[cha Ch’ŏlliho Kŭng’wŏn, Nanggok] (fl 1st half of 19th century). Korean painter, son of Kim Hong-do. He carried on his father’s style, painting birds and flowers, genre scenes and landscapes. There is no doubt that his reputation benefited from his father’s fame. One of his most significant acts was the compilation of the Tanwŏn yumuk (‘Writings and calligraphy left behind by Tanwŏn [Kim Hong-do’] after his father’s death. This album contained 40 leaves, of which 32 were poems, essays, calligraphy and letters by his father and 8 by contemporary scholar-officials such as Sin Wi and Hong Sŏk-ju (1774–1843). The importance of this album for the study of Kim Hong-do’s life and work is immeasurable. Kim Yang-gi’s Playing the Flute at the Moon (Seoul, N. Mus.) shows the influence of his father in its composition, motifs and, above all, in the use of feathery brushstrokes. However, the treatment of tree tops in the lower left, achieved with many short vertical strokes, is a feature peculiar to Kim Yang-gi’s style. Kim’s most successful work is ...