This paper traces the origins and background of the snow-scenery paintings of Ming-Qing China and Joseon Korea focusing on the subject matter in parallel with the techniques, themes and styles applied. It also attempts to shed light on the differences in perception and expression of Wang Wei (王維, 699?759) between Korea and China. I began with examining the five different winter landscapes in the painting album entitled Hwawon byeoljip (畵苑別集, Separate Collection of Garden of Paintings), which is believed to have been compiled in the early nineteenth-century Korea. The paintings in the album date back to the early, mid-, and late Joseon periods and display three distinct thematic categories: winter scenery as a part of a representation of the four seasons, visualizing descriptions of literary narratives, and creative copies of Chinese old masters. They prevailed at different times prior to the sixteenth century in China and later formed multilayered thematic phases in East Asian art world, starting in the seventeenth century. (이하 생략)

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