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K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 2017.1.5
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    The blind people's reading of Buddhist scriptures is a traditional rite of communication aimed at wishing good fortune or treating diseases by reading various epigrams such as Okchugyeong.

    This type of reading was distributed throughout the country until the early 20th century, but now it has declined rapidly, and is being conducted by some taesa (referring to those who profess in the blind world) centered around Seoul.

    During the Joseon Dynasty, shamans were not allowed to live inside the four gates of Seoul, only outside the capital city of Gutdo, and monks were prohibited from entering the capital. However, the rite was held until the late 17th century as a national holiday ritual for blind people, and it continued to be a representative rite for the royal court, aristocrats, and the private sector.

    This fact is known as "Sangdal" in Liu Man Gong's "Sesi Pungyo (1843), which contains the typical seasonal customs of Seoul. This month, many people in the private houses memorize eyeglasses to get rid of the disaster. In "The Age of the East" (1849) by Hong Seok-mo, I stayed up all night reading Ahn Taek-kyung even before the fifteenth of lunar January. That's why I wish for good luck. Continue until this month is over. It can also be checked through records such as this.

    Chae Soo-ok was recognized as the holder on January 5, 2017, and the group was the Seoul branch of the Korea Society for the Blind.

    ※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).
  • 2017.1.6
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    Kim So-young, who was designated as the owner of the Pansori Sugungga, was born in 1954 and learned Pansori from Hong Jeong-taek and was taught by Oh Jung-sook since 1976.

    In 1987, he won the grand prize at the Jeonju Daesaseup Nori Traditional Music Competition, the grand prize at the National Namwon Chunhyang Festival in 1989, and the grand prize at the National Pansori Masterpiece Contest in 1993.
  • 2006.1.6
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    Wonju Maeji Nongak, which is centered on Hoechon Village, has a typical style of rhythm and ginpuri in Wonju and south of Yeongseo.

    The types of rhythms are assorted, jilgut, ginjilgut (chilchae), exchangegut (pumatijangdan), dung degoongi, jajangi, jajinap, flower butterfly Jangdan, turuse, turuse, tureuseuse, top yard pear porridge, Insagut, and other types of sangsoe, which combine village harmony and good health.
  • 2017.1.6
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    The Jinan Plateau, called the roof of Honam, is a treasure house of the Kiln Site. Jinan County, North Jeolla Province, also had the highest concentration of pottery on the Jinan Plateau, where onggi production was brisk due to the large amount of clay and abundant firewood. The geopolitical advantage or dynamism as a cultural contact area is inherent in the Onggi culture of the Jinan Plateau area, which is revealed specifically in the Onggi Point custom and the formation of Onggi.



    Sonnae Onggi, Pyeongjang-ri, Baegun-myeon, Jinan-gun, Jeonbuk, is also in line with the tradition of the Jinan Plateau ceramic culture, and the historical and sustainability of the local Onggi related to the village's geographical name is still valid to this day, making it a representative Onggi point that has been producing the Jinan Plateau-type Onggi.
  • 2017.1.6
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    Kim Jong Yeon

    Grand Prize in the 15th Jeollabuk-do Craft Competition in 1992

    1992 Special Selection for the 22nd National Craft Competition

    2001 Grand Prize in the 33rd Jeollabuk-do Art Exhibition

    2011 Korean Master of Arts No. 518, Woodcraft
  • 2017.1.6
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    When discussing traditional Korean dance, salpuri dance, Buddhist dance, dance dance, dance, and Taepyeongmu are mentioned as representative examples. These dances are often divided into folk dances or folk dances, and they are distinguished from court dances and ceremonial dances. Although the name ' towel dance' has been arranged earlier, it is called the Salpul dance or mouth dance at the site. The towel dance is a distinctly distinct traditional dance, and the classification, research, and preservation of it are insufficient. Therefore, Shin Kwan-chul's towel dance will play a very important role in the history of dance research.

    The towel dance was so diverse that all sons-in-law of the time, including hand gestures and foot gestures, can see all the dance moves inherent in Korean traditional dance. Another important part of the dance should be the beauty of the giraffes and the appearance of the giraffe with a smile and a wink of sarcasm, and there was no one who could not help but fall in love with them. The towel dance is a dance in which you can see the beauty of a giraffe who shows off her various talents.

    The towel dance is characterized by the use of Gyeonggi Gutgeori and Jajinmori music. The characteristic of the music accompaniment seems to be that Han Sung-joon's main stage was Gyeongseong. However, these days, people use the word "gum" attached to Sinawe in Namdo. This is because Han Sung-joon's dance is the dance of South Korea. The level of expression in which the movement of the foot, ankle movement, knee movement, hip movement, hip breast movement, head movement, hand movement, arm movement, walking movement, spinning movement, and sitting and standing movement are divided into the movement of the head, contains emotional expression that cannot be seen in other dances.

