South Korean PainterEssayistExpatriateNational Academy of Arts Member

Kyung-ja Chun

Chun Kyung-ja was a prominent South Korean painter, essayist, and university professor known for her distinctive artistic style of bold, vibrant colors depicting female figures, flowers, and animals, and her prolific writings.

1. Early Life and Education

Chun Kyung-ja was born on November 11, 1924, in Goheung, South Jeolla Province, as the eldest of three children to Chun Seong-wook, a military clerk, and Park Un-ah, her maternal grandfather's only daughter. Her maternal grandfather, known for his progressive thinking, doted on her, even dressing her as a boy to attend a traditional village school (`seodang`). He named her `Okja` (천옥자Cheon OkjaKorean) and nurtured her childhood by reading her traditional Korean stories like Simcheongjeon, Heungbujeon, Chunhyangjeon, Samgukji, and Suhogeon every night. She also learned Cheonjamun and traditional Korean singing (`chang`), enjoying a privileged upbringing.

Her artistic talent was discovered early by her Japanese homeroom teacher in elementary school. An incident where she drew a female figure on a white plaster wall in her home caught her grandmother's attention, leading to a scolding. During her time at Gwangju Public Girls' High School (now Jeonnam Girls' High School), she feigned madness by sitting on a fulling block to avoid an arranged marriage.

In 1940, at the age of 17, she embarked on a journey from Yeosu Port to Tokyo for her studies. Around this time, upon entering Tokyo Women's Art Professional School, she chose to change her given name from `Okja` to `Kyung-ja` (천경자Cheon GyeongjaKorean). While in Tokyo, she preferred the delicate style of Japanese painting (`nihonga`) over Western painting styles like Fauvism or Cubism, choosing the Japanese painting higher course. She focused intensively on meticulous sketching and observation from models. Her talent was recognized early, with her painting "Grandfather" (조부JobuKorean), a portrait of her partially paralyzed maternal grandfather, being accepted into the 22nd Joseon Art Exhibition in 1942. In 1943, her work "Old Woman" (노부NobuKorean), a portrait of her maternal grandmother, won the top prize at the 23rd Joseon Art Exhibition. Her affluent childhood in Goheung and her education in Japan, where she wore Western clothes and high heels, laid the foundation for her lifelong sense of pride. She also completed the advanced art education research and training program at Académie Goetz in Paris, France.

2. Personal Life

Chun Kyung-ja's personal life was marked by both profound love and significant challenges, which deeply influenced her artistic and literary expressions.

2.1. Marriages and Children

After dropping out of Tokyo Women's Art Professional School due to the aftermath of World War II, Chun Kyung-ja returned to Korea. In 1944, she married Lee Cheol-sik, a former university student whom she had met by chance at Tokyo Station when he helped her secure a ticket. With Lee Cheol-sik, she had a daughter, Lee Hye-seon, in 1945, and a son, Lee Nam-hoon, in 1946. However, her first marriage was short-lived, as Lee Cheol-sik tragically died of intestinal tuberculosis in October 1946, shortly after she began teaching at Jeonnam Girls' High School.

While living in Mokpo with her two young children after her husband's death, she met Kim Nam-jung, a former social affairs reporter for a Mokpo newspaper, in 1948. Despite the fact that Kim Nam-jung was already married and known for having multiple relationships, Chun Kyung-ja, who was raising two children alone after her younger sister, Cheon Ok-hee, also succumbed to tuberculosis shortly after the Korean War, fell deeply in love with him. She described her feelings in her autobiography, Page 49 in My Sorrowful Legend, stating, "I, who had become parched in my youth, felt as though I had drunk sweet dew in a thirsty desert." She endured days of anguish, grappling with feelings of self-reproach over their illicit relationship and his unpredictable behavior, even as she waited for him to divorce his wife. She wrote, "I, who had become accustomed to waiting, rain or snow, would gaze distantly at the endlessly parallel railway tracks, and then my heart would pound at the sound of him approaching, letting out an inexpressible sigh of relief."

