Latent Fingerprint Detection using Semiconductor Quantum Dots as a Fluorescent Inorganic Nanomaterial for Forensic Application

류승진,정학성,이진규 대한화학회 2015 Bulletin of the Korean Chemical Society Vol.36 No.10

사면불상의 의미 재고 -전 대구 동화사 비로암 삼층석탑 출토 사리장엄을 중심으로-

류승진 한국고고미술연구소 2021 동원학술논문집 Vol.22 No.-

The four gilt-bronze Buddhist plaques currently on display at the Daegu National Museum and the agalmatolite sarira reliquary owned by the Dongguk University Museum in Seoul form part of the same sarira reliquary set enshrined in the Three-story Stone Pagoda of Biroam Hermitage at Donghwasa Temple in 863, third year of the reign of King Gyeongmun of Silla, to commemorate King Minae (r. 838-839). The four gilt-bronze plaques forming the casket surrounding the sarira jar are inscribed with Buddha triads, respectively featuring the Medicine Buddha holding a medicine case in the left hand, a Buddha with hands held together, a Buddha with hands in the bhumisparsa (earth-touching) mudra, and a Buddha wearing a resplendent crown and hands in the bodhasri (wisdom-fist) mudra, each with an attendant bodhisattva on either side. According to their iconographic characteristics and conventional interpretations, the Buddha holding the medicine case has been identified as the Medicine Buddha of the east, the Buddha making the bhumisparsa mudra as Sakyamuni of the south, the Buddha with hands together as the Amitabha of the west, and the Buddha wearing a crown and making the bodhasri mudra as Vairocana of the north. More specifically, the Buddha wearing a crown and with hands in the bodhasri mudra has been interpreted as Mahavairocana of Vajradhatu (diamond realm), the principal icon of esoteric Buddhism. the principal icon of esoteric Buddhism. Hence these four icons have been considered the major example of the four Buddhas of the four directions of esoteric Buddhism dating to the Silla period. In terms of iconographic characteristics, however, they do not correspond at all to the four Buddhas of the four directions of esoteric Buddhism, which are featured in the center of the Mandala of the Two Realms (K. Yanggye mandara) along with the Buddha of the center, comprising the five Buddhas of the five directions. Therefore, to properly understand their meaning and characteristics, rather than approaching them from the perspective of esoteric Buddhist art, they should be placed in the same context as similar examples of the “four-sided Buddhas,” which represent the four Buddhas on four sides. Among the four-sided Buddha images of Korea, the largest number are relief carvings on stone pagodas. The four-sided Buddhas of stone pagodas are highly varied as if living beings, and there is not a single instance of two identical image. But they have been found to be naturally connected to each other according to several rules. First, the axis of time and place exists, so the Medicine Buddha of the east and Amitabha Buddha of the west form the horizontal axis of place, while Sakyamuni, the present Buddha, and Maitreya, the future Buddha, form the vertical axis of time. Considering the funerary