page_title: Korean painting
section_title: Joseon Dynasty
hierarchical_section_title: Korean painting / Joseon Dynasty
caption_attribution_description: English: Hwajeopdo, literally picture of flowers and butterflies drawn by a 19th century Korean painter, Nam Gyewoo 한국어: 남계우-화접도(花蝶圖), 19세기 중반, leeum 소장
context_page_description: Korean painting includes paintings made in Korea or by overseas Koreans on all surfaces. It includes art as old as the petroglyphs through post-modern conceptual art using transient forms of light. Calligraphy rarely occurs in oil paintings and is dealt with in the brushwork entry, Korean calligraphy. Like arts of East Asia, beauty of space is important for Korean painting.
context_section_description: The influence of Confucianism superseded that of Buddhism in this period, however Buddhist elements remained and it is not true that Buddhist art declined, it continued, and was encouraged but not by the royal centres of art, or the accepted taste of the Joseon Dynasty publicly; however in private homes, and indeed in the summer palaces of the Joseon Dynasty kings, the simplicity of Buddhist art was given great appreciation – but it was not seen as citified art.
  During the transitional period leading into the Joseon dynasty some Korean buddhist painters left for Japan. Yi Su-mun (1400?–1450?) who is considered the founder of Soga school of Japan, was a boat-companion of the older priest-painter, Shubun of Shokokuji when he returned from Korea to Japan in 1424. Japanese tradition declared that Yi was so skilled after his "Catfish and Gourd" painting that Shogun Yoshimochi claimed him to be a son of the legendary Josetsu, as an adoptive honorific. Yi painted alongside and influenced the originals of Japanese zen art; and was known in Japan by his Japanese name Ri Shubun or the Korean Shubun. The entire tradition of needle points in Japanese art began with Yi, and continued through his students, known as the Soga School, a more natural group of artists than the courtly school patronized by the Ashikaga shoguns.
  While the Joseon Dynasty began under military auspices, Goryeo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings. Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Ming ideals and imported techniques continued in early dynasty idealized works.
  Early dynasty painters include:
  An Gyeon, 15th century painter
  Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began – moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting.
  Mid-dynasty painters include:
  Hwang Jipjung (born 1533)
  The mid to late Joseon dynasty is considered the golden age of Korean painting. It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner search for particular Korean subjects. At this time China ceased to have pre-eminent influence, Korean art took its own course, and became increasingly distinctive.
  The list of major painters is long, but the most notable names include:
  Jeong Seon (1676–1759), a literati painter influenced by the Wu school of the Ming dynasty in China; much taken by the Diamond mountain landscape.
  Yun Duseo (1668–1715), a portraitist.
  Kim Hong-do (1745–1806?) aka Danwon in his pen name, did highly coloured crowded scenes of common and working-class people in many natural work activities – his paintings have a post-card or photographic realism in a palette of whites, blues, and greens. There is little if any calligraphy in his works; but they have a sense of humour and variety of gestures and movement that make them highly imitated to this day.
  Shin Yun-bok (1758-?) aka Hyewon in his pen name, a court painter who did paintings often of the scholarly or yangban classes in motion through stylized natural settings; he is famous for his strong reds and blues, and grayish mountainscapes.
  Jang Seung-eop (1843–1897) aka Owon in his pen name, was a painter of the late Joseon Dynasty in Korea and one of three great wons of Joseon Korea.
  What calligraphy used is often discreetly done.
  Other important artists of the "literati school" include:
  Yi Kyong-yun
  Kang Se-hwang
  Chaekgeori is a genre of still-life painting from the Joseon period of Korea that features books as the dominant subject. Chaekgeori flourished from the second half of the 18th century to the first half of the 2
caption: Hwajeopdo, literally picture of flowers and butterflies drawn by a 19th-century Korean painter, Nam Gye-u.
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