• Food Science of Animal Resources
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• v.41 no.5
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• pp.840-854
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• 2021

The impact of green tea extract powder and rosemary extract powder, alone or in combination, on the quality characteristics of naturally cured pork sausages produced with white kimchi powder as a nitrate source was evaluated. Ground pork sausages were assigned to one of seven treatments: control (0.01% sodium nitrite and 0.05% sodium ascorbate), treatment 1 (0.3% white kimchi powder and 0.05% green tea extract powder), treatment 2 (0.3% white kimchi powder and 0.1% green tea extract powder), treatment 3 (0.3% white kimchi powder and 0.05% rosemary extract powder), treatment 4 (0.3% white kimchi powder and 0.1% rosemary extract powder), treatment 5 (0.3% white kimchi powder, 0.05% green tea extract powder, and 0.05% rosemary extract powder), and treatment 6 (0.3% celery juice powder, 0.05% green tea extract powder, and 0.05% rosemary extract powder). Naturally cured products had lower (p<0.05) cooking yield and residual nitrite content than control sausages. However, compared to the control, naturally cured products with white kimchi powder (treatments 1 to 5) showed similar the pH, oxidation-reduction potential, CIE L^* values, CIE a^* values, nitrosyl hemochrome content, total pigment content, and curing efficiency to the control. When the amount of green tea extract powder or rosemary extract powder was increased to 0.1% (treatments 2 and 4), lipid oxidation was reduced (p<0.05). These results indicate that green tea extract powder, rosemary extract powder, and white kimchi powder may provide an effective solution to replace synthetic nitrite and ascorbate used in traditionally cured products.

• Korean Journal of Food Science and Technology
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• v.35 no.5
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• pp.803-811
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• 2003

This study compared the physicochemical characteristics of yellow pigments in domestic and imported yellow croakers during distribution and storage. The croaker is generally adulterated by mixed color product of red and yellow pigment. This study found that the yellow pigment was stable during pH and temperature changes, but the red pigment was less stable than the yellow pigment. As for the light effect on the yellow pigment and the red pigment, there was no change in the remaining rate of the pigment stored in a dark place. The moisture content decreased according to the storage period, and the width of changes was large in the order of croaker stored at $5^{\circ}C$, croaker stored at $15^{\circ}C$ and dried croakers. The yellowness value of the abdomen of the adulterated white croaker did not show any large difference at the initial stage and for a storage period of 10 days at $5^{\circ}C$. However, the yellow croakers showed a decreasing trend according to the storage period at $15^{\circ}C$. The croaker can be generally adulterated by a mixed color of red and yellow pigment. For the texture change in accordance with the storage condition of the croakers, both the yellow and white croakers showed a gradually increasing trend of hardness when stored at $5^{\circ}C$ and $15^{\circ}C$.

• Food Science of Animal Resources
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• v.40 no.4
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• pp.636-648
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• 2020

This study investigated the effects of the addition levels of white kimchi powder and acerola juice powder, as natural sources of sodium nitrite and sodium ascorbate, on the quality of cooked ground pork products. Freeze-dried white kimchi powder was prepared and used after fermentation for 2 wk. Six treatments were included: control (100 ppm sodium nitrite and 500 ppm sodium ascorbate), treatment 1 (0.2% white kimchi powder, 0.02 % starter culture, and 0.1% acerola juice powder), treatment 2 (0.2% white kimchi powder, 0.02% starter culture, and 0.2% acerola juice powder), treatment 3 (0.4% white kimchi powder, 0.04% starter culture, and 0.1% acerola juice powder), treatment 4 (0.4% white kimchi powder, 0.04% starter culture, and 0.2% acerola juice powder), and treatment 5 (0.4% celery powder, 0.04% starter culture, and 0.2% acerola juice powder). The pH values were decreased (p<0.05) because of lower pH of acerola juice powder, resulting in lower cooking yields (p<0.05) in these treatments. CIE L* and CIE a* values of indirectly cured meat products were not different (p>0.05) from the sodium nitrite-added control. However, indirectly cured meat products showed lower (p<0.05) residual nitrite contents, but higher (p<0.05) nitrosyl hemochrome contents and cure efficiency than the control. Treatments 2 and 4 had higher (p<0.05) total pigment contents and lipid oxidation than the control. This study indicates that white kimchi powder coupled with acerola juice powder has substantial potential to substitute synthetic nitrite to naturally cured meat products, which could be favored by consumers seeking clean label products.

