• Korean Journal of Environmental Agriculture
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• v.13 no.3
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• pp.321-337
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• 1994

The garbage from the dwelling houses was composted in two kinds of small composter in laboratory to investigate the possibility of garbage composting. They were general small composters. One (type 1) was insullated but the other (type 2) was not. Because it was found that type 2 was not available for composting under our meteorological conditions through winter experiment, only type 1 was tested in spring and summer. The experiment was performed for 8 weeks in each season. The seasonal variation of several compounds in compost was evaluated and discussed. The result summarized belows are those taken at the end of the experiment, if the time was not specified. 1) The maximum temperature was $58^{\circ}C$ in spring, $57^{\circ}C$ in summer and $41^{\circ}C$ in winter. This temperature was enough to destroy the pathogen except for winter. 2) The mass was reduced to average 62.5% and the volume reduction was avergae 74%. 3) The density was estimated as 0.7kg/l in spring, 0.8kg/l in summer and 1.1kg/l in winter. 4) The water content was not much changed for composting periods. It had 75.6% in spring and 76.6% in summer and winter. 5) There was a great seasonal difference in pH value. It was reached to pH 6.13 in spring, pH 8.62 in summer and pH 4.75 in winter. 6) The faster organic matter was decomposed, the greater ash content was increased. Cellulose and lignin content were increased, but hemicellulose content was reduced during composting period. 7) Nitrogen contents were in the range of 3.1-5.6% and especially high in summer. After ammonium nitrogen contents were increased at the early stage of composting period, they were decreased. The maximum ammonium nitrogen content was 3,243mg/kg after 2 weeks in winter, 6,053mg/kg after 3 weeks in spring and 30,828mg/kg after 6 weeks in summer. C/N-ratios were not much changed. Nitrification occurred actively in spring and summer. 8) The contents of volatile and higher fatty acids were increased in early stage of composting and reduced after that. The maximum content of total fatty acid was 10.1% after 2 weeks in winter, 5.8% after 2 weeks in spring and 15.7% after 4 weeks in summer. 9) The contents of inorganic compounds were not accumulated as composting was proceeded. They were in the range of 0.9-4.4% $P_2O_5$, 1.6-2.9% $K_2O$, 2.4-4.6% CaO and 0.30-0.80% MgO. 10) CN and heavy metal contents did not show any tendency. They were in the range of 0.11-28.99mg/kg CN, 24-166mg/kg Zn, 5-129mg/kg Cu, 0.8-14.3mg/kg Cd, 7-42mg/kg Pb, ND-30mg/kg Cr and $ND-132.16\;{\mu}g/kg$ Hg.

• Archives of design research
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• v.15 no.4
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• pp.57-66
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• 2002

With the advanced localization followed by the settlement of the local autonomous systems, every city has faced new realities that it is inevitable to change its environment and image designs which have been uniformly made without consideration of its characteristics. Accordingly, they have failed to effectively achieve the development goal which make them distinctive.. The identity of a city means an image rather than its attribute. It can be drawn only when the city has its own municipality as well as the superiority to others. For Corporate Identity(CI) to function effectively as a comprehensive medium of communication, We should take into consideration all the situations which surround the city. It should be emphasized on the culture and environment oriented image. To do so we first of all have to analyze in detail the current situations and characteristics of the city. Hence, this paper tried to propose the strategies of making the CI which expresses the unique identity and communication of the city applying the CI program which have been used as the way of business management. The creation of the CI of the city takes the following steps. First, find the potentials for the image of the city through the survey of its resources. Second, provide the motive for citizens to actively participate in making plans with a dear vision for the improvement of the city image, physical development and so on. Third, provide with the events and the projects for specialized goods of the city to strengthen the ability of delivering the information, to design the city image and the street environment of the city. Fourth, apply the communication design system to use actively the administration organization, to enhance the citizenship, and to differentiate the city image. To do so, a variety of efforts should be followed to integrate and promote the regional culture, develope the structure and the facility functions of the city connecting those factors effectively. The establishment of the city identity is required a variety of activities to make the environment of the city, and the agreeable residential environment for a better life by differentiating the characteristics the city has.

