The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

The apportionment refers to a traditional painting processing technique that enhances not only beauty but also practicality and preservation by attaching paper, silk, etc. to letters and paintings. It was introduced during the Japanese Colonial Period and is now called "Pyo-gu." Baechapjang refers to a person who was in charge of painting the royal court in the early Joseon Dynasty.

Known as the origin of the Han Dynasty of China, the Chinese Tang Dynasty developed further and reached its founding stage. I don't know how it was passed down to Korea, but judging from the folding screen paintings of Goguryeo tombs, it is estimated that the foundation of the Korean layout was formed during the Three Kingdoms Period. Baechop was developed steadily after the Unified Silla and Goryeo Period. During the Joseon Dynasty, an expert named Baechapjang appeared.

There are five types of arrangement: frame, folding screen, scroll, scrolling, and ancient painting processing. The frame goes through the process of working on the silk foundation - the cultivation of the painting plant - the preparation of the frame and the preparation of the frame. One width of a folding screen is the same as a frame.

The work process of the scroll consists of foundation - vinegar - double - drying - triple - drying - and half - month attachment. A binding refers to the treatment of ancient books that have been damaged by a cover or slip. Ancient painting processing requires high insight and detailed skills as it is a work to revive damaged ancient paintings.

Baechapjang was designated as an intangible cultural asset at the cultural level as a traditional craftsmanship, and Hong Jong-jin, a functional holder living in Cheongju, North Chungcheong Province, continues to live there.

Jeongak (literally “elegant orthodox music”) refers to music played at the Royal Palace, government offices, and local places where people of refined tastes gathered together. As one of the three bamboo instruments developed during the Silla Period (57 BC - 935 AD), i.e., daegeum (large-sized bamboo flute), junggeum (medium-sized bamboo flute), and sogeum (small-sized bamboo flute), Daegeum is the longest among the traditional transverse flutes of the country. It has the emboucher hole at the right end, a buzzing membrane made of inner skin of reed that gives it a special timber, and six holes. Since it makes a wider range of sound than other instruments, it is used as a leading solo instrument. Daegeum-played jeongak covers all kinds of formal ceremonial music, which are all ensembles. It is not known when they started to be played solo. The titles of the pieces of music played by daegeum include Cheongseong Jajinhanip, Pyeongjo Hoesang, and Jajinhanip. Melodies made by Daegeum Jeongak sound delicate but not light, soft but not feeble, and fragile but not shallow.

Cheomseongdae is a stone building of the mid-Silla Period located in the northeastern part of Banwolseong Fortress in Gyeongju.

The astronomical observatory of the Silla Dynasty, which used to observe the movements of celestial bodies, is about nine meters high.

It is known as the oldest observatory in the East, which was built during the reign of Queen Seondeok, and is a valuable cultural asset that shows the high level of science of the time.

It was designated as National Treasure No. 31 on December 20, 1962.

The tombstone of King Taejong Muyeol in Gyeongju is the tombstone of King Taejong Muyeol, the 29th king of Silla, which was built in the mid 7th century in Seorak-dong, Gyeongju, Gyeongsangbuk-do. It is also abbreviated as the Royal Tomb of King Muyeol.

The stele, which was erected during the Unified Silla Period, was shaped like a turtle, and the headstone on the stele was carved with a dragon. The tombstone of King Taejong Muyeol was the first example of this style.

On December 20, 1962, it was designated as National Treasure No. 25 of the Republic of Korea.

The construction of Seokguram Grotto was begun in 751 under the leadership of Prime Minister Kim Dae-seong during the reign of King Gyeongdeok of the Silla Dynasty, and was completed in 774 (the 10th year of King Hyegong’s reign), whereupon it was given its original name of Seokbulsa Temple.
Buddhist art reached its peak during King Gyeongdeok’s reign, which spanned the middle Period of the Silla Period, Besides Seokguram Grotto, many other cultural treasures were built during this Period, including Bulguksa Temple, Dabotap Pagoda, the Three-story Stone Pagoda of Bulguksa Temple, and the Bell of Hwangnyongsa Temple.
The artificial stone grotto was built halfway down Tohamsan Mountain with pieces of white granite. The principal statue of Sakyamuni Buddha was placed at the center of the grotto, and forty statues of various bodhisattvas, Buddha’s disciples, and guardian kings were carved on the surrounding walls, though only thirty-eight of them remain. The rectangular front chamber of the grotto is connected to the round main chamber by a corridor. The exquisite ceiling of the main chamber was made with more than 360 flat stones. The architectural technique used to build this grotto is unprecedented in its excellence. There are statues of four guardian deities on both the left and right sides of the front chamber, which functions as the entrance to the main chamber. Carved on both sides of the entrance to the corridor is a statue of the Vajra Guardians, while the narrow corridor is decorated with the Four Guardian Kings carved in pairs. There is an octagonal stone column on both sides of the entrance to the round main chamber. The Principal Buddha is placed slightly off center toward the back of the main chamber. From the entrance, the walls of the chamber are filled with the images of two devas, two bodhisattvas, and ten arhats. Standing behind the Principal Buddha is a statue of the Eleven-faced Avalokitesvara Bodhisattva, perhaps the most exquisitely carved statue found inside this grotto.
Every single sculpture contained in the grotto may be considered a masterpiece of East Asian Buddhist art. The list of masterpieces includes the principal image of Buddha, which was created with mature carving skills; the Eleven-faced Avalokitesvara Bodhisattva with its magnificently carved face and body; statues of valiant warriors and the majestic Four Guardian Kings; and the supple graceful statues of various bodhisattvas and arhats, each of which displays a distinctive individuality. In particular, the serene appearance of the Principal Buddha enshrined in the main chamber deepens the mystical atmosphere. The extremely natural appearance of the Principal Buddha seems to present to all living people the ideal model of a man harboring a profound and sublime mind deep within him and easily pass to them his everlasting mercy. Seokguram Grotto is a masterpiece of the golden age of Buddhist art in Silla. What makes it stand out all the more is its perfect combination of architecture, mathematics, geometry, religion, and art. Seokguram Grotto has long been preserved as National Treasure No. 24, and was jointly registered as a UNESCO World Heritage in December 1995 along with Bulguksa Temple.