Studies in the fields of history and religion presented at the 2004 International Conference “Korean Nuns within the Context of East Asian Buddhist Traditions” demonstrated the active role women played as patrons and practitioners of Buddhism in the Goryeo dynasty. Complementing the textual evidence on their activities, this paper seeks to examine the visual representations of Buddhist nuns and laywomen in the Goryeo dynasty. Extant woodblock prints and silk paintings often depict women as recipients, practitioners, and patrons of the Buddhist faith; they appear in the form of taking the tonsure, mingling with monks or nuns, commissioning Buddhist images, or receiving punishment in the underworld after death. Whether on woodblock print or in fine color on silk, images of women are shown with equal prominence as participants in the support and practice of Buddhism, and as subjects to judgment in the underworld bureaucracy under similar conditions as the men. Karmic reward and retribution is portrayed in a perfect meritocracy regardless of gender, whether it be accumulating good karma by offering donations, or receiving punishment for past wrongdoings. Rebirth in the six paths also neither emphasizes one sex over the other, as the two possible gender forms appear with equal consistency. As such, images of the Goryeo sangha in Goryeo Buddhist paintings allocate equal emphasis on both the male and the female, possibly reflecting the Goryeo society as described in the texts. What is remarkable, however, is that while the Buddhist sangha may be represented by both sexes, they are ultimately framed within a system governed by patriarchy