This paper attempts to overview the main tendency in the creation of kyehoedo 契會圖 (paintings of social gatherings) during the sixteenth century of the Chos?n dynasty by examining four pieces once in the possession of Songkan 松澗 Yi Chong-hoe 李庭槍(1542~1612).*br* For the scholar-officials of the Chos?n dynasty, their sense of being in the similar official ranks was reassured to bind each other mentally and socially. Such consciousness developed a unique culture of the so-called kyehoe 契會 (social gatherings), which includes various gatherings of colleagues in the same age, the alumni of the same examination or in the same office. Given this situation, it provided a background for the creation of kyehoedo, one of the major subjects of the Chos?n painting. It is meaningful to note that paintings of social gatherings flourished during the early Chos?n period because of their functions as commemorative works as well as illustrative records. Since serious researches were attempted on this subject during the 1970s. this subject has now occupies a key place in researchs in Korean painting. It should be noted that some paintings related to Yi Chong-hoe offer a new viewpoint that has not been fully explored. Those works can be categorized as Tongken-kyehoedo 同官契會圖, because they were distributed by Yi Chong-hoe and his fellows serving in the same government division. This paper attempts to explore the social milieu of the creation of Tongkan-kyehoedo and to analyze their artistic styles.*br* Four pieces fomerly in the possession of Yi Ch?ng-hoe were found not long ago in the descent family of Andong 安東 in the North Ky?ngsang province. Now these are scattered in various museums and private collections. His posthumous essays, diaries, and biographies, which indicate that he once had these paintings, contain detailed information including dates and names of the attendants of the gatherings.*br* Yi Ch?ng-hoe, whose nickname is Ky?ngsik 景直 and sobriquet is Songkan 松澗, is a descent of a Chis?ng Yi Family, an eminent clan in the Y?ngnam 嶺南 region and a member of Confucian literati. He served in the central office only five years, and most paintings he owned were made during this period.*br* By examining these paintings, some characteristics of social gatherings can be discerned. The paintings are divided into two groups: one for amusement and fraternity as T'ongnyew?n kyehoe 通禮院契會 and another for a formal event like my?nsinrye 免新禮 (official greeting of a new face) as Seh?nbu kyehoe 司憲府契會. Probably the former was dedicated to held at the famous places outdoor and the later was mainly held in the central government offices.*br* In describing the true-view landscape. T'ongnyew?n kyehoedo portrays Chamdubong 靈頭峰 (the peak shaped of cocoon's head), now called as Ch?ldu mountain. This is evident by the fact that there is a real site similar to the hill: a few surviving works describe it as if they were stereotyped depictions as Chamdubong kyehoedo 靈頭峯 契會圖. This shows that paintings of social gatherings had a close relationship with illustrating actual scenes in the context of true-view landscapes of the sixteenth century.*br* On the other hand, Ch'ongma kyehoedo ?馬契會圖 employs a new method to portray the whole view of the office. This is another type of social-gathering paintings in a symbolic manner. In addition, Ch'ongma kyehoedo demonstrates that it was created for the practice of the formal notice of a new official as one of the various aspects and is an exemplary case to prove the motivation to make social gatherings had a specific and practical element including fostering friendship.*br* Considering his short service as an government official, it is surprising that he owned four pieces of such paintings, and all of them have been transmitted without great damage together with the related records of the sixteenth century.