• Journal of Oral Medicine and Pain
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• v.31 no.4
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• pp.283-296
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• 2006

Along with the development of scientific technologies, health care has been growing remarkably, and as the social life quality improves with increasing interest in health, the demand for medical service is rapidly increasing. However, medical accident and medical dispute also are rapidly increasing due to various factors such as, increasing sense of people's right, lack of understanding in the nature of medical practice, over expectation on medical technique, commercialize medical supply system, moral degeneracy and unawareness of medical jurisprudence by doctors, widespread trend of mutual distrust, and lack of systematized device for solution of medical dispute. This study analysed 30 cases of civil suit in the year between 1994 to 2004, which were selected among the medical dispute cases in dental field with the judgement collected from organizations related to dentistry and department of oral medicine, Yonsei university dental hospital. The following results were drawn from the analyses: 1. The distribution of year showed rapid increase of medical dispute after the year 2000. 2. In the types of medical dispute, suit associated with tooth extraction took 36.7% of all. 3. As for the cause of medical dispute, uncomfortable feeling and dissatisfaction with the treatment showed 36.7%, death and permanent damage showed 16.7% each. 4. Winning the suit, compulsory mediation and recommendation for settlement took 60.0% of judgement result for the plaintiff. 5. For the type of medical organization in relation to medical dispute, 60.0% was found to be the private dental clinics, and 30.0% was university dental hospitals. 6. For the level of trial, dispute that progressed above 2 or 3 trials was of 30.0%. 7. For the amount of claim for damage, the claim amounting between 50 million to 100 million won was of 36.7%, and that of more than 100 million won was 13.3%, and in case of the judgement amount, the amount ranging from 10 million to 30 million won was of 40.0%, and that of more than 100 million won was of 6.7%. 8. For the number of dentist involved in the suit, 26.7% was of 2 or more dentists. 9. For the amount of time spent until the judgement, 46.7% took 11 to 20 months, and 36.7% took 21 to 30 months. 10. For medical malpractice, 46.7% was judged to be guilty, and 70% of the cases had undergone medical judgement or verification of the case by specialists during the process of the suit. 11. In the lost cases of doctors(18 cases), 72.2% was due to violence of carefulness in practice and 16.7% was due to missing of explanation to patient. Medical disputes occurring in the field of dentistry are usually of relatively less risky cases. Hence, the importance of explanation to patient is emphasized, and since the levels of patient satisfaction are subjective, improvement of the relationship between the patient and the dentist and recovery of autonomy within the group dentist are essential in addition to the reduction of technical malpractice. Moreover, management measure against the medical dispute should be set up through complement of the current doctors and hospitals medical malpractice insurance which is being conducted irrationally, and establishment of system in which education as well as consultation for medical disputes lead by the group of dental clinicians and academic scholars are accessible.

• Journal of Food Hygiene and Safety
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• v.26 no.4
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• pp.417-423
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• 2011

Salted Cabbage products purchased from different companies at 4 different districts in South Korea were detected in this study. Cabbage and salt are the main materials for kimchi manufacture. The results of general bacteria contaminated in the samples were $1.4{\times}10^5$, $6.4{\times}10^5$, $1.7{\times}10^7$, $3.6{\times}10^7$ CFU/g in cabbage and $2.7{\times}10^3$ CFU/g in salt, respectively. The results of coliforms were detected as $2.4{\times}10^4$ CFU/g, and there was no Escherichia coli in any sample. Staphylococcus aureus was detected in cabbage as $9.9{\times}10^2$, $8.0{\times}10^1$, and $3.0{\times}10^3$ CFU/g, Bacillus cereus was also found in cabbage as $4.1{\times}10^3$ and $1.0{\times}10^1$ CFU/g. The results of Campylobacter jejuni and Vibrio paraheamolyticus were $2.4{\times}10^6$ and $1.0{\times}10^4$ CFU/g in cabbage, respectively. $1.0{\times}10^3$ CFU/g for Yersinia enterocolitica was determined in salt. In case of Listeria monocytogenes, the results were $1.5{\times}10^1$, $1.1{\times}10^2$, and $4.5{\times}10^1$ CFU/g in cabbage. Total batcteria ranged from $1.4{\times}10^1$ to $4.4{\times}10^5$ CFU/g were detected in salting solution, from $1.5{\times}10^4$ to $1.2{\times}10^8$ CFU/g in dehydrated salted-cabbage, from $9.4{\times}10^4{\sim}1.3{\times}10^8$ CFU/g in minced salted-cabbage. The results of E. coli in samples from different companies were different from one to anther. The results of the contamination of S. aureus and B. cereus showed positive in salting solution and dehydrated salted-cabbage at a portion of companies. V. paraheamolyticus was detected in salting solution. The contamination of Y. enterocolitica ranged from $9.5{\times}10^2$ to $1.8{\times}10^3$ CFU/g in salting solution, from $1.7{\times}10^1$ to $2.7{\times}10^2$ CFU/g in dehydrated salted-cabbage, from $1.2{\times}10^2$ to $1.3{\times}10^8$ CFU/g in minced salted-cabbage. The contamination of L. monocytogenes ranged from $8.0{\times}10^2$ to $1.7{\times}10^4$ CFU/g in salting solution, from $2.8{\times}10^2$ to $1.2{\times}10^4$ CFU/g in dehydrated salted-cabbage. During the manufacture processing of Kim chi, microorganisms were detected in cabbages salted in different concentrations of salt solution at 8%, 10%, 12% and 15% for 5-20 hours. As the results, $3.5{\times}10^5-1.7{\times}10^6$, $3.4{\times}10^5-2.5{\times}10^6$, $5.4{\times}10^5-2.3{\times}10^6$, $4.0{\times}10^5-2.3{\times}10^6$ CFU/g were detected for E. coli in samples at different treatment conditions. $1.9{\times}10^4-4.1{\times}10^4$, $4.1{\times}10^3-2.8{\times}10^4$, $1.5{\times}10^3-7.8{\times}10^3$, $2.2{\times}10^4-6.6{\times}10^4$ CFU/g were detected for S. aureus in samples at different treatment conditions. Salmonella typhimurium was detected in salted cabbage with various salt concentration after salting for 5 hrs, the result ranged from $2.5{\times}10^5$ to $3.8{\times}10^6$ CFU/g, and change of microorganism was the smallest in salted cabbage under the concentration of salting solution at 10% for 15 hours. The cabbage salted in 10% salting solution for 15 hours were washed with water for 2 and 3 times, with chlorine for 3 times, and with acetic acid for 3 times. E. coli was detected in the samples washed with water for 2 and 3 times, washed with chlorine for 3 times. The contamination of S. aureus was $3.0{\times}10^5$ CFU/g in the samples washed with water for 2 times, $5.6{\times}10^3$ CFU/g in the samples washed with acetic acid for 3 times, $3.6{\times}10^5$ CFU/g in the samples washed with water for 3 times and same amount in the samples washed with chlorine for 3 times. According to the results, the contamination of S. aureus was $5.6{\times}10^3$ CFU/g lower in samples washed with chlorine and acetic acid than that in samples washed with water. In case of S. typhimurium, it has been detected in samples washed with water and chlorine, $3.0{\times}10^1$ CFU/g as the lowest concentration among all the samples was measured in the samples washed with acetic acid for 3 times.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.