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The tradition and style changes of Korean Beauty Paintings in the late Joseon dynasty：Focused on the collection of OCI Museum of 8-Folding screen ‘Paldomiindo’

Mi-Hyun Im 1

1숙명여자대학교

Accredited

ABSTRACT

8-folding screen ‘Paldomiindo’, a collection of OCI Museum, is a representative piece which shows tradition and transformation of Korean Beauty Paintings of Late Joseon Dynasty. Even though the piece does not fully apply traditional aspect and rather shows stylization and schematization (which makes the piece to be weaker in pictoriality), its content and compositional aspect of ‘Standing painting of single Gisaeng with non-background’ continues a long pedigree of Late Joseon Dynasty’s beauty paintings. Furthermore, ‘Paldomiindo’ shares a similarity with Chinese and Japanese beauty paintings by setting a series of paintings on a folding screen. Unlike other late Joseon dynasty’s beauty painting. This piece contains such uniqueness and significance that must be examined further. Thus, this study will explore tradition and style changes of Korean beauty paintings in late Joseon dynasty along with features of ‘Paldomiindo’. This study’s objective is to reintroduce late Joseon dynasty’s beauty paintings and highlight its significances within Korean/Eastern Asian art history. There are 7 works of beauty paintings with ‘standing painting of single woman with non-background’, and ‘Paldomiindo’ has similar aspects to these paintings with such features like materials and styles. The similarities can be listed：‘standing, single, no background drawings’, face was slightly sided(seven-tenth, eight-tenth side), an overall posture and a hand expression, outline of woman’s face and dress, and hair styles. Features mentioned above certainly shows connections between the paintings. However, ‘Paldomiindo’ differentiates itself from the others by setting a series of paintings into one piece. Cases of collecting beauty paintings into a book and folding screeen can be found in Eastern Asia at the same period of time. In China, numbers of beauty paintings with a format of multiple pictures into one set were increased in late Ming dynasty era. In early Qing dynasty, numerous royal beauty paintings were placed on books and foldings screens with a format of 12 pictures into one set. In Japan, beauty paintings with the arrangement of multiple paintings became prevalent in Edo period(1603-1868). As these paintings were imported to Joseon, they have inspired viewers, and became models to new pieces. Meanwhile, late Joseon dynasty, the time “Paldomiindo” was made, was a time of luxurious trends and extravagant hobbies prevailing throughout society. Interests and social demands to paintings and calligraphic works grew larger in this period of time, and folding screens with paintings of various subjects became popular commodity as a result. Therefore, ‘Paldomiindo’ is created under the influences of social demands that came along with development of luxurious goods (caused by cumulated wealth of late Joseon dynasty) and trends of various subjects of paintings on folding screens. Sin Yunbok’s ‘Miindo’ began tradition of Joseon’ beauty painting, and ‘Paldomiindo’ carries the tradition to late Joseon dynasty while following prevailing styles of Eastern Asia.

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