K-Cultural Heritage 1 Page > Little Korea


Everlasting Legacies of Korea

  • 1987.7.2
    designated date
    The sound of Dadaepo's hoo-ri is a labor song sung by the beach while hoo-ri-jil for anchovies, accompanied by the movement according to the sequence of work. Singing individually or collectively as one of the folk songs, the song may vary depending on the region.

    Dadaepo Huri is a pre-release style in which one person sings a song and several others sing it. The story is about the sound of carrying a net into a fishing ground and loading it onto a boat, the dragon-king ritual, the rowing of a fishing boat, the sound of fishermen singing while pulling a string of rice from both sides, the sound of a net that they sing while picking a net, and the sound of a lyric that they sing while carrying anchovies into a storage container.

    Dadaepo Huali is a folk song with characteristics of this area, and it reproduces and preserves the words and methods required to catch anchovies, and has high folk, musical, and Cultural value. Currently, the Dadaepo Hoorisori Preservation Society is striving to win and distribute the song.
  • 1989.7.6
    designated date
    Gayageum sancho refers to a sanjo designed to be played with gayageum. Sanjo refers to the form of playing a musical instrument alone, starting with a slow rhythm and gradually turning into a fast one, which slowly makes the listener nervous and excited.

    Gayageum Sanjo is composed of four to six rhythms. Looking at the feelings of each rhythm, Jinyangjo is very slow and lyrical, Jungmori is stable, and Jungjungmori is very entertaining. Self-momori is bright and cheerful, and Hwimori has excitement and urgency. It was made before Sanjo played with other instruments, and due to its outstanding technique, it attracted a lot of people's attention and formed several factions.

    The Gangtae Hongryu Gayageum Sanjo is regarded as the head of the Kigyo faction due to its many difficult techniques such as preventing and suppressing. According to the characteristics, there are many pleasant and gentle aspects by reducing the number of cuneiforms (voice that gives a sad and sad feeling), which can be called the root of sanjo, and attracting a lot of milky and vigorous tones (voice that gives a clear and elaborate voice, giving a clear and clear feeling). The rhythm is complex, irregular, and often offbeat.

    The Gangtae Hongryu Gayageum Sanjo is a solo song that pursues pure musical beauty among traditional music, and it is a valuable piece of music that gives a feeling of cheerfulness compared to other music. Currently, the Gangtae Hongryu Yageum Sanjo Preservation Society is striving to inherit and preserve the kingdom.
  • 1972.9.19
    designated date
    Dongnaehak Dance is a school dance handed down from Dongnae area. The dance, which was usually performed during the Dongnae Yaryu or tug-of-war on the fifteenth of lunar January, was named Hakchum because a dancer wearing a gat on a dopo and dancing a deodebaegi dance, "Hakchum is like dancing."

    Dongnaehak Dance does not have a separate costume, but improvises in everyday clothes such as dopo, pants, socks, and tattoos. The accompaniment is composed of kkwaenggwari, janggu, gong, and drum, and the rhythm is Gutgeori rhythm.

    The dance includes a son-in-law who can move his hands wide, a son-in-law who raises his feet, a son-in-law who can see the crane spreading and cuddling its wings, a son-in-law who looks at the left and right sides, and a son-in-law Bae Kim-sae who moves lightly from side to side with his right feet bent forward.

    Looking at the composition, it is not organized in a certain order, like a general folk dance, but free-spirited improvisation and personal style are emphasized.

    Dongnaehak Dance is a dance of high artistic value expressed in elegant and elegant dance moves that harmonize natural and artistic beauty.

    Entertainment holders Yoo Geum-sun (Guum), and entertainment candidates Lee Sung-hoon (Infinite) are continuing their careers.
  • 2010.9.20
    designated date
    Our telegraph operator Hwahye was originally a pair of boots with a neck, and Hye was divided into separate craftsmen because it refers to shoes with a short neck and no head, but in modern times these two technologies are collectively called "span class='xml2' onmouseover='up262' onmouse2' onmouse

    Ahn Hae-pyo, the owner of Hwahyejang, has a clear line of succession genealogy, which has been a family business since his grandfather at the end of the Joseon Dynasty. In other words, in the 1880s, his grandfather produced Heukhye, the shoes of the godfather and officials, and his father took over the family business and made the traditional shoes for a lifetime. Ahn Hae-pyo started to receive the functions of making telegraphy from his father in 1962 when he was 12 years old, and has continued his family business in earnest since 1969.

