{"content_id":"vtlcmvz9pi","slug":"sehando-kim-jeong-hui-jeju-exile-meaning","locale":"en","schema_type":"Article","category":"knowledge_base","category_name":"Knowledge Base","title":"Sehando: Kim Jeong-hui's Jeju Exile and Meaning","summary":"Sehando is a literati painting Kim Jeong-hui made in 1844 during his exile on Jeju to thank Yi Sang-jeok for staying in touch with him. Reading the inscription alongside the symbolism of the pines and cypresses, and distinguishing the original work from later writings of appreciation, helps explain why it was made and how it was passed down.","sponsorship_disclosure":null,"affiliate_disclosure":null,"commerce_disclosure":null,"author":{"name":"Injoys Editorial Team","url":"https://injoys.com/ko/about"},"key_points":["In 1844, while exiled on Jeju, Kim Jeong-hui painted Sehando for his disciple Yi Sang-jeok, who had sent him books.","The inscription compares Yi Sang-jeok's steadfastness despite a change in circumstances to pines and cypresses.","Kim Jeong-hui's painting and inscription must be distinguished from the writings of appreciation added by later scholars.","Son Chang-geun donated Sehando to the National Museum of Korea in 2020."],"content_markdown":"Sehando is a literati painting that Kim Jeong-hui made in **1844** while exiled on Jeju. Books sent by his student Yi Sang-jeok allowed him to maintain scholarly ties despite his isolation. Kim expressed his gratitude in the painting and its accompanying text, and the work is remembered for portraying a relationship that endured through hardship.\n\nThe records and explanations from Our History Net and the National Museum of Korea used in this article were checked in October 2026.\n\n## Why Kim Jeong-hui was exiled to Jeju\n\nKim Jeong-hui was exiled to Jeju in 1840 after becoming implicated in the Yun Sang-do criminal case. Such a case involved investigating serious criminal allegations and punishing those found responsible. This case was connected to power struggles under the rule of powerful families in the late Joseon period.\n\nKim Jeong-hui was a scholar, calligrapher, and painter who used the pen names Chusa and Wandang. He studied scholarship and calligraphy while exchanging ideas with Qing scholars. Exile to Jeju was a punishment that kept him away from his official career.\n\nThe museum describes his punishment as *wiri anchi*. This form of exile placed a fence around a person's residence to restrict movement. Even then, books continued to reach him through Yi Sang-jeok.\n\n## The turning point created by Yi Sang-jeok's gift of books\n\nThe immediate reason Kim made the work was the books Yi Sang-jeok sent him. Yi was an official interpreter of Chinese. Through his contacts with Qing literati, he obtained rare books.\n\nOur History Net identifies the books he sent first as 『Manhakjip』 and 『Daeunsanbang Mungo』. It says he sent 『Hwangjo Gyeongse Munpyeon』 the following year. Kim was grateful that Yi had shown such care toward him even after he had lost his influence.\n\nThis turning point does not mean that Kim's exile ended. It means that their exchange through books led to his gift of a painting in return. The work records a relationship maintained despite his isolation.\n\n## The meaning of the text accompanying Sehando\n\nThe accompanying text explains in Kim Jeong-hui's own words why he made the painting. Attached to the left of the image, it provides a basis for interpreting its meaning. In the text, Yi Sang-jeok's conduct is compared to pines and cypresses that withstand the cold.\n\n\u003e Only after the cold arrived did the sage praise them. You showed me no more before and no less afterward.\n\u003e\n\u003e Kim Jeong-hui, text accompanying 〈Sehando〉\n\nThe point is that their relationship did not change when Kim's circumstances changed. It does not mean hardship created Yi's loyalty. Rather, his loyalty became apparent during hardship.\n\n*Sehan*, in the title, means the cold of midwinter. Behind it is the comparison with pines and cypresses in the 『Analects』. In the painting, the cold can also be read as the hardship of exile.\n\n## The house, pines and cypresses, and empty space\n\nThe image is simply composed around a house and trees. It depicts neither people in action nor a specific event. Traces of ink and empty space create a winter atmosphere.\n\nLiterati painting expresses a scholar's learning and thoughts through images. In this work, the title and writing also convey meaning. The National Museum of Korea identifies the rough marks of a dry brush as a feature of the painting.