• 전자공학회논문지
• /
• 제51권11호
• /
• pp.205-210
• /
• 2014

본 연구는 도자기의 표면에 무늬, 모양, 그림, 글씨 등의 문양을 움직이는 효과를 갖는 광응용 시스템에 관한 것으로, 도자기 표면 문양에 부착된 광섬유에 의한 LED광신호를 이용하여 문양의 움직임 효과를 실시간으로 표출하고, 도자기가 있는 장소의 조도와 회전판의 움직임을 수집하여 큐레이터가 응급조치를 취하고 문양의 표출효과를 관리하기 위한 광응용 시스템에 관한 것이다. 이와 같은 본 연구에 의하면, 도자기가 놓여져 있는 장소의 조도를 측정하여 문양의 표출효과를 큐레이터 및 응용프로그램이 실시간 관리할 수 있음과 동시에, 이상 발생 시에 자동으로 신호를 발생하여 조치할 수 있게한다. 또한, 본 연구은 일정기간 동안 광신호 전송데이터를 메모리에 저장하였다가, 데이터베이스화하여, 표출효과를 분석 후, 최적의 표출효과를 갖도록 적절한 조치를 취할 수 있도록 한다. 도자기가 있는 장소의 조도 상태를 감지 및 전달하고, 적정한 판단을 내릴 수 있는 일정한 조도수치를 데이터베이스화하고, 적절한 조건에 의거 문양 표출관련 광섬유 색체, 표출간격과 밝기에 대한 신호 데이터가 강제 혹은 의도에 의한 전달이 이루어지게 한다. 따라서 본 연구의 목적은 관제센터의 응용프로그램과 LED제어모듈에 의해 발생되는 광송출신호를 생성하여 색채, 조도, 표출간격을 측정하고 전송할 수 있는 문양을 움직이는 효과를 갖는 광응용시스템을 연구하였다.

• 동남아시아연구
• /
• 제20권3호
• /
• pp.223-262
• /
• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.