• Communications of Mathematical Education
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• v.13 no.2
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• pp.563-589
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• 2002

고학년으로 갈수록 지필 환경에만 머무르는 현실 속에서 생활 및 예술 작품 등에서 수학적 원리와 개념을 발견하도록 하는 테셀레이션 수업은 학생들의 흥미와 호기심을 유발하고 수학의 아름다움을 느끼게 하는 것 이상으로 기하학적 사고의 기초를 학습하는데 도움을 줄 수 있다. 이에 본 연구는 4학년까지 적용되고 있는 7차 교육과정을 중심으로 새롭게 등장하고 있는 테셀레이션에 대한 이해 및 교수 학습 자료가 체계적으로 정비되어 있지 못한 현실적인 문제의 해결 방안으로서 테셀레이션을 활용한 수학 학습의 내용을 분석하여 교사들에게는 테셀레이션의 이해 및 교수 학습 자료로서 , 학생들에게는 수학의 기하적 개념들을 쉽고 재미있게 학습할 수 있는 학습도구로서 활용할 수 있도록 하는 것을 목적으로 테셀레이션을 구현할 수 있는 컴퓨터 소프트웨어를 활용하여 테셀레이션 교수 학습 자료를 개발하였고 이를 위해 다음과 같은 연구 내용을 설정하였다. 가. 테셀레이션의 정의와 예 그리고 종류를 알아보고 테셀레이션 속의 수학적 개념을 활용방법과 함께 제시한다. 나. 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 테셀레이션을 적용할 수 있는 내용영역을 분석하고 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한다. 다. 제작된 테셀레이션 교수 학습 자료의 효과적 활용을 위한 활용 방안을 탐색한다. 라. 제작된 테셀레이션 교수 학습 자료의 활용 효과를 알아보기 위해 적용 실험을 하고 이에 대한 학생들의 반응을 분석하여 학습의 효과를 밝힌다. 제작된 테셀레이션 교수 학습 자료의 적용 실험을 위하여 광주대성초등학교 6학년 한 반을 선정하였고 약 4주에 걸쳐 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료를 투입하여 4번의 활동수업을 실시하였다. 수업 후 작성된 학습지와 소감문 및 연구자에 의해 관찰된 수업내용을 바탕으로 다음과 같은 연구 결과를 얻을 수 있었다. 첫째, 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한 결과 지필적 환경에서 제한적이었던 탐구하고 조작해보는 활동을 할 수 있는 역동적인 수학 실험실 환경이 제공됨으로써 도구적 이해가 아닌 관계적 이해를 하는 것을 확인할 수 있었다. 수학적 개념을 암기하는 것에서 벗어나 자연스런 조작을 통해 학생들이 개념을 이해하고 탐구하는 과정 속에서 학생들은 수학을 공부한다기 보다는 수학 속에서 재미있게 놀이한다는 생각을 가지고 수업에 참여하였고 배우는 즐거움을 알고 자신감을 가지며 더 나아가 창의적인 생각을 하도록 하는 기회를 줄 수 있었다. 둘째, 테셀레이션은 우리 생활 속에서 쉽게 발견할 수 있는 것으로 수학이 단순히 책에서만 한정되지 않고 다양한 분야 즉 디자인, 생활 속에서의 벽지문양과 포장지, 예술작품 등에 활용되고 있음을 체험함으로써 수학이 실생활에 광범위하게 활용되고 있음을 알게 하였다. 역으로 생활 속에서의 테셀레이션을 통해 수학적 개념을 찾는 과정을 통해 수학이 아름다우면서도 실용적이라는 생각을 심어줄 수 있었다. 셋째, 테셀매니아, GSP, 캐브리, 거북기하 등 평소 수업에서는 활용도가 적은 컴퓨터 소프트웨어를 활용함으로써 컴퓨터 소프트웨어 자체에서 오는 호기심뿐만이 아니라 직접 조작하여 테셀레이션 작품과 개념을 익히고 새로운 작품과 학습을 해 내는 과정을 통해 자신감과 성취감 등에 있어 큰 변화가 있음을 발견할 수 있었다. 컴퓨터 기능이 미숙한 학생의 경우 처음에는 당황해 하고 어려워하는 부분도 있었으나 조작할 시간적 여유를 주고 교사와 우수한 학생들이 도우미로서 역할을 잘해내어 나중에는 큰 어려움 없이 마칠 수 있었다. 테셀레이션이라는 용어가 아직은 생소한 현장에서 교수 학습 자료가 부족하고 그에 따른 이해도 부족한 현실 속에서 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료가 교수 학습 현장에 투입되어 유용하게 사용될 수 있는지 그 가능성을 조사한 것을 목적으로 한 본 연구의 결과로서 테셀레이션이라는 주제는 도형 영역과 규칙성과 함수 영역에서 평면 도형의 각과 모양 등의 성질을 탐구하게 하고, 대칭변환의 개념을 효율적으로 학습하게 할 수 있고, 반복되는 모양에서 규칙성을 발견하고 부분과 전체를 파악하여 패턴을 인지할 수 있게 하며 제작하고 분석하는 과정을 통해 여러 가지 수학적 개념과 수학적 창의성, 수학적인 아름다움을 느끼게 할 수 있음을 발견할 수 있었다. 또한 테셀레이션은 수학적 개념은 물론 수학과 미술, 수학과 일상 생활과의 연결성을 논의하고 확인하는 데 흥미로운 주제가 될 수 있다. 초등학교 교육과정에서 새롭게 도입되고 있는 테셀레이션을 활용하여 지도하기 위한 교수 학습 자료로 유용하게 사용될 수 있고 앞으로는 테셀레이션과 관련된 내용이 직접적으로 교육과정 내에서 다루어지고, 또한 테셀레이션을 적용한 수업이 학생들의 기하학적 사고 및 수학적 태도에 미치는 영향과 관련한 연구가 뒤따라야 할 것으로 본다.

