• Journal of Science of Art and Design
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• v.8
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• pp.161-184
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• 2005

Traditionally, Korean ink painting used paper as a background medium. This tradition has sought a new attempt to meet today's demands while its expressive techniques and mediums become more diverse. The attempt of Korean ink painting to explore new mediums could change both its structure and style when considering the significance of the medium in the work. These new attempts have encouraged a further study of 'Korean Traditional Paper'. Today, 'Korean Traditional Paper' is considered to be an object itself rather than just being a background. In other words, there is no implication of a separation between the medium 'Korean Traditional Paper' and the work. Instead, the medium itself becomes the work. Therefore, 'Korean Traditional Paper' is not only a 'background' that contains the artist's desire to express, but at the same time also an 'object'. This study focuses on the attributes of 'Korean Traditional Paper' as an object, examines how this is visually applied in contemporary Korean ink painting in the relation to 'Korean Beauty', and reviews the work of some artists that use Korean Traditional Paper. The use of Korean Traditional Paper as an object first began with the experimental techniques of Lee , Eung-Noh and Kwon, Young-Woo in the 1960s, Then it seemed to stop for a while in the 1970s and 1980s until there was a renewed interest in the material personality of Korean Traditional Paper with the birth of the 'Korean Traditional Paper Artists Association' in the 1990s. This interest increased and Korean Traditional Paper was earnestly adopted by artists like Yim, Hyo Lee, Ki-Sook Won, Moon-Ja and Choi, Moo-Young, who used the paper in Broussonetia, the previous fibered state of rice paper. Here, the expression of the object through the characteristics of Korean Traditional Paper is a visual experiment to discover Korea's traditional art mediums that were forgotten once, focusing on the manifestation of Korean Beauty through Korean Traditional Paper. In this respect, this attempt has a valuable meaning in its use with a contemporary visual sense , based on the Korean sense of beauty.

• Journal of Life Science
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• v.29 no.2
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• pp.173-180
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• 2019

Amyloid ${\beta}$-protein ($A{\beta}$) is the principal component of senile plaques characteristic of Alzheimer's disease (AD) and elicits a toxic effect on neurons in vitro and in vivo. Many environmental factors, including antioxidants and proteoglycans, modify $A{\beta}$ toxicity. It is worthwhile to isolate novel natural compounds that could prove therapeutic for patients with AD without causing detrimental side effects. In this study, we investigated the in vitro neuroprotective effects of the ethyl acetate fraction of methanol extract of Ophiophogon japonicas (OJEA fraction). We used an MTT reduction assay to detect protective effects of the OJEA fraction on $A{\beta}_{25-35}$-induced cytotoxicity to PC12 cells. We also used a cell-based ${\beta}$-secretase assay system to investigate the inhibitory effect of the OJEA fraction on ${\beta}$-secretase activity. In addition, we performed an in vitro lipid peroxidation assay to evaluate the protective effect of the OJEA fraction against oxidative stress induced by $A{\beta}_{25-35}$ in PC12 cells. The OJEA fraction had strong protective effects against $A{\beta}_{25-35}$-induced cytotoxicity to PC12 cells and was strongly inhibitory to ${\beta}$-secretase activity, which resulted in the attenuation of $A{\beta}$ generation. In addition, the OJEA fraction significantly decreased malondialdehyde (MDA) content, which is induced by the exposure of PC12 cells to $A{\beta}_{25-35}$. Our results suggested that the OJEA fraction contained active compounds exhibiting a neuroprotective effect on $A{\beta}$ toxicity.

• Journal of the Korean Society of Food Culture
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• v.23 no.2
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• pp.293-300
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• 2008

It determines Chinese addiction to piquancy that the Chinese traditional food production laid excessively particular stress on agriculture coming into being long before in the history and the state of Chinese food living was that the people were very difficult to live. The history of Chinese addiction to piquancy could be traced back to prehistory. And in Chinese “hot” is separated from “peppery” and it refers in particular to the piquancy more than general peppery. The character of “Hot” appeared after Han Dynasty in Chinese. Capsicum was brought to China from the sea in the middle of Ming Dynasty. Then it surpassed the formers soon and became the most popular and addictive piquancy food in China. Capsicum has many names in China, such as “$F{\bar{a}}nji{\bar{a}}o$”, “$H{\bar{a}}iji{\bar{a}}o$”, “$L{\grave{a}}ji{\check{a}}o$”, “$L{\grave{a}}h{\breve{u}}$”, “$L{\grave{a}}zi$”, etc., and they indicate the geographical and humanistic character of the distribution. (eight books on preserving one’s health) is the earliest history record about capsicum in existent Chinese history record that was finished in 1591. In this article the author puts new opinion forward on the record in this book. It is because the hottest piquancy of capsicum, capsicum’s better adaptability and low cost to plant combine with Chinese piquancy addiction at large that capsicum can replace the status of pepper and other traditional peppery flavorings soon and cause worldwide attention to the Chinese piquancy addiction finally. The human common characters of unchangeable inertia, depending to fully grow addiction and aggrieved delight are the most important reasons to cause piquancy addiction that has formed a custom through long-repeated practice and this custom do not change with condition change. The unbalanced spread process of capsicum in China shows that the region is poorer and the addictive degree is deeper.