Chun Kyung-ja had a total of four children: two sons and two daughters. Her eldest daughter, Lee Hye-seon, and eldest son, Lee Nam-hoon, were born from her first marriage. Lee Hye-seon later cared for her in New York during her final years. Her youngest son, Kim Jong-woo, and youngest daughter, Kim Jeong-hee, were born from her relationship with Kim Nam-jung. Kim Jong-woo is depicted in her work "Jjongjjongi in the Mosquito Net," which was first publicly exhibited in 2006 at the Hyundai Gallery. She affectionately gave her children nicknames: Nammijang (Lee Hye-seon), Hudatdat (Lee Nam-hoon), Midopa (Kim Jeong-hee), and Jjongjjongi (Kim Jong-woo). While her children and the men she loved served as models for her paintings, Chun Kyung-ja herself was the most frequent model for the female figures that prominently feature in her art.

3. Artistic Career

Chun Kyung-ja's artistic career spanned decades, marked by a distinctive style, thematic depth, and a pioneering spirit that led her to explore diverse subjects and cultures.

3.1. Artistic Style and Themes

Chun Kyung-ja was renowned for her signature use of bold, vivid colors and recurring motifs that imbued her works with emotional resonance and narrative quality. Her paintings predominantly featured female figures, flowers, and animals, often intertwined with themes of longing, sorrow, and exoticism. A pivotal moment in her artistic development occurred after the death of her younger sister from tuberculosis following the Korean War. Overwhelmed by grief, Chun Kyung-ja sought a subject that could provide a stimulus strong enough to numb her pain, leading her to create "Ecology" (생태SaengtaeKorean) in 1953, a canvas filled with 35 snakes. This painting, exhibited at a solo exhibition in Busan during the wartime refuge period, marked a turning point, drawing significant attention from the art world to her work. Her exotic female figures, often imbued with a sense of melancholy, became more prominent after her travels to Tahiti.

3.2. Major Works

Among her extensive oeuvre, several works stand out as emblematic of her unique style and thematic concerns:

  • "Ecology" (생태SaengtaeKorean, 1953): This painting, depicting 35 snakes, marked a significant moment in her career, drawing attention to her bold and unconventional approach.
  • "Kil-lye Unni" (길례언니Gillye EonniKorean, 1973): A notable piece featuring a woman in a yellow dress adorned with a vibrant, flower-filled hat, exemplifying her use of vivid colors and exotic imagery.
  • "Page 22 in My Sorrowful Legend" (1977): One of her most famous paintings, this self-portrait depicts a woman with snakes on her head, reflecting her personal struggles and introspective themes.
  • "Golden Rain" (황금의 비Hwanggeumui BiKorean, 1982): A work that showcases her continued exploration of vibrant colors and dreamlike compositions.
  • "The Curtain Falls" (막은 내리고Mageun NaerigoKorean, 1989): Considered a masterpiece among her many paintings of women, this work achieved a high market value.
  • "Woman" (여인YeoinKorean, 1989) and "Woman with a Hat" (모자를 쓴 여인Mojareul Sseun YeoinKorean, 1982): These pieces further exemplify her signature female figures, often adorned with elaborate hats and expressive gazes.

3.3. International Engagement and Travel

Chun Kyung-ja was a trailblazer in her era for her extensive international travels, which profoundly influenced her artistic perspective and the development of her distinctive style. From her late 40s to early 70s, she embarked on 12 overseas sketching trips to diverse regions including Tahiti, Europe, Africa, and Latin America. These journeys allowed her to immerse herself in different cultures and landscapes, leading to the development of her unique "Chun Kyung-ja's genre painting style" (천경자 풍물화Cheon Gyeongja PungmulhwaKorean). Her experiences, particularly her trip to Tahiti, inspired the emergence of melancholic and exotic female figures in her paintings, becoming a hallmark of her later works.

3.4. Professional Career and Teaching

Chun Kyung-ja held significant roles in both academia and the broader art community, establishing herself as an influential figure in art education and national art institutions. She served as a professor at Hongik University's College of Fine Arts from 1954 to 1973, and notably as the Head of the Oriental Painting Department from 1970 to 1973. Beyond her teaching, she was a prominent member of various art juries and committees. She served as a judge, steering committee member, and vice-chairman for the National Art Exhibition (Gukjeon) from 1960 to 1981, including being a judge for the 8th Gukjeon in 1963 and a steering committee member from 1976 to 1979. From 1978 onwards, she was a distinguished member of the National Academy of Arts of the Republic of Korea. In 1981, she also served as an advisor to the Peace Unification Policy Advisory Council.

