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Real scenery landscape paintings spread widely during the seventeenth to eighteenth centuries in China, Korea and Japan. In contrast to the traditional way of depicting landscape i.e, the conceptual and idealistic images of the Chinese Che School (浙派) and Wu school (吳派) styles, artists during this period began to depict the beauty of real scenery and topographies in their own countries. This new trend started in China in the early seventeenth century and spread first to Korea and then to Japan. This study investigates why such a phenomenon occurred in all three countries simultaneously. Previous discourse has debated whether it is related to an internal motive such as the independent movement in Korea and Japan. or to an external source such as an international trend to pay attention to the real world and actual life,
In this paper, I propose a number of common factors which eventually formulated the prevalence of the real scenery landscape painting in these three countries. Firstly, I propose that the School of Practical Learning (實學), a philosophical movement which prevailed in the seventeenth to eighteenth centuries in these three countries, played an important role in establishing real scenery landscape painting and genre painting. Instead of looking at the world from the conceptual and philosophical Nee-Confucian viewpoint, scholars of the School of Practical Learning were concerned with actual life and the reality of the world. This kind of pragmatic thinking in Asia was stimulated by the visiting Westerners such as the Jesuit missionaries, and by Western publications translated into Chinese at that time.
The popularity of travelling and composing travel essays in the Ming period China, the late Chosen period in Korea, and the Edo period in Japan equally contributed to the development of the real scenery landscape paintings. Historically, literature served as a forerunner to the formulation of new movement in art. Therefore, it is unmistakable that the popularity of travel along with the travel diaries and anthologies had an impact on the development of the real scenery landscape painting. Futhermore, I believe that the introduction of woodblock prints from China to Korea and Japan was another source by which Korean and Japanese artists learned of Chinese landscape paintings. Based on these factors, the real scenery landscape painting flourished broadly in all of East Asia.
Although a large amount of the real scenery landscape painting was produced in these three countries, each country developed its own unique characteristics. For example, in China the Huangshan School (Anhui School) produced mainly landscapes based on nature. These artists especially favored the depiction of the scenic views of the Huangshan mountain in the Anhui province of China. In describing the various peaks in the mountain, Anhui artists like Hung-jen (弘仁), for example, initiated an abstract and geometric style.
In Korea, Ch?ng S?n formed a new school of real scenery landscape painting called “true-view landscape painting." Based on the traditional Korean way of describing actual scenery and the literati painting style from China, he created a unique method of depiction. Of the many mountains in Korea he especially liked the Diamond Mountains with their needle-shaped peaks and expressive pine trees. He enlivened the beauty of Korean scenery with his powerful renderings of the axe-cut and hemp-fiber strokes. Many artists followed his brush manner and perspective together with the shapes of peaks and pine trees in depicting scenes from the Diamond Mountains and other sites.
In Japan, the famous Nanga (南畵) artist Ike no Taiga was a pioneer in the field of true-view landscape painting. He was a versatile painter who also painted in the manner of ancient masters (倣作) and the subject of Four Gentlemen. Taiga described the topographies of Japan in the literati style of the Nanga. His simplified composition and poetic atmosphere are evident in his Nanga paintings as well as his true-view landscape paintings. Following his principles, many artists in Japan began to describe Japanese scenery.
In comparing the real scenery landscape paintings of China, Korea and Japan, I propose the following: Chinese landscape paintings in the seventeenth century are characterized by mainly abstract and geometric shapes. Hung-jen, Mei Ching and Hsiao Yun-tsung are major artists in this style which originated from the Yuan master Ni Tsan' s style. Sometimes a dynamic and expressive style with curvilinear patterns is used by Hsiao Yun-tsung and Shih-t' ao to a limited degree.
