K-Cultural Heritage 1 Page > Little Korea


Everlasting Legacies of Korea

  • 2010.5.27
    designated date
    The origin of Gayageumsanjo was started by Kim Chang-jo (1865-1919), a native of Yeongam, South Jeolla Province, in the late Joseon Dynasty. Starting with the slow Jinyangjo rhythm, Jungmori, Jungjungmori, and Jajinmori rhythms became faster and faster. It is one of Korea's representative instrumental solo genres, using various groups such as Ujo, Pyeongjo, Gyemyunjo, Gyeongdreum, and Gangsanje. The beauty of the melody, which has a free melody in a certain frame and draws the emotions of the performer by repeating the tension and relaxation, is indeed enough to express the emotions of traditional Korean music.

    The transfer of various factions, including Jeongnamhui, Choeoksamryu, Gangtae Hongryu, Kim Byeongho and Kim Jukpa, is taking place. In 1968, Gayageum Sanjo and Byeongchang were designated as important Intangible Cultural assets, and other factions were well-suited as the holder. However, Kim Byeong-ho's Gayageum Sanjo is considered to have the deepest taste in Nong-hyeon, but it has not been designated as an Intangible Cultural asset. Kim Byeong-ho was born in Yeongam, South Jeolla Province, in the same region as Kim Chang-jo, the founder of the Gaya Geumsanjo, and his Sanjo is rooted in Kim Chang-jo. Since then, Kim Byeong-ho created his own Yupa, which has a wide range of sounds and a deep taste, and his Yupa has a more unique beauty by using the Umori rhythm, which is not found in other yu. Fortunately, he was transferred by Kang Moon-deuk and Yang Yeon-seop, who were taught by Kim Byung-ho, and Kim Nam-soon and Sun Young-sook are passed down to Kang. Yang Yeon-seop, who also learned from Kim Byung-ho, is training junior students in the academic world, mainly in Seoul. Kim Nam-soon is active in the Yeongnam region, and the transfer is taking place in the Jeollanam-do region, with Sun Young-sook at the center.

    Kim Chang-jo, the founder of the Gaya Geumsanjo, was born in Yeongam, South Jeolla Province, and Kim Byeong-ho, who learned from him, is also from Yeongam and needs to be designated as an Intangible Cultural asset of South Jeolla Province based on his regional background. Since entering Gayageumsanjo in the 1960s, Seon Yeong-suk has been fully transferred from Kang Mun-deuk to Kim Byeongho-ryu Gayageumsanjo, and won the Grand Prize (President's Award) in the string section of the National Traditional Music Festival in recognition of his skills. Therefore, Seon Yeong-suk, who designated Kim Byeong-ho-ryu Gayageum Sanjo as an Intangible Cultural asset of Jeollanam-do and faithfully carried on his production, needs to be recognized as the owner of Kim Byeong-ho Sanjo and preserved.
  • 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.
  • 2010.6.8
    designated date
    Gat, also known as black ribs, was one of the official hats used by aristocrats during the Joseon Dynasty to reflect their status.

    Ipnip was originally a practical tool for covering the sun, rain, and wind, but as the materials, forms, and production methods diversified, black ribs were made during the Joseon Dynasty through the initial phase of the Parangi.

    The shape of a gat is composed of Daewoo (hat) and Yangtae (hat's rim), and the height and width of the gat were very popular in the times. The types of gat include mami-lip, low-morip, bamboo sarip, forrip, bamboo-lip, yin-yangrip, state and white lip.

    The process of making a gat is largely divided into particle work, in which the yangtae, the gun hat, the yangtae and the gun hat are collected and matched. Yangtae is a round top of a gat that divides bamboo into thin pieces like hair and weaves them together on a round plate.

    Yang Tae-jang, a master craftsman who made Yangtae during the early Joseon Dynasty, was made by two members of the Gyeongguk Daejeon Chamber of Commerce and Industry, and during the late Joseon Dynasty, he was not bound by the government office, but rather pursued private production in areas where horse guns and bamboo were produced.

    The production process for the patterning is in order of bamboo screening and grooming, the duck process, the weaving of the pattern, and the arrangement of the pattern. Bamboo is a bamboo (sondae) produced in the southern part of the country, and it is stored by selecting the ones that are tough, light, and long and high in quality between joints, boiling the ashes are boiled and dried. The duck process is a process of making bamboo shoots as thin as silk. Depending on the purpose, it is placed in a brocade to adjust the scales to make a blade, shell, and pedestal.

    After weaving the wings and the joe together, Yangtae puts the head (meaning 'Jeju dialect'), diagonally between the two, and puts the comb in a diagonal line, then finely trims it to complete the yangtae.