3.5. Vietnam War Documentation

In 1972, Chun Kyung-ja participated as a female war artist during the Vietnam War, a rare and significant role for a woman at the time. She was among ten artists dispatched by the Ministry of Culture and Information to create war documentation paintings, joining prominent male artists such as Kim Ki-chang, Park Young-seon, Kim Won, and Lim Jik-soon. For a week, she accompanied the Maengho Unit, sketching soldiers camouflaged under flowering trees with M-16 rifles, and local women in pink `áo dài` riding bicycles through the streets. Her experiences resulted in numerous sketches and watercolor works that captured the realities of the conflict.

3.6. Exhibitions and Awards

Chun Kyung-ja's contributions to the art world were widely recognized through numerous exhibitions and prestigious awards throughout her career.

Her notable exhibitions include:

  • 1953: Solo exhibition in Busan, where she unveiled "Ecology."
  • 1955-1981: Participated as a recommended and invited artist in the National Art Exhibition (Gukjeon) and held four solo exhibitions at the Hyundai Gallery.
  • 1963: Solo exhibition at Nishimura Gallery in Tokyo.
  • 1965: Solo exhibition at Ito Gallery in Tokyo.
  • 1967: Exhibited at the invitation of the Malaysian government.
  • 1969: Participated in the 10th São Paulo Art Biennial.
  • 1970: Held the South Pacific Landscape Series Sketch Exhibition at Shinmunhwagwan Gallery.
  • 1973: Featured in the Chun Kyung-ja Gallery at Hyundai Gallery.
  • 1974: Held the Africa Landscape Series Sketch Exhibition at Hyundai Gallery.
  • 1977: Participated in the Korean Contemporary Oriental Painting European Touring Exhibition.
  • 1995: Held a large-scale retrospective exhibition at Ho-Am Gallery, her first major show in 15 years, which drew an impressive 80,000 visitors.

She received numerous accolades for her artistic achievements, including:

  • 1955: Presidential Award at the Korean Art Association Exhibition.
  • 1964: Literary Award.
  • 1971: Seoul Metropolitan Cultural Award.
  • 1975: March 1st Cultural Award.
  • 1979: National Academy of Arts Award.
  • 1983: Order of Cultural Merit, Eungwan (Silver Crown).
  • 1999: Selected as one of "Korea's Artists who Lit Up the 20th Century" by the Korean Association of Art Critics.

3.7. Art Market Value

Chun Kyung-ja's artworks have consistently commanded high prices in the art market, reflecting their enduring demand and recognized artistic importance. An analysis of auction market sales from 2005 to 2015, focusing on the top 20 artists by total auction value, revealed that Chun Kyung-ja's works held the highest average price per `ho` (a traditional Korean unit of painting size) among living artists.

Her highest-selling work at auction was "Grassland II" (초원ⅡChowon IIKorean, 1978), measuring 42 in (105.5 cm) by 51 in (130 cm), which sold for 1.20 B KRW through K Auction in 2009. Other notable sales include:

  • "Garden" (원WonKorean, 1962), which fetched 1.15 B KRW in 2007.
  • "The Curtain Falls" (막은 내리고Mageun NaerigoKorean, 1989), a highly regarded work depicting a woman, sold for 860.00 M KRW in July 2015.
  • "Woman" (여인YeoinKorean, 1989), which sold for 800.00 M KRW.
  • "Woman with a Hat" (모자를 쓴 여인Mojareul Sseun YeoinKorean, 1982), which achieved 630.00 M KRW.

4. Literary Career

Beyond her prolific artistic output, Chun Kyung-ja was also a gifted essayist and author, leaving behind a significant literary legacy. She published over 10 collections of essays, including "Twilight with Tango" (탱고가 흐르는 황혼Taenggoga Heureuneun HwanghonKorean). Her writings, characterized by her innate literary talent, included 15 single volumes, 10 essay collections, and 12 serializations in newspapers and magazines, allowing her to connect with the public on a broader scale.