• Proceedings of the Korean Vacuum Society Conference
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• 2014.02a
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• pp.476-476
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• 2014

서론: 저 전력 소모를 필요로 하는 무선 센서 네트워크 관련 기술의 급격한 발달과 함께 자체 전력 수급을 위한 진동 에너지 수확 기술에 대한 연구가 활발히 이루어지고 있다. 다양한 구조와 소재를 압전 외팔보에 적용하여 제안하고 있다. 그 중에서도 진동 기반의 에너지 수확 소자는 주변 환경에서 쉽게 진동을 얻을 수 있고, 높은 에너지 밀도와 제작 방법이 간단하다는 장점을 가지고 있어 많은 분야에 응용 및 적용 가능하다. 기존 연구에서는 2차원적으로 진동 에너지 수확을 위한 휜 구조의 압전 외팔보를 제안 하였다. 휜 구조를 갖는 압전 외팔보는 각각의 짧은 두 개의 평평한 외팔보가 일렬로 연결된 것으로 볼 수 있다. 하나의 짧고 평평한 외팔보는 진동이 가해지면 접선 방향으로 응력이 생겨 최대 휨 모멘텀을 갖게 된다. 그러므로 휜 구조를 갖는 외팔보는 진동이 인가됨에 따라 길이 방향과 수직 방향으로 진동한다. 하지만, 이 구조는 수평 방향으로 가해지는 진동에 대한 에너지를 수확하기에는 한계점을 가진다. 즉, 3축 방향에서 임의의 방향에서 진동 에너지를 수확하기는 어렵다. 본 연구에서는 3축 방향에서 에너지를 효율적으로 수확할 수 있도록 헤어-셀 구조의 압전 외팔보 에너지 수확소자를 제안한다. 제안된 소자는 길이 방향과 수직 방향뿐만 아니라 수평 방향으로도 진동하여 임의의 방향에서 진동 에너지를 수확할 수 있다. 구성 및 공정: 제안하는 소자는 3축 방향에서 임의의 진동을 수확하기 위해서 길이를 길게 늘이고 길이 방향을 따라 휘어지는 구조의 헤어-셀 구조로 제작하였다. 외팔보의 구조는 외팔보의 폭 대비 길이의 비가 충분히 클 때, 추가적인 자유도를 얻을 수 있다. 그러므로 헤어-셀 구조의 에너지 수확 소자는 기본적인 길이 방향, 수직방향 그리고 수평방향에 더불어 추가적으로 뒤틀리는 방향을 통해서 3차원적으로 임의의 주변 진동 에너지를 수확하여 전기적인 에너지로 생성시킬 수 있다. 제작된 소자는 높은 종횡비를 갖는 무게 추($500{\times}15{\times}22{\mu}m3$)와 길이 방향으로 길게 휜 압전 외팔보($1000{\times}15{\times}1.7{\mu}m3$)로 구성되어있다. 공정 과정은 다음과 같다. 먼저, 실리콘 웨이퍼 위에 탄성층을 형성하기 위해 LPCVD SiNx를 $0.8{\mu}m$와 LTO $0.2{\mu}m$를 증착 후, 각각 $0.03{\mu}m$과 $0.12{\mu}m$의 두께를 갖는 Ti와 Pt을 하부 전극으로 스퍼터링한다. 