• Korean Journal of Food Science and Technology
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• v.42 no.1
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• pp.50-55
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• 2010

This study was conducted to investigate the shelf-life and quality of breads made with 0.5, 1 and 2% of Myagropsis myagroides fermented ethanol extracts (MOE). The total microbial count in breads made with 2% MOE decreased to about 1.6 log cycles as compared to that of breads not containing MOE. The protection index measured by rancimat increased with an increase in the quantity of MOE in the breads. During the storage period, the pH value was not different between breads containing MOE and breads not containing MOE. The lightness and redness of the breads decreased with an increase in the quantity of MOE, while the yellowness increased. In the sensory evaluation, the breads containing 0.5% MOE were more preferred than the breads not containing MOE. These results suggest that the addition of 0.5% MOE to breads has a good effect on improving the shelf-life and overall quality.

• Food Science and Preservation
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• v.19 no.5
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• pp.672-680
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• 2012

To determine the characteristics of four different sweet pumpkins (Minimam, Bojjang, Ajikuroi and Kurijiman), juices were made from these varieties. The carotenoids in the flesh were 1.5~2 times higher than those in the skin and were highest in the flesh of the Minimam pumpkin among all the pumpkin varieties studied. The vitamin A contents were higher in the skin than in the flesh, and Minimam had the highest vitamin A content (2,016.57 IU/100 g) while Kurijiman had the lowest (998.83 IU/100 g). The vitamin C contents varied from 43.21 to 82.35 mg%, but there were no significant differences between the flesh and the skin. That of Kurijiman was the highest among the varieties studied. The major mineral of these varieties was potassium, which was highest in the flesh of Ajikuroi, followed by phosphorus. The antioxidant activities of the sweet pumpkin water extracts were higher in the skin than in the flesh. The $EC_{50}$ of the Minimam skin was the highest (4.01 mg/mL), and that of the Ajikuroi flesh was the lowest. The sweet pumpkin juice yields were 69.5~89.4%, with significant differences shown according to the variety. That of the peeled Ajikuroi's flesh was the highest. The pH was 7.17~7.83, and the unpeeled sweet pumpkin's pH was higher than that of the peeled sweet pumpkin. The Brix degree was $12.5{\sim}16.6^{\circ}Brix$, with that of the unpeeled Bojjang being the highest($16.1^{\circ}Brix$) and that of the unpeeled Ajikuroi the lowest ($12.7^{\circ}Brix$). The sweet pumpkin beverage made with pressed juice was adjusted by pH 3.5 with citric acid, and the Brix degree was maintained at the $12^{\circ}Brix$ with sugar. The adjusted beverage, which was the peeled pumpkin flesh juice, had suspension stability for a short time. The sweet pumpkin beverage had a certain flovor and a slimy mouthfeel. Bojjang and Kurijiman were evaluated as the best in the terms of taste and color, but the peeled Minimam and Bojjang showed the best results overall.

• Food Science and Preservation
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• v.22 no.6
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• pp.779-787
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• 2015

We stored sweet pumpkins at $8^{\circ}C$, $12^{\circ}C$, $12^{\circ}C$ plasma curing and room temperature (control) for 180 days. During this time, the quality characteristics were analyzed within the different groups. No spoiling occurred in either of the storage conditions for up to 120 days, and the marketability was good. After 120 days, spoiling sharply increased by over 70% in the control group, while in the $12^{\circ}C$ group it decreased to 20~60%. Conversely, spoiling was completely absent in the $8^{\circ}C$ and $12^{\circ}C$ plasma curing groups during the overall 180 days of storage. The lowest moisture content was found in the $8^{\circ}C$ group and the quality of the pumpkins was excellent during the entire storage period. The color of pulp was better in the $12^{\circ}C$ and $12^{\circ}C$ plasma curing groups, with best results were found in the latest. Both the $8^{\circ}C$ and $12^{\circ}C$ plasma curing groups maintained their dark green surface colors, while both the $12^{\circ}C$ and control groups turned from green to yellow. All groups showed a reduction in their initial hardness, with the $8^{\circ}C$ group staying the hardest. Soluble solid and mealiness was increased to the storage during 90 days while decreased, that were long to maintain the mealiness texture in the $8^{\circ}C$ storage pumpkin. The overall acceptability from sensory evaluation was higher in the $12^{\circ}C$ plasma curing group, when compared to those of the $8^{\circ}C$, $12^{\circ}C$ and control groups storage conditions.

