Language
Intuition
木人田钟周 – 活着的传统，流动的水墨
Mokin Jeon Jong-ju (born 1951) is the only living artist in this exhibition, making his presence especially meaningful. Along with Hakjeong Lee Don-heung, he carries forward Honam calligraphy's spirit with contemporary vision.
Jeon Jong-ju doesn't follow traditional calligraphy's external forms. Yet his ink work thoroughly emerges from Eastern spirit and calligraphic breathing. The breath of writing strokes, ink's light and dark tones, silence of empty space—these contain the essence of emptying and waiting.
"Heart Image" unfolds like traces of inner landscape. Rather than drawing objects, it captures invisible flows of feeling. "Between Human and Divine" reveals blurred boundaries between human and spiritual, body and mind, world and self through single brushstrokes.
Sometimes his compositions have only one brushstroke, but the depth of attention poured into that line is never light. "Self-Portrait" and "Field and Well" show traces where body and mind, brush and breath moved together.
In this exhibition, Jeon Jong-ju's presence directly shows calligraphy's living flow from past to present. While Hakjeong preserved traditional methods' dignity and spirit, Mokin experiments with expanding "tradition's spirit" into today's sensibility through ink.
He chooses brush over words. Ink's bleeding and empty space, resonance and silence—within these, he invites viewers to open their own senses. He doesn't try to explain, but always leaves space open for feeling.
His philosophy centers on "scholarly spirit in writing" and "writing and painting from same source"—the Eastern idea that calligraphy and painting emerge from one origin. He interprets this for our time, freely crossing boundaries between text and image.
Mokin Jeon Jong-ju is still working. His ink continues flowing. That flow becomes a bridge from this place in Jindo toward the next generation of Honam calligraphy.
Jeon Jong-ju doesn't follow traditional calligraphy's external forms. Yet his ink work thoroughly emerges from Eastern spirit and calligraphic breathing. The breath of writing strokes, ink's light and dark tones, silence of empty space—these contain the essence of emptying and waiting.
"Heart Image" unfolds like traces of inner landscape. Rather than drawing objects, it captures invisible flows of feeling. "Between Human and Divine" reveals blurred boundaries between human and spiritual, body and mind, world and self through single brushstrokes.
Sometimes his compositions have only one brushstroke, but the depth of attention poured into that line is never light. "Self-Portrait" and "Field and Well" show traces where body and mind, brush and breath moved together.
In this exhibition, Jeon Jong-ju's presence directly shows calligraphy's living flow from past to present. While Hakjeong preserved traditional methods' dignity and spirit, Mokin experiments with expanding "tradition's spirit" into today's sensibility through ink.
He chooses brush over words. Ink's bleeding and empty space, resonance and silence—within these, he invites viewers to open their own senses. He doesn't try to explain, but always leaves space open for feeling.
His philosophy centers on "scholarly spirit in writing" and "writing and painting from same source"—the Eastern idea that calligraphy and painting emerge from one origin. He interprets this for our time, freely crossing boundaries between text and image.
Mokin Jeon Jong-ju is still working. His ink continues flowing. That flow becomes a bridge from this place in Jindo toward the next generation of Honam calligraphy.