K-Cultural Heritage 5 Page > Little Korea


Everlasting Legacies of Korea

  • 1991.3.25
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    This is a famous liquor made by descendants of Hwang Jang-soo, who lived together in Sangdae-ri, Sanbuk-myeon, Mungyeong-si, and used it to serve guests.

    About 200 years ago, Jangsu Hwangs all started making more fragrant and delicious liquor because of their ample family life and luxury.

    Among them, Hwang Ui-min, a poet who enjoys poetry, named "Hosanchun" after his own poem, "Hosan," and "Chun," which symbolizes the spring color that makes people feel the smell when drunk.

    Hosan Chun is soaked in rice, glutinous rice, grain, pine needles, and water, and it takes about 30 days for the liquor to be completed. This liquor is very fragrant and slightly salty, and the unique thing is that even if you make it in the same way as the same raw material, it doesn't taste good if you make it outside of Sangdae-ri, Sanbuk-myeon.

    It is said that the water from Daeha Village in Sanbuk-myeon must be raised between 0:00 a.m. and 4:00 a.m. to boil and cool to make alcohol, which is a characteristic of Hosanchun along with its scent and taste.
  • 2015.3.25
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    A pavilion was called a pavilion, meaning that the ancient characters were inscribed with an inscription on a solid material to indicate their own cover, so that they could not be altered. The engraving work started from the seal, but the Hyeonpan, Juryeon, and Jealu are all based on the pavilion, and recently, paintings including Sagunja have become an independent art.

    The materials of the pavilion range from wood to stone, gold, silver, bronze, and brass, jade stones such as blue, yellow, white, and red, and porcelain such as celadon and white porcelain, ivory, auricular, auricular, a white, and blood vessels such as a godmother.

    Ahn Jung-hwan, the holder of the hall, worked in the hall for more than 55 years after receiving a royal edict from his father under the rule of Ahn Gwang-seok, a renowned calligrapher and a hallkeeper. Jeon Seung-gyebo was first handed down from Chusa Kim Jung-hee, who is called the epitome of the Korean pavilion, to ideal, reverse hawk Oh Kyung-seok and Wichang Oh Se-chang, while his father Ahn Kwang-seok took over from Oh Se-chang.

    His father, An Gwang-seok, was born to Hyeil, a Dongsan of Beomeosa Temple, and was granted a private education by Oh Se-chang, the maternal uncle of the village, to establish an axis of the temple. Ahn Kwang-seok's angle was strict in the tactics and flawless in the technique. Ahn Kwang-seok has long lived in Busan, including annotations from Beomeosa Temple and Daegaksa Temple, and Ahn Jung-hwan also settled in Busan earlier and worked in Busan after his father.

    Besides Ahn Jung-hwan is carved in wood and Rock Carvings donggak, trees, grid magnetic angle, wood and temperament according to the type of tree according to the (銅刻, 陶瓷刻, 瓦刻, 金屬刻) will be well aware.Stone material, as well as for reading well. In addition, the traditional wooden carving tool uses the technique of weaving rice paddies together like imitation, which is a unique style that only comes down from Ahn Jung-hwan's family.

    The hall is a traditional function that has sufficient value as an intangible cultural asset, with clear transfer genealogy of the holder and excellent technique for traditional pavilions, as well as deep connection with Busan.
  • 2011.3.26
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    Busan Ancient Tombs Dori Gulip was a geollip that was performed in the ancient area of Gobundori, Seodaesin-dong, Seo-gu, Busan, and was called Geolipgut because it received a little rice or money in return for wishing good fortune by visiting Gagahho Lake in the hope that there would be only good things at the beginning of the year.

    Busan Ancient Tombs-ri Gulip is a traditional folk religion with a history of more than 150 years, considering that the rite was held in Dangsan, Sijaksan Mountain, a village guardian mountain of Daesin-dong, which was built around 1860.

    Busan Gobundori Gulip consists of a total of 37 people, including jisu, Aksa, and Japsaek. First of all, Goha in Dangsan, visit each family to perform a well-being ritual, and then perform a ritual to pray for a good fish, and then perform a dance performance at the Pangutpan.

    Busan Gobundori Gulip is distinct from other geolip Nori, such as the detailed composition of the Sungjupuri editorial, the insertion of Yongwanggut section chief, and the musical diversity of Buckunnori and Yeonhee among Seollnori. In addition, the musical composition and editorial composition of Yu Sam-ryong, Lee Myeong-cheol, and Jeong Sang-ryeol, who were the best pungmul jabs of the time, are outstanding. It is considered to be a traditional folk who actually perform geolip on the first day of the year in Seo-gu, Busan, and has sufficient folk and cultural value.
  • 2008.3.27
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    The sound of a joke that is currently being handed down is a restoration of what was taken by Park Chun-jae (1883-1950) in the early 20th century. It is the current joke that the tradition of Korean jokes, which led to the arrest of Woo-hee from the 14th and 15th centuries and the arrest of the municipal government from the 18th to 19th centuries, has permeated Park Chun-jae's jokes and "Bal Tal" since the 1910s.

