• Korean Journal of Ecology and Environment
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• v.42 no.3
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• pp.350-363
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• 2009

Inter- and intra-specific differences in removal activities, filtering rates (FR) and production of feces-and pseudo-feces (PF) between a native freshwater bivalve in Korea, Anodonta woodiana Lea and Unio douglasiae Griffith et Pidgeon, were compared using a continuous removal of organic matters (CROM) system. The CROM system comprised five steps; input of polluted water, control of water flow, mussel treatment, analysis of water quality and discharge of clean water. The study was designed to compare the removal activity of organic matters between A. woodiana and U. douglasiae, and the intra-specific differences between density and length in A. woordiana. Results clearly indicate that two kinds of mussels had obvious removal activities of seston in the eutrophic reservoir. First, if both are similar in shell length, there were no significant inter-specific differences in removal activity between A. woordiana and U. douglasiae (P>0.5), but FRs of U. douglasiae was relatively high due to low ash-fee dry weight. Second, if both are same in animal density, the smaller mussels (1$\sim$2 years old) showed a higher filtering rate and production of feces- and pseudo-feces and less release of ammonium than the larger mussels. Third, if both are same in biomass, FRs and PF of mussels were higher in the low-density tank than the high-density tank, While the Concentration of $NH_4$-N and $PO_4$-P released WRS similar to each other (P>0.5). Therefore, these results suggest that CROM system using a young bivalve A. woordiana can be applied to control the nuisance seston in eutrophic lake system, if a relevant species and density were selected. Additional pilot tests to optimize the age and density of domestic bivalves were needed for the generalization of CROM operation.

• Korean Journal of Environment and Ecology
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• v.23 no.1
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• pp.30-40
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• 2009

Employing the Numata-type life form, the paper analyzed changes of plants for 4 years at the Human-made Wetlands along Boknaecheon of Juam Lake since its creation. The number of the species planted at the Human-made Wetlands along Boknaecheon of Juam Lake, which was completed in December 2002, were 15 in total including, 10 families, 13 genera, 12 species and 3 varieties. As for the three-featured life forms of the planted species, there were 6 perennial hydatophytes, recording the biggest number of species in dormancy form; species each of $R_5$, $R_3$, $R_{2-3}$ respectively in radicoid from; 20 species of geomantic dissenminule form ($D_1$) in disseminule form and erecred type(e) existed the most in growth form. With regard to the 3 features of life form identified during the final year of the monitoring that lasted 5 years after the completion of the Wetlands, the number of species and individuals was found to have increased but there was no significant change of tendency as against the composition ration(%) of life form. There were 43 species of therophytes (Th) that covered 24.29% in dormancy form, while $R_5$ was prevalent in radicoid form and $D_4$, $D_1$, and $D_{1,4}$ comprosed 77.39% of the whole disseminule form. Growth form was surveyed in the order of erected type (e), bunch type (t), temporal rosette type (pr), branch type (b) and straight rosette type (ps) and these species comprised 64.97% of the whole flora. Consequently, in case of the artificial wetlands along the Boknaecheon of Juam Lake, it turned out that the vegetation type in which pioneer species of succession, or gradually stabilized perennial vegetation favoring Wetlands because the higher dormancy form has its perennial plants' composition ratio getting, the more its succession is progressing. Even though single grained plants ($R_5$) belonging to radicoid in breeding form, succession is predicted to take place considering the fact that they actually belong to ~ plants like Phragmites japonica that form a connection on the surface of the earth. In addition, it is judged that geomantic disseminule form ($D_1$) conveyed by water and gravitational disseminule form favored by the development of waterside woody plants ($D_4$) seem to be better fit to this area in desseminule form. As for growth form, bunch type (t) is judged to become prevalent on the Wetlands while a good variety of phanerophytes will coexist on the earth due to artificial as well as natural disturbances.

• The Journal of the Petrological Society of Korea
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• v.6 no.2
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• pp.77-85
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• 1997

The Early Proterozoic reworked rock association occurs within the Preacmbrian high grade metamorphic rocks in the area of Daqingshan, Inner Molgolia. In this association, the various large scale ductile deformation belts, form a nappe structure where the foliation steeply dips to north and the lineation ($340^{circ}-30^{\circ}$) plunges at $45^{\circ}55^{\circ}$. This result indicates the subduction/extension with northern part thrusting over the southern part at high angle. The southern subducted microlithon has the characteristics of prograde metamorphism. The northern thrusted microlithon shows the evidence of retrograde metamorphism with decreasing pressure and increasing temperature. The main rock types of Early Proterozoic Moyites are biotite adamellite and syenogranites occurring in the form of small batholiths or stocks and alkali-feldspar granites in veins. The biotite adamellites are progressively contacted with the Archean and Early Proterozoic rocks and contain a great deal of enclaves of metamorphosed rocks, suggesting an anatexis origin. The geochemical characteristics of moyites show the typical features of anatexis granite. At middle to late Early Proterozoic time, the continent-continent collision formed the large scale thrusting and imbrication of Archean basement rocks. According to the mineral assemblage and thermobarometer of Paria et al. (1988) give the following P-T condition : up-faulted block; $700-710^{\circ}C$, 0.72-0.78 Gpa (early stage) and $600^{\circ}C$, 0.44 Gpa (late stage), footwall block; $620^{\circ}C$, 0.8 Gpa (early stage), $620-840^{\circ}C$, 0.64-0.45 Gpa (peak) and $620-630^{\circ}C$, 0.35Gpa (late stage). These results suggest a clockwise P-T-t path (jin et al., 1991, 1994). According to the depth-temperature model in the comperature subduction zone and the experimental data of Wyllie et al. (1983), we propose a tectonic-magmatic-thermal model to account for metamorphism-anatexis of moyite occurring in subduction-shear zone.

