• Fire Science and Engineering
• /
• v.23 no.3
• /
• pp.121-130
• /
• 2009

This study is researched about the field trip of temples and the data for fire extinguishment manual of fire stations: it is done from June 2008 to December 2008 the 80 main temple wooden cultural properties among the 124 main wooden cultural properties appointed by the Cultural Heritage Administration. Cultural properties appointment classification, location classification, temple area, building area in a temple, building area of appointment cultural properties, a fire engine drive direction for fire suppression in a fire, distance from a fire station, and present condition of a fire administrator are researched. The cultural properties possess characteristic is in 2 cases: the whole things in a temple are appointed as cultural properties and only the wooden building is. The cultural properties are classified: the transport is possible or not. The special quality of cultural properties are classified for early correspondence and cultural properties transport in a fire and the basic data are arranged for damage limitation.

• Korean Journal of Heritage: History & Science
• /
• v.35
• /
• pp.100-118
• /
• 2002

Originally, Gyeongcheonsa pagoda was located in Busosan, Jungyeon-ri, Gwangdeok-myeon, Gaepung-gun, Gyeonggi-do,but it has suffered from being taken out to Japan illegally in 1907 and being returned to Korea in 1918. After returned to Korea, Gyeoncheonsa Pagoda had been neglected and restored in 1960. It had been exhibited outside the Gyeingbokgung Palace after restoration, but many problems were raised. It was taken to pieces in 1995 and it is conservation and restoring today. However, the top of pagoda is necessary to be researched about its archetype because the shapes of stupa in 1902 and in 1960(the shape of pagoda after restoration) are all different from its archetype. According to picture datum in 1902, the top of pagoda was a Korean building type on a 10 layered roof stone. On the other hand, when it was restored in 1960, cement suspected as a anda was taken place between Korean building type and a 10 layered roof stone. Therefore, I am going to examine Restoration of Gyeongcheonsa pagoda in this thesis. When we examine historical records of Geongcheonsa and datum of parts, we can know that the pagoda was established in 1348(Goryeo Dynasty) but it is difficult to know the truth of its establishment and demolition of Gyeongcheonsa-temple. Three ways to restore the top of the pagoda of Gyeoncheonsa Pagoda can be c o n s i d e r e d . First, Korean building type made by metals is located on a 10 layered roof stone, which is same to picture datum in 1902. Second, the shape of and a type, which is similar to the shape when it was restored in 1960's. Also it is similar to Lamapagoda type. Third, to restore the top of pagoda of gabled roof type, which is similar to the top of pagoda of Wongaksagi P agoda. However it is necessaray to exmamine functions about circle grooves hollowed out in a 10 layered roof stone in restoration. Also we need to find out the archetype of dragon sculpture through the dragon claws left on an edge of a 10 layered roof stone.

• Proceedings of the Korea Water Resources Association Conference
• /
• 2023.05a
• /
• pp.512-512
• /
• 2023

내성천은 대한민국의 대표적인 모래하천으로서 흰수마자(Gobiobotia naktongensis)의 최적 서식처로 알려져 있다. 흰수마자는 낙동강에서 채집되어 새로운 종으로 보고된 한국 고유종이지만 최근 멸종위기야생생물 I급 담수어류로 지정되었다. 흰수마자는 입자가 1 mm 이하의 가는 모래로 90% 이상 구성된 모래하상과 수질이 양호한 곳에서 서식하는 것으로 알려져 있다(Kim et al, 2014). 특히 낙동강 중류의 감천과 상류의 내성천 수계에서 비교적 많은 개체수가 출현하고 있는 것으로 보고되었다(Na et al., 2015). 그러나 영주댐 건설 이후, 댐 하류 내성천에서 흰수마자의 개체수가 급격히 줄어들었다. 2021년 내성천 유역 자연성생태계모니터링 보고서(환경부, 2022)에 따르면 내성천에서 흰수마자가 2016년에 492개체가 채집된 이후 2019년 7월엔 1개체만이 채집되었으며 이후 2022년 8월까지 채집되지 않았다. 반면 망둥어과 어류 중 입자가 굵은 하상환경에서 주로 서식하는 밀어의 개체수는 증가하는 경향을 보였다. 이는 내성천 유역의 하상환경변화가 어류서식에 직간접적으로 영향을 미친것으로 해석할 수 있다. 본 연구는 물리서식처 모형인 River2D를 활용하여 내성천 석탑교(No. 46) 에서 회룡교(No. 4)까지 약 40 km 구간을 대상으로 2010년 하상 입자와 2020년 하상 입자 크기에 따른 흰수마자의 서식처 적합도 변동양상을 분석하였다. River2D 모형을 통해 계산되는 어류 서식처 적합도는 물리서식처 모의시스템에서 사용되는 가중가용면적(WUA: Weighted Usable Area)에 근거하여 산출된다. WUA는 대성어종의 특정 성장단계별, 서식처 특성별로 주어진 구간을 이용할 수 있는 순수적합도(net suitability)에 대한 하나의 지표이다. WUA가 크다는 것은 그만큼 대상어종의 서식처 및 활동 영역이 크다는 것을 의미한다. WUA는 각 절점에서 평가되어지는 복합서식처 적합도 지수에 의해 계산된다. 본 연구에서는 곱셈방법을 적용한 복합 서식처 적합도 지수를 산정하여 하상입자에 따른 흰수마자의 서식처 적합도 변동양상을 분석하였다.