\n\n| Visual element | Observable feature | Guide to interpretation |\n|---|---|---|\n| House | A simple building with no people visible | Do not assume it depicts Kim's actual place of exile |\n| Pines and cypresses | Trees placed on either side of the house | Connect them to the comparison with steadfastness in the accompanying text |\n| Empty space | Areas where the surrounding scenery is not filled in with detail | Recognize that isolation and stillness are visual interpretations |\n| Dry brushwork | Rough ink marks made with little moisture | Read it as a way of expressing a winter atmosphere |\n\nThe tree names differ between the explanations. Our History Net describes them as Korean pines, while the National Museum of Korea calls them arborvitae. This difference in naming does not change the work's central symbolism.\n\n## Timeline from creation to donation\n\nThe work has come down to us as a scroll bearing texts from several eras, although it began as a gift to one person. The year the painting was made differs from the years the responses to it were written. The timeline below distinguishes the major documented events.\n\n| Year | Event | Source |\n|---|---|---|\n| 1840 | Kim Jeong-hui's exile to Jeju began | Our History Net |\n| 1844 | Kim made the work for Yi Sang-jeok | Our History Net |\n| 1845 | 16 Qing literati wrote responses to the work | National Museum of Korea collection description |\n| 1848 | Kim Jeong-hui's exile to Jeju ended | Our History Net |\n| 1914 | Owner Kim Jun-hak added a text | National Museum of Korea collection description |\n| 1944 | Son Jae-hyeong recovered the work in Japan | National Museum of Korea collection description |\n| 1949 | Jeong In-bo, Yi Si-yeong, and O Se-chang wrote responses to the work | National Museum of Korea collection description |\n| December 31, 1974 | Designated a National Treasure | Korea Heritage Portal |\n| 2020 | Son Chang-geun donated it to the National Museum of Korea | National Museum of Korea collection description |\n\nIn Japan, the work was owned by Fujitsuka Chikashi (藤塚隣), a researcher of Kim Jeong-hui. Calligrapher Son Jae-hyeong recovered it from him. It later passed through the hands of Son Se-gi and Son Chang-geun before being donated to the museum.\n\nIts current official name is Sehando by Kim Jeong-hui. Older sources may refer to it as National Treasure No. 180. The Korea Heritage Portal lists it as state-owned.\n\n## Distinguishing the original work from later responses\n\nKim Jeong-hui did not make the entire long scroll at one time. The museum gives the scroll's current total length as 1,469.5cm. This includes texts added in different eras as well as blank sections.\n\n| Part | Author and date | Role as a record |\n|---|---|---|\n| Painting and accompanying text | Kim Jeong-hui, 1844 | Show why he made the work and what he meant by it |\n| Qing responses | Qing literati, 1845 | Show the reactions of literati abroad at the time |\n| Kim Jun-hak's text | Kim Jun-hak, 1914 | Shows a later owner's response |\n| Korean modern-era responses | Jeong In-bo, Yi Si-yeong, and O Se-chang, 1949 | Show how the work was received after its return to Korea |\n\n### Is the order of the scroll chronological?\n\nThe text placed first on the scroll is not the oldest. Near the beginning is a text Kim Jun-hak wrote in 1914. Kim Jeong-hui's 1844 work comes after it.\n\nThis difference also matters when describing digital images. An image of the whole scroll and an image cropped to show only part of it cover different portions of the record. When quoting a response, its author and year should be given together.\n\n## Records and interpretation\n\nThe accompanying text establishes why Kim made the work, but it cannot settle the meaning of every symbol. The artist's own words and a commentator's explanation are different kinds of evidence. The following distinctions help when reading the work as a historical record.\n\n### What the records establish\n\nThe accompanying text states that Yi Sang-jeok sent books. It also shows that Kim Jeong-hui held Yi's steadfast conduct in high regard. The responses added later record how others read the work.\n\n### Widely accepted interpretations\n\nOur History Net and the museum connect the pines and cypresses with integrity and faithfulness. They also connect the simple composition with the characteristics of literati painting. This does not mean, however, that the meaning of every visual detail has been established.