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K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 2004.2.13
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    ☆Cheongjajang is a Person or skill that makes celadon. The celadon production process is very complex and requires sincerity and precision, and most of them go through similar processes such as soil mulch removing, figuration, sculpture, decoration, bisque firing, glaze, and roast twice. It takes between 24 and 25 steps in 60 to 70 days to become a complete product.

    And in order to reproduce the mysterious color of celadon, the three elements of fire, clay, and glaze must be harmonized, and there are a lot of difficulties in production because they cause changes in the action of fire and weather conditions in the kiln.

    Lee Yong-hui is a native of Gangjin, born and raised in Sadang-ri, Daegu-myeon, Gangjin-gun, the center of Goryeo celadon production, and is a craftsman who reproduces Goryeo celadon technology by honing its functions in the atmosphere of making pottery of history and tradition. He participated in the protection and management of the gist area since 1964, and since 1977 when he participated in the project under the guidance of early definition, he has served as the R&D director of Gangjin Cheongja Reproduction Office since 1985 and contributed to enhancing the status of Gangjin Cheongja.

    In addition, it has been recognized for its ability to win prizes in numerous craft competitions, and has trained a lot of human resources, and has also conducted research on the development of celadon wrappers and research on the characteristics of celadon glaze.

    Gangjin is responsible for fostering the culture and tourism industry in the region by operating the Cheongja Recycling Office, which is an important business, and Lee Yong-hee has not only individual skills but also competence as a conductor of celadon production produced by specialization and division of labor.
  • 2004.2.20
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    Hwahyejang refers to a craftsman skilled in the art of making traditional Korean shoes. It is a compound word consisting of “hwajang,” a Person who made hwa (long-necked shoes), and “hyejang,” a Person who made hye, or shoes that did not cover the ankles.

    According to Gyeongguk daejeon (National Code) published in the Joseon Dynasty, the demand for shoes was so high that there were 16 hwajang and 14 hyejang affiliated with the central government office. This record also shows the separation of the two specialties.

    Hye are made by pasting several layers of cotton or ramie cloth onto the cotton lining and covering them with silk to make the outer rim. This is then sewn onto the sole made of leather. It is important to maintain balance to prevent the tip of the shoes from twisting. The shoes were finished off by shaping them with wooden lasts.

    Since traditional shoes were mostly made of leather, their manufacture involved numerous different processes and consequently called for a high level of skill. Many records from the Joseon Dynasty mention shoe craftsmen and shoe-related matters, giving us an idea of life at that time. For this reason, the art of shoe making is historically important and worthy of academic study.☆
  • 1978.2.23
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    Talchum (Mask Dance) is a stage play in which one Person or people wearing a mask takes the role of a Person, animal or a supernatural being (god), delivering a message through dialogues or dances. Talchum was performed throughout the country until the early Joseon Period. After the Sandae (a type of mask dance) came no longer to be performed in the Royal Palace in 1634 (the 12th year of King Injong’s reign), it was still enjoyed as a pastime by ordinary people.

    Eunyul Talchum was performed for 2-3 days on Dano (May 5 in the lunar calendar), Buddha’s birthday (April 8), and on Baekjung (July 15). It is said that people who fled to islands during war 200-300 years before wore masks on their return home as they felt ashamed, and that was the origin of Eunyul Talchum. Eunyul Talchum is composed of six acts, Lion Dance, Sangjwa Dance, Mokjung Dance, Old Monk Dance, and Dance of the Old Couple. Prior to the performance, the troupe held a sacrificial rite in a forest and marched to the site of the performance, entertaining people along the road. There are a total of 28 characters appearing on the performance. The play included satires about nobles harassing commoners, depraved monks, and male chauvinism in the custom of allowing a man to take plural wives.

    Eunyul Talchum displays a relationship with Bongsan Talchum (Mask Dance of Bongsan) and Haeju Talchum (Mask Dance of Haeju), both of which stem from Hwanghaedo Talchum (Mask Dance of Hwanghae-do).☆
  • 2018.3.2
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    ☆"Baecheop" refers to a traditional painting processing method that enhances not only beauty but also practicality and preservation by attaching paper, silk, etc. to letters and paintings. It is also called 'Pyogu' today, and is now called 'Janghwang' in Korea, China and Japan.

    Baecheopjang refers to a Person who was in charge of painting in the early Joseon Dynasty and was in charge of painting the royal court.

    Baecheop is known to have originated during the Han Dynasty of China, was further developed into the Tang Dynasty and reached the establishment stage. Although it is not known how it was introduced to Korea, it can be seen from the folding screen paintings of Goguryeo tombs.

