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Adoption and transformation of the Mi tradition in landscape painting of the late Choson dynasty (1700-1910).

机译:朝鲜晚期(1700-1910年)的山水画中对米族传统的采用和转变。

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摘要

The painting mode of Mi Fu and Mi Yu-jen dominated landscape painting of the late Choson period (1700-1910). This dissertation examines the process of transmission of the Mi style to Korea and its "Koreanization" during the late Choson dynasty. The concept of the so-called "Mi style," referring to both Mi Fu and Mi Yu-jen, is manifold. First, the names of the two Mi are associated with the Chiang-nan area. Second, the Mi school is related to the ideal of literati painting. Often, Mi school paintings are equated with the generic term yun-shan-t'u (pictures of cloudy mountains), where paintings are composed of summer scenes with low hills interspersed with clouds and fog. Lastly, the most easily recognizable technical elements that are often related to Mi school painting are the "Mi dots," the horizontally laid, multiple, short texture strokes defining mountain surfaces. In the history of Chinese painting, the Mi landscape mode had a long-lasting influence, going through various stages of transformation and adaptation.; This dissertation begins with a brief introduction to the current scholarship on the history of Korean painting. Chapter One traces the development of the Mi school within the history of Chinese painting from the early Yuan through the late Ming dynasty. Chapter Two deals with the literary sources and paintings of the late Koryo (fourteenth century) through the early Choson period (1392-1550). Since during this period there are no direct literary references to the Mi tradition, the discussion remains hypothetical. In examining the literature of the period, writings on painting are also pointed out as an aid to reconstruct the artistic trends of this early period, from which few paintings survive. Chapter Three examines the mid-Choson period (1550-1700) when direct references to Mi begin to appear both in literature and painting of the time. This period can be considered as the beginning of the Mi tradition in Choson dynasty Korea. Chapter Four, the major portion of this dissertation, discusses the paintings as well as the written records of the late Choson period (1700-1910) when the Mi technique was most popularly adopted. This period has been considered to be one of the cultural renaissance with great developments in popular literature and paintings in a Korean mode seen both in terms of style and theme. Thus the significance and the mode of adoption of the Mi style, as a Chinese-derived element, is examined in the larger context of Choson painting.; This study of the transmission of the Mi school to Korea attempts to illuminate the general pattern of cross-cultural interaction between China and Korea: the process of transmission, adoption, assimilation, and transformation.
机译:米服和米玉仁的绘画方式主导着朝鲜后期(1700-1910年)的山水画。本文考察了朝鲜朝后期朝鲜人对小米的传承及其“朝鲜化”的过程。既指米夫又指米裕仁的所谓“米风格”的概念是多种多样的。首先,两个Mi的名称与Chiang-nan地区相关。其次,弥学校与文人绘画的理想有关。 Mi学校的绘画常常与通用术语yun-shan-t'u等同(云山的图片),其中的绘画是由低矮的小山上散布着云雾的夏日景色组成。最后,通常与Mi学校绘画有关的最容易识别的技术元素是“ Mi点”,即水平放置的多个短纹理笔触,它们定义了山面。在中国绘画史上,弥山水画模式具有长期影响,经历了转型和适应的各个阶段。本文首先简要介绍了目前韩国绘画史上的学术研究。第一章追溯了元代初至明末中国绘画史中的school学派的发展。第二章论述了高丽时代后期(十四世纪)至朝鲜早期(1392-1550年)的文学资源和绘画。由于在此期间,没有直接提及米氏传统的文学作品,因此讨论仍是假设性的。在检查该时期的文学作品时,还指出了绘画作品,有助于重构早期的艺术潮流,从中很少有绘画得以生存。第三章考察了乔森时代中期(1550-1700年),当时直接引用Mi的文学作品和绘画都开始出现。这个时期可以说是朝鲜朝鲜时代小米传统的开始。第四章是本文的主要部分,讨论了弥生技术被广泛采用的朝鲜时期(1700-1910年)的绘画作品和书面记录。这段时期被认为是文化复兴时期之一,在韩国风格的流行文学和绘画方面都取得了长足的发展,无论从风格还是主题上看都是如此。因此,在更大范围的朝鲜绘画中,考察了作为中国派生元素的弥风格的意义和采用方式。这项关于Mi派向韩国的传播的研究试图阐明中韩之间跨文化互动的一般模式:传播,采用,吸收和转化的过程。

著录项

  • 作者

    Chung, Hyung-min.;

  • 作者单位

    Columbia University.;

  • 授予单位 Columbia University.;
  • 学科 Art History.
  • 学位 Ph.D.
  • 年度 1993
  • 页码 300 p.
  • 总页数 300
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;
  • 关键词

  • 入库时间 2022-08-17 11:50:06

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