• The Korean Journal of Air & Space Law and Policy
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• v.1
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• pp.193-222
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• 1989

The purpose of this study is to review the rights and duties of cargo owners, the party to the contract of international carriage of goods by air under the Warsaw Convention System and the IATA conditions. It is generally known that air freight is the most-cost mode of transportation. However, should there be considerations of total distribution cost, the use of air freight leads exporters to be advantageous in physical distribution. The Warsaw Convention System defined and limited the rights and duties of cargo owners and air carriers paticipating in the international carriage of goods, but it does not regulate every aspect of air transportation. Therefore, the unregulated parts are governed by national laws and by individual contracts of carriage. The International Air Transport Association(lATA), a worldwide organization of airlines, has formulated model conditions of contract for the carriage of cargo. These models are not uniformly followed but they serve as a basis for many of the individual standard form of contracts prepared by air carriers. The contract of air carriage of goods is a contract of adhesion, 'the consignor recognizing and accepting the conditions laid down by the carrier'. There are consignors and carriers as the parties to the contract of international carriage of goods. In addition to his basic right, implied in Warsaw Convention Article 18 and 19, to require devery of the goods in good condition and at the date agreed upon, the consignor has the right to dispose the goods in the course of the journey up to the moment when the consignee is entitled to require delivery. If it is impossible to carry out the orders of the consignor, the carrier must so inform him forthwith. The right conferred on the consignor ceases at the moment when that of the consignee begins in accordance with Warsaw Convention Article 13. Nevertheless, if the consignee declines to accept the air waybill or the goods, or if he cannot be communicated with, the consignor resumes his right of disposition. Unless it is otherwise agreed, it is the duty of the carrier to give notice to the consignee as soon as the goods arrive. The consignee is entitled, on arrival of the goods at the place of destination, to require the carrier to hand over to him the air waybill and to deliver the goods to him, on payment of the charges due and on complying with the conditions of carriage set out in the air waybill. The air waybill is supposed to be made out by the consignor. If the carrier makes it out, he is deemed, subject to proof to the contrary, to have done so on behalf of the consignor, whether there is one air waybill or several, each must be made out in three original parts. The first is for the carrier, the second is for the consignee, and the the third is handed to the consignor when the shipment has been accepted. The consignor is responsible for the correctness of the particulars and statement concerning the cargo appearing in the air waybill. Each of the original parts of the air waybill has evidential value and possession of his part is a condition for the exercise by the consignor or consignee of his rights under the contract of carriage. Hague Protocol set forth in Article 9 that nothing in this. Convention prevents the issue of a negotiable air waybill, but Montreal Additional Protocol No. 4 deleted this article. All charges applicable to a shipment are payable in cash at the time of acceptance thereof by the carrier in case of a prepaid shipment or at the time of delivery thereof by the carrier in case of a collect shipment. The carrier shall have lien the cargo for unpaid charges and, in the event of non-payment thereof, shall have the right to dispose of the cargo at public or private sale and pay itself out of the proceeds of such sale any and all such amounts. In conclusion, the Warsaw Convention System has the character of ambiguity in various respects, not only in the part of the forms of documents but also in conditions of contract. Accordingly, the following propositions might be considered: (1) If the carrier does not obey the orders of the consignor for the disposition of the goods without proper reasons, he will be liable strictly for any damage which may be caused thereby to the cargo owner. The special agreement and carrier's conditions of carriage which limit unreasonably the consignor's right of disposition of the goods will be nullified. (2) The instrument of the Warsaw Convention System which is not yet in force(Montreal Additional Protocol No. 4) would considerably simplfy the processing and keeping of computerized records of the carriage. Until this instrument enters into force, the airlines will be faced with practical problems preventing them to substitute computerized data processing techniques for the formal issuance of the documents. Accordingly, Montreal Additional Protocol No. 4 should become effective as soon as posisble. From a practical point of view in the international trade, the issuance of negotiable air waybill should be permitted for the security of the bank.

• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.14 no.2
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• pp.134-145
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• 2001

Introduction: Noises in the ear, whether real or imagined, are called tinnitus. Subjective causes of tinnitus(which is heard only by the patient) are extremely common and the majority of them are treated conservatively. For certain individuals their tinnitus is a major handicap; for others a trivial concern. The most common from of subjective tinnitus is a rushing, hissing or buzzing noise; it is frequently associated with sensorineural heanng loss. The patient may be unaware of the hearing loss, especially if it is a high frequency deficit of moderate severity. The character of the tinnitus may give a clue to the etiology. But the patient often has difficulty in explaining his/her tinnitus in absolute terms, as they have no other tinnitus with which to compare it but their own Tinnitus, like pain, is a subjective state and trying to objectively assess the severity is problematic. Audiological techniques to match subjective loudness to machine-produced noise may offer some help, in that sound intensity matches can bear little correspondence to subjective complaint. In spite of many studies, most patients presently seen complaining of tinnitus are told by their doctors that there is no treatment and that they will have to learn to live with this symptom. Objectives: To perform a clinical analysis of tinnitus and estimate the efficacy of Oriental Medical treatment according to the Byeonjeung(辨證). Subject: We studied 34 patients with complaints of tinnitus who had visited Pundang Cha Oriental Medicine Hospital Department of Otorhinolaryngology from March 1998 to February 2000. All of them had been treated 2 or 3 times a week with acupuncture treatment and had taken herbs according to the Byeonjeung(辨證) method. It was therefore possible for me to know whether their symptoms improved or not. Parameters Observed and Method: We treated them with acupuncture & herb-medication. Sometimes we gave them moxibustion or negative therapy with bloodletting at the acupuncture points(耳門, 聽宮, 聽會). Parameters Observed 1) Distribution of age & sex 2) Chief complaints 3) The sites of tinnitus 4) The quality of tinnitu 5) The duration of disease 6) The problem induced tinnitus 7) Factors increasing disease severity 8) The classification of the Byeonjeung(辨證) 9) The efficacy of treatments Results: 1. Age and sex distribution: The most common occurrence was found in males in their twenties: 6 males($17.7\%$), and in females in their thirties and over sixty: 8 females($23.5\%$). Total patient numbers for men and women were 20 men($58.8\%$), 14 women ($41.2\%$). 2. The most frequent major complaints were hearing disturbances related to tinnitus; and dizziness with tinnitus; each comprising 10 cases($29.4\%$). There were also 7 patients($20.6\%$) with only tinnitus. 3. Tinnitus sites: 13($38.2\%$) said that they felt tinnitus in both ears, equally. In the right ear, 9($26.5\%$), in the left, 6($17.7\%$). 4. The most frequent descriptive symptoms of tinnitus were: humming, hissing, buzzing etc. 5. The duration of disease. 14cases($41.2\%$) had a duration of less than 1 year. 6. 15cases($44.1\%$) complained that it was hard to watch TV or make a phone call because of tinnitus. 10 cases($29.4\%$) complained about depression. 7. Factors increasing severity of tinnitus: ⅰ) fatigue: 18cases($52.9\%$) ⅱ) stress/ tension: 10 cases($29.4\%$) ⅲ) alcohol and tobacco: 5cases($l4.7\%$) 8. Classification through Byeonjeung : ⅰ) 19 cases($55.9\%$) were classified as showing Deficiency syndrome. ⅱ) 15 cases($44.l\%$) were classified as showing Excess syndrome. The deficiency of Qi was 7($20.6\%$), deficiency of Xue, 8($23.5\%$) and insufficiency of the Kidney Yin & Yang, 4($11.8\%$). The flare of Liver fire was 8($23.5\%$) and phlegm-fire, 7($20.6\%$), 9. The efficacy of treatments showed: an improvement in 17cases($50.0\%$); no real improvement or changes in 13 cases($38.2\%$); and some worsening in 4 cases($11.8\%$). In the group with deficiency in Qi, 4($57.1\%$) improved, 1($14.3\%$) showed no change and 2($28.6\%$) were aggravated. In the cases of deficiency in Xue, 6($75.0\%$) improved, 2($25.0\%$) showed no change. In the cases of insufficiency of Kidney Yin & Yang, 3($75.0\%$) showed no change and 1($25.0\%$) were aggravated. In the group of flare of Liver fire, 4($50.0\%$) improved, 3($37.5\%$) no change and 1($12.5\%$) were aggravated. In the cases of phlegm-fire, 3($42.9\%$) improved, 4($57.1\%$) showed no change. Conclusion: We would recommend that any further studies of tinnitus utilize trial treatments of longer than 2 months duration, as any positive effects observed in our study showed that improvement occurred fairly slowly. And we suggest that this study could be utilized as a reference for clinical Oriental Medical treatment of tinnitus. If we try to apply music or sound therapy treatment properly combined with ours, we expect it to provide psycological stability in addition to inducing masking effects, even though it may not directly decrease or completely remove tinnitus.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.54-77
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• 2020

