The Aim of the thesis is to study the characteristic of inscriptional poetry that Kang Se-Hwang(姜世晃, 1713-1791), a great master of the art-world, inserted in his Pyoongseonsaeng-Seohwacheo(豹翁先生書畵帖) in the late 18th century. Inscriptions including poetry on the painting are inevitable elements in the Oriental painting. It offers much basic information about artworks, stands out the scenery of mind of the natural features, and shows an intention of artists. In this study, inscriptional poetry which Kang Se-hwang took to write down in his “Pyoongseonsaeng-Seohwacheop” was explored. Through analysis on inscriptional poetry, I clarified “Pyoongsunsaeng-Suhwachup(《豹翁先生書畵帖》),” recently known as the copying painting album in late Joseon Dynasty, was officially sealed with artworks of five groups that Kang painted during his late period (1787-1789). Particularly, he wrote inscriptional poetry copying landscape painting from painting albums such as “Shipjukjae-Suhwabo(『十竹齋晝畵譜』)” or “Paljong-Hwabo(『八種書譜』)”, which indicates there was a consistent connection between them. This is also distinct in that he seemed self-enrichment in learning even in his late years. Furthermore, considering he had copied a kind of Copying Old Landscape Album(倣古山水帖) by Tung Chi-Chang as it was, he appeared to be conservative adoring orthodox artists including Tung Chi-Chang. To sum up, “Pyoongsunsaeng-Suhwachup(《豹翁先生書畵帖》)” can be evaluated as the painting album which clearly reflected the literary caparity of Kang Sehwang. He successfully attempted to combine his own literary painting style with famous Chinese poem based on the deep understanding of the diverse “Hwabo(書譜)” in Ming Dynasty(明代) and theory on the literary painting(文人書理論).