    With these circumstances in mind, the current tradition of jadamsori is deeply historical. However, the tradition had been cut off for a while. The current jesting sound is based on the restoration of Baek Young-chun in 1998.

    17 March 2008 baegyeongchun the holder, come served as recognition honor became a holder on April 17, 2014. 2017 on Nov. 16, choeyeongsuk been held recognition as an activity.

    ※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).
  • 1996.3.29
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    Jo So-nyeo was born in Onyang, Chungcheongnam-do in 1944 and entered Pansori under renowned singer Park Cho-wol. After that, he learned pansori from Hong Jeong-taek, drew Simcheongga from Lee Il-ju, and learned Chunhyangga from Oh Jung-sook.

    Chunhyangga is believed to have been created in the folktales and musical traditions scattered around North Jeolla Province, as shown by its geographical background in Namwon.

    Jo So-nyeo's Chunhyangga is a continuation of Kim Yeon-soo's Chunhyangga, which was recreated by combining traditional Chunhyangga. Cho So-nyeo held a full vocal presentation of Simcheongga in 1985.
  • 1996.3.29
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    Born in 1944, Sung Joon-sook entered Pansori by learning the Sugungga from the master singer Im Bul-i. After that, I learned Chunhyangga and Simcheongga from Ju Gwang-deok, Yi Il-ju, and Oh Jeong-suk.

    Sung Joon-sook succeeded Kim Yeon-soo's "Jeokbyeokga," which was a re-creation of the "Jeokbyeokga" of the Dongpyeonje, Yoo Seong-jun.

    Since 1987, Heungbo has held a full singing presentation at Jeokbyeokga, Sugungga, and won the grand prize at the Pansori Festival in Namwon in 1985 and at the Pansori Master Singing Contest in 1986 and the Jeollabuk-do Cultural Award in 1991.
  • 1996.3.29
    designated date
    Nongak is the music played by farmers when they work with Du-re (an organization for community work) and refers to the music played by percussion instruments such as kkwa-ri, Jing-gu, Janggu, and drum.

    Jeongeup Nongak is a nongak that has been handed down from village to village and has improved its artistic level as it is combined with the outstanding entertainment of the hereditary dance group. In addition, in the 1920s, the local folk religion, Bocheongyo, adopted nongak as religious music, bringing together and integrating outstanding nongak performers, once again improving its artistic level. Since then, Jeongeup Nongak has had a great influence on Nongak not only in North Jeolla Province but also throughout the country.

    Currently, Jeongeup Nongak is recognized as a holder of entertainment by Yoo Ji-hwa and Kim Jong-soo.
  • 1996.3.29
    designated date
    Nongak is the music played by farmers when they work with Du-re (an organization for community work) and refers to the music played by farmers playing percussion instruments such as kkwa-ri, Jing-gu, Jang-gu, and drums.

    Gimje Nongak is a type of Honam Udo Nongak that is distributed throughout Gimje. Nongak was handed down in the form of Daedonggut from early on, but it was developed into a more specialized group of entertainers. It is characterized by the use of iron and janggu as the main instrument in the composition of the Nongak band, the use of large drums, and the development of duregut in the plains area.

    Currently, Park Pan-yeol and one other person in Gimje Nongak are recognized as the entertainment holders.
  • 1996.3.29
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    The roots of Jeonbuk dance are mainly based on Kibang Dance, and so is Honam Salpuri Dance. In particular, Choi Jeong-cheol's Salpuri dance (tentative name: Choi Sun) is a dance that transformed the towel dance learned from his teacher into a stage dance for a long time. His dance is deeply rooted in the emotions of Han, and his high self-control, along with the beauty of making, solving, and freezing, illustrates the characteristics of dance.

    Choi Jeong-cheol started dancing when he was 10 years old in 1945, entered the Kim Mi-hwa Dance Research Institute in 1946, held a dance presentation for the first time at the Jeonju Provincial Theater in 1960, opened the best dance institute in 1961, and was designated as the holder of the Dojeong Intangible Cultural Property Honam Salpul Dance in 1996.

    Currently, the school is dedicated to training its students for dance transfer through its lectures at various universities and colleges, and it is firmly establishing its position as a renowned dancer, <span class='xml2' onmouseover='up2 (1535)' onmouseout='dn2('dn2(')명명명명명명명span>.
  • 2017.3.30
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    Heungboga, Heungbuga, Baktaryeong, and Heungboutaryeong are among the five pansori madangs.

