• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• Archives of design research
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• v.12 no.2
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• pp.157-168
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• 1999

Stone in the Cho Sun Dynasty has been used as the material of industry arts, widely building materials and an important material for the artistic design. But it has been generally used as an use of practical living Product like, suban, a metal printing type, a fire place, a pillowcase, a pencil case, etc, and ornament with the quality of stone material and the aesthetic view. There are several problems as like size, quantity, delivery and processing method with the stne material according to its variety and selection. Accordingly it has been studied through the whole process of shape, a material selection of design and processing method as well as studying about small stone crafts which were manufactured in the Cho Sun Dynasty, considering these problems. Stone crafts in Cho Sun Dynasty has been widely used as a living tool. There was some what difference on manufacturing purpose on its technique of folk crafts of stone crafts, but, through the research of collected crafts, they were almost the same that social need, user's taste and hobby in those days were reflected in. In the result of analysis as dividing the stone crafts into daily living product, stationery and tool, the major of daily products have been manufactured with emphasis of practicability. And they have been manufactured from agalmatolite for the propose of use. further, kitchen product had no design due to the function and living products which has been used in the main living room has been carved with the decorative expression of the various form by using intaglic, relieve, inlaid technique, etc. For the stationery, it has been characterized with aesthetic point considering the decorative effects & selection of material in accordance with use. A material for manufacturing has been used in the range of agalmtolite, atopaz, a sapphire, white stone etc. As the result of this research, It was noticeable that there was the spleudidness on the expression of design and carving. It was also noticeable that black stone and guanite have been widely esed because it didn't need the delicacy as a tool.

• Journal of Korean Elementary Science Education
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• v.41 no.4
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• pp.701-724
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• 2022

In this study, the Nature of Science (NOS) instrument for elementary school students in the form of open questionnaires was developed specifically to reveal elementary school students' perceptions of the NOS, and its validity and effectiveness were investigated. To develop a NOS instrument for elementary school students, problems that may occur when applying the existing NOS instruments to elementary school students were analyzed and based on this, the development direction of the NOS instrument was established. In addition, after selecting seven NOS types suitable for the level of elementary school students, the preliminary instrument was produced by modifying and supplementing the items in the existing instruments for each type or by developing new items. Finally, the NOS instrument consisting of eight questions was developed by adding one question asking for a comprehensive understanding of science to seven questions related to each type of NOS after a content validity test of the science education expert group. To verify the practical effect of the developed instrument, pre- and post-tests were conducted on 50 students in two classes of sixth grade at two elementary schools in Seoul: 'existing instrument → development instrument' in one class, and 'development instrument → existing instrument' in the other class. The collected data were then compared and evaluated through summary content analysis and analyzed by executing the Wilcoxon signed-rank test. As a result of comparing and analyzing students' responses to the existing NOS instrument and the developed NOS instrument, students' perspectives on the NOS were more diverse when using the developed instrument, and the level of error in the response caused by misinterpreting the intention of the question was reduced. In addition, when using the developed instrument, the responses of the majority of students at a statistically significant level changed more specifically. In this study, the implications for the development of NOS instruments suitable for elementary school students were discussed based on these results.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• (The)Study of the Eastern Classic
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• no.57
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• pp.383-406
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• 2014

Mi-Am Yu Hee Choon (1513~1577) considered poetry as a part of his life. Therefore, this writer specifically focused on Mi-Am Yu Hee Choon's Chinese poems. The following is the conclusion from the materials discussed in this article. Mi-Am tried to understand literature in ethical perspective. The number of Chinese poems composed by Mi-Am is estimated to be about 300, and the number of pieces that this writer could find was 285. Also, Mi-Am took poem composition seriously, and put emphasis on content more than structure. Among Go Shi, Yul Shi, and Jul gu, Jul gu (especially Chil Un) is the largest in quantity, and it is presumed that he preferred Chil(seven) Un over Oh(five) Un. With regards to Go Shi, there are relatively many Jeon-Go. With regards to Jul gu, which was a poetry composing structure that Mi-Am could make the best use of, they were mostly about the daily lives. And with regards to Yul Shi, there were many poems that expressed his feelings about the real world and self-examination. Mi-Am's poems can be categorized into ones that he wrote when he was on exile, and ones that he wrote while serving for the king again after he got released from exile. During the exile period, self-discipline through learning, friendship, and love for the people were the main themes of his poems, and after being released and started serving for the king again, his poems were mostly about loyalty to the king, interaction with acquaintances, emotions, ancestor worship, self-examination, and conjugal affection through literary communion. Among Mi-Am's poems, there are many that have Eum Song Cha Un included in their titles, and the mainstream of his poems were related to daily lives or experiences. Also, most of them naturally and calmly expressed the fact itself without exaggerating. Mi-Am considered poetry as a part of his life and the fact that he practiced literary communion with his wife by writing poems about the ordinary things happened between him and his wife, Song Duk Bong, is worthy of notice.

