Chronology

1926

• Life 05-22 Born on May 22 in Seohong-dong, Seogwipo, Jeju, the fourth son among five sons and four daughters of Byun Tae-yun and Lee Sa-hui.

1931

• Life At the age of six, moved to Japan with his father.

1932

• Education Entered Osaka Hanazono Higher Elementary School. Remembered as a versatile boy admired by his classmates. Strong for his age, he often wrestled with older students; an injury to his leg became one reason he chose art school on finishing his secondary course.

1933

• Award Received the Osaka Mayor’s Award at the National Children’s Art Exhibition.

1936

• Life Around the age of ten, began learning watercolour painting. [Evidence: contemporary press]

1941

• Work Painted Still Life (41 × 32 cm), the earliest known work by the painter — at fifteen, the year after entering the Osaka School of Fine Arts.

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1942

• Education Entered the Department of Western Painting, Osaka School of Fine Arts. His Korean classmates included Im Ho, Yun Jae-gan, Baek Yeong-su and Song Yeong-ok .
• Artwork Surviving works from these years include the 1943 oil Farm House (F50), the 1944 Self-Portrait, and a 1945 Nude.

1944

• Artwork Painted Self-Portrait.
• CORE WORK · FŪDO 038 Self-Portrait A young painter emerges against a muted ground, dressed in a dark jacket and white shirt, his steady face carrying the tension of a future not yet reached. Work page →

1945

• Education Graduated from the Department of Western Painting, Osaka School of Fine Arts, and moved to Tokyo, where he studied under Terauchi Manjirō, member of the Japan Art Academy.
• Education Enrolled in the French course at the Athénée Français, completing the five-year programme.

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1946

• Work Painted White House and Woman (90 × 65 cm), among works not included in the 1958 list of sixty.

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1947

• Award FEMME was accepted at the 3rd Nitten, the national exhibition organised by the Japanese Ministry of Education — the first Korean ever accepted into its Western painting section. He was twenty-one.
• Exhibition Submitted work for the first time to the 33rd Kōfūkai open exhibition; two paintings, Winter Trees A and B, were accepted.

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1948

• Award Won the highest award, the Kōfū Prize, at the 34th Kōfūkai Exhibition. At twenty-three he was its youngest recipient — an unprecedented event in the Japanese art world, reported by NHK as a topic of the week. The four submitted works were Woman in a Beret, Woman with a Mandolin, Early Spring and Autumn Landscape.
• Career In October, elected a full member at the general meeting of the Kōfūkai. Exhibited Portrait of a Man at the Nitten.

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1949

• Exhibition Served as a juror of the 35th Kōfūkai Exhibition, showing Recess and Man with a Violin.
• Exhibition Shown by invitation at the 2nd Joint Exhibition of Art Associations, organised by the Mainichi Shimbun: Reverie.
• Exhibition 04-07~11 First solo exhibition, Shiseido Gallery, Ginza, Tokyo (7–11 April).

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1950

• Exhibition Shown by invitation at the 3rd Joint Exhibition of Art Associations, organised by the Mainichi Shimbun: White and Black Houses. The Emperor of Japan visited the exhibition, and the painter had occasion to speak with him.
• Exhibition Appointed a juror of the 36th Kōfūkai Exhibition, showing Seated Woman.
• Exhibition Exhibited Afternoon at the Nitten.

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1951

• Exhibition Second solo exhibition, Shiseido Gallery, Ginza, Tokyo (Nihon Sangyo Keizai Shimbun, 26 July; Naigai Times, 25 July).
• Exhibition As a juror of the 37th Kōfūkai Exhibition, showed Figure ('Nemo').
• Exhibition Exhibited Portrait of an Old Man at the Nitten.

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1952

• Exhibition As a juror of the 38th Kōfūkai Exhibition, showed Woman with a Book.
• Exhibition Exhibited Woman at the Nitten.

1953

• Exhibition Third solo exhibition, Western Painting Gallery, Hankyu Department Store, Osaka (Osaka Yomiuri Shimbun, 20 March).
• Exhibition Exhibited Lamp and Woman at the 39th Kōfūkai Exhibition, and Houses and Lady at the Nitten.

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1954

• Exhibition Exhibited Portrait of Mr. K (F50) at the 40th Kōfūkai Exhibition. Convalesced at Kusatsu Hot Spring.
• Exhibition Lady in Blue (50-go) submitted to the Nitten by invitation. [Evidence: exhibition list]

1955

• Exhibition Exhibited Houses and Road (F50) at the 41st Kōfūkai Exhibition.

1956

• Exhibition Exhibited Three Nudes (F50) at the 42nd Kōfūkai Exhibition.

1957

• Life 11-15 15 November — returned permanently to Korea, settling in Dongsung-dong, Jongno-gu, Seoul.
• Lecture Published an essay on 'Trends in Contemporary Art' in the International Times (Japan), 27 September 1957.

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1958

• Career After his return he painted portraits from life of, among others, Yun Il-seon, president of Seoul National University; Kim Yeon-gap, president of Hanyang University; Shin Tae-hwan and Kwon Jung-hwi, presidents of Seoul National University; Lee Yang-ha, dean at Seoul National University; Kim Seon-gi, Vice-Minister of Education; Byun Si-min, dean of Jeju National University; Park In-chul, principal of Mapo High School; Lee Seung-hak, dean of Sorabol Art College; and professors Hong Ryu-yu, Yuk Ji-su and Jang Yeong-suk.
• Career 09-01 1 September — appointed teacher at Mapo High School, Seoul (principal Park In-chul). Resident at 192 Dongsung-dong, Jongno-gu.
• Exhibition Fourth exhibition: a retrospective of oil paintings at the Hwashin Gallery, Hwashin Department Store, Seoul .
• List Hwashin retrospective — the sixty exhibited works (from the 1958 pamphlet, with location status)

