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LEE Jong-Sang이종상

1938-07-20

#Other

LEE Jong-Sang

Artist Artworks Exhibition Explanatory notes

Introduce History Critique Explain Movie

Introduce

“A contemporary artist of a global scale, and the first living artist to be asked three times to extend his exhibition and offered permanent installation by the Louvre after his first exhibition there in 1997”

“The only surviving portrait artist in Korea who painted Shin Saimdang and Yulgok Yi I on the KRW 50,000 and KRW 5,000 bills.”

“An activist who fought against historical distortion through the Goguryeo Cultural Protection Movement”

“The first artist in the world to paint Dokdo and the leader of Dokdo Cultural Reclamation Movement”

“The founder of the first university museum in Korea who served as the director of Seoul National University Museum and the inaugural director of Seoul National University Museum of Art”

“A researcher, educator, and administrator who investigated the identity of Korean art based on ‘the indigeneity of Korean painting’”

Lee Jongsang (pen name: Illang) was born in 1938 in Yesan, Chungcheongnam-do. While he was attending Daejeon High School, Lee joined the school’s art club and started an art collective named “Louvre” with his peers from the art club. Although he entered Seoul National University to study Western painting at first, he changed his major to Eastern painting “to learn what’s ours,” as he was once quoted as saying. Lee later earned a doctoral degree in Eastern philosophy in addition to his career as an artist. In 1961, Lee submitted Artisan, a painting with the theme of a blacksmith shop that symbolized students’ will to engage in political dissent at the time, to the 10th National Art Exhibition and won the Special Award as an undergraduate student. At the age of 23, Lee became the youngest emergent artist to have ever been selected as a recommended participant at the National Art Exhibition and began his research on true-view landscapes, ancient Goguryeo murals as the origin of Korean polychrome paintings, painting techniques using materials such as thin layers of traditional paper and copper, and the concept of “Ūrfigure” through the indignity of Korean painting.

In 1975, Lee held his first invitational exhibition at the University of Texas at Dallas and painted the national standard portrait of Yulgok Yi I to be used as the new face of the Korean 5,000 won bill. In 1977, upon realization of the cultural, regional and geopolitical significance of Dokdo Island, Lee became the first Korean artist to be given permission to visit and painted the true-view landscape of the island in an attempt to cultivate cultural sovereignty and to pass down the motherland claims to later generations.

Although Lee was invited to numerous domestic and international exhibitions, such as his solo exhibition at FIAC ’90 in Paris; The Tiger’s Tail, the special exhibition of Korean artists at the 1995 Venice Biennale; the solo exhibition at the Gana-Beaubroug Gallery in 1997; and 2007, ARCO at Alcalà 31 Exhibition Hall in Madrid, the most notable exhibition of his was the one held at the Louvre invited by the Ministry for Europe and Foreign Affairs of France, where Ūrfigure 97061 - Manisan Mountain (1997), the large-scale mural with the size of 6 × 71.3 m was hung on the wall of the Hall Charles V in the Carrousel du Louvre. Such prominent display further indicated the importance of Korean art on the international art scene. Upon the outstanding acclaim from the critics and local audience, the exhibition was requested to be extended three times and offered permanent installation by the Louvre Museum.

While serving as Director of the Seoul National University Museum, Lee curated the exhibition Owon Jang Seungeop-the Last Court Artist of the Joseon Dynasty (2000). This exhibition inspired Im Kwon-Taek’s film Painted Fire and led Lee to serve as the film’s creative advisor.

Throughout his illustrious career, Illang Lee Jongsang has left 11 national standard portraits and history paintings. In 2008, he painted the portrait of Shin Saimdang for the KRW 50,000 bill, in addition to his previous work on the portrait of Shin’s son, Yulgok Yi I, and became the only surviving artist to have created the original portraits for the faces on Korean won bills.

Illang Lee Jongsang has also produced murals and religious paintings. Ūrfigure - Aspirations from Baekdudaegan Mountain Range(2007), the commissioned mural on the retaining wall at the Taebaek Mountain Range Literature Museum, which is the world’s largest wall painting on living rock. This semi-abstract mural was officially certified by the Korea Record Institute as the first and largest living rock painting in Korea. Lee’s donation of 5 holy portraits and 13 martyrdom memorial paintings from 2014 to 2017 prompted the opening of the Sin-ri Shrine Martyrs Museum in Hapdeok, Chungcheongnam-do, in the Catholic Diocese of Daejeon.

Since his debut as an artist by winning the Special Award in 1961, a towering achievement at the time, Illang Lee Jongsang has gone on to become a leading figure in the modernization of Korean painting and spearhead research on the identity of Korean art dedicated to his lifelong topic of the indigeneity imbued and subject of Korean painting.

While Illang Lee Jongsang has left many footprints as an educator, administrator, and cultural activist for Goguryeo and Dokdo, he has also made continuous efforts to develop his theory based on the ethnic elements of Korean Art. His continued research has been focused on the significance of the ancient Goguryeo murals as the origin of Korean art, complementing other creative outputs such as the contemporaneity of Korean painting and true-view landscapes, a chromatic consciousness in Korean culture, and the rediscovery and development of traditional materials. Under the premise that “Korean painting is about the aesthetics of generosity,” Lee considered the Korean traditional paper windows to symbolize generosity and communication, or forgiveness and forbearance, a visual motif he believed was at the root of Korean aesthetics. To return to his most esteemed work at the Louvre, Ūrfigure 97061 - Manisan Mountain epitomizes a sense of Korean rurality, almost celestial kind of abstraction, coupled with a measured and bucolic sublime through color. The mural can also be read to instantiate France’s punitive expedition toward Korea’s unique aesthetic sensibility, also known as “Byeonginyangyo.” Its installation employs the backlighting technique typical of traditional Korean paper windows.

As such, he has crossed the artistic boundaries with expert knowledge, as well as a deep and expansive understanding of traditional and contemporary Korean paintings. Having pioneered the abstraction of Korean painting, Illang Lee Jongsang is an artist who hopes to be remembered not as the master but as a steppingstone for the next generation.

History

Illang Lee Jongsang

Artist Introduction

Birth

Born on July 20, 1938, at 120, Baryeon-ri, Yesan-eup, Chungcheongnam-do

Growth

1943–1946: Stayed at Dongmun-ri, Seosan-eup, Seosan-gun, Chungcheongnam-do

1946–1952: Stayed at Garwol-dong, Yongsan-gu, Seoul

1952–1959: Stayed at Busa-dong, Daejeon-si, Chungcheongnam-do

Training Experience

1945: Graduated from Seosan Public Kindergarten, Seosan-gun, Chungcheongnam-do

1950: Dropped out of Samkwang Elementary School, Seoul and took refuge because of the Korean War on June 25, 1950

1956: Graduated from Bomoon Middle School, Daejeon

1959: Graduated from Daejeon High School

1963: Graduated from the Department of Painting at the College of Fine Arts, Seoul National University (Bachelor of Fine Arts: Eastern-style Painting Major)

1979: Graduated from the Department of Philosophy at Dongguk University Graduate School (Master of Arts: Comparative Aesthetics Major)

1989: Graduated from Dongguk University Graduate School of Philosophy (Doctor of Philosophy: Oriental Philosophy Major)

Activity Career

General Career

1965–1998: Served as a recommended artist, invited artist, and judge for the National Art Exhibition, Ministry of Education, Ministry of Culture and Information

1966–2003: Served as an assistant, part-time lecturer, full-time lecturer, assistant professor, and associate professor at the College of Fine Arts, Seoul National University

1973–1985: Served as an instructor for the Literati Painting Department, Oriental Calligraphy Institute

1978–2004: Served as Director of the Korea Mural Research Institute

1976–2004: Served as a judge (head) and steering committee member (head) of the art competitions of JoongAng, Donga, and MBC)

1977–2004: Did a first tour of the Dokdo True-view, visited the island nine times, and served as the head of the headquarters of the Dokdo Culture Planting Movement

1980–2004: Served as a permanent member, invited lecturer, and council member of the Membership Society for the National Museum of Modern and Contemporary Art, Korea

1982–2004: Served as a founding member and regular member of the Korea Dunhuang Society

1983–2004: Served as a steering committee member for the Dong-A Art Festival hosted by Dong-A Ilbo

1985–1990: Served as a member of the Seoul Metropolitan Government Cultural Committee

1988–2004: Served as Director of Samsung Foundation of Culture

1990–1992: Served as Vice Chairman of the Seoul International Art Festival Executive Committee (SAFEC)

1992–1998: Served as a foundation director of School Corporation Kyungwon Academy, Kyungwon University

