Art blooms in rocks and winds and modern and tradition

È«±âÀÎ ±âÀÚl½ÂÀÎ2018.11.15l¼öÁ¤2018.11.15 10:21

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¡ã Choi Mi-sun

Artist Choi Mi-sun is famous for her ‘gongpilhaw’ wroks. Gongpilhwa is a style of Chinese paintings that requires meticulous technique. It is also called the northern style as opposed to the southern and it was somewhat regarded as technical and decorative. 

In Korea, An Gyeon’s ‘Mongyudowondo’ is regarded as the model for the style. The difference between ‘gongpilhwa’ and ‘ink-and-wash’ is that the latter values more of colors. One of representative gongpilhwa works of Choi is ‘Jeju Grimung’. It is full of landscape of the island in idyllic atmosphere. 

Choi majored in art education at Dongduk Women's University. She ran an atelier until she moved to China following her husbands’ job as a sojourning employee in China. There, she entered Tianjin Academy of Fine Arts, one of the 8 state supported prestigious art academies, and learned gongpilhwa under the instruction of professor Ga Gwang-gun. She graduated as a top student and carried on her study to a master’s degree.

To make a good gongpilhwa in terms of deliverance of details, the artist must have a good brush. A good brush has four characteristics: sharp, elastic, static and round. Generally, gongpilhwa artists use one of the three types of brushes: line brush, color brush and background brush. Rice paper and silk are commonly used as canvas. The Choi’s work ‘Mokdan Ssanghapdo’ which is about a couple of dove is a good example and one might say it is a masterpiece once observed in detail. 

Choi’s professor Ga Gwang-gun once said “Choi is very talented but never boasts. Rather, she seems to give herself to nature. Her works are calm but have rhythm, joy, peace and happiness.”

The work ‘Gosuguyokdo’ themed on dried wood and mynah on silk, for example, releases mysteriousness and marvelousness through exotic colors while the mynah seems to be alive. The ‘Hwajodo’, on the other hand, expresses apricot flower, pomegranate, forget-me-not, hydrangea and lily with traditional colors and meticulous detail. Choi mostly used silk at the early stage of her works and shifted to hemp, cotton cloth and rice paper, and recently adding stone pigment and acrylic as materials. 

Choi values natural beauty of her works like she gives herself to the course of nature. She has held three times solo exhibitions including Pyo Gallery China and the Hangaram Arts Center Museum Seoul. 

She and her husband live in an atelier-house in Aewol-eup, Jeju. They met in Seoul and lived in China (Tianjin, Beijing and Shanghai) for 20 years. Choi’s husband has extensive knowledge in Chinese art and has been a good companion of her. “He is the driving force of my creativity” says Choi. 

Recently, Choi is expanding her scope to literary painting and seogak (carving letters and images on wood) in an effort to draw new styles and ambience in relation with gongpilhwa. She is a member of the Jeju Literary Painting Society and of the Aewol Mukhyanghoe and the Aewol Seowoohoe (seogak societies). 

   
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