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K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 2009.3.5
    designated date
    ☆Songseo refers to the act of scholars reading Chinese characters or novels at a certain tone in traditional society. In traditional society, this was a kind of culture of aristocrats, as the contents of the letter were written in Chinese characters and novels. Transcripts are both artistic and historical.

    In General, letters are sung in the musical language of the Seoul area. This is why Songseo is characterized by its historical nature as a product of the Joseon Dynasty and its locality as Seoul.

    On March 5, 2009, Yoo Eui-ho (Yuchang) was recognized as the holder of the event.

    ※※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (02-2133-2616).
  • 2000.4.20
    designated date
    Arrow shooting is a traditional martial art or game in which one uses a bow and arrow to hit the target. Archery has been used as one of the major martial arts since ancient times, and was handed down as elegant sports or play centered around the noble family.

    Pyeonsa nori was a game of archery, with turpyeonsa, osteoporosis, Janganpyeonsa, Sarangpyeonsa, and Hanyangpyeonsa, which were divided into three grades, respectively. Among them, Jangan Pyeon Sanoori is played in one place inside the capital city and in the other with several bouncer areas on the outskirts.

    the place where archery is performed is also known as a place of activity, or a place of business, or a place of activity, and there is a pavilion in the place where there is a pavilion called "span class='xml2' onmouseover='up2 (2458)' onmouseout='dn2()'사Sajeong정/span>." During the early Joseon Dynasty, Government offices managed the situation, but after the Japanese Invasion of Korea (1576-1608), King Seonjo (r. 1562) built a "span class='xml2' onmouseover='up2(3747)' onmouseout='dn2()Ounjeong정/span' to the General public. Since then, there have been many incidents in the provinces, which have become popular throughout the country, and at the end of the year, it was called "Seochon Osajeong" due to the five internal circumstances of the capital city.

    Jangan Pyeonsa Nori originated from archery, which was revived in 1994 as a 600th anniversary celebration of Hanyangcheon Stream and was designated as Seoul Intangible Cultural Heritage No. 7 (owner Kim Kyung-won, conservation organization Jangan Pyeonsa Preservation Association) in April 2000. Since October 28, 2017, there has been no holder.

    the archery of Jangan Pyeonsanol will be played by selecting a certain number of players, and the total number of arrows shot by each player in three order (five shots in one order) will be combined to form a competition.

    In addition, Jangan Pyeonsa Nori has Pungak and Gisaeng, which are played by two or three people standing side by side behind the bow-shooter to stimulate the excitement of the bowlers.

    bbb※※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616). </bb
  • 2015.7.8
    designated date
    Seonjajang is the skill of making a traditional fan and a master artisan who holds such skill.

    In General, Korean fans are divided into two styles: Danseon, i.e. fans with a large, rounded shape, and Jeopseon, or folding fans. Hapjukseon, a type of folding fan exhibiting a high degree of refinement and sophistication, has been one of Korea’s most representative craft products — along with other craft wares made with mother-of-pearl, metal, lacquer and jade — ever since the Goryeo Dynasty.

    Hapjukseon were made mainly by artisans at the Seonjacheong, the Government office responsible for making fans (located in Jeonju, where the Jeolla Provincial office was situated during the Joseon Dynasty), and were used for diplomatic purposes and foreign trade.

    Meanwhile, hapjuk were made of double slips of bamboo originating from Damyang in Jeollanam-do Province, the main production site of bamboo in Korea.
  • 1998.9.21
    designated date
    Embroidery has been widely used since ancient times as a means of ornament that allows colorful and free expression of patterns using simple tools of thread and needle. I sew threads of various colors on a needle and apply different techniques to make clothes.

    It began naturally with the addition of decorations on top of the clothes and developed with the attire of religious or ceremonial events.

    the oldest record on embroidery was written in the previous Buyeo edition of "the 30th Dong of the Three Kingdoms" which states, "the Buyeo people enjoy wearing clothes made of great gifts, great gifts, gold, and great gifts when they go abroad." 『후한서後漢書』 동이전 고

    the Gurye episode recorded that "the Government officials wore silk embroidered when they gathered at the meeting," and the Samguk Sagi (삼』』) recorded that fans embroidered in Silla were used as small tools, indicating that embroidery was prevalent.

