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Shin Yun-bok, better known by his pen name Hyewon, (born 1758) was a Korean painter of the Joseon Dynasty. Like his contemporaries Danwon and Geungjae, he is known for his realistic depictions of daily life in his time. His genre paintings are distinctly more erotic than Danwon's, a fact which contributed to his expulsion from the royal painting institute, Dohwaseo.<br/><br/> Painting was frequently a hereditary occupation in the Joseon period, and Hyewon's father and grandfather had both been court painters. Together with Danwon and the later painter Owon, Hyewon is remembered today as one of the ‘Three Wons’ of Joseon-period painting. Shin Yun-bok, despite being greatly influenced and overshadowed by Kim Hong-do during his career, developed his own unique technique and artistry. Whereas Kim depicted everyday life of peasants with a humorous touch, Shin showed glimpses of eroticism in his paintings of townspeople and gisaeng (courtesan).<br/><br/> His choice of characters, composition, and painting method differed from Kim's, with use of bright colors and delicate paint strokes. He also painted scenes of shamanism and townlife, offering insight to lifestyle and costumes of the late Joseon era.
'Hyewon Pungsokdo' is an album of genre paintings by Shin, Yunbok or Hyewon (1758-?), one of the most famous genre painters of the late Joseon period (1390-1910). This album is designated as the 135th National Treasure of South Korea and held by Gansong Art Museum in Seongbuk-gu, Seoul, South Korea
Shin Yun-bok, better known by his pen name Hyewon, (born 1758) was a Korean painter of the Joseon Dynasty. Like his contemporaries Danwon and Geungjae, he is known for his realistic depictions of daily life in his time. His genre paintings are distinctly more erotic than Danwon's, a fact which contributed to his expulsion from the royal painting institute, Dohwaseo.<br/><br/> Painting was frequently a hereditary occupation in the Joseon period, and Hyewon's father and grandfather had both been court painters. Together with Danwon and the later painter Owon, Hyewon is remembered today as one of the ‘Three Wons’ of Joseon-period painting. Shin Yun-bok, despite being greatly influenced and overshadowed by Kim Hong-do during his career, developed his own unique technique and artistry. Whereas Kim depicted everyday life of peasants with a humorous touch, Shin showed glimpses of eroticism in his paintings of townspeople and gisaeng. His choice of characters, composition, and painting method differed from Kim's, with use of bright colors and delicate paint strokes. He also painted scenes of shamanism and townlife, offering insight into the lifestyles and costumes of the late Joseon era.