"Soy sauce making" is a concept that encompasses the overall process of preparing ingredients directly, making and fermenting, beyond the efficacy of the soy-based food, the intestine itself. In Korea, which belongs to the Dujiang culture, it is known that people made and ate soy sauce since the Three Kingdoms Period. In addition, during the Joseon Dynasty, the royal family had a separate burial chamber for the burial of the intestines, and traditional Korean burial grounds were an important place in the diet, such as the burial palace called "Jango Mama." <br /><br />우리나라의 '장 담그기'는 콩 재배, 메주 만들기, 장 만들기, 장 가르기, 숙성과 발효 등으로 이어지는 과정을 발전시켜왔다는 점에서 중국이나 일본과 구별되는 독특한 장 제조법을 가지고 있다. In addition, the two types of soybean paste and soy sauce were made after the process of floating fermented soybean paste, and the fact that the soybean paste and soy sauce were used in the previous year to go through the form of overlapping soy sauce for many years are both unique and characteristic of Korean soy sauce making. <br /><<<bb장장장장장장 '는는는 가지고 가지고 has a long history of making soy sauce since ancient times, it can be studied in various directions, including the study of Korean food recipes and dietary culture, the combination of Korean residential culture, seasonal customs, ups and downs, traditional science elements, and the fact that all Koreans are directly and indirectly participating in the designation of the national cultural heritage by generations. <br /><br />다만, '장 담그기'는 우리나라 전역에서 각 가정을 중심으로 현재도 자연스럽게 전승되고 있는 생활관습이자 문화라는 점에서, 특정 보유자나 보유단체를 인정하지 않는다.

Royal court food of the Joseon Dynasty was served in the royal palaces of the Joseon Dynasty, which continued the tradition of the Goryeo Dynasty, representing traditional Korean food.

Four daily meals were served to the King. Before 7:00 AM, chojobansang (a breakfast composed of porridge and dried side dishes) was served when the King did not have to have a medical decoction.

Breakfast and dinner were served on three tables, wonban (the main table containing white rice, seaweed soup, stew, a steamed dish, kimchi and 12 side dishes: gyeotban (a side table containing rice with red bean, casserole, empty bowls, and a tea cup) and jeongolsang (a side table containing jeongol [casserole], meat, sesame oil, egg, and vegetables).

Lunch or a meal with a visiting guest was served with noodles.

Banquet meals were served on congratulatory occasions like the birthday of the King or Queen or the designation of the Crown Prince, or for greeting a foreign royal envoy.

During the Joseon Period, the main meals served at the Royal Palace were porridge, starch porridge, noodles and dumplings, in addition to cooked rice. Side dishes served were broth, a steamed dish, steamed vegetables, casserole, stir-fries, a grilled dish, meat skewers, pan-fries, boiled meat slices, boiled and fresh vegetables, mustard-seasoned vegetable, gujeolpan (a platter of nine delicacies), braised abalones, braised mussels, jangnajorigae, beef jerky, jokpyeon (ox foot jelly), beef tartare, sliced raw fish, parboiled sliced fish, leaf wraps, parboiled fish with vegetables, kimchi, and soy sauce.

An assortment of rice cakes, honeyed juice mixed with fruits as a punch and processed fruits were also served, chestnuts, jujubes, yullan (chestnut balls), joran (jujube balls), and gangnan (ginger balls).

Literature concerning the Royal Palace cuisine of the Joseon Dynasty includes Gyeongguk daejeon (National Code), Joseon wangjo sillok (Annals of the Joseon Dynasty), Jinyeon uigwe (Royal Protocol of the Royal Banquets), Jinjak uigwe (Royal Protocol of the Conduct of Banquets), and Gungjung eumsik balgi (List of the Royal Cuisine).

The Joseon Dynasty came to an end in 1910, and Korean cuisine culture has changed drastically with the passage of time. Royal Palace cuisine has been designated as important intangible cultural heritage in an effort to preserve the country’s cuisine culture tradition.

Mokjogakjang refers to the skill of wood sculpture or to an artisan with such a skill. Among the woods commonly used for this skill is paulownia, pine, fir, gingko, zelkova and pagoda wood. It is presumed that wood sculpture started on the Korean Peninsula, mostly on temples and Buddha images, with the introduction of Buddhism during the Three Kingdoms Period (circa 57 BC – 668 AD). Many of these wood sculpture works were destroyed during the frequent foreign invasions suffered by Korea.

As for the process of wood sculpture production, first a sketch is made on well-dried wood and the remaining parts are cut off. When a rough form is made, the inside is gouged out to prevent cracks or to make a space for inserting ancillary objects according to the custom. Lacquer is applied to the completed object.

Hwagak is a transparent plate made of finely ground ox horn. Hwagakjang refers to the handicraft skill of making such a plate or to an artisan with the skill. The materials are scarce and the work requires a great deal of time and a meticulous procedure. This artwork was chiefly used by upper class people.

During the Goryeo Period (877 – 1394), cases for keeping Buddhist scriptures and rosaries were made from the skin of the hawksbill sea turtle (Eretmochelys imbricata). Artisans used a technique of applying colors to the back of an object which permeated to the front, along with mother-of-pearl. This practice continued until the mid-Joseon Period (1392 – 1910). In the ensuing period, handicrafts adorned purely with hwagak developed. Objects made with hwagak skill include wardrobes, chests of drawers, side tables, dressing tables, pencil cases, powder cases, sewing rulers, desks, workbaskets, hand-held fans, and writing brush handles.