• Journal of Life Science
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• v.15 no.4 s.71
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• pp.522-527
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• 2005

A total of 5 female elk dEER $(220kg\pm10kg)$ were included in a study on the changes in physicochemical properties of deer meat during storage at $4^{\circ}C\;and\;-2^{\circ}C$. The deer was exposed to normal pre-slaughter handling and put under anesthesia before slaughtered. The loin and leg cuts were deboned from the carcass after 24hrs slaughter. The samples weighing approximately 300g were packaged using wrap packaging and stored for 3, 7, 11 and 15 days at $4^{\circ}C\;and\;-2^{\circ}C$. Water-holding capacity was decreased with increasing storage days at $4^{\circ}C\;or\;-2^{\circ}C$, respectively The deer meats kept at $-2^{\circ}C$ showed lower TBARS value than the meats kept at $4^{\circ}C$, and it was possible to extend the storage period of the meats. VBN values of the meats kept at $4^{\circ}C\;and\;-2^{\circ}C$ showed as edible values after storage for 15 days, although there were no significant differences among the storage temperature. pH values of loin and leg tended to be increased with the passage of storage time, and the values of the meats kept at $-2^{\circ}C$ was lower than that at $4^{\circ}C$. The change of meat softness was remarkable at $4^{\circ}C$, and the change at $-2^{\circ}C$ was slow. Therefore, it was effective to extend the storage period when the meats were kept at $-2^{\circ}C$. Color of the meats kept at $-2^{\circ}C$ was darker than that at $4^{\circ}C$, the index of red color was higher for the meats kept at $-2^{\circ}C$, and yellow color of meats kept at $-2^{\circ}C$ was more rapidly changed with the passage of storage time.

• Korean Journal of Psychosomatic Medicine
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• v.24 no.1
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• pp.74-82
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• 2016

Objectives : Suicide attempters have impaired decision making and are at high risk of reattempt. Therefore it is important to refer them to psychiatric treatment. Especially, People with medical comorbidity are at higher risk of suicidal attempt and mortality. The aim of this study was to investigate the characteristics of suicidal attempters and to analyze the influence of the medical comorbidity on decision to receive psychiatric treatment after visit to an emergency department. Methods : One hundred and thirty two patients, who visited the emergency room of a general hospital in Gyeonggi-do between January, 2012 and December, 2012 were enrolled as the subjects of this study. After reviewing each subject's medical records retrospectively, demographic and clinical factors were analyzed. Results : Regardless of the engagement type, either via admission or outpatient clinic, the determinant factors of psychiatric treatment engagement were psychiatric diagnosis, employment status, previous psychiatric treatment history, and previous attempt history. Comparison of severity of medical comorbidity(Charlson Comorbidity Index) showed that suicide attempters who received psychiatric treatment via admission or refused the treatment tended to have higher level of medical comorbidity than who received psychiatric treatment via outpatient department. Conclusions : Our findings showed that medical comorbidity of suicide attempters affected the decision to accept psychiatric treatment. All psychiatrists should evaluate the presence and the severity of medical comorbidity of the suicide attempters and consider implementing more intervention for the medically ill attempters who are willing to discharge against advice.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• The Journal of the Petrological Society of Korea
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• v.21 no.2
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• pp.129-150
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• 2012