Selected literary works by Chun Kyung-ja include:

  • Sketches of Women (여인 素描Yeoin SomyoKorean)
  • Where the Meteor Goes (유성이 가는 곳Yuseongi Ganeun GotKorean)
  • Western House on the Hill (언덕 위의 洋屋Eondeok Wiui YangokKorean)
  • Chun Kyung-ja Goes to the South Pacific (천경자 남태평양에 가다Cheon Gyeongja Namtaepyeongyange GadaKorean)
  • Travelogue and Art Collection of Africa (아프리카 기행화문집Apeurika GihaenghwamunjipKorean)
  • Han (恨HanKorean)
  • Free Woman (자유로운 여자Jayuroun YeojaKorean)
  • Jjongjjong (쫑쫑JjongjjongKorean)
  • Flowers, Colors, and Wind (꽃과 색채와 바람Kkotgwa Saekchaewa BaramKorean)
  • The Deeper the Love, the Deeper the Loneliness (사랑이 깊으면 외로움도 깊어라Sarangi Gipeumyeon Oeroeumdo GipeoraKorean)
  • Chun Kyung-ja's Art Collection (천경자 화집Cheon Gyeongja HwajipKorean)
  • Chun Kyung-ja, Painter of Flowers and Souls (꽃과 영혼의 화가 천경자Kkotgwa Yeonghonui Hwaga Cheon GyeongjaKorean)

Her autobiography, Page 49 in My Sorrowful Legend (내 슬픈 전설의 49페이지Nae Seulpeun Jeonseorui SasipgupeijiKorean), is a particularly notable work. It began as a serialized piece in Munhak Sasang magazine in 1976, when she was 52 years old, and was subsequently compiled and published as a book in 1978. After going out of print, a newly edited version was re-released in 2006, coinciding with her solo exhibition at the Hyundai Gallery.

5. Philosophy and Personal Views

Chun Kyung-ja's philosophy on life and art was deeply intertwined with her personal experiences, marked by resilience, an independent spirit, and a unique perspective as a pioneering female artist navigating societal expectations. She often reflected on the driving forces behind her creativity. In her autobiography, she articulated, "I believe the driving forces that made me live my past diligently were 'dream,' 'love,' and 'maternal affection.' Dream breathed with art, and it always lived in my heart even as reality. And supporting this were love and maternal affection."

Chun Kyung-ja was a striking and charismatic figure. She was known for her tall stature, her choice of unconventional colors and patterns in her clothing, dangerously high heels, large floral crowns or sunglasses that framed her face, thinly drawn eyebrows, red lips, and a cigarette often held between her fingers, all of which commanded attention. Her half-moon eyes and prominent cheekbones were distinctive features, and she was considered a fashion icon of her time. She readily engaged with the media, boasting a charming Jeolla Province accent and a captivating way with words.

She cultivated deep friendships with many prominent literary figures and artists of her era, both male and female. These included artists like Kim Whanki, Park Go-seok, Choi Sun-u, Kim Heung-su, Park No-su, Son Eung-seong, and Yu Young-kuk; and writers such as Kim Hyun-seung, Ko Un, Kim Ji-ha, Seo Jeong-ju, Park Kyung-ri, Han Moo-sook, Son So-hee, Jo Kyung-hee, Park Wan-seo, Han Mal-sook, and Jeon Sook-hee.

Her contemporaries often offered insightful observations about her character and artistry:
Actress Youn Yuh-jung reminisced about meeting Chun Kyung-ja in Manhattan, New York, in 1976, describing her as a "stylish person whose Jeolla accent suited her so well" and quickly realizing she was "a great storyteller."
Broadcaster Hwang In-yong, who interviewed her multiple times, remembered her voice as being like a folk song with a Southern accent, and her exotic accessories.
Poet Ko Un famously stated, "Who is Chun Kyung-ja? She is an artist of heavenly form who could be nothing else."
Novelist Park Kyung-ri, a long-time friend, penned a poem titled "Singing Chun Kyung-ja," in which she called her a "nasty artist," describing her as having "bold attire" and feeling "original colors, not hunger or greed." She noted that Chun Kyung-ja, though seemingly languid, was always clear in her expressions, and her language was "poetic and dazzlingly sensual." Park observed that Chun Kyung-ja "acted as she felt," and that "the cold winds of time must have been harsher" for her among "smooth people." She concluded that Chun Kyung-ja's "dream is in the canvas / sorrow is in the cigarette / a courageous liberal / an honest life / But / she is a rather nasty artist."
Political cartoonist Kim Sung-hwan praised her work, saying, "Every single line in her paintings is alive... her paintings make you snap to attention."
Singer Cho Young-nam fondly recalled, "Chun Kyung-ja lived a tumultuous life but was always an adult with a girlish heart."
Actress Kim Soo-mi highlighted Chun Kyung-ja's intense dedication to her art, quoting her as saying she would "hold her bladder because 'time to go to the bathroom was too precious'" when painting.

