• Korean Journal of Environment and Ecology
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• v.32 no.6
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• pp.686-697
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• 2018

Due to the advance in remote sensing technology, it has become easier to more frequently obtain high resolution imagery to detect delicate changes in an extensive area, particularly including forest which is not readily sub-classified. Time-series analysis on high resolution images requires to collect extensive amount of ground truth data. In this study, the potential of land coverage mapas ground truth data was tested in classifying high-resolution imagery. The study site was Wonju-si at Gangwon-do, South Korea, having a mix of urban and natural areas. KOMPSAT-3A imagery taken on March 2015 and land coverage map published in 2017 were used as source data. Two pixel-based classification algorithms, Support Vector Machine (SVM) and Random Forest (RF), were selected for the analysis. Forest only classification was compared with that of the whole study area except wetland. Confusion matrixes from the classification presented that overall accuracies for both the targets were higher in RF algorithm than in SVM. While the overall accuracy in the forest only analysis by RF algorithm was higher by 18.3% than SVM, in the case of the whole region analysis, the difference was relatively smaller by 5.5%. For the SVM algorithm, adding the Majority analysis process indicated a marginal improvement of about 1% than the normal SVM analysis. It was found that the RF algorithm was more effective to identify the broad-leaved forest within the forest, but for the other classes the SVM algorithm was more effective. As the two pixel-based classification algorithms were tested here, it is expected that future classification will improve the overall accuracy and the reliability by introducing a time-series analysis and an object-based algorithm. It is considered that this approach will contribute to improving a large-scale land planning by providing an effective land classification method on higher spatial and temporal scales.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.89-100
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• 2021

This study evaluated the degree of interaction between the people and the environment using perceived naturalness measure. The seventh-grade index of Hemeroby was divided into subclasses of land cover according to degrees of human influence. The grade was standardized for each indicator to evaluate the current state of urban parks in Seoul by applying probability density function and weight. User evaluation was conducted on six distinctive parks selected. In the results, three implications were found between spatial evaluation according to the perceived naturalness. First, park users evaluated highly for the spaces such as broad-leaved forest, coniferous forest and mixed forest evaluated highly in the Hemeroby grade index. Park users generally recognized that various types of trees in the area had high naturalness. The density of trees is one of the factors in perceived naturalness. Second, water spaces were highly evaluated for naturalness in the Hemeroby grade index. However, the perceived naturalness of water spaces such as inland wetlands, pond and reservoir evaluated in various ways depending on environmental conditions around the park. Third, perceived naturalness is easily evaluated through vertical landscape elements such as trees rather than horizontal landscapes such as grassland. The perceived naturalness is similar to the naturalness evaluation using land cover. However the study found the perceived naturalness for a specific space was different from the Hemeroby index. Perceived naturalness by the user includes the content that the individual sees, hears, and experiences. Park users are usually structuring naturalness through evaluating the value of urban green spaces based on personal perception. Therefore there is no absolute standard criterion for evaluating the naturalness of urban green spaces. A deeper study is needed that considers user bundles or user groups with conflicting interests on the perceived naturalness in urban parks. These studies will be essential data on the direction of naturalness urban park service should provide.

• Journal of Korean Society of Forest Science
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• v.109 no.4
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• pp.371-381
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• 2020

The Ministry of Environment (ME) is planning to adopt in 2020 the IUCN regional Red List for "Guidelines for listing and delisting rare & endangered species and management of endangered Species System". The ME designated 377 species of vascular plants on the regional Red List. In a previous study it had been suggested that 103 species from this list are candidates for the regional Red List. With respect to a possible Red List, we assessed 59 species (after excluding 34 additional NA species and ten endemic species). These assessments indicated that 16 species are at the "threatened" level. Of those, one species is Critically Endangered, ten are Endangered, and five are Vulnerable. A further four species are classified as Near Threatened, 30 as Of Least Concern, and nine as Data Deficient. We found that most of the assessments proposed by the Ministry of Environment were not supported by scientific data, including quantitative geographic data (over 70%) in Criteria B. In order to determine the endangered species belonging to the orchid family, it is necessary to obtain records of illegal activities or data on overcollection. The current problem with the Ministry of Environment Red List has been the lack of management of scientific data on species showing a trend in decreasing population in the mid- to long-term; thus, there is a lack of critical resources for policy-makers. The ME legally designated categories and assessment, and the lack of expertise in failing to comply with the legal law by itself. The key to presenting an accurate overview of the state of Korean flora is to fill the information gaps with respect to significant geographical and taxonomical biases in the quality and quantity of data. By regularly updating the qualified data, we will be able to track the changes in the conservation status of the flora and inform the necessary conservation policies.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.120-135
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• 2021

