• Journal of Information Processing Systems
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• v.18 no.3
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• pp.411-427
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• 2022

Digging historical and cultural information from seals in ancient books is of great significance. However, ancient Chinese seal samples are scarce and carving methods are diverse, and traditional digital image processing methods based on greyscale have difficulty achieving superior segmentation and recognition performance. Recently, some deep learning algorithms have been proposed to address this problem; however, current neural networks are difficult to train owing to the lack of datasets. To solve the afore-mentioned problems, we proposed an SEL-RefineMask which combines selector of feature pyramid network (SEL-FPN) with RefineMask to segment and recognize seals. We designed an SEL-FPN to intelligently select a specific layer which represents different scales in the FPN and reduces the number of anchor frames. We performed experiments on some instance segmentation networks as the baseline method, and the top-1 segmentation result of 64.93% is 5.73% higher than that of humans. The top-1 result of the SEL-RefineMask network reached 67.96% which surpassed the baseline results. After segmentation, a vision transformer was used to recognize the segmentation output, and the accuracy reached 91%. Furthermore, a dataset of seals in ancient Chinese books (SACB) for segmentation and small seal font (SSF) for recognition were established which are publicly available on the website.

• East Asian Journal of Business Economics (EAJBE)
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• v.11 no.3
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• pp.37-45
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• 2023

Purpose - This research contributes to the existing literature by shedding light on a unique intersection of creativity and leadership, carving out a niche that calls for further exploration. Thus, this study addresses the questions regarding how creative leadership manifests within the context of art education and what the distinct types of business leadership from applying creative leadership principles are in art education? Research design, data, and methodology - This research is made up of two stages to collect textual data from the literature. The first stage involves screening titles and abstracts to weed out studies that overtly lack alignment with the research's focus. The second stage involves a full-text review of the remaining studies to ascertain their suitability based on the research objectives. Result: There are four types of business leadership on Creative Leadership in Art Education, such as Visionary Artistic Leadership, Collaborative Expressionist Leadership, Adaptive Impressionist Leadership, Experimental Abstract Leadership, Experimental Abstract Leadership. Conclusion - The research could conclude that 'Visionary Artistic Leadership' offers practitioners a compelling strategy for igniting innovation within their teams and organizations. HR practitioners can foster a culture of daring creativity by encouraging leaders to embrace visionary thinking. To implement this style, HR professionals can nurture individuals strongly inclined towards innovative ideation.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.194-198
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• 2024

Beauty is inclusive, which appears everywhere. As classic forms, poetry, calligraphy and painting are a good way to express the beauty of literature and art. In history, literature was almost identical to art. Among them, there is no lack of penetrating judgment about beauty, but which is often forgotten. Since the Qing Dynasty, Yuyang's Notes on Poetry can be said to be one of the representatives. There are many versions, whose common ones are three volumes and two volumes. The three volumes were the first carving copies of Kangxi in the Qing Dynasty. The two volumes are the lithographic books in 1909, with the "Preface of Yongzheng and Yu Zhaosheng" as the base. For details, please refer to the text, which needs no further elaboration here. We it includes too many contents, so some parts are chosen as an example to trigger thought about aesthetics. Wang Shizhen was the literati of the Qing Dynasty who had the greatest influence on the Korean Peninsula in terms of poetry. In Yuyang's Notes on Poetry, he also specifically talked about the poetry diplomacy between the Qing Dynasty and the Chosun Dynasty, whose literature value was extremely high. Art contains both beauty and crafts.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.104-129
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• 2020

