• Conservation Science in Museum
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• v.26
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• pp.161-182
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• 2021

A jungwangu, a type of medium-sized mortar, is a firearm with a barrel and a bowl-shaped projectileloading component. A bigyeokjincheonroe (bombshell) or a danseok (stone ball) could be used as a projectile. According to the Hwaposik eonhae (Korean Translation of the Method of Production and Use of Artillery, 1635) by Yi Seo, mortars were classified into four types according to its size: large, medium, small, or extra-small. A total of three mortars from the Joseon period have survived, including one large mortar (Treasure No. 857) and two medium versions (Treasure Nos. 858 and 859). In this study, the production method for medium mortars was investigated based on scientific analysis of the two extant medium mortars, respectively housed in the Jinju National Museum (Treasure No. 858) and the Korea Naval Academy Museum (Treasure No. 859). Since only two medium mortars remain in Korea, detailed specifications were compared between them based on precise 3D scanning information of the items, and the measurements were compared with the figures in relevant records from the period. According to the investigation, the two mortars showed only a minute difference in overall size but their weight differed by 5,507 grams. In particular, the location of the wick hole and the length of the handle were distinct. The extant medium mortars are highly similar to the specifications listed in the Hwaposik eonhae. The composition of the medium mortars was analyzed and compared with other bronze gunpowder weapons. The surface composition analysis showed that the medium mortars were made of a ternary alloy of Cu-Sn-Pb with average respective proportions of (wt%) 85.24, 10.16, and 2.98. The material composition of the medium mortars was very similar to the average composition of the small gun from the Joseon period analyzed in previous research. It also showed a similarity with that of bronze gun-metal from medieval Europe. The casting technique was investigated based on a casting defect on the surface and the CT image. Judging by the mold line on the side, it appears that they were made in a piece-mold wherein the mold was halved and using a vertical design with molten metal poured through the end of the chamber and the muzzle was at the bottom. Chaplets, an auxiliary device that fixed the mold and the core to the barrel wall, were identified, which may have been applied to maintain the uniformity of the barrel wall. While the two medium mortars (Treasure Nos. 858 and 859) are highly similar to each other in appearance, considering the difference in the arrangement of the chaplets between the two items it is likely that a different mold design was used for each item.

• Korean Journal of Remote Sensing
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• v.38 no.6_1
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• pp.1371-1383
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• 2022

In this study, the amount of coal waste dump was calculated using six Digital Elevation Models (DEMs) produced between 2006 and 2018 in Jangseong-dong, Taebaek-si, Gangwon-do, and the subsidence was observed by applying the Persistent Scatterer Interferometric SAR (PSInSAR) technique on the Sentinel-1 SAR images. As a result of depositing activities using DEMs, a total of 1,668,980 m³ of coal waste was deposited over a period of about 12 years from 2006 to 2018. The observed subsidence rate from PSInSAR was -32.3 mm/yr and -40.2 mm/yr from the ascending and descending orbits, respectively. As the thickness of the waste pile increased, the rate of subsidence increased, and the more recent the completion of the deposit, the faster the subsidence tended to occur. The subsidence rates from the ascending and descending orbits were converted to vertical and horizontal east-west components, and 22 random reference points were set to compare the subsidence rate, the waste rock thickness, and the time of depositing completion. As a result, the subsidence rate of the reference point tended to increase as the thickness of the waste became thicker, similar to the PSInSAR results in relation to the waste thickness. On the other hand, there was no clear correlation between the completion time of the deposits and the rate Of subsidence at the reference points. This is because the time of completion of the deposits at all but 5 of the 22 reference points was too biased in 2010 and the correlation analysis was meaningless. As in this study, the use of DEM and PSInSAR is expected to be an effective alternative to compensate for the lack of field data in the safety management of coal waste deposits.

