| Title | Modern transformation of Sagunja-Kim Sang-cheol (Art critic) | |
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Modern transformation of Sagunja, regarding the sensitive boundary between tradition and modernity
Kim Sang-cheol (Art critic) How Sagunja appeared and developed
As is well-known, Sagunja is a generic term of plum, orchid, chrysanthemum and bamboo, constituting materials of painting in Korea, China and Japan. In China, long time before Sagunja served as materials of painting, it appeared as subjects of poetry. It is not clear when this term Sagunja first started but it is presumed to have appeared in the Ming Dynasty. In the beginning, Sagunja was composed of the subject of Oriental painting such as pine tree, bamboo and plum, the so-called “three friends good at enduring cold” and chrysanthemum and orchid were added to these. In general, it is believed that the term derived from the book “Four Treasures of plum, orchid, chrysanthemum and bamboo” of Chen Jiru from the Ming Dynasty in which he referred plum, orchid, chrysanthemum and bamboo as Sagunja. “Gunja” of Sagunja originally indicates a person of quality and virtue. When it comes to virtue, it is a generic term embracing virtue of beauty, virtue of quality and virtue of intelligence, and this term was widely used during the Spring and Autumn period and the Warring States period of China. In other words, Sagunja was named during the Warring States period to highly respect four people with lofty moral influences such as Lord Menchang, Lord Pingyuan, Lord Chunshen and Lord Xinling. This expression Sagunja was used because plum, orchid, chrysanthemum and bamboo are known to have noble and loyal spirit and the names of four figures previously mentioned were imitated. In particular, plum, orchid, chrysanthemum, bamboo and pine tree are called “five friends.” Pine trees are often used in Sansuhwa and the technique of painting is different from that of other plants, so they called these four plants “Sagunja” excluding the pine tree.
Sagunja as a subject matter of painting started to be used from the Tang Dynasty and it became greatly popular from the Northern Song Dynasty. According to “Hwagye” of Buchun published in 1167, the four plants had been already painted in Chinese ink during the Northern Song Dynasty, and paved the way of Sagunja painting as the literati painting of ink of posterity. Sagunja painting was the most appropriate subject matter for men of letters, leisurely artists in the sense that it is relatively easier to draw than other Sansuhwa or figure painting and it allows drawing by applying technique of calligraphy. Moreover, as an extension of the principle of which the brush stroke of calligraphy reflects the virtue of character of the writer, Sagunja painting was also believed to reflect the artist’s virtue of character. Thus, Sagunja developed as the most proper subject mater of literati painting. They were Su Shi and Wen Tong of the Northern Song Dynasty who developed Sagunja as the subject of nobility. They advocated the theory of “completion of image description prior to a task” and sought state of will based on artist’s temper. Moreover, Huaguang Zhongren, Buddhist monk painter of the Northern Song Dynasty greatly contributed to progress of plum ink painting. During the Yuan Dynasty, it was deeply loved by men of letters of Han people whose were deprived of their country by the Mongols to express loyalty and spirit of resistance. Thus, theory of literati painting made conspicuous progress. Sagunja painting was widely distributed to common people through individual painting books from the Song Dynasty, and it became even more popular when general painting books were published after the early stage of the Qing Dynasty.
In Korea, with the appearance of painting of nobility influenced by the Song and Yuan Dynasties during Goryeo period, records show that many noblemen painted bamboo and plum in ink painting and not only noblemen but also common artists painted Sagunja from Joseon period. This way, from the 15th -16th century, the drawing of plum and bamboo starts to appear in the white porcelain of Cheonghwa (blue), Jinsa (red) and (red and black). Later, orchid and chrysanthemum appear in the surface painting of white porcelain. Today, Sagunja is often practiced as basic self-cultivation and discipline for it is considered a subject of painting to express mind and techniques of Oriental painting in the most effective manner.
