• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.3
• /
• pp.22-32
• /
• 2021

The Seonwonjeon(璿源殿) in the Deoksugung Palace was initially the ritual space for the royal family affiliated with the Gyeongungung Palace during the Korean Empire. It is currently, however, empty, as a landscape restoration and maintenance plan is established as a part of the restoration project for the Seonwonjeon area. The following results were obtained through the historical investigation of the original form and examination of similar cases. First, the original topography of the backside grove, which had been in the Seonwonjeon area, is 3.0-5.0m higher than the base of the building, and a terraced flower bed(花階) was installed on the border of the green to set off the difference in a scenic way. Second, the backside grove was composed with fruit trees to bear fruits used in rites and pine trees which symbolize the ritual space. Third, resting places were established at both ends of the site for the convenience of visitors without interrupting the atmosphere of the sacred ground. A trail was also created inside the backside grove along with minimum landscape elements, including functionally required items, such as the signboard, bench, tree guard, ramp, street lights, and landscaping lights. Fourth, the information on original planting in the palace and ritual space was extracted through historical materials, such as literatures, antique paintings, and photographs along with site surveys. Based on the information acquired, a planting plan was established for the courtyard, pedestrian road, resting places, terraced flower bed, pine grove, and fruit tree garden, which constitute the landscaping space of the Seonwonjeon area.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.73-80
• /
• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the landscape structure of the area around the Cheongshimru(淸心樓: pavilion). On the other hand, many Palkyung poems and Noojeongjeyong(樓亭) poems illustrating the Cheongshimru as the view point or the objective have clarified the scenic excellence when the Cheongshimru is the view point. The Yeoju Palkyung viewed from the Cheongshimru was described as constructing all around allocation structure, and six scenes are categorized as a distant view of the visual influence while the 7th scene Ireungdogyeon and the 8th scene Pasagwau are a psychologically influencing landscapes. The panoramic composition of the Yeoju Palkyung at the Cheongshimru is interpreted as the Seunggyeong distribution considering Palchaejigyeongsaek(八采之景色), where main viewpoint is the Cheongshimru and the distant landscape is Paldaejangrim. The reputation of the Cheongshimru, the central place of the Yeoju Palkyung, is confirmed by the technique of scene processing describing a various way of illustrating landscapes such as near view, distant view, pulling view and collecting view. The restoration of Cheongshimru and Paldaesup(八大藪) currently undertaken is the essential business for the full recovery of the Yeoju Palkyung, which will be not only for physical restoration but also for the shortcut to revitalize the history and the spirit of Yeoju. Furthermore, the business direction should be reconsidered to truly understand the meaning, the value, and the structure of the Yeoju Palkyung to ensure the pursuit of the sustainability aiming at the project "Local attractions", one of the Namhangnag Four rivers project of the ministry of Land, Transport and Maritime Affairs.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.3
• /
• pp.91-104
• /
• 2009

This paper attempts to look at the identity of the traditional famous sceneries of Jeju Island by investigating the relationship between 'Yeoung Ju-Sipikyung(瀛州十二景)', which are the representative beautiful scenes of Jeju Island, and two paintings 'T'amna-Sipkyungtdo(耽羅十景圖)' and 'T'amna-Sullyokto(耽羅巡歷圖)' by a grasp of the contents and meanings of these two paintings. The following are the results of the study. In the 'T'amna-Sipkyung', which is the origin of today's 12 beautiful sceneries of Jeju Island, Baekrokdam and Youngsil are both symbolic places and the backdrops against which Jeju's myths were formed. Jocheonjin, Seogwijin and Myoungwoljin, located near the seashores, are strategic footholds in protecting the territory of the island and connotatively contain its culture and history. Seongsan Ilchulbong, Sanbangsan, Chwibyeongdam and Cheonjeyeon Pokpo are not only the quintessentially beautiful scenes of Jeju but also belong to 'YeoungJu-Sipikyung'. And 'T'amna-Sullyokto', which describes the Jeju horses and tangerines that were presented to the king as tribute, offers scenic elements with a strong political tone and is related to the five scene of 'T'amna-Sullyokto', showing that 'defense' and 'tribute' are motives in choosing the sceneries of people's daily lives here. Jeju's daily scenes in particular have been continuously transmitted: 'Idyllic lives with the background of a tangerine orchard' are shown in 'Kowon Panggo' and 'Kyullim P'ungak', and Jeju horses grazing on pastures or being ridden in hunting trips are presented in 'Sanjang Kuma' and 'Kyorae Taeryop'. Besides Baekrokdam and Youngsil, which do not belong to Sunyeok(巡歷) corridor of minister Lee Hyoungsang, 'Yeoung Ju-Sipikyung', directly related to 'T'amna-Sipkyung', has six beautiful sceneries: Seongsan of Seongsan Ilchulbong, Baekrokdam of Baekrokmanseol, Younggok of Youngsilgiam, Sanbang of Sanbanggulsa Chwibyeongdam of Yongyeonyabeom and Seogwiso of Seojinnoseong. The image of 'Gosumokma', the tenth landscape of 'Yeoung Ju-Sipikyung', was expressed as it is, through 'Udojeomma' and 'Sanjangguma'. The ten beautiful sceneries of 'T'amna-Sipkyung' were also especially described in 'T'amna-Sullyokto', besides Baekrokdam and Youngsil, which do not belong to Sunyeok corridor. As the places and landscapes emphasized on 'T'amna-Sipkyungto' and 'T'amna-Sullyokto' in common have been transmitted by the politicians and ancestors of Jeju Island, they have become established as today's 'Yeoung Ju-Sipikyung', passing through correction processes. When considering this process of development, 'Yeoung Ju-Sipikyung' are worthy of heritage and traditional landscapes accomplished in a long difficult period based on investigation into beautiful Jeju Island and the love of the island people for their home.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.3
• /
• pp.114-121
• /
• 2010

