艺术与认同— 明清易代后的朝鲜“真景山水”与儒家文明传承

Abstract

Emerging in 18th-century Joseon Korea, “true landscape painting” was more than an artistic innovation; it was a cultural practice solidifying identity and redefining civilizational legitimacy amid the Ming-Qing transition and shifting Sino-Korean relations. Understanding “true landscape painting” requires moving beyond aesthetics to examine its context within Sino-Korean history and evolving Korean consciousness. This reveals three key historical meanings: First, manifesting Joseon’s “Little China” identity, it elevated local landscapes into spiritual totems embodying Confucian orthodoxy. Second, after the Second Manchu Invasion, its focus on local reality facilitated a shift from venerating the fallen Ming towards asserting Joseon’s distinct civilizational role. Third, influenced by the Joseon Silhak movement, it contributed an artistic paradigm rooted in “practical statecraft” to Confucian civilization.. This developmental path for civilization, using local landscapes as its medium, maintained a dialogue with core Confucian principles while using depoliticized aesthetics to navigate the sensitive relationship with the Qing dynasty. It stands as a prime example of achieving an awakening of cultural autonomy through “localization” within the Confucian framework. As such, it offers a historical lesson in “mutual appreciation of diverse beauties” relevant to the transformation of pre-modern East Asian civilization. Ultimately, the distinct “Koreanness” manifested in “true landscape painting” is fundamentally a product of the dynamic evolution of Confucian civilization itself. Its significance lies not merely in highlighting a unique Korean identity, but crucially in revealing the adaptive capacity and inherent diversity of Confucian culture. This historical experience holds implications for navigating competition and conflict within the contemporary global order.