is concealed by the voluminous, patterned robe. The folds of the billowing sleeves and the white underrobe suggest that Yun’s hidden hands are placed on his thighs. Along with the opulent robe, there are other markers of high status: the leopard skin draped on the chair, the colorful hyungbae (rank badge) of double cranes with a bullocho (elixir plant), the decorative belt, and the footrest. The subtle shading to articulate his facial features and the robe’s volume is evidence of the greater circulation and in昀氀uence of European images, painting techniques, and materials in Korea during the eighteenth century.�� The growth of photography in early twentieth- century Korea brought about an increase in the use of illusionistic techniques in painting. In Portrait of a Scholar, dated to 1924, the selective shading and crisp lines seen in the depiction of Yun Dong- seom’s face give way to expert modeling and naturalistic wrinkles (昀椀g. 34). One can sense the sitter’s corporeality. Nevertheless, his attire is not handled in the same manner as his face and hands. Even with the addition of white highlights, a technique borrowed from Western painting, his robes are not meant to be photorealistic, suggesting the ways in which the artist skillfully selected di昀昀erent techniques to create a distinctive style that was both old and new. The inclusion of folding screens in portraits like this one may have its origin in photography, since they were commonly used as backdrops in photography studios. Although unidenti昀椀ed, the sitter, with his black- trimmed white robe and double- tiered hat with three peaks, is clearly a scholar in informal garb. This portrait, like the one of Yun, would have been used in rituals remembering the ancestors. It is noteworthy that the scroll’s red cord with tassels, a display convention of ancestral portraiture, has survived, as most are lost. Due to its expert rendering and stylistic similarities to other signed portraits, this image has been attributed to Chae Yong- sin.�� Chae passed the military service Fig. 34. Attributed to Chae Yong- sin (채용신 蔡龍臣, 1850–1941). examination in 1887, but he became renowned for his Portrait of a Scholar, dated by inscription to 1924. Hanging scroll; ability to retain earlier portraiture conventions while ink and color on silk, 48 × 243/4 in. (121.9 × 62.9 cm). The Metropolitan Museum of Art, New York, Purchase, Friends of Asian Art Gi昀琀s, adding photographic qualities and was appointed royal 2012 (2012.329) portraitist in 1901. A昀琀er Korea lost diplomatic sovereignty in 1905, he retired from his post. He was known to paint wives, and daughters were extolled in literature, such from photographs, especially as age limited his mobility; 昀椀gures only began to be depicted in artworks in the this portrait may very well have had a photographic, late nineteenth century, o昀琀en as double portraits with rather than live, model. their husbands. With the androcentrism of neo-C onfucianism, there Portrait of a Woman, from about 1920–40, depicts an is a dearth of female ancestral portraits. As pungsokhwa interior environment similar to those found in images (genre paintings of everyday life) became more wide- from early twentieth-c entury photography studios, spread starting in the late seventeenth century, images complete with a folding screen, tables, potted 昀氀owers, a of women—predominantly gisaeng (female entertainers), vase, and a patterned mat (昀椀g. 35). Flower motifs sur- commoners, and shamans—became more prevalent.�� round the sitter, from the plants on the table to the vase While the importance and virtues of women as matriarchs, covered in multicolored blooms and the folding screen 32