• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.15 no.4
• /
• pp.298-302
• /
• 1982

In order to elucidate the taste compounds of wild common carp, Cyprinus carpio, and Korean snakehead, Channa argus, organic acids, sugars ana minerals were analyzed as a part of the study on the taste compounds of fresh-water fishes. Among organic acids, the contents of succinic acid, butyric acid, propionic acid and valeric acid were fairly high, while those of oxalic acid, fumaric acid, maleic acid, tartaric acid and citric acid were trace. As for the sugars, glucose was found to be the most predominant monosaccharide of the species. Extremely small amounts of fructose and arabinose were also detected and inositol and ribose were trace in content. Among minerals, $K^{+},\;Na^{+},\;PO_{4}^{3-}\;and\;Cl^{-}$ were found to be the major ions and small amounts of $Ca^{2+}\;and\;Mg^{2+}$ were detected.

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