A Journey Through Materials and Techniques

 

The Foundation of Korean Painting

Imagine an artist in ancient Korea, carefully selecting each material that would bring their vision to life. In traditional Korean painting, three essential components form the backbone of any artwork: the base material (foundation), the coloring agents (pigments and dyes), and the binder (glue). These elements were not just tools but the very soul of the painting process. Mastering their properties and understanding how to handle them was crucial for creating high-quality artwork that could withstand the test of time.

For centuries, pigments in Korean painting were sourced from the natural world—minerals and organic materials found in the earth and among plants and animals. Inorganic pigments were extracted from minerals, giving the artwork a raw, earthy quality, while organic pigments brought the vibrancy of living nature into the painting. This connection to nature was more than just practical; it was deeply spiritual, with each brushstroke carrying the essence of the natural world.

As time passed, the introduction of synthetic pigments expanded the artist's palette, offering new colors and possibilities. However, the meticulous preparation required for traditional pigments ensured that the artwork maintained its aesthetic integrity and preservative qualities. The arrival of the Industrial Revolution marked a turning point. The convenience of pre-made tube paints became widely popular, allowing artists to work more quickly and efficiently. But this convenience often came at a cost—the expressiveness and longevity of the artwork were compromised, and the deep connection between the artist and their materials began to fade.

The Techniques of Glazing and Blending

Within the realm of Korean painting, two main techniques—glazing and blending—emerged as vital to achieving the desired effects. Glazing involved layering pure colors to create depth and richness, often requiring natural pigments like ㄴSeokchae(stone pigment) and Bunchae(powder pigment). These pigments had larger particles compared to the finer pigments found in tube paints, making the process of glazing labor-intensive. However, the effort was worth it, as it resulted in rich, opaque colors that gave the painting a profound sense of depth and vibrancy.

On the other hand, blending allowed artists to mix colors more fluidly, particularly with the advent of tube paints. Tube paints, especially those used in watercolors, offered both transparent and opaque varieties. Gouache, an opaque tube paint, was similar to Bunchae in its use of white pigments mixed with dyes, designed to replicate the vivid and opaque qualities of traditional Seokchae. While blending was less labor-intensive, it often lacked the depth and texture that glazing could achieve.

The Enduring Value of Traditional Pigments

Even with the rise of synthetic materials, many traditional Korean painting techniques and pigments remained vital. However the modern versions of traditional pigments are available on the market were often made from synthetic materials. These paints, already mixed with glue and featuring smaller pigment particles, became more suitable for light washes rather than the full, deep coloring that traditional pigments offered.

However, these fine-particle pigments were less durable and provided less preservation than their larger-particle counterparts. Despite the convenience they offered, something essential was lost. The depth, the color vibrancy, and the preservation qualities that were once the hallmark of Korean painting began to diminish.

Yet, there is a growing recognition of the need to revive these traditional techniques. By embracing the labor-intensive methods of the past, artists can once again achieve the color depth, spatial perception, and aesthetic quality that made traditional Korean painting so timeless. This revival is not just about preserving old methods; it is about reconnecting with the essence of the art, where the process of creation is as fulfilling as the finished work itself.

For modern artists, focusing on gaining material and technical knowledge is more than just a skill—it is a journey back to the roots of their craft. In doing so, they elevate the artistic value and quality of their work, finding joy in the process and producing paintings that are not only beautiful but also rich in history and meaning.

The Origins of Natural Pigments

Picture a time when artists drew their inspiration and materials directly from the earth. They would venture into nature, collecting minerals and plants, painstakingly transforming them into vibrant pigments. This was the world of traditional Korean painters derived from natural sources like plant-based indigo and earth minerals such as gypsum, kaolin, ocher, and azurite.

Artists in ancient Korea had a profound connection with their materials, understanding that the earth's gifts required careful preparation. Among the various pigments used in traditional Korean painting, Suganche pigments held a special place. These pigments were meticulously crafted, with the finest earth particles, known as Toche(Soil Pigments), carefully separated from the coarse ones. The result was a versatile pigment that could be employed in a range of applications, from the rich, deep colors of a traditional Korean landscape to the delicate, light washes of a floral scene. This labor-intensive process was more than just a method; it was a ritual that connected the artist with the very essence of their work.

Before the Industrial Revolution, these natural pigments were the standard, used in everything from grand murals to intricate scrolls. The purity of Suganche pigments brought a unique vitality to the artwork, one that was deeply rooted in the materials themselves. However, as the world began to change, so did the materials available to artists. The introduction of synthetic pigments and the rise of industrially produced materials marked a significant shift in the art world.

Unlike dyes, which are water-soluble and dissolve in water, pigments are insoluble and do not dissolve in water. This fundamental characteristic made pigments essential in traditional Korean painting. Pigments are categorized into natural pigments, which are derived from raw materials found in nature, and synthetic pigments, which are chemically manufactured. Another classification is based on chemical properties: inorganic pigments, which are mineral-based, and organic pigments, which are derived from plants and animals.