  #	Work	Year	Size	History	Status
  1	Farm House Farm House · 農家 · 117 × 91 cm Painted while a student at the Osaka School of Fine Arts, at seventeen. A Still Life of 1941 survives, so this is not the earliest known work.	1943	F50	在學時代 作品 · image	● known
  2	Nude	1944	F10	Student period	— unverified
  3	Self-Portrait Self-Portrait · 自畵像 · 38 × 46 cm (F10) A student-period work. A self-portrait at eighteen. He faces us directly, collar up, tie knotted, against a ground of a single ochre. Note — the 1958 pamphlet dates this to 1945; the correct year is 1944. The pamphlet also misdates Nos. 5 and 10.	1944	F10	在學時代 作品 · image	● known
  4	Half-naked woman	1946	F50	Unexhibited	— unverified
  5	Winter Trees A · B Winter Trees A · B · 겨울나무 A · B · 91 × 73 cm Accepted at the 33rd Kōfūkai Exhibition, 1947 — two works, A and B. The first acceptance of a Korean into the Kōfūkai.	1947	F30	★ First acceptance, Kōfūkai (2 works) · image	● known
  6	FEMME FEMME · FEMME · 110 × 83 cm (F50) Accepted at the 3rd Nitten, autumn 1947. The first Korean accepted into the Nitten's Western painting section. He was twenty-one. The official notice records the title as «ファーム» — the katakana transcription of the French FEMME.	1947	F50	★ 日展 初入選作 · image	● known
  7	Woman in a Beret Woman in a Beret · 베레모의 여인 · 110 × 83 cm Winner of the Kōfū Prize at the 34th Kōfūkai Exhibition, 25 March 1948. He was twenty-three. His teacher wrote: 'He is, I believe, probably the youngest member the Kōfūkai has ever had.' Of the four works submitted, only this prize-winning canvas and Woman with a Mandolin can be located; Early Spring and Autumn Landscape are untraced. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1948	F50	★ 光風會 最高賞(光風賞) 受賞作 · image	● known
  8	Woman with a Mandolin Woman with a Mandolin · 만도린을 가진 여자 · 110 × 83 cm One of the four works submitted to the 34th Kōfūkai Exhibition of 1948, when he won the Kōfū Prize. Of those four, only this canvas and the prize-winning Woman in a Beret can be located; Early Spring and Autumn Landscape are untraced. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1948	F50	image	● known
  9	Early Spring Early Spring · 이른 봄 (早春) · 117 × 91 cm Untraced. One of the four works submitted to the 34th Kōfūkai Exhibition of 1948, when he won the Kōfū Prize. It was also singled out by the Korean press at the 1958 Hwashin retrospective — the Chosun Ilbo wrote that 'some sixty works were shown, beginning with the accepted work Early Spring.' Only a monochrome reproduction survives.	1948	F50	image	✕ untraced
  10	Man with a Violin Man with a Violin · 바이올린을 가진 남자 · 110 × 83 cm Submitted to the Nitten by invitation. Also shown at the 35th Kōfūkai Exhibition of 1949, where he served as a juror. The 1958 pamphlet dates the work 1948; the correct year is 1949. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1949	F50	日展 依囑出品 · image	● known
  11	Recess Recess · 休憩 · 110 × 83 cm Shown by invitation at the Joint Exhibition of Art Associations, organised by the Mainichi Shimbun. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1948	F50	美術團體聯合展 招待出品 · image	● known
  12	Woman with a Book Woman with a Book · 女人과 책 · 110 × 83 cm Shown as a member of the Kōfūkai. The 1958 pamphlet dates the work 1949; the correct year is 1951. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1951	F50	光風會 會員出品 · image	● known
  13	Man with a Pipe	1949	F50	Kōfūkai, as member	— unverified
  14	Woman Sitting Woman Sitting · 女人 座像 · 110 × 83 cm Shown by invitation at the Joint Exhibition of Art Associations. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1949	F50	美術團體聯合展 招待出品 · image	● known
  15	White and Black Houses White and Black Houses · 白色家屋과 黑色家屋 · 117 × 81 cm Singled out by the poet Cho Byung-hwa in his 1958 review. A work of the same title dated 1948 also survives.	1950	F50	美術團體聯合展 招待出品 · image	● known
  16	Afternoon Afternoon · 午後 · 146 × 112 cm (F80) Submitted to the Nitten by invitation, 1950. At F80 it is among the largest of his Japan-period canvases.	1950	F80	★ 日展 依囑出品 · image	● known
  17	Figure ('Nemo') Figure ('Nemo') · 「네모(nemo)」의 座像 · 110 × 83 cm Shown as a member of the Kōfūkai. In the same year he served as a juror of the 37th Kōfūkai Exhibition. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1951	F50	光風會 會員出品 · image	● known
  18	Portrait of Mr. K Portrait of Mr. K · K氏의 像 · 110 × 83 cm Painted in 1952; also shown at the 40th Kōfūkai Exhibition in 1954. A man in a beret holding an open book, before shelves of bottles and boxes — a studio, or a shop. In the same year he was serving as a juror of the Kōfūkai. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1952	F50	image	● known
  19	Snow Scene Snow Scene · 雪風景 · 110 × 83 cm Painted in 1952, the year he served as a juror of the 38th Kōfūkai Exhibition. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1952	F50	image	● known
  20	Nude Nude · 裸體婦 · F10 Shown at his third solo exhibition (Osaka, March 1953) and reproduced on the cover of the announcement. Untraced; only a monochrome reproduction survives.	1952	F10	第三回 個人展 出品 · image	✕ untraced
  21	Lamp and Woman Lamp and Woman · 燈盞과 여자 · 83 × 110 cm Shown at the 39th Kōfūkai Exhibition as a member. (The 1958 pamphlet dates it 1953; the correct year is 1952.)	1952	F50	光風會 會員出品 · image	● known
  22	Houses and Lady Houses and Lady · 흰색집과 여자 · 110 × 83 cm Submitted to the Nitten by invitation, 1953. In the same year he showed Lamp and Woman at the 39th Kōfūkai Exhibition. Note on the canvas. A standard F50 measures 117 × 91 cm; this canvas is 110 × 83 cm. In an oral history recorded in 2004 the painter stated that he ordered smaller canvases on purpose, so as not to admit anything unnecessary into the picture. Not subtraction but choosing. Not 'what shall I leave out', but 'what is most beautiful here' — he decided that first, and cut the canvas to the size of the one beautiful thing. His teacher Terauchi Manjirō wrote in 1949: 'One might say that no stain of technique is visible in it.'	1953	F50	日展 依囑出品 · image	● known
  23	Lady in Blue Dress	1954	F50	Nitten, by invitation	— unverified
  24	Portrait of Mr. A	1954	F50	Kōfūkai, as member	— unverified
  25	Houses and Road	1955	F50	Kōfūkai, as member	— unverified
  26	Three Nudes Three Nudes · 三人의 裸體婦 · 83 × 110 cm Exhibited at the 42nd Kōfūkai Exhibition. The last work of his Japan years; the following year he sailed home. Three figures recline; one plays a flute. What is remarkable is the colour: the whole surface is submerged in a single brown. The blue beret of 1948, the green wall of the mandolin picture — his palette had been various. By 1956 it has narrowed to one. The colour we have called a product of Jeju was already beginning in Tokyo.	1956	F50	光風會 會員出品 · image	● known
  27	Construction	1957	F15	After his return to Korea	— unverified
  28	Wooden Horse and Three Women	1957	F8		— unverified
  29	Figures	1957	F6		— unverified
  30	Houses on a Hill	1957	F4		— unverified
  31	Father and Son on Horse	1957	F6		— unverified
  32	Landscape with Hills	1958	F6		— unverified
  33	Structure	1958	F6		— unverified
  34	Work	1958	F8		— unverified
  35	Figure and Still-life A	1958	F6		— unverified
  36	Figure and Still-life B	1958	F8		— unverified
  37	Mother and Son	1958	F8		— unverified
  38	Hillpath	1958	F20		— unverified
  39	Porter Porter · 지게꾼 · F6 Untraced. The only one of the sixty works reproduced in the contemporary press. All that survives is the halftone reproduction. The bent back under a load reappears seventeen years later in the old men of Jeju. The painting is gone; the posture remained.	1958	F6	Reproduced in the press · image	✕ untraced
  40	Houses and Trees	1958	F6		— unverified
  41	Cow and Two Men	1958	F6		— unverified
  42	Trees and Moon	1958	F6		— unverified
  43	Window	1958	F6		— unverified
  44	Woodsplit	1958	F6		— unverified
  45	Mt. Inwang	1958	F6		— unverified
  46	Mt. Bukak	1958	F6		— unverified
  47	Mt. Bukhan	1958	F6		— unverified
  48	Mt. Samkak	1958	F6		— unverified
  49	Landscape	1958	F6		— unverified
  50	Portrait of Dr. Y	1958	F30		— unverified
  51	Portrait of Dr. K	1958	F30		— unverified
  52	Portrait of Dr. K	1958	F30		— unverified
  53	Portrait of Dr. S	1958	F12		— unverified
  54	Portrait of Dr. R	1958	F12		— unverified
  55	Portrait of Dr. P	1958	F12		— unverified
  56	Mrs. K	1958	F10		— unverified
  57	Mt. Nak	1958	F8		— unverified
  58	Landscape	1958	F8		— unverified
  59	Landscape	1958	F8		— unverified
  60	Landscape	1958	F10		— unverified

