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Everlasting Legacies of Korea

  • 2002.5.6
    designated date
    A craftsman who makes musical instruments is called a musical instrument master. The names of artisans related to instruments such as pungmuljang, jangjang, and gongjang are visible on the factory lanterns of Gyeongguk Daejeon during the Joseon Dynasty. There are about 60 to 70 types of musical instruments produced in Korea and handed down to date, including our own instruments and those from China or the West. There is no craftsman who makes all of these, but each event is classified as a musical instrument.

    There is no clear record, but it is believed that there have been professional craftsmen who make musical instruments since the Three Kingdoms Period. Various wind and string instruments for the murals of Goguryeo tombs.The percussion instruments and others appear, and musical instruments are also visible in the patterns of King Beomjong of Silla. A figure of Gayageum figures is also found in Tou, Silla, which is believed to have been around the 4th century. In addition, the birth of musical instruments can be seen in the tales of Wangsanak in Goguryeo, Kasil King in Gaya, and Manpa Sik in Silla, but there are no stories about artisans and methods of production.

    During the Joseon Dynasty, the musical instruments were used to make musical instruments and clothing for national rituals and ceremonies, which were valued by Confucianism.instrumental colors, musical instruments inc.A special department was established, such as the Musical Instruments Agency. In addition, the state-run music organization, the Gukjawon, mobilized craftsmen from various fields to direct and supervise the work, and finally supervised the tuning and ending of musical instruments.

    Traditional musical instruments can be classified as string instruments, wind instruments, and percussion instruments, or they can be classified according to their materials, and eight important materials are called selling. Gold and silver are instruments made of metal and have backs. Seok is a stone instrument made of pyeongyeong and special features. These include geomungo, gayageum, haegeum, ajaeng, and Bipa, which are made of silk strings attached to a resonator box. The musical instruments made as dead include a flute, milk stand, sugar drum, and Danso. Po has a raw yellow lantern as an instrument with ingredients of a bowl, and clay is baked with soil, with Hun and Bu.Hyuk is an instrument made by covering a round barrel with leather, including Janggo, Galgo, Jwago, Jeolgo, and Sogo. The neck is made of wood and includes Bak, Chuk, Eo, etc.

    There are two types of gayageum: Jeongak Gayageum and Sanjoyageum, which differ in materials, size, tone, and coordination. Jeongak Gayageum makes a resonator by digging a thick oak tree, and Sanjo Yageum makes a resonator box by adding chestnut wood board to make a resonator. Unlike standardized Western instruments, the size gradually grows and becomes smaller depending on the physical condition of the performer. Jeongak Gayageum is about 160 to 170 centimeters wide, 30 centimeters wide and 140 centimeters long.Sanjo Yageum is much smaller and lighter in length and width, but it is said that Jeongak Gayageum was reduced and modified to play folk songs at the end of the Joseon Dynasty.

    The paulownia tree should be naturally dried for more than five years by roughly trimming it from 30 to 50 years old. When attaching to a tree with different top and bottom, the sides are placed on the left side, where flowers or cherry trees are used. Yongdu and Bongmi are placed at both ends of the upper plate. Yongdu is the head of the gayageum, and Bongmi is the lower part.

    On April 23, 2002, Kim Bok-gon was recognized as the holder of the event.

    ※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).
  • 2002.5.6
    designated date
    Dungme refers to a place used on a bed or on a regular basis, and is sometimes used as a supplementary material. The material is a plant called Yongsucho, which is distinguished from Wanggol, and is widely native to rice paddies or streams and wetlands in our country. A grass having a sponge-like elastic seam inside a thin, long, cross-sectional stem; also called 'bone grass'. Currently, artisans who use this grass to make various kinds of household goods are Chochojang and Deungmejang. In addition to seats, mats, cushions, and other household items such as copper and hap, the red pepper paste and grasshopper are the master craftsmen who produce accessories.It is known that the term dungme is derived from the use of thimble and the addition of a buoy to the back for elasticity.

    The curtain of the cart used the zodiac sign for the Three Kingdoms Period.There is a record of " and <Intuition조 had a government office called Seokjeon, indicating that there was a craftsman who had been professionally making the position.

    In Goryeo, the emissaries of Huto and Hujik, who were Sajiksin, were laid on the throne, while the royal family used the stone, stone, and stone of the gate, stone, and stone of the flower gate. Buksong's envoy Seo Geung is very soft in "The Goryeo Sutra" (the product of Goryeo) and does not go bad even when folded or bent. It is excellent that black and white mixes together to form patterns and cover the bed.It was of such excellent quality that it was called " that it was also used as a trade product with a foreign country.

