Since Baekho-do in Sanneungdogam-Uigwe drawn at a state funeral in the late Joseon Dynasty had a clear production era and was drawn by the best painters, it is significant data by which the directions of development of the late Joseon Dynasty paintings can be judged. This paper comprehensively looked into Baekho-do in Sanneungdogam-Uigwe in the late Joseon Dynasty to conduct an inquiry into the phase of its changes.
Baekho-do in Sanneungdogam-Uigwe in the late Joseon Dynasty can be broadly classified into three types: ‘ Jingnipho’, ‘ Jwaho’ and ‘Chulsanho,’ which show six stages of the process of changes, that is, ‘Jingnipho A-type’, ‘Jwaho-type’, ‘Jingnipho B-type’, ‘Chulsanho A-type’, ‘Chulsanho B-type’ and ‘Chulsanho B′-type.’
The oldest Baekho-do, Wonjongyejang Baekho-do (1627) was drawn as Jingnipho in a diagonal line, which shows flame pattern and plumage. It shows that its tradition expressed as mystical creature and guardian since mural paintings of the Goguryeo ancient tombs had remained in the 17th century.
Later, in Baekho-do in Injojangneung (1649), Jwaho-type Baekho-do without flame pattern and plumage was drawn, of which the body proportion is accurate and realistic. The mid-17th century is an important period when even Baekho-do guarding the space of the dead did not express flame pattern and plumage, but pursued realism. However, the 17th century seems to show a process of seeking for a model of Baekhodo: e.g. it turned back into Jingnipho with flame pattern drawn in 1674.
Meanwhile, in Queen Inhyeon Baekho-do in the beginning of the 18th century (1701), Baekho-do in the form of Chulsanho drawn at the time in three countries in East Asia appeared for the first time. Queen Inhyeon Baekho-do (1701) shows the posture coming down the mountain, the curved body and shading between the toes, which are a step higher level of paintings; however, flame pattern appears, which shows the tradition of Sasin-do remained until this time.
In Queen Jeongseong Baekho-do (1757), Baekho-do without flame pattern appeared. Finally, a model of Baekho-do in Sanneungdogam-Uigwe in the late Joseon Dynasty was established. This is a result of the reflection of ‘a realistic view of things,’ a characteristic of paintings in Jingyeong era. This period is a time with works that form the climax of Baekho-do: e.g. describing a streamlined flow to the end of the tail such as slender waist, strong lower body and swinging tail. Later, the tradition of tiger pictures in Joseon Dynasty declined: e.g. deepened formal expression in Baekho-do.
Baekho-do in Sanneungdogam-Uigwe showing a change into Sasu-do in a form of a tiger in Sasin-do that expresses flame pattern and plumage is in the same vein with the change in the view of painting in the late Joseon Dynasty, which shows a constant change.