This study explores the aesthetic consciousness that links the appreciation of painting and literary creation among the literati of late Joseon, using Nam Yoo-yong (1628-1692) as a representative case. Nam Yoo-yong was not only an avid admirer of painting but also a painter himself, and he left behind numerous records regarding the paintings he created or appreciated, as well as the painters with whom he interacted. He asserted that the ultimate beauty resides in the natural order of heaven and earth, emphasizing the value of painting as an act of expressing one's artistic intent through profound contemplation and emotional communion with objects. In his discussion of portraiture, Nam highlighted the efficacy of painting in capturing not only the external form of a subject but also the inner spirit, which the artist should discern and convey to the viewer. Such views led Nam to adopt a characteristically subjective mode of appreciation, favoring interpretation of the iconographic meanings and the artist’s intentions over empirical or formalist analysis. His theories of artistic creation and appreciation are also reflected in his poems on paintings(jehwa si-mun, 題畵詩文), where he often reinterprets visual motifs dynamically through deep empathy and imagination, thereby amplifying the emotional resonance of the artwork or actively decoding its intended message. Nam Yoo-yong's aesthetic sensibility and representational strategies, evident in both his art theory and his poems on paintings, are likewise present in his other poetic works. He regarded the ultimate beauty in poetry as rooted in the natural world, advocating for the spontaneous expression of emotion, the avoidance of artificial embellishment, and the pursuit of novel diction and imagery. His Chinese-style poetry (hansi) is notable for its painterly qualities, derived from contemplative engagement with everyday scenes and experiences, expressed in a fresh yet restrained manner. While such literary achievements are significant, his poetry shows limitations in confronting social realities or articulating critical perspectives on contemporary issues. This tendency toward aestheticization and transcendence in his poetry reflects not only his interests in art appreciation but also aligns with the optimistic and romantic worldview characteristic of the 18th-century Gyeonghwa aristocracy.
Ji-young Ha (Sun,) studied this question.