    During the Joseon Dynasty, there were seals and stone seals at the <Gyeongguk Daejeon전 factory, with eight seals in Jangheung High School and a total of 338 foreign factories in Hasam Island alone. When the governor was dispatched to China, it was an excellent specialty, as many as 124 Hwamunseok at once. Wanggol products such as Animation Stone, Cartoon Stone, Cartoon Stone, Yongmun Stone, Hwamun Stone, Japchae Moon Stone, and Chaehwaseok were used by the royal court and upper class.

    It is said that the dungme was divided into a white stone and a patterned hwamunjang. After putting a blade on the mat frame, it is Baekseok who scores a goal with a needle between the days and squeezes it into the body twice, left and right.A pattern is placed on a white stone and a blank space is used as an inner space to support the fossil, while the edges are decorated with blue, black, purple, and brown cloth according to the color of the pattern on the background.

    The types of patterns include characters such as Subokgangnyeong, geometries, and flower designs, most of which are surrounded by a border and have central patterns in the center. Various colored water plants are needed to insert the pattern. White is used by trimming and trimming Maeryeongcho, and is the basic color along with blue, red, black, and back. In recent years, various colors, which are frequently used, are used by dyeing water plants directly, but water plants are difficult to dye compared to fabric. There is a way to expose or hide the slope when making a seat, and the front one is called Nogyeongsojik and the back one is called Nogyeong Secretly. Naturally, it was considered to be excellent due to its meticulous workmanship and high density.

    Choi Heon-yeol was recognized as the holder on April 23, 2002 and became the honorary holder on August 10, 2017.

  • 2002.5.7
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    The gat is divided into gatyangtae and gatyangtae, which refers to the wide floor area around the gat, also known as 'yangtae' and 'gatyang' in Jeju. The ingredients of the gat-yang-tae are bamboo. Highly distributed varieties mean the best of the varieties, and their quality depends on the number of 'rice' and 'stuff' and the number of 'dori' and the number of 'dori'. The product is made with 500 rice and 90 dori.
  • 2004.5.7
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    Sijochang was started by Yi Se-chun, a singer of the late Joseon Dynasty, and for the first time in "Yu Ye-ji," published during the reign of King Sunjo (1800-1834) of the Joseon Dynasty, the Pyeongsijo Music Daily, which corresponds to the economy, is published. After that, many sijo grains were derived due to the influence of Gagok, and as Sijochang was widely distributed to each region, it was divided into economy, completion of Jeolla-do, Naepoje of Chungcheong-do, and Yeongje of Gyeongsang-do.

    Naepoje is a traditional music of the Chungcheong region, which originated in the northwestern part of Chungcheongnam-do. The types of Naepoje Sijo that Han Woo-seop learned from his teacher, Song Eun-jeong, include Pyeongsijo, Banggak Sijo, Sasol Sijo, Yeochang Jirim Sijo, Namchang Jirim Sijo, Jungnim Sijo, and Moeum Sijo. Han Woo-seop's successor, Shijochang, shows a reduction of three to five beats at the end of Chojang, Jungjang, and Jongjang, the musical characteristics of Shijochang in Naepoje in Chungcheong Province, and the composition of the notes is Hwangjong. It's important. It's on deathbed.
  • 2019.5.7
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    Jinogi Gut refers to Mangjachundo Gut, which is sent to the underworld to console the spirit of the deceased. There are Mangjachundo Gut in various parts of the country, which is called Jino Gigut in Seoul, and in large scale, it is called Saemam Gut. In Honam, it is called washing gimgut.

    Jin Ogi Gut, a rite of mass destruction, is also inherited in Gyo-dong, Ganghwa. Gyo-dong Jin Ogi Gut exhibits a unique style of composition that is different from Hwanghae Gut, Gyeonggi Gut, and Seoul Gut. There is Naerimjangdan, and Jangdan, which is also called Gyo-dong Manse-beon, is different from that of Hwanghae-gut or Seoul-gut Manse-beon.

    Gyo-dong Jin Ogi Gut will be taken to 14 streets. The Byulbugjeong where all the negatives are bitten, the Bujeonggut where people pray for the wishes of the gods and listen to the meritorious deeds of men, the Janggun Street where a shaman wearing a male dress with fans and bells asks for a general, the Sangsang Street where a male skirt wears a star costume, the Shinjang University in a male skirt, and the Daedamgamgonggwaegwaegwaeulu dance were performed. Gyo-dong Gut is believed to have continuity at these four streets as it was followed by a series of Gut from Janggun Street to Daegam Street.

    Next, a shaman wearing a red skirt and a Changbu street holding a fan and a gilji, a street where she worships the Changbu god, a street where she calls for a private fortune, a street where a deceased person who goes to the afterlife enters Gutcheong over a thorn gate, a shaman sitting on a rice horse begins the spirit of the deceased, and a bridge that overlaps with the Sambebe and Mumyeongs.

