• Title/Summary/Keyword: producing panels

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Building up the foundation for the elderly apparel industry through the development on shirt sloper of elderly obese males - Applying CLO 3D program - (노년 비만남성의 셔츠원형 개발을 통한 실버 의류산업 활성화 기반 구축 - CLO 3D 가상착의 시스템 활용 -)

  • Seong, Ok jin;Kim, Sook jin
    • The Research Journal of the Costume Culture
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    • v.28 no.3
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    • pp.299-312
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    • 2020
  • The purpose of this study is to create a shirt sloper suitable for an elderly male body shape by producing virtual models using a 3D-virtualization program, making a torso prototype using the Yuka CAD system, and employing 3D simulation to virtualize and calibrate the model. First, the following three types of obese dummies are implemented through the CLO 3D program: Type 1 exhibits body fat in the lower body; Type 2 exhibits an obese abdomen; and Type 3 displays a balanced form of obesity. Second, for the design of the shirt pattern, the waist back length (measured value+1), back armhole depth (C/10+12+3+0.5~1.5), front armhole depth (back armhole depth 0~1), front interscye (2C/10-1+0.5-0.5), armscye depth (C/10+2+3.5+ 0.5), back interscye (2C/10-1+1), front chest C (C/4+2.5+1), back chest C (C/4+2.5-1), front hem C (C/4+2.5+1(+2)), back hem C (C/4+2.5-1(+2)), cap height (AH/3-5), and biceps width (Front AH-1, Back AH-1) are calculated. Third, the virtual attachment of the shirt pattern is resolved by increasing the front and back armhole depths, and the front and rear wrinkles are improved by adding a back armhole dart. The front hem lift and lateral pull caused by the protrusion of the abdomen are amended by increasing the margin of the chest, waist C, and hip C, with the appearance improved by balanced margin distribution in the front, back, and side panels. The improved retail pattern with an increase in the front armholes C was balanced on the torso plate.

A Study on the Characteristics of Geometry in Madeleine Vionnet´s Works (마들렌느 비오네의 작품에 나타난 기하학적 특성에 관한 연구)

  • 유수경;김의경
    • The Research Journal of the Costume Culture
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    • v.10 no.6
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    • pp.763-780
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    • 2002
  • The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

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The Development of Steel-plate Concrete Panels with Preplaced Lightweight Aggregates Concrete (프리플레이스트 경량골재 콘크리트를 사용한 합성형 구조모듈 제작 및 성능 평가)

  • Yoon, Jin Young;Kim, Jae Hong
    • Journal of the Korean Recycled Construction Resources Institute
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    • v.5 no.1
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    • pp.21-28
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    • 2017
  • The steel-plate concrete(SC) is used in a form of module assembly construction in the outer wall of nuclear-power plant and LNG containment. Since the steel-plate concrete modules are generally manufactured from the plant, the weight of SC has significantly effect on the total construction cost in the aspect of shipment. Therefore, the use of lightweight aggregates concrete(LWAC), which fill the inside of SC module can be a solution. However, the amount of used lightweight aggregates(LWA) is limited in the use of current concrete mixing process due to the concrete quality problems and it also determines the allowable minimum density of LWAC. In this research, the preplaced casting method is applied because of increasing the volume fraction of LWA significantly, which results from the producing process of pre-packing the LWA in the formwork and filling the interstitial voids between LWA using cement paste grout. The density and compressive strength of selected preplaced LWAC were $1,600kg/m^3$ and 30MPa and it was applied for the mock-up specimens of SC panel. It was used for the 3-point bending test for evaluating its structural performance. The results show that the preplaced LWAC can reduce the density of concrete with the adequate mechanical and structural performance.

Rationalization Process for Digital Design and Fabrication -Based on the Case of Fabricating Interior Panels- (디지털 디자인 및 패브리케이션 프로세스의 합리화 과정에 관한 연구 - 인테리어 패널 디자인 및 제작 사례를 기반으로 -)

  • Chang, Soo-Jung;Lee, Hyun-Soo;Lee, Jin-Kook
    • Journal of Digital Contents Society
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    • v.16 no.2
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    • pp.307-316
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    • 2015
  • Although the use of CAD and CAM technologies has been broadly adopted by architecture-engineering- construction-facility management (AEC/FM) industry as the means of producing complex forms, there are still remained issues such as reducing cost, and enhancing quality and manufacturability. In this paper, to resolve given issues, we suggest a process of rationalization in digital architecture design and fabrication as an integrated approach. The rationalization, which is usually used as the term related with the skin panel of free-form architecture, is a process of re-designing a digital model to meet the requirements of manufacturing considering the gap with an original designs. Thus we classified this process and conducted a case study of fabricated models as an exploratory study. As the result, we found that each phase is connected with other phases with the circulation of information and rationalization process can be determined as the circulative process which re-designs digital model by minimally deviating from the original design based on the information deducted from analysis of inter-compatability of software and requirement of hardware.

