Korean art possesses several
distinguishing characteristics
that create a unique style of its own. Korean art respects
nature,
and the extensive use of quiet and subdued colors is
manifested
in Korean paintings and ceramics. Humor is another
characteristic
of Korean art. Bold exaggeration, the acceptance of
non-symmetrical
cubic objects, and unique spatial beauty conveyed by
imperfect roundness
are examples of humor in Korean art. Quiet harmony may be
cited
as another characteristic of Korean art. This means that
there is
no excess, the right materials being selected in scale with
the
surroundings. With all of these characteristics, the Korean
arts
have inherited a unique aesthetic sense which depicts beauty
with
honesty and simplicity that is free of artifice.
Koreans traditionally have shown an
intense love
of their land, an emotion felt so strongly that it has been
reflected
in their beliefs, philosophy and religion. The mountains,
rivers,
coasts and seas, and the four seasons that nurture them,
have played
important roles in forming basic thoughts and relationships
among
the people of the peninsula since earliest times. Their
ancestors
migrated across the vast plains from Siberia and Manchuria,
seeking
to find homes in a warmer clime. Settling of their own free
will,
they came to shape a history distinctively their own.
Samgug yusa (Memorabilia of the
Three Kingdoms) records
that it was Tan-gun who founded the nation of Korea. Legend
says
his father, Hwanung, a heavenly deity, decided to settle on
earth
in response to the desire of earthlings. A bear was
transformed
into a woman, and Hwanung married her. Dan-gun was born of
their
union and began a reign in 2333 B.C. that was to continue
for more
than a millennium. While some have dismissed the legend as
an indication
of the totemism of the Korean people, others have noted the
significance
of a belief in which a deity had, of his own volition,
desired to
become a human being. They held that the Korean people did
not consider
the earth a place of exile for heavenly beings, not a place
the
erring were sent to live in penance.
This view was that the land and
country comprised
a dream, so good that even the deities and animals wanted to
live
there, and that the Korean people felt gratified to have
chosen
such a place for their home. Even the neighboring Chinese
were said
to have expressed wonder at the beauty of Korea, summing it
up in
one of their ancient verses: "Would rather live in Korea and
see Mt. Gumgangsan (Diamond Mountain)."
Once known as the "Eastern Land of
Courtesy,"
Korea, in its long history, seldom cultivated overseas
interests,
never invaded its neighbors, nor sought development outside
given
boundaries. Ancient Chinese records say it was the custom of
the
Korean people, being so courteous to each other, to avoid
walking
on the road, fearing it would hamper the movement of
another. Foreigners
commonly were called barbarians.
This excessive adulation of their
homeland, while
being averse to the coveting of the territories of others,
eventually
invited aggression from outside, bringing the subjugation of
the
Korean people and a period of colonial suffering. Among the
many
Korean proverbs is one declaring preference for "an earthly
field of dung to the wonders of the afterworld." This
demonstrates
the choice of the life of the present, no matter how sordid
it may
be, to that of an imaginative, unknown heaven. Korean
literature
contains many tales reflecting such a psychological trend in
thinking.
In traditional literature, a
beautiful lady, called
Seonnyeo, would descend from heaven in search of a fuller
life on
earth, marry an earthling, become a mother and eventually
fulfill
the chores expected of every married woman. She would then
go back
to her former abode in heaven, but there is usually no
reference
to what became of her after her return to heaven.
The art of Korea is different in its
lines and colors,
clearly distinguished from the strong, bold strokes of the
Asian
continent, or from dazzling colorations and excessive
refinement
that mark the art of island nations. On the surface the pale
colors
reflect nothing strong or positive; often they are taken to
have
a negative meaning. Images of willows or clouds are painted
not
in bold, firm lines, but in pale, thin brush strokes. But
these
elements should not lead to a hasty interpretation that
Korea ancestors
were life-weary. The magical effect of these strokes and
lines seem,
at a close look, to reflect the ardent yearning for the life
of
the sonin, the hermit. The heavens, rivers, and other
objects of
nature are rarely painted in strong colors; the pale grayish
colors
have an attraction of their own.