1995–2004: Donated to the Monthly Art Magazine Award and served as a steering committee member of Wolgan Misul (Monthly Art Magazine)

1995–1996: Served as Chairman of the JoongAng Biennale Steering Committee, JoongAng Ilbo

1995–1997: Served as Chairman of the Korean Traditional Music Promotion Association, Ministry of Culture and Tourism

1995–1998: Served as Chairman of the Seoul Art Exhibition Steering Committee, Seoul Museum of Art

1995–2004: Served as an advisory member of the National Gugak Center Steering Advisory Committee

1996–1998: Served as Vice Chairman of the 2nd Gwangju Biennale Organizing Committee, Gwangju Biennale

1997–1998 Served as Chair of the executive advisory board for the Fine Arts Gallery of Korean Culture & Arts Foundation, Korean Culture & Arts Foundation

1998–2000: Served as Chairman of the Steering Advisory Committee of Seoul Museum of Art, Seoul Metropolitan Government

Served as a paper reviewer and advisory committee member, The Korean Society of Floral Art and Design

Served as a member of the Cultural Advisory Committee of the South-North Korean Cultural Exchange Association

1999–2000: Served as an exhibition planning committee member for the 3rd Gwangju Biennale, Gwangju Biennale

1999: Visited North Korea as South Korea’s representative artist upon invitation of the North Korea Asia-Pacific Foundation and inspected the Goguryeo mural culture hosted by the Asia-Pacific Peace Committee

1999: Made an academic presentation at the Sungkok Art Museum in Seoul, titled “Goguryeo Tomb Murals and the Prospects of Contemporary 21st Century Art - Focusing on the tour of the Great Tomb, Middle Tomb and Deokheung-ri Tomb in Gangseo, Pyongyang, on September 5, 1999”

1999–2003: Served as Director of the Seoul National University Museum of Art, Seoul National University

Served as Vice Chairman of the National Museum of Modern and Contemporary Art, Steering Advisory Committee, National Museum of Modern and Contemporary Art, Korea

Served as a member of the steering committee of the Korean Association of University Museums and as a director of the Antiquities Academic Society

1999–2001: Served as a member of the Seoul Metropolitan Government Architectural Committee

1999-2000: Served as a steering committee member and judge for the 1999 MBC Fine Art Exhibition, Munhwa Broadcasting Corporation

1999–2004: Served as a regular member of Culture and Artists Club, The Korean Committee for UNICEF

2000–2004: Served as Director of the Ilmin Cultural Foundation

2000–2002: Served as an expert member of the Museum Subcommittee, Cultural Heritage Committee, Cultural Heritage Administration

2000–2001: Served as a member of the Steering Advisory Committee of Daejeon Museum of Art, Daejeon Metropolitan City

2000-2003: Planned exhibitions with major “history and awareness” themes, including Goguryeo Special Exhibition - Meeting of Costumes and Accessories - In Search of History, Awareness, and the Breath of Goguryeo, Owon Jang Seungeop Exhibition, Dokdo True-view Exhibition, and Haedongseongguk Balhae Exhibition at the Seoul National University

2001–2002: Served as a member of the Seoul Metropolitan Government Architectural Committee

Served as a steering committee member of the 2001 Dong-A Grand Art Exhibition and jury chairman of the Literati Painting Department, Dong-A Ilbo

Served as Chairperson of the Seoul Museum of Art Opening Preparation Technical Committee, Seoul Metropolitan Government

Served as a judge for the 2nd Cheongju Craft Biennale

2001–2003: Served as founding promoter and first president of the Pyeongchang Cultural Forum

2002–2003: Served as the first director of the Seoul National University Museum of Art, Seoul National University

2002–2006: Served as a judge on the National Standard Statues and Memorial Portrait Review Committee, Ministry of Culture and Tourism

2002–2003: Served as Chairman of the Culture Subcommittee of the Laity Council of the Archdiocese of Seoul

Served as a member of the Art Creation Studio Steering Committee, National Museum of Modern and Contemporary Art, Korea

2002–2005: Served as a member of the steering committee of the National Trust Movement

2003–2003: Served as Chairman of the Steering Advisory Committee of the On-site, Cheonggyecheon Project Exhibition at the Seoul Museum of Art, Seoul Metropolitan Government

2003–2005: Served as Professor Emeritus of Eastern-style Painting, College of Fine Arts, Seoul National University

Served as a member of the Steering Advisory Committee of Seoul National University Museum of Art, Seoul National University

Served as Chairman of the Seok Ju Art Award Steering Committee, Seok Ju Cultural Foundation

Served as Vice Chairman of the Planning and Coordination Subcommittee of the Myeong-dong Development Special Committee of the Archdiocese of Seoul, Catholic Archdiocese of Seoul

Served as a member of the founding committee of the Korea Museum Management and Marketing Association

2004–2005: Served as a standing advisor at the Olympic Museum of Art, Korea Sports Promotion Foundation

2004–2006: Served as chair-professor at Sangmyung University

2004–2008: Appointed as a member of the National Academy of Arts, Republic of Korea, and served as a full-time painter, director of the Korea Mural Research Institute, head of the headquarters of Dokdo Culture Planting Movement, standing advisor to the Olympic Museum of Art, professor emeritus at Seoul National University, and chair-professor at Sangmyung University

2006: Attended the 30^th Seoul Court Academy Artist Lee Jongsang Lecture Understanding and Misunderstanding of Our Paintings held at Seoul High Court, Seoul (December 4)

2007: Attended the Artist Lee Jongsang Invitation Lecture held at the reading club of the Electronics and Telecommunications Research Institute in Daejeon

2007: Gave a special lecture at Daejeon Metropolitan City Weekend University, Daejeon Metropolitan City Hall, Daejeon

2008: Gave a special lecture titled “Korean Art and Goguryeo Culture,” invited as a celebrity to commemorate the 1st anniversary of the founding of the Goguryeo Culture Research Association at Guri City Hall

2008: Gave a special lecture titled “Half a Century of Daejeon and Art” at Daejeon Regional Heads of Institutions Workshop, Samsung Fire & Marine Insurance Training Institute, Daejeon

2009: Gave a special lecture on art and culture at “Artist Illang Lee Jongsang” invitation forum, Boseong Police Station, Boseong, Jeollanam-do

2009: Gave a “Special Lecture by Masters” hosted by the National Academy of Arts, Republic of Korea at Sangmyung University, Seoul

2009: Gave a special lecture titled “Creativity and Design Ability Determine the Future” hosted by the Korea Citizen Volunteer Association at the Ambassador Hotel, Seoul

2009: Gave a special lecture titled “Exploring the Identity and Indigeneity of Korean Paintings” at Incheon Culture & Art Center, Incheon

2012: Gave a special lecture titled “Misunderstandings and Truths in Our Paintings” at the Art Academy of Korea Artist Center, Seoul

2013: Attended the art lecture titled “Understanding and Misunderstanding of Eastern-style Painting” held for members of the National Academy of Arts, Republic of Korea at Jaseondang Hall, Gyeongbokgung Palace

2013: Attended 86^th Gangneung Vision Friday Special Lecture, Artist Lee Jongsang’s “Interesting Stories about Gangneung City and Currency,” held at Gangneung City Women’s Cultural Center, Gangneung

2014: Inaugurated as Chairman of the Pyeongchang Cultural Forum registered with the Seoul Metropolitan Government at the Pyeongchang Cultural Forum Center

2014–2015: Produced “Sinri Shrine Martyrs Documentary Holy Paintings,” including 12 pieces of martyrdom documentary painting in size 1,000 ho and 5 memorial portraits at the request of the Korean Catholic Diocese of Daejeon and dedicated them to the Sinri Shrine Martyrs Museum in Hapdeok, Chungcheongnam-do

2014: Participated in an international forum discussion commemorating the 60^th anniversary of the opening of the National Academy of Arts, Republic of Korea held at the Korea Press Center

2014: Served as an advisor to the Museum Association, National Folk Museum of Korea

2014: Served as a jury chairman of the 4^th Korean Literature Through Pictures hosted by House of Literature, Seoul

2014: Served as a reviewer and advisory committee member for the copy of Bubyeokhwa (paintings fixed on walls) at the Daejojeon Hall, Changdeokgung Palace at Industry-Academic Cooperation Foundation, Korea National University of Cultural Heritage

2014: Gave a special lecture titled “Korean Artistic Spirit” at the Humanities Reading Academy’s “Humanities Connect with Art” program of the Seochogu Banpo Library, Seoul on October 25

2015: Publication of Lee Jongsang, Korean Art Archive (KYOYOOKBOOK Publishing Company), planned by Seoul National University Visual Arts Institute

