• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.139-172
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• 2023

This study aims to look into the concept of Human Mind and Moral Mind and the issue of their axiological interpretation in Daesoon Thought. In the Song dynasty, the concept of the Human Mind and Moral Mind was understood as indicating two aspects of the universal Human Mind. Discourse on this theory was undertaken by scholars such as Cheng Yichuan (程伊川), Su Shi (蘇軾), and Zhu Xi (朱熹). The differences between the Human Mind and Moral Mind were interpreted as issues of cultivation. The discussion of the Human Mind and Moral Mind were established through a systematic theory by Zhu Xi, and this developed into various forms of discourse and ideological stances thereafter. One of the most important issues of the Human Mind and Moral Mind theory was its axiological interpretation, which was divided largely into three patterns. One was to interpret the Human Mind and Moral Mind as evil and good respectively (proponents included Cheng Yichuan and Zhu Xi in his early theories), the other one saw them as value-neutral and good (proponents included Zhu Xi, Toegye 退溪, and Yulgok 栗谷), and the last one interpretation held them as pre-evil and pre-good (Dasan 茶山). As the Human Mind and Moral Mind can be seen as a universal human issue, the examination of those patterns in the Confucian tradition would be meaningful for understanding the Human Mind and Moral Mind as a theoretical base in Daesoon Thought. In Daesoon Thought, the Human Mind and Moral Mind are defined as private and public respectively, but no further explanation is provided regarding these items. If we infer by considering the two in the light of the overall ideology and values that Daesoon Jinrihoe pursues, the Human Mind can be said to represent basic biological desires such as clothing, food, and sexual satisfaction all of which are human vital activities needed for the preservation of the human race. The Moral Mind can be seen as a mind that is set upon practicing morality and realizing the ideological aims of 'supporting the nation and comforting the people,' 'vast saving all creatures,' and achieving 'harmony and peace for humankind.' However, the conscience and the selfish mind, which are related axiologically to the Human Mind and the Moral Mind, are defined respectively as good and evil and explained in a relatively systematic way which includes conceptual claims and details on the origin of these aspects of mind. The reason why the discussions of the conscience and selfish mind are more systematically described than the Human Mind and Moral Mind seems to be that issues relating to the conscience and selfish mind are more directly applicable to matters of religious doctrine.

• Journal of Korean Dental Hygiene Science
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• v.1 no.2
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• pp.9-19
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• 2018

The purpose of this study was to examine the state of conflicts among dental health care workers. A survey was conducted on 266 dental hygienists and nursing assistants who worked in dental institutions from September 12 to November 13, 2017, and SPSS(statistical package for the social science) version 20.0 was employed to analyze the collected data. The findings of the study were as follows: 1. The most common reason of the dental hygienists for turnover was working hours and heavy workload(24.6%), followed by pay (22.6%), conflicts with dentists(16.0%) and conflicts with colleagues (11.3%). The most dominant reason of the nursing assistants for turnover was pay(31.1%), followed by working hours(24.4%), heavy workload(17.8%), conflicts with dentists(15.6%) and conflicts with colleagues(8.9%). 2. The largest reason for unsuccessful communication with dentists was that heavy workload reduced the opportunity to communicate well(54.5%). The second biggest reason was that they couldn't communicate well though they had the opportunity(24.0%), and the third greatest reason was that they tended to lag behind dentists in terms of professional knowledge(16.9%). 3. The biggest reason for unsuccessful communication among the dental health care workers was that they didn't have a lot of chances to communicate well on account of heavy workload(41.0%). The second largest reason was the differences in professional knowledge(24.9%), and the third greatest reason was that they couldn't communicate well though they had the chance(23.7%). 4. The most dominant reason for conflicts with dentists was the difference in power(24.0%), followed by poor communication skills(22.1%) and a lack of mutual respect(18.1%). But the opinions of the nursing assistants were different from those of the dental hygienists, as they cited poor communication skills as the most common reason, which was followed by the difference in power and a shortage of understanding of each other's work. 5. The most common reason for conflicts among the dental health care workers was a shortage of communication and communication skills(22.9%), and the second most dominant reasons were a lack of mutual respect and poor understanding of each other's work(17.5%), followed by a lack of mutual respect(17.2%). 6. As to the ways of resolving conflicts with dentists, the most common case was making some mutual concessions to compromise (28.9%), followed by delivering opinions through the staff meeting (23.9%), resolving conflicts by candidly exchanging opinions(15.8%), avoiding each other in moderation(11.7%) and following the opinions or assertions of dentists(1.3%). 7. Concerning the conflict resolution methods among the dental health care workers, the most prevalent way was making some mutual concessions to compromise(36.4%), followed by resolving conflicts by candidly exchanging opinions(23.0%) and conveying opinions through the staff meeting(18.5%). 8. Regarding communication among the dental health care workers, the dental hygienists(3.53±.729) considered themselves to be better at communicating than the nursing assistants(3.29±.745) did(p<0.05), and the dental hygienists(3.45±.809) who thought there was respectful treatment among workers who were different in occupational categories found themselves to be better than the nursing assistants(3.21±.952) who had the same thought did(p<0.05). As a result of analyzing whether frequent job-related meetings occurred among the workers whose occupational categories were different, the dental hygienists(3.05±.975) perceived that there were more frequent meetings than the nursing assistants(2.67±.955) did (p<0.01).

• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.149-183
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• 2022

The oracle of the I Ching, divination can be understood as 'synchronicity phenomenon' in analytic psychology. In order to experience divination actually, it requires a religious attitude that asks questions with a serious mind when a person is in trouble that consciousness reaches its limit. It is not just a passive attitude, but a modest, active attitude to ask what I can do now. The experience of the oracle of the I Ching connected to supra-consciousness is similar to 'active imagination'-talking with the archetype of collective unconsciousness-and is 'the process of finding the rhythm of Self-archetype, the absolute wisdom of unconsciousness.' One month before my father's death, I took care of him who couldn't communicate verbally and I divination with a question 'What can I do for my father and me now?' The I Ching's answer was hexagram 19 Lin 臨, nine at the beginning. It's message was '咸臨貞吉 joint approach. perseverance brings good fortune.' 志行正也 we must adhere perseveringly to what is right.' Through this phrase, I learned the attitude of waiting for life after death as if 'joyful obedient' to the providence of nature that spring comes after winter. And I found that keeping the touching emotion of meeting infinity (in analytical psychological terms, 'Self') with perseveration is to do the true meaning of life beyond popular money-mindedness. And six months before my father's death, I had a dream about the afterlife. In the process of interpreting that dream, I learned not only from the shock of the direct message that 'it is a truth that there is something after death,' but also the regeneration of the mind through introversion from the similarity between the closed ward and '黃泉'-chinese underworld through amplification. And I learned the importance of an open attitude to accept new things through the 'window to eternity' symbolized by the white iron gate. In my father's catholic funeral ritual, I had hope that the catholic doctrine 'Communio Sanctorum'-A spiral cycle in which the living and the dead help each other may be real as well as a symbol of the individuation process in which consciousness and unconsciousness interact in our minds. Through the consolation received through the funeral visit of many people I met in my life, I found the answer that the path to contact with infinity begins with loving the beings in front of me. I tried to understand this continuous experience by the perspective of analytical psychology.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.

• Sim-seong Yeon-gu
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• v.26 no.1
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• pp.67-88
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• 2011