그리고 Pb(Zr0.52Ti0.48)O3 박막을 $0.35{\mu}m$ 두께로 졸겔법을 이용하여 증착하고 상부 Pt층을 두께 $0.1{\mu}m$로 순차적으로 스퍼터링하여 형성한다. 상/하부 전극은 ICP(Inductively Coupled Plasma)를 이용해 건식 식각으로 패턴을 형성한다. PZT 층과 무게 추 사이의 보호막을 씌우기 위해 $0.2{\mu}m$의 Si3N4 박막이 PECVD 공정법으로 증착되고, RIE로 패턴을 형성된다. Ti/Au ($0.03/0.35{\mu}m$)이 E-beam으로 증착되고 lift-off를 통해서 패턴을 형성함으로써 전극 본딩을 위한 패드를 만든다. 초반에 형성한 실리콘 웨이퍼 위의 SiNx/LTO 층은 RIE로 외팔보 구조를 형성한다. 이후에 진행될 도금 공정을 위해서 희생층으로는 감광액이 사용되고, 씨드층으로는 Ti/Cu ($0.03/0.15{\mu}m$) 박막이 스퍼터링 된다. 도금 형성층을 위해 감광액을 패턴화하고, Ni0.8Fe0.2 ($22{\mu}m$)층으로 도금함으로써 외팔보 끝에 무게 추를 만든다. 마지막으로, 압전 외팔보 소자는 XeF2 식각법을 통해 제작된다. 제작된 소자는 소자의 여러 층 사이의 고유한 응력 차에 의해 휨 변형이 생긴다. 실험 방법 및 측정 결과: 제작된 소자의 성능을 확인하기 위하여 일정한 가속도 50 m/s2로 3축 방향에 따라 입력 주파수를 변화시키면서 출력 전압을 측정하였다. 먼저, 소자의 기본적인 공진 주파수를 얻기 위하여 수직 방향으로 진동을 인가하여 주파수를 변화시켰다. 그 때에 공진 주파수는 116 Hz를 가지며, 최대 출력 전압은 15 mV로 측정되었다. 3축 방향에서 진동 에너지 수확이 가능하다는 것을 확인하기 위하여 제작된 소자를 길이 방향과 수평 방향으로 가진기에 장착한 후, 기본 공진 주파수에서의 출력 전압을 측정하였다. 진동이 길이방향으로 가해졌을 때에는 33 mV, 수평방향으로 진동이 인가되는 경우에는 10 mV의 최대 출력 전압을 갖는다. 제안하는 소자가 수 mV의 적은 전압은 출력해내더라도 소자는 진동이 인가되는 각도에 영향 받지 않고, 3축 방향에서 진동 에너지를 수확하여 전기에너지로 얻을 수 있다. 결론: 제안된 소자는 3축 방향에서 진동 에너지를 수확할 수 있는 에너지 수확 소자를 제안하였다. 외팔보의 구조를 헤어-셀 구조로 길고 휘어지게 제작함으로써 기본적인 길이 방향, 수직방향 그리고 수평방향에 더불어 추가적으로 뒤틀리는 방향에서 출력 전압을 얻을 수 있다. 미소 전력원으로 실용적인 사용을 위해서 무게추가 더 무거워지고, PZT 박막이 더 두꺼워진다면 소자의 성능이 향상되어 높은 출력 전압을 얻을 수 있을 것이라 기대한다.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.134-149
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• 2013

