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K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 2012.8.3
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    He participated in the Hapjukseon project with his father Um Ju-won from his boyhood, and was trained in the Hapjukseon production process from 1991.

    In 1997, miseongong, run by acquiring ordinary fellow Colonial paradoxical the debt and varnished with lacquer on the shaft of an arrow that have remained only by studying the relics and records of techniques and hapjjuk.Daeryun chilseon, 50 years old baekjjeop chilseon, to reproduce.

    2008 Statue of the 7th Korean lacquer crafts competition
    2009 entry into the 34th Victory Crafts Competition
  • 1998.9.21
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    Among the relics related to embroidery, the oldest are the chains of short pieces excavated from Hwangnamdaechong Tomb in Gyeongju during the Silla Dynasty and the Royal Tomb of King Muryeong in the Baekje Dynasty.

    Although the artifact was excavated in short pieces, it is a rare artifact that shows that the most commonly used technique in East Asia was used during the Three Kingdoms Period. In addition, the Four Seasons of Embroidery, which are presumed to have been the Goryeo Dynasty, include Byeongpung and Amita Yeorado. The Amitabha Buddha was a Buddha who led the souls of the dead to paradise while staying in the paradise, and it is estimated that Buddhism flourished greatly in the Goryeo Dynasty due to the belief of the patriots.

    During the Joseon Dynasty, the number was embroidered on the wardrobe, red robe, robe, rank badge, and rank badge. There are very few examples of embroidered dresses, embroidered skirts, jeogori, and incense burners. Buddhist embroidery has lyrics, table manners, and suBul. Among them, Yongmunja Sutak, No. 244 of Important Folklore Cultural Heritage, housed in the Seongbo Museum of Seonamsaeng, is highly regarded for its value. It is embroidered on a very large scale with special techniques and colorful colors.

    Hwang Soon-hee, a master of embroidery, was born in Yeocheon, South Jeolla Province, in 1949 and was taught by her mother by adding her hobby to embroidery during the elementary school's lyrics class. At the age of 20, he studied Oriental embroidery at the embroidery lab in Jeongneung, Seoul, and then studied it to Han Yeong-hwa (currently the holder of intangible cultural assets of Seoul). Some of the works include Yongbo and Hunbae, Ilwol Oakdo, Sipjangsaengdo, Hwarot and Sui Norigae. In addition, many excellent works were produced through a long study of royal embroidery.
  • 1998.9.21
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    A brush, ink, paper, and inkstone are some of the oldest writing tools. relics from the Three Kingdoms Period were also excavated in Korea, but they may have been used before then. The dignity of the inkstone is determined by the quality of the stone making the inkstone and the level of carving on the inkstone.

    In general, the stone of the inkstone has a low hardness, making it impossible to make lively sculptures. What helped overcome this limitation was Danyang's magnet 石, owned by Shin Geun-sik, the owner of the rice paddy field. The stone is unique and beautiful in color, but it is two to three degrees stronger in hardness than other inkstone, allowing it to be carved in three dimensions.

    Magnetized inkstone is practical. Other stone-capped inkstones are carved with stones, and when the stone eats water, it becomes weaker, causing more residue, and as time goes by, the stone bursts and splits. But despite its firmness, the magnet grinds its prey finely, and no dregs occur. In particular, even if water is stored for several days, it is so water-resistant that it does not permeate, that it does not crack or burst even after decades or hundreds of years.

    Shin Geun-sik started his family business when he was 17 years old and ended his apprenticeship period, which usually takes three years. His works vary in size and shape. There are many original works such as dragon, turtle, and horseback riding.

    Also, Shin Geun-sik's works give the same impression as woodwork. The reddish colors and engraved patterns are delicate and soft, making them look like woodblocks and pasting them.
  • 2006.11.16
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    Gold gourd is a craftsman who prints various patterns using thin gold foil on top of a fabric. Today, it can be seen in women's wedding clothes.

    The gold foil decorations were used in the royal family in the Joseon Dynasty, and there were not many relics that existed due to storage problems, but the three daughters of Sunjo (1822-1844) said they were worn at the wedding of Princess Deogon, the third daughter of Princess Sunjo, are decorated with gold and the characters 'su and 'bok' (Chinese Folklore Cultural Heritage No.211).

    The gold foil decoration is made by stamping the adhesive pattern plate where it wants to be placed, attaching the gold foil before the adhesive dries completely, and then removing the gold foil outside the pattern again.

    The gold gourd technique is completed based on the woodwork technique of carving pattern plates based on the eye of selecting and placing patterns suitable for the composition of clothes, and the long experience of making and utilizing the properties of glue and gold foil, the main ingredients.

    Gold gourd refers to a piece of gold that is made like thin paper by continuously tapping on it, but today it is understood as a technique for decorating patterns on fabrics using gold foil.

