This portrait depicts the prominent late-Joseon scholar Kwon Sang-ha (權尙夏, 1641–1721). He is viewed as a scholarly successor of Song Si-yeol (宋時烈, 1607–1689), a leading figure in scholarship, thinking, and politics during the late Joseon period. This portrait is enshrined at Hwanggangseowon Neo-Confucian Academy in Jecheon, Chungcheong-do Province, where memorial services are held for Kwon. In 2021, the family representing the main line of Kwon’s lineage donated this portrait to the Uirimji History Museum along with a portrait of Song Si-yeol (which was designated as a treasure). The upper portion of this painting features the title “Portrait of old man Hansu at seventy-nine” (寒水翁七十九歲眞), while in its lower portion is an inscription reading “Painted by the painter Kim Jin-yeo in the fourth lunar month of the Gihae year (1719)” (己亥四月日, 畫師金振汝摹). Kim Jin-yeo (金振汝, 1675–1760) learned to paint from Jo Seo-geol (曺世傑, 1635–?), who was responsible for a royal portrait of King Sukjong (肅宗, r. 1674–1720) and other portraits of notable figures of the time. Kim also actively adopted Western painting influences during the reign of King Sukjong. In his portrait, Kwon Sang-ha is shown seated wearing a bokgeon (soft scarf-like headpiece) and likely a one-piece kind clothing that the upper garment is connected to the lower garment. This type of clothing was an everyday robe cherished by Song Si-yeol. It was one of the three items of grave clothing that Song mentioned to Kwon right before he was executed upon the king’s order. In the portrait, Kwon is depicted with his head turned slightly to his right, while his body faces almost directly forward. Kim Jin-yeo made extensive use of shading—a technique more commonly found in Western painting—particularly in the depiction of Kwon’s face. The entire face was first given a base layer of brown, and then darker brown tones were added to shadowed areas and around the wrinkles. Darker shades were applied to his left cheek, making Kwon’s face appear highly three-dimensional. A sense of three-dimensionality was also promoted in his nose and mouth by delineating the nose with shading rather than outlines and by brightening the areas around the mouth. These techniques were advanced methods not found in works by painters from earlier periods.