The Coexistence Of Of True Jingshan Water "and" Nanzong "

The dissertation focuses on the paintings of Jeong Seon who was famous for the true-view landscape paintings during the late Chosun period.Through the analysis of the concept of Southern School,True-view and fang'gu unfolding in the contemporary study of Korean art history and the process of painting and collecting practice in the late Chosun,the thesis tries to explain the relationship of true-view landscape paintings and the southern school of landscape paintings,based on the explanation of the purpose of the pursuit of power in the paintings of the late Chosun.The core point of this thesis is four folds:1,In the contemporary study of Korean art history,the naming of true-view landscape paintings(period) has shielding property to some degree.We can't recognize and comprehend southern school of paintings at the same time.2,During the late Chosun period,the practice of painting true-view landscape paintings by Jeong Seon had relation to the practice of collecting and sponsoring by An-Dong Kim's,Lee Byung-yon,Kim Kwang-soo,and the identity of Jeong Seon himself.Whether True-view,or Southern School,it's the way that Jeong Seon and his sponsor can communicate with each other.3,As an important factor of the paintings of the late Chosun period,Southern School did not work as an orthodox standard of the history of paintings in China,but as a carrier of power.The pursuit of this power depended on the practice of fang'gu in the paintings that time.