the view of “The decline of tradition”, demanding that traditional concepts andmethods be improved or even replaced with the concepts and methods of Westernpaintings; the other was the view of “Self-improvement of tradition”: tradition had anendless vital force. Thus there occurred an intense debate between denying andupholding tradition, which became a hot issue of ink paintings in the20thcentury.When various angles of view of modern ink paintings in the20thcentury are unfoldedand the angle of view is still: ink paintings are equal to tradition; the contemporaryand the West are in complete harmony. then the art of ink paintings forever be skewon the edge of the contemporary.