| Title |
Representation of Women and Spatial Transformation in Joseon Dynasty Painting |
| Authors |
이도은(Lee, Doeun) ; 강미선(Kang, Miseon) |
| DOI |
https://doi.org/10.5659/JAIK.2025.41.11.149 |
| Keywords |
Joseon Dynasty Painting; Spatial Representation; Spatial Perception; Representation of Woman; Cultural Diamond |
| Abstract |
This study explores changes in the representation of space and female figures in Joseon Dynasty paintings, focusing on their relationship to
broader sociocultural transformations. Drawing on documentary and genre paintings from the early to late Joseon periods, the analysis applies
Wendy Griswold’s Cultural Diamond model to examine the interaction among creators, artworks, audiences, and society. In the early Joseon
period, space served as a symbolic medium for expressing Confucian hierarchy, and women were portrayed as moral exemplars with limited
individuality. During the mid-Joseon period, domestic interiors began to appear as ceremonial settings, and elite women emerged as central
subjects in paintings associated with state rituals. By the late Joseon period, the growth of consumer culture and the popularity of genre
painting led to depictions of lower-class women as active participants in everyday life. Spatial representation also evolved, from flat, frontal
compositions to more layered and immersive scenes that conveyed atmosphere, emotion, and narrative depth. These shifts reflect broader
changes in ideology, artistic intent, and audience perception. Both space and the female figure transformed from moralized symbols into
expressive visual elements connected to personal experience and identity. This transformation signals the emergence of the modern subject and
the rise of new cultural values within late Joseon visual culture. |