Foreigners who have lived in Korea
and acquired some
knowledge of the Korean language may wonder at the frequent
use
of the phrase, "aigo jukgetda," which literally means
"I could just die." They may also wonder at so many passages
in popular ballads or lyrics in which people vent their
sadness
against the transience of life. One hearing a rendition of
chang,
a style of folk singing, for instance, might even feel it is
a voice
crying in agony. Hearing and reading Korean songs and
writings,
foreigners may raise the question whether this is not the
true characteristic
of the people. This negative outlook on life was caused by
the decline
in the power of the state in succeeding chapters of history,
and
made all the more bitter by subsequent foreign invasions of
Korea.
These views have now given way to
the newly resurging
vitality of youthful Koreans who want no more of this
nihilistic
attitude. No matter how much they "want to die," they
ardently desire a good life on this earth. One proof of this
way
of thinking might be found in the way children are named in
Korea.
Many names take the meaning of stone and iron, such as
Chadori or
Soedori. Stone and iron are ageless, hard and able to
withstand
the test of time. These names are given in the hope of
bestowing
long life on the bearers. Koreans have a flair for
decorating things
with Chinese ideographs, the most common being su, meaning
long
life, and bok, bliss. Of these two characters, preference is
for
the former. First is long life, and then well-being. The two
letters
are always read su-bok and not bok-su. Wealth, a good
career, health,
and many children are considered factors of bliss.
In building a house or choosing a
place for burial,
Koreans have always considered the natural surroundings,
such as
the course of a river or shape of a mountain, important.
There were
criteria for choosing the most ideal place, which went by
the name
myongdang. Large amounts of money were often spent for the
purpose
of selecting a myongdang by means of geomancy. Without
exception,
powerful families concentrated their attention on securing
such
places for residences and burial grounds, not to speak of
royal
palaces and royal tombs. This observance of geomancy is
evident
in numerous graves that dot the Korean countryside. This
practice
flourished during the Goryu and joseon periods.
Heaven has always been considered
the source of both
mercy and wrath. Periodic rituals with offerings to heaven
were
conducted for the benefit of farmers and fishermen.
Believing in
the power of heaven over the destiny of mankind, they prayed
for
bumper crops or safe voyages. Among the many exclamations in
Korea
are two which concern the subject of heaven: "Heaven"
is shouted when some extraordinary emergency arises, and
"learn
to fear heaven" is uttered when someone does something
unacceptable.
Heaven was respected because of its vastness and light; it
was neither
a religious worship, nor a traditional folk custom. It was
for this
reason that human dignity was often associated with heaven.
For
example, a king was a "son of heaven." This creed eventually
produced the Donghak philosophy or Eastern Learning in the
late
19th century, the essential concept of which equated the
power of
heaven with that of man.
There seems to be no single concept
as far as the
philosophy of Korea is concerned. Just as the life of a
Korean could
hardly be divorced from the currents of the world, so with
philosophic
tenets. Korean philosophy has progressed and became enriched
through
meetings, conflicts, and combinations with alien thoughts.
At certain
stages in history, Koreans learned to combine their own
inherent
philosophies with those of other countries. This process
often produced
a brilliant synthesis, disclosing the imaginative power and
creative
sense of Koreans. Thus, foreign philosophy as well
benefitted from
Korean influence.
Koreans rarely indulged in
discussing abstract matters,
for their interest was focused on the present. Some, of
course,
did theorize and brought forth solid philosophic theses, but
always
these were accompanied by calls for actual practice.
Apparently
the ancient sage did not stroll amid beautiful scenery, lost
in
meditation over abstract escapist thought. To many of them,
it was
important that their thoughts help cultivate their
personality.
The principles which guided members of the Hwarang corps
during
the Silla kingdom included matching body with mind, and
matching
word with action. It was a demonstration of true Korean
philosophy.
Through the expounding of Buddhism, theorizing upon
Confucianism,
and showing reverence for heaven and all the spirits that
inhabit
nature's creatures, Koreans shaped their philosophy.
