A Study on the Yangmingian aesthetic consciousnesscriticismof “Mok-gyek-do-jon” of Jeong Seon

This study examines the paintings of Gyeomjae Jeong Seon (1676-1759) from the perspective of Simhak (Learning of the Mind) aesthetics. Jeong pioneered jingyeong sansuhwa (true-view landscape painting) and established an independent style in the history of Korean painting. His works should be understood not merely as representations of actual scenery, but as artistic practices aimed at embodying the original mind (bonlae sim) and moral virtue. In particular, the notion of mokgyeok dojon (目擊道存, “seeing reality and realizing the Dao”) served as a key premise that revealed the Simhak-oriented nature of his aesthetics. By combining direct observation of nature with inner reflection, Jeong transcended the boundary between subject and object, thereby realizing a philosophical and moral mode of painting. This aesthetic consciousness is manifested in three interrelated aspects: the pursuit of lofty elegance (goilmi, 高逸美) reflected in depictions of reclusive gardens, the aesthetics of unity between emotion and scenery (jeonggyeong hapil, 情景合一), and a self-conscious painting practice that embodied virtue and the original mind. Jeong’s art, therefore, represents an original synthesis of empirical observation and philosophical reflection. It not only contributed to the establishment of jingyeong sansuhwa in the late Joseon period, but also highlights the uniqueness of Korean aesthetics and repositions Joseon painting within the broader East Asian art history.