• Journal of Science of Art and Design
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• v.1
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• pp.125-164
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• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.713-725
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• 2007

This treatise is designed to discover the principle of timeless continuity of Korean design from the perspective of modem accomodation of formative beauty of tractional dress style with the focus on measurement analysis of dress from visual perspective. For this purpose in this research the following subjects are studied with concentration: the 1st phase debate on the dress style appearing in the Kokuryo murals and genre painting during the later period of Chosun Dynasty regarding the formative beauty of dress style. 2nd phase debate on the points of changes and transformations during given age and given principle of Korean designs being maintained across the span of time in the context of madern accomodation of such traditional dress. From historical perspective characteristics of each given age and principles of visual formative principles appear in various ways variety attributable to mutually interactive principles according to historical background and culture. For this reason it can be said that they are determined by different paradigm or forms from characteristics of Korean style design in the present and future and those for traditional forms of dress in the past.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.1-8
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• 2020

EuiJae Hu BaekRyun is a symbol of Honam Namjonghwa and is respected as a teacher of Honam culture. He is from JinDo and is a relative of Sochi Heo Ryun and a disciple of Misan Heo Hyeong. The spirit of traditional Namjongghwa and the dignity of painting faithful to its technique have been obtained by themselves, and have made it his own. EuiJae organized a 'Yeonjinhoe' in Gwangju to raise his students. After liberation, a house was built under Mudeungsan Mountain. And showed another aspect as a social educator who emphasized and practiced national spirit while being a tea ceremony man. He excelled in Chinese poetry and painting theory, and expressed a unique field in calligraphy. especially worked as an artist good at poetry, caligraphy, and painting. EuiJae showed exceptional talent, especially in landscape painting. His tendency to paint was to follow Ye Chan's technique of drawing with a dry brush, placing importance on the energy of learning, and constantly trying new experiments with the technique of gisaeng. The world of EuiJae's works can be divided into three periods, based on the signature using the trend of painting or the change of perspective pursued, the era of EuiJae, the era of EuiJaeSanin, and the era of EuiDoin, which had a tendency of independent painting. EuiJae's contribution surpassed the artistic historical assessment that he had formed a big stem for the authentic Namjongghwa of Korean painting culture, which was part of Oriental painting. And recognizing that he was a fundamental teacher connecting modern times through the actual scenery based on NamDohwa's universal spirit and regional characteristics and the creative succession of emotions, he should inherit his passion for artistic spirit and tradition and experimental spirit.

• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• Journal of architectural history
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• v.17 no.6
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• pp.67-86
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• 2008

Main theme of this paper is the evaluation of the historical significance of Luciano Baldessari's exhibition works mainly during the Fifties. In order to understand the formal and logical basis of those project, his relationship with the historical Avant-gardes and the consequences expressed in his pavilion projects for the Breda Industrial Company are analyzed. The first part focuses on the influence of Italian Futurism, German Expressionism and Italian Rationalism on the formation and experience of Baldessari during the interwar years. The encounter with these movements determine the interest but also the principles along which Baldessari represents his idea of object, space and place. Specially his professional activities during Fascism would determine his attitude toward political power and the necessity of autonomy in artistic sphere. In the second part, different themes that Baldessari affronted in each project of Breda Pavilions is analyzed. Another important issue regard the historiography of the contemporary architecture. Often, many important works that lies in the threshold of the disciplines such as painting and sculpture and media art were excluded in the history of architecture just because they do not deal with the architectural object. Recently, many elements such as theatrical project and temporary objects are considered as part of urban reality and architecture with acknowledgment of their capacity to create event and situations. Along this thought, not just the reconfiguration on the territory of architecture in present but also the criterion to evaluate the past history of architecture is changing drastically. This study on the pavilions of Baldessari intends to contribute indirectly on the current issue of dominion of architecture, but also to evaluate objectively recent architecture. Consequently, architectural protagonists such as Baldessari and their ephemeral projects would be evaluated compressively in their multiplicity of significance.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.325-326
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• 2014

With a history of over 100 years, animation is an art of film and television, and a diversified special form of art as well. Animation scene design is not just about scenic painting but also a time-space formative art that serves for film and television animation, presents story plots, unveils dramatic conflicts and depicts character personalities. Scene design requires both high creativity and artistry. Scene design shall cover the living places, social environment, natural environment and historical environment where the characters live. The use of color is an important part in animation creation. In terms of scene design, it plays a significant role in building up the scene atmosphere, promote the plot and enriching screen contents. Focused on Uproar in Heaven-a classic Chinese animation, this paper analyzes the traditional characteristics of Chinese animation scene color and discusses the application and development of color.

