This dissertation traces the transition of Korean Painting from the 14th Century to the present, Examined are the basic criteria of aesthetic judgment of Tao and Son-Buddgism, on Korean art 3S it evolved to the present. The dissertation is an attempt to determine how Korean painting made its own transition in reiarien to the Tao-San-Buddhism. Within this concept two ideas are discussed for their influence on Korean art : one is the Taoist idea of identification, interfusion, and the unification of Yin-Yang principle: the second is SonBuddhism the seeking of the non-dual mind, of nothingness in man's being Particularly representative of the spirit of Tao and Son-Buddhism in the production of Korean art, is a Quality inherent in the art works that reflects to the inexpressible ultimate, or that mysterious element which man shares 'with nature. The study deals with the characteristics of Korean paintings which were strongly influenced by the Sung, Yeun, Ming, and Ching Dynasty's paintings. The influence that Chinese art had on Korean literati painting is discussed and examined. Reference is made to illustration accompanying the text. After 1910, the impact of foreign influence agitated Korean art and set in motion a trend toward Westernization, The final chapters present the aims of the modern art movement and the events and influences which have shaped Korean Modern-Contemporary Art. Having absorbed foreign influences, currently most Korean artists are engaged in working in international styles, thus, in conclusion the current conditions of Korean contemporary art world are examined and supported by accompanying illustrations.