\n\n### Remaining uncertainties\n\nThe museum does not identify the owner of the square *Jangmusangmang* seal. It also says it is unclear who stamped it. Claims that a particular tree represents a particular person should likewise be distinguished from what the accompanying text says.\n\n## Why the work matters today\n\nThe work documents scholarly exchanges that continued during exile. It is also an example of how an official interpreter's delivery of books led to the creation of art. The later responses show how people in different eras received the work.\n\n- In art history, it shows how painting and writing convey meaning together.\n- In the history of intellectual exchange, it shows relationships through which books and people crossed borders.\n- In its ownership history, it shows how a personal gift became part of a public collection.\n\n## Frequently asked questions\n\n### Who received the painting from Kim Jeong-hui?\n\nHe gave it to his student Yi Sang-jeok, an official interpreter. Yi sent books to Kim during his exile on Jeju. The work was a gift in return for their steadfast exchange.\n\n### Is the house in the painting Kim's actual place of exile?\n\nThe explanations consulted do not establish that it reproduces his actual residence. There is a house in the image, but no explanation confirming a specific location. The place where the work was made should be distinguished from the place shown in the painting.\n\n### How does the accompanying text differ from the responses?\n\nThe accompanying text is Kim Jeong-hui's explanation of why he made the work. The later responses were written by other literati after viewing it. Quoting both as Kim's words would confuse their authors.\n\n### Was the work painted after his exile ended?\n\nKim painted it in 1844, while his exile on Jeju was still underway. His exile ended in 1848. Making the work did not mean that his punishment had ended.\n\n### Where is it kept now?\n\nIt is held by the National Museum of Korea. Son Chang-geun donated it in 2020. Whether it is currently on display should be checked in the museum's latest exhibition information.","content_html":"\u003cp\u003eSehando is a literati painting that Kim Jeong-hui made in \u003cstrong\u003e1844\u003c/strong\u003e while exiled on Jeju. Books sent by his student Yi Sang-jeok allowed him to maintain scholarly ties despite his isolation. Kim expressed his gratitude in the painting and its accompanying text, and the work is remembered for portraying a relationship that endured through hardship.\u003c/p\u003e\n\u003cp\u003eThe records and explanations from Our History Net and the National Museum of Korea used in this article were checked in October 2026.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#why-kim-jeong-hui-was-exiled-to-jeju\" class=\"anchor\" id=\"why-kim-jeong-hui-was-exiled-to-jeju\"\u003e\u003c/a\u003eWhy Kim Jeong-hui was exiled to Jeju\u003c/h2\u003e\n\u003cp\u003eKim Jeong-hui was exiled to Jeju in 1840 after becoming implicated in the Yun Sang-do criminal case. Such a case involved investigating serious criminal allegations and punishing those found responsible. This case was connected to power struggles under the rule of powerful families in the late Joseon period.\u003c/p\u003e\n\u003cp\u003eKim Jeong-hui was a scholar, calligrapher, and painter who used the pen names Chusa and Wandang. He studied scholarship and calligraphy while exchanging ideas with Qing scholars. Exile to Jeju was a punishment that kept him away from his official career.\u003c/p\u003e\n\u003cp\u003eThe museum describes his punishment as \u003cem\u003ewiri anchi\u003c/em\u003e. This form of exile placed a fence around a person's residence to restrict movement. Even then, books continued to reach him through Yi Sang-jeok.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#the-turning-point-created-by-yi-sang-jeoks-gift-of-books\" class=\"anchor\" id=\"the-turning-point-created-by-yi-sang-jeoks-gift-of-books\"\u003e\u003c/a\u003eThe turning point created by Yi Sang-jeok's gift of books\u003c/h2\u003e\n\u003cp\u003eThe immediate reason Kim made the work was the books Yi Sang-jeok sent him. Yi was an official interpreter of Chinese. Through his contacts with Qing literati, he obtained rare books.\u003c/p\u003e\n\u003cp\u003eOur History Net identifies the books he sent first as 『Manhakjip』 and 『Daeunsanbang Mungo』. It says he sent 『Hwangjo Gyeongse Munpyeon』 the following year. Kim was grateful that Yi had shown such care toward him even after he had lost his influence.