2015: Reappointed as a director of the Ilmin Cultural Foundation

2015: Reappointed as a director of Seoul National University Emeritus Professor Council

2015: Conducted the interview “Painter of Consilience Lee Jongsang, professor emeritus at Seoul National University and member of the National Academy of Arts, Republic of Korea” published at Maeil Business Newspaper Luxmen, No. 54

2015: Reappointed as Chairman of the 22nd Seok Ju Art Award Steering Committee and served as a judge

2015: Attended a talk broadcast with KBS-TV reporter Kim Seok as the representative artist of Gyeomjae: Reborn Today (May 28)

2015: Shared his talent to the 4th year “Dokdo joint mural work by artist Lee Jongsang and the gifted young artists” of the art gifted course of the Federation of Artistic & Cultural Organization of Korea’s Traditional Culture Foundation Gifted Training Center. (August 22)

2015: Served as the head of the judging panel for the 4th Culture and Arts Awards of Seoul Culture Today, a cultural magazine

2015: Served as a member of the International PEN Korea Headquarters

2016: Gave a special lecture titled “Understanding and Misunderstanding of Eastern Painting” as a September famous person at the Chungcheongnam-do Provincial Office on September 22nd

2017: Attended the opening ceremony of the Sinri Shrine Martyrs Museum in Dangjin on March 25

2017: Won the grand award at the 11th Korea Artists’ Day Awards on December 5

2019: Gave a lecture titled “Heartbroken by War, Heartbroken by Words” at the exhibition Reimagining Poetry, Writing, and Painting, YoungIn Museum of Literature, Seoul

2020: Served as a chairman of the Winner Selection Committee of Seoul Culture Today

2021: Interviewed and published in Monthly Chosun, March issue

2022: Attended the “Seoul Culture Today’s 13th Anniversary Cultural Awards” awards ceremony and served as a chairman of the Winner Selection Committee

2022: Interviewed and published in Korean Spirit

2022: Gave an invited lecture titled “The Indigeneity of Our Culture and Korean Art” at the Daegu Art Factory on May 21

2022: Gave an invited lecture titled “Art and Creative Management” at Catholic Kkottongnae University on October 31

2023: Selected as the first proud Seosan person

2023: Gave an invited lecture titled “The Indigeneity of Korean Culture” at the Small and medium-sized Companies Community Center (SMCCC) in Cheonan on June 24

2023: Gave an invited lecture titled “Meet the Painter Lee Jongsang: Indigeneity of National Culture and Cultural Territory Theory” at Jeonju National Museum on November 17

Solo Exhibitions

1975: 1st UDT Invitational Exhibition Lee Jongsang Invitational Exhibition, The University of Texas at Dallas Art Museum, Dallas, TX, United States of America

1977: 2nd Dongsanbang Gallery Invitational Exhibition Lee Jongsang’s True-view Exhibition, Dongsanbang Gallery, Seoul

1980: 3rd Jungang Gallery Invitational Illang Lee Jongsang Exhibition, Jungang Gallery, Busan

1989: 4th Hoam Museum of Art Invitational Exhibition Lee Jongsang’s Paintings Exhibition - Korean Painting’s New Challenge, New Murals, Hoam Museum of Art, Seoul

1990: 5th Gana Art Invitational Exhibition FIAC ‘90, Grand-Palais, Paris, France

1991: 6th Gana Art Invitational Exhibition Lee Jongsang’s Ūrfigure Exhibition, Gana Art, Seoul

1992: 7th Gana-Beaubourg Invitational Solo Exhibition FIAC ‘92, Grand-Palais, Paris, France

1993: 8th Daniel Templon Invitational Exhibition L’image de la Core-Galerie Daniel Templon, Paris, France

1995: 9th Hallim Gallery Invitational Exhibition A Composition toward the Original Form of True View: Illang Lee Jongsang Homecoming Exhibition, an invitational exhibition at, Hallim Gallery, Daejeon

1995: 10th MANIF Invitational Exhibition ‘95 Seoul MANIF - Lee Jongsang Special Exhibition, Seoul Arts Center, Seoul

1997: 11th Gana Art Invitational Exhibition ‘97 NICAF, Tokyo International Exhibition Center, Tokyo, Japan

1997: 12th Gana-Beaubourg Invitational Exhibition Illang Lee Jongsang, Galerie Gana-Beaubourg, Paris, France

1997: 13th AFAA Invitational Exhibition Louvre Carrousel Installation Mural Exhibition, Hall Charles V Carrousel du Louvre, Paris, France

1998: 14th Sun Gallery Invitational Solo Exhibition BASEL ART FAIR, Messe Basel, Switzerland

1999: 15th Gana Art Center Invitational Solo Exhibition 40 Years of Illang Lee Jongsang’s Han-Geurim Exhibition, Gana Art Center, Seoul

2000: 16th MANIF Invitational Exhibition Illang Lee Jongsang Exhibition, Seoul Arts Center, Seoul

2001: 17th MANIF Main Artist Invitational Exhibition Illang Lee Jongsang’s Ūrfigure Exhibition, Seoul Arts Center, Seoul

2002: 18th Exhibition Search for Aesthetics in Korean Art, Gana Art Center, Seoul

2003: 19th Invitational Exhibition to Commemorate the New Construction of Sun Gallery Il Lang Lee Jongsang’s Works Exhibition, Sun Gallery, Seoul

2003: 20th Seoul National University College of Fine Arts Invitational Exhibition Professor Lee Jongsang Retirement Commemorative Exhibition, Seoul National University Museum, Seoul

2005: 21st Independence Hall of Korea Invitational Exhibition 30 Years of Love for Country and Dokdo, Lee Jongsang Special Exhibition, Independence Hall of Korea, Cheonan

2007: 22nd Exhibition Lee Jongsang, Master of Korean Contemporary Art Exhibition, Daejeon Museum of Art, Daejeon

2012: 23rd Exhibition Illang Lee Jongsang Masterpieces Exhibition, Gallery Hanok, Seoul

2023: 24th Exhibition A Master of Korean Contemporary Art Illang’s True-view Cheonan, Small and Medium-sized Enterprises Community Center, Cheonan

Group Exhibitions

1962: 1st Saigon International Art Exhibition, Saigon Museum, Vietnam

1963: 1st Tokyo International Art Exhibition, Ueno Royal Museum, Tokyo, Japan

1964–1980: National Art Exhibition, National Museum of Modern and Contemporary Art, Seoul

1966: 1st Malaysia-Korea Contemporary Art Exhibition, Malaysia

1969: Korean Art Awards, National Museum of Modern and Contemporary Art, Seoul

1973: Selected Exhibition of 100 Active Korean Artists, National Museum of Modern and Contemporary Art, Deoksugung, Seoul

1974: Asian Art Exchange Exhibition, Ueno Royal Museum, Tokyo, Japan

1975: Seoul ‘70 Group Exhibition, Fine Arts Gallery of Korean Culture & Arts Foundation, Seoul

1976: Korean Eastern-style Painting Exhibition, National Museum of Modern and Contemporary Art, Seoul

1977: ‘77 Spring Invitational Exhibition, Hyundai Gallery, Seoul

1978: An invited exhibitor and judge at the 1st JoongAng Grand Art Exhibition, National Museum of Modern and Contemporary Art, Seoul

1979: 34 Eastern- and Western-style Painters Exhibition commemorating the founding of Sun Art, Sun Gallery, Seoul

1980: 1st Korean Contemporary Grand Art Exhibition of 150 Leading Artists, National Museum of Modern and Contemporary Art, Seoul

1981: An invited exhibitor and steering committee member at the Korean Contemporary Ink and Wash Painting Exhibition, National Museum of Modern and Contemporary Art, Seoul

1981: ‘81 Drawing Invitational Exhibition, Brooklyn Museum of Art, New York, USA

1982: Contemporary Artist Print Drawing and Ink Drawing Exhibition, Myeongdong Gallery, Seoul

1982: Korean-Chinese Contemporary Painting Exhibition, National Museum of Modern and Contemporary Art, Seoul

1983: Contemporary Korean Art Exhibition, Viscontia Hall, Milan, Italy

1983: Aspects of New Korean Painting, International Traveling Exhibition, USA, UK, Germany

1984-1998: An invited exhibitor and steering committee member(head) at the ‘84-’98 Seoul Art Exhibition, Seoul Museum of Art, Seoul

1984: ‘84 Contemporary Art Invitational Exhibition, National Museum of Modern and Contemporary Art, Seoul

