through the various forms of Western arts in the 20th century. Art works in metal, jade, bamboo and textiles have had a limited resurgence. The South Korean government has tried to encourage the maintenance of cultural continuity by awards, and by scholarships for younger students in rarer Korean art forms. Calligraphy and printing Korean calligraphy is seen as an art where brushstrokes reveal the artist's personality enhancing the subject matter that is painted. This art form represents the apogee of Korean Confucian art. Korean fabric arts have a long history, and include Korean embroidery used in costumes and screenwork; Korean knots as best represented in the work of Choe Eun-sun, used in costumes and as wall-decorations; and lesser known weaving skills as indicated below in rarer arts. Korean paper art includes all manner of handmade paper (hanji), used for architectural purposes (window screens, floor covering), for printing, artwork, and the Korean folded arts (paper fans, paper figures), and as well Korean paper clothing which has an annual fashion show in Jeonju city attracting world attention. In the 1960s, Korean paper made from mulberry roots was discovered when the Pulguksa (temple) complex in Gyeongju was remodelled. The date on the Buddhist documents converts to a western calendar date of 751, and indicated that indeed the oft quoted claim that Korean paper can last a thousand years was proved irrevocably. However, after repeated invasions, very little early Korean paper art exists. Contemporary paper artists are very active. Painting For much of the 20th century, painting commanded precedence above other artistic media in Korea. Beginning in the 1930s, abstraction was of particular interest. From the mid-1960s, artists like Kwon Young-woo began to push paint, soak canvas, drag pencils, rip paper, and otherwise manipulate the materials of painting in ways that challenged preconceived notions of what it meant to be an ink painter (Asian painter) or oil painter (soyanghwaga), the two categories within which most artists were categorized. In the 1970s and 80, these challenges eventually became the foundation of Dansaekhwa, or Korean monochrome painting, one of the most successful and controversial artistic movements in twentieth-century Korea. Literally meaning "monochrome painting," the works of artists like Ha Chonghyun, Park Seo-bo, Lee Ufan, Yun Hyong Keun, Choi Myoung-young, Kim Guiline and Lee Dong-youb were promoted in Seoul, Tokyo, and Paris. Tansaekhwa grew to be the international face of contemporary Korean art and a cornerstone of