고려 후기 강남경 산수화의 대두와 이곽파화풍의 전개

Abstract

During the early years of Goryeo period landscape painting, the blue-and-green style landscape paintings were produced, while the great painter Lee Nyeong founded the early stage of real-scenery landscape painting in the mid-Goryeo era, which received critical acclaims from the Northern Song, China. The late years of Goryeo, the military regime period, was a time for landscape painting to burgeon as it became a major subject of painting in terms of both creation and appreciation. This phenomenon was accompanied by the formation of Confucian groups and the thriving of landscapenature poetry. Two landscape painting styles led such development in painting: the scenery-of-Jiangnan-themed ink-and-wash style landscape paintings and the Li-Guo school painting style. The former, especially by accepting the theme of the Eight Views of Xiao-Xiang, brought numerous changes, including the switch to the highly expressive ink-and-wash style and the realization of social integration within landscape painting. The subjects, originally centered in landscapeness and placeness, became enriched by embracing astronomical-meteorological elements, such as the four seasons, evening-and-night, and wind-and-rain, subsequently broadening and deepening the representation of the beauty of nature. The latter, Li-Guo school painting style, which started in Northern Song dynasty and was bequeathed to Southern Song and Great Jin of China, was introduced to Goryeo around the early 12th century and was formalized based on naturalistic style during the 13th century. This newly conventionalized painting style contextualizes the history of art style from the end of Goryeo to early Joseon period.