• Korean Journal of Ecology and Environment
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• v.42 no.1
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• pp.85-94
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• 2009

This study examines the operational effectiveness of a Convection Current Aeration System (CCAS) in reservoir. CCAS was run from June, 2008 when the thermocline begun forming in the reservoir. This paper reviews the influence of stratification, dissolved oxygen dynamics and temperature in the lake's natural state from June to October 2008. The survey was done on a week basis. Upwelling flow effects a radius of $7{\sim}10m$ at a surface directly and was irrelevant to the strength of thermocline. On the other hand, it was affected the number of working days, and strength of thermocline at vertical profiles of the reservoir. Longer CCAS run, the deeper was the vertical direct flow area. However it didn't break the thermocline during summer season of 2008. The operating efficiency of the CCAS in the reservoir depends on hydraulics and meteological conditions. Computational Fluid Dynamics (CFD) is a very useful tool for evaluating the operating efficiency of fluid dynamics. The geometry for CFD simulation consists of a cylindrical vessel 25 m radius and 40 m height. The CCAS is located in center of domain. The non-uniform tetrahedral meshes had a bulk of the geometry. The meshes ranged from the coarse to the very fine. This is attributed to the cold water flowing into the downcomer and rising, creating a horizontal flow to the top of the CCAS. The result of CFD demonstrate a closer agreement with surveyed data for temperature and flow velocity. Theoretical dispersion volume were calculated at 8m depth, 120 m diameter working for 30 days and 10 m depth, 130 m diameter working for 50 days.

• Korean Journal of Ecology and Environment
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• v.54 no.4
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• pp.346-362
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• 2021

A sediment control dam is an artificial structure built to prolong sedimentation in the main dam by reducing the inflow of suspended solids. These dams can affect changes in dissolved organic matter (DOM) in the water body by changing the river flow regime. The main DOM component for Yeongju Dam sediment control of the Naeseongcheon River was analyzed through 3D excitation-emission matrix (EEM) and parallel factor (PARAFAC) analyses. As a result, four humic-like components (C1~C3, C5), and three proteins, tryptophan-like components (C2, C6~C7) were detected. Among DOM components, humic-like components (autochthonous: C1, allochthonous: C2~C3) were found to be dominant during the sampling period. The total amount of DOM components and the composition ratio of each component did not show a difference for each depth according to the amount of available light (100%, 12%, and 1%). Throughout the study period, the allochthonous organic matter was continuously decomposing and converting into autochthonous organic matter; the DOM indices (fluorescence index, humification index, and freshness index) indicated the dominance of autochthonous organic matter in the river. Considering the relative abundance of cyanobacteria and that the number of bacteria cells and rotifers increased as autochthonous organic matter increased, it was suggested that the algal bloom and consequent activation of the microbial food web was affected by the composition of DOM in the water body. Research on DOM characteristics is important not only for water quality management but also for understanding the cycling of matter through microbial food web activity.

• Economic and Environmental Geology
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• v.56 no.4
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• pp.435-445
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• 2023

A delta is a depositional landform that is formed when sediment transported by a river is deposited in a relatively low-energy environment, such as a lake, sea, or a main channel. Among these, a delta formed at the confluence of rivers has a great importance in river management and research because it has a significant impact on the hydraulic and sedimentological characteristics of the river. Recently, the equilibrium state of the confluence area has been disrupted by large-scale dredging and construction of levees in the Nakdong River. However, due to the natural recovery of the river, the confluence area is returning to its pre-dredging natural state through ongoing sedimentation. The time-series data show that the confluence delta has been steadily growing since the dredging, but once it reaches a certain size, it repeats growth and retreat, and the overall size does not change significantly. In this study, we developed a model to explain the sedimentation-erosion processes in the confluence area based on the assumption that the confluence delta reaches a dynamic equilibrium. The model is based on two fundamental principles: sedimentation due to supply from the tributary and erosion due to the main channel. The erosion coefficient that represents the Nakdong River confluence areas, was obtained using data from the tributaries of the Nakdong River. Sensitivity analyses were conducted using the developed model to understand how the confluence delta responds to changes in the sediment and water discharges of the tributary and the main channel, respectively. We then used annual average discharge of the Nakdong River's tributaries to predict the dynamic equilibrium positions of the confluence deltas. Finally, we conducted a simulation experiment on the development of the Gamcheon-Nakdong River delta using recorded daily discharge. The results showed that even though it is a simple model, it accurately predicted the dynamic equilibrium positions of the confluence deltas in the Nakdong River, including the areas where the delta had not formed, and those where the delta had already formed and predicted the trend of the response of the Gamcheon-Nakdong River delta. However, the actual retreat in the Gamcheon-Nakdong River delta was not captured fully due to errors and limitations in the simplification process. The insights through this study provide basic information on the sediment supply of the Nakdong River through the confluence areas, which can be implemented as a basic model for river maintenance and management.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.3
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• pp.83-94
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• 2023