• Korean Journal of Remote Sensing
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• v.38 no.6_1
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• pp.1057-1068
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• 2022

This paper compares the combination performance of feature point-based matching algorithms as a study to confirm the matching possibility between image taken by a user and a virtual texture image with the goal of developing mobile-based real-time image positioning technology. The feature based matching algorithm includes process of extracting features, calculating descriptors, matching features from both images, and finally eliminating mismatched features. At this time, for matching algorithm combination, we combined the process of extracting features and the process of calculating descriptors in the same or different matching algorithm respectively. V-World 3D desktop was used for the virtual indoor texture image. Currently, V-World 3D desktop is reinforced with details such as vertical and horizontal protrusions and dents. In addition, levels with real image textures. Using this, we constructed dataset with virtual indoor texture data as a reference image, and real image shooting at the same location as a target image. After constructing dataset, matching success rate and matching processing time were measured, and based on this, matching algorithm combination was determined for matching real image with virtual image. In this study, based on the characteristics of each matching technique, the matching algorithm was combined and applied to the constructed dataset to confirm the applicability, and performance comparison was also performed when the rotation was additionally considered. As a result of study, it was confirmed that the combination of Scale Invariant Feature Transform (SIFT)'s feature and descriptor detection had the highest matching success rate, but matching processing time was longest. And in the case of Features from Accelerated Segment Test (FAST)'s feature detector and Oriented FAST and Rotated BRIEF (ORB)'s descriptor calculation, the matching success rate was similar to that of SIFT-SIFT combination, while matching processing time was short. Furthermore, in case of FAST-ORB, it was confirmed that the matching performance was superior even when 10° rotation was applied to the dataset. Therefore, it was confirmed that the matching algorithm of FAST-ORB combination could be suitable for matching between virtual texture image and real image.

• Journal of the Korean Society of Surveying, Geodesy, Photogrammetry and Cartography
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• v.40 no.2
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• pp.69-77
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• 2022

The 3D spatial model is an analysis framework for solving urban problems and is used in various fields such as urban planning, environment, land and housing management, and disaster simulation. The utilization of drones that can capture 3D images in a short time at a low cost is increasing for the construction of 3D spatial model. In terms of building a virtual city and utilizing simulation modules, high location accuracy of aerial survey and precision of 3D spatial model function as important factors, so a method to increase the accuracy has been proposed. This study analyzed location accuracy of aerial survey and precision of 3D spatial model by each condition of aerial survey for urban areas where buildings are densely located. We selected Daerim 2-dong, Yeongdeungpo-gu, Seoul as a target area and applied shooting angle, shooting altitude, and overlap rate as conditions for the aerial survey. In this study, we calculated the location accuracy of aerial survey by analyzing the difference between an actual survey value of CPs and a predicted value of 3D spatial Model. Also, We calculated the precision of 3D spatial Model by analyzing the difference between the position of Point cloud and the 3D spatial Model (3D Mesh). As a result of this study, the location accuracy tended to be high at a relatively high rate of overlap, but the higher the rate of overlap, the lower the precision of 3D spatial model and the higher the shooting angle, the higher precision. Also, there was no significant relationship with precision. In terms of baseline-height ratio, the precision tended to be improved as the baseline-height ratio increased.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.27 no.2
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• pp.103-125
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• 2022

