9.2 Joseon Dynasty Painting and Calligraphy
5 min read•july 30, 2024
The Joseon Dynasty saw a flourishing of painting and calligraphy in Korea. Artists developed unique styles like and "true-view" landscapes, capturing Korean scenery. They also explored genre scenes, depicting everyday life and expanding beyond traditional themes.
Joseon art was deeply influenced by Neo-Confucian philosophy. Paintings often incorporated symbolic elements representing virtues and cosmic harmony. Calligraphy became a revered art form, seen as a reflection of the artist's moral character. These artistic innovations showcased the cultural richness of Joseon Korea.
Artistic Innovations of the Joseon Dynasty
Monochromatic and Colored Painting Styles
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- Monochromatic ink painting (sumukhwa) became dominant
- Emphasized simplicity, elegance, and inner spirit expression
- Focused on capturing essence rather than realistic representation
- "True-view" landscape painting style (jingyeong sansuhwa) emerged
- Depicted actual Korean scenery
- Departed from idealized Chinese landscapes
- (채색화, chaesaekhwa) developed alongside monochrome works
- Showcased versatility of Joseon artists
- Expanded artistic palette and techniques
Genre and Everyday Life Depictions
- (풍속화, pungsokhwa) gained popularity
- Depicted scenes from everyday life (markets, festivals, rural activities)
- Provided valuable historical and cultural insights
- Offered glimpse into Joseon society across social classes
- Expanded subject matter beyond traditional scholarly and religious themes
- Included common people, urban scenes, and daily activities
- Reflected growing interest in documenting contemporary life
Calligraphic Innovations
- Joseon calligraphy developed distinct styles
- Angular and forceful "" (juche)
- Characterized by straight, bamboo-like strokes
- Conveyed strength and uprightness
- Fluid and expressive "" (choseo)
- Featured flowing, interconnected characters
- Allowed for greater artistic freedom and personal expression
- Angular and forceful "" (juche)
- Calligraphy integrated with painting in literati works
- Combined visual art with poetry and prose
- Enhanced overall aesthetic and intellectual impact of artworks
Iconography in Joseon Dynasty Art
Symbolic Elements in Portraits and Landscapes
- Joseon portraits incorporated specific symbols
- Conveyed rank, virtue, and scholarly achievements
- Used objects like books, scrolls, and specific clothing styles
- "" (십장생, sipjangsaeng) frequently used
- Represented wishes for long life and prosperity
- Included sun, mountains, water, clouds, rocks, pine trees, turtles, cranes, deer, and mushrooms
- Landscape paintings included symbolic elements
- Pine trees represented steadfastness and longevity
- Waterfalls symbolized purification and moral strength
- Rocks often depicted stability and strength of character
Flora, Fauna, and Seasonal Symbolism
- "" (사군자, sagunja) commonly depicted
- Plum blossom (resilience)
- Orchid (refinement)
- Chrysanthemum (integrity)
- Bamboo (flexibility and strength)
- Each represented specific virtues in Neo-Confucian philosophy
- Animal symbolism played significant role
- Tigers represented power and protection
- Dragons symbolized cosmic forces and imperial authority
- Cranes depicted longevity and wisdom
- Seasonal imagery carried specific meanings
- Winter scenes symbolized perseverance and endurance
- Spring blossoms represented renewal and scholarly pursuits
- Autumn landscapes often conveyed melancholy or reflection
Compositional Symbolism and Harmony
- Arrangement of elements in landscapes reflected Neo-Confucian concepts
- Emphasized harmony between humans and nature
- Balanced composition mirrored ideal social and cosmic order
- Use of empty space (여백, yeobaek) in paintings
- Represented the Taoist concept of void and potential
- Allowed viewers to engage imagination and contemplate deeper meanings
- Integration of calligraphy and seals in paintings
- Added layers of meaning through poetic inscriptions
- Artist's seal served as signature and additional symbolic element
Neo-Confucianism's Influence on Joseon Art
Scholarly Themes and Moral Cultivation
- Increase in paintings depicting scholars and their activities
- (서재도, seojaedo) became popular subjects
- Illustrated ideal of continuous learning and self-improvement
- Concept of "" (사의화, sauhwa) emerged
- Focused on capturing essence of subjects rather than exact physical appearance
- Reflected Neo-Confucian emphasis on inner cultivation
- Creation of
- Illustrated (filial piety, loyalty, righteousness)
- Depicted historical exemplars as moral lessons
- Served educational purpose in line with Neo-Confucian values
Literati Painting and Aesthetics
- (문인화, muninhwa) became prominent
- Created by scholar-artists rather than professional painters