• Journal of the Korean Society of Food Science and Nutrition
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• v.43 no.12
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• pp.1843-1851
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• 2014

This study evaluated the quality characteristics and antioxidant activities of barley Doenjang (soybean paste) containing various contents (4, 12, and 20%) of kelp extracts. After 60 days of fermentation, pH, acidity, and viscosity of Doenjang were 5.80~6.86, 0.57~1.87%, and 4,913.3~9,333.3 cps, respectively, showing significant differences according to content of kelp extracts. Amino-type nitrogen contents was 902.60~921.90 mg%. For color values, L and b values increased significantly (P<0.001), whereas a value decreased slightly according to kelp extracts. DPPH radical scavenging effect ($IC_{50}$) for butylated hydroxyanisole ranged from 10.28 mg/mL to 23.23 mg/mL. DPPH radical scavenging effects of control was highest among the samples. The total polyphenol and flavonoid contents were 12.72~6.37 mg tannic acid equivalence/g, and $0.98{\sim}1.56{\mu}g$ rutin equivalence/g, respectively. Initial counts of total bacteria and lactic acid bacteria were 7.20~7.57 log CFU/g, and 4.20~4.71 log CFU/g respectively, showing significant difference according treatment and fermentation (P<0.05). In the sensory evaluation, 20% kelp extract Doenjang (5.6) showed higher overall acceptability than other samples (6.5) (P<0.01). Especially, umami taste (6.1) and texture (6.4) of 20% kelp extract Doenjang were higher than those of control (P<0.05). These results suggest that Doenjang containing kelp extracts, will be good for industrial fields.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.52-69
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• 2021

The transcriptions of Buddhist sutra in the Goryeo Dynasty are more elaborate and splendid than those of any other period and occupy a very important position in Korean bibliography. Among them, the transcriptions made on indigo paper show decorative features that represent the dignity and quality that nobles would have preferred. Particularly, during the Goryeo Dynasty, a large number of transcriptions were made on indigo paper, often in hand-scrolled and folded forms. If flexibility was not guaranteed, the hand-scrolled form caused inconvenience and damage when handling the transcription because of the structural limitations of the material that is rolled up and opened. It was possible to overcome these shortcomings by changing from the hand-scrolled to the folded form to obtain convenience and structural stability. The folded form of the transcription utilizes the same principle as the folding screen, so it is a structure that can be folded and unfolded, and it is made by connecting parts at regularly spaced intervals. No matter how small the transcription is, if it is made of thin paper, it is difficult to handle it and to maintain its shape and structure. For this reason, the folded transcription was usually made of thick paper to support the structure, and the cover was made thicker than the inner part to protect the contents. In other words, the forded form was generally manufactured to suit the characteristics of maintaining strength by making the paper thick. Because a large amount of indigo paper was needed to make this type of transcription, it is assumed that there were craftsmen who were in charge only of dark dyeing the papers. Usually, paper dyeing requires much more dye than silk dyeing, and dyeing dozens of times would be required to obtain the deep indigo color of the base of the transcription of Buddhist sutra in the Goryeo Dynasty. Unfortunately, there is no record of the Goryeo Dynasty's indigo blue paper manufacturing technique, and the craftsmen who made indigo paper no longer remain, so no one knows the exact method of making indigo paper. Recently, Hanji artisans, natural dyers, and conservators attempted to restore the Goryeo Dynasty's indigo paper, but the texture and deep colors found in the relics could not be reproduced. This study introduces the process of restoring indigo paper in the Goryeo Dynasty through collaboration between dyeing artisans, Hanji artisans, and conservators for conservation of the transcription of Buddhist sutra in the late Goryeo dynasty, yielding a suggested method of making indigo paper.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.196-221
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• 2011