nature of a stone pagoda, where the relics (sarira) of Sakyamuni are enshrined, in many cases Sakyamuni making the bhumisparsa mudra is carved on the southern side, which is the front of the pagoda. But the growing popularity of images of Vairocana making the bodhasri mudra gradually influenced the composition of the four-sided Buddhas on stone pagodas, and Sakyamuni, who had occupied the front of the pagoda, eventually gave way to Vairocana. Around the time Vairocana making the bodhasri mudra began to appear among the four-sided Buddhas carved in relief on stone pagodas, there emerged cases of Vairocana images with the same iconography being created simultaneously in the same worship space. Sudoam Hermitage at Cheongamsa Temple in Gimcheon has a stone pagoda decorated with four Buddhas on four sides, including a Buddha making the bodhasri mudra. In the same compound, a stone seated image of Vairocana making the bodhasri mudra was enshrined as the principal icon of Daejeokgwangjeon Hall. Likewise, the principal icon of Biroam Hermitage at Donghwasa Temple in Daegu is a seated statue of Vairocana making the bodhasri mudra, similar to the Buddha wearing a crown and making the bodhasri mudra found among the four gilt bronze Buddhist plaques from the pagoda at the same hermitage. It is clear that an attempt was made to differentiate between the two with iconographic features such as the addition of the crown and variation of the robes. Within this new order, appropriate iconographic features of esoteric Buddhism were selected to differentiate the Buddhas because the four-sided Buddhas are symbolic of the countless Buddhas of all directions throughout the world (K. sibangjebul, literally “buddhas of the ten directions”). The Buddhas of the four sides, all different from each other, would have been an effective way of helping people to contemplate the Buddhas of the ten directions when circumambulating the pagoda. In the case of the Three-story Stone Pagoda of Biroam Hermitage at Donghwasa Temple where the four-sided Buddhas are not carved on the exterior, the inscription on the sarira jar mentions haengdo, a type of spiritual practice indicating circumambulation of the pagoda. The purpose of this practice would have been to circle the pagoda while imagining the four Buddhas protecting the sarira inside the pagoda and thereby attain the same virtue attained by contemplating the Buddhas of the ten directions. Originally, the Buddhas of the ten directions described in Mahayana Buddhism refer to a countless number of Buddhas of infinite variety. As if reflecting this description, it is not easy to define the characteristics and meaning of the four-sided Buddhas, which are infinitely varied as if living beings. They are generally found on the exterior of stone pagodas but are sometimes hidden on the inside; without a single, defined direction they seem to be in constant flux and change, which is the inherent nature of the four sided Buddhas as symbols of the Buddhas of the ten directions. This is also why they cannot be regarded as images of esoteric Buddhist art.

