Kisŏng koto [Giseonggodo] 箕城古圖 / Kim Yun-po 김윤보(金允輔).

Commemorative boxed miniature color reprint of the original held at Soongsil University in Seoul, Korea. The fan-folded screen is boarded on each end, and fits in an outer protective box. A second unboarded duplicate includes location identifiers and numbered map-style legend. 

Th original is a 10-panel screen of Pyongyang and its environs during the Joseon dynasty (1392-1897). Ink and light color on silk, showing a bird's eye view of the city, agricultural and rural areas, and surrounding rivers and mountains. Originally inscribed Kisŏnggojido Pyongyang i han beon sseossda 箕城古圖 平壤一斎寫 (평양 일재사), with signature and seal of Il-Jae (the style name of the artist Kim Yun-bo (1865-1938)).

Undated (estimated ca. 2020). Not in OCLC.
Published by 숭실대학교 한국 기독교 박물관 = The Korean Christian museum at Soongsil university.

Text on inner rear board:  

김윤보(金允輔),〈기성고도(箕城古圖)>, 10곡병, 19세기말, 견본담채, 105.5 × 323.0cm

숭실대학교 한국기독교박물관 소장

조선시대 평안도 감영소재지 평양의 자연적, 인문적 경관을 담은 실경도이다. 10폭의 병풍을 하나의 화면으로 연결시킨 대화면을 활용해 양란 이후 재정비된 성 안팎의 풍경을 구체적으로 재현하였다. 주요 산과 하천을 비롯해 성곽 구조, 공 공 시설물과 역사유적, 명승명소, 그리고 다닥다닥 붙은 민가와 생업에 종사하는 지역민들의 모습까지 한눈에 조망할 수 있다. 1881년에 세운 서묘(西廟)와 함께 1804년 대화재로 소실된 후 1890년에 중건한 애련당(愛蓮堂)이 확 인된다. 또한 마지막 폭에 있는 그림 제목과 서명을 참조할 때, 15세기 말 평양 출신 서화가 김윤보(金允輔,1865-1938)가 그린 작품으로 생각된다. 조선 후기에 상업과 무역이 발달하면서 한양에 버금가는 대도시로 올라선 평양의

이모저모를 두루 살펴볼 수 있게 해주는 시각자료로서 사료적 가치가 높다. (해설 : 박정애)

Text translated:

Collection of the Korean Christian Museum, Soongsil University

This is a realistic landscape painting of Pyongyang, the seat of the Pyeongan Province military camp during the Joseon Dynasty, capturing its natural and cultural landscapes. Using a large screen composed of ten folding panels, it meticulously recreates the landscape inside and outside the castle, which was reorganized after the Japanese invasions of Korea. The painting offers a panoramic view of major mountains and rivers, the castle walls, public facilities, historical sites, scenic spots, and even the closely packed houses with local residents engaged in their daily lives. The painting also includes the Seo-myo (West Shrine), built in 1881, and the Aeryeondang (Love Lotus Hall), rebuilt in 1890 after being destroyed by a fire in 1804. Furthermore, referring to the title and signature on the last page, it is believed to have been painted by Kim Yun-bo (金允輔, 1865-1938), a calligrapher from Pyongyang in the late 19th century. Its elevated vista provides a comprehensive overview of Pyongyang, which, with the development of commerce and trade in the late Joseon Dynasty, rose to become a metropolis rivaling Hanyang. (Commentary: Park Jeong-ae)