This study aims to identify the community characteristics of meiofauna inhabiting the Yellow Sea continental shelf. To this end an annual survey was conducted considering the seasons from 2018 to 2020 at 13 stations with a depth of 18~90 m of the Yellow Sea located at latitudes 35, 36 and 37 degrees north latitude. The survey was conducted in three seasons of spring, summer, and autumn at 5 stations in October 2018, 9 stations in April 2019, and 6 stations in August 2020 was used to collect 3 repetitions at each station. The habitat density of meiobenthos in the surveyed area was in the range of 45~1029 inds./10 cm², which was similar to the previous studies conducted in the Yellow Sea. The density of meiobenthos according to the seasons was 800±69 inds./10 cm² in autumn, the highest, and the lowest at 260±48 inds./10 cm² in summer. A total of 19 taxa appeared in meiobenthos, and the average value showed the number of nine taxa. Among the appearing taxa, the most dominant taxon was nematodes, accounting for 80.8% of the total density, followed by benthic copepods (8.8%) and benthic foraminifers (4.7%). As for the size distribution of medium benthic animals, the density of organisms corresponding to the size of 63~125 ㎛ was the highest, and 1~0.5 mm was the lowest. As for the vertical distribution in the sediments of medium benthic animals, the habitat density gradually decreased as the depth increased in the sediment surface layer. As a result of analysis of the N/C ratio, MPI, and ITD index using medium-sized benthic animals to identify the benthic environment, there were differences by season, but no values indicating pollution overall.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.175-199
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• 2019

This paper aims to define Kang Jeungsan's Reordering Works of Heaven and Earth through the Hegelian concept of 'labor (arbeit),' which is the fundamental medium in which humans substantialize their own absoluteness in an existentialist context. The Reordering Works of Heaven and Earth performed by Jeungsan enabled Heaven, Earth, and Humanity to communicate with each other through the harmony of Sangsaeng (Mutual Beneficence). As Hegel found the possibility of freedom and emancipation of human subjects through labor and Jeungsan exercised His will to free and emancipate human beings, comparative thinkers are led to recognize a relationship between His Reordering Works of Heaven and Earth and the Hegelian concept of labor. The key point of this paper centers around articulating the meaning of the precise situation wherein labor occurs for the Supreme Being. Labor is a concept that occurs for real-live humans. Human beings can be said to exist between the ideological world and the natural world, or between Heaven and Earth, and this dichotomy creates a specific product given the interplay of infinitude and finitude that it entails. In other words, labor is not a passive deployment but is instead a subjective development. From the point wherein this labor occurs for the Supreme Being, a paradigm shift towards unity begins throughout the universe. The occurrence of God's labor happens at a time of great transformation. These occurrences of God's labor form the communication among Heaven, Earth and Humanity and form a qualitative equality. In other words, the fact that God is far from the world of ideology and has come into the world of finitude means that God conveys His absoluteness to the world of finitude. Therefore, the work of God on Earth builds the world of Heaven on Earth. This can also be seen as the Sangsaeng of Heaven, Earth and Humanity.

• Tunnel and Underground Space
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• v.32 no.6
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• pp.491-501
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• 2022

Bentonite has been proposed as a buffer and backfill material for high-level radioactive waste repository. Under such repository environment conditions, bentonite is subjected to combined thermal, hydrological, mechanical, and chemical processes. This study evaluates the feasibility of applying X-ray CT technology on the characterization of bentonite under hydration conditions using a newly developed testing cell. The cylindrical cell is made of platic material, with a removable cap to place the sample, enabling to apply vertical pressure on the sample and to measure swelling pressure. The hydration test was carried out with a sample made of Gyeonju bentonite, with a dry density of 1.4 g/cm³, and a water content of 20%. The sample had a diameter of 27.5 mm and a height of 34 mm. During the test, water was injected at a constant pressure of 0.207 MPa, and lasted for 7 days. After one day of hydration, bentonite swelled and filled out the space inside the cell. Moreover, CT histograms showed how the hydration process induced an initial increase and later progressive decrease on the density of the sample. Detailed profiles of the mean CT value, CT standard deviation, and CT gradient provided more details on the hydration process of the sample and showed how the bottom and top regions exhibited a decrease on density while the middle region showed an increase, especially during the first two days of hydration. Later, the differences in CT values with respect to the initial state decreased, and were small at the end of testing. The formation and later reduction of cracks was also characterized through CT scanning.

