• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.93-107
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• 2019

The purpose of this paper is to explore the application of Chinese traditional garden space construction principle studied by predecessors in modern park landscape, and to find more methods of traditional garden space construction inheritance and innovation through research. Tian Chaoyang's book "Fifteen Lectures on Chinese Classical Gardens and Modern Translation" mentions that Chinese traditional gardens are combining time and space, so he draws a brief pattern diagram containing the principle of the space construction. According to this principle of space construction, the researchers chose Qujiang Pool Heritage Park, which combines modern and traditional, then analyzed its spatial structure and and space elements. The results are as follows. The complex spatial structure of the park is composed of spatial boundary lines and spatial routes. The complex boundary space is composed of bridges, squares, plants, rows of buildings and other elements. The water space in the center of the park is designed in accordance with the traces of the historical water system, and its natural zigzag shoreline expands the water space. The central water space is divided into the big pool and the small pool, the Yanbo island and Bird island are created respectively. The building at the park boundary connects the park's interior and exterior. Most of the buildings in the park are located in the convex corner of the route or space. Through this research, it can be concluded that Qujiang park also applies the space construction principle combining time and space. And then, the garden elements of Qujiang park are recreating the history and culture of Qin, Han, Sui and Tang dynasties with modern methods, thus creating a park with Chinese regional characteristics. Since the Tang dynasty was the most prosperous period in Qujiang, the park was dominated by Tang culture. Through the research of this paper, we can see that the space construction principle of Qujiang Pool Heritage Park is the inheritance of the space construction principle of Chinese traditional garden. And the landscape element of Qujiang park is the landscape created by combining traditional history and culture, which is the innovative part of modern garden. Through this study, the creation of modern landscape with Chinese characteristics can provide some hints on the direction of inheritance and innovation.

• Archives of design research
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• v.19 no.2 s.64
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• pp.241-250
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• 2006

Hangeul as the Korean unique characters were invented according to some character-making principles and based on scholars' exhaustive researches. While most of the characters in the world evolved naturally, Hangeul was invented based on a precise linguistic analysis of the time, and therefore, it is most scientific and reasonable among various characters throughout the world. Nevertheless, Hangeul typeface designs do not seem to inherit the ideology of scientific and reasonable Hangeul correctly. For the square forms have been used intact due to the influences from the Chinese characters which prevailed during the time. If a single set of square characters should be designed, as much as 11,172 fonts should be designed, which suggests that advantages of Mangeul may not well be used fully; Hangeul was invented to visualize every sound with the combinations of 28 vowels and consonants. Problems of such square fonts began to be identified since 1900's when typewriters were introduced first from the West. Since a typewriter is designed with 28 characters laid out on its keyboard by using such combinations, the letters may be easily combined on it. The so-called the flexibility square-format typeface was born as such. Specially, the three-pairs fonts of these can be combined up to 67 letters including vowels and consonants. The three-pairs fonts system can help to solve the problems arising form the conventional square fonts and inherit the original ideology of Hangeul invention. This study aims to review the history of the three-pairs fonts designs facilitated by mechanic encoding of Hangeul and thereupon, suggest some desirable directions for future Hangeul fonts. Since the flexibility square-format typeface is expected to evolve more and more owing to development of the digital technology, they would serve our age of information in terms of both functions and convenience. Just as Hunminjongum tried to be literally independent from the Chinese characters, so the flexibility square-format typeface designs would serve to recover identity of our Hangeul font designs.