• Journal of the Korea Society of Computer and Information
• /
• v.28 no.8
• /
• pp.95-101
• /
• 2023

Colmap is one of the innovative artificial intelligence technologies, highly effective as a tool in 3D reconstruction tasks. Moreover, it excels at constructing intricate 3D models by utilizing images and corresponding metadata. Colmap generates 3D models by merging 2D images, camera position data, depth information, and so on. Through this, it achieves detailed and precise 3D reconstructions, inclusive of objects from the real world. Additionally, Colmap provides rapid processing by leveraging GPUs, allowing for efficient operation even within large data sets. In this paper, we have presented a method of collecting 2D images of traditional Korean towers and reconstructing them into 3D models using Colmap. This study applied this technology in the restoration process of traditional stone towers in South Korea. As a result, we confirmed the potential applicability of Colmap in the field of cultural heritage restoration.

• Journal of the Korea Society of Computer and Information
• /
• v.28 no.9
• /
• pp.105-111
• /
• 2023

Currently, most of content restoration using artificial intelligence learning is 2D learning. However, 3D form of artificial intelligence learning is in an incomplete state due to the disadvantage of requiring a lot of computation and learning speed from the existing 2 axes (X, Y) to 3 axes (X, Y, Z). The purpose of this paper is to secure a data-set for artificial intelligence learning by analyzing and 3D modeling the stone pagodas of ourinari by era based on the two-dimensional information (image) of cultural assets. In addition, we analyzed the differences and characteristics of towers in each era in Korea, and proposed a feature modeling method suitable for artificial intelligence learning. Restoration of cultural properties relies on a variety of materials, expert techniques and historical archives. By recording and managing the information necessary for the restoration of cultural properties through this study, it is expected that it will be used as an important documentary heritage for restoring and maintaining Korean traditional pagodas in the future.

• Korean Journal of Heritage: History & Science
• /
• v.51 no.3
• /
• pp.104-121
• /
• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Korean Journal of Heritage: History & Science
• /
• v.43 no.3
• /
• pp.242-281
• /
• 2010

There are a large number of Buddhist cultural relics in Mt. Namsan. The cultural relics carry the spirit of people of Shila who dream of Buddhist Elysium and the establishment of Buddhist nation. In the valley and the top of the mountain and on various rock cliff, stone statues of Buddha and stone pagodas stand in harmony with nature. For that reason, Mt. Namsan is called an open-air museum. And it played an important role in establishing 'The UNESCO World Heritage' status for Gyeongdju in December 2000. But sadly, there are many stone relics that have eroded away and damaged from collapsing in the passage of time. The seated stone statue of Buddha in Samreoung valley of Mt. Namsan is one of them. It was created between the 8th and 9th century, and restored without much care nor extensive historical research in 1923. As a result, The face of the Buddha remained with concrete mortar and its nimbus fallen backward and destroyed. Therefore, restoration and repair as well as creation of a statue environment for the statue were urgent. So we immediately started in restoration and repair. First, through the archaeological excavation around the stone Buddha, we carried the stone Buddha on the original position. In order to restore the statues to its original glory created by the Unified Shila Dynasty, we created a restoration plan in corporation with art historians and historians, then restored the jaw and the damage nimbus. Second, we made the weathering & damage map of the stone Buddha. In order to prevent second damage, we cleaned the surface of contaminants with distilled water. Third, we studied restoration method to prevent artificial damage. We recreated parts of his face and halo. Then each parts of the statue were restored to their original position. In the whole process of restoration, we tried to use traditional techniques.

