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.
This study is to show how understanding of Joseon painting’s history was formed and developed in Korea in the 20th century. This has been done by examining primary researches published over the century. Upon examination it becomes clear that for a long time researchers’ views were influenced by political situation and were largely ideological, often dominated not by objectivity but emotion.