• 한국콘텐츠학회논문지
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• 제17권1호
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• pp.740-749
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• 2017

금석문(金石文)이란 금속이나 석재에다 새긴 글씨 또는 그림을 말한다. 금석문(金石文) 판독에 널리 사용되고 있는 탁본은 간편하다는 장점을 가지고 있다. 하지만 해상도나 노이즈 관점에서 볼 때 탁본은 금석문 판독에 최적의 방법이라고 할 수는 없다. 본 연구에서는 각자된 글자의 입체적 특징을 반영하여 판독 가능성을 높여주는 새로운 조사기법을 제시하였다. 금석문에 각자된 글자의 정밀한 입체 데이터를 얻기 위해 3차원 스캐닝 기술을 적용하고 획득된 3차원 깊이 데이터에 따라 음영을 표현하는 Ambient Occlusion 시각화 기법을 적용하였다. 이 과정에서 훼손 및 마모가 포함된 바탕영역정보와 글자영역정보를 분리하여 판독 가능성을 향상시켰다. 개발된 방법은 국보318호인 포항중성리신라비의 판독에 적용하여 그동안 판독에 논란이 있어왔던 특정 문자의 판독 뿐 아니라 추독 범위를 좁히는데 기여하였다.

• Journal of Astronomy and Space Sciences
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• 제34권2호
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• pp.161-170
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• 2017

In this study, the characteristics of a horizontal sundial from the Joseon Dynasty were investigated. Korea's Treasure No. 840 (T840) is a Western-style horizontal sundial where hour-lines and solar-term-lines are engraved. The inscription of this sundial indicates that the latitude (altitude of the north celestial pole) is $37^{\circ}$ 39', but the gnomon is lost. In the present study, the latitude of the sundial and the length of the gnomon were estimated based only on the hour-lines and solar-term-lines of the horizontal sundial. When statistically calculated from the convergent point obtained by extending the hour-lines, the latitude of this sundial was $37^{\circ}$ $15^{\prime}{\pm}26^{\prime}$, which showed a 24' difference from the record of the inscription. When it was also assumed that a convergent point is changeable, the estimation of the sundial's latitude was found to be sensitive to the variation of this point. This study found that T840 used a vertical gnomon, that is, perpendicular to the horizontal plane, rather than an inclined triangular gnomon, and a horn-shaped mark like a vertical gnomon is cut on its surface. The length of the gnomon engraved on the artifact was 43.1 mm, and in the present study was statistically calculated as $43.7{\pm}0.7mm$. In addition, the position of the gnomon according to the original inscription and our calculation showed an error of 0.3 mm.

• 건축역사연구
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• 제20권2호
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• pp.39-54
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• 2011

The Bunhuangsa stone pagoda, constructed in AD. 634, National Treasure no. 30, has been named as 'brick-copied pagoda' since the Japanese-ruling period by scholars. It is said that the Chinese brick pagoda was its precedent model, however the Bunhuangsa Pagoda is the oldest of all the Chinese-style brick pagodas except one, the Sungaksa Pagoda. The Chinese pagoda cannot have been a precedent model to copy due to its complex detail of wood vestige, as the Bunhuangsa pagoda is simple form without ornament. Domestic brick pagodas cannot have been a precedent model to copy as well, because all the domestic brick pagodas are younger than the Bunhuangsa Pagoda. Therefore, the terminology 'brick-copied pagoda' is a fallacy; it is rather that later brick pagoda copied the precedent the Bunhuangsa stone pagoda. The Bunhuangsa Pagoda is simply a piled-up pagoda of thick or thin, big or small slates of stone, facing only one smooth side and therefore needing nothing to relate to brick. The originality of the pagoda is more related to simple piled-up Indian stone stupa rather than Chinese brick pagoda. The roof form of its gradually stepped projection comes from the harmika of the summit of Indian stupa. Contrary to general history, old Silla Dynasty imported Buddhism directly from India by sea. From written national history and by temple foundation history, the Indian Buddhism evangelist possibly made influence to the erecting of temple and pagoda. The original wrong terminology has made a harmful effect gradually to the naming of mass-styled stone pagoda of only carved stepped-roof form after brick-copied pagoda. The false term 'brick-copied pagoda' should be discarded, which comes with superficial observation based on toadyism to China and colonialism to Japan. Instead of the fallacious term, this paper suggests multi-storied 'piled-up pagoda with slate stone.'

