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In the history of artistic exchanges in the East Asian Art tradition, the widespread of the Orthodox School style, particularly in the eighteenth and nineteenth centuries is noticeable. As one of the most influential painting styles in the Qing period, the Orthodox School style was initially originated in the early 17th century, however, its extensive impact on Korean and Japanese art tradition became increasingly visible during the eighteenth and nineteenth centuries. Painters designated as the so called Orthodox School painters are those who faithfully followed the theories and painting styles of Dong Qichang(1555-1636), the late Ming literati painter and critic. Such followers in the seventeenth century as Wang Shimin(1592-1680), Wang Jian(1598-1677), Wang Hui (1632-1717), Wang Yuanqi(1642-1715), Yun Shouping(1633-1690), and Wu Li(1632- 1718) are often named as the Four Wangs, Wu, and Yun, or the Six Masters of the Early Qing. In later periods, followers of the Orthodox school were grouped into three different schools; Loudong School, the followers of Wang Yuanqi, Yushan School, those of Wang Hui, and finally Changchou School, those of Yun Shouping.
The Loudong School, more influential than the other two schools, includes a large number of followers, which make it almost impossible to enlist all of their names in this limited paper. Wang Yu, Wang Chen, Huang Ding, Tang Dai, Fang Shishu, Dong Bangda, Qian Weicheng, and Zhang Zongcang are the prominent ones of the Loudong School. Those who belong to the Wushan School are Yang Jin, Wang Jiu, Li Shizhuo, and Song Junye. They closely imitated Wang Hui’s style. By the late nineteenth century, however, the Orthodox School started to give its leading position away to other newly emerged schools such as the Yangzhou School or Shanghai School, which accommodated the taste of a larger population with the subjects of flower and bird. Nevertheless, several painters such as Dai Xi, Tang Yifen, Huang Yi, Xi Gang, Wang Xuehao still exercised the style of the Orthodox School until the end of the nineteenth century.
It is not easy to be certain about when the style of the Orthodox School entered the Korean art world, but several extant archival records suggest that it was introduced to Korean artists by the late eighteenth century, almost one hundred years after the death of Wang Shimin. Given the dynamic cultural and artistic exchanges in previous centuries, the late eighteenth century seems to be too late. The names of the Four Wangs, Wu Li, and Yun Shouping started to appear in several essays of scholars such as Park Je-ga’s Jeongyugak Jip, Sin Wi’s Gyeongsudang Jeongo, and Kim Jeong-hui’s Chusa Jip. Although the titles of Chinese paintings were available in these records, further information regarding pictorial features of those paintings still remained unresolved.
Recently, the Seoul Art Center held a special exhibition that commemorates the one hundred fifty years of the death of Kim Jeong-hui, a scholar-painter and calligrapher of the late Joseon period. This exhibition, in fact, provides us with a number of Chinese paintings, which might have been available to the late Joseon-period painters. For example, Lu Guansun’s Landscape after Wang Hui ,and □Jun’s Landscape can be easily recognized as having closely followed the style of Orthodox School. Zhu Dayuan’s Liuqiao Bridge can be understood in relation with Yun Shouping’s style. Li Yan’s Landscape is done in a highly simplistic and refined brushwork, which also features Kim Jeonghui’s Winterscape. I believe that a similar type of landscape paintings as Li Yan or Kim Jeong-hui, was popular not only in Korea, but also in China around the same time.
Another example is a pair of six-folding screen in the Horim Museum. In this folding screen, are painted over sixty works of landscape in a miniature size. They were modeled after masterworks, which bear the style of the Orthodox School. Landscape after Wang Hui clearly indicates that the painter followed Wang Hui’s style, but curiously enough, it does not display Wang Hui’s typical style. The screen also includes a Landscape by a person whose artistic name is Xiaoyun. Xiaoyun is believed to be Ruan Changsheng, the son of Ruan Yuan. A composition that bears a mountain occupying one corner of the landscape, and a river the other corner, repeatedly appears in other landscape paintings from the same folding screen. This kind of composition continued to be employed by Loudong School painters like Wang Hui, Wu Li, and Wang Shin. It is worth to noticing that Zhu Henian’s paintings were highly favored among Korean artists. As the image of Zhu Henian conveyed in Winterscape, many late Joseon professional painters like Jang Seung-eop, also frequently assimilated Zhu Henian’s style.