    Yang Tae-jang Jang Jeong-soon learned from his childhood about the process of making Yangtae and Tanggun, techniques, and the selection and management of bamboo among the new days, which his mother Song Ok-su (Jeju Special Self-Governing Province Intangible Cultural Property No. 12) had been working as a family business. Afterward, he moved to Bangbae-dong, Seocho-gu, Seoul in 1986 and produced it by himself, but moved to Gwacheon in 1995 to continue his work.

    Due to its excellent skills, high-quality work such as high-distribution and buttocks are produced with high-quality techniques.
  • 2016.6.23
    designated date
    Sijo is known to have originated in the mid-Goryeo Dynasty and is a popular style of poetry during the Joseon Dynasty.Also known as 'timely song', 'timely unit song' and 'unit song'.

    Shijochang became a regional feature when the tune was created in the sijo, influenced by the orchestral music such as Geomungo, Gayageum, Daegeum, Danso, and Haegeum.

    Wanje of Jeolla-do and Yeongje of Gyeongsang-do, the economic and Cultural festival of Seoul and Gyeonggi-do. It was divided into Naepoje in Chungcheong-do.

    ※For more information on the above Cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).
  • 2005.7.1
    designated date
    Saengchiljang is a craftsman who paints woodware with raw lacquer. Painting wood with high quality raw paint makes it black at first, but as time goes by, the original pattern slowly appears, and not only does the gloss come alive but also changes beautifully as time goes by, so raw lacquer has long been widely used. However, as the lacquer industry has declined in recent years, the number of lacquer techniques has decreased significantly.

    Lee Don-ho, the holder of the painting, is a craftsman who has been painting raw lacquer since 1977, and has been taught traditional techniques and functions by Korean lacquer masters such as Shin Jung-hyun (Seoul Intangible Cultural Property No. 1 raw lacquer paste) and Lee Seong-gu.
  • 1999.7.1
    designated date
    General Nam Yi was born in 1441 (the 23rd year of King Sejong's reign), passed the military service at the age of 17, defeated Yi Si-ae's orchids and Yeo Jin-jok at the age of 26, but was beheaded at the young age of 27 due to Yu Ja-gwang's slander. The Nami General Military Party (NAMI) is a ritual held every year after building a shrine about 300 years ago to console the general's spirit and honor his loyalty, feeling sorry for the loss of his life due to the dew of his prison sentence. On October 1, the festival was held to celebrate the eve of the festival, and residents were relieved of their worries, worries, and well-being, which naturally cemented the local folk religion.

    When Nami General's Sadang Festival begins, geolippae visit each house with Nongak and pay for the rite. Rather than simply a geolip of a nongak band, it is a religious ritual that corresponds to village dolgigut, in which a shaman participates to pray for each house. In the past, Danggut used to serve flowers as a ritual for spirits that brought them to the main hall, but now it has developed into a flower lantern event, marching from the Dangjip in Sancheon-dong to the shrine and holding a ritual at the shrine. The Nami General Military Party is held as a ritual ceremony in accordance with the ritual music of musicians, followed by a shaman rite, which is similar in form to the Gangneung Danoje Festival and the Eunsan Byeolsinje Festival. However, the general procession is actually equivalent to a journey to the village of God by taking a walk around the village with a new flower.

    In the midst of the disappearance of village ritual in modern times, the Sadang Festival in Nami-gun is meaningful in that it preserves its original appearance, and it has become a festive village ritual with active cooperation and participation from residents.

    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
  • 1999.7.1
    designated date
    Whistling catch is one of the traditional sounds handed down by ordinary people in Gyeonggi Province in the late Joseon Dynasty, and the word Whistle means that it is fast, and Japsa is a song that does not belong to a formal song in the Korean traditional music term.

    The current Hwimori japga includes Manhakcheonbong Peak, Byeongjeong Taryeong, Gombo Taryeong, Sanmae Japa, Yuk Chilwol, Gisaeng Taryeong, Bidan Taryeong, Bawi Taryeong, Maenggongi Taryeong, and Hanjan Boura. The lyrics are a long humorous and humorous editorial that contains the lives and emotions of ordinary people.

    Currently, Park Sang-ok, who is known to be the master of the sound of the game, is trying to transfer the game.

    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
  • 1975.7.12
    designated date
    Generally, Gyeonggi Minyo refers to folk songs handed down in Seoul and Gyeonggi-do, but the pieces designated as an important Cultural Heritage are Gyeonggi Gin Japga (Long Miscellaneous Songs of Gyeonggi), which are also called Gyeonggi Jwachang.