Determination of the Shelf-life of Pasteurized Korean Rice Wine, Yakju, in Aseptic Packaging (가열 살균 후 무균 포장한 한국 전통 청주의 저장성에 관한 연구)

  • Lee, Cherl-Ho;Kim, Gi-Myung
    • Korean Journal of Food Science and Technology
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    • v.27 no.2
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    • pp.156-163
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    • 1995
  • The practical shelf-life of pasteurized Korean rice wine ‘Yakju’, aseptically packed in Tetra-pak, was determined. The test sample products were stored at $4^{\circ}C,\;20^{\circ}C,\;30^{\circ}C\;and\;35^{\circ}C$ for 19 weeks, and the quality assessment was made at two weeks interval. The quality parameters evaluated were pH, acidity, reducing sugar, absorbance at 370 nm, total and acid producing bacteria, yeast and mold, and sensory quality. No meaningful changes of pH and reducing sugar were noticed during the storage for 19 weeks at temperatures tested. The absorbance at 370 nm increased slightly during storage. The total numbers of microorganisms in the product decreased during storage and a drastical reduction of acid producing bacteria was observed after 6 weeks of storage. Both yeast and mold were not found in the pasteurized products. The sensory quality of stored rice-wine was evaluated by triangle test and scoring test. The panels could distinguish the product stored at $4^{\circ}C$ from other products stored at the higher temperatures for over 6 weeks. The overall acceptance of the product decreased gradually during storage, and the rate constants for the changes were $7.93{\times}10^{-3},\;at\;20^{\circ}C,\;9.69{\times}10^{-3}\;at\;30^{\circ}C\;and\;13.4{\times}10^{-3}\;at\;35^{\circ}C$, respectively. The activation energy estimated by Arrhenius equation was 24,795 kJ/kmol. The estimated shelf-life of Yakju pasteurized and aseptically packed was 24 months at $10^{\circ}C$, 16 months at $25^{\circ}C$ and 14 months at $25^{\circ}C$. The shelf-life of Yakju in Seoul was calculated to be 20 months, based on the monthly average temperature of the city.

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Tosa Mitsuyoshi's Screen Paintings Gathering on the Year's First "Day of the Rat" and Boating on the Oi River from the National Museum of Korea (국립중앙박물관 소장 도사 미쓰요시(土佐光芳) 필(筆) <무라사키노 자일 놀이(紫野子日遊圖)·오이강 유람도 병풍(大井川遊覽圖屛風)> 시론)

  • Jung, Miyeon
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.98
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    • pp.176-199
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    • 2020
  • In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.

Distribution of Agalmatolite Mines in South Korea and Their Utilization (한국의 납석 광산 분포 현황 및 활용 방안)

  • Seong-Seung Kang;Taeyoo Na;Jeongdu Noh
    • The Journal of Engineering Geology
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    • v.33 no.4
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    • pp.543-553
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    • 2023
  • The current status of domestic a agalmatolite mines in South Korea was investigated with a view to establishing a stable supply of agalmatolite and managing its demand. Most mined agalmatolite deposits were formed through hydrothermal alteration of Mesozoic volcanic rocks. The physical characteristics of pyrophyllite, the main constituent mineral of agalmatolite, are as follows: specific gravity 2.65~2.90, hardness 1~2, density 1.60~1.80 g/cm3, refractoriness ≥29, and color white, gray, grayish white, grayish green, yellow, or yellowish green. Among the chemical components of domestic agalmatolite, SiO2 and Al2O3 contents are respectively 58.2~67.2 and 23.1~28.8 wt.% for pyrophyllite, 49.2~72.6 and 16.5~31.0 wt.% for pyrophyllite + dickite, 45.1 and 23.3 wt.% for pyrophyllite + illite, 43.1~82.3 and 11.4~35.8 wt.% for illite, and 37.6~69.0 and 19.6~35.3 wt.% for dickite. Domestic agalmatolite mines are concentrated mainly in the southwest and southeast of the Korean Peninsula, with some occurring in the northeast. Twenty-one mines currently produce agalmatolite in South Korea, with reserves in the order of Jeonnam (45.6%) > Chungbuk (30.8%) > Gyeongnam (13.0%) > Gangwon (4.8%), and Gyeongbuk (4.8%). The top 10 agalmatolite-producing mines are in the order of the Central Resources Mine (37.9%) > Wando Mine (25.6%) > Naju Ceramic Mine (13.4%) > Cheongseok-Sajiwon Mine (5.4%) > Gyeongju Mine (5.0%) > Baekam Mine (5.0%) > Minkyung-Nohwado Mine (3.3%) > Bugok Mine (2.3%) > Jinhae Pylphin Mine (2.2%) > Bohae Mine. Agalmatolite has low thermal conductivity, thermal expansion, thermal deformation, and expansion coefficients, low bulk density, high heat and corrosion resistance, and high sterilization and insecticidal efficiency. Accordingly, it is used in fields such as refractory, ceramic, cement additive, sterilization, and insecticide manufacturing and in filling materials. Its scope of use is expanding to high-tech industries, such as water treatment ceramic membranes, diesel exhaust gas-reduction ceramic filters, glass fibers, and LCD panels.

Broadening the Understanding of Sixteenth-century Real Scenery Landscape Painting: Gyeongpodae Pavilion and Chongseokjeong Pavilion (16세기(十六世紀) 실경산수화(實景山水畫) 이해의 확장 : <경포대도(鏡浦臺圖)>, <총석정도(叢石亭圖)>를 중심으로)

  • Lee, Soomi
    • 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.

New Trends in the Production of One Hundred Fans Paintings in the Late Joseon Period: The One Hundred Fans Painting in the Museum am Rothenbaum Kulturen und Künste der Welt in Germany and Its Original Drawings at the National Museum of Korea (조선말기 백선도(百扇圖)의 새로운 제작경향 - 독일 로텐바움세계문화예술박물관 소장 <백선도(百扇圖)>와 국립중앙박물관 소장 <백선도(百扇圖) 초본(草本)>을 중심으로 -)

  • Kwon, Hyeeun
    • MISULJARYO - National Museum of Korea Art Journal
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    • v.96
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    • pp.239-260
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    • 2019
  • This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.