▲ 가을속에서 1_2016_캔버스에 수묵, 혼합재료_53x45.5cm

Kim's works are intimate expressions of time. She records state of her mind according to the changing of time through the four gracious plants (plume, orchid, chrysanthemum and bamboo). With complex codes, our hearts approach with delicate changes of ink. The time does not go straight, in this case, but it is patterns of her thoughts. - Art critic Jang Jung-ran - 

Scholars enjoyed drawing the four gracious plants during the Chosun dynasty era. They compared the four plants with virtues of noble men themselves and expressed their gentility or dignity in times of unjustice by brushing up these four plants. 

For them, it was the language that was more than the ostensible shapes of the plants. If the traditional four plants often were the means to express their opinions on nature or politics, Kim's work is the artistic means to record a creation and an extinction of things. 

She observes the order of nature through the eyes of the four plants, adds her sentiments, and delivers in ink and colors. Apricot flower symbolizes birth of spring and she gives a contrast by adding the coldness of a winter to enhance warmness and vitality. 

Orchid symbolizes a summer in its innocence and loftiness. Chrysanthemum symbolizes an autumn and it represents our aspiration to live like a flower sends strong that scent in times of early winter frost. Bamboo symbolizes the evergreen of the tree with snow in white winter. 

"I feel thrilled among the four gracious plants. It makes me a wonder what will happen to the surrounding environment at tomorrow and what I may feel from it. So I observe them attentively and try to deliver their beauties on the canvas as they are" says Kim.

Kim meditates an hour in every day to empty the worldly thoughts in her mind by focusing on the questions thrown to herself: Who am I? Why am I taking the brush? What do I want to find inside of me? Then she gathers the answers to theses questions and reflects them into her works. 

"Ink and wash painting has a healing power like meditation. It makes the painter reflects oneself and enlightens to let things go. It helps the painter open inner-self and accepts others with benevolent heart. This is the state of perfect self-effacement."

Running Damhyeon Literati Painting Office, Kim motivates students to read books always, be self-sufficient, and be lack of something rather than full of something for it makes them work harder. For the same reason, she emphasizes the importance of open-mindedness and understanding as their works reflect the their minds. 

"I learned importance of being an agreeable character from my father as well as my teacher Park Yong-sul and professor Park Wan-sik. My father taught me to be a useful person, the teacher, who mastered five types of calligraphy, to build a firm foundation for my heart, and the professor to read the four books and five classics of Chinese Confucianism. 

Hugely influenced by these three important persons, Kim obtained a master's degree in literati painting at The University of Suwon, and a doctoral degree with her paper 'Research on Symbols of the Four Gracious Plants and the Sentiments' at The University of Suwon.

"Brush, ink, inkstone and paper are called the four precious things of study. It is very important for the artist to use these four precious things in connection and flawlessly. When things go as I move my hands and brush, I feel I'm connected to everything in nature."

In other words, Kim says, the brush moves and works as she intends when she becomes her true self. The hand that is holding the brush is filled with abundance, empathy and communication.

Meanwhile, she travels in her spare time and makes note of what she felt during the travel. When time comes, she wants to publish the notes into a collection of essays with her ink and water works. 

"There's a saying that one knows the truth after reading ten thousand books and after walking 3,927 Km. Like mindedness, I travel and read books as often as possible. I think everybody's having a hard time due to the pandemic but I hope the hard time connects us with stronger bond thanever before."

▲ Damhyeon Literati Painting Office / Damhyeon Asong Kim Yoi-ja

浸润于笔墨之间，感受纯粹的感动！
她的四君子流动着笔情墨韵

金外子的画体现着沉淀在时间里的情感。东洋绘画的传统文化题材——四君子(梅、兰、竹、菊的别称)并没有在他的笔墨下单纯地被描画为一种形态，而是记录着随着时间的流逝而变化的心境。水墨微妙的变化呈现出复合要素的他那独树一格的画幅，能让人感受到另一番情趣。水墨泛开的是思维随着时间变化的斑斓纹样，而不是一去不复返的时光。那些纹样通过浓淡各异的层次诠释了新的“四君子”之世界。——选自美术史及文学博士张正兰的评论文章《时间之情感视阈下的四君子》

植根于传统，利用多样元素，塑造艺术形象
淡泊而清雅的水墨画当中，常用来被文人墨客作为题材的就是“四君子”。在东方文化中，将德才兼备之人视为君子，而儒家子弟们毕生追求的亦是成为君子。“四君子”常被文人用来寓意高尚的品德，它也是愤世嫉俗的载体。对于文人墨客而言，“四君子”是超越形态而存在的精神表达。而潭见金外子笔墨的题材也是“四君子”。如果我们在以往的传统绘画当中看到的“四君子”是隐含着政治观点，或者是承载着对宇宙和自然界秩序的学术观点的话，那么潭见的作品则近乎是在自然界的运行规律下被留存下来的有关诞生与消亡的交谈记录。以梅、兰、竹、菊来代表四季，观察大自然的规律，将人的情感融入到时间，演化为水墨与色彩的斑斓。例如，象征着春天的梅展现的是经霜傲雪后怒放的令人惊艳的生命力。梅的植株在水墨的渲染下绽放鲜艳花朵，充盈着冬天的严寒与春天的生命力，流露出丝丝温暖的情谊。象征夏天的兰高洁而雅淡，虽然外有孤芳自赏之个性，但其显露的是融入了大自然的规律与祥和的谦逊。初冬严霜给满秋盛开的菊花增添一缕芳香，这表现的是对理想中美好生活的憧憬与畏惧交织的情感。冬季的竹则表达的是在冻结的大地上仍旧毅然地不失绿意、顶风压雪的生命的重量。像这样，他的笔墨添上了无法用水墨言语的心灵色彩，呈现了富有现代感的画作。虽然他的“四君子”画作植根于传统，但是通过多种多样的元素塑造了独树一帜的艺术形象，摆脱了传统的结构，利用直线、曲线等各种不同的几何线条诠释了作品的质感。他曾说：“明天，我们周围的自然环境又会发生什么变化？而我所想表达的就是在大自然的变化中随之产生的触动，客观地去看待这些，借以利用水墨和色彩来精彩地展现四君子。”

