“TRACES OF A LOST LANDSCAPE TRADITION AND CROSS-CULTURAL RELATIONSHIPS BETWEEN KOREA, CHINA AND JAPAN IN THE EARLY JOSEON PERIOD (1392-1550)” By Copyright 2014 SANGNAM LEE Submitted to the graduate degree program in History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Keith McMahon ________________________________ Maki Kaneko ________________________________ Maya Stiller Date Defended: May 8, 2014 The Dissertation Committee for SANGNAM LEE certifies that this is the approved version of the following dissertation: “TRACES OF A LOST LANDSCAPE TRADITION AND CROSS-CULTURAL RELATIONSHIPS BETWEEN KOREA, CHINA AND JAPAN IN THE EARLY JOSEON PERIOD (1392-1550)” ________________________________ Chairperson Marsha Haufler Date approved: May 8, 2014 ii Abstract This dissertation traces a lost landscape tradition and investigates cross-cultural relationships between Korea, China and Japan during the fifteenth and mid sixteenth centuries. To this end, the main research is given to Landscapes, a set of three hanging scrolls in the Mōri Museum of Art in Yamaguchi prefecture, Japan. Although Landscapes is traditionally attributed to the Chinese master Mi Youren (1075-1151) based on title inscriptions on their painting boxes, the style of the scrolls indicates that the painter was a follow of another Northern Song master, Guo Xi (ca. 1020-ca. 1090). By investigating various aspects of the Mōri scrolls such as the subject matter, style, its possible painter and provenance as well as other cultural aspects that surround the scrolls, this dissertation traces a distinctive but previously unrecognized landscape tradition that existed in early Joseon times. The dissertation research challenges the An Gyeon-centered view of landscape art and gives an expanded perspective that furthers our understanding of early Joseon paintings. Through this process of examination and assessment of early Joseon paintings, this dissertation also touches upon the intimate political, trade and cultural relationships between China, Korea and Japan as materialized in the inter-Asian crisscrossing of art works and cultural trends during the fifteenth to mid sixteenth centuries. Especially, it shows the sharing of cultural trends between the Joseon and Ming courts, and also explores the frequent political and material culture exchanges between the Joseon court and the Ōuchi clan of Japan. Lastly, this dissertation attempts to trace how early Joseon paintings were transmitted to Japan and lost their Korean identity in the process of iii authentication by Japanese connoisseurs during the Muromachi (1392–1573) and early Edo (1603-1867) periods. The result is an expanded view of the vigor and creativity of the early Joseon period and its significance in the larger history of Korean art and culture that can be achieved through art historical research conducted within an East Asian perspective. iv Acknowledgements My journey to the early Joseon painting history started in 1996 when I started my masters’ program. I am still not sure why I love the era and its paintings so much, but my love for and interest in them are the reasons for me to embark on this dissertation research project and face the many unknowns in the subject of early Joseon paintings. Today in 2014, I have arrived at a milestone in my journey by finishing my dissertation, and I am also at the starting line of another leg of this journey. While writing my dissertation, I often recalled “The story of Simcheong,” a Korean fable that I read often during my childhood. In this fable, Simcheong’s father who is blind, raises Simcheong, whose mother dies after giving birth to her. Indeed, Simcheong’s father truly loves his daughter but raising her is undoubtedly difficult due to his blindness. However, many people who feel compassion for Simcheong and her blind father help them. Because of their support and help, Simcheong grows into a lovely young lady. Like Simcheong and her father did, I received endless support and unconditional love from many throughout my dissertation project. Without their generous and patient support, I could not have completed my project. I would like to express my sincere respect and deep appreciation to my advisor, Marsha Haufler. Her insightful advice and painstaking editing always helped me find my path again when I got lost. I often felt that she knew better what I wanted to say than I did. I would also like to give special thanks to Amy McNair. As a committee member, a mentor, and friend, she always listened to me and shared her knowledge and wisdom with great empathy and love. I would also like to sincerely thank the others in my dissertation v committee, Keith