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This paper aims to investigate some aspects of the real-scenery landscape painting, which preceded the true-view landscape, m the late Choson dynasty. Real-scenery landscape, which depicts the actual sceneries of Korea, had steadily been produced from the early years of Choson period. In the 17th century of the mid-Choson, the surrounding lives of the literati scholars(文人) were regularly put into literature and paintings, for it was the contemporary trend of art and literature, which put much importance m the personal experiences of actual viewing of landscapes.
It's also been examined in detail how the new factors, such as the prevalence of sightseeing of beautiful sceneries and recording of the Journeys in literature amongst the literary men and positive reception of Chinese art and literature of the 17th century, influenced the development of the real-scenery landscape painting. Furthermore, its significance was studied by classifying and analyzing the extant paintings in two groups; Myonsungmyongsodo(名勝名所圖), which portrays the experiences of viewing the noted sceneries and Byolsoyugodo(別墅幽居圖), which depicts the country houses or retirement residences of literary men
"Kwandongsungsangrokbal" in Kanijip by Kani Choe Lip(簡易 崔? 1539~1612) is one of the records that concerns the production of real-scenery landscape m the 17th century Choi Lip referred to the scenic beauty sightseeing as 'pleasure(快)' and the usefulness of the real-scenery landscape production as 'essence(要)' in his epilogue of Kanijip. Moreover, in "Sohwamaejangja" in Pojojip by Pojo Cho Ik(浦渚 趙翼, 1579~1655), his view of painting is well presented, which emphasizes the realistic depiction of nature by closely observing the subjects and rendering their distinct features This probably is how Cho Ik, a typical government official literary man, was motivated to paint real-scenery landscapes such as Paeksangrudo"(<百祥樓圖 >)in 1644.
What is noteworthy in the real-scenery landscape paintings of the 17th century in terms of style is that both the traditional and innovative elements, which foreshadowed the styles of the later years of Choson, appear at the same time. Featuring of both aspects is the transitional characteristic of the real-scenery landscape that developed into paintings for appreciation from that of practical usage It is presumed that the traditional aspects shown in the real-scenery landscape painting of the 17th century was influenced by the real-scenery landscape produced for the purpose of practical use such as documentary paintings and topographic maps.
It is also notable that the literary men, the existent main figures in the paintings, were depicted actively in Myonsungmyongsodo(the painting of noted scenery and celebrated locality, 名勝名所圖) and Byolsoyugodo(the painting of secluded life in the country residence, 別墅幽居圖) in those days. This feature is evidenced by a number of extant Myonsungmyongsodo such as "Pukgwansilgyongdo"(<北關實景圖>) by Han Sl-gak(韓時覺), which is contained in the Pukgwansuch'angnok(『北關?唱錄』, 6 pieces, 1664) and "Kwansomyongguch'op"(《關西名區帖》) by an anonymous painter, and from the extant Byolsoyugodo including "Sagyechongsado(<沙溪精舍圖, 1609) by an anonymous painter, "Sachonjang Palgyongdo"(<斜川庄八景圖>, early 17th century) by Lee Shin-hum, "Sokchongchosayugodo"(<石亭處士幽居圖> by Chon Chunghyo, and Kok'unKugokdo"(<谷雲九曲圖>, 1682). This is a common attribute also marked from the paintings of the literati painters of the Wu School in Ming dynasty, where real-scenery landscapes are painted for pleasure and existent literary men are often depicted. It is, therefore, presumable that the real-scenery landscape paintings hold significant meanings which parallel to the portraits of the literati in the aspects that the real-scenery landscape painting has direct connection with the life and culture of the literary men and that it put great weight on the figures of the literati beyond the presentation of the actual sceneries.
The concept of "painting as it is" is only ideally conceivable. All paintings are reproductions of nature and landscape images are recreated from the subjective view point of painters In other words, the real-scenery landscape painting was produced to remember the sceneries of specific regions and figures related to the regions and to commemorate the figures themselves. The practice of painting this type of landscape could be understood as a part of procedure in establishing the identity of the comtemporary literati. The climate of production and development of the real-scenery landscape painting became the foundation for the formation of the true-view landscape painting of the late Choson dynasty.
