Wednesday, September 25, 2019

[Column 4] Tradition of Print Art in Korea-WS Kang Column 1-강환섭 칼럼1-판화의 전통


강환섭 화백의 신문 기고문인판화의 전통을 소개 한다. 내용 중 다소 투박한 표현이 있지만 판화를 통해 한국전통 및 향토의 아름다움을 세계만방에 떨치고 싶다는 포부를 밝혔다.
This article introduces the "traditional woodblock print" written by Whan Sup Kang in the newspaper. There is some coarse expression in the contents, but Kang want to show the world the beauty of Korean tradition and the country through the printed art works.

아래 신문 기사에 있는 그림작품은 종이원판을 기판으로 사용하여 제작한 판화 작품이다. 한국 전통의 아름다움이 추상적으로 잘 표현되어 있다. 그림 속에 표현되어 있는 글자들은 한자의 표현을 벗어나 한글화된 글자모형(graphic art)을 도입하여 한국의 문자 및 문화유산을 잘 보여주고 있다. 또한 도자기 표면에서 보이는 부드럽고 유연한 곡선들은 종이원판 판화에서만 볼 수 있는 기법이다. 이 판화에 표현되는 곡선들은 조각도를 사용하지 않고 철필을 이용하여 표현한 독특하고 창조적인 작업이다.


The picture of the newspaper article below is a hard-paper-based woodblock prints. The traditional beauty of Korea is expressed abstractly. Characters in the picture often represent Korean characters and cultural heritage by introducing a Hangle character model outside of the Chinese character.

In addition, the soft and flexible curves visible from the surface of pottery can be seen only by a hard-paper-based woodblock prints. The curves presented in this print are unique and creative work done using a scratch awl instead of using a burin.


 

Figure 1. Submitted column of newspaper 신문칼럼 春待 (unknown the name of newspaper, name of column is Shikchoondae, early year of 1960) 게재된 강환섭 기고문
 
A column published in a newspaper by Whan Sup Kang painter.

판화의 전통 (강환섭, 내용 전문)
Tradition of woodblock prints (the full contents of a newspaper column written by Whan Sub Kang)


금년은 건설의 해이다.

아름다운 조국의 방방곡곡에서 일하는 군상들의 노래 소리는 맑은 희망에 가득 찼다. 판화의 전통은 이런 시민의 마음속에 빛을 주고 기쁨을 주었다.

 그리고 판화를 통해서 이루어진 높은 민족의 향기는 내일을 위한 창조를 약속한다. 잃어버린 유산을 부활하고 소박한 표현 속에서 순수한 미를 감수함으로써 나라를 사랑하는 힘이 된다면 판화는 보다 서민과 가까워 져야 한다.

 새해는 보다 많은 사람들이 판화를 알고 교환하며 판화를 통한 향토의 미를 자랑하며 고도한 예술의 영역까지 육성함으로써 세계에 한민족의 미를 과시하고 싶다.

 
This year is the year of construction.

The singing voice of the statue of a group working in the mountains of its beautiful homeland is full of clear hope. The tradition of woodblock prints shed light on the minds of these citizens and gave them joy.

And the fragrance of the high race created through woodblock prints promises to be created for tomorrow.

If it is a help to love a country by reviving lost heritage and accepting pure beauty in simple expressions, woodblock prints should be closer to ordinary people.

In the new year, more people will know, exchange, take pride in the local beauty through the art, and cultivate the high level of art. End.

Wednesday, August 14, 2019

W S Kang’s cattle piece – a strong Korean Cow


강환섭 화백의 소 그림 - 강인한 한국 소
W S Kang’s cattle piece – a strong Korean Cow

그림 1은 강환섭 화백의 소 그림 작품 중 하나다. 암소와 송아지를 사실적으로 스케치한 전형적인 한국의 소 가족을 보여준다.

그림 21964년도 작품으로 황소의 도전적인 자세와 강인한 표정을 볼 수 있다. 소의 몸체에 한국의 전통 문양을 넣어 한국의 정서를 표현하였다. 이를 통해 한국의 강인한 정신세계를 표현 하였다.

Figure 1 is one of the works by Whan Sup Kang. This shows a typical cow family with a real sketch of a cow and a calf.
Figure 2 shows the aggressive attitude and tough expression of bulls as a work in 1964. The traditional Korean pattern is added to the body of a bull to express the Korean emotion. This expressed the strong spirituality of Korea.