• SUVANNABHUMI
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• v.6 no.1
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• pp.67-105
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• 2014

This study focuses on the iconography of Hindu deities in Bagan period. As a country in Southeast Asia, Myanmar received her culture from Indianized culture. As aforesaid, sailors, traders, and settlers brought with them Brahmanism and Buddhism into Myanmar. A possibility is that local chiefs or the rulers invited Brahmans to conduct coronations, weddings, and burials in Brahmanical rites as they will much impressed by the Brahmanical thoughts and beliefs. Accordingly, Brahmanic icons as objects of worship are found quite in number of places, especially in Thaton, Bago, Vesali, Sriksetra, Bagan and Kawgoon. Apart from Buddhist iconography, the Brahmanic icons of various sects can be found in Bagan. Brahmanic deities are illustrated with Buddhist painting, which is a characteristic of Baganreligious iconography. Most of the scenes on Hinduism are to be found in NatlaungKyaung, Nanpaya and Shwesandaw Pagoda. Myanmar people, however, knowingly or unknowingly ignore some features of Indian deitiesand eventually the iconsare found in various places in Bagan.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.11-31
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• 2019

Taking the painting, 「Landscape of the Jiuqu River in the Wuyi Mountain」 as the study object, which was produced in the middle of Qing Dinasty and collected by the British Library, this paper analyzes the scenery names recorded in the painting, and describes the landscape of the mountain, port and ships, architectural elements, civil elements, character, stone inscription and other scenery in the painting. The investigation results of the cultural landscape properties of each Gok are as follows: According to statistics, there are 28 architectural elements in the painting, including 7 pavilions (25%), 4 temples (14.3%), 3 Colleges and Taoist temple (10.7%), 2 Dowon(道院) and villages (7.1%); 29 civil elements, including 9 holes (31%), 6 Historical Sites (20.7%), 3 Stations(臺) (10.3%), 2 Ferries, 2 Bridges, and 2 Ponds (6.9%), 1 Garden, 1 Gate, 1 Mine(坑), 1 Well and 1 Remains(3.4%). These physical factors and civil factors are the important relics reflected the cultural landscape attributes of Wuyi-Gugok in the middle of the 18th century. Among the shape element in each Gok, the 1^st Gok have 12 shape elements(21.1%), the 5^th Gok 11(19.3%), the 4^th Gok 9(15.8%), the 9^th Gok 8(14%), the 3^rd Gok 7(12.3%), the 6^th Gok 4(7%), the 2^nd Gok 3(5.3%), the 7^th Gok 2(3.5%), and the 8^th Gok 1(2%). Through collation, it is found that the 1^st Gok, 5^th Gok and 4^th Gok have more prominent cultural landscape characteristics. In addition, according to the description of scenic spot types in 『Muisanji(武夷山志)』, there are 38 types of scenery description in the painting, of which, the three scenery of big rock, peak, small rock occupy the vast majority. This reflects the Danxia(丹霞) landform characteristics of Wuyi-Gugok. The cultural connotation of Wuyi Mountain expressed and contained in the painting is analyzed and interpreted, and it is found that the Jiuqu(九曲) River in the Wuyi Mountain has Neo-confucianism culture, Taoism culture, Buddhism culture, Tea culture and so on. In addition, among the 171 scenery names shown in the painting, there are altogether 7 stone inscriptions that are consistent with or have the same meaning as the rock inscriptions site, including 3 for inscriptions praising the landscape, 3 for philosophical inscription and 1 for auspicious language inscription, which is considered as the important basis for the mutual textuality between the pictures and the stone inscriptions.

• Journal of Science of Art and Design
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• v.10
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• pp.161-181
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• 2006

The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

• 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.