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The concept of East Asian painting is of great importance in understanding the artistic interaction among China, Korea, and Japan. It is significant to examine the complex ways in which Chinese, Korean, and Japanese paintings shared the common styles, techniques, themes beyond their indigenous developments. The shared commonness of East Asian painting, however, poses an important problem: the issue of nationality for a group of paintings. There are, in fact, numerous paintings that have nationality problems. It is sometimes extremely difficult to decide the country to which those paintings belong. This essay examines the paintings that have long been considered Korean paintings. Summer Landscape and Winter Landscape, now in the Konchi-in Temple, Kyoto, attributed to a certain Yuan-period painter Gao Ranhui, has been thought to be Kory?-period paintings. The name of the painter is not mentioned in any Chinese textual source. His name is found only in Japanese texts. There has been a debate over the nationality of Gao Ranhui and of the Konchi-in landscapes. Gao Ranhui has been considered the same person as the eminent early Yuan painter Gao Kegong. He has been even assumed to be a Korean painter of the Kory? period. In style, Summer Landscape and Winter Landscape is close to paintings by Dai Jin, Zhu Duan, Xie Huan, and Li Zai in terms of style, composition, and the depiction of rocks and trees. While the landscapes show clearly some of the stylistic hallmarks of the Chinese Zhe school, there is no extant Korean painting that is similar in style to them. In all likelihood, Summer Landscape and Winter Landscape were painted by a Chinese local painter who was active in the first half of the sixteenth century, working in the manner of Dai Jin and later Zhe school masters.
Summer Landscape and Winter Landscape, currently in the Kyoto National Museum, have also been attributed to a certain sixteenth-century Korean painter. There is no evidence for such attribution. It is only based on the belief that these paintings do not appear to be Chinese. The assumption is that if these paintings are not Chinese, they are probably Korean. This is, in fact, a groundless conjecture that does not have any solid evidence. The composition of Winter Landscape is, however, shows a striking similarity to that of Winter Landscape by Dai Jin, now in the Kikuya family collection. There is none of the characteristics of sixteenth-century Korean paintings found in the Kyoto National Museum landscapes. Both landscapes appear to have been painted by a Chinese local painter emulating the styles of Dai Jin. Winter Landscape in the S?kokuji Temple, Kyoto, is another case. It has been attributed to either the Yuan-dynasty painter Zhang Yuan or a certain Yuan-period Chinese painter working in the styles of Li Tang and Xia Gui. It has also been attributed to a certain Korean painter of the late Kory? or early Chos?n period. The composition and brushwork of Winter Landscape are close to those of Winter Landscape of the Kh?t?-in landscapes attributed to Li Tang and Fishing Village in Evening Glow by Muqi, now in the Nezu Museum. Many issues of nationality in East Asian painting remain unresolved. It is time to rethink and reexamine paintings whose nationality is still questionable.
Summer Landscape and Winter Landscape, currently in the Kyoto National Museum, have also been attributed to a certain sixteenth-century Korean painter. There is no evidence for such attribution. It is only based on the belief that these paintings do not appear to be Chinese. The assumption is that if these paintings are not Chinese, they are probably Korean. This is, in fact, a groundless conjecture that does not have any solid evidence. The composition of Winter Landscape is, however, shows a striking similarity to that of Winter Landscape by Dai Jin, now in the Kikuya family collection. There is none of the characteristics of sixteenth-century Korean paintings found in the Kyoto National Museum landscapes. Both landscapes appear to have been painted by a Chinese local painter emulating the styles of Dai Jin. Winter Landscape in the S?kokuji Temple, Kyoto, is another case. It has been attributed to either the Yuan-dynasty painter Zhang Yuan or a certain Yuan-period Chinese painter working in the styles of Li Tang and Xia Gui. It has also been attributed to a certain Korean painter of the late Kory? or early Chos?n period. The composition and brushwork of Winter Landscape are close to those of Winter Landscape of the Kh?t?-in landscapes attributed to Li Tang and Fishing Village in Evening Glow by Muqi, now in the Nezu Museum. Many issues of nationality in East Asian painting remain unresolved. It is time to rethink and reexamine paintings whose nationality is still questionable.
목차
Ⅰ. 경계성 그림과 국적 문제
Ⅱ. 高然暉와 金地院 소장 〈山水圖〉 雙幅
Ⅲ. 金地院 소장 〈山水圖〉 雙幅의 국적
Ⅳ. 京都國立博物館 소장 〈夏冬山水圖〉의 국적
Ⅴ. 相國寺 소장 〈冬景山水圖〉의 성격
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UCI(KEPA) : I410-ECN-0101-2013-650-000546040