• Journal of the Korean Chemical Society
• /
• v.65 no.6
• /
• pp.415-418
• /
• 2021

• Proceedings of the Korea Society of Poultry Science Conference
• /
• 2002.11a
• /
• pp.113-115
• /
• 2002

Two experiments were conducted to compare the effects of the natural and the synthetic commercial pigments on the laying performance, pigmentation and fatty acid contents in egg Yolk of laying hens. Feed intake, egg production, egg weight and feed efficiency did not have significant difference(p〈0.05) in experiments I and II. White height and haugh unit did not have significant difference(p〈0.05) in two experiments. In order to approach the yolk pigmentation to 12∼13 of Roche color fan, addition level of natural red pigment was 25∼30 ppm. In the case of synthetic red pigment, the level was 15∼20 ppm. In this experimental condition, the pigmenting effect of the synthetic pigment had better than that of the natural pigment. In the experiment 2, the Pigmenting effect of mixing Pigments were inveatigated between TM2 mixed with natural red pigment, and TM6 mixed with synthesis red pigment. The fatty acid content in yolk was not affected by pigment addition.

• The Korean Journal of Food And Nutrition
• /
• v.11 no.1
• /
• pp.77-81
• /
• 1998

This study was performed to evaluate single-dose toxicity of the gardenia yellow pigment in Sprague-Dawley rats and New-Zealand White rabbits via oral routes. The yellow pigment was administered in rats at does levels of 5,000, 2,500, 1,250, 625, 312.5mg/kg and 9mg/kg. And also yellow pigment was administered in rabbits at does levels of 5,000, 2,500, 1,250mg/kg 0 unit /kg. The rats and rabbits of both sexes were observed daily for 14 days after single oral administration. Yellow pigment treated rats and rabbits did not induce any mortalities and abnormal signs in clinical findings, body weights, gross findings and histopathological finding. Based on these results, it is impossible to estimate LD50 values in rats and rabbits. Therefore, it was concluded that gardenia yellow pigment have no effect on acute toxicity and side effect in rats and rabbit.

• Journal of Plant Biotechnology
• /
• v.3 no.1
• /
• pp.1-5
• /
• 2001

Traditional culture technology of medicinal plants mainly depends on the field culture, which has many problems. With progress of modern culture technology, it has become possible to produce valuable secondary metabolites from medicinal plants. In this paper, we discuss about the pigment and saikosaponin production from too medicinal plants, Carthamus tinctorius and Bupleurum falcatum, through bioreactor culture system. A two-stage bioreactor culture system was established for the production of yellow and red pigments and saikosaponins by cell suspension cultures of Carthamus tinctorius and Bupleurum falcatum. In Carthamus tinctorius, balloon type airlift bioreactors and column type airlift bioreactors were employed for the tell culture and for the pigment production, respectively. The greatest pigment production was obtained on White medium supplemented with 4 mg/L kinetin, high levels of sucrose concentration and photosynthetic photon flux. In Bupleurum falcatum, adventitious roots were cultured in balloon type airlift bioreactors and the root growth was greatest on SH medium containing 5 mg/L IBA and 0.2 mg/L kinetin. HPLC analysis showed that the contents of main active saikosaponins a, c, and d in adventitious roots were almost the same as those in field cultured root.

• Journal of Conservation Science
• /
• v.23
• /
• pp.103-118
• /
• 2008

Hobun(Oyster shell W.) is a traditional material used as extender and white pigment from ancient times. The production method of it, however, has been discontinued. We have studied the traditional production method of Hobun through calcination of oyster shell, which is one of the traditional ways for preparing Hobun. Our work has the important meaning in that we can reproduce the manufacturing method of the discontinued traditional material and also it provides a solid background knowledge to stabilize the production and supply of Hobun for the cultural asset repairing materials. The result can be summarized as followings: The production processes of Hobun by calcination method are divided into 4 steps - calcination ${\rightarrow}$ slaking(pulverization) ${\rightarrow}$ separating fine powder by submergence in water ${\rightarrow}$ drying. In calcination step, the temperature is required to exceed $700^{\circ}$ to get pure white color of Hobun, since organic materials in the shell cause the final powder to be less white below $600^{\circ}$. And the calcination methods produce significant amount of calcium hydroxide, which is incongruent for pigment materials without additional treatments. The experimental study also demonstrated that the additional treatment process introduced in traditional paintings can be a probable process since the calcium of potassium hydroxide is observed to be promoted by this treatment. It is also concluded that, the calcination method of Hobun is appropriate for a small amount and high quality production.