• Journal of Legislation Research
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• no.41
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• pp.337-366
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• 2011

In this article, I intend to analyze the definition of an employee under the Trade Union Act in Japan. Recently, the Supreme Court of Japan held that not only opera singer but also customer engineer is an employee under the Act. Conclusions are as follows:First, it is noteworthy that the Supreme Court reaffirmed the principle of all circumstances established by CBC case. The case focused on deciding that who is an employee under the Act. Notwithstanding this holding of the Supreme Court, district courts and courts of appeals, in deciding this kind of question, have emphasized especially on the side of a legal right and obligation on a contract between an employer and a potential employee. Therefore an independent contractor has not been generally recognized as an employee under the Act. However, even though he or she was, as an independent contractor in name, offering its work to his or her putative employer, the Supreme Court applied the principle of all circumstances to both cases and held in favor on the workers on April, in 2011. Second, the Supreme Court failed to make a general legal principle for deciding that who is an employee under the Act. According to the above holdings of the Supreme Court, nobody can anticipate wether he or she is an employee or not in a concrete case. Finally, the Supreme Court did not also make its opinion clearly about the relations between an employee of the Section 3 of the Act and an employee whom an employer employs under the Section 7(2) of the Act. In conclusion, it can be said that the Supreme Court has narrowly and strictly interpreted an employee of the Section 3. That is to say, only where an employee is recognized as an employee of the Section 7(2), the employee will be also an employee of the Section 3. In Japan, however, the majority interprets that an employee by the Section 3 should be distinguished from the employee whom an employer employs by the Section 7(2). Consequently, according to the majority opinions, unemployed persons, students and citizens will be also included in the definition of an employee by the Section 3.

• The Journal of the Petrological Society of Korea
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• v.9 no.2
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• pp.99-118
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• 2000

The variation of Na(A), K, Na(M4), A l O and Al(VI)+Fe3++Ti+Cr in the zonal amphiboles from the amphibolites of the Hwanggangri area indicates that the tschermakite-, edenite- and glaucophane substitutions are higher in the rim than in the core, in which actinolite changes to hornblende with going outward from core to rim. The contents of substitutional elements of hornblende~ of three samples@l29-2, M76-2, M78), which include diopside and greenish brown hornblende and are thought to represent the highest metamorphic grade, are lower than those of rim homblendes of the lower metamorphic grade and are higher than those of core actinolite that they conform to the middle domain in those of the whole amphiboles. Considerations about the origin of zonal amphiboles are as follows. Firstly, two samples(R102-1, R210-9) have the same amphibole composition like core is actinolitic hornblende, and rim is magnesian hastingsite although plagioclases such as albite(R102-1) and labradorite (R210-9) show the wide compositional difference. It is impossible to produce both albite and labradorite by one metamorphic event. Judging from this wide compositional difference, the existence of zonal amphiboles does not indicate the miscibility gap but is thought to be the result of the polymetamorphism. Secondly, the crystallographically sharp and gradational interfaces between actinolite and hornblende fonned in the amphibolites rgardless of the distance from the granite. In case of the samples(R210-9, M128, M130) having the sharp interface between two amphiboles, the plagioclase show the compositions produced at the low grade and the medium grade. Because such variable compositions of plagioclase indicates the overprinting of metamorphism of higher metamorphic grade than that of the formation of miscibility gap, it implies that zonal amphiboles were formed by polymetarnorphism. In case of the gradational interface between two amphiboles, this texture is also thought to be the effect of polymetamorphism from the fact that this texture mainly occur near the granite and from the consideration of the metamporphic grade. The relationship between the compositional variations of the amphiboles and the pressure types of metamorphism suggests that actinolitic core is considered to be grown by the metamorphism of medium pressure, while hornblende rim is shown to have genetic relations with the metamorphism of low pressure type.