Inorganic pigments, known for their excellent opacity, effectively cover the base color and provide an even color surface when applied. They are also more resistant to fading from light exposure, making them stable and suitable for large, flat areas of color. However, to adhere pigments to a surface, a binder—a substance that helps the pigment stick—must be used. The color and hardness of the pigment can vary depending on the binder used. Despite their stability, using pigments can be cumbersome because they are not sticky on their own and do not dissolve easily.

During the Joseon Dynasty, commonly used inorganic pigments included mineral pigments sourced from rocks and soil pigments obtained from underground resources. Mineral pigments, such as stone pigments (Seokchae) and rock pigments (Amchae), were difficult to obtain and produce, making them expensive. In contrast, soil pigments were more readily available and cheaper, yet they still offered the desired stability and coverage for traditional artworks.

Organic pigments, on the other hand, are derived from plant-based dyes and animal-based dyes, such as those extracted from shells and insects. Since dyes are vulnerable to water, dissolving or smearing when wet, a mordant (a substance that fixes dyes) is added to create a non-soluble pigment. Organic pigments are known for their bright colors and strong staining ability. Although they are more resistant to light and heat compared to their dye form, they are generally weaker than inorganic pigments. Plant-based pigments, in particular, are prone to fading and discoloration, necessitating the use of mordants and careful selection of dyes with low discoloration potential.

As time progressed, synthetic organic pigments were developed, including lake pigments, which are made by adding a precipitant to the dye to isolate the water-insoluble parts, and coal-tar pigments, derived from coal-tar distillates. Additionally, other types of synthetic pigments were created, such as synthetic stone pigments (Shin-amchae), made by adding metal oxides to glass or crystal powder; powder pigments (Bunchae), created by adding powdered pigments to whiting (calcium carbonate); consolidated pigments (Anchae), made by adding starch or rubber to powder pigments and solidifying them in a container; and stick pigments (Bongchae), which are formed into stick shapes.

These advancements in pigment technology offered artists new possibilities, but they also marked a departure from the deeply rooted, natural methods that had defined traditional Korean painting for centuries. As synthetic pigments became more prevalent, the connection between the artist and the earth's natural resources began to wane. However, the enduring value of traditional pigments and techniques continues to inspire a revival among modern artists, who seek to reconnect with the rich history and essence of their craft.

The Rise of Dry Pigments

As the Industrial Revolution swept across the globe, the art world was not immune to its transformative power. In regions like Europe and the United States, powdered pigments—known as "dry pigments"—became widely available. These pigments were a product of the new era, born from synthetic fine particles rather than the natural sources artists had previously relied upon.

Dry pigments, sold in containers at art supply stores, offered a new kind of convenience. Artists no longer needed to spend hours refining raw materials; they could simply purchase ready-to-use pigments. These dry pigments became the foundation for all types of paints, including the newly popular tube paints.

With a little mixing, these pigments could be transformed into oil paints, watercolors, or even crayons and pastels. The flexibility of dry pigments was unmatched, allowing artists to explore new techniques and forms. However, as with all innovations, there was a trade-off. The deep, natural connection to the materials that had once defined traditional painting began to fade.

The Invention of Tube Paints

The 19th century saw the introduction of tube paints—a revolutionary change for artists everywhere. Before tube paints, creating paint was an arduous process. Artists had to manually collect rocks or earth, refine them, grind them into pigments, and then mix these pigments with binders to make paint. This process required not just skill, but a deep understanding of the materials and the ability to work with them in harmony.

The Industrial Revolution, with its machinery capable of grinding pigments into extremely fine particles, changed all that. These fine particles could be suspended in a gel state within binders, and the development of tin containers meant that paint could now be stored and used over time.

Tube paints became a symbol of modernity in the art world. They were portable, easy to use, and allowed for greater spontaneity in painting. Artists could now work more quickly, capturing the fleeting moments of light and color that inspired them. But even as tube paints became the new norm, something was lost. The connection to the natural world—the very foundation of traditional painting—began to wane.

A Reflection on Tradition and Innovation

The story of pigments is a story of evolution—from the earth’s natural palette to the innovations of the industrial age. While modern materials like dry pigments and tube paints offer convenience and new possibilities, the traditional methods remind us of the deep, almost spiritual connection between the artist and their materials.

Today, some artists are returning to these roots, seeking to revive the traditional techniques that bring depth, texture, and a sense of timelessness to their work. They recognize that while innovation is valuable, the old ways still have much to offer.

By understanding and appreciating the journey of pigments—from *Suganche* to tube paints—artists can create works that are not only beautiful but also rich in history and meaning. Whether you are a modern artist or a traditionalist, the story of pigments is a reminder of the enduring relationship between art and the world around us.