BG Muhn - North Korean Art: The Enigmatic World of Chosonhwa

2019, BG Muhn

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No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the author.

Published in 2019 by Seoul Selection U.S.A., Inc.

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ISBN: 978-1-62412-127-2 57500

Library of Congress Control Number: 2019953967

Printed and bound in Seoul, Korea

This project is the culmination of years of research that began unexpectedly when I first had the chance to see a North Korean ink wash painting in a small Washington, DC office in 2010. It was Dong-hoon Shin, a long-time collector of North Korean art, who introduced me to the art of the DPRK by showing me a painting from his collection. My first words of gratitude must go to him. Since that days spark, a growing interest in the unexpected combination of theme with the traditional medium of Oriental painting has drawn me to explore further. My journey has been colored by uncertainty and the challenges inherent in trekking across the physical and cultural boundaries of the isolated country of North Korea. Yet, the rewards have been immeasurable.

Having grown up in South Korea, I never considered, in my wildest dreams, that one day I would set foot in Pyongyang. Each trip to North Korea admittedly had its undercurrents of precariousness, but I was welcomed by people who were warm, polite and open to sharing the history and culture behind DPRK art. What I shall never forget are the unexpected insights from my conversations with masterful artists, who invited me into their studios and invested time in lengthy discourses of their work. I also witnessed in person their artistic creative process, an honor and privilege that I attribute to the collegiality of these North Korean artists. They include Kim Song Min, Kim Sung Hui, Choe Chang Ho, Ri Sang Mun, Mun Jong Ung, Kim Chol, Kim Ye Gwang, Choe Kyong Mi, Choe Chong Hwal, O Un Byul, Kim Jong Gun, Jang Yong Saeng, and Ri Hyon Ok. In addition, my gratitude goes to Jo Tong Hae, the director of the Suinhwa Division of the Mansudae Art Studio, for introducing me to the special genre of suinhwa, a type of woodblock printing.

I am equally appreciative of the time given by staff members at Mansudae Art Studio and other studios, including the Central Art Studio, Paek Ho Art Studio, and Sam Ji Yon Art Studio, to answer my incessant questions on DPRK art. I am especially indebted to Kim In Sok, one of the most prominent chosonhwa artists in the DPRK. We spent many hours talking in his studio, memorable times during which he shared with me his profound knowledge of the history and aesthetics of North Korean art.

I am also thankful for the generosity of the community of the Pyongyang University of Fine Arts. Vice President Song Chun Nam and Professors Kim Ki Chol and Kim Kwang Sik organized multiple conversations with faculty and students who shared with candor their experiences and perspectives on their art education, their processes of art, and even their social life.

Kwak Song Ae, the head of Public Relations at the Choson National Museum of Art in Pyongyang, remains one of the most unforgettable individuals in my experience. She regaled me with her stories and in-depth knowledge about North Korean art history, individual artists, and their work. Also at the Choson National Museum of Art, Academic Division Chief Dr. Kang Sung Hye took time to share her professional insights. Director Ri Kwang Yong greatly contributed to the content of this book by granting me special permission to photograph the artwork at the museum.

Throughout my visits to Pyongyang over many years, Kim Mi Hyang, a Kim Il Sung University graduate, security guard and minder, facilitated my stays and helped connect me to avenues for research. I am grateful for her overall support in ensuring that my research visits would be productive.

My colleagues and friends in Beijing provided vital resources as well. The expertise of Ji Zheng Tai, Director of the Mansudae Art Museum, Beijing, and the guidance of Wang Jie, President of Beijing Youth International Culture and Arts Association, were especially invaluable.

My dear colleague Jean Lee, director of the Hyundai Motor-Korea Foundation Center for Korean History and Public Policy at the Wilson Center in Washington, DC, generously shared her in-depth knowledge about North Korea with me at various junctures of this project.

Georgetown University, where I teach art, provided me with a Summer Academic Grant multiple times, which gave me the opportunity to travel for my research. The chair of the Department of Art and Art History, Dr. Alfred Acres, and my colleagues have been extremely generous in their encouragement and support.

In Seoul, I was fortunate enough to obtain a residency at the Institute for Far Eastern Studies for three summers. It was quite an honor to receive the residencies and enjoy the vast resources there. I thank Dr. Yoon Dae-gyu, former director of the institute, for giving me this opportunity.

I am grateful to my publisher, Seoul Selection, and its CEO Hank Kim for undertaking this project and to his excellent team of editors, translators, and designers for their high level of dedication. I am also appreciative of Seoul Selection for working tirelessly to obtain a highly competitive publishing grant from the South Korean Ministry of Culture, Sports and Tourism, which enabled the publisher to bring this book to English-reading audiences.

At my home in suburban Maryland, I thank my family, whose devoted support has helped me bring this project to completion. I appreciate the invaluable feedback and unending support from my dear wife, Sumita Kim, and my adult children, Eurae and Eupil, who read through multiple versions of the manuscript. Throughout this process, I was repeatedly reminded of the love and support that I have from my friends. I especially would like to recognize Denise Folwell, an English professor at Montgomery College, and David Parker, director of Maison Gerard Ltd. in New York and a contemporary art expert, for their continued advice and steadfast sustenance.