- Integrated painting, poetry, and calligraphy
- Expressed cultivated minds and refined tastes of creators
- Preference for simplicity and restraint influenced techniques
- Developed monochromatic ink painting styles
- Embraced minimalist aesthetics in composition and brushwork
- Landscape paintings often depicted idealized scholarly retreats
- Reflected Neo-Confucian ideal of harmony between humans and nature
- Portrayed secluded mountain studios and garden pavilions
Elevation of Calligraphy
- Calligraphy elevated to high art form
- Seen as reflection of artist's moral character
- Viewed as expression of inner cultivation
- Development of distinctive calligraphic styles
- Reflected individual artist's personality and philosophy
- Ranged from formal, structured styles to more expressive forms
- Integration of calligraphy in painting compositions
- Added literary dimension to visual artworks
- Enhanced intellectual and aesthetic value of pieces
Joseon Dynasty Painters vs Calligraphers
Stylistic Differences and Innovations
- (1676-1759) pioneered "true-view" landscape style
- Focused on actual Korean scenery
- Contrasted with idealized Chinese-influenced landscapes of An Gyeon (안견, 1418-1464)
- (1786-1856) developed distinctive "Chusa" calligraphy style
- Characterized by unique balance of traditional and innovative elements
- Differed significantly from more traditional styles of earlier calligraphers
- Late Joseon period saw emergence of eccentric painters
- (1843-1897) known for dynamic brushwork
- Unconventional subjects contrasted with restrained styles of earlier masters
Subject Matter and Specialization
- (1745-1806) excelled in scholarly landscapes and genre paintings
- Versatile artist covering wide range of subjects
- Known for both refined landscapes and lively everyday scenes
- (1758-1813) focused primarily on genre scenes
- Often depicted more sensual subjects
- Provided intimate glimpses into Joseon social life
- (1744-1820) known for bird-and-flower paintings
- Specialized in detailed, naturalistic depictions of flora and fauna
- Contrasted with landscape focus of contemporaries like Jeong Seon
Court Painters vs Literati Artists
- Court painters like (1756-1813) adhered to formal conventions
- Created works for royal documentation and ceremonial purposes
- Maintained traditional techniques and subjects
- Literati painters like (1668-1715) experimented with freer styles
- Expressed personal artistic visions and philosophical ideas
- Often combined painting with poetry and calligraphy
Gender and Artistic Focus
- Female artists made significant contributions
- (1504-1551) and (1563-1589) notable examples
- Often focused on traditionally feminine subjects (flowers, insects)
- Male counterparts tackled broader range of subjects
- Included landscapes, historical scenes, and philosophical themes
- Reflected different social roles and expectations in Joseon society
Key Terms to Review (27)
Bamboo script: Bamboo script refers to a style of writing that emerged during the Han Dynasty, characterized by its use of bamboo strips as a medium for inscribing text. This script was significant for its unique brushstrokes and formation of characters that distinguished it from other calligraphic forms. Bamboo script was commonly used in various contexts, including official documents, literature, and historical records during the Joseon Dynasty, influencing both painting and calligraphy practices.
Calligraphic brushwork: Calligraphic brushwork refers to a style of painting and writing that emphasizes the beauty of strokes made with a brush, often characterized by fluidity, elegance, and expressive line quality. In the context of Joseon Dynasty art, this technique is crucial as it reflects the aesthetic values and philosophical ideas of the time, linking literature, visual art, and personal expression.
Confucian virtues: Confucian virtues are the moral qualities and ethical principles advocated by Confucianism, which emphasize the importance of moral integrity, social harmony, and proper behavior in relationships. These virtues include benevolence, righteousness, propriety, wisdom, and faithfulness, which were considered essential for personal development and social order. During the Joseon Dynasty, these virtues heavily influenced painting and calligraphy as artists aimed to express these ideals through their works.
Didactic Paintings: Didactic paintings are artworks created with the intention of instructing or imparting moral lessons to viewers. These works often feature narratives that convey ethical, cultural, or historical teachings, making them valuable tools for education and reflection. In the context of the Joseon Dynasty, these paintings played a crucial role in conveying Confucian ideals and reinforcing societal values.
