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The Aesthetics of “Humble Splendor”- Abstract Landcape on a Meditative Contemplation

Yoon-sub Kim, Ph.D. (Scholar of Art History)



A silent and dim daybreak, the lingering glow of sunset, the depth of a magnificent night sky, and the night sea in a wild storm or the sand bank letting out a heavy breath… Mere few words cannot quite grasp the paintings of Young-hwa Kim. The feelings they evoke are too vivid to regard them as abstract paintings, but the compositions are too ambiguous to define them as conceptual paintings. They recall the fanciness of the unrefined found in the rhythm of nature, or the beauty of the ground stones (薄石) exquisitely laid down one next to another in Korean palaces. Hung in weighty silence, yet filled with clear and dazzling energy, Kim’s works echo the historical proverb, “儉而不陋華而不侈”, meaning “humble yet not shabby, fancy yet not extravagant”. The saying is written in Samguk Sagi (historical record of the Three Kingdoms of Korea: Goguryeo, Baekje and Silla, written in 1145) and Chosun Gyeonggukjeon (the charter code for Chosun Dynasty written in 1394), to literally describe the inornate beauty of Baekje and Chosun. And the description extends to the sentiment that Kim’s paintings exude.


“I dream of the magical moment. May the comforting and deep colors that fulfill all the wishes while carrying my own sentiment be conveyed to many viewers! Nothing can compare to the time when I’m imagining those landscapes in my meditation. Through pursuing the harmony of heaven, earth and man (天地人) and capturing the tremble of the universe, my paintings were born.”


The word “Moment” is often used in the titles of Kim’s recent works. She calls it “the magical moment”, from her wish to present such time of everything you wish for being granted. Possibly so, Kim never misses a time of meditation before starting a new painting, to realize “the beauty of having hills and valleys at mind (胸中丘壑)” that has already been completed in her thoughts. Also, the depth of intuitively selected colors and accidental effects of the traditional ink coming together in melodic harmony is repeated on canvas, since it is the space of infinite contemplation and meditation for Kim.

Although the artist mainly uses acrylic paint and gouache - the media that have originated from Western countries - her major in undergraduate school was Korean Art. Through mastering the skill of painting in traditional ink with color for many years, Kim uses the two water-soluble media with ease. In addition, while she had mainly painted the Four Gracious Plants (“四君子”: plum, orchid, chrysanthemum and bamboo), landscapes and flowers using ink-and-wash painting technique in undergraduate years, Kim focused on creating non-conceptual paintings in color during her graduate school years, and her expertise and sincerity can be acknowledged even just from the title of her graduate thesis; 「Study of Colors in Korean Buddhist Paintings」. Kim’s tendency to choose unique subjects such as “Eros and the character of Life” for her first solo exhibition in 1999 seems to have continued to exclusive sense of rhythm in such organic composition of her paintings now.


A painter who creates such wide range of works from abstract to conceptual is quite the rarity. Especially in case of Kim, she has even painted an official memorial portrait, reputably “the height of Conceptual Fine Art”. The Korean government selects some of the most revered figures in Korean history and have the “Official Memorial Portrait” made. Therefore, a portrait’s planning to completion go through a rigorous deliberation. Artist Young-hwa Kim was chosen to produce the portrait of King Muryeong (462-523), the 25th king of Baekje, which became certified as the 99th national official memorial portrait.

Since its planning stage in April of 2016, having gone through 12 meticulous scrutinization and evaluations by Ministry of Culture, Sports and Tourism, the portrait came to light in 2 years. Two portraits of the same figure can look like two completely different people according to the chosen age and the perspective, and Kim had chosen the image of King Muryeong in his 50s, entering the 22nd year of his reign. Capturing his vigor and sageness that the late king had during those years of endeavor to revive the nation, Kim’s interpretation based on historical records including Samguk Sagi and the excavated relics earned favorable reviews. 


