| Ēš Woodcut Painting | |
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Lee Cheolsoo
This is the instance of spontaneous art, in which
the work appears to have been created with the liberal lines of
brush strokes and knife engravings. It is a remarkable achievement
made by the artist immersed in religious meditation.
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A Sound |
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| Woodcuts of Sounds 1996/89-8281-008-0/144p, 122X187 Ēš Chinese translation published by Morning Star Publishing, 2003. Ēš Simplified Chinese translation published by Harbin Publishing House, 2003. |
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| On a Night When Pear Flowers have Fallen All White |
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Woodcuts of Zen 1996/89-8281-007-2/144p, 174X242 |
| Woodcut Cards <Small House> <Moon> |
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Almost every Korean is familiar with
his pieces. His woodcuts are often found in books and magazines, as
more than two hundreds of his pieces have been used as illustrations.
His art reflects significant periods of Korean society since 1980.
In the 1980s, his work dealt with the social and political problems
under military dictatorship. In his works of the 1990s, he sways towards
Buddhist pictures to express the miraculous world of meditation. He
also employs a traditional style called wenren-hua, a Neo-Confucian
style of painting influenced by Zen Buddhism, liberally engraving
simple lines on woodprint. The woodcuts also feature poetic texts.
This unique style combines traditional aesthetics of woodprint. His
art discloses the secrets of life and the universe in an unexpectedly
refreshing way. |
| Woodcut Postcards (27 pieces) |
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Spring Rain / Bird and Maehwa / Birds also have weight / Sound of stream / Sun / Il-Ju-Moon / Jeong-Hwa-Su / Stump / Tan-cheong / A Windy Day / Wild Magnolia / Drying Peppers / Standing on the Rice Field / An Unknown Flower / Look, It's a Flower / Go-nu / Between Two Trees / Houses Resembling the Hill / Birds Coming Home / Behind My Back / Life: A Simple Path/ Karma / Songs of Sprouts / Maternal Style / Moving Day/ Smiling Face / Listening at Kam-eun-sa-ji |
| 2003 Lee Cheolsoo's Woodcut Calendar |  |