This study analyzed the satisfaction of green infrastructure around 39 dams, including multi-purpose dams, water dams, and flood control reservoir dams, to induce space improvement in terms of sustainability, and the results of the study are as follows. First, the satisfaction level based on the Likert scale of 5 points for the currently created dam green infrastructure was 3.76, and there were differences depending on the respondents' gender, age, residence, number of dam visits, and the need to pursue sustainability, and it was analyzed to be statistically significant. In the case of gender, p<.05, age, residence, number of dam visits, and the need to pursue sustainability were found to be p<.01. Regression analysis was conducted to confirm the effect of these respondents' characteristics on satisfaction, and it was analyzed that only the number of dam visits and the need to pursue sustainability had a statistically significant effect, and other characteristic variables had no significant effect. Second, in terms of satisfaction with the conceptual image of public bridge, view place and play space, which are the main spaces of dam green infrastructure considering sustainability, view place was the highest at 4.43, the play space was 4.35 and public bridge was analyzed as 4.21. The t-test result for the satisfaction of each space was found to be p<.01, and the difference in values was analyzed to be significant. The difference from the current satisfaction with green infrastructure was also analyzed as p<.00, showing a statistically significant difference. Third, as a way to revitalize green infrastructure around the dam through the results of satisfaction analysis, it is necessary to identify needs for major visitors in their 40s and 50s and create a space considering them. It was proposed to derive facilities and programs that can be introduced to other regions through the analysis of green infrastructure status around dams in Chungbuk, Jeonju, and Ulsan, where there are relatively many dams. Furthermore, satisfaction analysis by space showed that green infrastructure around the dam could be activated in terms of sustainability when selecting packaging materials considering the structure and shape of the dam, arranging observation facilities considering lake prospects, and introducing amusement facilities using local environmental resources. This study differs from previous studies in that it presented space improvement measures in consideration of sustainability for green infrastructure around dams for non-urban areas, and space improvement can contribute to improving it connectivity in urban and non-urban areas, which can also contribute to improving the sustainability of green infrastructure in Korea.

• Korean Journal of Ecology and Environment
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• v.57 no.1
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• pp.1-16
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• 2024

Most wetlands worldwide have suffered from extensive human exploitation. Unfortunately they have been less explored compared to river and lake ecosystems despite their ecological importance and economic values. This is the same case in Korea. This study was aimed to estimate the assemblage attributes and distribution characteristics of benthic macroinvertebrates for fifty wetlands distributed throughout subtropical Jeju Island in 2021. A total of 133 taxa were identified during survey periods belonging to 53 families, 19 orders, 5 classes and 3 phyla. Taxa richness ranged from 4 to 31 taxa per wetland with an average of 17.5 taxa. Taxa richness and abundance of predatory insect groups such as Odonata, Hemiptera and Coleoptera respectively accounted for 67.7% and 68.2% of the total. Among them Coleoptera were the most diverse and abundant. Taxa richness and abundance did not significantly differ from each wetland type classified in accordance with the National Wetland Classification System. There were three endangered species (Clithon retropictum, Lethocerus deyrolli and Cybister (Cybister) chinensis) and several restrictively distributed species only in Jeju Island. Cluster analysis based on the similarity in the benthic macroinvertebrate composition largely classified 50 wetlands into two major clusters: small wetlands located in lowland areas and medium-sized wetlands in middle mountainous regions. All cluster groups displayed significant differences in wetland area, long axis, percentage of fine particles and macrophyte composition ratio. Indicator Species Analysis selected 19 important indicators with the highest indicator value of Ceriagrion melanurum at 63%, followed by Noterus japonicus (59%) and Polypylis hemisphaerula (58%). Our results are expected to provide fundamental information on the biodiversity and habitat environments for benthic macroinvertebrates in wetland ecosystems, consequently helping to establish conservation and restoration plans for small wetlands relatively vulnerable to human disturbance.

