Lot Essay
Two primary characteristics of Choson Dynasty (1392-1910) culture are manifest in this screen. One is the prominence of Confucianism as the state religion; the other is admiration for and imitation of Ming Dynasty Chinese models.
The subject of the screen, Kuo Tzu-i's Banquet, is the perfect embodiment of Confucian ideals prevailing at the Yi royal court. The Yi court painting style employed in this screen closely reflects the Chinese painting tradition of classical figures in palace-and-garden settings perfected by the great Ming Dynasty court artist Ch'iu Ying (first half of the sixteenth century) and his followers.
Kuo Tzu-i (697-781) was an actual historical personage, a Chinese general who loyally and tirelessly served four successive T'ang Dynasty Emperors. The sprawling T'ang empire might well have collapsed if it were not for General Kuo's military and diplomatic prowess. For thirty troubled years he managed to suppress almost constant revolts within China while fending off the fierce nomadic warriors threatening China's northern and western borders. Lacking sufficient troops to acccomplish his monumental task, General Kuo slyly manipulated the nomads by playing one tribe off against the other.
Miraculously surviving his many battles and the treacherous intrigues at court, General Kuo lived to the ripe old age of eighty-four and was lavishly rewarded by his grateful rulers. Emperor Ming Huang elevated Kuo to the rank of Prince. Kuo Tzu-i thus became the perfect model of the ideal Confucian official, serving his superiors selflessly, then, amply compensated, enjoying a comfortable, happy retirement. In Korea, screen paintings illustrating this theme served an important didactic purpose at the Choson court, whose rigidly conservative Confucian policies were meant to preserve the status quo at any cost. The theme also provided an excuse for the depiction of splendid imaginary Chinese architecture, gardens, costumes and entertainments lavish beyond belief.
Kuo Tzu-i is represented as a joyful old man enthroned at his palace with his sons, daughters and grandchildren in attendance. He is said to have had so many grandchildren and great-grandchildren that he could not begin to remember thier names, so he just nodded when each child came forward to pay his respects. Meanwhile, throughout the pavilions and gardens of Kuo's palace, elegant feasts and entertainments are taking place. The figures are dressed in imaginary T'ang Chinese court costumes.
Choson Dynasty court paintings such as the present screen employed brilliant, expensive, mostly important mineral colors called tang-chae (Chinese colors), producing an effect of unsurpassed decorative splendor.
The subject of the screen, Kuo Tzu-i's Banquet, is the perfect embodiment of Confucian ideals prevailing at the Yi royal court. The Yi court painting style employed in this screen closely reflects the Chinese painting tradition of classical figures in palace-and-garden settings perfected by the great Ming Dynasty court artist Ch'iu Ying (first half of the sixteenth century) and his followers.
Kuo Tzu-i (697-781) was an actual historical personage, a Chinese general who loyally and tirelessly served four successive T'ang Dynasty Emperors. The sprawling T'ang empire might well have collapsed if it were not for General Kuo's military and diplomatic prowess. For thirty troubled years he managed to suppress almost constant revolts within China while fending off the fierce nomadic warriors threatening China's northern and western borders. Lacking sufficient troops to acccomplish his monumental task, General Kuo slyly manipulated the nomads by playing one tribe off against the other.
Miraculously surviving his many battles and the treacherous intrigues at court, General Kuo lived to the ripe old age of eighty-four and was lavishly rewarded by his grateful rulers. Emperor Ming Huang elevated Kuo to the rank of Prince. Kuo Tzu-i thus became the perfect model of the ideal Confucian official, serving his superiors selflessly, then, amply compensated, enjoying a comfortable, happy retirement. In Korea, screen paintings illustrating this theme served an important didactic purpose at the Choson court, whose rigidly conservative Confucian policies were meant to preserve the status quo at any cost. The theme also provided an excuse for the depiction of splendid imaginary Chinese architecture, gardens, costumes and entertainments lavish beyond belief.
Kuo Tzu-i is represented as a joyful old man enthroned at his palace with his sons, daughters and grandchildren in attendance. He is said to have had so many grandchildren and great-grandchildren that he could not begin to remember thier names, so he just nodded when each child came forward to pay his respects. Meanwhile, throughout the pavilions and gardens of Kuo's palace, elegant feasts and entertainments are taking place. The figures are dressed in imaginary T'ang Chinese court costumes.
Choson Dynasty court paintings such as the present screen employed brilliant, expensive, mostly important mineral colors called tang-chae (Chinese colors), producing an effect of unsurpassed decorative splendor.