朝鲜后期画坛对郑板桥绘画思想的接受

Abstract

As a representative figure among the “Eight Eccentrics of Yangzhou,” Zheng Banqiao developed a unique painting philosophy centered on three core ideas: “learning from nature,” “painting without a set image in mind,” and “consoling the laboring people.” These principles reflect his artistic pursuit of natural observation, spontaneous brushwork, and social concern. This paper takes Zheng Banqiao’s painting thought as a starting point to explore how his ideas were received, internalized, and integrated into the artistic practices of literati painters in the late Joseon period. By analyzing how Zheng’s approach—particularly in his depictions of orchids, bamboo, and rocks— embodies a reverence for nature, improvisational creation, and compassion for the common people, the study compares these elements with the tendencies of late Joseon painters such as Jo Hui-ryong and Yi Ha-eung. Their approaches to sketching from life, ink and brush aesthetics, and the personalized expression of artistic ideals reveal the extent to which Zheng Banqiao’s painting philosophy was disseminated in the Joseon art scene. The introduction of his ideas not only infused new vitality into Korean literati painting but also constituted a culturally significant episode in the history of literati of Joseon artistic exchange.