• Korean Journal of Plant Taxonomy
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• v.41 no.1
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• pp.66-80
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• 2011

This study investigated the environmental factors and conducted a RAPD analysis for a better understanding of the environmental characteristics and regional genetic variation in samples from 18 different areas of Viola diamantiaca. The habitats are mostly located on the slopes of mountains facing north at an altitude ranging from 614 m to 1,462 m above sea level with angles of inclination ranging from 3 degrees to 30 degrees. A total of 268 vascular plant taxa are identified in 35 quadrates of 18 habitats. The importance value of V. diamantiaca is 11.58%, and four highly ranked species, Sasa borealis (5.61%), Meehania urticifolia (5.21%), Ainsliaea acerifolia (3.62%), Pseudostellaria palibiniana (3.60%) are considered to have an affinity with V. diamantiaca in their habitats. The degree of their average species diversity is 1.36, while this metric for their evenness and dominance are 0.89 and 0.07, respectively. The average field capacity of the soil is 25.99%, with organic matter at 17.47%, and the pH is 5.19. The soil texture was confirmed as sandy loam of eleven and loam of seven. The result of the RAPD analysis, among 78 bands amplified with a primer, 64 (84.6%) showed polymorphism. Eighteen populations could be classified into five groups with similarity coefficient values ranging from 0.53 to 0.86. The Mt. Jiri population, which is geographically segregated, shows basal branching within the 18 populations. Five populations, including two in the southern district in Gangwon-do and three in Chungcheongbuk-do, form a distinct clade. Four populations in the central district of Gangwon-do and Mt. Bohyeon in the Gyeongsangbuk-do clade form a sister to the clade containing two populations in Gyeonggi-do and five populations of the northern district in Gangwon-do. The Mt. Gariwang population is placed between the southern district and the central district in the Gangwon-do clades.

• Journal of the Korean earth science society
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• v.21 no.2
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• pp.137-158
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• 2000

The correlation and Empirical Orthogonal Function (EOF) analyses over the globe have been applied to intercompare lower-stratospheric (${\sim}$70hPa) temperature obtained from satellite data and two model reanalyses. The data is the19 years (1980-98) Microwave Sounding Unit (MSU) channel 4 (Ch4) brightness temperature, and the reanalyses are GCM (NCEP, 1980-97; GEOS, 1981-94) outputs. In MSU monthly climatological anomaly, the temperature substantially decreases by ${\sim}$21k in winter over southern polar regions, and its annual cycle over tropics is weak. In October the temperature and total ozone over the area south of Australia remarkably increase together. High correlations (r${\ge}$0.95) between MSU and reanalyses occur in most global areas, but they are lower (r${\sim}$O.75) over the 20-3ON latitudes, northern America and southern Andes mountains. The first mode of MSU and reanalyses for monthly-mean Ch4 temperature shows annual cycle, and the lower-stratospheric warming due to volcanic eruptions. The analyses near the Korean peninsula show that lower-stratospheric temperature, out of phase with that for troposphere, increases in winter and decreases in summer. In the first mode for anomaly over the tropical Pacific, MSU and reanalyses indicate lower-stratospheric warming due to volcanic eruptions. In the second mode MSU and GEOS present Quasi-Biennial Oscillation (QBO) while NCEP, El Ni${\tilde{n}}$o. Volcanic eruption and QBO have more impact on lower-stratospheric thermal state than El Ni${\tilde{n}}$o. The EOF over the tropical Atlantic is similar to that over the Pacific, except a negligible effect of El Ni${\tilde{n}}$o. This study suggests that intercomparison of satellite data with model reanalyses may estimate relative accuracy of both data.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.

• Journal of Korean Society of Forest Science
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• v.86 no.3
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• pp.378-390
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• 1997