When introducing artist Young-hwa Kim, often mentioned is the fact that she was born into the lineage of Korea’s profoundly acclaimed artist in history, who is none other than Hong-do Kim (1745-?), the unmatched master of Korea’s traditional fine art from Chosun dynasty. Young-hwa Kim has diligently studied her ancestor’s virile yet elegant brush strokes and the detailed expression technique. Her late father Yoon-tae Kim (1936-2012) was a potter who was designated as Intangible Cultural Property No.13 of Busan, confirming that the artistic talent must truly run in her family.

The late artist Yoon-tae Kim is especially acclaimed to have perfectly reproduced the 30 kinds of tea bowls used in Chosun dynasty, which had remained only in historical literature. Young-hwa Kim is proud of her father having responded to his calling that had put him through many years in endeavor to accurately revive the traditional beauty. Of course, she has strived to instill such spiritual aspiration into her own works as well. Having been taught how to draw on the ceramics at the age of 15 by her father, Kim now has established her own art world that crosses over conceptual and abstract style. 


“In this era of money where people mainly pursue wealth and honor, it is my hope to create a masterpiece that has energy, and to spread the Korean soul to the world through my paintings. As the saints gain bliss through prayer and devotion, I believe that an artist reaches a nirvana through making artworks. I shall practice altruism rather than strive to leave something behind and do my best in what I can do.”


Indeed, Kim has been producing artworks that tell of the beauty of Korean painting, and through making two- and three-dimensional Korean-style paintings upon their basic formativeness, she shares good energy and joy. For example, Kim has produced 118 paintings that enclose “prayer for peace” and donated them to many during the 2018 Pyeongchang Winter Olympics, held a donation exhibition in Chiba (the county where Japan’s Great Earthquake took place) in 2013, donated electric wheelchairs purchased from the proceeds of her exhibition to Jeongnip Polio Center in 2005, and gave away over 1,000 items of her belongings between 2003 and 2005. Even now, Kim is in the process of donating her works in prayer for the end of war in Ukraine.

There is no comparison to realizing one’s identity in the universe, for a life may be fleeing on earth, but it goes on infinitely in the universe. Young-hwa Kim’s practice of altruism may be “another way to grow into a better being in the current life.” Her choice of “the magical moment” as the theme can be regarded to have stemmed from her commitment to “share good energy and joy”, which is her motto as an artist.


From the 2nd of December to the 30th of 2022, Young-hwa kim is holding her special 60th solo exhibition in High Line Nine Gallery of Chelsea in New York, U.S.A. This means that she has held about 2 solo exhibitions per year through her career as an artist. For the show in New York, Kim is presenting 45 pieces big and small, all of which carry the harmony between the mystic depth of traditional ink and the vibrant energy of colors. With the dynamic silhouette of a line in the center, the adjacent top and the bottom are symmetrical, creating a fascinating balance as if reflecting one another.

Kim has always said that she wished to show her art world that embraces Eastern philosophy. In that sense, her paintings could be regarded as “the dramatic moment when everything that had been in chaos comes into a new order.” Hence, her works titled <○○○ MOMENT> are the result of each philosophy that has become visual. The positive energies namely miracle, joy, success, hope, etc.… they repeatedly fill the blanks of the sentence written in the hearts of the viewers upon seeing Kim’s deep colors and golden texture with intense ink-and-wash painting effects. 

검이불루화이불치 찰나의 미학 – 명성적 관념에 추상풍경을 그리다

글_김윤섭(미술사 박사)



고요하고 아스라한 여명, 신묘한 낙조의 여운, 장엄한 밤하늘의 깊이 그리고 거센 풍랑을 몰고온 밤바다 혹은 거친 숨을 몰아쉬는 모래톱…. 김영화의 그림을 한마디로 묘사하기가 쉽지 않다. 단순한 화면의 추상화라고 하기엔 너무나 생생한감정까지 느껴지고, 실감 나는 구상화라고 하기엔 정의할 수 없는 모호한 정경(情景)이다. 마치 자연의리듬을 활용한 무기교의 기교나 박석(薄石)의 미학이 연상된다. 무거운 고요함이 감돌면서도 청명하고 화려한 기운이 충만한 그림이다.아마도 우리 옛말 중에 ‘검이불루화이불치(儉而不陋華而不侈)’라는 표현을 빗대면 어떨까 싶다. 이 말은 김부식의 삼국사기 백제본기와 조선경국전에 등장하는 고사성어이다. 한자 그대로 백제와 조선의 미(美)를 “검소하나 누추하지 않고, 화려하나 사치스럽지 않음”의 의미로 설명한 것이다. 김영화 그림 역시 그 연장선에서 바라보면 훨씬 편하게 와 닿을 듯하다.