 

Figure 1. 소가족 (a cow & a calf, 1964, drawing, 32 cm x 24 cm)


Figure 2. 황소 (a bull, 1964, drawing, 30 cm x 23.5 cm)


이 그림의 표현 형식은 작가의 대표작 중 하나인 말 그림 (그림 3 참조, www.soamuseum.com)에서도 볼 수 있다. 작가가 추구했던 자신의 작품 속에 한국과 한국인의 전통과 정신을 담는다는 일관된 흐름을 볼 수 있다.

The style of the painting can also be found in the painting of horses (see Figure 3, www.soamuseum.com), one of the authors' most famous works. One of his works pursued by the painter W. S. Kang is the consistent flow of expressing ‘the tradition and spirit of Koreans’.



Figure 3. (Horse, oil painting)

그림 4는 먹과 수채 물감을 사용한 그림이다. 그림의 소는 편안하게 앉아 있는 모습이지만, 그림 전체적인 분위기는 강인한 소를 느끼게 해준다. 한국의 전통 문양들이 소의 몸체에 장식되어 있다. 한국의 부드럽고 아름다운 전통 문양이  소의 몸체에 표현되면서 한국의 소는 강하다는 느낌을 보여주고 있다.
내면적으로는 유연하고 우아한 한국의 전통과 한국인의 정신세계가 외적으로는 아주 강하고 역동적이라는 작가의 시각이 잘 표현된 독창적인 작품이다.
Figure 4 shows a picture using ink and watercolors. The painting's bull seems to be sitting comfortably, but the whole painting's image gives you a strong feeling. The traditional Korean pattern is decorated on the body of a bull. Korean traditional patterns covered on a bull to be felt Korean soul
It is a creative work that often expresses the author's view that it is very strong and dynamic on the outside. But the Korean tradition and the Korean spiritual world presented by Korean pattern are both flexible and elegant to look inward.
 
 
Figure 4. 검은 소 (a black bull, 1964, drawing, 24 cm x 30 cm)
 Please find more information for W. S. Kang and his artworks at www.soamuseum.com

W S Kang, English version career of Whan Sup Kang-www.soamuseum.com


Whan Sup Kang

English version career, www.soamuseum.com

 

 
n  Whan Sup Kang (1927 – 2011)
n  Nationality: Korea
n  Scholarship: Seoul National University Collage of Art
 
n  Career: Member of Korea Fine Arts Association
         1971 – 1972  Chairman of Consultant Committee of Paint, KFAA
         1963        Lecturer of seoraval art University
         1964 – 1965  Lecturer of Chung-Ang University
         1973        Lecturer of Yeungnam University
         1990 – 1991  Lecturer of Mokwon University
         1964 – 1967  The Eighth U.S. Army Youngsan, Craft Shop Artwork Lecturer
         1970        Lecturer of Seoul American High School
         1973 – 1975 Lecturer for family of United State Embassy in Korea
 
n  Artworks Posessions
          http:// www.moca.go.kr
        http://dmma.metro.daejeon.kr
          Hong-ik University Museum
          Hotel Sorak Park
          Haksan Library
         [PDF]AR Acq 0304 - University of Michigan | Museum of Art
 
