Traditional Korean arts are one-of-a-kind cultural treasures that have been passed down from master to master since antiquity. These stunning traditional crafts are distinguished by their use of natural, organic forms and minimal decoration, which is a nod to the natural world.
Traditional Korean arts include folk painting, calligraphy, Korean mulberry paper, clay dolls, and other exquisite works. Over the centuries, Korean arts and crafts, including fine and decorative visual arts: calligraphy, folk art, mulberry paper (Hanji), and clay dolls (Sila Tou) Korea’s treasures of art from different dynasties.
1. Calligraphy – the art of writing
Arts from Korea in Asia, giving someone a handwritten calligraphy signifies the artist's deep respect for that person and is regarded as a genuine gift from the heart. This is on the grounds that in Asian societies, calligraphy isn't just a specialized practice in penmanship, yet a demonstration of preparing and training the psyche. Western calligraphy is not the same as Eastern calligraphy, a visual art form in which writing is written with a brush.
Hangeul (Korean) calligraphy, in contrast to Chinese character calligraphy, which has a variety of fonts developed over several millennia, is only about 500 years old. Many enthusiasts of calligraphy adore Hangeul calligraphy for its simple, restrained beauty and unexpected strength, despite its relatively short history. New fonts and writing styles are being developed in an ever-increasing number of Hangeul calligraphy projects.Namsan Hanok Village is one of many places in Korea that teach calligraphy to foreigners. These classes are open to anyone who wants to learn calligraphy; In fact, members of foreign embassies and businesses operating in Korea enjoy them greatly. There is likewise an assortment of calligraphy rivalries, particularly for outsiders held every year.
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Silla clay dolls are part of Korea's cultural heritage. Figurines or "dolls made out of clay," a burial custom of the Silla people, are referred to as "tou."
Silla clay dolls lack fine detail and have a highly simplified appearance that gives the impression that they were made with a single-hand movement. Although they defy conventional proportional rules and frequently lack details, certain parts are boldly highlighted to emphasize their symbolic significance. Sexual acts between men and women, as well as depictions of sexual organs, are telling signs of what the Silla people considered to be important. This agrarian society clearly desires abundant harvests and prosperity for its members.
Not only were items and horses owned during one's lifetime, but also the people closest to the deceased were brought into the afterlife out of a desire to preserve one's material wealth. Sunjang is practiced in a lot of places all over the world. It was practiced extensively in Korea up until the Three Kingdoms Period (57 B.C.-668 A.D.), when human remains and accessories for burial were frequently discovered in the tombs of the Gaya and Silla Kingdoms.
These figurines were made of clay—known in Korean as "tou"—by the Silla people. “Doll made of clay" is the literal translation of the word "tou."In addition to human figures, tou were made of a variety of animals, everyday objects, and homes. These figurines serve the same purposes and are common in both Western and Eastern cultures; In the East, their use as grave markers or for shamanic or incantation purposes was particularly significant.
3. Korean Folk Painting (Minhwa)
The society painting of Korea - the craftsmanship of the commoners (Minhwa) from bird and blossom works of art, to the tiger and the mythical serpent and the ten life span images.
Minhwa is, in essence, a type of art made for everyday people. It is a natural consequence of people's long-cherished desire to improve their living conditions and lead healthy, prosperous lives. Minhwa was created with a strong adherence to the symbols and events of Koreans' everyday lives. They cover a wide range of topics and modes of expression.
In addition, the tiger is the subject that is depicted in Korean folk paintings, which are referred to as "minhwa" in Korean. However, in minhwa, the feared and a sacred tiger is depicted as an absurd creature, painted in unrestricted and shockingly comical strokes. This is certainly not due to poor minhwa execution. When compared to the more conventional approach taken by one of the greatest artists of the Joseon Dynasty, Kim Hong Do, in his Tiger Under the Pine Tree, the unrestrained, revolutionary manner in which minhwa depicted the tiger is made abundantly clear. We can see how Minhwa so effectively depicted the hopes and desires of ordinary people through this freedom of expression and amazingly unconventional method of painting. The minhwa's silly portrayals assisted individuals with defeating their feeling of dread toward the tiger by giving this hallowed being a more amiable disposition and appearance.
