『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.

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.

한·중 소상팔경도의 조형성과 표상 비교

송희경(Song, Hee-Kyung) 숭실대학교 한국문학과예술연구소 2014 한국문학과 예술 Vol.13 No.-

소상팔경도는 소상강 유역의 서사와 실경을 토대로 10세기 경 명승도로 제작되었고, 북송대 송적은 팔경에 심상을 투영하여 소상팔경의 전형을 창안했다. 이러한 소상팔경도는 주문자와 제작자의 신분 및 정체성에 따라 선사상을 담은 일격화(逸格畵)로, 문인사대부의 강남 동경을 표출한 이상경(理想景)으로, 우주만물의 보편적 이치를 표상한 정형산수화로 다양하게 시각화되었다. 우리나라에서는 고려시대에 도입되었고 조선초기의 왕실과 사대부는 직접 가보지 못한 승경을 정형화하면서 중국과 다른 시형식을 고안했다. 사계의 질서를 부여하여, 자연의 법칙과 대기의 운용이 이입된 문인산수화를 재창출한 것이다. 이러한 현상은 ‘소상야우’에서 확인된다. 소상야우의 제화시는 암울한 가을이미지를 자아내지만, 그림은 여름 산수로 표현된 것이다. 봄, 가을, 겨울의 계절감이 짙은 소상팔경도가 사시산수로 전환되어 자연의 보편적 질서를 담은 정형산수화로 확립되었다. The painting of Eight Views of Xiao and Xiang Rivers was created to depict the actual view of the river basins in Xiao and Xiang Rivers around the 10th century. Sung Ti of North Song Dynasty created the model for the Eight Views of Xiao and Xiang Rivers by projecting imagery to them. Eight Views of Xiao and Xiang Rivers were visualized in a wide variety from I"l-pin hwa, which embodies the Zen spirits based on social class and identity of producer and orderer, an ideal scenery that represents the noblemen"s longing for the southern part of the Rivers and a typical landscape that represents the universal logic of all creations. This was introduced to the Korean Peninsula during the Goryeo Dynasty and noblemen and royal families during the early Joseon Dynasty imagined a typical view and devised a visual form different from China"s. During the Joseon Dynasty, a landscape embedded with the order of four seasons, and law of nature, which can be observed in Night Rain on Xiao-Xiang. It is portrayed as a gloomy fall image in the phrase but it is actually expressed as a summer landscape in the painting. The Eight Views of Xiao and Xiang Rivers vividly shows the seasonal transformation into a four-season landscape, embodying the universal order of Mother Nature.

1980년대 한국화의 `산수`

송희경(Song Hee kyung) 한국예술종합학교 한국예술연구소 2015 한국예술연구 Vol.- No.11

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.

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.

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

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.

1960년대 동양화의 해외 체험 -일본 전시의 참여와 그 출품작을 중심으로

송희경(Song, Hee-Kyung) 동서미술문화학회 2021 미술문화연구 Vol.20 No.20

본 논문은 1960년대 동양화의 해외 전시 참여와 출품작을 고찰하였다. 특히 일본에서 전시된 동양화를 집중 연구하였다. 여타 서구 국제미술제 출품작과 일본 출품작의 조형성을 비교하기 위함이다. 한국 미술의 해외 진출은 1950년대부터 적극 시도되었다. 특히 1960년대에는 파리 비엔날레, 상파울루 비엔날레를 비롯하여 동시대 작가의 국제 미술제 참여가 활성화되었다. 비엔날레의 출품작에는 주로 추상이 선정되었고, 서양화, 조각 분야에 비해 동양화 분야의 작품 수가 상대적으로 적었다. 동양화 출품작도 대부분 수묵의 흘림, 번짐 효과를 드러내거나, 한지가 아닌 여타 물성을 활용한 추상 회화였다. 국제 미술제에서 장르를 불문하고 추상이 선택되자 동양화 분야도 이에 보조를 맞추기 위해 새로운 추상성 모색에 고심한 것이다. 1965년 한일 수교가 체결되자 양국의 문화교류가 본격적으로 전개되었다. 이에 국내 미술인들도 일본을 방문하여 동시대 미술을 발표하였다. 일본 국제 미술제에서도 주로 수묵의 물성과 추상성을 탐색하는 동양화가 출품되었다. 그러나 일본 전시에서는 한지의 특성이나 한국적 채색을 모색하는 작품이 호평을 받았다. 예컨대 한지 바탕의 질감을 응용한 권영우의 물성 실험은 훗날 ≪다섯 가지 흰색≫에서도 소개되었다. 천경자나 박노수의 채색화는 한국의 "민족성"과 "국토애"를 담아냈다는 평가를 받으나, 여전히 일본 채색화의 연장선에서 이를 해석하려는 입장도 발견되었다. 이렇듯 본 논문은 동양화 작가들이 현대성 담론을 수용하고 이에 맞는 조형성을 고안하여 동시대 미술계에서 주변이 아닌 중심으로 인정받기 위한 노력도 고찰하였다. 이것이 본 논문의 연구 의의라고 생각된다. This paper examines the participation and exhibition of Oriental paintings in overseas exhibitions in the 1960s. In particular, the paper intensively studies the Oriental paintings exhibited in Japan. This is to compare the formativeness of the works exhibited at other Western international art festivals to those exhibited in Japan. The overseas expansion of Korean art was actively tried since the 1950s. In particular, the 1960s witnessed a wide activation of contemporary artists" participation in international art festivals, including the Paris Biennale and the Sao Paulo Biennale. Abstract was mainly selected as the entries for the Biennales, and the Oriental painting world offered a relatively small number of works compared to Western painting and sculpture. Most of the Oriental painting exhibits were abstract paintings that revealed the effects of ink spillage and smearing or the ones that utilized physical properties other than Korean traditional paper(Hanji). As abstraction was popularly selected at international art festivals by Korean artists regardless of genre, the field of Oriental painting strove to find a means to keep pace with such international trends. After the establishment of diplomatic ties between Korea and Japan in 1965, cultural exchanges between the two countries developed in earnest. Accordingly, Korean artists also visited Japan to present contemporary art. Oriental painting, mainly exploring the materiality and abstraction of ink, were exhibited at the Japan International Art Festival. Also, there were works that experimented with the physical properties of Korean traditional paper or explored Korean-style colors. Kwon Young-Woo"s experiments on physical properties applying the texture of Korean traditional paper were later introduced in the 〈Five Whites〉 exhibition. Chun Kyung-ja and Pak No-soo"s colorful paintings were regarded as representing Korean nationality and territorial attachment. However, there was still a stance to interpret this group of works as an extension of Japanese color painting. As such, this paper examines the perspective of Oriental paintings that entered overseas in the 1960s. In addition, this study examines the efforts of Oriental painting artists to be recognized as the center (and not the other) of the contemporary art world by embracing the discourse of modernity and devising a formative form that suits such discourse of modernity. This is regarded to be the significance of the study of this paper.