The Royal Private Shrines or the Samyo(私廟), were dedicated to members of Choseon's royal family who could not be enshrined at the (official) Royal Ancestral Shrine, the Jongmyo(宗廟). The Samyo were constructed at the national level and were systematically managed as such. Because these private Shrines were dedicated to those who couldn't belong to the Jongmyo but were still very important, such as the ruling king's biological father or mother. The details of all royal constructions were included in the State Event Manuals, and with them, the two-dimensional layouts of the Samyo also. From the remaining "Hyunsa-gung Private Tomb Construction Layout Record(顯思宮別廟營建都監儀軌)" of 1824, which is the construction record of Gyeongwoo-gung Shrine(景祐宮) dedicated to Subin, the mother of King Sunjo(純祖), it became possible to investigate the so far unknown "The Painting of Gyeongwoo-gung Shrine", in terms of the year produced, materials used and other situational contexts. The investigation revealed that the "The Painting of Gyeongwoo-gung Shrine" is actually the "Hyunsa-gung Private Tomb Layout" produced by the Royal Construction Bureau. The bureau painted this to build Hyunsa-gung Private Shrine in a separately prepared site outside the court in 1824, according to the royal verdict to close down and move the temporary shrine inside the courtyard dedicated to Subin who had passed away in 1822. As the Construction Bureau must have also produced the Gyeongwoo-gung Shrine Layout, the painter(s) of this layout should exist among the official artists listed in the State Event Manual, but sadly, as their paintings have not survived to this day, we cannot compare their painting styles. The biggest stylistic character of the Painting of Gyeongwoo-gung Shrine is its perfect diagonal composition method and detailed and neat portrayalof the many palace buildings, just as seen in Donggwoldo(東闕圖, Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). A well-perceiving architectural painting employs a specific point of view chosen to fit the purpose of the painting, or it can opt to the multi-viewpoint. Korean traditional architectural paintings in early ages utilized the diagonal composition method, the bird-eye viewpoint, or the multi-viewpoint. By the 18th century, detailed but also artistic architectural paintings utilizing the diagonal method are observed. In the early 19th century, the peak of such techniques is exhibited in Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). From the perfect diagonal composition method employed and the details of the palace buildings numbering almost two hundreds, we can determine that the Painting of Gyeongwoo-gung Shrine also belongs to the same category of the highly technical architectural paintings as Donggwoldo(Painting of a panoramic view for Changdeokgung and Changgyeonggung Palaces). We can also confirm this hypothesis by comparing the painting techniques employed in these two paintings in detailthe way trees and houses are depicted, and the way ground texture is expressed, etc. The unique characteristic of the Painting of Gyeongwoo-gung Shrine is, however, that the area surrounding the central shrine building(正堂), the most important area of the shrine, is drawn using not the diagonal method but the bird-eye viewpoint with the buildings lying flat on both the left and right sides, just as seen in the "Buildings Below the Central Shrine(正堂以下諸處)" in the State Event Manual's Painting Method section. The same viewpoint method is discovered in some other concurrent paintings of common residential buildings, so it is not certain that this particular viewpoint had been a distinctive feature for shrine paintings in general. On the other hand, when the diagonalmethod pointing to the left direction is chosen, the top-left and bottom-right sections of the painting become inevitably empty. This has been the case for the Painting of Gyeongwoo-gung Shrine, but in contrast, Donggwoldo shows perfect screen composition with these empty margins filled up with different types of trees and other objects. Such difference is consistent with the different situational contexts of these two paintings: the Painting of Gyeongwoo-gung Shrine is a simple single-sheet painting, while Donggwoldo is a perfected work of painting book given an official title. Therefore, if Donggwoldo was produced to fulfill the role of depiction and documentation as well as the aesthetic purpose, contrastingly, the Painting of Gyeongwoo-gung Shrine only served the purpose of copying the circumstances of the architecture and projecting them onto the painting.