실학사상이 반영된 한·중·일 실경산수화 고찰

Abstract

The process of art formation and development is a complex process of various ideas, and in particular, Silhak ideology had a significant influence on the development of real landscape painting. Accordingly, this study examined the real landscape paintings of the three countries of Korea, China, and Japan that reflect Silhak ideology. The Silhak ideology developed in the three countries of Korea, China, and Japan developed very differently depending on the political or social circumstances of each country, with some temporal differences. However, in common, they had a special interest in the phenomenon of reality and facts, and this trend had a direct impact on the art field and made possible the development of real landscape painting. In particular, in the three countries of Korea, China, and Japan, real landscape paintings depicting the scenery of specific regions developed greatly against the backdrop of the popularity of the Giyu (紀遊) culture of touring the country's scenic spots in the 17th and 18th centuries. In China, paintings of Hwangsan Mountain were produced in the mid-17th century based on the abundant economic power of Yeom Sang (鹽商) from Anhui Province, while in Korea, after the completion of Jeong Seon's true landscape paintings in the 18th century, real landscape paintings in Kim Hong-do's style were introduced in the 19th century. developed. In Japan, Mt. Fuji was treated as a true view by Ikeno Taiga in the 18th century, and in the 19th century, it was reborn as an ukiyo-e landscape painting, showing a unique development in its transformation into a popular product image. Real-view landscape paintings in the three kingdoms of Korea, China, and Japan were influenced by Silhak thought, which involves looking at facts and facts, and this idea can be said to be an important criterion for understanding the real-view landscape paintings of the three kingdoms of Korea, China, and Japan