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1959

• Career Juror of the World Student Art Exhibition, under the Ministry of Education.
• Exhibition 5th solo exhibition, sponsored by Mapo High School, Central Public Information Center Gallery, Seoul (Dong-A Ilbo, Seoul Shinmun, Hankook Ilbo, Apr. 6).

1960

• Life 04-19 On April 19 — the day of the April Revolution — married Lee Hak-suk, a graduate in Oriental painting of Seoul National University.
• Career Invited as head of the Art Department, Sorabol College of Arts.
• Career Directed the 1st campus art exhibition of the Sorabol art department.

1961

• Life 02-09 9 February — his eldest daughter Jeong-eun was born.
• Exhibition Exhibited Summer Landscape (F20) at the 47th Kōfūkai Exhibition.

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1963

• Life His eldest son Jeong-hun was born.
• Exhibition Exhibited Portrait of a Woman at the 49th Kōfūkai Exhibition (Dong-A Ilbo, 22 April). The sitter was Jang Yeong-suk, professor at Ewha Womans University and wife of Dean Lee Yang-ha.

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1964

• Life 11-09 9 November — his second daughter Yeon-seon was born.
• Career 12-11 From 11 December, taught art to children and to middle- and high-school students at the L.M.T.C. Institute, Jongno 4-ga, Seoul (Sonyeon Dong-A, 8 December).
• Exhibition Exhibited Family (F120) at the 50th Kōfūkai Exhibition in Japan — a portrait of the family of Shin Tae-hwan, president of Seoul National University (Dong-A Ilbo, 10 April).
• Exhibition Pen drawing Through the Darkness of the Earth for the inaugural issue of the Korea Economic Daily, with text by the poet Kim Chun.

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1965

• Exhibition Exhibited Bandoji Pond, Biwon (F40) at the 51st Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.
• Exhibition As a director of the Shinki-kai, exhibited Bandoji Pond (F30), Aeryeonjeong Pavilion (F30) and Jondeokjeong Pavilion (F40) at its 9th exhibition, Press Centre, Seoul.
• Exhibition Exhibited Autumn at the general exhibition of the Korean Fine Arts Association.
• CORE WORK · FŪDO 036 Autumn at Aeryeonjeong A pavilion and pond in Changdeokgung’s rear garden are immersed in blue and golden foliage, their architecture and reflections densely filling the canvas. Work page →

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1966

• Exhibition Exhibited Bandoji Pond in Autumn at the Malaysia Invitational Art Exhibition, organised by the Government of the Republic of Korea.
• Exhibition Exhibited Bubujeong Pavilion at the Shinki-kai.
• Exhibition Exhibited Old Tree, Biwon at the 52nd Kōfūkai Exhibition.
• Exhibition Exhibited Road at the general exhibition of the Korean Fine Arts Association.
• Publication Seoul Shinmun: Autumn in My Home Village, ink painting by Byun Shi-Ji with a poem by Kim Gwang-hyeop (October 1966).
• Publication Published the book New Art (Kwandong Publishing).

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1967

• Exhibition Exhibited Bandoji Pond, Biwon at the Shinki-kai exhibition.
• Exhibition Exhibited Landscape at the Invitational Exhibition of Active Korean Artists, National Museum of Modern Art, organised by the Ministry of Public Information.
• Exhibition Exhibited Namsan Seen from Deoksugung (F40) at the 53rd Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.

1968

• Career Travelled to Japan as the Korean delegate to the International Society for Education through Art.
• Exhibition Exhibited Seungjaejeong Pavilion, Biwon (F40) at the 54th Kōfūkai Exhibition.
• Exhibition Exhibited Bandoji Pond (F30) at the Shinki-kai exhibition.
• Publication 12-04 Hankook Ilbo: The Sun Sets on My Home Village, ink painting by Byun Shi-Ji with text by Byun Si-min (4 December).

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1969

• Exhibition Exhibited Jondeokjeong Pavilion, Biwon (F30) at the 55th Kōfūkai Exhibition.