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.193-201
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• 2010

Being an element of plastic arts and a language of plastic forms, the color white has significant potential for improving the quality of physical environment. Colors are dealt with scientifically in chromatics, and also often become an interesting topic when analyzing a society and its history and culture. Thus, an in-depth study of the symbolism of color white and, of white pigment are required because the color has not only an important chromatic value and this should be understood a great deal, but also been the important symbol of a culture in a particular period. This paper examined the significance of the color white identified in Asian and Western cultures based on scientific and psychological understanding of the color. This also analyzed a few major white pigments, then demonstrated different methods of using the pigments and various techniques of expression used by Asian and Western painters. In addition, the paper attempted to raise awareness of the color white as chromatic color over non-color by examining the contrasting viewpoints on the color, and the changes in the viewpoints over time and place.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.226-245
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• 2019

Beopjusa Gwaebultaeng (Large Buddhist Painting), designated as Treasure No. 1259, was painted in 1766 and featured Yeorae (Buddha) at the center in the style of a single figure. It is the longest existing buddhist painting and was created by Duhun, a painter who was representative of 18th century Korean artists. His other remaining work is Seokgayeorae Gwaebultaeng (1767) in Tongdosa Temple. Considering their same iconography, they are assumed to have used the same underdrawing. Duhun had a superb ability to maintain a consistent underdrawing, while most painters changed theirs within a year. The Beopjusa painting carries significance because it was not only painted earlier than the one in Tongdosa, but also indicates possible relevance to the royal family through its records. Beopjusa Temple is also the site of Seonhuigung Wondang, a shrine housing the spirit tablet of Lady Yi Youngbin, also known as Lady Seonhui. Having been built only a year before Beopjusa Gwaebultaeng was painted, it served as a basis for the presumption that it has a connection to the royal family. In particular, a group of unmarried women is noticeable in the record of Beopjusa painting. The names of some people, including Ms. Lee, born in the year of Gyengjin, are recorded on the Bonginsa Temple Building, the construction of which Lady Yi Youngbin and Princess Hwawan donated money to. In this regard, they are probably court ladies related to Lady Yi Youngbin. The connection of Beopjusa Gwaebultaeng with the royal family is also verified by a prayer at the bottom of the painting, reading "JusangJusamJeonhaSumanse (主上主三殿下壽萬歲, May the king live forever)." While looking into the historical characteristics of this art, this study took an approach based on scientific analysis. Damages to Beopjusa Gwaebultaeng include: bending, folding, wrinkles, stains due to moisture, pigment spalling, point-shaped pigment spalling, and pigment penetration to the lining paper at the back. According to the results of an analysis of the painting pigments, white lead was used as a white pigment, while an ink stick and indigo were used for black. For red, cinnabar and minium were used independently or were combined. For purple, organic pigments seem to have been used. For yellow, white lead and gamboge were mixed, or gamboge was painted over white lead, and gold foil was adopted for storage. As a green pigment, atacamite or a mixture of atacamite and malachite was used. Azurite and smalt were used separately or together as blue pigments.

• Mycobiology
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• v.50 no.6
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• pp.429-438
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• 2022

Two fungal strains belonging to Ascomycota were discovered in Gyeonggi-do, Korea, during this investigation of soil microfungi and microbiota of insects. The strain KNUF-20-047 produced milky white on the back and a milky creamy center to white toward the margin on the front side of colonies. Conversely, the closest Xenoacremonium falcatus displayed a pale luteous to luteous center, white toward margins on the front side, and pale luteous or luteous pigment on the back side, whereas X. recifei produced white colonies. The conidiophores of KNUF-20-047 were slightly larger than those of X. falcatus, and the conidia were distinct from X. recifei. Strain KNUF-20-NI-005 produced light brown to subhyaline conidiophores up to 56.0 lm tall, whereas Rhinocladiella anceps displayed golden to dark brown conidiophores up to 350 lm. Strain KNUF-20-NI-005 also produced larger conidia than R. anceps but smaller than R. coryli and R. fasciculata. Moreover, the molecular phylogeny strongly supports the detailed description and illustration of each proposed species to be designated as Xenoacremonium minutisporum sp. nov. and Rhinocladiella terrigenum sp. nov. in Korea.

