The exile in the Joseon Dynasty was a punishment mainly applied to political prisoners. Exile was also decided by the political situation, the status of the sinner, or the severity of the sin. In particular, most of the exiles went to the islands since the middle of the Joseon Dynasty became fierce. Exile was the result of a party dispute rather than corruption by modern times, and it was common to have political attributes. Therefore, exile is our invisible cultural heritage in another aspect. I looked into the artistic aspects and the positive aspects of exile. There is Woobong Cho Hee-ryong as a literary artist in the late Joseon Dynasty. He is the modernity-oriented trend of the middle-class Literati and painter and overcame physical and mental trials and limitations through 19-month exile in Imja-do and expanded artistic world. In his place, Mangueum-gwan, he expanded his art boundary through the nature of the bamboo forest growing around him. The aesthetic boundary of his bamboo painting can be considered as aesthetics based on the mind(心源美學), aesthetics of sincerity made with the heart(心匠 美學) and aesthetics gained by heart(心得美學). Therefore, bamboo painting of Cho Hee-ryong has the holy spirit that manifests itself(獨標性靈), spreading out by oneself(自出機杼), and creating a distinct area by oneself(自成別區). The mind-based aesthetics(心源美學) is based on Hee-Ryong Cho's theory of spirit. The aesthetics of sincerity made with the heart(心匠美學) is a self-supporting foundation made by himself. In addition, the aesthetics gained by heart(心得美學) was creating a distinct area by himself(自成別區), based on his own personality. Like Cho Hee-ryong's aesthetic boundary of bamboo painting, exile gave an artist a chance to get into his art. This was the opportunity to deepen the boundaries of our literary arts. In this respect, exile culture was a gift in Korean culture and art.