This essay closely examined the production background of ‘Ch'wisŏngdo’ , a narrative figure painting about the virtuous gathering of Chen and Xun family and explores the attributes, functions, and transmission patterns of the paintings in the context of the late Chosŏn Dynasty. When the descendants of Chen Shi, a famouse literary in the late Han Dynasty of China, rebuilt the family shrine ‘Juxingting’ , Zhu Xi(1130-1200) as the local bureaucrat helped them and wrote a preface and a commentary for the memorial folding screen. His content was an anecdote of the gathering of people with virtues, and a warning that could harm the great virtues of the ancestors by the fault of the descendants. Song Si-Y ŏl(1607-1689), who regarded Zhu Xi School as an orthodox theory of Neo- Confucianism, was well aware of this content and frequently cited it as a major anecdote to bind comrades as a cause and watch out for decadent secularity. With Kim Su-jŭng(1624-1701), he asked the artist Cho Se-gŏl(1636-after 1705) to produce the Ch'wisŏngdo and directly made the album of the paintings with the comments of Zhu Xi and his disciples. This work was passed down as a symbolic picture of the consciousness of the pro-Ming Dynasty and the anti-Ching Dynasty and the legitimacy of Zhu Xi school. In the context of Hwanggŭkt'angp'yŏng political culture during the period of King Y ŏngjo and King Chŏngjo, the narrative of the virtuous Chen and Xun family to have been used as a gathering of Confucian talents. On the other hand, in the mid-19th century, Song Si-Y ŏl's descendants recreated the Ch'wisŏngdo along the painting of Chŏng Sŏn(1676-1759) as a local style. This work on the representation of Song Si-Y ŏl’s Just and Great Cause shows the function to defend the Neo-Confucianism against foreign thoughts and culture.