Poster - Rocks in the Sea from Changdeokgung Palace
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ARTLIA's art prints are produced according to standardized paper and canvas formats.
Depending on the aspect ratio of the original artwork and the chosen format, it may happen that the edges of the image are slightly adjusted to achieve a harmonious overall effect and high print quality.
For canvas prints, the ARTLIA team ensures that the main motif is placed as fully as possible on the front side. The side frame areas are continued in color and style to match the original image.
This is a deliberate and common production step with which the ARTLIA team ensures the aesthetic quality of each artwork.
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Poster - Rocks in the Sea from Changdeokgung Palace
With this framed poster, you can make a striking statement in any room. Printed on high-quality, thick, matte paper.
• Paper weight: 189 g/m²
• 0.26 mm (10.3 mil) thick
• Black and white frames made of semi-hard alder wood
• Frame made of solid oak
• Acrylic front protection sheet
• Includes hanging hardware
• 21 × 30 cm posters are A4 size
• Raw product components in the USA sourced from Japan and the USA
• Raw product components in the EU sourced from Japan and Latvia
How to attach the hooks to horizontal 61 × 91 cm frames:
Attach each hanging hook 2.5 cm from the frame corners when hanging the poster horizontally.
Rocks in the Sea, Panoramic View of Chongseokjeong (총석정 절경도)
- Kim Gyu-jin | 1920 | Color on silk
- 195.5 × 882.5 cm | State-registered cultural heritage
This imposing mural once adorned the eastern wall of the Huijeongdang Hall in Changdeokgung Palace in Seoul. In panoramic format, it depicts the picturesque Chongseokjeong Pavilion and the dramatic coastal landscape of Tongcheon in North Korea’s Gangwon-do Province, one of the renowned “Eight Scenic Views of Gwandong.”
The work’s unusual perspective is particularly noteworthy: unlike traditional depictions in which the view is directed from the land toward the sea, here the viewer looks toward the coast from the water. The sea stretches across the calm foreground, while the bizarre, column-like rocky cliffs of Chongseok are arranged horizontally in the background.
Because this composition precisely matches the perspective of a photograph from 1913 (“Photo Album of Geumgangsan”), the photograph most likely served as a visual reference for the artist Kim Gyu-jin (1868–1933). Nevertheless, Kim Gyu-jin was very familiar with the region: following his official commission in June 1920, he traveled there again to study the landscape. Surviving drafts and his own notes show that he even ventured out onto the open sea by boat to sketch the rock formations from a distance.
The work breaks with the rigid conventions of traditional court painting and instead follows the principles of realistic landscape painting (Silgyeong Sansuhwa). Stylistically, it masterfully combines the past and the modern era: while elements such as the blue-green coloring in the background and schematic wave patterns are decorative quotations from tradition, fine lines, subtle light-and-dark contrasts, and gray-brown tones in the rocks create a modern sense of three-dimensionality and volume.
Another historical detail appears in the upper-left corner: alongside the title “Panoramic View of Chongseokjeong” (총석정 절경도), the work bears an ink inscription (“Carefully painted by Kim Gyu-jin”) and the artist’s personal seal. This illustrates a decisive shift in Korean art history—from anonymous court art toward the deliberate signature and artistic independence of the modern era.