• Korean Chemical Engineering Research
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• v.43 no.2
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• pp.206-214
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• 2005

Heterogeneously-catalyzed oxidation of aqueous phase trichloroethylene (TCE) over supported metal oxides has been conducted to establish an approach to eliminate ppm levels of organic compounds in water. A continuous flow reactor system was designed to effect predominant reaction parameters in determining catalytic activity of the catalysts for wet TCE decomposition as a model reaction. 5 wt.% $CoO_x/TiO_2$ catalyst exhibited a transient period in activity vs. on-stream time behavior, suggesting that the surface structure of the $CoO_x$ might be altered with on-stream hours; regardless, it is probable to be the most promising catalyst. Not only could the bare support be inactive for the wet decomposition reaction at $36^{\circ}C$, but no TCE removal also occurred by the process of adsorption on $TiO_2$ surface. The catalytic activity was independent of all particle sizes used, thereby representing no mass transfer limitation in intraparticle diffusion. Very low TCE conversion appeared for $TiO_2$-supported $NiO_x$ and $CrO_x$ catalysts. Wet oxidation performance of supported Cu and Fe catalysts, obtained through an incipient wetness and ion exchange technique, was dependent primarily on the kinds of the metal oxides, in addition to the acidic solid supports and the preparation routes. 5 wt.% $FeO_x/TiO_2$ catalyst gave no activity in the oxidation reaction at $36^{\circ}C$, while 1.2 wt.% Fe-MFI was active for the wet decomposition depending on time on-stream. The noticeable difference in activity of the both catalysts suggests that the Fe oxidation states involved to catalytic redox cycle during the course of reaction play a significant role in catalyzing the wet decomposition as well as in maintaining the time on-stream activity. Based on the results of different $CoO_x$ loadings and reaction temperatures for the decomposition reaction at $36^{\circ}C$ with $CoO_x/TiO_2$, the catalyst possessed an optimal $CoO_x$ amount at which higher reaction temperatures facilitated the catalytic TCE conversion. Small amounts of the active ingredient could be dissolved by acidic leaching but such a process gave no appreciable activity loss of the $CoO_x$ catalyst.

• Journal of the korean academy of Pediatric Dentistry
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• v.30 no.3
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• pp.423-430
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• 2003

The teeth bleaching with bleaching agent is widely used at recent times. Until yet the exact mechanism of the bleaching agent isn't known but it is thought that is by the complex reduction-oxidation reaction of the decomposed free radical from bleaching agent through various ways. In other words, it is supposed that the teeth are whitened by agent's changing chemical structures of stain-causing materials. The purpose of this study is to exam the change of the dentinal character by bleaching agent and to evaluate the safety of this agent. For this study, after applying 10% carbamide peroxide to enamel of human premolar for 6 hours a day for 2 weeks we examined changes of surface morphology, microhardness, composition and contents of minirals in human dentin using SEM, microhardness tester, FT-Raman spectrometer and EPMA and got following results. There was no significant difference in surface morphologic change when we examined the effect of 10% carbamide peroxide which penetrated into dentin after applied on enamel surface comparing with result from specimen in distilled water No change was shown on the surface of peritubular and intertubular dentin within the nanometeric range. The microhardness between bleached teeth and teeth stored in distilled water showed no statistically significant difference FT-Raman spectra of dentin exhibited no change of the component in human dentin. Only the least change in peaks of organic and inorganic materials were detected in Raman intencity. The total content of mineral elements in dentin with no treatment, stored only in distilled water and stored in distilled water after bleaching were $98.73{\pm}1.89,\;98.56{\pm}2.11\;and\;97.47{\pm}2.51$ respectively. Also they showed no statistically significant difference. From above results, the effect of 10% carbamide peroxide bleaching on structure of dentin is very low and the results may confirm the safety of this bleaching agent.