McMahon, Maki Kaneko and Maya Stiller, for their comments and encouragement. Burglind Jungmann of UCLA supported my project from its beginning stages and provided substantial suggestions. Jane Ju of National Chengchi University, Taiwan, supported me with warmth and helped me to meet many scholars in Taiwan during my dissertation research period. Itakura Masaaki of the Institute for Advanced Studies on Asia in Tokyo kindly shared his deep knowledge and expertise on the early Joseon paintings. Tsukamoto Maromitsu of Tokyo National Museum helped me to examine the paintings. Lai Yu-chih of the Institute of Modern History Academia Sinica in Taiwan showed me hospitality and helped me to examine Chinese paintings in the National Palace Museum in Taiwan. Hong Seonpyo at Ewha Womans University has given me valuable advice on early Joseon paintings for a long time. Byeon Yeong-seop at Korea University always encouraged me to continue to study. Hongnam Kim inspired me to enjoy Chinese paintings. Rose Lee’s meticulous editing and suggestions on my dissertation were greatly helpful. My dear friend C.G. Gim also kindly helped editing. My appreciation also extends to the Department of Art History at the University of Kansas. Special thanks go to Mark Olson who gave endless supports and Linda-Stone Ferrier, who served as committee member for my comprehensive exam. The late Maud Humphrey, Karen Brichoux, and Lisa Cloar gave kind assistance while I was in the program. I sincerely acknowledge many museums for kindly permitting me to examine paintings during my dissertation research period: Mōri Museum of Art in Hofu Japan, National Palace Museum in Taipei, Asian Art Museum of San Francisco, British Museum vi in London, National Museum of Korea in Seoul, and National Gwangju Museum in Gwangju, Korea. I also received generous funding for this dissertation project. National Chengchi University funded the NCCC International Ph.D. Research Scholarship in 2008. The University of Kansas granted the Art History Travel fund in 2008. Council of the Association for Asian Studies funded the Grant for Short-term Research Travel Northeast Asia in 2010. My dissertation research would not have been accomplished without the continuous support of the people, museums, and the funding mentioned. My great thanks also have to go my friends who always surrounded me in Lawrence. Their unfailing love and continuous prayers always gave me energy and joy. It was not easy for me to complete my doctoral program but their precious love allowed me to experience how powerful and good love is. I will remember the debt of love and support that I owe to them and I will repay them by showing love and support to other persons around me in the future. My greatest gratitude goes to my mother, Jeong Il-soon, to whom this dissertation is dedicated. Without her support, I would not be here: Mom, I know your love and sacrifice. You are the person whom I respect the most. My late father, Lee Han-gyo, and my precious late brother, Lee Sangyun, are the last two persons to whom I would like to express love with all my heart. I miss them very much and already look forward to meeting them with joy in heaven. “By the grace of God I am what I am, and his grace was not without effect.” vii Table of Contents List of Illustrations ...............................................................................................................x Introduction ..........................................................................................................................1 “Anonymous” Paintings of the Early Joseon, 1392-1550 .......................................3 Introduction to the Mōri Scrolls ...............................................................................8 Organization, Content, Approach, and Methodology ............................................15 Chapter One: The Subject Matter of the Mōri Scrolls .......................................................20 I. 1. The Mōri Scrolls and the Four Seasons Theme ..............................................23 I. 2. The Mōri Scrolls and the “Eight Views of the Xiao and Xiang” Theme .......30 I. 3. The “Eight Views of the Xiao and Xiang” as a Landscape Subject in East Asia .........................................................................................................................41 I. 4. Evidence from Jehwasi and The Mōri Scrolls as a Representative Variation of the “Xiao and Xiang” Theme .............................................................................52 Chapter Two: The Style, Themes, and Format of the Mōri Scrolls ...................................60 II. 1. Stylistic Examination