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In order to objectively and quantitatively diagnose the conservation status of painting cultural heritages, a digital image analysis program was used for the digital image of a Korean Buddhist painting. A technical method for diagnosing the conservation status by analyzing the color space of the Buddhist painting and calculating the shape information and damage area was suggested. To verify the applicability of the program, a standard color chart on various ground materials was produced. Color difference values of color information obtained using a color meter and a digital image analysis program were compared. Work efficiency, according to image resolution, was evaluated. It was possible to work efficiently with a size similar to that of an FHD image. Through the comparative evaluation of the individual deviation by the user, the accuracy and temporal advantages of the method using the digital image analysis program could be confirmed. As a result of comparing by color region extraction conditions, it was confirmed that the error range of the measured color information decreased as the 25 pixel diameter circle (average of circled regions of interest) size region and the number of measurements increased. Color space information was adjusted according to the characteristics of each damage type, and the shape of the damage was classified. In addition, the conservation status was evaluated by quantitatively calculating the area of damage with the Intensity Mean of the divided shape image. Full article

The restrictive measures against Buddhism under the Neo-Confucian Chosŏn dynasty resulted in the decline of Korean Buddhism at the start of the twentieth century. As the Chosŏn government started to make sweeping changes in the name of modernization, Korean Buddhist monks found an opportunity to revitalize their tradition through measures of reform. This paper examines one instance of attempts to bring Korean Buddhism back to the center of the country in the early twentieth century. The establishment of the Buddhist Central Propagation Space in 1920, examined thoroughly for the first time in this study, shows a meaningful yet ultimately unsuccessful attempt at modernizing Korean Buddhism in the dynamics of the colonial Buddhism. Moving beyond the nationalist critique of its founder Yi Hoegwang, who has been heavily criticized for his pro-colonialist undertakings in later historiography, I reconsider the significance of this propagation space in the history of Buddhist propagation and respatialization of Seoul during the early colonial period. My analysis of Three Gates in a Single Mind commissioned for this urban Buddhist temple in 1921 not only shows the diversity of modern Korean Buddhist paintings but also reveals a new role assigned to Buddhist icons in the changing context of Pure Land practice. I also discuss the seminal contribution of the court lady Ch’ŏn Ilch’ŏng to the founding of the propagation space, thereby restoring the voice of one important laywoman in the modernization of Korean Buddhism. Full article