작성자 하루k(admin) 시간 2024-09-22 13:45:07
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 There is a painting full of all sorts of delicacies. Sliced raw fish, cold noodles, riceballs, pork cutlets, even ice sorbet and a cup of sweet-scented tea for dessert. Just trying one bite of each dish would be enough to leave you stuffed. People of all ages and from all cultures have long adored and sought out delicious food. Food is of course indispensable for sustaining human life, but where there is a choice, it is natural to prefer something tasty. The food that we eat each day is an agglomeration of everyday life, culture, and art. Haru.K invites us on a delicious sightseeing trip through his landscapes where food connotes a variety of human appetites. There is a tradition of virtual sightseeing called woyou (臥遊) in Chinese. It refers to indirectly experiencing the scenery of mountains and fields through landscape painting while lying down indoors rather than setting out on a

trip to enjoy the magnificent views in person. The concept of woyou was first applied by the Chinese painter Zong Bing (宗炳, 375444) in the period of Wei, Jin, and Southern and Northern Dynasties. It was later taken up by the Northern Song master Guo Xi (郭熙, c. 1020c. 1090), scholar-officials in the Song Dynasty, and the Ming painter Dong Qichang (董其昌, 15551636), and also by Korean scholar-officials in the Joseon Dynasty. It became established as a fundamental notion in traditional landscape painting.

1 In the days before advanced transportation was developed, woyou allowed people to enjoy and explore places of scenic beauty and historic interest and appreciate unique extraordinary views that might not be accessible in reality. Recently, it seemed to have become widely adopted as a means of appreciating the arts while we weathered a pandemic.

Once borders between countries became easy to cross, we became so indifferent to them that we sometimes even forgot they existed. However, boundaries are again more distinct and require greater effort and time to traverse. My feelings of frustration [caused by these newly reinforced borders] are relieved when I enjoy the exotic sentiments of the landscapes of faraway places ranging from Detian Waterfall and the forests of Zhangjiajie in China to the gold mining town of Jinguashi in Taiwan. In Pour the Tea (Liupao Tea from Detian Falls) (2021) and Pour the Tea (Anhua Dark Tea in Zhangjiajie) (2021), tea bowls are filled with magnificent views that seem to give off distinct aromas. Looking at An Assembled Landscape (A Miner’s Lunchbox in Jinguashi), the viewer becomes one of the tourists represented in the painting and can enjoy a fresh sensation of bathing.

These food landscapes constructed by Haru.K from food he has tasted while traveling may be considered a modern version of true-view landscape painting. His daily experiences such as eating, which is an activity required for living, and traveling different places like Mudeungsan Mountain in Gwangju, Boseong (a tea-growing region in South Jeolla Province), and Busan, become research materials for his work. He sketches from nature, creates a compilation of natural objects such as trees and rocks, and reorganizes them into a painting. Consequently, the work constitutes a landscape composed of the artist’s own experiences and feelings at a place between nature as represented by objects and the scenery. At the same time, some of his works, such as Delicious Landscape (A Delicious Trip to Busan) (2020), An Assembled Landscape (Rice Balls of Mt. Mudeung) (2019), and A Restful Dessert (Green Patbingsu) (2022), allow the viewer a peek into the artist’s epicureanism. The spiritual richness provided by the beautiful scenery and the sensation of fullness induced by the foods represent satisfaction in both the ideal and the real.

This delicious landscape is free and open. It goes beyond techniques designed to reflect a mindset that values that which is far from reality and the pursuit of a spiritual utopia that typify traditional landscape painting. It freely collects and edits materials to create a tone of dépaysement and directly indicates modern people’s craving for material wealth. The artist works to broaden the horizons of landscape painting by revisiting the genre from a modern perspective. Based on this contemporary version of true-view landscape painting, he invites viewers to savor a delicious landscape while disclosing the earthly desires and gastronomic appetites of modern people and emphasizing a harmony between spiritual and material values, or the interior and the exterior. Let us depart for a sightseeing trip across a delicious landscape seeking a balance between tradition and modernity, daily life and art, spirituality and materiality, and the ideal and the real.