Korean art belongs obviously to Far East. Several and important overlaps exist among Chinese, Japanese, and Korean (perhaps some others too) arts which overlaps appear – for me – very much obvious on the field of non-figurative paintings. I also feel relationship between these artworks and Zen Buddhism. I am far to be the only one who calls attention between Minimal Painting and Zen.
Simplicity is important in Zen, in addition to the concept that simple things must reflect parts of the Universe. Otherwise no artwork would belong to the large field of Zen paintings, gardens, literature and other kind of artworks. Reflection of Universe in simple things are the most important roots of Zen. Anyone who does not feel these reflections is unable to understand Zen. Zen-related artworks initiate a flow of thinking, emotions and alike common during meditation. I assume myself feeling Zen correctly in spite of the fact that I would be unable to explain how a row of vertical brush-strokes reflect some part of Universe. I just feel it that way.
Installation fits well with Zen. Especially rocks in a quiet environment reflects power of Nature and weakness of human creativity. There were not many like Henry Moore who deliberately tried to form, carve, produce what mother Nature does daily with rocks exposed to winds, water, or just break to fantastic shape. Force is felt on that products, force which might be suggested but never indeed reproduced by human hands using traditional tools. As the title of that artwork (certainly not a Minimal Painting) points upon one, must feel the relationship and contrasts between an obviously man-made steel plate and a rock likely found as such.
Please appreciate the photograph in addition to the artwork itself! We are treated once again with an installation, this time a bit complex one which differs sharply form the naked trees in the background and the small water pool and the pines. We feel again and perhaps a bit stronger the relationship among rocks put in a quite artificial way and the steel plates. Slightly distorted geometry of the steel triangle contrasts strongly with the amorf shape of rocks. Zen comes from the composition including the trees, water and the artwork. Once again, there is no trace of Minimal Painting.
Mr Ufan decided again to pair native rocks with man-made metal sheet. Four rocks are fourtimes more than one, each rock shows very complex but different surface and offer ways to compare. In this case the rocks are put alongside with, instead on the top the metal square. The title „Discussion” suggests attribution of human behaviour to the rocks. Shape of rocks reflects different opinions represented during discussions. This approach to human beings and rocks is obviously related strongly with Zen.
Non-geometrical varieties of minimal art fit extremely well to Zen culture. The large empty surfaces point strongly toward the few but very complex brushworks. I feel here a superficial relationship between Far East characters (kanji) – or at least the techniques writing with Kanji, even if I am not sure if any of the brush traces resembles indeed to a specific one of them. On the other hand, the relative large empty part of the canvas influences me strongly too.
I suppose no comment is required to joy of this extremely powerful but simple composition. Balance of emptiness and the likely single brushstroke placed rather far from either the center or the edges of the canvas generates a quite peculiar effect. It takes time to appreciate beauty of this apparently very simple composition.
Ufan, Lee, Title:From line, Date: 1977, Movement: Minimal Painting, Theme: Abstract,
Technique: Oil on canvas.
Simplicity is important in Zen, in addition to the concept that simple things must reflect parts of the Universe. Otherwise no artwork would belong to the large field of Zen paintings, gardens, literature and other kind of artworks. Reflection of Universe in simple things are the most important roots of Zen. Anyone who does not feel these reflections is unable to understand Zen. Zen-related artworks initiate a flow of thinking, emotions and alike common during meditation. I assume myself feeling Zen correctly in spite of the fact that I would be unable to explain how a row of vertical brush-strokes reflect some part of Universe. I just feel it that way.
Relatum, Date: 2002, Movement: Minimal Painting, Theme: Abstract, Technique: Installation.
Installation fits well with Zen. Especially rocks in a quiet environment reflects power of Nature and weakness of human creativity. There were not many like Henry Moore who deliberately tried to form, carve, produce what mother Nature does daily with rocks exposed to winds, water, or just break to fantastic shape. Force is felt on that products, force which might be suggested but never indeed reproduced by human hands using traditional tools. As the title of that artwork (certainly not a Minimal Painting) points upon one, must feel the relationship and contrasts between an obviously man-made steel plate and a rock likely found as such.
Relatum, Date: 1978, Movement: Minimal Painting, Theme: Abstract, Technique: Installation.
Please appreciate the photograph in addition to the artwork itself! We are treated once again with an installation, this time a bit complex one which differs sharply form the naked trees in the background and the small water pool and the pines. We feel again and perhaps a bit stronger the relationship among rocks put in a quite artificial way and the steel plates. Slightly distorted geometry of the steel triangle contrasts strongly with the amorf shape of rocks. Zen comes from the composition including the trees, water and the artwork. Once again, there is no trace of Minimal Painting.
Relatum - Discussion, Date: 2003, Movement: Minimal Painting, Theme: Abstract
Technique: Installation.
Mr Ufan decided again to pair native rocks with man-made metal sheet. Four rocks are fourtimes more than one, each rock shows very complex but different surface and offer ways to compare. In this case the rocks are put alongside with, instead on the top the metal square. The title „Discussion” suggests attribution of human behaviour to the rocks. Shape of rocks reflects different opinions represented during discussions. This approach to human beings and rocks is obviously related strongly with Zen.
With winds, Date: 1991, Movement: Minimal Painting, Theme: Abstract, Technique: Other/Unknown.
Non-geometrical varieties of minimal art fit extremely well to Zen culture. The large empty surfaces point strongly toward the few but very complex brushworks. I feel here a superficial relationship between Far East characters (kanji) – or at least the techniques writing with Kanji, even if I am not sure if any of the brush traces resembles indeed to a specific one of them. On the other hand, the relative large empty part of the canvas influences me strongly too.
Dialogue (blue), Date: 2007, Movement: Minimal Painting, Theme: Abstract, Technique: Watercolour.
I suppose no comment is required to joy of this extremely powerful but simple composition. Balance of emptiness and the likely single brushstroke placed rather far from either the center or the edges of the canvas generates a quite peculiar effect. It takes time to appreciate beauty of this apparently very simple composition.