‘Princely Gathering (王會)’ refers to the social act of assembling feudal lords across China and foreign envoys from neighboring states maintained in the Zhou Dynasty under the rule of King Wu. It was in the late 18th century when Joseon was under the rule of King Jeongjo that the ancient Chinese tradition began to be visually depicted by Joseon artists. The production of the paintings was spurred by changed attitudes of the Joseon elites towards the Qing Dynasty, accumulated experiences of alien cultures through envoys regularly visiting the Qing court in Beijing during the Quianlong era, and the introduction of illustrated books such as the Wanguo Laichaotu ( 萬國來朝圖) and the Huang-Qing Zhigongtu ( 皇淸職貢圖). The format and detailed images of the remaining Tribute Mission to the Son of Heaven works are believed to have been established during the reign of King Sunjo (r. 1800-1834) and continued to be maintained under the reign of King Gojong (r. 1863-1907). The paintings of Tribute Mission to the Son of Heaven mounted on folding screens formed an import part of the court art of late Joseon reflecting its aspiration for an ideal and auspicious state of the world. The world depicted by the paintings is close to a virtual reality in which Korean and Chinese situations are intermixed and past coexists with present.