This article aims to re-illuminate Myeong-am Jung sik(1683-1746) who left many poetry and prose related to Zhuge Liang, as a part of the work dealing with the point of contact between Northern Expeditionary(北伐) and Zhuge Liang’s portrait discussion. As a research method, this paper tracked the traces of Zhu Hui’s poems and writing related to Zhuge Liang, which can be seen in the works of Jung sik, and extracted their characteristics through comparing with major writers such as Song Si-yeol and Kim Soo-jeung. The contents of this study are as follows. Wa-ryong-am, which was created by Jeong sik with the portrait of Zhuge Liang and subsequently described into poetry and prose, had a more personalized atmosphere unlike the sharing of tastes within the Song Si-yeol and Kim Soo-jeung group. In addition, compared to Song Si-yeol and Kim Soo-jeung, the direct sign that Jung sik’s own display and admiration for portrait of Zhuge Liang in his house, were officially based on the historical events of Zhu Hui’s War-yong-am, tended to be reduced in writing much more relatively. In terms of research results and expected effects, the case of Jung sik is worth paying more attention in that, because it showed the characteristic the exhibition space including Zhuge Liang’s portrait, which was achieved by recluse style writers who were thoroughly distant from government posts, almost alone, outside Seoul after the era of Song Si-yeol. In other words, it is possible to add an example of a local writer who was deeply immersed in the ideals of the theory of admiration for extinct Ming dynasty, but had relatively little experience sharing the metaphor of Northern Expeditionary in Zhuge Liang’s portrait with his contemporaries.