Jeong Seon (1676–1759), also known by his pen name Gyeomjae and courtesy name Wonbaek, is one of the most celebrated landscape painters of Korea’s Joseon Dynasty. He pioneered the "true‑view" (Jingyeong) landscape, a breakthrough approach that privileged direct observation of Korea’s scenery over copying idealized Chinese models. Born on 16 February 1676 in Cheongun‑dong, Jongno District, Seoul, Jeong displayed artistic talent early. Although his yangban family faced financial constraints that kept him from the classical scholar‑official path, patrons recognized his skill and helped him join the Dohwaseo (Joseon Bureau of Paintings), where he worked as a professional artist.
Jeong Seon traveled widely across Korea, repeatedly visiting Mount Geumgang and other sites to paint from life. His major works include Geumgang Jeondo (1734), Ingokjeongsa (1742), and Inwangjesaekdo (1751). Characteristic features of his art—bold brushwork, layered ink washes, strong contrasts of light and dark, and faithful portrayals of mountains, forests, rivers, waterfalls, and mist—combine techniques influenced by Chinese masters such as Mi Fei with a distinctly Korean sensibility. The result is a style at once rooted in tradition and strikingly original.
Inwangjesaekdo (Clearing After Rain at Mt. Inwang), painted in 1751 during King Yeongjo’s reign, is widely regarded as one of Jeong’s masterpieces. Its precise naturalism and evocative atmosphere earned it designation as National Treasure No. 216 in 1984; the work entered the National Museum of Korea after being donated from Lee Kun‑hee’s collection in 2020.
Cheongha Fortress, another notable painting, depicts the walled county seat of Cheongha‑hyeon as seen from Bongseonjeong Pavilion. Jeong frames the fortress with foreground pines and wetlands, places a layered screen of mountains—Hohaksan, Cheollyeongsan, and Naeyeonsan—on the horizon, and shows clustered houses with gabled and hip‑and‑gabled roofs along a hillside. Although the fortress’s original buildings no longer survive (the site now hosts Cheongha Elementary School and the county office of Cheongha‑myeon), Jeong’s true‑view painting preserves the area’s historical appearance and provides valuable visual evidence for reconstructing its former landscape.
Though he painted figures, flowers, and insects, Jeong Seon is best known for his landscapes. By insisting on observation over imitation, he forged a new, independent course for Korean painting in the early eighteenth century. His “true‑view” landscapes influenced generations of artists and remain powerful symbols of Korean cultural identity and artistic achievement.
This painting, After Rain at Mt. Inwangsan by Jeong Seon, is an evanescent image of nature seemingly being restored after a thunderstorm. Painted in 1751, this painting is representative of Korean true-view landscape painting where Jeong Seon rendered authentic Korean scenery instead of relying on the Chinese landscape paradigm.
The large black cliffs are the focus of the painting. Their shiny surfaces are painted by heavy, expressive brushwork, while the light sky looks as if untouched by the painter's hand. As a result of the contrast of what is solid with what appears to be empty, the mountain is both physically heavy and spiritually significant. The tiny trees and houses at the bottom emphasize the mountain's power.
It could also be seen as a symbol of renewal after adversity. While the rain temporarily clouds the landscape, as the wet cloud passes the mountain becomes stronger and more vibrant. Likewise, the mist over the mountain could be a symbol of foggy times, where you cannot see clearly as the future may be unclear, but you can be sure that clearer days will return.
The work is especially touching as tradition suggests it was painted for Yi Byeong-yeon, a poet who was a good friend of Jeong Seon and gravely ill at the time of the work.
Therefore, the book hints that even after night has fallen on the whole world and many questions remain unanswered, it is probable that the earth will open to the view again.