    Source Jeongeup City Hall
  • 2017.1.6
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    Kim Hye Mi Ja

    Winning the 24th National Craft Competition in 1994

    Grand Prize in the 1st National Hanji Craft Competition 1995

    2015 Korea Color Craft Master (Korea Paper Culture Foundation)
  • 2017.1.6
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    Kim Sun Ae

    2004 10th National Hanji Crafts Competition Special Award for Traditional Sector

    2007 North Jeolla Province Art Exhibition Craft Special

    2013 Korea Grand Prix Special Award
  • 1969.1.7
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    As a folk play performed in Andong around the full moon period of January 15 on the lunar calendar, it is said to have stemmed from the battles between Gyeon Hwon of Later Baekje and King Taejo (Wang Geon) of Goryeo.

    Villagers select good trees to be used for the play in nearby mountains toward the end of the preceding year, hold a sacrificial rite for mountain deities, fell them, and carry them to the village. Since the thickness and solidity of the trees are decisive factors of the battle, they work on the trees under tight security to prevent opponents from getting information on the trees.

    The village is divided into two sides according to their place of birth. On the event day, farmers’ music is played to arouse people’s interest. People stand on their side of the battle and try to discourage the other side by raising the wooden structure they made.

    The leaders of the two sides stand at the top of the raised structure set up against that of the opponent team. They balance their body by holding the string tied to the top of the structure and give commands to their team. The team that makes the opponent’s wooden structure fall to the ground wins the battle.

    The beauty of the play lies in the spirit of fair play. If any participant in the play is in danger, both sides immediately back off and get him out of danger before engaging in the battle again.

    As a mock battle among males, Andong Chajeon Nori displays the martial spirit kept by the people in Andong. It is also a rite of praying for a good year for crops. The winning side will reportedly enjoy better harvest in the year.
  • 1994.1.7
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    If you mix raw chestnuts, rice, and yeast on the edge of the pine tree and make it clear, it becomes Songjeolju. If you distill it again, it becomes Songroju.

    Shin Hyung-chul, a former function holder of Song Ro-ju, was born as the eldest daughter of Shin Hyun-tae and Lee Soon-sim of Pyeongsan Shin clan in Hansan-myeon, Seocheon-gun, South Chungcheong Province. The two volumes of "Goryeoseo," which include Song Ro-ju's brewing methods, are said to have been handed down to her mother, Lee Soon-sim, and her mother, Lee Soon-sim, was also said to have been handed down from her mother's family. One of the two volumes of "The Book of Corridors" was named "Food Act," which was built in 1880 by Jeong Geum, the wife of Lee Han-soo, the maternal grandfather of Shin Hyung-chul, and the other is a Korean-language manuscript believed to have been written around the 16th century.

    There has been a popular belief that drinking truffle liquor can lead to a long life, and the Dong-dong Bogam Food Act states that it is good for joints and neuralgia.
  • 1994.1.7
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    Fresh liquor produced in Miwon area, which has long been known for its good water quality, has been handed down to the family of Hamyang Park for about 400 years.

    It is said that after Park Sung-sang, a former provincial governor of Chungcheong Province, moved back to the village, the secret recipe for making the liquor was introduced. The name "Shinsangju" originated from the Silla Dynasty when Choe Chiwon built a pavilion at Sinseonbong Peak in front of the village and enjoyed drinking it.

    When making fresh liquor, the medicinal herbs that are good for the body are fermented with glutinous rice and yeast to make rice wine or distilled liquor, which is good for constipation removal, effective for gray hair, and has a unique scent. Also, it is very good to drink because you can easily wake up and clear your head after drinking.
  • 1971.1.8
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    Cheoyongmu is the only dance performed at the Royal Court with a human face mask. The performance is based on folklore about Cheoyong, who is said, during the reign of King Heongang (r. 875 – 886) of Unified Silla, to have driven away an epidemic-spreading deity about to touch his sleeping wife by singing a song composed by him and dancing.

    Cheoyongmu is danced by five performers wearing clothes of five different colors, blue indicating the east, white the west, red the south, black the north, and yellow the center. The dance is based on the theory of five elements and yin yang, and is intended to drive away evil spirits. The dance movements are gaudy, imposing and lively, and go well with the expressions of the facials masks worn by the performers.

    Until the late Goryeo Period, the dance was performed by one person but the number of performers had increased to five by the reign of King Sejong (r. 1418 - 1450) of Joseon. By the reign of King Seongjong (r. 1469 – 1494), the dance came to be performed as part of a rite held at the Royal Palace. It continued to develop until the late Joseon Period through changes in the lyric, melody, and dance movements.