    In addition to Jin Ogi Gut, Daedonggut, Bugundanggut, and Sashingut were also performed in Ganghwa Gyodongdo Island, and each family had its own shaman to pay their respects to the family. Jinogi Gut in Gyodong, which has developed against this backdrop, is noted for its local identity between Hwanghae Gut and Seoul and Gyeonggi Gut.
  • 1990.5.8
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    Onggijang refers to the skill of making earthenware pots and jars, or to an artisan with such a skill. Koreans have used earthenware pots and jars for thousands of years. The place where an earthenware artisan worked was called Onggijeom, which was divided into a workshop and a kiln.

    Traditional pots and jars, along with porcelain items, were the main items produced in private kilns. Pots and jars were made after the application of caustic soda to the surface of clay-made objects and putting them through a pre-firing stage. Just 40 or 50 years ago, there were many places selling traditional pots and jars across the country. Their number stood at about 500 when surveys were made in 1968 and 1969. However, they have been pushed aside by their machine-made western cousins.

    Traditionally, caustic soda was used as glazing in the production of pots and jars. Recently, it was replaced by a lead oxide named Gwangmyeongdan. With the use of lead glazing, the quality of pots and jars declined and the number of Onggijeom decreased to about 250 by 1984 and to less than 199 by 1989. Stainless steel and plastic goods have pushed traditional pots and jars out of the market.
  • 2002.5.8
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    The Buddhist rituals on Jeju Island are different from those of the mainland in terms of voice and re-cultivation given to the Buddha. In particular, Beumum, or Beompae, is a ritual song used to convey human wishes to Buddha, as a music dedicated to the Buddha to raise the ashes of Buddhist rituals.

    The Jeju Buddhist ritual is distinguished from the land area by its connection with the traditional culture of Jeju as Buddhism was introduced and passed down in Jeju. In other words, Chilseongje and Sansinje are held in Jeju Buddhism, compared to the land area. This is because the ritual for mountain gods and Chilseongje is being passed down in connection with Buddhist rites.

    Compared to the mainland, Jeju Island's Buddhist rituals are carried out more solemnly with the importance of the ritual of Sajacheon Stream, and even in the 49th year of Cheondojae, Siewanggakbae, which disappeared from the land area, is being purged to Siewangakcheong, and in the case of the life-long Jesus, a ritual of cursing (Gwanbul) is also inherited. The sound of An Chae-bi, a Buddhist-style music, is very slow compared to the land area and has a local tory of Jeju. In addition, Hwachong (Hesimgok) is also called Jeju Tori, which is different from the sounds sung in the mainland by transforming Buddhist songs.
  • 2002.5.8
    designated date
    Jeju Nongyo, designated as Jeju Special Self-Governing Province Intangible Cultural Property No. 16, is a representative field work song called in Jeju. As the natural environment of volcanic ash suggests, many folk songs related to fieldwork were sung in Jeju. Jeju Nongyo, designated as an intangible cultural asset, is composed of three numbers: "Sound of Calling," "Sound of Jinsadae," and "Sound of Threshing," and its function holder is Lee Myung-sook (female, 74).
  • 2013.5.8
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    ○ Lee Hee-ok, the owner of the wooden sculpture, has been working as a sculptor for more than 40 years since he entered Buddhist sculpture at the age of 15. As a sculptor, he also clearly inherits the Buddhist scriptures and the genealogy of the wooden figurines, as well as the genealogy of the late Joseon Dynasty.

    ○ In particular, the work was carried out based on traditional tools and traditional methods of production. Based on the use of traditional tools and thorough research and understanding of Buddhist paintings, not only the traditional method of enshrinement has been adhered to, but the function has reached a considerable level, with steady efforts to create Buddha statues suitable for the environment of newly-established temples.

    And his works seem to contain not only the outward perfection of the succession of non-belief but also the sanctity of Buddhist holy treasures.

