Huang Binhong’s Painting Theory as People’s Studies : A Proposal for Glocal Art History

This paper, inspired by The Modern and Contemporary Ink Art of the Republic of Korea and the People’s Republic of China exhibition held on the 32nd anniversary of diplomatic relations between Korea and China in 2024, reflects on the development of Korean painting and art history studies in the 21st century. It also proposes future directions for East Asian art history research, expanding from traditional regional perspectives to glocal ones. As an example, the study examines Huang Binhong’s reform of Bronze Epigraphic Painting ( Jinwenruhua ) and his theory of people’s studies. Although Huang Binhong hailed from the ruling class of Chinese culture, he established a stateless cultural nationalism with anti-absolutist principles in the Anti-Manchu Revolutionary Movement in the late Qing dynasty. Afterward, from an anti-absolutist perspective, he conducted a critical study of traditional Chinese calligraphy and painting, and based on the theory of people’s studies rooted in Taoist thought, he reconstructed a new orthodoxy with pre-modern significance. Through this, he hoped to expand the universality of Chinese calligraphy and painting arts and their philosophy and extend their lifespan. Meanwhile, during this process, he continuously engaged with Western art circles and academia, actively introducing Chinese painting as people’s studies. Through this, he participated in a great international dialogue, aiming for mutual development through communication between the East and the West.