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Korean Landscape Painting: Continuity and Innovation Through the Ages

Korean Landscape Painting: Continuity and Innovation Through the Ages, the first book in English devoted to this subject, helps to fill a major gap in Western-language literature on Asian art. Authoritative, well structured, and thoroughly readable, this survey will be welcomed by readers familiar with the beauty of Korean landscape painting and those encountering it for the first time. Dr. Song-mi Yi, a prominent specialist of Korean painting, interprets the unfolding of the Korean landscape tradition as a continuum shaped not only by artistic creativity but dynamic cultural tension as well, like the clash between indigenous characteristics and imported Chinese influences.
Beginning with the Three Kingdoms and Unified Silla periods (53 B.C.-935 A.D.), the author makes reference to Goguryeo tomb murals, Baekje crafts, and a written account of a Silla painter to demonstrate the substantial development of Korea's landscape tradition before the 10th century. The subsequent Goryeo and early-Joseon periods are addressed in a single chapter to highlight their continuity, in particular regard to the continuous engagement with Chinese landscape traditions.
Few Goryeo landscapes survive, but Chinese and Korean texts provide accounts of the lively artistic exchanges between the two countries, while landscape elements of Goryeo Buddhist art illustrate Chinese styles in vogue. Texts and paintings likewise Korean influences on Japanese landscape painting in the 15th century. The mid-Joseon era (1550-1700) is characterized as a period of transition: Chinese styles introduced earlier were Koreanized; the seeds of "true-view" landscape painting- the depiction of actual sites in Korea-were planted in ary painting; and a "new" Chinese trend, the Southern School or literati painting, emerged.
Note: The cover of the Korean Culture Series (No. 4) Korean Landscape Painting, which was shown in the February 2006 newsletter, has been changed to the above.

A substantial chapter is devoted to the flourishing of true-view landscape in the 18th century, a cultural golden age marked by a new Korean "self-awareness and national pride." The author utilizes artist's biographies, inscriptions, photographs of the Korean countryside, and insightful visual analysis to illuminate the true-view paintings of Jeong Seon, the genre's trailblazer, Gang Se-hwang, and Kim Hong-do, as well as their contemporaries and followers. Southern School painting is recognized as developing alongside and in conversation with true-view painting through the 19th century, but the latter has the last word. Dr. Yi concludes, as she began, with modern echoes of the past.

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