¢Æ¢Æ RIM HYO ¢Æ¢Æ
 
 
   
  Çѱ¹¼º Ž±¸¿¡ ÞÐëò¿Í Çü»óÀ» Á¢¸ñÇÑ ½ÅÀÚ¿¬ÁÖÀÇÀÇ ¿Ï¼º
  ±Û¾´ÀÌ : °ü¸®ÀÚ     ³¯Â¥ : 08-05-19 21:22     Á¶È¸ : 8100    


2008³â 05¿ùÈ£ > ÀÛ°¡ > Ç¥ÁöÀÛ°¡ >
ÀÓÈ¿- Çѱ¹¼º Ž±¸¿¡ ÞÐëò¿Í Çü»óÀ» Á¢¸ñÇÑ ½ÅÀÚ¿¬ÁÖÀÇÀÇ ¿Ï¼º

COVER ARTIST


ÀÓ È¿
Rim, Hyo
2008. 5. 28 ~ 6. 8 ¼±È­¶û(Àλ絿)
--------------------------------------------------------------------------------
ùÛÏÐàõ ÷®Ï¼¿¡ ÞÐëò¿Í û¡ßÚÀ» ïÈÙÊÇÑ ãæ í»æÔñ«ëù èÇà÷

±è³²¼ö / ¹Ì¼úÆò·Ð°¡

ÀåÀÚÀÇ À̷п¡ '´«À¸·Î º¸°í, ±Í·Î µè°í, ¸¶À½À¸·Î ´À³¢¸ç, ±â(Ѩ)·Î ¾ò´Â´Ù(Ôð)' ¶ó´Â ´ë¸ñÀÌ ÀÖ´Ù. âÁ¶ÀÚÀÇ Á¤½Å°ú ¸¶À½°¡Áü¿¡ µû¶ó Á÷°ü¿¡ ÀÇÇÑ ¿ìÁÖµµ »ï¶ó¸¸»óµµ µæÀÇ(Ôðëò)¸¦ ÇÒ ¼ö ÀÖ´Ù´Â Àǹ̰¡ ¾Æ´Ò±î.
¿ì¸®´Â ÀÛ°¡ ÀÓÈ¿ÀÇ ¿¹¼ú¼¼°è¸¦ ÅëÇÏ¿© ¹«ÇÑÇÏ°í ½É¿ÀÇÑ ÀåÀÚÀÇ À̷аú ¸¸³¯ ¼ö ÀÖ´Ù. ¿¹¼úÀÇ º»·ÉÀº Àΰ£ÁÖÀÇÀÇ ½ÇÇö°ú Çعæ, ±× ¿Ï¼ºÀ» À§ÇØ ²÷ÀÓ¾ø´Â Ž±¸¸¦ ÇÏ°í ÀÖ´Â °ÍÀº ¾Æ´Ò±î. ÀÓÈ¿ÀÇ ÀÛÇ°¼¼°è´Â ÇѸ¶µð·Î ¿ì¸®½Ã´ë¸¦ »ì¾Æ°¡´Â Àΰ£µéÀÇ ÀÚÈ­»óÀÌ¿ä, ¿°¿øÀ̸ç, Àΰ£ÀÌ ¿Ï¼ºÄÚÀÚ ÇÏ´Â ±âµµ°¡ ±× ÀÛÇ° ¼Ó¿¡ Åõ¿µµÇ¾î ÀÖÀ½À» ¹ß°ß ÇÒ ¼ö ÀÖ´Ù. ¿¹¸¦ µé¾î ¡®»ç´Â °Í¿¡ ´ëÇÑ ÁöÇý¿Í °¡Ä¡' ¡®¼³È­ ¼Ó¿¡ ³ª¿À´Â dzÀÚ¿Í ÇØÇÐ' ¡®Ãà¾àµÈ ¼±°ú ¸é, Á¡¸¸À» °¡Áö°íµµ ¿ìÁÖ¿Í Á¢¸ñÇÏ°í, °øÁ¸ÇÏ°í, ÅëÇÕÇÏ´Â ÇàÀ§¡¯°¡ ±×ÀÇ ¿¹¼úÀ» ÅëÇÏ¿© ½ÇÇöµÇ°í ÀÖ´Ù´Â °ÍÀÌ´Ù. ´Ù½Ã ¸»ÇØ Àΰ£ÀÇ »î°ú ÇÔÃàÀÇ ¹ÌÇÐÀÌ ±×ÀÇ ¿¹¼úÇàÀ§¸¦ ÅëÇÏ¿© ¹ßÇöµÇ°í ÀÖ´Ù°í³ª ÇÒ±î. ±×ÀÇ ¿¹¼úÇàÀ§´Â ÇÑ ÆíÀÇ ´ë¼­»ç½Ã³ª Æijë¶ó¸¶Ã³·³ º¯È­¹«½ÖÇÑ ½Ã°¢ÀûÀÎ ¿¹¼ú·Î ´Ùµë¾îÁö°í ÀýÁ¦µÇ°í °£°áÇÏ°Ô Ãà¾à(õêå³)µÇ¸é¼­ ¿À´ÃÀÇ ½ÃÁ¡±îÁö Àü°³µÇ¾î ¿Ô´Ù.

¸»Àº ¸¹À»¼ö·Ï ¾µ¸ð°¡ ¾ø°í, ÀûÀ»¼ö·Ï ²À ÇÊ¿äÇÑ ¸»¸¸À» °ñ¶ó ¾²±â ¸¶·ÃÀÌ´Ù. ÀÓÈ¿ÀÇ ¿¹¼úÀÌ ¹Ù·Î ±×°ÍÀÌ´Ù. °£°áÇϸ鼭µµ ÃÖ¼ÒÇÑÀÇ ¾ð¾î·Î ±× Áø¼ö(òØâÐ)¸¸À» È­Æø¿¡ ´ã´Â ÀÛ¾÷, ºÒÇÊ¿äÇÑ ÃéÀ°(ö¡ë¿)Àº ¶³ÃĹö¸®°í ½º½º·Î µæÀÇÇÑ ÈäÁßÀϱâ(ýØñéìïѨ)¸¸À» È­Æø ¼Ó¿¡ ¿Ï¼ºÇÏ·Á°í ÇÏ´Â Áý³äÀ» ÀÐÀ» ¼ö ÀÖ´Ù. ¶§·Ð ºñ¿ì±âµµ ÇÏ°í ä¿ì±âµµ ÇÏ¿© ÇÊ¿äÇÑ ¾ð¾î¸¸À» ¸¸µé¾î ³»´Â °ÍÀÌ ÀÓÈ¿ ¿¹¼úÀÇ Áø¼ö¿ä, ÀÚÈ­»óÀÌ´Ù.
ÀÓÈ¿ ÀÛÇ°ÀÇ º¯Ãµ°úÁ¤À» º¸¸é Èï¹Ì·Ó°í ¿ì¸®¿¡°Ô À¯ÀÍÇÑ Ã¼ÇèÀÇ ¹ÌÇÐ °°Àº °ÍÀ» Àϱú¿ö ÁÖ°í ÀÖ´Ù. ±×ÀÇ ÀÛÇ°¼¼°è´Â ½Ã´ëº°·Î ±Ø¸íÇÑ ÁÖÁ¦¿Í Á¤½ÅÀÌ ´ã°ÜÀÖ°í, ±×¶§±×¶§ ¼³Á¤µÈ Å׸¶¿¡ µû¶ó ¸ÅÀç¿Í Àç·á½ÃÇèÀ» °ÅµìÇÏ°í ÀÖ´Â °ÍÀÌ Æ¯Â¡ÀûÀ¸·Î ³ªÅ¸³ª°í ÀÖ´Ù. °¡·É 83³â¿¡´Â ¼ö¹¬À» ÁÖÁ¶·Î ÇÑ Áø°æ»ê¼ö¸¦ ÁýÁßÀûÀ¸·Î Ãß±¸Çß´Ù. ´ç½Ã ÀÛ°¡°¡ ¹ßÇ¥ÇÏ°í ÀÖ´Â °³ÀÎÀü¿¡´Â µ¿¾ç»ç»ó¿¡ ³ª¿À´Â 'úÜñëñýÙØ'ÀÇ »çÀ¯¿Í Á¤½ÅÀ» ±¸ÇöÇÏ·Á´Â Áý¿äÇÑ ¼ö¾÷ Ãʱ⸦ º¸³Â´Ù.

±×·¯´Ù°¡ 86³â¿¡´Â ¼ö¹¬À» ¹ÙÅÁÀ¸·Î ÇÑ ¸ðÇÊÀÇ ½ÃÃß(ãËõÞ)ÀÛ¾÷¿¡ µé¾î°¬´Ù. ±×ÀÇ ¿¹¼úÀÇ È­¸é¿¡¼­ ¸¸³µ´ø Ãß»óÇ¥ÇöÁÖÀÇ ¾ç½ÄÀº À̶§ ºñ·ÔµÈ °ÍÀÌ´Ù. À̸¥¹Ù Æò¸é¿¡¼­ ¸¸³ª´Â Ç¥ÇöÀÇ ÇÑ°è µî ȸÀÇÀûÀÎ °¥µî ¶§¹®À̾úÀ» °ÍÀÌ´Ù. ±×·¯´Ù°¡ 90³â¿¡ µé¾î ¿Í¼­´Â ±í°í ±½Àº ¼±ÀÌ Ç¥Çö ¹æ¹ý·Ð»óÀÇ ±â¹ýÀ¸·Î µîÀåÀ» Çß°í, ´Ü±º½ÅÈ­Àû À̾߱⳪ ¼³È­Àû À̾߱Ⱑ ÁÖÁ¦·Î µîÀåÇÑ´Ù. À̸¥¹Ù ÀÛ°¡¸¸ÀÌ °¡Áø °íÀ¯ÇÑ Á¶Çü¾ð¾îÀÇ Ã¢ÃâÀ̶ó°í³ª ÇÒ±î. ±×ÀÇ Á¶ÇüÀÛ¾÷¿¡¼­ õ¿¬Ã¤»öÀÇ ¹°°¨ÀÌ »ç¿ëµÈ °ÍÀº À̶§¿¡ ÀÌ·ç¾îÁø °ÍÀÌ´Ù.

91³â °¶·¯¸®¾Æ ¹Ì¼ú°ü¿¡¼­ °¡Áø ¹ßÇ¥Àü¿¡¼­ °­·ÄÇÑ »öÁ¶ÀÇ Áøäȭ°¡ µîÀåÇÑ °Íµµ ±×°¡ ä»öÈ­°¡·Î º¯½ÅÇÏ´Â °°Àº ¸Æ¶ôÀ¸·Î º¸¾Æµµ ÁÁÀ» °Í °°´Ù. 92³â ±ÝÈ£°¶·¯¸®¿¡¼­ °¡Áø ÀÛÇ°Àü¿¡¼­ »õ·Î¿î ¸ÅÀç·Î µîÀåÇÑ ¾çÈ­ÀÇ ¾ÆÅ©¸±°ú ĵ¹ö½º, ¹«¼ÓÀÇ Å½±¸¸¦ À§ÇÑ ÀÏ·ÃÀÇ ¹«¼ÓÁ¤½ÅÀÇ Å׸¶Àü, ¿ø½Ã ½Å¾ÓÀ¸·Î¼­ÀÇ »þ¸Ó´ÏÁò°ú ¿ì¸®ÀÇ ÁÖ¼úÀûÀÎ ±âº¹½Å¾Ó°úÀÇ ¸¸³² µî ÇѹÎÁ·ÀÇ Åä¼Ó½Å¾Ó¿¡ °üÇÑ ¿¬±¸°¡ ÀÓÈ¿ÀÇ ÀÛÇ°À» ÅëÇÏ¿© Àü°³µÆ´Ù.

¼ö¹¬È­¶û¿¡¼­ °¡Áø ¹ßÇ¥Àü¿¡¼­ ±×´Â ¿ì¸® ¹®È­ÀÇ ¾î¿øÀ» ã±â ½ÃÀÛÇÑ´Ù. ûµ¿±â ½Ã´ëÀÇ À¯¹°°ú ¾Ï°¢È­, °í±¸·Á ½Ã´ëÀÇ º®È­µî ±Ù¿øÀûÀÎ Àΰ£ÀÇ ½Ã¿øÀ» ¿¬±¸Çϱ⠽ÃÀÛÇÑ´Ù. ±×ÀÇ È¸È­¾ç½Ä¿¡ ÀÔüȸȭ°¡ µîÀåÇÑ °Íµµ À̶§¿¡ ÀÌ·ç¾îÁø °ÍÀÌ´Ù.

