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COVER ARTIST
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- Living witness who has contributed
of the creation
of modern Painting in the literary artist's style -
Standing out in his topics, expressing the absolute
liberty, dignified heart and freedom
Written by Kim, Nam Soo / Art Critic |
Today, Korea's Orient Literary Painting
faces the new paradigm shirt, having a lot of issues such as the new ideology,
release from the traditional style and the creative theory arrangements
for newer contemporary interpretation and so on. Such artist trend and tendency
are remarkably observed as the number of population enjoying the Orient
Literary Painting increases in Korea. |
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What is differentiation between the old techniques
and contemporary interpretation In a word, it will the important duty for
the Korean literary artists to create the new styles based on the old techniques
to meet the spiritism and sensitivity of people today. In other words, Korean
Orient Literary Painting should receive the evaluation of the new era. Even
though several lines, strokes and points make one picture, it does not |
![](../../img/img_month/200702/16_26.JPG)
íþßæÓñ
![](../../img/img_month/200702/16_27.JPG)
æÚͯüå ȸ¿øÀü °³¸·½Ä Àå¸é
necessarily become any Orient Literary Painting. I want to point out
it is not possible to achieve the new approach of the Orient Literary
Painting unless there is its differentiation between other type of paintings
in the following points: First, expression of Korean identity; second,
the expression of personal intention and new shapes in high dignified
spiritism from the heart; second, re-coating and doping in the expression
and technique.
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![](../../img/img_month/200702/16_28.JPG)
±îÄ¡ È£¶ûÀÌ
However, under the banner of contemporary art, Korea's Orient Literary
Painting loses its identity in chaos in reality, only sticking to the
materialistic causes to destroy the previous system.
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![](../../img/img_month/200702/16_29.JPG)
ûúäñ 40.9 x 31.8cm
The Orient Literary Painting is
originally achieved based on the artist's own abstract spiritism. Therefore,
the completed works should contain the artist's own idea, philosophy, dignified
personality and the aesthetic beauty sense.
The reason why the Orient Literary Painting belongs to the higher hierarchy
of painting types is because of its difficult level of completion.
As our cover artist, we selected (Gyejung) Min Yi-sik who belongs to the
next generation of Orient Literary Painting artists group who had learned
from its Korea's first generation such as Suh Se-ok, Jang Woo-sung, Park
No-su, Choi Jung-gyun, Kim Ok-jin and so on. Min Yi-sik is considered as
the first innovation group that led the contemporary movement in Korea.
According to him, their theories had the background to contribute the modernization
of the Orient Literary Painting by realizing the absolute release in the
topic selection and new intention and shape in the methodology and technique,
even though they respect the teaching from their mentors.
They insisted their timely assignments should be to make the Orient Literary
Painting be positioned as the professional art |
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![](../../img/img_month/200702/16_30.JPG)
ßÓßæêüï®
style and genre in Korea after the time when the old Korean gentlemen(called
'Sunbi') enjoyed it as only their leisure hobby. |
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úÁáþ
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È÷·Î½Ã¸¶Àü Âü¼®Â÷ ÀϺ»¿¡¼ |
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ÀϺ» Àü½Ãȸ¿¡¼ ÀÛÇ°À» ±¸ÀÔÇÑ ÀϺ»¿©¼º |
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ÀϺ»Àü½Ãȸ¿¡¼ ÀÛÇ°À» ±¸ÀÔÇÑ ÀϺ»¿©¼º |
For this purpose, Min Yi-sik used
to set up the course of 'Orient LIterary Painting' as the honorary professor
at a univertiy for the first time in Korea in 1994. Afterwards, the Orient
Literary Painting started stretching even to cultural center, life-long
art education institute, art school and so on. Moreover, new artists majoring
the Orient Literary Painting appear in various contests.
