Pale granite spires and dark pine ridges gathered into one great ring
Jeong Seon (Gyeomjae) — Complete View of Mt. Geumgang | Korean Painting Art Print
Note: Framed prints require slightly longer production time
Why this print is worth it
Archival giclée on Hahnemühle fine-art paper
Made as fine art, not as a mass-market poster.
We reproduce each work from high-quality source material using a 12-ink archival giclée process on Hahnemühle fine-art paper, chosen to preserve the colour, detail and character of the original as faithfully as possible.
“The quality of color and paper is museum quality and well worth the purchase price.”
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Mountain peaks crowd together in a great rounded mass, ringed by a blue-grey wash that fades to tan in the upper sky. On the right, pale granite spires are drawn with sharp vertical strokes; on the left, softer ridges are thick with dark dotted pines. Temple roofs and an arched stone bridge sit low in the valley near the foot of the picture. The title, the signature and a red seal are brushed at the upper left, and a poem in small script fills the upper right. Jeong Seon painted it in 1734.
The view is of Inner Geumgang, the Diamond Mountains, with Birobong, the highest peak, at the back and the waters of Manpokdong valley dividing the range. Setting aside the Chinese landscape conventions of his day, Jeong Seon built his pictures from actual Korean scenery, and this is the largest of his many views of these mountains. It was designated National Treasure No. 217 of Korea in 1984 and is held by Leeum, Samsung Museum of Art, Seoul.
The original: ink and light colour on paper, 1734, Leeum, Samsung Museum of Art, Seoul.
Jeong Seon (1676–1759), known by his art name Gyeomjae, was a Korean painter of the Joseon dynasty, born in Seoul to a gentry family of modest means. Journeys to the Diamond Mountains (Geumgangsan) in 1711 and 1712 produced albums that made his name, and he went on to serve as a district magistrate and to receive court rank from King Yeongjo. He is credited as the father of true-view landscape painting, which pictured real Korean places rather than idealised Chinese scenery, with bold brushwork, layered ink washes and dotted vegetation. His best-known works include General View of Mount Geumgang (1734) and Clearing after Rain on Mount Inwang (1751). His work is held by the National Museum of Korea and the Metropolitan Museum of Art.
Printed as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. Ships worldwide with free delivery to 30+ countries.
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FAQ
Fine-art quality should be something you can verify. Here is exactly what goes into a 9 Art Prints reproduction.
What makes a 9 Art Prints reproduction different?
A lot of art-print sellers describe their work as “museum quality” without telling you what that actually means. We prefer specifications. Our fine-art reproductions are produced using professional giclée printing on genuine Hahnemühle fine-art papers, selected to suit the artwork. We work from high-resolution source material and prepare each image specifically for print, with close attention to colour, detail and tonal range.
What paper do you use?
Our principal fine-art papers include Hahnemühle German Etching 310gsm and Hahnemühle Photo Rag 308gsm. German Etching has a substantial, lightly textured surface that works exceptionally well for paintings and richly coloured works. Photo Rag has a smoother cotton surface suited to graphic, modernist and highly detailed imagery.
Paper is selected according to the character of the artwork rather than using one generic stock for everything.
What does “giclée” actually mean?
Giclée is a professional fine-art printing process using archival pigment inks and high-resolution inkjet technology. Unlike inexpensive poster printing, it is designed to reproduce subtle colour gradations, fine detail and tonal depth.
It is a reproduction method widely used by artists, photographers, galleries and professional fine-art printers.
So is this really “museum quality”?
We would rather tell you what we use and let you decide. Genuine Hahnemühle fine-art paper, professional giclée printing, archival pigment inks and carefully prepared high-resolution artwork are measurable things.
“Museum quality” by itself is not.
Will large prints still look sharp?
Large-format reproduction depends heavily on the quality of the underlying artwork file. We source the highest-resolution material available and prepare each image for print rather than simply enlarging a small internet image.
That is especially important with historic paintings, posters and archival works where source quality varies considerably.
Are these just posters?
No. A poster can be printed cheaply on lightweight commercial paper. Our fine-art editions are intended as permanent pieces of wall art, produced on heavyweight fine-art substrates with professional printing methods.
For graphic or poster artwork, the image may be a historic poster; the object you receive is still a fine-art reproduction.
What about your framed prints?
Our framed pieces use solid-wood frames and are produced as finished pieces of wall art rather than inexpensive poster frames. Depending on the configuration, we also offer matting and premium glazing options.
The goal is the same as with the print itself: use materials appropriate for a piece you intend to keep.
Will the colours look exactly like my screen?
Screens emit light; paper reflects it, so no physical print can be identical to every monitor or phone display. We prepare our artwork specifically for print and aim for accurate colour, contrast and tonal reproduction.
The texture and surface of fine-art paper also give the finished piece a physical depth that cannot be shown completely on a screen.
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