Ten total populations of Korean fir (Abies koreana Wilson) and Manshurian fir [A. nephrolepis (Traut.) Maxim.] were sampled from south Korea to investigate patterns of intraspecific variation in these species and to evaluate a recognition of the two species. Principal components analysis and cluster analysis were performed both on seed-cone data and on needle morphology data. The characters that contributed most to the separation between A. koreana and A. nephrolepis along three principal components axis were leaf width, length of seed, width of seed wing, length of seed wing, cone width, width of scale, and length of bract tip, but these characters were not diagnostic because of overlap in reality. Therefore, all these characters were not reliable in distinguishing these two taxa including bract position (exerted and recurved vs. exerted and straight). The individuals of A. koreana from Mt. Chi-ri appeared quite unique probably on account of its larger cone size and longer scale tip, while those from Mt. Hal-la of A. koreana were generally distinct from others in terms of their larger seed and seed wing and longer scale width. The Mt. Duk-yu specimens of A. korecana appeared somewhat smaller but more data were needed due to the small sampling size. Generally, the gradual clinal geographic trends made evident by the position of resin ducts in leaves of A. koreana can be detected. The southern populations, Mt. Hal-la (an insular population) were generally distinct from the northern populations (Mt. Chi-ri, Mt. Ga-ya and Mt. Duk-yu) in terms of their position of resin duct (medial, within mesophyll vs marginal, close to epidermis : 100% vs 75 or 50%). Although no sharp boundary separating these two species could be detected based on cone and needle morphology, the observed clinal pattern was distinct in northern populations of A. koreana and southern population of A. nephrnlepis. In a preceding study of the flavonoids variation of 20 species in eastern Asia, flavanone (5-deoxyflavanone) was found to be characteristic of A. faxoniana Rehder et Wilson, A. georgei Orr of China and A. koreana of Korea. A. faxoniana, which is assumed to be primitive species, has position of resin duct relative to both the medial and the marginal, while A. georgei and A. koreana are identified by marginal position of resin duct. With respect of foliar flavonoids chemistry, A. koreana was distinct from A. nephrolepis : the southmost samples (Mt. Hal-la and Mt. Chi-ri) contained additional flavonoids derivatives (mainly flavanone) that were not found in the northmost samples of A. nephrolepis except a few individuals from Mts. Seo-rak and Tae-bak populations of Kwang-won province. The presence of A. koreana type flavonoids in two Chinese species suggested that position of resin duct may be a phyletic character. Abies koreana including two Chinese taxa, exhibited the most elaborate and specialized flavonoids profile within the Abies in eastern Asia. Contrary to our initial expectations, the apparent intermediates between A. nephrolepis and A. koreana in Duk-yu and Ga-ya mountains were found. The pattern of variation on position of resin duct and flavonoids chemistry in these populations of A. kareana suggested that genetic interchange or natural hybridization had occurred between these two species. The evidence needed to resolve the status of this taxon is still inconclusive in our opinion until intermediate individuals from Mts. Duk-yu and Ga-ya show indication of hybridization between the two species.

• Korean Journal of Agricultural and Forest Meteorology
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• v.6 no.4
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• pp.218-234
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• 2004

Recent warm winters were evaluated for a possible shifting of the northern limit for winter barley cultivation in Korea. Therefore, safe zones for winter barley cultivation were reclassified based on the average and minimum January air temperature in recent years. The results are as follows: By analysis of mean values of January average air temperatures for 30 years (1971-2000), the northern limits for safe cultivation of hulled, naked, and malting barley were Ganghwa - Icheon - Chungju - Chunyang - Goseong, Cheonan - Geumsan - Mungyeong - Andong - Sokcho, and Gwangju - Jangheung - Sancheong - Pohang - Uljin lines, respectively. Meanwhile, based on the January average air temperature of 14 years (1987-2000) with warmer winters, the safe cultivation zone of winter barley shifted northward of the normal (1971-2000). So, the northern limits for hulled, naked, and malting barley were Pocheon - Chuncheon - Wonju - Yangpyeong - Chunyang, Ganghwa - Icheon - Chungju - Uiseong - Goseong, and Gunsan - Suncheon - Jinju - Miryang - Yeongdeok - Uljin lines, respectively. Winter barley cultivars with the strongest tolerance to low temperature can be grown up to the adjacent areas of Taebaek Mountains (that is, Inje, Hongcheon, Jecheon, and Taebaek areas). Based on January mean air temperatures of 10-year return period for 30 years (1971-2000), the northern limits for hulled and naked barley were Boryeong - Namwon - Geochang - Gumi - Goseong and Seocheon - Jeongeup - Hapcheon - Yeongdeok - Sokcho lines, respectively. It ~ppears that malting barley can be cultivated only at southern coastal areas (that is, Busan, Tongyeong, Yeosu, and Wando areas). On the other hand, based on the weather conditions of 14 years (1987-2000) with warmer winters, the northern limits for hulled, naked, and malting barley were Ganghwa - Icheon - Yeongju - Goseong, Seosan - Namwon - Mungyeong - Andong - Sokcho, and Gwangju - Jangheung - Sacheon - Ulsan - Uljin lines, respectively. The northern limit for winter barley cultivars including Olbori with the strongest tolerance to low temperature was the Ganghwa - Wonju - Chungju - Chunyang - Goseong line.