![](../../img/img_month/200702/16_35.JPG)
ûúÕ¥ 66 x 51cm
![](../../img/img_month/200702/16_36.JPG)
ú¾ìí 54 x 41cm
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The Orient Literary Painting is the unique
art style appeared only China, Japan and Korea, and features the interaction
where the painting may be made based on the poetic idea, and then the
poetic idea may be made based on that picture again. It is the art genre
requiring high spiritual training indicating high ability both in the
poem, painting, and virtue.
As mentioned, (Gyejung) Min Yi-sik is the very artist who created such
stereotype of modern Orient Literary Painting. He has searched the in-depth
natural national people's artist style widely such as the Four Gracious
Plants painting, painting of flowers and birds, portraits, literary landscape
painting, Ten Types of Elements Representing Longevity, folk painting
and genre painting. In brief, he has steadily pursue the works to inspire
Korean's own soul and spirit of Orient Literary Painting regardless of
the styles and topics. He has been the leader taking role of creating
the art style of modern Orient Literary Painting, by personally repeating
the experiments and attempts to use the various Chinese ink colors and
studying the painting materials, until the Orient Literary Painting finally
paradigm shifted to the first colored painting such as the light Chinese
ink painting or colored painting.
![](../../img/img_month/200702/16_37.JPG)
1998³â 7¿ù Çѱ¹¹®ÀÎÈ Áø·Î ¸ð»öÀ» À§ÇÑ ¼¼¹Ì³ª¿¡ Âü¼®ÇÑ ¹Ì¼úÇùȸ 18´ë ÀÌ»çÀå ¹å¼®¿ø¾¾ÀÇ Ãà»çÀå¸é ¿ÞÂÊÀ¸·Î ºÎÅÍ °ø¿µ¼®,
¹ÚÇຸ, °í ±è¿µÁß, ±¸ÀÚ¹«, ÃÖº´½Ä, ¿ìÁ¦°æ, äȸÀ¯, ¹ÎÀ̽Ä, ±è³²¼ö
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ãêà¹Ý¤ 53 x 42cm
He took the leading role to establish
the Korea Literary Artists Association as the living witness even contributing
to setting up the Orient Literary Painting department in Korean Fine Arts
Association.
World of Works
The world of (Gyejung) Min Yi-sik's literary art works contain the vital
energy and active strokes. As the literary artist having the new creative
sense, he features his works based on his own unique language.
He has excellent description skill portraying anything he wants, and his
dignified and purified storks accompany the vitality in one stroke completion,
which is in the highest level.
I found the coexisted delicate line drawing and contrary thick styles
in one picture were created by his creative attention to accept the contemporary
sense, challenging the free and new art style not seen ever before. |
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He composes his painting space both in representing
and abstract style according to the Two-factor theory or relativity principle,
which is interpreted as the new attempts to pursue the Yin-Yang theory
and origin of literary art painting.
![](../../img/img_month/200702/16_39.JPG)
¸ÅóÇÐÀÚ(ØÞô£ùÍí) 67 x 51cm
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In-depth pursuit for the language
usage and expressionism style
1970s through 1980s, his studying period is considered as the period when
he intensively pursue the Four Gracious Plants painting, literary painting,
Ten Types of Elements Representing Longevity, and literary landscaping painting
based on the Chinese ink and light ink style. At this time, he knew the
expressionism art was created by the literary art and then has spent time
in realizing the origin and principle of the literary art by personally
repeating many attempts in agony. The art world of (Gyejung) Min Yi-sik
deepened in its theme and spiritism in 1990s. He was indulged to the philosophy
pursuit for the Doctrine of Mean according to the philosophy of Lao-Tzu
and Chuang-tza, and relativity principle of creation and destruction. In
his opinion, the best wish is to create his own expression by applying implicitly
to the order of universe that does not change even for trillions of years.
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áúûÞ
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ü¶ýì1
Today's modernism is full of word
feasts describing the rootless innovation, and we are puzzled over the art
climate of unyielding spirit of happening without vitality. Artist Min Yi-sik
deeply pursued for wider perspectives through the Taoist philosophy or Zen,
because he already knew the painting is acquired by the observation and
pursuit with mind's eyes not by the physical eyes.