1984: Dahwa Exhibition, Dahwarang, Seoul

1985: 40 Years of Contemporary Art Exhibition commemorating the 40th anniversary of liberation, National Museum of Modern and Contemporary Art, Seoul

1986: Asian Contemporary Ink and Color Painting Exhibition, National Museum of Modern and Contemporary Art and Korean Culture & Arts Foundation, Seoul

1987: 25-person Invitational Exhibition commemorating the 25th anniversary of Shinsegae Museum of Art, Shinsegae Museum of Art, Seoul

1988: 24th International Contemporary Art Exhibition commemorating the Olympic Games, National Museum of Modern and Contemporary Art, Seoul

1988: An invited exhibitor and member of the steering committee at the 1988 Contemporary Korean Painting Exhibition - New Perspective through Ink and Color, Hoam Museum of Art, Seoul

1989: An invited exhibitor and steering committee member at the 1989 Contemporary Korean Painting Exhibition, Hoam Museum of Art, Seoul

1990: Panmunjeom and Brandenburg: 1945-1990, Sigong Gallery, Seoul

1990: Today’s Situation of Korean Art Commemorating the Opening of the Seoul Arts Center, Seoul Arts Center, Seoul

1991: ‘91 Contemporary Art Invitational Exhibition, National Museum of Modern and Contemporary Art, Seoul

1991: Korean Contemporary Painting Exhibition, Zagreab, Yugoslavia Traveling Exhibition, Europe

1992: Contemporary Korean Art Exhibition, Art Sonje Center, Korea and Shimonoseki City Art Museum, Japan Traveling Exhibition

1993: Symbols and Hieroglyphs Exhibition, Hyundai Gallery, Seoul

1993: 100 Years of Passion in Contemporary Korean Art, Hyundai Gallery, Seoul

1994: Face Exhibition of 40 Years of Contemporary Art - 20 Today’s Artists Exhibition, Hoam Art Gallery, Seoul

1994: SAGA International Print Exhibition, PARC Museum of Art, Paris, France

1994: An invited exhibitor and steering committee member at the 1994 Contemporary Korean Painting – Korean Art, Lights and Colors, Hoam Museum of Art, Seoul

1994: Seoul International Art Festival, National Museum of Modern and Contemporary Art, Seoul

1995: Korea-China Art Exchange Exhibition, Beijing, China

1995: Contemporary Korean Art Exhibition in Paris, Chuvent des Cordeliers, Paris, France

1995: Venice Biennale Special Exhibition of Korean Contemporary Painting - The Tigers Tail, Mudima Museum of Art, Venice, Italy

1996: An invited exhibitor and steering committee member at the 1996 Seoul-BeSeTo International Calligraphy and Painting Exhibition, Seoul Museum of Art, Seoul

1996: The Spirit of Korean Abstract Painting, Hoam Museum of Art, Seoul

1996: World of Letters, Seoul Arts Center, Seoul

1996–1998: Korea Peace and Art Exhibition ‘96∼’98, Japan Traveling Exhibition, Tokyo, Japan

1997: An invited exhibitor at the Three Korean Artists Exhibition, Hall Charles V Carrousel du Louvre, Paris, France

1997: ‘97 Korean Peace and Art Exhibition, Crescent Hall of Harajuku Building, Tokyo, Japan

1997: SAGA International Print Exhibition, Espace Eiffel Branly, Paris, France

1997: MANIF3 ‘97 SEOUL - Special Exhibition, International Art Fair, Seoul Arts Center, Seoul

1998: Tokyo-BeSeTo International Calligraphy and Painting Exhibition, Tokyo, Japan

1998: Eastern Painting - Dignity and Elegance of 7 Artists, Rho Gallery, Seoul

1998: ‘98 Busan International Contemporary Art Festival: International Contemporary Art Exhibition - 20th Century Art Exhibition, Busan Museum of Art, Busan

1998: BASEL ART FAIR, Messe Basel, Switzerland

1998: Exhibition of 80 World Artists in commemoration of the French World Cup, Galerie Enrico Navarra, Paris, France

1998: An invited exhibitor at the Daejeon Spatial Expansion commemorating the opening of Daejeon Museum of Art, Daejeon Museum of Art, Daejeon

1999: Northern Mountains Odyssey of Senior Korean Painters, Lotte Gallery, Seoul

1999: South and North Korean Peace and Art Exhibition 1999–2000, Tokyo, Japan

1999: 99 Seoul Art Exhibition, Seoul Museum of Art, Seoul

1999: An invited exhibitor and academic presenter at the Fresco, the Aesthetics of a Millennium, Sungkok Art Museum, Seoul

1999: Ah! Korea - Grand Festival of Artists to Celebrate the New Millennium, Gallery Sang, Seoul

1999: An invited exhibitor Mongyugeumgang-300 Years of Geumgangsan Mountain in Paintings, Ilmin Museum of Art, Seoul

1999: A New Centennial - Daejeon Art Today, Daejeon Museum of Art, Daejeon

1999: ‘99 Sound of Spring - Small Paintings by 200 Artists Exhibition, Sun Gallery, Seoul

1999: The Korean Contemporary 100 Artists Exhibition, Jongno Gallery, Seoul

1999: Mongyugeumgang-300 Years of Geumgangsan Mountain in Paintings, Ilmin Museum of Art, Seoul

1999: Korean Painting’s Yesterday and Today Exhibition, Hankuk Art Museum, Yongin

1999: Commemorative Art Exhibition for the 50th Anniversary of the Universal Declaration of Human Rights, Seoul Arts Center, Seoul

2000: ‘00-01 24 Artists Invitational Exhibition of Saying Goodbye to the Old Year and Welcoming the New Year, Yale Gallery, Seoul

2000: Asia Peace Art Exhibition 2000, Tokyo, Japan

2000: Face One - Faces of Art Criticism, POSCO Art Museum, Seoul

2000: Touch of the Sea (Art for Ocean 2000 - Touch the Ocean), Sejong Gallery, Seoul

2000: An invited exhibitor at The Origins of Korean Contemporary Art (An Aspect of Korean Contemporary Art - In the 1950s to the 1960s) Exhibition, National Museum of Modern and Contemporary Art, Gwacheon

2000: Nature (What Is So of Itself), POSCO Museum of Art, Seoul

2000: THE TRAVELING ART MUSEUM, National Museum of Modern and Contemporary Art, Gwacheon

2000: THE ART FESTIVAL FOR WORLD PEACE 2000, Seoul Arts Center, Seoul

2001: Scent and Figurativeness of Ink and Wash - Contemporary Ink and Wash Paintings of Korea, China, Japan, National Museum of Modern and Contemporary Art, Gwacheon

2001: A Cross-Section of Contemporary Korean Art, Tokyo Ginza Art World Gallery, Tokyo, Japan

2001: Planned a special exhibition of contemporary art titled History and Consciousness - Dokdo and was invited to the exhibition to exhibit his work, Seoul National University Museum, Seoul

2001: Asia Peace and Art Exhibition 2001–2002, Shinjuku, Tokyo, Japan

2001: 1ST GANA ART & CRAFT FAIR, Gana Art, Seoul

2001: Mountains Embraced in Pictures Special Exhibition, Unbo Gallery, Seoul

2001: 2001 SEOUL ART EXHIBITION, Seoul Museum of Art, Seoul

2003: 1st Beijing Biennale, Beijing Museum of the People’s Republic of China, Beijing, China

2004: National Academy of Arts, Republic of Korea Member Exhibition, The National Academy of Arts, Republic of Korea and National Museum of Modern and Contemporary Art, Deoksugung Annex, Seoul

2005: 12th Sungshin Women’s University Museum Special Exhibition Feng Shui, Sungshin Women’s University Museum, Seoul

2006: Participated in the main exhibition of the Gwangju Biennale, Gwangju

2007: ARCO, Gwangju Biennale Special Exhibition, Gwangju

2007: 1st 2007 Painting Connection of Korean Art Exhibition, Family Invitation Exhibition, Korea Art Center, Seoul

2008: Invited to the Busan Biennale special exhibition Art is Alive, Busan

2011: Daegu Art Museum Special Opening Exhibition Nature, Life, Human, Daegu Art Museum, Daegu

2012: Suh Seok, Min Kyoungkap, Lee Jongsang - Three Artists, Three Colors: Exhibition by Members of the National Academy of Arts, Republic of Korea, Sejong Gallery, Seoul

2013: Painters Who Cast Light on Korean Painting - Three Artists and Three Colors Exhibition by Three Senior Members of the National Academy of Arts, Republic of Korea, Sejong Gallery, Seoul

