Module 4 Asia

             

Korea, Portrait of Sin Sukju,  second half of the 15th c, ink and color on silk

Albrecht Dürer, Self-portrait,  1500, oil on canvas

When looking at these two pieces there are very distinct differences. In the tones, to even the material. The portrait on the left is a Korean piece of Sin Sukju, a man being honored for his loyalty to the king during trying time. No specific painter was credited but it was done by an artist of the Royal Bureau of Painting in which was a government group that was staffed specifically with artists. The portrait was created from about (1417-75) in which many other honored servicemen were awarded with a portrait where then their families could cherish for generations. Therefore, the intended audience of these pieces were the families that would than worship these pieces for years to come. When it came to likeness the painter is sure to make certain characteristics that would differentiate many of these honored men that might otherwise be lost from similar clothing. The artist would pay detail to the faces. When it can to the faces a unique likeness was essential to each individual piece. Thought when it came to posture and clothing those were made to look traditional, in accordance to Korean portrait educate. Seated with a full body view and with the head slightly turned to only show one ear. His clothing also functions as a badge in which was embroidered silk, indicating status. Sin Sukju was a scholar and politician in who became a prime minister. The portraits though demonstrated Confucianism, in which was a form of religion where the core values emphasized honor, humaneness and ritual. It was a way of honoring ancestors after death. That is also why the material being ink and color on silk was important. Not only did it demonstrate rank, but it made it easy to have in scroll form to than display and worship. Though for Albrecht Dürer’s self-portrait on the right we are given a sense of purpose that is more daring. Whereas honored men of Korea have a certain educate to portraits, it was generally known in Europe that the frontal posture that we see Dürer in is typically reserved for Christ. The purpose for this is truly particular but in a way its as if the artist portrays himself as a master of his craft. Almost like a “here I am” and “here’s what I can do”. I would conclude that his intended audience was the people in the renaissance era. He was in many ways a humanist and wanted recognition of his work. He was already a well successful artist of his time, but it was almost like a show of talent. The eminence detail also falls in the same terms of the posture. The likeness is precise as one would see painted in Christ’s likeness. His clothing does not say much but possibly adds a sense of warmed that radiates from him making the audience serious but not cold. Rather comfortable with intense tone. In terms of religion Dürer seemed to have a connection with humanism in which means he was a man of science and empathy. Though he only uses oil on canvas, which was typical of many painters of the time, he was able to create great depth in his work that allows for him to emphasize his eyes and hands. He is trying to form in many ways a connection in which once again is a hint to his god given talent.

Sources

Brennan, Dr. Kristen Loring, and Dr. Kristen Loring Brennan. “Portrait of Sin Sukju.” Accessed February 25, 2021. https://smarthistory.org/portrait-of-sin-sukju/.

Dr. Steven Zucker and Dr. Beth Harris, Dr. Steven Zucker, and Dr. Beth Harris. “Albrecht Dürer, Self-Portrait (1500).” Smarthistory. Accessed February 25, 2021. https://smarthistory.org/albrecht-durer-self-portrait-1500/.