“마법의 순간을 꿈꾸게 됩니다. 바라던 모든 것이 이뤄지는 편안하고 깊은 색을 나만의 감성을 담아 많은 이들에게 전달되길 바랍니다. 명상으로 그 풍경들을 마음속에 그려 나갈 때가 최고의 순간입니다. 천지인 합일의 조화를 추구하고, 우주의 파동을 포착하는 작업에 몰두해 지금의 작품이 탄생한 것입니다.”


최근 작품의 제목에 ‘MOMENT’라는 단어가 즐겨 사용된다. 김 작가는 이를 ‘마법의 순간’이라고 부른다. 원하는 것이 무엇이든 간에 이뤄주는 신비한 순간을 선물하고 싶은 마음에서다. 그래서일까, 작품 제작에 들어가기 전에 늘 명상하는 시간을 잊지 않는다. 생각으로 이미 완성한 ‘흉중구학(胸中丘壑)의 미감’을 실감 나게 옮기기 위함이다. 또한 직관적으로 선택된 색감의 깊이와 수묵의 우연한 효과가 음률적인 조화를 이뤄내는 과정이 반복된다. 그녀에게 그림은 무한한 사유와 명상의 공간이기 때문이다.

김영화 작가는 서양화 재료인 아크릴 물감과 과슈를 주로 사용하고 있지만, 학창 시절의 전공은 한국화로 시작했다. 수십 년간 익혀온 수묵채색 기법을 기반으로 수용성(水溶性)을 지닌 두 재료를 능수능란하게 다루고 있다. 참고로 대학에서 수묵작업 위주의 사군자나 산수화, 화훼화를 주로 그렸다면, 대학원에선 채색화 기법으로 비구상 작업에 몰입했다. 졸업 논문의 제목이 「한국 불화에 나타난 색채연구」였을 정도로 색채연구에 대한 전문성과 진정성도 갖췄다. 또한 1999년 첫 개인전의 ‘에로스와 생명성’이란 남다른 주제가 지금의 유기적 화면구성의 독창적인 리듬감으로까지 연계된 것으로 보인다.


이처럼 한 작가가 구상과 비구상 작품을 넘나들며 폭넓은 행보를 보여주는 예가 많지 않다. 특히 김영화 작가의 경우는 ‘구상회화의 꽃’으로 여겨지는 공식 표준영정까지 제작했다. 표준영정은 한국의 역사적 인물 가운데 민족적으로 추앙받는 특정 선현 중 국가가 지정해 제작한 공식 인물화를 말한다. 그러다 보니 한 표준영정이 기획에서 완성되기까진 공공기관의 엄정한 심의를 거치게 된다. 김영화 작가는 국가 공인 제99호 표준영정으로 지정받은 백제 제25대 무령왕(462~523)의 영정을 제작했다. 

이 무령왕 표준영정은 2016년 4월부터 추진되어 총 12차에 걸친 문화체육관광부 영정동상심의위원회의 세밀한 고증과 심의를 거쳐 2년 만에 빛을 봤다. 주목할 점은 같은 인물의 영정이라도 어떤 시점과 관점에서 해석하느냐에 따라 전혀 다른 느낌을 전한다는 것이다. 김 작가는 무령왕의 재위 22년의 중후반기인 50대 중반을 중심으로 삼았다. 백제 부흥을 위해 가장 왕성하게 힘썼던 당시의 당찬 패기와 근엄함까지 표준영정에 담기 위해서였다. 삼국사기와 출토유물 등 역사적 기록에 근거한 고증에 작가적 해석까지 더해져 긍정적인 평가를 받았다. 


