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Mount Geumgang

Sin Hak-gwon (artist name: Doam) Korean

Not on view

The eight vignettes of this screen highlight the contrasting topographical features that define the mountains: sharp, bonelike peaks, rendered in overlapping outlines in dry ink, and leafy hills, articulated through saturated ink wash and horizontal strokes. Sin adds distinctive touches to the style of Jeong Seon. Unexpected bursts of color, red and green in particular, add a playful element, as do the minuscule human figures in the various scenes.

Read from right to left, the screen moves through the Diamond Mountains generally from west to east and along the coast.

Panel 1: Jeongyang Temple (正陽寺); Panel 2: Pyohun Temple (表訓寺); Panel 3: Manpok Valley (萬瀑洞); Panel 4: Biro Peak (毗盧峯) Sin’s addition of travelers standing atop Inner Geumgang’s tallest and most important summit is surprising and even unprecedented; Panel 5: Eunseondae Lookout (隱仙臺); Panel 6: Baekcheon Bridge (百川橋) The composition of this vignette bears resemblance to that of the same scene in Jeong Seon’s 1711 album (displayed in the cases to the left) but has an added sense of levity; Panel 7: Naksan Temple (洛山寺); Panel 8: Samil Lake (三日湖)

Mount Geumgang, Sin Hak-gwon (artist name: Doam) (Korean, 1785–1866), Eight-panel folding screen; ink and light color on paper, Korea

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