Journal of Korean Art & Archaeology 2018, Vol.12 pp.11-25
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The Bureau of Painting in the early Joseon dynasty, established during the Silla Kingdom, evolved significantly with the alignment of Confucian ethics in governance. Initially known as Chaejeon, it developed into a structured system under the Goryeo era as Dohwawon and further matured in Joseon, integrating Neo-Confucian ideologies. Civil officials led operations, expanding their influence while painters, viewed as artisans, held minor roles. Strategic political shifts, like those during King Sejong's reign, refined the bureau, linking it to the Ministry of Rites and changing its hierarchical organization. This evolution continued through periods of fluctuating royal and bureaucratic power. Painters were considered technical functionaries, restricted to administrative posts, and financially unstable. The system adapted over time, improving wages and expanding opportunities, especially under King Jeongjo, who navigated art production through a more centralized royal influence. A growing demand for paintings required additional staff and altered the artistic landscape, gradually favoring decorative arts. This historic interplay of strategy, art, and politics distinguished Joseon's Bureau of Painting from its Chinese counterparts, centering on Confucian values and governance.
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Other articles from this issue
- Editorial Note
- A Study of the Ten Symbols of Longevity Screen in the Collection of the Museum of Art at the University of Oregon
- Desire for an Empire: The Painted Folding Screen Sea, Cranes, and Peaches at the Honolulu Museum of Art
- Production and Significance of Paintings of Tribute Missions to the Son of Heaven in the Late 18th Century
- Study of Ten-panel Folding Screen with Image of Peonies in the National Museum of Korea
- The Production and Copying of Portraits of Meritorious Subjects: Portraits of Jo Gonggeun and their Related Drawings
- The Production Method and Characteristics of the White Birch Bark Mudguard Flaps from Cheonmachong Tomb