The painting was drawn and attached on the walls of Gyeonghungak Hall around 1920 by No Soo-hyeon, who was a rising fine artist educated at Seohwa Fine arts Academy, the institution for fine arts education supported by the royal family. It vividly shows the tradition of iterative landscape painting style, which was accomplished by Jang Seung-eop and later An Jung-sik. The painting is devoted to formative and technical expression to produce extravagant structure. It is one of six remaining court wall paintings that served more purpose than just decoration. The painting is historically and artistically valuable in that it contains auspicious and symbolic meanings in relation to restoration of fallen royal authority and reconfirmation of the royal family’s capacity.