±× ÈÄ ±ÙÀ۵鿡¼­ º¸¿© ÁØ 'Èë°ú ÇÑÁöÀÇ ¸¸³²'ÀÌ °è¼ÓµÇ¾úÀ¸¸ç, ÀÌ·¸°Ô µûÁ® º¼ ¶§ ÀÓÈ¿ÀÇ ÀÛÇ°¼¼°è´Â ÇϳªÀÇ Ãà¼âµÈ ¹Ì¼ú»çÀûÀÎ Àǹ̸¦ °¡Áö°í ÀÖ°í, ÀÛ°¡ ¾È¿¡ ±×¸¸ÀÇ ¼Ò¿ìÁÖ°¡ Çü¼ºµÇ¾î ÀÖÀ½À» °¨µæÇÒ ¼ö ÀÖ´Ù.
±×ÀÇ ÀÛÇ°¼¼°èÀÇ ±ÙÀÛ±îÁö¸¦ °³°ýÀûÀ¸·Î »ìÆìºÃÁö¸¸ 95³â ÀÌÈÄ ±×°¡ ¹ßÇ¥ÇÏ°í ÀÖ´Â ¿¹¼ú¼¼°è¸¦ ½ÉÃþŽ±¸ Çϸ鼭 ±×ÀÇ ÀÛÇ°ÀÇ °æÇâµéÀ» ¤¾î º¸±â·Î ÇÑ´Ù.

±× ¹«·Æ ÀÛ°¡°¡ ½ÉÃþŽ±¸ÇÏ°í ÀÖ´Â ÀÛÇ°¼¼°è´Â ¼±»ç½Ã´ëÀÇ ¾Ï°¢È­³ª °í±¸·Á º®È­µé¿¡¼­ º¼ ¼ö ÀÖ´Â µµºÎÁ¶(ԶݩðÁ)³ª ÁöÆǺÎÁ¶ÀÛ¾÷À» ÁöÀûÇÒ ¼ö ÀÖ´Ù. 100È£ºÎÅÍ 800È£±îÁöÀÇ ´ëÀÛ ½Ã¸®Áî°¡ ¿¹¼úÀûÀÎ ÀÛ°¡ÀÇ ±â(Ѩ)¸¦ ½ñ¾Æ ³»´Â ´ë µå¶ó¸¶°¡ ¿¬ÃâµÈ °ÍÀÌ´Ù. ÀÛ°¡ÀÇ È£¿¬Áö±âÇÑ ¿¹¼ú¿¡ ´ëÇÑ ¿­¸Á°ú È­È¥(ûþûë)À» ÀÛÇ° ¼Ó¿¡ ºÒ¾î³ÖÀº °ÍÀÌ´Ù. ´Ù¾çÇÑ ¸ÅÀçÀÇ ½ÇÇè°ú ÇÔ²² »õ·Î¿î ±â¹ýÀÇ °³¹ßÀ» ÅëÇÑ »ý¸í·Â°ú âÁ¶·ÂÀ» '±â(Ѩ)'ÀÇ ÀÀÁýÀ¸·Î ÀÚÀ¯ÀÇ ¹ÌÇÐÀ» È­¸é ¼Ó¿¡ ½ñ¾Æ ³õÀº °ÍÀÌ´Ù. À̶§¿¡ ³ªÅ¸³­ Çü»óµéÀº ¼±³²¼±³à³ª ¼±»ç½Ã´ëÀÇ Åä±â Ç׾Ƹ®, Áºһó, ¹«¿ëÃÑ¿¡¼­ º½Á÷ÇÑ °íµ¶ÇÑ ±ºÁßµéÀÇ ¸ð½À, Àå½Å±¸ µî ¼±Á¶¸¦ ÅëÇÑ Ãµº¯¸¸È­ÀÇ ÀÛ°¡ÀÇ '±â¸¦ ÀÐÀ» ¼ö ÀÖ¾ú´Ù. ´Ù½Ã ¸»ÇØ Áö³­³¯ È£¹æÇÏ°í ¿ªµ¿ÀûÀÎ ¿îÇʷ°ú °­·ÄÇÑ »öÁ¶ÀÇ È¸È­¾ç½ÄÀ» Ãß±¸Çß´ø ÀÛ°¡°¡ 'Èë°ú Á¾ÀÌ°¡ ¸¸³ª´Â ¼¼°è'·Î ¼±È¸Çϸ鼭 ½º½º·Î º¯½ÅÀ» Çß´ø ¶§°¡ ¹Ù·Î ÀÌ ½Ã±â°¡ ¾Æ´Ï¾ú³ª ½Í´Ù. À̸¥¹Ù Æò¸éÀÇ ÇѰ質 µ¹ÃâÀÇ ¿å±¸°¡ ±×·Î ÇÏ¿©±Ý °íÁ¹¹Ì°¡ ³ÑÄ¡´Â ¿ø½Ã¼º¿¡ Á¢±ÙÄÉ ÇÔÀ¸·Î½á Èë°ú Àο¬À» ¸Î°Ô µÈ °ÍÀÌ¸ç µµÆǺÎÁ¶¸¦ 1300µµÀÇ °¡¸¶¿¡¼­ ¼Ò¼ºÇØ ³»´Â 'ºÒ'ÀÇ ¹ÌÇп¡ Ž´ÐÇÏ°Ô µÈ °ÍÀÌ´Ù. ¶ÇÇÑ ±×°¡ »õ·Î °³¹ßÇÑ 'Á¾ÀÌÆÇ'ÀÛ¾÷¿¡¼­ ³ªÅ¸³ª´Â Á¶ÇüÇàÀ§´Â Çö´ëÀû °³³äÀÇ ½Å ÀÚ¿¬»ê¼ö¸¦ Ãß±¸ÇÏ°í ÀÖÀ¸¸ç ±×´Â 'ä¿öÁø »ê¼ö' °¡ ¾Æ´Ï¶ó 'ºñ¿öÁø »ê¼ö'¸¦ È­Æø¿¡ ½ÃÇöÇÏ°í ÀÖ¾ú´Ù. ÀÌ·¯ÇÑ °ø°£°³³äÀÇ Àüµµ(ï´Óî)Çö»óÀº ±×°¡ üÇèÇÑ ºó µéÆÇÀ̳ª ÇϾá ÀººûÀ¸·Î ´«ºÎ½Ã°Ô ºû³ª´Â ¼³¿ø¿¡¼­ ¾ò¾îÁø Âø»óÀÎ °ÍÀÌ´Ù.

±×ÀÇ ¿¹¼úÀÛÇ°¿¡ ¹ÎÁ·Á¤¼­°¡ ¹°¾À ¹è¾î ÀÖ´Â °Íµµ Çѱ¹¼ºÀ» ³¡³» ÁöÅ°·Á°í ÇÏ´Â ÀÛ°¡ Á¤½Å°ú ±âÁú ¶§¹®ÀÌ´Ù. °¡·É ¸ÅÀç·Î¼­ÀÇ ¹°¼ºÀÇ ½ÇÇè µî õ¿¬¹°°¨À̳ª ¼®Ã¤, ¼öÁ¤ºÐ¸» µîÀ» Áñ°Ü »ç¿ëÇß´ø °Íµµ ÀÚ½ÅÀ» ³º°í ±æ·¯ ÁØ Á¶±¹¿¡ ´ëÇÑ ¾ÖÁ¤ÀÌ ¾Æ´Ñ°¡ ½Í´Ù.
±×ÀÇ ÀÛ¾÷³ëÆ®¿¡´Â ´ÙÀ½°ú °°Àº ÀÛ°¡ÀÇ ½Å³ä°ú Áö·ÐÀÌ ±â¼úµÇ¾î ÀÖ´Ù. 'ÀÛÇ°È°µ¿¿¡¼­ Àý´ë·Î Çؼ­´Â ¾ÈµÈ´Ù´Â Ç¥ÇöÀº ÀÚÀ¯·ÓÁö ¸øÇÑ ±¸¼ÓÀ» ÀǹÌÇÑ´Ù. ÀÌ´Â ÀüÁ¦ÀûÀÌ°í ºÀ°ÇÀûÀΠǥÇö¹æ½ÄÀ¸·Î ¸ô¾Æ°¡´Â ¹ß»óÀÌ´Ù. âÀÛÇàÀ§¿¡ Çü½ÄÀ̳ª ±ÔÁ¦ÀÇ ±¼·¹¸¦ ¾º¿ì´Â °ÍÀº ¹Ù¶÷Á÷ÇÏÁö ¾ÊÀ¸¸ç ³ª´Â ÀÌ·¯ÇÑ ÀüÁ¦ÀûÀÌ°í ±¸¼ÓÀûÀÎ ¿¹¼ú¹æ½ÄÀ» °ÅºÎÇÑ´Ù.
±×´Â ¿ëÇʿ빬¿¡¼­ ÀǵµÀûÀÌ°í Á¤Ã¼ÀûÀÎ ÇàÀ§º¸´Ù´Â ÀÚÀ¯ºÐ¹æÇÑ ÀÚÀ¯ÀÇ ¹ÌÇÐÀ» ±¸°¡ÇßÀ¸¸ç, ä»öÈ­¿¡¼­µµ ±âÁ¸ÀÇ ¹æ½Äº¸´Ù ÀÚÀ¯·Ó°í ÆÄ°ÝÀûÀÎ Àç·á½ÇÇè¿¡ ¸ôÀÔÇÏ´Â µî ÁÖÁ¦¿Í ¾ç½Ä, ¹æ¹ý·Ð µî¿¡¼­ ½¢ÇÑ °í¹ÎÀ» ÇÑ ¿ª·®ÀÖ´Â È­°¡¿´´Ù. ´ç½Ã ÀÛ°¡´Â ¡®³ª´Â ÀÛÇ°ÀÇ ¼ÒÀ縦 µÎ°í °í¹ÎÀ» ÇÑ ÀûÀÌ ¸¹´Ù. ¹«¾ùÀ» ±×¸±±î º¸´Ù ¾î¶»°Ô ±×¸± °ÍÀΰ¡¸¦ ¸ÕÀú »ý°¢ÇÑ´Ù. ³ªÀÇ ÀÛÇ°¼¼°è´Â ½ÅÈ­¸¦ ±Ù°Å·Î Á¦ÀÛÇÏ°í ÀÖ´Ù¡¯¶ó°í ¼úȸ ÇÑ Àûµµ ÀÖ´Ù.

¶ÇÇÑ ¡®½ÅÈ­¶õ ÀÌÀü¿¡ ¿ì¸®°¡ ¸¸µé¾î ³õÀº Àü¼³ÀûÀÎ ½ÅÈ­°¡ ¾Æ´Ï¶ó ³ª ½º½º·Î°¡ ¸¸µé¾î°¡´Â ½ÅÈ­À̸ç Àΰ£ÀÇ À̱⿡ ÀÇÇÑ Á¶ÀÛµÈ ½ÅÈ­°¡ ¾Æ´Ï¶ó 'µ¿½ÉÀÇ ¼¼°è' Áï ÀÚ¿¬ÀûÀÎ »óÅÂÀÇ ½ÅÈ­ÀÌ´Ù. ±×·¯±â¿¡ ³ªÀÇ ÀÛÇ°¿¡ ³ªÅ¸³ª´Â ¼ÒÀçµéÀº ÀÛÇ°¼¼°è¸¦ Çü»óÈ­Çϱâ À§ÇÑ ¹æ¹ýÀÌ¿ä, ¼ö´ÜÀÏ »Ó ±× ÀÚü°¡ ½ÅÈ­¸¦ âÁ¶ÇÏ¿© À̲ø¾î °¡´Â °ÍÀº ¾Æ´Ï´Ù. ±×·¡¼­ À̹ø ÀÛÇ°Àüµµ ±âÁ¸ÀÇ È¹ÀÏÀûÀÎ Àç·á¿¡¼­ Å»ÃâÇÏ·Á°í ³ë·ÂÀ» Çß´Ù. ¼ö¹¬ÀÇ È°´ÞÇÔ°ú »ýµ¿°¨, Ç°°ÝÀ» ÀÒÁö ¾ÊÀ¸·Á°í ¸¹Àº °í½ÉÀ» Çß´Ù. ¾ÕÀ¸·Î ¼ö¹¬ÀÌ °¡¾ßÇÒ ¹æÇâÀ» ¸ð»öÇϸ鼭 ¹«À§ÀÚ¿¬ÀÇ ¼¼°è, Áï ½ÅÈ­ÀÇ °ø°£À¸·Î ³Ñ³ªµé°íÀÚÇÑ´Ù¡¯¶ó°í ¼Òȸ¸¦ ÇÇ·ÂÇß´Ù. ÀÌ ±ÛÀ» ÅëÇÏ¿© ÀÚÀǽÄÀÌ °­ÇÑ ÀÛ°¡ÀÇ Á¶Çü»ç»ó°ú öÇÐÀ» ºÐ¸íÈ÷ ÀÐÀ» ¼ö ÀÖ´Ù.

