| Jeong Seon | |
| Native Name: | 정선 |
| Native Name Lang: | ko |
| Birth Date: | 1676 2, df=yes |
| Birth Place: | (modern-day) Cheongun-dong, Jongno-gu, Seoul, Korea |
| Death Place: | (modern-day) Cheongun-dong, Jongno-gu, Seoul, Korea |
| Known For: | Painting, drawing |
| Movement: | true-view painting |
| Notable Works: | Inwangjesaekdo Geumgang jeondo |
| Hangul: | 정선 |
| Hanja: | 鄭敾 |
| Rr: | Jeong Seon |
| Mr: | Chŏng Sŏn |
| Hangulja: | 원백 |
| Hanjaja: | 元伯 |
| Rrja: | Wonbaek |
| Mrja: | Wŏnbaek |
| Hangulho: | 겸재 or 난곡 |
| Hanjaho: | 謙齋 or 蘭谷 |
| Rrho: | Gyeomjae or Nangok |
| Mrho: | Kyŏmjae or Nan'gok |
Jeong Seon (Korean: 정선; 1676 – 20 April 1759) was a Korean landscape painter, also known by the art names Gyeomjae and Nangok. His ja was Wonbaek. His works include ink and oriental water paintings, such as Inwangjesaekdo (1751), Geumgang jeondo (1734), and Ingokjeongsa (1742), as well as numerous "true-view" landscape paintings on the subject of Korea and the history of its culture. He is counted among the most famous Korean painters. The landscape paintings that he produced reflect most of the geographical features of Korea. His style is realistic rather than abstract.
Jeong was born on 16 February 1676, in the Jongno District of Seoul, in the Cheongun-dong neighborhood. He was the eldest son of Jeong Si-ik (1638–1689), the descendant of an illustrious and gentry family 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 (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.
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 Jeong Seon's protectors. His self-chosen pen name Gyeomjae (i.e. "humble study") was reflecting this asymmetrical relationship.
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). This was taking into account the fact that Jeong Seon was from beginning proficient at Book of Changes(周易) and Astronomy. 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). 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.
Jeong is one of the most famous Korean painters. 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. Jeong 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.
By the end of the decade, Jeong 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. His grandson, Jeong Hwang (鄭榥, 1737–?), displayed the true-view landscape style in addition to genre painting.
Jeong 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.
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.
| Title | Hangul | Year | Technique & size HxL | Location | Illustration | ||
|---|---|---|---|---|---|---|---|
| 1. | Inwangjesaekdo | 인왕제색도 | 1751 | ink-and-oil painting 79.2 cm × 138.2 cm | |||
| 2. | Geumgang jeondo Spring View of Mt. Diamond | 금강전도 | 1734 | Ink and oriental water color on paper 130.7 cm × 94.1 cm | |||
| 3. | Geumgang jeondo Complete View | 금강전도 | 1750s | color on silk 33.3 x 54.6 cm | |||
| 4. | Pungaknaesan chongramdo Autumn View of Mt. Diamond | 풍악내산총람도 楓岳內山摠覽圖 | 1740s | color on silk 100.8×73.8 cm | |||
| 5. | 인곡유거도 仁谷幽居圖 | 1742 | ink and slight color on paper 27.5 x 27.3 cm | ||||
| 6. | Soyojeong | 소요정 逍遙亭 | 18th century | Ink and oriental water color on silk 130.7 cm × 94.1 cm | Private collection | ||
| 7. | Cheongpunggye | 청풍계 淸風溪 | 18th century | Ink and oriental water color on silk 96.5 x 36.1 cm | |||
| 8. | Bakyeon Fall | 박연폭포 朴淵瀑布 | 18th century | Ink and oriental water color on paper 119.4×51.9 cm | Private collection | ||
| 9. | Gwangjin | 광진 廣津 | 18th century | Ink and oriental water color on silk 20 x 31.5 cm | |||
| 10. | Jaha-dong a village in Jongno-gu | 자하동 紫霞洞 | 18th century | Ink and oriental water color on paper 33.7 x 29.5 cm | |||
| 11. | Gaehwasa Temple | 개화사 | 18th century | Ink and oriental water color on paper 31 x 24.8 cm | |||
| 12. | Dongjakjin | 동작진 銅雀津 | 18th century | Ink and oriental water color on paper 18.5 x L=27.5 cm | Private collection | ||
| 13. | Gwiraejeong | 귀래정 歸來亭 | 18th century | Ink and oriental water color on paper 23 x 25 cm | Private collection | ||
| 14. | Isujeong | 이수정 二水亭 | 18th century | Ink and oriental water color on silk 23 x 25 cm | Private collection | ||
| 15. | Dosan Seowon | 도산서원도 | 18th century | Private collection | |||
| 16. | Jukseoru | 죽서루 | 1738 | Ink and oriental water color on paper 32.3 x 57.8 cm | |||
| 17. | Changuimun | 창의문 彰義門 | 18th century | Ink and oriental water color on paper 29.5 x 33.2 cm | |||
| 18. | Ingokjeongsa | 인곡정사 仁谷精舍 | 1742 | Ink and oriental water color on paper 22.5 x 32.5 cm | Private collection | ||
| 19. | Mangyangjeong | 망양정 | 18th century | Ink and oriental water color on paper 32.3 x 57.8 cm | |||
| 20. | Chuil hanmyo 가을날 한가로운 고양이 Leisurely cat on a fall day | 추일한묘 秋日閑猫 | 18th century | ||||
| 21. | Yuksangmyodo | 육상묘도 | 1739 | Ink and oriental water color on silk 146.5 x 63 cm | Private collection | ||
| 22. | Seonyubong | 선유봉 仙遊峰 | 1740s | cm | collection | ||
| 23. | Soakru a pavilion below Mt. Seongsan | 소악루 小岳樓 | tint on paper cm | ||||
| 24. | Pungak Mountain, Sin-myo Year Album on tour with Pak Tae-yu (1648–1746) | 辛卯年楓岳圖帖 | 1711 | ||||
| 25. | Realistic Representations of Sea and Mountains (no longer extant) | 1712 | |||||
| 26. | Nosong Yeongji | 노송영지 老松靈芝 | 1755 |