We normally call Sagunja “plum, orchid, chrysanthemum and bamboo” but we also call it “orchid, bamboo, plum and chrysanthemum” changing the order. The order of “plum, orchid, chrysanthemum and bamboo” means transformation of time of spring (east), summer (south), autumn (west) and winter (north). On the other hand, the order of “orchid, bamboo, plum and chrysanthemum” means unchangeability of space of south, north, east and west. It is Sagunja painting that can be fulfilled by unifying four cardinal points of east, west, south and north with four seasons of spring, summer, autumn and winter as one space and time. Interpreting it from the formative figuration, all visual phenomena of the world can be represented by yin and yang composed of curves (orchid) and straight line (bamboo) and the medium points of semi-curves (chrysanthemum) and semi-straight line (plum). For this reason, for learning of Sagunja, bamboo was considered the most appropriate material to master the brush strokes. On the other hand, orchid is understood as an object to learn formative beauty, basic lines and light and shade of ink stick (meok) manifested by the leaves. Moreover, plum is for expressing a variety of lines and light and shade of ink stick (meok), while chrysanthemum is for studying general composition beauty for it is normally accompanied with other plants, flowers and interesting stones.
From ancient times, since Gunja or Lord was respected as values of character of their lofty quality rather than social status, when drawing Sagunja, expressing the natural intrinsic essence was more important than the external appearance of the object. This implies that Sagunja developed not only as painting but also as a symbol concentrating Oriental culture with essential values and significance of mind. The components of literati painting constitute character, discipline, witty ideas and thought. The standards of evaluation based on complete qualities of these four definitely reflect this fact.
Regarding modern transformation of Sagunja Literati painting, which was completed in the long-lasting historical
development process, possess concentration of the most abundant and profound
themes both in terms of quantity and content among various genres of Oriental
painting. The tradition of Oriental painting discussed today is no different
from formative experience, aesthetic system and view of appreciation, which
have accumulated in the course of development process of literati painting of
the Southern School (Namjong). Sagunja is considered part of literati painting
of the Southern School (Namjong). In terms of form, it has features harmonized
among poetry, calligraphy and painting. In terms of expression method, it is
focused on paper, brush and ink stick. In terms of content, it is imbued with
high-degree implication and metaphoric symbolism based on literary lyricism. For
this reason, this type of painting requires the so-called interpretation skill
of painting to read the meaning and symbolic system of metaphor inherent in
this painting, in addition to the general method of appreciation of visual art.
It is because literati painting including Sagunja is firmly based on the
high-degree metaphor and implication called “simulacre-virtue.” For this
reason, character of artist, virtuous quality, culture and discipline, which
are repeatedly emphasized in traditional Oriental painting, can be considered a
prerequisite condition to establish depth and implication of this
simulacre-virtue. Under this formative system, Sagunja is no longer considered
mere natural objects but symbols of specific meaning, in other words, plum as
benevolence, chrysanthemum as righteousness, orchid as courtesy, and bamboo as
wisdom.
In times of turbulence and chaos of values, men of letters in the past chose painting as a means of management and self-cultivation for them. Taking this expression method of painting, they expressed their appreciation and emotion about irrationality and disharmony of the world to which they belonged. This can be a mental product based on the premise of opposition to the conventional values and evident faith in some unchangeable values. Therefore, literati painting including Sagunja per se is based on the prerequisite of a certain hierarchical character. In other words, men of letters belonging to the ruling class in the feudal times expressed their impressions or appreciation through painting, and such emotions they wished to express were reflection and criticism on the reality. In sum, literati painting including Sagunja was a peculiar form of painting which men of letters of the feudal times reflected the reality and expressed their emotions or impressions through poetry, calligraphy and painting. Considering that the division between the feudal times and modernity comes from abolition of class, this traditional literati painting can be regarded as the form and content of the past time. These days, traditional painting including literati painting is at a standstill and recession because it failed to overcome this premodernism. Ideas and virtues based on unworldly hermitage and escapist passivity no longer served as virtues in the modern society. Rapidly changing reality required new values and the demand class of culture quickly changed from nobility to a new rising capitalist class. For this new demand class of culture, this tradition of poetry, calligraphy and painting is considered a product of the ancient time or relics of antiquated class that has disappeared. Assuming that literati painting is a particular formative system composed based on lofty character and fierce critical mind in the closed conditions of feudal traditional society, it is evident that modern transformation of this painting should meet new situations and requests of new space and time of modernity. Modernity can be secured if we understand that literati painting or Sagunja is not an immortal fixed form but glittering symbol of mind, and actively accept and express new contents of the new era.