±×ÀÇ µ¿¹®ÀÌ¿ä. ¼±¹è±³¼öÀÎ ÀÌö·®¾¾´Â ¹®¿¹Áö Æò°í(øÄÍÃ)¿¡¼­-Áß°£»ý·«-¡®¸»ÇÏÀÚ¸é °¡Àå ÀüÅëÀûÀÎ °ÍÀ» ÅëÇØ ÀüÅëÀ» ¹þ¾î¹ö¸®°í ÀÖ´Â °ÍÀ̶ó´Â ¸»ÀÌ´Ù. ±×ÀÇ ÀÌ·¯ÇÑ ÀÛ¾÷Àº ¿ª¼³ÀûÀÌ°Ôµµ ÀüÅëÀ» ¹ö¸®´Â °ÍÀÌ °ð ÀüÅëÀ» °¡Àå ±íÀÌ ÀÖ°Ô ¼ö¿ëÇÏ°í ÀÖ´Â ¿¹¶ó°í ÇÒ ¼ö ÀÖ´Ù. ±×°¡ ¾î¶»°Ô ÀüÅëÀ» ¹ö¸®¸é¼­ ÀüÅëÀ» ¼ö¿ëÇÏ°í ÀÖ´ÂÁö ´ÙÀ½ Àü½Ãµé¿¡¼­ º¸¸é ¾Ë ¼ö ÀÖ´Ù. Áö³­ 99³â°ú 2001³âÀÇ °³ÀÎÀü¿¡¼­ º¸µíÀÌ ¡®ÇÑÁö¿ì¸² Àü¡¯À̳ª ¡®ÇÑÁö µå¸²Àü¡¯ÀÌ ±×·¸´Ù. ÇÑÁö¿¡ »ö¹°À» ¿ì¸®°Å³ª ½º¸çµé°Ô ÇÏ´Â ¸Å¿ì °¨¼ºÀûÀ̸ç Á¤¼­ÀûÀÎ ÀÛ¾÷À̾ú´Ù. ¼­¾çÀÇ È­°¡µéÀÌ ÇØ¿Ô´ø °Íó·³ ¹°°¨À» ¹Ù¸£°Å³ª Ä¥ÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó ¹°À» µå¸®°Å³ª ¿ì¸°´Ù´Â °ÍÀº Áö±ØÈ÷ µ¿¾çÀûÀÎ °ÍÀÌ´Ù. -

ÀÌÁ¦ ±×°¡ °ú°ÅÀÇ »ê¼ödz°æÀ̳ª º®È­, ȤÀº À¯Àû µî¿¡¼­ º¸´Â °Í°ú °°Àº Çö»ó¿¡¼­ ÀüÅëÀ» Àд °ÍÀÌ ¾Æ´Ï¶ó ±× ÀÚ½ÅÀÇ °¨¼ºÀÌ °ð ÀüÅëÀ̶ó´Â °ÍÀ» È®ÀÎÇÏ°í ÀÖ´Â °Í¿¡ ´Ù¸§ ¾Æ´Ï´Ù. ÇÑÆíÀ¸·Î ÀÌ·¯ÇÑ µ¿¾çÀû Á¤¼­¿Í °¨¼ºÀÇ ÀÛ¾÷Àº À̹ø ÀÛÇ°µéÀ» ÅëÇØ ¿ì¸® »î¿¡ ´ëÇÑ ±Ùº»ÀûÀÎ ¹°À½À¸·Î ¹ßÀüÇÏ°í ÀÖ´Ù.
±×°¡ À̹ø¿¡ º¸¿©ÁØ Àü½ÃÀÇ ¸íÁ¦´Â ¡®»ý¼º°ú »ó»ý Àü¡¯ÀÌ´Ù. ±×ÀÇ ¼öÁ¦ÇÑÁö´Â ÀÌÁ¦ ¹°¼ºÀ¸·Î¼­ÀÇ µ¶ÀÚÀû À̹ÌÁö¶ó±âº¸´Ù´Â ±× À̹ÌÁöÀÇ ÇØü¿Í ÇÔ²² »õ·Î¿î âÁ¶ÀÇ ¼¼°è¸¦ ¿¬ÃâÇØ ³»°í ÀÖ´Â °ÍÀ̸ç, ÇÑÆíÀ¸·Î´Â ÇÑÁö ½º½º·Î »õ·Î¿î »ý¼ºÀÇ ¿ìÁÖÀû ¹ÙÅÁÀÌ µÇ°í ÀÖ¾ú´Ù. ¹«ÇÑÀÇ °ø°£¿¡¼­ »ý¼ºÇÏ°í ¶Ç ±×µéÀÌ ¼­·Î ¾ôÈ÷¸ç »ó»ýÇÏ´Â ±×ÀÇ ÀÌ Ã¶ÇÐÀû Áú¹®¿¡ ÇÑÁö´Â ¸Å¿ì ¿Ïº®ÇÏ°Ô ÇØ´äÀ» ´øÁ®ÁØ´Ù. ±×ÀÇ È­¸éÀ» ÀÚ¼¼È÷ µé¿©´Ùº¸¸é ¾Ë ¼ö ¾ø´Â ¾î¶² °ÍµéÀÌ ²÷ÀÓ¾øÀÌ ³ªÅ¸³µ´Ù°¡ »ç¶óÁö°í, ±×¸®°í »ç¶óÁ³´Ù°¡ ´Ù½Ã ³ªÅ¸³­´Ù. ¸¶Ä¡ »ý¸íÀÇ À±È¸Ã³·³ »ý°Ü³ª°í »ç¶óÁö°í ¶ÇÇÑ »ç¶óÁ³´Ù°¡ »ý°Ü³­´Ù¡¯¶ó°í ÆòÇÏ°í ÀÖ´Ù. È­°¡°¡ üµæÇÑ Àý¹ÚÇÑ ´À³¦À» ¼úȸÇÏ°í ÀÖ´Â °Í °°´Ù.
'¼±(àÔ) ¹Ì¼ú»ó' ¼ö»óÀÛ°¡·Î¼­ ÃÊ´ëÀü¿¡ ¼± º¸ÀΠù ÀÛÇ°ÀüÀº ´ÚÁö¸¦ ÀçÁú·Î ÇÑ Á¾ÀÌ ÀÛ¾÷µé, Ç¥¸éÀ¸·ÎºÎÅÍ ºÒ·Ï µ¹ÃâÇÑ »ç¹°ÀÇ À±°û¼±À» ´Ù½Ã ¸ÔÀ¸·Î Ä¥ÇÑ´Ù´ø°¡, ´ÚÁö¸¦ ²¿¾Æ ¸¸µç ²öÀÇ À±°ûÀÌ È®¿¬È÷ µå·¯³ªµµ·Ï ¹èÄ¡ÇÏ°í ±× À§¿¡ ÇÑÁö¸¦ ¾º¿ì´Â ±â¹ý µîÀÌ ÀÓÈ¿ÀÇ ÀÛÇ° °æÇâÀ̾ú´Ù. ±×ÀÇ ÀÛÇ°Àº '±×¸°´Ù±â' º¸´Ù´Â Â÷¶ó¸® '¸¸µç´Ù'´Â Ç¥ÇöÀÌ ¿ÇÀ» °ÍÀÌ´Ù. ¡®ºñ¿ò°ú ä¿òÀü¡¯ÀÇ ÁÖÁ¦¸¦ ¼±ÅÃÇÏ°í ÀÖ´Â À̹ø ¼±È­¶û ÃÊ´ëÀü¿¡ ¼± º¸ÀÎ ½ÅÀÛµéÀº Ç¥ÇöÀÇ Áø¼ö¸¦ »çÀÇÀûÀÎ Çü»ó°ú À̹ÌÁö¿¡ Æ÷Ä¿½º¸¦ ¸ÂÃß¾î Æò¸é±¸¼ºÀ¸·Î ±äÃà°ú È®»ê µî ÃÖ¼ÒÇÑÀÇ ¾ð¾î·Î Ãà¾àÇÑ °ÝÁ¶ ÀÖ´Â ¿¹¼úÇàÀ§¸¦ ¿¬ÃâÇÏ°í ÀÖ´Â °Í °°´Ù. °¡·É ¸ÅÈ­¸¦ ¿¬ÀÛÀ¸·Î ¹ßÇ¥ÇÏ°í ÀÖ´Â Å׸¶ÀÛµéÀº ¸ÅÈ­²ÉÀÇ À̹ÌÁö¸¦ Èò»ö°ú ºÐÈ«»öÀÇ »öÁ¡À» »ç°¢ÀÇ ÇüÅ·ΠÇü»óÈ­ÇÔÀ¸·Î½á »ó¡ÀûÀÎ ¸ÞŸÆ÷·Î ½ÂÈ­½ÃÅ°°í ÀÖÀ¸¸ç ¸ÅÈ­³ª¹«³ª Áٱ⠵îÀº ÀÚÁÖºû±ò µî ¸éó¸® ±â¹ýÀ¸·Î ¸¶Æ¼¿¤ È¿°ú±îÁö µµ¸ðÇÏ°í ÀÖ´Ù. ¶ÇÇÑ ÀÛÇ° ¡®»ç°¢Á¤¿ø¡¯ÀÇ Ç¥ÇöÁÖÀÇ ¾ç½ÄÀÇ À̹ÌÁöÈ­µéÀº Å©°í ÀÛÀº »ç°¢ÀÇ Çü»óµéÀÌ ¿À¹ö·¦ ±â¹ýÀ¸·Î ÁßøµÇ°í °Å±â¿¡ ÀºÇϰ踦 ¿¬»óÄÉ ÇÏ´Â ÀÛÀº ¼ÒÇüÀÇ »ç°¢µéÀÌ ´Ù¾çÇÑ »öÁ¡À¸·Î º°Ã³·³ ½ñ¾ÆÁö°í ÀÖ´Ù.

ÇÑÆí ÀÛÇ° ¡®¿°¿ø-1¡¯ ¡®Á¤¿ø 2007¡¯ ¡®ÀºÃÑ 2008¡¯ ¡®¼Ó»èÀÓ 2007¡¯ ¡®Âù¾ç 2008¡¯ ¡®Á¤¿ø 2007¡¯ ¡®È­´ã 2006¡¯ ¡®È­´ã-1 2007¡¯ ¡®¿¬ÀÎ 2008¡¯ ¡®ÈÞ½ÄÀÇ °ø°£ 08¡¯ ¡®È¯Èñ 2008¡¯ ¡®¼³¸Å 2008¡¯ ¡®À¯¿Í ¹« 07¡¯ ¡®»ó»ýÀÇ Á¤¿ø 2007¡¯ ¡®¼±¹° 2006¡¯ ¡®¼Ò»ý 2008¡¯ ¡®¼Ò»ý-1 2008¡¯ ¡®±×¸®¿ò 2006¡¯ ¡®Á¤¿ø-1 2007¡¯ ¡®¸¸³² 2008¡¯ ¡®±â´Ù¸² 2008¡¯ µî ÃÖ±ÙÀÛµéÀº ¿¹¼ú¾ç½Ä¿¡¼­ ÅëÇÕÀ¸·Î ±ÍÀÏÇÏ·Á´Â ÀÛ°¡ÀÇ ÃÖ»óÀÇ ¿°¿ø°ú ±âµµ°¡ ÇÔÃàµÇ¾î ÀÖ´Â ´À³¦À» °®°Ô ÇÑ´Ù. ÀÛ°¡°¡ Ãß±¸ÇÏ´Â Á¤½ÅÁÖÀdzª ÁÖÁ¦ µîÀº ¿°¿øÀ̳ª ±â´Ù¸², ȯÈñ¿Í ±âµµ µî Àΰ£ÁÖÀÇ ½ÇÇö¿¡ ÀÖÀ¸¸ç Çü»çÀû(û¡ÞÄîÜ)ÀÎ ¾ç½Ä»óÀÇ ¹®Á¦ µîÀº ±× Áø¼ö¸¦ ½ÇÇöÇϱâ À§ÇÑ ¼ö´Ü¿¡ ºÒ°úÇÑ °ÍÀÓÀ» ÀÇÀÎÈ­(ëôìÑûù) ±â¹ýÀ¸·Î ½Ã»çÇÏ°í ÀÖ´Ù. µ¿¾ç»ç»óÀÇ ÁÖÁ¶¸¦ ÀÌ·ç´Â »çÀ¯ÀÇ Ã¶ÇÐÀº dzÀÚ¿Í ÇØÇÐ µî Á÷¼³(òÁàã)À» ¿ìȸÇÏ´Â ÀºÀ¯(ëßêç)ÀÇ ¹ÌÇÐÀÌ Áß¿ä½Ã µÇ°í ÀÖ´Â °ü¿ë°ú ¿ë¼­, dz¿ä¿Í ¿©À¯ÀÇ »ç»óÀÌ »Ñ¸® ±í°Ô ¿ì¸®ÀÇ ¿µÈ¥ ¼Ó¿¡ ÀáÀçÇØ Àֱ⠶§¹®ÀÌ´Ù. ÀÌ·¯ÇÑ ½Ã°¢¿¡¼­ °üÂûÇÒ ¶§ ÀÛ°¡ ÀÓÈ¿´Â ¿ì¸®½Ã´ë¸¦ »ì¾Æ°¡´Â ´ëÇ¥ÀûÀÎ È­°¡ÀÓÀ» ½Ã»çÇØ ÁÖ°í ÀÖ´Ù. ¾ç½Ä¿¡¼­ Å»¼ÓÇÏ°í ±âÁ¸Áú¼­¿¡¼­ Å»ÃâÇÏ´Â µî »õ·Î¿î ÀÚÀ¯ÀÇ ¹ÌÇÐÀ» ¹ßÇöÇϱâ À§ÇØ ¿µÈ¥À» ºÒ»ç¸£°í ÀÖ´Â ¿¹¼úÀÎÀ¸·Î ±â´ë¸¦ ¸ðÀ¸°í ÀÖ´Â À¯¸ÁÁÖ´Ù.


