• Journal of the Korean Society of Environmental Restoration Technology
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• v.2 no.3
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• pp.10-17
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• 1999

In order to confirm the effectiveness of the natural river improvement technique, the analysis of vegetation was carried out in Yangjae stream between 1996 and 1998. The results of this study showed the numbers of riparian plants had increased from 41 species to 53 species, and the dominant species had changed from annual and biannual(Humulus japonicus, Persicaria thunbergii, Persicaria hydropiper, Panicum dichotomiflorum, Echinochloa crus-galli) to perennials (Phragmites communis). The variation in biomass and biodiversity index were measured and calculated according to the rehabilitation method. Biomass were varied 302 to $828g/m^2$ and biodiversity index was varied 1.53 to 1.52 at point bar plots(A treatment plots) from 1996 to 1998. In conclusion, the natural river improvement technique which has operated in Yanjaecheon for three years has contributed to restoration of riparian plants. Additionally, subsequent study using this technique should be followed in the near future.

• Korean Journal of Environment and Ecology
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• v.21 no.3
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• pp.243-256
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• 2007

The purpose of this paper is aimed at identifying the planting condition of greenbelt axis covering forests located at Sinhyeon-eup, Geoje-si and also establishing improvement plans for the ecological organization. The study was executed with buffer green space designed to mitigate noise, which is located at a halfway point linking Mt. Yukkyo(altitude of 50m) and Mt. Jungmae(altitude of 131m). The number of the biotope patterns was classified into 17 in total: the two are urbanized districts such as a townified district and streets and another 15 are greenbelts and open space such as forest biotope, inland water biotope, and landscaping tree plantations biotope. According to the analysis of biotope types, it was estimated that the making use of already established buffer greens as a linking medium with a foothold of Mt. Yukkyo and Jungmae, whose natural eco-system is well suited for habitation of living organism, is the one and only way to the influx of living organism into the downtown area. The green coverage rate of the base green area, sub-base green area and linkage green area was 160.29%, 128.37% and 44.37% respectively; the green capacity coefficient(i.e. GVZ[$Gr{\ddot{u}}nvolumezahl$]) for base green area, sub-base green area and linkage green area was $4.04m^3/m^2,\;3.95m^3/m^2\;and\;0.65m^3/m^2$ respectively. The base green area has constituted multi-layered vegetation structure and thus played a role as habitats for living organism and supply centre of species, whereas the sub-base green area has destroyed lower layer vegetation, and the linkage green area was in bad shape due to the lack of planting volume and damage of the shrub layer. Accordingly, this research paper intended to suggest detailed implementation plans for the improvement in landscape for city dwellers' use and relaxation; in other words, this paper focused on ecological build-up for the Influx of wild birds into the downtown area for the promotion of bio-diversity of species through the linkage of base green areas and the fostering of nature observing trails for citizens as well as the connecting of green areas through the build-up of roadside greens to make these green areas to be efficiently used as corridors for the influx of wild birds and bio-organism habitation and for citizens' using space.

• Journal of the Korean Institute of Landscape Architecture
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• v.14 no.2
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• pp.17-26
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• 1986

Landscape around a settlement is not only a natural object, but also a matters of the man in the co-relation with his environment. Man perceives the landscape rational or sensible. Then it changes into the substance for him and influences him: as we see often in the folklore, that is of importance in the mind. Man reacts against his surroundings deceidedly, selfassurd or commonly, and uses sometimes the landscape to the elements for realization, physical or symbolical. Out of one character of korean villages, adaption to the circumstances, we can notice also its inner image, the reflection of the mind. Seeing and perceiving the environment emotional or reasonable and, reflecting and descreibing the inner self on the space. Here, the landscape and the nature are matter of the man, a scale for his ethical estimation or a mailer of the realization his mind. It is difficult, but important, such a immanent picture in(or of) the landscape to find. This is a preliminary study in such a way.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.1 no.1
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• pp.3-17
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• 1998