• 대한지리학회지
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• 제45권3호
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• pp.342-359
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• 2010

반구대 암각화는 울산광역시 울주군 언양읍 대곡리 반구동에 위치하며, 1995년 국보 제285호로 지정되었다. 1965년 사연댐 건설 이후 연중 수개월 정도 침수되면서 수분에 의한 풍화작용으로 암각화가 훼손되는 것에 대해 많은 논쟁이 있었다. 본 연구는 반구대 암각화 기반암의 수분등치선도를 작성하여 절리나 박락(剝落) 분포와의 관계를 검토하였다. 반구대 암각화의 함수율은 전체적으로 상부에서 하부로 갈수록 높았다. 이것은 침수된 기간의 길이와 관계된 것이다. 그리고 절리 밀도가 높은 암각화의 상부도 함수율이 높았다. 암석 내 흡수율이 증가하면 투수계수와 공극률이 증가하므로 함수율은 증가한다. 침수로 인해 암석 내에 공극들이 주기적으로 물로 포화되는 반구대 암각화는 수분에 의한 풍화로 훼손이 매우 심각한 상태이다.

• 대한지리학회지
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• 제49권2호
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• pp.275-298
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• 2014

본 연구는 서울의 중심업무지구와 부심을 설정하고 그 기능적 특징을 비교하려는 것이다. 본 연구는 기존의 서울 도심 설정 연구에 대하여 두 가지 점을 개선하고자 하였다. 첫째는 기존 연구는 대부분 자료 구득 상의 어려움 때문에 도심 지역이라고 여겨지는 범위에 대하여 집중적으로 자료를 조사하여 분석하였다. 그러므로 늘 중심업무지구의 범위는 가설적인 도심 지역을 벗어날 수 없었다. 본 연구는 서울 전역을 대상으로 자료를 분석하여 도심은 물론 부심까지 동시에 설정하였다. 두번째는 이 자료를 공간 스캔 통계 기법으로 분석함으로써 도심 범위 설정에 있어서 연구자의 주관성을 최소화하고자 하였다. 연구 결과 서울 도심은 기존 연구에 비해 동쪽으로 더 확대된 것으로 나타났다. 반면 서쪽으로는 다소 축소되어 있었다. 또한 도심과 부심의 특화지역을 분석한 결과 도심은 중추 행정, 도매업이 발달하고 강남 부심은 대기업, 사무실, 병원이 발달하여 보다 근대적인 면모를 보이고 있었다.

• 복식
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• 제59권10호
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• pp.1-9
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• 2009

One piece of Jeogori and several books of the Goryeo dynasty were found inside of the wooden Buddhist Goddess of Mercy Statue of the Bogwang temple and they were designated as national treasure of Korea, No. 1571. The jeogori was the Jeogsam as the kind of underwear and conjectured as for women by considering its size. The collar of the jeogori was 3cm-wide square-shaped collar without gussit and the sleeve was close to straight line. Also the jeogori was designed without breast ties and could be adjusted by knot button. The fabrics for the jeogori showed similar pattern as complex silk gauze in 1302. It has not been reported yet that the complex silk gauze was used for the Jeogsam from Goryeo Dynasty to Joseon Dynasty. Comparing the Jeogori of the Bogwang temple to those of Goryeo Dynasty, it can be appropriately estimated as the remains of the Goryeo Dynasty since its shape and materials are very similar to those found in the Jeogori's of the Goryeo Dynasty and it was found between the books of the Goryeo Dynasty inside of the knee part of the wooden Buddhist Goddess of Mercy Statue of the Bogwang temple. Although only one piece of Jeogori was found, it's importance in cultural value or in the study of the fabric history cannot be underestimated considering the fact that the Jeogories of the Goryeo Dynasty are scarce, and that the used fabric was not commonly used complex silk gauze, and especially that this Jeogori is the only existing Jeogsam made of complex silk gauze.