\u003c/p\u003e\n\u003cp\u003eThis turning point does not mean that Kim's exile ended. It means that their exchange through books led to his gift of a painting in return. The work records a relationship maintained despite his isolation.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#the-meaning-of-the-text-accompanying-sehando\" class=\"anchor\" id=\"the-meaning-of-the-text-accompanying-sehando\"\u003e\u003c/a\u003eThe meaning of the text accompanying Sehando\u003c/h2\u003e\n\u003cp\u003eThe accompanying text explains in Kim Jeong-hui's own words why he made the painting. Attached to the left of the image, it provides a basis for interpreting its meaning. In the text, Yi Sang-jeok's conduct is compared to pines and cypresses that withstand the cold.\u003c/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eOnly after the cold arrived did the sage praise them. You showed me no more before and no less afterward.\u003c/p\u003e\n\u003cp\u003eKim Jeong-hui, text accompanying 〈Sehando〉\u003c/p\u003e\n\u003c/blockquote\u003e\n\u003cp\u003eThe point is that their relationship did not change when Kim's circumstances changed. It does not mean hardship created Yi's loyalty. Rather, his loyalty became apparent during hardship.\u003c/p\u003e\n\u003cp\u003e\u003cem\u003eSehan\u003c/em\u003e, in the title, means the cold of midwinter. Behind it is the comparison with pines and cypresses in the 『Analects』. In the painting, the cold can also be read as the hardship of exile.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#the-house-pines-and-cypresses-and-empty-space\" class=\"anchor\" id=\"the-house-pines-and-cypresses-and-empty-space\"\u003e\u003c/a\u003eThe house, pines and cypresses, and empty space\u003c/h2\u003e\n\u003cp\u003eThe image is simply composed around a house and trees. It depicts neither people in action nor a specific event. Traces of ink and empty space create a winter atmosphere.\u003c/p\u003e\n\u003cp\u003eLiterati painting expresses a scholar's learning and thoughts through images. In this work, the title and writing also convey meaning. The National Museum of Korea identifies the rough marks of a dry brush as a feature of the painting.\u003c/p\u003e\n\u003cdiv class=\"overflow-x-auto\"\u003e\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth\u003eVisual element\u003c/th\u003e\n\u003cth\u003eObservable feature\u003c/th\u003e\n\u003cth\u003eGuide to interpretation\u003c/th\u003e\n\u003c/tr\u003e\n\u003c/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Visual element\"\u003eHouse\u003c/td\u003e\n\u003ctd data-label=\"Observable feature\"\u003eA simple building with no people visible\u003c/td\u003e\n\u003ctd data-label=\"Guide to interpretation\"\u003eDo not assume it depicts Kim's actual place of exile\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Visual element\"\u003ePines and cypresses\u003c/td\u003e\n\u003ctd data-label=\"Observable feature\"\u003eTrees placed on either side of the house\u003c/td\u003e\n\u003ctd data-label=\"Guide to interpretation\"\u003eConnect them to the comparison with steadfastness in the accompanying text\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Visual element\"\u003eEmpty space\u003c/td\u003e\n\u003ctd data-label=\"Observable feature\"\u003eAreas where the surrounding scenery is not filled in with detail\u003c/td\u003e\n\u003ctd data-label=\"Guide to interpretation\"\u003eRecognize that isolation and stillness are visual interpretations\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Visual element\"\u003eDry brushwork\u003c/td\u003e\n\u003ctd data-label=\"Observable feature\"\u003eRough ink marks made with little moisture\u003c/td\u003e\n\u003ctd data-label=\"Guide to interpretation\"\u003eRead it as a way of expressing a winter atmosphere\u003c/td\u003e\n\u003c/tr\u003e\n\u003c/tbody\u003e\n\u003c/table\u003e\u003c/div\u003e\n\u003cp\u003eThe tree names differ between the explanations. Our History Net describes them as Korean pines, while the National Museum of Korea calls them arborvitae. This difference in naming does not change the work's central symbolism.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#timeline-from-creation-to-donation\" class=\"anchor\" id=\"timeline-from-creation-to-donation\"\u003e\u003c/a\u003eTimeline from creation to donation\u003c/h2\u003e\n\u003cp\u003eThe work has come down to us as a scroll bearing texts from several eras, although it began as a gift to one person. The year the painting was made differs from the years the responses to it were written. The timeline below distinguishes the major documented events.