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1970

• Exhibition Exhibited Autumn Landscape at the 16th Shinki-kai exhibition, National Public Information Hall.
• Exhibition Exhibited Road (F40) at the 56th Kōfūkai Exhibition.
• CORE WORK · FŪDO 037 Changdeokgung Palace Upright trees, a pavilion and tiled roofs occupy a snow-covered palace garden, rendered with controlled perspective and delicate blue shadows. Work page →

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1971

• Exhibition Sixth solo exhibition, Fuji Gallery, Japan — eighteen landscapes on the theme of the Biwon, the Secret Garden of Changdeokgung .
• Exhibition Exhibited Country Landscape at the inaugural exhibition of the Chosun Hotel Gallery.
• Exhibition Exhibited Aeryeonjeong Pavilion (F100) at the 57th Kōfūkai Exhibition, and The Octagonal Pavilion at the Shinki-kai.
• Exhibition Shown in an exhibition of leading works of contemporary art, organised by the Fuji Gallery, Japan.

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1972

• Career Opened the Painter's House in Donam-dong, Seoul: a three-storey building housing a private gallery and studio.
• Exhibition Shown in an exhibition of foremost Korean contemporary artists organised by the Fuji Gallery, Japan, alongside Lee Jong-woo, Kim In-seung, Kim Suk-jin, Do Sang-bong, Park Deuk-sun, Kim Ki-chang, Son Eung-seong, Park Yeong-seon and Jang Un-sang.
• Exhibition Exhibited New Green at the Exhibition of Leading Contemporary Artists, Hyundai Gallery.
• Exhibition Exhibited Seogwipo Landscape A at the 58th Kōfūkai Exhibition, and Biwon Landscape at the Shinki-kai.

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1973

• Exhibition Exhibited Autumn Landscape (F20) at the 59th Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.
• Exhibition Exhibited The Old Palace at the Shinki-kai exhibition.
• Exhibition Exhibited Snow at the Old Palace at the Asian International Exhibition.

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1974

• Career Lectured in the Department of Art Education, College of Education, Hanyang University (aesthetics and studio practice).
• Career 12-22 22 December — opening of the Painter's House in Miari. There the Oriental Art Association was founded, with Byun Shi-Ji as its head: a group of painters seeking to realise a distinctly East Asian sensibility within Western oil painting (Chosun Ilbo and Kyunghyang Shinmun, 24 December; JoongAng Ilbo, 25 December).
• Exhibition Shown in the Exhibition of Korean Masters, organised by the Koryo Art Gallery, Osaka, alongside Do Sang-bong, Kim In-seung, Park Yeong-seon and Kim Ki-chang.
• Exhibition Shown at the 21st Shinki-kai exhibition, Art Centre, Seoul (Hankook Ilbo, 13 November).
• Exhibition Shown by invitation at the Asian International Exhibition.
• Exhibition Exhibited Hallasan at the 60th anniversary Kōfūkai Exhibition.

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1975

• Life Moved to 953 Yongdam 3-dong, Jeju City.
• Career Inaugural Ten-Artist Exhibition of the Oriental Art Association (chairman: Byun Shi-Ji), National Public Information Hall. Special contributions by Terauchi Manjirō, member of the Japan Art Academy, and by Byun Shi-Ji. Participating artists included Kim In-su, Park Chang-bok, Park Seong-sam, Ahn Byung-suk, Yun Chwi-man, Lee Myeong-sik, Lee Seong-geun, Lee Seung-hwan, Im Chang-yeol and Jo Jeong-gil .
• Career Appointed full-time lecturer in the Department of Art Education, College of Education, Jeju National University (aesthetics, art theory, criticism and studio practice).
• Career Advisor to the Jeju Artists Association.
• Exhibition Exhibited Seogwipo Landscape at the 61st Kōfūkai Exhibition, Japan .
• Exhibition Special contribution to the 2nd Oriental Ten-Artist Exhibition, Art Centre, Anguk-dong.
• Exhibition Shown in the Exhibition of Korean Masters organised by the Koryo Art Gallery, Osaka International Hotel, alongside Do Sang-bong, Kim In-seung, Park Gyu, Kim So-yeong, Park Dae-jin, Oh Seung-woo, Kim Hwa-gyeong, Jang I-seok and Kim Suk-jin.
• CORE WORK · FŪDO 071 Sunset Pale pink, blue and yellow dissolve across sea and sky, turning the horizon into a breath in which several moments coexist. Work page →
• CORE WORK · FŪDO 053 The Pony Two Jeju ponies stand close in blue and apricot light: one raises its head toward the distance, while the other lowers its head toward the ground. Work page →

1976

• Life Moved to lodgings in Samdo 2-dong, Jeju City.
• Exhibition Shown by invitation at the Jeju Provincial Exhibition: Oedo Landscape. Collection of the Jeju Shinmun.
• Exhibition Shown by invitation at the Asian International Exhibition: Autumn at the Old Palace.
• Exhibition Exhibited Snow at the Old Palace at the 62nd Kōfūkai Exhibition, Japan (Chosun Ilbo, 25 April; Maeil Business Newspaper, 28 April; Shina Ilbo, 29 April).
• CORE WORK · FŪDO 096 Jeju A pony stands before a blue coast, rock island and distant mountains; the palette is still moist with colour, and home remains strangely distant. Work page →
• CORE WORK · FŪDO 027 Rite to the Sea God A rock island rises from a vast blue sea, with a tiny figure bowing upon it; the human body is almost a point within the maritime expanse. Work page →

1977

• Life Moved to Jewon Apartments, 262-20 Yeon-dong, New Jeju City.
• Career Exhibited Byeoldobong and Munseom at the Jeju National University faculty exhibition.
• Exhibition Exhibited Island in Autumn at the 63rd Kōfūkai Exhibition, Japan.
• Exhibition Exhibited Snow on Hallasan and Landscape with Chaerabong at the Jeju Artists Association Sixteen-Artist Exhibition.
• Exhibition 3rd Oriental Art Association Twelve-Artist Exhibition, Central Public Information Hall (Chosun Ilbo, 18 February; JoongAng Ilbo, 19 February; Ilgan Sports, 17 February).
• CORE WORK · FŪDO 004 Brother Islands Two rock islands occupy different distances across a long, faded field—one near and large, the other far and small, yet held by the same horizon. Work page →

