Abstract
The eighteenth-century Korean painter Kim Hong-do 金弘道 (1745–ca. 1806) still dazzles today's viewers with his paintings of genre scenes and Daoist immortals, just as he astonished his contemporaries with his talent and versatility. Although he had numerous patrons, none had as much impact on his art as King Jeongjo 正祖 (r. 1776–1800). By examining written records and Kim's extant paintings, this paper explores and assesses the significance of King Jeongjo's patronage in unlocking the opportunities that enabled Kim Hong-do to reach his full potential as the most versatile painter in Korea.
Kim Hong-do (1745–ca.1806), King Jeongjo (r. 1776–1800), Gang Se-hwang (1713–1791), court painters-in-waiting (jabi daeryeong hwawon), scholar's accoutrements (chaekga or chaekgeori), genre painting (sokhwa), Diamond Mountains (Geumgang-san), royal portrait (eojin), Hwaseong (present-day Suwon), Yongju-sa (Yongju temple)
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