• Conservation Science in Museum
• /
• v.27
• /
• pp.125-146
• /
• 2022

The Wooden Gamsil with Inscription of "Botajeon" in the collection of the Dongguk University Museum was made in imitation of the wooden architecture style of the late Joseon period. The Gamsil had suffered exfoliation in the pigment and loss of components and thus underwent conservation treatment. Prior to the conservation treatment, the damage was classified by type and form, scientific analysis was carried out on the fiber and the species of wood, and portable X-ray fluorescence (P-XRF) analysis was conducted for the pigment component analysis. According to the analyses, Korea Pine(Soft pine) was used for most parts of the Gamsil, Manchurian walnut (Jugalns spp.) was used for the signboard, and the fiber used was identified as rice straw (Oryza sativa). The P-XRF identified white lead and zinc oxide in the white pigment, red lead in the red pigment, ultramarine blue in the blue pigment, and emerald green in the green pigment. For the conservation treatment, contaminants attached to the gamsil were removed by both dry and wet cleaning, detached parts were reattached in their original places, and lost parts were restored.

• Korean Journal of Medicinal Crop Science
• /
• v.16 no.3
• /
• pp.192-194
• /
• 2008

In our previous study, ethylacetate fraction of white ginseng (root of Panax ginseng C.A. Meyer) extract inhibited mushroom tyrosinase activity and melanin production in melanocytes. This study examined its effects on the expression of melanin biosynthesis-related enzymes to explore the depigmenting pathway. Moreover, depigmenting effect on animal skin was examined using UV-B induced hyperpigmented skin of brown guinea pigs. The ethylacetate fraction of the white ginseng extract exhibited depigmenting activity in the skin of brown guinea pig without visible edema. In addition, this fraction reduced tyrosinase expression in melanocytes. The results suggested that ethylacetate fraction of white ginseng extract might be used as skin depigmenting material by inhibition of tyrosinase activity and expression.

• Korean Journal of Food Science and Technology
• /
• v.15 no.1
• /
• pp.27-31
• /
• 1983

Monolayer moisture contents of white ginseng and white ginseng powder were 6.68g/100g and 7.81g/100g respectively, and the corresponding water activity at that moisture were 0.16 and 0.18 respectively. TBA value increased with an increase in relative humidity and storage period, and the increase of TBA value was the lowest at 23-32% R.H.. The variation of fat soluble and water soluble pigment in white ginseng was similar to that of TBA value.

• Journal of Conservation Science
• /
• v.33 no.6
• /
• pp.431-442
• /
• 2017

The purpose of this study is to reveal that coloring status and the degree of damage and the kinds of pigments used in large buddhist painting (Gwaebultaeng) of Tongdosa temple using a scientific analysis methods. It was observed that the physical damage patterns of the Gwaebultaeng were folding, lifting, fading, and peeling. Lead red, cinnabar and organic pigments were used as red pigments. Malachite and atacamite were used as green pigments, azulite and lazulite were blue pigments, lead white and talc were white pigment. It is estimated that overlapping organic pigments on the lead white were used as the yellow pigment and carbon was the black pigment. Through the analysis of the particle status of the pigments, it was confirmed that different types of raw materials were used for the green pigment, and the crystal form was easily distinguishable. Also, the dark blue color and the light blue color differed from each other depending on the size and shape of the raw material particles. Yellow and purple colors were organic pigments which did not have a graininess. The yellow and purple colors were organic pigments free from the graininess, and the pigments of dark red pigments was found to be mixed with the orange color pigments and carbon particles.

• Journal of Conservation Science
• /
• v.30 no.1
• /
• pp.13-25
• /
• 2014

This study interpreted the chemicals of the pigments and the coloring techniques employed on Youngsan Ritual Ceremony Buddhist Painting through a nondestructive analysis method and a microscopic observation. Based on the interpretation, this study closely examined the chemical properties of the names of the coloring materials specified on the ceremonial writing of the Buddhist painting. It is estimated that lead white was used for the white pigments, orpiment and organic pigment for the yellow pigment, cinnabar/vermilion, minium, red ochre, and red dyes for the red pigments, malachite or atacamite for the green pigments, azurite and indigo for the blue pigments, and ink stick for the black pigments. The pigment names specified on the ceremonial writing are juhong, jungcheong, hayeop, whangdan, and whanggeum, and it was verified that juhong is cinnabar or vermilion, jungcheong is azurite, hayeop is malachite or atacamite, whangdan is minium, and whanggeum is a gold foil.