1978

• Exhibition Seventh exhibition: Byun Shi-Ji and Lee Hak-suk, a husband-and-wife show (Chosun Ilbo, JoongAng Ilbo and Dong-A Ilbo, 31 May; Hankook Ilbo, 26 May; Jeju Shinmun, 15 June).
• Exhibition Shown by invitation at the Jeju Provincial Exhibition: Seaside Village.
• Exhibition Exhibited Waiting and Island Landscape at the Jeju Artists Association exhibition.
• Exhibition Exhibited Nude and Evening by the Sea at the art exhibition organised by the Jeju Federation of Artistic and Cultural Organisations.
• Exhibition Eighth exhibition: an invitational show organised by Ilgan Misul and Saenghwalsa, Jeju Sanho Exhibition Hall (Jeju Shinmun, 16 December; Jedae Shinmun, 29 December). Reviewed by the critic Won Dong-seok.
• CORE WORK · FŪDO 001 Ieodo Dark branches and low vegetation tangle before a pale sea, while a distant rock island remains a small point beyond the rough foreground. Work page →

1979

• Life Moved to the Jeju National University faculty apartments, Block A, no. 304.
• Career Exhibited Old Tree and Reverie at the Jeju National University faculty exhibition. Collection of Yang Jeong-ho.
• Exhibition Ninth exhibition, Dongduk Art Museum: forty works including Village Landscape and Girl with a Horse .
• Exhibition Shown by invitation at the Jeju Provincial Exhibition: The Deep Sea.
• Exhibition Tenth exhibition, Sanho Exhibition Hall, Jeju (Jeju Shinmun, 17 December).
• Exhibition Exhibited Jeju Island Landscape at the 65th Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.
• Exhibition Exhibited Arrival and Reverie at the Jeju Artists Association exhibition.
• CORE WORK · FŪDO 043 Mother and Fish A mother and child sit beside fish laid out for sale; the child looks toward a small boat, while family labour is divided between shore and horizon. Work page →
• CORE WORK · FŪDO 040 Haenyeo Near breaking white waves, a woman diver reclines at an angle; body, sand and sea yield their boundaries within one weathered light. Work page →
• CORE WORK · FŪDO 042 Plowing Beneath a hazy red sun, human and horse work a dry field, their outlines entering the colour and movement of the earth. Work page →
• CORE WORK · FŪDO 060 The Crow and I A crow remains near a person stretched upon the ground; despite their different positions, the space between them is one of silent regard rather than judgement. Work page →
• CORE WORK · FŪDO 078 The Jetty An empty boat has arrived below a dark jetty. Work page →

1980

• Exhibition Eleventh exhibition, an invitational show at the Jeonsi Gonggan Gallery, Jeju City: thirty oils including Dalla, Evening Glow and Shipwreck (Dong-A Ilbo, 6 June; Jeju Shinmun, 9 June).
• Exhibition Gyegan Misul, spring issue: Sunset (F10).
• Exhibition Exhibited Waiting (F100) at the Jeju Artists Association exhibition, Jeonsi Gonggan Gallery. Collection of Jeju MBC.
• Exhibition Exhibited Lonely Island of the South at the 66th Kōfūkai Exhibition.
• Exhibition Exhibited Anxiety at the Jeju National University faculty exhibition.
• Exhibition Shown by invitation at the inaugural exhibition of the Namyang Museum of Art: Storm (F30). Collection of Park Tae-hun.
• Exhibition Exhibited When the Crow Cries (F100) at the 4th Oriental Art Association exhibition, Jeonsi Gonggan Gallery, Jeju City. Collection of the Korea University Museum.
• Exhibition Exhibited Longing for Home (F100) at the Jeju Provincial Exhibition. Collection of Byun Hyung-ha of KBS.
• Exhibition Twelfth exhibition, Sanho Exhibition Hall, Jeju.
• Publication 03-24 Jeju Shinmun: 'New Spring…', painting and text by Byun Shi-Ji (24 March).
• Publication Jugan Yeoseong: Landscape by Byun Shi-Ji, featured among notable works.

1981

• Life Travelled through Europe.
• Career Exchange exhibition of the faculties of Jeju National University and Mokpo National University.
• Exhibition Shown by invitation at Korean Art 81, organised by the National Museum of Modern Art: Jeoldo — The Severed Island. Collection of the National Museum of Modern Art.
• Exhibition Exhibited Lonely Island of Tamna at the 67th Kōfūkai Exhibition.
• Exhibition Thirteenth exhibition, an invitational show at the Haemok Gallery, Mokpo.
• Exhibition Fourteenth exhibition, an invitational show at the Namyang Art Centre, Jeju (Jeju Shinmun, 3 June).
• Exhibition Shown by invitation at the inaugural exhibition of Kim Jung-up's Ilbang Gallery: The Gate.
• Exhibition Dong-A Ilbo, 'Spring in the Homeland': the oil painting Homecoming (6 March 1981).
• Exhibition Fifteenth exhibition, Tamna Gallery, Jeju (Dong-A Ilbo, 27 August; Jeju Shinmun, 27 August and 4 September).
• Exhibition 5th Oriental Art Association exhibition, Dongduk Art Museum, Seoul.
• Exhibition Exhibition marking his departure for France, Baeksang Memorial Hall, Anguk-dong, shown together with Kim Gi-hyeok, Park Jong-hui, Lee Jeong-sin and Pyo Seung-hyeon (Dong-A Ilbo, 7 September; Ilgan Sports, 6 September; JoongAng Ilbo, 4 November).
• Exhibition Sixteenth exhibition, an invitational show at the Astrolabio Gallery, Rome, 6–20 October (Italian press, 21 October).

1982

• Career Juror of the Contemporary Art Grand Prix Exhibition, Korea Design and Packaging Centre.
• Career Juror of the Korean Traditional Art Grand Prix Exhibition, Korea Design and Packaging Centre.
• Career Chairman of the Korean Art Research Society, with offices at 177 Gwanhun-dong, Jongno-gu, Seoul.
• Exhibition Joint exhibition, Grand Hotel Gallery, Jeju: ink paintings.
• Exhibition Seventeenth exhibition, an invitational show at the Jeong Gallery, Gwangju (Gwangju Ilbo, 22 February; Dong-A Ilbo, 26 February).
• Exhibition Eighteenth exhibition: an invitational show of ink paintings, Jeong Gallery, Gwangju.
• Exhibition Exhibited San Marco at the 68th Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.
• Exhibition Nineteenth exhibition, an invitational show at the Hangwang Art Museum, Busan (Dong-A Ilbo, 31 November and 2 December).
• Publication Published a book of drawings from his European travels (Hwa Publishing).
• Publication 07-19 Dong-A Ilbo, 'Summer Painting': ink painting by Byun Shi-Ji with text by Jeong Gi-yeong (19 July).
• Publication Jeju Shinmun: 'Summer Passes', painting and text by Byun Shi-Ji (6 July); his painting Liberation published on 4 August.