• The Journal of Korean Society for Radiation Therapy
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• v.16 no.2
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• pp.43-61
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• 2004

Purpose : For qualify improvement in radiotherapy, it is important to set up and evaluate equipment (linac) accurately. In addition, technicians are needed to be fully aware of the equipment's detailed quality and its manual. Therefore, the result of ATP is evaluated and introduced, in order that the technicians are skilled by participating in quality assurance (QA) and understanding the quality of the equipment before clinical use. Method and Material : QA for LINAC 21EX (Varian, US) was done with suppliers its procedure was divided into radiation survey, mechanical test, radiation isocenter test, bean performance, dosimetry, and enhanced dynamic wedge and using X-omat film (Kodak), multidata, densitometer, and electrometer. QA of MLC (Millennium, 120 leaf) attached to LINAC and EPID (Portal vision) were done separately. Result : The leakage dose by survey meter was below the tolerance. In mechanical test, collimater, gantry, and couch rotation were less than 1mm, and the angles were ${\pm}0.1^{\circ}$ for digital and ${\pm}0.5^{\circ}$ for mechanical. The alignment test of the light field and crosshair were evaluated less than 1mm. The (a)symmetrical jaw field was less than ${\pm}0.5mm$. The radiation isocenter test using X-mat film was less than 1mm. The consistency of light field and radiation field was less than ${\pm}0.1mm$. PDD for photon energy was less than ${\pm}1\%$ and for electron energy of $90\%,\;80\%,\;50\%,\;and\;30\%$ were evaluated within the tolerance. Flatness for photon and electron energy was evaluated $2.3\%$ (tolerance $3\%$) and $3\%$ (tolerance $4.5\%$), respectively, and symmetry was $0.45\%$ (tolerance $2\%$) and $0.3\%$ (tolerance $2\%$), respectively. Dosimetry test for short term, MU setting, rep rate, and dose rate accuracy of photon and electron energy was within the tolerance depending on energy, MU, and gantry angle. Conclusion : Accuracy and safety for clinical use of Clinac 21EX was verified through customer acceptance procedure and the quality of the equipment was found out. These can reduce the difficulties in using the equipment. Furthermore, it is useful for clinically treatment of patients by technicians' active participations.

• Korean Journal of Heritage: History & Science
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• v.50 no.3
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• pp.64-87
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• 2017

Dahoe is a traditional braid in Joseon Dynasty. There are many Dahoe artifacts, which can give us a glimpse of the costume, culture, and life of that era. The study of Dahoe is necessary in various fields, but it is difficult because this manufacturing technique has been passed down from hand to hand. Few studies have been done so far. This research examines the manufacturing technique of KwangDahoe which is passed down by Maedeupjang (Decorative Knotting) and is generally used for knotting and/or tying objects. The main characteristic of TieKwangDahoe, made through the same method as WonDahoe, is the square hole in the middle. It was impossibile to remake the original braid because there is no confirmed number of the strand. Especially it is very difficult to do conservation and restoration on serious degradation state of the fiber. Therefore, it is necessary to analyze the non-destructive manufacturing techniques method for Dahoe and assess their applicability. First, we analyzed the artifacts' manufacturing technique based on the database of the Dahoe's manufacturing technique. In order to do that, we undertook schematization, restoration, morphological analyzation of the Dahoe. And then, X-ray CT scans were performed to improve the reliability of the DB. These results of scanning were interpreted based on the manufacturing technique. The selected Tie-KwangDahoe on the sword for the study are artifacts including artistic value and symbolism in Joseon Dynasty. Based on the analysis of the manufacturing technique, we found that both artifacts were made of 20-strand braid of single cross according to the length-scale measure. It was manufactured using 8-strand on left-right side, 12-strand on front-back side by the braiding manufacturing technique method Finally, this research suggests non-destructive analysis method of Dahoe's manufacturing technique is based on the database and the analysis results. I hope this research can be useful in various professional fields of Dahoe in the future. Moreover, I hope this can be of any help in preserving Korean cultural heritage.

