In order to clarify to what extent a monastic clan would have affected the artistic activities of monk-painters, this article scrutinizes painting projects at Jikjisa Temple, Hwanghaksan Mountain during the late 17 th and 18th centuries, focusing on the relationship between a clan of Byeogam who led the projects and monk-painters who built bases at the Jikjisa Temple, such as Takwi 卓輝, Seongjing 性澄, and Segwan 世冠. It further explores how the iconography of a “Buddha Holding a Flower,” shared by the Byeogam clan, was represented in a painting by Takwi and Seongjing, who received the monastic clan’s support. W hen Takwi and Seongjing were active, the project at Jikjisa Temple was led by Cheongbong Suyeong 晴峯首英 and his pupil, Yeongpa Seongho 泳波性湖, both from a clan of Goun 孤雲 belonging to the Byeogam school. They are connected to the Byeogam clan, which originated in the Chungcheong-do area, and Takwi’s painting style was inherited from the monk painters in the area. This connection might have been reason that Takwi settled in Jikjisa Temple, and why Suyeong participated in the painting project Nectar Ritual Painting (1701) of Namjangsa Temple as a witness. Following Takwi, Seongjing became a head monk- painter at Jikjisa Temple; he was from Moun’s clan, which originated in Bonggoksa Temple, and was also part of the Byeogam school. While he inherited Takwi’s painting style, he also actively participated in painting in Gyeongsang-do, the Byeogam school’s base. Interestingly, he used the word Yongmyeon 龍眠, meaning a dragon face, to symbolize his identity and high rank as a head monk-painter. Segwan, the next head monk-painter of the Hwanghaksan Mountain’s painters group, followed by Takwi and Seongjing, participated in the painting project at Jikjisa Temple together with Gyeongwol Taeik 鏡月泰鑑, a new leader of the project from the Moun’s clan. Similar to Seongjing, Segwan adopted the pen-name Yongmyeon and emphasized his rank as a monk-painter at Jikjisa Temple. He eventually organized a systemized group of monk-painters who worked in the Hwanghaksan Mountain area. On the other hand, Takwi and Seongjing painted the Buddha's Preaching at Vulture Peak (170 2), which is a hanging scroll of Seonseoksa Temple, and another hanging scroll of the same name hanging at Yongmunsa Temple (1705). The latter painting exhibits iconography of the Shakyamuni Buddha holding a f lower as a central image of veneration. This iconography became prevalent because it was employed in a sutra painting in a Buddhist book published by the Byeogam clan in the 17th century. Takwi and Seongjing who received support from the clan, were well aware of the iconography through the sutra painting. They created a new type of painting with the icon of the Buddha holding a f lower based on philosophical thoughts and administrative support from the Byeogam clan. With support from the Byeogam clan, who led the painting project at Jikjisa Temple, Takwi, Seongjing, and Segwan were able to become head monk-painters, develop a group of monk-painters, and create a new iconic painting with the Buddha holding a f lower, based on the shared philosophical thoughts by the clan. This example of monk-painters’ work being supported by monastic clans would not have limited to the case of Jikjisa Temple in Hwanghaksan Mountain. Considering that monastic clans were very active in the late Joseon, it is probable that the leaders of an artistic project and monk-painters for the project were from the same clan. It became an important background for the monk-painters to participate in a temple project.