『白社會帖』과〈白社老人會圖〉

송희경(Song Heekyung) 한국미술연구소 2004 美術史論壇 Vol.- No.18

The Baeksa Hoecheop (Baeksa assembly album, 『白社會帖』) is a commemorative album published on the event of the assembly of 14 elderly men in 1784. Composed of 22 pages, the paintings are executed ink and light color on paper, and measure 41.5×31.5㎝, The album begins with the tide, “Baeksa Dongyu (Baeksa members enjoy together, 白社同遊),” and then goes on in pages 4 and 5 recording the pen name, birth date, and birth place of the 14 members. According to the records in pages 4 and 5, the participants included Jeong Gye (鄭棨, 1710-1793), Hong Juman (洪周萬, 1718-?) Jeong Mok (鄭棨, 1720-?), Song Jeno (宋濟魯, 1711-?), Gang Sedong (姜世東, 1714-?), Jeong Jip (鄭集, 1715-?), Eom Gu (嚴球, 1716-?), Yi Jingdae (李徵大, 1717-?), O Myeonggu (吳命久, 1718-?), Hong Gihan (洪起翰, 1719-?), Yi Uihyeong (李宜馨, 1720-?), Yi Hyejo (李惠祚 1721-?), Yi Myoungjun (李命俊, 1722-?), and Sin Taekgwon (申宅權 1722-?). On pages 6 and 7, an introduction is written by Jeong Gye, while on pages 7 to 14, poetry composed by the participants are listed. On page 15, writings by Song Jeno can be seen, and on pages 16 and 17, additional comments by Yi Hyu (李休, 1708-?), Song Jeyu (宋濟愚 1708-?), Bak Heonchae (朴獻采 1716-?) and Hong Eungjin (洪應辰 1710-?) are found. On page 18, Hong Juman s essay (1793) is recorded, while on page 19, Sin Taekgwon S writing (1797) is found. On pages 20 and 21, it appears that Jeong Suyeong (鄭遂榮, 1743-1832)' s paintings were present, but they are now detached. Most of the participants were related to each other. Jeong Gye and Jeong Mok. Song Jeyu and Song Jeno were brothers, while Hong Juman and Gang Sedong, Sin Taekgwon and SongJeyu were in-laws. Moreover, Gang Sedong and Gang Sehwang came from dle same Gang family of the Jinju dan. Eom Gu' s father was Song jeno' s father-in-Iaw making the two brothers-in-law. Thus, the Baeksa-hoe(白社會) assembly members constituted of dose-knit families and friends, in similar ages. Jeong Gye writes in his introduction mat former officials gathered in me west of the city. outside me city walls, in order to spend time together enjoying each others company and composing poetry. And thus, this album was created to record the poetry. Moreover, Sin Taekgwon writes in another essay that the 18 participants were 'extremely dose to each other, sharing and disposing together,' and that their 'good health, comrort, and happiness coming from their correspondence' brought about the production of this album. After retirement, me participants Lived nearby one another and held regular' meetings recalling their past official lifestyle and enjoying their old age. Most of the poetry included in the Baeksa Hoecheop discuss the strong friendship among the participants or the lamentation on me ephemeral life of me contrasting past and present, instead of me depiction of natural scenery or me specific discussion of people. Vocabulary such as 'peaceful reign: 'song of good harvest: and 'dream of high posts' imply me wealth and glory enjoyed in dle younger days, In contrast, words Like 'old age: 'poor home covered in snow', and 'last sear' anticipate the distress and transient life of me aged. In his painting, Jeong Suyeong chose to adopt the circular' composition, often used in elderly assembly paintings or commemorative paintings, continuing the mid Joseon (朝鮮, 1392-1910) assembly painting tradition. By placing the pine tree which symbolized longevity. righteousness and friendship on the right hand Side, the painter emphasizes the lofty characteristics of the participants. Moreover, the elderly, wearing everyday clothes, are depicted with Light ink and colors in steady brushwork, TIle background is also painted with light colors, creating an elegant and mellow atmosphere. Thus, dle figures in me paintings of the Baeksa Assembly present a group of intellectual scholars who also enjoyed refilled aesthetic pleasures. The painting itself is a visual creation by me Literati who pursued idyllic morality and unworldly elegance. The Baek

