\'Botanical images\' are constituted in paintings where the artists try to embody the elementary properties of living creature as of growth and durability. They are the most appropriate concept of painting to harmonize human being with nature closely. The formative ways of them attach great importance to both unconsciousness and desire, as well as variations or dynamics, by noticing a flow of natural senses and feelings of human being. In other words, the formative ways are based on a recognition of nature as the intrinsic force of life, with the result that aesthetics of incompleteness is embodied in images. Therefore they are clearly distinguished from that of functional, geometric images. An interest in organic images has emerged in earnest since the latter half of the 20th century, so the subject of this study is specifically focused on the 1980\'s when organic images were at the height of their mode. A tendency of painting at that time, in a word, \'return to figure and expression\', means a conversion into organic images like the incomplete, atypical, and biomorphic forms, while denying the mechanical or geometric. These currents had a great influence on the leap of organic images. In consequence, organic images can be said to be quite significant in that they suggested a new development of art, especially of painting, after the 1980\'s. I have consistently showed the realm of organic images on the subject of ‘the properties of life\' since the early 1980\'s, which is fundamentally caused by both the recognition of nature as a matrix of organic images and the quest of intrinsic order. So, it is an ultimate intention of my work to find ‘the energy of becoming\' and ‘the origin of organic images\'. For the analysis of these factors, organic images are accepted as an expression of ‘the unconscious revelation\', ‘the autonomic energy\', or ‘the intrinsic force of life\', then the elements of formation and meanings implied in each work are analyzed. The results of them are described in terms of three types such as 〈Androgyne〉, 〈A circular motion〉, and 〈The image of becoming〉. The analyses of these series could theoretically clarify my work, and practically function as a research datum supporting the value or significance of this study. In conclusion, this thesis is focused on not only emphasizing that Botanical images were a major tendency among the various trends of postmodern painting in the 20th century, but also analysing both the painterly formation of organic images and the structure of them. In addition to these points, it is a central aim to evoke that organic images should accurately be evaluated and positioned in postmodern painting. A new recognition of organic images is a peculiarity of the times that reflects a cultural aspect of the present, hence it should be recognized as another way to approach the postmodern painting.