• The Journal of the Convergence on Culture Technology
• /
• v.8 no.4
• /
• pp.289-296
• /
• 2022

The purpose of this study was to examine the students' responses and self-understanding in the liberal arts and personality class, one of the compulsory liberal arts subjects at S University. The results of the study are as follows. First, the degree of influence on students' positive change in this class was higher than normal using a five-step Likert scale. In particular, as a result of the film discussion conducted by the researcher, satisfaction was very high. Second, as a result of picture test analysis, changes in coping ability through stress and resource scales were seen in the students, and it was an opportunity for students to understand themselves by looking into their minds. This study presented example of classes that can cultivate students' personality through literature, art, and video, and cultivate their qualities as global citizens, such as responsibility, leadership, cooperation, consideration, communication, and empathy, through discussion.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.1
• /
• pp.52-69
• /
• 2012

This paper attempts to analyze the inner and outer structure of royal tombs that were built during the Joseon Period. This analysis is based on the relevant historical records and they were restored through visual composition in order to compare the features of Joseon royal tombs with those of Goryeo royal tombs and common tombs of the Joseon Period. Royal tombs of the Joseon Dynasty are structurally solid and contain a variety of artistic ornaments that symbolize guardian deities both inside and outside to protect the owners of the tombs for a long time. According to historical records such as Sejong sillok oryeui (Five Rites of State from the Annals of King Sejong) and Gukjo oryeui (Five Rites of State), it is presumed that the inner structure of royal tombs dating back to the early Joseon Period consisted of a stone chamber and that the byeongpungseok and nanganseok were built outside of the tomb. However, ever since King Sejo left it in his will not to make a stone chamber in his tomb, the royal tombs began to follow a new pattern, a burial pit outside the coffin filled with lime powder. Gukjo sangnye bopyeon (Supplement Book of the State Funeral Rites), which was compiled during the reign of King Yeongjo, is a book that shows how the royal tombs were formed in the late Joseon Period. The book explains in detail how lime powder was used to fill the burial pit of royal tombs. The byeongpungseok used during the late Joseon Period were engraved with peony flowers, while those previously made were engraved with twelve spirit warriors. Peony designs were frequently used to decorate the items of royal families, and the use of peony designs in tombs reflects the idea of regarding the royal tombs as an everyday living space for the deceased.

• 지역과문화
• /
• v.7 no.4
• /
• pp.49-68
• /
• 2020

The study of complementary medicine for the mental illness of modern people has been made up of academic fields. Psychotherapy, art therapy, literary therapy and dance therapy are among them, but these non-integrated studies are extremely limited to apply to reality. Collaboration with the medical community seeking supplementary measures after drug treatment is also a problem, and it is even more difficult to institutionalize them in a policy way. In response, the study suggested a shift to a space-oriented treatment paradigm by studying the value of space that most treatment programs value. Based on the theory of integrated literature therapy developed in Germany and introduced into Korea, the Tetra system was applied to one of Korea's cultural heritages. And I presented a sample of how to program the characteristics of the old house space. Kwon Seong-baek old house in Andong was considered a representative space and analyzed. As a similar case, we looked at the Healian Sun Village, the Knife Village in Germany, and the Temple Stay of Bongeunsa Temple to find out the actual conditions of space utilization. Accordingly, space treatment programs such as walking, writing poems, reading poems, and writing letters were presented by analyzing old houses with a Tetra system. This is significant as the first study to incorporate spatialization and placeability into the program.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.3
• /
• pp.551-557
• /
• 2024