문화 : 정선이 그린 정호(程顥),정이(程이) 고사인물화

송희경 ( Hee Kyeong Song ) 한서대학교 동양고전연구소 2011 동방학 Vol.20 No.-

본 논문의 목적은 정선이 그린 정호 정이고사도의 시각적 특징과 조선시대 이정고사도의 전개양상, 그리고 정선의 제작방식을 규명하는 것이다. 북송대 유학자였던 정호와 정이는 정반대의 성격을 지닌 한 살 터울의 형제이자, 도학의 새로운 흐름을 열었던 지적 동반자였다. 그들은 강한 개성과 독특한 일화를 남긴 선학으로, 혹은 주자에게 절대적 영향을 준 신유학의 창시자로 기억되었다. ``방화수류(傍花隨柳)``, ``정문입설(程門立雪)``, ``부강(부江)`` 등의 제재로 표현된 이정고사도는 정선이 그린 송대성현의 고사인물 중에서 제재와 작품수가 가장 많았다. 정선이 그린 이정고사도의 형식은 자연배경에 고사상이 배치된 산수인물화이며, 기법은 남종화법을 근간으로 한 수묵담채화였다. 그의 다른 고사인물화와 마찬가지로 고사의 일화를 도해할 때 조선중기의 전통을 계승한 산수인물형식을 도입해서 풍류와 낙도(樂道)를 누리는 정호 정이상을 완성했다. 16세기에는 정호, 정이가 도학의 계승자들과 함께 화첩이나 병풍에 장첩되었는데, 그림의 주인공들은 도통계보의 인명도설에 포함된 인물들이었다. 정선과 같은 시기에 활동한 어유봉의 <병화십찬>을 통해 고사일화형식을 갖춘 송대성현의 고사도가 18세기 전반에 이미 정착되었음을 알 수 있다. 정선의 그림에 표현된 정호와 정이는 권위를 내세운 관료도, 위엄을 갖춘 지도자도 아니었다. 분석적이고 논리적인 유학자였지만, 때로는 자연을 즐기고 때로는 세상사에 초연할 줄 아는 처사이자 참진리를 추구하는 진정한 지식인이었다. 정선은 정호, 정이의 고사를 해석하면서 자신만의 화법으로 새로운 화면을 창안했다. This thesis is to identify the visual characteristics of Jeon Seon`s gosa paintings of JeongHo and JeongE, JeongHo and JeongE were Confucians during the Northern Song dynasty, brothers who were born only a year apart, and intellectual companions who helped open a new chapter for Taoism. They are remembered as founders of a new Confucianism, who gave absolute influences to Zhu xi as well as pioneering scholars with spirited personalities whose exploits are well known and without comparison. JeongEGoSado, which is composed of a number of subjects such as banghwasuryu, jeongmunipseol, and bugang, It is also the kind of painting that he produced in the biggest quantities. The genres of JeongHo and JeongEGoSaDo as painted by Jeong Seon, belong to the tradition of SanSui figurative painting, featuring gosa seared within a natural background, using softly colored water and ink painting based on the NamJong style (a southern school of Chinese painting). Like other gosa figurative painting by JeongSeon, in which he depicted the daily lives of gosa, he incorporated the SanSui figurative painting techniques that developed from the traditions of the mid-Joseon period, and represented JeongHo and JeongE, who were known to have enjoyed pungryu and nakdo. According to literature, before Jeong Sean the gosa paintings of JeongHo and JeongE were known to have predominantly been incorporated within SeongHyeonGoSaCheop. In the 16thCentury, JeongHo and JeongE featured within picture books or wall screens along with the followers of Confucian from that time. In this way the main characters depicted in these paintings were from an Confucian Diagrams. ByeongHwaSipChan by EoYu-bong - a painter from the same period as Jeong Sean - helped ensure that goon painting of saints from the Song dynasty, employing SanSui figurative painting techniques, became established in the early l8thCentury. As depicted in Jeong Seon`s paintings, JeongHo and JeongE appeared as neither powerful officials nor majestic leaders. Even though they were analytical and logical Confucians, we are reminded that they knew how to find amusement within nature, and to find relief from everyday worldly concerns as genuine intellectuals pursuing fundamental truths. Jeong Seon created a new style of his own while interpreting the old legends of JeongHo and JeongE.

