In Korea, the tradition of painting actual landscapes rather than the “unreal” landscapes envisioned by ancient Chinese masters initially emerged among artists during the Goryeo Dynasty (918-1392), and reached its zenith in the late Joseon Dynasty. The tradition became firmly rooted in Korean art history in the works of the great 18th-century painter Jeong Seon, particularly his famous Jingyeong (“True View”) Landscapes. In order to depict Korean landscapes in a more vivid and realistic manner, Jeong Seon developed a unique style and technique that was passed on to artists of later generations, including Kang Se-hwang (pen name “Pyoam,” 1713-1791), Kim Hong-do (1745-after 1816) and Jeong Su-yeong (1743-1831). These artists traveled to the most famous scenic sites around Korea and used this inherited technique to capture the picturesque landscapes that they encountered. Kang Se-hwang is widely regarded as a major literati painter and influential art critic of 18th century Joseon. In 1757, the mayor of Gaeseong in North Hwanghae-do Province (now part of North Korea) invited Kang to visit his city and the surrounding mountains. The result was Kang’s Album of a Journey to Songdo containing 16 paintings of the Gaeseong region, including Entrance to Yeongtongdong. The double-leaf painting is dominated by a group of large rocks enclosed by mountains. Everything is captured in highly simplified forms. The postscript written on the upper left reveals what the artist was seeking to capture: “The stones laid out at the entrance to Yeongtongdong are simply awesome; they’re as big as houses and covered with green moss. Even the most casual glance at them is enough to amaze the eyes.” The work stands out from that of Kang’s contemporaries due to its on-site view and sketching, the original composition, and the use of warm colors.