Korean Modern Calligraphy Studies (10) : The Rise of Orientalism in the 1930s and Perceptions of Chusa’s Calligraphy

From the late 1920s to the early 1930s, as so‑called Orientalist art theories were being advocated, the distinctive forms and techniques of traditional calligraphy and painting were steadily being supplanted by Western painting methods. Yet with the emergence of Orientalist discourses on art, an opportunity arose for the reappraisal of calligraphy and the Four Gentlemen motifs. Kim Bokjin and Kim Yongjun were artists who stood at the forefront of efforts to revive the fading glory of Joseon art under Japanese colonial rule. They discerned the fundamental principles of art in the calligraphy of Chusa. Kim Bokjin was the “first” modern Korean sculptor to work with a clearly articulated artistic consciousness. While he closely observed and assimilated contemporary artistic trends in Japan and the West, he simultaneously displayed a keen sense of balance that prevented him from neglecting Korean tradition. His theory of sculpture emphasized balance and harmony accompanied by dynamic movement, as well as harmony with nature. This sculptural theory coincides precisely with the basic principles of calligraphy. Defining calligraphy and seal-engraving as the mother of sculpture, he cited Chusa’s calligraphy and Wichang’s seal‑engraving as exemplary models. This perspective on calligraphy and seal‑engraving demonstrates the depth of his understanding of calligraphy as the very foundation of East Asian traditional art. Motivated by a critical awareness of the Joseon art world pervaded by Japanese style, Kim Yongjun sought to revive a national art grounded in the spirit of unifying calligraphy and painting inherent in the art of calligraphy and literati painting. Viewing calligraphy and the Four Gentlemen as the quintessence of East Asian art that reveals the life of the cosmos, he argued that such a realm of art could be witnessed in the calligraphy of Chusa, where beauty and goodness are brought into unity. Kim Yongjun thus moved beyond mere appreciation of Chusa’s calligraphy, advancing instead toward a full understanding and creative application of Chusa’s calligraphic and pictorial ethos. The archetype of Joseon’s beauty that he embodied rests fundamentally upon the calligraphy of Chusa. During the Japanese colonial period, although calligraphy constituted the archetypal form of national art, most artists dismissed it as a trivial pastime devoid of contemporaneity. However, Kim Bokjin and Kim Yongjun focused on the spirit and principles of calligraphy, and they sought in Chusa’s calligraphy the driving force of artistic creativity. Even today, artists in other genres tend not to view calligraphy favorably. By examining their perceptions of Chusa’s calligraphy, this study hopes to prompt a transformation in the way contemporary artists regard Korean calligraphy.