• MISULJARYO - National Museum of Korea Art Journal
• /
• v.97
• /
• pp.87-104
• /
• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.

• Fashion & Textile Research Journal
• /
• v.9 no.6
• /
• pp.613-625
• /
• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• The KIPS Transactions:PartB
• /
• v.18B no.6
• /
• pp.333-340
• /
• 2011

The Human-Computer Interaction(HCI) is a study of the method for interaction between human and computers that merges the ergonomics and the information technology. The intelligent space, which is a part of the HCI, is an important area to provide effective user interface for the disabled, who are alienated from the information-oriented society. In the intelligent space for the disabled, the method supporting information depends on types of disability. In this paper, we only support the hearing-impaired. It is material to the gaze direction detection method because it is very efficient information provide method to present information on gazing direction point, except for the information provide location perception method through directly contact with the hearing-impaired. We proposed the gaze direction detection method must be necessary in order to provide the residence life application to the hearing-impaired like this. The proposed method detects the region of the user from multi-view camera images, generates candidates for directions of gaze for horizontal and vertical from each camera, and calculates the gaze direction of the user through the comparison with the size of each candidate. In experimental results, the proposed method showed high detection rate with gaze direction and foot sensing rate with user's position, and showed the performance possibility of the scenario for the disabled.

• Journal of the Institute of Electronics Engineers of Korea SP
• /
• v.47 no.6
• /
• pp.39-47
• /
• 2010

A research of image-based articulated pose estimation has some problems such as detection of human feature, precise pose estimation, and real-time performance. In particular, various methods are currently presented for recovering many joints of human body. We propose the novel numerical inverse kinematics improved with the UKF(unscented Kalman filter) in order to estimate the human pose in real-time. An existing numerical inverse kinematics is required many iterations for solving the optimal estimation and has some problems such as the singularity of jacobian matrix and a local minima. To solve these problems, we combine the UKF as a tool for optimal state estimation with the numerical inverse kinematics. Combining the solution of the numerical inverse kinematics with the sampling based UKF provides the stability and rapid convergence to optimal estimate. In order to estimate the human pose, we extract the interesting human body using both background subtraction and skin color detection algorithm. We localize its 3D position with the camera geometry. Next, through we use the UKF based numerical inverse kinematics, we generate the intermediate joints that are not detect from the images. Proposed method complements the defect of numerical inverse kinematics such as a computational complexity and an accuracy of estimation.

• Journal of architectural history
• /
• v.12 no.3
• /
• pp.163-179
• /
• 2003

The records of about 60 travel essays of the Hall of Bhaisajyaguru(Healing) Budda which was built in Chung Yang Temple passed down since 1525. The chronological change of that Hall architecture according to each period was traced upon. The building structure of the Hall of Bhaisajyaguru Budda which has a roundabout way, and 6 pillars inside, sometimes each 6 pillars inside and outside is hexagonal, one story building in Japanese colonial period(picture 3-1) or the present(picture 3-3). The panaromic picture of Chung Yang Temple shows no alterations of the layout of buildings(picture 1-1), in which the Hall of $Praj{\tilde{n}}{\bar{a}}$(般若殿), the main building in the center and the Hall of Bhaisajyaguru(Healing) Budda, three story stone pagoda, stone lighthouse in front of it became the central axis. The Hall of Bhaisajyaguru(Healing) Budda remained as it was until Japanese invasions in 1592 and 1597. However, it was greatly damaged by the flood in 1717. It was newly built by Lee Ha Gon's leading in 1717-1732. At that time, the interior design was changed. With Bhaisajyaguru(Healing) Budda, 53 Buddhas and ${\acute{S}}arira$ of Stone stupa which show itself by the flood in 1717 was located in the image of the Mountain of Chunchuk or Cheontae like Yu Jeom Temple. The doors of this Hall are located in the front and back. In the four walls each, two realistic and cubic buddhism pictures were drawn, The color of those picture was partly taken off in 1671 and repainted in 1714. The new building in 1717-1732 regained its colorful appearance. However, the names written beside each Images of Buddha disappeared. The notable remark in these records is that some of these travel essays in 17th-18th centuries was calling this hexagonal hall as the octagonal one. It is very important records because it means that before 1525 the octagonal hall might have existed. Chung Yang Temple was rebuilt between 1976 and 1985 after the destruction in the Korean War. After the records are carefully read, the full scale excavation about this historic site was not done yet. The interesting issue of the existence of octagonal building will be resolved by the full scale excavation.

