Fūdo Is Not Landscape

From Imperial Western-Style Painting to a Seoul Way of Looking

1. Chapter 1A Face of the Colonial Period Self-Portrait, Name, and the Imperial Educational Environment
2. Chapter 2Imperial Art Education and Western-Style Painting in Motion Training in Osaka and Tokyo and the Movement of Form
3. Chapter 3Seoul’s Modernity and the Time of the Biwon Endurance of Observation and the Art World of Postwar Seoul

How Jeju Became a Method

1. Chapter 4Homecoming and Relearning Staying and Looking Again
2. Chapter 5The Path Rejoined

Repetition, Compression, Translation of Medium

1. Chapter 6Repetition and Difference
2. Chapter 7Xieyi Written in Oil, and Subtraction Translating Xieyi, and Subtraction

Horizon, Distant Boat, Flatness

1. Chapter 8From Landscape to Fūdo
2. Chapter 9Distance and Flatness The Distant Boat and the Flat Surface

The Grammar of the Jeju Paintings

1. Chapter 10The Color of Dried Grass and the Black Line Colour Binds, Line Divides
2. Chapter 11Coloured Empty Space and Non-Directional Luminosity Empty Space and Brightness
3. Theoretical Interim ConclusionFrom Jeju Painting to Fūdo Modernism

Body, Tree, House

1. Chapter 12The Body of the Wind The Posture Fūdo Leaves on the Body
2. Chapter 13Forms That Endure the Wind Grown Posture and Built Posture

Haenyeo, Farmer, Tiger, Horse

1. Chapter 14The Labouring Body The Taskscape of the Haenyeo, the Farmer and the Horse Handler
2. Chapter 15The Animal Body The Lean Body and the Still Body

Storm, Bending, Empty Places, Waiting

1. Chapter 16Storm and the Bent Body The Enduring Posture and the Form of Bending
2. Chapter 17Loss and Waiting Staying Beside and Waiting

Korean Modernism, Decentring, Pungto

1. Chapter 18Other Paths in Contemporary Korean Painting Informel, Dansaekhwa, Figuration and Byun Shi-Ji’s Parallel Modernity
2. Chapter 19Modernism Rewritten from the Margins Jeju, Korean Contemporary Art, Decentring
3. Chapter 20The Translation of Fūdo Pungto, Fūdo, Milieu and the Asymmetry of Translation