The Sudang-ri Site in Geumsan is considered the historic site where Baekje dominated the inland traffic route to Gaya through Geumsan and Jinan in the 5th Century. This study identified the production techniques of iron by conducting an analysis of metallographical microstructure of the artifacts such as an iron sword and an iron sickle that were excavated in Sudang-ri Site, Geumsan, one of the regions ruled by Baekje, and tried to figure out the characteristics and the technical systems of Baekje's ironmaking around the 5th Century by comparing them with other iron artifacts produced around the same time. The analysis showed that various production techniques were applied to the artifacts excavated in Sudang-ri Site, Geumsan. Depending on the production techniques, they can be divided largely into three methods: the simple shape-forging method, the steel manufacture method after forging, and the steel manufacture & heat-treatment method after forging. The iron sickle from the stone chamber tomb No. 1, which was produced only through forging, is mostly composed of soft ferrite at both edges of the blade and at the rear making the use of the weapon impractical. From this fact, it is presumed that they were produced as burial objects or ceremonial accessories for the person buried. The iron axe from the outer stone coffin tomb No. 1 and the iron swords and sickle from the outer stone coffin tomb No. 12, which were produced through the steel manufacture method after forging such as carburizing, did not go through the heat treatment such as quenching, but applied different production processes to each part. Therefore, it is deemed that they were produced as daily tools for cultivation rather than burial objects or ceremonial accessories. The production techniques following the forging process - carburizing and heat treatment - can be found on the iron swords from the outer stone coffin tomb No. 5 and the outer stone coffin tomb No. 12. The sturdy structure of the blade part and the durable structure of the rear processed with heat are deemed to have been produced as weaponry and used by the person buried. Based on the analysis of the iron artifacts excavated from Sudang-ri Site in Geumsan, the characteristics of iron production techniques were investigated by comparing them with the artifacts from Yongwon-ri Site in Cheonan, Bongseon-ri Site in Seocheon, and Bujang-ri Site in Seosan that were made around the same time as the cluster of Baekje tombs examined by the metallographical microstructure analysis of this study. For the iron artifacts analyzed here, the changes in the techniques were investigated using the iron swords common in all of the tombs. In the case of the iron swords, it was identified the heat treatment technique called tempering was applied from the 4th Century.

• Korean Journal of Agricultural and Forest Meteorology
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• v.21 no.3
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• pp.167-174
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• 2019

A process-oriented crop growth model can simulate the biophysical process of rice under diverse environmental and management conditions, which would make it more versatile than an empirical crop model. In the present study, we examined chronology and background of the development of the rice growth models in Korea, which would provide insights on the needs for improvement of the models. The rice crop growth models were introduced in Korea in the late 80s. Until 2000s, these crop models have been used to simulate the yield in a specific area in Korea. Since then, improvement of crop growth models has been made to take into account biological characteristics of rice growth and development in more detail. Still, the use of the crop growth models has been limited to the assessment of climate change impact on crop production. Efforts have been made to apply the crop growth model, e.g., the CERES-Rice model, to develop decision support system for crop management at a farm level. However, the decision support system based on a crop growth model was attractive to a small number of stakeholders most likely due to scarcity of on-site weather data and reliable parameter sets for cultivars grown in Korea. The wide use of the crop growth models would be facilitated by approaches to extend spatial availability of reliable weather data, which could be either measured on-site or estimates using spatial interpolation. New approaches for calibration of cultivar parameters for new cultivars would also help lower hurdles to crop growth models.