Pungsu is an ancient logic that systemizes geography based on the Yin-Yang and The Five Elements Principle. It is defined as the unique and highly systemized ancient Eastern art of selecting auspicious sites and arranging harmonious structures such as graves, houses, and cities on them by evaluating the surrounding landscape and cosmological directions. Pungsu helps allegedly one improve life by receiving vital energy(Shengqi, 生氣)-energy flow that flows under the ground. It is traditional belief that the living lead their lives on the ground, indirectly receiving the energy coming out of the ground, whereas the dead are buried under the ground, allowing them to directly absorb energy from the ground, which makes Shengqi the dead receive bigger and more obvious than that the living receive. This energy absorbed by the dead from the ground was believed to be passed on to their descendants. This phenomenon is called "Induction of vital energy between Ancestors and Descendants". People searched for the sites which were believed to contain rich and positive vital energy flow. They also tried to bury their ancestors under such sites hoping to receive the Shengqi coming from underground which they believed would help them thrive and prosper. The efforts to locate the sites which have the most vital energy, auspicious sites or "Bright Yard(明堂)", are easily observed in Asia including China and Korea. The ultimate goal of searching for auspicious sites lies in human(whether alive or dead) receiving vital energy from the nature to enjoy happy lives. In choosing a place to live or to bury their dead ancestors, people tried to understand the energy flow of the site considering the factors related with mountain, water, and direction. If we take a closer look into the methods of finding auspicious sites, we can see that people have tried to see the outer conditions of lands, mountains and waters within the perfect harmony if possible. Auspicious site or Bright Yard is the site with those elements in perfect order and harmony, that is, it is the place which derives the most vital energy from the best order and harmony of nature. As this shows, an auspicious site symbolizes totality-the Self, and it seems to be projected to the land. It is believed to be an attempt that the reason why we try to find auspicious sites to internalize the totality that we projected to the outer world. Therefore, this auspicious site is what our foremost values, symbol of the Self, such as harmony, equilibrium, perfection, and uniqueness are reflected to the land. Through the process of finding such a site, we try to gain totality of psyche.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.162-178
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• 2024

Swans are representative migratory birds that spend winter in East Asia, and have long been considered rare birds. In particular, they were regarded as king of Japan. The process of designating a natural monument in Hapcheon Swan Sanctuary is an interesting story. In this study, the designation and release process of Hapcheon Swan Sancturay ((Bakgok-ji, Yongju-myeon 龍州面 朴谷池), (Jeongyang-ji, Daeyang-myeon 大陽面 正陽池), Gaho, Cheongdeok-myeon 淸德面 嘉湖)) Natural Monument, was examined. These places were designated as a natural monument on August 27, 1934, during the Japanese colonial period, and was lifted on August 14, 1973, after the Cultural Protection Act was enacted after liberation. From the beginning of the new year in 1929, the Japanese Government-General of Korea (朝鮮總督府) decided to capture swans alive to give to the king of Japan. An official of the Japanese Government-General of Korea (統監) decided to offer swans to the king during his New Year's greeting visit. The department in charge of capturing swans was the Gyeongsangnam-do Provincial Police Department, and the execution was the police station of each county (郡). The reason is believed to be that it is easy to forcibly mobilize, control, or urge people, and the capture activity had to be completed as soon as possible. A total of three swans were captured in Hapcheon-gun from January 12 to 14, 1929. At that time, various newspapers published related information. Based on these facts and experiences, it is estimated that the Hapcheon area was selected when designating a natural monument in 1934. Hapcheon Swan Sancturay, Natural Monument lost its function due to excessive human interference of various developments, illegal capture, and use of poison to catch swans. Their number has also significantly decreased. It was thus removed from the natural monument in 1973. One of the three swan sanctuaries (Gaho 嘉湖) has been completely reclaimed, one (Bakgok-ji 朴谷池) has almost no migratory birds due to the conversion of wetlands, and one (Jeongyang-ji 正陽池) has swans flying back. In the case of Jeongyangji (正陽池), It is an encouraging sign that many swans fly as the surrounding environment and growing conditions change. This phenomenon is interpreted to mean that nature and climate are recovering and healing.

• Journal of the Korean earth science society
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• v.45 no.3
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• pp.203-213
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• 2024

This study aimed to investigate the seasonal patterns of multiple bar formation in summer and flattening in winter on the macrotidal Sinduri beach in Taean, and to understand the processes their formation and subsequent flattening. Beach profiling has been conducted regularly over the last four years using a VRS-GPS system. Surface sediment samples were collected seasonally along the transectline, and grain size analyses were performed. Tidal current data were acquired using a TIDOS current observation system during both winter and summer. The Sinduri macrotidal beach consists of two geomorphic units: an upper high-gradient beach face and a lower gentler sloped intertidal zone. High berms and beach cusps did not develop on this beach face. The approximately 400-m-wide intertidal zone comprises distinct 2-5 lines of multiple bars. Mean grain sizes of sand bars range from 2.0 to 2.75 phi, corresponding to fine sands. Mean sizes show shoreward coarsening trend. Regular beach-profiling survey revealed that the summer profile has a multi-barred morphology with a maximum of five bar lines, whereas, the winter profile has a non-barred, flat morphology. The non-barred winter profiles likely result from flattening by scour-and-fill processes during winter. The growth of multiple bars in summer is interpreted to be formed by a break-point mechanism associated with moderate waves and the translation of tide levels, rather than the standing wave hypothesis, which is stationary at high tide. The break-point hypothesis for multi-bars is supported by the presence of the largest bar at mean sea-level, shorter bar spacing toward the shore, irregular bar spacing, strong asymmetry of bars, and the 10-30 m shoreward migration of multi-bars.