Produced during the Goryeo period (718-1392), the statue of the monk Huirang Daesa at Haeinsa Temple in Hapcheon is almost life-size, with a height of 82.4 cm, a width of 66.6 cm at the knees, and a maximum width of 44 cm at the torso (front and back). Notably, it is the only known example of an East Asian Buddhist sculpture made from wood and dry lacquer that was formed by joining the front and back halves. However, a similar technique was used on a dry lacquer statue of the Medicine Buddha at Cheongnyangsa Temple in Bonghwa, which is estimated to date from the late Goryeo or early Joseon period. As such, this technique is thought to represent this particular time period. In an eighteenth-century travelogue about a trip to Mt. Gayasan, the author describes a sculpture that is believed to be the statue of Huirang Daesa at Haeinsa Temple, based on various unique features that closely correspond to the sculpture's current appearance. For example, the sculpture is said to have a hole in the chest and rough, knobby tendons and bones, two features that can still be seen today. Another sculpture of a Buddhist monk who was active in the western regions during the third and fourth century also has a hole in the chest, which is said to be a symbol of spiritual strength. The travelogue also states that the statue was lacquered black at the time, which means that it must have been painted with its present colors some time in the nineteenth century. Over time, the sculpture has been enshrined in various halls of Haeinsa Temple, including Haehaengdang, Jinsangjeon, and later Josajeon (Hall of the Patriarchs), and Bojangjeon. Records show that images of Buddhist monks, or "seungsang," were produced in Korea as early as the Three Kingdoms period (18 BCE-660 CE), but few of these works have survived. At present, only four such sculptures are extant, including the images of Huirang Daesa from the Goryeo period, and those of Monk Naong and Uisang Daesa from the Joseon period. Of these, the sculpture of Huirang Daesa has special significance for its early production date (i.e., CE. tenth century), outstanding production techniques, and superb artistic quality, realistically capturing both the external appearance and internal character of the subject. The tradition of producing, sanctifying, and worshipping statues of monks was prevalent not only in Korea, but also in China and Japan. However, each country developed its own preferred materials and techniques for producing these unique images. For example, while China has a large number of mummified Buddhist images (yuksinbul), Japan produced diverse images with various materials (e.g., dry lacquer, wood, clay) according to period. But despite the differences in materials and techniques, the three nations shared the same fundamental purpose of expressing and honoring the inherent spirituality of the monks.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.43-76
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• 2020

After comparing three video dramas based on Yoon Sim-duk and Kim Woo-jin, this paper intensively explores the movie Praise of Death(1991), which has the most meaningful traits in embodying the characters, focusing on the relationship with the previous works of the director or an actress. The movie Yoon Sim-duk(1969) focuses on meiodramatic narrative around the issue like love triangle or a relationship between out-of-wedlock woman and the wife of one man. The TV drama Praise of Death(2018) is pursuing ideal youth genre between attractive two lovers adorning even the suffering of the Japanese occupation with customary visual image. In comparison, the movie Praise of Death(1991) focuses on visual beauty, while overlaps the agony of two characters as pioneering artists with frustrated love narrative. In the process, this film reveals two-sided characteristics, especially the heroine, compared to the other two. She shows a rift between the passivity for the salvation of man and the activity of choosing even the fall of her own life. In order to examine this trait, we have to explore the other works which affect the movie Praise of Death. This came from the tendency director Kim Ho-sun and actress Jang Mi-hee had built in 1970s films. It also relates in the movies Jang Mi-hee had worked with director bae Chang-ho in the 1980s. The tendency to show a pursuit of classical cultures in the field of popular movies, and to overlap the problems of desire, including sexuality, with mental and intellectual issues, continues from the previous films to the movie Praise of Death for shaping a main female character. This study results in examining the movie Praise of Death in two contexts. One is the context of three video dramas having same materials, Yoon Sim-duk and Kim Woo-jin. And other is the context of the works that director Kim Ho-sun and actress Jang Mi-hee have continued together, or the works that Jang Mi-hee have continued with director Bae Chang-ho. Until now, Yoon Sim-duk and Kim Woo-jin has been used as a material for cultural contents in the various genres over and over again. Under this circumstance, by looking at this movie, one of representative case dealing with Yoon and Kim, in the complex context, it can reaffirm the effect and difficulty in fictionalisation of them as a subject matter.

