• Korean Journal of Fisheries and Aquatic Sciences
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• v.7 no.3
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• pp.105-114
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• 1974

Identification and change of microflora during the fermentation of anchovy Engraulis japonica, under the halophilic circumstance were investigated. The change of salinity and pH in meat and juice which decide the environment for microorganism and decomposition of nitrogenous compound which functions as a nutrient source were also discussed by measuring the content of total-N, amino-N, nonprotein-N, TMA and VBN, The fresh anchovy was mixed with rock salt (20 percent w/w) and stocked for six months. Through the fermentation lag phase of viable cells extended for 20 days that was obviously larger compared with other circumstances, hereafter increased to reach the maximum value of $5\times10^4$ total count per gram at 35 day stock. The stationary phase proceeded for 25 days. 540 strains were isolated and among them 11 genus of bacteria, 3 genus of yeasts, were identified and other 2 yeast strains of unidentified. At the initial stage of fermentation, Pseudomonas, and Helobacterium prevalently grew, at the middle stage, they disappeared rapidly and Pediococcus and yeasts completely dominated, where they are assumed to get directly involved with fermentation of fish, The PH value tended to decrease in the progress of fermentation and at 100 day stock it showed the minimum value of 5.5 to 5.6 in both meat and juice. The highest salinity of meat decreased to 18 percent, while in juice it decreased to 28 percent since 50 days stock. The content of total-N in meat gradually decreased to 2.8 percent, while in juice it increased to 2.3 percent at 100 day stock, However nonprotein-N was 1.8 percent and amino-N was 1.1 Percent. Since 100 days stock, the increasing rate of amino-M is too low it could be judged to entered the final stage of fermentation, In the first 20 days stock, the increase of VBN and TMA can be explained by the growth of putrefactive bacteria such as pseudomonas on the meat before salts penetrate into the fish meat, while reincrement after 100 days stock, is explained by decomposition of free amino acid due to the reactions of bacteria and enzymes.

• The Korean Journal of Malacology
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• v.24 no.3
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• pp.253-260
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• 2008

A total of 15 different residues of polycyclic aromatic hydrocarbons (PAHs) in each 20 samples of Pacific oysters, dried laver and rockfish obtained from seafood markets were analyzed. The prevalence of samples in which more than one PAH residues were found was 75% in oyster, 35% in rock fish hepatopancreas, 0% in rockfish muscle and laver, respectively. To estimate factors contributing to this residue level difference among organisms, tissue concentrations were analyzed after exposing three organisms to phenanthrene, a representative PAH, with concentration of 0.01 or $0.1{\mu}g/mL$ for 2 weeks. Phenanthrene levels after exposure were higher in the oyster digestive gland, laver and rockfish hepatopancreas, but were lower in the oyster whole meat or rockfish muscle. This finding disproved that any close relationship between the residue difference of market samples and concentrating properties of PAHs. The second possible factor analyzed was total lipid contents in the three organisms. Although higher lipid level in hepatopancreas of rockfish may contribute accumulation of PAH residues in the rockfish, lipid factor did not affect to PAH levels in other organism samples. Activity of 7-ethyoxyresorufin-O-deethylase (EROD), a kind of cytochrome $P_{450}$ enzyme, was measured to evaluate the eliminated amount of PAHs through metabolism. The higher EROD activity in rockfish, compared to that in oyster, was likely to contribute to the lower PAH residues in the rockfish. More factors, such as different exposure history, organisms' ability to escape, ingestion through prey organisms, and post-harvest loss, should be studied in the future.