    During the Unified Silla Period, a ban on wearing clothes was imposed in 834 (the 9th year of King Heungdeok of the Unified Silla Dynasty), and there was also a ban related to the number of gold. the use of silk embroidered with silk was regulated on socks and shoes, and the use of silk embroidered on saddle tongs, saddle posts, and feet was prohibited. In addition, the use of embroidery bottle pungent was prohibited for bones and nutmeg. This suggests that embroidery extends not only to doubles but also to household goods.

    In the Goryeo Dynasty, embroidery was newly developed. According to the records of "Goryeosa Temple," the royal court and the General library were installed to make handicrafts. In addition, the Annals of King Munjong recorded a collection of well-preserved men and women in each palace after the king's death, indicating that the king's royal seal was made to pray for the king's paradise.

    During the Joseon Dynasty, there were embroidery decorations dedicated to the royal family's clothing and other articles. In addition, the system of wearing a rank badge on the front and back of the official uniforms of the civil service officers increases the demand for embroidery. the embroidery developed with distinct features, which were largely divided into Gungsu Palace and the people of Minsu. the private sector also used their spare time to produce and use embroidery decorated with water for various daily ornaments and supplies, such as Norigae, Bojagi, and Bangseok.

    Born in Kanagawa Prefecture in Japan, Shin Sang-soon returned to Korea after graduating from a small school in Japan and learned embroidery from Kim Nan-choong, a teacher at Masan Girls' High School, in the 1950s. In 1971, the company set up a self-made workshop called Hwarin Workshop to bring embroidery closer to everyday life, focusing on household items. the paintings include the Hwajodo and Baekdongjado and 子子 Byeongpung, which are rich in living emotions. It also strives to collect and reproduce embroidery artifacts from the Joseon Dynasty.
  • 1997.9.30
    designated date
    Okjangbap refers to a craftsman who processes various kinds of jade and shellfish and works on royal logistics and men's and women's ornaments. As for jade stones and shellfish, Gyeongok, Yeonok, Sanho, Pumpkin, Mano, Sujeong, Gongjakseok, Yuri Jeok,

    there are ivory, godmother, calligraphy, black-angle, pearl, and stonghwang.

    these jade pagodas have been widely used from the royal court to the General public, including Norigae, tangerine, backrest, hairpin, earring, ring, intestine, dongje, gwanja, seonchu, needle, pungjam, danchu, and string. Royal ornaments were used for royal ornaments such as jade pedestal, jade seal, cotton crown, and pagodaejang. Traditional manufacturing processes go through quarrying → design → cutting → molding → drilling → digging → digging → carving → cutting 질 polishing 질 polishing 광 polishing → polishing → polishing.

    In 1970, Kim Yeong-hui, the owner of the school, entered the school as a student of Kim Jae-hwan and practiced techniques. In 1988, he was recognized for his skills through numerous awards including the Grand Prize in the Korean Traditional Crafts Competition, the Special Prize in the Korean Traditional Crafts Competition, and the Minister of Commerce, Industry and Energy of the National Crafts Competition. He was selected as the winner of the state-designated Oksuk Pagakgapgi Crafts.

    A total of more than 100 artifacts and reproduction projects have been actively carried out so far, including various exhibitions and activities at home and abroad, including the Baekok Moranmun Memorial Hall (the head of the U.N. headquarters in Korea), the Royal Palace Museum's 60th anniversary of Korea's liberation from Japan's colonial rule (the head of the National Palace Museum).

    In addition, the museum opened in 2014 as a first-class museum in Heyri Art Village, Paju, to inform the public of the beauty and excellence of traditional jewelry. In addition, the Government is trying to inherit and pass on the skills of the royal jade crafts of the Joseon Dynasty through the Soye region for the study of the Byeokbong Royal Cultural Heritage, and to continue the tradition of Korean royal jade crafts.
  • 2002.11.25
    designated date
    Onggi is a General term for earthenware and earthenware, and onggi is a pottery that does not have a glaze, and onggi is a pottery that is made of glaze, which corresponds to a narrow meaning.

