CHIHWOSEAN
Korea, 2002, 117 minutes, Colour.
Choi Min- Sik, Han Sang- Ki, You Ho- Jeong.
Directed by Im Kwon- Taek.
A fascinating invitation to venture back into 19th century Korean history, a time of social collapse, ill-fated reformist movements and peasant uprisings with diplomatic and military interventions from China and Japan. This background is well explained for the audience unfamiliar with this part of the world. But it is still background. In the foreground is the life and work of a peasant artist, 'Ohwon' Jang Seung Up, who was a child prodigy in his ability to paint and to recreate pictures from memory and who eventually was commissioned by the king. This is one of the best biographies of a painter in telling the details of his life and art, warts (alcohol) and all as well as showing the artist at work and explaining the styles and techniques of Korean tradition and how Ohwon used them as well as transcended them. In showing the world of nature that inspired Ohwon, the film is beautiful to watch.
1. A re-creation of Korea in the 19th century? The political background of the collapse of the aristocracy, the sterility of their lives and lack of creativity? The reformist movements? The peasants' revolt of 1894? The interventions of Japan and China, diplomatically and militarily? The prelude to the history of Korea in the 20th century?
2. The visualising of this history: the homes and villages, the exquisite décor and costumes, the artwork? A world of different manners and hierarchy? Nobles and aristocracy, peasants, the role of itinerant painters, the kept women and their status? Local governors, the king? Scenes of official meetings, of military activity, of uprisings?
3. The location photography, the beauty of the Korean countryside, nature and the seasons, animals, birds, flowers and trees? As a background to the inspiration of Ohwon and his art?
4. The traditions of Korean and Chinese art? The materials, the paints, the style of drawing and painting, strokes and shapes, black and white, the use of colour? Flora and fauna as realistic and as symbolic? The range of pictures shown in the film? The classic paintings, the books of paintings, including the erotica? The artists' (**or artist's) own paintings?
5. The opening and the master lesson given by Ohwon, his character at this stage of his life, the touch of pomposity, the creativity, the absorption in his work, the audience watching?
6. This sequence as the occasion for the flashbacks: the filling in the background of his life, the young boy as an urchin and a beggar, his drawing of the picture and his explanation of it, the kindliness of Kim and taking him home, recognising his talent? His early years and learning painting while still working as a servant? His adolescence and the continuing of his work, the next encounter with Kim, the polite young man, working in the shop selling the paper? Kim and his being a patron for Ohwon? Introduction to painters, introduction to the masters, the history of Korean art? Ohwon and his growing up, the opportunities for learning, the important of his copying the Chinese painting and remembering it after one viewing, the amazement of people and recognition of his abilities? The adult Ohwon and his work, learning, creative? His personal life and his being a vagrant? His friends, patronage, governors? His relationship with women? Seeing the flautist and her playing, attraction towards her, the persecution and execution of the Catholics and his thinking she was dead, his later encounters with her, her being in the caste of kept women, his living with her, her disappearance again, his finding her in old age and the happiness together, painting for her? His being in the village, the kept woman at the tavern, his relationship with her, painting her daughter? His drinking and his becoming alcoholic, his destructive attitudes when drunk? The young boy wanting to be his apprentice, following him, helping him, feeling that he would have to go back to the farm, meeting the artist again in later life and finding his call in life to be a soldier?
7. The audience appreciating the life of the artist? The importance of the background of the scenes of trees and flowers, birds and flight to understand his paintings?
8. The commissions, the work that he did, the way it was used, the reformist movement, the revolt of the peasants, his having to be on the road, going back to the inn, meeting old friends, the woman's daughter growing up? Eventually being summoned by the king, feeling constrained, trying to paint and failing? The various ways in which he got inspiration? The heritage of his being asked by the governor to join the group of painters and his painting before the master when he should have held back - and then seeing the master who didn't want an apology but urged him to be significant in the creation of Korean art?
9. His meeting his patron many decades later, retired to the country, the old man's views of the lack of effectiveness of uprisings but yet being concerned about justice?
10. His disappearing again, going to the potters, attempting to paint on the clay? The final scene with the fire and his disappearance? The information that he disappeared, the legend being that he became a hermit?
11. An interesting Korean film taking its audience into a different history and culture? An effective biography of an artist? An informative film in helping audiences to understand the traditions and styles and communication of the art?