1983

• Career Juror of the Korean Art Grand Exhibition.
• Career Juror of the Contemporary Art Grand Prix Exhibition.
• Career His second daughter Yeon-seon entered the Department of Korean Literature, Sungshin Women's University.
• Career General exhibition of the Korean Art Research Society, Sejong Cultural Centre.
• Career His eldest daughter Jeong-eun graduated from the Department of Art Education, College of Education, Jeju National University, and entered the graduate programme in aesthetics at Hongik University.
• Exhibition Shown by invitation at the Contemporary Art Invitational Exhibition held by the National Museum of Modern Art following the reform of the national exhibition system: Dreaming of Home.
• Exhibition Exhibited London Landscape (F30) at the 69th Kōfūkai Exhibition (Jeju Shinmun, 29 April).
• Exhibition Shown by invitation at the Jeju Provincial Exhibition: Girl in a Dream.
• Exhibition Twentieth exhibition: an invitational show of ink paintings, Hansol Gallery, Jeju (Jeju Shinmun, 10 December; Dong-A Ilbo, 9 December).
• Exhibition The Wind Cave of Tamna (F100). Collection of Wonhwan Eunhye, Jeju branch.
• Exhibition Typhoon (F150). Collection of the Seohae Hotel, Jeju.
• Exhibition Shown in the Ten Local Artists Exhibition marking the first anniversary of the Sangmi exhibition space, Seogwipo (Dong-A Ilbo, 30 March; Jeju Shinmun, 31 March).
• CORE WORK · FŪDO 008 Tropical Sun A black pine, a single horse and a distant boat inhabit an intense yellow field that exposes every being to the same sun and wind. Work page →

1984

• Career Juror of the New Art Grand Exhibition, of the Contemporary Art Grand Prix Exhibition, and of the Korean Art Open Grand Prix Exhibition, Busan.
• Career Exhibited Native Soil at the exhibition marking the fourteenth anniversary of the Doksŏ Shinmun.
• Career Appointed head of the Department of Art Education, College of Education, Jeju National University.
• Career Seogwipo Landscape (F100). Collection of Jeju National University.
• Career Juror of the Baekje Art Grand Exhibition.
• Career Unification Painting and Calligraphy Exhibition, Sejong Cultural Centre.
• Career His eldest son Yeon-hun entered the Department of Russian Language and Literature, College of Liberal Arts, Korea University.
• Exhibition Shown by invitation at Contemporary Art 84, organised by the National Museum of Modern Art: Reverie. Collection of the Hongik University Museum.
• Exhibition Shown in the Korea–Japan art exchange exhibition, Jeongudang Gallery (Chosun Ilbo, 28 September).
• Exhibition Exhibited The Seine (F40) at the 70th anniversary Kōfūkai Exhibition (Jeju Shinmun, 25 April).
• Exhibition Twenty-first exhibition: an invitational show of some thirty ink paintings, Hansol Gallery, Jeju (Dong-A Ilbo, 9 December; Jeju Shinmun, 10 December).
• Exhibition Twenty-second exhibition: an invitational show of twenty-five ink paintings, Sangmi exhibition space, Seogwipo (Jeju Shinmun, 5 March).
• Exhibition Exhibited Jeju Landscape at the Unification Exhibition organised by the Central Council for National Unification.
• Exhibition Members' invitational exhibition of the New Art Grand Exhibition, 22nd Century Art Museum (JoongAng Ilbo, 10 January).
• Exhibition Exhibited Waiting at the benefit exhibition for the restoration of the exile house of Chusa Kim Jeong-hui.

1985

• Career Travelled to Japan for a Korea–Japan art exchange exhibition, at the invitation of the Chikyudo Gallery, Ginza, Tokyo.
• Career Juror of the Contemporary Art Grand Prix Exhibition, serving alongside his wife Lee Hak-suk.
• Career Chairman of the jury of the New Art Grand Exhibition, sponsored by the Ministry of Culture and Information.
• Exhibition Shown by invitation at Contemporary Art 85, organised by the National Museum of Modern Art: The Road Home.
• Exhibition Fourteen Painters Exhibition, Sangmi exhibition space, Seogwipo.
• Exhibition Twenty-third exhibition, an invitational show at the Sejongdang Gallery, Jeju City (Jeju Shinmun, 4 February).
• Exhibition Exhibited Longing for Home (F40) at the 71st Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.
• Exhibition Exhibited Longing for Home (F40) at the 71st Kōfūkai Exhibition, Tokyo Metropolitan Art Museum.
• CORE WORK · FŪDO 070 The Black Sun A black sun and small boat hover above a rough sea, while human and horse remain below; the sun is present but offers no illumination. Work page →

1986

• Degree Received an honorary doctorate from Wonkwang University.
• Award Received the Jeju Culture Award in the Arts Division, the Order of Civil Merit, and the Seogwipo Citizen Award.
• Career Chair of the jury, National Teachers’ Art Grand Prize.
• Career Honorary director, Seogwipo Culture and Arts Center.
• Award Received the Jeju Culture Award (Arts), a national decoration, and the Seogwipo Citizen Award.
• Exhibition Twenty-fifth solo exhibition.
• Exhibition Exhibited Storm at the 72th Kōfūkai Exhibition, Tokyo.
• Exhibition 06-06~18 24th publication commemorative exhibition for Woosung Byun Shi-Ji Art Collection, 6–18 June.
• Exhibition Korean Contemporary Art: Yesterday and Today, MMCA, Gwacheon.
• Exhibition 25th publication commemorative exhibition, Dongin Art Museum, Jeju.
• Publication Published the Woosung Byun Shi-Ji Art Collection, with a commemorative exhibition.
• CORE WORK · FŪDO 005 A Wavering Horizon A thin horizon bends high in a yellow field, while a small boat and birds drift above a low house, figure and black tree clinging to the earth below. Work page →

