East Asia (Portrait Comparison) Sukju and Dürer

The following will discuss the immense differences as well as similarities of the Sin Sukju portrait and the self portraits of Albrecht Dürer. Each piece was created for a different purpose, affords different levels of intracacy but is also timeless in representation of religious beliefs.

The portrait of Sin Sukju was to commemorate both his life as well as his death due to his sacrifice and honor as a civic official that remained loyal to the court and the King. Portraits of many others were created in the same manner, as “meritorious subjects.” These officials who were honored due to their loyalties featured rank badges on the front and back of their overcoat. Sin Sukju’s rank badge consists of feathery peacocks, among blossoming plants and clouds. These paintings were made to commemorate and in some cases were recreated in “copies” for the families of these officials. In the ink painting on silk scroll Sukju is shown seated with a full length view of his body, feet on a wooden stool and hands folded neatly hidden in his robes. His clothing is composed of sharp angular lines and opaque blocks of color. While Sukju’s face is much more realistic, featuring soft gradients of color that define his wrinkles, facial hair and bone structure. In these “meritorious subjects” paintings clothing and posture were formalic while facial features were meant to transmit a unique physical likeness to the sitter in the painting. This painting of Sin Sukju is less religious and more for honor and praise. This painting expresses wisdom, dignity and integrity. Sin Sukju's representation shows the seriousness surrounding the Confucius beliefs of his society. His posture and muted facial expression show this seriousness, as the honor of meritorious subject is not taken lightly.

To contrast the portrait of Sin Sukju, Albrecht Dürer created a self portrait with an entirely different effect. This self portrait of Dürer was created after one that features many ideals from the early renaissance. He was dressed in armor featured in a space that extended into the background. In his second self portrait Albrecht Dürer is pictured with a forward full frontal pose, and one hand elevated around the heart. More often than not Jesus Christ is pictured with this pose, as it is engaging directly with the viewer. Dürer’s facial expression is emotionless, but very realistic with soft gradients of color defining his cool skin and prominent bone structure. His expression of realism and naturalism shows how science and art began to work together during this time (1500). This portrait is relatively small in scale and most of the detail rests in the face and hand of Dürer. His clothing is composed of relatively dark colors and blends into the center toward his face and hand, his clothing becomes lighter as the eye travels towards his likeness. His signature and explanation are placed at eye level, forcing the viewer to read, and gaze directly across his face. Dürer was 28 at the time of this self portrait, he was also as contemporary as an artist gets in the 1500’s. He traveled to Italy, he painted for the King of Spain, the Holy Roman Emperor, as well as illustrated the Four Books of measurement. Albrecht’s fascination with philosophy, literature and science lead him to express himself artistically through naturalism, realism, proportion and appropriate color. 

The physical likeness and religious expression of the sitters posture is what these two very different portraits have in common. Sin Sukju’s portrait was created by a bureau of artists to honor and commemorate his services. Albrecht Dürer’s portrait was self created as an artistic exploration of naturalism. The accuracy of the physical likeness is emphasized into both with the use of appropriate colors and implied line. Sukju’s face features wrinkles around his mouth that fade into his facial hair and crows feet around his eyes. Dürer’s face features soft pink tones of young flushed skin. Physical likeness was important in both of these portraits so both the sitters could be recognized for what uniquely makes them themselves. After all a portrait isn't a portrait if it does not retain any likeness of the sitter it is supposed to be of. In each portrait the sitter is position in a way religious references come to the mind of the viewer. Dürer's portrait shows him positioned in a way that is almost reserved to the image of christ, while Sin Sukju is positioned formally and collected, with a serious forward gaze alining him with Confucius beliefs. During these times religion remained important to many cultures as the literature educated them and allowed them to become innovators.

Sources:

Dr. Steven Zucker and Dr. Beth Harris, "Albrecht Dürer, Self-Portrait(1500)," in Smarthistory, December 9, 2015, accessed February 6, 2021, https://smarthistory.org/albrecht-durer-self-portrait-1500/.

Dr. Kristen Loring Brennan, "Portrait of Sin Sukju," in Smarthistory, November 22, 2015, accessed February 6, 2021, https://smarthistory.org/portrait-of-sin-sukju/.