• Korean Journal of Ichthyology
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• v.25 no.2
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• pp.82-89
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• 2013

The spawning behavior, development of eggs and larvae of the Five striped damselfish, Abudefduf vaigiensis were studied. The Five striped damselfish were caught at Dolsan Island, Yeosusi, Jeollanamdo from May in 2011. As a result of observation, male fish attracted female after cleaning the rock. Female left after spawning and male protected their eggs until they had hatched out. The fertilized eggs were elliptical in shape (mean long diameter: 1.06 mm; mean short diameter: 0.55 mm) and transparent. Larvae hatched at 53 hrs after fertilization in $24.5{\sim}26.5^{\circ}C$(mean $25.0^{\circ}C$). The newly hatched larvae were 2.55~2.86 mm (mean 2.71 mm, n=10) in total length and their mouth and anus were already opened. They began to eat rotifer and transformed to postlarva stage. 3 days after hatching postlarva was measured 2.74~2.97mm(mean 2.84 mm, n=10) in total length. 10 days after hatching postlarva was measured 3.85~4.20mm(mean 4.00 mm, n=10) in total length with dosal fin rays IV-5; ventral fin rays I-3; caudal fin rays 1~2.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.14-22
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• 2012

The position, size and landscape of the former Donam SeoWon as well as the physical organization of the old site, are studied to extract data for the enhancement of the authenticity of Donam SeoWon since its registration as a world heritage site. The results are as follows. The 'Donam(豚巖)' encaved rock, the tombstone of teacher Sagye(沙溪), Kimjipsadang(金集祠堂), the head of the Gwangsan Kim family, the Sagye stream in front of them, and the Gyeryong and Daedun mountains in the distance are united in the former Donam SeoWon as landscape elements that clearly show the characteristics of the former site, which was called 'Donam-Wollim(豚巖園林).' Moreover Yangseongdangsipyoung(養性堂十詠), adds the garden elements of a medical herb field, twins pond, a bamboo forest, a school, and a peach field. On this site, one can also engage in activities that are related to the land and are closely related to Neo-Confucianism such as fish watching, conferencing, visit in seclusion(訪隱), looking for monks, and overseeing farming. The former site facing east is assumed to have Sau(祠宇) - Eungdodang(凝道堂) - Ipdeokmum(入德門) - Sanangru(山仰樓: estimated). Jeonsacheong seems to have been located to the left of the Sau area, Yangseongdang, which contained upper and lower twin lotus ponds, on the right and was surrounded by various plants. As it has been used as a lecture hall for the past 250 years, the former Donam SeoWon, located 1.8km away from the current area, must be preserved, and the landscape should be formed to establish the authenticity of Donam SeoWon.

• Korean Journal of Ichthyology
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• v.36 no.3
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• pp.240-252
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• 2024

The distribution status of the nature monument species, Hemibarbus mylodon, was investigated from 2021 to 2024 in Geumgang River and Mujunamdae Stream (a tributary of the Geumgang River). In 2021 to 2023, five individuals from Gemgang River upstream were collected by Geumsan-gun, Chungchangnam-do. In 2021 to 2024, 1,592 induviduals juvenile from seven sites were collected by surveying 15 sites from Mujunamdae Stream. The main habitat of juvenile was about 0.3~1.5 meters water deep, 0.14~0.16 meters per second in the middle-upper stream of rock and sand bottom with slow rapids and pools. The age groups for H. mylodon estimated by the frequency distribution of total length in after spawning season (May) to October indicated the 10~65 mm is 0-year old, 75~90 mm is 1-year old group. In addition, over the 120 mm group is 2-years old, the 190~250 mm is more than 3-years old group. In 2024, we identified 35 spawning place from six sites were sites were collected by surveying 15 sites. Spawning place at the river bottom were top of the rapids, 30~60 cm (mean 48.2 cm) water deep, and the place was covered with stone and gravel, water velocity was 0.13~0.34 (mean 0.25 m/sec) meter per second. The spawning place size of the gravel piles was as follows: length 35~48 cm (mean 40.7 cm), width 25~37 cm (mean 34.5), and height 5~12 cm (mean 8.6 cm). Thus, H. mylodon reintroduced to Mujunamdae Stream has successfully settled down and increase in abundance within the natural habitat.

• 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.