The tectonic evolution of the Central Ogcheon Belt has been newly analyzed in this paper from the detailed geological maps by lithofacies classification, the development processes of geological structures, microstructures, and the time-relationship between deformation and metamorphism in the Ogcheon, Cheongsan, Mungyeong Buunnyeong, Busan areas, Korea and the fossil and radiometric age data of the Ogcheon Supergroup(OSG). The 1st tectonic phase($D^*$) is marked by the rifting of the original Gyeonggi Massif into North Gyeonggi Massif(present Gyeonggi Massif) and South Gyeonggi Massif (Bakdallyeong and Busan gneiss complexes). The Joseon Supergroup(JSG) and the lower unit(quartzose psammitic, pelitic, calcareous and basic rocks) of OSG were deposited in the Ogcheon rift basin during Early Paleozoic time, and the Pyeongan Supergroup(PSG) and its upper unit(conglomerate and pelitic rocks and acidic rocks) appeared in Late Paleozoic time. The 2nd tectonic phase(Ogcheon-Cheongsan phase/Songnim orogeny: D1), which occurred during Late Permian-Middle Triassic age, is characterized by the closing of Ogcheon rift basin(= the coupling of the North and South Gyeonggi Massifs) in the earlier phase(Ogcheon subphase: D1a), and by the coupling of South China block(Gyeonggi Massif and Ogcheon Zone) and North China block(Yeongnam Massif and Taebaksan Zone) in the later phase(Cheongsan subphase: D1b). At the earlier stage of D1a occurred the M1 medium-pressure type metamorphism of OSG related to the growth of coarse biotites, garnets, staurolites. At its later stage, the medium-pressure type metamorphic rocks were exhumed as some nappes with SE-vergence, and the giant-scale sheath fold, regional foliation, stretching lineation were formed in the OSG. At the D1b subphase which occurs under (N)NE-(S)SW compression, the thrusts with NNE- or/and SSW-vergence were formed in the front and rear parts of couple, and the NNE-trending Cheongsan shear zone of dextral strike-slip and the NNE-trending upright folds of the JSG and PSG were also formed in its flank part, and Daedong basin was built in Korean Peninsula. After that, Daedong Group(DG) of the Late Triassic-Early Jurassic was deposited. The 3rd tectonic phase(Honam phase/Daebo orogeny: D2) occurred by the transpression tectonics of NNE-trending Honam dextral strike-slip shearing in Early~Late Jurassic time, and formed the asymmetric crenulated fold in the OSG and the NNE-trending recumbent folds in the JSG and PSG and the thrust faults with ESE-vergence in which pre-Late Triassic Supergroups override DG. The M2 contact metamorphism of andalusite-sillimanite type by the intrusion of Daebo granitoids occurred at the D2 intertectonic phase of Middle Jurassic age. The 4th tectonic phase(Cheongmari phase: D3) occurred under the N-S compression at Early Cretaceous time, and formed the pull-apart Cretaceous sedimentary basins accompanying the NNE-trending sinistral strike-slip shearing. The M3 retrograde metamorphism of OSG associated with the crystallization of chlorite porphyroblasts mainly occurred after the D2. After the D3, the sinistral displacement(Geumgang phase: D4) occurred along the Geumgang fault accompanied with the giant-scale Geumgang drag fold with its parasitic kink folds in the Ogcheon area. These folds are intruded by acidic dykes of Late Cretaceous age.

• Journal of the Korean Wood Science and Technology
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• v.2 no.2
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• pp.25-31
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• 1974

1. Various gluing qualities applying Resorcinol Plyophen #6000 were studied on aiming the strength relationships of laminated woods resulted by single species [poplar (Populus deltoides), larch(Larix leptolepis)], mixed species of (poplar and larch), preservatives, treated poplar the scarf joint with mixed species of poplar and larch and the scarf joint treated with preservatives. 1. 1 On the block shear and on the DVL tension test, the mean wood failure ratio showed an excellent value i.e., above 65% and the tangential strength for larch was higher than that of radial, but it was reversed for poplar as shown in Tables 1 and 2. 1. 2 The lamina treated with Na-PCP reduced slightly the strength but the limited strength allowed for manufacturing laminated wood was not influenced by treating Na-PCP as shown in Tables 3 and 4. 1. 3 The safe scarf ratio in the plane scarf joint was above 1/12 for larch and 1/6 for poplar regard less of the chemical treatment or untreatment as shown in Tables. 5, 6, 7 and 8. 2. In the normal and boiled state, the gluing quality of the laminated wood composed of single[poplar (Populus deltoides), larch (Larix leptolepis)] and double species (poplar and larch) glued with Resorcinol Plyophen #6000 were measured as follow, and also represented the delamination of the same laminated wood. 2.1 The normal block shear strength of the straight and curved laminated wood (in life size) were more than three times of the standards adhesion strength. And, the value of the boiled stock was decreased to one half of the standard shear adhesion strength, but it was more than twice the standard strength for the boiled stock. Thus, it was recognized that the water resistance of the Resorcinol Plyophen #6000 was very high as shown in Tables 9 and 10. 2. 2 The delamination ratio of the straight and curved laminated woods in respect of their composition were decraesed, in turn, in the following order i. e., larch, mixed stock (larch+poplar) and poplar. The maximum value represented by the larch was 3.5% but it was below the limited value as shown in Table 11. 3. The various strengthes i.e., compressive, bending and adhesion obtainted by the straight laminaced wood which were constructed by five plies of single and double species of lamina i. e., larch (Larix leptolepis) and poplar (Populus euramericana), glued with urea resin were shown as follows: 3. 1 If desired a higher strength of architectural laminated wood composed of poplar (P) and larch (L), the combination of the laminas should be arranged as follows, L+P+L+P+L as shown in Table 12. 3.2 The strength of laminated wood composed of laminas which included pith and knots was conside rably decreased than that of clear lamina as shown Table 13. 3.3 The shear strength of the FPL block of the straight laminated wood constructed by the same species which were glued with urea adhesives was more than twice the limited adhesion strength, thus it makes possible to use it for interior constructional stock.

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

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