n  Exhibitions
         1960  Personal Exhibition, National Art Center
         1961  Invited to International Free Art Exhibition, Korea Fine Arts Association
         1961  Personal Exhibition, Korea Information Centewr
         1961  Invitational Exhibition by USAG Youngsan, The Eighth U.S. Army Yongsan Craft Shop
         1961  Finland Exhibition, US Embassy in Korea
         1961  Independence Day Art Exhibition, Ministry of Culture and Information, Korea
n  Exhibitions(continued)
         1962  Philippine –Thailand Art Exhibition, Ministry of Culture and Information Korea
         1962  Artwork Marketing Contract with Fantasy Gallery, Washing D.C., USA
         1962  Invited Exhibition by State University of South Dakota
         1962  Invited Exhibition by USAG Osan Library, The Eighth U.S. Army SAC Library
         1963  Print Artwork Invited Exhibition of 5 Artist, National Museum of Art, Korea
         1963  Invited Exhibition by Westmar University, Custom House Gallery and Art Association of  Sioux City, Iowa, USA
         1964  Invited Exhibition of Modern Artists, Chosun Media, Korea
         1964  Invited Exhibition by Stanford Museum of Art, Cherokee USA
       1964  Invited Exhibition by Wayne State University Museum of Art, Nebraska USA
         1965  Two time Exhibitions, Tokyo Japan and The Eighth U.S. Army SAC Library invited by USAF
         1966  Three time Exhibitions, Malaysia National Art Gallery, Tokyo Japan and The Eighth U.S. Army Yongsan
         1968  Three time Exhibition, Argentina, Ministry of Culture & Information, Shinsegae Department
         1969  Artists Exhibition, Chosun Media
         1970 – 1971 Korea Art Grand Prix Exhibition, Hankook Ilbo, Media
         1971  Global Citizen Exhibition, UNESCO Center, Korea
         1972  Invited Exhibition by Sassafra Gallery, Indiana Westville USA
         1973  Invited Exhibition by Diplomatic Official Community Group, US Embassy in Korea
         1974  Two time Exhibitions, The Art Institute Korea and Tokyo Japan
         1975  Two time Exhibitions,, Growrich Gallery and Korea Fine Art Association
         1976  Three time Exhibitions, Pacific Culture Asia Museum, YangGi Gallery and etc.
         1977  Two time Exhibitions, National Museum of Modern and Contemporary Korea and Chinese Taipei
         1978  Three time Exhibitions, Haksan Library Korea, Nichido Gallery Japan and Chinese Taipei
         1979  Four time Exhibitions, Jin Gallery Korea, Hong Art Center, National Museum of Modern and Contemporary Korea and Gallery Association Korea  
         1980  Four time Exhibitions, KBS, Media Korea, Lotte Gallery Korea, Ministry of Culture and Information, Korea and International Trade Association Korea
         1981  Three time Exhibitions, Bangladesh, Lotte Gallery Korea and Ministry of Culture and Information, Korea
         1982  Korea Print Exhibition, Sweden
         1983  Four time Exhibitions, Vscontea Hall Milano Italy, Portugal, National Museum of Modern and Contemporary Korea and McHyang Gallery Korea
         1984  Two time Exhibitions, Joong-Ang Ilbo, Media Korea and National Museum of Modern and Contemporary Korea and KBS Media Korea
         1985  Two time Exhibitions, Joong-Ang Ilbo, Media Korea and KBS, Media Korea
         1986  Three time Exhibitions, KBS, Media Korea, Dongsoog Gallery and National Museum of Modern and Contemporary Korea
         1987  Korea Modern Art Exhibition, National Museum of Modern and Contemporary Korea
         1988  Three time Exhibitions, Baekak Gallery Korea, Chosun Media Korea and Seoul Olympic Committee
         1990  Two time Exhibitions, Chungdam Gallery and National Museum of Modern and Contemporary Korea
         1991  W S Kang print Exhibition, Econ Gallery Korea, Saeil Gallery Korea and Soo Gallery Korea
         1992  Four time Exhibitions, Chungdam Gallery, National Museum of Modern and Contemporary Korea, Gallery Hyundai Apgoojeong Korea and Econ Gallery
         1993  Two time Exhibitions, National Museum of Modern and Contemporary Korea and Taebaek Gallery, Korea       
         1994  International Modern Art Exhibition for Seoul 600 Years Celebration, National Museum of Modern and Contemporary Korea
         1996  Seoul Print Exhibition by Baksong Gallery Korea, Seoul Arts Center
         1997 – 1999 Senior Artist Invitational Exhibition by Korea Fine Art Association, Seoul Museum of Art
         2000  Korea Print History Exhibition, Daejeon Museum of Art
         2001  Senior Artist Drawing Exhibition, National Museum of Modern and Contemporary Korea and many other exhibitions are performed.
 
 
 
 

 
 

Wednesday, July 17, 2019

[Work Introduction 16] The perspective space and the beginning of year of the artist Whan Sup Kang (W. S. Kang)
 
Before introducing the work, painter’s son K. H. Kang will introduce the author's view on the birth of space and life.

Reference : Blog SoA(Son of Artist) commemorating the Artist W. S. Kang, www.soamuseum.com
In the next sentence, I would like you to clarify the source of the transfer.

For the cosmos and the earth
New definition of black hole and dark matter. And new perspective of the birth of life

16th april 2019
Kee Hoon Kang, PhD.
Korea Research Institute of Science and Technology

267 Gajeong_Ro, Yuseong_Gu, Daejeon 34113, Republic of Korea

The cosmos is a huge infinite space. The space where entropy increases in the infinite space is a closed space of finite size. The outside of the closed space is an open space.
Between these two spaces, the existence of a boundary is clear. Both spaces can be divided into a space where energy exists and a space where energy does not exist. Namely, the space where energy exists is a space where entropy increases, and the remaining space is a space where energy is not present. The temperature can be measured in the energy space. On the other hand, it is an absolute zero Kelvin space where the temperature cannot be measured in an energy-free space called Black-hole. The light and particles reaching the absolute zero Kelvin space maintain a stationary state while showing the state of the bottom energy.