Many in society compared Chun Kyung-ja's life to that of Frida Kahlo, noting that despite different forms of suffering, her "sad legend" was also marked by an unending stream of sorrow, solitude, love, and the pathos of life.

6. Legacy and Evaluation

Chun Kyung-ja's life and work have left an indelible mark on Korean art and culture, garnering both widespread acclaim and significant controversy.

6.1. Positive Impact and Influence

Chun Kyung-ja was widely appreciated by both fellow artists and the public, solidifying her status as a cultural icon. Her unique artistic vision and prolific output ensured her lasting influence on Korean art and the broader cultural landscape. Her contributions were formally recognized when she was selected as one of "Korea's Artists who Lit Up the 20th Century" by the Korean Association of Art Critics in 1999.

6.2. Criticism and Controversies

Throughout her career, Chun Kyung-ja faced significant debates and controversies, which are important aspects of her public and artistic narrative.

6.2.1. "Miindo" Forgery Controversy

The most prominent controversy surrounding Chun Kyung-ja's work involved the authenticity of the painting "Miindo" (Beauty), a piece held by the National Museum of Modern and Contemporary Art (MMCA). The dispute began in 1991 when the MMCA was selling reproductions of "Miindo" as part of its "Moving Museum" program. Chun Kyung-ja, upon seeing a reproduction, expressed doubt about its authenticity. After personally examining the original painting, she firmly declared that it was not her work.

In response, the MMCA undertook a scientific investigation, employing methods such as X-ray, infrared, and ultraviolet photography. On April 11, 1991, the Korea Gallery Association Art Appraisal Committee formally ruled the painting to be authentic. The MMCA maintained its stance of authenticity but added a caveat, stating they would "accept if evidence of forgery is revealed." The controversy caused Chun Kyung-ja considerable mental distress. In its immediate aftermath, she resigned from her position as a member of the National Academy of Arts and announced her intention to cease exhibiting her works publicly, subsequently departing for the United States. Although she returned four months later and held a large-scale retrospective exhibition, new works became rare.

The debate re-emerged in 1999 when Kwon Chun-sik, a known forger of ancient paintings and calligraphy, confessed to having forged "Miindo." However, the MMCA continued to uphold its original position, citing inconsistencies between the painting's acquisition date and Kwon's confession date. They also argued that Kwon specialized in ink paintings, making it unlikely for him to have forged Chun Kyung-ja's characteristic color paintings. Prosecutors at the time stated that the statute of limitations had expired, making further legal action difficult.

The controversy gained renewed attention in November 2016 when the French appraisal team, Lumière Technology, submitted a report to Korean prosecutors. Their report concluded that "Miindo" was, in fact, not Chun Kyung-ja's work. On November 4, 2016, the MMCA strongly refuted the French appraisal, issuing a statement titled "MMCA's Position on the Report of the French Appraisal Team Regarding 'Miindo'." The museum asserted that the French team had "hastily concluded based only on surface analysis" and failed to conduct the comprehensive layered analysis of the canvas, brushwork, and working patterns that they had initially promised.

6.2.2. Controversy over Death Date and Family Dispute

Chun Kyung-ja's final years and death were also surrounded by confusion and family disputes. After moving to the United States in 1998 and residing in New York City from 2002, she suffered a stroke in July 2003, and her whereabouts became unknown from January 2009, leading to media speculation about her survival.

In February 2014, the National Academy of Arts provisionally suspended stipend payments to Chun Kyung-ja due to her unconfirmed whereabouts. In response, her family submitted a letter of resignation from the Academy, protesting the decision as "unreasonable." A dispute also arose among her children regarding the circumstances of her death. Her eldest daughter, Lee Hye-seon, claimed that other family members had not contacted Chun Kyung-ja for several years prior to her passing. Conversely, Chun Kyung-ja's second daughter and second son-in-law accused Lee Hye-seon of concealing her mother's death.

The confusion was finally resolved when Chun Kyung-ja's family officially announced her passing on October 22, 2015, stating that she had died peacefully in her sleep at 5 AM on August 6, 2015.

7. Commemoration

To honor Chun Kyung-ja's memory and preserve her artistic legacy, the Chun Kyung-ja Exhibition Hall (천경자전시관Cheon Gyeongja JeonsigwanKorean) was opened in 2007 in her hometown of Goheung, South Jeolla Province. The exhibition hall displays 66 of her works, including 55 drawings and 11 prints, which she had donated. It also features a collection of her personal belongings and art-related merchandise.