\u003c/p\u003e\n\u003cdiv class=\"overflow-x-auto\"\u003e\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth\u003eYear\u003c/th\u003e\n\u003cth\u003eEvent\u003c/th\u003e\n\u003cth\u003eSource\u003c/th\u003e\n\u003c/tr\u003e\n\u003c/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1840\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eKim Jeong-hui's exile to Jeju began\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eOur History Net\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1844\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eKim made the work for Yi Sang-jeok\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eOur History Net\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1845\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003e16 Qing literati wrote responses to the work\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eNational Museum of Korea collection description\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1848\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eKim Jeong-hui's exile to Jeju ended\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eOur History Net\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1914\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eOwner Kim Jun-hak added a text\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eNational Museum of Korea collection description\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1944\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eSon Jae-hyeong recovered the work in Japan\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eNational Museum of Korea collection description\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e1949\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eJeong In-bo, Yi Si-yeong, and O Se-chang wrote responses to the work\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eNational Museum of Korea collection description\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003eDecember 31, 1974\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eDesignated a National Treasure\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eKorea Heritage Portal\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Year\"\u003e2020\u003c/td\u003e\n\u003ctd data-label=\"Event\"\u003eSon Chang-geun donated it to the National Museum of Korea\u003c/td\u003e\n\u003ctd data-label=\"Source\"\u003eNational Museum of Korea collection description\u003c/td\u003e\n\u003c/tr\u003e\n\u003c/tbody\u003e\n\u003c/table\u003e\u003c/div\u003e\n\u003cp\u003eIn Japan, the work was owned by Fujitsuka Chikashi (藤塚隣), a researcher of Kim Jeong-hui. Calligrapher Son Jae-hyeong recovered it from him. It later passed through the hands of Son Se-gi and Son Chang-geun before being donated to the museum.\u003c/p\u003e\n\u003cp\u003eIts current official name is Sehando by Kim Jeong-hui. Older sources may refer to it as National Treasure No. 180. The Korea Heritage Portal lists it as state-owned.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#distinguishing-the-original-work-from-later-responses\" class=\"anchor\" id=\"distinguishing-the-original-work-from-later-responses\"\u003e\u003c/a\u003eDistinguishing the original work from later responses\u003c/h2\u003e\n\u003cp\u003eKim Jeong-hui did not make the entire long scroll at one time. The museum gives the scroll's current total length as 1,469.5cm. This includes texts added in different eras as well as blank sections.\u003c/p\u003e\n\u003cdiv class=\"overflow-x-auto\"\u003e\u003ctable\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth\u003ePart\u003c/th\u003e\n\u003cth\u003eAuthor and date\u003c/th\u003e\n\u003cth\u003eRole as a record\u003c/th\u003e\n\u003c/tr\u003e\n\u003c/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Part\"\u003ePainting and accompanying text\u003c/td\u003e\n\u003ctd data-label=\"Author and date\"\u003eKim Jeong-hui, 1844\u003c/td\u003e\n\u003ctd data-label=\"Role as a record\"\u003eShow why he made the work and what he meant by it\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Part\"\u003eQing responses\u003c/td\u003e\n\u003ctd data-label=\"Author and date\"\u003eQing literati, 1845\u003c/td\u003e\n\u003ctd data-label=\"Role as a record\"\u003eShow the reactions of literati abroad at the time\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Part\"\u003eKim Jun-hak's text\u003c/td\u003e\n\u003ctd data-label=\"Author and date\"\u003eKim Jun-hak, 1914\u003c/td\u003e\n\u003ctd data-label=\"Role as a record\"\u003eShows a later owner's response\u003c/td\u003e\n\u003c/tr\u003e\n\u003ctr\u003e\n\u003ctd data-label=\"Part\"\u003eKorean modern-era responses\u003c/td\u003e\n\u003ctd data-label=\"Author and date\"\u003eJeong In-bo, Yi Si-yeong, and O Se-chang, 1949\u003c/td\u003e\n\u003ctd data-label=\"Role as a record\"\u003eShow how the work was received after its return to Korea\u003c/td\u003e\n\u003c/tr\u003e\n\u003c/tbody\u003e\n\u003c/table\u003e\u003c/div\u003e\n\u003ch3\u003e\n\u003ca href=\"#is-the-order-of-the-scroll-chronological\" class=\"anchor\" id=\"is-the-order-of-the-scroll-chronological\"\u003e\u003c/a\u003eIs the order of the scroll chronological?