In this thesis, I researched the concept of Korean Folk Painting (Minhwa). The concept derives from a theory that was established in Japan in the early 20th century by Yanagi Muneyoshi (Japanese philosopher, founder of mingei movement). It is a form of painting production that was widespread in the Late Joseon Dynasty. At that time there was economical growth and a rise of commercialization which also impacted the art sphere. Folk artists were influenced by the guidelines that were put in place by the court artists that indicated the symbolic meaning and function. Folk painting took this as a base and completed it with creative interpretation and free expression that reflected the lives of the people. The way in which they were able to access artworks also changed. Paintings were now produced for the market and not as commissions. The demand and common esthetic taste played a significant role. As a result, many works were similar in style and meaning. The subject was reliant on form of usage. Subjects mostly stem from Confucianism, Taoism and shamanism. They enabled people to live a long, healthy life without accidents and helped celebrate significant life events. Though somewhat transformed, Folk Painting is also present today and plays a vital part in the discovery of uniquely Korean culture, emotions and the mind of the Korean people.
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