Light and particles freely moved in the energy space stop when they reach a boundary surface which is an energy-free space. Many particles form bands at the boundary surfaces of both spaces. The longer time passes, the more particles are condensed at the boundary. The condensed particles collide, interfere, and interact. When the density of the particle band on the boundary surface becomes very high, an attractive force is generated in the band, and the particles are condensed at high density.

The zone of the boundary surface where the particles are condensed at high density is changed into a spherical shape due to the increase of an attractive force. The larger the size of the compressed section absorbs peripheral light and particles, the larger the attractive force becomes, the more it reaches the state of the dark matter. When the attractive force of the dark matter become larger to exceed the limit of the force capable of maintaining the space of the particles, the dark matter is reduced to the minimum volume and then expanded to generate Big Bang. With Big Bang, materials generated by the fusion and explosion of nuclei are scattered, with some spreading to energy spaces and energy-free spaces. The energy material moved into the energy-free space generates a new energy space in the energy-free space. The new energy space is like an island in a energy-free space. It is not only possible that new energy spaces will be created through the Big Bang, but also that energy spaces will connect with each other.
Many materials moved into the each space after the Big Bang form a galaxy. In the case of the solar system, the ancestral sun of a large mass moved through the energy space, while small masses separated to form planets. The planets around the sun were cold and became the current solar system.

If a high-temperature planet rapidly cools, a new substance is produced in a nonlinear manner, which means that any substance can be produced. In other words, many varieties of inorganic substances, organic substances and living organisms can be produced in infinite numbers. In the case of organisms born at this time, it is expected that they are produced in the form of eggs or seeds rather than in the form of adults who have grown probabilistically.
Although the gravity of the earth provides an environment that is good for the survival of living organisms, it is difficult to move and secure habitats for living organisms that are overweight. When dinosaurs move and act actively with an excessively large weight, they can cause physical damage such as fracture due to a large amount of impact caused by gravity. Nevertheless, they showed a high rate of reproduction in the form of reptiles and maintained a large population in the early stages of the Earth's formation. Damaged dinosaurs have become a food source for various insects and plants with weak fertility and small populations. Large animals, except whales living in water, were quickly wiped out by major environmental changes.

When the earth's cold and diverse species are created, it is estimated that different species of humans have emerged, just like the species of monkeys. It is thought that, among many races, some races have evolved livingly, and present-day human beings exist.

If high-temperature substances cool rapidly, new substances and organisms can be produced with infinite potential. Therefore, the probability of the formation and birth of matter and life on Earth is one of the infinite. If we try to explain the life forms that were created by impossible odds, we can only say "God's Choice."
At the beginning of the year, there was light, and by the choice of God, life including matter and man was born. end.





The perspective space and the beginning of year of the artist Whan Sup Kang (W. S. Kang)
To introduce the works of Whan Sup Kang(W. S. Kang), we simply put them in the official blogs of the W. S. Kang Art Museum [Column 24] and [Column 25] and bring them to [Work Introduction 16]. The official blogs of the W. S. Kang Art Museum is www.soamuseum.com.

The following work was donated to the Daejeon City Museum of Fine Arts in the perspective of the space. In the case of a work on a space that is usually seen through, it is an image of the time when one looks into another space. It is vaguely expressed as to which space is divided and in which space different from each other. The author is believed to have portrayed the vast and far-off space, but also the heterogeneous space.
 
 
Name of the work: The perspective space
Author's name: Whan Sup Kang
Production year: 1997
Specification of the works: 68 x 88 cm*2 Production Techniques: oil painting on canvas, collage

Next, we introduce both works of other concepts, which are titles such as <New Space>. These works were also donated to the Daejeon City Museum of Fine Arts. First of all, pictures represent the time when new life forms in a new space, and later pictures represent a stable space like the Earth.
 
Name of the work: New space
Author's name: Whan Sup Kang
Production year: 1998
Specification of the works: 18 x 23.2 cm*2 Production Techniques: Tempera on Paper
 

Name of the work: New space
Author's name: Whan Sup Kang
Production year: 1998
Specification of the works: 18 x 23.2 cm*2 Production Techniques: Tempera on Paper
 


우주와 지구에 대하여
2019 4 16 작성

강기훈, PhD.
34390 대한민국 대전광역시 대덕구 중리남로 8번길 59-18
한국표준과학연구원
34113 대한민국 대전광역시 유성구 가정로 267

 
우주는 거대한 무한 공간이다. 무한공간 내에서 엔트로피가 증가하는 공간은 유한한 크기의 닫혀있는 공간(closed space)이다. 닫혀있는 공간의 밖은 열린 공간(open space)이다.
공간 사이에 경계면의 존재는 명확하다. 공간은 에너지가 존재하는 공간과 에너지가 존재하지 않는 공간으로 구분할 있다. , 에너지가 존재하는 공간은 엔트로피가 증가하는 공간이고 나머지 공간은 에너지가 없는 공간이다. 에너지 공간에서는 온도를 측정할 있다. 반면 무에너지(energy-free) 공간에서는 온도를 측정할 없는 Black-hole이라 부르는 절대영도(absolute zero) Kelvin 공간이다. 절대영도 Kelvin 공간에 도달한 빛이나 입자들은 바닥에너지 상태(ground state) 보이면서 정지상태를 유지하게 된다.