    It is based on Heungbujeon's contents and was modified by Dongri Shin Jaehyo.

    It is characterized by being more humorous than other pansori.
  • 2009.3.30
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    12japga is sometimes called long japga or jjitchang.

    A genre that occurred in the 19th century and was made and called among the singers of the Four Seasons.

    Historically, it was sung by craftsmen, merchants, and gisaengs at the end of the Joseon Dynasty, and was widely distributed by the Sagye Axis (now known as male singers living in areas ranging from Seoul Station to Malli-dong Pass and Cheongpa-dong).

    The first 12 magazines were divided into eight magazines and four pieces of music: Yushan, Jeokbyeokga, Jebibi, Sochunhyangga, Seonyu, Hyungjanga, Pyeongyangga, and so on. Japjagga is composed of four pieces: Dalgeori, Tenjanga, Euncha, Bangmulga. It is believed to be the influence of the 12 lyrics that put them together as 12 magazines. The current 12 jagga is a heritageist, Jeokbyeokga, Jebi, housekeeper, Sochunhyangga, Seonyu, Hyungjanga, Pyeongyangga, Dalgeori, Sipjanga, Gupga, Bangmulga.
  • 2009.3.30
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    The neck piece is a traditional piece that expresses the amount and texture of wood, which is a material of sculpture. Mainly used materials include the beautiful and sound-grained paulownia, pine, fir, ginkgo, zelkova, and painting trees. The wood carving seems to have started with the introduction of Buddhism during the Three Kingdoms Period and the production of Buddhist ritual-related sculptures such as temple architecture and Buddhist statues. However, not much is said to have been lost or lost due to several wars. Yi Bang-ho, a functional holder, mainly manufactures Buddhist statues among wooden sculptures, and the characteristic of the sculptures is that they do not use sandpaper to smooth the surface of the statue, but only use a carving knife.
  • 1967.3.31
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    People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul.

    The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play.

    Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.
  • 1988.4.1
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    Myeongju (silk), which is woven from thread made from cocoons, is plain fabric without woven patterns. There are a wide range of silk fabrics, depending on the types of threads, weaving methods, and patterns used.

    Records about the country’s sericulture appear as early as the Gojoseon Period (2333 BC? – 108 BC). Fabrics made with exquisite skills in Silla (57 BC – AD 935) were traded with goods made in Tang Dynasty China. During the Goryeo Period (877 – 1394), good-quality silk fabrics were produced. In the Joseon Period (1392 –1910), so many types of fabrics were made that names were attached to them according to their colors and quality.

    Silks were produced in large quantities and they latercame to be used as materials for making ordinary cloth. In olden days, silk was woven by housewives on a loom to meet their household needs. Toward the late Joseon Period, looms were replaced by modern weaving machines.
  • 2019.4.3
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    "Traditional fishing is a traditional fishing culture in fishing villages, which refers to fishing gear or fishing methods that catch fish that flock to the coast during the ebb tide by hitting bamboo feet or stacking stones.

    "Eo-sal" has a very long history, as it can be found in the records of the Goryeo period such as "The History of the Three Kingdoms" and "The History of Goryeo." After the 16th and 17th centuries, due to the natural conditions of coastal areas and the growing demand for seafood due to the development of commerce in the late Joseon Dynasty, the transformation of 'arrow fish' was made, resulting in the emergence of Jubuk on the west coast, Bangryum on the south coast, and Jangsal on the west coast. As such, 'arrow fish' has been an important part of the various traditional fishing methods that have been handed down in Korea.

    As shown in the "fish fishing" in Kim Hong-do (Treasure No. 527) of Kim Hong-do (1745-1806 or later), "Eo Sal" represented coastal fishing until the Joseon Dynasty. However, with the development of fishing industry in the coastal waters after the 1970s, the traditional fishing methods, including 'arrow', began to decline relatively. One of the most common examples of Assal, which has been handed down so far, is anchovy fishing using bamboo sticks installed in the Jijok Strait in Namhae-gun and Mado and Jeodo Island in Sacheon-si.

    "Traditional fishing methods - fish flesh" are designated as national cultural properties in various aspects, including an understanding of nature and ecological environment, a combination of fish habits, the experienced knowledge of fishermen catching fish by looking at season and water, an important role in studying fishing culture, fishermen's fishing history, people's life history, and the fact that "fish flesh" continues to evolve into various forms of "net flesh."

    However, the 'traditional fishing method – fish slaughter' was designated as the Korean fishermen's empirical knowledge system and was a lifestyle and culture widely inherited in fishing villages rather than limited to certain areas.