Today, it is true that we can hardly find men of letters with the traditional sense. Moreover, most of people seeking literati painting including Sagunja purse it as artists and do not aim at it as leisurely enjoyment as men of letters. While men of letters of the traditional time have advantages of poetry and calligraphy, literati painting artists of the modern time would reach culmination through painting. Since modernity, tradition of poetry, calligraphy and painting gradually differentiated until securing its independent area. Among three elements of poetry, calligraphy and painting, painting stands out in terms of expression and the rest two elements are complementary playing a relatively passive role in the canvas. In particular, from the perspective of the intrinsic character of literati painting of self-cultivation and leisurely practice based on literary refinement and culture, painting was nothing but the last means to embrace this concept. Despite this, painting under the new situation started to occupy the primary position. From the traditional perspective, this situation is like “putting the cart before the horse.” Moreover, this change of traditional style must have been difficult to accept from the perspective of traditional literati painting, which considered works of professional painters belonging to official Painting Institution simply functional, distinguishing works of literati painting for being spiritual from those of official painters and postulating the fundamental difference of quality. Thus, content and form of poetry and calligraphy began changing the status and function from leading elements to subsidiary ones, until they differentiated and became an independent genre highlighting the intrinsic position.
Variations of values in line with changes of time are unavoidable. Even though it is true that the unified tradition of poetry, calligraphy and painting has its proper system and values, we are to recognize that it is the product of the traditional age. During the process of changing from traditional age to modern and contemporary times, it is true that the unified tradition of poetry, calligraphy and painting lacked efforts of adaptation to reality and transformation. For our nation, modernization meant Westernization. During the process of modernization in which Westernization was recognized as the most powerful and immediate value, it was inescapable that values like the unified tradition of poetry, calligraphy and painting was regarded as a product of the old time. Traditional values, which were branded as something banal and antiquated to be renewed even without necessity of correct evaluation of values, were soon replaced with something Western. In some sense, our modernization was a process of Westernization or pursuit of Westernization. Today’s situation can be interpreted as faithful reflection of such traces of our own.
The fact that tradition of literati painting including Sagunja today is at a standstill cannot only be explained by the result of unilateral abolition during the process of modernization. It will be necessary to admit first that we lacked understanding and practice of the fundamental values of this painting. The meaning of its existence vanished away since we only followed the style and represented the form without liveliness. This tradition of standardized and stylized Sagunja must recover the intense Zeitgeist (spirit of the times) aimed and pursued by its intrinsic spirit. It is obvious that tradition must be alive keeping its values as long as it can persist vitality even today. If we only repeat following the form and style, this will be no different from overuse of the form.
Traditional view of aesthetics and formative style of the Orient symbolized by the so-called poetry, calligraphy and painting will have to go through a series of inevitable changes and variations in the new cultural environment. This means diversification of standardized doctrinaire values of the past, and it will appear in terms of variety of arts, pluralism of style and school and multiplicity of forms and means. In today’s society in which things become more and more liberalized and globalized, it is difficult to expect that culture and art can develop unless many schools and styles of art attain maturity and keep coexistence. Instead of guarding against or worrying about new and innovative experiments and pursuit of a new generation, it will be important to encourage what they do. The effort of leading various emotions and tasks in the diversified era to uniform content and form is considered an act going against the current of the time.
The subject matters focused on Sagunja enjoyed by traditional literati painting reflect the values of the traditional era. They drew bamboos for there were few scholars with constancy, and they expressed their disgust at the politics of reality through orchid with roots. However, inflexible interpretation and lack of understanding prompt subject-focused mind and this phenomenon is considered a chronic malady of Sagunja of today. A man of letters of today means an intellectual with whole-person culture. A new aspect of the so-called modern literati painting would refer to the one painted by an artist with discernment and vision as an intellectual and a cultured person, expressing this through painting to reflect, criticize and record the reality. The same value can be equally applied to Sagunja.