• Economic and Environmental Geology
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• v.52 no.2
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• pp.159-168
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• 2019

The western Gyeonggi Massif, where records evidence of Phanerozoic subduction/collision tectonics, is an important area to understand the crustal evolutionary history of the Korean Peninsula. This study presents geometric and kinematic characteristics of the geological structures of the Taean Formation in the Gomseom area, southwestern Gyeonggi Massif. We interpreted the geometric relationships between structural elements, and conducted stereographic and down-plunge projections for structural domains. As a result, at least three different deformational events ($D_1$, $D_2$ and $D_3$) are recognized in the study area. In the first deformational event ($D_1$), regional foliations being well defined by the preferred orientation of muscovite and biotite were formed. In the second deformational event ($D_2$), NNE-trending low-angle contractional faults and related crenulation lineations/cleavages were formed. The crenulation lineations shallowly plunge toward SSW~SSE or NNW~NNE. In the third deformational event ($D_3$), SE-plunging folds and NE-trending high-angle faults were formed as 'fault-related fold' and 'fold-accommodation fault', indicating that the $D_3$ folds and faults are genetically linked to each other. This contribution provides important insights into the structural evolution of the Taean Formation along western Gyeonggi Massif, where had evolved as subduction/collisional orogenic belts in the East Asia.

• Korean Journal of Environment and Ecology
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• v.33 no.4
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• pp.378-401
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• 2019

This study generated a list of plants in eight sections from the Baekdansa ticket office (874m) to Cheonjedan (1,560m) divided in the interval of 100m above sea level to examine the species diversity patterns and distribution changes of the vascular plants at different altitudes in Taebaeksan National Park. Four site surveys found a total of 385 taxa: 89 families, 240 genera, 345 species, 5 subspecies, 34 varieties, and 1 form. A result of analyzing the change of species diversity along elevational gradients showed that it decreased with increasing elevation and then increased from a certain section. A result of analyzing habitat affinity types showed that the proportion of forest species increased with increasing elevation. On the other hand, the ruderal species appeared at a high rate in the artificial interference section. A result of comparing the proportion of woody and herb plants showed that the woody plants gradually increased with elevation and rapidly decreased in the artificial interference section. On the other hand, the herb plants showed the opposite trend. A result of analyzing the change of distribution of species according to altitude with the DCA technique showed that the vascular plants were divided into three groups according to the elevation in order on the I axis with the boundaries at 900m and 1,300m above sea level. The arrangement of each stand from right to left along the altitude on the I axis with a significant correlation with warmth index (WI) confirmed that the temperature change along the altitude could affect the distribution of vascular plants, composition, and diversity. Therefore, the continuous monitoring is necessary to confirm ecological and environmental characteristics of vegetation, distribution ranges, changes of habitat. We expect that the results of this study will be used as the basic data for establishing the measurement measures related to the preservation of biodiversity and climate change.

• Journal of the Korean Chemical Society
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• v.37 no.2
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• pp.191-198
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• 1993

