K-Cultural Heritage 1 Page > Little Korea


Everlasting Legacies of Korea

  • 1990.10.10
    designated date
    Salpurichum refers to a dance extemporaneously performed by an exorcist to put an end to bad luck. It is called Dosalpurichum or Heoteunchum. The name salpuri was first used by the traditional dancer Han Seong-jun at his theater performances in 1903. The dancer performs to salpuri music in a white skirt and jacket, with a white handkerchief in hand to express graciousness and sentiment. It is said that the present-day salpurichum is one handed down in Gyeonggi-do and Jeolla-do Provinces. With the stabilization of the country toward the mid Joseon Dynasty and invigoration of the culture of commoners, it developed as a dance performed by clowns. Exorcism rites were prohibited during the colonial period (1910 – 1945) and this exorcism dance came to develop purely as an artistic dance. Salpurichum is a classic dance with high artistic value, expressing popular sentiment through beautiful movements and transforming sorrow into delight.
  • 2010.3.12
    designated date
    ☆Ji Sung-ja was born in 1945 and was taught Gayageum Sanjo by her mother Seong Geum-ryeon.

    At the age of eight, she started to perform on stages and won the prize through a number of performances and concerts. Seong Geum-ryeon ryu(school) Gayageumsanjo achieved a new era of Gayageum Sanjo by composing the 15th-stringed gayageum improvement and performance pieces with a strong sense of art and stubbornness that values tradition.
  • 2009.3.20
    designated date
    ☆Kim Sun-ja was born in 1945 in Jindo, the town of pansori, and has been studying pansori since she was young.

    In 1967, she entered the Pansori world after learning Heungbuga from Kim Heungnam. Since then, Choi Ran-soo, the second Important Intangible Cultural Property in North Jeolla Province, has taught Sugungga, Heungbuga and Chunhyangga to Cho Sang-hyun, the fifth Important Intangible Cultural Property, and Simcheongga and Chunhyangga. In addition, there have been several presentations of pansori, including the Pansori Cha-sang at the 16th Jeonju Daesaseup Nori National Competition, the Pansori President's Award in 1996, the Seoul Pansori Yupa Presentation in 1994, the Seoul Pansori Heungbo in 1998, and the Seoul Pansori Yupa Presentation in 2005.

    In particular, Kim Soon-ja has been actively engaged in activities for the development of local traditional culture and arts, including training of pansori to the general public at Mokpo Cultural Center, Mokpo Maritime University, Halla University, Jeonnam Provincial Government, Jeonnam Arts High School, and Jeju Mokgwana.
  • 1996.3.29
    designated date
    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>.
  • 1986.4.10
    designated date
    Bulmi Craft is a craft technique that produces pots and plough blades with cast iron. Jeju Island has long been self-sufficient in most of its daily necessities and farm equipment due to its inconvenience in trade with the mainland, and Deoksu-ri's French craftsmen are the representative example.

    In the form of casting crafts in Jeju Island, there is a hand-pulmu that melts or heats iron with the power of hands, and a thimble that creates wind by digging a goal on the ground, putting a hoop in the middle, and placing a board on top of it, standing three people on one side, as if they were jumping on a board. The hand-pulled radish is divided into two types: tickle and tobull. In Tick-tack-tok-tok-tok-tok-tok-tok-tok-tok-tok-tok- In Tobulmi, molten iron from the bank (Yonggwang-ro) is poured into a pre-made casting frame to make pots, rice cakes, plough blades, etc. Golpulmu is called Golpulmu (or stepping-bubumi or tread-bubumi), and its size and products are the same as Tobulmi, but the way they generate wind is different.

    It is highly likely that Jeju's casting crafts led from the simplest structure, Tick-tock-bull-mi, to the Tubul-mi, and to the unsolicitedness of melting the iron by blowing the wind with the force of the feet. Since 1945, Jeju's casting crafts have been declining due to the use of iron pots and cultivators instead of plows.

    Song Young-hwa, who is currently a holder of French craftsmanship, continues her tradition of French craftsmanship by holding a reenactment event in Deoksu-ri every October.
  • 1975.5.3
    designated date
    Jongmyo, in Seoul, is a royal shrine where the mortuary tablets of deceased royal couples are kept, and is an important site symbolizing the fundamentals of the existence of a state along with Sajikdan Altar, which is the altar for the national soil and grain ceremonies. The regular ancestral rituals were held at Jongmyo in the first month of each season, i.e. January, April, July, and October, while extraordinary rituals were held on special occasions. Since 1945, the ritual has been held only once a year, on the first Sunday of May. The ritual is held in a solemn atmosphere.

    The ritual is carried out in a way so as to entertain the spirits of the dead royal ancestors. The procedure for the ritual is as follows: Chwiwi (placing of ancestral tablets), Yeongsin (greeting the spirits), Haengsinnarye (King's obeisance to ancestral tablets), Jinchan (presenting the spirits with food), Choheollye (first obeisance), Aheollye (second obeisance), Jongheollye (last obeisance), Eumbongnye (partaking of sacrificial food), Cheolbyeondu (overturing of ritual dishes), Mangnyo (incineration of prayers). The King had to behave discreetly for four days and keep his body clean for three days before the ritual.

    Jongmyo Jerye featured grandeur and solemnity as a ritual that set an example for the people of a Confucian society that attached particular importance to etiquette.

    The ritual, along with the music associated with it (Important Intangible Cultural Heritage No.1), was registered with UNESCO in the Representative List of the Intangible Cultural Heritages of Humanity in May 2001.
  • 2010.5.28
    designated date
    Buddhist paintings are an important area of Buddhist art that is subject to worship at Buddhist temples along with Buddhist statues. After the introduction of Buddhism, Korean Buddhist paintings developed greatly in the form of murals and tangs. Especially during the Goryeo Dynasty, they were recognized as the highest-quality works in East Asia. A Tang painter is a person who paints Buddhist worldviews, such as portraits or scriptures of Buddha or Bodhisattva, which are common in temples. Along with the detailed description, the tanghwa is called a task that is almost a performance as it also requires careful attention to the use of colors.

    Lee Sam-yeol was born in 1945 and was taught Korean Buddhist paintings by Kim Il-seop. He participated in the construction of Dancheong and Buddhist paintings in major temples across the country, including Geumjeongsa Temple in Busan, Gimje Geumsan Temple, Gyeongju Bulguksa Temple, Seoul Haknimsa Temple, Busan Seonamsa Temple, Yesan Sudeoksa Temple, Jeongeup Naejangsa Temple, Gochang Seonunsa Temple, Muju Anguk Temple, and Wanju Bongseo Temple.

    Lee Sam-yeol faithfully inherits and creates the sketches from Kim Il-seop, and his character's expressive ability is outstanding, and his overall work is excellent, including writing and coloring.