This study is related to excavation from ruins the memorial structure within the Jeongreung royal tomb. There are experimental assertion on the basis of results of the excavation, historical records. The location of the memorial structure is identified in picture of Sunwonbogam(선원보감), records of Chunkwantongho(春官通考). The memorial structure have 6 rooms where lay in 250 steps(步) from the south of Hongjeonmun gate, lotus pond lay in southeast of the structure recorded on Chunkwantongho that's guide book to manners. It's matched in the location as result of excavation. The building site consists of main house(윗채), outhouse(아래채) that's stationed in stepped. It seems that main house as the memorial structure have 6 rooms. It's used as outhouse for facilities attached to the main. It's characterized the memorial structure within the Jeongreung royal tomb that's stationed main house, outhouse in stepped it using natural ground. It's estimated that it's tried to conservation for building site, fence etc. in next several time. With regard to constructing time of the structure, traces involved to first construction is simple: 2 chimneys in flower bed, fence, a part of stone elevation, drains by using rectangular stone. It shows that the building site had been reconstructed or renovated during Gho-jong King 37s year of the Choson dynasty(A.D.1900). It seems that the memorial structure during approximately 300 years in existence from Hyeon-jong King 10s year of the Choson dynasty(A.D.1669) to the late 1960s.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.