    Byun Kyung-hwan

    - studied under baecheop Seo Jae-young in 1964.

    - 1979-1998: "Korea Geumseokmun Daegye" (Wonkwang University) materials and the production of scrolls

    - 2005 designated as Korean Myeong-in(master)

    - 2010 produced Jeonbuk Provincial Museum of Art's Byungpung(folding screen)

    - A member of the Korean Society for Conservation of Cultural Heritage

    - Janghwang Research Institute of Cultural Heritage
  • 2005.3.3
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    ☆Sagijang refers to a Person who has the ability to bake a china bowl at a high temperature of more than 1,300°C by mixing various soil.

    The late Kim Yun-tae, who was the owner of Sagi-jang, was a man of Mungyeong. Mungyeong was widely distributed with red clay, white clay, sajil clay, and pottery, and the water in the valley was good, so around 1700, when artisans who had crossed over Mungyeongsaejae Hill settled down and mainly produced tea cups and semi-phase machines. The Galjeonyo of Mungyeong was a kiln run by Kim Yun-tae's grandfather, and was succeeded by Kim Jong-seong, Kim's uncle, although there was a few years of absence from the post-liberation period until the Korean War.

    The production of traditional Korean ceramics can be largely divided into the divisional atomizer operated by the government and the privately owned porcelain that originated naturally in various parts of the country during the late Joseon Dynasty. Among them, the private sector can be divided into areas where skilled sagijangs were kidnapped by Japan during the Japanese Invasion of Korea in 1592, and Kim Yun-tae inherited a kiln tradition in northern Gyeongsangbuk-do, a representative mountain area for civilian prisoners who escaped kidnapping.

    Kim Yun-tae inherited the kiln from his grandfather Kim Il-bae and uncle Kim Jong-seong during the late Joseon Dynasty and produced pottery for the rest of his life. Among the fields of household porcelain and bowls were excellent.

    They have the characteristics of a local kiln at the end of the Joseon Dynasty and inherit traditional techniques. In addition, the entire process of collecting clay, receiving water, making bowls, cutting, chiseling, and grilling are following the traditional production style of the late Joseon Dynasty.

    Kim Yun-tae was in charge of the entire process of white porcelain production, including digging clay, pulling out the dough and air bubbles, making a lump of clay to be placed on a spinning wheel, wiping out the holes in the molded bowl, and applying glaze, as well as the role of the underwater forces in all the white porcelain production.

    Kim Yun-tae did all of this, especially the traditional kiln production technology made of mangdeng (or mangsaeng) was considered the best in Korea, as few people were able to do the entire process of white porcelain production alone across the country.

    Kim Yeong-gil, the eldest son of Kim Yun-tae, was recognized as the owner of sagijang in March 2015 for his ability to carry out not only his father's traditional techniques but also his family's construction of kilns and spinning wheels using Mangsaeng, and to handle the entire process of making traditional white porcelain by himself.
  • 2003.3.14
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    ☆Jincheon Yongmong-ri Nongyo has been handed down in Deoksan-myeon, Jincheon-gun, Chungcheongbuk-do.

    Jincheon Yongmong-ri Nongyo is performed by three singers who take turns at each stage, and when one Person carries it, the whole song is sung in the chorus. It's melodical characteristic is similar to the singing style of the Miho-cheon stream, a stem of the Geumgang River basin which forms a wide field, especially the rice wine. The lyrics go on stealthy with the process and movements of the work well-organized, making farmers forget the fatigue of farming work and boost their excitement.

    Jincheon Yongmong-ri Nongyo is similar to Jungwon Masuri Nongyo, but unlike other agricultural songs in other regions, there is no harvest play that was performed during the harvest period.
  • 1971.3.16
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    The Dano Festival held in Jain-myeon, Gyeongsan-si, Gyeongsangbuk-do is said to originate from a legend handed down in the village. During the Silla and Goryeo Periods, Japanese pirates frequently invaded coastal areas. A military general disguised himself as a woman and danced with his sister and clowns to entice the pirates, thereby winning a victory against the invaders. After his death, villagers built a shrine for him and held a sacrificial rite there on Dano (May 5 on the lunar calendar).

    During Gyeongsan Jain Danoje, villagers gather together in the square in the center of the market and hold a masquerade parade toward the tomb of the general. Standing right in the front is the bearer of a flag indicating the five directions, followed by one bearing a farm flag, and one carrying a tall (3m high) decorative crown. These are followed by dancing men, Higwangi (a character), a man disguised as a woman, military slaves, officers, cannon troops, gisaeng (female entertainers), troops, petty officials, a wide sun screen, the military commander, and the commander’s lieutenants. The paraders go around the tomb and return to the village square, while officiants hold a sacrificial rite at the tomb.

