During the late 1800s in Korea, local and central governments actively promoted Confucian teachings in fear of the influx of foreign ideas and beliefs such as Christianity. Under the patronage of such leadership, many types of munjado (literally meaning â€ścharactersâ€ť) screens were produced. Such paintings adorned Korean aristocratsâ€™ studies as well as the classrooms of Confucian academies. The eight Korean characters inscribed on the upper portion of each panel of the screen refer to the values of Confucian teachings comprising core political ideology of the Joseon dynasty: filial piety (hyo), brotherly love (je), loyalty (chung), trust (sin), propriety (yae), righteousness or justice (eui), modesty or integrity (yeom), and humility or the feeling of shame (chi). The lower section of each panel depicts the imagery of books, scholarly utensils, and luxurious objects called chaekgeori (loosely translated as â€śbook and thingsâ€ť), another pictorial genre popular in late 19th-century Korea, a period when both aristocrats and newly rich passionately devoted to amassing books and antiquities. Primarily distinctive to the Ganwon province located in northeast Korea, this munja-chaekgeori screen is not only an extremely rare type in which two independent pictorial genres are harmoniously married, but also a work that exemplifies the playful nature of Korean art.