김영화 작가를 소개할 때, 예술가 집안의 후손이란 점이 많이 언급된다. 우선 먼 조상으로 우리나라 전통 회화의 최고봉으로 꼽히는 조선 영조시대 단원 김홍도(金弘道, 1745~?)의 후손이라고 한다. 호방하고 유려한 단원의 필치와 속되지 않게 아름다우며 청아한 수골청상(秀骨淸像)의 세밀한 표현법까지 폭넓은 화법 연구에 게을리하지 않았다. 직계로는 부산 무형문화재 13호 사기장 도봉(道峰) 김윤태(金允泰, 1936~2012) 도예가가 부친이다. 김윤태 작가의 친가는 4대째, 외가는 9대째의 도예 집안으로 김영화 작가에게도 이러한 예맥(藝脈)의 기운이 고스란히 이어진 것이다.

특히 김윤태 선생은 문헌으로만 남아 있던 우리 선조의 얼과 정신이 담긴 조선 찻사발 다완 30여종을 완벽하게 재현한 장본인으로도 이름나 있다. 김영화 작가는 고유한 전통적 미감을 제대로 구현하고자 긴 세월을 천착해온 부친의 정신과 소명의식을 자랑스럽게 여긴다. 물론 본인의 작품에도 이러한 정신적 염원을 담고자 노력해왔다. 또한 그런 아버지의 가르침으로 15세 무렵부터 도자기에도 그림을 그리기 시작했으며, 지금은 구상과 추상을 넘나드는 확장된 작품세계를 구축하게 되었다. 


“요즘은 사람들이 돈과 명예를 좇아가는 금융의 시대에 살고 있지만, 에너지가 담긴 명작을 남기는 게 작가로서 삶의 소망입니다. 한국화 정신을 통해 세계인들에게 우리의 얼과 혼을 널리 전파하고 싶습니다. 성자(聖子)들은 기도와 정진으로 해탈하듯이 화가는 작품활동으로 해탈의 경지로 간다고 믿습니다. 무엇을 남기기보다 이타행을 실천해야 하며 자신이 할 수 있는 것에 최선을 다해야겠습니다.” 


실제로 김영화 작가는 한국화의 멋을 널리 알리는 작품활동을 이어오고 있다. 한국화의 기본적 조형성을 기반으로 평면과 입체 작업을 통해 좋은 에너지와 기쁨을 나누는 과정을 즐긴다. 가령 2018평창동계올림픽 시즌에는 ‘평화를 기원하는 그림’ 118점을 제작해 여러 사람에게 기증했고, 2005년에는 전시 수익금으로 전동 휠체어를 소아마비 정립회관에 기증했는가 하면, 2003~2005년 사이에만 주변 사람들에게 1천여 점의 소품을 나눴고, 2013년 일본 대지진 현장인 지바현에서 작품 기증전을 가졌다. 지금도 우크라이나 전쟁의 종식을 염원하기 위해 작품 기증을 준비 중이다. 

우주 속에서 나의 존재가 누구인가를 알았을 때의 기쁨은 이루 말할 수가 없을 것이다. 우리가 살아있는 것은 이생의 찰나겠지만, 그 우주에선 영원히 반복하기 때문이다. 김영화 작가의 그림을 통한 이타행 실천은 ‘이생에서 더 나은 나를 위해서 성장해가는 또 하나의 방편’이 아닐까 싶다. 작품에 ‘마법의 순간’이란 테마를 주제로 삼은 것도 작가적 신념으로 여기는 ‘좋은 에너지와 기쁨을 나누는 것’에 대한 다짐이 반영된 것으로 여겨진다. 


김영화 작가에게 오는 12월 2일부터 30일까지 미국 뉴욕 첼시의 하이라인나인갤러리(high line nine gallery)에서 진행되는 개인전은 매우 특별한 의미가 있다. 작가 생활 통틀어 60회째를 맞는 개인전이기 때문이다. 연간 평균 최소 두 번의 개인전을 치러온 셈이다. 이번 뉴욕전시도 역시 크고 작은 신작 50점을 선보인다. 먹색이 지닌 신묘한 깊이와 다양한 색조의 생동감 넘치는 에너지가 조화를 이룬 작품들이다. 대개의 작품은 화면이 가로로 크게 삼등분된 구성이다. 주로 중간 띠 부분의 역동적인 실루엣을 기준으로 위아래가 대칭을 이룬 형국이다. 마치 천지가 거울이 되어 서로를 비추며 균형을 이룬 조화로움이 특별하다.