특집명: 융합 보안 ; 특집2 ; 디지털 영상의 위변조 탐지를 위한 영상 포렌식 기술 동향

류승진 한국정보처리학회 2014 정보처리학회지 Vol.21 No.6

잊혀진 미술의 신, 技藝天 : 국립중앙박물관 소장 다카무라 고운 작 <기예천>

류승진 국립중앙박물관 2017 미술자료 Vol.- No.92

"Most of the artworks in the Japanese modern art collection of the National Museum of Korea that were acquired in the 1930s and 1940s were originally submitted to the Official Exhibition (官展) by artists who were born after the Meiji Restoration (明治維新) and had honed western artistic techniques. Among such works, the Buddhist sculpture Gigeiten (技藝天) is a rare exception, as it was created by Takamura Koun (高村光雲)—one of the last Edo Bushi (江戸佛師: Buddhist sculptors based in Edo), who were trained under the traditional apprentice system. Takamura Koun was born in Edo (present day Tokyo) before the Meiji Restoration and mastered the traditional techniques of Buddhist sculpture to become a master craftsman. However, in response to the rapid wave of modernization, he adapted to the new institutions of the art world. Consequently, he assumed honorable positions such as Teishitsu Gigeiin (帝室技藝員: Imperial Craftsman), professor of sculpture at Tokyo Art School, and member of Teikoku Bijyutsuin (帝國美術院: Imperial Academy of Art). Despite the fact that Gigeiten was created by such a master, detailed background information does not remain to provide clues for further investigation. Nonetheless, Gigeiten's unique iconographical features are noteworthy. Giyecheon is one of the deities that appear in the scriptures of esoteric Buddhism. She had not been a subject of artistic endeavor in East Asian Buddhism before modern times, though there is a single example in a compilation of icons appearing in esoteric Buddhism published in Japan after the 12th century. However, interestingly, a few artworks of the deity were produced in Japan after the advent of modern times. This article aims to study Gigeiten of Takamura Koun, whose context of production is unknown, by investigating the discovery and temporary popularity of the icon in the late 19th and early 20th centuries. In esoteric Buddhism, Giyecheon is described as donning splendid ornaments and holding one end of her robe with her right hand and a heavenly flower with her left. In compilations of icons such as Dosangcho (圖像抄), the Giyecheon is illustrated holding a bowl full of flowers with her left hand. The bowl filled with flowers held with the left hand has become Giyecheon's most salient iconographic feature. This feature is often observed in the artworks produced by the professors and students of the Tokyo Fine Arts School. It seems to come from the influence of Okakura Tenshin (岡倉天心), the headmaster of the school at the time. Through an investigative project on Shinto shrines and Buddhist temples in Nara he had been undertaking for several years, Okakura discovered that the sculpture of a deity in Akishinodera (秋篠寺) that had until then been considered to depict Giyecheon did not match the description in the scriptures. He went on to encourage fellow artists to recreate the Giyecheon as illustrated in the compilation. Okakura Tenshin gained support among some artists in establishing Giyecheon as an Eastern counterpart of the muse in Western culture, but he could not change the public's perception. Giyecheon faced the same fate as Japanese craftsmanship—the driving force of modernism—which lost its original privilege as the new concept of ‘art’ proliferated. A socio-institutional response to such changes is observed in that the system of designating expert craftsmen as Teishitsu Gigeiin—the most highly honored craftsmen in the Japanese art world at the time—has fallen into desuetude, and Teikoku Bijyutsuin (Imperial Academy of Fine Arts) was established in its place. Although the exact date of production is unknown, based on the general trend in sculpture, it is presumed that the work was produced after the 1920s, when the artist had reached old age. By then, the temporary vogue of Giyecheon had passed, and the era of new ‘art’ had already begun. However, he retained the belief that ‘craftsmanship’ was the most important virtue, even for artists of the new era, as seen in the attitude he demonstrated toward production until his last days and in an essay by Takamura Toyochika—his third son and a metal craftsman—who sold the piece to Yi Royal Family Museum of Arts. This work is undoubtedly a traditional Buddhist sculpture based on an iconographic theme from the religion; however, it is also a work of ‘art’ in the most modern sense, which Takamura created to express his belief as an artist through his independent creative will. The fact that he produced this piece of sculpture in his later years has implications for the established analysis of Takamura, which places him on the border between traditional craftsmen and modern artists." 1930~40년대에 수집된 국립중앙박물관의 일본근대미술 컬렉션 중에는 메이지 유신(明治維新) 이후에 태어나 서구식 미술 교육을 받은 작가들의 官展 출품작이 많은 수를 차지하고 있다. 이러한 컬렉션 가운데 전근대적 徒弟 교육을 받은 ‘마지막 에도 불사(江戶佛師)’ 다카무라 고운(高村光雲, 1852~1934)의 전통적 불교조각 <技藝天>은 매우 이례적인 작품이라 할 수 있다. 다카무라 고운은 메이지 유신 이전에 에도(지금의 도쿄)에서 태어나 전통적인 불상 조각 기술을 배운 장인이었으나, 급변하는 근대화 물결 속에서도 새로운 미술 제도에 유연히 적응하여 도쿄미술학교(東京美術學校) 조각과 교수, 帝室技藝員, 帝國美術院 회원 등 당시 미술가로서 오를 수 있는 최고의 자리에까지 오른 인물이다. 그가 남긴 『고운 회고담(光雲懷古談)』은 메이지 시대를 연구하는 좋은 자료로 활용되고 있지만, 정작 그의 작품에 대한 기록은 적은 편이며, 특히 이왕가미술관이 구입한 <기예천>에 대해서는 기본적인 정보조차 얻을 수 없는 상황이다. 이에 본고에서는 다카무라 고운 작 <기예천>의 정확한 제작 시기나 배경 등, 작품에 대한 본격적인 이야기를 시작하기 위한 유일한 단서로서 이 작품의 주제인 ‘기예천’이라는 불교 도상에 주목해 보고자 한다. 기예천은 모든 기예를 관장하고 복을 가져오는 불교의 天部 중 하나이다. 이와 관련된 밀교 修法에서는 그 모습에 대하여, 화려한 장식을 몸에 걸치고 오른손으로는 치맛자락을, 왼손에는 天華를 들고 있다고 설명하였는데, 일본에서 중세 이후 편찬된 『圖像抄』 등의 도상집에서는 이를 왼손에 꽃이 가득 담긴 그릇을 받쳐 들고 있는 모습으로 강조하여 표현하였다. 그러나 이러한 도상집 속 기예천의 모습은 근대 이전 동아시아 불교문화권에서 조형예를 찾아볼 수 없고, 다만 1890년대 이후 오카쿠라 덴신(岡倉天心, 1863~1913)이 교장으로 있던 일본의 도쿄미술학교를 배경으로 한 작가들의 작품에서 산견될 뿐이다. 오카쿠라 덴신은 1880년대부터 나라(奈良)의 神社와 사찰 문화재 조사 사업에 참여하였는데, 여기에서 그동안 유일한 기예천으로 여겨진 아키시노데라(秋篠寺)의 천부상이 경전 속 기예천과 일치하지 않음을 확인하고, 도상집 속 기예천의 모습을 재현하기 위하여 주변 예술가들의 연구와 제작 활동을 독려하였다. 그는 기예천을 서양의 뮤즈에 대응하는 동양의 미술의 신으로 정립시키려는 구상을 가지고 있었다. 그의 구상과 의도는 일부 예술가들의 찬동을 얻는데 성공하였으나 세간의 인식을 변화시키는 데에는 이르지 못하였다. 이러한 결과는 19세기 말 일본 근대화의 원동력이 되었던 ‘기예’가 ‘미술’ 개념의 확산에 따라 본래의 지위를 잃게 된 것과 궤를 같이 하는 것으로 보인다. 일본 내 미술계의 최고 지위를 의미하던 ‘제실기예원’ 제도가 폐지되고 ‘제국미술원’이 이를 대신하게 되는 것은 이러한 변화에 대한 사회제도적 반응일 것이다. 다카무라 고운의 <기예천>은 정확한 제작 연대를 알 수 없지만, 그의 대략적인 제작 경향을 근거로 1920년대 이후의 노년작으로 볼 수 있다. 이 시기는 이미 기예천의 일시적인 유행이 지나고 새로운 ‘미술’의 시대가 열린 뒤의 일이다. 그러나 고운이 마지막까지 유지하였던 제작 태도, 그리고 이 작품을 이왕가미술관에 판매한 고운의 三男이자 금속공예가인 다카무라 도요치카(高村豊周, 1890~1972)의 글 등에서 살펴볼 수 있듯이, 그는 새로운 시대의 미술가에게도 ‘기예’는 여전히 가장 중요한 덕목이라 여기고 있었으며, <기예천>의 제작은 이러한 믿음에서 비롯된 것이라 볼 수 있다. 이 작품은 불교 도상을 주제로 한 전통적인 ‘불상’임이 틀림없지만, 종교적 예배대상이 아니라 다카무라 고운이라는 미술가의 개인적 신념의 발현을 위한 수단이며, 자발적인 창작 의지를 바탕으로 제작되었다는 점에서 근대적 의미의 ‘미술품’이라 할 수 있다. 고운이 노년에 이러한 작품을 제작하였다는 사실은, 여전히 전근대적 장인과 근대적 예술가의 경계선상에 위치하는 것으로 여겨지는 다카무라 고운에 대한 평가에도 시사하는 바가 크다.

