• Journal of Information Processing Systems
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• v.16 no.5
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• pp.1129-1144
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• 2020

The thangka image inpainting method based on wavelet transform is not ideal for contour curves when the high frequency information is repaired. In order to solve the problem, a new image inpainting algorithm is proposed based on edge structural constraints and wavelet transform coefficients. Firstly, a damaged thangka image is decomposed into low frequency subgraphs and high frequency subgraphs with different resolutions using wavelet transform. Then, the improved fast marching method is used to repair the low frequency subgraphs which represent structural information of the image. At the same time, for the high frequency subgraphs which represent textural information of the image, the extracted and repaired edge contour information is used to constrain structure inpainting in the proposed algorithm. Finally, the texture part is repaired using texture synthesis based on the wavelet coefficient characteristic of each subgraph. In this paper, the improved method is compared with the existing three methods. It is found that the improved method is superior to them in inpainting accuracy, especially in the case of contour curve. The experimental results show that the hierarchical method combined with structural constraints has a good effect on the edge damage of thangka images.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.16 no.1
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• pp.245-265
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• 2022

In response to problems such as insufficient extraction information, low detection accuracy, and frequent misdetection in the field of Thangka image defects, this paper proposes a YOLOv5 prediction algorithm fused with the attention mechanism. Firstly, the Backbone network is used for feature extraction, and the attention mechanism is fused to represent different features, so that the network can fully extract the texture and semantic features of the defect area. The extracted features are then weighted and fused, so as to reduce the loss of information. Next, the weighted fused features are transferred to the Neck network, the semantic features and texture features of different layers are fused by FPN, and the defect target is located more accurately by PAN. In the detection network, the CIOU loss function is used to replace the GIOU loss function to locate the image defect area quickly and accurately, generate the bounding box, and predict the defect category. The results show that compared with the original network, YOLOv5-SE and YOLOv5-CBAM achieve an improvement of 8.95% and 12.87% in detection accuracy respectively. The improved networks can identify the location and category of defects more accurately, and greatly improve the accuracy of defect detection of Thangka images.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.124-136
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• 2001

Among many different types of wares, we have amazing Sacred Water-pot(따르개, 注子) from Goryo-period(고리, 高麗, 918-1392). The stylistic peculiarity of Jung-Byoung(정병, 淨甁) is described in "Goryo-Dhogyoung, 고리도경, 高麗圖經", the classical design canon. It is said, "A sharpened mouth with narrow and prolonged neck is attached upon the broad mouth with thicker and even longer neck of the pot whose body intimates to the shape of melon." One could find this Jung-Byoung similar to the Indian drinking water jar, Kundika, which has been. even today, an everyday article in houses as well as in temples. In the early Buddhist cult, the object had been adopted as personal belonging of the Bodhisattvas(보살, 菩薩), especially of the Bodhisattva Avalokitesvara(관세음보살,觀世音菩薩). In short, the purifying character of water is met by the sacred ware to deliver the refreshing Sweet-Water(Holy-Water, 깨맑물, 단물, 단이슬물, 정수, 감로, 감로수, 성수, 淨水, 甘露, 甘露水, 聖水): For the holy purpose of fulfilling the thirst of people, of symbolozing the virtuous dharma. Thus, Ggamslkh-Byoung(깨맑병,淨水), the literal Korean name, denotes purifying and clarifying and clarifying water-pot to us. Among many other Asian countries, India, China, Korea, and Japan have a profound cult of the sacred water-pot(Ggamalkh-Byoung, Jung-Byoung, 깨맑병, 정병, 정수병, 감로병, 감로수병, 淨甁, 淨水甁, 甘露甁, 甘露水甁). Therefore, this charming holy object drew much attention not only from master artisans to shape and deliver them to people but also from painters and sculptors for their endowment of the sacred images dedicated to Buddha(부처,佛,佛陀). In China, the sacred water pot emerged in the period of Tang(당, 唐, 618~907)-Period and underwent much sophistication later on, I. e., from earthenware, ceramic-porcelain, bronze, and silver. However, the following represents a challenge to the well-known Goryo-Thangka(고리불화, 高麗佛畵) Painting of Bodhisattva Avalokitesvara to our speculation on the Sacred Water-pot(정병, 淨甁). The image suggests, when examined closely, that the Sacred Water-pot has been accompanied by, or placed in, a transparent glasswere(유리그릇) or crystalbowl(수정그릇)! We have no other physical proof of the existence of such a Holding-Bowl(받침그릇, 承盤), except for in this particular painting. This Holding-Bowl would have not been a mere elaboration on the practicality of controling the drips from the mouth of the pot. As in the chapter on Tang-ho(탕호, 湯壺), or thermal bowl, in the "Goryo-Dhogyoung" it advises readers that this style of bowl is to be filled with hot water, and thus function as a preserver of heat in the water inside the pot. As an offering to the Buddha, the Sacred Water-pot could have been used for serving him hot tea. Hence the sacred bottle is to contain the refreshing water, the water transcends to nectar, and the nectar is prepared as a nectar tea to offer the Buddha. For both the Holding-Bowl of Ggamalkh-Byoung(Jung-Byoung)and the Celestial-Robe(날개옷, 天衣) of the Bodhisattva Avalokitesvara, whose specified character is the Water-Moon(수월, 水月) in this particular Thangka(불화, 佛畵) painting, the transparency is essential. This is to refer to the purity and the lucid clarity of Bodhisattva Avalokitesvara and at a deeper level, to refer to the world of Buddhas-the Tushita(Paradise, Heaven, Eden, 극락, 불세계, 極樂, 佛世界). Howerver, without the discovery of an actual Holding-Bowl, accompanied by a Sacred Water-pot, such speculation will necessarily remain hypothetical. Nevertheless, there is an abundance of evidence of our ancient craftsmanship in jade and ctystal, dating back to the Bronze Age(1000~2B.C.) in Korea. By the time of the Three Kingdom-Period(삼국시대, 三國時代, 57B.C.~935A.D.), and especially the Silla(신라, 新羅, 57B.C.~935A.D.)-Empire, the jade and crystal ornamentation had become very intricate indeed. By the Goryo-Period(918~1392) and Chosun-Period(조선, 朝鮮,1392~1910),crystal-ware and jade art were popular in houses and Buddhist temples, whose master artsanship was heightened in the numerous Sarira-Cases(사리그릇, 舍利器), containing relics and placed inside Stupas(탑, 투, 搭)! Therefore, discovering a tiny part of the crystal or jade Holding-Bowl for the Sacred Water-pot and casting full light on this subject, would not be totally impossible. Lastly the present article shares the tiny hope for a sudden emergence of such a Holding-Bowl.