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Park Mok-wol’s early poetry show a fairyland, a paradise, and a palace in the moon, its ideal boundary based on the will of oriental painting, when the choice of poetic words, color image, and background legendary are examined. It also has something in common with the symbolism of flower painting’s materials in that the image of animals and plants is very mild and reconciliatory. In addition to the relativity of oriental painting’s subjects and materials, Park Mokwol’s early poetry represent the quotation of the composition principles of oriental paintings as follows. First, it is the relativity of Mok-wol’s poetry and oriental painting’s composition. The beauty of space in oriental painting is represented in his brief and simple poetic type. Its characteristic is the succinct composition through ellipsis and condensation. Whereas the detailed placement of lines visually expands the large space of oriental painting, ellipsis leading to dramatic effect quotes its small space. It makes readers exert their infinite imagination like in a picture. This is another expression of their boundless thoughts. Throughout the first half of the poetry, travel distance of time and space seems to be short because of restrained tone and a lingering sound by omitted postposition, but it is an extremely long distance between the ideal
and the real world. The fact actually causes very strong afterimage effect. It is descriptive in scene but quite emotional. Second, it is the relativity of Mok-wol’s poetry and oriental painting’s
techniques. ‘Energy’ of oriental chiaroscuro techniques (for the expression of mountains or rocks) in techniques is the motion feeling of form. The grasp and description of ‘energy’ is the first element that gives the liveliness to a picture. The Cheongnoru in Park Mokwol 􀅯s poem, Cheongnoru, plays a main role as a foreground while the backgrounds including Cheongwun temple emphasize on ‘energy’ given to Cheongnoru. Moreover Cheongnoru makes moving
scene of perspective by using mobile point of view, or ‘disperse perspective drawing technique’ in which space or time is not restricted when it arranges a form. With rhythm of trimeter variation, in reciting by controling high and low speed of breath and using a nasal sound ‘􀎞’ repeatedly, readers can feel speed and liveliness like those in sliding down a hill. It can be also referred to the expression of ‘energy’ of oriental paintings.