• Journal of the Korean Society of Food Science and Nutrition
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• v.38 no.8
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• pp.996-1002
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• 2009

This study was carried out to improve quality and increase anticancer effect of baechu kimchi by changing various kinds of salt. The baechu cabbages were brined with purified salt (P), natural sea salt (NS), natural sea salt without bittern (NS-B) or baked (Guwun) salt (G) and mixed with other ingredients. Thereafter, the kimchis were fermented for 7 days at $15^{\circ}C$. The changes in pH and acidity of the P and G kimchis were slower than those of NS and NS-B kimchis. NS-B and G kimchis promoted the growth of Leuconostoc sp.; however, it inhibited the growth of Lactobacillus sp. when compared with P and NS brined kimchis. The sensory evaluation results indicated that NS-B and G kimchis were better than P and NS kimchi in taste, color and overall acceptability. Rheological property of texture (cutting strength) of NS-B and G brined kimchis was also much better. Anticancer effects of the kimchi juices and methanol extracts were investigated on AGS human gastric adenocarcinoma cells and HT-29 human colon carcinoma cells by MTT assay. NS-B and G kimchis significantly retarded the growth of both cancer cells compared to P and NS kimchis. From these results, kind of salt is very important when kimchi is prepared. It proved that removing bittern from natural sea salt is good ancient tradition when brining the cabbage. Using the baked salt is also a better method to improve the quality and anticancer effect of kimchi.

• Food Science and Preservation
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• v.20 no.5
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• pp.668-683
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• 2013

In this study, we investigated the contents of total polyphenol (TP), total flavonoid, and absorbance at 475 nm ($OD_{475}$) which may produced in solid-fermented leaf of Smilax china L. by Aspergillus oryzae as a new functional components with reddish brown color, contents of water soluble substance (WSS), electron donating ability (EDA), Hunter $L^*$, $a^*$, $b^*$ values, sensory overall acceptability (OA) and also, the inhibitory activities (XOI and AOI) against partial purified xanthine oxidase (XO) and aldehyde oxidase (AO) from rabbit liver which were well known to relate the gout, and alcoholic liver disease, respectively in order to optimize water extraction using response surface methodology (RSM). All the $R^2$ values of the second-order polymonials ranged from 0.85 to 0.98, except for the EDA (0.69) and the XOI (0.78). However, the activities of the EDA and XOI were relatively high in the lower concentration of the fermented Smilax china L. leaf. The effects on the water extraction were highest in the concentration, among the dependent variables, and showed significant differences at the 1% level in the TP, TF and WSS contents and the $a^*$, $b^*$ and $OD_{475}$ values, but the OA showed significant differences at the 5% level. The optimal values of AOI, which was the most important functionality in the Smilax china L. that was predicted via RSM, were 59.48% at the 2.19% concentration, a $90.02^{\circ}C$ extraction temperature and a 4.03 minute extraction time ($R^2$: 0.93, p<0.007). The ranges of all the dependent variables of the optimal water extraction were 1.6~1.8% for the concentration, $83{\sim}93^{\circ}C$ for the temperature and 3.4~4.4 minutes for the extraction time; and the optimal water extraction conditions were a 1.7% concentration, an $88^{\circ}C$ extraction temperature and a 3.9-min extraction time.

• Korean Journal of Heritage: History & Science
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• v.43 no.1
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• pp.260-279
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• 2010

The analysis on bibliography and field investigation of Callipogon relictus Semenov, 1898 (Korean natural monument number 218) shows that the size varies from country to country, and Korean specimens, for which male is 85~120mm and female is 65~85mm, are found to be the largest. The average diameter and length of egg are 2.60mm and 6.72mm respectively. The larva has milky color and is about 100~150mm in length. The pupa is nearly 70~110mm. An adult generally appears from June to September in Korea in the broadleaf forest of lowland, whereas it appears from June to July in China. It is known that the pupa largely feed on the old tree trunk of Carpinus laxiflora (Siebold & Zucc.) blume in Korea, but no such data have been reported in China and Russia, showing differences in host plants. While the larva period is not exactly known in Korea, it is reported to be two years in China. It appears that the species inhabits in very limited regions of approximately between geographical latitude $37.5^{\circ}{\sim}47.8^{\circ}$ and longitude $126^{\circ}{\sim}140^{\circ}$ including Korea, China and Russia. To conserve the long-horned beetle in Korea, this research drew out following some conclusions through analyzing the references and field survey data. First, it need to perform precise survey on the natural environment of occurring and collected area or place including host plant kinds, temperate, humidity, latitude, longitude etc. Second, habitat region must be designated as a restricted development area, and it need to exclude or reduce the damage factors to prosper reproduction of the species. Third, it is necessary to keep loosing cautiously artificial breeding individuals in the reported sites, not disturbing scope of natural populations. Fourth, it needs to educate or publicize many people importance and value of this species through many methods.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of the Korean Society of Food Science and Nutrition
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• v.38 no.6
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• pp.757-765
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• 2009

Bread was prepared with different concentrations of Pleurotus eryngii powder ($2.5{\sim}10.0%$), and the fermentation characteristics were investigated. While pH of dough increased, fermentation power of dough expansion by fermentation decreased with the increase of Pleurotus eryngii powder added. Although bread weight decreased, there were no significant differences in dough weight, dough yield and baking loss as Pleurotus eryngii powder content increased. In case of volume and specific volume, they were significantly decreased as Pleurotus eryngii powder content increased. Size of bread decreased gradually and aircell uniformity became bigger and random as Pleurotus eryngii powder content increased. As the results of color values, L and b values of crust decreased; however, there was no significant difference in a value. L value of crumb decreased although a and b values increased by adding the Pleurotus eryngii powder content. In the textual characteristics, hardness, gumminess and brittleness of bread significantly increased as Pleurotus eryngii powder content increased. Cohesiveness and springiness of bread decreased as Pleurotus eryngii powder content increased. In case of free amino acid, Glu content was the largest in most samples and most amino acid contents increased by adding the Pleurotus eryngii powder content except for Asp. In descriptive test, scores of color, flavor, hardness and palatability increased, however aircell uniformity, springiness and moistness decreased as Pleurotus eryngii powder content increased. As the results of preference test, color was the best preferred in control${\sim}5.0%$ groups without significant difference. The preference of flavor and texture was in the order of 2.5% group> 5.0% group> 7.5% group> control> 10.0% group as 2.5% group was the most preferred.