    The masquerade parade is a feature that distinguishes Gyeongsan Jain Danoje from other folk festivals. The dance movements are also unique. Lying at the heart of the festival is people’s deep-rooted respect for a Person who protected their village. Ÿ

    Change in the name of the event (General Han Play → Gyeongsan Jain Danoje in March 2007)☆
  • 1989.3.17
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    ☆ Chiljang refers to a Person who has the skill and function of making lacquerware, and lacquer refers to a container in which wood extract is painted on wood.

    The types of lacquer include raw, refined-raw, and refined paint. Saengchil(raw) uses the same state as it was taken from lacquer in a traditional way. Refined-raw paint is used to apply foreign substances in the raw paint to the medicinal stuff or containers. Refined paint refers to paint made in various colors for application to crafts and industrial products.

    The ingredients of lacquer are rubber-like, effective in waterproofing, and not rotting, so in the past, almost lacquer was used in funeral coffins. As lacquer ages, it becomes harder and has the effect of preventing moisture and insects. There are many reasons why the Tripitaka Koreana could be preserved for a long time in the past, but lacquer played a major role.

    Chil(lacquering) is a traditional craftsmanship that has many effects and subtle beauty, and Shin Jung-hyun has been recognized as the holder of the function. In addition to lacquerware, no.1 of Seoul Intangible Cultural Heritage is designated as one of four more categories: lacquer, yellow lacquer, colorful lacquer and blue lacquer. The holders are Son Dae-hyun (copper lacquer), Hong Dong-hwa (hwang Chil), Kim Sang-yang (coloured paint), and Jeong Byeong-ho (choung Byeong-ho).

    ※※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (02-2133-2616).
  • 2006.3.20
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    ☆Although Yangju Nongak was generally referred to as Yangju Nongak, it was based on several Nongak pieces that were handed down throughout the Yangju town. The main source of the nongak transmission was the nongak in Gwangjeok-myeon, Seokuri, Bakdal-dong, Gwangjeok-myeon, Gwangseok-ri, and Deokdori nongak. These nongak have been combined to reach today's Yangju nongak. It is a nongak that fully embodies the nature of nongak in northern Gyeonggi Province and embodies the typical aspect of nongak in Gyeonggi Province.

    Yangju Nongak is related to the "Homi Ssise," in which the basic Personality is done after the farming process.

    In this town, dure(farmers' cooperative group) was intense in every part of the village. There was a tradition of eating food and holding a feast at the end of the farm work. It is Yangju Nongak that originated from this tradition. In addition, Yangju Nongak is based on 'Nongnapuri', a tradition of playing nongak while mimicking farming.

    It is replaced by showing the reproduction of nongak, which has a reserved nature, as a farming imitation.

    Farming is performed in the form of washing hoe, and the forms of rice paddies are consistently found in Goyang, Paju, Yangju, Guri, Uijeongbu, and Dongducheon in northern Gyeonggi Province. The composition of rice paddy farming sounds is consistent, Nongak is performed as a farming pool, and the transfer process is shared in the form of ho-mi-sushi or ho-mi-gall. For this reason, Yangju Nongak can be regarded as a typical example of Nongak.
  • 1996.3.29
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    Nongak is the music played by farmers when they work with Du-re (an organization for community work) and refers to the music played by farmers playing percussion instruments such as kkwa-ri, Jing-gu, Jang-gu, and drums.

    Gimje Nongak is a type of Honam Udo Nongak that is distributed throughout Gimje. Nongak was handed down in the form of Daedonggut from early on, but it was developed into a more specialized group of entertainers. It is characterized by the use of iron and janggu as the main instrument in the composition of the Nongak band, the use of large drums, and the development of duregut in the plains area.

    Currently, Park Pan-yeol and one other Person in Gimje Nongak are recognized as the entertainment holders.
  • 1967.3.31
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    People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul.

    The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked Person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall Person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play.

    Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.
  • 1998.4.6
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    Dure is an indispensable form of joint work in an agricultural society. Only a Person's hand had work your land, rice, rice, rice reaping most local people had to work with me at a time in the process. Although labor

    united for, but itself was a village play, a festival.

    Gimpo Tongjin Durenori is an event that focuses on the sound of farming in the old farmers' dure process that was handed down in the Tongjin area. Depending on the farming season, the song starts with a long melody and ends with a quick melody. The sound of gosa ddeokdam, mochi and gimaegi are called in Tongjin Durenori.

    When Sangsoe's kkwaenggwari sounds, villagers begin to enter with a bucket bearing the name of the village that used to form Tongjin-myeon. After entering the flag, sowing rice seeds → paddy grilling → killing → rice planting → rice planting → eating fish → eating fish → laver fighting → cutting rice → chopping → building up islands.

