• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2022.05a
• /
• pp.584-586
• /
• 2022

In this paper, we proposed an augmented reality(AR) service for the Great Gilt-bronze Incense Burner of Beakje - one of Korea's national treasures - using smart glasses. The proposed AR service was developed using Microsoft's HoloLens 2, MRTK, and Unity programs. The proposed service starts when the user wears HoloLens 2 and looks at a QR code next to the displayed the Great Gilt-bronze Incense Burner. Then, the proposed service visually provides users with the historical explanation of the Great Gilt-bronze Incense Burner and the objects in it. In particular, the proposed service augments virtual 5 musicians of the Great Gilt-bronze Incense Burner so that users can experience the performance culture of the Baekje era. Therefore, we can provide users with the value and meaning of the cultural heritage of the Baekje era as an expanded experience by using the virtual 5 musicians to overcome the current temporal and spatial constraints. We can confirm whether the proposed AR service is provided to users through HoloLens 2, in harmony with the Great Gilt-bronze Incense Burner of Baekje, a cultural heritage.

• Journal of Digital Convergence
• /
• v.11 no.9
• /
• pp.325-331
• /
• 2013

The Baekje Gilt-bronze Incense Burner which was excavated in an ancient temple site in Neungsan-ri, within the City wall of Buyeo-Gun on 23rd December 1993, was a quintessence of the Bakje Arts that people could not have imagined until that time. The Baekje Gilt-bronze Incense Burner transcended 1400 years of time and space. The censer that finally came up to us delivered a kind of a powerful message to us. The power was so strong and mysterious that as if an ancestor who had been sleeping in the grave with a great silent had woken up and become alive to tell us something very precious. Baekje Gilt-bronze Incense Burner, unlike any other existing artifacts, might have a possibility that could provide an insight of the ancients' psych who once lived on our land. This kind of view from several archaeologists, therefore, made our hearts be filled with excitement and flutter. We call 21st century as an era of culture. This era requests that the culture needs to be ethnical but the culture also needs to go beyond that ethnic. In other words, a culture without an ethnic cannot exist, and a culture that puts an ethnic the very first before any other things cannot exist as well. Regaining our identities first and then embracing and harmonizing various cultures can be an wise way overcoming above problem. Hence, through this study, I intend to recognize characteristic of plasticity for Baekje Gilt-bronze Incense Burner, understand the world of Baekje people's spirit and thus provide an opportunity to shed new light on the Baekje Arts. By doing so, I would like to publicize a metal craft of Korea to the world. I also try to seek for an identity of Korea's craft culture which is receding and find a direction for the Korea's craft.

• Journal of Conservation Science
• /
• v.35 no.5
• /
• pp.470-479
• /
• 2019

The objective of this study is to identify the reason behind the expansion of exhaust holes and inhalational holes through high-definition filming and measurement of The Gilt-bronze Incense Burner of Baekje. In the proposed experiment, based on the original data obtained after a precise three-dimensional (3D) scan of the said incense burner, the precision replica and the commercial replica of the incense burner were subjected to a 3D scan. The overall shape and detailed patterns were subsequently compared with the original data. Furthermore, the incense-burning experiment was conducted according to the sizes and opened or unopened states of the exhaust and inhalational holes by employing the precision replica of the actual real relic for examining the internal structure of the lid and for studying the sizes and locations of the smoke holes. The results indicate that depending on the sizes of the exhaust and inhalational holes, the lower-line air intake holes can cause incomplete combustion in the incense burner. Depending on the opened or unopened states of the exhaust and inhalational holes, the phoenix air exhaust holes and upper-line air exhaust holes play a primary role in releasing the smoke, whereas the lower-line air intake holes play a primary role in smoke inhalation.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.20 no.4
• /
• pp.41-56
• /
• 2018

The purposes of this study were to investigate preference of Baekje culture relics and to examine purchasing behaviors of fashion cultural products of adolescents. The subjects were 421 adolescents and measuring instruments consisted of Baekje relics preference items, fashion cultural products purchasing behaviors items, and subject' demographic attributions. The data were analyzed by frequency analysis, $x^2$ test, factor analysis, t-test, ANOVA and Duncan's multiple range test using SPSS program. The results were as follows. First, adolescents were more likely to prefer crown ornaments of the King Muryong in Kongju region, and gilt-bronze incense burner and halo in Buyeo region. Second, as fashion cultural products, adolescents were more likely to prefer T-shirts and accessory items, and modern image. As product selection criteria, they considered aesthetics as the most important factor, followed by symbolism and practicality. Adolescents evaluated the resonable purchase price of fashion cultural products as less than 20,000 won for T-shirts, cap & bag, and less than 10,000 won for accessories. The adolescent's satisfaction of fashion cultural products was low, and the main dissatisfaction was high prices, and the lack of practicality and diversity. Third, the preference for Baekje cultural relics and purchasing behaviors of fashion cultural products differed according to age and sex of adolescents. This study showed that fashion culture products for adolescents need to be designed in a modern sense with a unique cultural symbolism, focusing on T-shirts and accessories items. In addition, fashion cultural products companies should established the product development plan considering the characteristics according to the age and sex of adolescents.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.39 no.2
• /
• pp.1-9
• /
• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• Korean Journal of Heritage: History & Science
• /
• v.52 no.2
• /
• pp.292-307
• /
• 2019

Buddhists have always tended to adorn and embellish Buddhist statues and their surrounding spaces in order to exhibit the grandeur and sublime nature of the Buddha. The various kinds of splendid instruments and implements used in such ornamentation are collectively called jangeomgu in Korean. Thus, the term jangeomgu encompasses articles used to decorate Buddhist statues, halos, and baldachin, as well as Buddhist banners and wind chimes, which are generally hung outside a building. Wind chimes are still widely used at Buddhist temples. In China, judging from various structures such as the Wooden Stupa of Yongningsi in Luoyang and the Dunhuang Caves, wind chimes began to be used around the sixth century. As for Korea, Buddhism was first introduced from China during the Three Kingdoms Period, and Koreans accordingly began to build Buddhist temples and buildings. It would appear that wind chimes came to be used around the time that the first temples were built. The oldest extant wind chime in Korea is the gilt-bronze wind chime of Baekje, discovered at the Mireuksa Temple Site in Iksan. In general, Korean wind chimes dating from the Three Kingdoms Period are classified into two general types according to their shape and elevation, i.e., those shaped like a Buddhist bell and those shaped like a trapezoid. As these two forms of wind chimes have influenced each other over time, those made during the Goryeo dynasty, having inherited the style, structure, and design of the preceding period, display such features. At the same time, the artisans who produced wind chimes pursued technical development and adopted free, yet not extravagant, designs. In particular, Goryeo wind chimes are characterized by original designs created through exchanges with other Buddhist art forms of the same period, such as the embossed lotus design band of Goryeo bells; the bullmun design, which served to display the grandeur of the royal family; the samhwanmun design, which consisted of decorating the interior of a Goryeo incense burner with three holes; Sanskrit designs; and designs inspired by the windows and doors of stone pagodas. In this way, the production of Goryeo wind chimes developed with a focus on purpose while being free of formal constraints. This study started out from the fact that the largest number of Korean wind chimes were produced during the Goryeo dynasty. Therefore, research on wind chimes should be based on those of the Goryeo dynasty, especially since fewer relevant studies have been conducted compared to studies on other forms of Buddhist art. For the purposes of this study, the reasons for the production of wind chimes will be examined first, followed by an examination of the various styles of Korean wind chimes. Then, based on the findings of this investigation, the development and characteristics of the wind chimes produced during the Goryeo dynasty will be explored for each period.