• Cartoon and Animation Studies
• /
• s.31
• /
• pp.153-176
• /
• 2013

In the early 20th century, the some of futurist painter was attempted to represents the 'fast-paced' and 'dynamism' on a two-dimensional picture. The expression of fast-paced and dynamic for look like move image in the painting have evolved as a variety of visual symbol. Visual symbols that represent these movements were settled as the line of the most movement expression in the comic. The of Toriyama Akira gained worldwide popularity is emphasized speed and dynamism as the action genre in cartoon, is nice a data to research the line of the movement expression of cartoon. There is three terms as the action line, The speed line, the effect line on the movement expression in The glossary of in the dictionary of , but it not easy to Separate them by means similar. This study is willing to says the semantically problem of previous lines on the movement expression and to present a new alternative in order to study the line on the movement expression of . This study Separate the line on movement expression from symbolic the perspective and try to newly define by using, was classified lines of four kinds by add the afterimage line on existing the speed line, the motion line, the effect line. First, the speed line was defined as 'The line expressing the movement expression of a moving target as the concept of speed'. It on the way of expression was subdivided the direct as speed line when it alter the shape of the target and the indirect speed line when it alter the background of the target. Second, the motion line was defined as 'The line simplified the moving form or the moving path of moving target'. Third, the effect line was defined as 'the line emphasizing the movement expression of a moving target by Sensory expression or emotional expression. Fourth, the afterimage lines was defined as 'The line expressing slowly moving or swaying the movement expression of target to the afterimage effect. The terminology presented in this study will be able to help the understanding of the line on the movement expression .

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.1
• /
• pp.110-119
• /
• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• 대한공업교육학회지
• /
• v.34 no.1
• /
• pp.87-112
• /
• 2009

The aim of this research is to suggest the model of reconstruction and remodelling of S high school of broadcast for converting into a specialized one in the section of broadcast industry. The method of reconstruction of the laboratories by each department is as follows. First, the names of laboratories, ground plans, and perspective drawings are designed according to the principle of constructionism. Second, each department is recommended to install 7 laboratories. For the department of broadcasting facilities, a laboratory of processing broadcasting machines, a laboratory of broadcasting machines, and a laboratory of screen picture machines are needed. For the department of broadcasting, electricity, and communication, a laboratory of image and sound edition, a laboratory of broadcasting and communication, a laboratory of broadcasting system, and a laboratory of stage illumination. For the department of broadcasting stage construction, a laboratory of broadcasting stage building, a laboratory of broadcasting stage design, a laboratory of broadcasting stage decoration and etc. Third, an office room is designed by department in the form of seminar room and places for practice is formed by department to be a laboratory. Fourth, a room for industrial-educational cooperation is installed by department, by which education of industrial-educational cooperation is carried out harmoniously. And one example of a remodeled laboratory by one department is shown with laboratory name, ground plan, perspective drawing, and running method. Especially employment of teachers working both school and business, professional club which is concerned with broadcasting technique, and attraction of enterprise in school is suggested as important elements to manage broadcasting laboratories efficiently. Finally, it is desirable for us to attract private capital, that is, Build-Transfer-Lease(BTL) because much budget is required for purchasing the broadcasting equipments and remodelling the laboratories to succeed as specialized high school on broadcasting section.

• Korean Journal of Applied Biomechanics
• /
• v.15 no.4
• /
• pp.43-53
• /
• 2005