• 

1987

• Career Appointed Honorary Director of the Seogwipo Municipal Gidang Art Museum.
• Career Chair of the jury for the New Art Grand Exhibition.
• Career Chair of the jury for the 2nd National Teachers' Art Grand Prize Exhibition.
• Career Permanent Byun Shi-Ji exhibition room established at Gidang Art Museum, Seogwipo.
• Career Appointed honorary director of Gidang Art Museum.
• Career Chair of the jury for the New Art Exhibition and the 2nd National Teachers’ Art Grand Prize.
• Award Received a Certificate of Appreciation from the Mayor of Seogwipo.
• Exhibition A permanent exhibition room dedicated to Byun Shi-Ji established at the Seogwipo Municipal Gidang Art Museum.
• Exhibition Exhibited Portrait at the 73th Kōfūkai Exhibition, Tokyo.
• Exhibition 1987 Contemporary Art Invitational Exhibition, MMCA, Gwacheon.
• CORE WORK · FŪDO 009 Hallasan Beneath a ring-like sun and a few black mountain lines stand a thatched house, stone wall, bowed horse and stooped person; Hallasan becomes the condition of the whole scene. Work page →
• CORE WORK · FŪDO 079 The Old Pine and the Old Man A small old man stands beneath a monumental pine, both facing a boat diminishing across the sea. Work page →
• CORE WORK · FŪDO 064 Ieodo An empty boat cuts across a rough orange sea while a black crow flies or cries near the waves; only traces of the missing human remain. Work page →

• 

1988

• 전시 88 한국현대미술전, 국립현대미술관, 과천
• Exhibition 04-19~24 26th solo exhibition, Shinsegae Art Gallery, Seoul, April 19–24.
• Publication Published Byun Shi-Ji: Jeju Wind Paintings I–II and Art and Fudo.
• CORE WORK · FŪDO 091 Recollection Within a tall field of house, sea and small figure, a faint horse enters the surrounding light and hovers between presence and absence. Work page →
• Publication Published Byun Shi-Ji: Jeju Wind Paintings I and II, and Art and Pungto.

1989

• Exhibition Exhibited Ieodo — The Legendary Island at the 75th Kōfūkai Exhibition, Tokyo.

• 

• Career Chair of the jury, Jeju Art Exhibition.

1990

• 전시 제26회 개인전.
• Exhibition Invitational of Jeju wind paintings, Baeksong Gallery, Seoul.
• Exhibition 27th Jeju Wind Paintings Invitational Exhibition, Baeksong Gallery.
• Exhibition 1990 Contemporary Art Invitational Exhibition, MMCA, Gwacheon.
• Exhibition Seoul Arts Center Opening Commemorative Exhibition.
• Exhibition 28th Invitational Solo Exhibition commemorating retirement, Yehyang Gallery.
• Publication Published Byun Shi-Ji Jeju Painting Style I–II, Tamna Mokseokwon Press.
• CORE WORK · FŪDO 081 Where To? In a field swept by wind, a horse lowers its head while a crow remains nearby; no clear path is visible, and both stay within the same uncertainty. Work page →
• CORE WORK · FŪDO 018 Typhoon Beneath a clearing sky, a low thatched house, stone wall and bowed horse remain; the painting is governed by the pressure the storm has left behind. Work page →
• Exhibition Opening exhibition of the Seoul Arts Center.

1991

• 경력 제주대학교 인문대학 미술학과 정년퇴임.
• Career Retired from the Department of Fine Arts, College of Humanities, Jeju National University.
• Award Merit plaque of the president of Jeju National University; National Medal; merit plaque of the mayor of Seogwipo.
• Exhibition Invitational exhibition marking his retirement, Yehyang Gallery, Jeju.
• Publication Published Jeju Wind Paintings III.
• Publication Published Byun Shi-Ji: Jeju Wind Paintings III.
• CORE WORK · FŪDO 093 The Way Home Under a black sky and white wind, a woman carrying a water jar and a horse move toward a low house, both bodies inclined by the day’s weight. Work page →

1992

• Exhibition Twenty-ninth solo exhibition.
• Exhibition Thirtieth solo exhibition, Yemaek Gallery, Seoul.
• Exhibition Contemporary Art Invitational Exhibition '92, National Museum of Modern and Contemporary Art, Gwacheon.
• Exhibition Exhibited Bitter Heart at the 78th Kōfūkai Exhibition, Tokyo.
• 전시 제29회·제30회 개인초대전, 예맥화랑, 서울 강남
• 전시 92 현대미술초대전, 국립현대미술관, 과천
• 저서 『우성 변시지 삶과 예술 I』, 예맥화랑
• Publication Published Wuseong Byun Shi-Ji: Life and Art I and the Fifty Years of Painting album.

• 

• Exhibition 78th Kofu-kai exhibition, Tokyo — Bitter Heart.

1993

• Career Founded the Sinmaekhoe artists' group.
• 경력 신맥회 창설
• Exhibition TIAS international exhibition, Tokyo.
• Exhibition Thirty-first solo exhibition, an invitational show at the Seonam Art Museum.
• Exhibition Exhibition commemorating the opening of the Seoul Arts Center.
• Exhibition Exhibited Jeongbang Falls at the 79th Kōfūkai Exhibition, Tokyo.
• 전시 우즈베키스탄공화국 독립 2주년 축제 초대전, 예술의전당, 서울

• 

• Exhibition 79th Kofu-kai exhibition, Tokyo — Jeongbang Falls.
• Exhibition TIAS International Exhibition, Tokyo.

1994

• Award Received the Seogwipo Citizen Award in Culture and Arts.
• Exhibition Seoul International Contemporary Art Festival, MMCA, Gwacheon.
• Exhibition Changing Landscapes of Seoul, Seoul Arts Center.
• Exhibition Exhibited The Fisherman at the 80th Kōfūkai Exhibition, Tokyo.

• 

1995

• Award Received a Certificate of Appreciation from the President of Jeju National University.
• Exhibition Exhibition marking his seventieth birthday, organised by the Jemin Ilbo, Jeju.
• Exhibition Exhibited Waiting at the 81th Kōfūkai Exhibition, Tokyo.
• Exhibition 32nd exhibition commemorating Byun Shi-Ji’s seventieth year.
• CORE WORK · FŪDO 014 Solitude A tree bends in strong wind above a small crouching person, while a crow and distant boat are scattered through broad empty space. Work page →

• 

1996

• Career Chair of the jury for the Jeju Art Exhibition.
• 경력 제주도전 심사위원장
• Exhibition Exhibited The Island of Storms at the 82th Kōfūkai Exhibition, Tokyo.
• 전시 한국 누드미술 80년전, 예술의전당, 서울

• 

• Exhibition 82nd Kofu-kai exhibition, Tokyo — Island of Storms.

