1980～90년대 현대 한국화의 통섭－황창배(1947～2001)가 창출한 ‘지필묵’의 경계 확장－

Abstract

This article reflects on the creative tendency of Korean painting in the 1980s~90s through the works of Hwang Chang-Bae and discusses in retrospect the way in which Korean painting embraced and assimilated disparate genres and materials. That is to say, this is an attempt to observe in the works of Hwang what Korean traditional painting circles had been experimenting with, pushing the artistic boundaries of rice paper, paint brush, and India ink as well as incorporating other types of art. Since the start of the modern era, Korean traditional painting circles had been facing the issues, such as in terms of terminology, material, and genre, as well as dealing with the conflicts coming from the dichotomy between Soomuk (ink and wash) and Chaesaek (color). The 1980s~90s marks a period in Korean art history that resolved these issues and conflicts as the dichotomy became no longer sharply distinguished. It was Hwang Chang-Bae who established a new kind of landscape painting that reflects the times. Hwang’s landscape paintings re-enact the experiences of daily life with satirical touches, and when it comes to painting method, Hwang incorporates a unique drawing practice called Chaemuk (a painting method that uses both color and ink). Hwang Chang-Bae’s works are loyal but not restricted to the traditional drawing practices. Hwang never minded using a wide range of materials, such as canvas, lye, acrylic paint, and briquette ashes, breaking from the conventional uses of rice paper, paint brush, and India ink. In this way, Hwang Chang-Bae succeeded not only in inheriting the legacy of the past but also in becoming a leading pioneer with a new drawing method. Hwang’s unprecedented experimental method had a huge impact on the next generation of artists. Hwang Chang-Bae’s landscape and Chaemuk paintings convey his innovative artistic vision by capturing the temporal and spatial dimension of the 1980s~90s and work as a sociocultural code as well as a touchstone that can reveal the position and direction of Korean contemporary painting.