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9 Alexander Pope 1688 1744
gardening landscape-painting

picturesque garden theory John Dixon Hunt The

Picturesque Garden in Europe London Thames and Hudson 2002 pp 14 16
garden design painting picturesque

p 36
10

pp 40 45

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 1631

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1555 1636

12

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1653 1722 13 1501 1570

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pp 35 39
12 1630 4873 4

Craig Clunas Fruitful Sites Garden Culture in

Ming Dynasty China Durham Duke University Press 1996 p 100
13 16 10
15

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Abstract

Paintings of Scenic Views from Private Gardens and the Perception

of Borrowed Landscapes in the Late Joseon Period

Cho Kyuhee*

An actual scene that a painter depicts in a piece of work is yet another reality which differs
from the real scene that people feel it to be Research into such paintings however has focused
on how closely they depict real scenes within the framework of true-view landscapes while
overlooking the socio-cultural circumstances amidst which such works were produced Mindful of
this academic trend paintings such as An Jungsik’s Yeonggwang Landscape perplex viewers and
researchers alike This is because the Yeonggwang Landscape is not a generally-perceived actual
landscape but a painting that was produced by the artist by combining various scenic views in
order to appeal to the owner of the garden
This paper attempts to research paintings commissioned to celebrate such newly built
gardens but which interestingly feature at their center the scenic views seen from them rather than
the gardens themselves Such works as Jeong Seon’s paintings of A View of Yukganghyeon from
Nongeundang House and Scenic Views from Samseungjeong Pavillion and Gang Sehwang’s
Residence of Jirakwa and Northward View Behind the House all depicted the surrounding
landscapes as the main subject matter viewed from the perspective of the owners of the gardens

* Research Professor Korea University

137
The production of such paintings was made possible presumably because people in those times
changed their perception to put greater emphasis on scenic views as seen from the newly
constructed gardens they happened to be celebrating
This research attempts to focus on the change in the literati perception of their own lands and
their surrounding scenic views in the late Joseon period as well as a corresponding change in
painting styles and thus to determine which socio-cultural circumstances were dealt with as the
main subject matter in the paintings of scenic views from private gardens where the scenic views
were depicted from the perspectives of the residences of the owners of such gardens In this
respect this paper pays attention to the borrowed landscape theory of various viewing concepts
that involved a method of introducing scenic views so as to enable people to enjoy natural scenic
views as seen from their residences without visiting them Interestingly in-depth perceptions of
borrowed landscapes were confirmed in the literary works of Gim Changheup and Hwang
Yunseok including the borrowing of distant landscapes nearby landscapes landscapes from a
low perspective and landscapes from a high perspective that could incorporate into landscapes
whatever scenic views might be available such as landscapes seen at a distance from the viewer’s
residence or neighboring landscapes Gim Changheup’s reference to borrowing the nearby scenic
view to the south of my house or Hwang Yunseok’s reference to constructing a pond and
borrowing the scenic view to the west of the pavilion clearly show that Joseon intellectuals had a
distinctive perception of borrowed landscapes in the 18th century The paper also determines the
perception that borrowed landscapes as viewed from the painter’s residence were like a part of a
painting and that such paintings hung on the wall could be felt as actual landscapes outside the
window In the meantime in the paintings of scenic views from private gardens produced in the
late Joseon period tombs ruins of old castles and any other historic remains or famous sites that
caught people’s eye in addition to the aforementioned natural scenic views were vigorously
selected as major scenes in landscapes a fact which draws our attention in connection with the
theory of borrowed landscapes
This paper also seeks to determine how the new type of paintings of gardens in those times
was linked with actual landscape gardening from an architectural perspective and within a cultural
context In this regard this paper pays attention to the fact that Jeong Seon’s paintings of scenic
views from gardens influenced Gang Sehwang’s Residence of Jirakwa which shows a landscape

138
gardening using the borrowed landscape technique The pond actually constructed outside the
fence so as to create a borrowed landscape is presumed to be the one that was depicted at the
center of Gang Sehwang’s Residence of Jirakwa as the main scene after the mid 18th century
Given the phrase of a poem from Ijae’s Posthumous Writing by Gang Se-hwang’s contemporary
Hwang Yunseok which reads constructing a pond and borrowing the scenic view seen to the
west of the pavilion there is a possibility that such a pond was constructed beyond the fence
with the intention of making the scenic view as seen from a high spot of the residence more
beautiful and that this was in itself a method of borrowing landscapes for a picturesque garden
Moreover a historical record which states that Gang Sehwang made the front window of his
residence dubbed the Fan Painting Pavilion into a fan shape and had the landscape seen
through the window resemble part of a picture suggests that the borrowing of landscapes was
also performed architecturally in the late 18th century and that the paintings of scenic views from
gardens were produced by artists who had a distinctive perception of borrowed landscapes
The example of Gang Sehwang suggests that borrowed landscapes viewed from gardens
were recognized as normal paintings in late Joseon society and that paintings of scenic views
from the private gardens of residences were re-recognized as borrowed gardens seen from the
owners of the gardens namely as true-views of the surroundings of their estates In this
respect the paintings of scenic views from private gardens were not paintings of landscapes as
actually viewed but paintings produced by combining the best scenic views in the vicinity which
were generally formed into eight scenic views in order to draw them into the view of the owners
of the gardens From this viewpoint the paintings of scenic views from private gardens discussed
herein can be generally dubbed paintings of eight scenic views from private gardens

139