The National Museum of Korea proudly present the special exhibition, ‘Paintings and calligraphies of the Joseon Dynasty literati painter, Neunghogwan Yi Insang(171 0-1760},’ in commemoration of the 300th anniversary of his birth.

 

As a descendent of the prominent scholar Baekgang Yi Gyeongyeo(1585-1657), Yi Insang was widely respected by his contemporary scholar officials for his moral integrity and uncompromising spirit. He spent his life traveling and enjoying literary gatherings with like-minded friends, and left many calligraphies and paintings.

 

At first sight, Yi Insang's painting and its brushwork might look too simple, stern, or unfamiliar. The essence of his painting, however, can be summarized by the comment of the most influential 19th century scholar, Chusa Kim Jeonghui(1786-1856}: "lf you can appreciate Yi Insang's works, you will be able to understand what it is to have literati spirit when practicing calligraphy and painting." The works presented in this exhibition will serve as inspiring examples that provide glimpse of the artistic ideal pursued by Joseon literati painters.

 

Life and Friendship Pictured in Paintings

From an early age, Yi Insang loved to study classics and exhibited special talent in painting and calligraphy. Although he belonged to a prominent scholar official family, his great grandfather was a seoeol (son of a concubine), which determined his social status also as seoeol, who experienced certain social discrimination. Moreover, when Yi Insang became only nine years old, his father passed away leaving his family in poverty.

Working as a low-ranked official, Yi Insang visited and gathered with friends whenever he had free time to share his literary and artistic passion. The friendship and memories from these romantic gatherings worked as important motifs for the creation of his works. After resigning from the position of a magistrate of Eumjuk(modern-day Icheon}, Yi Insang retreated to Seolseong close to Eumjuk, but even then he often visited Seoul to visit his old friends.

Throughout his life, Yi Insang studied Confucian classics and made strenuous effort to practice Confucian principles. Yi Insang was widely revered by his contemporaries for his scholarly depth and uncompromising personality. His personal characters and life experiences are clearly reflected in his paintings.   

 

Immortal with a Sword, 96.7 x 62 cm

 

Literati Spirit

Kim Jeonghui, a great 19th century scholar and calligrapher, commented on Yi Insang's works as follows. “if you can appreciate Yi Insang's works, you w ill be able to understand what it is to have literati spirit in practicing calligraphy and painting." His words make one wonder what he saw in Yi Insang 's paintings.

Yi Insang's Guryongpok Fall does not resemble the physical appearance of the actual site. Yi Insang himself emphasized that a true meaning of a painting can be delivered through an “encounter within one's heart." Let us then follow the movements of brush and ink of Guryongpok Fall. The dynamic rhythm of the brushstrokes, the subtle change of the ink tones, and the resonance between the calligraphy and the painting will begin to speak to us. Such elements are what Yi Insang pursued in his painting and what we would not want to miss.  

 

 Guryongpok Fall(Nine Dragon Waterfall), 1752, 117.7 x 58.6 cm

 

Pine Trees and Pavilion by the Water

As a symbol of loyalty and unyielding scholarly spirit, pine tree was a favored subject of Joseon literati painting. It is well known that Yi Insang strived to observe Confucian rules and principles all his life and did not hesitate to scold others who failed to meet his standards. His strong and determined personality is reflected on his paintings of pine trees. The striking composition of one pine tree standing upright and the other tree winding behind it particularly evokes the image of the artist who stood between his social status in reality and his scholarly and artistic ideal. His dream of transcending the everyday reality of the world and retreating into nature, which was realized in his late years, is encapsulated in the image of the figures sitting inside the lonesome pavilions by the water, another favorite subject of the artist.   

 

Winter Pine, 117.0 x 53 cm