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[박영택 평론 번역]Sun-Mi Lim - the Korean folk painting image reproduced fantastically through lacquering and mother-of-pearl work |
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| 글쓴이 : |
| 슬기용기아빠 |
작성일 : |
2009-09-12 00:14:12 |
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3645 |
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| 첨부파일#1 : |
박영택교수평론(영문번역09.06.07수정).hwp (26.5 KB) - download : 104 |
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Sun-Mi Lim - the Korean folk painting image reproduced fantastically through lacquering and mother-of-pearl work
Park Young Taek( an Art Critic, Professor of Kyonggi University)
Sun-Mi Lim makes painting by the technique of lacquering. She does not draw and paint a picture on paper by using a brush, but works through the complicated and painful process of handicraft. Accordingly, her work is of a good deal of sculptural operation that is both a plane picture and a picture in low relief. At the same time, she produces a projecting visual and tactual picture. With traditional elements of lacquering painting, she borrows and reorganizes our folk painting. The materials of her pictures are the icons, the images picked out from the Korean folk painting, and the technique for painting is the use of lacquer as a main stuff. As is generally known, the folk painting is the embodiment of the images based on the belief invoking a blessing. For example, flowers appearing in her pictures represent wealth and honor, and watermelons or lotus flowers fecundity. Sometimes the letter '福' (Bok as good fortune) makes an appearance as a direct expression. Closely embroidering the images and letters that stand for and wish for good health and longevity, wealth and honor, conjugal happiness, fecundity, and good fortune in order to enjoy them, this is just our folk painting, so-called incantatory images. These extremely elaborate images and letters as the gesture of praying ardently for the realization of the most human dream and wishes bloom like flowers everywhere and shine like stars. They glitter on the things of daily necessity like pillow pads, clothes, vessels, and furniture. They are the image, meaning, and function of life in the traditional society.
Sun-Mi Lim makes us recognize the incantatory nature and true function of the images in the traditional society afresh. She has painted fascinating pictures of still life by the images appearing in the folk painting. These pictures of still life, painted by the extraordinary adjustment and processing of materials, constantly give us an impression that the images in the context of the folk painting have been reproduced fantastically and that they look as if a part of art works of lacquer ware inlaid with mother-of-pearl or mother-of-pearl cabinets slipped into the pictures. She installs the images characteristic of the folk painting not on the surface of the things of daily necessity but on the quadrilateral picture. Fruits and flowers are laid separately on either side of a vase situated exactly in the center of the picture, forming a symmetrical composition. The fruits and flowers are depicted relatively very largely compared with the small vessel and the vase. Streamlined branches hang or flow as if dancing around an amply swollen lotus flower and pumpkin and around them flys a butterfly . We can sense the vision that takes a close-up of a part of the realm of nature and closes in upon an object itself. Moreover, she visualizes the vital and sensuous movement of flower stalks' bending radically and making the letter '福' or the feeling of being permeated with grace and elegance through swimming in open spaces freely. It appears that she has taken care in order to maintain the merit that lines have in Oriental paintings and emphasize and revive them at the same time.
Sun-Mi Lim makes painting by the expression methods of lacquering painting such as painting, attaching, scattering, grinding, planting, beating, glazing, and using transparency and opacity. Having contemporary potentialities for new pictures, this time-honored traditional technique that expresses images in the Orient is being reproduced fantastically. She makes painting by the technique of lacquer ware inlaid with mother-of-pearl instead of ordinary pictorial media. Actually, embroidery, lacquer ware inlaid with mother-of-pearl, and etching and processing images on the surface of metal all may well fall under the category of pictures. She does not understand Oriental paintings only within the restricted category of Indian ink painting and colored pictures but applies to contemporary work the diverse representative techniques of images and methodology used in the traditional society, which makes us turn our attention to her attitude in that sense. First, the artist lacquers a wood plate two or three times to prevent it from changing its shape or warping and then again varnishes it with unboiled lacquer mixed with tile dust. Then, after drying the wood plate, for the first time she provides it with a ground for pictures through polishing it with sandpaper several times and then re-lacquering it. Indeed, it is a complicated ground for pictures that takes much trouble and needs various laborious processes. Then the artist ornaments it charmingly by inlaying mother-of-pearl patterns upon it. Mother-of-pearl, a natural material, shows a unchangeable brilliant color. This is why mother-of-pearl patterns are put on lacquer ware. Both mother-of-pearl and lacquer are extracted from natural materials and are natural lives as they are. Therefore they can be regarded as animated objects. A long period of time, wind, and nature get joined together to make shells' pattern , luster, and quality, and plane pictures are painted by resin from the trees made in the same way.
Mother-of-pearl patterns glistening in all the five colors with a dark, solid, deep ground color for a background, make and show a shape. She hangs light over the background of the darkness of lacquering by means of mother-of-pearl. It becomes a paint which possesses colors and lusters the existing dyestuffs cannot possibly put out, and which possesses solid physical properties. And it becomes an objet which has the character of a picture and low relief at the same time. After finishing operations, lacquering itself is brought to completion by means of a biochemical reaction. According to her, continuing in its course just like a life phenomenon in nature of blooming and bearing fruit, lacquering becomes a generative picture and comes to perfection by slow degrees as time goes by. It is said that lacquering emits subtle colors, and it shows some profundity that the existing chemical paints cannot possibly imitate and expect when reaching the acme. It shows the deep and strong color and light which only nature produces. It is said to be the charm and characteristic of this work. So, this lacquering becomes the being that breathes and lives together in rapport with the artist. Even after the picture has been completed, with the lapse of time, the colors become ripe through breathing, generating, and changing repeatedly over several years. The picture made so laboriously shines most brightly and beautifully. It gives out an exorbitant illusion and glitters. The picture continues to change according to the angle of illumination and the movement of the viewer's eyes and body. Because of the attribute of the material itself, it exists together with the progress of time, and at the same time it moves continuously into the new being in response to the viewer's body movement. After the artist reorganizes the materials of the folk painting, our traditional art, in tune with modern ideas, she produces generative pictures or low reliefs which are most decorative, at the same time contain deep colors and brilliant luster, and are wholly made up of nature by putting to practical use the equally traditional technique of lacquering and mother-of-pearl.
It sincerely and affectionately embraces eternal human dream and wishes in our lives of today as ever.
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