    At first, Japga referred to vulgar songs, as opposed to Jeongga (Classics) like Gagok (Lyric Song Cycles Accompanied by an Orchestra) or Gasa (Narrative Song), but today Japga has come to mean long pieces of vulgar songs that are sung seated.

    The 12 Japga of slow tempo among Gyeonggi Japga are called Gin Japga (Long Miscellaneous Songs), and are as follows: Yusanga (Song of the Mountain Picnic), Jeokbyeokga (Song of the Red Cliff), Jebiga (Song of Swallows), Sochunhyangga (Song of Chunhyang), Seonyuga (Song of the Boat Excursion), Jipjangga (Flogging Song), Hyeongjangga (Song of the Execution Ground), Pyeongyangga (Song of Pyeongyang), Sipjangga (Song of the Ten Lashings), Churinga (Song of Farewell), Bangmulga (Song of Knickknacks), and Dalgeori (Song of the Full Moon). Pyeongyangga, Churinga, Bangmulga, and Dalgeori are songs in slow tempo with sextuple time or four-four time about friendship and love exchanged among commoners.

    Gyeonggi Gin Japga feature a tempo unique to Gyeonggi-do. They contain quiet and subtle expressions of the sorrows and delights of commoners.
  • 1998.8.10
    designated date
    Sieve is a must-have tool for families that are used in various ways, such as selecting various cooking powder and grain products from soy sauce making, washing grain, and drying.

    The materials for making the frame are used by pine trees, straw trees, pine roots, and bamboo, while horse tail hairs and ox tail hairs are used as materials for chameu, which are made from natural materials, are difficult to keep for a long time. It can be filled with cloth, nylon cloth, wire, etc. Depending on the hole in the sieve, it is divided into a shoulder, dorsal, medium, powder, and gounce. The shoulder is filled with wire or finely chopped bamboo with the widest sieve. It is common for dorsal fins to be woven with wire in a narrower sieve than the shoulder. The middle distance is also called the middle body, and is filled with cloth. The powder is filled with a small sieve with horse tail feathers, but recently with nylon cloth. The gouge is a thin, tiny hole and is filled with horse tail hairs.

    Chemeugi is a traditional craftsmanship that contains the wisdom of our ancestors. On August 10, 1998, Choi Seong-cheol was recognized as the holder of the Intangible Cultural property and passed down our unique sieve making techniques. As of August 24, 2012, there was no holder.

    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
  • 1989.8.16
    designated date
    Fresh pine tree joints are made from water and rice and are also used as medicine. Although it is not known exactly when Songjeolju was made, records such as Donguibogam, Gosaibosibup, Gyuhapchongseo, Imwon Economic Daily, and Wifepilji suggest that people of the middle class near Seoul during the Joseon Dynasty used to make Songjeolju.

    The recipe is to mix rice, water, yeast powder, flour, glutinous rice, and boiled pine needle water so that it is not too cold or too hot to cook. If you put azalea in spring and chrysanthemum in autumn, and yuzu peel is cooked on top in winter, the scent of pine and flower is full of mouth, making it even better.

    Songjeolju was particularly enjoyed by scholars due to its unique scent of pine trees and its symbolic meaning. It is currently being passed down by Lee Sung-ja, who is recognized as a function holder.

    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
  • 1989.8.16
    designated date
    Bridge-walking was played on the fifteenth day of the first lunar month, and came from the religious custom that if a stream steps on the bridge as much as its age, it will not get sick on the bridge, and not only will it defeat all disasters but also bring good luck. In particular, the strong notion that foot-walking does not cause leg disease in Korea is a folk belief that the pronunciation of legs and legs is the same, and it seems to be the result of the language's playfulness. Bridge-walking is also known as dapgyo or dapgyo nori, or bridge-bending in Gangneung.

    The records show that the bridge-walking play was very important to the people from noble families to the common people, and that the four gates were not closed when the bridge was played. As the number of bridges in Jangan was very small, the aristocrats were reluctant to hang out with the common people, so they told them to step on the bridge on the evening of the 14th, the day before, and the women stepped on the bridge on the evening of the 16th. In groups, people sang songs and danced to the bridge, and in the midst of the chaos, the character of the play group gradually changed and the play group was organized separately, creating a sense of entertainment. Among them, Songpa Dari Bapgi is characterized by outstanding dance moves.

    Bridge-walking Nori is one of the most popular folk games in Korea since the Goryeo Dynasty, and it is a folk game that contains the feelings of life of the Korean people.

