Kim Jeong-hee (金正喜) was a leading painter of the nineteenth century, during the Chosun Dynasty (朝鮮). His unique calligraphy and ink orchid paintings are considered inventive even in view of its Chinese (Qing Dynasty: 淸) sources. Although his landscape painting is not as renowned as his calligraphy and orchid painting, it also served as a standard model for other painters to follow.*br* We can understand the characteristics of his landscape painting through the investigation of his Essay on Painting (畵論). His research into the treatises of the Qing scholars Weng Fanggang (翁方綱) and Ruan Yuan (阮元), in the Qing Bibliographical Study (考證學), influenced his concepts of representation. In this academic attitude, he expressed the theory by creating a concrete work.*br* His artistic views are the unifying theme as well of his Essay on Poetry (詩論) and Essay on Calligraphy-Painting (書畵論). He judges that poetry is derived from 'emotional sensibility (性靈)', but he believes that excessive exaltation of sensitivity and emotions will result in 'strangeness and deviation from universality (奇怪)', thus, advocates 'figuration (格調)' to guard against it. He applied this to his painting theory, as is exhibited in his 'orthodox style (古法)'. It is a literati painting style of Yuan (元), Ming (明), and early Qing (淸) Dynasty.*br* The influence-the desolate but noble atmosphere of Huang Gongwang (黃公望) and Ni Zan (倪瓚), and the linearity of the Four Wangs (四王) and Dong Qichang (董其昌) as followers of them-are evident in his work which apply both 'dry brushstroke-light ink (渴筆淡墨)' and 'accumulated ink (積墨)'.*br* In 1809 in Beijing (北京) he met painters such as Weng Fanggang and viewed many fine Chinese paintings. Particularly through his exchanges with Zhu Henian (朱鶴年) did he gamer knowledge of Beijing painting trends. It is after 1825 and type of painting that he began exchanging works with Qing painters including Zhang Shen (張深). That served as a basis for his master piece during his period of exile to Cheju Island (濟州道). About the late period of exile, he borrowed the styles of Zhang Geng (張庚) to attain the painting styles of Huang Gongwang, and Ni Zan.*br* In Seoul, after his release from exile, during a period of positive critical assessment of painting work, he perfected his theory on painting. During this period he consulted the works of Dong Qichang, Wang Yuanqi (王原祁), and Shitao (石濤), and executed paintings in 'dry brushstroke-light ink' and 'accumulated ink' techniques, developing his own style through this process. In 1851 he was exiled to Buk Chuang (北靑), and was released the next year. Following this, he developed a devotion to Buddhism, and the concepts of phenomenon and mind as explored in that religion began to inform his landscape paintings in a conflation of Painting and Zen, that is to say hua-son ilchi (畵禪一致)'.*br* In conclusion, his paintings fall into the school of Huang Gongwang and Ni Zan, particularly in terms of their dry, desolate, but noble air. Ultimately, he developed his own and unique painting style as can be seen in the work and attained the 'hua-son ilchi'. His style of painting was succeeded to the Chusa school (秋史派) of Chosun dynasty painters.