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In this thesis, the aesthetic characteristics of women's costumes in Seokcheonhanyudo were studied by categorizing them into Donggi (unregistered) kisaeng and Janggi (registered) kisaeng. The four women depicted in the painting adorned themselves with the aim of entering the yangban class as concubines and leading ordinary lives. The desire for selection led to simplifying the jeogori (Korean traditional jacket), exposing the waist and undergarments below the feet. To portray the maximized curvature of the body, they completed a unique silhouette called 'hahusangbak.' The colors of the costumes were predominantly primary colors, such as 'Hwang' (yellow) and 'hong' (red) for Donggi kisaeng, while Janggi kisaeng boasted subdued colors, such as white and jade. The social atmosphere at the time was characterized by measures to prevent a corrupt class system and extravagance, such as a ban on reproduction and luxury, but they paid no heed to these and wore expensive fabrics and jewelry. The collar of the kisaeng in Seokcheonhanyudo is a thick triangular-shaped dangko0-git, which suggests a close relationship with someone influenced by Confucianism.