Kim Sang-hun’s Mountains Ablaze with Autumn Red, 2012, with a low sun casting gold across a wide lake between violet woods and tall dark pines

Mountains Ablaze with Autumn Red - Detail View

Mountains Ablaze with Autumn Red - Side View

Mountains Ablaze with Autumn Red - Full View

Mountains Ablaze with Autumn Red - Texture Detail

Mountains Ablaze with Autumn Red - Signature

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Mountains Ablaze with Autumn Red

Name: Mountains Ablaze with Autumn Red
Brand: Paint For Heart
Price: 12833.0 SGD
Availability: InStock

Artist Kim Sang-hun

Creation Date 2012

Material Oil on canvas

Size 81 x 118 cm

Category original

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Current total $12,833.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

The lake fills the lower half of the composition, held by a low, continuous far shore. The sun sits just right of centre. Its reflection descends towards the foreground but is broken into flickering segments by horizontal strokes. Trees on the left and tall pines on the right act as dark gates, directing the eye through the opening between the banks.

Thin layers of pale yellow, cream, pink, and grey-violet give the sky its breadth. Slightly thicker highlights catch the cloud edges. Across the lake, broader horizontal marks concentrate orange and gold in the centre before cooling into violet-brown, blue-grey, and deep green at the sides. The woods are more compact, with small touches of warm light grazing the pine crowns. Each kind of handling answers a different surface: open air, reflection, or foliage.

Kim devoted much of his career to the mountains, rivers, and rural landscapes of Korea, joining careful observation to a stable academic structure. This painting centres on a particular transition rather than a named landmark. The low sun, widening water, and darkening banks describe the order in which evening takes possession of the scene. Low sunlight moves from the red slopes into the lake reflections, while the dark shore and pine at upper left hold the broad view in place.

Theme

Style and context

North Korean academic landscape painting has valued legible topography, stable composition, and closely observed weather, while oil paint has provided a language for modelling changing light. This work keeps the shores, pines, woods, and water firmly related. Its mood develops through the measured dispersal of colour: warmth remains in sky and reflection as the land begins to cool.

Kim Sang-hun graduated from Pyongyang University of Fine Arts and later taught there for many years. The discipline associated with that background is visible in the way two dark banks stabilise the view and a central band of light establishes depth. Horizontal strokes keep the reflection from becoming a rigid mirror image. The painting remains expansive while preserving the natural sequence of dusk.

Artist Profile

About the artist

Kim Sang-hun (1933–2017) was a North Korean oil painter who received the DPRK title of People's Artist. Born on 4 March 1933 in Pyeongan-bukdo Province, he graduated from Pyongyang Fine Arts University in 1961 and remained on its faculty, later serving as department chair. He became an associate professor in 1982, received his academic degree in 1989, and was awarded the People's Artist title in 1997.

Kim concentrated on oil landscapes of Korean mountains, rivers and rural areas. His academy training supported precise drawing and clear topography; later paintings gave seasonal colour and changing light a larger role while retaining recognisable terrain. Representative works include Mansudae in July 1994, Gwimyeonam Rock at Mount Kumgang, Moonlit Night in My Hometown and Mount Myohyang in Sunlight.

He held solo exhibitions at the DPRK National Culture Hall in 1991 and in Yanbian, China, in 1996. Dozens of his paintings are held by the DPRK National Art Museum. He also wrote professional textbooks on film and stage art, extending his teaching work beyond easel painting.

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