Four Gentlemen: The Four Gentlemen refers to a group of four traditional Chinese brush painting subjects: the plum blossom, orchid, bamboo, and chrysanthemum. These plants symbolize key virtues in Chinese culture, such as resilience, integrity, flexibility, and nobility. The representation of these subjects is deeply tied to literati painting and the ideals of scholar-artists who valued personal expression and philosophical depth in their work.
Genre paintings: Genre paintings depict scenes of everyday life, capturing ordinary people engaged in common activities. This art form emphasizes realism and often reflects social norms and cultural values, making it significant in understanding the dynamics of society during its time. Within the context of the Joseon Dynasty, genre paintings became a popular means of expression, showcasing various aspects of daily life, from leisure activities to traditional customs.
Grass script: Grass script, or 'caoshu,' is a style of Chinese calligraphy characterized by its flowing and cursive forms. This script evolved from earlier calligraphic styles, showcasing a unique blend of speed and expressiveness, making it popular for both artistic expression and practical writing during the Joseon Dynasty.
Heo nanseolheon: Heo nanseolheon was a prominent Korean painter and calligrapher during the late Joseon Dynasty, known for her unique blending of traditional techniques with innovative styles. She played a significant role in elevating the status of female artists in a predominantly male-dominated art world, becoming a symbol of artistic excellence and cultural identity in Korea. Her work is characterized by expressive brushwork, vibrant colors, and deep emotional resonance, making her contributions crucial to the evolution of Joseon painting and calligraphy.
Jang seung-eop: Jang seung-eop refers to traditional Korean wooden totem poles that were often used as guardian figures in villages. These totem poles are typically characterized by their stylized representations of human figures, animals, and symbols meant to ward off evil spirits and provide protection. Jang seung-eop are not just decorative; they also reflect the cultural beliefs and practices of the communities that created them, linking them to the artistic expressions of the Joseon Dynasty.
Jeong seon: Jeong Seon refers to a prominent Korean painter of the Joseon Dynasty, known for his innovative landscape paintings that emphasized realism and the natural beauty of Korea. His work marked a departure from the traditional Chinese influence in Korean art, showcasing local scenery with detailed attention to the effects of light and atmosphere. Jeong Seon's style became a significant representation of the Joseon aesthetic, merging Confucian ideals with a unique artistic vision that celebrated Korea's cultural identity.
Kim Hong-do: Kim Hong-do was a prominent Korean painter during the late Joseon Dynasty, known for his realistic and vivid depictions of everyday life and natural landscapes. His works exemplify the influence of Confucian ideals in art, reflecting a deep appreciation for nature and human emotions, while also contributing significantly to the development of Joseon painting and calligraphy, as well as Korean decorative arts.
Kim Jeong-hui: Kim Jeong-hui was a prominent Korean painter and calligrapher of the late Joseon Dynasty, known for his exceptional skill in both traditional ink painting and calligraphy. His works are characterized by a unique blend of realism and expressive brushwork, which showcases the spiritual essence of his subjects. Kim's influence on Korean art is significant as he elevated the status of calligraphy and painting during a time when artistic expression was evolving.
Leeum, Samsung Museum of Art: Leeum, Samsung Museum of Art is a prominent contemporary art museum located in Seoul, South Korea, established by the Samsung Foundation of Culture. It showcases a blend of traditional Korean art and modern works, providing a platform for both local and international artists. The museum plays a vital role in promoting the appreciation and understanding of Korean art, particularly during the Joseon Dynasty, which is characterized by its distinctive painting and calligraphy styles.
Literati painting: Literati painting is a genre of Chinese painting that emerged during the Song Dynasty, characterized by the artistic expression of scholar-officials, or literati, who valued personal expression and scholarly ideals over mere technical skill. This style often features landscapes, nature, and poetic themes, reflecting the intellectual and cultural pursuits of the educated elite in East Asia. The literati sought to convey philosophical ideas and emotions through their art, positioning it as a medium for self-cultivation and personal reflection.
Monochromatic ink painting: Monochromatic ink painting refers to a style of art that uses varying shades of a single color, typically black, to create depth, texture, and form in the artwork. This technique is prominent in East Asian art, particularly during the Joseon Dynasty, where it was often employed in landscapes and expressive calligraphy to convey mood and emotion through the subtle gradations of ink.
Multi-colored paintings: Multi-colored paintings refer to artworks that incorporate a variety of colors to create depth, vibrancy, and visual interest. In the context of the Joseon Dynasty, these paintings often reflect the natural beauty and cultural values of Korea, utilizing a rich palette that enhances both subject matter and emotional resonance.
