Title of art	뉴우델리 싸리의 여인/A Woman in a Sari, New Delhi			Sector	Korean painting (한국화)
Art specifications	27?24cm			Material technique	Color on papaer
Collection year	1998			Production year	1979
Gallery	Seoul Museum of Art			Artist	Chun Kyung-ja
Description of art	Chun Kyung-ja established a unique style of the traditional chaesaekhwa [oriental color painting]. While chaesaekhwa comprises the majority of her best-known paintings, Chun also created many travel paintings, ink and color wash paintings, illustrations, and drawings. Chun embarked on a series of trips overseas for about 30 years since 1969. Chun’s travel paintings are her unique genre of works based on the artist’s sketches capturing the moments and experiences she witnessed during her trips. Chun completed her travel paintings through meticulous and robust coloration work upon her return home from India and Latin America in 1979.. Chun stripped the images deeply ingrained from her destinations and recomposed them in her works, thereby adding further depth and clarity to the colors. Whereas her early travels produced more in situ sketches drawn on site, Chun’s works from her travels eventually became more complete paintings in vibrant colors and fantastical compositions with each trip. Through such process, Chun’s travel paintings evolved from mere records of the artist’s trips, to paintings filled with unique and mystical wonder, establishing it as an independent genre of chaesaekhwa. (1979) is a portrait of a woman in sari, the traditional Indian attire. Although the painting appears flat and simplified, the highly saturated mid-toned colors are highlighted with primary colors to accentuate the flamboyance of the sari. Chun was more deeply impressed by the colors of objects than their shapes, and thereby substituted detailing with color fields. The Indian woman’s deep eyes are filled with blue paint, and her irises are painted white. Chun also replaced the black and bold eyebrows with thin, long ones, and accentuated the woman’s cheekbones by giving them an angular shape. The Indian woman here stares off into the distance without any facial expressions, following the conventions of the women portraits Chun produced since the mid-1970s. Chun applied this standardardized facial expression on the foreign woman’s face as she colored the painting upon her return to Korea.
Address	61, Deoksugung-gil, Jung-gu, Seoul			Source	Seoul Metropolitan Government