• Applied Biological Chemistry
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• v.6
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• pp.61-77
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• 1965

In this experiment, Akiochi was studied especially on plant growth on the degraded soils. Besides, such soils were carefully examined on its character and plant body was analysed to know the difference in various mineral contents. For this purpose, paddy cultivation was done with the variety Pal Dal at Suwon, Sosa and Pyungtak. Three plots were chosen at each location as the normal and 2 levels of akiochi, a-the stronger and b-the weaker. Harvests from these 9 plots were measured agronomically and also chemically analysised. As for soil, after an observation on vertical section of soil, samples from each layer were also studied both physically and chemically. The results are summarized as follows. 1. Outer changes in rice plant and changes in yield components. 1) Rice from Akiochi soil showed remarkably shortened culm length, head length, protrusoion length, blade length of boot leaf, and coleoptile length, compared with that from the normal paddy field. 2) There was a tendency for Akiochi rice to have more heads per plant. 3) Akiochi rice showed poorer intercalary growth of upper 3 internodes. The ratio of this upper internode length to total culm length was also smaller in this case. Consquently the ratio of lower internode length to total culm length became larger than that from normal peddy field. 4) Akiochi rice showed significantly fewer first spikelets and attached grains of head at main stem. 5) Maturing rate of both this main seem of whole plant body was remarkably lower than that of normal rice. 6) Akiochi rice showed lower head weight of main stem, total hulled rice weight, total grain yield, 1000-grain weight, straw weight and straw-hulled rice ratio. 2. Physical and chemical study on soil. 1) Akiochi soil showed thinner upper layer and total thickness of upper and lower parts was smaller than that of normal. 2) Akiochi soil of Suwon was mainly composed of sand, while that of Sosa and Pyungtak was composed of heavy clay. 3) Chemical analysis indicated that content of $SiO_2$ in upper layer is always lower than that of normal. But no other common tendencies were found. 4) This analysis further lillustrates lower content of Fe, & Mn at Suwon ; of Mn at Sosa and higher content of Fe at Sosa and organic matters at Pyungtak. 5) Some differences in the content of N in each plot could be marked though irregular. 3. Chemical Composition of plant body. 1) Chemical analysis on grain, boot leaf and straw did not suggest any remarkable differences between normal and Akiochi rice, except that the latter contains less Si in boot leaf and less Mn in straw. 2) Contents of each chemical element were measured in grain and straw to calculate the percentage of element content in grain to that of whole plant body including both grain and straw. Here, Akiochi rice always showed lower value in N, K and Mn. 4. Relationship between chemical composition of plant body and that of soil. Akiochi soil at Sosa marked lower content of Mn. This caused another lower content of this element in grain, boot leaf and straw. But except that, no remarkable relationship could be found in this study.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.15 no.2
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• pp.147-153
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• 1982

Nitrate and nitrite, which readily produce N-nitrosamines by reaction with secondary amines, are widely distributed in natural products such as vegetables and cereals, and are also used as a color fixation in meat products or fish roes. This experiment was carried out to determine the contents of nitrate and nitrite in foods such as fermented sea foods and fresh vegetables purchased at markets in Korea. The contents of nitrate were $0.74\sim13.81\;ppm$ for fermented sea foods and $4.0\sim1,572.5\;ppm$for fresh vegetables. As for vegetables, the nitrate levels of edible herbs were relatively higher than those of greens, fruits and rootcrops. The nitrite contents in fermented demoisells(Chromis notatus), fermented shrimp, fermented small squid, fermented anchovy and salted Alaska pollack roe were very little, while those in fermented hairtail and fermented entrails were not detected. As for vegetables, nitrite levels found for cabbage and lettuce were relatively as high as 3.8 ppm and $2.5\sim2.9\;ppm$, respectively, but were not detected in Korean cabbage, green perilla leaf, pepper, garlic and burdock. Of vegetables, the nitrate values in the outer part of Korean cabbage, stems of water cress and leaves of green onion were higher than in the other parts. Little variety of the nitrate levels were found during 4 days storage. In the comparison of low temperature storage and room temperature storage, lettuce, pumpkin and spinach contained higher levels of nitrate at low temperature storage, while eggplant and green onion, at room temperature storage.