• 한국방재학회:학술대회논문집
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• 2011.02a
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• pp.28-28
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• 2011

국내의 건축물에 관한 통계정보는 국토해양부에 의해서 공표된 통계연보로서 2002년부터 매년마다 제공되고 있다.(국토해양통계누리, https : //stat.mltm.go.kr/potal/stat/yearReport.do) 건축물의 통계연보는 과거부터 2002년까지 매 3년마다 공표된 것으로 알려지고 있다. 이 통계연보에는 건축물 현황과 건축허가착공 통계가 수록되어 있다. 건축물 현황에는 2009년 말을 기준으로 기존 건축물이 전체 6,618,131동으로서 용도별, 층수와 연면적별 그리고 소유구분별 등의 구분에 따라 건축물의 동수에 관한 통계자료가 포함돼 있다. 건축허가 및 착공통계에는 용도별과 구조재료별의 분류에 따라 건축물의 동수에 관한 자료가 신축, 증축 개축 이전 대수선, 용도변경 등으로 분류되어 수록돼 있다. 한편 국내에서 건축물에 대한 내진설계기준이 1988년에 제정됨에 따라 법제화되었다. 이때 내진설계의 의무 대상건축물은 6층 이상 또는 연면적 1만$m^2$이상인 건축물로 규정되었다. 그 이후 내진설계 대상 건축물이 1996년부터 아파트는 5층 이상으로, 판매시설은 연면적 5천$m^2$이상으로 확대되었고, 2000년부터 숙박시설 오피스텔 및 기숙사는 5층 이상으로 확대되었으며, 2005년부터 내진설계 의무화 대상이 3층 이상 또는 1천$m^2$이상으로 확대되었고, 2009년부터 3층 이상 건축물의 구조안전의 확인을 위한 세부절차를 규정하여 내진설계의 실효성을 확보하고 있다. 이와 같이 내진설계의 대상 건축물이 내진설계기준을 제정한 이후 현재까지 시대의 흐름에 따라 6층 이상에서 5층 이상으로 다시 3층 이상으로 계속 확대되어왔다. 이런 환경에서 현재 시점에서 사용 중인 기존 건축물 중에 내진설계가 적용되지 아니한 건축물은 1988년 3월 1일 이전에 건축허가 된 건축물과 그 이후에 건축허가 된 3층 내지 5층 이하인 저층 건축물의 두 가지로 구분할 수 있다. 이들의 내진설계가 미적용 된 건축물에 대해서는 원칙적으로 내진보강 대책 수립 및 추진이 필요한 실정이다. 국내에서는 현재 지진재해대책법에 따라 지진재해로부터 국민의 생명과 재산을 보호하기 위하여 기존 시설물에 대한 내진대책을 추진하는 정책이 시행되고 있다. 앞으로는 이 정책의 일환으로 기존 건축물의 내진성능 확보를 위한 내진보강 대책이 구체적으로 추진될 전망이다. 이와 같이 기존 건축물에 대한 내진보강 대책을 수립하는 데는 무엇보다 그 대상 건축물의 수와 구조형식에 관한 정보가 필요하다. 이는 내진보강의 방법과 소요비용이 건축물의 층수 및 구조형식별 동수에 따라 크게 달라지기 때문이다. 이런 관점에서 살펴볼 때 내진대책의 수립에 필수인 기존 저층 건축물의 층수 및 구조형식별 동수에 관한 통계자료를 현재 건축물의 현황통계에서 손쉽게 찾아 볼 수 있으면 좋겠는데 현실은 그렇지 못한 실정이다. 현재 건축물의 현황통계에는 저층 건축물에 해당하는 층수에 관한 구분이 연대에 따라 다르고 구체적인 층수를 구분하기 어렵게 불분명한 항목으로 구성된 것과 구조형식별 분류항목이 없는 형편이다. 반면에 건축허가 및 착공통계자료에는 구조재료별 건축물 동수와 연면적에 관한 자료가 수록되어있고, 건축물 층수에 따라 분류된 통계자료는 없다. 이 연구에서는, 기존 건축물에 대한 내진보강 대책을 수립하는데 필요한 저층 건축물의 층수 및 구조재료별 동수 등에 관한 구체적인 정보를 파악하기 위하여, 건축물 통계연보에 수록된 건축물 현황통계자료에서 불명확하거나 결여된 정보를 건축허가 및 착공 통계자료로부터 얻은 정보로 보완과 보충하여 제시하고 있다. 따라서 이 연구는 기존 건축물의 내진보강 대책 수립에 필요한 5층 이하의 저층 건축물에 관한 층수별 및 구조형식별 동수에 관한 연도별 통계자료를 추정하여 제안하는데 그 목적이 있다.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.140-170
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• 2021

