A Mid-Spring Night’s Dream: Collecting Poems for A Dream Journey to Peach Blossom Spring
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This study focuses on the cultural and social context of A Dream Journey to Peach Blossom Spring (Mongyu towifn to 夢遊挑源圖) the only extant work by An Kyon 安堅, the best-known painter of early Chosŏn, to show the manner of its production and function. The painting was a pictorial addition to the sich’uk 詩轉, a mounted scroll of poems, created to praise Prince Anp’yong (安平大君) and interpret the significance of his dream in which he visited Peach Blossom Spring, a legendary place invented by the Chinese poet Tao Qian 陶潛. The prince presented a dream record, an accepted literary form at a time when there was a general belief in the prophetic meaning of dreams, and required twenty-one celebrated writers to compose eulogistic poems to accompany the painting, which served as a visual description of his dream. The poets wrote in such a way as to allow the viewer to repeatedly imagine the Peach Blossom Spring. As such, the painting functioned as visual inspiration for the twenty-one writers and became an ornament for their poems. By revealing the process of making the sich’uk and the effect of the dream record, this study re-evaluates the content, style, and composition of A Dream Journey to Peach Blossom Spring.
Abstract
This study focuses on the cultural and social context of A Dream Journey to Peach Blossom Spring (Mongyu towifn to 夢遊挑源圖) the only extant work by An Kyon 安堅, the best-known painter of early Chosŏn, to show the manner of its production and function. The painting was a pictorial addition to the sich’uk 詩轉, a mounted scroll of poems, created to praise Prince Anp’yong (安平大君) and interpret the significance of his dream in which he visited Peach Blossom Spring, a legendary place invented by the Chinese poet Tao Qian 陶潛. The prince presented a dream record, an accepted literary form at a time when there was a general belief in the prophetic meaning of dreams, and required twenty-one celebrated writers to compose eulogistic poems to accompany the painting, which served as a visual description of his dream. The poets wrote in such a way as to allow the viewer to repeatedly imagine the Peach Blossom Spring. As such, the painting functioned as visual inspiration for the twenty-one writers and became an ornament for their poems. By revealing the process of making the sich’uk and the effect of the dream record, this study re-evaluates the content, style, and composition of A Dream Journey to Peach Blossom Spring.
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