The aesthetic of image for him was based on his own vision of universe.
I think his comprehensive art expresses the eternal order of nature and
it was born from the complicated convergence and diffusion by his numerous
attempts, desire for various changes, conflict and agony acquired from his
life experiences and impulse challenge to approach to the unknown world.
The canvas is simply the tool for expression, and his pursued image, shape,
theme and idea are positioned in his mind and then ready to take off to
another expression space to be symbolized or recreated. In this regard, |
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![](../../img/img_month/200702/16_42.JPG)
1997³â ¿À»çÄ« Àü¿¡¼, ¿ÞÂʺÎÅÍ 17´ë ¹ÌÇùÀÌ»çÀå À̵νÄ, À̵νÄÀÇ Ã³, ¼¼¼¿Á, ¹ÎÀ̽Ä, µ¿Çö¾ÆÆ® »çÀå ±èµ¿Çö, ±è°æÀÏ
Chusa's ¡®Yucheonhuihae' philosophy was also based on the literary art
spirit longing for the aesthetic of freedom. ¡®Sehando' recognized by the
world art as the prestigious painting contains the difficult compositions
not solved by contemporary art. |
![](../../img/img_month/200702/16_43.JPG)
À½°ú ¾ç
![](../../img/img_month/200702/16_44.JPG)
úÁáþ 53 x 42cm
Nevertheless, in terms of literary
painting spirit and idea, erudite scholars and theorists give complements
for his works, considering them as the essential completion of literary
paintings.
Even though excellent in theories and practices, this artist do not exhibit
sufficiently, because of his spiritism wishing to speak only necessary works
and words. He earned a lot of foreign currencies through overseas invited
exhibitions, but his exhibition in this April is his first interim study
exhibition in 20 years in Korea. I am sure that this exhibition will be
an inspiration for the milestone.
Gyejung Min Yi-sik makes all-out efforts to achieve the new styles of absolute
release through the portrait, landscape, flowers and birds in his technique
through the intensive examination to break the existing system to accept
the new |
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creative viewing methods of Literary Painting.
He believes the obstacles to the development of Literary Painting have been
the mannerism, imitation and self-losing theory focusing on the influences
of China and closed-door attitude.
He is the literary artist believing Confucius' ¡®Hoesahuso¡¯ or Chusa's 'Seogwongi
Munjayang(The scent of Good Books)' philosophy. In a word, the core of the
Literary art penetrates into his spiritism. This artist insists the stage
of dignified human being and the supremacy of utopia live in this philosophy.
Gyejung Min Yi-sik started being dedicated to the Literary painting in full-scale
when leaving his professor job in college campus in 2000s. This artist has
exhibited a lot of unique works in overseas invited exhibitions. Even though
his exhibitions stretch to China, Europe and U.S., and especially in Japan,
his popularity is the at the peak these days through 50 exhibitions |
![](../../img/img_month/200702/16_45.JPG)
Á¦ÁÖ¿¬°íÁ¦ °³¸·½Ä¿¡ Âü¼®ÇÑ ±Íºóµé
in Tokyo, Osaka, Okinawa, Kyusu, Aomori and Sapporo.
He is the civil messenger who implanted Korean literary painting in Japan
and there are considerable numbers of his work collectors and fans in
Japan. He is the genuine artist and patriot who earned the foreign currency
through art. I am sure he will be recognized also in Paris or New York
soon. .
His 20 works in this section, randomly selected from his representative
works among Literary Painting Hwamok and Baeksun. Even though he have
taught about Four Gracious Plants painting, Ten Gracious Plants painting,
Orient Literary Painting and Ten Types of Elements Representing Longevity
to his disciples and students, this works in this section were the completion
in his own style containing much of art senses quoted from the literary
art techniques.
![](../../img/img_month/200702/16_47.JPG)
¿õ½Ã(ê©ãÊ) 40.9 x 31.8cm
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¿À³¢³ª¿Í ¹ÂÁö¿ò ȶû ÃÊ´ëÀü¿¡¼ ÀÛÇ°¼³¸í Àå¸é
In some ways, they may be considered as the normal paintings not the
literary artist visually, but were based on the complete literary painting
techniques and condensed heart techniques.