The completion of new naturalism y integrating

exploration of korea with thoughts and looks of painting

Written by Kim, Nam Soo / Art Critic

Once Chuang-tzu's said in his theory 'look through eyes, listen through ears, feels from hearts, gain by chi'. Can we understand this old saying as all things in universe, no matter how important or not, can get its own meaning and only it depends on creators' intuition and attitude? We can meet this Chuang-tzu's propounding and unlimited thoughts thought Rim hyo's art. Don't we continue to study and explore arts in order to attain humanism and liberate? Isn't this the real ability of art, is it? In one word, Rim hyo's art world is a self=portrait of how we live and what we pray. We easily can find that all the desire and what we want to complete is reflected in his art works. For example, ¡®wisdom and value of our lives' ¡®sarcasm and humor found in fairy tale' ¡®actions that can integrates universe, exists and unify together with contracted line, surface, and dot, even with dot only'. all theses are successfully reflected through his arts,

we can say. In other word, human life and aesthetics of implication are displayed through his art world. All his art works are shaved and cut off concisely into the kaleidoscope of visual arts, and developed and processed into this present point like wellknown epics or panoramas. Too much words are useless, and only need to speak out what you need to say. Rim hyo's art is just like that. He puts the essence in to his canvas with only concise and minimum language, and cut off superfluous flesh. By doing so, we can read his tenacious mind that try to draw and complete what was in his deep heart into his canvas. His artistic actions that often vacate or fill in on his painting with only necessary language is the essence or self-portrait of his art, we can say.
If you look close to the changes in his art works, we can feel very interesting and useful experience through his arts.
His art works contains very specific theme, motif and thoughts over historical periods, and can notice the features in his works that he keeps testing different drawing materials over each theme selected on his works at time to time. In 1983, he focused on actual state landscape drawing with painting black and white. In his exhibition at that time, he spent many times to try to show the thoughts and reasoning of theelegance of the chinese ink found in orientalism. After that, in 1986, he began to pay attention on a hair-pencil drawing based on black and white painting. All the abstract forms of his arts we can see were formed at that time. It maybe due to the skeptical conflict based on limitation we often meet on flat level. After that, in 1990's, he began to introduce new deep and broad touch as his artistic expression techniques, and uses fairy tales of Dangun mythology as his art main motif. What is called, it's the creation of new figurative art language belongs to the artist himself. In his figurative art works, natural colour are used from that years and after.
In 1991 exhibition held on Galleria art center, powerful colour deep colour pigment painting was introduced, and this could be understand as that he changed himself into the colouration artists as well.

At his exhibition at Kumho gallery in 1992, acrylic materials and canvas of western paintings was used in his art works, and theme exhibition of a showmanism custom exploring shamanism thoughts and spirit, showmanism as a primitive religion and the meeting of our incantational korean religious belief, and study of korean falk religious belief were developed in Mr. Rim hyo's art works. At the SuMok gallery's exhibition in 1994, he began to seek the origin of our culture, and focus on. Such as remains and wall painting of the Bronze Age and Goguryeo, he in earnest began to study the protocontinent and origin of human race. At that time, three dimensional painting as his art form was introduced as well. Afterward, in his recent art works, 'the meetings of soil and korean paper' is continued. In compliance with this, Mr. Rim hyo's arts show the reduced size edition of Korean art history, and we can notice that there is a small universe of his own is formed in his arts.
We roughly go over from last to recent art works of him, but from now on, try to focus on the art works and their worlds completed after year 1995 only with beep interest and exploration to understand what he try to show and tell us.
The art world he explored and created at that time were in forms of embossed arts or paper board art works shown on the art works of rock and wall from the prehistoric age or Goguryeo .

From 100 to 800, the voluminous work series were crested to express chi of artists. His revived exhausted energy and desires toward arts were poured into his paintings. With the help of various materials and tests of new techniques, he created and developed his arts into the level of aesthetics of art along with vitality, creativity and cohesive power of chi. The forms and themes of arts in this time period of him were earthen vessel used or good people lived in prehistoric ages, Budda image statue, lonely crowed we can see in 'Mooyongchong',
personal ornaments and so on. In other word, we could read the chi of the artists through his art works of our ancestor in. Again, this is the period that he tried to change himself f°³m as an artist who enjoyed his own powerful, active and broad minded strokes and colors and painting forms to whom introduced the form of 'art world that meets soil and korean paper'. On another word, both the limitation of flat surface and the desire of prominent action let him to reach aboriginality and make some relation with soil. He fell in love with fire and its artistic creation by the help of illustrated emboss arts under 1300¡É iron pot. Moreover, the figurative creation with paper boards we's doing recently carry modern concepts of new naturalism. He showed us landscape not 'filled in' but 'vacated' one in his painting. This transaction shown his art were acquired through his real experiences such as an idea that he experienced in the vacated field or sparkling snow covered field and so on. The ethnic spirits in his arts we can feel is because of the artist spirit and nature to keep the characteristics of korean itself. For example, water based test with natural colour and crystal powder he enjoyed are the expression of his love to his own country he was born and grew up. In his work note, the following artist belief and resonable opinion: 'the forbidden forms of expression we are supposed not to engage means that we are not in free of expressing arts' This is the thoughts force us to go back to the feudalistic ways of expression or absolutism. The regulation on artistic creation or forms I not advisable or desirable, and I refuse this sort of regulation or limitation.
In his art works, he follows footloose and fancy free arts other than intention driven or static arts, and try to test more drastic materials into his art other than using existing materials or forms of colour paintings, and he indeed is in agony to create appopreate theme, forms, and methods of doing his arts. At that time, he once open his hearts saying that ¡®I thick over and over about how to pick up the theme I am going to shows. Often I first think of maters of how to create than what to. My art works are mostly based on mythological story, frankly speaking.
Once more, he said, in some article. that ¡®mythological story in my arts is not just a myth transferred over history, but the myth I am making by my self, and the myth manipulated by human selfishness but the natural state of myth, in other word, such as the state of the mind of children.

Thus, the subject materials in my art works is just a medium to express and visualize my art world, but it's not the creation of another myth. Therefore, I am trying to escape from uniform and regimental materials, and try not to loose the vitality and activity and elegance of the black and white as well. I am going to do my best to find the direction which our black and white paintings should follow to go, and at the same time, I am going to try to go to the space of myth or place of nature itself remained intact forth and back. In such article, we can find the figurative thoughts and philosophy of artists who has strong self-consciousness.
One of his classmates and senior professor, Mr. lee chul rang said following comments in his article- ¡®in other word, through the most traditional things, free himself form it. Paradoxically speaking, tossing off tradition is the best way to keep and absorb such tradition, he insisted. We can understand how he toss off the tradition and how he revive and accept it through his painting exhibited. In his 1999 and 2001 personal exhibition, ¡®forest of korean paper¡¯ or ¡®Dream of korean paper¡¯ exhibition are the example. It is very sophisticated and sensitive art work coloring korean paper with colourful water. Soaking into colour other than covering or painting colours as western painters do is very oriental. Now, we can say that he just not read tradition of our own by looking at the landscape painting, wall painting, or historical remains, but confirm that he is the tradition itself. On the other hand, this oriental, sensitive and sophisticate art work of this exhibition developed its direction toward the basic question of our life.
The proposition of this exhibition is ¡®formation and living together'.
His hand made korean paper with rearranging its sole image though its breaking created new art world, and on the other hand become the foundation of universe. Formed in nowhere and lived together facing and twisting altogether. His korea paper answers completely to the philosophic question stated above. If you look close to the screen of his work, some thing shows up quickly and shows off continuously like the life was born and disappear in the wheel of life. it sounds like he is trying to talk the desperate feeling of what he experienced.

As a 'Sun(selection) art ward' recipient artist, the trend shown in the first exhibition held on the preview was that he used mulberry dried paper to creates his art work: paper work using mulberry , colouring with the black chinese ink to the surface projected as a guideline, twisting mulberry bark and making a threads to decorate and arrange the guide line. When we talk about his art works, it is right comment saying that it is not painting but making something. With the title of ¡®filling and empty¡¯, in the sun gallery exhibition, he produced the essential visualized thought of art and image by using minimum language to contract the artistic action and expression through contraction and expansion. For example, in all consecutive theme art works with ume flowers as their subject materials, use white and red dot to visualize ume flower to the square to sublimate its image, and for touching stem of it, use martial effects to colour purple to it with special space effects. Also, in the square garden, small and large images of expressionism are visualized with overlap effects and those small square remind me the stars of universe as they are scattered as small colourful stars. On the other hand, in the recent art works such as ¡®desire-1¡¯ ¡®garden 2007¡¯ ¡®grace 2008¡¯ ¡®whixper 2007¡¯ ¡®praise2008¡¯ ¡®garden 2007¡¯ ¡®flower wall 2006¡¯ ¡®flower wall-1 2007¡¯ ¡®lovers 2008¡¯ ¡®place to take a rest 08¡¯ ¡®delight 2008¡¯ ¡®sulmea 2008¡¯ ¡®have and have none 07¡¯ ¡®garden of living together 2007¡¯ ¡®present 2006¡¯ ¡®revival 2008¡¯ ¡®revival -1 2008¡¯ ¡®missing 2006¡¯ ¡®arden-1 2007¡¯ ¡®meeting 2008¡¯ ¡®waiting 2008¡¯, we can feel the desire of the artist who try to integrate all the artistic techniques and forms. The spiritual world of the artist is pursuing is that actualization of humanism in forms of desire, waiting, delight, and prayer, and the matters related to the visualization techniques and forms are just matter of means to illustrate and nothing more than that . In the philosophy of art thoughts as the main stream of orientalism, metaphor using sarcasm and humor prevails the direct expression and also tolerance and forgiveness, comfort and richness are also importantly recognized in our cultural roots deeply. On this point, Rim hyo is indeed the representative artist of our time. He is the man of promise in korean art as an artist who try to toss off existing rules and forms to find new artistic value and express it by burning his own flesh and spirits as well.