    It also inherits or stores tools such as 1920s' traditional painting capital, new copy, base copy, sand dune complex, wood hammer, shingol, awl and needle, window croaker, ruler, etc. used by grandfather and father, <span class='xml2' onmouseover='up2(6371)'onmouseout=\\\木靴/span>, <span class='xml2' onmouseover='up2(5705)' onmouseout='dn2()'dn2()'dn2(()태/span혜, <span class='xml2' onmouse='

    Ahn Hae-pyo, the owner of Hwahyejang, has a strong craftsmanship that has been walking on a lonely path for the rest of his life, solely by making hwahye production, despite the difficult environment of today's industrialized society, and its function is excellent. Moreover, it is worth noting that all the successors, including wives and two sons, are made up of family members, and their functions are excellent as well as their concerted efforts to inherit the Hwahye production function.

    Therefore, Ahn Hae-pyo needs to be designated and preserved as an Intangible Cultural asset for the transmission, preservation, and activation of traditional shoe manufacturing functions, as well as faithfully following the traditional production methods of Hwahyejang, and having its own unique production methods.
  • 2004.10.4
    designated date
    Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. During the Joseon Dynasty, the main growth was centered on light factories where weapons and metal types were made at military bases and main bases. When the factory plan was abolished after the reign of King Yeongjo and King Jeongjo, a private owner of the company emerged from the 17th century. They were responsible for the demand for Buddhist bells, vaults, incense burners, shrines, and runners, and from the 19th century, they gradually declined. Later, during the Korean Empire, the main growth was almost cut off, but rather, Japanese colonial era gradually revived due to increased demand for castings due to the production of military supplies.

    Park Han-jong, the main growth function holder, entered the main growth business at the age of 16 and has a long career of about 50 years. The main growth of the Busan area is said to have originated from Kim Seok-gon, the main growth engine of Busan, who founded Beomjongsa Temple in Japanese colonial era. Kim Seok-gon's master craft led to Kim Kwae-jae, who was active in the early 20th century, and Kim Seok-jeong, who ran Cheongjongsa Temple, and Park Han-jong received the master craft from the two men. Since 1987, he has inherited his master, Kim Seok-jeong's Jujong Workshop and renamed it Hongjongsa.

    In the meantime, 200 households with less than 1,000 pipes and 10 households with more than 2,000 pipes were selected. Some of the more than 2,000 representative works include Daebeomjong (1991), Daebeomjong (1996), Busan Citizens' Bell (1999), Gimcheon Citizens' Daejong (1999), Shin Eo Beomjong (2001), and Bongnyeongsa (2002) in Suwon.

    Park Han-jong's method of casting the bronze bell is based on the traditional Korean technique of casting death penalty, in which half of the life-long sections are modeled and the molds of the inner and outer shapes are constructed and cast separately using a huge rotating shaft. Moreover, the precision casting technique of the Sangwonsa Temple, which was not clear about manufacturing techniques, was reproduced in the traditional way of casting death, allowing it to inherit the mystique of the Korean species, which is highly praised for its excellent sound and pattern beauty.
  • 2001.10.17
    designated date
    Gudeok Mangkeuttajigi is a traditional folk song that includes the work of building a fence or pillar using a tool called Mangkeul to build a large building or house, and the song of labor (mangkeum) sung by a singer in the process.

    Manggae are made by tying four to five handles or strings of wide stones or shits, and Busan uses wide stones, unlike other places. When the workers pull the rope up and let it go, the manga hits the ground and becomes more and more solid. As such, ironing the ground with a manga to strengthen the site is called a manga, and the sound called to relieve the fatigue of labor and to keep in step with the efficiency of work is called a manga.

    The Gudeok Mangkeot Dajigi, which runs around Daesin-dong, Seo-gu, is of great folk value as it still has the old image of the work process of ironing the site with mangkae and mangkae, which are tools for ironing the site in traditional architecture, and the sound of mangkkeum is also valuable as a labor song in Busan.
  • 2010.11.11
    designated date
    ■ Origin of the King's reign

    Jeongjeonggok, a song written by Jeong-seo, who was raised to Busan Dongnae during the reign of King Uijong of Goryeo, was settled as a song during the Joseon Dynasty, and Sijo was derived from this song.