The crystal structures of $Cd_{6-}A$ evacuated at $2{\times}10^{-6}$ torr and $750^{\circ}C$ (a = 12.204(1) $\AA$) and dehydrated $Cd_{6-}A$ reacted with 0.1 torr of Cs vapor at $250^{\circ}C$ for 12 hours (a = 12.279(1) $\AA$) have been determined by single crystal X-ray diffraction techniques in the cubic space group Pm3m at $21(1)^{\circ}C.$ Their structures were refined to final error indices, $R_1=$ 0.081 and $R_2=$ 0.091 with 151 reflections and $R_1=$ 0.095 and $R_2=$ 0.089 with 82 reflections, respectively, for which I > $3\sigma(I).$ In vacuum dehydrated $Cd_{6-}A$, six $Cd^{2+}$ ions occupy threefold-axis positions near 6-ring, recessed 0.460(3) $\AA$ into the sodalite cavity from the (111) plane at O(3) : Cd-O(3) = 2.18(2) $\AA$ and O(3)-Cd-O(3) = $115.7(4)^{\circ}.$ Upon treating it with 0.1 torr of Cs vapor at $250^{\circ}C$, all 6 $Cd^{2+}$ ions in dehydrated $Cd_{6-}A$ are reduced by Cs vapor and Cs species are found at 4 crystallographic sites : 3.0 $Cs^+$ ions lie at the centers of the 8-rings at sites of $D_{4h}$ symmetry; ca. 9.0 Cs+ ions lie on the threefold axes of unit cell, ca. 7 in the large cavity and ca. 2 in the sodalite cavity; ca. 0.5 $Cs^+$ ion is found near a 4-ring. In this structure, ca. 12.5 Cs species are found per unit cell, more than the twelve $Cs^+$ ions needed to balance the anionic charge of zeolite framework, indicating that sorption of Cs0 has occurred. The occupancies observed are simply explained by two unit cell arrangements, $Cs_{12}-A$ and $Cs_{13}-A$. About 50% of unit cells may have two $Cs^+$ ions in sodalite unit near opposite 6-rings, six in the large cavity near 6-ring and one in the large cavity near a 4-ring. The remaining 50% of unit cells may have two Cs species in the sodalite unit which are closely associated with two out of 8 $Cs^+$ ions in the large cavity to form linear $(Cs_4)^{3+}$ clusters. These clusters lie on threefold axes and extend through the centers of sodalite units. In all unit cells, three $Cs^+$ ions fill equipoints of symmetry $D_{4h}$ at the centers of 8-rings.

• The Journal of the Petrological Society of Korea
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• v.27 no.3
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• pp.109-120
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• 2018

The distributional characteristics of fault segments in Cretaceous and Tertiary rocks from southeastern Gyeongsang Basin were derived. The 267 sets of fault segments showing linear type were extracted from the curved fault lines delineated on the regional geological map. First, the directional angle(${\theta}$)-length(L) chart for the whole fault segments was made. From the related chart, the general d istribution pattern of fault segments was derived. The distribution curve in the chart was divided into four sections according to its overall shape. NNE, NNW and WNW directions, corresponding to the peaks of the above sections, indicate those of the Yangsan, Ulsan and Gaeum fault systems. The fault segment population show near symmetrical distribution with respect to $N19^{\circ}E$ direction corresponding to the maximum peak. Second, the directional angle-frequency(N), mean length(Lm), total length(Lt) and density(${\rho}$) chart was made. From the related chart, whole domain of the above chart was divided into 19 domains in terms of the phases of the distribution curve. The directions corresponding to the peaks of the above domains suggest the directions of representative stresses acted on rock body. Third, the length-cumulative frequency graphs for the 18 sub-populations were made. From the related chart, the value of exponent(${\lambda}$) increase in the clockwise direction($N10{\sim}20^{\circ}E{\rightarrow}N50{\sim}60^{\circ}E$) and counterclockwise direction ($N10{\sim}20^{\circ}W{\rightarrow}N50{\sim}60^{\circ}W$). On the other hand, the width of distribution of lengths and mean length decrease. The chart for the above sub-populations having mutually different evolution characteristics, reveals a cross section of evolutionary process. Fourth, the general distribution chart for the 18 graphs was made. From the related chart, the above graphs were classified into five groups(A~E) according to the distribution area. The lengths of fault segments increase in order of group E ($N80{\sim}90^{\circ}E{\cdot}N70{\sim}80^{\circ}E{\cdot}N80{\sim}90^{\circ}W{\cdot}N50{\sim}60^{\circ}W{\cdot}N30{\sim}40^{\circ}W{\cdot}N40{\sim}50^{\circ}W$) < D ($N70{\sim}80^{\circ}W{\cdot}N60{\sim}70^{\circ}W{\cdot}N60{\sim}70^{\circ}E{\cdot}N50{\sim}60^{\circ}E{\cdot}N40{\sim}50^{\circ}E{\cdot}N0{\sim}10^{\circ}W$) < C ($N20{\sim}30^{\circ}W{\cdot}N10{\sim}20^{\circ}W$) < B ($N0{\sim}10^{\circ}E{\cdot}N30{\sim}40^{\circ}E$) < A ($N20{\sim}30^{\circ}E{\cdot}N10{\sim}20^{\circ}E$). Especially the forms of graph gradually transition from a uniform distribution to an exponential one. Lastly, the values of the six parameters for fault-segment length were divided into five groups. Among the six parameters, mean length and length of the longest fault segment decrease in the order of group III ($N10^{\circ}W{\sim}N20^{\circ}E$) > IV ($N20{\sim}60^{\circ}E$) > II ($N10{\sim}60^{\circ}W$) > I ($N60{\sim}90^{\circ}W$) > V ($N60{\sim}90^{\circ}E$). Frequency, longest length, total length, mean length and density of fault segments, belonging to group V, show the lowest values. The above order of arrangement among five groups suggests the interrelationship with the relative formation ages of fault segments.