2013: Korean Masters Who Cast Light on Korean Painting - Five Artists and Five Colors Exhibition by Five Late and Senior Members of the National Academy of Arts, Republic of Korea, Gyeongseong Gallery, Busan

2014: “Yesterday and Today” commemorating the 60th anniversary of the opening of the National Academy of Arts, Republic of Korea, Deoksugung Museum of Art, National Museum of Modern and Contemporary Art, Seoul

2014: 2014 National Artist Invitation Exhibition Hosted by the Yesan Branch of the Korean Art Association, Yesan-gun Culture and Art Center, Yesan

2015: Korean Spirit Special Planned Exhibition, Gangneung Museum of Art, Gangneung

2015: 2015 Korean Art Archive Exhibition organized by Seoul National University Visual Arts Institute, Seoul National University Museum of Art, Seoul

2015: Gyeomjae Museum of Art Invitational Exhibition Gyeomjae Reborn Today, Gyeomjae Museum of Art, Seoul

2015: Special Exhibition of Collections of the National Museum of Modern and Contemporary Art Stop to Look, National Museum of Modern and Contemporary Art, Gwacheon

2015: Dokdo Special Planned Exhibition Paintings Depicting the Five Senses of Dokdo hosted by the Korea University Museum, Ramière Ely, and Dokdo Culture Planting Movement Headquarters, Korea University Museum, Seoul

2015: 3rd Exhibition of Dream-Mongyudowon: Breeze from the Fan planned by the An Gyeon Memorial Foundation and sponsored by the Ministry of Culture, Sports and Tourism, Mugyewon, Seoul

2015: 36th Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2016: 2016 Collections Exhibition of the National Academy of Arts, Republic of Korea, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2016: 37th Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2016: Special Exhibition of “Six Painters who Brought Glory to Korean Painting,” Sejong Gallery, Seoul

2016: Exhibition of Seven Artists Who Left Their Hometowns: A Fine Day with a Bright Blue Sky, Dangnim Art Museum, Asan

2017: National Academy of Arts Special Exhibition in China, Korean Cultural Center in China, Beijing, China

2017: Exhibition Commemorating the 40th Anniversary of Opening Sun Gallery: 40 Years, Opening a New Window Part 1, Sun Gallery, Seoul

2017: Postmodern Real, Seoul National University Museum of Art, Seoul

2017: 2017 Jeonnam International Ink and Wash Prebiennale, Mokpo, Jindo area

2017: 38th Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2017: Korea’s True-view - Dokdo and Ulleungdo, Calligraphy Museum of Seoul Arts Center, Seoul

2017: National Academy of Arts Special Exhibition, Asia Culture Center, Gwangju

2018: National Academy of Arts Special Exhibition: 59 Grand Masters of Modern and Contemporary Korean Art, Alcheon Art Museum, Gyeongju Arts Center, Gyeongju

2018: National Academy of Arts Special Exhibition in Japan, Korean Cultural Center in Osaka, Osaka, Japan

2018: 2018 Jeonnam International Ink and Wash Biennale, Mokpo and Jindo areas, including Mokpo Culture and Arts Center

2018: 39th Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2019: From Picasso to Kim Whanki: International and Korean Printmaking in the 20th Century, Yangpyeong Art Museum, Yangpyeong

2019: Exhibition Reimagining Poetry, Writing, and Painting, YoungIn Museum of Literature, Seoul

2019: 2019 Collections Exhibition of the National Academy of Arts, Republic of Korea, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2019: Korean Painting: Mindful Landscape, Daejeon Museum of Art, Daejeon

2019: 40th Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2019: Portrait Exhibition of Writers Portraits of Writers: The Stories Their Faces Tell, YoungIn Museum of Literature, Seoul

2019: Lecture “Portraits and Memorial Portraits” at the exhibition Portraits of Writers: The Stories Their Faces Tell, YoungIn Museum of Literature, Seoul

2019: National Academy of Arts Special Exhibition in the UAE, Abu Dhabi Cultural Foundation, Abu Dhabi, UAE

2020: Special Exhibition of Korean Painting 100 Years hosted by Kimdaljin Art Archives & Museum, Ulsan Culture and Art Center, Ulsan

2020: 41st Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2020: Familiar Reunion: Chungcheongnam-do Artists’ Works in Collection, Arario Gallery Cheonan, Cheonan

2020: National Academy of Arts Special Exhibition in Jeju, Jeju Museum of Contemporary Art, Jeju

2021: Jamunbak Museum Project Part 1, Gana Art Center, Seoul

2021: DNA: Dynamic & Alive Korean Art, National Museum of Modern and Contemporary Art, Deoksugung Palace, Seoul

2021: 2021 Jeonnam International Ink and Wash Biennale, Mokpo Culture and Arts Center, etc., Jeollanam-do

2021: National Academy of Arts Special Exhibition in France, Korean Cultural Center in France, Paris, France

2021: 42nd Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2022: Collections Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2022: Homophones and Heteronyms, Dongduk Art Gallery, Seoul

2022: Prayer for Life, National Museum of Modern and Contemporary Art, Gwacheon

2022: Korean Art History Comes to Yangpyeong, Yangpyeong Art Museum, Yangpyeong

2022: Hometown, Eternal Name: Ink and Color Painting Exhibition, Art Museum Sol, Jeonju

2022: 43rd Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2022: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition A Person’s Scent Stays in Art, Gwangju Museum of Art, Gwangju

2022: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition Collection: Great Journey, Busan Museum of Art, Busan

2022: National Academy of Arts Special Exhibition in the US, Korean Cultural Center in Washington, Washington, USA

2023: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition Perception of the Era, Ulsan Museum of Art, Ulsan

2023: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition Welcome Home: Blooming, Daegu Art Museum, Daegu

2023: Time States-Contradiction and Accordance, Seoul National University Museum of Art, Seoul

2023: Writings and Paintings in the Wind: 2023 Masterpieces of Writings and Paintings Exhibition, YoungIn Museum of Literature, Seoul

2023: Special exhibition commemorating the 50th anniversary of the opening of the Korea University Museum’s Contemporary Art Exhibition Hall, “Reply with Paintings at Age 50”: Special Exhibition of Space Containing Time and Time Containing Art, Korea University Museum, Seoul

2023: Dongsan Park Joohwan Collection Special Exhibition Strolling through Nature, National Museum of Modern and Contemporary Art, Gwacheon

2023: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition Four Seasons, Gyeonggi Museum of Modern Art, Ansan

2023: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition Lee Kun-Hee Collection and Mythologized Artists Daejeon Museum of Art, Daejeon

2023: National Academy of Arts Special Exhibition in Sydney, Sydney, Australia

2023: Lee Kun-Hee Collection: Korean Modern and Contemporary Art Special Exhibition Encounter, Jeonnam Museum of Art, Gwangyang

2023: 44th Fine Arts Exhibition of the National Academy of Arts, Exhibition Hall of the National Academy of Arts, Republic of Korea, Seoul

2023: KOREA IN COLOR: A LEGACY OF AUSPICIOUS IMAGES, San Diego Museum of Art, San Diego, USA

Awards

1961: Special Prize for Eastern-style Painting at the 10th “National Art Exhibition”

1962: Best Special Prize at the 1st “New Artist Awards” (Chairman’s Award from Park Chunghee’s Supreme Council for National Reconstruction)

Unaudited Special Prize at the 11th “National Art Exhibition” (Prime Minister’s Award)

1963: Unaudited Special Prize at the 12th “National Art Exhibition” (Minister of Education Award)

2001: Seoul National University President’s Award at the 1st “Seoul National University Pride Award”

2001: Grand Prize at the 1st “Korean Art Awards”

2003: The 180th Order of Cultural Merit Silver Crown Class awarded by the President of the Republic of Korea

2003: Chairman’s Award of Prince Anpyeong Artist An Gyeon Foundation at the 1st “Anpyeong An Gyeon Art and Culture Awards”

2003: President’s Award of the Daejeon High School Alumni Association at the “Daeneung Person of the Year Awards”

2004: “Anpyeong An Gyeon Art and Culture Awards”

2010: National Foundation Medal, Person of National Merit

2015: “1st Awards of Love Korea” celebrating the 70th anniversary of August 15th liberation

2017: Grand Prize at the 11th “Korea Artists’ Day” Awards Ceremony

2018: Special Award at the 33rd “21st Century Awards”

2019: Achievement Award at the 10th “Seoul Culture Today Cultural Awards”

2021: “Special Award” at the 9th “Dokdo Peace Awards”

2023: Selected as No.1 at the “Proud Seosan Person Awards”

Books (Papers and Contributions)

1971: Thesis - Study of New Murals, Newspaper of College of Fine Arts, Seoul National University