Changdeokgung Rear Garden is an important place to show the essence of the garden culture of the Joseon Dynasty. In the garden landscape experience, the restoration of the road completes the system of connecting the main spaces. Therefore, the restoration of the road requires accurate understanding of its creation, extinction, and maintenance. The purpose of this study was to detail the changes in the path that occurred in the Changdeokgung Palace Rear Garden from the late Joseon Dynasty to the modern and contemporary period by analyzing literature and drawing materials. For a time-series analysis, "Donggwoldo" and "Donggwoldohyeong" produced in the Joseon Dynasty, along with "Changdeokgung Plan Drawing" produced in modern and contemporary times, and aerial photographs were used. Drawings and photographs of different coordinate systems were transformed into one coordinate system in the geographic information system ArcGIS to compare changes in the movements of different periods. The results of the study are as follows. First, a total of 37 sections have been used since Japanese colonial era, of which 13 have been maintained, 14 have disappeared, and 10 have been newly established. Among the extinction sections, the road north of Neungheojeong Pavilion is considered to be an urgent place to connect the space to the garden and restore it to enjoy the scenery. In the new section, it seems necessary to establish a new alternative road or shorten the section for the connecting section between Daebodan and Okryucheon. Second, it was revealed that the biggest and most frequent changes to the road system in the garden were Japanese colonial era and renovations in the 1970s. It is worth noting the changes in the road since the 1970s, rather than Japanese colonial era, where it was difficult to manage the gardens independently. The access road to Okryucheon remained in its original shape until the 1990s, but it was renovated to its current shape due to misperception of the original shape. A project is needed to find out the cause of the change in this period and restore the damaged original shape. The biggest achievement of this study is that it revealed the changes in the garden path of Changdeokgung Palace in modern and contemporary times. The biggest achievement of this study is that it revealed the changes in the road of Changdeokgung Palace Rear Gardens in modern and contemporary times. However, there is a limitation that it has not been able to clearly present the location and shape that should be restored because it has not found data on landscaping plans or maintenance. In order to restore the road using the data revealed in this study, it seems necessary to consider realistic problems such as current space utilization, viewing system, disaster prevention and maintenance.

• Journal of the Economic Geographical Society of Korea
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• v.25 no.1
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• pp.109-130
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• 2022

The Vietnamese government has proposed contract farming through a new type of cooperative as an institutional innovation which aims to restructure the agricultural sector. However, policy changes often impact farmers, who bear the primary effects of the transition process. Understanding households' strategies for land use and livelihood is crucial for policymaking in the agricultural development field. This study was conducted in the rural Binh Dao commune in Central Vietnam. We analyzed household members' labor force changes and their livelihood behaviors after their participation in a contract farming scheme using qualitative analysis methods combined with geographic information system (GIS) support, based on secondary data and in-depth interviews of 190 farmers. Simultaneously, we created a digital map of the cooperative's production area to investigate changes in land use and production activities. The findings show that contract farming shaped the vertical coordination of the value chain from the farmers to the cooperative and agricultural product trading companies. Subsequently, it encouraged land use and labor efficiency due to mechanical support. In addition, it also increased productivity and protected farmers from market risks. However, despite its positive effects on agricultural productivity in this case, the contract farming scheme could not achieve the restructuring of the rural labor force toward non-agricultural sectors. Ironically, farmers in the Binh Dao commune tended to increase cultivable land during the agricultural restructuring program, rather than switching their labor forces to non-agricultural sectors. The lack of stable non-farming job opportunities in rural Vietnam results in challenges to the efficiency of agricultural restructuring programs. Consequently, farmers in the Binh Dao commune are still smallholder farmers, depending on the family labor force.

• Journal of Environmental Impact Assessment
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• v.32 no.1
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• pp.15-28
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• 2023

In the Republic of Korea, the target project scope of the small-scale EIA is stipulated as the plan area above around 5,000~60,000m² depending on a type of project and classification of land use. Whereas, the lower limit of the corresponding local government EIA project is generally located above the small-scale EIA's limits, and overlapping ranges exist. This situation has been enlarged since road construction and district unit planning were included as the target projects for small-scale EIA in the "Enforcement Decree of the Environmental Impact Assessment Act", which was partially revised in November 2016, and the current consultation system needed discussion in that small-scale EIA is allowed to be done without gathering review opinions at the local level. In fact, projects subjected to local government EIA but consulted as small-scale EIAs may seem insignificant because of a small number of total cases; however, it is worth paying attention to the fact that a local government may not add a target project due to the small-scale EIA. This study suggested the three policy measures for improving small-scale EIA to enhance the effectiveness of local government EIA: supplementing the institutional arrangements to incorporate the review opinion from the local region in small-scale EIA, giving priority to local EIA for conducing the projects in overlapping ranges with partial amendments on EIA law regarding exceptions to local government EIA, including small target projects (not to be small-scale EIA targets) to the ordinance that are deemed necessary to be conducted as local government EIA. Even though a positive function of small-scale EIA has been confirmed, efforts should be made to improve the situation in which many projects within local governments are consulted without review from the region.