1997

• Exhibition Exhibited Longing for Home at the 83th Kōfūkai Exhibition, Tokyo.
• Exhibition Publication of a Jeju art collection and commemorative exhibition.
• Publication Published a Jeju art collection, with a commemorative exhibition.
• Publication Published Art and Fūdo I, Youlhwadang.
• CORE WORK · FŪDO 061 Empty House on the Left, Empty House on the Right An old man with a walking stick moves between two empty houses and branching stone walls, beneath a rock island, horse, distant boat and sun. Work page →

• 

1998

• Exhibition Special Exhibition of Government-Owned Artworks, National Museum of Modern and Contemporary Art, Gwacheon.
• Exhibition Special Exhibition of Government-Owned Artworks, MMCA, Gwacheon.
• Exhibition Modern Oil Painting Exhibition, MMCA, Gwacheon.

1999

• Career Chair of the jury, Jeju Art Exhibition.
• 경력 제주도전 심사위원장
• Exhibition Modern oil painting exhibition, National Museum of Modern and Contemporary Art, Gwacheon.
• Exhibition Special invitational, Grim Gallery, Seoul.
• Exhibition Korean Art 99: Human, Object, Nature.
• Exhibition Modern Painting Exhibition.
• Exhibition Special Invitational Exhibition, Geurim Gallery.

2000

• Exhibition Thirty-fifth solo exhibition.
• Exhibition Exhibited The Sea of Storms at the 86th Kōfūkai Exhibition, Tokyo.
• Exhibition 35th solo exhibition.
• Exhibition Participated in the Kōfūkai, Sinmaekhoe, and Moving Museum exhibitions.

• 

2001

• Exhibition Participated in the Kōfūkai, Sinmaekhoe, and Moving Museum exhibitions.
• Exhibition Exhibited Longing for Home at the 87th Kōfūkai Exhibition, Tokyo.
• CORE WORK · FŪDO 090 The Gaze A horse stands on a coastal rise facing the sea, while a round sun and small boat rest on the distant horizon. Work page →

• 

2002

• Exhibition Exhibited Living Alone at the 88th Kōfūkai Exhibition, Tokyo.

• 

2003

• Exhibition Modern Painting Exhibition, National Museum of Modern and Contemporary Art, Gwacheon.
• Exhibition Exhibited The Road Home at the 89th Kōfūkai Exhibition, Tokyo.
• Exhibition Modern Painting Exhibition, MMCA, Gwacheon.

• 

2004

• Exhibition Landscape of the Mind, Goyang Aram Nuri Arts Center, Goyang.
• Exhibition Exhibited The Road Home at the 90th Kōfūkai Exhibition, Tokyo.
• Exhibition Opening Commemorative Exhibition, Deogyang Eoullim Nuri Culture and Sports Center.
• Exhibition 09-01 Landscape of the Mind, 1 September–15 October, Eoullim Art Museum, Goyang.
• Publication Published Byun Shi-Ji, Korea Development Bank Art Book.
• Publication Published Byun Shi-Ji: Landscape of the Mind, Goyang Cultural Foundation.

• 

2005

• Career Honorary director of Gidang Art Museum (as of March 2005, according to the supplied record).
• Exhibition Special Exhibition, Gidang Art Museum, Seogwipo.
• Exhibition Exhibited When the Crow Cries at the 91th Kōfūkai Exhibition, Tokyo.
• CORE WORK · FŪDO 007 A Wavering Horizon Rough waves cover the cliff as a tiny old man and horse look toward a distant boat and horizon; land and sea shake within the same wind. Work page →

• 

2006

• Exhibition Exhibited The Island of Storms at the 92th Kōfūkai Exhibition, Tokyo.

• 

2007

• Exhibition Invited to the opening exhibition of the Korea Gallery at the Smithsonian National Museum of Natural History, Washington, D.C. Two works — Wild Dance and The Road As It Is — were placed on a ten-year long-term loan (2007–2017).
• Exhibition Invited to the opening exhibition of the Korea Gallery at the Smithsonian; Nanmu and Going On As It Is shown on long-term loan, 2007–2017.
• CORE WORK · FŪDO 012 Noon Between bright sea and strong wind, tree and house bend as an old man takes a step with a walking stick; horse, crow and boat share the same light. Work page →

2010

• Exhibition Opening of the Byun Shi-Ji Art Space, Jeju.
• Exhibition Black Sea — Byun Shi-Ji, Lotte Gallery, Seoul · Busan · Daejeon.
• Exhibition Masterpiece invitational, Ulju Culture and Arts Center.
• Exhibition 60th-anniversary invitational, Jeju Museum of Art.
• 전시 명작 초대전, 울주 · 개국 60주년 기념초대전, 제주도립미술관

2013

• Life 06-08 Died on June 8 at Korea University Anam Hospital, aged 87.
• Life Civic funeral of the city of Seogwipo.
• 생애 고려대학교 안암병원에서 별세. 서귀포시 사회장
• CORE WORK · FŪDO 100 The Last Work Within a broad dried field of light, a horse, black sun, small boat and coastline remain in minimal lines; forms are reduced, but their relations persist. Work page →

2014

• Life The Byun Shi-Ji Memorial Park was established.
• Legacy Byun Shi-Ji Memorial Park established.
• Exhibition Light and Wind: In Full Spectrum, Jeju Stone Park.
• Exhibition Light and Wind: In Full Spectrum, Jeju Stone Park.

2016

• Award Posthumously awarded the Order of Cultural Merit (Bogwan).
• Award Posthumously awarded the Bogwan Order of Cultural Merit.

2020

• Exhibition Light and Wind of an Era, Gana Art Center, Seoul.
• Exhibition Into the Storm — Byun Shi-Ji, Jeju Stone Park.
• 전시 시대의 빛과 바람, 가나아트센터, 서울

2023

• Exhibition Byun Shi-Ji: Golden Solitude, Sea of Storms, Jeju Museum of Contemporary Art.
• Exhibition Endless Longing, Art Jeju Space.
• Exhibition Into the Storm: Byun Shi-Ji Exhibition, Jeju Stone Park.
• Exhibition Byun Shi-Ji: Golden Solitude, Sea of Storms, Jeju Museum of Contemporary Art.
• Exhibition Endless Longing, Art Jeju Space.

2026

• Commemoration Centenary: opening of the road Byunshiji-ro in Seohong-dong, Seogwipo.
• 전시 탄생 100주년 기념전. 기당미술관, 서귀포.
• 전시 탄생 100주년 기념전. 고려대학교 박물관, 서울.
• Exhibition Centenary exhibitions: Gidang Art Museum, Seogwipo; Korea University Museum, Seoul.