On the other hand, there were two different types of Korean true-view landscape paintings: the Ch?ng S?n school style and the Anhui school style from China. The Ch?ng S?n style, which is characterized by peaky mountains and expressive brushwork, was enthusiastically adopted by Kang Hul-?n, Kim Yun-gy?m, Kim ?ng-hwan, and Kim Hong-do, among others. The Anhui school style of abstract and geometric forms were favored by Yi In-sang, Ch?ng Su-y?ng and Kang Se-hwang in the eighteenth century. These two different types equally contributed significantly to the development of Korean landscape paintings.
However, unique Anhui school style of geometric and abstract landscapes are scarecely found in Japanese true-view landscape paintings. Instead, most Japanese artists followed Taiga s style which was formulated from the typical Nanga style of traditional ink painting and western techniques. In terms of perspective and brushwork, there was not much difference between Nanga paintings and true-view landscape paintings. Japanese artists included the Fuji Mountain and other famous places into their paintings even when they produced imitative paintings after ancient masters and Nanga paintings of literati style. Interestingly, some of Taiga's true-view landscape paintings bear inscriptions stating which artists he considered when he depicted them. This kind of ambiguity between real scenery landscape paintings and paintings after ancient masters equally appears in China, Korea, and Japan.
Japanese artists of landscape painting loved to depict the beauty of the Fuji Mountain which had long been praised by the Japanese. Many different viewpoints and perspectives were developed for describing the scenery of the Fuji Mountain by Nanga artists as well as Kano school artists and artists of the Western style. The famous Ukiyo-e artists Hokusai and Hiroshige produced numerous woodblock prints which illustrate the Fuji Mountain and its surroundings.
As we have seen so far, each country developed their own style of landscape paintings. They share a similar philosophy and social environment. Therefore, it is possible to say that the popularity of real scenery landscape paintings in the seventeenth and eighteenth centuries in China, Korea, and Japan are derived from an international flow of new movement. This phenomenon emerged in China first and was gradually introduced to Korea and Japan. This movement, however, had a sudden halt following the different political and social circumstances of each country. China was occupied by the Manchus who established the ell ing dynasty and treated China as a colony. Korea and Japan were controlled by the conservative factions in the field of art who aimed at pursuing typical and genuine Chinese painting styles rather than their transformations or permutations.
In this paper, I propose a number of common factors which eventually formulated the prevalence of the real scenery landscape painting in these three countries. Firstly, I propose that the School of Practical Learning (實學), a philosophical movement which prevailed in the seventeenth to eighteenth centuries in these three countries, played an important role in establishing real scenery landscape painting and genre painting. Instead of looking at the world from the conceptual and philosophical Nee-Confucian viewpoint, scholars of the School of Practical Learning were concerned with actual life and the reality of the world. This kind of pragmatic thinking in Asia was stimulated by the visiting Westerners such as the Jesuit missionaries, and by Western publications translated into Chinese at that time.
The popularity of travelling and composing travel essays in the Ming period China, the late Chosen period in Korea, and the Edo period in Japan equally contributed to the development of the real scenery landscape paintings. Historically, literature served as a forerunner to the formulation of new movement in art. Therefore, it is unmistakable that the popularity of travel along with the travel diaries and anthologies had an impact on the development of the real scenery landscape painting. Futhermore, I believe that the introduction of woodblock prints from China to Korea and Japan was another source by which Korean and Japanese artists learned of Chinese landscape paintings. Based on these factors, the real scenery landscape painting flourished broadly in all of East Asia.
Although a large amount of the real scenery landscape painting was produced in these three countries, each country developed its own unique characteristics. For example, in China the Huangshan School (Anhui School) produced mainly landscapes based on nature. These artists especially favored the depiction of the scenic views of the Huangshan mountain in the Anhui province of China. In describing the various peaks in the mountain, Anhui artists like Hung-jen (弘仁), for example, initiated an abstract and geometric style.