1973: Thesis - Research on Historical Consideration of Ancient Murals and Materials and Techniques of New Murals, Collection of Korean National Culture Papers

1978: Thesis - Comparative Research on Gantner’s Prefiguration and the Ūrfiguration of Eastern Art, master’s degree

1980: Collection of Writings and Paintings Opening My Studio Windows, Publisher Gyeongmimunhwasa

1981: Ink and Wash Theory and Brush and Ink Theory (Focusing on Brush and Ink Theory in Eastern-style Painting Theory), Bulletin of the National Museum of Modern and Contemporary Art

1983: Secondary Art Textbooks I, II, III approved by the Ministry of Education, Publisher National Cultural Library Publishing Association

1986: Thesis - Materials and Techniques for Making Murals, Monthly Magazine Art World

1987: Collection of Essays Pine Breeze, Ink Scent, Publisher National Cultural Library Publishing Association

1988: Symposium - The Overall Perspective on New Korean Painting as Indigenous Contemporary Painting, JoongAng Ilbo, Hoam Museum of Art

1989: Thesis - Study of Eastern Chi Ideology and Energy Theory, Doctor of Philosophy Degree

1993: Collection of Essays Pine Breeze, Ink Scent Ⅱ, Seoul National University Press

1993: Symposium – “The Meaning that Ancient Murals Give to Contemporary Paintings,” National Museum of Modern and Contemporary Art, Korea

1994: Symposium – “Goryeo Buddhist Paintings and Contemporary Eastern-style Paintings,” Hoam Museum of Art

1994: Symposium – “Principles of Yin-Yang and Five Elements,” Hoam Museum of Art

1995: Symposium – “Aesthetics of Contemporary Korean Painting, Artistic Issues,” The Korean Society of Aesthetics and Science of Art

1996: Thesis – “Individuality of BESETO Korean Painting,” Seoul Museum of Art

1997: Commentary – “Korean Painting – One Year for Verifying the Indigeneity,” Arts & Culture Yearbook of the Korean Culture & Arts Foundation

1998: Commentary – “Korean Painting - Acquiring Confidence through Identity,” Arts & Culture Yearbook of the Korean Culture & Arts Foundation

1999: Commentary – “J,S LEE La Force de la vague’(Patrice de la perriere),” UNIVERS DES ARTS

1999: Seminar – “Goguryeo Tomb Murals and Prospects for 21st Century Contemporary Art - Focusing on Tomb Tour,” Seongkok Art Museum

2000: Lecture – “The Concept of Design in 21st Century Fine Art,” International Graduate School of Design

2001: International Academic Seminar – “Understanding Korean, Chinese, and Japanese Ink and Wash Paintings,” National Museum of Modern and Contemporary Art

2002: Thesis – “Light and Color of the Korean People,” Seoul Museum of Art

2003: International Academic Seminar – “Status of Goguryeo Murals in Korean Art History,” Goguryeo Research Association

2004: Seminar – “Techniques and Research Significance of Goguryeo Tomb Murals,” Seminar Room 309, Seoul National University

2004: Lecture – “Color Consciousness in Korean Language,” Korea Human Resources Development Institute

2005: Seminar – “Research on the Five Cardinal Colors and the Color Consciousness of the Korean People,” Korean Research Society of Color Studies

2005: Presentation Paper – “Perspective on Formative Bibo Feng Shui in Korean Painting,” Northeast Asian Historical Society

2005: Keynote Lecture – “Perspective on Paradise in Korean Landscape,” East Asian Cultural Society

2006: Seminar – “Hyeondongja An Gyeon’s Art and Contemporary Art,” Seosan Cultural Development Institute

Critique

Senior Artist Digital Archive – Critique of Lee Jongsang

Lee Jongsang, Painter of the Korean Spirit,

Between Hanji and Murals: The Journey from Contemporary True-View to Ūrfigure

Table of Contents

1. Introduction

2. Postliberation Korean Painting in the 1970s and Lee Jongsang’s “Contemporary True-View”

1) Early Realism – Art That Captures the Truth: 1961–1964

2) Contemporary True-View – The Beginning of Dokdo Paintings: 1977–1987

3) The Spirit of True-View (Spiritual Landscapes): 1980–1989

3. Ūrfigure and Murals

1) Mural Research and Technique Seeking Phase (1969–1989)

2) Ūrfigure, (1989–1995)

3) Ūrfigure, Where Environment and Rhythm are Born: Late Urfigure (源形象) Period (1995 Onward)

4. Reflection of Historical Consciousness

1) History Paintings (1973 Onward)

2) Portraits (1975 Onward)

3) Holy Paintings (1987 Onward)

5. Conclusion

3. Ūrfigures and Murals

Illang’s Ūrfigure series began in earnest in the late 1980s. Like an ancient map that simplifies the mountains and rivers of this land, the series reflects symbolic and semiotic meaning as well as the form before being abstracted and given a concrete shape, or the moment cosmically when mountains and streams were first created in a somewhat chaotic state of earthly progeny. Because it resembles heaven and earth, this work has also been interpreted as “the chi of heaven and earth.” It is aligned with the study of feng shui, which seeks the truth of the sky embedded in the earth and is contextually consistent with the inquiry into the essence initially pursued in the Chi series.

The concept of Ūrfigure becomes more visible through the study of murals. The artist aspired to trace the original form of painting not only to develop his aesthetic theory but also to discover and modernize Korea’s traditional material techniques and color schemes. In particular, dakjihwa (Korean paper layering), jangjihwa (color layering), and dongyuhwa (copper glazing) are Illang’s unique painting techniques developed through his research on ancient mural compositions and artisanal records. To look more closely at Illang’s mural research and techniques before assessing the Ūrfigure series in detail, one of the most prominent of Ūrfigures would be the large-scale mural projects that capture the sense of place and presence, such as the wall installation Ūrfigure 97061 - Manisan Mountain in the Carrousel du Louvre. To first create a piece, Illang wouldstudy the installation space and selects materials according to their suitability for that specific space. Illang has also mastered the material techniques through his art historical research, scientific experiments, and painterly practice. Simply put, his outstanding artistic expression and unusual historical consciousness for Korean sentiments seem to organically permeate his works. He observes not only the historical and contextual significance of a place but even the potential technical difficulties in the installation process to create harmony between the work and the space by incorporating the material characteristics of his work to reflect his own historicist views on Korean pre-modern history and a voracious spirit to create out of this knowledge and intellection.

For the remainder of this chapter a focus will be placed on an examination of the Ūrfigure series which are separated into three phases and begin with: 1) Mural and Technical Research, 2) Finding the Ūrfigure, and 3) Ūrfigure, Where Milieus and Rhythms Are Born.

1) Mural and Technical Research

“You can’t talk about Korean art without knowing the ancient Goguryeo murals. That’s how much of the fundamental painting techniques and the key indigenous elements of Korean art are embedded in the murals’ material techniques.” ^{^[1]}

Illang’s determination to explore the source and origin of ancient Korean art practices and cultural heredity was already a burgeoning twofold subject during his college years. His research on painting adhesives in everyday uses, along with the knowledge gained from architecture courses at SNU and his mentor, Professor Chang Louispal, who gave sage advice “to not be a slave to the frame,” laid the foundation for his invention of the copper glazing technique. In particular, Origin, created in 1968 using the new mural technique (multimedia painting: quicklime, white cement, mortar, sand, stainless steel wire mesh, copper oxide, hematite, iron oxide) invokes an ancient mural. This is even before the birth of the Ūrfigure series, which further attests to the fact that the mural research began to take shape during his college years. Lee’s works submitted to the National Art Exhibitions from this era to the late 1980s are primarily made with the materials and techniques of the ancient tomb murals.^{^[2]}

“I learned about 30 years ago, when I was still in college, that most pictures remaining on Earth have been painted with an organic bonding agent as a medium and would go through discoloration and corrosion. Since then, I began my research into adhesives to develop a painting technique that does not use a bonding agent. That’s how I came up with the copper glazing technique, which allows me to create semipermanent murals without using an adhesive.”^{^[3]}

To Illang, his murals paintings can be traced back to his research on the Goguryeo murals, which is considered the origin of murals. In his contribution to Seoul National University’s 2008 Annual Report of Professors Emeriti, Lee Jongsang writes on the mechanics of the process that, “Murals originated from the rough surface paintings in prehistoric caves.” What, then, is a rough surface painting? It is a “technique using charcoal, soot, or deposit soil mixed with water to paint on the rough surface of lime caves without a bonding agent by anchoring the pigmented materials in the unevenness of cave walls.”^{^[4]} Layering—experimentally but with precision onto this older technique—Illang grafted the cloisonné technique with great success as the fusion of chemical bonds and aesthetic pastiche was successful. Copper glazing painting is a genre of visual art expanded from the traditional Korean cloisonné techniques. Copper glazing painting employs an exceptional process in which the artist puts powdered stone or glass on a copper panel and fires the glazed panel at 800°C for multiple rounds until the glaze sets on the surface. As this attests, research on materials and techniques is crucial for Illang to create works and resolve problems. This also confirms that he is an artist with a principle independent of the dichotomy of whether to subscribe to the West’s “-ism” as means to classify or canonize individual arts, collectives and movements. Illang hoped to remain an artist with clear goals and objectives rather than one that follows global trends and hierarchies. Considering all his time researching and perfecting techniques related to mural art, it wouldn’t be an exaggeration to call him a Korean “mural artist.” His murals installed in various institutions, collections and homes in South Korea are a testament to his unwavering commitment to this.

