GC-FPDによる食品中の残留農薬の分析 : 小麦粉中の残留有機リン系農薬の分析

The residual organophosphorus pesticides of chlorphyrifos-methyl and malathion in wheat flours were analyzed by gas chromatography with flame-photometric detector (GC-FPD). Organophosphorus pesticides were extracted with acetone from 20g of the samples and the extract was treated with an aquenous phosphoric acid-ammonium chloride solution. The solution was filtered in the presence of Celite 545 and the filtrate was concentrated to give an aqueous solution. The solution was extracted with ethyl acetate and then washed with 2% sodium chloride solution. After drying over anhydrous sodium sulfate, the extract was evaporated to dryness and reconstituted in 5ml of acetone. The resulting solution was used as an analytical sample without further cleanup. Chlorpyrifos-methyl was detected from 12 among 21 flour samples with concentration range of 0.01-0.37μg/g and malathion was found in 7 among 21 samples with a concentration range of 0.01-0.15μg/g. The detection limit was 0.005μg/g for wheat flours

近畿中国四国農業研究センターニュース No.34

〈研究の紹介〉・小麦ふすまの食用素材化へのアプローチ-血圧降下ペプチドの簡易製造法の開発-・農作業体験を促進する組織の解明・レタスビッグベイン病の媒介菌を検出できる抗体の作

丁寧な所作をうながす商品の提案

木・プラスティック　w107xd65xh10m

研究資料 画伝幼学 絵具彩色独稽古（天保五年）

The author has assembled and analyzed a large number of technical manuals related to Japanese painting. The Enogu saishiki hitorigeiko is one such manual dating to the latter half of the Edo period, and is today in the collection of the University Library, Tokyo University of the Arts. Given the unique characteristics of this book as noted below, this article introduces the book from the author’s stance as a Nihonga painter. The Enogu saishiki hitorigeiko was written by two men, with the first half primarily written by Kansai, an Edo painter, while the notes and second half were written by Shikada Takakiyo, who is unknown except for having lived in Kyoto. The book was published in 1825 (Tenpô 5) by the Edo publisher Bunkokudô. This was a technical manual whose contents were extremely unbalanced. This imbalance can be seen in the fact that of the 23 sections of the main text, the first four sections explain the use of pigments, while the remaining 19 sections note 47 different types of materials and the amount of sizing needed for each of those types. Kanga hitorigeiko (1807) by Miyamoto Kunzan is another technical manual published around the same time that bears the term “hitorigeiko” or self-study guide in its title. Miyamoto’s book presents an exhaustive discussion of the knowledge necessary to paint pictures, namely painting theory, brush methods, picture models, painting materials, and their usage. Thus, a beginning student reading Miyamoto’s book could teach themselves, or hitorigeiko. Conversely, if students only used the Enogu saishiki hitorigeiko book, they could well be totally confused. Changing how sizing is applied depending on the materials and the thickness of paper or such is a general aspect of painting a picture, and because in most instances the differing use of amounts of nikawa (animal glue) and myôban (alum) is not as detailed as noted in this book, it is sure to invite confusion in a beginner student. In addition, because there was absolutely no inclusion in the book of the information that would be essential in a technical manual of the period -- such as the mindset needed to paint a picture, brush methods or the use of picture model books or compilations -- the careful focus on the sizing stage preparatory to painting the actual picture highlights the glaring omission of a section focusing on the details needed to paint a picture. Further, at the end of the section noting how to use pigments, the author writes “I will stop at noting that other than this method there are various means of coloring using pigments, and other secretly transmitted information is noted in detail in section two (dai ni hen).” Regardless, there seems to be no section two. We can imagine that while plans were made to write the second section, in the end it was never published. The facts related to this matter, however, remain unclear. Future research is needed to trace the reasoning behind the incomplete composition of this book and the process by which it was produced