Painting of woven paper, or painting on weaving, refers to visual images that knit together painting and weaving. Without brushed finish, it displays distinct aesthetics by embracing a method of textile production—plain weaving—for producing painting. The noteworthy medium, which exemplifies not only various techniques of painting but also the diversity of painting on its own right, has unfortunately received scant scholary attention, not to mention art-historical approaches. Given that all surviving paintings of woven paper are considered Korean without close examination, they requires a thorough study. Born in Y ongchun, Fujian province of China, the painting of woven paper made its way to Korea and Japan in and after the eighteenth century. Since the transmission the painting has gone through an assimilation into folk painting, the genre to which common people had easy access. Its pictorial qualities have reached maturity with the addition of visual effects, which include subdued colors the method of cutting and weaving entails, and of post-weaving retouches onto the first draft that would otherwise be too plain. Presumably its products have been favored across East Asia since then. In other words, the painting demonstrates a cultural course of the nineteenth to early twentieth century in which the introduction of various techniques has broadened conceptual boundaries of painting and eventually led to the diversity of visual culture.