usually not very important because even without it, artists are able to exhibit their skill and
knowledge.
Historical evidence ascertains that in Korea, landscape painting was more popular than
the figure painting or other forms of historical painting that characterized the western art. This is
attributable to various factors that influenced the general wellbeing of the populations in
different ways. To begin with, Wong indicates that the Koreans placed great emphasis on
landscape painting because they considered the land as well as nature to be sacred (45). In this
regard, the Koreans considered nature to be important for nurturing human life. Not only did it
provide human with food, but it also provided populations with water and medicine. For this
reason, they considered it to be essential for human survival. Undoubtedly, nature in this regard
played a leading ole in enhancing human survival. Expressing it through art was therefore
considered an important way of appreciating it.
Then, the Koreans associated nature with spiritual and religious beliefs and practices.
According to Ch’oe, the Koreans considered nature to be akin to supernatural powers (33). They
closely associated it with the Higher Power because f its characteristic diversity and might.
Historical evidence indicates that similar perceptions were also shared by Japanese and Chinese
populations. Nature in this regard was considered to be integral to human survival and therefore
needed o e treated with utmost respect. From an artistic standpoint, transferring natural features
to two dimensional surfaces was considered not only challenging but also noble. Thus artists
derived immense satisfaction from developing landscape painting. To a great extent, this can be
used to explain why landscape paining gained prominence amongst the Koreans.
Korean also associated their art with important philosophical ideas and practices. In his
research, Newlands indicates that neo-Confucianism and Confucianism that was adopted from