--------------------------------------------------------------------------------


ÀÓÈ¿ _ ¿ì¸®´Ù¿ò°ú Æí¾ÈÇÔ°ú ³Ë³ËÇÔ
ÀÌÀç¾ð / ¹Ì¼úÆò·Ð°¡



¿äÁò °°ÀÌ Á¤Ã¼¼ºÀÇ È¥µ·ÀÌ ½ÉÇÒ ¶§ ¡®¿ì¸®´Ù¿î¡¯ ¹Ì¼úÀº Æí¾ÈÇÔÀ» ÁØ´Ù. ¾Æ¹«¸® ¿ì¸®ÀÇ È¯°æ°ú »ýÈ°¾ç½ÄÀÌ ±Þº¯Çß´Ù ÇÏ´õ¶óµµ, °øµ¿Ã¼ÀÇ ¿øÇüÀÌ »Ñ¸®¸¦ µÎ°í ÀÖ´Â ¹«ÀǽÄÀÇ ¿µ¿ªÀº ±×¸® ½±°Ô µ¿¿äµÇÁö ¾Ê´Â´Ù. ¾Æ´Ï ¿ÀÈ÷·Á ȯ°æÀÇ º¯È­°¡ ½ÉÇÏ¸é ½ÉÇÒ¼ö·Ï Á¤Ã¼¼º¿¡ ´õ¿í ÁýÂøÇÏ´Â °ÍÀÌ ´ç¿¬ÇÑ Çö»óÀÏ °ÍÀÌ´Ù. ¹°·Ð ¡®¿ì¸®´Ù¿î ¹Ì¼ú¡¯À̶õ °ÍÀÇ ½Çü°¡ ±×¸® ¸í·áÇÑ ´ë»óÀº ¾Æ´Ï´Ù. À̵¥¿Ã·Î±âÀûÀ¸·Î³ª °ü³äÀûÀ¸·Î Á¢±ÙÇÏ´Â ¼ø°£ ±×°ÍÀº ¿¬±âó·³ »ç¶óÁö°í ¿Ö°îµÈ ³»¿ë¹°·Î ȤÀº ÀÌ»óÇÑ ²®µ¥±â·Î¸¸ ³²´Â °æ¿ì¸¦ ¿ì¸®´Â ÀÚÁÖ ¸ñ°ÝÇÑ ¹Ù ÀÖ´Ù. ¹°·Ð ±× ¿Ö°îµÈ ¸ð½ÀÁ¶Â÷µµ ¿À´Ã ¿ì¸®ÀÇ ÃÊ»óÀÏ ¼ö ÀÖ°ÚÁö¸¸, ¾îµòÁö ¸ð¸£°Ô ³²ÀÇ ¿ÊÀ» ºô·Á ÀÔ´Â °Íó·³ ¾î»öÇÏ°í ÆíÄ¡°¡ ¾ÊÀº °ÍÀÌ´Ù. ÀÌ·± Àú·± °æÇèµéÀÇ ÁýÇÕÀÌ ÀÖÁö¸¸, ¿ª½Ã Æí¾ÈÇÔÀ» Áشٴ °ÍÀº °¡Àå ÁøºÎÇϸ鼭µµ °¡Ä¡ ÀÖ´Â ÀÏÀÌ´Ù.
¿ì¸®´Â Çѱ¹È­°¡ ÀÓÈ¿ÀÇ ±×¸²µéÀ» ´ëÇÒ ¶§¸¶´Ù Æí¾ÈÇÔÀ» ´À³¤´Ù. ÀÛ°¡ÀÇ Àç·á³ª µµ»ó À̹ÌÁö, ÇÊÄ¡, »öÁ¶ µîÀÇ ¿ä¼ÒµéÀÌ Æí¾ÈÇÏ°í ³Ë³ËÇÏ°Ô ´Ù°¡¼±´Ù. ÀÌ·¸µí Æí¾ÈÇÔ°ú ¡®¿ì¸®´Ù¿ò¡¯À̶ó´Â ³»¿ëÀº ±×¸² ÀÚü¿¡µµ ±âÀÎÇÏÁö¸¸, ÀÛ°¡ÀÇ ½Å³ä°ú ŵµ°¡ ¹Ø°Å¸§ÀÌ µÇ¾î °¡´ÉÇÏ´Ù.

ÇöÀç È­´Ü¿¡¼­ ÀÛ°¡¸¸Å­ ¿Õ¼ºÇÑ ¿¡³ÊÁö¿Í ¿­Á¤À» ¹ß»êÇÏ´Â ÀÛ°¡µµ ±×¸® ¸¹Áö´Â ¾Ê´Ù. ÀÛ°¡ÀÇ °¡°øÇÒ ¿¡³ÊÁö¿Í ¿­Á¤ÀÌ ¶§·Î´Â È£¹æÇÏ°í È­·ÁÇÏ°Ô, ¶§·Î´Â ¼¶¼¼ÇÏ°í Áú¹ÚÇÏ°Ô ³Î¸® ÀÚ½ÅÀÇ Á¶Çü¼¼°è¿¡ ÆíÀçµÈ´Ù. ÀÛ°¡¸¸Å­ ´Ùä·Î¿î ¾ç½ÄÀû Æí·Âµµ ÈçÄ¡ ¾ÊÀ» °ÍÀÌ´Ù. °Å´ëÇÑ È­Æø¿¡ ÆîÃÄÁö´Â ¿õÀåÇÑ ½ºÄÉÀÏÀÇ ÀÏÇÊÈÖÁö(ìéù¶ýÆñý)°¡ µ¸º¸ÀÌ´Â ¼ö¹¬Ã¤»ö¿¡¼­ºÎÅÍ ¾Æ±âÀÚ±âÇÑ »ðÈ­¿¡±îÁö, ±×¸®°í ´«ºÎ½Ã°Ô °­·ÄÇÑ »ö»óÀÇ È­¸é¿¡¼­ºÎÅÍ È볿»õ°¡ ´À²¸Áö´Â Áú¹ÚÇÑ È­¸é¿¡±îÁö ÀÛ°¡ÀÇ ±¸»öÀº ´Ùä·Ó°í Æø³Ð´Ù.
Á¤¸»ÀÌÁö ÀÛ°¡ÀÇ º¯È­¹«½ÖÇÑ ¸ð½Àµé¿¡¼­ ¾ó¸¶³ª Ä¡¿­ÇÏ°í ÁøÁöÇÏ°Ô »ì°í ÀÖ´ÂÁö¸¦ Àß ¾Ë ¼ö ÀÖÀ» °ÍÀÌ´Ù. ÀÛ°¡ÀÇ ´Ù¾çÇÑ ¾ç½ÄÀû ¼ºÃë´Â ±×°Í ÀÚü·Îµµ ºû³ª´Â ¼ºÃëÀÌÁö¸¸, Çѱ¹È­ÀÇ Ç¥ÇöÀÌ Á¦ÇÑÀûÀ̶ó°í ¹Ï´Â »óÅõÀû Æí°ßÀÌ ¾ó¸¶³ª ¹«ÁöÇÑ °ÍÀÎÁö¸¦ Àϱú¿öÁÖ´Â Âü°í»ç·Ê°¡ µÉ ¸¸ÇÏ´Ù. ½ÇÁ¦·Î ÀÛ°¡´Â Çѱ¹È­°¡¿¡°Ô¼­ ÈçÈ÷ º¼ ¼ö ¾ø´Â ´Ù¾çÇÑ ¾ç½ÄÀ» ¼··ÆÇÏ°í ÀÖÁö¸¸, ±× ±Í°áµµ ¾ðÁ¦³ª Çѱ¹È­¶ó´Â ¹üÁÖ¿Í °¡Ä¡·Î º¹±ÍÇÑ´Ù. Çѱ¹ È­°¡À̱⠶§¹®ÀÌ ¾Æ´Ï¶ó ÇѹÎÁ· °øµ¿Ã¼ÀÇ ¿øÇüÀû Á¤¼­¸¦ ¾î¶² ½ÄÀ¸·Îµµ ºÎÁ¤ÇÒ ÀÌÀ¯°¡ ¾ø±â ¶§¹®ÀÌ´Ù. ÀÛ°¡°¡ Çѱ¹ »ç¶÷À̱⿡ ¾î¶»°Ô ±×·Á³»°í ¾î¶»°Ô ºú¾î³»µµ ±×°ÍÀº °á±¹ Çѱ¹È­¶ó´Â ¸·¿¬ÇÑ ¼ÓÀÎ(áÕìÑ)ÁÖÀÇÀû ½Ã°¢ÀÌ ¾Æ´Ï¶ó, ¿ì¸®´Ù¿òÀÇ ¹ÌÀǽİú ÀÛÇ°À̶ó´Â °á°ú°¡ ÀÔÁõÇϱ⠶§¹®ÀÌ´Ù.
ÀÛ°¡ ¹ÌÀǽÄÀÇ ÇÙÀ» ºÐÇØÇØ Á¤¸®ÇÏÀÚ¸é, ÀÚ¿¬, ½ÅÈ­, Àΰ£À̶ó´Â ¼¼ °¡Áö ¿ø¸®·Î Áý¾àÇÒ ¼ö ÀÖ´Ù. ÀÌ ¼¼ °¡Áö´Â ¾îÂî º¸¸é ¡®¼Óµµ¡¯ ¡®Á¤È®¼º¡¯ ¡®È¿À²¡¯ À̶ó´Â °¡Ä¡·Î ¹«ÀåµÈ »õ·Î¿î »çȸÀû Æз¯´ÙÀÓÀÇ ÇÙ½ÉÀ̶ó ÇÒ ¼ö ÀÖ´Â µðÁöÅРü°è¿Í ÇÔ¼öÀû °ü°è¸¦ °®´Â´Ù. ÀÛ°¡ÀÇ ¹ÌÀǽÄÀº ¹Ù·Î ÀÌ·¯ÇÑ µðÁöÅРü°è°¡ ¾ß±âÇÑ °¡Ä¡°ü¿¡ Á¤¸éÀ¸·Î ´ëÄ¡µÈ´Ù.
¹°·Ð Çö½ÇÀûÀ¸·Î µðÁöÅÐÀÇ ±â´ÉÀû ¼±¹°À» ¸¶´ÙÇÒ ÀÌÀ¯´Â ¾ø´Ù.

±×·¯³ª ±×°ÍÀÌ °¡Áö´Â ºÎÁ¤Àû ±â´É ȤÀº ±× Æз¯µ¶½º¸¦ ±×Àú ¾Æ¹« ÀúÇ× ¾øÀÌ ¹Þ¾ÆµéÀÌ´Â °ÍÀÌ ÀÛ°¡À̱⠶§¹®¿¡ ½º½º·Î ¿ë³³µÇÁö ¾Ê´Â °ÍÀÌ´Ù. ¾Æ´Ï ´Ü¼øÈ÷ ÀúÇ×ÇÏ´Â °ÍÀ¸·Î ³¡³¯ ÀÏÀÌ ¾Æ´Ï¶ó, ¸ðµç °ÍÀÌ »ó»ýÇÒ ¼ö ÀÖ´Â °¡´É¼º°ú ¿©Áö¸¦ ÇâÇØ ³ª°¡´Â ¸ðÅä°¡ È®½ÇÇÏ°Ô Ãµ¸íµÇ°í ÀÖ´Ù.
ÀÛ°¡ Ä¡°í ÀÚ¿¬ÁÖÀÇÀÚ°¡ ¾Æ´Ñ »ç¶÷ÀÌ ¾ø°ÚÁö¸¸, ÀÛ°¡ ÀÚ½ÅÀÇ »î ÀÚüµµ ±×·¯ÇÏ°Å´Ï¿Í ÀÚ½ÅÀÇ ±×¸²Á¶Â÷µµ ÀÚ¿¬ ±× ÀÚü ȤÀº ÀÚ¿¬ÀÇ Æí¸°ÀÌ µÇ°Ô ÇÏ´Â ¹ÌÀǽÄÀÇ ¼ÒÀ¯ÀÚÀÌ´Ù. µû¶ó¼­ ½É»êÀ¯°îÀÇ Àý°æÀ» ´ã´Â À¯ÇüÀÇ ÀÚ¿¬ÁÖÀÇ¿Í´Â °Å¸®°¡ ¸Ö´Ù. ÀÛ°¡°¡ ¡®¿ì¸²»ê¼ö¡¯¿Í ¡®µå¸²»ê¼ö¡¯¶ó´Â ¾ç½ÄÀ» âÃâÇß´ø °Íµµ ¹Ù·Î ±×¸² ÀÚü°¡ ÀÚ¿¬ÀÌ µÇ°Ô ÇÏ´Â ¹ÌÀǽĿ¡¼­ ºñ·ÔµÈ °ÍÀÌ´Ù.

Á¾ÀÌ ¿ø·á¸¦ ¹°¿¡ ¿ì·Á³½´Ù ÇÏ¿© ¿ì¸²»ê¼ö, Á¾ÀÌ¿¡ ¸ÕÀú ºÎºÐÀûÀÎ ÀÚ¿¬¿°·á·Î ½Ã¿°(ã¿æø)À» ÇÏ¿© ±×¸²ÀÇ ¹ÝÀÌ ÀÌ·ç¾îÁö°Ô ÇÏ´Â ÀýÂ÷ ÀÚüµµ ¹Ù·Î ÀÌ·¯ÇÑ ¸Æ¶ô¿¡¼­ÀÌ´Ù. ÀÛ°¡ÀÇ ±ÙÀÛÀº ¡®»ó»ý¡¯À̶ó´Â ÁÖÁ¦ÀÇ ¿¬ÀÛµµ ÀÚ¿¬ÀÇ º»Áú¿¡ ´ëÇÑ ±íÀº ¼ºÂû°ú ÀÚ¿¬È­(í»æÔûù)¿¡ ´ëÇÑ ¸ð»öÀÇ ±Í°áÀ̶ó ÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù. ÀÛ°¡ÀÇ ±×¸²µéÀÌ Çü½ÄÀûÀ¸·Îµµ Ç×»ó À¯¿¬ÇÑ °¡¿îµ¥ ¸¹Àº ¹üÁÖµéÀ» ³Ñ³ªµå´Â ÀÚÀ¯·Î¿òÀ» ´©¸®°í ÀÖ´Â ¹Ù·Î ÀÌ·¯ÇÑ ¸Æ¶ô¿¡¼­ ÀÌÇØÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù.