We can see that there are greatly appealing artist's image and intentional
shape in the works titled, <Gyeryusansu> <Shimsanyugok> <Great
Delight> <Two Cranes> <Mileo> <Waterfalls> <Gyesuyuhui>
<Dream> and <Hapjang> and so on.
Conclusion
Gyejung Min Yi-sik has been the novel and progressive artist making all-out
efforts to create the Korean's own literary painting even though its origin
was China. Other numerous related literatures emphasize and respect only
China's influences, not the essentials of theory and practice. However,
this artist has made all effots to establish natural Korean's own identity.
Fortunately, he has marked a major step in create and arrange Korea's
literary arts as the living witness taking important role. Moreover, he
has been highly evaluated as the mentor of Korea's various elite, and
major artists. In 1994, as the honorary professor at Wongwang University,
he received high compliment announcing the thesis ¡®Study on the contemporary
interpretation and new methodology of Korean Literary Art¡¯.
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¹ÎÀÌ½Ä / Í¢ïË ÚÊì¦ãÕ
• 1982 Á¦1ȸ °³ÀÎÀü (ÀÍ»ê)
• 1984 Á¦2ȸ °³ÀÎÀü (ÀüÁÖ), Á¦3ȸ °³ÀÎÀü (·Ôµ¥¹Ì¼ú°ü)
• 1985 ±¹¸³Çö´ë¹Ì¼ú°ü ÃÊ´ëÀÛ°¡Àü ÃâÇ°
• 1986 Á¦24ȸ ¸ñ¿ìȸ °ø¸ð´ëÀü ½É»çÀ§¿ø
• 1987 Á¦4ȸ °³ÀÎÀü (ÀüÁÖ¿¹ÃÑȸ°ü), ÀÎõÁ÷Çҽà ¹Ì¼ú´ëÀü ½É»çÀ§¿ø
• 1988 Á¦7ȸ ´ëÇѹα¹¹Ì¼ú´ëÀü ½É»çÀ§¿ø
• 1989 Á¦26ȸ ¸ñ¿ìȸ °ø¸ð¹Ì¼ú´ëÀü ¿î¿µÀ§¿ø
• 1990 Àü¶óºÏµµ ¹Ì¼ú´ëÀü ½É»çÀ§¿ø, ºÎ»ê KBS ¹Ì¼ú°ü °³ÀÎÀü
• Á¦2ȸ ´ëÇѹα¹ ¼¿¹´ëÀü ½É»çÀ§¿ø
• 1991 KBS TV¹Ì¼ú°ü ¹®ÀÎÈ 60ºÐ Ã⿬
• 1992 Çѱ¹ ¿ª´ë ¼ö»óÀÛ°¡Àü ÃâÇ° (¿¹¼úÀÇ Àü´ç)
• Çѱ¹ ¼¿¹ 100ÀÎ ÃÊ´ëÀü ÃâÇ° (¿¹¼úÀÇ Àü´ç)
• 1993 Á¦5ȸ ´ëÇѹα¹ ¼¿¹´ëÀü ¿î¿µÀ§¿ø
• ¼¿ï ¼¿¹´ëÀü ÃÊ´ëÀÛ°¡ ¼±Á¤À§¿ø (¼¿ï ½Ã¸³¹Ì¼ú°ü)
• 1994 ¼¿ï ¿À»çÄ« ÃÊ´ë °³ÀÎÀü (OASKA GALLERY)
• ¿ø±¤´ëÇб³ ¹Ì¼ú´ëÇÐ ¼¿¹°ú °´¿ø±³¼ö
• Çѱ¹¹®ÀÎÈÀÇ Çö´ëÀû Çؼ®°ú »õ·Î¿î ¹æ¹ý·ÐÀÇ ¿¬±¸³í¹® ¹ßÇ¥
• 1995 ÀϺ» ³ª°í¾ß ÃÊ´ë °³ÀÎÀü (EUWON GALLERY)
• 1996 ÀϺ» ¹Ì¼ú¼¼°è ÁÖÃÖ Áö¹Ù ÃÊ´ë °³ÀÎÀü, Á¦8ȸ ´ëÇѹα¹ ¼¿¹´ëÀü ½É»çÀ§¿ø
¼¿ï º£¼¼Åä ±¹Á¦ ¼ÈÀü ÀÛ°¡ ¼±Á¤À§¿ø
µ¶ÀÏ ÇÁ¶ûũǪ¸£Æ® ½´¹ß ¹ÙÈå½Ã ÃÊ´ëÀü ÃâÇ°
