조선후기 풍속화는 18세기 전반 恭齋 尹斗緖(1668~1715)와 觀我齋 趙榮祐(1686~1761) 같은 문인화가에서 시작하여 18세기 후반 檀園 金弘道(1745~?)에 이르러 조선적 전형이 완성되었다. 김홍도는 민중의 노동현장부터 시정의 생활상, 남녀의 애정표현에 이르기까지 畵材를 확대하고 회화적 수준을 높이는 데 기여하였다. 그 바통을 19세기 초반의 蕙園 申潤福이 이어받아 사실성 뚜렷한 풍속화의 전성기를 구가하였다. 1710~50년대에 활동한 윤두서와 조영석부터 1780년대 김홍도까지의 풍속화와 1810~20년대 신윤복의 풍속화를 비교해 보면, 일 풍속에서 도시의 유흥 풍속으로 변화하였다. 윤두서와 조영석에서 김홍도까지의 풍속화에는 직접 경제활동을 나선 여성 또는 가사노동의 여성이 주로 등장한다. 신윤복의 풍속화에는 나들이나 놀이를 즐기는 여성들이 중심을 이룬다. 이들은 상당히 주체적이고 활달하였음을 확인케 해준다. 조선시대 여성에 대하여 폐쇄적이며 부계 중심에 눌린 문화였다고 인식해온 상과 크게 다르다. 또 조선후기 풍속화는 조선의 여성들이 생활 속에서 인체의 아름다움을 발견하고, 그 선을 살리는 형태와 색채감각을 간직한 문화사료로서 큰 의미를 지닌다. 상하층의 복식이 혼돈된 사례도 없지 않으나, 김홍도와 신윤복 같은 대가의 풍속도에는 계층구분이 정확한 편이다. 드문 삼회장저고리는 상류층 여성에만 보이고, 몇 사례만이 춘화의 주인공으로 등장하는 데서 알 수 있다. 기생은 양반가 여성의 복식을 패션화하고 새로운 유행을 창출하는 그룹이었다. 이들이 주도하던 의상은 회장저고리의 세련된 색채감각과 함께 상체에 꽉 끼게 입는 저고리의 길이를 짧게 줄이고 치마를 부풀려 `上薄下厚`의 몸매 선을 강조한 형태로 정착되었다. 불편을 감수하면서 신체미를 극대화한 것이다. 크게 과장한 머리모양과 더불어, 이러한 복식의 형태미는 아름다움을 뽐내는 한 인간으로서 여성성을 찾으려 했던 결과이다. 풍속화에 나타나는 다채로운 의상에는 白色에 靑色, 곧 쪽물 염색이 압도적이다. 푸른색을 유독 애호했던 조선후기의 여성 미의식인 셈이다. 또 이 배색은 흰색 바탕에 코발트 블루 물감으로 그림을 그린 청화백자의 유행과 동시대성을 지닌다. 조선의 白雲이 흐르는 투명한 가을하늘 靑天아래 살던 심성에서 유래했을까. 자연을 닮은 민족색의 아름다움을 조선 여성들이 그 같이 服色에 구현한 것이다.

Women are depicted in many different ways in genre and documentary paintings of the late Joseon dynasty. In some paintings they are depicted as wives, in others as mothers. But more often than not they appear in various every day situations ranging from work to play. The ways in which women are depicted in genre paintings thus differ significantly from the stereotypical image we have of Joseon women as being emotionally passive and submissive to the patrilineal society of the time. Instead they appear to be active and lively. In paintings by great masters, such as Kim Hong-do and Shin Yun-bouk, social status tends to be clearly represented in dress. For this reason it is often also possible to ascertain the social class of women depicted in erotic paintings, even in the rare cases where yangban women are featured. In the late Joseon period gisaeng (妓生) were trend setters and influenced the fashion of high class women. Gisaeng and high class women took a great interest in fashion and as a result the shapes and colours of costumes became highly refined. A characteristic of the shape of late Joseon dress is an extremely short jeogori(jacket) and a voluminous skirt. This style developed because a small upper body and a proportionally larger lower body were thought to be beautiful and healthy. A large wig (gache) was worn together with this ensemble. Despite this outfit being uncomfortable, it continued to be in vogue becauseit was perceived to be beautiful. King Jeongjo even issued a law banning oversized wigs, but it was ignored. Moreover, because of the size of the skirt it was necessary to hitch it up while walking, resulting in the woman`s undergarments being visible. Yet, from a Confucian point of view it was completely unacceptable for any woman to show her undergarments in public. The fact that women continued to wear costumes which they deemed beautiful despite the criticisms they received demonstrates that women of this time were independent and very feminine. Upper class women are seldom depicted in genre paintings. For this reason the samhoejang-jeogori (a jeogoriwith a different coloured hem, neckline and under-sleeve area), which was made only for upper class women, is rarely seen. Official gisaeng would only wear the samhoejang-jeogori at formal celebrations and ceremonies. Gisaeng normally wear the banhoejang-jeogori (a jeogori with a different coloured hem and neckline). As this was worn with a skirt in a contrasting or a complimentary colour, the overall effect was vibrant, yet sophisticated. For example, a yellow jeogori was worn with a red skirt, and a pale green jeogori was worn with a dark blue skirt. To this outfit they added elaborate ornaments such as norigae and hairpins. Ordinary women woreclothes that were not dyed or which were dyed in a light yellow colour. In addition their jackets were generally monochrome. Despite such colourful outfits, the basic and most popular colour of late Joseon dress was blue and white. These colours reflect the elegant aesthetic sense of late Joseon women and have a significant place in the consciousness of Korean people. It was costly to produce blue cloth but even though it was expensive, it was liked by all. This is clearly reflected in genre and documentary paintings. Parallels can be made with the popularity that blue and white porcelains enjoyed at this time. Genre paintings of the late Joseon period demonstrate that women found beauty in the feminine body and they celebrated this through fashion. In other words, genre paintings are an important means for us to understand how people perceived beauty at this time.