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Ahn, Ji Yun,Tae, Hyun-Jin,Cho, Jeong-Hwi,Kim, In Hye,Ahn, Ji Hyeon,Park, Joon Ha,Kim, Dong Won,Cho, Jun Hwi,Won, Moo-Ho,Hong, Seongkweon,Lee, Jae-Chul,Seo, Jeong Yeol Medknow PublicationsMedia Pvt Ltd 2015 Neural regeneration research Vol.10 No.8
<P>c-Fos is a good biological marker for detecting the pathogenesis of central nervous system disorders. Few studies are reported on the change in myocardial infarction-induced c-Fos expression in the paralimbic regions. Thus, in this study, we investigated the changes in c-Fos expression in the rat cingulate and piriform cortices after myocardial infarction. Neuronal degeneration in cingulate and piriform cortices after myocardial infarction was detected using cresyl violet staining, NeuN immunohistochemistry and Fluoro-Jade B histofluorescence staining. c-Fos-immunoreactive cells were observed in cingulate and piriform cortices at 3 days after myocardial infarction and peaked at 7 and 14 days after myocardial infarction. But they were hardly observed at 56 days after myocardial infarction. The chronological change of c-Fos expression determined by western blot analysis was basically the same as that of c-Fos immunoreactivity. These results indicate that myocardial infarction can cause the chronological change of immediate-early response gene c-Fos protein expression, which might be associated with the neural activity induced by myocardial infarction.</P>
( Ahn Hwi-joon ) 국립중앙박물관 2009 Journal of Korean Art and Archaeology (JKAA) Vol.3 No.0
As pictorial representations of daily scenes or events in the communal life of ordinary people, genre paintings can only achieve their aim through realistic expression. Abstract or non-representational styles cannot be employed in genre painting because it requires concrete depiction of subject matter. Realism is therefore the most important element in genre painting. And this is why genre painting is more reliable than any other type of painting as a medium for historical documentation. Artistic appeal is another vital element of a genre painting if it is to evoke sympathy from the viewer. A genre painting needs as much artistic quality as any other type of painting. In this regard, a genre painting is defined by 1) realism (寫實性), 2) documentary precision (紀錄性), 3) representation of times (時代性), 4) artistic value (藝術性), and 5) historical integrity (史料性). Korean genre paintings should additionally represent 6) the native Korean ambience and sentiment (韓國的情趣). As a result, genre paintings can maintain their appeal despite the changing tastes of viewers through the ages. In a broad sense, the earliest prototypes of genre painting in Korea may be found in agricultural scenes adorning a presumed ritual object from the Bronze Age. The incised human figures engaged in farming activities appear to stand for prayers for abundance and fertility. The images of farmers are expressed mainly through movements with their facial features boldly simplified. Tomb murals of the Goguryeo Kingdom (37 BC-668 AD) may be regarded as the earliest extant examples of Korean genre painting. In particular, murals in the tombs of the early to middle periods, depicting scenes from the lives of the deceased in epic documentary styles, reveal characteristics of genre painting. In view of the fact that they were painted inside burial chambers, these paintings were intended to provide for the afterlife of the tomb owners rather than to be appreciated as objects of art. Korean genre painting definitely reached its apex during the Joseon Dynasty (1392-1910). Major events in the royal palace as well as fraternal gatherings of the literati were actively recorded in documentary paintings during the early years of Joseon, according to historical records. Korean genre paintings of the highest standard are dated to the 18th and early 19th centuries during the latter part of the Joseon period. Literati painters, including Yun Duseo (1668-1715) and Jo Yeongseok (1686- 1761), began painting genre scenes. Following in their footsteps were professional court painters such as Kim Duryang (1696-1763) and middleclass amateur painters such as Kang Huieon (1738-1764), who paved the road to a full blossoming of Joseon genre painting by Kim Hongdo (1745-after 1816), Kim Deuksin (1754-1822) and Shin Yunbok (1758?-after 1813). Kim Hongdo and Kim Deuksin humorously depicted scenes from the everyday lives of commoners while Shin Yunbok rendered the romantic world of hedonists and courtesans with refined technique. These prominent genre painters exerted influence on professional painters of following generations, such as Yu Suk (1827-1873) and Kim Jun-geun (dates unknown), as well as folk painters. But the later painters never attained the vital appeal and artistry of their predecessors and genre painting declined throughout the 19th century. In addition, the Buddhist nectar ritual paintings of Joseon featured scenes from everyday lives of laymen in lower sections, which obviously resulted from the influence of genre painting.