Heo Yu(1809-1892), one of the celebrated late Joseon-period painters, masterfully employed the Orthodox School style. Some of his paintings have strikingly a similar composition as those Chinese paintings painted on the folding screen in the Horim Museum. It may be inferred that Heo Yu might have seen this type of landscape. The exhibition catalogue that features a special exhibition on Heo Yu in the Gwangju National Museum of Art in 2008, reveals that the painter formalized certain pictorial conventions of Orthodox School paintings. I believe that Heo Yu’s painting style has a more closer tie with later Four Wangs such as Wang Chen and Wang Yu than early Four Wangs.
The Orthodox School style was transmitted to Japan in the eighteenth and nineteenth centuries through Chinese merchant-painter. Eighteen-century visiting Chinese painters to Japan were Li Fujiu, Shen Nanpin, Fei Hanyuan, and Fei Qinghu. Nineteenthcentury visiting Chinese painters were Jiang Jiapu, Jiang Yige, and Chen Yizhou. Among those visiting Chinese painters, is Li Fujiu(1698-1747?) frequently mentioned as one of the first painters who transmitted the Orthodox School style to Japanese art tradition. Copied by Gan Tenju(1727-1792), his paintings along with Ike no Taiga’s(1723-1776) were published in a woodblock printed book. Li Fujiu’s refined brushwork and serene composition were ardently assimilated by Japanese Southern School painters.
One of those who came to Japan in the eighteenth century was Fei Qinghu (1765-1806). He explicitly addresses that the heavy influence of the Four Wangs’ style in his work entitled Landscape after Wang Hui. In particular, the low hilly mountains with a great substantiality, certainly remind of Wang Hui’s works. While Japanese painters in the eighteenth century closely followed Li Fujiu and Fei Qinghu, those in the nineteenth century found Jiang Jiapu to be their artistic inspiration. Since Li Fujiu studied under Loudong School painters like Zhang Zongcang and Li Liang, his works unmistakably share a similar style with them. Tanomura Chikuden records that Jiang Jiapu himself expressed that “He carries one hundred landscapes in his mind, therefore he is able to paint those with variations.”
The Orthodox School style originated in the seventeenth century became one of the most celebrated and appreciated Chinese landscape paintings throughout the eighteenth and nineteenth centuries, and consequently became widely exercised by a large number of Korean and Japanese followers. Although the Orthodox School became considered to have lost its artistic vitality in the nineteenth century, it was still adopted not only as a symbol of Chinese landscape paintings, but also as a new form of art, when it was first introduced to both Korean and Japanese art scenes. I believe that the Orthodox School played an important role in the development of both Korean and Japanese landscape painting traditions and made a significant contribution to the creation of masterpieces such as Kim Jeong-hui’s Winterscape.
The Loudong School, more influential than the other two schools, includes a large number of followers, which make it almost impossible to enlist all of their names in this limited paper. Wang Yu, Wang Chen, Huang Ding, Tang Dai, Fang Shishu, Dong Bangda, Qian Weicheng, and Zhang Zongcang are the prominent ones of the Loudong School. Those who belong to the Wushan School are Yang Jin, Wang Jiu, Li Shizhuo, and Song Junye. They closely imitated Wang Hui’s style. By the late nineteenth century, however, the Orthodox School started to give its leading position away to other newly emerged schools such as the Yangzhou School or Shanghai School, which accommodated the taste of a larger population with the subjects of flower and bird. Nevertheless, several painters such as Dai Xi, Tang Yifen, Huang Yi, Xi Gang, Wang Xuehao still exercised the style of the Orthodox School until the end of the nineteenth century.
It is not easy to be certain about when the style of the Orthodox School entered the Korean art world, but several extant archival records suggest that it was introduced to Korean artists by the late eighteenth century, almost one hundred years after the death of Wang Shimin. Given the dynamic cultural and artistic exchanges in previous centuries, the late eighteenth century seems to be too late. The names of the Four Wangs, Wu Li, and Yun Shouping started to appear in several essays of scholars such as Park Je-ga’s Jeongyugak Jip, Sin Wi’s Gyeongsudang Jeongo, and Kim Jeong-hui’s Chusa Jip. Although the titles of Chinese paintings were available in these records, further information regarding pictorial features of those paintings still remained unresolved.