\u003c/h3\u003e\n\u003cp\u003eThe text placed first on the scroll is not the oldest. Near the beginning is a text Kim Jun-hak wrote in 1914. Kim Jeong-hui's 1844 work comes after it.\u003c/p\u003e\n\u003cp\u003eThis difference also matters when describing digital images. An image of the whole scroll and an image cropped to show only part of it cover different portions of the record. When quoting a response, its author and year should be given together.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#records-and-interpretation\" class=\"anchor\" id=\"records-and-interpretation\"\u003e\u003c/a\u003eRecords and interpretation\u003c/h2\u003e\n\u003cp\u003eThe accompanying text establishes why Kim made the work, but it cannot settle the meaning of every symbol. The artist's own words and a commentator's explanation are different kinds of evidence. The following distinctions help when reading the work as a historical record.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#what-the-records-establish\" class=\"anchor\" id=\"what-the-records-establish\"\u003e\u003c/a\u003eWhat the records establish\u003c/h3\u003e\n\u003cp\u003eThe accompanying text states that Yi Sang-jeok sent books. It also shows that Kim Jeong-hui held Yi's steadfast conduct in high regard. The responses added later record how others read the work.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#widely-accepted-interpretations\" class=\"anchor\" id=\"widely-accepted-interpretations\"\u003e\u003c/a\u003eWidely accepted interpretations\u003c/h3\u003e\n\u003cp\u003eOur History Net and the museum connect the pines and cypresses with integrity and faithfulness. They also connect the simple composition with the characteristics of literati painting. This does not mean, however, that the meaning of every visual detail has been established.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#remaining-uncertainties\" class=\"anchor\" id=\"remaining-uncertainties\"\u003e\u003c/a\u003eRemaining uncertainties\u003c/h3\u003e\n\u003cp\u003eThe museum does not identify the owner of the square \u003cem\u003eJangmusangmang\u003c/em\u003e seal. It also says it is unclear who stamped it. Claims that a particular tree represents a particular person should likewise be distinguished from what the accompanying text says.\u003c/p\u003e\n\u003ch2\u003e\n\u003ca href=\"#why-the-work-matters-today\" class=\"anchor\" id=\"why-the-work-matters-today\"\u003e\u003c/a\u003eWhy the work matters today\u003c/h2\u003e\n\u003cp\u003eThe work documents scholarly exchanges that continued during exile. It is also an example of how an official interpreter's delivery of books led to the creation of art. The later responses show how people in different eras received the work.\u003c/p\u003e\n\u003cul\u003e\n\u003cli\u003eIn art history, it shows how painting and writing convey meaning together.\u003c/li\u003e\n\u003cli\u003eIn the history of intellectual exchange, it shows relationships through which books and people crossed borders.\u003c/li\u003e\n\u003cli\u003eIn its ownership history, it shows how a personal gift became part of a public collection.\u003c/li\u003e\n\u003c/ul\u003e\n\u003ch2\u003e\n\u003ca href=\"#frequently-asked-questions\" class=\"anchor\" id=\"frequently-asked-questions\"\u003e\u003c/a\u003eFrequently asked questions\u003c/h2\u003e\n\u003ch3\u003e\n\u003ca href=\"#who-received-the-painting-from-kim-jeong-hui\" class=\"anchor\" id=\"who-received-the-painting-from-kim-jeong-hui\"\u003e\u003c/a\u003eWho received the painting from Kim Jeong-hui?\u003c/h3\u003e\n\u003cp\u003eHe gave it to his student Yi Sang-jeok, an official interpreter. Yi sent books to Kim during his exile on Jeju. The work was a gift in return for their steadfast exchange.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#is-the-house-in-the-painting-kims-actual-place-of-exile\" class=\"anchor\" id=\"is-the-house-in-the-painting-kims-actual-place-of-exile\"\u003e\u003c/a\u003eIs the house in the painting Kim's actual place of exile?