• Korean journal of applied entomology
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• v.61 no.3
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• pp.399-408
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• 2022

There has been much debate on the morphometric divergence between the recently identified Apis cerana koreana and Apis cerana honey bees. The aim of this study was to obtain phenotypic information that can be used to compare A. c. koreana data with other A. cerana subspecies data from open resources and determine breeding results on the basis of morphometric traits. To differentiate A. c. koreana, we investigated 22 classic morphological characteristics; royal jelly secretion; and the weight of workers, queens, and drones of A. c. koreana bred in Korea. To define the selection results, we used the geometric morphometric method. The artificially selected A. c. koreana secreted significantly more royal jelly (1.18 times) than the naturally selected A. c. koreana, which positively influenced the health of the colonies. These honey bees were identified more clearly with the geometric morphometric method than with the classic morphometric method, which is traditionally used to determine the subspecies. Large trends were noted for A. c. koreana on the basis of our results and literature from the 1980s regarding A. cerana sizes in Korea (tarsal index, length of forewing, and cubital index were measured). The cluster analysis revealed the proximity of A. c. koreana, A. cerana in China, and A. c. indica on the basis of eight classic characters, which, perhaps, relay the origin of the honey bees. The results of this study defined the morphometric responses of A. c. koreana honey bees to geographic isolation, climate change, and selection, which are important to identify, protect, and preserve honey bee stock in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.26-36
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• 2018

This study aims to examine the characteristics of landscape through the analysis of location and the landscape of Gugok while also conducting the empirical study through the literature review, field study, and digital analysis of the Okgung Gugok. Oksan Gugok is a set of songs set in Ogsan Creek(玉山川)or Jagyese Creek(紫溪川, 紫玉山), which flows in front of the Oksan Memorial Hall(李彦迪), which is dedicated to the Lee Eong-jeok (李彦迪). We first ascertained the location and configuration of Oksan Gogok. Second, we confirmed the accurate location of Oksan Gogok by utilizing the digital topographic map of Oksan Gogok which was submitted by Google Earth Pro and Geographic Information Center as well as the length of the longitude of the gravel measured by the Trimble Juno SB GPS. Through the study of the literature and the field investigation, The results of the study are as follows. First, Yi Eonjeok was not a direct composer of Oksan Gugok, nor did he produce "Oksan Gugokha(Music)". Lee Ia-sung(李野淳), the ninth Youngest Son of Tweo-Kye, Hwang Lee, visited the "Oksan Gugokha" in the spring of 1823(Sunjo 23), which was the 270th years after the reign of Yi Eonjeok. At this time, receiving the proposal of Ian Sung, Lee Jung-eom(李鼎儼), Lee Jung-gi(李鼎基), and Lee Jung-byeong(李鼎秉), the descendants of Ian Sung set up a song and created Oksan Gugok Music. And the Essay of Oksan Travel Companions writted by Lee Jung-gi turns out being a crucial data to describe the situation when setting up the Ok-San Gugok. Second, In the majority of cases, Gogok Forest is a forest managed by a Confucian Scholar, not run by ordinary people. The creation of "Oksan Bugok Music" can be regarded as an expression of pride that the descendants of Yi Eonjeok and Lee Hwang, and next generation of several Confucian scholars had inherited traditional Neo-Confucian. Third, Lee Jung-eom's "Oksan Donghaengki" contains a detailed description of the "Oksan Gugokha" process and the process of creating a song. Fourth, We examined the location of one to nine Oksan songs again. In particular, eight songs and nine songs were located at irregular intervals, and eight songs were identified as $36^{\circ}01^{\prime}08.60^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}31.20^{{\prime}{\prime}}E$. Referring to the ancient kingdom of Taojam, the nine-stringed Sainam was unbiased as a lower rock where the two valleys of the East West congregate. The location was estimated at $36^{\circ}01^{\prime}19.79^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}30.26^{{\prime}{\prime}}E$. Fifth, The landscape elements and landscapes presented in Lee Jung-eom's "Oksan Gugokha" were divided into form, semantic and climatic elements. As a result, Lee Jung-eom's Cho Young-gwan was able to see the ideal of mountain water and the feeling of being idle in nature as well as the sense of freedom. Sixth, After examining the appearance of the elements and the frequency of the appearance of the landscape, 'water' and 'mountain' were the absolute factors that emphasized the original curved environment at the mouth of Lee Jung-eom. Therefore, there was gugokga can gauge the fresh ideas(神仙思想)and retreat ever(隱居思想). This inherent harmony between the landscape as well as through the mulah any ideas that one with nature and meditation, Confucian tube.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.89-122
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• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.

• 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.