On-site Colorimetric Forensic Sensor (II): Quantitative Detection of Toxic S2– Ion in Blood Plasma Using Metal-Ion-modified Silica Powders

류승진,Eric Arifin,하신우,이진규 대한화학회 2015 Bulletin of the Korean Chemical Society Vol.36 No.10

Immensely sensitive, accurate, and simple on-site colorimetric sensor has been developed for the quantitative detection of the sulfide ion in human blood plasma. The colorimetric sensor consists of lead-ion-modified silica-gel powders placed in a glass tube. The powder color changes upon reaction with sulfide ions in blood plasma. It is capable of easily detecting toxic sulfide ion by using a glass tube with an inner diameter of 3 mm. By employing the type of colorimetric sensor to a blood sample, it is possible to detect the sulfide ion with a concentration limit of 0.1 ppm and excellent reproducibility, thus making it superior to conventional analysis methods that need multiple preparation processes and various sophisticated instruments. Since the sensor reported here is insensitive to environmental conditions such as temperature or humidity, and is featured by simplicity, fast response, high sensitivity, and easily understandable results based on absolute affirmative/negative response, it is expected to be effectively used for on-site applications such as detecting poisonous ions in blood samples.

On-site Colorimetric Forensic Sensor (I): Quantitative Detection of Toxic H2S and NH3 Gases Using Metal-Ion-modified Silica Powders

류승진,Eric Arifin,하신우,이진규 대한화학회 2015 Bulletin of the Korean Chemical Society Vol.36 No.10

A highly sensitive on-site colorimetric forensic sensor has been developed for the quantitative detection of hydrogen sulfide and ammonia gases. The sensor consists of metal-ion-modified silica-gel powders placed in a glass tube. The powder color changes upon reaction with toxic hydrogen sulfide and ammonia gases. It is capable of easily detecting toxic gases in the concentration range between 100 ppm, which is considered as immediately dangerous to life and health, and 3000 ppm, which may cause death, by using a glass tube with an inner diameter of 3 mm. As the sensor reported here is insensitive to environmental conditions such as temperature or humidity, and is featured by simplicity, fast response, high sensitivity, and easily understandable results based on absolute affirmative/negative response, it is expected to be effectively used for on-site applications such as testing the existence of toxic gases in confined working and industrial spaces.

[PORTFOLIO] Untact-City

류승진(Ryu Seung Jin) (주)월간사진 2022 월간 사진 Vol.651 No.-

B-스프라인 곡선 모델링 및 메시-스펙트럼 변환을 이용한 프린트-스캔에 강인한 곡선 워터마킹

김지영,임동혁,류승진,최정호,이흥규,이해연 한국정보처리학회 2008 정보처리학회논문지. 소프트웨어 및 데이터 공학 Vol.15 No.4

This paper presents a new robust watermarking method for curves that uses informed-detection. To embed watermarks, the presented algorithm parameterizes a curve using the B-spline model and acquires the control points of the B-spline model. For these control points, 2D mesh are created by applying Delaunay triangulation and then the mesh spectral analysis is performed to calculate the mesh spectral coefficients where watermark messages are embedded in a spread spectrum way. The watermarked coefficients are inversely transformed to the coordinates of the control points and the watermarked curve is reconstructed by calculating B-spline model with the control points. To detect the embedded watermark, we apply curve matching algorithm using inflection points of curve. After curve registration, we calculate the difference between the original and watermarked mesh spectral coefficients with the same process for embedding. By calculating correlation coefficients between the detected and candidate watermark, we decide which watermark was embedded. The experimental results prove the proposed scheme is more robust than previous watermarking schemes against print-scan process as well as geometrical distortions. 본 논문에서는 이미지의 선에 대하여 워터마크 정보를 삽입 및 추출하는 기술을 제안한다. 기존의 워터마킹 기술이 이미지의 픽셀 밝기값을 이용하는 것과 달리 제안된 알고리즘은 이미지의 곡선들을 B-스프라인 곡선으로 모델화하여 B-스프라인 제어점을 추출하고 이를 주파수 영역으로 변환하여 워터마크를 삽입한다. 제어점에 Delaunay 삼각화를 적용하여 메시를 생성하고, 메시-스펙트럼 분석을 통하여 주파수 영역의 메시-스펙트럼 계수를 계산한다. 워터마크는 이 계수의 중간 주파수 성분에 스프레드 스펙트럼 방식으로 삽입한다. 워터마크가 삽입된 계수를 메시-스펙트럼 역변환을 통하여 제어점을 계산하고 이를 통하여 워터마크가 삽입된 B-스프라인 곡선을 재구성할 수 있다. 삽입된 워터마크는 원본 선 이미지를 사용하여 검출이 이루어진다. 먼저 대상 선 이미지를 B-스프라인 모델화하고 곡선의 굴곡점을 이용하여 원본 선 이미지와 동기화를 수행한다. 동기화된 이미지에서 워터마크 삽입과정과 같이 메시-스펙트럼 계수를 추출하고 원본 메시-스펙트럼 계수와의 차이값을 계산하여 워터마크를 추출한다. 마지막으로 랜덤 워터마크와 추정된 워터마크의 상관 계수를 계산하여 삽입된 워터마크를 확인할 수 있다. 실험을 통하여 제안된 워터마킹 알고리즘이 기존 알고리즘보다 기하학적 공격과 프린트-스캔 공격에 강인함을 보였다.

