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Standing in a museum, or turning a page, when something stops you — not because of what you know about it, but because of what you feel. \u003cdiv\u003eThat's taste. \u003cdiv\u003e\u003cspan style='font-family: ui-sans-serif, system-ui, -apple-system, BlinkMacSystemFont, \"Segoe UI\", Roboto, \"Helvetica Neue\", Arial, \"Noto Sans\", sans-serif, \"Apple Color Emoji\", \"Segoe UI Emoji\", \"Segoe UI Symbol\", \"Noto Color Emoji\"; font-size: 0.875rem;'\u003eWe print on Hahnemühle German Etching paper — the same stock museum studios use — through a twelve-ink process that holds colour the way memory holds detail: precisely, completely. The frames are solid ash and oak, hand-made to order. The glaze is so clear it disappears. 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Along the top a party of gentlemen in black hats and two women with great coils of hair look on, one man holding a fan. Below sits a row of musicians, several with their backs to us; one holds an upright fiddle and another beats a large drum.\u003c\/p\u003e\u003cp\u003eThe original: album leaf, ink and colour on paper, c. 1805, Gansong Art Museum, Seoul.\u003c\/p\u003e\u003cp\u003eSin Yun-bok (1758–after 1813), known by his art name Hyewon, was a Korean painter of the late Joseon dynasty, the son of the court painter Sin Han-pyeong. Little is recorded of his life. Where his contemporary Kim Hong-do painted the working lives of ordinary people, Sin painted the leisure of the yangban elite, above all their outings with gisaeng, or courtesans, in bright colour and delicate line. Scenes such as Double-Sword Dance and Dano Day, with women bathing in a stream, were unusually sensual for Confucian Joseon. He also painted landscapes, shamanist rites and town life. 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