\u003c/h3\u003e\n\u003cp\u003eThe explanations consulted do not establish that it reproduces his actual residence. There is a house in the image, but no explanation confirming a specific location. The place where the work was made should be distinguished from the place shown in the painting.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#how-does-the-accompanying-text-differ-from-the-responses\" class=\"anchor\" id=\"how-does-the-accompanying-text-differ-from-the-responses\"\u003e\u003c/a\u003eHow does the accompanying text differ from the responses?\u003c/h3\u003e\n\u003cp\u003eThe accompanying text is Kim Jeong-hui's explanation of why he made the work. The later responses were written by other literati after viewing it. Quoting both as Kim's words would confuse their authors.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#was-the-work-painted-after-his-exile-ended\" class=\"anchor\" id=\"was-the-work-painted-after-his-exile-ended\"\u003e\u003c/a\u003eWas the work painted after his exile ended?\u003c/h3\u003e\n\u003cp\u003eKim painted it in 1844, while his exile on Jeju was still underway. His exile ended in 1848. Making the work did not mean that his punishment had ended.\u003c/p\u003e\n\u003ch3\u003e\n\u003ca href=\"#where-is-it-kept-now\" class=\"anchor\" id=\"where-is-it-kept-now\"\u003e\u003c/a\u003eWhere is it kept now?\u003c/h3\u003e\n\u003cp\u003eIt is held by the National Museum of Korea. Son Chang-geun donated it in 2020. Whether it is currently on display should be checked in the museum's latest exhibition information.\u003c/p\u003e\n","tags":["Joseon period","Cultural heritage"],"faqs":[{"question":"When and where was Sehando painted?","answer":"Kim Jeong-hui painted it in 1844 while in exile on Jeju. This was the 10th year of King Heonjong's reign during the Joseon dynasty."},{"question":"Why did Kim Jeong-hui give the painting to Yi Sang-jeok?","answer":"Because he was grateful that Yi Sang-jeok sent him valuable books even while he was in exile. The postscript praises Yi Sang-jeok for remaining steadfast despite the change in circumstances."},{"question":"What does Sehan mean?","answer":"It means the cold of midwinter. In the painting, it is interpreted as a symbol of the trials of exile."},{"question":"Where is the postscript, and what does it explain?","answer":"The postscript written by Kim Jeong-hui is to the left of the painting. It explains how he received books from Yi Sang-jeok and why he made the painting."},{"question":"Are the trees in the painting pines and Korean pines?","answer":"Our History Net describes them as pines and Korean pines. The National Museum of Korea identifies them as pines and arborvitae. Both interpretations read the pine and cypress motif as a symbol of steadfastness."},{"question":"Did Kim Jeong-hui make the entire long scroll?","answer":"Writings by later scholars about the painting were added to Kim Jeong-hui's painting and postscript. Not all the writing on the scroll as it exists today can be attributed to Kim Jeong-hui."},{"question":"When was it designated a National Treasure?","answer":"The designation date recorded in the National Heritage Portal is December 31, 1974. Its official name is Sehando by Kim Jeong-hui."},{"question":"Which institution currently holds it, and who donated it?","answer":"The National Museum of Korea currently holds it. Son Chang-geun donated it in 2020."},{"question":"Is the house in the painting Kim Jeong-hui's actual residence in exile?","answer":"The records and explanations reviewed are not enough to conclude that the painting depicts his actual residence. The fact that it was made on Jeju is separate from the identity of the house in the painting."}],"sources":[{"url":"https://contents.history.go.kr/mobile/kc/view.do?code=kc_age_30\u0026levelId=kc_r300670","title":"National Institute of Korean History, Our History Net: Sehando","type":"source"},{"url":"https://www.museum.go.kr/MUSEUM/contents/M0501000000.do?relicRecommendId=623104\u0026schM=view","title":"National Museum of Korea, Curator-Recommended Collection Items: Sehando","type":"source"},{"url":"https://heritage.go.kr/heri/cul/culSelectDetail.do?ccbaAsno=0001800000000\u0026ccbaCpno=1111101800000\u0026ccbaCtcd=11\u0026ccbaKdcd=11\u0026pageNo=1_1_1_0","title":"Korea Heritage Portal: National Treasure Sehando by Kim Jeong-hui","type":"data_point"},{"url":"https://www.museum.go.kr/MUSEUM/contents/M0202030000.do?exhiSpThemId=570115\u0026listType=list\u0026menuId=past\u0026schM=view","title":"National Museum of Korea, Past Exhibitions: Sehan, Greenery That Does Not Fade Even in