• Korean Journal of Microbiology
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• v.44 no.3
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• pp.237-243
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• 2008

Chemical and microbial characteristics of bacterial populations were investigated in a quercus and pine humus forest soil. Soil pH was $5.3\pm0.4$ and $4.1\pm0.9$ from each sample of a quercus and pine humus forest soil; C/N ratio of humus forest soil was $17.84\pm4.6%$ and $21.76\pm8%$, respectively. Total organic acid was investigated as 69.57 mM/g dry soil and 53.72 mM/g dry soil in each humus forest soil. Glutamine, pyruvate, succinate, lactic acid and acetic acid of pine humus forest soil were $1.5\sim4.5$ times higher than those of quercus humus forest soil. As we evaluated phylogenetic characteristics of bacterial populations by 16S rRNA-ARDRA analysis with DNA extracted from each humus forest soil. Based on the 16S rRNA sequences, 44 clone from ARDRA groups of quercus humus forest soil were classified into 7 phyla: ${\alpha},{\beta},{\gamma},{\delta}$-Proteobacteria, Acidobacteria, Actinobacteria, and Firmicutes. Thirty-two clone from ARDRA groups of pine humus forest soil were classified into 8 phyla: ${\alpha},{\beta},{\gamma}$-Proteobacteria, Acidobacteria, Bacteroides, Verrucomicrobia, Planctomycetes, and Gemmatomonadetes. According to PCA (Principal Component Analysis) based on 16S rRNA base sequence, there were three main groups of bacteria. All clone of Cluster I were originated from quercus humus forest soil, while 67% clone of Cluster II and 63% clone of Clusters III were separated from pine humus forest soil.

• Korean Journal of Environmental Agriculture
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• v.14 no.2
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• pp.232-245
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• 1995

The garbage from the dwelling house was composted in two kinds of small composter in the laboratory, and the possibility of garbage composting was examined. The composters were general small. One (type 3) was constructed with the double layer walls and the other (type 4) was the same as the first except for being insulated. Because it was found that type 3 was not available for composting under our meteorological conditions through the winter experiment, only type 4 was tested in spring and summer. The experiment was performed for 8 weeks in each season. The seasonal variation of several components in the compost was evaluated and discussed. The results summarized below were those obtained at the end of the experiment, if the time was not specified. 1) The maximum temperature was $43^{\circ}C$ in winter, $55^{\circ}C$ in spring and $56^{\circ}C$ in summer. 2) The mass was reduced to an average of 63% and the volume reduction was an average of 78%. 3) The density was estimated as 1.5 kg/l in winter and 0.8 kg/l in spring and summer. 4) The water content was not much changed during the composting periods. It was 79.3% in winter, 75.0% in spring and 70.0% in summer. 5) After pH value increased during the first week, it decreased until the second week and increased again continuously thereafter. It reached pH 6.19 in winter, pH 7.59 in spring and pH 8.69 in summer. 6) The faster the organic matter was decomposed, the greater the ash content increased. The contents of cellulose and lignin increased, but that of hemicellulose decreased during the composting period. 7) Nitrogen contents were in the range of 3.3-6.8% and especially high in summer. After ammonium contents increased at the early stage of the composting period, they decreased. The maximum ammonium-nitrogen content was 2,404mg/kg after 8 weeks in winter, 12,400mg/kg after 3 weeks in spring and 20,718mg/kg after 3 weeks in summer. C/N-ratios decreased with the lapse of composting time, but they were not much changed. Nitrification occurred actively in summer. 8) The contents of volatile and higher fatty acids increased at the early stage of composting and reduced after that. The maximum content of total fatty acid was 9.7% after 6 weeks in winter, 14.8% after 6 weeks in spring and 15.8% after 2 weeks in summer. 9) The contents of inorganic components were not accumulated as composting proceeded. They were in the range of 0.9-4.4% $P_2O_5$, 1.6-2.4% $K_2O$, 2.2-5.4% CaO and 0.30-0.61% MgO. 10) CN and heavy metal contents did not show any tendency. They were in the range of 0.21-14.55mg/kg CN, 11-166mg/kg Zn, 5-65mg/kg Cu, 0.5-10.8mg/kg Cd, 6- 35mg/kg Pb, ND-33 mg/kg Cr and ND-302.04 g/kg Hg.

