This painting by Yi In-mun (李寅文) is a narrative figure painting (gosa inmuldo, 故事人物圖) illustrating a passage from Hakrim Okro (鶴林玉露; Jade Dew from the Crane Grove) by the Chinese literatus Na Daegyeong (羅大經, 13th century), in which he reflects on his life of seclusion in the mountains. Commonly referred to as Sanjeong Iljang-do (山靜日長圖; The Mountain Is Still and the Day Is Long) after its opening line — "Still as the ancient past, the day stretches long as in youth; I make my home deep within the mountains" — the work belongs to a genre of paintings illustrating literary narratives.

The specific passage depicted here reads: "Returning beneath the bamboo-shaded window, I find my mountain wife and young children who have prepared dishes of bamboo shoots and bracken fern and cooked barley rice; with a glad heart I eat my fill" (既歸竹窓下則山妻稚子 作荀蕨供麥飯 欣然一飽). While Sanjeong Iljang-do was most commonly produced as an eight-panel folding screen dividing the text into eight scenes, among single-subject compositions, the scene of Sancha Chija (山妻稚子圖; Mountain Wife and Young Children) — alongside representations of Na Daegyeong's secluded mountain retreat — appears to have been the most favored subject, as surviving works attest.

In the middle ground of the composition stands a thatched cottage nestled among mountains, its surroundings enveloped by a bamboo grove. Within, a scholar receives a meal tray, while through the inner quarters, his wife and young child are visible. A young servant is shown carrying dishes through the inner gate.

The theme of Sanjeong Iljang holds a prominent place within Yi In-mun's idealized landscape paintings (gwallyeom sansuhua, 觀念山水畫). Eight-panel folding screens of the same format are preserved in the collections of the National Museum of Korea and the Gansong Art Museum. As the present work is nearly identical in dimensions to those versions, it is understood to have originally formed part of a folding screen from which it became subsequently separated. Each of the three known screens displays a distinct stylistic character, demonstrating that Yi In-mun returned to this subject repeatedly throughout his career. Judging from the accomplished and mature brushwork, this painting is considered to postdate the National Museum of Korea version, and is regarded as a work from the artist's middle years or beyond.