金代의 山水畫와 華北山水畫風의 傳承
Landscape Painting of the Jin Dynasty and the Tradition of Northern Landscape Style
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After the collapse of the Northern Song in 1127, the Jurchen took over in north China and the Jin dynasty(1115-1234) lasted over a century during which painting flourished with the strong support and active participation of the members of Jin ruling family and scholar-officials who shaped the culture of the Jin period. This article intends to illuminate distinctive characteristics of Jin landscape painting by careful analysis of extant paintings securely dated to the period by internal and external evidences such as related documents and literary sources, and the works attributed to Jin on the basis of the stylistic similarities. Early Jin painters inherited the monumental landscape traditions, the Northern Song literati painting heritage, and eclectic landscape style of the late Northern Song court painting and gradually formed particular landscape style during the reigns of emperor Shizong(r. 1161-1189) and Zhangzong(r. 1189-1208), that cannot be represented by Northern Song painting. Wind and Snow in the Fir-Pines by Li Shan, The Red Cliff by Wu Yuanzhi, Fir-Pines in Wind and Snow by Guo Min represent unique Jin landscape style characterized by the distinctive use of brushwork and ink in depictions of motifs, exaggerated contrasts in tonality and texture, and the shifting points of view or arbitrary spatial juxtapositions. They also testify that landscape painters in the north during the late twelfth and early thirteenth centuries further developed the northern landscape style with North Chinese regional distinctiveness and created individual styles throughout the synthesis of the past styles. Dusk over Sparse Woods, mural in the tomb of Feng Daozhen(1189-1265), The Red Cliff attributed to Yang Shixian, Traveling among Fir-Pines attributed to Li Shan, Traveling among Streams and Mountains by Taiguyimin, and Clearing after Snow in the Min Mountains by anonymous artist, produced during the interim period of Jin and Yuan dynasties, correspond in many details to the styles of Li Shan, Wu Yuanzhi and Guo Min. They carried on northern landscape tradition reinterpreted and transformed by the Jin artists and provided stylistic ground for the development of the Yuan Li-Guo landscape style. Secluded Bamboo and Withered Tree by Wang Tingyun(1156-1202), The Red Cliff by Wu Yuanzhi with poems and colophons written by the leading literati Zhao Bingwen(1159-1232) and Yuan Haowen(1190-1257) also evidences that Jin literati painters in the north preserved, developed and transmitted the essential modes and values of the Northern Song literati painting tradition to the early Yuan literati such as Zhao Mengfu(1254-1322), Gao Kegong(1248-1310), and Li Kan(1245-1320) who retransmitted the tradition to southern artists and laid the foundations for the development of Yuan literati landscape painting. Distinguishing Jin landscape paintings from the works attributed to the Northern Song or Yuan through stylistic analysis and careful investigations of related materials would enables us to understand various characteristics of Jin landscape and the influence of Jin in shaping the early Yuan landscape style more comprehensively.
Abstract
After the collapse of the Northern Song in 1127, the Jurchen took over in north China and the Jin dynasty(1115-1234) lasted over a century during which painting flourished with the strong support and active participation of the members of Jin ruling family and scholar-officials who shaped the culture of the Jin period. This article intends to illuminate distinctive characteristics of Jin landscape painting by careful analysis of extant paintings securely dated to the period by internal and external evidences such as related documents and literary sources, and the works attributed to Jin on the basis of the stylistic similarities. Early Jin painters inherited the monumental landscape traditions, the Northern Song literati painting heritage, and eclectic landscape style of the late Northern Song court painting and gradually formed particular landscape style during the reigns of emperor Shizong(r. 1161-1189) and Zhangzong(r. 1189-1208), that cannot be represented by Northern Song painting. Wind and Snow in the Fir-Pines by Li Shan, The Red Cliff by Wu Yuanzhi, Fir-Pines in Wind and Snow by Guo Min represent unique Jin landscape style characterized by the distinctive use of brushwork and ink in depictions of motifs, exaggerated contrasts in tonality and texture, and the shifting points of view or arbitrary spatial juxtapositions. They also testify that landscape painters in the north during the late twelfth and early thirteenth centuries further developed the northern landscape style with North Chinese regional distinctiveness and created individual styles throughout the synthesis of the past styles. Dusk over Sparse Woods, mural in the tomb of Feng Daozhen(1189-1265), The Red Cliff attributed to Yang Shixian, Traveling among Fir-Pines attributed to Li Shan, Traveling among Streams and Mountains by Taiguyimin, and Clearing after Snow in the Min Mountains by anonymous artist, produced during the interim period of Jin and Yuan dynasties, correspond in many details to the styles of Li Shan, Wu Yuanzhi and Guo Min. They carried on northern landscape tradition reinterpreted and transformed by the Jin artists and provided stylistic ground for the development of the Yuan Li-Guo landscape style. Secluded Bamboo and Withered Tree by Wang Tingyun(1156-1202), The Red Cliff by Wu Yuanzhi with poems and colophons written by the leading literati Zhao Bingwen(1159-1232) and Yuan Haowen(1190-1257) also evidences that Jin literati painters in the north preserved, developed and transmitted the essential modes and values of the Northern Song literati painting tradition to the early Yuan literati such as Zhao Mengfu(1254-1322), Gao Kegong(1248-1310), and Li Kan(1245-1320) who retransmitted the tradition to southern artists and laid the foundations for the development of Yuan literati landscape painting. Distinguishing Jin landscape paintings from the works attributed to the Northern Song or Yuan through stylistic analysis and careful investigations of related materials would enables us to understand various characteristics of Jin landscape and the influence of Jin in shaping the early Yuan landscape style more comprehensively.
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