East Asia Library Exhibits Contemporary Artworks in the Tradition of Korean Literati Painting

The East Asia Library (EAL), a part of Stanford University Libraries, is excited to present Cheonggea Ilsu Cha: Grasp the Essence, and the Form Fades Away, an exhibition by the South Korean artist Cheonggea Ilsu Cha now through February 20, 2025. Artist Cha has dedicated his 40-year career to the mastery of ‘literati’ painting, a genre combining written word with a painterly interpretation of text that has been an art form practiced by the scholarly elite in Korea for over 400 years. Cha’s work has been featured at the prestigious Grand Art Exhibition of Korea, and he has held eight solo exhibitions. The East Asia Library is honored to have Cha’s exhibition come to Stanford.

A significant number of Korean scholars practiced literati painting during the Joseon Dynasty, which extended from 1392 to 1897. Literati painting reflects the scholar’s observation, understanding and interpretation of a poetic topic. The artist strives for aesthetic discipline; the text must be no longer than what the topic minimally requires. So too must the artist seek simplicity in visual vocabulary. Cheonggea Ilsu Cha: Grasp the Essence, and the Form Fades Away is inspired by the philosophy of Tŭgŭi mangsang (得意忘象), which emphasizes abandoning artifice in order to seek the true nature of things. The works showcased in the exhibition employ the use of ink and a constrained palette of color using materials such as traditional Korean paper, scrolls, and fans. The paintings touch on a wide variety of topics, from nature to philosophical reflections to expressions of human emotion. Cha’s work is inspired by the artistic sensibility of his predecessors. Visitors to the exhibition will find paintings imbued with a classic aesthetic, timeless charm, and a lively wit.

More about literati painting and the exhibition are shared below in an interview with the artist Cheonggea Ilsu Cha.

Definition and Significance of Korean Literati Painting

[EAL] Visitors may be encountering Korean literati paintings for the first time. How should they understand them? What are your thoughts on the meaning of literati painting?

[Cha] Literati Painting is a traditional form of art in my country that involves the use of the four treasured tools of a scholar's study: the brush, inkstone, ink stick, and paper. Literati painting is comprehensive: it blends poetry, calligraphy, and painting. More than just depicting forms, literati painting is an art form that reinterprets subjects to express the artist's thoughts and emotions. It is a technique that not only expresses the artist's inner world but also highlights his creativity.

The primary material of literati painting is ink. If the artist employs colors, he applies them in a simple and modest manner. Literati painting originated in the Song Dynasty in China and was introduced to Korea during the Joseon Dynasty, where it evolved into a unique Korean style. The biggest difference between literati painting and other art forms is the selection of subject matter. Choosing a good subject, or in other words deciding what story to convey in the painting, is the most important first step. Before drawing, it is crucial to decide what to depict, what text to include, and what overall message to convey. To do this, one needs to read extensively and cultivate a broad knowledge of the humanities. Cultivating creativity and qualities as an artist is also essential to mastering literati painting.

Selecting the Theme

[EAL] You mentioned that selecting the subject matter is crucial in literati painting. How do you choose your themes when working on literati paintings, and what process do you go through in your work?

[Cha] Let’s discuss the main image of this exhibition as an example. This painting may help people understand my thought process when choosing a theme for one of my works. The best way to appreciate this painting is first to read the text, then view the image. The text in the painting reads as follows:

Now past 80 years Trying to study but forgetting what I learn, and forgetting again when I awake.

This text expresses the struggle of a Korean grandmother trying to study in her old age. The student is forever forgetting what she has just learnt. The elderly in their eighties in Korea are a generation that did not receive proper education. However, despite their age, they have not lost their will to study and continue to strive to cultivate themselves. I chose the plum blossom as the subject of this painting because it is a flower that blooms after a bitter winter, symbolizing elderly women’s unwavering enthusiasm to learn.

The Meaning Behind the Pen Name ‘Cheonggea’

[EAL] You are known by the pen name 'Cheonggea' as an artist. How did you come up with this name, and what is its meaning?

[Cha] A pen name serves as an alternate expression of the artist's identity. It is a unique name used in communication with others, and once you become an artist, the pen name often becomes more commonly used than the real name. While a mentor or confidant sometimes bestows a pen name, I myself chose the pen name 'Cheonggea' 40 years ago. 'Cheonggea’ means ‘clear stream’, symbolizing a clear stream flowing endlessly through a deep valley. This name reflects the mindset I've maintained throughout my long career as an artist.

The Artist’s Journey

[EAL] Could you share how you started painting and what insights you have gained over the decades of working as an artist?

[Cha] I first started painting literati art in 1985. The initial motivation for picking up the brush was my fondness for the scent of ink and the feel of the hwasŏnji (Korean traditional paper). Over time, I became deeply engrossed in painting. During this period, I naturally transitioned into becoming an artist. Particularly in painting, I spent much more time contemplating which themes to choose than actually using the brush. The usual path to being recognized as a professional artist involves submitting works to exhibitions like the Korea National Art Exhibition and being selected. I encountered many failures along the way, but eventually, I won an award and began to establish myself more firmly. To date, I have held eight solo exhibitions and have continuously created works with new themes. I hope to continue doing this well into the future.

About the Exhibition at the East Asia Library

[EAL] How did you select the works for the exhibition at Stanford? Do you have a message you would like to convey to the visitors of the exhibition?

[Cha] The theme of this exhibition is 'Tŭgŭi mangsang' (득의망상得意忘象). The Korean characters mean “Grasp the essence, and the form fades away”, implying that appearances are not important. The works selected for this exhibition express the simple and unadorned emotions of Korean culture, with the spirit of scholars alive in the paintings. Literati painting usually depicts simple scenes, but the interplay between text and painting imbues them with meaning, and is the source of their artistic power. I hope visitors will take the time to contemplate both the text and the text’s associated imagery as they view the artwork in this exhibit.

This exhibition of Cha’s Korean literati paintings was curated by Jee-Young Park, Korean Studies Librarian at the East Asia Library; Ji Soo Kim, M.A. in Museum Studies from San Francisco State University; and Wooju Chong, M.A. in East Asian Studies from Stanford University, in consultation with the East Asia Library Exhibits Committee. Special thanks to Regan Murphy Kao, Joshua Capitanio, Xiaowen Wang, Yumi Igarashi, Charles Fosselman, Yonghong Grace Yang, Deardra Fuzzell and Mr. and Mrs. Jinkyu Cho.