Kumsansa-mongyurok[金山寺夢遊錄] represents a social disorder in the end of the Yu¨an Dynasty as its setting. This work has a story that Kojo, the King of the Han dynasty invites the founders of the Tang Dynasty, the Sung Dynasty, and the Ming Dynasty giving a celebratory party, and retrospects history centering around China enjoying the banquet, but he confronts Sejo, the king of the Yu¨an Dynasty and drives him away. In this respect, it is believed that the theme of works in the category of Kumsansa can be considered esteeming Chinese with the exclusion of foreigners. The theme of this work has been evaluated with special reference to respecting Ming with the expulsion of Ching, but it is necessary to take into consideration the Chosun situation in the first half and the second half of the 17th-century respectively, because it had been created and has been handed down in the atmosphere of the times when the mood of respecting Ming with the expulsion of Ching was never been overlooked. The early 17th-century was the times when the loser had to pay the miserable price due to the Japanese invasion of Korea in 1592 followed shortly by the Chinese invasion, while the late 17th-century was the age when the spirit of respecting Ming with the expulsion of Ching reached its climax. This work has not further developed several subject matters as follows: first, the text shows the spirit of respecting Ming rising from the ties of Ming which saved Chosun right after the above-mentioned invasions, but little the spirit of expulsion of Yu¨an ; second, the necessity of jung-hungjoos(respectable kings) and meritorious retainers are observed in the socially disordered period after going through wars; third, the meaning of the capital after its transfer to Kanghwado Island is reconsidered. In addition, Taejo, the king of Ming and Jegalryang, major characters in this work, are not figures representing a simple spirit of respecting Ming. It is guessed that they are created under the influence of narratives related to the foundation of Kumsansa with religious ritual called Suryukje and Jegalryang`s Junko(drum used for war), one of four major treasures and have a kind of divinity from prayer. This work reflects on the trend of the times when people wanted a national founder who represents Taejo, the king of Ming dynasty and excellent prime minister, and on a spirit of evaluating royal capital. It is guessed that Kumsansa-mongyurok created inaround 1639 right after Chinese invasion, reflects the narratives related to the foundation of Kumsansa with Kumsansa temple as its setting, and that the spirit of esteeming Ming reached the climax after this temple had been renamed Kangcheonsa by Sungjo, the king of Ching in the late 17th-century and this resulted in the creation of works in the category of Kumsansa. As a result of investigating two kinds of works, it can be concluded that works in the category of Kumsansa are in accordance with narratives as for dreamers or dreaming place, while works in the category of Kumsansa show clearly very different images from those of the previous narratives. However, a further study must be made to investigate the exact date when Kumsansa-changupyeonie(『금산사창업연의』) in Korean and Kumsansa-mongyurok in Chinese characters were written respectively.