2019 Honam Art Archival Exhibition Heo Baek-ryeon, a Spiritual, Artistic Pillar in Korean Art - The Spirit and Art of Heo Baek-ryeon as Carried on by Yeonjinhoe
- 2019.07.10 ~ 2019.10.20
- Admission Fee
- Gwangju Museum of Art, 3-4 Gallery
- Gwangju Museum of Art
Number of Works
Korean Painting, 40 art works
○ It is intended to give prominence to Heo Baek-ryeon as an essential asset of Gwangju, the land of liberal arts. It will be a showcase of the spirit and art he pursued and will feature archived materials, videos, interviews, letters, and photographs by his disciples at Chunseolheon.
○ The exhibition is expected to serve as a catalyst to archive an extensive range of materials related to the Namdo art scene beginning with Yeonjinhoe, an organization that strived to inherit the tradition of namjonghwa.
The Gwangju Museum of Art (GMA) has held an annual archival project to tackle the cardinal streams of Honam art (the art of Jeolla-do, particularly South Jeolla Province), which serves as an opportunity to research and reestablish local art history.
Heo Baek-ryeon, an Artist Who Lived a Practical Life
Referred to as the last pillar of namjonghwa, Heo was considered a great leader, a thinking philosopher who became part of nature without being bound to any borders, an artist, and an activist who practiced his ideas for the people Yeonjinhoe was founded in 1938 by 36 painters and calligraphers who shared the same ambitions as Heo Baek-ryeon.1) Given the fact that it secured its own location in Yeonjin Hall in Gung-dong, Gwangju in 1949, it assumed a pivotal role in bringing Namdo artists together after being launched for the purpose of “cultivating individuals by seeking truth”. A large body of celebrated Honam painters and calligraphers were included in its list of members. Jung Un-myeon, Heo Haeng-myeon, and other Honam artists forged their own distinctive styles while constantly making exchanges with painters in the central art scene such as Go Hui-dong, Kim Eun-ho, Byun Kwan-sik, and Lee Ung-no. On display at this exhibition are works by its early members including Ku Cheol-woo, Lee Beom-jae, Jung Sang-ho, Jung Un-myeon, and Heo Haeng-myeon as well as patron members such as Byun Kwan-sik. Heo Baek-ryeon devoted himself to a rural rehabilitation movement with his strong will to modernize agricultural villages after he witnessed a devastated agricultural region following the country’s independence. A nationalist who refused to change his full name under coercion of imperialist Japan, Heo advocated the philosophy of Hongik Ingan (弘益人間, To broadly benefit humanity or Live and work for the benefit of all mankind) as an ideal his generation had to pursue and carried out the construction of the Dangun Shrine in order to revive the national spirit.
Yeonjinhoe – An Era of Passion
On display in the second section are works by artists who became distinguished early on through state art exhibitions such as Kim Ok-jin (1927-2017), Moon Jang-ho (1938-2014), Park Haeng-bo (1935- ), and Lee Sang-jae (1930-1989) in addition to artists who are still active such as Kim Chun, Kim Hwa-rae, Park So-young, Yang Kye-nam, Lee Kang-sul, Chang Chan-hong, Choi Duck-in, and Heo Dal-jae.
Chunseolheon – the Cradle of the Humanities
Chunseolheon was the cradle of the humanities where many painters and literary men would often visit and be fully bathed in the preferences and style of Heo who had disciplined his spirit with tea, reading, and painting. Those who visited to receive his guidance in person practiced the basic study of replicating and copying sample paintings and calligraphic works offered by Heo Baek-ryeon or executed a joint work with Heo Baek-ryeon on a special day.
Heo Baek-ryeon, Ku Cheol-woo, Byun Kwan-sik, Lee Beom-jae, Jung Sang-ho, Jung Un-myeon, Heo Haeng-myeon, Kim Ok-jin, Kim Chun, Kim Hwa-rae, Moon Jang-ho , Park So-young, Park Haeng-bo , Yang Kye-nam, Lee Kang-sul, Lee Sang-jae , Chang Chan-hong, Choi Duck-in , Heo Dal-jae