에너지 공간에서 자유롭게 이동하던 빛과 입자들은 무에너지 공간인 경계면에 도달하면 정지한다. 많은 입자들이 공간의 경계면에서 (band) 형성한다. 시간이 경과할수록 경계면에는 많은 입자들이 응축된다. 응축된 입자들은 서로 충돌하고 간섭을 일으키며 상호작용한다. 경계면 입자띠(particle band) 밀도가 아주 높아지면 입자들 사이에 인력(attractive force) 생기고 고밀도로 응축하게 된다.

고밀도로 입자가 응축된 경계면의 띠는 입자간 인력의 증대로 구형태로 바뀐다. 압축된 구의 크기가 주변의 빛과 입자들을 빨아들일 만큼 인력이 아주 커지면 암흑물질(dark matter) 상태에 다다른다. 암흑물질의 인력이 입자들이 입자 자신의 공간을 유지할 있는 힘의 한계를 넘어설 만큼 커지면, 암흑물질은 최소한의 부피로 축소된 팽창하면서 빅뱅(Bigbang) 일어난다. 빅뱅으로 핵들이 결합하고 폭발하면서 생성된 물질들이 흩어지면서 일부는 에너지 공간으로 일부는 무에너지 공간으로 퍼져나간다. 무에너지 공간으로 이동한 에너지 물질들은 무에너지 공간 내에 새로운 에너지 공간을 생성한다. 에너지 공간들은 무에너지 공간 내에 (island)처럼 존재하게 된다. 빅뱅을 통해 새로운 에너지 공간이 생성됨은 물론 에너지 공간들이 서로 연결되는 경우도 예상된다.

빅뱅 이후 에너지 공간으로 이동한 많은 물질들이 은하계(galaxy) 탄생시킨다. 태양계의 경우 덩어리의 원조 태양이 에너지 공간을 이동하면서 작은 덩어리들이 분리되어 행성들을 형성하였다. 태양 주위의 행성들은 급냉하면서 현재의 태양계(solar system) 되었다. 고온의 행성이 급냉하면 새로운 물질들이 비선형적(nonlinear)으로 생성되는데, 이는 어떤 물질도 생성 가능함을 의미한다. 무한대(infinite) 많은 다양하고 많은 무기물, 유기물 생명체들의 탄생이 가능하다. 이때 탄생하는 생명체들의 경우 확률적으로 성장한 성체 보다는 알이나 씨앗의 형태로 생성되었을 것으로 예상된다.
지구 중력은 생명체들이 생존하는데 좋은 환경을 제공하지만 체중이 지나치게 생명체들에게는 이동과 서식지 확보에 어려움이 있다. 공룡은 지나치게 체중으로 활발한 이동과 행동을 경우 중력에 의한 충격량이 커서 쉽게 골절 신체 손상이 발생할 있다. 그럼에도 불구하고 파충류의 속성상 높은 번식률을 보여 지구 생성 초기에 많은 개체 수를 유지하였다.

신체 손상을 입은 공룡들은 번식력이 약하고 개체수가 적었던 다양한 곤충 동식물들의 식량공급원이 되었다. 코끼리 보다 동물들은 물속에서 서식하는 고래 등을 제외하고 환경 변화에 빠르게 멸종하였다.

지구가 급냉하면서 다양한 생명체가 탄생할 다양한 원숭이 종들이 탄생하였듯이 다양한 인류의 종이 탄생하였을 것으로 예상된다. 다양한 인종 일부 인종만 생존하고 진화하여 현재의 인류가 존재하게 되었다고 짐작된다. 고온의 물질이 급냉하면 무한대(infinite) 가능성으로 새로운 물질과 생명체의 생성이 가능하다. 따라서 지구상에 존재하는 물질과 생명체들의 생성 탄생 가능성은 무한대 분의 1이다. 불가능한 확률로 탄생하게 생명체에 대하여 설명하려면 신의 선택이라고 말할 밖에 없다.

태초에 빛이 있었고, 신의 선택으로 물질과 인간을 포함한 생명들이 탄생하게 되었다. .