    Songs and sijo use sijoshi as a yellow word. The sijo is designed to simplify the melody and rhythm of the song so that anyone can sing it easily, so just the daegeum and janggu accompaniment is enough to play it. Furthermore, it is simple and simple, and it is a song enjoyed by scholars and nobles, not professional singers.

    The sijo word is a song that reduces and simplifies the song so that you can express your composure and style to the fullest.

    To indicate this, a fully qualified sijo is the Anglo-Sijo.
  • 2009.12.7
    designated date
    San Joaeng is a musical instrument created by the originality of the Korean people, and Sanjo is also a music that can be designated as a World Heritage Site just like Pansori. Sanjo, which is rooted in shamanism and pansori, retains the history and tradition of the Korean people, and has become highly professional and artistic through the formation and development process of Sanjo.

    Currently, the Ajaeng Sanjo is not designated in any city or province in the country, and Park Yong-tae's Sanjo, based in Busan, has very few people who wish to be transferred due to the lack of a base population. In addition, due to economic and learning difficulties, effective transfer of young people, including early transfer, is not possible, and preservation is in danger.

    Park Yong-tae is a first-generation apprentice to Han Il-seop, the founder of Ajaeng Sanjo. Park Yong-tae's genealogy, along with other masters of the same-literature Korean classical music, is clear and the legitimacy of the melody is beyond question. It is no exaggeration to say that his musical skills and standards are unrivaled, and he is performing extensively on stages across the country, as well as in Busan and the Yeongnam region.

    Park Yong-tae's "Ajaeng Sanjo" (Park Dae-sung-ryu) has a lot of Ujo-seong rhythms, unlike ordinary mountains. In other words, the ordinary mountain bird is composed mainly of surfactant rhythms, giving the impression of pleading and purring, while the Park Dae-seong's Ajaeng Sanjo has a strong and magnificent feeling. This musical feeling is in line with the musical characteristics of Menarijo, a musical characteristic of Gyeongsang-do. Therefore, the Ajaeng Sanjo of Park Yong-tae (Park Dae-seongryu) can be seen as having enough of the characteristics of life of the people of Gyeongsang-do.

    Currently, he is transferring from a new building to a new building located in the former Dongnae area of the Dongnae-gu Hot Spring Park. Dongnae Kwon Bun was a popular attraction where master singers from all over the country gathered to inherit the tradition of Korean traditional music in Busan after Japanese colonial era.
  • 1977.12.13
    designated date
    One of the folk games handed down in Dongnae area is a form of folk belief-like village exorcism that soothes the spirit and repels evil spirits.

    Jisinbapgi is a kind of mask parade that has been performed on the fifteenth of lunar January for a long time. It is religious to pray for the peace of the village and family and to pray for a good harvest of the year. The current Dongnae Jisinbapgi was reconstructed from the late Joseon Dynasty into a circular shape and refined into a folk game from around 1970.

    Dongnae Jisinbapgi prepares musical instruments, costumes, and tools in December of the lunar calendar, and it is composed of 35 people from all classes of Joseon Dynasty, including four daebu, catcher, Hadong, and Gaksi, to practice playing. The nobleman is qualified for general command, and Hadong and the catcher serve as the counterpart to boost the excitement. The humorous lines of Hadong and the catcher against the nobleman contain satire that ridicule the nobleman.

    The play consists of the four madangs of Jusan Jisinpuri, Dangsan Jisinpuri, well Jisinpuri, and Saengwonjipnip Jisinpuri. They hold ancestral rites in Jusan and Dangsan, and then come down to the village to hold a rite in the village well spring. Finally, Jisinbapgi is performed from house to house. If you step on the authority, the landlord offers liquor, grain, and money as examples, and grain and money are spent on joint projects in the village.

    Unlike other folk games, which focus on pungmul nori, Dongnaeji Sinsinbapgi is characterized by a gutgeori rhythm and a deobaegi dance. Currently, the Busan Folk Arts Preservation Association and Jeongsu School are striving to transfer and distribute the art.
  • 2008.12.16
    designated date
    Buddhist paintings mainly produce tangs for worship and enlightenment, which express Buddhist doctrines in a conversational way.