• Economic and Environmental Geology
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• v.12 no.3
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• pp.147-176
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• 1979

The Yeonhwa II zinc-lead mine is characterized by a dozen of moderately dipping tabular orebodies of skarn and zinc-lead sulfides, developed in accordance with the ENE-trending bedding thrusts and bedding planes of the Pungchon Limestone and underlying Myobong Formation, mostly along the contacts of a ENE-trending sill and a NW-trending dike of quartz mononite porphyry. The orebodies occur in three groups: (1) the footwall Wolgok orebodies with respect to the sill, (2) the hangingwall Wolgok orebodies, and (3) the Seongok orebodies extended from dike contacts into carbonate beds. Mineral compositions of these orebodies are dominated by calc-silicates (skarn) associated with ore minerals of sphalerite, galena, and chalcopyrite, as well as sulfide gangue of pyrrhotite. A pair of exo- and endo-skerns in the Wolgok footwall contact aureole between the Pungchon Limestone and quartz monzonite porphyry on the -120 level represents a well-developed symmetrical pattern of mineral zoning: a garnet/quartz zone in the center of exoskarn, two zones of pyroxene with ore minerals on both sides of the garnet/quartz zone, further outwards-an epidote/chlorite-bearing hornfelsic zone in the Myobong slate beyond a zone of unaffected limestone, and an epidote-dominated zone of endo skarn on the opposite side toward fresh quartz monzonite porphyry. These features indicate a combination of two effects on the skarn formation: (1) differences in composition of the host rocks(sedimentary and ignous), and (2) progressive outward migration of inner zones on outer zones on the course of metasomatic replacement of the pre-existing minerals. Microprobe analyses of garnet, pyroxene, pyroxenoids, epidote, and chlorite for nine major elements on a total of 23 mineral grains revealed that: the pyroxenes are hedenbergitic, in most zones, with a gradual decrease of Fe- and Mn-contents toward the central zone, whereas the garnets are andraditic in outer zones, but are grossularitic in the central zone. This indicates a reverse relationship of Fe-contents between pyroxene and garnet across the exoskarn zones. Pyroxenoids are lacking in wollastonite but are dominated by pyroxmangite, rhodonite and bustamite, indicating a Mn-rich nature in bulk chemistry. Pseudomorphic fluorite after garnet occurs abundantly reflecting a fluorine-enhanced evidence of the skarn-forming fluids. Epidote contains 0.19-0.25mole fraction of pistacite, and chlorite is Mn-rich but is Mg-poor. Sulfide mineralization took place with the most Fe-rich pyroxene rather than with garnet as indicated by the fact that the highest value of hedenbergite mole fraction occurs in the ore-bearing pyroxene zone. The Yeonhwa II ores are characterized by high zinc and low lead in metal grade, with minor quantity of copper content in almost constant grade. The hangingwall Wolgok and Seongok orebodies, that formed in a more open environment with respect to their local configurations of geologic setting, are more variable in metal grades and ratios, than are the footwall Wolgok orebodies formed in a more closed condition in a narrow interval of sedimentary beds.

• 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.