B-스프라인 곡선 모델링 및 메시-스펙트럼 변환을 이용한 프린트-스캔에 강인한 곡선 워터마킹

김지영,이해연,임동혁,류승진,최정호,이흥규,Kim, Ji-Young,Lee, Hae-Yeoun,Im, Dong-Hyuck,Ryu, Seung-Jin,Choi, Jung-Ho,Lee, Heung-Kyu 한국정보처리학회 2008 정보처리학회논문지B Vol.15 No.4

본 논문에서는 이미지의 선에 대하여 워터마크 정보를 삽입 및 추출하는 기술을 제안한다. 기존의 워터마킹 기술이 이미지의 픽셀 밝기값을 이용하는 것과 달리 제안된 알고리즘은 이미지의 곡선들을 B-스프라인 곡선으로 모델화하여 B-스프라인 제어점을 추출하고 이를 주파수 영역으로 변환하여 워터마크를 삽입한다. 제어점에 Delaunay 삼각화를 적용하여 메시를 생성하고, 메시-스펙트럼 분석을 통하여 주파수 영역의 메시-스펙트럼 계수를 계산한다. 워터마크는 이 계수의 중간 주파수 성분에 스프레드 스펙트럼 방식으로 삽입한다. 워터마크가 삽입된 계수를 메시-스펙트럼 역변환을 통하여 제어점을 계산하고 이를 통하여 워터마크가 삽입된 B-스프라인 곡선을 재구성할 수 있다. 삽입된 워터마크는 원본 선 이미지를 사용하여 검출이 이루어진다. 먼저 대상 선 이미지를 B-스프라인 모델화하고 곡선의 굴곡점을 이용하여 원본 선 이미지와 동기화를 수행한다. 동기화된 이미지에서 워터마크 삽입과정과 같이 메시-스펙트럼 계수를 추출하고 원본 메시-스펙트럼 계수와의 차이값을 계산하여 워터마크를 추출한다. 마지막으로 랜덤 워터마크와 추정된 워터마크의 상관 계수를 계산하여 삽입된 워터마크를 확인할 수 있다. 실험을 통하여 제안된 워터마킹 알고리즘이 기존 알고리즘보다 기하학적 공격과 프린트-스캔 공격에 강인함을 보였다. This paper presents a new robust watermarking method for curves that uses informed-detection. To embed watermarks, the presented algorithm parameterizes a curve using the B-spline model and acquires the control points of the B-spline model. For these control points, 2D mesh are created by applying Delaunay triangulation and then the mesh spectral analysis is performed to calculate the mesh spectral coefficients where watermark messages are embedded in a spread spectrum way. The watermarked coefficients are inversely transformed to the coordinates of the control points and the watermarked curve is reconstructed by calculating B-spline model with the control points. To detect the embedded watermark, we apply curve matching algorithm using inflection points of curve. After curve registration, we calculate the difference between the original and watermarked mesh spectral coefficients with the same process for embedding. By calculating correlation coefficients between the detected and candidate watermark, we decide which watermark was embedded. The experimental results prove the proposed scheme is more robust than previous watermarking schemes against print-scan process as well as geometrical distortions.

냉간가공된 알루미늄 점용접의 피로수명 개선

임병수(Byeongsoo Lim),류승진(Seungjin Ryu),김대욱(D. Kim) 한국자동차공학회 2005 한국자동차공학회 춘 추계 학술대회 논문집 Vol.2005 No.5_2

The use of aluminum alloys is an attractive possible option in order to reduce the weight of automobile body structures to achieve the subsequent improvement of fuel economy and driving performance. Aluminum resistance spot welding(Al RSW), similar to current steel automobile body construction, may be considered one of the manufacturing methods for an aluminum body structure. Due to the unreliable durability of weld-bonded joints, applications of Al RSW are limited. A patented post-weld cold working process was used to improve the fatigue strength of Al RSW. The post-weld cold working process includes that special shaped indenters are pressed or driven into the structure in order to induce the compressive residual stresses. The effect of the post-weld cold working process parameters on the fatigue strength of the Al RSW was investigated. Comparisons of the fatigue properties and qualitative results between the as-welded RSW specimens and the post-weld cold worked RSW specimens are discussed.