• Conservation Science in Museum
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• v.15
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• pp.66-77
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• 2014

A gujangbok is a king's silk ceremonial robe embroidered with nine symbols that represent the essential virtues that a king needs to govern his country. The National Museum of Korea currently own a gujangbok worn by King Gojong in the late Joseon Dynasty. The robe is painted with various colors, including red, yellow, blue, green, and gray. μ-XRF and analysis was conducted on the pigments, and it was found that the red color was made from cinnabar, the yellow color was gold and brass, the blue color was a blue organic pigment and white lead, the green color was a synthetic pigment composed of copper and arsenic, and the gray color pigment was silver. Also, the pigments were compared to those used to make the patterns of a queen's ceremonial robe and a front cloth panel, both made around the same time and also owned by the National Museum of Korea. The comparative analysis revealed clear differences and similarities between the various pigments. The resulting data expect to serve as a useful foundation research for future studying of the pigments used by the Joseon royal court in the late nineteenth century.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.216-228
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• 2023

The purpose of this study is to apply the handheld Raman spectrometer to identify the coloring materials used in a large Buddhist painting (of Maitreya Buddha) at Janggoksa Temple through cross-validation with HH-XRF. An in situ investigation was performed together with use of a digital microscope and HH-XRF analysis to verify the properties of pigments used in the gwaebul ("large Buddhist painting") via a non-destructive method. However, the identification of coloring materials composed of light elements and mixed or overlaid pigments is difficult using only non-destructive analysis data. Unlike in situ investigation, laboratory analysis often required samples yet the sampling is restricted to a small quantity due to the cultural heritage characteristic. Thus, it is necessary to develop a non-destructive in situ method to supplement the HH-XRF data. The large Buddhist painting at Janggoksa Temple was painted mainly using white, red, yellow, green, and blue colors. The Raman spectroscopy provides molecular information, while XRF spectroscopy provides information about elemental composition of the pigments. Analysis results identified various coloring materials: inorganic pigment, such as lead white, minium, cinnabar, and orpiment, as well as organic pigment such as gamboge and indigo. Therefore, it is possible to obtain more information for the identification of pigments; organic pigment and mixed or overlaid pigments, while at the same time minimizing the collection sample and simplifying the analysis procedure compared to previously used methods. The results of this study will be used as basic data for the analysis of painting cultural heritage through a non-destructive in situ method in the future.

• Proceedings of the Korean Society of Fisheries Technology Conference
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• 2000.10a
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• pp.79-80
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• 2000

Conventional surimi processing from white flesh fish, such as Pacific whiting and Alaska Pollee utilizes only <25％ of the body (Toyoda and others 1992; Park and others 1997). Conventional surimi is refined myofibrillar proteins processed by removing unnecessary foreign materials such as fat, pigment skin, and water soluble sarcoplasmic proteins. The acid-aided process demonstrated excellent gel forming ability for cod and mackerel with extremely higher yield (Hultin and Kelleher 1999). (omitted)

• 보존과학연구
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• s.13
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• pp.59-68
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• 1992

Some pigments of Kumsansa mural painting and Dan-Chong were analyzed by X-ray diffraction spectrometry. Red colour of mural painting and Dan-Chong are all of hematite based quartz and calcite. White blue were found to lead sulphate based calcite on mural painting. Blue pigment on mural painting was found to be quartz, albite, calcite, gypsum and talcwhile Dan-Chong lazurite and gypsum.* Dan-Chong : Exterior painrig with various colours and desingns.