Long regarded as paradigmatic in histories of modern art in Asia, abstraction assumed new urgency in the hands of ink painters like Jung Tak-young (1937–2012). During the politically and socially turbulent early decades of postwar Korea, Jung played an exemplary role in the Korean emergence of a self-consciously abstract ink painting through sustained experimentation that included rejecting the use of ink, the very material that crucially defined ink painting. For Jung, abstraction was a necessary platform for rethinking entrenched concepts of medium, presence, and form in hopes of arriving at a more expanded view of contemporary art.

中文翻译：

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郑德永与战后韩国抽象水墨画的制作

在亚洲现代艺术史上长期以来，抽象一直被认为是郑德永（1937–2012）等水墨画家所面临的新紧迫性。在战后朝鲜的政治和社会动荡的前几十年中，荣格通过持续的实验在朝鲜出现了一种自觉抽象的水墨画中发挥了示范作用，其中包括拒绝使用水墨，这是至关重要的定义水墨的材料。对于荣格来说，抽象是重新思考媒介，存在和形式等根深蒂固的概念的必要平台，以期获得对当代艺术的更广阔视野。