남계 이규선(南溪 李奎鮮, 1938~2014)의 회화 = The Art World of Namgye Lee Gyu Sun (南溪 李奎鮮, 1938~2014)

다국어 초록 (Multilingual Abstract)

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.

참고문헌 (Reference)

1 이규선, "한국회화의 전통과 그 계승 발전의 문제_이조회화를 중심으로" 이화여자대학교 미술대학동양화과 2 : 1970

2 이민수, "한국화 형상 표현과 현실 인식의 재조명–1930년대 이후 국내 화단의 구상․추상 논쟁을 중심으로" 홍익대학교 2019

3 오광수, "한국현대미술사 : 1900년대 도입과 정착에서 1900년대 오늘의 상황까지" 열화당 1997

4 신영상, "한국근현대예술사구술채록연구시리즈: 20세기 한국 서화전통의 변모와 현대화 Ⅰ, 신영상" 한국문화예술위원회 2009

5 임송희, "한국근현대예술사구술채록연구시리즈 : 20세기 한국 서화전통의 변모와 현대화Ⅰ, 임송희" 한국문화예술위원회 2009

6 민경갑, "한국근현대예술사구술채록연구시리즈 : 20세기 한국 서화전통의 변모와 현대화Ⅰ, 민경갑" 한국문화예술위원회 2009

7 이규선, "축제"

8 이규선, "축제"

9 이규선, "채향"

10 이규선, "작품 87-9"

11 이규선, "이동주점"

12 정병관, "오늘의 작가 연구 南溪 李奎鮮_해학이 깃든 즐거운 추상" (가을) : 1983

13 이규선, "여일"

14 이규선, "여운"

15 이규선, "여래"

16 이규선, "시창청공"

17 이규선, "부두"

18 이규선, "미몽"

19 이규선, "무제"

20 이규선, "달"

21 이규선, "건어장"

22 이규선, "가을 아이들"

23 정무정, "南溪 李奎鮮" 이천시립월전미술관 2014

24 윤난지, "南溪 李奎鮮" 이천시립월전미술관 2014

25 김경연, "1970년대 한국 동양화 추상 연구 - 국전 동양화 비구상부문을 중심으로" 한국미술사교육학회 32 : 75-100, 2016

26 송희경, "1970년대 ‘소폭’ 동양화의 시각성과 그 교양적 기능－남정 박노수(藍丁 朴魯壽, 1927~2013)의 ‘시가 있는 그림’을 중심으로－" 동아시아문화연구소 (72) : 51-72, 2018

27 송희경, "1950년대 동양화단의 민족성 담론과 그 실체" 한국미술연구소 (50) : 299-321, 2020

28 박파랑, "1950~60년대 한국 동양화단의 추상미술 수용과 전개 : 전후 일본 미술계와의 관계를 중심으로" 弘益大學校 2017