Recently, the Seoul Art Center held a special exhibition that commemorates the one hundred fifty years of the death of Kim Jeong-hui, a scholar-painter and calligrapher of the late Joseon period. This exhibition, in fact, provides us with a number of Chinese paintings, which might have been available to the late Joseon-period painters. For example, Lu Guansun’s Landscape after Wang Hui ,and □Jun’s Landscape can be easily recognized as having closely followed the style of Orthodox School. Zhu Dayuan’s Liuqiao Bridge can be understood in relation with Yun Shouping’s style. Li Yan’s Landscape is done in a highly simplistic and refined brushwork, which also features Kim Jeonghui’s Winterscape. I believe that a similar type of landscape paintings as Li Yan or Kim Jeong-hui, was popular not only in Korea, but also in China around the same time.
Another example is a pair of six-folding screen in the Horim Museum. In this folding screen, are painted over sixty works of landscape in a miniature size. They were modeled after masterworks, which bear the style of the Orthodox School. Landscape after Wang Hui clearly indicates that the painter followed Wang Hui’s style, but curiously enough, it does not display Wang Hui’s typical style. The screen also includes a Landscape by a person whose artistic name is Xiaoyun. Xiaoyun is believed to be Ruan Changsheng, the son of Ruan Yuan. A composition that bears a mountain occupying one corner of the landscape, and a river the other corner, repeatedly appears in other landscape paintings from the same folding screen. This kind of composition continued to be employed by Loudong School painters like Wang Hui, Wu Li, and Wang Shin. It is worth to noticing that Zhu Henian’s paintings were highly favored among Korean artists. As the image of Zhu Henian conveyed in Winterscape, many late Joseon professional painters like Jang Seung-eop, also frequently assimilated Zhu Henian’s style.
Heo Yu(1809-1892), one of the celebrated late Joseon-period painters, masterfully employed the Orthodox School style. Some of his paintings have strikingly a similar composition as those Chinese paintings painted on the folding screen in the Horim Museum. It may be inferred that Heo Yu might have seen this type of landscape. The exhibition catalogue that features a special exhibition on Heo Yu in the Gwangju National Museum of Art in 2008, reveals that the painter formalized certain pictorial conventions of Orthodox School paintings. I believe that Heo Yu’s painting style has a more closer tie with later Four Wangs such as Wang Chen and Wang Yu than early Four Wangs.
The Orthodox School style was transmitted to Japan in the eighteenth and nineteenth centuries through Chinese merchant-painter. Eighteen-century visiting Chinese painters to Japan were Li Fujiu, Shen Nanpin, Fei Hanyuan, and Fei Qinghu. Nineteenthcentury visiting Chinese painters were Jiang Jiapu, Jiang Yige, and Chen Yizhou. Among those visiting Chinese painters, is Li Fujiu(1698-1747?) frequently mentioned as one of the first painters who transmitted the Orthodox School style to Japanese art tradition. Copied by Gan Tenju(1727-1792), his paintings along with Ike no Taiga’s(1723-1776) were published in a woodblock printed book. Li Fujiu’s refined brushwork and serene composition were ardently assimilated by Japanese Southern School painters.
One of those who came to Japan in the eighteenth century was Fei Qinghu (1765-1806). He explicitly addresses that the heavy influence of the Four Wangs’ style in his work entitled Landscape after Wang Hui. In particular, the low hilly mountains with a great substantiality, certainly remind of Wang Hui’s works. While Japanese painters in the eighteenth century closely followed Li Fujiu and Fei Qinghu, those in the nineteenth century found Jiang Jiapu to be their artistic inspiration. Since Li Fujiu studied under Loudong School painters like Zhang Zongcang and Li Liang, his works unmistakably share a similar style with them. Tanomura Chikuden records that Jiang Jiapu himself expressed that “He carries one hundred landscapes in his mind, therefore he is able to paint those with variations.”
The Orthodox School style originated in the seventeenth century became one of the most celebrated and appreciated Chinese landscape paintings throughout the eighteenth and nineteenth centuries, and consequently became widely exercised by a large number of Korean and Japanese followers. Although the Orthodox School became considered to have lost its artistic vitality in the nineteenth century, it was still adopted not only as a symbol of Chinese landscape paintings, but also as a new form of art, when it was first introduced to both Korean and Japanese art scenes. I believe that the Orthodox School played an important role in the development of both Korean and Japanese landscape painting traditions and made a significant contribution to the creation of masterpieces such as Kim Jeong-hui’s Winterscape.
목차
Ⅰ. 머리말
Ⅱ. 중국 정통파 화풍의 전개
Ⅲ. 정통파 화풍의 한국 유입
Ⅳ. 정통파 화풍의 일본 유입
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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