Go Hui’s Portrait (1560–1615): Transmission, Transformation, and the Style of the 20th-Century Reproduction at the Yeongseonggun Shrine

This study investigates the stylistic characteristics and art historical significance of a copied portrait of Go Hui (1560–1615), a meritorious subject of the Imjin War, enshrined at the Yeongseonggun Portrait Hall in Hyochungsa Shrine, Buan, North Jeolla Province. Through comparison with the designated Treasure portrait held in the Hyochungsa Museum Collection, the Yeongdang version is identified as a later reproduction from the early 20th century. This portrait closely imitates the Treasure version, reflecting efforts to reproduce its compositional structure and iconography. While the posture, attire, and format follow the earlier example, modern elements such as the tiger insignia, floral mat flooring, and simplified scroll mounting with tassels reveal stylistic shifts characteristic of the modern period. Its resemblance to Buddhist portraits and use of abbreviated hanging scroll formats suggest possible involvement of regional painters or monk-artists. Although both extant versions are copies, the Yeongdang painting reflects a later phase of production and offers valuable insight into local commemorative practices and the transformation of ancestral portraiture in modern North Jeolla.