한국 개화기의 ‘풍경화’ 유입

Abstract

‘Landscape painting’ has been formed on the basis of the human-centered modern view of nature, which gazes everyday nature from a fixed single viewpoint and, by extension, dominates it. This differentiates it from the East Asian tradition of ‘Sansuhwa (lit: Mountain and water paintings).’ Modern philosophy placed human beings as the subject of cognition, the center of the world, and by giving vision dominance over other senses, objectified the world and objects. This vision-centric turn in epistemology burgeoned the progress of modern landscape painting. Compared with other subject matters of painting, landscape is very germane to visual perception. Thus, during the 19th century, it became the mainstream subject of Western modern painting and led the modernization of art around the world.<BR> The modern notion of landscape painting first sprouted in the 17th century Netherlands. As this protestant nation entered into the age of Enlightenment and rationalism, the Dutch paintings gradually broke away from Icon paintings, and new subject matters, such as landscape, emerged. Later on, European countries, including England, extended this genre under the influence of naturalism and romanticism. Along with French Impressionism, landscape painting became a global trend. East Asian countries accepted this genre around the late 19th century. Landscape painting made its name in Korea after the nation went into the modernization process in 1876. The term ‘landscape painting’ was introduced to the Korean public, and several foreign painters visited Korea as well. Furthermore, the print images in mass media and art in the new education system brought the notion of landscape painting to Korea.<BR> Eventually, landscape painting pioneered the great turn in art history from traditional painting to modern painting, and the descriptive realism of this genre initiated the new era of Korean art.