½ÅÈ­´Â ÀÚ¿¬°ú Àΰ£ÀÇ ¸Å°³ ȤÀº Á¢°æ¿¡ À§Ä¡ÇÑ ¹üÁÖÀÌ´Ù. Àΰ£¿¡ ³»ÀçÇÑ ÀÚ¿¬ÀÇ ¼ºÁú°ú ¸ð½ÀÀ» ½ÅÈ­¿¡¼­ ã°ï ÇÏ´Â ÀÌÀ¯µµ ¹Ù·Î ÀÌ ¶§¹®ÀÌ´Ù. ÀÛ°¡¿¡°Ô ÀÖ¾î ÀÌ ½ÅÈ­´Â ¿ìȸÇÒ ¼ö ¾ø´Â ±æ¸ñÀÌ´Ù. ÀÛ°¡´Â ¿¹³ª Áö±ÝÀ̳ª »ó¡Àû µµ»óµéÀ» Áñ°Ü ±¸»çÇÏ°í ÀÖ´Ù. ´Ü¼øÇÑ ±âÈ£°¡ ¾Æ´Ï¶ó Àΰ£ÀÇ ÀÇ½Ä ¹Ø¹Ù´Ú¿¡ ±ò·Á ÀÖ´Â ¿å±¸¿Í ±× Ç¥ÃâµÈ Çü½ÄµéÀ» ÀûÀýÈ÷ È­¸é¿¡ µîÀå½ÃÅ°°í ÀÖ´Â °ÍÀÌ´Ù. ½ÅÈ­ÀÇ ³»¿ëµµ ³»¿ëÀÌÁö¸¸, ½ÅÈ­°¡ °¡Áö°í ÀÖ´Â ¼Ó¼ºµéÀÌ ¹Ù·Î ÀÚ½ÅÀÇ ÀÛÇ° Çü½Ä¿¡ µµÀԵǰí ÀÖ´Â °ÍÀÌ´Ù. ½ÅÈ­ÀÇ Ãʽðø¼º, Á÷°ü¼º, »ó¡¼º µîÀÌ ¹Ù·Î ÀÚ½ÅÀÇ È­¸éÀ» Á¶À²Çس»´Â Áú¼­ÀÇ ±Ù°£À¸·Î »ï°í ÀÖ´Ù. »óÅõÀû °ø°£ÀÇ Áú¼­·ÎºÎÅÍÀÇ ÀÌÅ», ½Ã°£ÀÇ ÀǽĿ¡ ´ëÇÑ ½ÉÃþÀû Á¢±Ù, ¹«Àǽİú ¿ì¿¬ÀÇ ºÐ¹æÇÔ°ú ÀýÁ¦¶ó´Â ÀÌÁß¼º µîÀÌ ±×°ÍÀÌ´Ù. ÀÛ°¡´Â ÀÚ¿¬À» °¡Àå Å« È­µÎ·Î »ï°í ÀÖÀ¸¸é¼­, ±× ÀÚ¿¬Àº Àΰ£ÀÌ Ç×»ó °³ÀçµÈ ÀÚ¿¬ÀÓÀ» õ¸íÇÏ°í ÀÖ´Ù. Àΰ£ ¿ª½Ã ÀÚ¿¬ ¼ÓÀÇ Á¸Àç, ÀÚ¿¬°ú ÇÔ²² ÇÏ´Â Á¸ÀçÀÇ ½Ç»óÀ¸·Î ±¸ÇöµÇ°í ÀÖ´Ù. ÀÛ°¡ÀÇ ÈÞ¸Ó´ÏÁòÀº µµ»ó¿¡¼­¸¸ÀÌ ¾Æ´Ï´Ù. µµ»óÀÌ ÀÌ·ç¾îÁö±â±îÁöÀÇ ¸ðµç °úÁ¤ÀÌ Æ÷ÇԵȴÙ. ƯÈ÷ ¼öÁ¦ ȤÀº ¼ö°øÀ̶ó´Â °úÁ¤À̾߸»·Î ÀÛ°¡ ÈÞ¸Ó´ÏÁòÀÇ ¿äü¸¦ ¾Ë ¼ö ÀÖ´Â Áß¿äÇÑ °è±â°¡ µÈ´Ù. Àß ¾Ë·ÁÁø ¹Ù¿Í °°ÀÌ ÀÛ°¡°¡ ¼öÁ¦ ÇÑÁö¸¦ ¾²±â ½ÃÀÛÇÑÁö°¡ ¹ú½á 10³âÀÌ ÈξÀ ³Ñ¾ú´Ù. ¸¹Àº ÀÛ°¡µéÀÌ ¼öÁ¦ ÇÑÁö¿¡ ¸Å·áµÇ¾î ´õ·¯ ½Ãµµ¸¦ Çغ¸±ä Çϳª ¾ó¸¶ ¸ø°¡¼­ ´ë°³ Æ÷±âÇÑ´Ù. ¹ø°Å·Ó°í ¿À·£ ½Ã°£ÀÌ ¼Ò¿äµÇ´Â °ÍÀÌ ÀÛ°¡µé¿¡°Ô ±×¸® ȯ¿µ¹ÞÀ» ÀÏÀº ¾Æ´Ï±â ¶§¹®ÀÌ´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í ÀÛ°¡´Â ±× ÀΰíÀÇ °úÁ¤µéÀ» ¸¶´Ù ¾Ê°í ´Ù ¼ö¿ëÇÏ¿´´Ù. ¿ÖÀϱî.
±×°ÍÀº ´Ù¸§ ¾Æ´Ñ °úÁ¤ ÀÚü¸¦ ¼ö´ÜÀ¸·Î º¸Áö ¾Ê°í ¸ñÀûÀ¸·Î º¸°íÀÚ Çϱ⠶§¹®ÀÌ´Ù. Áï ¼ö°ø ÇàÀ§±îÁöµµ ÀÛÇ°ÀÇ ÀáÀçÀû ½ÇüÀ̸ç, ÀÛÇ°ÀÇ ÀÚ¿¬¼ºÀ» ´ãº¸ÇÏ´Â ÇÙ½É ¿ä¼Ò·Î °£ÁÖÇϱ⠶§¹®ÀÌ´Ù. ¹°Áú°ú ½Åü¿ÍÀÇ »óÈ£ÀÛ¿ëÀº ¶ÇÇÑ Ã¢ÀÛÀÇ °úÁ¤À̸鼭µµ À¯ÈñÀ̱⵵ ÇÏ´Ù. ÀÚ¹ßÀûÀÌ°í ½Å¸í³ª´Â ÀÌ·¯ÇÑ »óÈ£ÀÛ¿ëÀ» ³»Æ÷ÇÑ Á¾ÀÌÀÇ ¼öÀÛ¾÷Àº ÀÌ¹Ì ÀÛÇ°ÀÇ ´ëºÎºÐÀ» ¿Ï¼ºÇÏ´Â °ÍÀ̶ó Çصµ °ú¾ðÀÌ ¾Æ´Ï´Ù. ƯÈ÷ µå¸²»ê¼öÀÇ °æ¿ì ´ÚÁö ¿ø·á·Î Á¦ÀÛµÈ ÇÑÁö´Â °úÁ¤Áß¿¡ ºÎºÐÀûÀÎ ½Ã¿°ÀÌ µÈ´Ù. ±× ½Ã¿°Àº ÀÛÇ°ÀÇ ±¸»ó°ú ¸Â¹°·Á ÀÌ·ç¾îÁö´Â °ÍÀ̾ »ó´çÇÑ ¿Ï¼ºµµ¸¦ ÀÌ·ç°í ÀÖÀ¸¸ç, ±ÙÀÛ »ó»ý ½Ã¸®Áî¿Íµµ ¾ç½ÄÀûÀÎ ¿¬°ü¼ºÀ» °®´Â´Ù. ´Ü¼øÈ÷ ¼ÕÀ¸·Î Çß´Ù´Â ÀÌÀ¯·Î ±×°Í¿¡ ¸Í¸ñÀûÀÎ °¡Ä¡ºÎ¿©¸¦ ÇÒ ¼ö´Â ¾øÀ» °ÍÀÌ´Ù. Áö³­ 10¿© ³â µ¿¾È Á¾ÀÌ¿ÍÀÇ ¸¸³²Àº ÀÛ°¡¿¡°Ô Áß¿äÇÑ Àǹ̸¦ °®´Â Àü±âÀÓ¿¡ Ʋ¸²¾ø´Ù. ÀÛ°¡¿¡°Ô ¸¹Àº ½ÇÇè°ú ½ÃµµµéÀÌ ÀÖ¾úÁö¸¸, Á¾À̸¦ ¸¸³ª°Ô µÈ °ÍÀº âÀÛÀÇ ¿ªµ¿¼º°ú ´Ù¾ç¼º¿¡ ´õ Å« ¿øµ¿·ÂÀÌ µÉ ¼ö ÀÖ¾ú´ø °ÍÀÌ´Ù. Á¾ÀÌ°¡ ÀÛ°¡ÀÇ Á¶ÇüÀû Àǵµ¿Í »ó»ó·Â¿¡ Ãæ½ÇÇÏ°Ô »ç¿ªµÇ¾ú±â ¶§¹®ÀÌ´Ù. ±×·±µ¥ ÀÛ°¡°¡ Á¾ÀÌµç µµÀÚµç ±× ¸¹Àº Á¾·ùÀÇ Àç·á¿Í ¹æ¹ýµéÀ» ½ÃµµÇÏ°í ÀÖÀ¸¸é¼­µµ, ³î¶ø°Ôµµ ±× ¸ðµç ÀÛÇ°µé¿¡ È帣´Â ÇÑ °¡Áö °øÅëÀûÀΠƯ¡ÀÌ ÀÖ´Ù. ¹«¾ùÀÌ¶ó ¼³¸íÇϱ⠽±Áö´Â ¾ÊÀ¸³ª µ¶Æ¯ÇÑ ¡®ÀÓÈ¿¡¯¸¸ÀÇ Ä®¶ó¶ó ÇÒ±î. ¿ì¸® Àå¸À °°Àº ±¸¼öÇÔ°ú ¼ÖÁ÷ ´ã¹éÇÔ µîÀÌ °íÇâÀÇ Ç°°ú °°Àº Æí¾ÈÇÔÀ» ÁÖ°Ô µÈ´Ù.
¾Õ¼­ ¼­µÎ¿¡¼­µµ ¹àÇûµíÀÌ ¿À´ÃÀÇ µðÁöÅÐ Æз¯´ÙÀÓ¿¡ ºñÃß¾î º¸¸é ÀÌ·¯ÇÑ ÀÛ°¡ÀÇ ¹ÌÀǽÄÀº ¿À´ÃÀÇ È帧À» ¿ª·ùÇÏ°í ÀÖ´Â °ÍÀÌ´Ù. ¾Æ´Ï »ó»ýÀÇ ÁöÇý¸¦ °®°í º¸¿ÏÀû °¡Ä¡¸¦ Á¸ÁßÇÏ°í ÀÖ´Â °ÍÀÌ´Ù. ¡®´À¸²¡¯ ¡®¼Õ¡¯ ¡®¸¶À½¡¯ µîÀÇ ¾Æ³¯·Î±×Àû °¡Ä¡µéÀ» ÀÚ½ÅÀÇ È­Æø¿¡ ²Ù¹Ò¾øÀÌ ´ã°í ÀÖ´Â °ÍÀÌ´Ù. ¹«½¼ À̵¥¿Ã·Î±â³ª °ü³äÀ» ¾Õ¼¼¿ö ±×·¯´Â °ÍÀÌ ¾Æ´Ï¶ó, ´Ã ÀÛ°¡°¡ °É¾î¿Ô´ø ±×´ë·Î¸¦ ±×¸²À¸·Î ´ã¾Æ³»´Â °ÍÀÏ »ÓÀÌ´Ù. ¼¼»ó¿¡ ¸¹Àº ¾ç½Ä°ú ´ã·ÐµéÀÌ À¯ÇàÀ¸·Î ¸í¸êÇÏ°í ÀÖ´Ù. ÇÏÁö¸¸ ±×·± °Í¿¡ ¹ÌȤµÇÁö ¾Æ´ÏÇÏ°í À¯À¯ÀÚÀûÇϸ鼭 µ¿½Ã´ëÀÇ ¾ÆÇÄÀ» ¾î·ç¸¸Áú ¼ö ÀÖ´Â °¡Ä¡¸¦ ´«²Å¸¸Å­ÀÌ¶óµµ ½ÇÇöÇÒ ¼ö ÀÖÀ¸¸é, ±×°ÍÀ¸·Î ÀÛ°¡´Â ÇູÀ» ´À³¥ °ÍÀÌ´Ù. ¹¬¹¬È÷ Æí¾ÈÇÔÀ» ÁÖ´Â ±×¸²À» ±×¸®°íÀÚ ÇÏ´Â ÀÛ°¡ÀÇ ¼Ò¸ÁÀÌ ¿äÁòó·³ Àý½ÇÇÑ ¶§µµ ¾ø´Â °Í °°´Ù.

