Inadvertent naturalistic calligraphic tendencies of literati colour-field non-figuration whose outcomes exemplify not the expression of the individual or its cult but serve the collective documentation, curation and advancement of ascetic-arts knowledge.

Outside Korea 03

There is something inherently "minimal" (I would say) to what I tentatively call the Korean "aesthete"; not completely minimal, but deeply ingrained in the fabric and spirit of her aesthetic perception. From where did it come? From centuries of starring at her deftly crafted tea ware with understated fine glaze irregularities, or from the lines of the roofs of her noble apartments? From a fondness for the natural off-coloration and texturation of her Spartan flooring conspicuously stone and in winter time warm, and upon which she places her uncushioned bottom to continue her gaze at the unintended flaws of pigmentation of the celadon teacup cuddled in her hands abstracted and alone? From the tantalizing feel of feather-stuffed silks against her sun reddened cheeks in spring; pressed hempen gossamers of veiled summer shirting...

But this highly inconspicuous line of minamality did not run long to arrive her to her date with the post-Nuagiste devastation. Why? Because a flower of modernity bequeathed an ancient time to her; she never needed a bridge to that.

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