한국 강단 화예디자인의 상징표현에 대한 연구 -기독교 상징체계와의 연관성을 중심으로-

송희경 ( Song Hui Gyeong ) 한국화예디자인학회 2002 한국화예디자인학 연구 Vol.7 No.-

1980-90년대 한국화의 수묵추상

송희경 ( Hee Kyung Song ) 미술사와 시각문화학회 2014 미술사와 시각문화 Vol.13 No.-

Ink stick was the most important tool for expression in East Asian Paintings to show what intellectuals thought and how their daily lives were at that time, which had been expressed in a unique visual language as time passes by. It was a fixed material for the Real-Scenery Landscape Painting that had kept traditional painting techniques in the modern period. It was also used as a core material for ink painting based on the concept of Literary Painting. The mutual exchange and junction between ink painting and the idea of abstraction were found in Mukrimhoe that was established in the 1960s. The members of Mukrimhoe pursued nonobjective art that focused on Orientalism while they were blamed for being followers of western expressionism. For them, ink painting was just a tool for nonobjective art. They considered ink stick as an item for visualization regardless if it was used for a nonobjective art or not although being insisted that the Ink Painting Movement in 1980swas a succession to the Orientalism. It was during the late 1980s that abstract ink painting had been settled down. Painters engaged in abstract ink painting tried to synchronize their feelings with the use of ink stick and did not cling to the metanarratives of conventional Orientalism. They actively accepted the influential Korean abstract ink painting that came from western abstraction and even tried to show a new possibility beyond it in rich and expressive ways.

일초 이철주(逸初 李澈周, 1941- )의 한국화

송희경 ( Song Heekyung ) 이화여자대학교 한국문화연구원 2017 한국문화연구 Vol.32 No.-

이철주는 1960년대 서울대학교 미술대학 회화과에서 동양화를 전공하고, 국내 최고의 관전이었던 대한민국미술전람회에서 국무총리상과 문화공보부장관상을 2번이나 수상했으며, 대학에서 교편을 잡은 한국화가이다. 그는 1960년대 중반부터 1980년대 후반까지 인물과 풍경을 정확하게 사생한 후 이를 새로운 양식으로 표현하는 작업을 지속했다. 그가 화폭에 재현한 대상들은 전통문화를 계승하는 명장이나 예술인, 서민의 고단한 생활상, 개발과 건설이 한창인 도시 등 매우 다양했다. 동시대의 현장성을 기록했던 그의 작업은 1990년대 초반부터 변모한다. 우주라는 상상의 세계를 대상으로 구상에서 비구상으로 전환한 것이다. 이 시기에 제작된 그림은 획이 파생한 문자의 구성을 기본으로 하면서 전면회화 양식을 추구하거나 같은 도형의 셀을 재조합하는 추상화였다. 특히 <소우주> 연작에서는 정사각형의 화면을 다시 분할한 후 중앙에 사물을 배치했다. 이러한 시각성은 그가 새롭게 재편한 질서와 우주관의 또 다른 표현이다. 현재까지도 그는 점차 색을 배제하고 먹만을 사용한 강렬한 추상화를 지속하고 있다. 그림에서 `획(劃)`을 가장 중요시 했던 이철주는 인물화나 도시 풍경화에서부터 형상을 변형한 추상화에 이르기까지 지필묵이 구사 가능한 모든 조형언어를 두루 섭렵했다. 특히 현재에도 수묵 추상을 지속하면서 현대 한국화에 있어서 수묵의 가치를 높이기 위해 색다른 방법론을 모색하고 있다. 따라서 그의 작품에서는 전통을 지키되 변화하는 시대적 미술 사조와 여러 방법론을 모색했던 현대 한국화의 복합적인 특성이 발견된다. Lee, Cheoljoo, an artist who specializes in Korean painting, graduated from the Seoul National University`s College of Fine Arts with a major in Oriental Painting. He won two Minister of Culture and Communications prizes in the National Art Exhibition of the Republic of Korea, the largest art exhibition in Korea at that time, and eventually turned to teaching. From mid-1960s to late 1980s, Lee worked on creating a precise replication of a portrait or a landscape initially, and then expressed the replication using new techniques. His works were drawn from a wide range of subjects, from master artisans or artists of traditional culture, to the difficult lives of the common people and the development of the urban landscape. Lee`s work underwent a significant change from the actual contemporary world in the early 1990s, as he turned to nonfigurative art, exploring a world of imagination―space. The paintings produced during this period are abstract pieces based on a sequence of characters formed from the strokes, which feature constructions of all-over patterns or recombinations of cells made from identical polygons. His Microcosmos series, for instance, divides the rectangular screen and places objects in the center of the rectangle. Such visuals express Lee`s new order and cosmology. Lee continues to work with powerful and abstract imagery, using only the ink and excluding all colors except black and white. Lee, Cheoljoo who emphasized the importance of “stroke” (劃) in a painting, has mastered all techniques of construction possible from the trinity of paper, ink, and brush, from portrait and urban landscape to abstract pieces. Thus, his pieces represent the question on the need to preserve tradition, and the search for the changing techniques and artistic trends of the present time that are essential in the field of modern Korean painting.