This study is to define how the difference of athletic change influence on the last regrasp after somersault in Belle movement of parallel bars. For his study, the following conclusion was produced by analysis of athletic change by means of three dimensional visual image in three athlete of nation. 1. As the picture of S1, there are total used time(2.01 sec), S3(2.17 sec) and S2(2.19 sec). In case of a short needed time, it is difficult for them to perform the remaining movement of the vertical elevating flight easily and comfortably, it is judged as performing the small movement with restrict swing. 2 In the change of body center sped by each event, it is calculated as $-89.1^{\circ}$ the narrowest in S1, $-81.96^{\circ}$ the widest and then $86.34^{\circ}$ in S3. In E3 event, average compound speed is 4.07m/s, S2 showed the fastest speed of 4.14m/s whereas S1 the narrowest angle of 3.95m/s. 3. A shoulder joint and coxa are the period of mention in E3. In E4 which was pointed out the longest vertical distance, S2 that is indicated the highest vertical height as the period of detach in parallel bars. showed -3.91m. This is regarded as a preparatory movement for dynamic performance after using effectively elastic movement of shoulder joint and coxa while easily going up with turning back movement. In the 5th phrase, long airborne time and vertical change position is showed as the start while regrasping securely air flight movement from high position. 4. In E5, a long flight time and a long vertical displacement were shown as the regrasp after somersault efficiently in high position with stability from the point of the highest peak of the center of the body. Especially, S2 is marked as a little bit long position, while S1 is reversely indicated as performing somersault and unstable motion in a low position. 5. In E3, at the point of the largest extension of the shoulder joint and hip joint the shoulder joint is largely marked in $182^{\circ}$ and the hip point $182^{\circ}$ in S2. The shoulder joint is marked at the smallest angle in $177^{\circ}$ and the hip point $176^{\circ}$ in S1. And S1 is being judged by its performance of the less self - confident motion with lessening a breath of swing. S2 makes the most use of flexion and extension of the shoulder joint and the hip joint effectively. It was performed greatly with swinging and dropping the rotary movement and the rotary inertia naturally. 6. In E6, as the point of regrasp of the upper arm in parallel bars it is recognized by the that of components of vertical and horizontal velocity stably. During this study, the insufficient thing and the study on the parallel bars at a real game later are more activated than now. If it is really used as the basic materials by means of Belle Picked Study of Super E level after Bell movement, you may perceive the technique movement previously and perform without difficulty. Especially, such technique as crucifix is quite advantageous for oriental people thanks to small body shape condition. In conclusion we will nicely prepare for our suitable environment to gradually lessen trials and errors by analyzing and studying kinematically this movement.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.36 no.5
• /
• pp.82-93
• /
• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Transactions of the Korean Society for Noise and Vibration Engineering
• /
• v.14 no.7
• /
• pp.586-603
• /
• 2004

One of the subtle problems that make noise control difficult for engineers is “the invisibility of noise or sound.” The visual image of noise often helps to determine an appropriate means for noise control. There have been many attempts to fulfill this rather challenging objective. Theoretical or numerical means to visualize the sound field have been attempted and as a result, a great deal of progress has been accomplished, for example in the field of visualization of turbulent noise. However, most of the numerical methods are not quite ready to be applied practically to noise control issues. In the meantime, fast progress has made it possible instrumentally by using multiple microphones and fast signal processing systems, although these systems are not perfect but are useful. The state of the art system is recently available but still has many problematic issues : for example, how we can implement the visualized noise field. The constructed noise or sound picture always consists of bias and random errors, and consequently it is often difficult to determine the origin of the noise and the spatial shape of noise, as highlighted in the title. The first part of this paper introduces a brief history, which is associated with “sound visualization,” from Leonardo da Vinci's famous drawing on vortex street (Fig. 1) to modern acoustic holography and what has been accomplished by a line or surface array. The second part introduces the difficulties and the recent studies. These include de-Dopplerization and do-reverberation methods. The former is essential for visualizing a moving noise source, such as cars or trains. The latter relates to what produces noise in a room or closed space. Another mar issue associated this sound/noise visualization is whether or not Ivecan distinguish mutual dependence of noise in space : for example, we are asked to answer the question, “Can we see two birds singing or one bird with two beaks?"

• Journal of Global Scholars of Marketing Science
• /
• v.20 no.1
• /
• pp.59-69
• /
• 2010

