This study aims to understand the dance culture of the Joseon Dynasty through ‘dance paintings of imagined space’ and ‘dance paintings of folk space’. I used the methods of iconography and literature research. The results of the study are as follows. First, the performers of the dance were diverse, ranging from fairies to religious monks and shamans, entertainers such as gisaeng and sadangpae, dancers, noblemen, and farmers. Second, the background of the dance was mainly a feast. Third, the dance stage was set up outdoors with mats. Fourth, the types of dance were diverse. Fifth, the dance formation was mainly a duet. Sixth, the reason why the dance paintings were abundant is because the Joseon people enjoyed dancing, and dance was a very useful symbol when expressing exciting moments in life. The significance of the study is that the rich dance culture of the Joseon people was confirmed through paintings.

The aim of this research is to understand the dancing culture of the Joseon Dynasty period(1392～1910) by examining dancing pictures in multi-level. The objects of the analysis are 22 pictures of dancing in royal space, 37 pictures if one counts copies and different editions. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically speaking, the pictures of dancing in royal space had been drawn from Jungjong(1488～1544, r.1506~1544) to Gojong(1852~1919, r.1863~1907) in Joseon Dynasty. In terms of space, royal palace is the space where the royal family and officials enjoyed dancing. In terms of audience-performer, there are only male audiences in dancing pictures from Jungjong to Yeongjo(1694~1776, r.1724~1776) but female audiences appear from Jeongjo(1572~1800, r.1776~1800). The performers in the dancing pictures are various like female dancers entertainer called as ginyeo, boy dancers called as mudong, cheoyong dancers, and even officials. In later times, the dancing ginyeo becames noticeable. It has been proven by the pictures of dancing officials that the officials were dancing in the party with a king. In terms of the way of drawing dancing, it has been started from Jeongjo that multiple jeongjae appear in one scene as if they are performed simultaneously. In Soonjo(1790~1834, r.1800~1834), dance painting accurately reflected the performance. All the dances performed were pictured. Gradually, however, during the Korean Empire, only some of the dances performed were painted. Popular dance was drawn frequently. I suggest that the importance of dance in record pictures of royal space is directly proportional to the importance of dance in real culture.

The aim of this research is to understand the dance culture in the government office space of the Joseon Dynasty (1392 ~ 1910). The objects of the analysis are 32 pictures of dancing in local government office space. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically, pictures of dancing in local government space appeared from 1580 to 1796, geographically from Pyeongando to Jeju Island. Most of the dance genres shown in the pictures were jeongjae. The performers in the pictures of dancing included female dancing entertainers called as ginyeo, boy dancers called as mudong, cheoyong dancers, and clowns also. Furthermore, the pictures revealed that a government officer and old men invited at the banquet danced together in the local government office space. This was because dancing was recognized as something wonderful that only a peaceful time allowed. In the Joseon Dynasty, the government office space was the place where people could enjoy dancing.

The purpose of this article is to investigate the dance practiced in private spaces during the Joseon dynasty by analyzing paintings and literature. This study is the third part of a series of research exploring paintings depicting dances in various performance venues in the Joseon dynasty. While the first two researches were about dances performed in royal palaces and in public places respectively, this article analyzes paintings and literature of dances in private spaces in the following three ways.

First, dances performed in the personal social gatherings were divided into three types according to the subject: dances performed at social gatherings for the elderly, reunions of officials who passed the national civil service examination in the same year, and social gatherings for the middle class. These dances were performed to strengthen the community spirit or to appreciate the performances of professional young male dancers called mudong.

Second, dances performed to celebrate the longevity of parents on their birthdays are analyzed. In such events, the mother was considered the most important character as well as audience, and the concept of “filial piety” was emphasized in the “Son’s Dance.”

Finally, dances conducted in private folk venues are examined. Some of these paintings portray a son who dances as a “performer” to celebrate his parents’ diamond wedding anniversary. Other paintings depict a clown dancing in a three-day parade where a person who passed the national civil service examination visits his examiners, high-ranking senior officials, and his relatives.