• 1997 ÀϺ» ¹Ì¼ú¼¼°è ½ÃÁî¿À±î ÃÊ´ë °³ÀÎÀü
• 1998 Çѱ¹ ¹Ì¼úÇùȸ ÀÌ»ç ÃëÀÓ(1998-2000)
• ÀϺ» OKINAWA GARDN MUSEUM GALLERY ÃÊ´ë °³ÀÎÀü
• 1999 ÀϺ» ¿äÄÚÇϸ¶ ÃÊ´ëÀü, ÀϺ» µ¿°æ ÃÊ´ëÀü
• 2001 °ø¹«¿ø ¹Ì¼ú´ëÀü ½É»çÀ§¿ø (ÇàÁ¤ÀÚÄ¡ºÎ), ÀϺ» µ¿°æ ÃÊ´ëÀü, ÀϺ» ³ª°í¾ß ÃÊ´ëÀü
• Çѱ¹ ¹Ì¼úÇùȸ ¹®ÀÎÈ ºÐ°ú ÃÊ´ë (ôøÓÛ) ºÐ°ú À§¿øÀå
µ¿¾Æ¹Ì¼úÁ¦ ¿î¿µÀ§¿ø ¹× ½É»çÀ§¿ø
• 2002 ÀϺ» ¿À»çÄ« ÃÊ´ëÀü
• 2003 ÀϺ» µ¿°æ ÃÊ´ëÀü, ´ëÇѹα¹ ¹Ì¼ú´ëÀü ½É»çÀ§¿ø, ÀϺ» àü˪, ݣߣ, ÑÑ? ÃÊ´ëÀü
• 2004 »ç´Ü¹ýÀÎ Çѱ¹ ¹®ÀÎÈ ÇùȸÀü ¿î¿µ ´ç¿¬Á÷, ¼¿ï¹Ì¼úÇùȸ ¿î¿µÀ§¿ø
• Á¦1ȸ ÇÑ¡¤Áß ±¹Á¦ ±³·ùÀü (Áß±¹ Ç×ÁÖ), »ç´Ü¹ýÀÎ Çѱ¹¹®ÀÎÈ Çùȸ ÀÌ»çÀå ÃëÀÓ
• 2005 ÀϺ» ø¢û , ôìßµ ÃÊ´ëÀü, ´Ü¿ø ¹Ì¼úÁ¦ ¿î¿µÀ§¿ø
• Á¦ÁÖ ¿¹¼úÀÎ ¸¶À» ÀÔÁÖ ÀÛ°¡ 3ÀÎ ÃÊ´ëÀü (Çöº´Âù, Á¶Á¾¼÷, ¹ÎÀ̽Ä)
• Çѱ¹¿¹¹®È¸ ⸳Àü, Ãß»çÈÖÈ£ ´ëȸ ¿î¿µÀ§¿ø
• ÀϺ» ¼¾´ÙÀÌ ÃÊ´ëÀü, ¼¿ï ¸ÞÆ®·Î ¹Ì¼ú°ü ¿ø·Î¡¤ÁßÁøÀÛ°¡ ÃÊ´ëÀü
• 2006 Çѱ¹¹®ÀÎÈ ´ëÀü ¿î¿µÀ§¿øÀå, ÀϺ» áæÜâ ÃÊ´ëÀü
Áß±¹ ß¾ú ¼¼°èÆòȹ̼ú´ëÀü ÃÊ´ë ÃâÇ°
• ÇöÀç : Çѱ¹¹®ÀÎÈ Çùȸ ÀÌ»çÀå
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Min, Yi Sik
• 1982 The 1st Solo Exhibition (in Iksan)
• 1984 The 2nd Solo Exhibition (in Junju) / The 3rd Solo Exhibition
(at Lotte Art Hall)
• 1985 Invited Exhibition of National Museum of Contemporary Art,
Korea
• 1986 Examiner of The 24th Mokwoo Association Contest
• 1987 The 4th Exhibition(at Junju Yechong Hall) / Examiner of
Incheon Metropolitan City Art Contest
• 1988 Examiner of The 7th Korea's Art Competition
• 1989 Operating Committee member of The 26th Mokwoo Association
Contest
• 1990 Examiner of Chollabukdo Art Contest, Exhibition at Busan
KBS Art Hall
Examiner of The 2nd Korea's Calligraphy Contest
• 1991 TV appearance on KBS, TV Art Hall, Literary Art for 60
minutes
• 1992 Exhibited to Korea's best artist in history (Seoul Arts
Hall)
Korea's 100 Calligraphy Invited Artist Exhibition (Seoul Arts Hall)
• 1993 Operating Committee member of The 5th Korea Calligraphy
Exhibition
Examiner committee member of Seoul Caligraphy invited artists (Seoul
Museum of Art)
• 1994 Seoul-Osaka Invited solo Exhibition (OASKA GALLERY)
Honorary professor of Caliography Dept., Wongwang University