    In Gosa-gi, people share gosa-tteok in hopes of a good harvest, and in Mochi-gi, they sing mochi-gi songs to cheer them up. Sae-cham-muk-gi shows a combination of work and play, such as enjoying Sae-cham and enjoying entertainment. After a fish fight between rice paddies, it is expanded to a dure fight between villages. The team that catches the pheasant fence on the village flag first wins, and the winning team puts the pheasant fence back on the losing team's flag, leading to harmony.

    Although the Duleges in the Tongjin area were cut off after the 1960s due to changes in farming environment, Yun Deok-hyeon won the Presidential Award at the 1997 National Folk Arts Competition for recreating the old tradition. Since then, the Tongjin Durenori Preservation Society was established to succeed the Gimpo Tongjin Durenori, and the Tongjin Dure Cultural Center was established in April 2008. After Yoon Deok-hyeon's death, Jo Moon-yeon was designated as the holder in November 2016. It is actively engaged in activities through an open event for intangible cultural assets in Gyeonggi Province, a presentation of the National Duret Sori Conference, a demonstration of inviting intangible cultural assets from each province, and a presentation of its own Gimpo Tongjin Durenori.
  • 1986.4.10
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    A millstone rolling song refers to a folk song sung by villagers as they roll into the village after taking in the upper part of the lotus bud (rolling millstone) and aldol (floor stone) of Jeju Island. Looking at the condensed milk, rolling millstones required a great deal of strength, and because many people were mobilized, they were called to boost their united strength.

    This folk song is in the form of a senior chorus in which all the workers are "carried out" in unison according to the sound of a Person's line, and most of the lyrics are about the actual state of their work. As the rhythm of the short-length type appears frequently, the speed is generally slow, and there are many rhythmic changes, the melody decoration is also frequent.

    The mill-rolling song is one of the most extinct transport labor songs of today, and Kang Won-ho, who lives in Deoksu-ri, Namjeju-gun, continues the tradition.
  • 1986.4.10
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    Anchovy hoori is a folk song sung by many people in the coastal village of Jeju Island, and is also called Melhurim Sori, which is the Jeju Island of anchovies. The anchovy hoisting was performed by villagers to the sandy shore after the anchovy swarming with nets in the distant sea, so they sang to boost their united strength.

    This folk song is sung by a Person's seonsor, and the people who pull the net sing the chorus according to their movements. The structure of the music is composed of two syllable sounds and two syllables. The melody of the melody and the chorus are different, and are called the late Gutgeori rhythm or Jungjungmori rhythm. Since the rhythm is stable and the stress treatment is relatively fixed according to the mortar structure, it develops almost invariably by repeating the same musical instrument. The sound is composed of Do, Le, Mi, and Solo, and the sound is finished with Le, which gives a strong impression.

    Anchovy-hoori is a fishing labor song that is closely related to the movement of pulling the net when the anchovy is being hit, but it has been separated from the work since 1960 when the anchovy-hopper disappeared.Only the victor remains.
  • 1989.5.1
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    A traditional self-prayer is a Person or skill who makes himself or herself with traditional techniques.

    Since the Neolithic Age, Korea has made and used earthenware, and in the early 10th century, it adopted pottery techniques from the Tang Dynasty of China to make inlaid celadon.

    Then, due to the Mongol invasions, celadon manufacturing techniques declined, and the production of buncheong ware and Joseon white porcelain became more active during the early Joseon Dynasty.

    However, the kilns were destroyed during the Japanese Invasion of Korea (1592) and many potters were taken to Japan, leading to the decline of ceramic technology. Fortunately, Gwangju Gwanyo was the only one left, creating a large stem centered on Joseon white porcelain.

    The production process of traditional porcelain involves the process of clay, plastic surgery, sculpture, poetry, plastic surgery, etc. The Zeto process breaks stones into powder, releases soil, mixes them, and undergoes a defensive process to remove impurities, and then builds up the clay. After the molding is over, place the crushed soil on a spinning wheel to form an object. After the molding is over, dry it and carve it with a knife.

    After that, the work is completed by baking, applying glaze, and finishing grilled chaebol. The production tools include a spinning wheel, bat, earth gourd, cart, water leather, iron holtae, necklaces, and electric knives.

    Traditional porcelain ware was designated as an intangible cultural asset to protect and transfer Korean beauty as a traditional craftsmanship.

    Jang Song-mo of Gangwon-do, who has completed the production function of traditional ceramics, continues his career by establishing the Gangwon Ceramic Culture Research Association.