ÀÛ°¡ ÀÓÈ¿´Â 1955³â ÀüºÏ Á¤À¾Ãâ»ýÀ¸·Î È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇаú µ¿ ±³À°´ëÇпøÀ» Á¹¾÷Çß´Ù. 2004³â±îÁö ¸ðµÎ 14ȸ¿¡ À̸£´Â °³ÀÎÀüÀ» °¡Á³°í, 85³â ±¹¸³Çö´ë¹Ì¼ú°üÀÇ ¡¸Ã»³âÀÛ°¡ÃÊ´ëÀü¡¹, 98³â ¡¸¼­¿ï ¹Ì¼ú´ëÀü ÁÖ°Å °ø°£ÀÇ ¹Ì¡¹,µ¶ÀÏ°ú Çë°¡¸®¿¡¼­ ¿­¸°¡¸µ¿¹æÀÇ ºû I¡¹Àü°ú ·¯½Ã¾Æ¿¡¼­ ¿­¸° ¡¸µ¿¹æÀÇ ºû II¡¹Àü µî ±¹³»¿Ü¿¡¼­ È°¹ßÇÏ°Ô Àü½Ã¸¦ °³ÃÖÇØ ¿Ô´Ù. ¶ÇÇÑ 2005³â 7¿ù¿¡´Â ¼¼Á¾¹®È­È¸°ü Àü°ü¿¡¼­ È­¾÷ 30³âÀüÀ» °³ÃÖÇϱ⵵ ÇÑ´Ù. ¼ö»ó°æ·ÂÀ¸·Î µ¿¾Æ¹Ì¼ú»ó, ¼± ¹Ì¼ú»ó ¼ö»óÀÌ ÀÖÀ¸¸ç, È£´Â È£»ê(ûÉߣ)ÀÌ´Ù.

- Àü½Ãµµ·Ï¿¡¼­ ¹ßÃé -

--------------------------------------------------------------------------------
Rim hyo_ comfort and plentiful such

we only can produce


Written by Lee, Jae Un / Art Critic




In the chaos of identity battle in recent days, ¡®we-like¡¯ art comfort us somehow. No matter how our environment and life style was changed, the field of unconscious where our group sharing common destiny sits on may not changed that easily at all. On the contrary, we may hold on to our identity more than ever as our environment and life style changed rapidly. Of course, ¡®we-like art¡¯ can't be clear in its substantiality matter. We often witness when we approach it as some sort if ideology, the contents of it disappear as ash and something weared content or skin left. Of course, the twisted look could be our self-portrait, but it won't be comfortable any more like you are wearing others big cloths. Indeed, among those lots of experiences, comfort we can feel is the most valuable features we should seek for. We often feel this comfort when we face Mr. Rim hyo's art works. His materials, images on screen, touch, colour, and all these features come to us with comfort and richness. As you can see, this comfort, peace, and ¡®what we like¡¯ can be acquired by the art works themselves. However, it should be based on artists' belief and attitude as well. Nowadays, it is very difficult to fine such enthusiastic artist like Rim hyo. All the energy and passion displayed in his art works time to time with sensitively or homely, luxuriously and even open-heartedly. It is also true that there is no one can show such various touch in his or hers art. From the style with magnificent scale with non stop stroke black and white painting to colourful stroke with detailed illustration, and from powerful colour to simple colour screen we can even smell the scent of soil.

He possesses the most various coloring and features as well. As you can notice from his various forms of art works, we can imagine how fiercely and seriously he lives through his life as well. This variation of works could be glittering achievement by itself, but it also can correct the ignorance we often heard from people saying that korean painting¡®s subject and showings are very limited. In fact, he achieves his art thru various forms we can't imagine, and even still returns to the range of korean paintings because not only his nationality is korean but also he can't deny the fact that his emotion and sense came form the korean group sharing its common destiny together. Again, it is not just the reason that because we are korean and no matter what we think, we think like korean and act like korean. On the contrary, his art verify that the product of what we like most.
If we anatomy the spirit and thoughts of his art world, we can summarize them into following three, nature, myth, human. These three elements have some functional relation with digital system which is the core element of new social paradigm geared with ¡®speed¡¯, ¡®accuracy¡¯, and ¡®efficiency¡¯.
However, his art recognition may stand against the value induced by such digital system. Of course, we don't have to be opposite site of the benefits brought by digitalization. Because he is the artist, h can' t just accept the bad functions or paradox without any resistance. On the other hand, he suggest the way he open the possibility to live together with not just resist against it. It is his motor I can say.
It is impossible to fine an artist who didn't believe the naturalism. Indeed, his life itself and his artworks as well follows naturalism and become even part of nature itself. Thus, the naturalism we can find in the general landscape painting is far from what we can see in his art. He created forms of ¡®soaking landscape¡¯ and ¡® landscape¡¯ based on the thoughts the painting can make itself to be nature. Soaking paper into the colored water to create soaking landscape and ding paper partially to fill half is based on same reason. In the recent consecutive works of him, ¡®living together¡¯ is the conclusion of deep exploration of nature and naturism painting. In his art works, forms are flexible and can be chosen freely.
Myth can lie on the boarder line of human and nature. This is the reason that we often look up the myth to find nature and characteristics of human from them. To the artist, myth can't be neglected. Indeed, symbolic figures in myth are still often used by artist in not only old ages but also present time. The human nature beneath it is appeared appropriately in screen of his arts not the favor or interest. Not only the contents stories of myth but the characteristics of it is applied into the art as well.

Symbolic and timeless, intuitive features of myth are used to rearrange the orders of subjects on screen. separation from general space, approaching of timely awareness, the dualism of freedom and moderation are what we talked about. The artist insist the main subject is nature and human is one of belongings of nature. His such humanism are appeared not only in his canvas but also in the process as well. Indeed, the man made is the main element of humanism. As we can see, he used korean paper for more than 10 years. We saw many artists tried to use it for many reason, but soon give up because it takes too time too much and very difficult to handle as well. Thus it was not welcomed by artists. However, he endured all the obstacle and difficulties with open mind. Why?
I believe that he only saw it as result not just time consuming process. In other word, man made work is also the possible substance of art, and the essential element to guarantee its neutrality. The interaction between human body and substances is the process of creation and also the joy as well. Initiating the voluntary work of paper handling possessing such interaction means that you are very close to finish the art work. Specially, when you handle mulberry paper with making dream landscape by soaking it into water, you can get partially died. This partial died part is also essential part of the art work, and it completes its artistic value. you often witness this fact in the recent consecutive art work, 'living together'; however, it doesn't mean that just doing by hands has such meaning.
The papers handling with more than 10 years has more meaning. There could be other materials he tried to use, but the mulberry paer he finally met gives him such dynamic and various effects on his works. Indeed, it gives him various chances of imagination as well.
However, he tries various forms techniques throughout various materials not even on paper but also on vessels, but still keep common features within. This can't be explained by human word, but I believe that it is the colour of Rim hyo which comfort us like our hometown with its simple and homely features.
In the beginning of this article, I stated, again, the art world he pursue may atand against the digital paradigm we are facing lately. Well, indeed, it complement the value we may miss. Analog value such as ¡®slow¡¯ ¡®hand¡¯ ¡®mind¡¯ are used in his canvas to decorate. Not just for achieving a certain ideology but he just draw world he saw and feel as what he useto do as an artist. At this very moment, some theory, opinion, and forms are born and didapper as well. But if you are not confused by it, and keep going what you has enjoyed and pursued, and can realize the sorrow of our age and touch it softly, you can swallow the delightful joy as an artist. Indeed, the desire of Rim hyo who pursue the comfort to show thru his arts is also desperately needed by others as well. This is the time what we most need is comfort, I believe.

Artist Rim hyo was born at Jeoungeub Korea in 1955. He graduated from Hongik university with BA in arts and promoted into the graduated school with same major and successfully finished it as well. Until year 2004, he held 14 times of exhibitions; in 1985, national hyundai art center's¡¸young artist preview¡¹, in 1998 ¡¸seoul art festival's beauty of residence¡¹, in germany and hungary with¡¸light of orient I¡¹and in russia¡¸light of orient II¡¹and more. He actively opened his exhibition in country and out of country as well. Moreover, in July 2005, he also opened his art work exhibition to celebrate his 30 years in art at the sejong art hall. He received donga art award, sun award as well. His pen name is Hosan (pond mountain).

--------------------------------------------------------------------------------

ÁÖ¿ä¾à·Â

• 1981 È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇÐ Á¹¾÷ • 1985 È«ÀÍ´ëÇб³ ±³À°´ëÇпøÁ¹¾÷

°³ÀÎÀü
• 2008 Á¦17ȸ ä¿ò°ú ºñ¿òÀü (¼±È­¶û)
• 2005 Á¦16ȸ ¾îÁ¦¿Í ¿À´ÃÀü (¼¼Á¾¹®È­È¸°ü ¹Ì¼ú°ü)
• 2005 Á¦15ȸ Colors & Languages from East(Gallery ASTO L,A)
• 2004 Á¦14ȸ »ý¼º°ú »ó»ýÀü(ÀüÁÖ ±¹¸³ÀüÁÖ¹Ú¹°°ü)
• 2004 Á¦13ȸ »ý¼º°ú »ó»ýÀü(¼±È­¶û)
• 2001 Á¦12ȸ ÇÑÁö µå¸²¼ö¹¬Àü(¼±È­¶û)
• 1999 Á¦11ȸ ÇÑÁö ¿ì¸²¼ö¹¬Àü(¼±È­¶û)
• 1997 Á¦10ȸ ÇÑÁö ºÎÁ¶È­Àü(°¶·¯¸®»ó)
• 1996 Á¦9ȸ Çö´ëÀûÀÎ Á¶Çü°³³äÀÇ ½Å »ê¼öÀü(ûÀÛÈ­¶û)
• 1995 Á¦8ȸ º®È­¿Í À¯ÀûÀÇ À̹ÌÁöÀü(¹®¿¹ÁøÈï¿ø,¹Ì¼úȸ°ü)
• 1995 Á¦7ȸ µµºÎÁ¶ ÆÇÈ­Àü(µ¿»ê¹æȲ¶û, °¡»êÈ­¶û)
• 1994 Á¦6ȸ ¹®È­ÀÇ ¿øÇüã±âÀü(¼ö¸ñÈ­¶û)
• 1992 Á¦5ȸ »þ¸ÕÀÌÁòÀÇ ÀçÇؼ®Àü(±ÝÈ£¹Ì¼ú°ü)
• 1991 Á¦4ȸ °¡Á·¿¡¼­ ½ÅÈ­·ÎÀü(°¶·¯¸®¾Æ¹Ì¼ú°ü, °¶·¯¸®0901)
• 1990 Á¦3ȸ ½ÅÈ­ÀÇ º¯Áõ¹ýÀü(Á¶¼±ÀϺ¸¹Ì¼ú°ü)
• 1986 Á¦ 2ȸ º®ÀÇ À̹ÌÁöÀü(µ¿´ö¹Ì¼ú°ü)
• 1983 Á¦1ȸ ½Ç°æ »ê¼öÈ­Àü(µ¿´ö¹Ì¼ú°ü)