In fact, in most cases, perspectives and directions of discussion on Sagunja have been focused on abstruse and extremely conservative position, and this leaves much to be desired. It is about forcing Sagunja to be settled in a particular genre or sticking partial features of Sagunja to a fixed principle. Sagunja obviously presents unique formative characteristics and thoughts that other art genres fail to own. We are to keep in mind that Sagunja has accepted heterogeneous contents of different times in the course of long historical development process to constantly change and enrich the content. However, if we neglect changes and progress of Sagunja by regarding it as something fixed and invariable, it will cease to exist in the end. What we really need to fear is not the fact that Sagunja transforms its unique property and content to have a new aspect, but the features are deified and fixed in one point. It will be important to remember a series of criticisms and reflections of which one of the reasons of obstacles of Sagunja lies in the fact that it failed to properly adapt to new trends of the time and encountered evils of antiquated pursuit of tradition.
It is natural that progress of history achieves dynamics through incessant criticisms and reflections based on tradition of the past. This is highly significant in the transitional period or stage of transformation. Even though every period seeks changes of tradition, its power has been always inferior to that of extremely conservative group. In other words, the value of “learning the old tradition” was more emphasized than “knowing newness.” However, it is beyond question that “learning the old tradition” without the base of “oneself” is meaningless. It is natural that a new understanding of tradition comes from realistic demands and it thoroughly starts from reflection on reality. It is because it does not occur out of impulsive motives of each one, but the age and human life require it. The reality in which Sagunja encounters today must be explained by its failure to adaptation to this call of the time.
Suju Byeon Yeong-ro once mentioned in “Vision on Oriental painting” contributed to Donga Ilbo in 1920 as follows: “As is the case of other genres such as literature, philosophy, music, sculpture and architecture, in particular, painting allows people or nation to directly express thoughts, emotions and opinions without intermediation. Therefore, through painting of the time, we can figure out the fluctuation of cultural development of the era and how people of the time were in terms of ideas, preferences and emotions.
In other words, “time spirit (zeitgeist)” is blood, flesh, aroma and color not only in painting but also in other arts. For this reason, an art without manifestation of this time spirit is a dead art and an art with a row rank. Therefore, a great artist is able to understands and have a sharp insight into time spirit to have it as the background of his / her art to finally create “beauty” of salvation and immortality transcending all spirits of time.
However, have a look at Oriental paintings for a while. In particular, pay attention to paintings of the Joseon period. Do you ever discover that they manifest time spirit in any corner? Is there any deep and original artistic significance of the artist? Do you ever see any trace of acute artistic conscience? They are nothing but imitation and copy of transcendent immortals – without doubt, they are great – and adherence to obsolete artistic promise.”
Even though this text was published long time ago, the stern advice and reproach in the context can be fairly applicable to today’s Sagunja.
To rediscover tradition, it will be fundamental as premises to boost it to a higher dimension by analyzing and understanding to modelling after it, and not by looking for the grounds for the eternally invariable quality. This rediscovery of tradition can be largely divided into two. This is about having positivity and negativity, in other words, having positive values and negative ones. The positive value of rediscovery of tradition lies in giving active and useful influences on our modern-day life, by fully accepting the life factors inherent in tradition and entering a new era with a renewed aspect. On the contrary, negative value of rediscovery of tradition lies in allowing people to clearly recognize the direction and starting point of creation by denying the factors, which used to have vital force in the past but now considered banal without vitality, and pointing out their historical status and today’s evils. It is natural that this discovery of tradition is diverse and complex, but the fundamental starting point must discover the potential stream to purify the blurred and turbid part and induce correct flows until giving courage enough to jump into the huge stream of contemporary art. This must be a way of protecting us from being disappeared in the harsh waves of which Sagunja faces today. |