Chŏng Sŏn

Chŏng was born on 16 February 1676, in the Jongno District of Seoul, in the Cheongun-dong neighborhood.^[5][6] He was the eldest son of Jeong Si-ik (1638–1689), the descendant of an illustrious and gentry family^[7] that originally came from Gwangju. Soon in infancy, he was noted for his artistic talents and is said to have painted daily, with a prolific output until old age. But his family was so poor that he couldn't become a scholar-painter^[8] (a yangban painting for leisure). Nevertheless, he was introduced in a circle of powerful neighbors and was, on their recommendation, allowed to work for the Dohwaseo (Joseon Bureau of Paintings) and also created landscapes for patrons and clients.^[8]

In his 36th year (1711), he toured Mt. Geumgang with Pak Tae-yu (1648–1746), the local governor, and produced the 13-paintings Album Pungak Mountain, Sin-myo Year. The next year, another trip to Mt. Geumgang produced the 30 paintings Album Realistic Representations of Sea and Mountains. Both albums were augmented by various poems written by Chŏng Sŏn's protectors.^[9] His self-chosen pen name Gyeomjae (i.e. "humble study") was reflecting this asymmetrical relationship.^[1]

In 1716, in his 41st year, he was granted a tenure of Geomgyosu (兼敎授; professor extraordinary) at Gwansanggam (觀象監; the Office for Observance of Natural Phenomena).^[10] This was taking into account the fact that Chŏng Sŏn was from beginning proficient at Book of Changes(周易) and Astronomy.^[10] But this gave him further impetus... and an official position. He served as district magistrate of Hayang (1721–1726), of Cheongha (c. 1733), and of Yangcheon (1740–1745).^[11] Later in life, he was honored by King Yeongjo, who bestowed on him the official title of the fourth rank in 1754 and the second rank in 1756.

Chŏng is one of the most famous Korean painters.^[2] He inspired other Korean artists to follow suit, leaving a lasting impact on Korean art. He was the most eminent painter in the late Joseon period. Chŏng explored the scenic beauty of the capital city of Hanyang (Seoul), the Han River, the Sea of Japan, and the Diamond Mountain. He is the first painter of true-view Korean landscapes. Differing from earlier techniques and traditional Chinese styles, he created a new style of painting depicting the virtues of Korea.^[12]

By the end of the decade, Chŏng had developed his own, more realistic style, likely under the influence of the [Silhak] movement. This set him apart from the then-prevailing Chinese literati tradition of idealised and abstract landscape art.^[13] His grandson, Jeong Hwang (鄭榥, 1737–?), displayed the true-view landscape style in addition to genre painting.^[14]

Chŏng was one of the few known Korean painters to depart from traditional Chinese styles. It is reported that he frequently left his studio and painted the world around him, as he could see it. His paintings are classified as part of the Southern School, but he developed his own style by realistically portraying natural scenes such as mountains and streams with bold strokes of his brush.^[4]

A major characteristic of his work is intermixed dark and light areas, created by layers of ink wash and lines. His mountains are punctuated by forests, which in turn are lightened by mists and waterfalls. Vegetation is made from dots, a technique that bears the influence of Chinese painter Mi Fei (1052–1107). Jeong's style would influence generations of Korean artists, and become one of the iconic images of Korean nationalism.^[13]

• Korean painting
• List of Korean painters