Early childhood cultural and artistic education is a process of expressing oneself and understanding society, which has a great impact on the lives of young children. It utilizes the principle of individualization, which means that individual diversity should be considered because each toddler has different developmental characteristics; the principle of play-centeredness, which means that toddlers form active attitudes toward experiential activities through enjoyment through play; the principle of integration, which is the foundation for holistic development; and the principle of direct experience, which means that toddlers have the experience of touching and manipulating materials. In the introduction, children are encouraged to explore and think about materials, read and share books together, and express their thoughts creatively through artistic expressions such as art, music, physical expression, drama, movies, and photography in the first and second phases. In the final stage, a teaching and learning plan was developed that consisted of a circle time for the children to share their opinions with each other in the process of appreciating the results created by the children and presenting their thoughts. As the educational effectiveness of early childhood cultural arts education is best developed in the early childhood period, when learning is emphasized by children exploring according to their interests, this study presented a learning guidance plan that reflects various educational methods and genre convergence education that can be applied to early childhood cultural arts education.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.54-88
• /
• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Communications of Mathematical Education
• /
• v.13 no.2
• /
• pp.563-589
• /
• 2002

고학년으로 갈수록 지필 환경에만 머무르는 현실 속에서 생활 및 예술 작품 등에서 수학적 원리와 개념을 발견하도록 하는 테셀레이션 수업은 학생들의 흥미와 호기심을 유발하고 수학의 아름다움을 느끼게 하는 것 이상으로 기하학적 사고의 기초를 학습하는데 도움을 줄 수 있다. 이에 본 연구는 4학년까지 적용되고 있는 7차 교육과정을 중심으로 새롭게 등장하고 있는 테셀레이션에 대한 이해 및 교수 학습 자료가 체계적으로 정비되어 있지 못한 현실적인 문제의 해결 방안으로서 테셀레이션을 활용한 수학 학습의 내용을 분석하여 교사들에게는 테셀레이션의 이해 및 교수 학습 자료로서 , 학생들에게는 수학의 기하적 개념들을 쉽고 재미있게 학습할 수 있는 학습도구로서 활용할 수 있도록 하는 것을 목적으로 테셀레이션을 구현할 수 있는 컴퓨터 소프트웨어를 활용하여 테셀레이션 교수 학습 자료를 개발하였고 이를 위해 다음과 같은 연구 내용을 설정하였다. 가. 테셀레이션의 정의와 예 그리고 종류를 알아보고 테셀레이션 속의 수학적 개념을 활용방법과 함께 제시한다. 나. 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 테셀레이션을 적용할 수 있는 내용영역을 분석하고 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한다. 다. 제작된 테셀레이션 교수 학습 자료의 효과적 활용을 위한 활용 방안을 탐색한다. 라. 제작된 테셀레이션 교수 학습 자료의 활용 효과를 알아보기 위해 적용 실험을 하고 이에 대한 학생들의 반응을 분석하여 학습의 효과를 밝힌다. 제작된 테셀레이션 교수 학습 자료의 적용 실험을 위하여 광주대성초등학교 6학년 한 반을 선정하였고 약 4주에 걸쳐 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료를 투입하여 4번의 활동수업을 실시하였다. 수업 후 작성된 학습지와 소감문 및 연구자에 의해 관찰된 수업내용을 바탕으로 다음과 같은 연구 결과를 얻을 수 있었다. 첫째, 제7차 초등 수학 교육과정 중 도형 영역과 규칙성과 함수 영역을 중심으로 컴퓨터 소프트웨어를 활용한 테셀레이션 자료를 제시한 결과 지필적 환경에서 제한적이었던 탐구하고 조작해보는 활동을 할 수 있는 역동적인 수학 실험실 환경이 제공됨으로써 도구적 이해가 아닌 관계적 이해를 하는 것을 확인할 수 있었다. 수학적 개념을 암기하는 것에서 벗어나 자연스런 조작을 통해 학생들이 개념을 이해하고 탐구하는 과정 속에서 학생들은 수학을 공부한다기 보다는 수학 속에서 재미있게 놀이한다는 생각을 가지고 수업에 참여하였고 배우는 즐거움을 알고 자신감을 가지며 더 나아가 창의적인 생각을 하도록 하는 기회를 줄 수 있었다. 둘째, 테셀레이션은 우리 생활 속에서 쉽게 발견할 수 있는 것으로 수학이 단순히 책에서만 한정되지 않고 다양한 분야 즉 디자인, 생활 속에서의 벽지문양과 포장지, 예술작품 등에 활용되고 있음을 체험함으로써 수학이 실생활에 광범위하게 활용되고 있음을 알게 하였다. 역으로 생활 속에서의 테셀레이션을 통해 수학적 개념을 찾는 과정을 통해 수학이 아름다우면서도 실용적이라는 생각을 심어줄 수 있었다. 셋째, 테셀매니아, GSP, 캐브리, 거북기하 등 평소 수업에서는 활용도가 적은 컴퓨터 소프트웨어를 활용함으로써 컴퓨터 소프트웨어 자체에서 오는 호기심뿐만이 아니라 직접 조작하여 테셀레이션 작품과 개념을 익히고 새로운 작품과 학습을 해 내는 과정을 통해 자신감과 성취감 등에 있어 큰 변화가 있음을 발견할 수 있었다. 컴퓨터 기능이 미숙한 학생의 경우 처음에는 당황해 하고 어려워하는 부분도 있었으나 조작할 시간적 여유를 주고 교사와 우수한 학생들이 도우미로서 역할을 잘해내어 나중에는 큰 어려움 없이 마칠 수 있었다. 테셀레이션이라는 용어가 아직은 생소한 현장에서 교수 학습 자료가 부족하고 그에 따른 이해도 부족한 현실 속에서 컴퓨터 소프트웨어를 활용한 테셀레이션 교수 학습 자료가 교수 학습 현장에 투입되어 유용하게 사용될 수 있는지 그 가능성을 조사한 것을 목적으로 한 본 연구의 결과로서 테셀레이션이라는 주제는 도형 영역과 규칙성과 함수 영역에서 평면 도형의 각과 모양 등의 성질을 탐구하게 하고, 대칭변환의 개념을 효율적으로 학습하게 할 수 있고, 반복되는 모양에서 규칙성을 발견하고 부분과 전체를 파악하여 패턴을 인지할 수 있게 하며 제작하고 분석하는 과정을 통해 여러 가지 수학적 개념과 수학적 창의성, 수학적인 아름다움을 느끼게 할 수 있음을 발견할 수 있었다. 또한 테셀레이션은 수학적 개념은 물론 수학과 미술, 수학과 일상 생활과의 연결성을 논의하고 확인하는 데 흥미로운 주제가 될 수 있다. 초등학교 교육과정에서 새롭게 도입되고 있는 테셀레이션을 활용하여 지도하기 위한 교수 학습 자료로 유용하게 사용될 수 있고 앞으로는 테셀레이션과 관련된 내용이 직접적으로 교육과정 내에서 다루어지고, 또한 테셀레이션을 적용한 수업이 학생들의 기하학적 사고 및 수학적 태도에 미치는 영향과 관련한 연구가 뒤따라야 할 것으로 본다.