The purposes of this study is to investigate the possibility of planting trees at space land in the riverside. The space land is for the green space. Calculating the plantable space in the representation section and the flood flowing stability of the existing banks based on the hydrological and meteorological data of the Kap-Chon riverbasin located in Tae-jon, the following results are drawn. (1) The flood discharges in each flow section are $698.7m^3/s$ in section 1, $654.6m^3/s$ in section 2, and $1353.3m^3/s$ in section 3 during 100 years recurrence interval. Because the designed-flood discharges in those sections are $1719.9m^3/s$, $2119.7m^3/s$, and $1512.8m^3/s$ respectively, safety for flood flowing is sufficient in existing banks. (2) The possible clearance for planting trees is 1.80m in section 1, 3.90m in section 2, and 0.01m in section 3. Planting clearance is enough in section 1 and 2. However, planting should be planned after estimating a rise-height due to the bridge piers, because many piers under riverine-highway are now on the construction in section 2. The section 3 does not have sufficient clearance for planting trees, but the planting is possible after getting enough flow area with slope by cutting the terrace land on the river artificially heightened. (3) In case of planting a tree 70cm diameter in $1m^2$ in section 1, the water level increases by 0.60m. Planting a tree in a $48m^2$ area increases the water level by 0.90m. Considering that plantable clearance is 1.8m in section 1, it is sufficient to flow safely. But if the trees are planted so compactly from the upper stream, expected heavy resistance is expected due to caught materials on the trees. So, trees have to be planted widely in upper streams but compactedly in lower streams. (4) The river width without changing, Kap-Chon's flow channel can be snaked in accordance with the nature law the wide terrace land in the riverside. Decreased flow area due to planting trees will be compensated by the inclination of terrace land. And, it is theoretically proved that the flood discharge is safe even though the terrace land on the river is parked similar to the nature. Planting trees in the terrace land of the Kap-chon river to the extent that flood flowing is not adversely affected, we can get the enjoyable park to citizens not spending expensive cost. It also contributes to the recovery of ecosystem, which gives the natural beauty of river and shade to citizens and becomes good natural-educational places for children.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.83-91
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• 2020

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.4
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• pp.33-49
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• 2019

The purpose of this study was to investigate the changes in the experiences of visitors of Yeonnam-dong during the period covering the development of a linear park, the Gyeongui Line Park. This study used a text mining technique to analyze Naver Blog postings of those who visited Yeonnam-dong from June 2013 to May 2017, divided into four periods -from June 2013 to May 2014, from June 2014 to May 2015, from June 2015 to May 2016 and from June 2016 to May 2017. The keywords used were 'Yeonnam-dong', 'Gyeongui Line' and 'Yeontral Park' and the data was further refined and resampled. A semantic network analysis was conducted on the basis of the co-occurrences of words. The results of the study were as follows. During the entire period, the main experience of visitors to Yeonnam-dong was 'food culture' consistently, but the activities related to 'market', 'browsing', and 'buy' increased. Also, activities such as 'walk', 'play' and 'rest' in the park newly appeared after the construction of the park. Moreover, more diverse opinions about the Yeonnam-dong were expressed on the blog, and Yeonnam-dong began to be recognized as a place where a variety of activities can be enjoyed. Lastly, when the visitors wrote about the theme 'food culture', the scope of the keywords expanded from simple ones, such as 'eat', 'photograph' and 'chatting' to 'market', 'browsing', and 'walk'. The sub-themes that appeared with the park also expanded to various topics with the emergence of the Gyeongui Line Book Street. This study analyzed the change of experiences of visitors objectively with text mining, a quantitative methodology. Due to the nature of text mining, however, the subjective opinions inevitably have been involved in the process of refining. Also, further research is required to assess the direct relationship between these changes and park construction.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Journal of the Korean earth science society
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• v.45 no.2
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• pp.136-146
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• 2024

This paper introduces the seismic facies classification and mapping of igneous bodies found in the sedimentary sequences of the Yellow Sea shelf area of Korea. In the research area, six extrusive and three intrusive types of igneous bodies were found in the Late Cretaceous, Eocene, Early Miocene, and Quaternary sedimentary sequences of the northeastern, southwestern and southeastern sags of the Gunsan Basin. Extrusive igneous bodies include the following six facies: (1) monogenetic volcano (E.mono) showing cone-shape external geometry with height less than 200 m, which may have originated from a single monogenetic eruption; (2) complex volcano (E.comp) marked by clustered monogenetic cones with height less than 500 m; (3) stratovolcano (E.strato) referring to internally stratified lofty volcanic edifices with height greater than 1 km and diameter more than 15 km; (4) fissure volcanics (E.fissure) marked by high-amplitude and discontinuous reflectors in association with normal faults that cut the acoustic basement; (5) maar-diatreme (E.maar) referring to gentle-sloped low-profile volcanic edifices with less than 2 km-wide vent-shape zones inside; and (6) hydrothermal vents (E.vent) marked by upright pipe-shape or funnel-shape structures disturbing sedimentary sequence with diameter less than 2 km. Intrusive igneous bodies include the following three facies: (1) dike and sill (I.dike/sill) showing variable horizontal, step-wise, or saucer-shaped intrusive geometries; (2) stock (I.stock) marked by pillar- or horn-shaped bodies with a kilometer-wide intrusion diameter; and (3) batholith and laccoliths (I.batho/lac) which refer to gigantic intrusive bodies that broadly deformed the overlying sedimentary sequence.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.172-205
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• 2011

Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[$80(82)cm{\times}80(82)cm$] while the smallest one was Yangsan Sohandjeong Seokguk ($40cm{\times}40cm$). The dimension of length and breadth are both $49cm{\times}48cm$ on average, which is realistic size for actual Go play. Fifth, the biggest bed rock, an under-masonry with carved Go-board on it, was one in Muju Sasunam[$8.7m{\times}7.5m(65.25m^2)$], followed by ones in Hoengseong Chuiseok[$7.8m{\times}6.3m(49.14m^2$] and Goisan Sungukam[$6.7m{\times}5.7m(37.14m^2)$]. Meanwhile, the smallest rock-go-board was turned out to be one in Seoul Banghak-dong. There was no consistency in directions of the Go-boards, which gives a hint that geographical features and sceneries of locations were considered first and then these were carved toward an optimal direction corresponding to the conditions. Sixth, rock-go-boards were all located in valleys and peaks of mountains with breathtaking scenery. It seems closely related to ancestors' taste for arts. Particularly, rock-go-boards are apprehended as facilities related to taste for arts for having leisure in many mountains and big streams under the idea of union of sky and human as a primitive communal line. Go became a medium of hermits, which is a traditional image of Go-game, and symbol of amusement and entertainment with the idea that Go is an essence of scholar culture enabling to reach the Tao of turning back to nature. Seventh, the further ancient time going back to, the more dreamlike the Go-boards are. It is an evident for that Sundoism, which used to be unacceptable once, became more visible and realistic. Considering the high relation between rock-go-boards and Sundoism relevant names such as Sundoism peak in Danyang Sobaeksan, 4 hermits rock in Muju and Sundoism hermit rock in Jangsu, Sundoism hermit rocks and rock-go-boards are sceneries and observation spots to express a communication of worship and longing for Sundoism. Eighth, 3 elements-physical environment such as location type of the rock-go-boards, human activities concentrated on 8 sceneries and Dongcheongugok(洞天九曲) setup and relevancy to Confucian scholars, as well as 'Sangsansaho' motif and 'Nangagosa' symbolic meaning were used as interpretation tools in order to judge the place identity. Upon the result, spatial investigation is required with respect to Sunyoodongcheon(仙遊洞天) concept based on enjoyment to unify with the nature rather than Dongcheongugok concept of neo-Confucian, for Dongcheon and Dongmoon(洞門) motives carved around the rock-go-boards. Generally, places where mountain stream type rock-go-boards were formed were hermit spaces of Confucianism or Sundoism. They are considered to have compromised one other with the change of times. Particularly, in the rock-go-board at the mountain peak, sublimity-oriented advent of Sundoism is considered as a significant factor to control place identity. Ninth, including where the rock-go-boards were established, the vicinal areas are well-known as parts of Dongcheongugok and Palkyung(八景) mostly. In addition, many of Sundoism relevant expressions were discovered even in the neighboring carvings written by scholars and nobility, which means sophisticated taste based on longing for Sundoism world played a significant role in making go-board. The rock-go-board is an integration of cultural phenomena naturally managed by seclusion of scholars in the Joseon Dynasty as well as remains and essence of Korean traditional landscaping. Some rock-go-boards out of 17 discovered in South Korea, including ones in Sobaeksan Sinsunbong, Banghak-dong, Chungju Gongili, Muju Sasunam, Yangsan Eogokdong Banryongdae Seokguk, are damaged such as cracks in rocks or fainted lines by hardships of time and hand stains. Worse yet, in case of Eunyang Bangudae Jipcheongjeong board, it is very difficult to identify the shape due to being buried. Rock-go-boards are valuable sculptures in terms of cultural asset and artwork since they reflect ancestors' love for nature and longing for Sundoism world. Therefore, they should be maintained properly with right preservation method. Not only rock-boards itself but also peripheral places are excellent cultural heritages and crucial cultural assets. In addition, vicinal sceneries of where rock-goboards and pavilion spots are the representative remains of embracing prototype of Korean traditional landscaping and major parts of cultural properties.

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

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