남계 이규선(南溪 李奎鮮, 1938~2014)의 회화

송희경 ( Song Hee-kyung ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2021 동아시아 문화연구 Vol.84 No.-

남계 이규선(南溪 李奎鮮, 1938~2014)은 한국화 분야에서 독자적인 추상 회화를 창작한 화가다. 그는 서울대학교 미술대학 회화과 학부 시절에 유화를 그리고 국전 서양화부와 동양화부에 모두 출품하는 등, 동양화와 서양화를 가리지 않고 학습하였다. 그러나 1970년 19회 국전부터 동양화부 비구상 부문에만 참여하면서 본격적으로 추상성을 모색하였다. 이 시기 출품작의 특징은 직선의 교차로 생긴 기하학적 면 분할, 두터운 채색과 호분의 사용, 스프레이 기법을 활용한 얼룩의 고안이다. 이렇듯 회장미술에서는 추상 회화로 두각을 나타냈지만, 상업용 그림으로는 소품의 아동 인물화를 다작하기도 하였다. 이규선은 1970년 중, 후반부터 검정색을 위주로 한 화면에 일부 원색을 가미하였고, 부드러운 곡선으로 면의 분할을 시도하였다. 1990년대에는 단순한 흑백의 평면 추상에 더욱 집중하며, 검정색의 붓질이 지나간 자리에서 엿보이는 미묘한 차이를 보여주었다. 2000년대부터 시작된 <시창청공>, <서창청공> 시리즈에서는 실내 창호지 문을 열어 외부 풍경을 바라보는 연출을 시도하였다. 이렇듯 이규선은 전통 회화의 개념, 이론, 서사보다도 사물이나 상황에서 떠오르는 기분이나 이미지를 표현하고자 하였다. 현대 회화로서의 추상성, 동양 회화로서의 수묵과 자연의 모티브, 한국 회화로서의 원색을 조합하여, 이규선 만의 현대성, 동양성, 한국성의 기호를 창출한 것이다. 이것이 이규선이 추구한 추상 회화의 특징이라 할 수 있다. Lee Gyu Sun(李奎鮮, 1938~2014), also known for his art name Namgye(南溪), was a painter who created his own distinctive style of abstract paintings in Korean painting. During his undergraduate degree in painting at Seoul National University College of Fine Arts, he first studied oil painting. He then studied both oriental and western paintings, submitting his works of oriental and western paintings to the relevant departments of the National Art Exhibition of The Republic of Korea. However, since the 19th National Art Exhibition in 1970, participating in the Nonrepresentalism Category of the Department of Oriental Painting only, he began to pursue abstractness in earnest. The entries during this period are known for the features like the geometric area division created by the intersection of straight lines, the use of thick coloring and whitewash, and the design of stains using the spray technique. As such, he stood out for abstract paintings in venue art, but for commercial paintings, he prolifically drew small-sized portraits of children. From the mid-and late 1970s, he added some primary colors to the black base screen and attempted to divide faces with a smooth curve. In the 1990s, he focused more on flat abstraction in black and white, showing a delicate difference derived from traces of black ink brush strokes. In the series of Sichang Cheonggong and Seochang Cheonggong, which began in the 2000s, he attempted an arrangement of the scenery between the opening windows made of Korean traditional paper. Hence, he attempted to express the feelings and inspirations that arise from objects or situations as images rather than focus on the concepts, theories, and narratives of traditional painting. By choosing abstraction in the sense of contemporary painting, ink and nature motifs in that of oriental painting, and primary colors in that of Korean painting, Lee Gyu Sun's unique signs of modernity, orientality, and Koreanness were created. This can be considered the characteristic of abstract painting by Gyu Sun Lee.