Publicized the thesis on contemporary interpretation and new methodology
of
Korean literary painting
• 1995 Invited solo Exhibition (EUWON GALLERY), Nagoya, Japan
• 1996 Zhiba invited solo Exhibition sponsored by Japanese Art
World
Examiner of The 8th, Korea's Caligraphy Exhibition
Selection Examiner of Seoul Veseto International Calligraphy Artists
Invited Exhibition at Shuval Bach City, Frankfrut, Germany
• 1997 Japanese Art World Shizuoka invited solo exhibition
• 1998 Appointed as director of Korea Art Association(1998-2000)
JAPANESEe OKINAWA GARDN MUSEUM GALLERY invited solo Exhibition
• 1999 Invited Exhibition, Yokohama, Japan / Invited Exhibition,
Tokyo, Japan
• 2001 Examiner of Public Officers' Art Contest(Ministry of Gov.
Affairs)
Invited Exhibition, Tokyo, Japan / Invited Exhibition, Nagoya, Japan
First committee chairman of Korea Literary Artist Association
Examiner & Operating Committee member of DongA Art Festival
• 2002 Invited Exhibition, Osaka, Japan
• 2003 Invited Exhibition, Tokyo, Japan / Examiner of Korean Art
Great Exhibition
Invited Exhibition in Morioka, Toyama and Kanajawa in Japan
• 2004 Advisor of Korea Literary Artist Association / Operating
Committee member Seoul Art Association
The 1st Korea-China International Exhibition (Hangzhu, China)
Appointed as the Board of Director of Korea Literary Artist Association
• 2005 Invited Exhibition, Hachinohe, Aomori, Japan / Operating
Committee member of Danwon Art Festival
3 Artists Invited Exhibition from Jeju Artist Village(Hyun Byung-chan,
Cho Jong-sook, Min E-shik)
Foundation Exhibition for Korea Yemoon Association,
Operating Committee member of Chusa-style calligraphy contest
Invited Exhibition in Sendai, Japan / Invited Veteran Artists Exhibition
(Seoul Metro Art Hall)
• 2006 Operating Committee Chief for Korea Literary Art, Daejeon
area
Invited Exhibition, Matsumoto, Japan / Invited Artist of World Peace
Art Exhibition, Shanghai, China
• Present : Board of Director of Korea Literary Artist Association
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