This thesis studies the at the Seoul National University Museum and the National Museum of Korea. KwonDae-Un(權大運), the main character of the banquet in the painting, is the head of the Namin(南人) during the year of King Sukjong(肅宗). As known, The political power struggle was fierce between Namin and Seoin(西人) during the King Sukjong reign. Previously, it was thought that the banquet was held in 1689 on the basis of KwonDae-Un’s Guejang (几杖), but analysis of the painting s preface and entry clearly showed that it held between October 11, 1690 to November 18, 1690. According to the analysis of “Sukjong Sillok(『肅宗實錄』)”, JangHee-bin(張禧嬪), a key figure in the Namin, was crowned as the queen on October 22, 1690. The banquet can be seen as a celebration of Jang Hee-bin became a queen and, in turn, of the political revival of the Namin. Seoul National University s museum collection and the National Museum of Korea are nearly the same, but there are differences in the expression and characteristic of the figure. Nevertheless, no thesis has been properly compared and reviewed for the two paintings. Through the differences between the expression and the object, This thesis suggest that at National Museum of Korea was painted in the mid-18th century, later than the at Seoul National Museum of Korea. And it is presumed that the at National Museum of Korea is a copy of the at Seoul National Museum of Korea. Meanwhile, A question has been raised about the fact that there are no Gujang(鳩杖) in the at National Museum of Korea. The Gujang was part of the Guejang(几杖), and it was the highest honor for a servant to be given the decoration. KwonDae-Un s unique pride in receiving the decoration is also seen in his portrait. Under these circumstances, the failure to draw the Gujang in the paint of mid-18th century was apparently a special problem. In fact, the 18th-century KwonDae-Un’s family saw the decline due to the Change of government in the year of Gapssull(甲戌換局) and rebellion of LeeIn-jwa(李麟佐). So It is assumed that the honorable Gujang could not have been painted. As a result, the at 1690 showed a political revival of KwonDae-Un and the Namin, on the other hand, the at the mid-18th-century showed a political decline of the Namin.