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The purpose of this paper is to present a critical basis for contemporary realism painting, proposing that realism painting can be divided into two lines, epistemological and ontological. I define any realism painting as an epistemological realism as long as it derives from the perspective of representational realism, that is, the epistemological framework of the external and surrogate relationship between representation and reality, and this fundamental premise is maintained. On the other hand, in the case of ontological lines, Korean figure paintings in the 1980s are classified as the ontological series, centering on Kim Bok-Young's discussion. Furthermore, by examining the works of two contemporary realism painters from the perspective of Harman's object-oriented ontology, it is shown that it is possible to distinguish between an epistemological lines and an ontological lines in realism paintings.
As a theoretical and conceptual frame in Harman's object oriented ontology, 'the quadruple structure of an object' encompasses both ontology and epistemology in that it explains the nature of an object ontologically, while also explaining the relationship between the four terms within the structural frame. What is important from an aesthetic point of view is the position of representation and sensation in his theory. He holds that sensations or sensory representations in some way guarantee a relationship with reality, that is, with real objects. This suggests a way for the representation of realism painting to relate to reality in a way that is different from the principle of representational realism. As a result, this thesis suggests that the method of using representation in ontological realism is different from the method assumed by representational realism, whether it is Kim��s ��fusion��, or Harman��s ��contact�� or ��allure��.