• Proceedings of the KIEE Conference
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• 2003.11b
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• pp.191-194
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• 2003

In this paper, we propose a new accurate and robust image mosaic technique of the mural underdrawing taken from the infra-red camera, which is based on multiple image registration and adaptive blending technique. The image mosaicing methods which have been developed so far have the following deficits. It is hard to generate a high resolution image when there are regions that do not have features or intensity gradients, and there is a trade-off in overlapping region site in view of registration and blending. We consider these issues as follows. First, in order to mosaic Images with neither noticeable features nor intensity gradients, we use a Projected supplementary pattern and pseudo color image for features in the image Pieces which are registered. Second, we search the overlapping region size with minimum blending error between two adjacent images and then apply blending technique to minimum error overlapping region. Finally, we could find our proposed method is more effective and efficient for image mosaicing than conventional mosaic techniques and also is more adequate for the application of infra-red mural underdrawing mosaicing. Experimental results show the accuracy and robustness of the algorithm.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.41 no.5
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• pp.175-183
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• 2004

In this paper, we propose a new accurate and robust image mosaic technique of the mural underdrawing taken from the infra-red camera, which is based on multiple image registration and adaptive blending technique. The image mosaicing methods which have been developed so far have the following deficits. It is hard to generate a high resolution image when there are regions that do not have features or intensity gradients, and there is a trade-off in overlapping region size in view of registration and blending. We consider these issues as follows. First, in order to mosaic images with neither noticeable features nor intensity gradients, we use a projected supplementary pattern and pseudo color image for features in the image pieces which are registered. Second, we search the overlapping region size with minimum blending error between two adjacent images and then apply blending technique to minimum error overlapping region. Finally, we could find our proposed method is more effective and efficient for image mosaicing than conventional mosaic techniques and also is more adequate for the application of infra-red mural underdrawing mosaicing. Experimental results show the accuracy and robustness of the algorithm

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Journal of Conservation Science
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• v.34 no.2
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• pp.107-118
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• 2018

This report does studied for making the method of conserving bracket murals in Daeungjeon of Jikjisa Temple, through the scientific way. Results of evaluated the conservation status at the braket mural paintings, most serious damage is structural damage like cracks, breakage, and delamination. After optical investigation, a characteristic point wasn't found such as underdrawing or traces of a coat of paint. The ultrasonic examination speed by each wall painting was measured from about 195.8 m/s to 392.7 m/s, according to the location of the surface, and it was able to compare the surface properties according to the location. In Infrared-thermal image measurement shows that wall layer separation and paint layer delamination are closely detected, therefore it was able to judge of damage on the objective way. Material analysis revealed that the walls were made by sand and weathering soil. The wall layer combined sand with less than fine sand size by nearly 5:5, and the finishing layer was found to have mixed medium sand and fine sand at approximately 6:4 rates. However, In case of finishing layer, mixing ratios of sizes less than very fine sand were found to be significantly lower than wall. Therefore, it is estimated that the plysical damage such as the separation between the layers of the walls created in the braket mural paintings, is continuously caused by changes in the internal stresses and volume ratio caused by the density differences between the wall and the finishing layers.