• Journal of The Korean Association For Science Education
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• v.42 no.1
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• pp.61-75
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• 2022

Recently, lifelong learning ability was newly proposed as scientific literacy, the goal of the science curriculum. To solve various science-related problems students encounter in life, lifelong learning abilities related to science beyond school science education are required, but empirical evidence shows that students can solve problems they actually face through scientific literacy. It is not easy to find in the existing science education research. In addition, there is a lack of discussion on how to cultivate lifelong learning ability suggested in the curriculum through school science education. In this study, attention was paid to SSI education as a method for students to cultivate lifelong learning ability through school science education and to develop their ability to solve science-related problems encountered in life. In this context, statements in the existing SSI education studies were reviewed to discover discourses related to lifelong learning, and their types and characteristics were distinguished. It was possible to confirm lifelong learning and its applicability with focus on science education research through this. For the study, 18 literature materials on the subject of SSI education were selected, and the discourses related to lifelong learning in the SSI education research were discovered by examining the statements revealed in the data. As a result of the study, there are four categories of discourses related to lifelong learning: 'awareness of science,' 'connection between science and everyday life', 'promotion of participatory citizenship', and 'construction of identity'. Various SSI education studies have already had lifelong learning perception in various contexts, and the four types of discourses related to lifelong learning could be linked to the four types of learning presented in the UNESCO Lifelong Learning Report. SSI education tends to view students' life experiences as part of their learning and aims to help students develop the character and capacity to make responsible decisions on social issues related to science and put them into practice. This competency can be continuously connected to the real-life of students outside of school as a lifelong learning ability. This study requires expanding the discourse related to lifelong learning in science education and operating and managing the overall educational system to foster students' lifelong learning ability.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Journal of Ethics
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• no.77
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• pp.73-112
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• 2010

This study aims to explore the character and problem of multicultural society in Korea in terms of the concept of moral panics. Its major issues are dealt with as follows: Firstly, this essay will apply two concepts of culture in multiculturalism - the pattern of meaning and a study of perfection- to three degrees of multicultural members: by individual, by groups and by a society as a whole. In this approach, moral panics of multicultural society in Korea have been manipulated by the secondary definitions like Korean government and media. In this study, however, the resource of the panics would be seen as nationalism in Korean history. To remove it in this essay, the conception of the pattern of meaning, which makes members understand others outer their norms, should be harmonized with that of a study of perfection by which they have identities. Secondly, the main subject of multiculturalism in Korea should at least be majority (groups)-Korean, not minority (groups)-foreigners. A stereotype of foreigners by majority is an image distorted by nationalities and races. People, for example, with the white skin from advanced countries are recognized as superior, while those born in the countries of Southeast Asia are, consciously or unconsciously, discriminated and have low positions due to socio-economic stratification in Korea. In this sense, a study of multicultural society in Korea should go forward to the inner direction to majority, because it is one of the real moral panics in Korea. In conclusion, it is important that there must be a study of identity which we can have of others in multicultural studies of Korea. It enables us to meet the conception of diversity. In that Korean government and media have neglected the danger of nationalism, it is also necessary that this study have any foundation of morality in ethics, which can give useful alternatives to the given polices of the secondary definitions.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.