The Introduction of Chinese Paintings through the Tribute Missions to Beijing

Abstract

This study is aimed at reviewing the introduction of Chinese paintings through the tribute missions to Beijing in Joseon Dynasty.<BR> Joseon envoys prefer the paintings and calligraphic works of prior to Qing Dynasty, for example those of Emperor Huizong, Su Shi（蘇軾, 1037-1101), Li Gonglin (李公麟, 1049-1106), Mi Fu（米?, 1051-1107), Zhao Mengfu（趙孟?, 1254-1322), Dong Qichang（董其昌, 1555-1636）, Qiu Ying (仇英, 1494-1552), Liu JI (呂紀, 1477-1505) Meng Yong-guang (孟永光). Because the paintings of Qing Dynasty as contemporary works tend to undervalue, Joseon envoys not purchase them but gain some works from Chinese acquaintances, such as Luo Ping (羅聘, 1733-1799), Zhu Henian（朱鶴年, 1760-1834). But all works of Ming Dynasty brought by envoy into Joseon are not original paintings. Some of them copied a genuine work or bought cheap imitation from a dealer in pictures and writings.<BR> Gim Deoksam as a court physician got some paintings of high standard for giving medical treatment to the Chinese. These kinds of case show us the background of a Physician Gim Gwang-guk, who went to Beijing, to be a famous collector of paintings in the late Joseon Period.<BR> Gim Jeonghee and his school took the lead to study the ancient Chinese epigraph and Confucian classics through the cultural exchange with Weng Fang-gang(翁方綱), Ruan Yuan(阮元, 1764-1849) and the literati of Qing Dynasty.<BR> Joseon envoys introduced some Joseon paintings to the Chinese during the tribute missions; they saw some works came from Joseon such as Yeolsang-hwabo. It is an album painted by noted Joseon artists before 1759. This album was sold to Chinese dealer by Joseon trader.<BR> Joseon envoys appreciated some masterpieces during their visit to the temples, churches and mansions in China. The works reflected the trends of collection at that time. Above all, we can understand that Joseon envoy experienced the cultural environment of the exchange of paintings.