but they were denied the same status as their Japanese natural topography and historic places. In the eighteenth counterparts. This was particularly true for women. century, painter Jeong Seon (정선 鄭歚, 1676–1759) Nonetheless, Paik was the 昀椀rst professional Korean frequently visited famed picturesque locations, which he woman artist to exhibit internationally, participating in sketched and painted on-site. These images, particularly the Salon des Tuileries and Salon d’Automne in 1929.�� those of Mount Geumgang, or the Diamond Mountains, In Paradise, Paik literally maps European representa- ushered in a new genre of landscape painting.�� His tional techniques onto a Korean framework, combining legacy is evident in the work of Sin Hak- gwon, especially Western media—oil on canvas—on a decidedly Korean in Sin’s panoramic view of the interior section of painting format—an eight- panel folding screen. The Geumgang, where forty- six well- known sites are identi- shapes of the peaks, the waterfall that streams into a pool, 昀椀ed by name (昀椀g. 27). Sin’s juxtaposition of the tree- the low bridges, and the unoccupied thatched pavilion covered hills in the foreground—delineated through are common to ink landscapes. Yet some of the architec- washes and short strokes—and the jagged peaks in the ture, the nude and partially clothed 昀椀gures, the color background deliberately echoes the style of Jeong. The palette, and the painting style all come from Western double outlines around the spindly peaks, however, art. Paradise was a wedding gi昀琀 for Paik’s friend. In which give a slightly blurry impression, are Sin’s trade- the bucolic scene, men are working, and women seem mark. In the inscription, the artist notes that he “copied” more at their leisure. A male- female pair appears on a work by Jeong whose condition was deteriorating. the rightmost panel. Customarily, folding screens are Unable to make the pilgrimage to Geumgang himself, Sin read from right to le昀琀, so the couple is on the 昀椀rst panel. used Jeong’s compositions, as did Jeong’s contemporar- Their position on the threshold of this picturesque ies, as substitutes for travel that either fueled or satis昀椀ed landscape likely echoes Paik’s auspicious wishes for her a longing for the famed mountains. friend as she enters marital life. Spring Dawn at Mount Baegak is a depiction of Alongside utopian landscapes, there was a tradition Gyeongbok Palace with its main gate, Gwanghwamun, of depicting actual locations in Korean art. A昀琀er the in front and Mount Baegak (today referred to as Mount destructive Japanese and Manchu invasions in the late Bugak) prominent in the background (昀椀g. 28). An Jung- sixteenth and early seventeenth centuries, respectively, sik, one of the last Joseon court painters, creates a sense there was a renewed awareness of Korea’s position within of recession leading to the gate, behind which a com- East Asia that spurred an interest in the peninsula’s pressed space contains the palace with dense trees and Fig. 27. Sin Hak- gwon (신학권 申學權, 1785–1866). General View of Inner Geumgang, Joseon dynasty (1392–1910), mid- 19th century. Six sheets of paper mounted as a single panel; ink and light color on paper, 185/8 × 921/2 in. (47.3 × 235 cm). The Metropolitan Museum of Art, New York, Purchase, Friends of Asian Art Gi昀琀s, Gi昀琀 of Dr. Mortimer D. Sackler, Theresa Sackler and Family, and Brooke Russell Astor Bequest, 2017 (2017.185) 24