• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.4
• /
• pp.1-21
• /
• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Korean Journal of Remote Sensing
• /
• v.37 no.5_1
• /
• pp.959-974
• /
• 2021

Forel-Ule Index (FUI) is an index which classifies the colors of inland and seawater exist in nature into 21 gradesranging from indigo blue to cola brown. FUI has been analyzed in connection with the eutrophication, water quality, and light characteristics of water systems in many studies, and the possibility as a new water quality index which simultaneously contains optical information of water quality parameters has been suggested. In thisstudy, Ocean Colour-Climate Change Initiative (OC-CCI) based 4 km FUI was spatially downscaled to the resolution of 500 m using the Geostationary Ocean Color Imager (GOCI) data and Random Forest (RF) machine learning. Then, the RF-derived FUI was examined in terms of its correlation with various water quality parameters measured in coastal areas and its spatial distribution and seasonal characteristics. The results showed that the RF-derived FUI resulted in higher accuracy (Coefficient of Determination (R²)=0.81, Root Mean Square Error (RMSE)=0.7784) than GOCI-derived FUI estimated by Pitarch's OC-CCI FUI algorithm (R²=0.72, RMSE=0.9708). RF-derived FUI showed a high correlation with five water quality parameters including Total Nitrogen, Total Phosphorus, Chlorophyll-a, Total Suspended Solids, Transparency with the correlation coefficients of 0.87, 0.88, 0.97, 0.65, and -0.98, respectively. The temporal pattern of the RF-derived FUI well reflected the physical relationship with various water quality parameters with a strong seasonality. The research findingssuggested the potential of the high resolution FUI in coastal water quality management in the Korean Peninsula.

• Journal of Intelligence and Information Systems
• /
• v.27 no.3
• /
• pp.175-197
• /
• 2021

Recently, with the development of deep learning technology, research on unstructured data analysis is being actively conducted, and it is showing remarkable results in various fields such as classification, summary, and generation. Among various text analysis fields, text classification is the most widely used technology in academia and industry. Text classification includes binary class classification with one label among two classes, multi-class classification with one label among several classes, and multi-label classification with multiple labels among several classes. In particular, multi-label classification requires a different training method from binary class classification and multi-class classification because of the characteristic of having multiple labels. In addition, since the number of labels to be predicted increases as the number of labels and classes increases, there is a limitation in that performance improvement is difficult due to an increase in prediction difficulty. To overcome these limitations, (i) compressing the initially given high-dimensional label space into a low-dimensional latent label space, (ii) after performing training to predict the compressed label, (iii) restoring the predicted label to the high-dimensional original label space, research on label embedding is being actively conducted. Typical label embedding techniques include Principal Label Space Transformation (PLST), Multi-Label Classification via Boolean Matrix Decomposition (MLC-BMaD), and Bayesian Multi-Label Compressed Sensing (BML-CS). However, since these techniques consider only the linear relationship between labels or compress the labels by random transformation, it is difficult to understand the non-linear relationship between labels, so there is a limitation in that it is not possible to create a latent label space sufficiently containing the information of the original label. Recently, there have been increasing attempts to improve performance by applying deep learning technology to label embedding. Label embedding using an autoencoder, a deep learning model that is effective for data compression and restoration, is representative. However, the traditional autoencoder-based label embedding has a limitation in that a large amount of information loss occurs when compressing a high-dimensional label space having a myriad of classes into a low-dimensional latent label space. This can be found in the gradient loss problem that occurs in the backpropagation process of learning. To solve this problem, skip connection was devised, and by adding the input of the layer to the output to prevent gradient loss during backpropagation, efficient learning is possible even when the layer is deep. Skip connection is mainly used for image feature extraction in convolutional neural networks, but studies using skip connection in autoencoder or label embedding process are still lacking. Therefore, in this study, we propose an autoencoder-based label embedding methodology in which skip connections are added to each of the encoder and decoder to form a low-dimensional latent label space that reflects the information of the high-dimensional label space well. In addition, the proposed methodology was applied to actual paper keywords to derive the high-dimensional keyword label space and the low-dimensional latent label space. Using this, we conducted an experiment to predict the compressed keyword vector existing in the latent label space from the paper abstract and to evaluate the multi-label classification by restoring the predicted keyword vector back to the original label space. As a result, the accuracy, precision, recall, and F1 score used as performance indicators showed far superior performance in multi-label classification based on the proposed methodology compared to traditional multi-label classification methods. This can be seen that the low-dimensional latent label space derived through the proposed methodology well reflected the information of the high-dimensional label space, which ultimately led to the improvement of the performance of the multi-label classification itself. In addition, the utility of the proposed methodology was identified by comparing the performance of the proposed methodology according to the domain characteristics and the number of dimensions of the latent label space.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.1
• /
• pp.90-104
• /
• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Industry Promotion Research
• /
• v.7 no.2
• /
• pp.43-49
• /
• 2022

