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

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

• Journal of Korean Society of Forest Science
• /
• v.54 no.1
• /
• pp.1-24
• /
• 1981

Kangweon-Do is rich in sightseeing resources. There are three sightseeing areas;first, mountain area including Seolak and Ohdae National Parks, and chiak Provincial Park; second eastern coastal area; third lake area including the watersheds of North Han River. In this paper, several methods of forestation were studied for landscaping the North Han River watersheds centering around Chounchon. In Chunchon lake complex, there are four lakes; Uiam, Chunchon, Soyang and Paro from down to upper stream. The total surface area of the above four lakes is $14.4km^2$ the total pondage of them 4,155 million $m^3$, the total generation of electric power of them 410 thousand Kw, and the total forest area bordering on them $1,208km^2$. The bordering forest consists of planned management forest ($745km^2$) and non-planned management forest ($463km^2$). The latter is divided into green belt zone, natural conservation area, and protection forest. The forest in green belt amounts to $177km^2$ and centers around the 10km radios from Chunchon. The forest in natural conservation area amounts to $165km^2$, which is established within 2km sight range from the Soyang-lake sides. Protection forest surrounding the lakes is $121km^2$ There are many scenic places, recreation gardens, cultural goods and ruins in this lake complex, which are the same good tourist resources as lakes and forest. The forest encirelng the lakes has the poor average growing stock of $15m^3/ha$, because 70% of the forest consists of the young plantation of 1 to 2 age class. The ration of the needle-leaved forest, the broad-leaved forest and the mixed forest in 35:37:28. From the standpoint of ownership, the forest consists of national forest (36%), provincial forest (14%), Gun forest (5%) and private forest(45%). The greater part of the forest soil, originated from granite and gneiss, is much liable to weathering. Because the surface soil is mostly sterile, the fertilization for improving the soil quality is strongly urged. Considering the above-mentioned, the forestation methods for improving landscape of the North Han River Watersheds are suggested as follows: 1) The mature-stage forest should be induced by means of fertilizing and tendering, as the forest in this area is the young plantation with poor soil. 2) The bare land should be afforested by planting the rapid growing species, such as rigida pine, alder, and etc. 3) The bare land in the canyon with moderate moist and comparatively rich soil should be planted with Korean-pine, larch, ro fir. 4) Japaness-pine stand should be changed into Korean-pine, fir, spruce or hemlock stand from ravine to top gradually, because the Japanese-pine has poor capacity of water conservation and great liability to pine gall midge. 5) Present hard-wood forest, consisting of miscellaneous trees comparatively less valuable from the point of wood quality and scenerity, should be change into oak, maple, fraxinus-rhynchophylla, birch or juglan stand which is comparatively more valuable. 6) In the mountain foot within the sight-range, stands should be established with such species as cherry, weeping willow, white poplar, machilus, maiden-hair tree, juniper, chestnut or apricot. 7) The regeneration of some broad-leaved forests should be induced to the middle forest type, leading to the harmonious arrangement of the two storied forest and the coppice. 8) For the preservation of scenery, the reproduction of the soft-wood forest should be done under the selection method or the shelter-wood system. 9) Mixed forest should be regenerated under the middle forest system with upper needle-leaved forest and lower broad-leaved forest. In brief, the nature's mysteriousness should be conserved by combining the womanly elegance of the lakes and the manly grandeur of the forest.

• Journal of Wetlands Research
• /
• v.25 no.1
• /
• pp.35-47
• /
• 2023

Korean facility horticulture and hydroponic cultivation methods increase, requiring the management of waste water generated. In this study, the amount of fertilizer contained in the discharged waste liquid was determined. By evaluating this as a price, it was suggested to reduce water treatment costs and recycle fertilizer components. It was evaluated based on the results of major water quality analysis of waste liquid by crop, such as tomatoes, paprika, cucumbers, and strawberries, and in the case of P component, it was analyzed by converting it to the amount of phosphoric acid (P₂O₅). The amount of nitrogen (N) can be calculated by discharging 1,145.90kg·ha^-1 of tomatoes, 920.43kg·ha^-1 of paprika, 804.16kg·ha^-1 of cucumbers, 405.83kg·ha^-1 of strawberries, and the fertilizer content of P₂O₅ is 830.65kg·ha^-1 of paprika, 622.32kg·ha^-1 of tomatoes, 477.67kg·ha^-1 of cucumbers. In addition, trace elements such as potassium (K), calcium (Ca), magnesium (Mg), iron (Fe), and manganese (Mn) were also analyzed to be emitted. The price per kg of each item calculated by averaging the price of fertilizer sold on the market can be evaluated as KRW, N 860.7, P 2,378.2, K 2,121.7, Ca 981.2, Mg 1,036.3, Fe 126,076.9, Mn 62,322.1, Zn 15,825.0, Cu 31,362.0, B 4,238.0, Mo 149,041.7. The annual fertilizer loss amount for each crop was calculated by comprehensively considering the price per kg calculated based on the market price of fertilizer, the concentration of waste by crop analyzed earlier, and the average annual emission of hydroponic cultivation. As a result of the analysis, the average of the four hydroponic crops was 5,475,361.1 won in fertilizer ingredients, with tomatoes valued at 6,995,622.3 won, paprika valued at 7,384,923.8 won, cucumbers valued at 5,091,607.9 won, and strawberries valued at 2,429,290.6 won. It was expected that if hydroponic drainage is managed through self-treatment or threshing before discharge rather than by leaking it into a river and treating it as a pollutant, it can be a valuable reusable fertilizer ingredient along with reducing water treatment costs.