Zhang Zeduan And Kim Hongdo’s Comparative Study In Their Paintings

Genre painting in ancient China has a rich cultural heritage and a long course of development. From Stone reliefs of the Han Dynasty to Tang Dynasty’s paintings of beautiful women, the Northern Song Dynasty genre painting reached a peak, and the Ming and Qing Dynasties genre painting gradually began to fade. In this process of development in the history, many famous genre painting was ejected.One of the most influential of the Northern Song Dynasty is Zhang Zeduan. His representative work "Qingming Festival" depicts the situation of the capital Bianjing suburbs and downtown urban areas. The entire scrolls depict the river as the center with the kind of people and livestock, housing, etc. through an observer’s eye in the two sides near the river. Zhang Zeduan, in this picture, skillfully used boundary painting, one of the traditional Chinese painting techniques,scatter perspectives, and portrayed the social reality, so much so that "Qingming Festival" became to Chinese historians the art world used to study the history of extremely important historical materials. It has an important place in Chinese society, welcomed by countless people to study and imitate.From the Wei and the Six Dynasties, ancient Korean folk paintings started to be influenced by Chinese painting. Whether Goguryeo tomb murals, Silla portraits, or the hugely popular Chaoxian period portraits, their development is related to Chinese painting. Chinese painting can be said to have a huge influence in the development of Korean folk paintings. The South Korean folk paintings lost the previous status in the Japanese occupation of the Korean peninsula, but as a national identity, painter Jin Hongdao, the master of genre painting in the hearts of the Korean painted a series of works, that continue to play in the Korean art world with his unique influence. One of his masterpieces "Tan Park Custom Map", used a circular mapping method, posted appropriately blank. The concise lines skills depict the real situation of the pictures of Chaoxian’s plebeian social life. He received the impact of realism, therefore,"realism" became the most important feature of his genre painting.The two painters stated above and one thing in common. Their work reflects the reality of life. Their work can reveal a vision of the future. It is very necessary to study their life and works. Through this research people will know genre painting of China and South Korea are exchanged in the history helping generations better understand the prevailing society.The paper is divided into four chapters. The first chapter is textual research and cleanup of the exchanging and the historical evolution of genre paintings in between China and Korea. It is related with the development process of Chinese genre painting and the development process of Korean genre painting influenced by Chinese folk paintings. The second chapter is exploring Zhang Zeuan’s "Qingming Festival". It is related with the social background of Zhang Zeduan and his life and art characteristics of "Qingming Festival". The third chapter is analysing Jin Hongdao and Tan Park customs figure, it is related with the social background of Jin Hongdao and his life and art characteristics. The fourth chapter is studying Zhang Zeduan and Jin Hongdao’spainting comparatively. It is related with status, performance techniques and contents and the impact on future generations. This comparative Study on Zhang Zeduan and Jin Hong dao work of genre painting reveals the achievements in the history of China and South Korea’s paintings. It reveals that genre painting is in the course of development of the two countries and the similarities and differences of historical background, national identity and the aesthetic value, through a comparative analysis of their work, to understand the impact of other Chinese folk paintings and Korean folk paintings, through the comparison of the two big painters to analyze the similarities and differences of genre painting in China and South Korea’s, and to provide some useful lessons for the development of Korean painting today.