• Economic and Environmental Geology
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• v.56 no.3
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• pp.239-257
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• 2023

Sangdong deposit, a W-Mo skarn deposit, is located in Taebaeksan mineralized district, hosting vertically developed scheelite-quartz veins that formed at the late ore-forming stage. In this study, we tried to examine the geochemical signatures of ore-forming fluids and vein-forming mechanisms by analyzing the micro-texture of quartz veins and trace element concentrations of quartz. As a result of texture analyses, quartz veins in the hanging wall orebody and the foot wall orebody commonly exhibit the blocky and the elongate blocky texture, respectively, whereas quartz veins in the main orebody show both textures. These textural differences indicate that quartz veins from the hanging wall orebody were precipitated by the primary hydrofracturing due to H₂O saturation in the igneous body with relatively high temperature and pressure at a vein-skarn stage, and after that, repeated hydrofracturing caused the formation of quartz veins from the main orebody and foot wall orebody. The results of trace element concentrations show that Li⁺+Al³⁺↔Si⁴⁺ is a main substitution mechanism. However, those of the foot wall orebody were clearly divided into a Li⁺-dominated substitution and a Na⁺-, K⁺-dominated substitution. Considering that quartz veins from the foot wall orebody commonly show the elongate blocky texture, such a distinction means that it is a result of repeated injections of fluid with the different composition. Ti concentrations of quartz from the hanging wall, main, and the foot wall orebody are 28.6, 8.2, and 15.7 ppm in average, respectively. Given a proportional relationship between the precipitation temperature and Ti concentrations, it seems that quartz veins from the hanging wall orebody were precipitated at the highest temperature. Al concentrations of the hanging wall, main, and the foot wall orebody having an inverse relationship with fluid pH are 162.3, 114.2, and 182.5 ppm in average, respectively. These results show that Al concentrations in vein-forming fluids were not changed dramatically. Moreover, these concentrations are extremely low in comparison with the other hydrothermal deposits. This indicates that quartz in overall ore veins at Sangdong deposit was precipitated from the constant condition with slightly acidic to near neutral pH.

• Economic and Environmental Geology
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• v.57 no.2
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• pp.243-251
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• 2024

In this study, a surface geological survey was first conducted to investigate aggregate resources in the Yeongam area of Jeollanam-do, and a drilling survey was conducted in the lower part of the surface, which was difficult to identify through a surface geological survey, to determine the spatial distribution of aggregates. Drilling sites were selected considering the topographical development and Quaternary alluvium characteristics of the study area, and river aggregate drilling surveys were conducted at a total of 5 points and land aggregate drilling surveys were conducted at a total of 28 points. Borehole core sediments were classified into seven sedimentary units to determine whether they could be used as aggregates, and optically stimulated luminescence dating was performed on representative boreholes to measure the depositional period for each sedimentary unit. As a result of the study, most of the Yeongam area had a very wide river basin, so it was estimated that there would be a large amount of aggregate, but the amount of aggregate was evaluated to be very small compared to other cities and counties. Most of the unconsolidated sedimentary layers in the Yeongam area are composed of blue-grey marine clay with a vertical thickness of more than 10 m. The sand-gravel layer corresponding to the aggregate section is distributed in the lower part of the marine clay, thinly covering the bedrock weathering zone. This is because the amount of aggregates themselves is small and most of the aggregates are distributed at a depth of 10 m below the surface, which is currently difficult to develop, so the possibility of developing aggregates is evaluated to be very low. As a result of dating, it can be seen that the blue-grey marine clay layer is an intertidal sedimentary layer formed as the sea level rose rapidly about 10,000 years ago. The deposition process continued from 10,000 years ago to the present, and as a result, a very thick clay layer was deposited. This clay layer was formed very dominantly for about 6,000 to 8,000 years, and the sand-gravel layer in the section where aggregates deposited in the Pleistocene period can exist was measured to have been deposited at about 13.0 to 19.0 ka, and about 50 ka, showing that it was deposited as paleo-fluvial deposits before the marine transgression process.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.