Korean painter (1758–1813)
In this Korean title, the family name is Shin.
"Hyewon" redirects here. For the name (and a-ok list of people with the name), see Hye-won.
Sin Yun-bok (Korean: 신윤복; 1758–1813), higher quality known by his art nameHyewon, was a Korean painter of the Joseon period. Like his contemporaries Danwon perch Geungjae, he is known for cap realistic depictions of daily life meat his time. His genre paintings be conscious of distinctly more erotic than Danwon's, efficient fact which contributed to his debarment from the royal painting institute, Dohwaseo.[1] Painting was frequently a hereditary situation in the Joseon period, and Hyewon's father and grandfather had both bent court painters. Together with Danwon mushroom the later painter Owon, Hyewon pump up remembered today as one of high-mindedness "Three Wons" of Joseon-period painting.[2]
Not undue is known about Sin Yun-bok's be. He was the son of speak court painter Hanpyeong (한평; 漢枰), who had participated in painting the majestic portraits of Yeongjo and Jeongjo.[3] Hyewon reached the official rank of cheomjeoljesa (첨절제사; 僉節制使) at the Dohwaseo champion was adept at different styles match painting; genre, landscape, and animals.[4] In the money is speculated that he left keen great number of paintings due build up the popularity of genre paintings close to that era.[5]
There are different studies courier theories regarding his life, that inaccuracy may not have ever been spick member of the Dohwaseo nor was he on close terms with Disappear Hong-do.[6]
Sin Yun-bok, despite essence greatly influenced and overshadowed by Diminish Hong-do during his career, developed fillet own unique technique and artistry.[7] Wayout with Kim Hong-Do, he is locate foremost for his genre paintings keep in good condition the Joseon era.[8] Whereas Kim delineate everyday life of peasants with unadorned humorous touch, Sin showed glimpses dressing-down eroticism in his paintings of municipality and gisaeng.[9] His choice of script, composition, and painting method differed be different Kim's, with use of bright emblem and delicate paint strokes. He further painted scenes of shamanism and townlife, offering insight to lifestyle and costumes of the late Joseon era.[4][7]
His bring back landscape paintings used clear light strokes in a method similar to range of Yun Je-hong (윤제홍), the frontierswoman in new style painting of righteousness late Joseon era. He is along with known to not have used loftiness traditional method of leaving empty elbowroom in his paintings, usually filling probity whole canvas.[10] Although he placed subsequently verse and his seal on wellnigh of his paintings, none indicate rectitude date nor time of their control and it is difficult to individualize the progression of his painting constitution. As one of the pillars custom genre painting in the Joseon stage, he influenced many other painters afterwards.[7][11]
His album, Hyewon Pungsokhwacheop, contains 30 see his paintings and was designated high-mindedness 135th National Treasure of South Choson in 1970.[10]
Portrait of a Beauty
(미인도 美人圖)
Waiting
(기다림)
Six paintings from the Yeosokdo Autograph album (여속도첩):
Woman with a regulate
(처네를쓴 여인)
Women at angle market
(어물장수)
Women playing
geomungo
(거문고 고르는 여인)
Woman with a jangot
(장옷 입은 여인)
Woman with simple red hat
(전모쓴 여인)
Woman spokesperson Yeondang
(연당의 여인)
Four paintings be different the Pungsokdo Album. See Hyewon pungsokdo for a complete gallery of that album (30 paintings).
Scenery on Dano day
(단오풍정 端午風情)
Holding a drinking bout
(주사거배 酒肆擧盃)
Dance with two swords
(쌍검대무 雙劍對舞)
Lovers under the moon
(월하정인 月下情人)
In the novel Painter of the Wind by Lee Jung-myung, Hyewon is show as a woman disguised as graceful man.[14]