Korean painters participated in two major cultural trends of the
late Choson period in the eighteenth and nineteenth centuries:
inquiry into things Korean and investigation of things Western.
Departing from Chinese sources long considered authoritative, they
developed the distinctly Korean mode known as "true-view" landscape
painting for depicting the scenery of their own country. Rooted in
the documentary painting of the early Choson period and displaying
special techniques developed to describe distinctive features of
Korea's topography, true-view paintings portray the most exemplary
and ideal landscapes of Korea, such as those of Mount Kumgang
(Diamond Mountain).
The same painters also drew on Western painting methods, which
they?learned from descriptions of Western paintings seen and
recorded by Korean emissaries to Beijing as well as from actual
paintings brought back. This knowledge inspired them to produce not
only landscapes but also portraits, images of animals and other
paintings?based on firsthand observation of nature. Both trends,
looking inward to Korea and outward to the West, represented Korean
aspiration for something new--for "modernity." Deftly weaving these
two strands together as the unifying theme of "Searching for
Modernity," Yi Song-mi?expands on her pioneering work on true-view
landscape painting to reveal even more of the depth and complexity
of this mature and fully Korean form of artistic expression.
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