줄곧 김영화 작가는 동양철학을 품은 작품세계를 보여주고 싶다고 강조해왔다. 그런 면에서 김 작가의 그림을 ‘만물발생 이전의 원초상태인 카오스(chaos)가 새로운 질서를 찾는 순간을 포착한 것 같은 극적인 순간’으로 해석할 수도 있겠다. 결국 김영화 작가의 작품 <○○○ MOMENT>는 제각각의 철학을 시각화하여 그려낸 작품들이다. 감상자 저마다의 마음속으로부터 불러일으킨 깊은 색의 단상, 강렬한 수묵 효과와 황금빛 질감의 관계항은 기적ㆍ환희ㆍ성공ㆍ희망 등 여러 경로의 긍정적인 에너지로 선순환을 반복해 보여주고 있다.

The Aesthetics of “Humble Splendor”- Abstract Landcape on a Meditative Contemplation

Yoon-sub Kim, Ph.D. (Scholar of Art History)



A silent and dim daybreak, the lingering glow of sunset, the depth of a magnificent night sky, and the night sea in a wild storm or the sand bank letting out a heavy breath… Mere few words cannot quite grasp the paintings of Young-hwa Kim. The feelings they evoke are too vivid to regard them as abstract paintings, but the compositions are too ambiguous to define them as conceptual paintings. They recall the fanciness of the unrefined found in the rhythm of nature, or the beauty of the ground stones (薄石) exquisitely laid down one next to another in Korean palaces. Hung in weighty silence, yet filled with clear and dazzling energy, Kim’s works echo the historical proverb, “儉而不陋華而不侈”, meaning “humble yet not shabby, fancy yet not extravagant”. The saying is written in Samguk Sagi (historical record of the Three Kingdoms of Korea: Goguryeo, Baekje and Silla, written in 1145) and Chosun Gyeonggukjeon (the charter code for Chosun Dynasty written in 1394), to literally describe the inornate beauty of Baekje and Chosun. And the description extends to the sentiment that Kim’s paintings exude.


“I dream of the magical moment. May the comforting and deep colors that fulfill all the wishes while carrying my own sentiment be conveyed to many viewers! Nothing can compare to the time when I’m imagining those landscapes in my meditation. Through pursuing the harmony of heaven, earth and man (天地人) and capturing the tremble of the universe, my paintings were born.”


The word “Moment” is often used in the titles of Kim’s recent works. She calls it “the magical moment”, from her wish to present such time of everything you wish for being granted. Possibly so, Kim never misses a time of meditation before starting a new painting, to realize “the beauty of having hills and valleys at mind (胸中丘壑)” that has already been completed in her thoughts. Also, the depth of intuitively selected colors and accidental effects of the traditional ink coming together in melodic harmony is repeated on canvas, since it is the space of infinite contemplation and meditation for Kim.

Although the artist mainly uses acrylic paint and gouache - the media that have originated from Western countries - her major in undergraduate school was Korean Art. Through mastering the skill of painting in traditional ink with color for many years, Kim uses the two water-soluble media with ease. In addition, while she had mainly painted the Four Gracious Plants (“四君子”: plum, orchid, chrysanthemum and bamboo), landscapes and flowers using ink-and-wash painting technique in undergraduate years, Kim focused on creating non-conceptual paintings in color during her graduate school years, and her expertise and sincerity can be acknowledged even just from the title of her graduate thesis; 「Study of Colors in Korean Buddhist Paintings」. Kim’s tendency to choose unique subjects such as “Eros and the character of Life” for her first solo exhibition in 1999 seems to have continued to exclusive sense of rhythm in such organic composition of her paintings now.


A painter who creates such wide range of works from abstract to conceptual is quite the rarity. Especially in case of Kim, she has even painted an official memorial portrait, reputably “the height of Conceptual Fine Art”. The Korean government selects some of the most revered figures in Korean history and have the “Official Memorial Portrait” made. Therefore, a portrait’s planning to completion go through a rigorous deliberation. Artist Young-hwa Kim was chosen to produce the portrait of King Muryeong (462-523), the 25th king of Baekje, which became certified as the 99th national official memorial portrait.

