• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.4-25
• /
• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korea Science and Art Forum
• /
• v.19
• /
• pp.293-305
• /
• 2015

At the same time the unique cultural traits of each country are valued, it has become an essential element to establish the cultural identity of a country. This study is aimed at comparing the residence architectural cultures in East-Asia and thus identifying Korea's own unique traits by determining the application characteristics of traditional architectures of Korea, China and Japan through practical investigation of materials, a basic element of architectural shaping. Literature survey and field study were conducted in parallel for this study, and architectural buildings under investigation included Mucheomdang House in Korea, Prince Gong Mansion in China and Dokyudo Building in Japan. Construction materials in Korea, China and Japan include natural materials such as wood, stone and clay, and artificial materials such as metals, paper, roof tiles, plug and glass. and the buildings were constructed with the combination of these materials. This commonality can be often found in the architectural composition. However, in the interior composition, the choice and application of different materials were clear between three countries, which were shown to be different depending on climates, processing methods and living culture of each country. First of all, since each country selected materials under the influence of its own vegetation and climates, living environment of each country could be seen via its residence. Also, it could be seen that while Korea and Japan show a certain similarity such as the traits of standing-sitting culture and the finish of paper in the interior, China is clearly different. In particular, regarding the material processing, the artificial processing was minimized in Korea, which mainly gave rough and crude feelings while due to the use of straight timbers, the architectural representation with organized and refined feelings was made in Japan. China showed the highest percentage of artificial processing of materials among three countries, which was highly associated with the coloring culture of China. Also, it could be seen that technology related to fine architectural materials such as bricks and glass was greatly advanced in China. Thus, how immaterial elements such as natural characteristics, functionality and aesthetics were applied in relation to residence in Korea, Japan and China could be determined through the comparison of architectural materials.

• Journal of Intelligence and Information Systems
• /
• v.18 no.1
• /
• pp.1-21
• /
• 2012

In recent years, mobile phone has experienced an extremely fast evolution. It is equipped with high-quality color displays, high resolution cameras, and real-time accelerated 3D graphics. In addition, some other features are includes GPS sensor and Digital Compass, etc. This evolution advent significantly helps the application developers to use the power of smart-phones, to create a rich environment that offers a wide range of services and exciting possibilities. To date mobile AR in outdoor research there are many popular location-based AR services, such Layar and Wikitude. These systems have big limitation the AR contents hardly overlaid on the real target. Another research is context-based AR services using image recognition and tracking. The AR contents are precisely overlaid on the real target. But the real-time performance is restricted by the retrieval time and hardly implement in large scale area. In our work, we exploit to combine advantages of location-based AR with context-based AR. The system can easily find out surrounding landmarks first and then do the recognition and tracking with them. The proposed system mainly consists of two major parts-landmark browsing module and annotation module. In landmark browsing module, user can view an augmented virtual information (information media), such as text, picture and video on their smart-phone viewfinder, when they pointing out their smart-phone to a certain building or landmark. For this, landmark recognition technique is applied in this work. SURF point-based features are used in the matching process due to their robustness. To ensure the image retrieval and matching processes is fast enough for real time tracking, we exploit the contextual device (GPS and digital compass) information. This is necessary to select the nearest and pointed orientation landmarks from the database. The queried image is only matched with this selected data. Therefore, the speed for matching will be significantly increased. Secondly is the annotation module. Instead of viewing only the augmented information media, user can create virtual annotation based on linked data. Having to know a full knowledge about the landmark, are not necessary required. They can simply look for the appropriate topic by searching it with a keyword in linked data. With this, it helps the system to find out target URI in order to generate correct AR contents. On the other hand, in order to recognize target landmarks, images of selected building or landmark are captured from different angle and distance. This procedure looks like a similar processing of building a connection between the real building and the virtual information existed in the Linked Open Data. In our experiments, search range in the database is reduced by clustering images into groups according to their coordinates. A Grid-base clustering method and user location information are used to restrict the retrieval range. Comparing the existed research using cluster and GPS information the retrieval time is around 70~80ms. Experiment results show our approach the retrieval time reduces to around 18~20ms in average. Therefore the totally processing time is reduced from 490~540ms to 438~480ms. The performance improvement will be more obvious when the database growing. It demonstrates the proposed system is efficient and robust in many cases.

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