Jin JANG | 张 秦


1973 Year of birth
Ph.D. Finish the doctors’s course of Oriental philosophy, Sungkyunkwan University, Seoul Korea
M.F.A. Oriental philosophy at the graduate school, Sungkyunkwan University, Seoul Korea 
B.F.A. Oriental painting, Seoul National University, Seoul Korea
NOW Professor Department of painting College Arts and Design Dae-Gu University, Korea 
Solo Exhibition
2017 Poetic Space, Dynasty gallery, Taipei Taiwan, China
2016 Scenery of Heart, Incheon Art Platform, Incheon Korea
2015  Moonlight prism, lexus gallery, Daegu Korea
2014 Moonlight prism, Sinsaegae gallery, Busan Korea
2013 Scenery of Heart, Irorymura gallery, Osaka Japan
2012 Scenery of Heart, Sinsaegae gallery, Incheon Korea
2011 Moonlight prism, Space-R, Seoul Korea
2011 Moonlight prism, Sinsaegae gallery, Incheon Korea
2010 Scenery of Heart -below the moon, Youngjong library, Incheon Korea
2010 Moonlight prism, Bupyeong Art Center, Incheon Korea
2009 Sympathy with my Heart, Kumho Museum, Seoul Korea
2008 Scenery of Heart -below the moon, Sinsaegae gallery, Incheon Korea
2007 Scenery of Heart, Sinsaegae gallery, kwangju Korea
2007  Scenery of Heart, Hakkgojae gallery, Seoul Korea
2006 Poetic Space, Topo house, Seoul Korea 
2003 Salt flowers and in the garden, Space beam, Incheon Korea
2002 Salt flowers, Moin gallery, Seoul Korea
2011 OCI Museum Residency 
2010 Incheon Art Platform Residency  
National Museum of contemporary art, Korea
Incheon Culture Foundation, Korea
Private collection


In the Beginning was the Energy (Im Anfang war die Kraft).
– Johann Wolfgang von Goethe’s Faust –
Poetic Painting
Like the poems by poets of Tang-Song Dynasties who wrote their poems while having a drink in West Lake Hangzhou in the moonlight, Jang Jin’s paintings are a collection of poetic sentiment.
Jang Jin’s paintings are poetic; a little bit lyric, but overall they are epic. This style of painting does not come from traditional ways and forms of Dongyangwha or Eastern painting. Jang Jin takes a unique approach to wash drawing on his own; he incorporates wash drawing techniques into printed paintings called monotypes. It looks like brush painting but he actually drew/painted with hand or relied on a coincidence to happen to complete his works. As a result, the touch is so free and unconstrained, which is suited to express vitality like flowing water. His painting techniques resemble the destructive form of modern Western art; he adopted the vandalistic attitude in art in the early 20th century, which lasted till the era of Abstract Expressionism. But that does not mean his canvas is overwhelmed by the aesthetics of violence in Western culture. His interest and sentiment is quite similar to of poets in the past. Nevertheless, he does not seek compromise or try to draw a conclusion ambiguously like in the theory of Eastern Way-Western Means*.
Jang Jin’s style is classified as Eastern painting and this is not because of what he majored in college. Nor is it because of the materials he uses such as an ink-stick, crushed stone powders that are often used in the paintings of Far East. Moreover, it is not because of the fact that he made a modern version of spirit resonance or vitality, one of the key elements that define a painting in the Record of the Classification of Old Painter, a book written by Xie He, a writer and art historian in 5th century China. In fact, the way he sees and expresses the world challenges what the old philosophy of Eastern traditional painting presented as an ideal value and yet was never achieved, which makes him an Eastern painter. Jang explores the meaning of painting of this particular style in a most realistic way and at the same time maintains the philosophical depth of the concept.
Landscapes of the Past and the Present
Drawn with Energy  KIM Jung – rak Art historian