• The Korean Journal of Malacology
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• v.1 no.1
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• pp.24-50
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• 1985

Five different populations of Parafossarulus manchouricus (Chongpyung, Chinju and Kunsan, Korea; and Japan and Taiwan), a population of Bitbynia (Gabbia) misella (Gongju, Korea) and two different populations of Bithynta tentaculata (Michigan, U.S.A. and Bodensee, Germany) were compared in regard to eff-laying characteristics, morphology, chromosome cytology, natural infections of parasites and ecology of habitats. A satisfactory culture method was devised for laboratory rearing of the snails. Tropical fish food (Terra SML) and powdered green leaves (Ceralife) were used as the main food sources for the snails. Benthic diatoms such as Navicula and Gomphonema from the periphyton were also essential for satisfactory growth, especially for the baby snails. The aquaria were stabilized with small stones from a local stream. Young P. manchouricus snails grew to adult size in about 54 days after hatching. They laid eggs 150-156 days after hatching. The whole cycle (birth to egg-laying) took approximately 5 months. The three species of bithyniid snails are iteroparous and lay eggs once a year. There were no major morphological differences in the shells of genera or subgenera studied here. They did exhibit the following rather minor differences. The shell of Parafossarulus has spirally raised ridges, and its apex is usually eroded; the other two genera lack these characteristics. The shell of B. (Gabbia) misella is small, nor exceeding 7.5 mm in length, while the shells of the other two species are larger, being more than 10 mm in length. Scanning electron microscopy (SEM) of the protoconch of P. manchouricus reveals nearly smooth sculpture with small, low, spiral wrinkles. This sculpture is quite different from that of the Hydrobiidae, a family to which the bithyniids are frequently assigned. Scanning electron microscopy of the radulae of the three bithyniid species showed that their radular morphologies are very similar, but there are some small differences, which may be species-specific. There were some statistical differences in shell heights between the Korean and the other populations of P. manchouricus, and between this species and the other two bithyniids as well. The shell differences between the several populations of Korean P. manchouricus may be related to environment. Edtails of the chromosome cycle of these bithyniid snails are similar to those reported for other snails. No specific differences were observed in the chromosome cycle between the various species and populations of snails employed in this study. Reporred for the first time in molluscs are two darkly stained "nucleolar organizers" during pachyterne stages of meiosis. Two different chromosome numbers were observed in the three bithyniid species: n=17 in B. tentaculata and P. manchouricus, and n=18 in B. (G.) misella. no sex chromosomes or supernumerary chromosomes were seen. There were no morphological differences in karyotypes of three Korean strains of P. manchouricus. The infection rates of cercariae of Clonorchis sinensis in Chinju and Kunsan strains of P. manchouricus were 0.14% and 1.25%, respectively. However, Clonorchis cercariae were found in Chongpyung strain of P. manchouriceu and Gongju strain of B. (G.) misella. The habitats of P. manchouricus around Jinyang Lake were relatively clean without any heavy pollution of aquatic microorganisms and organic materials during the period of this study. The levels of dissolved oxygen (D.O.) and biochemical oxygen demand (B.O.D.) of the water specimens sampled from the study areas ranged from 6.0 to 9.6 ppm and from 0.4 to 1.6 ppm, respectively. Eight metalic constituents from the water samples were also assayed, and all metalic ions detercted were remarkably low below the legal criteria. However, calcium ion in the water samples from the habitats of P. manchouricus was considerably higher than others.

• 한국지구물리탐사학회:학술대회논문집
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• 2002.09a
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• pp.139-162
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• 2002

Since weak zones or geological lineaments are likely to be eroded, weak zones may develop beneath rivers, and a careful evaluation of ground condition is important to construct structures passing through a river. Dc resistivity surveys, however, have seldomly applied to the investigation of water-covered area, possibly because of difficulties in data aquisition and interpretation. The data aquisition having high quality may be the most important factor, and is more difficult than that in land survey, due to the water layer overlying the underground structure to be imaged. Through the numerical modeling and the analysis of case histories, we studied the method of resistivity survey at the water-covered area, starting from the characteristics of measured data, via data acquisition method, to the interpretation method. We unfolded our discussion according to the installed locations of electrodes, ie., floating them on the water surface, and installing at the water bottom, since the methods of data acquisition and interpretation vary depending on the electrode location. Through this study, we could confirm that the dc resistivity method can provide the fairly reasonable subsurface images. It was also shown that installing electrodes at the water bottom can give the subsurface image with much higher resolution than floating them on the water surface. Since the data acquired at the water-covered area have much lower sensitivity to the underground structure than those at the land, and can be contaminated by the higher noise, such as streaming potential, it would be very important to select the acquisition method and electrode array being able to provide the higher signal-to-noise ratio data as well as the high resolving power. The method installing electrodes at the water bottom is suitable to the detailed survey because of much higher resolving power, whereas the method floating them, especially streamer dc resistivity survey, is to the reconnaissance survey owing of very high speed of field work.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

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