• Korean Journal of Remote Sensing
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• v.39 no.6_2
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• pp.1565-1576
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• 2023

An atmospheric correction algorithm based on the radiative transfer model is required to obtain remote-sensing reflectance (R_rs) from the Geostationary Ocean Color Imager-II (GOCI-II) observed at the top-of-atmosphere. This R_rs derived from the atmospheric correction is utilized to estimate various marine environmental parameters such as chlorophyll-a concentration, total suspended materials concentration, and absorption of dissolved organic matter. Therefore, an atmospheric correction is a fundamental algorithm as it significantly impacts the reliability of all other color products. However, in clear waters, for example, atmospheric path radiance exceeds more than ten times higher than the water-leaving radiance in the blue wavelengths. This implies atmospheric correction is a highly error-sensitive process with a 1% error in estimating atmospheric radiance in the atmospheric correction process can cause more than 10% errors. Therefore, the quality assessment of R_rs after the atmospheric correction is essential for ensuring reliable ocean environment analysis using ocean color satellite data. In this study, a Quality Assurance (QA) algorithm based on in-situ R_rs data, which has been archived into a database using Sea-viewing Wide Field-of-view Sensor (SeaWiFS) Bio-optical Archive and Storage System (SeaBASS), was applied and modified to consider the different spectral characteristics of GOCI-II. This method is officially employed in the National Oceanic and Atmospheric Administration (NOAA)'s ocean color satellite data processing system. It provides quality analysis scores for R_rs ranging from 0 to 1 and classifies the water types into 23 categories. When the QA algorithm is applied to the initial phase of GOCI-II data with less calibration, it shows the highest frequency at a relatively low score of 0.625. However, when the algorithm is applied to the improved GOCI-II atmospheric correction results with updated calibrations, it shows the highest frequency at a higher score of 0.875 compared to the previous results. The water types analysis using the QA algorithm indicated that parts of the East Sea, South Sea, and the Northwest Pacific Ocean are primarily characterized as relatively clear case-I waters, while the coastal areas of the Yellow Sea and the East China Sea are mainly classified as highly turbid case-II waters. We expect that the QA algorithm will support GOCI-II users in terms of not only statistically identifying R_rs resulted with significant errors but also more reliable calibration with quality assured data. The algorithm will be included in the level-2 flag data provided with GOCI-II atmospheric correction.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.