    Unglazed pottery was the main focus until the Goryeo Dynasty, but from the mid-Joseon Dynasty, black-brown pottery with onggi was produced, and glazed pottery became common in the late Joseon Dynasty.

    Records show that large earthenware jars, called "Ong," were used to store or store liquids or foods such as alcohol, water, soy sauce, and salted fish before the Goryeo Dynasty. It was recently discovered that large quantities of pottery jars excavated from the Taean Mado Sea were used to store water or transport salted fish.

    During the Joseon Dynasty, pottery craftsmen were referred to as "gongjang." According to the "Gyeonggukdaejeon" exhibition factory, 104 of them belonged to 14 central Government offices and produced pottery needed by the royal family and Government offices.

    Pottery, including onggi, was used in a wide class from the royal family to the private sector and developed with regional characteristics in relation to climate or use.

    Kim Il-man, who was designated as an intangible cultural asset in Gyeonggi Province in 2002, is from a family that has been making pottery for six generations and has devoted himself to making traditional pottery in Gyeonggi Province using three traditional kilns from the late Joseon Dynasty.

    In 2010, he was promoted to the state-designated Important Intangible Cultural Property No. 96, and his sons, Kim Seong-ho and Kim Yong-ho, were designated as messengers, continuing the tradition of Onggi production in Gyeonggi Province.
  • 1964.12.24
    designated date
    Pansori is a traditional Korean genre of epic musical storytelling in which a sorikkun (single performer) presents a long narrative work comprising sori (singing), aniri (lyrics), and neoreumsae (gestures) to the accompaniment of a gosu (drummer). While its exact origin is unknown, some scholars believe that pansori developed during the reign of King Sukjong of the Joseon Dynasty on the basis of Chunhyangga, which was composed by Yu Jin-han in 1754, while others trace its origin to an entertainment mentioned in a document dating back to the early days of the Joseon Dynasty. Still others argue that it dates back to Silla, where folk entertainments called pannoreum were widely performed. the musical accompaniment of Pansori consists of a variety of rhythms called jinyangjo, jungmori, jungjungmori, and hwimori. the drummer accompanying the singer breaks out into shouts of praise and encouragement, such as “Great!” and “Perfect!”, known as chuimsae, at the appropriate endings. During the reign of King Sunjo (1800-1834) of Joseon, there were eight masters of pansori, including Gwon Sam-deuk, Song Heung-rok, Mo Heung-gap, Yeom Gye-dal, Go Su-gwan, and Sin Man-yeop, each of who played a key role in the development of the musical genre into the form we know today. the current tendency is to divide Pansori into the following three schools: Dongpyeonje, which developed in the northeast area of Jeolla-do; Seopyeonje, which developed in the southwestern region of the peninsula; and Junggoje, which developed in Gyeonggi-do and Chungcheong-do. In its early stage, there were twelve great Pansori works, including Chunhyangga (Song of Chunhyang), Simcheongga (Song of Sim Cheong), Sugungga (Song of the Rabbit and the Turtle), Heungboga (Song of Heungbo), Jeokbyeokga (Song of the Red Cliff), Baebijang taryeong (Song of General Bae), Byeongangsoe taryeong (Song of Byeon Gang-soe), Jangkki taryeong (Song of the Cock-Pheasant), Onggojip taryeong (Song of the Miser Onggojip), Musugi taryeong (Song of Military officials), and Gangneung maehwa taryeong (Song of Plum Blossoms of Gangneung), which were much shorter than the five works remaining today, namely, Chunhyangga, Simcheongga, Sugungga, Heungboga, and Jeokbyeokga. these five Pansori works have been designated as Important Intangible Cultural Heritages by the Korean Government and are performed widely across Korea by various performers, including the following select group of Government-acknowledged masters: Kim Yeo-ran, Kim Yeon-su and Kim So-hui (Chunhyangga); Jeong Gwon-jin (Simcheongga); Park Nok-ju (Heungboga); Jeong Yong-hun and Park Cho-wol (Sugungga); Park Dong-jin, Park Bong-sul, and Han Gap-ju (Joeokbyeokga).