Traditional temples in Korea are the important cultural heritage because of artistic traditonal buildings and structures, paintings, sculptures, and big forest areas which are most ecological and beautiful in Korea. Since traditional temples still function as religious places for very long time, the sense of places intrinsic to the temples are very strong and vivid. The sense of place is very closely related to the conservation of the original landscape type. Recently however, there is a strong tendency to use solar energy in traditional temples because of the low energy efficiency of the old traditional architecture which may have negative impact on landscape which again in turn may lead to the destruction of the sense of place. The purpose of this study was to suggest some landscape design guidelines to protect the sense of place of traditional temple by investigating the impact of solar energy facility on the landscape experience of traditional temple. In order to do perform this purpose, Tongdosa was selected as a study site and four kinds of measurement tools(landscape image, temple identity, landscape satisfaction, degree of landscape improvement) were used as questionnaire items. 180 college students participated in the questionnaire survey. The analysis showed that the solar energy facility had very negative impact on landscape experience such as three landscape image factors(scenic beauty, openness, complexity), landscape satisfaction, temple identity, and landscape improvement. Based on the results, three landscape improvement plans were suggested. First, solar energy facility should be built in the forest in order not to be exposed to visitors, if possible. Second, the landscape management of traditional temple should emphasize on sustaining scenic beauty and temple identity along with the provision of openness. Lastly, detailed landscape guideline should be prepared to regulate the scale, ratio, and the form of the artificial buildings and structures to protect the sense of place of traditional temple.

• Acta Via Serica
• /
• v.2 no.1
• /
• pp.49-64
• /
• 2017

During the seventeenth century, Amsterdam experienced unprecedented growth and affluence, and the city developed into the world's staple market playing an indispensable role in Silk Road trade. This era, which coincides with post-reformation Dutch society, also allowed artists to produce art works depicting objects from everyday life, moving away from the earlier religious subject matter. This paper intends to look into seventeenth century Dutch paintings from their social setting, especially focusing on the influence of the Silk Road in the art making process. The paper also looks into the Chinese side of Silk Road interaction and discusses how Chinese porcelain reflects cultural influence from the Dutch. The paper incorporates Silk Road as a methodology to discuss art works departing from earlier practices in art history. This approach allows us to understand art as a product of multi-disciplinary, multi-cultural experience. The methodology invites more discussion on numerous art forms which emerged along the Silk Road trading route to expand and explore the history of East-West cultural exchange.

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

• KSCE Journal of Civil and Environmental Engineering Research
• /
• v.32 no.6A
• /
• pp.355-367
• /
• 2012

Many of old aqueduct bridges located in rural areas are in need of repair and redesign. They still occupy some portion of countryside landscaping. However, most of them were designed to fulfill their basic functions of carrying waters, which has not contributed to the landscape positively. Moreover, it is not rational to treat each design case of aqueduct bridges individually because they are relatively small in size and arranged continuously over a long path. Therefore, it is better to provide a design guideline to repair or to redesign old aqueduct bridges as a whole considering both structural safety and landscape. The main objective is to develop a framework to repair and redesign of old aqueduct bridges for safety improvement and better landscape. Specifically this paper will address the development of possible design alternatives for repair and redesign The development of design alternatives for redesign will follow general principle of bridge aesthetics and be represented according to structural system, flume shape, pier height, pier shape in terms of design parameters while minor repair includes paintings and other ornamentations. And the developed design alternatives will be reviewed with its landscape as a background to check the visual compatibility within the community context. It is expected that the proposed guideline will be utilized to develop a maintenance plan to revitalize old aqueduct bridges to improve overall landscape of rural areas.

• Journal of the Korean Society of Food Culture
• /
• v.18 no.6
• /
• pp.536-543
• /
• 2003

The Chosun Dynasty in the $18^{th}$ century was a period of revival for science, art, and culture, bringing about Silhak(practical science), a new trend in the history of Chosun thoughts. In the history of fine arts, realistic landscape paintings and genre paintings were popular as realism became prevalent. From the aspect of food culture, in particular, the luxurious and elegant Korean-styled food culture was completed during this period. Iwanwasuseoksihoedo was painted by Jeong Hwang (1735-1800) in 1789, depicting a banquet on an elder's $60^{th}$ birthday. It is classified as a genre painting in the late Chosun Period but it contains things that comes into our heart, which are white porcelain with blue celadon pictures, white porcelain bowls, busy atmosphere of a banqueting house where food is being carried in a hurry and elders' serene appearance. All these things show the abundance of life, the room and comfort of old ages, and the beauty and relish of life in the well-arranged living ground. Hoehonyedo was painted on an elder's $60^{th}$ marriage anniversary by an unknown artist presumably in the $18^{th}$ century is a painting as realistic as a documentary photograph. The work gives viewers pleasure and comfort because it describes not a mighty clan but the superb later years of an official who had lived right and upright life. In the aspect of food culture, it displays the food culture of the splendid sixtieth marriage anniversary of a Korean official through noble etiquette among family members, seat planning, unique table culture and high quality tableware including white porcelain with celadon pictures and pure white porcelain.

• Journal of English Language & Literature
• /
• v.55 no.2
• /
• pp.241-257
• /
• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.