运营文人画研究室——“以水墨画进行治愈和冥想的原理”讲座中
通过冥想集中思维是담현创作的核心。他讲道：“一定要专心一意，所以我每天都会坚持一小时心灵的修行。我是谁？我为什么拿着毛笔？就像这样，寻找自我的禅坐能让我集中精神，会让我内心的力量变得更强大。冥想是我生活的一部分，也是最佳的生活状态。清空思维后再逐步去填满内心的空洞。”他说他的作品是在不经意间诞生的，不知在何处漂泊的心灵会在开启自我世界的那一瞬间完完全全地承载在作品之中。提出了依托于“四君子”进行治愈和冥想方法的他还表示这种修行的原理会原原本本地呈现在文人画当中。他的画作不拘泥于东洋画的绘画技法，而是把重点放在通过与精神世界的连接观察到的内心变化，以及完成作品过程当中随之产生的感受。他将“领悟无我”解释为是，“以水墨画进行治愈和冥想是一种通过画作去照射彼此内心的方式，需要先放下自我，也就是毫无掩盖地去表露自己，从而获得能够容纳对方心灵的智慧。”，而“无我”只能是在放下对自我思维的执念与判断时才能顿悟，即能以“四君子”为媒介达到这种境界。在运营文人画研究室的同时在韩国水源大学美术研究生院执教的他坦诚能通过学生和画家学到很多东西，也尊重他们。他还讲道：“人与人之间的缘分岂能说断就断，通过画作与作者交流，重新寻觅出自己的道路，让作品焕发新生是最让我感到欣慰的事情。”他对学徒们语重心长地说：“要随身带着书。人生本就是一场修行，要亲手做事，在创造收益的同时也要好好上课，这样才知道如何珍惜自己和制作作品的机会，主宰自己。”随后讲得“差的人比好的人更努力”是他的经验之谈。

德才兼备的优秀尊师教诲他走向文人画家之路
向对方抒发情感是一个人最大限度的表达方式，然而如今人类精神情感的荒漠化却让我们逐渐淡漠接近他人的努力。而潭见基于传统的画作则是寄托了人与人间能彼此感受并靠近对方的期待，通过他的画作与讲座向人们传递着人与人间相互理解，产生共鸣以及感受幸福的情感的点滴。“四君子”是他赋予季节的一种情愫，为的是能与面对画幅的人同呼吸，而这源于人性最基本的“本性”，可以说他选择“四君子”作为题材的原因就在于此。唤起他的这一“本性”的尊师就是他的先父、 艸民朴龙卨先生以及 朴浣植教授。“父亲从小就让我一边磨墨一边读书，培养了我的耐心，也教导我要以健康体魄成为有用之才。精通五体的艸民先生所讲得‘万事皆有根及始于根，故须藉心言说’。”等让他开始关注人生哲学。在金刚禅院结识了朴浣植教授后听着有关四书三经等书经十多年之久的讲座，使他拥有了能够反思自己的机会。出生于庆尚南道金海市的潭见，他的先父是教育家兼汉学家。常常遨游在书海中的父亲，是他从未间断过学习，并对他的人生带来深远影响的最棒的老师。在一位位优秀老师的引导下，他伴随着文房四宝——笔、墨、纸、砚，耐心地学习，活跃于画坛。硕士毕业于水源大学造型艺术学院文人画专业，在后以《四君子的象征与情感描绘相关研究》为标题的论文获得檀国大学的博士学位。

融入情感的水墨，让他执着于色彩的研究，甚至在计划出版散文集
有时走进画室会让他想要情不自禁地去画画。他的画作以100号等较为大的规格为主，所以在描绘的时候不经意间看到的影像会自然而然地渗透到作品当中。不管画什么，只有真诚地一颗心，才会让他执起笔墨，他说：“有一天，我发现自己想当然地在等待着我的文房四友。在急促的呼吸下，准备笔、墨、纸、砚，就像水与墨汁的交融一样，非常重要。文房四友一下子映入眼帘的那一刻就像是与大自然万物合为一体的感觉。”。这让他感觉到握着笔墨的手心内传递的充裕与遐想，与人的沟通及爱意等，使得作品一气呵成，他讲道：“这就像是画卷让你踏上远足之路一样，随着笔墨渲染着一层层故事。”。此外，他也会利用零碎的闲暇去旅行，当然这也有助于他的创作。看海、浏览古迹后摸索着残留的记忆书写而成文章也数不胜数。他希望自己能一如既往地敞开胸怀让自己变得更加通透，隐约露出了想要出版嵌入了自己画作的诗集和散文集，以及将旅行中的亲身体会及感受到的所有事物以全新的富有情趣的水墨来展现其色彩的心愿。只有“读万卷书，行万里路”才能习得知识一样，看似静默却在跳动的思维，让我孜孜不倦地读书，这便让我习惯于一边读书一边磨墨的时间。所以他时长会谆谆告诫后背画家：“虽然因为新冠疫情我们能碰面的时间很少，但我还是希望在教育工作中的劳碌能成为你发展过程的养分，最好是学到知足无求。”。他的现代水墨画作品有着宽绰而有余的留白，俨然是一处能让人喁喁私语、休息片刻的空间。何不在那留白处稍事停歇，去慢慢填满那些空白呢？

안정희 기자  honesty5835@naver.com