COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1987.187
amicoid
CMA_.1987.187
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Kim, Che
crn
Kim, Che
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Korean
crc
Asian; Far East Asian; Korean
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
aft.1509
cdt
aft.1509
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Che Kim
crt
Che Kim
Creator Name-CRT
false
Title:
Snowscape with Figures
otn
Snowscape with Figures
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1584
oct
1584
Creation Date
false
Creation Start Date:
1584
ocs
1584
Creation Start Date
false
Creation End Date:
1584
oce
1584
Creation End Date
false
Materials and Techniques:
hanging scroll, ink on silk
omd
hanging scroll, ink on silk
Materials and Techniques
false
Dimensions:
Image: 52.3cm x 67.2cm, Overall: 148.6cm x 90.2cm
met
Image: 52.3cm x 67.2cm, Overall: 148.6cm x 90.2cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1987.187
ooa
1987.187
ID Number
false
Credit Line:
Mr. and Mrs. William H. Marlatt Fund
ooc
Mr. and Mrs. William H. Marlatt Fund
Credit Line
false
Inscriptions:
Signature and seal of artist and date in upper left corner
oin
Signature and seal of artist and date in upper left corner
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Landscape painting in Korea first appears in the early Koryo dynasty in illustrations to religious sutras, although much older, seventh-century molded ceramic tiles with elaborate landscape designs foreshadow the painting tradition. Historical records of the Koryo period point out examples of colorful landscapes, portraiture, and Buddhist imagery that, by and large, have not survived today. Certainly by the twelfth century, professional as well as amateur scholar-painters actively depicted the landscapeof Korea in addition to imaginary portrayals of China or the Buddhist realms. These three basic pictorial modes are best identified among the work of official court painters in the royal academy (Tohwaso) in the early Choson period. They enjoyed officialpatronage and were also exposed to Chinese Yuan and early Ming dynasty paintings owned by members of the court, whose relations with China had greatly improved. Especially popular among fifteenth- and sixteenth-century Korean patrons were imaginary Chineselandscapes executed in bold dark brushwork, emphasizing stark mountain shapes and vast expanses of space. Kim Che, an important writer and scholar whose father had preceded him at court, was one of the most celebrated court artists of the sixteenth century. His surviving works include figure paintings and landscape compositions in a distinctively Korean style that had emerged a century earlier in the imagery of the legendary artist An Kyon (1418 -?). This painting is important in that it clearly documents Kim Che's painting style at the end of the sixteenth century and thereby provides a basis for understanding other, anonymous works having similar characteristics. This picture features brooding tonal contrasts and expansive distances composed amid an unfolding human narrative of the joys of rustic seclusion. It is winter, yet travelers come and go freely on foot, horse, and by boat. M.R.C.
cxd
Landscape painting in Korea first appears in the early Koryo dynasty in illustrations to religious sutras, although much older, seventh-century molded ceramic tiles with elaborate landscape designs foreshadow the painting tradition. Historical records of the Koryo period point out examples of colorful landscapes, portraiture, and Buddhist imagery that, by and large, have not survived today. Certainly by the twelfth century, professional as well as amateur scholar-painters actively depicted the landscapeof Korea in addition to imaginary portrayals of China or the Buddhist realms. These three basic pictorial modes are best identified among the work of official court painters in the royal academy (Tohwaso) in the early Choson period. They enjoyed officialpatronage and were also exposed to Chinese Yuan and early Ming dynasty paintings owned by members of the court, whose relations with China had greatly improved. Especially popular among fifteenth- and sixteenth-century Korean patrons were imaginary Chineselandscapes executed in bold dark brushwork, emphasizing stark mountain shapes and vast expanses of space. Kim Che, an important writer and scholar whose father had preceded him at court, was one of the most celebrated court artists of the sixteenth century. His surviving works include figure paintings and landscape compositions in a distinctively Korean style that had emerged a century earlier in the imagery of the legendary artist An Kyon (1418 -?). This painting is important in that it clearly documents Kim Che's painting style at the end of the sixteenth century and thereby provides a basis for understanding other, anonymous works having similar characteristics. This picture features brooding tonal contrasts and expansive distances composed amid an unfolding human narrative of the joys of rustic seclusion. It is winter, yet travelers come and go freely on foot, horse, and by boat. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1987.187.tif
ril
CMA_.1987.187.tif
Related Image Identifier Link
false