한일의 瀟湘八景圖 수용과 전개

Abstract

The Xiao Xiang Eight Scenic Views were introduced to Korea in the 12th century and to Japan in the 14th century and enjoyed in both countries until the late Joseon Dynasty and late Edo period. The most significant difference between the two countries is that in Korea, these scenes were depicted as true landscape paintings, whereas in Japan, they were portrayed in the style of reclusive landscape paintings. Without direct experience of the actual Xiao Xiang Eight Scenic Views, Korea depicted these scenes as true landscape paintings based on the imagery of the poems. This depiction of the unknown Xiao Xiang Eight Scenic Views also led to the creation of a culture of painting the Eight Scenic Views of one's surroundings. By contrast, Japan directly received the Xiao Xiang Eight Scenic Views painted by Chinese Zen masters. These works were Zen-inspired reclusive landscape paintings. Japanese art began with the imitation of these works, and early Japanese artists were also being monks. Although efforts have been made in Japan to break away from imitation and find Japan's own Eight Scenic Views, these were only temporary. However, these efforts were manifested in Ukiyo-e, creating the "Zasiki Eight Scenic Views," which depicted indoor scenes of daily life rather than natural landscapes.