    Gold Bakjang is a craftsmanship that embellishes Korea's doubles culture in a splendid and dignified manner, and it is significant in that it is able to revive the legacy by designating it as a national intangible cultural asset.
  • 2017.11.16
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    Korean crowns have been produced and developed in Korean folk life since prehistoric times, especially Hwagwan and Jokdu-ri were developed as crowns for women's hair decoration before the Three Kingdoms Period, and were handed down as relics from the Joseon Dynasty. Due to the loss of economic value, it is not easy to inherit as a single item of tubular hair, so preservation as an intangible cultural asset is essential in Seoul.

    On November 16, 2017, the Gwanmojang was designated as Seoul Intangible Cultural Property No. 50, and Park Seong-ho was recognized as the holder of the Gwanmojang.

    ※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616)
  • 2017.1.4
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    Ssireum (Korean Wrestling) is a traditional Korean folk sport in which two wrestlers, each holding the other’s satba (belt), strive to beat their opponent by bringing his body to the ground. Based on the Korean people’s unique community culture, various forms of the sport have handed down until today.

    As a representative folk game of Korea, the historicity of ssireum has been clearly identified through diverse relics, documents, and paintings ranging from the ancient Three Kingdoms period to the modern era. In addition, the composition of the match and the techniques of ssireum express the uniqueness of Korean wrestling.
  • 2010.3.3
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    ☆Mokjogakjang is a craftsman in charge of cutting the Buddha statue with wood.

    The Buddhist statue was introduced with the introduction of Buddhism, and the technique of producing the statue also began during the period of its introduction. However, although there are not many relics of the time compared to the Bronze Age, there are about 10 relics from the Goryeo Dynasty, including the seated Wooden Grotto Bodhisattva statue of Bongjeongsa Temple.

    The basic requirements for a wooden sculpture are not only skilled skills, but also a sculpture sense and a high eye for helping the faithful as objects of worship.

    What's different from ordinary sculptures is that the statue is not intended for appreciation. Therefore, the criteria for judging the quality of Buddha statues are also applied differently from ordinary sculptures. This is because not only the three-dimensional and proportionate beauty needed to build the form, but also the paintings based on the teachings of the Buddha, and the unique formative beauty that meets the Buddhist image, and the benevolent name, should be harmonized.

    The materials used to produce wooden Buddha statues were ginkgo, paulownia, pine, fir, zelkova, and a kind of locust trees; now ginkgo trees, which are resistant to insects and are eaten well by sculptors. In order to engrave a wooden Buddha statue, the meticulous process of controlling the properties of the material must be preceded. They have been soaked in seawater or mudflats for many years or boiled in a pot.

    In Gyeonggi-do, Han Bong-seok, a wooden sculpture, was recognized as the holder in 2010. Han Bong-seok learned from Heo Gil-ryang to build his own world, and is engaged in various activities such as restoring important cultural artifacts.
  • 2001.3.12
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    The term chiljang refers to the craftsman who creates lacquerware by applying lacquer -- or the refined sap of lacquer trees (Rhus verniciflua) -- to various objects. The first trace of lacquer use dates back to the third century BCE, but the earliest relics of lacquerware date back to the first century BCE.

    Lacquerware began to develop into an art form during the Nangnang (Lelang) Period and progressed further in the Silla Kingdom. In the Goryeo Dynasty, lacquered works were decorated with mother-of-pearl inlay, creating a new art form called najeon chilgi. In the Joseon Dynasty, lacquerware became more common, and many works were produced. The state compiled data on the distribution of lacquer trees nationwide and collected the sap from these trees. Lacquer craftsmen working in the capital and in the provinces were affiliated with their local government offices.

    The raw lacquer from the trees had to be refined before it could be used, and lacquer craftsmen would do the refining themselves. The refining process removes impurities and creates a fine particle liquid. Creating lacquer works is a long, laborious process. The item to be lacquered, called soji, had to be made of materials that are easy to work with and to paint, including wood, bamboo, cloth, paper, clay, and metal.

    First the object is smoothed down, and then the lacquer is built up in many coats, requiring lacquering, smoothing, and drying over and over again. Basically, the process is divided into three steps: chochil (first lacquering), jungchil (middle lacquering), and sangchil (final lacquering). After the final coat, the object is vigorously polished.☆
  • 1983.6.1
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    Ipsajang refers to the skill of inlaying ornamental silver or gold string into a groove made on a metal surface, or to an artisan with such a skill.

    Objects made with this skill were among the relics unearthed from the sites of Lerang dating from the 1st or 2nd Century BC and from Silla (circa 57 BC – 935) tombs.

    There are two ways of making this ornamentation. One was a method which started during the Goryeo Period (877 – 1394) of inlaying ornamental silver or gold string into a groove made with a chisel on a metal surface. The other, which started toward the mid-Joseon Period (1392 – 1910), was to make a figure on a metal surface using a chisel, and fit thin silver/gold pieces into the space by striking with a hammer. The patterns thus made were chiefly apricot, orchid, chrysanthemum, bamboo, crane, deer, bat, tiger, and pine.