Since its planning stage in April of 2016, having gone through 12 meticulous scrutinization and evaluations by Ministry of Culture, Sports and Tourism, the portrait came to light in 2 years. Two portraits of the same figure can look like two completely different people according to the chosen age and the perspective, and Kim had chosen the image of King Muryeong in his 50s, entering the 22nd year of his reign. Capturing his vigor and sageness that the late king had during those years of endeavor to revive the nation, Kim’s interpretation based on historical records including Samguk Sagi and the excavated relics earned favorable reviews. 


When introducing artist Young-hwa Kim, often mentioned is the fact that she was born into the lineage of Korea’s profoundly acclaimed artist in history, who is none other than Hong-do Kim (1745-?), the unmatched master of Korea’s traditional fine art from Chosun dynasty. Young-hwa Kim has diligently studied her ancestor’s virile yet elegant brush strokes and the detailed expression technique. Her late father Yoon-tae Kim (1936-2012) was a potter who was designated as Intangible Cultural Property No.13 of Busan, confirming that the artistic talent must truly run in her family.

The late artist Yoon-tae Kim is especially acclaimed to have perfectly reproduced the 30 kinds of tea bowls used in Chosun dynasty, which had remained only in historical literature. Young-hwa Kim is proud of her father having responded to his calling that had put him through many years in endeavor to accurately revive the traditional beauty. Of course, she has strived to instill such spiritual aspiration into her own works as well. Having been taught how to draw on the ceramics at the age of 15 by her father, Kim now has established her own art world that crosses over conceptual and abstract style. 


“In this era of money where people mainly pursue wealth and honor, it is my hope to create a masterpiece that has energy, and to spread the Korean soul to the world through my paintings. As the saints gain bliss through prayer and devotion, I believe that an artist reaches a nirvana through making artworks. I shall practice altruism rather than strive to leave something behind and do my best in what I can do.”


Indeed, Kim has been producing artworks that tell of the beauty of Korean painting, and through making two- and three-dimensional Korean-style paintings upon their basic formativeness, she shares good energy and joy. For example, Kim has produced 118 paintings that enclose “prayer for peace” and donated them to many during the 2018 Pyeongchang Winter Olympics, held a donation exhibition in Chiba (the county where Japan’s Great Earthquake took place) in 2013, donated electric wheelchairs purchased from the proceeds of her exhibition to Jeongnip Polio Center in 2005, and gave away over 1,000 items of her belongings between 2003 and 2005. Even now, Kim is in the process of donating her works in prayer for the end of war in Ukraine.

There is no comparison to realizing one’s identity in the universe, for a life may be fleeing on earth, but it goes on infinitely in the universe. Young-hwa Kim’s practice of altruism may be “another way to grow into a better being in the current life.” Her choice of “the magical moment” as the theme can be regarded to have stemmed from her commitment to “share good energy and joy”, which is her motto as an artist.


From the 2nd of December to the 30th of 2022, Young-hwa kim is holding her special 60th solo exhibition in High Line Nine Gallery of Chelsea in New York, U.S.A. This means that she has held about 2 solo exhibitions per year through her career as an artist. For the show in New York, Kim is presenting 45 pieces big and small, all of which carry the harmony between the mystic depth of traditional ink and the vibrant energy of colors. With the dynamic silhouette of a line in the center, the adjacent top and the bottom are symmetrical, creating a fascinating balance as if reflecting one another.

Kim has always said that she wished to show her art world that embraces Eastern philosophy. In that sense, her paintings could be regarded as “the dramatic moment when everything that had been in chaos comes into a new order.” Hence, her works titled <○○○ MOMENT> are the result of each philosophy that has become visual. The positive energies namely miracle, joy, success, hope, etc.… they repeatedly fill the blanks of the sentence written in the hearts of the viewers upon seeing Kim’s deep colors and golden texture with intense ink-and-wash painting effects. □

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