This study aims to study Esping-Anderson's theory of welfare state system, develop a model of welfare state suitable for Korea's situation, and apply it to reality. In this research method, basic research and analysis of ideology is used, focusing on Esping-Anderson's welfare state system theory, and applying it appropriately to the Korean situation. Studies on the model of the welfare state have been studied after the classification of complementary and institutional models asserted by Willensky and Lebo in 1965. In addition, Esping-Andersen asserts three things as a model of the welfare state according to ideology. First, the role of the market is central to the liberal welfare system that best fits the image of classical capitalism, and individualistic solidarity through the market. The role of the state or family, which can be a hindrance, is actually marginalized. In addition, in order to maximize individualistic solidarity through the market, de-commodification in the national domain tends to be minimized. Second, the conservative welfare system has a strong familistic element, so the source of social solidarity is the family, and the state plays a role of supporting and supplementing the characteristics of this family. In the conservative system, de-commodification appears to be high among household heads, or the welfare system takes on a corporatist and nationalistic form, it can be said that these characteristics are reflected. Third, in the social democratic welfare system, the source of social solidarity is the state. Therefore, the role of the state is large, the state has a high possibility of decommodification, and it has the characteristics of substitutes for the family and the market through universalist intervention. This study applies Esping-Anderson's three welfare state models to study a model suitable for the Korean situation. In conclusion, Esping-Anderson's three welfare state models can be classified into a market-oriented model based on a liberal welfare system, a status-oriented model based on a conservative corporatist welfare system, and a solidarity-oriented model based on a social-democratic welfare system, presented a compromise between liberalism and conservatism as a Korean model.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.32-45
• /
• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.

• The Journal of Korean Society for Radiation Therapy
• /
• v.33
• /
• pp.145-153
• /
• 2021

Purpose: The purpose of this study is to evaluate the ovarian dose during radiation therapy for breast cancer in women of childbearing age through an experiment. The ovarian dose is evaluated by comparing and analyzing between the calculated dose in the treatment planning system according to the treatment technique and the measured dose using a thermoluminescence dosimeter (TLD). The clinical usefulness of lead (Pb) apron is investigated through dose analysis according to whether or not it is used. Materials and Methods: Rando humanoid phantom was used for measurement, and wedge filter radiation therapy, 3D conformal radiation therapy, and intensity modulated radiation therapy were used as treatment techniques. A treatment plan was established so that 95% of the prescribed dose could be delivered to the right breast of the Rando humanoid phantom 3D image obtained using the CT simulator. TLD was inserted into the surface and depth of the virtual ovary of the Rando hunmanoid phantom and irradiated with radiation. The measurement location was the center of treatment and the point moved 2 cm to the opposite breast from the center of the Rando hunmanoid phantom, 5cm, 10cm, 12.5cm, 15cm, 17.5cm, 20cm from the boundary of the right breast to the center of treatment and downward, and the surface and depth of the right ovary. Measurements were made at a total of 9 central points. In the dose comparison of treatment planning systems, two wedge filter treatment techniques, three-dimensional conformal radiotherapy, and intensity-modulated radiation therapy were established and compared. Treatments were compared, and dose measurements according to the use of lead apron were compared and analyzed in intensity-modulated radiation therapy. The measured value was calculated by averaging three TLD values for each point and converting using the TLD calibration value, which was calculated as the point dose mean value. In order to compare the treatment plan value with the actual measured value, the absolute dose value was measured and compared at each point (%Diff). Results: At Point A, the center of treatment, a maximum of 201.7cGy was obtained in the treatment planning system, and a maximum of 200.6cGy was obtained in the TLD. In all treatment planning systems, 0cGy was calculated from Point G, which is a point 17.5cm downward from the breast interface. As a result of TLD, a maximum of 2.6cGy was obtained at Point G, and a maximum of 0.9cGy was obtained at Point J, which is the ovarian dose, and the absolute dose was 0.3%~1.3%. The difference in dose according to the use of lead aprons was from a maximum of 2.1cGy to a minimum of 0.1cGy, and the %Diff value was 0.1%~1.1%. Conclusion: In the treatment planning system, the difference in dose according to the three treatment plans did not show a significant difference from 0.85% to 2.45%. In the ovary, the difference between the Rando humanoid phantom's treatment planning system and the actual measured dose was within 0.9%, and the actual measured dose was slightly higher. This did not accurately reflect the effect of scattered radiation in the treatment planning system, and it is thought that the dose of scattered radiation and the dose taken by CBCT with TLD inserted were reflected in the actual measurement. In dosimetry according to the with or without a lead apron, when a lead apron was used, the closer the distance from the treatment range, the more effective the shielding was. Although it is not clinically appropriate for pregnancy or artificial insemination during radiotherapy, the dose irradiated to the ovaries during treatment is not expected to significantly affect the reproductive function of women of childbearing age after radiotherapy. However, since women of childbearing age have constant anxiety, it is thought that psychological stability can be promoted by presenting the data from this study.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.104
• /
• pp.10-39
• /
• 2023

