The Research On Chinese Landscape Painting Of Kuo Hsi And Its Influence On South Korea

Chinese landscape painting exquisitely observes and experiences seasons, time, distance, direction of the beautiful rivers and mountains. With the painter's self-cultivation, he concentrated on creating a painting world with idealistic rhythm in poetry, lofty quality and handwriting.With the materials describing natural landscape, the changes of Chinese ink and the use of brush, the painter presents a magnificent image of the landscape already in his mind, integrating his self-cultivation into freehand brushwork in traditional Chinese. The painter artistically create the idealistic Chinese landscape painting, which shows the union of his spirit and the natural form and image , and the integration of the painting style and its contentThe theory of idealistic landscape painting, the feature of Dongyang painting and the expression of deep and quiet beauty make up Kuo Hsi's painting theory , the core of which is 'Three-distance' theory.Kuo Hsi's theory is more colorful and more specific, compared with the other landscape painting theories. His theory was directly concluded by his paintings from life or nature. Therefore, the writer regards Kuo Hsi's theory as important as his landscape painting. Kuo Hsi's theory is derived from his own experience and different from other traditional theories. As a result, the research on his theory and technique is remarkably valuable to the knowledge of his landscape painting. For example, the attitude and method of knowing about landscape and observing nature, of getting the essence from the nature element, of combining subject with object by the virtue of patience and the attention on beauty. The research on "Three -distance" theory indicates the rule of movable vision. Kuo Hsi's theory and masterpieces present his skilled techniques on landscape painting, merging the Chinese ancient scholars' plain thoughts.Kuo Hsi indicates the direction of landscape painting by specifying his theory and arttechniques simultaneously. He is not only an artist but also a theorist.The feature of the theory lies in painting of real nature and freehand brushwork in traditional Chinese painting as well as subject and object. It also lies in the spiritual combination of harmonious balance between painters and scholar-bureaucrats, expanding the theory of landscape painting at the same time. With the transtion of Chinese painting, the characteristics of painting realistically, freehand brushwork in traditional Chinese painting and ideal are integrated. His paintings embody the theories and techniques of landscape painting, setting a good example .Kuo Hsi's theory and masterpieces present rich imaginations and gracious spirit. The landscape painting became authoritative owing to his significant contributions. Most of the followers upgraded the spirit of painting art and contributed their efforts to the creation of the landscape painting based on the tradition and the variation of times and circumstances.In the early age of South Korea (about 1392-1550), the development of the landscape painting had a immediate relationship with the scholar-bureaucrats who had a strong emotion to the natural scenery. Anjian was an outstanding one (15th century) who learned to use Kuo Hsi's style of landscape painting. In the middle age of South Korea (about 1550-1850), his landscape painting showed a special and creative style by merging the tradition in South Korea. Ruzheng's landscape painting of real scenery set a good example. Unfortunately, less attention is paid to the landscape painting in modern times. I want to express my willing in this paper that we'd better represent the essence of South Korea landscape painting and break up the restriction of technique. Human nature, which is overlooked with the development of science and civilization, will return by the appreciation of the meaningful and profound landscape painting. Thus we could establish a harmonic society filled with love and affection.