It's also been examined in detail how the new factors, such as the prevalence of sightseeing of beautiful sceneries and recording of the Journeys in literature amongst the literary men and positive reception of Chinese art and literature of the 17th century, influenced the development of the real-scenery landscape painting. Furthermore, its significance was studied by classifying and analyzing the extant paintings in two groups; Myonsungmyongsodo(名勝名所圖), which portrays the experiences of viewing the noted sceneries and Byolsoyugodo(別墅幽居圖), which depicts the country houses or retirement residences of literary men
"Kwandongsungsangrokbal" in Kanijip by Kani Choe Lip(簡易 崔? 1539~1612) is one of the records that concerns the production of real-scenery landscape m the 17th century Choi Lip referred to the scenic beauty sightseeing as 'pleasure(快)' and the usefulness of the real-scenery landscape production as 'essence(要)' in his epilogue of Kanijip. Moreover, in "Sohwamaejangja" in Pojojip by Pojo Cho Ik(浦渚 趙翼, 1579~1655), his view of painting is well presented, which emphasizes the realistic depiction of nature by closely observing the subjects and rendering their distinct features This probably is how Cho Ik, a typical government official literary man, was motivated to paint real-scenery landscapes such as Paeksangrudo"(<百祥樓圖 >)in 1644.
What is noteworthy in the real-scenery landscape paintings of the 17th century in terms of style is that both the traditional and innovative elements, which foreshadowed the styles of the later years of Choson, appear at the same time. Featuring of both aspects is the transitional characteristic of the real-scenery landscape that developed into paintings for appreciation from that of practical usage It is presumed that the traditional aspects shown in the real-scenery landscape painting of the 17th century was influenced by the real-scenery landscape produced for the purpose of practical use such as documentary paintings and topographic maps.
It is also notable that the literary men, the existent main figures in the paintings, were depicted actively in Myonsungmyongsodo(the painting of noted scenery and celebrated locality, 名勝名所圖) and Byolsoyugodo(the painting of secluded life in the country residence, 別墅幽居圖) in those days. This feature is evidenced by a number of extant Myonsungmyongsodo such as "Pukgwansilgyongdo"(<北關實景圖>) by Han Sl-gak(韓時覺), which is contained in the Pukgwansuch'angnok(『北關?唱錄』, 6 pieces, 1664) and "Kwansomyongguch'op"(《關西名區帖》) by an anonymous painter, and from the extant Byolsoyugodo including "Sagyechongsado(<沙溪精舍圖, 1609) by an anonymous painter, "Sachonjang Palgyongdo"(<斜川庄八景圖>, early 17th century) by Lee Shin-hum, "Sokchongchosayugodo"(<石亭處士幽居圖> by Chon Chunghyo, and Kok'unKugokdo"(<谷雲九曲圖>, 1682). This is a common attribute also marked from the paintings of the literati painters of the Wu School in Ming dynasty, where real-scenery landscapes are painted for pleasure and existent literary men are often depicted. It is, therefore, presumable that the real-scenery landscape paintings hold significant meanings which parallel to the portraits of the literati in the aspects that the real-scenery landscape painting has direct connection with the life and culture of the literary men and that it put great weight on the figures of the literati beyond the presentation of the actual sceneries.
The concept of "painting as it is" is only ideally conceivable. All paintings are reproductions of nature and landscape images are recreated from the subjective view point of painters In other words, the real-scenery landscape painting was produced to remember the sceneries of specific regions and figures related to the regions and to commemorate the figures themselves. The practice of painting this type of landscape could be understood as a part of procedure in establishing the identity of the comtemporary literati. The climate of production and development of the real-scenery landscape painting became the foundation for the formation of the true-view landscape painting of the late Choson dynasty.
목차
Ⅰ. 머리말
Ⅱ. 17세기 實景山水畵의 제작배경
Ⅲ. 名勝名所圖
Ⅳ. 別墅幽居圖
Ⅴ. 맺음말
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