Korean folk painter Youngji Seo with several pieces in the 'A Korean Spring in Malaysia' exhibition. In the centre is 'Geumgwedo' (Golden Chest), depicting the birth myth of Kim Alji of the Silla Kim dynasty, who was said to have descended from the heavens in a golden chest. Photo: The Star/Samuel Ong
Spring has come early to Malaysia – in A Korean Spring In Malaysia exhibition, South Korean artist Youngji Seo has unveiled a selection of traditional Korean folk paintings, which are now showing at d’Gallery, Dasein Academy of Art in Kuala Lumpur.
Also known as “minhwa”, this intricate art form began during the Joseon dynasty (1392-1910), influenced by the Chinese and Japanese through cultural adaptation and colonisation.
Minhwa paintings are distinct due to its aesthetically balanced composition, measured strokes, exquisite lines and flat, vibrant colours with a number of categories focusing on the flora and fauna, as well as historical, cultural or mythological figures.
The exhibition, which runs until March 1, features 26 of Seo’s minhwa works from 2016 to 2024, as well as those by her art students, each contributing one piece. The participating students are Minhee Song, Seonmee Kim, Jisoon Choi, Mizi Kim, Jiwon Choi, Hyunsoo Kim, Jeayun Baek, Sunha Park, Youngsook O, Eunhaeng Park, Yuyoung Kim, and Youngeun Park.
Visitors snapping shots of the artwork at the 'A Korean Spring In Malaysia' exhibition at d’Gallery, Dasein Academy of Art in KL. Photo: The Star/Samuel Ong
Seo, 51, says that the title of the exhibition refers to the start of the new year cycle in Korea which begins in spring.
“It represents new hopes and aspirations for the new year. This exhibition, which is under Dasein Academy of Art’s arts and culture initiative, aims to foster understanding and appreciation via our shared cultural values and similar spiritual outlook between Malaysia and South Korea,” says Seo at the opening of the exhibition recently.
Honouring her identity
Seo, who was formally trained as a graphic designer, says she’s always admired the fine details and technicality of minhwa painting, which requires a steady hand.
Sharing the process in making a minhwa, Seo says that she first draws the artwork on Korean rice paper (“It’s very thin, yet quite strong.”) using stone ink.
She then colours the drawing in with a special paint that she has to mix herself, made from dried mineral pigments in stick form (known as “bongchae”) or powder form (“bunchae”).
The pigment is combined with a binder liquid derived from a fish’s air bladder (a type of fish glue called “agyo”) to create the paint. Seo then puts in the finishing touches, going over the lines once again with stone ink.
'Nodo' (2021) by Seo, depicting expat life abroad and translating to ‘fierce waves in a rough sea’ from Korean. Photo: The Star/Samuel Ong
The colours on the paintings are vibrant, and while many of them are of traditional subject matter like tigers, dragons, birds, and folklore, there are some that have a more modern touch to them, like Nodo, which features the Petronas Twin Towers, and Coexistence, which has a laptop sitting beside traditional paint brushes.
“Minhwas are folk paintings, meaning that ordinary, everyday Korean people made them. As a long time practitioner of this traditional craft, I am immersed and constantly inspired by the culture and outlook of the past.
“However, I have also begun to include my own present experiences using this traditional approach. By blending both, I believe that minhwa can be a platform for personal expression while honouring one’s cultural identity,” she explains.
One way that Seo honours her identity is by painting at least one tiger minhwa every year.
An artwork titled 'Maenghodo' (2024) by Seo, inspired by Joseon-era painter Kim Hongdo’s 'Songhamaenghodo' ('Tiger Under The Pine Tree'). Photo: The Star/Samuel Ong
“Tigers are very special to me, as I was born in the year of the tiger. It is also a prominent symbol in Korean culture. In folktales, tigers are often portrayed as absurd beings painted with shockingly outspoken and humorous strokes.
“But in my piece Maenghodo, the tiger is depicted more realistically – it was inspired by renowned Joseon dynasty-era painter Kim Hongdo’s Songhamaenghodo (Tiger under the pine tree),” she adds.
Imbued with emotions
Seo began her foray into minhwa painting nine years ago under the tutelage of famed folk painter Ahn Mikyung, the former director of the South Korean Folk Painting Association.
Now, Seo herself is a member of the same association, and is one of the very few exponents of this traditional craft based in Malaysia.
'Get Out Of Here, Covid-19' (2021) by Seo, inspired by Moonbae, a Korean tradition of placing images at palace gates to ward off evil. Photo: The Star/Samuel Ong
Since moving to KL from Seoul six years ago, Seo has been teaching minhwa painting full-time at the Malaysian Folk Painting Education Center (Min-Art) in Mont Kiara, as well as art workshops with young students at local schools.
Seo also actively promotes minhwa internationally and has participated in various international exhibitions held in Australia, China, India, Italy, Japan, and Turkiye.
“I hope that those who come to view the exhibition not only admire the paintings themselves, but also feel the emotions that are captured in the paintings – each of them carry their own meaning. Because I believe that minhwas encapsulate the hopes and feelings of the Korean people,” she concludes.
A Korean Spring In Malaysia is showing at d’Gallery, Dasein Academy of Art in Kuala Lumpur until March 1. Free admission. Open: 10am-5pm (Monday-Friday); 9am-6pm (Saturday). Instagram: @daseinacademyofart
