記念碑的 北方風景: 朝鮮時代 七寶山圖 硏究

Abstract

The panoramic scenery is a range of Mountain Chilbo with needle-pointed and rounded pinnacles. This area was formed from a volcanic eruption in Hangyeong-bukdo Province in northeast Korea. The critical representation of Mountain Chilbo sets out some of the preeminent concerns and terms of debate for the perception of northern part of Korean peninsula in Joseon period. The depictions divided critical interpretations of the northern border in the late Joseon period. Employing common aesthetic criteria of scenery beauty, Confucian scholar officials of Noron School added the interpretation of Mountain Chilbo should dwell on historical facts such as the Chinese Qing’s invasion on Joseon. In the 17th century, the visual illustration of Mountain Chilbo expressed thirst for revenge matching in a vocabulary of poems and travel essays. As King Jeongjo changed the diplomatic strategy for Chinese Qing in the 18th century, I consider the turning point between the form of the painting and the attitude of its reception, how we might read the evidentrhetorical movement to record the true-view landscape and what the implications were for the patriotic spirit of the territory. Arguing that the ten-panel screen of Mountain Chilbo(Cleveland Museum of Art) offered the painting of national treasure level as an artistic value by itself, and a mode of bird-eyed viewing that applied to the composition, I suggest that the painting of Chilbo merged both with realism and patriotism is the outstanding artistic achievement in the late Joseon period. The representation of landscape should be defined not only by realistic accomplishment, but also by its transcendent awareness of our national home land.