• Korean Journal of Organic Agriculture
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• v.32 no.2
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• pp.247-265
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• 2024

The aim of the study was to assess whole farm nitrogen (N)-balance in organic Hanwoo farms of different recycling types. N input, output and within-farm N flows were calculated as a farm-gate balance on 12 organic Hanwoo farms. The observed farms were divided into three groups: as (a) recycling farms, with a forage cultivation area (more than 0.1 ha), (b) semi-recycling farms (0.01-0.1 ha) and (c) with non-recycling farms (less than 0.01 ha). The self-sufficiency forage crops for animal feed was 44.4, 15.0, and 4.2% in recycling farms, semi-recycling farms and non-recycling, respectively. The recycling rate of compost was 98.8, 63.8, and 20.6% in recycling farms, semi-recycling farms and non-recycling farms, respectively. The annual farm-gate N surplus (input-output) per head was 42, 47, and 55 kg in recycling farms, semi-recycling farms and non-recycling, respectively. The mean annual N balance per head in recycling farms was less than 28% of non-recycling. The field nitrogen budgets showed 234, 1,161, and 5,476 kg N ha^-1 year^-1 in recycling farms, semi-recycling farms and non-recycling farm, respectively. N-surplus reductions of in recycling farms was 5-23 times lower compared to the semi-recycling farms and non-recycling farm. The nitrogen use efficiency (NUE) was 54, 36, and 29%, in recycling farms, semi-recycling farms, and non-recycling farm, respectively. Results showed that compost recycling through crop-livestock recycling farm is significant in the contributing to circulating N balance and to greater efficiency and productivity. The recycling organic Hanwoo farm had the low N balance and the high NUE. To reduce the N balance, we considered how to increase the amount of recycling by using self production compost. The self production forage crops was mainly considered to reduce the N balance by decreasing input of purchased feeds and increasing crop production and recycling rate of compost.

• Journal of Bio-Environment Control
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• v.33 no.1
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• pp.71-78
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• 2024

Among the various environmental conditions necessary for growing crops, light is closely related to the anthesis. This study aimed to determine the optimal photoperiod affecting floral differentiation in an edible flower, marigold, to efficiently cultivate the crops in a closed-type plant factory. The experiment was conducted with photoperiods of 4, 8, 12, and 16 hours. French marigold (Tagetes patula L.) 'Durango Red' seeds were sown in polyurethane sponges, and the photoperiod treatments were applied immediately. The extent of floral differentiation was examined at 2-3 day intervals, defined as the visible appearance of flower buds at least 2 mm in size. The growth parameters such as shoot fresh weight and dry weight, height, and leaf area were measured. The optimal photoperiod was determined based on the days when the floral differentiation had occurred in 50% of the total plants. In the 4-hour treatment, proper growth and flower buds did not appear. From the 8-hour treatment, the plant grew normally, and floral differentiation occurred, however, the 8-hour treatment showed the slowest floral differentiation compared to the 12 hours treatments or more. The 12- and 16-hour treatments didn't show significant differences in floral differentiation. While the 16-hour treatment exhibited the highest results in all growth parameters, it was not significantly different from the 12-hour treatment except for shoot dry weight and leaf area. According to the results, 8 hours of photoperiod induced floral differentiation. However, more time was required for flower bud formation, and plant growth was significantly lower compared to photoperiods of 12 hours or more. Considering the energy consumption and its growth, the optimal photoperiod for marigold was 12 hours.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.