A Comparison Of Fisherman(Yu Fu) Subjects In Late Ming Dynasty Zhe School And Middle Period Chao Xian(Korea) Painting

This paper will discuss Ming dynasty,Zhe School and Middle Period Chao Xian's use of Fisherman(Yu fu)subject matter in figure painting and compare and contrast the process of its transformation.During the period of history of the Ming dynasty(roughly 15 th to 16 th century)and that of Middle Period Chao Xian(1550-1700)painters all adored using the Fisherman(Yu fu)subject matter.Although the origins of its subject matter are the same,its expression,formal qualities and meaning have very distinct differences in these two cultural traditions during this time.This paper will discuss and compare the cultural differences in expression and interpretation of this particular Fisherman subject matter in Ming dynasty China and Middle Period Chao Xian(Korea).We will look at the transmission of this subject matter from China to Chao Xian and determine what cultural factors affected its change.In order to discuss this topic we must first understand the term Fisherman(Yu Fu)along with its origins and look at its many representative interpretations and use both in historical texts and classical paintings that lead up to its eventual dissemination and change.On this foundation,we will look at existing examples of Ming dynasty Zhe School works along with Middle period Chao Xian works to determine various trends of the time.During this period,Zhe School interpretations and representations of the Fisherman subject were very practical and straight forward.The paintings artistic mood was eliminated and the Fisherman itself was seen as an ordinary figure performing a job-like task.In Chao Xian the representation of the Fisherman in painting held both Confucian and Daoist elements and embodied a hermit like figure.Late Ming dynasty Zhe school paintings' tendency to secularize painting subjects can be summed up in three reasons: One,current aesthetic appreciation of the figure itself;two,literary and artistic tastes of the time;three,the prevalence of occupational painters during the time.Chao Xian Middle Period paintings' tendency to depict a hermit like figure during this time also have three reasons: One,current aesthetic appreciation of the figure itself;two,literary and artistic tastes of the time;three,the 17 th century emergence of the painted book and copy books on painting which made it possible that Chao Xian during this period could have become influenced by the dissemination of Wu School painting from China.