National Museum of Korea: The National Museum of Korea is the largest museum in South Korea, dedicated to preserving and showcasing the nation's rich cultural heritage. It plays a vital role in promoting the understanding of Korean art and history, particularly through its extensive collections that include artifacts from various periods, especially those from the Joseon Dynasty and traditional Korean ceramics. The museum serves as a significant educational resource for both locals and international visitors, highlighting the artistic achievements and decorative arts of Korea.
Painting the mind: Painting the mind refers to a philosophical and artistic concept in East Asian culture, particularly prominent during the Joseon Dynasty, which emphasizes the importance of inner expression and capturing the essence of one's thoughts and emotions rather than simply replicating physical reality. This approach reflects a deeper understanding of art as a means of conveying personal introspection and spiritual depth, often seen in the context of traditional Korean painting and calligraphy.
Shin saimdang: Shin Saimdang was a prominent Korean painter, poet, and calligrapher of the Joseon Dynasty, known for her exceptional skill in depicting nature and everyday life. She is often celebrated as a symbol of women's contributions to Korean art and culture, particularly during a period when such achievements were not commonly recognized. Her legacy is intertwined with the Joseon Dynasty's artistic developments, showcasing the interplay between gender and artistic expression.
Shin yun-bok: Shin Yun-bok, also known as Shin Yoon-bok or by his pen name Hyewon, was a prominent Korean painter during the late Joseon Dynasty, known for his genre paintings that vividly depicted everyday life and the beauty of women. His works often featured themes of romantic love and social interactions, reflecting the cultural dynamics of the time. Shin's style combined traditional techniques with a unique attention to detail and a sense of realism that distinguished him from his contemporaries.
Study spaces: Study spaces refer to designated environments that are specifically designed for learning, reflection, and creativity. These spaces can range from traditional classrooms to libraries, art studios, or even outdoor areas, each providing unique atmospheres that influence the way individuals engage with their studies. In the context of historical art practices, particularly during the Joseon Dynasty, study spaces served as critical settings where scholars, artists, and calligraphers cultivated their skills and shared their ideas.
Sumi-e: Sumi-e is a traditional East Asian ink wash painting that emphasizes simplicity, minimalism, and the beauty of negative space. This art form relies on the use of black ink and a limited color palette, often showcasing landscapes, flora, and fauna with fluid brushstrokes. The technique embodies the philosophy of Zen Buddhism, focusing on capturing the essence of a subject rather than its intricate details, making it significant in the context of various historical and cultural developments.
Ten Longevity Symbols: The Ten Longevity Symbols are a group of traditional Chinese symbols that represent long life and good fortune. These symbols are often depicted in East Asian art, particularly during the Joseon Dynasty, and they include elements like the peach, crane, tortoise, pine tree, and others. Their presence in artwork reflects cultural values centered around longevity, prosperity, and happiness, serving as auspicious motifs in paintings and calligraphy.
True-view landscape painting: True-view landscape painting is a genre of East Asian art that focuses on highly realistic and detailed depictions of natural scenery, often incorporating local landmarks and specific geographical features. This style emerged prominently during the Joseon Dynasty, reflecting the cultural values of Confucianism and a deep appreciation for nature in Korean society.
Yi myeong-gi: Yi myeong-gi refers to a distinctive style of painting that emerged during the Joseon Dynasty in Korea, characterized by its emphasis on the portrayal of nature and the representation of scholarly themes. This style is closely tied to the ideals of Confucianism, which influenced many aspects of Korean culture during this period, leading to art that reflects moral integrity and intellectual pursuits.
Yi sang-jwa: Yi sang-jwa refers to a distinctive style of Korean painting that emerged during the Joseon Dynasty, characterized by its realistic representation of subjects and emphasis on naturalism. This artistic approach often involved meticulous attention to detail, particularly in depicting flora and fauna, and aimed to convey the beauty of nature through a blend of realism and traditional techniques. Yi sang-jwa artists were often influenced by Confucian ideals, which emphasized harmony with nature and the importance of scholarly pursuits.
Yun du-seo: Yun du-seo refers to a specific style of calligraphy developed during the Joseon Dynasty in Korea, characterized by its elegance and fluidity. This style is notable for its balance between aesthetic beauty and the expressive nature of the brush strokes, often reflecting the philosophical ideals of Confucianism that permeated the culture during this period. It represents a convergence of artistic expression and literary culture, making it an essential aspect of Korean art history.