“A painting made in a studio does not become a mural when it is mounted on a huge wall without any spatiotemporal sense of presence. It is called a “mural painting” for a reason. It requires aesthetic values just as high as regular paintings, as well as high preservability that allows it to survive the natural environment.” ^{^[5]}

Illang surveys the physical traits or situation of the place, before creating a work through his research on materials and techniquesthat are appropriate for the space. While the mural inside the lobby of Samsung headquarters were created on a granite stone with the theme of longevity (1983), the murals at the lobby of the Yun Bong-Gil Memorial Museum, Night School and Righteous Act(1992) are history paintings painted on traditional paper with a bamboo stick cut from the bamboo in the backyard of Yun’s night school in Deoksan. On the exterior of Taebaek Mountain Range Literature Museum presents a retainer wall painting entitledŪrfigure - Aspirations from Baekdudaegan Mountain Range (2007) made of natural stones in five colors collected from all over the country. It is a huge mural painting longing for unity and reunification. In addition, Lee created Ūrfigure 9502 - Justice (1995) and Ūrfigure 9501 - equality (1995) at the Supreme Court, and Ūrfiguration - Aspirations for Reunification (1989) in the Seoul Central District Court with the meaning of the courthouse in mind. Thus, as Illang said, a work that fits the place is connected not onlythematically to the space but also to the physical specificities of the architecture and its surroundings in terms of preservability and spatiotemporal presence. A mural requires from the artist a comprehensive process involving scientific experimentation and researchto be ultimately created in its complete form. This might be what he calls “the consilience between science and art”.

Having conducted in-depth art historical research on the Goguryeo murals, Illang has also written several peer-reviewed academic articles. As the earliest vestiges of human art and the surviving origin of Korean art, the ancient Goguryeo tomb murals, Illang argues, are the source of Korea’s painting tradition, to which the various formal expressions of contemporary art can be traced. Moreover, the paintings using the layering and copper glazing techniques produced since the late 1980s attest to Illang’s effort to formulate the Ūrfigure that may secure the origin of Korean culture independently through material and historical research. The layering techniques using traditional Korean paper laid the foundation for Illang’s innovative paintings, which at the same time shed light on the long line of Korean chromatic paintings inherited from the Joseon and older dynasties, proving that chromatic painting was not a tradition unique to Japan in East Asia. In effect, Illang resisted the trend that only considered the black-and-white ink paintings a Korean tradition worthy of preservation and inquiry because of the long-held misunderstanding of colored ink painting as the remnant of inaccurate and monocultural teaching left after the 35 years of Japanese occupation. Therefore, the paints used in his murals were not store-bought, premade canvas but handmade by Illang with natural ingredients, allowing the artist to create pieces that explore the effect of free brushstrokes. The pieces made with natural dyes and ink on traditional Korean paper, such as Ūrfigure 88013 - Land of Peace (1988), are examples. The copper glazing technique involves dissolving iron with sulfuric acid, hydrochloric acid, aqua regia, or other solvents, painting with the solution, and then neutralizing it by removing the acid and alkaline. Once the adhesive organic matter is eliminated, the inorganic screen is welded onto the painting with fire to leave the copper-glazed panel with no rotting or oxidizing potential.^{^[6]} Therefore, by improving the ancient mural techniques, Illang invented the copper glazing technique, an innovative mural technique that does not use bonding agents.

Illang’s research on the color theory in the early 2000s is also worth mentioning. After encountering a claim that problematized the unscientific terminology of Korean color theory at a conference, different, too, to Josef Albers’ famous writing on color theory when teaching in the United States during the postwar period, Illang began his research endeavor to refute such the local claim and promote a proper understanding of Korea’s traditional theory of color. Illang argues that “to properly assess Korea’s traditional color consciousness, one must understand the fundamentals of the five orientations and five colors developed against the ideological background of the principles of yin-yang and five elements, as well as the transfiguration process and the meaning of circulation.” What is noteworthy at this juncture is that Illang’s research takes on a linguistic approach and dimension to articulate what color theory is to the artist, therefore, in this context, it was highly logical and scientifically formulated. Our ancestors have long combined chromatic and achromatic colors to name five primary colors called the five cardinal colors and used them as a comprehensive concept of time and space. Ppalgang (red), parang (blue), norang (yellow), hayang (white), and kkamang (black) are the nouns intrinsic to our color palette, called “the five correct colors,” and are easily modified to adjectives or adverbs, such as ppalgan or ppalgake, by attaching suffixes. The names of these colors are so highly mutable that ppalgang, can be used in endless variations such as ppalgake, beolgeoke, sippeolgeota, bugda, balgeure, bolgeure, bulgeudekdek, bulgeujukjuk, and bulgeuseureom. Other subtractive color names, such as haneulsaek (sky blue), baechusaek (cabbage yellow), subaksaek (watermelon green), jwisaek(mouse gray), jjokbit (indigo), nambit (dark blue), and uyubit (milk white), are made by adding the Chinese character for color (saek) or the Korean character for light (bit) to the end of the name of an object. The additive color names reveal even the invisible features like health or mood through the hues of complexion, shape, light, face, and eyes. The chromatic culture of Korea is comprehensive rather than analytic and affirms the perspective that values colors are not just material objects but a medium through which humans assimilate to nature.’^{^[7]} This approach to the color theory is applied directly to his Ūrfigure series through the five orientations and colors. In the series, the landscape dances to the dusky yellow earth’s rhythm that is at once maroon and scarlet.

2) Finding the Ūrfigure: Earlier Years (1988–1995)

Landscape paintings are bound to be influenced by the country’s geographic climate patterns and topography. Having enjoyed their agricultural lifestyle within the climate where the four seasons are clearly distinguished in the exquisite mountain terrains and exceptionally high and azure sky, the Korean people have especially deified the grand, high mountains as the natural subject even before the introduction of Western ideas. As attested by the ancient Goguryeo tomb murals, the early landscape paintings by the Korean people often contain animist features.

The above quote comes from Illang’s writing in a 1976 essay, titled “The Concept of Paradise in Korean Landscape Paintings.” Largely consider his oeuvre and unpacking theoretically in this piece––it reflects on the true-view landscapes, with which he aimed to eclipse Gyeomjae through the interpretive techniques reflective of Korea’s distinct geographical characteristics and the people’s view of nature. In other words, the Ūrfigure series, –topographically speaking, does resemble the Korean landscape and Illang’s Ūrfigure series looks almost like an aerial drone surveying the landscapes from high above. Here the scenery does not depend on realist representation but is in the abstract movement of the brush, conveying minimalist rhythms sweeping across the surface like winds across mountain ranges and valleys. As the initial topography and energy are created in a chaotic state, or as in Ūrfigure - Yeomillak, a theater screen made in 1989, the Ūrfigure series provides a familiar landscape where people enjoy music and themselves among different geographic features. The structural installation of Ūrfigure – Yeomillak may feel analogous to American minimalist Robert Morris’ conceptual sculpture Untitled (L-Beams) (1969), which is a necessary point of cross-cultural comparison and art historical fastidiousness. Nevertheless, the viewing experience of the former is entirely different from that of minimal art tendencies or the social-labor implications of “art workers” discussed by Julia Bryan-Wilson and this piece, which relies on the viewer’s logical interpretation for the cognition of the pattern of manual work as artistic labor. The difference, however, one that must be stressed, comes from the unrecognized image, the situation that prompts the viewer to follow the ink lines from the first panel of the screen lying on the floor, and the whirlwind that soon engulfs the viewer. Therefore, the experience of being engulfed by the energy emitted from Ūrfigure - Yeomillak is in stark contrast with the experience of recognizing the object (such as the L-beam) within the installation space. Even when the work is expressed through modern techniques and installation, it still embodies the painterly methods and view of nature innate to Illang.