    Following a temporary hiatus in performance upon Japan’s annexation of Korea in 1910, the Yiwangjik Aakbu (Royal Music Institute of the Yi Household) had it performed again in the late 1920s.

    Cheoyongmu is a high-level art performance, combining music and dance movements with costumes and facial masks, which depicts the virtuous and humorous minds of the people of olden days.
  • 1971.1.8
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    Hak Yeonhwadae Hapseol mu refers to a comprehensive dance of the Crane Dance(Hak mu) and the Lotus Flower Dance(Yeonhwadae mu). These dances were performed following the rite of driving away evil spirits from the Royal Court during the early Joseon Period.

    The Crane Dance was performed to bless and praise the King in a rite held at the Royal Court from the Goryeo Period. It is the only dance in the country in which the performer is disguised as a bird.

    The Lotus Flower Dance is based on a story about two girls born as pistils of a lotus flower repaying the King’s virtuosity with a dance and asong. Two performers disguised as cranes start the performance with a dance. A little later, they peck the two lotus flower buds. Two girls appear from the lotus flowers and the cranes run away, frightened.

    The Crane Dance is accompanied by music like seryeongsan, samhyeon dodeuri, and taryeong, and the Lotus Flower Dance by a piece of Royal Court music. These dances portray communication between animals and humans. They display high artistic quality and traditional values both in content and style.
  • 1971.1.8
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    Gasa, which is part of the country’s traditional vocal music, refers to a long narrative in verse. Based on relevant records, it is presumed that this form of verse started to be written after the reign of King Yeongjo (r. 1724-1776).

    A total of 12 pieces have been handed down and survive today. They are Baekgusa(The Song of the Seagull), Jukjisa(The Song of the Bamboo Branch, Hwanggyesa(The Song of the Yellow Cock), Eobusa(The Song of the Fisherman), Chunmyeongok(Spring Indolence), Sangsa Byeolgok(Longing for the Departed One), Gilgunak(The Street Military Music), Gwonjuga(The Drinking Song), Suyangsanga(The Song of Mt. Suyang), Cheosaga(The Song of the Hermit), Yangyangga(The Song of Yangyang Town), and Maehwa Taryeong(The Song of the Plum Blossom).

    It is not known who composed these songs or wrote their lyrics, but it is thought that the tradition of Gasa was established toward the end of the Korean Empire (1897 – 1910). The narratives of Gasa are very long and are not regularly styled, and so it is not clear how singers are supposed to arrange their diverse features and sounds. Melodies differ slightly from narrative to narrative. Modulations and repetitions appear characteristically.

    As for their rhythm, Baekgusa and Jukjisa have dodeuri rhythm (sextuple time). Sangsa Byeolgok, Cheosaga, and Yangyangga have quintuple time. Gwonjuga has no fixed rhythm.

    Basically, Gasa is sung without instrumental accompaniment, but sometimes it is sung to the accompaniment of piri (flute), haegeum (two-stringed fiddle), daegeum (bamboo flute) or janggo (hourglass-shaped drums).

    As a free-style song, Gasa is good at expressing people’s sentiment or natural beauty. It is a song sung by professionals, and is the country’s indigenous music featuring peacefulness and locality.
  • 1993.1.8
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    A gong is one of the percussion instruments, also called gilt or simply gold. It is a musical instrument widely used since ancient China. It was imported from the Ming Dynasty of China during the reign of King Gongmin of Goryeo (1351-1374), and was widely used in Jongmyoak, Muak, Beopak and Nongak.

    Making gongs is made by beating brass in a group of Daejeong, Gajidaejeong, front-machin, Jeonmachikun, Senmachikun and Pulmuone on a night of the agricultural cold from November of the lunar calendar to February of the following year. The production process is brass-greening, elongating, embossing, potting, cheapening, flirting, snuffing, puffing, eggplanting, and crying, especially in the end, crying-gathering, which coordinates the sound of the gong, requires highly skilled skills.

    In the area of Anui-myeon, Seosang-myeon, and Seohae-myeon, Hamyang-gun, the old Anui-hyeon area, there was a time when the production technology was the best in the country due to the fact that it was an organic percussion workshop. Until the 1960s, the function of the inner area gong was inherited, but there were one in Ggotburi Village in Seosang-myeon and one in Songgye Village in Seohae-myeon, and Lee Yong-gu, the holder of the function, is a member of the Ggotburi family.

    Currently, Jingjiang Yi Yong-gu is making gongs with modernized manufacturing techniques, while setting up traditional gongs next to them and producing gongs by order, continuing the traditional inner gongs. The traditional inner gong is characterized by its loud, grand sound and long wavelength.