´ÜüÀü ¹× ÃÊ´ëÀü
• 2008±¤È­¹® ±¹Á¦ ¾ÆÆ®Æä¾î(¼¼Á¾¹®È­È¸°ü ¹Ì¼ú°ü)
• 2007 Art international Zurich (Kongresshaus Zurich)
• ±¤È­¹® ±¹Á¦ ¾ÆÆ®Æä¾î(¼¼Á¾¹®È­È¸°ü ¹Ì¼ú°ü)
• 2007 ÀÏ, ÇÑ Çö´ë¹Ì¼ú±³·ùÀü(ÁßÀÏ °¶·¯¸®, ÀϺ» Nagoya)
• THE NEW VISION OF MODERN KOREAN PAINTINGS
(The National Theater, Accra, Ghana)
• Çѱ¹È­ÀÇ Èû(¿¹¼úÀÇÀü´ç ÇÑ°¡¶÷¹Ì¼ú°ü)
• 2005 ÀüºÏ¹Ì¼úÀÇÁ¶¸íÀü(ÀüºÏµµ¸³¹Ì¼ú°ü)
• ´ëÇѹα¹, ¹Ì¾á¸¶¿¬¹æ ¼ö±³30ÁÖ³â±â³ä Çö´ëÇѱ¹È­Àü
(Yangon, Myanmar National Museum)
• Çѱ¹È­ VISION 2005 (¿¹¼úÀÇÀü´ç ÇÑ°¡¶÷¹Ì¼ú°ü)
• 2004 µ¿¾Æ¹Ì¼úÁ¦ ¼ö»óÀÛ°¡Àü(°¶·¯¸® »ó)
• µ¿¾Æ¹Ì¼úÁ¦ ¹Ì¼úµ¿¿ìȸÃÊ´ëÀü(±¹¸³Çö´ë¹Ì¼ú°ü)
• ÇÑ,ÀÏ Çö´ë¹Ì¼ú2004Àü(¼¼Á¾¹®È­È¸°ü ¹Ì¼ú°ü)
• CISAC ¼¼°èÃÑȸ±â³ä Çѱ¹ÀÛ°¡ ÃÊ´ëÀü(¹«¿ª¼¾ÅÍ COEX)
• 2003 ½Å¹¬È¸Àü(¼¼Á¾¹®È­È¸°ü ¹Ì¼ú°ü)
• Çö´ëÇѱ¹È¸È­ÀÇ À§»óÀü (LMCgallery)
• ¿ª´ë ¼±¹Ì¼ú»ó ¼ö»óÀÛ°¡Àü(¼±È­¶û)
• 2002 µ¿¾Æ¹Ì¼úÁ¦ ¼ö»óÀÛ°¡Àü(°¶·¯¸®»ó)
• ÇÑ.Áß Çö´ë¹Ì¼úÀÇ Á¶¸íÀü(¼¼Á¾¹®È­È¸°ü)
• 2001 µ¿¾çÈ­ Ãѵ¿¹®È¸Àü(°øÆò¾ÆÆ®¼¾Å¸)
• 2001³â 200ÀÎÀÛ°¡ÀÛÇ°Àü(¼±È­¶û)
• º¯Çõ±âÀÇ Çѱ¹È­Åõ»ç¿Í Á¶¸ÁÀü(°øÆò¾ÆÆ®¼¾Å¸)
• 2000 ¼ö¹¬µ¿¾çÈ­ »õõ³âÀÇ ¿À´ÃÀü(¼­¿ï½Ã¸³¹Ì¼ú°ü)
• È­¶û¹Ì¼úÁ¦(¿¹¼úÀÇÀü´ç¹Ì¼ú°ü)
• ±¤ÁÖ ºñ¿£³¯·¹Æ¯º°Àü(±¤ÁÖÁß¿Ü°ø¿ø)
• ã¾Æ°¡´Â ¹Ì¼ú°ü(±¹¸³Çö´ë¹Ì¼ú°ü)
• 98 ¼­¿ï¹Ì¼ú´ëÀü(¼­¿ï½Ã¸³¹Ì¼ú°ü)
• 1997 ÀÛ¾÷½ÇÀÇ ÀÛ°¡Àü(Á¶¼±È­¶û),Àü¶óÇѱ¹È­Á¦Àü(±¹¸³ÀüÁÖ¹Ú¹°°ü)
• °³°ü 20Áֳ⠱â³ä(¼±È­¶û), Çѱ¹¹Ì¼ú ¿£Å¸½Ã½ºÀü(µ¿´ö¾ÆÆ®°¶·¯¸®)
• 1995 ȸ»óÀÇ ´«Àü(¿¹¼úÀÇ Àü´ç, ÇÑ°¡¶÷¹Ì¼ú°ü)
• 1993~1995 È­¶û¹Ì¼úÁ¦(¿¹¼úÀÇÀü´ç, ÇÑ°¡¶÷¹Ì¼ú°ü)
• ¿¹¼úÀÇÀü´ç Àü°ü°³°ü±â³ä Çö´ë¹Ì¼úÀü(¿¹¼úÀÇÀü´ç, ÇÑ°¡¶÷¹Ì¼ú°ü)
• Á¦1ȸ ÇÑ.Áß ¹Ì¼úÇùȸ ±³·ùÀü(¿¹¼úÀÇÀü´ç, ÇÑ°¡¶÷¹Ì¼ú°ü)
• 1992 ¡®92 LAA¼­¿ï±â³äÀü(¿¹¼úÀÇÀü´ç, ÇÑ°¡¶÷¹Ì¼ú°ü)
• ¸ð½ºÄÚ - ¼­¿ïÀü(STROETERIS TOBO, MOSCOW)
• ¼ö¹¬ÀÇ ¿À´Ã°ú ³»ÀÏÀÇ Á¦¾ÈÀü(¼­¿ï½Ã¸³¹Ì¼ú°ü)
• 1991 ¡®91 Çö´ë¹Ì¼úÃÊ´ëÀü(±¹¸³Çö´ë¹Ì¼ú°ü±âȹ)
• ¡®91 Çö´ë¹Ì¼ú´Ü¸éÀü(¹Ì¼úȸ°ü), Çѱ¹¹Ì¼úÀÇ ´Ü¸éÀü(ÀϺ», ¿À»çÄ«Çѱ¹¿µ»ç°ü)
• Çѱ¹ÀÇ »êÇÏÀü(¼­¿ï½Ã¸³¹Ì¼ú°ü)
• 1989 B35 - ¡®89ÃÊ´ëÀü(Á¶¼±ÀϺ¸¹Ì¼ú°ü)
• µ¿¹æÀÇ ºûÀü(µ¶ÀÏ Atrum Gallery, Çë°¡¸® Budapest Gallery)
• 1988 Çѱ¹È­ ÀǽÄÀÇ ÀüȯÀü(µ¿´ö¹Ì¼ú°ü), Çѱ¹ÀÇ »õÈ帧Àü(µ¶ÀÏ, Stuttgart)
• '88 ÇÑ.Áß ¼ö¹¬È­Àü(¹®¿¹ÁøÈï¿ø¹Ì¼úȸ°ü)
• 1987 Çѱ¹È­ 33ÀÎÀü(¹®¿¹ÁøÈï¿ø¹Ì¼úȸ°ü), Çѱ¹½Å»ý´ë ¼ö¹¬Àü(Áß±¹, ¿õ»ç¹Ì¼ú°ü)
• ÇÑ.ÀÏ Çö´ë¹Ì¼ú ¡®87Àü(°æÀι̼ú°ü), ¿À´ÃÀÇ Çѱ¹È­ ¼ö¹¬Àü(¹ÙÅÁ°ñ¹Ì¼ú°ü)
• Á¦ 14ȸ û±¸È¸Àü(ÀϺ»µ¿°æµµ¹Ì¼ú°ü)
• ÀÌ ½Ã´ë Çѱ¹È¸ ½ÅÇ¥ÇöÀü(¹®¿¹ÁøÈï¿ø¹Ì¼úȸ°ü)
• Çѱ¹ Çö´ë¹Ì¼úÀÇ ¾îÁ¦¿Í ¿À´ÃÀü(°úõ±¹¸³Çö´ë¹Ì¼ú°ü°³°ü±â³ä)
• Çѱ¹È­ ±× ´Ù¾ç¼ºÀü(¹®¿¹ÁøÈï¿ø ¹Ì¼úȸ°ü)

¼ö»ó
• Á¦13ȸ ¼±¹Ì¼ú»ó ¼ö»ó,
• Á¦7ȸ µ¿¾Æ¹Ì¼úÁ¦ µ¿¾Æ¹Ì¼ú»ó ¼ö»ó

ÁÖ¿äÀÛÇ°¼ÒÀå
• À¯¿£ ESCAP º»ºÎ, ±¹¸³ÀüÁÖ¹Ú¹°°ü, ±¹¸³Çö´ë¹Ì¼ú°ü, È«ÀÍ´ëÇб³ ¹Ú¹°°ü
ÇѾç´ëÇб³ ¹Ú¹°°ü, Çѱ¹ÀºÇà, ±ÝÈ£¹Ì¼ú°ü, ÇѼֹ®È­Àç´Ü, ¿Ü¹«ºÎû»ç, °íÀº¹Ì¼ú°ü


• 1981 Hong ik university, BA of art
• 1985 Hong ik university, MA of education

Personal exhibition
2008 17th filling and vacating (Sun gallery)
2005 16th yesterday and today (Sejong culture art center)
2005 15th Colors & Languages from East(Gallery ASTO L,A)
2004 14th formation and living together(Geonju national museum)
2004 13th formation and living together(Sun gallery)
2001 12th Korean paper dream black and white(Sun gallery)
1999 11th Korean paper forest black and white(Sun gallery)
1997 10th Korean paper embossed figure(Gallery sang)
1996 9th Nnew landscape with modern figurative art concept(Chungjack Gallery)
1995 8th Wall painting and remains images(Arts council korea, art center)
1995 7th embossed engraving prints(Dongsanbang Gallery, Gasan Gallery)
1994 6th Finding the original form of culture(Sumok Gallery)
1992 5th reinterpretation of shamanism(Kumho art center)
1991 4th Form family to myth(Galleria art center, Gallery 0901)
1990 3th Dialectic of myth(Josun daily news art center)
1986 2th Image of wall(Dongduk art center)
1983 1th The actual view landscape (Dongduk art center)

Group exhibition and preview
• 2008 Kwangwhamoom international art fair(Sejong culture art center)
• 2007 Art international Zurich (Kongresshaus Zurich)
• Kwangwhamoom international art fair(Sejong culture art center)
• 2007 Exchange in modern art between Japan and Korea (Chinese-Japan Gallery, Nagoya, Japan)
• THE NEW VISION OF MODERN KOREAN PAINTINGS (The National Theater, Accra, Ghana)
• Power of korean paintings(Seoul art center hangaram art center)
• 2005 Illumination of Geonbuk art (Geonbuk art center)
• 30 year commemoration of amity between Korea and Myanmar, hyundai korean painting
(Yangon, Myanmar National Museum)
• Korea painting VISION 2005 (Seoul art center hangaram art center)
• 2004 Donga art festival award recipients(Gallery Sang)
• Donga art festival artist invitation(national hyundai art center)
• Modern art of Korea and Japan 2004(Sejong art center)
• CISAC world conference invitation of korea artists(COEX)
• 2003 new trend of black and white painting(Sejong art center)
• phase of modern korean fine arts (LMCgallery)
• Sun award recipients of many generations(Gallery sun)
• 2002 Donga art festival award recipients invitation(Gallery sang)
• Illumination of Korean and chinese art(Sejong art center)
• 2001 oriental painting alumni invitation(Gongpyong art center)
• 2001 200 popular artists invitation(Gallery Sun)
• An outlook of korean È­Åõ»ç over changes(Gongpyong art center)
• 2000 today of new millenium black and white oriental painting(Seoul city art center)
• Wharang art festival(Seoul art center)
• Kwangju biennale special invitation(Kwangju joongwea park)
• Art center we are going(National modern art center)
• 98 Seoul art festival(Seoul city art center)
• 1997 workroom artists invitation(Chosun gallery),Geonra art festival(NAtional geonju museum)
• 20th remembrance of opening(Sun gallery), Korean art entasis(Dongduk art gallery)
• 1995 recollection(seoul art center, hangaram art center)
• 1993~1995 Wharang art festival(seoul art center, hangaram art center)
• Seoul art center opening remembrance modern art festival(seoul art center, hangaram art center)
• the 1st exchanges of Korea and China art association(seoul art center, hangaram art center)
• 1992 ¡®92 LAA seoul remembrance(seoul art center, hangaram art center)
• Moscow - seoul art(STROETERIS TOBO, MOSCOW)
• Today and tomorrow of black and white painting(Seoul city art center)
• 1991 ¡®91 Modern art invitation(national hyundai art center planed)
• ¡®91 a slice of Modern art(art association), a slice of Modern art(Japan, osaka korean consulate)
• Korean mountain and river(Seoul city art center)
• 1989 B35 - ¡®89 invitation(Chosun daily news artcenter)
• Light of orient(Germany, Atrum Gallery, Hungary, Budapest Gallery)
• 1988 Transaction of oriental painting and its thought(Dongduk art center), new trend of Korea(Germany, Stuttgart)
• '88 Black and white painting of Korea and china(art council of Korea)
• 1987 Korean painting 33 artist invitation (art council of Korea), korean cenozoic age black and white painting
(China, eungsa art center)
• Korea-Japan modern art ¡®87(Kyongin art center), Korean balck and white painting of today(Batanggol art center)
• The 14th û±¸È¸Àü(Japan Tokyo art center)
• New expression of this era(Art council of Korea)
• Today and tomorrow of korean art and painting(Kwachun hyundai national art center)
• the diversity of korean art and painting(art council of Korea)

Award
• The 13th Sun art ward
• The 7th Dong-a art festival Dong-a art award

Art works collection possessed by:
• UN ESCAP dead quarter, national Geonju museum, national hyundai art senter, hongik university museum
han yang univ. museum, bank of korea, Kumho art center, hansol cultural foundation, MOFAT office, Koeun art center

¿ù°£ ¾ÆÆ®ÄÚ¸®¾Æ 5¿ùÈ£. 2008