AR 1795 is an Augmented reality application that allows you to view art works from a different view.

When you run the AR 1795 application, the camera is automatically activated. If you look at the works installed in the exhibition space through the mobile camera, you can see the virtual graphic that was not seen when you saw the work with your eyes directly. This app presents a new exhibition method for AR techniques that blend artwork installed in the real space and virtual graphics displayed through mobile devices.

AR 1795 is a work of graphisme.xyz. You can appreciate the works by visiting not only the exhibition but also the website of graphisme.xyz. In addition, you can print out the image of the work on the website.

Artists can view their graphic works updated whenever they visit AR 1795 periodically with updating their works. Also, AR 1795 is pursuing the works that make viewers can communicate an opinion to artists.
Enjoy imaginative space through AR 1795.

Download AR Marker = https://graphisme.xyz/ar1795

Content Description
This eight-panel folding screen depicts the major ceremonial events held during the eight-day procession led by King Jeongjo, accompanied by his mother, Lady Hyegyeong, to the ancestral tomb (Hyeollyungwon) in Hwaseong where his father, Crown Prince Sado, was buried. The procession, which took place on February 9, 1795 (the 19th year of the reign of King Jeongjo of the Joseon Dynasty) and lasted for eight days, was held to commemorate his late father’s 60th birthday. The eight scenes depicted from right to left comprise the visit to the Royal Ancestral Tomb at Hwaseong; the Special Civil and Military Service Examinations; a Banquet in Honor of the King’s Mother at Bongsudang Hall; a Feast for the Elders at Nangnamheon Pavilion; Nighttime Military Exercises at Seojangdae Fort; the King Shooting Arrows at Deukjungjeong Pavilion; the Procession Returning to the Royal Palace; and the Procession Crossing the Hangang River over a Pontoon Bridge. The work was produced by some of the period’s most eminent court artists from the Gyujanggak (Royal Library), including Kim Deuk-sin and Yi In-mun. The scene depicting the banquet held at Bongsudang Hall closely resembles the traditional composition of paintings of that time. However, the composition of the scene depicting the procession returning to the Royal Palace is in the shape of a ‘之,’ which is characteristic of Pyeongsaengdo (Lifetime Paintings) of the famous court painter Kim Hong-do. The last scene depicting the procession crossing the Hangang River over a pontoon bridge displays a unique composition rarely seen in paintings of royal processions at that time. Overall, the scenes portray subjects from all walks of life with a slightly comic touch, and faithfully reflect the customs and lives of the people of those times with the use of refined colors and sophisticated depiction. In this respect, the painting is, in essence, a historical documentary painting, although it also exhibits the characteristics of genre paintings, which are pictorial representations of everyday life. The painting is rendered in sophisticated, elegant colors, with each scene depicted with an exceptional attention to detail. It is not only a remarkable work of art, but also a work of great historical value that provides valuable insights into the customs and way of life of that time. The painting is a masterpiece among documentary paintings of the 18th century.