Park Dae-sung is one of the few artists in Korea that draws on the principles and spirit of traditional Korean paintings.

His delicate, sometimes energetic portrayal of Korean landscapes and cultural assets have received acclaim overseas, including his September exhibition in Turkey and several other showcases in China and Taiwan.

When most contemporary painters practicing ink-and-wash painting have been seeking to bring modernity to their paintings, Park has been in pursuit of mastering his brush strokes and calligraphy that he says are fundamental to his painting.

In his new exhibition at Gana Art Center in Seoul, Park presents his new classical style of painting and a more modern style that captures the spiritual qualities of his paintings.

“Mastering a brush stroke takes much time and requires fundamental thinking,” said Park at a press event Tuesday before the exhibition opening. “One brush stroke is the expression of mind and soul. The more energy you put into it, the more diversity it provides to viewers during their course of appreciation of the painting.”

Park, 68, has practiced calligraphy and drawing since he was 10. “I didn’t like anything else other than the two things because when I went outside, people called me disabled. Painting was the only thing I could do alone in peace. And that has made me an artist,” said Park. Park lost his left arm and his parents during the Korean War (1950-1953).

To be able to draw a fine line that portrays not just the external world, but also inner qualities, Park has focused on reaching perfection both in calligraphy and brushwork for painting. He has pursued this ultimate level throughout his life: He traveled China to find the roots of landscape painting, took a road trip along the Silk Road to find the origin of Chinese characters and has spent part of his life in solitary in Gyeongju.

Gyeongju, capital of the Silla Kingdom (B.C. 57-A.D. 935), has been Park’s latest source of inspiration.

The snowscape of Bulguksa Temple, a major religious monument of Buddhist art from the Silla period, is considered the masterpiece that came as a breakthrough in his pursuit of expressing both external and inner qualities and reaching “infinite interpenetration,” a balanced state of different features. It is also the title for the new exhibition. 

The gallery owner Lee Ok-kyung said, “We had a similar painting put on exhibition in the 1990s. I remember the day before the exhibition opening. We hung a large painting on the wall and turned off the lights to go home after finishing the displays. The painting was glowing itself. It was the most sublime moment.”

Lee noted the emerging campaign to revive ink-and-wash paintings in China by artists in the 1940s and 50s and hoped Korean ink-and-wash paintings would get more attention, too.

The beginning of the Korean style landscape painting traces back to the 18th century when legendary artist Jeong Seon (1676-1759) began the first attempt to depart from Chinese style during Joseon era (1392-1910).

“Korean ink-and-wash paintings have distinct features that set them apart from other paintings created by Chinese or Taiwanese artists. It’s really a regret to see Korean ink-and-wash painting not receiving the attention they deserve,” said Lee.

The exhibition “Infinite Interpenetration” is on view until Nov. 24 at Gana Art Center in Pyeongchang-dong, Seoul.

For more information, call (02) 720-1020, or visit ww.ganaart.com.

By Lee Woo-young (wylee@heraldcorp.com)