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 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.