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Summer TreesSummer Trees © The Trustees of the British Museum

Summer Trees

Song Su-nam. 1983 C.E. Ink on paper

Curator Note

"A modern interpretation of traditional Korean ink wash painting, Summer Trees bridges the gap between Eastern tradition and Western abstraction. As a leader of the "Sumukhwa" (Oriental Ink) movement, Song Su-nam sought to recover a specifically Korean identity in the face of rapid westernization. The vertical strokes evoke a gathering of trees, symbolizing resilience and moral integrity."

Form

  • Broad, vertical, parallel brushstrokes of black and gray ink.
  • Ink wash technique (sumukhwa) on paper, allowing for bleed and tonal variation.
  • Abstract, all-over composition with a strong sense of verticality.
  • High contrast between the darkest blacks and the untouched white paper.
  • Scale is relatively large, immersing the viewer in the "forest".

Function

  • To revitalize traditional Korean ink painting in a modern context.
  • To express a sense of Korean national identity and cultural continuity.
  • To create a meditative, contemplative visual experience.
  • To balance the influence of Western abstraction (like Color Field) with Eastern materials.
  • To symbolize the strength and upright character of the "literati" scholar.

Content

  • A group of trees, which traditionally represent a gathering of friends or scholars.
  • Trees symbolize resilience, uprightness, and steadfastness in Asian art.
  • The lack of specific detail pushes the imagery towards pure abstraction.
  • The gathering suggests community and collective strength.
  • The negative space serves as the "breath" of the painting, balancing the mass.

Context

  • Created during a period of rapid modernization and westernization in South Korea.
  • Song Su-nam co-founded the Sumukhwa movement to preserve Korean traditions.
  • Reflects the tension between global contemporary art trends and local heritage.
  • Resonates with the 11th-century Chinese tradition of literati painting.
  • Shows influence of Western Abstract Expressionism (like Morris Louis) in the pour/stroke technique.