of Confucianism superseded that of Buddhism in this period, however Buddhist elements remained and it is not true that Buddhist art declined, it continued, and was encouraged but not by the royal centres of art, or the accepted taste of the Joseon Dynasty publicly; however in private homes, and indeed in the summer palaces of the Joseon Dynasty kings, the simplicity of Buddhist art was given great appreciation – but it was not seen as citified art. During the transitional period leading into the Joseon dynasty some Korean buddhist painters left for Japan. Yi Su-mun (1400?–1450?) who is considered the founder of Soga school of Japan, was a boat-companion of the older priest-painter, Shubun of Shokokuji when he returned from Korea to Japan in 1424. Japanese tradition declared that Yi was so skilled after his "Catfish and Gourd" painting that Shogun Yoshimochi claimed him to be a son of the legendary Josetsu, as an adoptive honorific. Yi painted alongside and influenced the originals of Japanese zen art; and was known in Japan by his Japanese name Ri Shubun or the Korean Shubun. The entire tradition of needle points in Japanese art began with Yi, and continued through his students, known as the Soga School, a more natural group of artists than the courtly school patronized by the Ashikaga shoguns. While the Joseon Dynasty began under military auspices, Goryeo styles were let to evolve, and Buddhist iconography (bamboo, orchid, plum and chrysanthemum; and the familiar knotted goodluck symbols) were still a part of genre paintings. Neither colours nor forms had any real change, and rulers stood aside from edicts on art. Ming ideals and imported techniques continued in early dynasty idealized works. Early dynasty painters include: An Gyeon, 15th century painter Mid-dynasty painting styles moved towards increased realism. A national painting style of landscapes called "true view" began – moving from the traditional Chinese style of idealized general landscapes to particular locations exactly rendered. While not photographic, the style was academic enough to become established and supported as a standardized style in Korean painting. Mid-dynasty painters include: Hwang Jipjung (born 1533) The mid to late Joseon dynasty is considered the golden age of Korean painting. It coincides with the shock of the collapse of Ming dynasty links with the Manchu emperors accession in China, and the forcing of Korean artists to build new artistic models based on nationalism and an inner