The purpose of this study is to examine the Buddhist and Taoist Icons, which repeatedly appears in ink paintings that Chang Ucchin(張旭鎭, 1917-1990), a representative artist of modern Korean art, began pro-ducing in the late 1970s. Chang Ucchin’s ink painting is not as well-known as the artist’s main works, oil painting, and although the number of works is small, the religious and Laozi·Zhuangzi’s taoist icons are well revealed. An icon is a person or image that appears in religious, mythological, or other works of art with a specific meaning. Therefore, the viewer can grasp the intrinsic and aesthetic meaning of the work through the iconography. Based on this understanding, it was possible to examine the Buddhist and Taoist iconog-raphy in Chang Ucchin's ink painting. Chang Ucchin’s ink painting is suitable for expressing abstract and restrained spirit with the unique expressive power of making brushes and ink. His work is a concise com-pression of the outside world and return it to essential elements. This study on Chang Ucchin’s ink painting is significant as an attempt to lay the groundwork for approaching and discussing the basis of Chang Ucchin’s formative language through ink from various perspectives based on Buddhist and taoist influences.