• Journal of the Mineralogical Society of Korea
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• v.32 no.3
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• pp.163-172
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• 2019

A long core (RS15-LC48) was collected at a site in the continental rise between the Southern Ocean and the Ross Sea (Antarctica) during the 2015 Ross Sea Expedition. The mineralogical characteristics and the origin of clay minerals in marine sediments deposited during the Quaternary in the Ross Sea were determined by analyzing sedimentary facies, variations in grain size, sand fraction, mineralogy, clay mineral composition, illite crystallinity, and illite chemical index. Core sediments consisted mostly of sandy clay, silty clay, or ice rafted debris (IRD) and were divided into four sedimentary facies (units 1-4). The variations in grain size distribution and sand content with depth were very similar to the variations in magnetic susceptibility. Various minerals such as smectite, chlorite, illite, kaolinite, quartz, and plagioclase were detected throughout the core. The average clay mineral composition was dominated by illite (52.7 %) and smectite (27.7 %), with less abundant clay minerals of chlorite (11.0 %) and kaolinite (8.6 %). The IC and illite chemical index showed strong correlation trends with depth. The increase in illite and chlorite content during the glacial period, together with the IC and chemical index values, suggest that sediments were transported from the bedrocks of the Transantarctic Mountains. During the interglacial period, smectite may have been supplied by the surface current from Victoria Land, in the western Ross Sea. High values for IC and the illite chemical index also indicate relatively warm climate conditions during that period.

• Korean Journal of Environment and Ecology
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• v.37 no.5
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• pp.347-366
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• 2023

In the present study, the vegetation was classified using the phytosociological method and canonical-correlation analysis (CCA) was implemented to analyze correlation between community structure and environmental factors in the natural habitats of forest byproducts, especially medicinal plants, such as Cudrania tricuspidata, Sorbus commixta, and Hovenia dulcis, in 2021-2022 to provide primary ecological data to establish environmental conditions for wild vegetable cultivation. A total of 11 plots in five regions, 8 plots in three regions, and 17 plots in 5 regions were selected for the natural habitats of C. tricuspidata in southern Korea, S. commixta in high mountains, and H. dulcis in valleys of central Korea, respectively. The importance value in each community was respectively analyzed as follows, in C. tricuspidata community, the importance value of C. tricuspidata (61.10) was the highest, followed by Celtis sinensis, Pinus thunbergii, Neolitsea aciculata, Styrax japonica, Carpinus coreana, Quercus serrata, and Q. acutissima. In Sorbus commixta community, Q. mongolica (57.21) was the highest, followed by, S. commixta (42.58), Betula ermani, Tilia amurensis, A. pseudosieboldianum, A. tschonoskii var. rubripes, Cornus controversa, Magnolia sieboldii, and Taxus cuspidata. In H. dulcis community, H. dulcis (64.58) was the highest, followed by Zelkova serrata, Cornus controversa, A. mono, Q. serrata, C. cordata, and Juglans mandshurica. As the result of the analysis on DBH of the major species having the high importance value, in C. tricuspidata community, C. tricuspidata, C. sinensis, Neolitsea aciculata, and C. coreana show the density of normal distribution, so the dominant status of these species is likely to continue. In S. commixta community, S. commixta show the density of reverse J-shaped curve, so the dominant status of these species is likely to be stable, and Q. mongolica, B. ermani and T. amurensis, show the density of normal distribution, so the dominant status of these species is likely to continue. In H. dulcis community, C. cordata, and J. mandshurica show the density of reverse J-shaped curve, so the dominant status of these species is likely to be stable, and H. dulcis, Z. serrata, C. controversa and A. mono had a formality distribution, suggesting a continuous domination of these species over the other species for the time being. The results of CCA ordination analysis using 11 environmental factors and 30 communities of three taxa classified by TWINSPAN analysis revealed that the altitude showed the strongest correlation with the vegetation. C. tricuspidata community was distributed on the moderate and gentle northeastern slope at low altitude with the highest pH, C.E.C, Ca²⁺, and Mg² and various P₂O₅, whereas S. commixta community was distributed on the steep slope at high altitude with the highest O.M and T-N and lower P₂O₅, Ca²⁺, Mg²⁺, C.E.C and pH, which is the opposite tendency of the environment of C. tricuspidata community. H. dulcis community was distributed on the gentle northern slope at lower altitude with an average pH, O.M, T-N, Ca²⁺, Mg²⁺, and C.E.C, except higher P₂O₅.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

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

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