• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.3
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• pp.92-98
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• 2007

This study analyzes the women's hair style and costume in late Chosun Dynasty appeared in Shin Yoon Bok' genre painting. Conclusions are as follows; First, in case of woman costume, the Jergori was short and the Chima was too long. The trend of simplified clothes on upper body and abundant clothes on lower body appeared. In addition, as 'geodulchima' became popular, women came to of en show an erotic beauty by exposing their underwear below chima. Second, in the women's hair style appeared in Shin Yoon Bok' genre painting, a unmarried woman did the braids and a feme covert did 'Ungeon Meori' and 'Tremeori'(a swept-back hair with the chignon) regardless of status. We can imagine the women's hair styles of a higher class who imitated those of 'Kie-sangs' through the features of Kie-sangs who were illustrated by Shin yoon bok.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.21 no.3
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• pp.747-752
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• 1996

In this paper, we propose a new SO-MLSE(soft-output maximum likelihood sequence estimation) equalizer, which can be used in GSM digital cellular system) it uses complex correlation of training sequence to obtain the channel information and the equalization is performed by MLSE using Viterbi algorithm. In order to generate a soft-decision input to channel decoder (Viterbi decoder), the soft-output equalization algorithm is needed. The adopted algorithm doesn't require to modify the structure of HO-MLSE(hard output MLSE) equalizer, that is, SO-MLSE equalizer can be implemented by adding soft-output generation block to HO-MLSE equalizer. This algorithm uses the outputs of matched filter and HO-MLSE equalizer. It turns out that the complexity of proposed SO-MLSE equalizer is simpler than those of other SO-MLSE equalizer and its perforance is almost the same as those of others. Finally, the proposed SO-MLSE equalizer is also implemented s a prototype with ADSP-2101 16-bits fixed point digital signal processing chip.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.91-98
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• 2023

Genre paintings, which describes the lives of ordinary people, has lifestyle and Pungnyu of our ancestors. Pungnyu is aesthetic consciousness and a way of lives. The culture of Pungnyu is a kind of art boundary that combines high spirits and art. The Pungnyu is an icon of Korean culture, realization of taste, and happens through "stroll", which means the walking peacefully, and "sightsee", which means go sightseeing. It shows through the rambling and the excursion. Hyewon's 'Jeonsincheob'('傳神帖', a kind of spirit transferred drawings book) is a genre painting which represents Pungnyu and shows various activities at that time. Therefore, we can understand our own spirit and soul through appreciating his paintings. Hyewon's 「Jeonsincheob」 has three special features. Firstly, it is the symbol of Korea traditional Pungnyu. Secondly, it contributes to development of the East art. Lastly, Hyewon's 「Jeonsincheob」 can be considered in terms of glocalism, which means the combination of globalization and localization and can be explained by the relation of the center=the periphery, the globalization=the Korean wave, the universality=the particularity. Hyewon's 'Jeonsincheob' has aesthetic boundaries. One aims at individual pleasure. Another aims at harmony with its natural environment in which you are. Also, it can be considered as the boundaries of enjoying together which aims at harmony with social environment among group members.

• Journal of the Korean Society of Costume
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• v.25
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.