위사(渭士) 강필주(姜弼周)의 행적과 회화

송희경 ( Song Heekyung ) 온지학회 2021 溫知論叢 Vol.- No.68

위사(渭士) 강필주(姜弼周, 1852-1932)는 구한말을 거쳐 일제강점기까지 활동한 화가다. 대한제국기에는 여러 도감의 화원으로, 1910년대에는 서화미술회와 서화협회의 회원으로 활동하였다. 그리고 장승업(張承業, 1843-1897)의 양식을 계승하여 산수화, 인물화, 화조화, 기명절지도 등, 동양 회화의 다양한 제재를 두루 섭렵하였다. 화가 강필주의 공식 이력은 1900년 어진모사도감의 방외화원 선발에서부터 확인된다. 왕실과의 인연이 돈독하여 여러 의궤에 화사로 활약하거나, 고종이 주관한 함녕전 휘호에 참여하기도 하였다. 특히 음력 1917년 ‘납월 상순’에 완성한 국립고궁박물관 소장 ≪기명절지도≫와 ≪노안도≫ 가리개는 왕세자 이은(李垠, 1897-1970)의 조선 방문을 기념하며 제작한 시각물이라고 판단된다. 이는 7년 만에 귀국한 왕세자와 고종, 순종이 함께 한 함녕전서온돌 오찬에 활용되었을 가능성이 높다. 강필주는 1910년대 전통화단을 이끈 서화미술회와 서화협회의 회원으로 활동하면서 적지 않은 휘호회나 합작 제작에 참여하였다. 이러한 경우에는 주로 노안도나 산수화를 많이 그렸다. 현장에서 바로 그림을 완성해야 하는 시간적 제한과, 여타 작가의 화목과의 차별화를 위한 의도였을 것으로 생각된다. Kang Pil-joo, also known for the art name Wei-sa, was an artist who was active from the Late Period of the Joseon Dynasty to the Japanese Colonial Period. He was active as a painter of various illustrated books during the Korean Empire and as a member of the Calligraphy and Painting Art Society and the Calligraphy and Painting Association in the 1910s. Furthermore, inheriting the style of Jang Seung-eop, he mastered all the materials of oriental painting, such as landscape paintings, portrait paintings, flower bird paintings, and still-life paintings of bowls and flowers. Once can find the official history of Kang Pil-joo from as early as the selection of a nongovernmental painter in 1900. He also had a strong relationship with the members of the Royal House of Yi. Thus, he was active as a painter in various Uigwe (recordings of royal rituals and ceremonies of the Joseon Dynasty). He also participated in the artist gatherings for collaborative painting at Hamnyeongjeon, hosted by King Emeritus Gojong. In particular, the still-life paintings of bowls and flowers and wild goose paintings, completed at the beginning of the lunar calendar in 1917 and currently in the collection of the National Palace Museum, are judged to have been visuals created to commemorate the visit of Crown Prince Yi Eun to Joseon. Such a judgment is based on the high probability that it was used for the celebratory luncheon in the West Ondol Chamber of Hamnyeongjeon, where the Crown Prince, who returned to Korea after 7 years, was joined by King Emeritus Gojong and King Sunjong. Kang Pil-joo was a member of the Calligraphy and Painting Art Society and the Calligraphy and Painting Association, which led the traditional art world in the 1910s; he also participated in a number of artist gatherings for joint painting and collaborative productions. On such occasions, he mainly painted wild goose paintings or landscape paintings. Such is interpreted to be the result of a combination of the time limit of having to complete the painting on the spot and the intention to differentiate it from other artists' harmonies.

