This painting present a full-length portrait of Yi Je-hyeon (1287-1367), a renowned Confucian scholar-statesman of late Goryeo (918-1392), who had been active in introducing Goryeo to the new academic achievements made in the Yuan Dynasty (1271-1368) through his friendship with eminent Yuan scholars including Zhao Mengfu (1254–1322) which based on Mangwondang, a royal library King Chungseon of Goryeo set up in the Yuan capital. He left several important writings behind him including National History (Guksa) and Scribblings by Yeogong (Yeogong paeseol). The portrait, 93 centimeters wide and 177.3 centimeters long, and ink and color on silk, depicts the scholar seated in a chair and contains at the top a eulogy written by a Yuan scholar Tang Binglong (fl. 14th c.) and the sitter’s own postscript expressing his delight about the discovery of the painting 33 years after its production. Unlike most other portraits the sitter is facing left instead of right and wears a white robe with black silk trim with hands hidden in the wide sleeves. There are left behind the sitter a long-legged table with a couple of books on while on his front right an armrest of the chair he is in, creating a great balance and a sense of stability. The artist used a technique of applying colors to render the face and the robe and completing the details with outlining. Colors of the original painting have faded with time but the original serene atmosphere is still preserved. The portrait was commissioned by King Chungsuk (r. 1313-1330 & 1332-1339) and painted in 1319 by a renowned Yuan painter Chen Jianru (fl. 14th c.) when Yi was staying with the king in Beijing. While almost all the other Goryeo portraits remaining today are copies, this work is known to be one of the two original portraits produced during the Goryeo Period, the other being that of An Hyang (1243-1306). Still maintaining a fine condition, the portrait is regarded as an important source of knowledge about the painting techniques adopted by Goryeo artists, such as that of using lines to depict the details of the face and clothes, sitter’s direction, and treatment of the sitter’s background, which make an impressive contrast with those preferred by the Joseon artists in the following period. While the portrait is a work by a Yuan artist, its stable composition and outstanding depiction of the details as well as its historical background makes it a valuable part of the Korean artistic heritage. It is regarded as the best of all the four portraits capturing Yi Je-hyeon in the same style.