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拍品專文
Chong Son, one of the greatest painters of the Joseon dynasty (1392-1910), is known as the preeminent member of the “true-view” landscape movement emerged in the early eighteenth century. “True-view” was a paradigm shift in Korean landscape painting that moved away from the idealized Chinese prototypes favoured by earlier generations to adapting faithful portrayals of natural sceneries which were unique to Korea. In 1710, Chong Son visited the Diamond Mountain (Mount Kumgang) to see his friend Yi Byeongyeon (1671-1751) and painted numerous views of the holy mountain whose name was derived from the Buddhist sutra.
This set of the Eight Scenic Views of the Diamond Mountains includes the paintings of 金剛臺 (Geumgangdae), 通川門岩 (Tongcheonmunam), 隱寂庵 (Eunjeok-am), 業石亭 (Eopseokjeong), 三日湖 (Samil-ho), 明鏡臺 (Myeonggyeongdae), 越松亭 (Wolsongjeong) and 鳴淵 (Myeongyeon). The overall mood is strikingly evocative and poignantly sentimental. Executed in loose and somewhat crude brushstrokes, the artist’s freehand style resembles a sketch in an intentionally unadorned manner. Unlike other Eight Scenic Views of the Diamond Mountains by Chong Son, the pictorial elements of this set are straightforward and uncomplicated, with an emphasis of negative space in the overall composition. By designating room for adding title and signature, the picture and calligraphy harmonize in the innate aesthetic of the subject matter. Literati taste prevails in the paintings, but the strong contrast in the use of ink tones and the powerful expression of details highlight the unparalleled technique of the ground-breaking master. This set was presumably originated in an album format and later remounted as a four-panel screen.
For other paintings by the same artist, see The Fragrance of Ink: Korean Literati Paintings of the Choson Dynasty (1392-1910) from Korea University Museum, exh. cat. (Seoul: Korean Studies Institute, Korea University, 1996), pls. 1 and 2; Richo kaiga (Choson-period painting), exh. cat. (Nara: Yamato Bunkakan, 1996), pl. 41; and for two paintings by the same artist in similar style in the collection of Seoul University Museum, see Paintings of Korea's Joseon Dynasty and Japan: The Art of a Neighboring Kingdom that Inspired Sotatsu, Taiga and Jakuch, exh. cat. (Osaka: Yomiuri Shinbun Osaka Honsha, 2008), pls. 57, 58 and 59.
This set of the Eight Scenic Views of the Diamond Mountains includes the paintings of 金剛臺 (Geumgangdae), 通川門岩 (Tongcheonmunam), 隱寂庵 (Eunjeok-am), 業石亭 (Eopseokjeong), 三日湖 (Samil-ho), 明鏡臺 (Myeonggyeongdae), 越松亭 (Wolsongjeong) and 鳴淵 (Myeongyeon). The overall mood is strikingly evocative and poignantly sentimental. Executed in loose and somewhat crude brushstrokes, the artist’s freehand style resembles a sketch in an intentionally unadorned manner. Unlike other Eight Scenic Views of the Diamond Mountains by Chong Son, the pictorial elements of this set are straightforward and uncomplicated, with an emphasis of negative space in the overall composition. By designating room for adding title and signature, the picture and calligraphy harmonize in the innate aesthetic of the subject matter. Literati taste prevails in the paintings, but the strong contrast in the use of ink tones and the powerful expression of details highlight the unparalleled technique of the ground-breaking master. This set was presumably originated in an album format and later remounted as a four-panel screen.
For other paintings by the same artist, see The Fragrance of Ink: Korean Literati Paintings of the Choson Dynasty (1392-1910) from Korea University Museum, exh. cat. (Seoul: Korean Studies Institute, Korea University, 1996), pls. 1 and 2; Richo kaiga (Choson-period painting), exh. cat. (Nara: Yamato Bunkakan, 1996), pl. 41; and for two paintings by the same artist in similar style in the collection of Seoul University Museum, see Paintings of Korea's Joseon Dynasty and Japan: The Art of a Neighboring Kingdom that Inspired Sotatsu, Taiga and Jakuch, exh. cat. (Osaka: Yomiuri Shinbun Osaka Honsha, 2008), pls. 57, 58 and 59.