• Applied Biological Chemistry
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• v.8
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• pp.101-111
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• 1967

Daily doses of phenylmercuric acetate arranged in $30{\gamma}\;(group\;I)$, 3{\gamma}\;(group\;II)$ and $0.3{\gamma}\;(group\;III)$ were administered respectively to rabbits for 90 days. The chief histopathological changes in the organs and the analytical data on mercury residues in the excretion and liver were as follows. 1. Kidney: In group I, severe degrees of vacuolization and cloudy swelling were occurred in the epithelial cells of proximal convoluted tubules and severe cloudy swelling and coagulative necrosis were observed in the proximal straight tubules. There were many hyaline casts in the collecting tubules. In group II, moderate degrees of vacuolization and cloudy swelling were observed in the epithelial cells of proximal convoluted tubules and moderate cloudy swelling and coagulative necrosis were encountered in the proximal straight tubules. A little numbers of hyaline casts were located in the lumen of collecting tubules. In group III, slight degree of cloudy swelling were observed in the epithelial cells of proximal convoluted and straight tubules. 2. Liver: In group I, cloudy swelling, fatty changes and coagulative necrosis were observed in the central zone of hepatic lobules. Dissociation of hepatic cell cords was encountered. Hyperplsia of hepatic cells were remarkable in group II. No Pathological changes were observed in group III. 3. Spleen: Deposition of hemosiderin pigment was prominant in group I and small amount of the pigment was observed in group II. There were no pathological changes in group III. 4. Adrenal, colon and heart: No pathological changes were detected in all 3 groups. 5. In an average about 76.5% of mercury was excreted from group I, 85.4% from group II and 79.8% from group III. 6. Mercury content in the liver was 0.0348 g in group I, 0.00378 g and 0.00066 g in group II and group III respectively. 7. In general, as to increased mercury doses the concentration of mercury accumulation in the liver became higher, how·ever, the accumulation quantity against a total amount of mercury doses showed an adverse trend. In other word, the quantity of mercury accumulation was not increased proportionately by higher dose of mercury.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.124-141
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• 2019

This research explored the relationship between the water quality issue of Wolji Pond (Anapji Pond) with the maintenance of the channel flow circulation system. The water supply and drainage system closely related to the circulation system of pond has been reviewed, rather than the existing water supply and drainage system that has been analyzed in previous studies. As a result of reviewing the water supply system, it has been learned that the water supply system on the southeastern shore of Wolji Pond, being the current water supply hole, has been connected to the east side garden facility (landscaping stone, curved waterway, storage facility of water) between the north and south fence and the waterway. This separate facility group seems to have been a subject of the investigation of the eastern side of Wolji Pond, with the landscaping stones having been identified in the 1920's survey drawings. The water supply facility on the southeastern shore, being the suspected water supply hole, seems to have some connection with the granite waterway remaining on the building site of Imhaejeon (臨海殿) on the southern side of Wolji Pond. It is inferred that it provides clean water, seeing that the slope towards the southwestern shore of Wolji Pond becomes lower, the landscaping stones have been placed in the filter area, and it is present in the 1920's survey drawings and the water supply hole survey drawing of 1975. The water drainage facility on the northern shore is composed of five stages. The functions of the wooden waterway and the rectangular stone water catchment facility seem not to be only for the water drainage of Wolji Pond. In light of the points that there are wood plugs in the wooden waterway and that there is a water catchment facility in the final stage, it is judged that the water of Balcheon Stream (撥川) may be charged in reverse according to this setup. Namely, the water could enter and exit in either direction in the water drainage facility on the northern shore It also seems that the supply to the wooden waterway could be opened and shut through the water catchment facility of rectangular stone group as well. The water drainage facility on the western shore is very similar to the water drainage facility on the northern shore, so it is difficult to avoid the belief that it existed during the Silla Dynasty, or it has been produced by imitating the water drainage facility on the northern shore at some future point in time. It seems to have functioned as the water drainage facility for the supply of agricultural water during the Joseon Dynasty. The water supply and drainage facilities in Wolji Pond have been understood as a systematized distribution network that has been intertwined organically with the facility of Donggung Palace, which was the center of the Silla capital. Water has been supplied to each facility group, including Wolji Pond, through this structure; it includes the drainage system connecting to the Namcheon River (南川) through the Balcheon Stream, which was an important canal of the capital center.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.123-154
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• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.