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A study on the acceptance and transformation of the Ni Zan Huanghan landscape in the late Chosun Dynasty
The Journal of Aesthetics and Science of Art
Abbr :
JASA
2020, 61(), pp.3-48
DOI :10.17527/JASA.61.0.01
Publisher : 한국미학예술학회
Research Area : Other Arts and Kinesiology
2020, 61(), pp.3-48
DOI :10.17527/JASA.61.0.01
Publisher : 한국미학예술학회
Research Area : Other Arts and Kinesiology
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The aim of this thesis is to study the meaning and transformation of the Hwanghan landscape established in China's Late Ming Dynasty and Early Qing Dynasty, and accepted by Jeonghui Kim in the late Chosun Dynasty, by taking on the meaning of Yi Pin, transcendence of the world, Shi Qi, Yi Pin, and Ni Zan painting style. Ni Zan's landscape accepted by Kim Jeonghui refers to the Hwanghan landscape of Yi Pin that were established as an aesthetic concept in the late Ming and early Qing dynasties. It appeared with two different meanings. One is the place of exile that Kim Jeonghui and Cho Huiryong were related to. The other has to do with returning home like Heo Ryeon. The former contained a negative aspect in that reality and the ideal were opposed in exile, while the latter, in harmony with reality and ideals, was expressed with a calm and stable scenery and writing method.
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