Теории возникновения пейзажной живописи чингёнсансухва в Корее
This article gives an overview of the theories developed by South Korean art historians since 1970-s on origins of chin’gyongsansu – true-view landscape painting of Joseon of XVIII century. All the theories were combined into two groups; the main points and arguments of the most authoritative art historians in the field of paintings of the late Joseon period were discussed.
The Chingyongsansuhwa (眞景山水畵) landscape began to form in Korea in the late XVII century, and it was evolving during the XVIII century, altering in the works of successive artists. H.J. Ahn's (2011) definition of chingyongsansuhwa is the most common one used in the South Korean art history: chingyongsansuhwa are paintings of actual and the most beautiful Korean landscapes executed in technique and manner developed by Korean artists in the XVIII century based on traditions of Chinese South School. The term chingyongsansuhwa is generally translated into Russian as "the images of the real views", O.N. Glukhareva (1982) called the movement “Korean national realistic landscape”, realistic depiction of nature is recognized to be its main characteristic. However chingyongsansuhwa is more complex phenomenon than just a realistic depiction of actual nature’s views. In this article we will make an attempt to understand what the term means and suggest possible options for its translation into Russian.
Catalogue entries for 5 pictures by French painter Gaspard Dughet and 1 picture by Italian painter Crescenzio Onofri which contain attribution, date, provenance and interpretation of the works.
The article concerns the heritage of Hubert Robert who was not only well-known landscape painter but played a prominent part in the history of landscape architecture in the second half of the 18th century.
The article focuses on the historical and geographical literary work of 18th century named the “Description of the Selected Villages” (Taengniji, 擇里志) with reference to the cultural opposition of “friend or foe” which since the 17th century has acquired a special value for Korean intellectuals. With the coming to power in 1644 of the Manchu Qing dynasty and the fall of the Chinese Ming dynasty – the former formal overlord of Korea – Koreans-intellectuals wanted to revise the existing picture of the world, since the “uncivilized” Qing could not be the “Middle State”. Yi Chunghwan, the author of the “Description of the Selected Villages” addressed Korean geography to resolve that cultural conflict, proving the succession of Korea after China, and this article considers the ideas he outlined. According to Yi Chung-hwan, the very geographical location of Korea determines the high level of moral values of the Korean people; its merits – and the main is “loyalty” to the Ming dynasty; and predetermines the development of Korean history and international relations. In “inheriting” the traditional Chinese values, norms and “civilization” Mt. Paektu standing on the border between China and Korea acts as a link, and for that reason Yi Chung-hwan endowed it with special “qualities”. At the same time, the mountain was also included in the territories considered to be sacred for the Qing dynasty. Thus, the conflict between the interests of both states was inevitable.
The article concerns perception and interpretation of the special landscape type created by the Italain painter Salvator Rosa in the French painting of the 18th century. Special attention is paid to Claude Joseph Vernet and painters of his circle.