    ※ For detailed information on the above Cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).
  • 2000.8.21
    designated date
    It is a miscellaneous song sung in Seoul and Gyeonggi Province, and is classified as a sitcom because a singer sits down and sings alone. The name Japga is given in the relative meaning of the list price of aristocrats. There are "Ginjapga" and "Whistlejapga." There are 12 songs in "Ginjapga," which is also called "12japga." It occurred in the mid-19th century and was widely sung among the singers of the Four Seasons in Cheongpa-dong, Seoul.

    In the past, eight jagga were divided into eight jagga and jagga, including "Yusanga," "Jeokbyeokga" and "Jebi," "Housewife's Song," "Sochunhyangga," "Seonyoga," "Hyeongjangga," "Pyongyangga," and other jagga. jagga includes "Dalgeori," "Sipjangga," "Bangga," "Bangga," "Bangga," and "Bangga."

    It is believed that the ginjapga was originally modeled after yangban's Jeongga, which is why the characteristics of Jeongga and folk songs are mixed together. In terms of the prior art, the biggest feature is that the sound tones of Gyeonggi and Seodo are mixed. In terms of rhythm, Yushan, Sochunhyangga, Pyeongyangga, Seonyu, Songga, Sipjanga, Bangmulga, Jipjanga, and Hyungjanga are accompanied by Dodi rhythm, and Dalgori is mixed with Doddri and Semachi. The musical form of a japga is a form in which the floor is connected in parallel. If the size of the floor is constant, it can be seen in a fluid form, and if the size of the floor is irregular, it can be seen in a modified oil form. The lyrics of the long japga are often lyrical or pick a passage from pansori.

    "Ginjapga" is considered one of the representative art music in Gyeonggi Province. Musically, it is a masterpiece that combines the strengths of Jeongga and folk songs, and is a mixture of Gyeonggi and Seodo music. These characteristics can be called the Cultural identity of the long-term job.
  • 2006.8.24
    designated date
    A jade burial refers to a craftsmanship or craftsman who grinds jade to make various ornaments and objects. The jade was used as an ornament to symbolize the virtues of phosphorus, righteousness, paper, dragon, and angle, and was used in many ways, including walls, bells, regulations, jang, ho, Hwang, and other weapons, instruments such as Okgyeong, medicinal materials, and medical supplies. The jade had great pavilions and pavilions, and the good jade was rare, making it difficult to secure materials. The process of making jade is largely divided into six stages: quarrying, drawing, cutting, molding, carving, and polishing. The jade court should have a high level of artistry, along with an accurate prediction when designing jade pickings and gemstones, and skilled techniques for delicate and elaborate sculptures.

    On Aug. 17, 2006 eomik been recognition of activity in the holder of the character.

    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
  • 1985.9.1
    designated date
    Gurye Hyangje Julpungnyu refers to a piece of instrumental music depicting the scene of Shakyamuni preaching the Lotus Sutra handed down in Gurye, Jeollanam-do at Vulture Peak, Gijjhakuta Hill. There are two versions of this music, one centered around daepungnyu (wind instruments) and the other around julpungnyu (string instruments). The way julpungnyu is played differs a little between those handed down in Seoul and those handed down in the provinces. The latter are named Hyangje Julpungnyu (julpungnyu of provinces). Originally, this was a piece of vocal music, but it changed to an instrumental and developed into a voluminous suite by adding other instrumental music pieces. It became a leading concerto in the country toward the late Joseon Period (1392 – 1910). It is presumed that it was divided into daepungnyu and julpungnyu in the mid-Joseon Period. Julpungnyu developed as a quiet piece chiefly played indoors. The separation between julpungnyu played in Seoul and those played in the provinces appears to have been made toward the late Joseon Period. Instruments used for julpungnyu are geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), sepiri (bamboo reed flute), daegeum (bamboo flute), danso (vertical notched flute), and janggo (hourglass-shaped drums). As a quiet piece of music played indoors, julpungnyu is centered around string instruments such as geomungo, gayageum, and yanggeum, with wind instruments making as small a sound as possible. The piece takes about 70 minutes to perform.
  • 1984.9.20
    designated date
    Yi Ok-hui was born in Buyeo, Chungcheongnam-do in 1936, and is also called Yi Il-ju.

    I learned how to play sound since I was young, and learned the basics of pansori such as Simcheongga and Chunhyangga from master singer Lee Gi-gon. After that, master singers Park Cho-wol, Kim So-hee, and Oh Jung-sook learned pansori and practiced their talents as master singers.

    Lee Il-ju sang the pansori part at Jeonju Daeseok Nori in 1979, sang Simcheongga and Chunhyangga at the Seoul National Theater in 1981 and 1983, and won the Jeollabuk-do Cultural Award in 1982.