• Journal of Korean Home Economics Education Association
• /
• v.32 no.3
• /
• pp.81-96
• /
• 2020

This study aims to identify implications for the role of home economics in consumer education in middle schools focusing on building consumer competency. To this end, the content in middle school textbooks of home economics and other subjects, written according to the 2015 revised curriculum, were analyzed. This study examined consumer education content based on the consumer competency measurement index developed by the Korean Consumer Agency, and reviewed different foci presented by subjects. This study also investigated how the knowledge, attitude and practice, which are components of consumer competency, are presented. The major findings of this study can be summarized as follows: First, consumer competency content, presented in textbooks of home economics and other subjects, were comprised of citizenship competency(65.3%), transactional competency(27%), and financial competency(7.7%). Second, in terms of content on the consumer's citizenship competency, little attention was paid to consumer rights, revealing an imbalance between responsibilities and rights. Third, despite its importance, the "utilization of information and communications technology" in transaction competency, and "consumer participation" in citizenship competency are insufficiently covered in the home economics. Fourth, social studies was the subject that most extensively covered the content of consumer competency. In terms of scope, home economics dealt with most of the sub-fields. Fifth, even when the same content of consumer competency was covered, it was presented differently by subject. Sixth, there was a lack of connection between components of consumer competency-knowledge, attitude, and practice, with a disproportionately high emphasis on knowledge. In conclusion, this study concluded that consumer education content of middle school subjects is insufficient to enhance consumer competency.

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

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