In the late 18th century witnessed fairly active exchange activities between painters in Joseon and Ching(淸) than ever, and a sort of exchanging network came to be formed. These artists usually presented their own or colleagues’ works in commemoration of these particular exchanges. This made them to get more interested in the other’s paintings and their cultures. This paper examines how Ching paintings was introduced in Joseon and what kind of reactive trend appeared in the society of Joseon painting with focus of Park Jega’s understanding(1750～1805). Park, one of active members of bukhakpa first visited to Ching in 1778 when he made network with Hong Daiyong and You Geum, which allowed him to expand his relations with Li Zuyuan(李祖源)’s family and Zhu Delin(祝德麟). With significant exchange activities, indulging and presenting small portraits, which was introduced by Zheng Jing(曾鯨), took place in Joseon. Since he did not fully appreciate the Ching paintings of the time, he could not perfectly understand what these portraits were. By proceeding two more visits to Ching in 1790, Park Jega carried out more diverse and splendid painting exchanges with literary and artistic members of the Ching society. When he made friendly relations with various societies such as portraits in the type of Zheng Jing and Yangzhou School(揚州畵派), he also purchased some paintings of ‘landscape’ and ‘the Four Gracious Plants’ from Yangzhou society. With purpose of disseminating his name to Joseon, Luo Pin(羅 聘) asked Park Jega to have made a title of ≪Guost Amusement(鬼趣圖卷)≫. Furthermore Park Jega corresponded with in terms of calligraphic works so that he could introduced Loudong School(婁東畵派) style which was transmitted from Four Wang School(四王畵派). Park Jega also had a relations with official painters such as Kui Lun(魁倫) and this made him see Pinger Paintings. All facts above explains that Park Jega was one of figures who introduced major painting societies and trends in Ching to Joseon. Park Jega made his last visit to Ching in 1801. However this time did not bring fruitful exchanges as he did in 1790 because there were not so particularly significant painting societies in Ching. He mainly exchanged with painters such as Huang Yi(黃易) from Jiangsu(江蘇) and Zhejiang(浙江) regions who affected regional painting styles of Ming and Four Wang. It seems Park Jega was highly qualified in terms of understanding the Ching’s painting culture as well as having interests in the Four Wang style. This changing trend made him ask Bochen School(波臣畵派) Chen Sen(陳森) to draw his small portrait. All things considered, we can see that Park Jega was one of leading figures who introduced the Ching painting culture to Joseon among members of Bukhakpa. Although his achievements in Joseon’s exchanges with the Ching in paintings was not fully acknowledged in those times, his introduction let Joseon painters in the 19th century analyze and accept Ching paintings in a very scholarly manner researching ancient matters.