Fig. 33. Unidenti昀椀ed artist. Portrait of Yun Dong- seom, Joseon dynasty (1392–1910), ca. 1790–1805. Hanging scroll; ink and color on silk, 76 × 331/4 in. (193 × 84.5 cm). The Metropolitan Museum of Art, New York, Purchase, Harris Brisbane Dick and 2014 Bene昀椀t Funds; Friends of Korean Art, Locks Foundation, Hyun Jun M. Kim, and Tchah Sup and Myong Hi Kim Gi昀琀s, 2014 (2014.605) PEOPLE During the Joseon dynasty, ancestor portraits were The di昀昀erent ways in which Byeon, Kim, and Suh incorpo- important in neo- Confucian society. These commemora- rate people in their works demonstrate a signi昀椀cant tive objects would have been placed in a family shrine change in art production. Prior to the twentieth century, dedicated to honoring the family’s male lineage, in calligraphy and landscape were the revered modes of accordance with neo- Confucian philosophy. Dressed in painting, and 昀椀gural representation was predominantly formal attire, seated in three- quarter view on a high- relegated to portraiture. The overall increase in 昀椀gural backed chair atop a woven mat, and set against a blank representation across various genres, along with an background, the subject in the Portrait of Yun Dong- expansion in the types of and the manner in which people seom, from about 1790–1805, re昀氀ects all the formal are depicted, re昀氀ects comprehensive societal change conventions of ancestral portraiture (昀椀g. 33). With the and recon昀椀guration of the class system. exception of his face and the tips of his shoes, Yun’s body 31