• Korean Journal of Environmental Biology
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• v.41 no.4
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• pp.637-656
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• 2023

River estuaries are dynamic and productive ecosystems with high regional biodiversity. Environmental DNA (eDNA) has become a useful approach to assessing biodiversity in aquatic ecosystems. This study was conducted to investigate fish community characteristics and species diversity in two river estuary ecosystems, the Taehwa River and Changwon Stream. We further compared conventional and eDNA metabarcoding analyses of the fish communities. The conventional survey was performed in May, July, and October 2022, while the eDNA analysis was conducted only in May. We observed various fish species with different life histories, including carp, goby, and marine fish. We also found that migratory fish, such as dace Tribolodon hakonensis, sweetfish Plecoglossus altivelis, and eel Auguilla japonica, occurred in the Taehwa River, suggesting high river connectivity. Marine fish species were predominant in the Changwon Stream, as this river is located close to the sea. The diversity indices showed that the Taehwa River generally had higher species richness, evenness, and diversity values than the Changwon Stream. A total of 9-19 species were detected in the conventional survey for the three sites, whereas 11-18 species were found from eDNA analysis. The findings indicate that the sensitivity of eDNA was similar to or higher than that of the conventional method. Our study findings suggest the efficiency and efficacy of eDNA-based fish community monitoring, although with some shortcomings in applying the genetic marker to Korean fish, including no clear-cut distinction for Korean endemic species and/or genetically closely related species groups.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.19-31
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• 2021

This study tried to identify the characteristics of college students' entrepreneurial intentions in the entertainment industry, focusing on existing literature studies. Based on this, it was intended to suggest realistic educational alternatives for university student start-ups and implications for start-up management to university start-up officials and those in charge of national start-up support policy. Therefore, the implications of this study are as follows. First, technology(item) for idea creation education, which is an essential element in the entertainment industry, how to connect ideas and products, technology methods that can increase content value, and user characteristics education within the entertainment industry will need to be continued. In addition, along with the idea education, it is necessary to increase the understanding of start-up business management such as financing, human resource management, marketing, and operation management, and furthermore, confidence education should be provided so that the possibility of success in an entertainment start-up and a sense of adventure in a new job can be developed. Second, the space and equipment necessary for start-up (club room, student start-up room, entertainment-related equipment, etc.) should be provided centering on the opinion survey of students who are interested in starting a business, and various regulations of universities and government for student start-up should be relaxed. will have to In addition, education for the formation of entrepreneurial knowledge inside and outside of the school, special lectures and consultations by experts, and on-the-spot education, etc., should be made to create more practical entrepreneurial knowledge. something to do. Third, for students wishing to start a business in the entertainment industry, it is necessary to inform their families about the field situation of the entertainment industry accurately so that their children can develop a positive perception rather than a negative perception when choosing a business field. In addition, by promoting various successful cases of college students to their families after starting a business, families should be encouraged so that their children can develop a challenging spirit about starting a business. Fourth, it should be possible to form continuous clubs or gatherings with friends who wish to start a business in the entertainment industry, and furthermore, an opportunity to listen to the opinions of friends who actually started a business through these meetings should be provided. In addition, the meeting and the formation of friends should create a place for discussion about writing a business plan, how to succeed in starting a business, and management of startups, and psychological stimulation activities should be conducted so that each other's will to start a business arises. Fifth, various knowledge related to start-up (methods for securing funds, management of start-up organizations, grasping information about the market in which they want to start a business, etc.) should be cultivated, and how to write a business plan for the various entertainment industry fields they want to start up. You will also need to train them to be practical. Also, based on this knowledge formation, students themselves should be able to respond to risks and changes that may occur in entrepreneurship. Lastly, it is necessary to increase the understanding of business start-up management, and various psychological stimulation activities are needed to make the confidence and fear of starting a business disappear.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.