• 한국의류산업학회지
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• 제10권1호
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• pp.22-29
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• 2008

In this study, it is investigated the types and the compounding method of flower patterns and the uses of flower patterned fabrics in Chosun Dynasty. Research was done through the references of exhumed clothing during 16-17th century. Our ancestors had used the various flower patterns based on Buddhism, Taoism and Confucianism onto the fabrics. The flower patterns on the fabrics were expressed with the other patterns such as treasure patterns, letter patterns or bird patterns. And the flower patterns symbolized the various good meanings such as longevity, integrity and prosperity etc. In the order of the percentage, the types of the flower patterns were shown Lotus(27.31%), Arabesque(26.85%), Japanese apricot(14.81%), Peony(8.79%), Flowering plants(6.94%), Chrysanthemum(6.01%), Pomegranate(2.31%) patterns and so on. Especially the Lotus pattern was shown up most frequently. That of shape was designed as blooming(開花), full bloom(滿開) and the side of flower(側面). By the compounding method, the compound types mixed with the other patterns were used much more than the individual types composed by its own pattern. The flower patterns were used a lot in Jeogori(Jacket) regardless of the ganders and in men's Po(coat) including Cheollik(天翼), Dappo(胡), Jeonbok(戰服), Dahnryoung(團領), etc. Also contrary to these days, the flower patterned fabrics had come out in the shrouds. Judging from these facts, our ancestors wished that the meaning of the immortal life was included in the flower pattern.

• 한국지역사회생활과학회지
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• 제15권1호
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• 건축역사연구
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• 제26권3호
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• pp.39-49
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• 2017

It is difficult to build a hipped and gable roof in slender rectangular type due to restraint in variation of lateral length caused by gongpo arranged on the side, purlin space and the form of gable part and aesthetical effect of chunyeo maru. Against this backdrop and with the assumption that this phenomenon is more apparent in roofs of three-bay-kan Buddhist temples with the hipped and gable roof among national treasure Buddhist temples, this study has aimed to prove that a roof can be built in a less slender rectangular type than that of flat form and to present the building methodology and found the following findings. First, The ratio of lateral to longitudinal length of the roof has been adjusted by protruding the chunyeo and the method of adjusting the ratio of lateral to longitudinal length of the roof is considered to be determined depending on the availability of woods to be used in chunyeo. Second, in order to symmetrically arrange the edge of the roof, which is critical from the perspective of construction morphology, the chunyeo angle has been intentionally adjusted to reduce the gap of length between the front roof and the lateral roof. To sum up, the characteristic of the hipped and gable roof, which is difficult to be built in slender rectangular type, is more clearly shown in the roof and it is identified that the length of the front roof and the lateral roof has been intentionally adjusted to achieve the symmetrical arrangement of roofline of the roof edge.

• 융합보안논문지
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• 제14권3_2호
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• pp.13-21
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• 2014

국토의 3면이 바다인 반도의 지형을 갖고 있는 우리나라는 자원의 보고인 바다의 중요성을 인식하고, 해양영토 확장 및 권익보호를 위한 해양정책을 추진하는 등 국가해양력 강화를 위해 노력하고 있다. 그러나 해양활동의 무대가 200해리 배타적 경제수역(EEZ)과 대륙붕까지 확장됨에 따라, EEZ가 중첩되는 해역에서의 관할권, 도서영유권, 해양과학조사 및 대륙붕 개발 등을 둘러싸고 인접국과 복잡한 이해관계가 심화되는 등 국제적 협력과 국가간 경쟁이 공존하고 있다. 이러한 때에 해양경찰은 기존의 해양주권수호에서부터 사고예방 중심의 안전관리체계 구축에 이르기까지 우리 바다를 굳건히 지켜왔다. 특히 해상안보, 해양사고, 해상범죄, 해양오염에 있어 날로 증가하는 경비수요에 효율적으로 대응하기 위하여 최선의 노력을 다하고 있다.