특집 : 여말선초 문예의 전환기적 논리 ; 조선초기 소상팔경도(瀟湘八景圖)의 시각적 번안과 그 표상적 의미 -강천모설(江天暮雪)을 중심으로

송희경 ( Hee Kyeong Song ) 온지학회 2006 溫知論叢 Vol.0 No.15

1980~90년대 현대 한국화의 통섭 : 황창배(1947~2001)가 창출한 '지필묵'의 경계 확장

송희경 ( Hee Kyung Song ) 이화여자대학교 한국문화연구원 2014 한국문화연구 Vol.26 No.-

이 글은 황창배의 작품을 통해 1980~90년대 한국화의 창작 경향을 회고하면서, 한국화가 이질적인 장르와 재료를 수용하는 과정 및 그 해법을 고찰한다. 즉 전통화단이 실험한 지필묵의 경계 확장과 타 영역과의 통섭 현장을 그의 작품에서 확인하려는 것이다. 한국화 역사에 있어서 1980~90년대는 근대기 이후 겪어온 용어, 질료, 장르의 문제와, 전통화단의 오랜 갈등이었던 수묵과 채색의 이분화를 완화한 시기였다. 이런 상황에서 황창배는 일상과 풍자가 재현된 시대풍정화라는 장르를 확립했고, 이 소재를 독특한 채묵법으로 완성했다. 전통적인 화법을 그대로 지키되, 지필묵에 대한 고정 관념과 경계의 틀을 깨고 캔버스, 잿물, 아크릴, 연탄재 등 폭 넓은 재료를 사용하면서 과거의 계승과 신화법의 개척을 동시에 성취한 것이다. 파격적인 그의 실험적 조형방식은 후배 작가에게 강한 영향력을 행사했다. 1980~90년대의 시간성과 공간성을 연출하여 선구적인 조형 감각을 선보인 그의 시대풍정화와 일격채묵은 한국화의 위치와 방향을 알려주는 좌표이자 문화 사회적 코드로 작용한 셈이다. This article reflects on the creative tendency of Korean painting in the 1980s~90s through the works of Hwang Chang-Bae and discusses in retrospect the way in which Korean painting embraced and assimilated disparate genres and materials. That is to say,this is an attempt to observe in the works of Hwang what Korean traditional painting circles had been experimenting with, pushing the artistic boundaries of rice paper, paint brush, and India ink as well as incorporating other types of art. Since the start of the modern era, Korean traditional painting circles had been facing the issues, such as in terms of terminology, material, and genre, as well as dealing with the conflicts coming from the dichotomy between Soomuk (ink and wash) and Chaesaek (color). The 1980s~90s marks a period in Korean art history that resolved these issues and conflicts as the dichotomy became no longer sharply distinguished. It was Hwang Chang-Bae who established a new kind of landscape painting that reflects the times. Hwang’s landscape paintings re-enact the experiences of daily life with satirical touches, and when it comes to painting method,Hwang incorporates a unique drawing practice called Chaemuk (a painting method that uses both color and ink). Hwang Chang-Bae’s works are loyal but not restricted to the traditional drawing practices. Hwang never minded using a wide range of materials, such as canvas, lye, acrylic paint, and briquette ashes, breaking from the conventional uses of rice paper, paint brush, and India ink. In this way, Hwang Chang-Bae succeeded not only in inheriting the legacy of the past but also in becoming a leading pioneer with a new drawing method. Hwang’s unprecedented experimental method had a huge impact on the next generation of artists. Hwang Chang-Bae’s landscape and Chaemuk paintings convey his innovative artistic vision by capturing the temporal and spatial dimension of the 1980s~90s and work as a sociocultural code as well as a touchstone that can reveal the position and direction of Korean contemporary painting.