• Journal of Conservation Science
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• v.36 no.6
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• pp.549-561
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• 2020

This study aimed to assess the performance and life of nine natural mineral dancheong pigments: Seokganju, Jinsa, Hwangto, Jahwang, Wunghwang, Seokrok, Noerok, Seokcheong, and Baekto. The design of the accelerated weathering test considered the domestic climate characteristics and the location of Dancheong. Outdoor weathering tests were conducted at the Research Institute in Daejeon and the Sungnyemun Gate in Seoul to confirm the field reproducibility of the accelerated weathering test. Monitoring of the physical changes in pigments through accelerated and outdoor weathering tests are based on ultraviolet exposure dose. Despite small cracks at the beginning of the tests, the monitoring showed that Seokganju and Baekto had no marked physical changes, but the surface cracks of Jinsa and Seorok continue to expand. Hwangto and Noerok were marked with water or were resin stained, and the particles of Jahwang, Wunghwang, and Seokcheong had lost their luster. Despite the absolute difference in color change in each test, the final chromaticity change patterns of pigments were similar in that the color difference between Baekto and Noerok was below five, and Jina was above 28. The physical and surface color pigment changes were more concentrated in outdoor weathering tests than in accelerated tests, and the Seoul site was more intense than the Daejeon site. This is because outdoor weathering tests are exposed to severe variations of temperature and moisture or deposition of dust particles and, in the case of Seoul, the site is more exposed to the external environment than the Daejeon site.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.148-169
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• 2023

Hayeob pigment is known as one of the traditional dark green pigments, but the color, raw material, and manufacturing method have not been clearly identified. However, comparing the analysis results of the particle shape and constituent minerals of Hayeob pigments revealed through pigment analysis studies of colored cultural properties such as Dancheong, Gwaebul, and paintings, Hayeob pigments appear to be the same as Dongrok pigments produced by salt corrosion. Therefore, in order to restore Hayeob pigment, the manufacturing method of Dongrok pigment was studied based on the records of old literature. The Dongrok pigment manufacturing method confirmed in the old literature records is a natural corrosion method in which copper powder and a caustic are mixed and then left in a humid condition to corrode. Based on this, artificial corrosion using a corrosion tester was adopted to corrode the copper powder more efficiently, and an appropriate mixing ratio was selected by analyzing the state of corrosion products according to the mixing ratio of the caustic agent. In addition, the manufacturing method of Dongrok pigment was established by adding a salt removal process to remove residual caustic agents and a purification process to increase chroma during pigment coloring. The prepared Dongrok pigments have a bluish green or green color, show an elliptical particle shape and a form in which small particles are aggregated, and a porous surface is observed. The main constituent elements are copper(Cu) and chlorine(Cl), and the main constituent mineral is identified as atacamite [Cu₂Cl(OH)₃]. As a result of an accelerated weathering test to evaluate the stability of the prepared Dongrok pigments, it was found that the greenness partially decreased and the yellowness significantly increased as deterioration progressed. Before deterioration, the Dongrok pigments had lower yellowness compared to the Hayeob pigments of the old Dancheong, but after deterioration, yellowness increased significantly, and it was found to have a similar chromaticity range as Dancheong's Hayeob pigments. As a result, the prepared Dongrok pigments were confirmed to be similar to Dancheong's Hayeob pigments in terms of color as well as particle shape and constituent minerals.

• Journal of Bio-Environment Control
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• v.16 no.3
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• pp.240-246
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• 2007

To evaluated the effect of low temperature storage on quality of fresh shoot of Sedum sermentosum, weight loss, Hunter L, a and b value, chlorophyll, water content, and general appearance were investigated during storage at 20, 10, and $5^{\circ}C$. Just after harvesting, fresh shoots ($10{\pm}2cm$ length) were stored with wrap film (linear LDPE)-packaged condition using the Styrofoam dish ($20{\times}10cm$, which 40 fresh shoots per dish). The fresh weight of 40 shoots was gradually decreased according to days after storage and higher storage temperature. The weight loss of fresh shoots showed significant difference (8.7-25.3%) between just before storage and 10 days after storage, and the degree of weight loss was more severer in higher storage temperature. Wanju local strain showed the lowest weight loss, and the most severe case was Pohang local strain. SPAD value related to chlorophyll content was rapidly decreased after 4 and 6 days at 20 and $10^{\circ}C$ storage, respectively. It was slowly decreased according to days after storage at $5^{\circ}C$. Yellowish color in bottom leaves of shoot appeared after 4, 6 and 8 days at 20, 10, and $5^{\circ}C$ storages, respectively. Hunter L and a values were gradually increased after storage, and it showed significant difference between just before storage and 10 days after storage. The total rate of discoloration over 50% or decay shoot was largely increased as higher temperature. It was significantly correlated to the water content of fresh shoot among local strains $(P{\leq}0.01)$. The freshness of shoot after storage was maintained in order of Wanji, Gunsan, Wando and Pohang local strain. The results indicated that the freshness was maintained for 8 days after $5^{\circ}C$ storage, when the fresh shoot was stored with wrap film-packaged condition.