    The 15th Intangible Cultural Heritage of Busan, Gwon Yeong-gwan, is a Buddhist cremator who clearly proves his relationship with the Buddhist monk. His father, Kwon Jeong-du, was transferred from Yang Wan-ho, a great Buddhist mother who left many Buddhist paintings in Gyeongsang-do, including Busan, in the early 20th century, and produced outstanding Buddhist paintings and sculptures nationwide, while Kwon Yeong-gwan was transferred from his father again.

    It was first introduced in 1962 and has been engaged in the production of tangs for 46 years in Busan. In 1972, he won the Excellence Prize for painting in the Buddhist Painting section of the 3rd Buddhist Art Exhibition hosted by the Jogye Order of Korean Buddhism, and won the Best Prize in the 4th edition in 1973, and the 5th edition in 1974, the following year, he won the Special Prize.

    In addition to Buddhist temples in Busan such as Beomeosa and Samgwangsa Temple, there are more than 50 of his major works enshrined in Buddhist temples across the countrywide. In his writings, eight passers-by are currently working to pass on the function of Buddhist painting production.

    In addition, the traditional methods of making Buddhist scriptures are faithfully followed by the traditional methods of making them, along with the ability to embody the contents of Buddhist scriptures in Buddhist scriptures. On December 16, 2008, it was designated as Busan Intangible Cultural Property No.15.
  • 1967.12.21
    designated date
    Yaryu is a custom of Ogwangdae (mask dance drama) that was first performed in the inland areas of Gyeongsangnam-do but spread to Suyeong, Dongnae, and Busanjin. Yaryu literally means playing in an open field. This mask play was performed by non-professionals like villagers. Dongnae Yaryu was performed on the evening of the full moon of January 15 on the lunar calendar, supposedly to pray for a good year for crops. Dongnae Yaryu was said to have been started about 100 years ago after its cousin performed in nearby Suyeong. Now performed as an entertainment, it is composed of four acts: leper dance, gag exchanged between a yangban (nobleman) and Malttugi (servant), Yeongno (therianthropic character)’s dance, and old couple’s dance. Members of the troupe march to the site of performance while playing music. The main subject of the performance is a satire about nobles. The masks are made of gourds. The chin part of the masks is made movable, moving upward and downward while its wearer delivers a gag. The play is performed to the accompaniment of percussion instruments, which play exorcist music. Malttugi’s dance and nobleman’s dance are the leading performances. Obangsin (Deities of the Five Directions)’s dance, satire about deprave monks, and lion dance -- which are usually included in Ogwangdae mask dance drama -- are not performed in Dongnae Yaryu.
  • 2005.12.27
    designated date
    Dongnae Hanryang Dance is a men's dance with a strong local color of Dongnae and a unique dance rhythm. This dance has been performed by local hallyangs since ancient times, and the overall dance is based on Deobaegi and Bae Kimsawi, both of which are introduced in this area.

    It does not have a fixed form of dance or composition, but it is characterized by a combination of yard dance and gibang dance, along with a relaxed dance as a male dance with bold lines, centered on Hutton dance (mouth dance), a personal dance that is improvised when the excitement is heightened.

    Originally, the dance was performed by the customs officials of the Dongnae area and the Hanryang who entered and entered the room, so it is an artistic dance that is not vulgar and elegant, and at the same time improvised and personal. It is also a mouth dance that is performed in a small place called Kibang, so it is a dance with delicate movements along with individual creativity.

    Jang Mun-won, the holder of the Dongnae Hanryang Dance, is the last dancer to come and go in Dongnae Station, and is a representative dancer of Dongnae, such as Nonghyun's dance moves.

    Although the contents of accompaniment music can be expressed differently depending on the dance moves in different regions, considering the historical nature of the dance performed by Hanryang in Gyobangcheong and Kwonbeon, it can be seen that the dance is usually performed in Sinawi rhythm that suits the local characteristics.

    Dongnae Hanryang Dance, based on the basic form of Dongnae Seotbaegi Dance, is a folk dance with a very important meaning in that it is the basis of all the male dances in Dongnae area as a prior entertainment of Dongnae Yaryu's yangban dance, gutgeori dance, mouth dance, and Dongnaehak dance.
  • 2016.12.28
    designated date
    The Bottom Sailboat Shipyard was designated as Busan Intangible Cultural Property No. 25 on December 28, 2016, and refers to the craftsman who makes the Bottom Sailboat, a traditional boat of our region.