    ○ Lee Hee-ok, the holder of the wooden sculpture, is well qualified to designate and recognize Busan Metropolitan City-designated intangible cultural assets, including the fact that he has a clear line of law and succession, combined with systematic theories and outstanding functions on traditional sculpting techniques, and that he inherits the tradition of Cho Gak-seung, who has been cut off since modern times.
  • 2015.5.8
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    Eroyo, which is called in the Goseong area, is used in several different names. The sound of a boat falling is called "dendaejil" or "self-sound," and the sound of a boat lifting up is called "dendaejil" or "yahasori." Also, the sound of grilling meat is called "baby sound," while the sound of singing while passing pollack over to the phlegm is called "baby sound," and the sound of rowing. The sound of grilling meat is called "sound of phlegm," "sandaejil" and "ayasori," while the sound of the net pulling is called "esha-sori," and the sound of the netting is called "the sound of dori-jil-jil-jil-jil-jil," or "the sound of the rich." It consists of the sound of belly and hoisting (dunching), the sound of rowing and netting, the sound of pulling and loosening nets, the sound of copying and counting pollack, and the sound of mourning and perfusion, and the sound of pollack are being passed down, and there are various sounds of pollack. The content of the erroyo varies from stage to stage of the work. They go out to sea with a rowing sound, following the sound of anchoring or lifting. After that, the song changes depending on the fishing method, and the sound of netting, netting, and meat-pushing continues when the anchovies are caught with the net attached to the boat. On the other hand, when catching anchovies with a hook net, they did not make a netting sound, but made a net pulling and a meat-pouring sound. In addition to the sound of pollack fishing, the Goseong area includes Banam-ri Banbau Furijil and Gong Hyun-jin Gombawi Seaweed Picking. Banbau Furijil is an eroyo where fishermen and residents sing the joy of the fish as they greet a meat boat that catches anchovies and returns home with full sail, and it is divided into "the sound of putting out a fish net," "the sound of pulling a hook," and "the sound of blowing meat." It is also said that Gonghyeonjin Gombawi Seaweed Picking Eroyo was called to forget the difficulties while removing weeds attached to the rocks to pick quality seaweed from large and small rocks such as Gombawi and Bulgeunnaebawi.
  • 1978.5.9
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    This play, which has been handed down in Dongnae, Busan, is associated with the work of fishing and songs sung by fishermen while working. The lyrics of the songs are divided according to specific parts of fishing work – deploying nets in the sea, withdrawing the nets, and celebrating a good catch.

    The melody is Kwaejina chingching nane, which is frequently sung in the Gyeongsang-do area, for all. People carry flags during the festival, publicizing the festival, praying for a good catch, and displaying a phoenix. This play combines songs sung by fishermen while working or celebrating a good catch and women’s group play.

    The Fishing Village Festival of the Left Naval Headquarters of Gyeongsang-do was the country’s only fishing operation cooperative which could boast a long history and tradition.
  • 2016.5.9
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    Buddhist paintings, along with Buddhist pagodas and statues, can be classified as objects of Buddhist faith, and according to their production form, they can be classified as tanghwa, vulcanization, and mural paintings. In particular, the tanghwa is enshrined as a major object of worship after undergoing religious rituals such as costume and burial rituals. Tanghwa, which is handed down to Korean traditional temples, is the main source of Buddhist paintings, and the craftsmen in charge of Buddhist paintings were called Geum-eo, Hwaseung, Hwasa, and Hwawon.

    In the meantime, the function of making a Buddhist painting has been passed down by the owner of Dancheong, but considering the characteristics of the items, it was separated into a single item and designated as a Buddhist cremation site.

    Kim Jong-seop was born in Taean, South Chungcheong Province, but settled in Mungyeong due to the great monk of Sabulsan Mountain and Kim Ryong-sa of Undalsan Mountain. After his settlement, he established the Gwaneum Buddhist Art Institute and has been focusing on his work.
  • 2015.5.11
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    This dance is a dance style that preserves the original dance style of Jeong So-san, who played a leading role in Daegu's dance history from the late 1940s to the late 1970s, as a successor of Ha Kyu-il, Jung So-san and Baek Yeon-wook. It is a unique type of towel dance that combines royal dance and folk dance. The dance has a grandeur, elegance, and moderation, and stimulates the viewer with a bow. Baek Yeon-wook, who was recognized as the holder of the dance, began his career as a student of Jeong So-san in 1955 and has continued the tradition of Jeong So-san, a leading dancer in Daegu during the modern era.
  • 2012.5.11
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    Samhoehyang Nori is a festival called "Tangseolbeop" in Yeongsanjae, a Buddhist ritual in which the spirit of the dead is ascended to heaven. Samhoehyang, which originated from Samjong Hoehyang in "The Great Hall of the Clown," refers to the Mesozoic Hoeshyang, barley hoeshyang, and actual hoeshyeonghyeong, and is a Buddhist folk religion that adds Korean folklore to Buddhist rituals.

    It is said that the efforts of everyone who participated in Yeongsanjae are honored and the functions of the festival are used to create harmony. The improvisation and the nature of the play yard are the folklore of a strong performance.
  • 2012.5.11
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    Yi Sang-rae, the founder of Sijochang, has learned sijo from Jeong Gyeong-tae, Kim Wol-ha, Han Woo-seop, and Park In-gyu since his introduction in 1959, and has preserved Sijochang, a folk culture, in 1964 by studying with Lee Kwan-seung, and is skilled in all sijo except Yeongje, and has his own unique sijoin.

    When singing a sijochang, it expresses the beauty of slowness, which is the characteristic of sijo, by making the breath long and long, and it has the ability to use the stubbornness and spirituality method well when sung in full length in three beats.