지홍 박봉수(智弘 朴奉洙, 1916-1991)의 행적과 작품세계 연구

송희경(Song, Hee-kyung) 숭실대학교 한국문학과예술연구소 2020 한국문학과 예술 Vol.33 No.-

이 글은 지홍 박봉수(智弘 朴奉洙, 1916-1991)의 행적과 작품 세계를 분석한 논문이다. 경주에서 태어난 박봉수는 근대기 동양화가를 다수 배출한 사숙 출신도 아니며, 정규 미술 학교 졸업생도 아니다. 해방 이후 가장 강력 한 미술계의 등용문이었던 국전에도 참여하지 않았다. 이러한 상황에서 그는 전통 수묵 담채화에서부터 색면 추상, 꼴라쥬, 도화(陶畵)에 이르기까지 다양한 시각물을 제작하였다. 작가로서의 활동 반경도 매우 넓어, 고향인 경주뿐 만 아니라 서울, 일본, 유럽 등지에서 개인전을 열었고 수많은 단체전에 출품 하였다. 특히 국내 단체전의 경우, 국전에 대항하는 야전이나 민전에 주로 참여하였다. 박봉수는 1950년대 중반부터 중봉의 필획, 즉 서체에 기반을 둔 수묵 추상을 시도하였고, 1970년대부터 여러 물성을 도입한 색면 추상을 발표하였다. 그는 지필묵을 주로 사용하였지만, 정작 동양화론이나 전통 회화에는 그다지 관심을 두지 않았다. 필과 묵을 사용하여 오로지 자신의 감각과 개성을 조형화 하였을 뿐이다. 박봉수의 행보와 그의 회화 창작에 가장 큰 영향을 끼친 인물은 이응노와 김영기라고 판단된다. 이렇듯 박봉수는 해방 전후부터 1980년대까지 활동한 동양화가이다. 따라서 그의 작품에서는 시대에 따른 동양화의 변화 양상이 오롯이 발견된다. 이것이 박봉수의 회화를 재조명해야 하는 이유가 아닐까 한다. This paper is an analysis of the works and worlds of works by Ji Hong Park Bong-su (1916-1991), which is currently unknown in academic circles. Park Bong-soo was born in Gyeongju, did not receive a modern personal studio or regular art education, and did not participate in the National Art Exhibition of The Republic of Korea, which was the strongest art gate of the art world since the Independence. He also held solo exhibitions in Seoul, Japan, and Europe, as well as his hometown Gyeongju, and participated in numerous group exhibitions. Particularly in the case of domestic team exhibitions, they mainly participated in private planning exhibitions against the National Art Exhibition of The Republic of Korea. Park Bong-soo attempted ink abstraction based on calligraphy from the mid 1950"s, and in the 1970"s he published color surface abstraction that introduced various materials. He made traditional material as the basis of his creation, but he was not so impressed with the theory of oriental painting or the past paintings, and he focused only on the creation that reveals his senses and individuality. The most influential figures in Park Bong-soo"s paintings and walks are Lee Ungno and Kim Young-gi. In the works since the mid-1950s, the stylistic characteristics of the two characters are strongly revealed, and there are not many exhibitions that participated with them. As such, Park Bong-soo was a living witness of the Oriental Flower Bed, which developed from before and after the Independence to the 1980s. This is because the formative elements of oriental paintings expressed in various times are found in his works. This may be the reason to reflect on Park"s paintings.