• Proceedings of the Korean Society for Agricultural Machinery Conference
• /
• 2017.04a
• /
• pp.156-156
• /
• 2017

Most crop damages have been occurred by vermin(e.g., wild birds and herbivores) during the period between seeding and the cotyledon level. In this study, to minimize the damage by vermin and acquire the benefits such as protection against weeds and maintenance of water content in soil, immediately vinyl mulching after seeding was devised. Vinyl mulching has been generally covered with black color vinyl, that crop seeding locations cannot be detected by visible light range. Before punching vinyl, non-contact and non-destructive methods that can continuously determine the locations are necessary. In this study, a crop position detection method was studied that uses infrared thermal image sensor to determine the cotyledon position under vinyl mulch. The moving system for acquiring image arrays has been developed for continuously detecting crop locations under plastic mulching on the field. A sliding mechanical device was developed to move the sensor, which were arranged in the form of a linear array, perpendicular to the array using a micro-controller integrated with a stepping motor. The experiments were conducted while moving 4.00 cm/s speed of the IR sensor by the rotational speed of the stepping motor based on a digital pulse width modulation signal from the micro-controller. The acquired images were calibrated with the spatial image correlation. The collected data were processed using moving averaging on interpolation to determine the frame where the variance was the smallest in resolution units of 1.02 cm. For this study, the spline method was relatively faster than the other polynomial interpolation methods, because it has a lower maximum order of formulation when using a system such as the tridiagonal linear equation system which provided the capability of real-time processing. The temperature distribution corresponding to the distance between the crops was 10 cm, and the more clearly the leaf pattern of the crop was visually confirmed. The frequency difference was decreased, as the number of overlapped pixels was increased. Also the wave pattern of points where the crops were recognized were reduced.

• Journal of the Institute of Electronics Engineers of Korea SD
• /
• v.38 no.8
• /
• pp.62-71
• /
• 2001

This paper presents a design of the real-time digital image enhancement preprocessor for CMOS image sensor. CMOS image sensor offers various advantages while it provides lower-quality images than CCD does. In order to compensate for the physical limitation of CMOS sensor, the spatially adaptive contrast enhancement algorithm was incorporated into the preprocessor with color interpolation, gamma correction, and automatic exposure control. The efficient hardware architecture for the preprocessor is proposed and was simulated in VHDL. It is composed of about 19K logic gates, which is suitable for low-cost one-chip PC camera. The test system was implemented on Altera Flex EPF10KGC503-3 FPGA chip in real-time mode, and performed successfully.

• 한국HCI학회:학술대회논문집
• /
• 2008.02a
• /
• pp.19-26
• /
• 2008

This paper is related to a new technology allowing a user to have a 360 degree viewpoint of the virtual wearing object, and to an object VR(Virtual Reality)-based 2D virtual textile wearing system using viewpoint vector estimation and textile texture mapping. The proposed system is characterized as capable of virtually wearing a new textile pattern selected by the user to the clothing shape section segmented from multiview 2D images of clothes model for object VR, and three-dimensionally viewing its virtual wearing appearance at a 360 degree viewpoint of the object. Regardless of color or intensity of model clothes, the proposed system is possible to virtually change the textile pattern with holding the illumination and shading properties of the selected clothing shape section, and also to quickly and easily simulate, compare, and select multiple textile pattern combinations for individual styles or entire outfits. The proposed system can provide higher practicality and easy-to-use interface, as it makes real-time processing possible in various digital environment, and creates comparatively natural and realistic virtual wearing styles, and also makes semi -automatic processing possible to reduce the manual works to a minimum. According to the proposed system, it can motivate the creative activity of the designers with simulation results on the effect of textile pattern design on the appearance of clothes without manufacturing physical clothes and, as it can help the purchasers for decision-making with them, promote B2B or B2C e-commerce.

• Journal of Broadcast Engineering
• /
• v.21 no.1
• /
• pp.36-42
• /
• 2016

Recently, many 3D contents have been produced through the multiview camera system. In this system, since a difference of the viewpoint between color and depth cameras is inevitable, the camera parameter plays the important role to adjust the viewpoint as a preprocessing step. The conventional camera calibration method is inconvenient to users since we need to choose pattern features manually after capturing a planar chessboard with various poses. Therefore, we propose a semi-auto camera calibration method using a circular sampling and an homography estimation. Firstly, The proposed method extracts the candidates of the pattern features from the images by FAST corner detector. Next, we reduce the amount of the candidates by the circular sampling and obtain the complete point cloud by the homography estimation. Lastly, we compute the accurate position having the sub-pixel accuracy of the pattern features by the approximation of the hyper parabola surface. We investigated which factor affects the result of the pattern feature detection at each step. Compared to the conventional method, we found the proposed method released the inconvenience of the manual operation but maintained the accuracy of the camera parameters.

• Journal of Korea Multimedia Society
• /
• v.15 no.5
• /
• pp.595-605
• /
• 2012

Various methods for measuring strabismus have been developed and used in clinical diagnosis. However, most of them are based on the visual inspection by clinicians. For this reason, there is a high possibility of subjective evaluation in clinical decisions and they are only useful for cooperative patients. Therefore, the development of a more objective and reproducible method for measuring strabismus is needed. In this paper, we introduce a new software to complement the limitations of previous diagnostic methods. Firstly, we simply obtained facial images of patients and performed several preprocessing steps based on the spherical RGB color model with them. Then, the measurement of strabismus was performed automatically by using our 3D eye model and mathematical algorithm. To evaluate the validity of our software, we performed statistical correlation analysis of the results of the proposed method and the Krimsky test by two clinicians for ten patients. The coefficients of correlation for two clinicians were very high, 0.955 and 0.969, respectively. The coefficient of correlation between two clinicians also showed 0.968. We found a statistically significant correlation between two methods from our results. The newly developed software showed a possibility that it can be used as an alternative or effective assistant tool of previous diagnostic methods for strabismus.