Designated as a national treasure of Korea and inscribed on the UNESCO World Heritage List, the Tripitaka Koreana at Haeinsa Temple is the world's oldest and most comprehensive extant version of the Tripitaka in Hanja script (i.e., Chinese characters). The set consists of 81,352 carved woodblocks, some of which have two or more copies, which are known as "duplicate woodblocks." These duplicates are supplementary woodblocks (bogakpan) that were carved some time after the original production, likely to replace blocks that had been eroded or damaged by repeated printings. According to the most recent survey, the number of supplementary woodblocks is 118, or approximately 0.14% of the total set, which attests to the outstanding preservation of the original woodblocks. Research on the supplementary woodblocks can reveal important details about the preservation and management of the Tripitaka Koreana woodblocks. Most of the supplementary woodblocks were carved during the Joseon period (1392-1910) or Japanese colonial period (1910-1945). Although the details of the woodblocks from the Japanese colonial period have been recorded and organized to a certain extent, no such efforts have been made with regards to the woodblocks from the Joseon period. This paper analyzes the characteristics and production date of the supplementary woodblocks of the Tripitaka Koreana. The sutra with the most supplementary woodblocks is the Maha Prajnaparamita Sutra (Perfection of Transcendental Wisdom), often known as the Heart Sutra. In fact, 76 of the total 118 supplementary woodblocks (64.4%) are for this sutra. Hence, analyses of printed versions of the Maha Prajnaparamita Sutra should illuminate trends in the carving of supplementary woodblocks for the Tripitaka Koreana, including the representative characteristics of different periods. According to analysis of the 76 supplementary woodblocks of the Maha Prajnaparamita Sutra, 23 were carved during the Japanese colonial period: 12 in 1915 and 11 in 1937. The remaining 53 were carved during the Joseon period at three separate times. First, 14 of the woodblocks bear the inscription "carved in the mujin year by Haeji" ("戊辰年更刻海志"). Here, the "mujin year" is estimated to correspond to 1448, or the thirtieth year of the reign of King Sejong. On many of these 14 woodblocks, the name of the person who did the carving is engraved outside the border. One of these names is Seonggyeong, an artisan who is known to have been active in 1446, thus supporting the conclusion that the mujin year corresponds to 1448. The vertical length of these woodblocks (inside the border) is 21 cm, which is about 1 cm shorter than the original woodblocks. Some of these blocks were carved in the Zhao Mengfu script. Distinguishing features include the appearance of faint lines on some plates, and the rough finish of the bottoms. The second group of supplementary woodblocks was carved shortly after 1865, when the monks Namho Yeonggi and Haemyeong Jangung had two copies of the Tripitaka Koreana printed. At the time, some of the pages could not be printed because the original woodblocks were damaged. This is confirmed by the missing pages of the extant copy that is now preserved at Woljeongsa Temple. As a result, the supplementary woodblocks are estimated to have been produced immediately after the printing. Evidently, however, not all of the damaged woodblocks could be replaced at this time, as only six woodblocks (comprising eight pages) were carved. On the 1865 woodblocks, lines can be seen between the columns, no red paint was applied, and the prayers of patrons were also carved into the plates. The third carving of supplementary woodblocks occurred just before 1899, when the imperial court of the Korean Empire sponsored a new printing of the Tripitaka Koreana. Government officials who were dispatched to supervise the printing likely inspected the existing blocks and ordered supplementary woodblocks to be carved to replace those that were damaged. A total of 33 supplementary woodblocks (comprising 56 pages) were carved at this time, accounting for the largest number of supplementary woodblocks for the Maha Prajnaparamita Sutra. On the 1899 supplementary woodblocks, red paint was applied to each plate and one line was left blank at both ends.

• Journal of the Korean housing association
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• v.25 no.6
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• pp.111-121
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• 2014

The purpose of the study is to understand the unique characteristics of decoration style in traditional Javanese houses. Reviewing literature and visiting site were applied as the research method. Javanese House can be divided into three parts; roof, wall and floor. First, the roof of the traditional Javanese House is the most unique and important decorative element. The roofs are covered with roof-tiles and have clay carving ornaments on top. Usually there are no ceilings, just exposed to the oblique shape roof, which are made of wood to enable air ventilation. Joglo roof is the outstanding and representative roof type of Javanese houses. There is artistic and constructive roof structure named as tumpang sari in Joglo roof. The decoration on tumpang sari is the most colorful and symbolic ornaments. Secondly, the most unique element in the wall is the gebyok. Gebyok is made of wood and full of carved ornament, which has an artistic appearance, and also important function. The top part of doors are designed as perforated woodcarving, which give both aesthetic and ventilation purposes. Last, the stratified floor is begin with ground yard, then veranda that made from hardened clay, and main room constituted with a wood scaffold to provide air circulation and remove the humidity of the ground. The decorations of the column stand (umpak) are unique, where usually lotus flower is carved into black stone or lime stone. The outside of the buildings in Java Houses is not decorated by colors or symbols, whereas colors are only used in temples, pavilion or in royal housings. Instead they have carvings and decorations on important structural elements such as columns and beams inside. The ornaments and colors of decorations symbolize their god, ancestors and piece.

• Spatial Information Research
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• v.10 no.3
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• pp.385-406
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• 2002

The purpose of this paper is to search for the construction of UDS(Urban Diagnosis System) which can be effectively applied to selecting or classifying the districts for carving out projects of urban planning based on urban geographic information. In order to promote projects of urban planning, it is essential that selecting or classifying the urban districts should be precisely diagnosed according to the respective blocks. Objective measuring standards are needed for this, and the UDS can be applied to analyzing these standards according to the levels. With these in mind, this paper will consider the present states of Korea and the established states of developed countries. Besides, the interest of this paper is to seek the ways of utilizing GIS most effectively in the urban planning areas and application methods. Also, it will find the ways of applying UDS extensively to selecting or classifying districts far the purpose of carrying out urban planning projects actually in the case areas.