This paper investigates the Wooden Seated Tri-kaya Buddha Images(三身佛像) of Vairocana, Rushana, and Sakyamuni enshrined in Daeungjeon Hall of Hwaeomsa temple(華嚴寺) in Gurae, South Cheolla Province. They were produced in 1634 CE and placed in 1635 CE, about forty years after original images made in the Goryeo period were destroyed by the Japanese army during the war. The reconstruction of Hwaeomsa was conducted by Gakseong, one of the leading monks of Joseon Dynasty in the 17th century, who also conducted the reconstructions of many Buddhist temples after the war. In 2015, a prayer text (dated 1635) concerning the production of Hwaeomsa Tri-kaya Buddha images was found in the repository within Sakyamuni Buddha. It lists the names of participants, including royal family members (i.e., prince Yi Guang, the eighth son of King Seon-jo), and their relatives (i.e., Sin Ik-seong, son-in-law of King Seonjo), court ladies, monk-sculptors, and large numbers of monks and laymen Buddhists. A prayer text (dated 1634) listing the names of monk-sculptors written on the wooden panel inside the pedestal of Rushana Buddha was also found. A recent investigation into the repository within Rushana Buddha in 2020 CE has revealed a prayer text listing participants producing these images, similar to the former one from Sakyamuni Buddha, together with sacred relics of hoo-ryeong-tong copper bottle and a large quantity of Sutra books. These new materials opened a way to understand Hwaeomsa Trikaya images, including who made them and when they were made. The two above-mentioned prayer texts from the repository of Sakyamuni and Rushana Buddha statues, and the wooden panel inside the pedestal of Rushan Buddha tell us that eighteen monk-sculptors, including Eungwon, Cheongheon and Ingyun, who were well-known monk artisans of the 17th century, took part in the construction of these images. As a matter of fact, Cheongheon belonged to a different workshop from Eungwon and Ingyun, who were most likely teacher and disciple or senior and junior colleagues, which means that the production of Hwaeomsa Tri-kaya Buddha images was a collaboration between sculptors from two workshops. Eungwon and Ingyun seem to have belonged to the same community studying under the great Buddhist priest Seonsu, the teacher of Monk Gakseong who was in charge of the reconstruction of Haweonsa temple. Hwaeomsa Tri-kaya Buddha images show a big head, a squarish face with plump cheeks, narrow and drooping shoulders, and a short waist, which depict significant differences in body proportion to those of other Buddha statues of the first half of 17th century, which typically have wide shoulders and long waists. The body proportion shown in the Hwaeomsa images could be linked with images of late Goryeo and early Joseon period. Rushana Buddha, raising his two arms in a preaching hand gesture and wearing a crown and bracelets, shows unique iconography of the Bodhisattva form. This iconography of Rushana Buddha had appeared in a few Sutra paintings of Northern Song and Late Goryeo period of 13th and 14th century. BodhaSri-mudra of Vairocana Buddha, unlike the general type of BodhaSri-mudra that shows the right hand holding the left index finger, places his right hand upon the left hand in a fist. It is similar to that of Vairocana images of Northern and Southern Song, whose left hand is placed on the top of right hand in a fist. This type of mudra was most likely introduced during the Goryeo period. The dried lacquer Seated Vairocana image of Bulheosa Temple in Naju is datable to late Goryeo period, and exhibits similar forms of the mudra. Hwaeomsa Tri-kaya Buddha images also show new iconographic aspects, as well as traditional stylistic and iconographic features. The earth-touching (bhumisparsa) mudra of Sakymuni Buddha, putting his left thumb close to the middle finger, as if to make a preaching mudra, can be regarded as a new aspect that was influenced by the Sutra illustrations of the Ming dynasty, which were imported by the royal court of Joseon dynasty and most likely had an impact on Joseon Buddhist art from the 15th and 16th centuries. Stylistic and iconographical features of Hwaeomsa Tri-kaya Buddha images indicate that the traditional aspects of Goryeo period and new iconography of Joseon period are rendered together, side by side, in these sculptures. The coexistence of old and new aspects in one set of images could indicate that monk sculptors tried to find a new way to produce Hwaeomsa images based on the old traditional style of Goryeo period when the original Tri-kaya Buddha images were made, although some new iconography popular in Joseon period was also employed in the images. It is also probable that monk sculptors of Hwaeomsa Tri-kaya Buddha images intended to reconstruct these images following the original images of Goryeo period, which was recollected by surviving monks at Hwaeomsa, who had witnessed the original Tri-kaya Buddha images.

• 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.