Hyobong Heo-so was a painter and calligrapher who was active in the early 20th century. This paper introduced Heo-so, who activity and freely used various fonts, including an ancient style of writing Chinese characters (篆書) in the calligraphy and painting part of modern Korea, and tried to derive the characteristics of Heo-so’s painting by examining the background, content, and composition of his work. Heo-so’s “Ten Panel-Screen Painting of Wuyi Mountain’s Nine Bends” is an example of both calligraphy and painting, and it is a work that draws attention as it shows a full-fledged expression of landscape paintings. In particular, this work was produced within the range of friendship with the family of Ahn Juk-san. It is thought that Heo-so produced the “Ten Panel-Screen Painting of Wuyi Mountain’s Nine Bends” that reflected consciousness as an heir to the academic genealogy and tradition of local Confucian scholars such as Hoebong Ahn Gyu-yong at the time. In the meantime, it was not possible to estimate his painting capabilities because Heo-so’s paintings were unknown, but this survey confirmed that various works such as landscape paintings, Sagunja, Songhakdo, and Dalmado survived. Heo-so’s paintings, which show a different aspect from Honam’s traditional art world in the 1920s and 30s, used their own painting methods in landscape painting, and showed unique handwriting methods in Sagunja and character paintings. In particular, his calligraphy leaves work such as Jeonseo, Yeseo, and Haengchoseo, so the calligraphy of Heo-so should be re-examined as an example of the diversity of Honam traditional paintings.