Green or an environmental consciousness has been a major issue for businesses and government offices, as well as consumers, worldwide. In response to this movement, the Korean government announced, in the early 2000s, the era of "Green Growth" as a way to encourage green-related business activities. The Korean fashion industry, in various levels of involvement, presents diverse eco-friendly products as a part of the green movement. These apparel products include organic products and recycled clothing. For these companies to be successful, they need information about who are the consumers who consider green issues (e.g., environmental sustainability) as part of their personal values when making a decision for product purchase, use, and disposal. These consumers can be considered as eco-sumers. Previous studies have examined consumers' purchase intention for or with eco-friendly products. In addition, studies have examined influential factors used to identify the eco-sumers or green consumers. However, limited attention was paid to eco-sumers' disposal or recycling behavior of clothes in comparison with their green product purchases. Clothing disposal behaviors are ways that consumer can get rid of unused clothing and in clue temporarily lending the item or permanently eliminating the item by "handing down" (e.g., giving it to a younger sibling), donating, exchanging, selling, or simply throwing it away. Accordingly, examining purchasing behaviors of eco-friendly fashion items in conjunction with clothing disposal behaviors should improve understanding of a consumer's clothing consumption behavior from the environmental perspective. The purpose of this exploratory study is to provide descriptive information about Korean eco-sumers who have ecologically-favorable lifestyles and behaviors when buying and disposing of clothes. The objectives of this study are to (a) categorize Koreans on the basis of clothing disposal behaviors; (b) investigate the differences in demographics, lifestyles, and clothing consumption values among segments; and (c) compare the purchase intention of eco-friendly fashion items and influential factors among segments. A self-administered questionnaire was developed based on previous studies. The questionnaire included 10 items of clothing disposal behavior, 22 items of LOHAS (Lifestyles of Health and Sustainability) characteristics, and 19 items of consumption values, measured by five-point Likert-type scales. In addition, the purchase intention of two eco-friendly fashion items and 11 attributes of each item were measured by seven-point Likert type scales. Two polyester fleece pullovers, made from fabric created from recycled bottles with the PET identification code, were selected from one Korean brand and one US imported brand among outdoor sportswear brands. A brief description of each product with a color picture was provided in the survey. Demographic variables (i.e., gender, age, marital status, education level, income, occupation) were also included. The data were collected through a professional web survey agency during May 2009. A total of 600 final usable questionnaires were analyzed. The age of respondents ranged from 20 to 49 years old with a mean age of 34 years. Fifty percent of the respondents were males and about 58% were married, and 62% reported having earned university degrees. Principal components factor analysis with varimax rotation was used to identify the underlying dimensions of the clothing disposal behavior scale, and three factors were generated (i.e., reselling behavior, donating behavior, non-recycling behavior). To categorize the respondents on the basis of clothing disposal behaviors, k-mean cluster analysis was used, and three segments were obtained. These consumer segments were labeled as 'Resale Group', 'Donation Group', and 'Non-Recycling Group.' The classification results indicated approximately 98 percent of the original cases were correctly classified. With respect to demographic characteristics among the three segments, significant differences were found in gender, marital status, occupation, and age. LOHAS characteristics were reduced into the following five factors: self-satisfaction, family orientation, health concern, environmental concern, and voluntary service. Significant differences were found in the LOHAS factors among the three clusters. Resale Group and Donation Group showed a similar predisposition to LOHAS issues while the Non-Recycling Group presented the lowest mean scores on the LOHAS factors compared to the other segments. The Resale and Donation Groups described themselves as enjoying or being satisfied with their lives and spending spare-time with family. In addition, these two groups cared about health and organic foods, and tried to conserve energy and resources. Principal components factor analysis generated clothing consumption values into the following three factors: personal values, social value, and practical value. The ANOVA test with the factors showed differences primarily between the Resale Group and the other two groups. The Resale Group was more concerned about personal value and social value than the other segments. In contrast, the Non-Recycling Group presented the higher level of social value than did Donation Group. In a comparison of the intention to purchase eco-friendly products, the Resale Group showed the highest mean score on intent to purchase Product A. On the other hand, the Donation Group presented the highest intention to purchase for Product B among segments. In addition, the mean scores indicated that the Korean product (Product B) was more preferable for purchase than the U.S. product (Product A). Stepwise regression analysis was used to identify the influence of product attributes on the purchase intention of eco product. With respect to Product A, design, price and contribution to environmental preservation were significant to predict purchase intention for the Resale Group, while price and compatibility with my image factors were significant for the Donation Group. For the Non-Recycling Group, design, price compatibility with the factors of my image, participation to eco campaign, and contribution to environmental preservation were significant. Price appropriateness was significant for each of the three clusters. With respect to Product B, design, price and compatibility with my image factors were important, but different attributes were associated significantly with purchase intention for each of the three groups. The influence of LOHAS characteristics and clothing consumption values on intention to purchase Products A and B were also examined. The LOHAS factor of health concern and the personal value factor were significant in the relationships with the purchase intention; however, the explanatory powers were low in the three segments. Findings showed that each group as classified by clothing disposal behaviors showed differences in the attributes of a product, personal values, and the LOHAS characteristics that influenced their purchase intention of eco-friendly products. Findings would enable organizations to understand eco-friendly behavior and to design appropriate strategic decisions to appeal eco-sumers.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.40 no.4
• /
• pp.67-80
• /
• 2022