Seongjusa Temple was founded in Boryeong in Chungcheongnam-do Province by Monk Muyeom (800-888), better known as Nanghye Hwasang. After returning from studying in China, Muyeom stayed in the Silla capital city of Gyeongju for a period. He later settled in a temple that was managed by the descendants of Kim In-mun (629-694). He then restored a burned-out temple and opened it in 847 as a Seon (Zen) temple named Seongjusa. It prospered and grew to become a large-scale temple with several halls within its domains. The influence of Seongjusa in the region can be seen in the Historical Record of Seongjusa Temple on Sungamsan Mountain, which relates that there were seventy-three rooms within the domains of the temple. What is most notable in the record is that the temple is referred to as "栴檀林九間," which means either "a structure with nine rooms built with Chinese juniper wood" or "a place that houses Chinese juniper wood and has nine rooms." Regardless of the interpretation, Seongjusa Temple had a large amount of juniper wood. Around this time, the term "juniper" referred to the olibanum tree (Boswellia sacra) native to the islands of Java and Sumatra in Southeast Asia. It is presumed that at some point after the death of Jang Bogo, the maritime forces that controlled the southwestern coast of Korea may have acquired a large amount of Southeast Asian olibanum wood and offered it to Seongjusa Temple. During the reign of King Munseong, Kim Yang (808-857) patronized Seongjusa Temple and its head monk Muyeom, who enjoyed a lofty reputation in the region. He sought to strengthen his own position as a member of the royal lineage of King Muyeol and create a bridge between the royal family and Seongjusan Buddhist sect. The court of King Wonseong designated Seongjusa Temple as a regional base for the support of royal authority in an area where anti-royal sentiment remained strong. Monk Muyeom is believed to have created an iron Buddha to protect the temple, enlighten the people, and promote regional stability. Given that the Seongjusa community had expanded to include more than 2,000 followers, the iron Buddha at Seongjusa Temple would have been perceived as an image that rallied the local residents. It is assumed that there were two iron Buddhas at Seongjusa Temple. The surviving parts of these Buddhas and the size of their pedestals suggest that they were respectively enshrined in the Geumdang Main Hall and the Samcheonbuljeon Hall of Three Thousand Buddhas. It is presumed that the first iron Buddha in Geumdang was a large statue over two meters in height and the second one was medium-sized with the height over one meter. The Historical Record of Seongjusa Temple on Sungamsan Mountain contains the phrase "改創選法堂五層重閣" which indicates that a multistoried Geumdang was newly built to enshrine a large Buddha sculpture like the first iron Buddha when Seongjusa Temple was founded. Also, according to the Stele of Seongjusa Temple and the surviving finger fragments, the first Buddha was making the fear-not and wish-granting (abhayavarada) mudras. The main Buddha of Seongjusa Temple is possibly Nosana Buddha, just like the main Buddhas at the contemporaneous temples Silsangsa, Borimsa, and Samhwasa. Given that Monk Muyeom studied Hwaeom teachings in his early years and received royal patronage upon his return, it is believed that the retro tendencies of the Hwaeom school, centered on the royal family of the Silla Dynasty, were reflected in Seongjusa temple.

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