• Korean Journal of Heritage: History & Science
• /
• v.45 no.2
• /
• pp.54-71
• /
• 2012

This paper investigates Buddhist sculptures of the Gulsan-sa School of Seon Buddhism, which was established by the priest Beomil(梵日) at Myeongju(溟州), present-day Gangneung(江陵) area, and prospered until the late Goryeo period. There are very few surviving Buddhist images at Gulsan2 temple-site showing the Buddhist art when Beomil or his disciples, Gaecheong(開淸) and Haengjeok(行寂), were active, except a set of huge stone pillars for temple-banners and a stone monk stupa. It is therefore necessary to focus on pieces of artworks in Gangneung and nearby areas to explore the characteristics of Buddhist art of Gulsan-sa from the late Silla to early Goryeo period. For example, the stone relief seated Buddha image, one of Four Buddhas of Four Directions, and a stone relief of standing Guardian King both from the stone pagoda at Mujin temple-site(無盡寺址) can be compared with stupa reliefs at the capital Gyeongju area in their high quality of carving. The stone octagonal base showing seven lions on each of seven sides at Boheon-sa(普賢寺) demonstrates that it was made as a part of an octagonal lotus pedestal for a Vairocana Buddha now lost. Since Boheon-sa was erected by Gaechung, a disciple of Beomil as a branch of Gulsan-sa, it is fair to assume that the Vairocana image at Boheon-sa might have been closely related to the Buddhist images at Gulsan-sa in its style and iconography. The stone seated Bodhisattva from Hansong temple-site(寒松寺址) displays a benign face, exquisite necklace, and exotic iconography in its hand gesture and high cylindrical crown. The stone seated Buddha at Cheonghak-sa(靑鶴寺), brought from a temple-site where fragments of roof-tiles with the inscription of Heukam-sa(黑岩寺) were discovered, displays the late Silla and early Goryeo period. Heukam-sa seems to have been related to Gulsan-sa or have been one of the branches of Gulsan-sa. Extant fragments of artworks at Myeongju implicate the high quality of Buddhist art of Gulsan-sa in its iconography and style as well as unique features of Gulsan-sa Seon School.

• Korean Journal of Heritage: History & Science
• /
• v.40
• /
• pp.271-306
• /
• 2007

One of the distinguishing features of late Jeosun's Hanshi (poem in Chinese) is the numerous creation of Yeonjachyung Keesokshi (serial poem on folklore) which describes the folk manner and folk way of life in detail. Keesokshi's subject matter is the folklike in general including local features, geography, climate, local production, humanity, social conducts, and daily labor for living as well. By its material characteristics, Keesokshi reflects detailed life conditions of the society members in each levels, and represents the local customs as well as the folk emotions. Among the several kinds of Keesokshis, a Sesi Keesokshi focuses only in reciting the folk customs on each seasonal festival days, and the great numbers of such serial poems appear during the latter part of the Jeosun Dynasty. Its overall background is the transition of artistic trend which came after many social changes such as expansion of realism, uprising national consciousness, shaken status system, and the rising of 'Jeosunsi' motives in the Hansi history. Moreover, each writer's various experiences and their interests in the reality and critical minds of common people contributed a crucial roll in creation of Sesi Keesokshi. 178 of the 584 remaining serial Sesi Keesokshi are written particularly about the folk customs in The Grand Full Moon Festival (the first full moon of a year by the lunar calendar). These Hanshis widely reflect the common ways of living by directly accepting the seasonal folk customs as the subject matters. Especially, close to the reality, these poems positively express the people's simple vigorous lives and create unrestrained lively image by describing the joys and sorrows of the folk existence along with their craving. Also, it is notable to have customs such as 'Shil-Ssa-Um' and 'No-gu-ban-kong-yang' as subjects for its rarity in other literatures.

• Conservation Science in Museum
• /
• v.16
• /
• pp.4-13
• /
• 2015

In most gold objects crafted using the granulation technique that have been thus far discovered in the Korean Peninsula, granules were joined using a soldering alloy of gold and silver. However, it was recently revealed through SEM-EDS analysis performed on the ornamented dagger sheath from Gyerim-ro Tomb No.14 in Gyeongju that the gold granules were joined to the surface of this sheath using an entirely different technique. The gold granules on the Gyerim-ro dagger sheath are evenly sized and shaped, the surface has a dendritic texture. Dendritic textures are a characteristic feature of metal alloys, not observed in pure metals. As a matter of fact, the gold granules were made of a ternary alloy of 77wt% Au, 18wt% Ag and 4wt% Cu. Due to this component, the alloy has a melting point below 1000℃ (approximately 980℃), which is significantly lower than 1064℃, the melting temperature of pure gold. This makes it possible to join the gold granules directly to the surface of the sheath by briefly heating them to high temperature, without the use of soldering or any other media. When examined through SEM image, the surface of the sheath showed no traces of soldering, it suggests that the granules were joined through unaided fusion.