• Restorative Dentistry and Endodontics
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• v.16 no.2
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• pp.18-32
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• 1991

The purpose of this study was to observe characteristic properties of amalgam through the polarization curves and SEM images from 4 type amalgams (Amalcap, Shofu spherical. Dispersalloy and Tytin) with 3 different surface finish procedures (polishing, burnishing and carving) by using the potentiostats (EG & GPARC) and SEM (Jeol JSM-35). After each amalgam alloy and Hg was triturated as the direction of the manufacturer by means of mechanical amalgamator (Samki), the triturated mass was inserted into the cylndrical metal mold which was 12 mm in diameter and 10 mm in height and was pressed with $100kg/cm^2$. 4 specimens of each type amalgam were burnished with egg burnisher and another 4 specimens of each type amalgam were carved with Hollenback carver. Above 8 specimens and remaining untreated 4 specimens were stored at room temperature for about 7 days. Untreated 4 specimens of each type amalgam were polished with abrasive papers (Deer) from #400 to #1200 and finally on the polishing cloth with $0.5{\mu}m$ and $0.06{\mu}m$ $Al_2O_3 $ powder suspended water. Anodic polarization measurements was employed to compare the corrosion behaviours of the amalgams in 0.9% saline solution at $37^{\circ}C$. The open circuit potential was determined after 30 minutes immersion of specimen in electrolyte. The scan rate was 1 mV/sec and the surface area of amalgam exposed to the solution was $0.64cm^2$ for each specimen. All the potentials reported are with respect to a saturated calomel electrode (SCE). SEM images of each specimen were taken after + 800 mV (SCE) polarization. The results were as follows: 1. The corrosion potential of high copper amalgam was more anodic than that of low copper amalgam. 2. The polished amalgam were more resistant to corrosion than any other burnished and carved amalgam. 3. In the case of polishing, current density of high copper amalgam was lower than that of low copper amalgam.

• Journal of the Korean Society for Library and Information Science
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• v.15
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• pp.267-280
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• 1988

After the Koryo government moved to Kanghwado Island to escape the invading Mongols, Ch'oe I who was the government irstman ordered in 1239 the recarving of Nanmingchuan Huoshangsung Chengtao-ko (남명천화상송증도가) widely used by an adherent of Son Buddhism to gain a greater understanding of Son principles. Ch'oe I's postscript indicate that the original edition printed with metal type was no longer available and woodblocks were carved to produce facsimiles of that edition. It is assumed that the copies of the original edition were limited in number due to the primitiveness of printing skills and had either not been taken to Kanghwado Island in the flurry of evacuation or were almost all used up. Demand for the book seemed to have surged sharply due to need for spiritual solace during the period of invasion. It is believed that the original edition of Chengtao-ko was published with metal type in Kaegyong(개경), the capitial, before the government took refuge on Kanghwado Island. Two copies of the recarved woodblocks were recently found in the collectiion of Kim Chong-gyu(김종규). and Park Tong-sop (박동섭). It is presumed that one of the copies was recarved again the other one some time, But the carving of the woodblocks were very sophisticated and faithfully reproduced the characteristics of the original metal type edition; first, there were many slanted characters; second, the lines of the main text were not straight but wavy; third, no bottom stroke of any character overlaps the upper stroke of the following character; and fourth, the characters are relatively uniform in size and shape. The printing techniques reflected in the woodblock reproduction were much better than that at the end of the Koryo dynasty and the beginning of the Yi dynasty. It can be assumed that printing with official type had reached a high level of skill before the transfer to Kanghwado Island.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.3-10
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• 2007

In the 7th century, Sachunwang-sa temple had two extra building-sites behind the Main hall. These two building-sites were found to be in peculiar form different from any another existing stone bases. The stone bases of northern put of these building-sites were decorated to molding as the protruding comers of eaves, which was pierced into a circular hole, and was carved into a form of Gomeck-ii(the stone bases lot supporting the wall). The northern building of sachunwang-sa temple was found to be used as the altar following munduru(文豆婁) method, through the observations of the archives of Samkukyusa(三國遺事) and the Abhiseka stura(skt. 灌頂經). The molding as the protruding cornets of eaves of stone bases was shaped as the roof of a building and the carving of Gomeck-ii gives a proof of the existence of the wall between columns in the altar. The hole of the stone bases protected the wooden cylinder of munduru from the exterior world. The author concludes, through this research, that the altar of Schunwang-sa temple was used lot the religious service during the war for worthship and protecting from the enemies. Also he concludes that these buildings must have been in wooden pagodas constructed upon a square plan, that is with both front and side width equal, haying a quite small scaled and low floored building with its first floor closed on all sides, being different item the usual form.

• Journal of the Korea Institute of Information Security & Cryptology
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• v.26 no.2
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• pp.387-396
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• 2016

As the number of people using digital devices has increased, the digital forensic, which aims at finding clues for crimes in digital data, has been developed and become more important especially in court. Together with the development of the digital forensic, the anti-forensic which aims at thwarting the digital forensic has also been developed. As an example, with anti-forensic technology the criminal would delete an digital evidence without which the investigator would be hard to find any clue for crimes. In such a case, recovery techniques on deleted or damaged information will be very important in the field of digital forensic. Until now, even though EVTX(event log)-based recovery techniques on deleted files have been presented, but there has been no study to retrieve event log data itself, In this paper, we propose some recovery algorithms on deleted or damaged event log file and show that our recovery algorithms have high success rate through experiments.