Hwagak handicraft features elaborate ornamentation in colors and patterns.

Yundojang means the skill of making a geomantic compass with 24 directions marked in a circle or an artisan with such a skill. Yundo is a tool used by a geomancer when looking for a propitious site for a house or tomb. Its name appears in literature dating from the Joseon Period (1392 – 1910).

This tool was first developed during the Han Dynasty of China. On the Korean Peninsula, it was first used during the late Silla Period (circa 57 BC – 935 AD). Geomancers used it in the early Goryeo Period (877 – 1394) as one of the most important tools in the practice of feng shui and yin-yang geomancy During the Joseon Period, even ordinary travelers came to use it. Astronomers used it to designate the meridian for their portable sundials.

Yundo shows the names of the twenty-four basic directions written around a magnetic needle at the center. Shown also on its face are the cosmic dual forces of yin-yang, the five basic elements, and eight trigrams for divination, ten calendar signs and twelve zodiac signs. The names of directions themselves are a combination of the eight trigrams, ten calendar signs and twelve zodiac signs.

Suryukjae (Land and Water Rite) began to be performed during the early Joseon Period (1392-1910) to guide all the spirits of beings that lived in both water and land to the peaceful other world. The rite has high historical and cultural significance and aesthetic merit as provided by, among other old texts, Joseon wangjo sillok (Annals of the Joseon Dynasty); it is performed night and day for the peace of the entire living and the dead. On the other hand, the Yeongsanjae (Celebration of Buddha's Sermon on Vulture Peak Mountain) was performed for the peace of individual beings.

Samhwasa Temple in Donghae had been a main venue for such rites, which aimed to bring peace and unity to the local community. It preserves the tradition established through state-commissioned events during the early Joseon Period as well as tangible elements such as the altar, architectural adornments, and ceremonial proceedings with prayer chanting.

Suryukjae (Land and Water Rite) began to be performed during the early Joseon Period (1392-1910) to guide all the spirits of beings that lived in both water and land to the peaceful other world. The rite has high historical and cultural significance and aesthetic merit as provided by, among other old texts, Joseon wangjo sillok (Annals of the Joseon Dynasty); it is performed night and day for the peace of the entire living and the dead. On the other hand, the Yeongsanjae (Celebration of Buddha's Sermon on Vulture Peak Mountain) was performed for the peace of individual beings.

Jingwansa Temple in Seoul had been a main venue for such rites, which were commissioned by the royal family of Joseon. It preserves the heritage, including the altar and architectural adornments as well as ceremonial proceedings.

The hemp cloth refers to the whole process of weaving hemp cloth from a textile raw material called marijuana, which is a fabric worn by ancestors from the time of the Three Han Dynasty by hand by the three Han Dynasty due to its advantages of absorbing sweat quickly, drying quickly, and being cool due to its good ventilation and high heat conductivity, and its durability against friction makes it less damaged when washing. Among them, Andongpo, produced in Andong, Gyeongsangbuk-do, was a royal product of the Joseon Dynasty and was designated as a local specialty.

※ Since hemp was a collective technology that was produced through the collaboration of villagers, not individuals, and passed down to later generations, he did not recognize a particular holder and recognized a holding organization (a group without a holder).

Ssireum (Korean Wrestling) is a traditional Korean folk sport in which two wrestlers, each holding the other’s satba (belt), strive to beat their opponent by bringing his body to the ground. Based on the Korean people’s unique community culture, various forms of the sport have handed down until today.

As a representative folk game of Korea, the historicity of ssireum has been clearly identified through diverse relics, documents, and paintings ranging from the ancient Three Kingdoms period to the modern era. In addition, the composition of the match and the techniques of ssireum express the uniqueness of Korean wrestling.

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.

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.

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.

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.

Bulhwajang refers to the art of Buddhist painting or an artist who is skilled in such art. Buddhist paintings are considered objects of worship along with pagodas and Buddhist statues. Based on their forms, Buddhist paintings can be categorized as taenghwa (hanging paintings), gyeonghwa (sutra paintings), and byeokhwa (mural paintings).

In particular, taenghwa are hung behind the Buddhist altar after holding a number of religious ceremonies. These hanging paintings, found at traditional temples, are the major form of Buddhist painting in Korea; the monks in charge of producing the paintings go by several names such as geumeo, hwaseung, hwasa, or hwawon.

The art of Buddhist painting was formerly handed down by the holders of Dancheongjang (Ornamental Painting). Considering the differences in technique and function, however, it has now been separated from the ornamental painting to form its own category. Therefore, Buddhist painting and ornamental painting are being taught and handed down as two separate categories.

The colorful ornamental paintwork at Buddhist temples and palace buildings is clearly different from Buddhist painting in purpose and expression. While it is used to decorate the walls and structural members of wooden buildings with geometric patterns and drawings, Buddhist painting refers mainly to the production of paintings, expressing Buddhist doctrine in an easy-to-understand manner.

Gungjung Chaehwa, Royal silk flower making, is the art of making flowers with silk or ramie fabric preserved in the royal court of Joseon for the decoration or celebration of various royal and state events such as banquets and ceremonial rituals. The art, which has been registered on the list of Important Intangible Cultural Heritages in recognition of its close connection with the traditions of the Joseon royal court, uses various silk flowers as symbols of peace, longevity, or health.