이 논문은 삼성미술관 Leeum이 주최한 특별전 〈細密可貴: 한국미술의 품격〉의 학술행사로 2015년 8월 20일에 개최된 학술세미나 "세밀함으로 읽는 한국미술"에서 발표한 「19세기 七寶山圖의 제작양상과 재현방식: 클리블랜드미술관 소장 〈七寶山圖屛〉을 중심으로」의 내용을 보완한 것이다.Mt. Chilbo, a scenic spot in Myeongcheon in Hamgyeong Province, began to appeal to the literati of Joseon as an attractive tourist destination starting from the sixteenth century. From the mid-seventeenth century, travelers commissioned paintings of Mt. Chilbo to commemorate their visits and savor the beautiful landscape with a painting. In 1674, the Governor of Hamgyeong Province Nam Gu-man ordered the production of Ten Sceneries around the North Hamgyeng Region, which included real-scenery landscapes accompained by explanatory texts on the corresponding scenes and established the standard for paintings of Mt. Chilbo.
The nineteenth century witnessed the emergence of paintings of Mt. Chilbo which utilized new types of composition and painting style. The great panorama of Mt. Chilbo began to be represented as one image spanning eight to ten folding screen panels. The Seven Jeweled Peaks: Mt. Chilbo currently housed at the Cleveland Museum of Art allows for an intensive look at the changes in modes of representation at the time. A number of similarities with Mt. Chilbo painted by Jo Jung-muk in 1890 suggest a possibility that the artwork at the Cleveland Museum of Art was produced by the same painter around the same time