Illang’s theory of indigeneity in Korean painting encounters the concept of Ūrfiguration as the latter stresses the comfort humans feel in nature and the vitality of art from human relationships. Illang intends the installation of his murals, theater screens, and religious paintings to feel like the comfort and effortlessness we unconsciously feel in nature. Such comfort is not only characteristic of landscape paintings in general but also the universal impression Koreans feel when viewing a Korean painting. As such, Illang’s Ūrfigure series begins from Yeomillak to site-specific artworks that fill the space as a rhythm. In that regard, Illang’s Ūrfigurereminds one of ritornello, the aesthetic of chaos or deconstruction, conceived by Gilles Deleuze and Félix Guattari. Deleuze and Guattari argue that, after structuralism, deconstructionism overcomes the limits of the formalist aesthetic of modernity. Chaos is the first thing a viewer sees when looking at the earlier works of the Ūrfigure series. As the viewer shifts their gaze to the work’s entirety, they may notice the mountain range and waterways. Though progressing in equivocal, abstract form, the shapes of rivers and mountains are recognizable. On the other hand, the later works in the series, in the words of critic Kang Sun Hak, “encode the objects to be assigned meaning.” Would it be possible, then, for the international audience, such as the French or Americans, to decode the geographical features in the Ūrfigure series? The viewers’ nationality may or may not have an impact to varying degrees, but the delicate yet desperate landscape of Korea meets at least the eyes of Korean viewers. This process consciously resembles Picasso’s return to nature from cubism without going further into abstraction.

Spanish philosopher José Ortega y Gasset writes, “Modernism pursues a distinctive aesthetic yet is dehumanized, while realism is rid of a distinctive aesthetic yet humanized.”^{^[8]} Ortega’s claim begins with the premise that the victory of modernism in the history of Western art is no longer dependent on the pursuit of an ideal “beauty” but on the author’s philosophy or attitude toward art. Although Cubism has opened the gate to abstraction, Picasso still marks the silhouette of his objects on canvas, forgoing the idea of absolute abstraction as humans cannot leave nature and the presence of photography and cinema equally demanded this ghostly presence of the figurative remain. However, as the epicenter of the international art world relocated to the United States, abstract art became engrossed with the formalist aesthetic. Koreans have already familiarized themselves with the idiosyncratic world views of artists through the pungsokhwa (paintings depicting folk culture) artists of the 1780s, such as Kim Hong-Do and Shin Yun-Bok. As a genre that truthfully reflects the artists’ philosophical representation of the era, pungsokhwa precedes Gustave Courbet’s realism by eighty years. However, through the process of modernization under Japanese occupation, Koreans have lost or been denied their own culture. The transitional period to purge the obsolete conventions and form its own modernity locally, such as industrialization, religious reforms, and European democratic revolutions, is absent throughout Korean history. Rather, while the modernization process was governed by the Japanese colonial regime and Korea’s cultural heritage was nearly forgotten, socially conscious artists such as Kim Yong-Jun continuously demanded and inspired the continued reformation and solidification of one form of Korean national identity in and through art. Within this context, Lee Jongsang’s Ūrfigure series has a unique effect that invokes both Korea’s national identity and the artist’s own artistic worldview, because the abstraction of the Ūrfigure series presents a vastly different aspect from the systemic and patterned, hence limited, aesthetic of dansaekhwa (monochrome painting). As Illang himself explained, the explicit difference between his abstraction and the Western abstraction is that the “Ūr” in “Ūrfiguration” denotes the source of reason. Mountains and rivers, where the light energy, or chi, was created and formed at the beginning of the universe, are where, as atoms undergo nuclear fission, the energy of existence is born and transformed to achieve harmony.

3) Where Milieus and Rhythms Are Born, Mural_Ūrfigure(源形象)

“From chaos, Milieus and Rhythms are born. This is the concern of very ancient cosmogonies. Chaos is not without its own directional components, which are its own ecstasies.” ^{^[9]}

The invention of the copper glazing technique freed Illang from the confines of generic categorization of the Korean art world, because the existing criteria could not account for the copper glazing technique as either Korean or Western painting based on the mediums and material compounds it used. The art world accustomed to the conventional categorization might have been unprepared to welcome such a radical suggestion. What inspired this interpretation was the exclusion of Lee Jongsang from the Korean painting category of multi-category art fairs like the Seoul Art Exhibition in 2000. The understanding of Korean painting as monochrome or polychrome ink painting on rice paper is perhaps the dominant one. Even today, in the era that welcomes diversity in art, Illang’s work is lost in the reductive categorization that places it under “traditional art” or “folk art.” While Illang’s oeuvre is indeed “traditional,” it is also cutting-edge, considering the medium and material characteristics needed to produce the work itself. Such originality is, in fact, what contemporary art demands of an artist, because it’s his own techniques and content that create his inimitable aesthetic. However, it seems he has been excluded from the list of contemporary Korean artists since the 2000s. Why would this be the case? Could it possibly be because he’s not part of dansaekhwa (i.e., the hegemonic monochromatic painting style)? Illang’s Ūrfigure series comprises polychrome paintings based on the five-orientation color theory. Take Kim Whanki’s 1938-piece, Rondo. It depicts a musical and poetic form popular during the Middle Ages and Renaissance, a rondo is rhythmic yet steady and simple with its repetitive composition. How about Universe (05-IV-71 #200) (1971), another piece by Kim Whanki? Works by artists often categorized as dansaekhwa painters resemble a rondo, as it happens to be the title of Kim Whanki’s piece, in their smooth yet monotonous rhythm in couplets. However, Lee Jongsang’s Ūrfigure resembles a ritornello.^{^[10]} Recently shown for the first time in Prayer for Life, the special exhibition of the Lee Kun-Hee collection at the National Museum of Modern and Contemporary Art, Ūrfigure 88117 - From Earth (1989) displays its similarity to a ritornello through the fast-paced rhythm of the brushstrokes. In short, its chi and melody are palpable. This concept, also explained by Gilles Deleuze and Félix Guattari in their book A Thousand Plateaus, is akin to “the opening of the cosmos that heralded a beginning amid chaos.” We experience “territorialization” when encountering Illang’s work that sparks a rhythm. In other words, if the creative force manifests through the birds marking their territory by singing and consonants and vowels creating the rhythm of language, art must be territorialized by releasing its energy within a given milieu. Illang’s Ūrfigure series achieves territorialization through its intrinsic qualities, including colors, contours, and lines. In that regard, territorialization is achieved through art.

The driving force of Illang’s oeuvre, from the mural research to the Ūrfigure series, has been the aspiration for and exploration of the concept of origins as they pertain to Korean aesthetic, material and historical practices in the dynastic eras, brought forward in the postwar and present by Illang. At the same time, the supporting research on materials, colors, and murals, as well as various experiments and practices, led to the exploration of space, which allowed the transition to “site-specific” and “space-specific” works. The most notable example is the grand-scale Korean paper mural installed in the Hall Charles V Carrousel du Louvre, created to commemorate the Year 2000 Jubilee, symbolizing the past, present, and future of Korea–France relations and reconciliation and peace. The mural installation was completed by the 14th-century city walls of the Hall Charles V in the Carrousel, which adds depth to the message of the piece. The story of this piece begins with France’s punitive expedition to Korea in 1866, also known as “Byeonginyangyo.” To retaliate against the murder of nine French missionaries who came to Joseon on a Catholic mission, about 1,500 French soldiers occupied Ganghwado Island, committing atrocities such as arson, looting, and rape. Inspired by this historical event, Illang’s 1997 piece inverts the borrowed landscape of the city walls in the Carrousel into the Ganghwa fortress. The painting begins with a realistic representation of the attack of the French fleets and the destruction that ensued in the panoramic depiction of the 1866 conflict in Ganghwado Island, unfurled on 71 meters of Korean paper above the castle wall. The piece then progresses past the tumultuous period and toward an abstract landscape of Manisan Mountain with the image of the sun. The ray of light approaching the Ūrfigure toward the end culminates the piece with a peaceful tone. This piece uses the backlighting technique inspired by the traditional paper windows of Korea. Installed inside the castle wall, the light is cast from behind the Korean paper painted with ink and natural dyes. The relationship between Korea and France commenced with a painful memory stained with blood. Illang’s Ūrfigure dreams of the new millennium that overcomes the sorrowful past through international and intercultural cooperation. Created with the hope and drive for a new beginning, Ūrfigure 97061 -Manisan Mountain has significance beyond its aesthetic qualities.

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