Midwinter","type":"source"}],"images":[{"id":1700,"url":"https://injoys.com/rails/active_storage/blobs/proxy/eyJfcmFpbHMiOnsiZGF0YSI6MjU4ODgsInB1ciI6ImJsb2JfaWQifX0=--b9a3f7fa9e0a72ff6cfd18efb7cc43b71042e4f0/ai-163d4f15.webp","is_representative":false,"generation_method":"ai_semi","license":"ai_generated","mime_type":"image/webp","width":1536,"height":1024,"translations":{"ko":{"alt":"눈 내린 제주 해안의 초가집 앞에서 한 사람이 책 꾸러미를 내려놓고, 다른 사람이 집 앞에 서 있다.","caption":"김정희는 제주 유배 중 책을 보내준 이상적에게 감사하며 세한도를 그렸다.","description":null},"en":{"alt":"A person sets down a bundle of books outside a thatched house on a snowy Jeju coast as another stands nearby.","caption":"Kim Jeong-hui painted Sehando in gratitude to Yi Sang-jeok for sending books during his Jeju exile.","description":null},"ja":{"alt":"雪の残る済州の海岸で、茅葺きの家の前に一人が本の包みを置き、もう一人が立っている。","caption":"金正喜は済州への流刑中に本を送ってくれた李尚迪への感謝を込めて『歳寒図』を描いた。","description":null},"es":{"alt":"Una persona deja un paquete de libros ante una casa de techo de paja en la costa nevada de Jeju; otra está cerca.","caption":"Kim Jeong-hui pintó Sehando para agradecer a Yi Sang-jeok los libros que le envió durante su exilio en Jeju.","description":null},"id":{"alt":"Seseorang meletakkan bungkusan buku di depan rumah beratap jerami di pesisir Jeju yang bersalju; seorang lain berdiri dekat rumah.","caption":"Kim Jeong-hui melukis Sehando sebagai ungkapan terima kasih kepada Yi Sang-jeok yang mengirim buku selama pengasingannya di Jeju.","description":null},"pt":{"alt":"Uma pessoa deixa um embrulho de livros diante de uma casa de palha na costa nevada de Jeju, enquanto outra está por perto.","caption":"Kim Jeong-hui pintou Sehando em agradecimento a Yi Sang-jeok pelos livros enviados durante seu exílio em Jeju.","description":null},"zh-hant":{"alt":"積雪的濟州海岸旁，一人在茅草屋前放下成捆的書，另一人站在屋前。","caption":"金正喜在濟州流放期間，為感謝李尚迪寄書而創作《歲寒圖》。","description":null},"de":{"alt":"An der verschneiten Küste Jejus legt jemand ein Bücherbündel vor einem strohgedeckten Haus ab; eine weitere Person steht dort.","caption":"Kim Jeong-hui malte Sehando aus Dankbarkeit für die Bücher, die Yi Sang-jeok ihm während seines Exils auf Jeju schickte.","description":null}}},{"id":1701,"url":"https://injoys.com/rails/active_storage/blobs/proxy/eyJfcmFpbHMiOnsiZGF0YSI6MjU4OTAsInB1ciI6ImJsb2JfaWQifX0=--f93fd050c881771e4cca2a7de709ea060dc567a8/ai-022ac3b8.webp","is_representative":false,"generation_method":"ai_semi","license":"ai_generated","mime_type":"image/webp","width":1536,"height":1024,"translations":{"ko":{"alt":"제주 돌담이 보이는 소박한 방에서 책을 곁에 두고 낮은 탁자에 집과 나무를 그리는 뒷모습","caption":"세한도의 송백은 처지가 달라져도 변함없던 이상적의 태도를 상징한다.","description":null},"en":{"alt":"A figure seen from behind paints a house and trees at a low table beside stacks of books in a spare Jeju room.","caption":"The evergreens in Sehando symbolize Yi Sang-jeok’s loyalty despite Kim Jeong-hui’s changed circumstances.","description":null},"ja":{"alt":"済州の質素な部屋で、本を傍らに置き、低い机に向かって家と木を描く後ろ姿。","caption":"『歳寒図』の松と柏は、境遇が変わっても変わらなかった李尚迪の態度を象徴する。","description":null},"es":{"alt":"Una figura de espaldas pinta una casa y árboles en una mesa baja, junto a unos libros, en una austera habitación de Jeju.","caption":"Los árboles perennes de Sehando simbolizan la lealtad de Yi Sang-jeok pese al cambio de circunstancias de Kim Jeong-hui.","description":null},"id":{"alt":"Sosok membelakangi penonton melukis rumah dan pepohonan di meja rendah, di samping tumpukan buku, dalam ruang sederhana di Jeju.","caption":"Pepohonan hijau abadi dalam Sehando melambangkan kesetiaan Yi Sang-jeok meski keadaan Kim Jeong-hui berubah.","description":null},"pt":{"alt":"De costas, uma figura pinta uma casa e árvores numa mesa baixa, ao lado de livros, em um cômodo simples em Jeju.","caption":"As árvores perenes de Sehando simbolizam a lealdade de Yi Sang-jeok apesar da mudança na situação de Kim Jeong-hui.","description":null},"zh-hant":{"alt":"濟州一間簡樸的書房裡，一人背對觀者，在低桌旁伴著書冊描繪房屋與樹木。","caption":"《歲寒圖》中的松柏象徵李尚迪在金正喜處境改變後依然不變的情誼。","description":null},"de":{"alt":"Eine Person malt mit dem Rücken zum Betrachter an einem niedrigen Tisch ein Haus und Bäume; daneben liegen Bücher.","caption":"Die immergrünen Bäume in Sehando stehen für Yi Sang-jeoks Treue trotz Kim Jeong-huis veränderter Lebensumstände.","description":null}}}],"published_at":"2026-10-08T20:19:15+09:00","updated_at":"2026-10-08T20:19:17+09:00","license":"cc_by","translation_status":"reviewed","available_locales":["ko","en","ja","es"],"data_locales":["ko","en","ja","es","id","pt","zh-hant","de"],"url":"https://injoys.com/en/articles/sehando-kim-jeong-hui-jeju-exile-meaning"}