    Kim Chang-myeong, the owner of the lower sailboat shipyard, has been working as a family business for four generations since his great-grandfather's birth, and has built more than 100 wooden ships including Hwangpo sailboat, ferry boat, and Sogu engine boats near the mouth of the Nakdonggang River.

    Hwangpo Sailboat by Kim Chang-myung is one of the symbols of the history of the Nakdonggang River, and it has important meanings in terms of the linearity of traditional ships and the development of manufacturing techniques, wooden boat-making tools, and understanding of the life culture downstream of the Nakdonggang River.

    The lower sailboat, which is a Hwangpo sailboat at the bottom, is 25 to 35 long (750 to 1,0050 cm), 5.5 to 7 wide (165 to 210 cm), and 2.5 to 3.5 deep (75 to 105 cm) since the end of the Han Dynasty. Another large sailboat remains, and waterways near Samrangjin and other waterways. Among them, the large sailboat that traveled to and from the upper reaches of the Nakdonggang River almost disappeared in 1970 with the opening of the Gyeongbu Expressway and the construction of bridges to cross the river. The sailboat near the mouth of the Nakdonggang River disappeared in the mid-1980s when the composite resin (FRP) line was supplied and the estuary bank was constructed. Recently, local governments have maintained their reputation as a sailboat occasionally manufactured for tourism, so it is necessary to designate the lower sailboat shipyard as a Cultural asset to preserve it.
  • 1993.12.31
    designated date
    Dongnae Rubber is a drum dance that is handed down in Dongnae-gu, Busan. Although it was performed by the gisaengs of Gyobangcheong, which was in charge of court music during the early Goryeo Dynasty, it was introduced as Gyobang of Dongnae Gamyeong during the Joseon Dynasty and was called Dongnae Rubber depending on the characteristics of the region. According to the records recorded in "Goryeo Temple" and "The Akji," drumming was created by a nobleman named "Debate," who lived in exile during the reign of King Chungnyeol of Goryeo (1274-1308), as a raft that floated down to the sea was the origin of drum dance.

    Dongnae Rubber puts a big drum in the center and four dancers dance to the Yeongsan Hoesanggok, Janyeongsan Mountain, Yeombuldodry, and Taryeong Military Music, while four other dancers mingle and dance together singing Jihwaja. The dance moves include the head son-in-law, the birim son-in-law, the custom son-in-law, the side room, the rank-and-file son-in-law, the eight-man-law, the relative dance, the drum dance son-in-law, and the situation of the person. The dance is delicate and elegant under the influence of the royal court, and the composition of the dance is monotonous, varied, and colorful.

    Dongnae Rubber is a type of dance in the middle genre, not a pure folk dance, but a type of Gyobangmu. Currently, the Busan Folk Arts Preservation Association is striving to succeed and preserve the art.
  • 2014.1.1
    designated date
    Since 1973, Bae has been engaged in the production of Dongnae Traditional Kites and kite flying for more than 40 years. Bae Moo-sam was confirmed to have continued the succession of Lee Soo-yong and Han Tae-jeong in the field of Dongnae Traditional Lanterns as the late Dongnae Yaryu owner Jang Mun-won testified in his lifetime that he had been taught the production function of Dongnae Traditional Lanterns by Han Tae-jeong and Park Yun-su for more than a decade.

    Korean traditional kites can be largely divided into 'Bangpaeyeon' and 'Gaoliyeon'. Although Dongnaeyeon is not much different from traditional kites, Dongnae area with the sea is a place with strong winds in winter, so the standard of kites is made in the ratio of 2:3, 5:7, and 7:9, which is golden division shape. The kites are placed in two layers, are round, and the kites are not flat, and the lotus is shaped like a circle to make the light.

    Bae Moo-sam has his own unique traditional kite production function and is fully qualified to designate and recognize Intangible Cultural assets designated by Busan Metropolitan City, as he has a distinct family tree, and is producing 'Meoriyeon' with a red and black 1/4 won painting on the tail of the kite.