The goal of this research paper is to contribute to the effort to increase the understanding of the Qiangjin(戧金) technique, during the Southern Song Period (1127-1279), by focusing on its organic relationship with the genre of painting. As for the development of the Qiangjin technique, the paper could acquire comprehensive information through the historical records such as History of Song (宋史), The Eastern Capital: A Dream of Splendor(東京夢華錄) as well as remaining artifacts. The paper then focused on the main production sites and groups of artisans devoted to the technique by analyzing the inscriptions on the Qiangjin lacquerware excavated at the Southern Song Tomb 4 in Wujin Prefecture, Jiansu Province, and those on the undecorated lacquerware produced in both Northern and Southern Song. The discussion was then turned to analyzing the government-sponsored factories of the period and then to a conclusion that the Qiangjin technique used by the imperial court was closely related with the government agencies in charge of paintings and ceremonies such as Crafts Institute(文思院) and Imperial Painting Academy(翰林圖畫院). The system for the production of arts and crafts in Southern Song allowed court painters directly involved themselves in the process of creating decorative designs for the artifacts, bringing the lacquerware decorations based on the Qiangjin technique to a direct influence from the landscapes, paintings focused on famous historic events and figures, and literati paintings of flowers and birds. The Southern Song’s craft production system was transferred to the Yuan imperial. At the same time, this paper is also expected to play a role in attracting the attention of Korean art historians to the Qiangjin technique and other decorative inlaying techniques.