In Korea, Ch?ng S?n formed a new school of real scenery landscape painting called “true-view landscape painting." Based on the traditional Korean way of describing actual scenery and the literati painting style from China, he created a unique method of depiction. Of the many mountains in Korea he especially liked the Diamond Mountains with their needle-shaped peaks and expressive pine trees. He enlivened the beauty of Korean scenery with his powerful renderings of the axe-cut and hemp-fiber strokes. Many artists followed his brush manner and perspective together with the shapes of peaks and pine trees in depicting scenes from the Diamond Mountains and other sites.
In Japan, the famous Nanga (南畵) artist Ike no Taiga was a pioneer in the field of true-view landscape painting. He was a versatile painter who also painted in the manner of ancient masters (倣作) and the subject of Four Gentlemen. Taiga described the topographies of Japan in the literati style of the Nanga. His simplified composition and poetic atmosphere are evident in his Nanga paintings as well as his true-view landscape paintings. Following his principles, many artists in Japan began to describe Japanese scenery.
In comparing the real scenery landscape paintings of China, Korea and Japan, I propose the following: Chinese landscape paintings in the seventeenth century are characterized by mainly abstract and geometric shapes. Hung-jen, Mei Ching and Hsiao Yun-tsung are major artists in this style which originated from the Yuan master Ni Tsan' s style. Sometimes a dynamic and expressive style with curvilinear patterns is used by Hsiao Yun-tsung and Shih-t' ao to a limited degree.
On the other hand, there were two different types of Korean true-view landscape paintings: the Ch?ng S?n school style and the Anhui school style from China. The Ch?ng S?n style, which is characterized by peaky mountains and expressive brushwork, was enthusiastically adopted by Kang Hul-?n, Kim Yun-gy?m, Kim ?ng-hwan, and Kim Hong-do, among others. The Anhui school style of abstract and geometric forms were favored by Yi In-sang, Ch?ng Su-y?ng and Kang Se-hwang in the eighteenth century. These two different types equally contributed significantly to the development of Korean landscape paintings.
However, unique Anhui school style of geometric and abstract landscapes are scarecely found in Japanese true-view landscape paintings. Instead, most Japanese artists followed Taiga s style which was formulated from the typical Nanga style of traditional ink painting and western techniques. In terms of perspective and brushwork, there was not much difference between Nanga paintings and true-view landscape paintings. Japanese artists included the Fuji Mountain and other famous places into their paintings even when they produced imitative paintings after ancient masters and Nanga paintings of literati style. Interestingly, some of Taiga's true-view landscape paintings bear inscriptions stating which artists he considered when he depicted them. This kind of ambiguity between real scenery landscape paintings and paintings after ancient masters equally appears in China, Korea, and Japan.
Japanese artists of landscape painting loved to depict the beauty of the Fuji Mountain which had long been praised by the Japanese. Many different viewpoints and perspectives were developed for describing the scenery of the Fuji Mountain by Nanga artists as well as Kano school artists and artists of the Western style. The famous Ukiyo-e artists Hokusai and Hiroshige produced numerous woodblock prints which illustrate the Fuji Mountain and its surroundings.
As we have seen so far, each country developed their own style of landscape paintings. They share a similar philosophy and social environment. Therefore, it is possible to say that the popularity of real scenery landscape paintings in the seventeenth and eighteenth centuries in China, Korea, and Japan are derived from an international flow of new movement. This phenomenon emerged in China first and was gradually introduced to Korea and Japan. This movement, however, had a sudden halt following the different political and social circumstances of each country. China was occupied by the Manchus who established the ell ing dynasty and treated China as a colony. Korea and Japan were controlled by the conservative factions in the field of art who aimed at pursuing typical and genuine Chinese painting styles rather than their transformations or permutations.
목차
Ⅰ. 머리말
Ⅱ. 실경산수화 성행의 몇 가지 요인
Ⅲ. 특정 지역과 화풍에의 편향성
Ⅳ. 한ㆍ중ㆍ일 삼국의 표현상의 차이
Ⅴ. 맺음말
ABSTRACT
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