Kang Hyeon (姜鋧, 1650–1733) was a civil official from the Eunyeolgong lineage of the Jinju Kang clan. The portraits of four members of this family (Kang Min-cheom (姜民瞻, 963–1021), Kang Hyeon, Kang Se-hwang (姜世晃, 1713–1791), and Kang I-o (姜彝五, 1788~?)), have been designated as treasures. In his portrait, Kang Hyeon is depicted wearing a samo (official’s silk winged hat) and official robe while sitting in a chair covered with a leopard skin. His hands are courteously cupped inside the sleeves in greeting. The contours of his face are delineated with brown drawing lines, and the protruding areas (such as the nose) are highlighted using especially thick lines. The coloring technique known as baechaebeop in which colors are applied to the back of a painting is utilized, and the traditional technique of color gradations is also employed on the front. For example, gradations of a darker hue are added to the recessed areas and gradations of red are seen in the protruding areas. Compared to mid-Joseon portraits, more intense shading is used in the face, giving a sense of three-dimensionality and exoticism. The dallyeong (round-necked robe) worn over his body is decorated with designs of clouds and seven treasures. The bright green applied to the overall surface of the dallyeong makes the designs stand out. The sense of volume in the face contrasts with the two-dimensionality of the depiction of the body. On his chest is a rank badge bearing a design of two cranes facing each other as they fly among five-colored clouds. A seodae (belt with rhinoceros horn ornaments) is worn over his waist. In late-Joseon copies of original portraits, such as this one, the combination of a double-crane rank badge and a seodae was often used to symbolize an official of the first rank. In this work, Kang is resting his feet on a footstool topped with a patterned rush mat. Another notable feature of this portrait is the ornate wood grain visible in the chair and footstool. The three-dimensional depiction of the face, the chair covered with a leopard skin, and the footstool decorated with a patterned rush mat in the Portrait of Kang Hyeon are characteristic of officials’ portraits produced at the end of the seventeenth and early eighteenth century.