SipWooDo (十牛圖: Painting of Ten Bulls), a Buddhist painting, is a kind of Zen Sect Buddhism painting, which is shown as a mural in many of main halls of Korean Buddhist temples. MokWooDo has been painted since Song Dynasty of China. It paints a cow, a metaphor of mind and a shepherd boy who controls the cow. It comes also with many other types of works such as poetry called GyeSong, HwaWoonSi and etc. That is, it appeared as a pan-cultural phenomenon beyond ideology and nation not limited to Chinese Buddhist ideology of an era. This study, therefore, selects MokWooDo chants that represent Confucianism, Buddhism and Taoism to compare the writing purposes, mind discipline methods and ultimate goals of such chant literatures in order to integrate and comprehend the ideologies of such three schools in the ideologically cultural aspect, which was not fully dealt with in the existing studies. In particular, the study results are: First, the SipWooDo of Buddhist School is classified generally into Bo Myoung's MokWooDo and Kwak Ahm's SimWooDo (尋牛圖: Painting of Searching out a Bull). Zen Sect Buddhism goes toward nirvana through enlightenment. Both MokWooDo and SimWooDo of Buddhist School are the discipline method of JeomSu (漸修: Discipline by Steps). They were made for SuSimJeungDo (修心證道: Enlightenment of Truth by Mind Discipline), which appears different in HwaJe (畫題: Titles on Painting) and GyeSong (偈頌: Poetry Type of Buddhist Chant) between Zen Sect Buddhism and Doctrine Study Based Buddhism, which are different from each other in viewpoints. Second, Bo Myoung's MokWooDo introduces the discipline processes from MiMok (未牧: Before Tamed) to JinGongMyoYu (眞空妙有: True Vacancy is not Separately Existing) of SsangMin (雙泯: the Level where Only Core Image Appears with Every Other Thing Faded out) that lie on the method called BangHalGiYong (棒喝機用: a Way of Using Rod to Scold). On the other side, however, it puts its ultimate goal onto the way to overcome even such core image of SsangMin. Third, Kwak Ahm's SimWooDo shows the discipline processes of JeomSu from SimWoo (尋牛: Searching out a Bull) to IpJeonSuSu (入鄽垂手: Entering into a Place to Exhibit Tools). That is, it puts its ultimate goal onto HwaGwangDongJin (和光同塵: Harmonized with Others not Showing your own Wisdom) where you are going together with ordinary people by going up to the level of 'SangGuBori (上求菩提: Discipline to Go Up to Gain Truth) and HaHwaJungSaeng (下化衆生: Discipline to Go Down to Be with Ordinary People)' through SaGyoIpSeon (捨敎入禪: Entering into Zen Sect Buddhism after Completing a Certain Volume of Doctrine Study), which are working for leading the ordinary people of all to finding out their Buddhist Nature. Fourth, Shimiz Shunryu (清水春流)'s painting YuGaSipMaDo (儒家十馬圖: Painting of Ten Horses of Confucian School) borrowed Bo Myoung's MokWooDo. That is, it borrowed the terms and pictures of Buddhist School. However, it features 'WonBulIpYu (援佛入儒: Enlightenment of Buddhist Nature by Confucianism)', which is based on the process of becoming a greatly wise person through Confucian study to go back to the original good nature. From here, it puts its goal onto becoming a greatly wise person, GunJa who is completely harmonized with truth, through the study of HamYang (涵養: Mind Discipline by Widening Learning and Intelligence) that controls outside mind to make the mind peaceful. Its ultimate goal is in accord with "SangCheonJiJae, MuSeongMuChee (上天之載, 無聲無臭: Heaven Exists in the Sky Upward; It is Difficult to Get the Truth of Nature, which has neither sound nor smell)' words from Zhōngyōng. Fifth, WonMyeongNhoYin (圓明老人)'s painting SangSeungSuJinSamYo (上乘修真三要: Painting of Three Essential Things to Discipline toward Truth) borrowed Bo Myoung's MokWooDo while it consists of totally 13 sheets of picture to preach the painter's will and preference. That is, it features 'WonBulIpDo (援佛入道: Following Buddha to Enter into Truth)' to preach the painter's doctrine of Taoism by borrowing the pictures and poetry type chants of Buddhist School. Taoism aims to become a miraculously powerful Taoist hermit who never dies by Taoist healthcare methods. Therefore, Taoists take the mind discipline called BanHwanSimSeong (返還心性: Returning Back to Original Mind Nature), which makes Taoists go ultimately toward JaGeumSeon (紫金仙) that is the original origin by changing into a saint body that is newly conceived with the vital force of TaeGeuk abandoning the existing mind and body fully. This is a unique feature of Taoism, which puts its ultimate goal onto the way of BeopShinCheongJeong (法身淸淨: Pure and Clean Nature of Buddha) that is in accord with JiDoHoiHong (至道恢弘: Getting to Wide and Big Truth).

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